(From left to right, Patrick Lara, Valérie Hénaff, Jean-Guy Saulou)
If you’re going to meet the leading lights of Publicis Conseil, it might as well be on the roof terrace of their iconic building at 133 Avenue des Champs-Élysées. The Publicis story has been unfolding at this address since 1958. Now, as we gather around a table on an unexpectedly sunny spring day, the agency has embarked on its next chapter.
With me on the rooftop are Valérie Henaff, president of Publicis Conseil, along with director generals Patrick Lara and Jean-Guy Saulou (who was the former DG of Nurun). The agency’s transformation was sparked by the merging of Publicis Conseil with Nurun Paris. In other words, the integration of 250 digital and tech experts with existing Publicis Conseil staff, bringing the total number up to 650.
“Our philosophy for some time now has been ‘lead the change’,” says Valérie Henaff. “Our clients are constantly confronted by change, so rather than being intimidated by that, our view is that in order to grow one should embrace it and be inspired by it.”
This philosophy has driven the agency’s international presence (“We are the most international of French agencies,” remarks Valérie) as well as its widely reported digital transformation. In that respect, the latest evolution is a logical one.
Publicis Conseil refers to its new incarnation as “the first full brand experience agency”. So what exactly does that mean? Valérie explains: “What Nurun brought to us specifically was its expertise in the realm of the customer experience. Along with our clients we have become aware that one can no longer separate what a brand says – the communication – from the way the customer actually experiences that brand. A bad customer experience can undermine all the brand’s communications investment.”
In other words, Publicis Conseil must now be able to oversee the customer journey from A to Z, whether that means the website user experience, its social media presence, or even the store interior. Because as we all know, there’s nothing more disappointing than a brand that fails to live up to its promises.
Practically speaking, the agency will be organised around nine business units – almost mini-agencies – of around 80 people, each dedicated to one or several clients. As everyone in French adland knows, Publicis Conseil works for some the country’s most emblematic brands, including AccorHotels, BNP Paribas, Carrefour, AXA, Engie, L’Oréal, Nestlé, Orange, Renault, Sanofi, Groupe Seb... Each of the nine entities will be headed by a duo, one from Publicis Conseil and one from the former Nurun.
“We’ve always put clients at the core of our business, but now our internal organization reflects that approach,” says Valérie.
If it sounds as though Publicis might be creating silos while other agencies are breaking them, Valérie assures us that all its clients will be able to benefit from “transversal talents” who can intervene whenever and wherever required. These include data scientists, UX specialists, social media coordinators and many more.
Jean-Guy Saulou says: “We’ll ensure that digital skills are available to all our clients. The advantage of being 650 people is that we’re capable of bringing together the equivalent of a specialist agency for every circumstance. With the difference that we can combine our long-term client vision with these often very niche skills.”
There’s also a further transversal unit called The Strategic Studio, which incorporates strategic planners, channel planners, engagement planners and data analysts, among others. One of the most compelling elements of the new structure is the Social Media News Desk that sits at the heart of the agency. Publicis Conseil also has its own digital production studio so that it can match output with the rate of demand for content.
The agency’s creative output will be overseen by four “creative poles” headed respectively by Olivier Desmettre and Fabrice Delacourt, Marcelo Vergara, Elie Trotignon (former executive creative director of Nurun Paris).
A LAB CALLED “LE LOFT”
Another symbol of the agency’s evolution is Le Loft, a combination of mobile brand content lab and workshop which brings together experts from within Publicis and external talents – for instance YouTube stars and social influencers.
Le Loft is described as “multidisciplinary, open, agile and data-driven”. The teams assemble around a specific client, for one month, each time in a different location. During that time they’re given one brief every day.
The entire team works on the brief at the same time, “a collective discipline that allows the hatching of dozens of creative ideas a day”, according to the agency’s official literature.
Less officially, director general Patrick Lara says: “It’s astonishing to observe this mixture of different talents in the same space for a defined period. The client is deeply integrated in the process and regularly comes to work alongside us. Sometimes they discover hidden talents!”
The content is actually produced within the Loft, Patrick stresses: “It’s not just a space for ideation and conception. We have animators, illustrators and other craftspeople who can bring the ideas to life, there and then.”
