To promote Europcar’s new international communication strategy and the ultra-customisation of its offers, Paris agency Rosapark created a film and outdoor campaign to leverage the brand slogan “Moving Your Way”. The slogan has been rephrased to include handwritten first names in lieu of ‘your’ – a fresh and immersive way to highlight the brand’s ability to provide personalised offers and services, such as ToMyDoor (vehicles delivered to the customer’s home or office) or Selection (luxury cars).
To promote the campaign, the agency launched a unique social media and event activation – building the first carousel for adults in the heart of London. Working over a period of several days, the agency built a gigantesque carousel, 5 meters high and 11 meters wide, with 5 of the latest Mercedes-Benz models. Passers-by were invited to re-live a classic childhood dream… with a grown-up twist – they were able to go for a ride in one of the brand new cars, under a cloud of over 10,000 balloons.
The whole experience, from construction to the public’s amusement, was captured in a light-hearted 45 second film for social media. The clip went live on Facebook and YouTube in June and the campaign has been launched in all of Europcar’s corporate countries, (Australia, Belgium, France, Germany, Italy, New-Zealand, Portugal, Spain, and the United Kingdom) using various media, including visual displays in major European airports, on the brand’s commercial vehicles, and in the group’s branch locations.
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Via: Little Black Book
From making better use of data to learning more about audiences through AI, Posterscope’s Nick Halas says there are 10 things the OOH sector should focus on this year.
Outdoor advertising is evolving faster than ever before. Never has new technology been driving such massive change, not only in how we display ads, but also in how we plan campaigns.
Out-of-home (OOH) is still able to reach audiences at scale as the proliferation of digital infrastructure, planned using big data, now gives advertisers the added opportunity for personalisation and relevance.
People nowadays expect services, in particular communications, to be more tailored to what they are, what they’re doing and what they’re thinking. Unsurprisingly, doing this with OOH tends to drive better outcomes and we are starting to build up a robust body of evidence that validates this.
We’ve found this to be equally true for classic OOH as well as digital. To take full advantage of everything that OOH can offer though, advertisers will need to be sure to stick to a number of commitments, or resolutions if you will:
- Make better use of data
Consumers increasingly expect services or messages to be tailored to their personal tastes and preferences. Real-time triggers such as weather and traffic data enable OOH ads to react to the world around them, while mobile data helps advertisers understand the sites and apps people use in particular locations.
Advertisers can now even use social media data to plan campaigns around where relevant conversations are taking place, as demonstrated in a recent campaign we worked on for the hit video game Fallout 4. Advertisers in 2016 need to be using data to increase personalisation and deliver the right message, at the right time, in the right location.
- Start treating OOH as the new shop window
The speed and nature of service and brand communication are changing. Starbucks coffee can be pre-ordered before you arrive, so that it’s ready to go, and everything from an Amazon Prime package to a pack of Oreos can be delivered to customers’ desks within an hour.
As customers continue to make orders before being near stores, advertisers need to be treating OOH as they would a shop window, enabling it to act as a real-time trigger for customer appetites.
- Get to know programmatic at scale
Programmatic is expected to hit 60 per cent of UK digital billings this year. As the ‘automation of media bookings’ capabilities of programmatic increasingly become the norm in OOH, advertisers need to ensure that as well as faster, more accurate and accountable delivery, solutions also deliver scale.
Platforms need to plug in to digital ‘screen-buying’, which will enable DOOH to have a wider purchase point and syndication into other digital-led screen planning and buying.
- Consider digital inventory as a content platform
Brands are increasingly using content-focused social apps like Periscope and Snapchat to communicate with consumers. Adidas is streaming footballers’ practices live, while Red Bull is live-streaming Miami music week events.
Digital inventory and full motion DOOH is in a prime position to become a content platform in and of itself, both for brands to broadcast from and for users to contribute to. We’ve already started to see examples of user-generated content being used, such as Apple’s ‘Shot on iPhone 6’ and Three’s #HolidaySpam campaigns.
- Get around ad blockers
As consumers continue to reject advertising across multiple mediums, the increasing threat of ad blockers is causing concern throughout the digital industry. OOH, though, is a medium that can’t be turned off, so advertisers should be considering putting much more emphasis on the medium.
Increasing digital OOH inventory means OOH agencies now need to align closer than ever with digital agencies to provide the strongest possible integration.
- Encourage consumers to pay by OOH
2015 saw a huge rise in contactless and mobile payments and advertisers can harness the continued increase in mobile and contactless payments by encouraging a new, larger scale of innovation across the OOH landscape.
