tag:econsultancy.com,2008:/topics/video-rich-media Latest Video Advertising content from Econsultancy 2018-01-15T05:01:10+00:00 tag:econsultancy.com,2008:TrainingDate/3398 2018-01-15T05:01:10+00:00 2018-01-15T05:01:10+00:00 Social Media & Influencer Marketing - Singapore <p>This intensive 2-day course is UK’s most popular introduction to social media and influencer marketing course. This is a great place to start understanding the impact of social media like Facebook, Instagram, LinkedIn and Youtube on your business and how to take advantage of these opportunities for your business. Also, develop an online influencer marketing strategy to develop online word-of-mouth.</p> tag:econsultancy.com,2008:BlogPost/69709 2018-01-09T15:00:00+00:00 2018-01-09T15:00:00+00:00 Will influencer marketing take a hit after the Logan Paul firestorm? Patricio Robles <p>But Paul's gravy train might be nearing its end following his posting of a disturbing video filmed in Japan's Aokigahara, a forest that has come to be known as “the suicide forest.”</p> <p>The video, which has since been taken down, sparked international outrage as it shows a dead body Paul and his friends discovered, as well as their less-than-sensitive reactions to it.</p> <p>Not surprisingly, Paul has since issued an apology, but additional footage released from his Japan trip shows the mega influencer engaging in callously disrespectful behavior that some are pointing to as evidence that Paul's fame and fortune has gone to his head.</p> <blockquote class="twitter-tweet"> <p lang="en" dir="ltr">Turns out, Logan Paul's trip to Japan was problematic for many reasons <a href="https://t.co/yhj2BYgk4G">pic.twitter.com/yhj2BYgk4G</a></p> — We The Unicorns (@wetheunicorns) <a href="https://twitter.com/wetheunicorns/status/949297972986163200?ref_src=twsrc%5Etfw">January 5, 2018</a> </blockquote> <h3>Another blow to influencer marketing</h3> <p>With brand safety top of mind, the Paul backlash has caused some to begin asking: is brand safety even a possibility in the realm of influencer marketing?</p> <p>It's a reasonable question given that Paul is not the first high-profile influencer who has seen the viability of his career called into question after finding himself in a media firestorm. Last year, another homegrown YouTube star, Felix Kjellberg, who goes by the name PewDiePie, found himself facing a backlash when videos he published were called out for being anti-semitic.</p> <p>As a result of the backlash, some of Kjellberg's biggest partners, including Disney's Maker Studios and YouTube itself, <a href="https://www.econsultancy.com/blog/69209-six-inconvenient-truths-about-influencer-marketing">terminated their relationships</a>. Kjellberg is said to have earned $11m last year and was the highest-paid influencer the year prior with estimated earnings of $15m.</p> <p>While Kjellberg's fall from grace was surprising, Paul's might be even more stunning because of the strides he had made to cross over to traditional media stardom.</p> <p>In January 2016, <a href="http://www.adweek.com/brand-marketing/how-vines-hunky-goofball-logan-paul-plans-become-mainstream-superstar-169152/">Paul graced the cover of AdWeek's print magazine</a> and in the associated article about his internet stardom and plans to make himself a Hollywood powerhouse, AdWeek's T.L. Stanley wrote:</p> <blockquote> <p>Trolls, be warned: slamming Paul would be like punching a puppy. He's just that earnest and adorable. Instead of talking smack, watch where he might go, which, if he has his way, is to mainstream superstardom on the level of his idols, Will Smith and Dwayne Johnson.</p> </blockquote> <p>Stanley added that Paul “has also established a squeaky-clean reputation, though he says he's shifting 'from PG to PG-13' material as his act evolves.”</p> <p>Two years later, it seems likely that Paul's behavior in Japan could very well ensure that nobody will refer to a “squeaky-clean reputation” alongside his name again.</p> <h3>What's up with influencers?</h3> <p>In light of Kjellberg and Paul fiascoes, it's worth asking: why do influencers seem so prone to meltdowns? It's not that they don't have adequate management. Paul, for instance, is repped by Creative Artists Agency (CAA), one of Hollywood's most powerful talent agencies.</p> <p>So if it's not that the most prominent influencers don't have access to the same guidance as the world's most successful traditional media stars, what is it?</p> <p>James G. Brooks, CEO of social video distribution platform GlassView, <a href="http://www.adweek.com/digital/james-g-brooks-glassview-guest-post-logan-paul-youtube/">has a theory</a>: “when you give a young person with an inflated ego a camera, they are apt to do or say something stupid.” As a result, brands he says “should calculate a certain amount of brand risk into every YouTube buy.”</p> <p>Brands would be wise to consider this but so long as their engagements with influencers are one-offs and they don't enter into broader partnerships, such as long-term endorsement deals, the good news is that there's no real evidence yet that their past work with fallen influencers will have lasting effects on their reputations. </p> <p>For example, brands that have worked with Kjellberg and Paul have not seen their names dragged into the mud by consumers.</p> <p>Obviously, brands should tread carefully when contemplating new projects with influencers who carry baggage. For instance, if the dust settles and Paul is able to restore his reputation, at least partially, brands would still be wise to tread carefully. </p> <p>But despite all of the discussion around influencers' inability to be brand safe in the wake of the Paul firestorm, brands have less to worry about than many are suggesting and that means that brand investment in influencer marketing will likely continue to grow in 2018.</p> tag:econsultancy.com,2008:BlogPost/69645 2017-12-11T11:00:00+00:00 2017-12-11T11:00:00+00:00 10 of the best ad campaigns from the UK’s top supermarkets Nikki Gilliland <p>So, what have been the best campaigns, and why? Here are ten particularly memorable examples. </p> <h3>#LidlSuprises</h3> <p>Lidl is now the seventh largest supermarket in the UK, but it wasn’t always a hit with shoppers. In 2014, many consumers assumed that its low prices were a sign of poor quality products. </p> <p>To change this, the retailer created the ‘Lidl Surprises’ campaign, which saw unsuspecting members of the public taste-testing its food. The reactions were undeniably positive, leading to surprise and delight when it was revealed to them that the products in question came from the budget supermarket.  </p> <p><iframe src="https://www.youtube.com/embed/-ubYPm0bPPw?wmode=transparent" width="854" height="480"></iframe></p> <p>The campaign cleverly combined <a href="https://econsultancy.com/blog/66908-10-inspiring-experiential-marketing-examples/" target="_blank">experiential marketing</a> – using the real-time reactions of the public - with social elements to encourage shoppers to share their own #lidlsurprises. As a result, it helped to turn around negative brand perceptions, ultimately contributing to the <a href="https://econsultancy.com/blog/65996-how-lidl-used-storytelling-to-alter-the-brand-perception" target="_blank">brand’s boost in sales</a> and growth in market share.</p> <h3>'I don’t like tea, I like gin' by Aldi</h3> <p>Aldi generated wide-spread affection from the public in 2011 with its simple but highly effective price comparison campaign. The first ad, featuring 83-year old Jean Jones declaring her love for gin went on to become the <a href="https://www.theguardian.com/media/2011/dec/28/gin-loving-pensioner-top-tv-ad-2011" target="_blank">most-liked of the year.</a></p> <p>Unlike typical supermarket advertising, which often centres around emotive elements or high-profile celebrities, Aldi went for a simpler approach. The short ads involved customers comparing groceries (which are similar in taste) and pointing out Aldi’s cheaper prices. </p> <p>Alongside this, the humorous aspect – with Jean saying “I don’t like tea, I like gin” – captured the attention of viewers, as well as positive conversation on social media. </p> <p><iframe src="https://www.youtube.com/embed/uCKgCkubGc0?wmode=transparent" width="854" height="480"></iframe></p> <p>It wasn’t without its faults – Aldi was actually punished by the ASA for misleading viewers about prices – but the advert’s tone was certainly a hit with viewers at the time. </p> <h3>Sainsbury’s &amp; Mog’s 'Christmas Calamity'</h3> <p>With a below-average budget and later start than its competitors, Sainsbury’s’ needed something big for its 2015 Christmas campaign. Luckily, it pulled out a corker with Mog’s Christmas Calamity – a three-and-a-half-minute film featuring the famous cat from Judith Kerr’s book series.