It must be one of the rare times an advertising creative gets to work with a YouTuber on a brief for electric vehicles. Valérie Henaff adds: “We sought outside talents not to hire them, but to work with them and most importantly to learn from them.”
Initially created for Renault, Le Loft has also worked with BNP Paribas, Garnier, Nestlé and Groupe Seb. “The experience was supposed to be a one-off, but the results were so rich that we decided to continue.”
An agency is still paid for its ideas, and Patrick Lara insists that the new organization will enhance their delivery. “What’s interesting is that the full brand experience, because it involves truly listening to and engaging with the consumer, brings us unexpected insights that generate creativity in their wake.”
The more the agency listens to customers, he says, the more it enables brands to respond to their needs. “Providing solutions is also part of the brand experience.”
One concrete example was the insight that new parents often drive their babies around in the car in order to send them off to sleep. But driving around town at three in the morning has obvious inconveniences – not least when you have to stop and the little one starts crying again.
“So we created the first static baby seat that recreates the sensation of being in a car,” Patrick smiles. The Baby Seat was a joint project by Publicis in Paris, Argentina and Italy for Renault and is now available all over the world. “That’s not an ad, but a product, based on our knowledge of the consumer – something we would perhaps never have done ten years ago.”
Valérie Henaff concludes: “In a way, everything we’ve been talking about this afternoon is inherently linked to creativity. Today we can say that we’ve invented a new way of working, collaborating and thinking.”
Perhaps not so much a new chapter, then, as the start of an entirely new story.
L2’s Digital IQ Index®: Beauty reveals an industry rapidly growing in sophistication. Three out of four Index brands earned spots in the Gifted or Average categories, reflecting increased digital investments in the form of retailer partnerships, omnichannel initiatives, and influencer relationships. As in 2014, Color Cosmetics and Multi-category brands netted the highest Digital IQs; in contrast, Fragrance brands trail behind due to creative and licensing red tape.
Content marketing is passé.
While no one would argue its effectiveness, it’s becoming a word without meaning, a word that lacks a real identity. What is content marketing? We know that it’s an integrated approach to content creation, SEO, social media marketing, and influencer and customer engagement, but this is where the story ends, and far too often, it takes your brand—and its story—with it.
Content marketing is a discipline about storytelling; only in an odd turn of events, it often leads us away from the desire to tell it. We get caught up in engagement metrics, follower numbers and branding. We create content and often lose touch with the big picture, of why we’re creating it in the first place.
(highlight to tweet) It becomes a task rather than an extension of ourselves, of our company.
It’s time to change the message.
You know who tells great stories? Coca-Cola.
Coca-Cola uses a blended approach to delivering stories about themselves, their friends, and their customers. You can find them on nearly every social media channel, and although most businesses lack the resources to maintain this type of presence, their mixed media approach and cross-channel branding efforts are noticed, loved, and effective.
So, how do you become more like Coca-Cola?
What good content marketers—and storytellers—do well starts with an overriding theme. What message is your story trying to purvey, and what are you hoping sticks with your audience after they view it?
Are you a hot tech startup that wants to show off the skill of your employees and how you’re going to disrupt the marketplace with your hot new app or technology?
Check out the GoPro YouTube page. It’s awe-inspiring and makes you really want to produce your own content using their technology. This is a company that started with their own story: a need to capture the cool things a group of adrenaline junkies did, which ultimately culminated in a desire to bring that technology to others like them, and at an affordable price point.
Are you the mom and pop family farm that creates organic produce and sells it in an online co-op?
Burroughs Family Farms is. Front and center right on the homepage of their website is a story that details their beginnings, their ideology, and where they want to go from here. It’s a great example of storytelling in its simplest form.
“The key to storytelling is authenticity,” says Ryan Mulvany, a Partner at Quiverr. “I started selling products on Amazon years before I started my agency helping brands compete in online marketplaces. I still tell stories from my early years. It’s the most effective way I know of communicating our in-the-trenches experience.”
The point is, you have to first identify who you are, and then work outward to determine what kind of story you can effectively tell. The key is in making the story compelling, believable, and human. Originality doesn’t hurt, either.
