Posterscope Germany win at the W and V 2017 awards for their Ferrero children’s campaign
PSI, Posterscope’s international division, and Vizeum, have deployed a unique digital out-of-home (DOOH) campaign in multiple international airports for Commerzbank using the Liveposter Platform.
The campaign, aimed at business travellers, appears at Paris CDG, New York’s JFK and London’s City and Heathrow airports and will run on DOOH screens throughout the airports and departure lounges for the next four weeks.
Activating flight departure data across key international airports, the campaign serves highly personalised messages to German travellers in their native language, outside of their homeland.
The campaign creative is presented in each country’s local language and flight departure data is used to trigger dynamic messaging in the German language, served to the appropriate screens and locations, as flights to Germany prepare to depart.
The DOOH campaign is being supported with an online display advertising campaign feature on the German language version of BA.com, also planned and bought by PSI and Vizeum
Margarita Christoforidou, Senior Account Manager, at PSI said: “The flight data now available to us means we can create and deliver even more highly targeted campaigns in airport locations. This campaign for Commerzbank will not only reach the right people, at the right time, but will also show creative executions in their own language. What could be more relevant and more engaging?”
Uwe Hellmann, Head of Brand Management and Corporate Marketing, at Commerzbank, added: “We were looking for an exciting and dynamic campaign to promote our corporate client campaign to travellers heading to Germany from key international locations across the world. The ability to reach these travellers as they prepare to depart from the airport and speak to them in their own language is highly innovative and we are excited to see the results.”
Posterscope Russia and Vizeum launched an innovation OOH campaign for fast food client Burger King. At the heart of the campaign was the insight that food consumption depends on weather conditions: when it’s cold there is a preference for hot and hearty food but in the heat…cool and easy fare was desired.
Traditionally outdoor advertising does not allow for quick adaption of copy so the project team at Posterscope looked to provide a technical solution. The campaign in Moscow involved 43 digital screens, located in proximity to Burger King Restaurants, fitted with innovative technology which allowed for weather-activated advertising. When the temperature reached over 25 degrees the screens broadcast milkshake creative, when the temperature was low, images of hot food was served.
“It is a new format in the capital’s outdoor advertising landscape. Ultimately, the use of technology increases the efficiency of the advertising campaign: the consumer is delivered the message that really meets their needs here and now “, – said Mikhail Nesterov, head of the planning advertising media Vizeum.
For the launch of the new movie “Transformers: Age of Extinction”, Posterscope Russia and Vizeum wrapped part of the Federation Tower in Moscow. Federation Tower consists of a complex of skyscrapers built on the 13th lot of the Moscow International Business Centre. The campaign also included billboards, special projections on TNT and branding of metro stations in St.Petersburg.
Click here to watch the video
The media landscape has just got used to owned, earned and paid media, but is it now time to get used to non-media turning into media too?
The Internet of Things, where everyday objects and devices communicate with each other, could transform our toasters, cars and thermostats into ad opportunities.
When Google predicted a world where ads appear on “refrigerators, car dashboards, thermostats, glasses and watches” in a letter to the US Securities and Exchange Commission, many media ears pricked up.
Already, devices such as Google’s Nest and British Gas’ Hive thermostats and Philips’ Hue light bulbs are controlled by mobile apps. The next stage of the Internet of Things would be to create a protocol allowing the devices to interact with each other.
How wide-ranging this will be is open to debate, but the direction of travel is set. If objects can collect data about how their owners use them, this will produce invaluable insights into people’s behaviour for marketers. Brands could put ads on those objects or use insights from the data to post personalised ads on smartphones, TVs or tablets.
Andy Hobsbawm, the founder and chief marketing officer of Evrythng, believes the Internet of Things offers a “tremendous media opportunity”. He notes that, as objects become networked, interactive and trackable, they will inevitably become media with “digital interfaces” for personalised content, services and experiences.
He adds: “As with any media, there’s also a challenge in extracting new intelligence from the data generated by billions of these objects coming online. Without a common standard, the opportunities could be limited.”
Some fear this could lead to a dystopian future of spam ads that misinterpret data and serve up irrelevant and inappropriate advertising.
As Dan Kirby, the chief executive of Techdept, says: “The data created by your ‘things’ communicating means amazing insights into consumer needs. This gives marketers a great deal of power, but power that has to be used responsibly. The opportunity for tone-deaf ads – imagine your house burns down, and up pops a message: ‘It seems you need a new sofa!’ – means it could undermine as well as empower a brand.”
There is no doubt that the data from smart devices could offer a huge source of insight for companies, governments and agencies alike. According to Chrissy Totty, the head of innovation at Vizeum, the increased understanding about individuals’ movements and behaviour will enable “hyper-local, hyper-relevant” messages. However, this requires data to be shared between organisations, in partnerships such as the one recently struck between Posterscope and EE.
“Without sharing, the data will be proprietary to those who have created the devices and the opportunities will remain limited,” Totty says.
“The more invisible the Internet of Things becomes, the less aware consumers will be about the amount of data they are generating and who has access to this.
“Agencies, media owners and brands all need to stay on the right side of the ‘creepy line’, to quote Eric Schmidt – respecting our traditional value exchange with the consumer. Advertising, however smartly targeted, will still need to add value to the consumer and be something they knowingly opt into.”
Via: Campaign Live
HOCKNEY, BLAKE, CONSTABLE, GILBERT & GEORGE AND MOORE AMONG MOST POPULAR WORKS CHOSEN BY THE PUBLIC
Exclusive digital artwork by Antony Gormley available for free download
Leading artists Grayson Perry and Antony Gormley announced the works which have been chosen by the British public for the UK’s biggest art exhibition, Art Everywhere, which will take place on over 30,000 billboards and outdoor sites across the country from 21 July – 31 August 2014.