Doing so could transform from primarily being a ‘brand awareness’ driver to instead drive real-time purchases. We’ve already seen innovative examples like Clear Channel’s use of contactless totems earlier this year, where consumers were encouraged to tap their card to donate money to Cancer Research UK.
- Better measure experiential projects
As the growth in ad blockers shows, consumers are ignoring disruptive advertising that doesn’t provide something valuable to them. As a result experiential campaigns are set to become even more prevalent.
However, the crucial resolution for 2016 is about measurement. Advertisers need to make use of new analytics platforms to better understand the impact of experiential activities by tracking consumer engagement through CRM and their navigation through an event space.
- Learn more about OOH audiences with artificial intelligence (AI)
Earlier this year, Posterscope worked with M&C Saatchi and Clear Channel to launch the world’s first AI ad campaign, which rewrote its creative in real-time according to how people reacted to it.
AI provides a new canvas for advertisers to use to learn about consumers and behaviours in a different way. This New Year, advertisers should look to how AI can create stronger location targeting, and how it can increase the relevance of messaging and imagery based on audiences’ real-time emotional engagement.
- Make better use of beacons
2016 is set to see OOH become a key driver of beacon usage. Increasingly, beacons will be housed within billboards, and outdoor advertisers should be striving to make better use of beacons to realise hyperlocal campaigns like one we conducted for Pimms last summer.
Using a beacon network and digital out-of-home screens, the number of smartphones at nearby pubs were counted, and used to create a live feed of this data to show consumers where they could still grab an empty seat to enjoy a glass of Pimms.
- Consider societal benefits as well as commercial
People are no longer just buying a product, they are buying into the brand and its corporate values as well.
Increasingly agencies will help advertisers make their budgets work harder to create truly innovative media firsts that not only serve advertisers’ interests, but contribute positively to the society they exist within to impact everything from the provision of public infrastructure to live experiences.
That’s just for starters though. Sticking to resolutions is a hard, but crucial task. However, to stay ahead of the game the OOH industry needs to not only meet the above resolutions, but to constantly make new resolutions throughout the year. If they do, they might stand a chance of 2016 being their best ever year.
Nick Halas is head of futures at Posterscope
To see the article in MediaTel click here
Despite being one of the most well-known brands in the world, Coca-Cola wanted to drive the knowledge and popularity of their global brand in an increasingly hard to reach youth market. To engage this audience and get them talking, drastic changes to the original can were made — the cans shrunk to a smaller 250 ml size and became available in six new colours.
Through social media and the use of the #colouryoursummer hashtag, the changes to the brand were shared and drove momentum behind the word-of-mouth campaign.
To promote this campaign UM, Coca-Cola and JCDecaux teamed up to create a first in Australian OOH with a Digital, Fridge Dispenser all in one panel. The multiplatform approach played into the social media hype by the use of a hashtag #colouryoursummer.
By heading up to one of the Innovate panels located in multiple locations across Brisbane, Melbourne and Sydney, the digital screen engaged by asking the audience to interact and rotate the colourful cans located on the screen — the reward was an ice cold Coke in one of the new smaller-sized cans.
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FCB South Africa is running an idea up the flagpole. A really big idea. In fact, the idea is ginormous. And its main component is a South African flag so large, it will be visible from space, 30 miles above the Earth.
The Giant Flag project was put in motion last month by Guy Lieberman, the agency’s head of green and social new business development. The initiative is ultimately designed to foster national pride, improve the lives of people in need and make a lasting impact on South Africa’s economy and environment.
The proposed flag will measure 66 hectares—about the size of 66 soccer fields. Its red, green, blue and gold sections will consist of millions of cacti and succulent plants that can thrive in the semi-arid Karoo region, offsetting some 90,000 tons of carbon emissions annually. Solar panels designed to power the equivalent of 4,000 homes will make up the flag’s triangular black patch. (They will also “harvest” rainwater to feed the flag’s living components.) The white areas will be access roads.
The project will provide more than 700 jobs in Camdeboo Municipality, where the unemployment runs over 40 percent, and support tourism, hospitality and various enterprises over the long haul. Moreover, Lieberman says, it will serve as a symbol of hope, cooperation and sustainable growth for South Africa and beyond.
Lieberman drew his inspiration from the 2010 FIFA World Cup in South Africa, noting “the nation’s huge emotional response to our flag.” After the World Cup, FCB launched the much-praised “Keep Flying” campaign to encourage the nation to maintain its momentum.
Crowdfunding and corporate efforts are under way. All told, it will cost about $20 million, with $2 million being the threshold to begin the massive germination project, followed by clearing the land, fencing off the site, building roads and constructing the solar field.