But first you have to identify who you are, and what message you’re trying to deliver.
Next, you need to identify competitors in the marketplace. This oft-overlooked step allows you to cater to the law of averages by finding impactful data that allows you to improve upon their big content wins, and avoid content plays that weren’t effective. In short, it saves you time, money, and even the potential for embarrassment.
Your story should be original. How you choose to market it doesn’t have to be. The idea isn’t to mirror their strategy. Ideally, you’d take bits and pieces of the most effective content strategies of your competitors and refine it into creative ideas of your own, but if I’m being honest, more than a few brands simply piggyback off the success of others in an unoriginal and often feeble attempt to ride their successes. Don’t let this be you.
Once we’ve identified the story we want to tell, and we know how we’re going to use it (and across what channels), it’s time to get to work.
From here, we should be crafting appealing content across multiple channels and using a mixed media approach that is designed to captivate, inspire, and evoke emotion around your brand. You have mere moments to capture attention, so no detail should be overlooked. Each word should have a place, a message of its own. Each color choice should be scrutinized. Every detail down to the choice of font, the spacing, and the placement of images needs to be carefully inspected to ensure that the message you’re trying to purvey is the one the customer receives.
The process isn’t rocket science; it’s about the human element that brings each of us together. A company is nothing more than the story of the people who created it, what brought them to this point, and where they want to go in the future. Keep it simple, honest and make your point clear.
Now, go out and tell your story.
Recently, Taco Bell made its Periscope debut with a live "newscast," unveiling its latest breakfast concoction -- the biscuit taco
"We're always in beta and trying things out," said Ms. Friebe. She said that approach resonates with the way young people, who were born into technology, experience things. "[Our consumers] are used to living in this world where people are constantly trying something, seeing if it works and making changes."
Taco Bell is also transporting consumers back to their childhood with inventions like Cap'n Crunch Delights, a doughnut hole inspired by the classic cereal, as well as ads like "Unboxing Kids," which features a brother-sister duo who went viral with their retro fist-pumping home video of unwrapping a Nintendo 64. "[Young people] have access to all of this information and technology, but it also can be overwhelming," said Ms. Friebe. "They are drawn to things like nostalgia."
“According to Gartner surveys, content is the most important thing marketers can do and yet they’re unequipped to take it on from a skills and sourcing level.”
Last week, Gartner released the results of their study around the 5 top emerging trends in digital marketing, and one of the big 5 is around the “rise of big content”.
Most marketers understand how important content is for their audience and their overall marketing strategy, but they critically lack resources/skills to either create good content or source good content to curate.
The choice of words Gartner used was very wise: we all know “marketers understanding that” does not mean “CEOs understanding that”. So just like most marketers, you might be facing a situation where you and anyone within your company who can and would write has millions of other things to do with deadlines that can’t be pushed.
In my opinion there are three answers you can bring to scale your content marketing and address the challenges created by the rise of big content:
You can’t do it all alone, so why not leverage others in this ongoing effort? Co-workers and freelance writers can help you keep up with high goals for content publishing. If you are interested in how to leverage others in your content marketing efforts, I wrote an article about it last week.
People often think doing content marketing is 100% content creation. It’s not. There is great content out there on the Web just waiting for your to leverage it.
Consider the fact that it takes on average 150 hours to create a white paper or an ebook, 4 hours to write a blog post and 20 minutes to turn a relevant content into a curated post.
And it’s not just about finding the time or resources to write content, it’s also about publishing credible content. A study from the CMO council revealed that third-party content is 4x to 7x more trusted than your own.
Of course, we’re not objective on that part. But think about how CRM software changed the way we’re doing sales today. Think about how Marketing automation changed the way we’re sending emails by interacting with our prospects at the right time, based on their interactions with our website and their behaviors. In a similar way, Content Marketing software also saves marketers a lot of time which enables them to focus on what’s important.
To quote Gartner again: “Marketers need to build a content marketing supply chain and determine how to create, curate and cultivate content.”
Are you ready to adapt to the rise of big content?
Image by Jeff Rowley.
And for more tips on how to scale your content marketing strategy with limited resources, download our free ebook.