The artists unveiled the shortlist on the largest indoor advertising screen in the UK – Motion@Waterloo at London’s Waterloo Station. The list includes one of Grayson Perry’s recent works, The Annunciation of the Virgin Deal.
The shortlisted works in order of popularity are as below:
David Hockney, My Parents, 1977
Dora Carrington, Farm at Watendlath, 1921
Dame Laura Knight, Ruby Loftus screwing a Breech-ring, 1943
Grayson Perry, The Annunciation of the Virgin Deal, 2012
Stanhope Alexander Forbes, A Fish Sale on a Cornish Beach, 1885
Michael Andrews, Melanie and Me Swimming, 1978-9
George Frederic Watts, Ellen Terry (‘Choosing’), 1864
Augustus Leopold Egg, The Travelling Companions, 1862
Patrick Caulfield, Pottery, 1969
John Hoyland, Memory Mirror, 1981
Rose Wylie, Early Memory Series No.2: Doodle Bug, 1998
Eileen Agar, Slow Movement, 1970
Julia Margaret Cameron, lago (Study from an Italian), 1867
Gilbert & George, Existers, 1984
John Constable, Study of Cirrus Clouds, c.1822
Edward Collier, Trompe l’oeil with Writing Materials, c.1702
Philippe Jacques de Loutherbourg, Coalbrookdale by Night, 1801
Ivon Hitchens, A River Pool, 1951
Henry Moore, King and Queen, 1952-3, cast 1957
Hans Holbein the Younger, A Lady with a Squirrel and a Starling (Anne Lovell?), 1526-8
William Blake, The Circle of the Lustful, 1824-7
Gillian Wearing, Signs that say what you want them to say and not Signs that say what someone else wants you to say I’M DESPERATE, 1992-1993
Marcus Gheeraerts the Younger, Queen Elizabeth I (‘The Ditchley portrait’), c.1592
Ben Nicholson, 1940-42 (two forms), 1940-42
Marc Quinn, Self, 2006
Over 38,000 votes were received via Facebook (facebook.com/arteverywhereuk) in the process to select the nation’s favourite works which will be shown on bus shelters, underground stations, roadside billboards, motorway services, national rail networks, shopping centres and airports across the UK. 90% of the population will have an opportunity to see a work of art at an outdoor site during the summer. The art will also be shown in a national Art Everywhere on-screen exhibition shown in over 1,000 Vue cinema screens in the UK in August.
As part of today’s launch, Antony Gormley also unveiled a specially-commissioned digital artwork for Art Everywhere which will be available for the public to download for free. The work entitled Feeling Material will be shown on digital poster sites across the UK, including London’s Waterloo Station and Coventry House, Piccadilly Circus, and in Manchester’s Trafford Centre, as well as on motion screens in the back of over 2,000 black cabs. Antony Gormley has also donated 100 signed limited edition works to be gifted to the first 100 supporters contributing £950 or more to Art Everywhere. Funds raised will support the costs of print and production for Art Everywhere to be bigger and better, ensuring works of art reach more poster sites. Both the digital and limited edition works will be available from 16th July until 31 August from arteverywhere.org.uk
Antony Gormley said of his involvement in Art Everywhere: “Works in public collections form an important part of our collective visual memory, marking a particular place, time and person. It is great that these works are being celebrated and shared in this way.”
Building on the success of the 2013 exhibition, Art Everywhere 2014 will be longer in duration, having been extended across a six week period.
Art Everywhere is a collaborative project presented by the Out-of-Home industry led by Clear Channel, Exterion Media and JCDecaux, including Ocean Outdoor, Storm and Outdoor Plus. Founding partners are Richard Reed (co-founder of Innocent Drinks), the Art Fund, Tate, creative agency 101, Posterscope, Vizeum, Easyart and Facebook. Out-of-Home media owners have once again donated the sites to enable the nation’s favourite British art to be seen right across the UK.
Stephen Deuchar, director of the Art Fund said: “Art Everywhere is a celebration of great British art, with thousands of Brits voting for their favourites to be displayed on poster sites across the country over the coming weeks. The new work by celebrated artist Antony Gormley, made especially for this project, will be a wonderful legacy – and a way of thanking the art loving public, who made the whole initiative possible.”
Over the next two weeks, Clear Channel’s flagship Cromwell Road site will be home to a full-scale, 600-kilogram fibreglass replica of the new BMW i8 – the innovative hybrid sports car from one of the world’s leading car manufacturers.
BMW has taken over all six Cromwell Road advertising panels for their stunning out-of-home advertising campaign. An elevated ramp has been built to create the illusion of the replica i8 driving along a road, bringing the advert to life. The campaign was planned and booked by Vizeum and Posterscope.
Nicola Green, BMW’s Marketing Communications Manager – Brand and New Model Launches, said: “The i8 is a car which stands out – its design, innovation and performance. As such, it was important for us that when marketing and promoting this model, we did something a little bit different. The Cromwell Road placement allows us to do that in an eye-catching and exciting way.”
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.
Art Everywhere by Posterscope and Vizeum has been selected to represent the Dentsu Aegis Network at the ‘Act Responsible’ exhibition in Cannes. This is the very first time that CSR will have a presence at the Cannes Lions.
Situated next to the Cannes Lions Hall, the ‘Act Responsible’ exhibition aims to show how the advertising industry supports charities and causes with pro-bono campaigns. Additionally, online and local visitors will have the option to vote for their favourite ‘Act Responsible’ campaigns of 2013.
For more information, click here.
To vote, click here.