</p> <p>Based around its seasonal tagline of ‘Christmas is for sharing’, the ad effectively used <a href="https://www.econsultancy.com/blog/68711-storytelling-might-boost-your-product-page-conversion-rates-stats" target="_blank">storytelling</a> to tug on viewer’s heartstrings and promote the brand’s family-friendly image. Alongside the ad, Sainsbury’s also released a new Mog book and cuddly toy, with all profits going to Save the Children.</p> <p><iframe src="https://www.youtube.com/embed/kuRn2S7iPNU?wmode=transparent" width="854" height="480"></iframe></p> <p>The campaign was certainly one of the best that festive season – a fact reflected by a 2.6% year-on-year rise in sales for the retailer in the week before Christmas Day. What’s more, it also helped the retailer raise over £1.6m to help children’s literacy.</p> <h3>Tesco’s original ‘Every Little Helps’ </h3> <p>Tesco has often featured actors as fictional characters in its adverts. It has used Cold Feet star Fay Ripley, and more recently, Ruth Jones and Ben Miller – also known for their comedy acting work.</p> <p>One of the supermarket’s most famous series of ads was broadcast back in the 90’s, starring Prunella Scales as ‘Dotty’ and Jane Horrocks as her long-suffering daughter. Serving as a personification of the retailer’s ‘every little helps’ tagline, the ads saw the famously demanding Dotty putting Tesco’s customer service to the test.</p> <p><iframe src="https://www.youtube.com/embed/a_xMiYcNpEQ?wmode=transparent" width="854" height="480"></iframe></p> <p>While the supermarket’s character-driven strategy has come in for criticism – arguably going down a ‘middle of the road’ option with a lack of innovation or focus – the original ad still serves as a good example of celebrity advertising.</p> <p>By using a much-loved TV personality (and striking the right gentle comedic tone) the brand managed to insert itself into the public’s consciousness. Consequently, the ads reportedly contributed to £2.2bn in sales for Tesco in the late 90’s.</p> <h3>Iceland and 'The Power of Frozen'</h3> <p>Speaking of celebrity ads, Iceland is one brand that has become synonymous with the genre, previously enlisting people like Kerry Katona and Peter Andre to front ad campaigns. The association hasn’t always been a positive one, however, leading the retailer to change tack in order to create a new brand image.</p> <p>The result was ‘The Power of Frozen’, which used the family kitchen as a setting rather than the supermarket to better highlight the value and convenience of frozen food. </p> <p>Alongside this, Iceland forged a valuable partnership with YouTube channel ‘Channel Mum’ to help change perceptions about the brand on social. Teaming up with a <a href="https://econsultancy.com/blog/68691-why-iceland-has-replaced-celebrities-with-micro-influencers" target="_blank">number of popular vloggers</a>, it was able to reach its target audience with valuable content relating to cooking and mealtime ideas.</p> <p>According to reports, approval ratings for Iceland amongst mums <a href="http://mobilemarketingmagazine.com/iceland-power-of-frozen-channelmum-vlogging-influencer-marketing" target="_blank">increased from 10% to 80%</a> after viewing the videos created by vloggers.</p> <p><iframe src="https://www.youtube.com/embed/WXoXJaytbNw?wmode=transparent" width="854" height="480"></iframe></p> <h3>Waitrose is live from the farm</h3> <p>While price and quality are typical consumer concerns, provenance has also become a focus in recent years, with a greater public interest in how grocery products are produced.</p> <p>Waitrose aimed to provide reassurance to customers in 2016 by highlighting its own sourcing policy, using footage from the farms that supply its supermarkets. The ads (which were broadcast soon after being filmed) showed cows freely grazing and free-range hens pecking food.</p> <p>Alongside TV spots, the campaign also included an <a href="https://www.econsultancy.com/blog/68051-six-case-studies-that-show-how-digital-out-of-home-advertising-is-changing" target="_blank">out-of-home</a> element, with live footage being streamed to commuters in train and bus stations. It was a successful strategy, effectively positioning Waitrose as an ethical retailer and one that cares about both its customers and the welfare of animals.</p> <p><iframe src="https://www.youtube.com/embed/aIOqlzJqFOU?wmode=transparent" width="854" height="480"></iframe></p> <h3>'Morrison’s makes it'</h3> <p>Up against larger supermarkets like Tesco and Sainsbury’s, Morrisons has strived to differentiate itself by taking a more local approach, describing its employees as both ‘foodmakers’ and ‘shopkeepers’. </p> <p>Its ‘Morrison’s makes it’ campaign is centred around the notion that it makes more food in-store than any other, promising customers both quality and value with its own-brand premium and healthy food ranges. The accompanying ad reflects this notion, depicting the supermarket in the context of everyday family life – and how it often centres around the dinner table.</p> <p>While its not the most imaginative campaign in this list, it’s certainly one of the most personal, striving to the show the supermarket in a less corporate light than we’re perhaps used to. </p> <p><iframe src="https://www.youtube.com/embed/8xPODcYxToI?wmode=transparent" width="854" height="480"></iframe></p> <h3>Asda’s halloween 2017</h3> <p>Most supermarkets focus on Christmas, but Asda put a surprising amount of effort into Halloween this year, positioning itself as the place to go for scary decorations and spooky-themed food. Its 2017 ad was set inside a Halloween party, with celebrations kicking off to the song ‘Word Up’ by Cameo.</p> <p>The ad also involved a collaboration with music app Shazam, allowing viewers to scan the ad which then took them to a Halloween mobile site.</p> <p>While the use of AR was innovative (with users able to superimpose a singing mouth over their own face) – the creativity in design and infectious nature of the ad is what resonated the most. Again, with most supermarket advertising taking on sentimental or overly emotive themes – its light-hearted tone and music-video style felt like a breath of fresh air.</p> <p><iframe src="https://www.youtube.com/embed/mBn9_ch7Qa0?wmode=transparent" width="854" height="480"></iframe></p> <h3>Sainsbury’s 'Christmas in a day'</h3> <p>Yet another Christmas-themed ad, and another one from those emotional terrorists Sainsbury’s. </p> <p>‘Christmas in a Day’ was a documentary-style advert from Oscar-winning director Kevin McDonald, created from 360 hours’ worth of footage of British families celebrating Christmas. Naturally, it depicted scenes ranging from the heart-warming to the ridiculous, including kids waiting for Santa and dads struggling to put up the tree. </p> <p><iframe src="https://www.youtube.com/embed/tSYaaO__LOU?wmode=transparent" width="854" height="480"></iframe></p> <p>The beauty of the advert, and the reason it resonated so deeply, was that it was not staged or overly planned. Each clip presented a real and authentic picture of how Brits truly celebrate Christmas - not the often airbrushed and overly-sentimentalised version presented to us by brands.</p> <h3>'Not just any food…' by Marks &amp; Spencer</h3> <p>M&amp;S is not a traditional supermarket, having first made its name selling fashion. However, it’s been <a href="https://econsultancy.com/blog/69071-m-s-to-trial-grocery-delivery-service-will-it-take-off" target="_blank">focusing more</a> on its standalone Simply Food stores in recent years, with the consumer appetite for M&amp;S food being whetted by its now-iconic adverts.</p> <p>It was in 2004 that M&amp;S released the first ad, using the tagline - “not just any chocolate pudding, this is a Marks &amp; Spencer chocolate pudding” - alongside a decidedly sultry narration and glorious slow-motion footage. It soon caught the public's imagination, becoming ripe for parody and ultimately one of the most recognisable ads of the noughties.</p> <p>So why did it resonate quite so much? By focusing on the food – and the sheer indulgence of its products – M&amp;S foretold the ‘food porn’ trend, which was soon to further explode on social media channels such as Instagram. Since, the brand has revived the iconic ads to remind the nation of its appreciation for food glorious food, with just a slightly more modern twist.</p> <p><iframe src="https://www.youtube.com/embed/K24f3yoZPqc?wmode=transparent" width="854" height="480"></iframe></p> <p><em><strong>Related reading:</strong></em></p> <ul> <li><a href="https://www.econsultancy.com/blog/68355-how-online-grocery-retailers-are-capitalising-on-the-need-for-convenience"><em>How online grocery retailers are capitalising on the need for convenience</em></a></li> <li><a href="https://econsultancy.com/blog/66602-do-supermarkets-know-what-online-customers-want"><em>Do supermarkets know what online customers want?