Julie is our Director of Content Marketing. Before joining the other side of the Force, Julie was a client of Scoop.it while managing the Marketing of another SaaS software start-up in San Francisco for 2 years (Ivalua). With a Master’s Degree in Consulting from Audencia Graduate School of Management, Julie has lived in 4 different countries and worked in Marketing and Consulting for Apple, l’Oréal, Cartier and Weave Consulting. Besides being a tech nerd tweeting about New Technologies (@JulieGTR), Julie is a pretty serious sports addict (ski, muay thai, field hockey, tennis, etc.), a traveling fanatic and a foodie (either in the privacy of her kitchen or at new trendy restaurants).
Come summer 2016, all eyes will be on Rio De Janeiro, the city hosting the next Olympic Games. But even before sports fanaticism takes over, Heineken is calling attention to a near-forgotten hub of Rio’s cultural legacy in its new documentary, Beco das Garrafas.
Translated to “Bottles Alley,” Beco das Garrafas is a bar that received its name from stories of rowdy patrons getting in fights and throwing bottles along an alley. But those who were around to experience the nightlife in the 1950s and ’60s know that the place’s charm wasn’t just cultivated from riotous nightlife. Beco das Garrafas holds a beautiful secret: It was the birthplace of bossa nova, a genre of Brazilian music that has roots in both jazz and samba. Heineken was determined to uncover this buried history and revitalize the alley for a new generation of music lovers.
“Heineken called me for a strategic Branded Content & Entertainment Consultancy, [with a challenge] to expand the conversation and the resonance of the reopening of BECO,” the film’s co-producer, Patrícia Weiss, wrote to me in an email. “My recommendation was to produce a documentary telling the story about Beco das Garrafas from the point of view of ordinary people who witnessed its history.”
As a part of its “Cities of the World” campaign—created to inspire people to discover and experiences their cities through art, food, and music—Heineken is now inviting Rio de Janeiro residents to watch Beco das Garrafas to discover something new about their city.
Directed by Paula Trabulsi, a member of the International Collective of Storydoers, the film documents the rise, fall, and rebirth of the cultural epicenter of bossa nova.
“Heineken gave us complete freedom during the production of this project in the partnership,” Weiss said. “It should be an authentic and original story about people, about the cultural importance of BECO and Bossa Nova centered on people. It shouldn’t be a story about a brand talking about itself, selling product or brand image, but something really interesting and meaningful to people.”
Altogether, the film’s production took six months—not bad for a documentary that covers a history of 30 years.
As the film explains, by the end of the ’50s, Beco das Garrafas had earned the reputation as the launchpad of bossa nova’s biggest talents such as Elis Regina, Wilson Simonal, and Jorge Ben. They came to perform at the alley’s hottest nightclubs: Little Club, Bacará, and Bottle’s Bar. However, the alley’s allure faded by the time the ’70s rolled around, which brought revolution, heavy drug use, and the disco rage.
With help from the Hands agency, Heineken sponsored the renovation of these bars, bringing the music back to Beco das Garrafas for the first time in decades. Tracing this revitalization, Heineken’s documentary features interviews with people who grew up near the famous alley, bossa nova singers, and bar employees who were working in the heart of the area’s nightlife.
“The great challenge today for brands is how to capture the audience’s attention and get them involved,” Weiss explained. “So relevance, authenticity and original narratives are the most powerful ways of establishing emotional connection between brands and people today—involving and engaging them without interrupting their lives.”
Not only has the campaign breathed new life into the hurting Beco das Garrafas, which now hosts shows six days a week, but it also proved to be a strong marketing play for Heineken, which earned brand mentions in over 40 media publications and generated over $6.3 million in earned media.
“It is essential for the brand to identify the themes, the important human issues and social tensions that concern and affect the audience,” Weiss said. “By doing that, the brand can be the catalyst of a conversation that invites the audience to participate, entering into a larger discussion in the society with a wider resonance.”
By Pierre Ziemniak
MIPTV 2015 is just around the corner, and as hard as it is to predict what the biggest trends are going to be in the TV industry for the months to come, here are a few observations based on our program and keynote announcements. What does the year’s biggest gathering of entertainment industry professionals tell us about the industry itself?