What’s more, South Africa’s Department of Environmental Affairs is lending its support, and corporate sponsors such as Google and Toyota “have come on board because they see the value this will have on the nation, as well as on their brand,” Lieberman says. “It also speaks to their commitment to game-changing initiatives, and in this sense the Giant Flag is not tied to any one nation—it is global.”
Peugeot has teamed with designer Adam Pobiak to create 108 limited edition silkscreen posters to push its new 108 model and is offering fans the chance to win one via a new social campaign.
With help from social marketing agency 33seconds, the car marque will use CRM to identify and reach out to new owners of the 108 and ask them to tweet and share a photo of them with their new car, holding up a sign with the hashtag #My108.
The first 108 to take part will win one of the limited edition posters, with other entrants set to receive a digital print.
The campaign aims to promote the personalisation element of the new car: with each poster individually numbered with an abstract interpretation of the creative themes.
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Via: The Drum
To celebrate Cadbury’s wide flavor range and unique selection of sweets, Australia’s leading chocolate brand created the Joy Generator- a vending machine that dispenses chocolate flavors based on a person’s Facebook likes and interests.
Users simply walk up to the machine, sign into Facebook, and are served a free chocolate bar with a flavor unique to their personality. Customers then take a picture with their flavor in the brand’s social media enabled picture booth.
Users get matched up with one of twelve flavors. Those who register as energetic should expect to receive a “Crunchie” bar. For the exotic posters and frequent travelers, the “Turkish Delight” may be a better fit.
This experiential stunt created with Red Agency is part of Cadbury’s integrated brand strategy. The campaign includes a series of new packaging, outdoor activities, digital executions, engaging social content, and additional experiential activations- all of which communicate Cadbury’s dedication to flavor innovation.
The online profiles created by social media users demonstrate the diverse range of interests, beliefs, and perceptions that society has. Cadbury’s Joy Generator acknowledges those characteristics on an individual scale, and thus establishes strong emotional bonds with potential consumers.
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In recent years violence in Mexico has increased considerably (drug trafficking, kidnapping etc.). The Non-Violence Project Foundation is a non-profit NGO that fights violence through education.
The idea was to build a bus; half prison-bus, half school bus with the message: “Violence ends when education begins”. With the help of kids and prisoners (actors), the bus was parked outside schools and drove around Mexico City interacting with the target audience.
Via: Ads of the World
Agency Design Develop aims to help homeless people by converting billboard advertisements into living spaces.
A controversial and inhumane way of ‘managing’ London’s homeless population was brought to the attention of twitterers by Worldview Media this month as spikes were placed outside a building to deter people from sleeping close by. The UK government has had to ban the ‘anti-homeless spikes’ that caused national outrage, and resulted in petitions signed by thousands to take greater care of the disadvantaged.
With this news and a new campaign by design agency Design Develop, homelessness and the battle against it seems to be on everyone’s radar. The ‘Gregory Project,’ aims to help homeless people by transforming billboard advertisements into liveable spaces. The ads use both the space and the object to promote the global problem of homelessness and double up as a shelter as the insides of the structure can be turned into living spaces where homeless people can sleep.
The design of the new homes is based on the existing structure of mainstream billboards, i.e. triangular. This results in a plan divided in two rooms with the first including an entrance hall, kitchen, office desk, stairs to a raised bed, and bedroom, the second part contains a bathroom with a sink, a toilet and shower. The designs are sleek and use wood, concrete and steel as materials. The added bonus is that there are even windows, offering a comfortable stay with all the amenities any one person would need.
While billboards once proved the power of marketing, they’re now proving new ways to help combat some of the world’s most important issues.
Stella Artois, official sponsor of Wimbledon 2014, has launched an OOH campaign that utilises traditional and the latest OOH innovations, to build on their association.
A national 48 and 96 sheet campaign, proximity one off banners, and 6 sheets on the way to the event, will all drive mass coverage of the sponsorship. The highlight of the OOH campaign is the use of JCDecaux’s Motion@Waterloo screen, where Posterscope and JCDecaux have developed 5 templates which bring in social from Instagram and Twitter, real-time copy updates from Wimbledon, as well showcasing branded Stella Artois content.
The screen, which is scheduled to deliver what consumers want, when they want it, fuses connected commuter insight with timetable data, thus making every ad shown relevant to how consumers are thinking and feeling in the station.
On days 5 and 6 there was an exciting twist, where Stella Artois gave away Wimbledon tickets through a centre court experience, delivered by psLIVE and JCDecauxLive.
The campaign was planned and bought by Posterscope and Vizeum with media and production delivered by JCDecaux.
This campaign is another example of Stella Artois pushing the boundaries of digital technology to deliver relevant communications.