</em></a></li> <li><a href="https://www.econsultancy.com/blog/69172-10-supermarkets-with-10-very-different-email-opt-in-opt-out-strategies"><em>10 supermarkets with 10 very different email opt-in/opt out strategies</em></a></li> </ul> tag:econsultancy.com,2008:BlogPost/69597 2017-11-23T11:36:08+00:00 2017-11-23T11:36:08+00:00 10 deliciously creative Domino's Pizza marketing campaigns Nikki Gilliland <p>Today, Domino’s is the second-largest pizza chain in the world, reporting total revenue of $624.2m in early 2017. With an improved supply chain and a strong digital presence, its turnaround is likely due to a number of factors. </p> <p>However, a delightfully offbeat marketing strategy is certainly one of the biggest. With this is mind, here’s a run-down of some of the best (and daftest) examples.</p> <p><em>(And remember that Econsultancy subscribers can download our <a href="https://econsultancy.com/reports/digital-marketing-templates/">Digital Marketing Template Files</a> for guidance on campaign planning)</em></p> <h3>1. Pizza turnaround</h3> <p>Let’s begin with the ad campaign that kicked off a change in brand perception. </p> <p>On the back of negative customer reviews bemoaning the brand’s cardboard-like crust and ketchup-tasting sauce, Domino’s decided to come clean with an honest and self-deprecating series of ads to announce a new and improved recipe.</p> <p><iframe src="https://www.youtube.com/embed/AH5R56jILag?wmode=transparent" width="854" height="480"></iframe></p> <p><a href="https://www.econsultancy.com/blog/66380-how-brands-can-say-sorry-like-they-mean-it" target="_blank">Admitting mistakes</a> is a risky move for any business, but with sales and consumer favour at rock-bottom, Domino's didn’t have much to lose. Luckily, its transparency paid off. </p> <p>It even went so far as to expose common photography tricks it had previously used to make its pizzas look bigger, successfully reinventing itself as a surprisingly honest brand.</p> <h3>2. The wedding registry</h3> <p>Forget silverware. What better way to celebrate the start of a marriage than with a chicken feast or a tandoori sizzler? This is the basis of a rather ingenious campaign by Domino’s, which allows soon-to-be-married couples to create their own pizza wedding registry.</p> <p>It might sound like a stunt, but it’s actually a shrewd example of Domino’s ecommerce strategy. With more than half of its sales generated through digital channels, it’s yet another way for the brand to ramp up both engagement and sales online.</p> <blockquote class="twitter-tweet"> <p lang="en" dir="ltr"><a href="https://t.co/VxNdZ9AqTa">https://t.co/VxNdZ9AqTa</a><br>Domino's Wedding Registry</p> <p>First date included Domino's so just makes sense to include DOMINO'S at your wedding <a href="https://t.co/LGij6iYe4q">pic.twitter.com/LGij6iYe4q</a></p> — UNCC Domino's (@UNCCDominos) <a href="https://twitter.com/UNCCDominos/status/877681888105771008?ref_src=twsrc%5Etfw">June 22, 2017</a> </blockquote> <h3>3. The power of emojis</h3> <p>One reason Domino’s has become such a popular brand (particularly with a younger demographic) is its ability to tap into current social trends. </p> <p>So, recognising that emoji had become a <a href="https://econsultancy.com/blog/68745-five-examples-of-brands-using-emojis-in-marketing-campaigns" target="_blank">language of its own</a>, it decided to provide digitally-savvy consumers with the height of convenience – a service that allows you to order merely by tweeting the pizza emoji.</p> <blockquote class="twitter-tweet"> <p lang="en" dir="ltr">Now you can order Domino's by tweeting . Find out how at <a href="http://t.co/Rwt1tJUmXS">http://t.co/Rwt1tJUmXS</a><a href="https://t.co/Cs5f3JJyni">https://t.co/Cs5f3JJyni</a></p> — Domino's Pizza (@dominos) <a href="https://twitter.com/dominos/status/601037837635428353?ref_src=twsrc%5Etfw">May 20, 2015</a> </blockquote> <p>Is it a gimmick or a truly valuable customer tool? That’s debatable, but it has certainly generated a fair amount of brand awareness, and perhaps furthered its reputation as a youth-focused brand.  </p> <h3>4. The autonomous pizza robot</h3> <p>Domino’s already promises both fast delivery and innovative technology. Its Pizza Tracker tool allows customers to track their order every step of the way. However, the brand has strived to differentiate itself from its competitors with even more investment in this space – one of the most notable examples being its autonomous pizza bot.</p> <p><img src="https://assets.econsultancy.com/images/0009/0613/Domino_s_Robot.JPG" alt="" width="760" height="439"></p> <p>In partnership with Starship Technologies, it built a number of robots that could deliver pizzas within a one-mile radius in select German and Dutch cities. It also launched a similar initiative in Australia, where DRU (Domino’s Robotic Unit) navigated his way to customer’s homes via on-board cameras and sensors.</p> <p>Unfortunately, there’s been no word as to whether Domino’s will unleash the technology on the mean streets of UK towns and cities.</p> <h3>5. Reindeer delivery</h3> <p>It’s not only bots that have been delivering Domino’s Pizza. In one of the brand’s biggest and silliest PR stunts to date, last year it announced that it would be employing reindeer to deliver pizza in Japan.</p> <p>Naturally, with the reindeer’s proving less than co-operative, the plan was rapidly abandoned. That’s after the brand achieved a fair amount of exposure, of course, which rather conveniently coincided with a time when most of us are more <a href="https://www.econsultancy.com/blog/68447-12-examples-of-early-christmas-marketing-from-online-retailers" target="_blank">concerned with mince pies</a> than pepperoni.</p> <p><img src="https://assets.econsultancy.com/images/0009/0611/Reindeer_delivery.JPG" alt="" width="717" height="469"></p> <h3>6. Pizza Legends</h3> <p>Domino’s added personalisation into the mix for its 2015 Pizza Legends campaign, launching a micro-site to allow consumers to create their own unique pizza.</p> <p>Customers could choose the name and occasion, as well as make it extra special by choosing from a variety of toppings like ‘stardust’ and ‘peace’.</p> <p>There was a competition element too, with the chance to be featured in the ‘League of Pizza Legends’ creating an incentive for people to get involved and share their creations on social. With consumers still entering their own Pizza Legend, it has become one of the brand’s biggest campaigns in terms of engagement.</p> <p><img src="https://assets.econsultancy.com/images/0009/0615/Pizza_Legend.JPG" alt="" width="780" height="405"></p> <h3>7. Dom the pizza bot</h3> <p>From Sephora to Channel 4, a whole host of brands have <a href="https://www.econsultancy.com/blog/68046-five-pioneering-examples-of-how-brands-are-using-chatbots" target="_blank">integrated chatbots</a> into their marketing strategy. Many have failed to live up to the hype, mainly due to the technology being far too limited to provide users with much more than a basic decision-tree.</p> <p>That being said, <a href="https://www.econsultancy.com/blog/68184-domino-s-introduces-dom-the-pizza-bot-for-facebook-messenger">Dom the Pizza Bot</a> was one of my favourites of last year, and not because it was sophisticated, but because it was one of the most on-brand examples. </p> <p>With an irreverent and cheeky tone of voice, the bot sends out humorous replies, cleverly anticipating that many users are likely to try and undermine or be cheeky in return.</p> <p>So, while Dom is unlikely to provide much value in the long-term, it is still decent enough to provide a bit of entertainment for loyal Domino’s customers - perhaps acting as a sign of further innovation in social ordering. </p> <p><img src="https://assets.econsultancy.com/images/0009/0612/Dom_the_Pizza_Bot.JPG" alt="" width="659" height="444"></p> <h3>8. Lost for words</h3> <p>Last year, Domino’s once again tapped into digital trends, this time celebrating our fascination with Snapchat face-swapping.  </p> <p>Starting with social research to determine the emotions people feel when eating pizza, the resulting GIFs, snaps and emojis were then incorporated into an ad campaign, demonstrating how Domino’s leaves us ‘lost for words’.