First and foremost, our theme this year is “The Millennial Shift”: consumer habits are changing faster than ever and the market must adapt to younger, mobile, and multi-connected audiences. This is not a new phenomenon, of course, but millennials are the consumers of tomorrow, and as media users, their habits tell us a lot about the future of TV distribution, content, and formats. Personalization, streaming, and interactivity are the three key words of this major shift, which sees the rise of web platforms — and YouTube is just the tip of the iceberg here, given the high number of many multi-channel networks competing to reach millennials.
This is where a few clarifications are necessary. The “second screen”? It’s not as relevant as it used to be: “We seem to have quickly skipped from online devices being the second screen, to them being the first for many generations, especially the all-important millennials,” says Matt Campion, founder/creative director at Spirit Digital Media, the UK-based digital and social-media production agency. “Cord-cutters”? “Cord-shavers” may be a more appropriate term for millennials, who have actually reduced the amount of time they spend in front of traditional TV without totally abandoning it.
More than ever, the connection between offline and online viewing is key. Viacom, for instance, recently created “appisodes”: more than just catch-ups tools, these new formats offer interactivity and many more options. The My Nick Jr app for kids’ network Nickelodeon is already a huge success.
Even more important in this new online landscape are social networks, which have joined the race for content for good, redefining the boundaries of entertainment — and online gaming has a lot to do with it. Just a few figures: Facebook paid $2 billion last year for virtual-reality gaming platform Oculus VR, and Amazon bought the broadcast gaming and eSports platform Twitch for $970 million. According to research company IHS Technology, eSports will represent 6.6 billion hours of viewing globally in 2018 from 2.4 billion hours in 2014.
These major changes will be highlighted and analyzed at the MIP Digital Fronts, the last two days of MIPTV totally devoted to online entertainment. MCNs such as Machinima, Collective Digital Studio, and AwesomenessTV — to name but a few — will be present to showcase their most talented creators, and offer the MIPTV audience a glimpse of online video’s future.
According to Machinima’s chief content officer Daniel Tibbets, money is the number one issue when it comes to millennials: “Millennials won’t pay $150 a month for cable, so you have to figure out how to hit them with the right content,” he says, further explaining that “the traditional TV networks must look at their release windows not as a syndication function but as a programming one.”
Collective Digital Studio’s Paul Kontonis insists on the need to be platform-agnostic: “We create entertainment programming on whichever platform it makes the most sense. If it’s a Vine series we’ll do a Vine series, if it’s a Vine series and then a TV film so be it. If it’s a YouTube series that should then go to Instagram then so be it,” he says.
And, last but not least, New Form Digital’s Kathleen Grace stresses the importance of storytelling: “it’s not about TV, it’s about content across multiple platforms that tells a story [millennials] can relate to. There is a huge opportunity there.”
Monetization, of course, remains problematic in many cases. But this should change soon, according to JWT Worldwide’s Lucie Green, who says that advertisers will respond to these developments. So, will millennials’ habits change the industry for good, judging by the new formats and distribution models that have emerged these past few years? As HBO, CBS, and Sony unveil their online-only video services, there are reasons to believe that 2015 will be the year when online viewing becomes more than just a trend for the new generation.
The second biggest trend witnessed and discussed MIP after MIP is that quality TV is now everywhere. Indeed, the best shows are no longer reserved to networks and cable, and can be found on broadband platforms. Here too, MIP Digital Fronts has positioned itself as a marketplace for current and next-generation content producers eager to reach online and mobile platforms, as well as for traditional broadcasters trying to attract young audiences — in any case, talent and quality content matters above all else.
Global media companies are fully aware of this shift and are now officially focusing a large part of their activity on digital channels — especially YouTube MCNs. The Walt Disney Company, for instance, paid $500 million for MCN Maker Studios — a MIP Digital Fronts founding partner — last year. Another MIP Digital Fronts founding partner, Vice Media, amassed $250 million from A+E Networks (which is partly owned by Disney). Hearst and DreamWorks Animation jointly own AwesomenessTV — another MIP Digital Fronts presenting partner — while FremantleMedia has formed digital-content studio Tiny Riot and has content partnerships with fellow RTL Group subsidiaries BroadbandTV and StyleHaul.
These moves are backed by research. International video-technology provider Ooyala reports that 706 million-plus homes — nearly half the world’s TV households — will be watching online video by 2020, up from the 374 million forecast for 2014. There’s more: media agency ZenithOptimedia predicts that global advertising revenues will reach $545 billion by year-end. It foresees TV advertising’s share remaining the largest by medium, but dropping to 37.4% in 2017 from 39.6% in 2014. The revenue share of desktop internet ads is expected to grow to 19.6% from 18.8% during the same period, while mobile ads’ share will leap to 11.4% from 5%.
The Emmy-nominated “What’s Trending” is a good example of a digital-first show being adopted by traditional TV operators. A daily interactive show on YouTube devoted to news topics that have gone viral online, “What’s Trending” has featured a host of celebrity interviews, from Arnold Schwarzenegger to Harry Potter himself Daniel Radcliffe. The team is now working on a digital series for Viacom’s VH1 network — even more impressive, it has a syndication agreement with the US’ CBS network. “’What’s Trending’ is the new water cooler, with fans sharing information, photos, and videos online. Not only do we get people through the noise of it all, we also entertain,” says Shira Lazar, ‘What’s Trending’ co-founder and presenter. “Two years ago, premium content on YouTube was rare. Now, anyone can take a camera and shoot something that could end up being good enough for television.”
In other words, democratization of content creation has never been more felt within the TV ecosystem — although it remains unclear what kind of long-term impact YouTubers and other online video creators will have on the industry as a whole. One thing is certain: authenticity and quality of content are no longer bound to the traditional TV screen.
A third major TV trend these days is the rise of branded content as a new entertainment form — it has been the case for several years now, with the MIPTV Brand Of The Year Award given to innovative brands in this field, include American Express, Heineken, Intel, and Vice Media. Chipotle and Piro won last year for their “Farmed and Dangerous” series on Hulu.
The reasons for brands to create content are numerous — being entertainment providers offers them flexibility in terms of reaching consumers through digital technology. A prime example is Marriott Content Studio, a subsidiary of hotel and resort group Marriott International: it was launched last September and is already winner of the MIPTV 2015 Brand of the Year award. Marriott has indeed managed to position itself as a content creator in record time, taking into account all the industrial shifts listed above: “We want to own the travel-and-lifestyle space,” says David Beebe, Marriott International’s VP of creative and content marketing, global marketing. “The journeys made in that lifestyle lend themselves to content naturally, because travelers are constantly tweeting, taking photos and videos, and capturing their adventures. We want to respond to that by creating content in all formats for all screens.”
Marriott has already formed partnerships with established celebrities, YouTube stars, and content producers, and will distribute its shows via social media (Facebook, Snapchat and Instagram), YouTube, and in-room screens at Marriott’s 4,100 hotels in 78 countries — not to mention the fact that they will be licensed to interested broadcasters. Marriott-developed entertainment notably includes comedy short film “Two Bellmen.”
The goal, says David Beebe, “is to produce engaging content that builds communities of people passionate about travel that will drive commerce.” And building communities will undoubtedly be a trend to watch in future years, depending on the brand’s culture and objectives — a powerful way to both engage consumers and create content that will rise above the noise and stand out in this ever-evolving media landscape.
Millennials, screens of all sizes, and branded content will thus be at the center of all panels and discussions at MIPTV — three topics that are shaping the industry day after day, with huge financial, managerial, and creative impacts. But what makes us live as an industry will remain the same: creative people eager to tell new stories in innovative formats — in a word, talent. Screen size, consumer habits, and brand-supported projects may matter more than ever, but good content always has, and always will.
This article was adapted from the MIPTV 2015 Preview magazine, available online at miptv.com. To find out more about MIP Digital Fronts at MIPTV, click here!
In 2014, Land Rover embarked on a unique branded content project - an interactive digital book, "The Vanishing Game," written by British author, William Boyd. The project aimed to build the brand's reputation as a vehicle for adventure, discovery and exploration. The adventure thriller follows protagonist Alex Dunbar on a mysterious driving adventure across the UK, and the story is brought to life online through a multi-sensory experience, comprised of video, photography, animation, sound, music and narration.