</p> <p>One of the brand’s most social campaigns to date, it also included bespoke Snapchat Lenses and a dedicated Giphy channel to let us all express how we feel about stuffed crust. </p> <p><iframe src="https://www.youtube.com/embed/9zJthAk_cVk?wmode=transparent" width="854" height="480"></iframe></p> <h3>9. Masterpizzas</h3> <p>Alongside integrating social elements into large-scale campaigns, Domino’s also uses social platforms to promote new menu-items or exclusive ranges. </p> <p>To coincide with the launch of its new Italiano range in the UK, it specifically turned to Facebook to give users the chance to win a year’s supply of pizza.</p> <p>Dubbed ‘Master Pizzas’, it held a <a href="https://www.econsultancy.com/blog/67808-10-pioneering-examples-of-brands-using-facebook-live" target="_blank">Facebook Live</a> auction whereby users could bid using emojis. Domino’s also auctioned off some of the work Renaissance-style artist China Jordan had painted especially for a number of its UK stores.</p> <p>With over 71,000 comments, the auction successfully created a splash, ramping up engagement and reach on the platform.</p> <p><iframe src="https://www.facebook.com/plugins/video.php?href=https%3A%2F%2Fwww.facebook.com%2FDominosPizza%2Fvideos%2F10157732571795453%2F&amp;show_text=0&amp;width=476" width="476" height="476"></iframe></p> <h3>10. Tummy Translator</h3> <p>Finally, in one of the brand’s most off-the-wall marketing stunts, Domino’s launched ‘Tummy Translator’ – an app designed to offer food recommendations based on stomach rumbles.</p> <p>It involved users positioning their mobile phone next to their tummies to allow the ‘gastro-acoustic-enterology’ to translate rumblings into pizza cravings. The app would then recommend a specific pizza, and provide users with unique offers and deals.</p> <p>Sure, it was an overtly elaborate way of promoting the brand’s extensive range of pizzas, but it’s also a nice example of how Domino’s – in its own words – provides ‘little moments of joy’ to its customers every step of the way.</p> <blockquote class="twitter-tweet"> <p lang="en" dir="ltr">Trust your tummy to tell the truth. Download the <a href="https://twitter.com/hashtag/TummyTranslator?src=hash&amp;ref_src=twsrc%5Etfw">#TummyTranslator</a> now.<a href="http://t.co/qHEkhs0ogr">http://t.co/qHEkhs0ogr</a> <a href="http://t.co/KoOmbXTf5m">pic.twitter.com/KoOmbXTf5m</a></p> — Domino's Pizza UK (@Dominos_UK) <a href="https://twitter.com/Dominos_UK/status/581879947972743170?ref_src=twsrc%5Etfw">March 28, 2015</a> </blockquote> <p><strong><em>Related reading:</em></strong></p> <ul> <li><em><a href="https://www.econsultancy.com/blog/67694-10-examples-of-great-ikea-marketing-creative" target="_blank">10 examples of great IKEA marketing creative</a></em></li> <li><em><a href="https://econsultancy.com/blog/63032-10-brilliant-digital-marketing-campaigns-from-mcdonald-s" target="_blank">10 brilliant digital marketing campaigns from McDonald's</a></em></li> <li><em><a href="https://econsultancy.com/blog/67860-10-examples-of-great-disney-marketing-campaigns" target="_blank">10 examples of great Disney marketing campaigns</a></em></li> </ul> tag:econsultancy.com,2008:TrainingDate/3359 2017-11-13T03:24:48+00:00 2017-11-13T03:24:48+00:00 Social Media & Influencer Marketing - Singapore <p>This intensive 2-day course is UK’s most popular introduction to social media and influencer marketing course. This is a great place to start understanding the impact of social media like Facebook, Instagram, LinkedIn and Youtube on your business and how to take advantage of these opportunities for your business. Also, develop an online influencer marketing strategy to develop online word-of-mouth.</p> tag:econsultancy.com,2008:BlogPost/69574 2017-11-09T12:00:00+00:00 2017-11-09T12:00:00+00:00 Personalised ad campaigns: Examples from Argos, 20th Century Fox & Microsoft Nikki Gilliland <p>This is the level of personalisation that Argos is promising this Christmas, with the retailer launching a personalised social advert as part of its festive ad campaign. </p> <p>Of course, this type of advertising can be risky (as Walkers crisps can certainly attest to – more on that later) but with consumers increasingly demanding personalised experiences, the benefits can be huge.</p> <p>So, along with more info on Argos’s ad, here’s a few examples of brands using personalisation in advertising campaigns.</p> <h3>Argos</h3> <p>Unlike retailers such as John Lewis or Morrisons, which typically use sentiment to drive brand awareness at this time of year, <a href="https://econsultancy.com/blog/69450-what-makes-argos-the-uk-s-top-multichannel-retailer" target="_blank">Argos</a> tends to use its Christmas campaign to promote USPs such as super-fast delivery and convenience. </p> <p>Its 2017 campaign is no exception. The ad – which depicts one of Santa’s elves going above and beyond to get a forgotten present delivered – is geared around its promise of ‘delivery in as little as four hours’. </p> <p><iframe src="https://www.youtube.com/embed/WNqm-sgz86Y?wmode=transparent" width="578" height="325"></iframe></p> <p>It’s a decent enough ad, however, in order to build further hype and engagement Argos is also giving consumers the chance to be featured in a personalised version.</p> <p>Encouraging parents on Facebook to submit pictures of their kids, it will send winners their own ad to share on social media, as well as pick a lucky three to feature in ads aired on television.</p> <p><iframe src="https://www.facebook.com/plugins/video.php?href=https%3A%2F%2Fwww.facebook.com%2Fargos%2Fvideos%2F1718696121524981%2F&amp;show_text=0&amp;width=560" width="560" height="315"></iframe></p> <p>But is this a risky concept? Both Walkers and the National Lottery have previously launched similar personalised campaigns, and <a href="https://econsultancy.com/blog/69153-how-big-brands-coped-with-social-media-crises" target="_blank">both have fallen foul of pranksters</a> who hi-jacked them with controversial and offensive imagery. </p> <p>It looks as though Argos is well aware of this, as the brand has stated that it will be manually checking each image to prevent misuse. Meanwhile, personalisation is just one element of the campaign, which indicates that there is much more of a strategy behind it than the Walkers example. </p> <p>Essentially, instead of creating small-scale engagement on just one platform (like Twitter), Argos is aiming to use TV and digital channels in conjunction to generate greater brand awareness. In this sense, the personalised videos are not vital to the campaign, and yet without them, it would be much less impactful.</p> <p>The personalisation element creates a memorable connection with the consumers involved (potentially increasing brand loyalty in the long run). It also helps differentiate Argos in a period of heavy seasonal advertising.</p> <h3>Channel 4</h3> <p>Earlier this year, Channel 4 announced a new VoD format to allow brands to personalise ads on its All 4 streaming service. By using data from Channel 4’s 15m registered users, advertisers would be able to insert personalised audio and video clips into ads.</p> <p>The first brand to take advantage of this was 20th Century Fox for its film, Alien Covenant. At the end of a spooky trailer, viewers names were incorporated into the final call to action (“Nikki, run!”). Similary, beer brand Fosters also name-checked users in adverts, telling them that “…this one’s for you”. </p> <p><img src="https://assets.econsultancy.com/images/0009/0345/Channel_4_ad.JPG" alt="" width="590" height="385"></p> <p>But is it too creepy? There’s definitely a fine line when it comes to this kind of personalisation in advertising. Channel 4’s defence is that by registering with the service, users are willingly giving away their data for advertising purposes. However, that of course does not stop a viewer being put off or mildly freaked out in the moment when they hear their name (a potential concern for advertisers thinking about the GDPR).</p> <p>On the flip side, this type of personalisation certainly creates an impact – if a viewer is not focused on the ad, hearing their own name is pretty much guaranteed to grab their attention. Similarly, in the case of the movie trailer, which was intentionally designed to be creepy, the final call to action amplifies the scary effect.</p> <p>In this sense, Channel 4’s format allows brands to bypass other problems association with personalisation, such as irrelevant or overly intrusive targeting. Used as a way to cut through the noise – it’s a good example of how to use personalisation in a restrained yet effective way.</p> <h3>Microsoft</h3> <p>As well as consumers getting actively involved in campaigns (as with Argos), real-time data is another way brands can create personalisation in advertising. </p> <p>One notable example of this is from Microsoft, who launched an <a href="https://www.econsultancy.com/blog/68051-six-case-studies-that-show-how-digital-out-of-home-advertising-is-changing" target="_blank">out-of-home</a> campaign in 2015 to promote its personal assistant Cortana. It ran digital ads on billboards and bus stops, with screens dynamically changing depending on variables such as weather, day of the week, time of day etc.