"What I tried to achieve was to make the Land Rover an inherent presence in the story, something always there - implicit, strong, solid, reliable, ready to function - very like the part it plays in my memory."
- William Boyd, Author, The Vanishing Game
To further promote reader engagement and activity, NewsCred provided custom content around the story, which was distributed to various media outlets, including Vox Media, Quartz, New York Times and Travel + Leisure. Readers and actual Land Rover owners were encouraged to share personal driving adventures, tagged with #WellStoried. Pulling in that hashtag, the photos were collected and showcased on a dedicated Tumblr site, which allowed you to search the photos by keyword or location. The unique and innovative strategy has worked well for the brand, engaging adventurers around the world and enhancing its image as a luxury adventure vehicle.
The world of branded content has changed. Suddenly branded movies and TV shows are competing for the same marketing dollar and chunk of free time as everything else in the entertainment world. Advertising, in many cases, is no longer a toll you pay to watch content but is taking the form of content itself.
“Brands are realizing you have to hire experts” if you want to compete with pure entertainment companies, said Maker Studios’ Jason Krebs, who has worked all over the digital media ad world. “Procter & Gamble isn’t necessarily going to do some of these things themselves.”
And branded entertainment is vital. “If you want to reach millennials in the next five years, they’re going to be looking at this a lot more than at the spots and dots,” said Discovery Digital’s group operating officer Colin Decker, who notes that integrations are now the majority of the ads his company sells. These aren’t freebies that sneak in branding—they’re competing for brain share in the golden age of television. So what does this marketing look like, and is it any good?
read the rest of the article : https://www.adweek.com/news/advertising-branding/it-s-getting-harder-separate-advertising-entertainment-156323
I am a huge fan of Newscred and what they bring to the market place for content and brand marketers. I highly recommend reading this white paper they put together earlier this year, “Brands as Publishers.” A few weeks ago, they released a list of the 50 Most Influential Content Marketers and I’m really glad that I made the cut. Not sure I deserve it but I’ll take what I can get.
Here is Newscred’s methodology for determining their list:
The methodology behind our list was strategic. Content strategists at NewsCred and SJR spent two weeks researching the most respected content marketing campaigns on the web – culling through best practices and case studies from publications including AdAge, Digiday, Adweek, and the New York Times. We looked at the speaker lists from the top content marketing conferences and asked our own clients who, in the content marketing world, inspired them. After identifying inspirational brands, we evaluated them based on the volume and quality of content used, the digital experience including design and UX, social presence, scope, and distribution method and the novelty and creativity of their strategy.
Here is the full list. Thought about linking to their Twitter accounts, but yeah .. too many.
If there's one company known for going all-out for television advertising, it's Coke. So we were shocked to learn that its latest campaign - tagline 'The Ahh Effect' - will be the first to include no TV commercials at all, relying purely on its digital reach, and in particular targeting smartphones.The games are easy to play in short bursts
In a campaign masterminded by Wieden+Kennedy, the soft drinks giant has bought up 61 URLs containing the word 'ahh', with an increasing number of added 'h's - ahh.com; ahhh.com, ahhhh.com and so on. The umbrella site is www.aah.com, and this URL will be imprinted on the inside of 16oz and 20oz bottles of Coke.
Rather than one centralised video or message, each of the domains will host a variety of 'snackable' content, including online games, animated GIFs and funny videos, in an attempt to appeal to a new teenage market.Content will come from a range of sources
Content will be overseen by Wieden+Kennedy but some will also come from its media partners including Alloy, Vevo, and Break Media.
Other content will come from creative communities such as Art Center College of Design in Pasadena. And some will be crowdsourced from teenagers themselves.
Significantly, each piece of content in the campaign will be optimized for mobile - primarily iOS and Android - and designed to last between a few seconds and a couple of minutes, to capture the short attention span of youngsters.The bright and cartoony visuals are aimed squarely at youngsters
But nothing has been set in stone; content will be added and removed on a trial and error basis to the 61 'Ahh' sites depending on its popularity.
So will this be a coherent campaign or a inchoate babble of noise? Is the latter what kids these days want anyway? We don't know, but we can't wait to find out!