</p> <p>While this is not super-personal (in the sense that it is not tailored to individuals), Microsoft did take it to another level on the back of a viral tweet about the campaign.</p> <blockquote class="twitter-tweet"> <p lang="en" dir="ltr">Said nobody in the east end of Glasgow ever. <a href="http://t.co/pxenKTMmbv">pic.twitter.com/pxenKTMmbv</a></p> — Chris (@Chris72600702) <a href="https://twitter.com/Chris72600702/status/606456238625431553?ref_src=twsrc%5Etfw">June 4, 2015</a> </blockquote> <p>When a passer-by criticised one of the screens, saying “said nobody in the east end of Glasgow ever” – Microsoft fired back by tracking down the same ad and replacing it with a direct response to the user.</p> <p>As well as being a great example of real-time marketing, this shows how personalisation can forge consumer relationships – and even turn around negative brand sentiment. </p> <blockquote class="twitter-tweet"> <p lang="en" dir="ltr">.<a href="https://twitter.com/Chris72600702?ref_src=twsrc%5Etfw">@Chris72600702</a> We weren't kidding when we said <a href="https://twitter.com/hashtag/Cortana?src=hash&amp;ref_src=twsrc%5Etfw">#Cortana</a> was personal <a href="http://t.co/PO2PrPu4eN">http://t.co/PO2PrPu4eN</a> <a href="http://t.co/Nyc730us5P">pic.twitter.com/Nyc730us5P</a></p> — Microsoft UK (@MicrosoftUK) <a href="https://twitter.com/MicrosoftUK/status/611079180894228481?ref_src=twsrc%5Etfw">June 17, 2015</a> </blockquote> <p>The consumer in question is likely to have been amused at Microsoft’s efforts, with the stunt raising the profile of the marketing campaign (as well as cleverly tying in with the personal nature of the Cortana product).</p> <p><strong><em>Related reading:</em></strong></p> <ul> <li><em><a href="https://econsultancy.com/blog/69360-how-to-build-a-personalisation-strategy-for-your-content-website" target="_blank">How to build a personalisation strategy for your content website</a></em></li> <li><em><a href="https://econsultancy.com/blog/67070-why-personalisation-is-the-key-to-gaining-customer-loyalty/" target="_blank">Why personalisation is the key to gaining customer loyalty</a></em></li> <li><em><a href="https://econsultancy.com/blog/68285-six-things-to-consider-when-implementing-personalisation" target="_blank">Six things to consider when implementing personalisation</a></em></li> </ul> tag:econsultancy.com,2008:BlogPost/69545 2017-10-31T13:20:00+00:00 2017-10-31T13:20:00+00:00 Intriguing brand partnerships: From Tinder to Star Wars Nikki Gilliland <p>So, alongside Topshop, what others have we seen - and do they always succeed? Here’s a run-down of some of the best (and perhaps slightly misjudged) examples.</p> <h3>Ford and Tinder</h3> <p>Occasionally, brands come together purely for promotional purposes. This was the case for a recent campaign by <a href="https://www.econsultancy.com/blog/67563-how-tinder-has-changed-ecommerce" target="_blank">Tinder</a> and Ford, whereby the latter created a competition to appear on the popular dating app. </p> <p>Ford added its own profile to the platform, asking users to “swipe right if you fancy a blind date in a Ford mustang”. 1.5m users are said to have interacted with the promotion, leading to just five being selected and subsequently filmed for a follow-up promotional video. </p> <p>This campaign was all about reach. With 50m active users, Tinder gives brands like Ford the opportunity for mass exposure, particularly when it comes to engaging with a millennial audience.</p> <p><iframe src="https://www.youtube.com/embed/55uCGbEDbT8?wmode=transparent" width="730" height="411"></iframe></p> <h3>CoverGirl and Lucas Film</h3> <p>What does make-up have to do with <a href="https://econsultancy.com/blog/69374-star-wars-uses-ar-experiential-campaign-to-drive-people-in-store" target="_blank">Star Wars</a>? Not very much, however CoverGirl couldn’t resist the chance to attract the spending power of Star Wars fans, launching a range of make-up inspired by the film in 2015.</p> <p>As you can see from the below image, it’s all a bit odd, with no real link between the movie and the brand other than the rather tenuous ‘light side’ or ‘dark side’ theme. </p> <p><img src="https://assets.econsultancy.com/images/0008/9987/Covergirl.JPG" alt="" width="470" height="351"></p> <p>But apparently, CoverGirl was one of seven promotional partners chosen for their “creative excellence within their fields as well as their collective diverse global reach”. In this sense, it’s clearly more of a strategy by Star Wars to attract and engage a younger, female audience, with the benefits for CoverGirl perhaps being less obvious.</p> <p><img src="https://assets.econsultancy.com/images/0008/9988/Star_Wars_2.JPG" alt="" width="730" height="294"></p> <h3>BMW and Louis Vuitton</h3> <p>Both BMW and Louis Vuitton are brands that share a focus on quality craftsmanship and sophisticated design. In 2014, they found a way to work together, with Louis Vuitton creating a collection of bags and suitcases perfectly designed to fit in the boot of a BMW i8. The bags were also made from the same carbon fibre material as the car’s passenger compartments.</p> <p><img src="https://assets.econsultancy.com/images/0008/9984/BMW.JPG" alt="" width="700" height="380"></p> <p>This partnership effectively ramped up the exclusive nature of each brand, undoubtedly appealing to fans of both.</p> <p>For Louis Vuitton in particular, which is well-known for its luggage, the opportunity to experiment with new technology enabled it to further its reputation in the travel category.</p> <blockquote class="twitter-tweet"> <p lang="en" dir="ltr">The luxury carbon fibre <a href="https://twitter.com/LouisVuitton?ref_src=twsrc%5Etfw">@LouisVuitton</a> luggage set fits perfectly into a revolutionary vehicle: the <a href="https://twitter.com/hashtag/BMWi8?src=hash&amp;ref_src=twsrc%5Etfw">#BMWi8</a> <a href="http://t.co/HO4gELxIKm">pic.twitter.com/HO4gELxIKm</a></p> — BMW i (@BMWi) <a href="https://twitter.com/BMWi/status/515162260269182976?ref_src=twsrc%5Etfw">September 25, 2014</a> </blockquote> <h3>Spotify and Uber</h3> <p>Asking the driver to turn up (or down) the volume was once the only musical control we had during a taxi journey. This changed when Uber partnered with Spotify, allowing passengers to personalise their ride by syncing Spotify playlists with their Uber accounts. </p> <p><img src="https://assets.econsultancy.com/images/0008/9985/Spotify_Uber.JPG" alt="" width="650" height="378"></p> <p>While it’s the perfect fusion of both brands, this example shows that not all partnerships are a guaranteed win-win. Recently, it’s been reported that Spotify is concerned about its association with the increasingly controversial Uber, following on from yet more scandal hitting the company.</p> <p>However, despite Spotify refusing to participate in a press campaign about an update to the Uber app, the partnership still continues - perhaps indicating Spotify's hope that Uber’s reputation will turn around in the long-run.</p> <h3>Apple and Hermès</h3> <p>According to reports, sales of the Apple Watch have increased 50% since 2016. This success is perhaps one reason why Hermès was keen to extend its partnership with the tech giant, specifically to design a second range of straps for its wrist device. </p> <p>The release of the new collection, which builds on the three original straps it created in 2015, was timed to coincide with that of the third Apple Watch. </p> <p><img src="https://assets.econsultancy.com/images/0008/9986/Hermes.JPG" alt="" width="400" height="362"></p> <p>Of course, another brand that deserves an honorary mention is <a href="https://www.econsultancy.com/reports/nike-engaging-customers-across-multiple-channels" target="_blank">Nike</a>, as its own version of the Apple Watch was released in 2016. </p> <p>However, Hermès is perhaps a more interesting example, as it demonstrates the power of a brand like Apple. Despite being a less-obvious or naturally aligned partnership (after all, there are already Apple strap options), the luxury fashion brand clearly couldn't resist the potential clout that comes along with an Apple-association.</p> <p><iframe src="https://www.youtube.com/embed/0vYhbNywbmw?wmode=transparent" width="854" height="480"></iframe></p> <h3>Unicef and Target</h3> <p>In 2015, Target partnered with Unicef to launch a new range of wearable fitness brands for children (along with an associated app), which challenged kids to reach fitness goals in order to help malnourished children.</p> <p>According to reports, the daily fitness activity of people using the app has since led to 8.2 therapeutic food packets being sent, which in turn has saved the lives of 52,000 malnourished children.</p> <p><img src="https://assets.econsultancy.com/images/0008/9989/Unicef.JPG" alt="" width="730" height="235"></p> <p>Alongside the aforementioned benefits for Target, Unicef recognised that it would be able to use the initiative to help two ongoing issues. The first being that one in four children globally suffers from malnutrition – the second that one in four Americans are underactive. </p> <p>By creating a wristband that would simultaneously tackle both problems, the brand partnership proved to have a positive impact on both the children buying it (and those receiving the related donation).  </p> <p><iframe src="https://www.youtube.com/embed/sjCunCuaYpE?wmode=transparent" width="854" height="480"></iframe></p> <h3>Levis and Google</h3> <p><a href="https://www.econsultancy.com/blog/69030-why-has-wearable-tech-failed-to-catch-on" target="_blank">Wearable technology</a> is one of the biggest vehicles for brand partnerships, allowing the worlds of fashion and tech to perfectly align. </p> <p>Another recent example is from Levis and Google, who have partnered to create an innovative ‘smart jacket’ for commuters. Essentially, it allows bike riders to control various functions on their phone, such as answering calls and adjusting volume, by touching sensors on the jacket’s cuff.</p> <p><img src="https://assets.econsultancy.com/images/0008/9990/Levis.JPG" alt="" width="630" height="232"></p> <p>But is this technology as slick as it sounds? Apparently not quite, as the Levi's website stats that the jacket can only be washed 10 times (with the snap tag removed from the cuff).</p> <p>It’s not entirely clear what will happen on the 11th wash… but it sounds like the sensors will stop working. Considering the $350 price tag, this is likely to be a big negative for consumers. </p> <p>Again, this shows that not all high-profile partnerships guarantee big sales. When it comes to technology products in particular, quality as well as the ability to solve a problem tends to be the real key to success.</p> <p><img src="https://assets.econsultancy.com/images/0008/9991/Jacquard.JPG" alt="" width="300" height="555"></p> <p><em><strong> Related reading:</strong></em></p> <ul> <li><em><a href="https://econsultancy.com/blog/69182-a-complete-guide-to-partnership-marketing-part-one" target="_blank">A complete guide to partnership marketing: Part one</a></em></li> <li><em><a href="https://econsultancy.com/blog/69190-a-complete-guide-to-partnership-marketing-part-two" target="_blank">A complete guide to partnership marketing: Part two</a></em></li> </ul> tag:econsultancy.com,2008:BlogPost/69516 2017-10-23T09:26:00+01:00 2017-10-23T09:26:00+01:00 10 important digital marketing stats we’ve seen this week Nikki Gilliland <p>Now, let’s get cracking.</p> <h3>Snapchat and Instagram ad spend up 73% and 55%</h3> <p>New data from 4C Insights has revealed that ad spend was up for both Snapchat and Instagram in Q3 2017, rising 73% and 55% respectively.</p> <p>There was a rise in paid media spend across the board, with a 31% quarterly increase on Facebook, Instagram, Twitter, LinkedIn, Pinterest, and Snapchat.</p> <p>Instagram Stories remains a particularly strong channel, generating 220% year-on-year spend growth. Elsewhere, Facebook ad spend grew 27%, travel sector spend on Twitter surged 250% for the quarter, and ad spend on Pinterest grew 33% over the course of the year.</p> <h3>60% of speciality retailers offer loyalty programs compared to 22% of brands</h3> <p>A new report by <a href="https://astoundcommerce.com/us/specialty/">Astound Commerce</a> suggests that specialty retailers are outperforming brands in almost all omnichannel categories.</p> <p>First, 60% of specialty retailers offer programs to inspire customer loyalty, while only 22% of brands have these capabilities. Second, ensuring prices are consistent across channels is more complicated for retailers with many different brands, yet 37% offer these capabilities compared to only 6% of global brands.</p> <p>Lastly, three in four specialty retailers have a mobile app, while less than a quarter of brands can say the same.</p> <p><img src="https://assets.econsultancy.com/images/0008/9797/Loyalty.JPG" alt="" width="760" height="323"></p> <h3>More than half of Brits plan to buy Christmas gifts online</h3> <p>The latest <a href="https://www.salesforce.com/uk/form/industries/connected-shopper-report-2017.jsp?nc=7010M000000uIke&amp;d=7010M000002MOCH" target="_blank">report</a> from Salesforce suggests that the majority of Brits will be shopping online this Christmas. It found that 56% (or nearly three out of five Brits) plan to do half or more of their holiday shopping via the internet.</p> <p>Alongside a frustrating in-store customer experience, this could be due to online shopping allowing consumers to become increasingly informed. So much so that 56% of Brits claim to typically know more about a product than the store employee.</p> <p><img src="https://assets.econsultancy.com/images/0008/9793/Salesforce.JPG" alt="" width="780" height="216"></p> <h3>Nearly one in seven companies unprepared for GDPR</h3> <p><a href="https://dma.org.uk/research/the-gdpr-and-you-chapter-four" target="_blank">DMA research</a> has revealed that 15% of companies still have no plan in place to be ready for the new GDPR laws by May 2018.</p> <p>While 77% of marketers now rate their awareness as ‘good’, and 74% describe themselves as feeling somewhat or extremely prepared for the changes, this drops to 58% when it comes to their organisation being ready. </p> <p>Meanwhile, it also appears as if worries are increasing as time goes on. 42% of marketers now feel their business will be “very affected” by the new laws and a further 22% feel they will be “extremely affected”. Lastly, 65% of those surveyed agree that the GDPR will be a hindrance to their marketing.</p> <p><em>Check out our hub page to learn more about <a href="https://econsultancy.com/hello/gdpr-for-marketers/">how GDPR will affect marketers</a>.</em></p> <h3>98% of UK consumers believe in ‘bad personalisation’ </h3> <p>Research by Sitecore and <a href="https://www.vansonbourne.com/client-research/14121601jd" target="_blank">Vanson Bourne</a> has found that brands are failing to use customer data to deliver relevant and personalised customer experiences. In fact, a whopping 98% of UK consumers say that they believe ‘bad personalisation’ exists, with a further 66% believing brands are using out-of-date information about them.</p> <p>While brands say they’re collecting eight different types of data about online customers, 18% of them recognise that they lack the skills needed to properly use or analyse the data collected. </p> <p>Meanwhile, 42% don’t have the capabilities to integrate data collection and only 18% have the ability to collect online data on an individual (vs. consumer segment) level.</p> <p><img src="https://assets.econsultancy.com/images/0008/9791/Sitecore.JPG" alt="" width="650" height="618"></p> <h3>Click and Collect is driving additional in-store sales</h3> <p>A new report by <a href="http://now.jda.com/European-Customer-Pulse-Report-EMEA.html?srcid=jda-pr" target="_blank">JDA &amp; Centiro</a> suggests that click &amp; collect can be a pivotal driver for additional in-store sales. In a survey of more than 8,000 consumers across the UK, Germany, France and Sweden, 24% of European adults said that they have bought additional products while picking up their item from a physical retail store.</p> <p>UK consumers are particularly ahead of the curve in this area. 54% of UK shoppers say they have used it in the last year, compared to 42% for the European average.</p> <p>Despite this growing convenience, however, many consumers are still reporting frustrations over the online shopping experience. 55% of European adults say they have experienced a problem with an online order at some point in the last 12 months.</p> <h3>Consumers in developed countries are more suspicious of brands</h3> <p>Kantar TNS’s latest research has revealed that consumers in the UK and US are growing increasingly suspicious of brands, while those in emerging countries are more accepting of brand content and messaging.</p> <p>In China and Nigeria, 57% and 54% of consumers trust big global brands, however this falls significantly in developed markets like the USA and France, where just 21% and 15% trust big global brands.</p> <p>This ‘consumer trust divide’ was highlighted in a survey of 70,000 people across 56 countries. It also found that many consumers are choosing privacy over convenience, with 43% of global consumers objecting to connected devices monitoring their activities – even if it makes their lives easier.</p> <p><img src="https://assets.econsultancy.com/images/0008/9792/Kantar.JPG" alt="" width="780" height="390"></p> <h3>Majority of users happy with Twitter’s longer format</h3> <p>How do people feel about Twitter’s new 280-character limit?</p> <p>According to a survey by <a href="https://morningconsult.com/2017/10/13/u-s-adults-likely-favor-twitters-280-character-expansion/" target="_blank">Morning Consult</a>, people are largely positive, with 41% of users aged 18-29 responding well to the change, and just 14% expressing reservations.</p> <p>Similarly, 30% were somewhat supportive of longer-format tweets, while 17% said the increased character limit made them more likely to tweet themselves. 20% also agreed that they would be more likely to check Twitter for news about current events as a result of the change.</p> <p><img src="https://assets.econsultancy.com/images/0008/9796/Twitter.JPG" alt="" width="740" height="579"></p> <h3>Adspend on video ads overtake banners ads</h3> <p>The <a href="https://www.iabuk.net/research/digital-adspend" target="_blank">Internet Advertising Bureau UK</a> has reported that in the first half of the 2017, advertisers spent more on video ads than banner ads for the first time.</p> <p>Total digital adspend grew 13.8% to £5.56bn in the first six months of the year compared to the same period a year earlier. However, spending on online video ads grew at 46% to reach £699m, while spend on banner ads slowed to just 2%, reaching £685m.</p> <p>Video is now said to be the fastest-growing ad format, accounting for 35% of all spend going on display advertising. Meanwhile, display advertising as a whole grew 18% to £2bn.</p> <h3>Consumers think brands have a responsibility to break gender stereotypes</h3> <p>Finally, a <a href="http://blog.choozle.com/category/other/">Choozle</a> survey has delved into consumer sentiment on the usage of gender stereotypes in digital advertising, and whether or not it affects purchasing decisions.</p> <p>The results indicate that consumers feel it should be the brand’s responsibility to break down gender stereotypes, with 37% of people agreeing that the industry should not use them.</p> <p>Similarly, 36% of respondents said they like a brand more when it runs advertisements that break stereotypes and 25% said they are more likely to purchase from that brand. </p> <p><img src="https://assets.econsultancy.com/images/0008/9799/Gender_stereotypes.JPG" alt="" width="760" height="378"></p> tag:econsultancy.com,2008:BlogPost/69489 2017-10-19T09:52:00+01:00 2017-10-19T09:52:00+01:00 The changing face of consumer trust and the implications for marketers Nick Hammond <p>Always an engaging speaker, Botsman's talks centred on her book <a href="http://rachelbotsman.com/books/" target="_blank">'Who Can You Trust?: How Technology Brought Us Together and Why It Might Drive Us Apart'</a>. The audience was hooked from the start with an anecdote concerning the time her parents accidentally hired a drug dealer to be her nanny; taken in by the woman’s manner with the children and her fake Salvation Army uniform.</p> <p>Botsman's parents used established, learned, ‘trust signals’ to make their decision, but this approach was not insightful enough to see through the pretence. This episode highlighted a key message of her talks – ‘Trust has two enemies, not just one: bad character and poor information’, and ‘the illusion of information is worse than ignorance.’</p> <p>Botsman’s take on the changing shape of trust is less positive than in her previous work <a title="http://rachelbotsman.com/work/" href="https://econsultancy.com/admin/blog_posts/new/" target="_blank">‘What’s Mine Is Yours: How Collaborative Consumption is Changing the Way We Live’.</a> Her story starts with ‘Local Trust’  - the earliest model, where trust was created between people who knew each other personally. </p> <p>The second trust model, that of ‘Hierarchical Trust’, developed between individuals, established institutions and their associated officials – such as bankers, politicians and teachers. As this model crumbled, the replacement model is that of ‘Distributed Trust.’ </p> <p>Using a metaphor of connectivity and power, hierarchical trust involved waves of ‘trust energy’ flowing up from individuals to established institutions. In a distributed model this energy flows laterally between people and between people and contemporary institutions/channels. What we are seeing is the ‘twilight of the elites’ and ‘the inversion of influence.’</p> <p>I liked Botsman’s perspective that trust is a process (not a static entity, in the sense of a belief or conviction) and an active agent that helps us bridge the ‘trust gap’ between the unknown and the known. Trust then, can allow a confident relationship with the unknown. </p> <p>So how is this change in the ecosystem of trust impacting on consumers and how they interact with brands and digital platforms particularly? </p> <h3>Trusting our digital platforms</h3> <p>Developments over the last few years are having an impact on digital platforms, how we perceive them and how they operate. The presidential election in the US and the furore over fake news, allied with the rescinding of Uber’s licence in London, have encouraged different expectations of the role and responsibilities of companies like Facebook and Uber.</p> <p>Traditionally, they have positioned themselves as neutral pathways, or ‘dumb pipes’, that connect people with each other and a service. Events as above have led to pressure for them to change their accountability positioning from: ‘Reactive - within reason, be there when things go wrong’; to ‘Proactive - be responsible for the risks of bad things happening.’ </p> <p>We increasingly outsource trust to machines and algorithms, searching Facebook for news, booking a cab via Uber and asking Alexa what we should do today.</p> <p>From a commercial perspective, this reliance means there are new and different challenges for brands and how they interact with their customers – ‘with great power, comes great responsibility.’</p> <p><img src="https://assets.econsultancy.com/images/0008/9772/great_power.gif" alt="" width="498" height="207"></p> <p>Marketeers need to be aware of this changing face of trust. We already know that considerable distributed trust is placed with a wide range of celebrities active across social media, especially on Instagram. This model of distributed trust is also extended to digital brands, platforms, channels, and now algorithms. Consumers rely on these brands and channels – ones that they align with in terms of proposition and delivery, but the price to be paid for breaking this trust can be high, <a title="http://www.bbc.co.uk/news/uk-england-41384789" href="https://econsultancy.com/admin/blog_posts/new/" target="_blank">as Ryanair is finding out to its cost</a>.</p> <p>Technology is playing a big role in developing this new model of distributed trust, and a key area is that of automation and artificial intelligence. I touched on this in my piece '<a href="http://www.brandlearning.com/views-ideas/marketing-capability/the-future-and-eternal-truth-of-marketing-trust/" target="_blank">The Future (and eternal truth) of Marketing</a>'.</p> <p>‘The relationship between brand and consumer, and the transparency with which it is conducted, risks being further confused by the growing influence of bots. "Choice architecture" is changing with the rise of automation, robotics and AI. Bots will refine choices presented, and even make choices on behalf of consumers. Some argue that the intervention of bots will mean that matters of ethics, which are nuanced not binary decisions, will get side-lined. In reality this places even more responsibility on the brand to uphold ethics. Bots may ignore it in the moment of choice, but ultimately, any brand that cannot meet the requirement for transparent ethics, will risk a consumer backlash.’</p> <p>Of course, there is the opportunity for brands to leverage trust positively. Philanthropic gestures are a powerful way to build trust and a good example of this was Target’s $1 billion pledge to support students in need of financial support <a href="https://www.youtube.com/watch?v=vUkO6Gh3w6g&amp;feature=youtu.be" target="_blank">to pursue their education</a>.</p> <p>It can also be derived by encouraging positive interaction around a brand. An example of this was Burberry’s ‘Art of The Trench’ campaign, where users could share and comment on everyday pictures of <a href="http://artofthetrench.burberry.com/upload/" target="_blank">people wearing Burberry products</a>. First Direct has built trust though fabulous customer service since its launch in 1989, in spite of not offering the most competitive financial products. Airbnb, perhaps the perfect brand for world of distributed trust, has shown that travellers can just as easily trust normal people offering accommodation as they can established institutions such as hotels. </p> <p><img src="https://assets.econsultancy.com/images/0008/9775/Burberry_art_of_the_trench.png" alt="" width="650" height="370"></p> <p><em>Burberry's Art of the Trench</em></p> <p>An associated threat to an effective trust process is that of a reduction in friction. Trust needs friction – ‘time and consideration to operate’ and with a faster pace of life, there is increasing pressure on this space. I covered this dynamic on the Econsultancy blog in this piece – <a href="https://econsultancy.com/blog/69101-why-increasingly-efficient-ux-might-not-always-be-a-good-thing/" target="_blank">‘Why increasingly efficient UX might not always be a good thing’.</a>  </p> <p>‘For brands, the question of how to provide the right amount of friction to unlock reflection but not to hamper experience is critical in building a world that, in addition to doing things, thinks about what it is doing.’ </p> <p>Steve Selzer from Airbnb believes that immediacy and the absence of friction are creating a less tolerant, less self-aware world – 'This is why designers of intelligent, immersive experiences need to build in meaningful friction, encouraging reflection and awareness of the actions themselves as well as their consequences.' </p> <p>The advent of other realities, augmented and virtual, in tandem with reduced friction, may also cause problems. <a href="https://venturebeat.com/2017/04/03/3-challenges-of-developing-bots-for-immersive-environments/" target="_blank">A piece from Venturebeat observes</a>: ‘...reflection is even more important in immersive environments, where you don’t so much “watch” or “use” experiences as really “live” through them. VR experiences are perceived by the brain as actually happening to the user, so their transformative potential — toward self-development or rapture — is quite powerful.’</p> <p>Botsman is not optimistic about the future. Her rather dystopian perspective asks where much needed control or moderation can come from. Could there be a role for a digital ombudsman, a trust kite-mark or an ethical Alexa? The reality is that we will always choose utility over morality and regulation is never likely to be popular – witness the outcry over the Uber decision in London. </p> <p>The more we defer responsibility and abdicate the need for channel accountabilty, the more likely that our trust will be abused.</p> tag:econsultancy.com,2008:BlogPost/69491 2017-10-17T10:00:00+01:00 2017-10-17T10:00:00+01:00 Why digital out-of-home advertising is not really digital (yet) Nick Hammond <p>With this investment comes greater impact (e.g. increasing use of video), flexibility and of course income for the vendors. Alongside this burgeoning focus on digital creative delivery, there is attention on how the medium could be sold more efficiently – more like other digital channels and less like traditional out of home. </p> <p>Moving from a cost-per-panel approach and with access to more detailed, real time audience information on the horizon (rather than periodic panel data) the ability to trade on an audience model isn’t far off. For example, in Canada Outfront Media has launched its own real-time analytics platform, having agreed a partnership with mobile network Cellint.</p> <p>By tapping into available data, the platform will allow tracking of hourly impression numbers, including the proportion of those that are unique views. In the UK Transport for London has a considerable amount of data garnered from 5.6m mobile phones connected to Wi-Fi on the Tube. This mobile data can be used to track interchanges, and even walking routes and platform use within a station.</p> <p><img src="https://assets.econsultancy.com/images/0008/9753/dooh.jpg" alt="" width="470" height="353"></p> <p>Whilst these developments provide considerable opportunities for advertisers and OOH vendors alike, a recent piece <a href="http://www.campaignlive.co.uk/article/jcdecaux-we-ensure-outdoor-doesnt-fall-pitfalls-digital-media/1446445?bulletin=campaign_breakfast_briefing&amp;utm_medium=EMAIL&amp;utm_campaign=eNews%20Bulletin&amp;utm_source=20171005&amp;utm_content=Campaign%20Breakfast%20">in Campaign</a> highlights how out of home’s convergence with the digital world could have its downsides. </p> <p>OOH vendor JCDecaux has launched a brand charter which is seeking to avoid problems that have been plaguing the mainstream digital sector. These include accountability, viewability, measurability, transparency and brand safety. JCDecaux commented at launch, 'we must ensure outdoor doesn't fall into the pitfalls of digital media'.</p> <p>This charter aims to set a gold standard of best practice across the digital out-of-home industry and in this brave new world JCDecaux will ensure its metrics and measurements are independently verified by Price Waterhouse Coopers; who will provide a quarterly compliance report to ensure transparency.</p> <p>This is an interesting development as out of home has a history of being one of the more opaque advertising channels in terms of the buying process, audience measurement and invoicing.</p> <h3>OOH automation </h3> <p>In the UK, digital buying practices are moving into the OOH sector in the shape of increased automation. </p> <p>From the Campaign piece – ‘Also mirroring the wider digital market, JCDecaux has launched a new external smartsuite platform, SmartBRICS, which allows advertisers and agencies to place their own DOOH campaigns for the first time. The platform has been used internally for the past two years but (now).. will be available to external users through an API. Users will now be able to plan, budget and create their own campaigns based on the platforms in-depth rules and filters on its dashboard.’ </p> <p>So, what are the challenges and opportunities for digital practitioners? We are already seeing digital experts’ influence spreading across traditional channels such as TV, which is increasingly being bought <a href="http://www.thedrum.com/opinion/2017/06/13/get-ready-programmatic-tv-advertising">in an automated fashion</a> (see <a href="https://www.skyadsmart.co.uk/">Sky AdSmart</a>), and this is beginning to happen with OOH as well, as observed above.</p> <p>Clever recent activational examples in DOOH were featured in <a href="https://econsultancy.com/blog/69100-six-clever-examples-of-what-dynamic-outdoor-advertising-can-do">this Econsultancy piece</a>. I particularly liked the FT’s use of digital billboards at Heathrow’s Terminal 5 to target passengers travelling to six pre-selected US cities. It was achieved by tapping into Heathrow's flight data via an API.</p> <p><img src="https://assets.econsultancy.com/images/0008/9752/FT_heathrow.jpg" alt="" width="568" height="400"></p> <p>Guinness devised a dynamic campaign in London that allowed posters to direct RBS 6 Nations fans to nearby pubs to watch the games. </p> <h3>Is DOOH digital?</h3> <p>So, just how digital is digital out of home? For DOOH to become fully digital in terms of trading (as well as delivery of creative), the key area will be around improved audience assessment. It is achieving this, which will allow a mainstream programmatic digital approach including real-time bidding, behavioural and contextual targeting.</p> <p>Because of the size of the OOH medium, the variety of locations and the challenge and cost of quantifying and assessing audience behaviour, the measurement of OOH has traditionally been restricted to periodic panel research – OSCAR, then <a href="https://www.research-live.com/article/news/postar-to-measure-90-of-outdoor-media/id/2000079">POSTAR</a>, and now <a href="http://route.org.uk/research/">ROUTE</a>.</p> <p>The resultant audience information is therefore nowhere as detailed and current as that available across other digital channels. JCDecaux’s charter is well timed, especially in terms of brand safety, but from an audience perspective the PWC verification is only happening on a quarterly basis.  </p> <p>For DOOH to really align with digital media, it will need to achieve accurate, real time, detailed consumption data that can fuel truly digital trading methodologies.</p> <p><strong><em>For more on this topic, see:</em></strong></p> <ul> <li><a href="https://www.econsultancy.com/blog/68051-six-case-studies-that-show-how-digital-out-of-home-advertising-is-changing"><em>Six case studies that show how digital out-of-home advertising is changing</em></a></li> <li><a href="https://econsultancy.com/blog/67414-is-this-the-next-step-in-programmatic-out-of-home"><em>Is this the next step in programmatic out-of-home?</em></a></li> </ul>