This post is by Keith Lammie, Regional Director at Primesight.
Can billboards change the future of Scotland forever… It was September 2013 when this conversation really began and we engaged with both the Better Together and the Yes campaigners on how we could support them and plan campaigns that would help deliver the crucial support that they both required.
Both meetings took a similar but unusual and unexpected direction where the clients themselves were convincing us, the out-of-home media owners, of all the benefits that outdoor advertising can offer and how they both must have the best locations. I guess looking back when you have two brands that are lined up for a duel on a single day and an advertising platform which is a finite resource (it's billboards not oil that I am referring to) this really starts to create a sense of urgency. Of course one major reason that the clients quoted behind their choice of outdoor was that it lives in and is owned by the community, with frames having been there sometimes for generations; with local communities witnessing for years every new soap powder, car launch or community message appearing and changing every two weeks. It would seem that the frame itself has built huge credibility of displaying messages that are believed. When you compare this opportunity of stand out and ownership with that of other media that carries content, you can start to see why outdoor is 1st on the pick list for marketing teams responsible for political campaigns.
Les Binet and Sarah Carter get a little bit angry about some of the nonsense they hear around them… like treating music as an afterthought
Recently, we were working on a pitch. A number of teams had come up with ideas which we were honing over the weeks prior to pitch date. One team's idea was a big emotional story about a family set in a South American city. There was no dialogue. At the top of the script were the words 'music: suitably epic'. This creative idea was debated and evolved by the account team, alongside other ideas over a number of days. It wasn't until a week before the pitch, however, that we realised that 'music: suitably epic' was still on the scripts and hadn't been discussed at all. All the chat had been about the action.
One of the main reasons we set up the Warc 100 – our ranking of the world's 100 smartest campaigns, based on their performance in effectiveness and strategy awards over the previous year – was to reward those planners who know how to put together a great case study. And, recently, we've been reaching out to the people behind some of this year's top cases to learn the secrets of their success.
We've already spoken with Lach Hall, the man behind 'Overstay Checkout', number five on this year's list, and now it's the turn of Kusuma Kusoltawee at Ogilvy & Mather Bangkok and one of the authors of 'Smoking Kid', a heart-warming anti-smoking campaign for the Thai government that came seventh on the Warc 100. Read on for the case video – and Kusuma's behind-the-scenes story of the campaign's development.
This post is by Will Bradley, a planner at Maxus for Business.
Whilst the growth in programmatic buying is revolutionising the way B2C clients run campaigns, with benefits including greater efficiency, broader reach, and stronger insights through high volumes of data, the B2B sector is trailing in its wake. We've learnt from speaking to our B2B clients that the major concern with investing in programmatic buying begins and ends with brand safety. Compared to the B2C space, B2B advertisers are generally more cautious in their approach to advertising, and therefore at odds with the automated, far-reaching approach of programmatic buying.
With this in mind, Maxus for Business has compiled 5 top tips for B2B advertisers taking that first step into the future:
Events have long been used by brands to build awareness, attract new customers and display their values. These eight brands give a range of examples of how existing events can be used and new ones created to connect with audiences.
If you'd like to read more about using events in marketing check out the experiential topic page, or see the Warc Index on event marketing and event sponsorship.
Showing just what you can do
Toyota: Tundra Endeavour
Toyota had a strong reputation for building quality cars, but faced scepticism about the quality and durability of its trucks amongst its key target market: people who relied on their trucks for work. So it found a way to show the Tundra's real power: towing the Space Shuttle Endeavour to its new home.
The latest content on Warc includes analysis of the Cannes Creative Effectiveness Lions, new additions and updates to our media best practice papers and a range of reports from conferences around the world.
Read on for all the news - and to receive content updates like this by monthly email, visit: Your Warc > Email Alerts.
This article is part of the Mindshare Original Thinker Series.
Amazon has built a self-serve tool to allow advertisers to purchase ads directly from the company in real time.
The self-serve tool is for ads on Amazon owned sites and a network of third party sites served through Amazon's ad-serving platform. The tool has been in development since December 2011, although it has yet to run a campaign. According to Amazon it will gradually be extended to 'select agencies', though the exact timing has not been confirmed.
At first glance it looks like the self-serve tool could be beneficial to small advertisers with low spends that do not warrant dedicated sales teams. In the light of all the unknowns and lack of transparency into what data is shared, Mindshare recommends a wait and watch approach at this time as it eliminates the value of the agency/strategy work that we do to ensure maximum campaign success.
Mobile apps, wearable devices and sheer innovative thinking are enabling marketers to find new ways to fulfil consumer needs. I've dug into the Warc archive to showcase examples of brands that have implemented 'solution' or 'practical' marketing that puts convenience and customer service at the core.
Art Series Hotels: Overstay Checkout
Art Series Hotels, an Australian boutique hotel chain, found that a major pain point of leisure travellers was the 11:00am checkout which was standard across the industry. In response, they developed the "Overstay Checkout', an innovative new checkout system based on hotel capacity, which meant guests would only have to check out when the next guest checked in. This customer-friendly message was promoted everywhere from social media to hotel door-hangers. The campaign was tremendously successful, and the idea was recognised globally as a genuine innovation in the hotel industry. It was a win-win situation: creating value for the consumer while solving the hotel's unsold inventory problem.
The Warc 100 rankings list campaigns according to their success at effectiveness and strategy awards. Overstay Checkout for Art Series Hotels, the innovative campaign by Naked Communications Melbourne, was ranked fifth.
We talked to Lach Hall, co-author of the case study, about eureka moments, why we need effectiveness awards and his top tips for writing better case studies.
1. How did the planning team at the agency develop the campaign strategy for 'Overstay Checkout'? Was there a 'eureka' moment, what kind of research/industry analysis was undertaken and what was the role of the client in this process?
We were coming off the back of a very successful campaign for Art Series Hotels the summer before – Steal Banksy. Our job this time around was not only to create a campaign that continued to set the hotel apart and directly increase room nights for the summer, but also one that that could be rolled out again, whenever they needed a lift, in order to become less reliant on big ideas like "Steal Banksy".
Earlier this year, I was invited by the IPA to come to London and talk about creativity in my part of the world. I'm from New Zealand and although you may never have heard of us, we are, per capita, the most creatively awarded country in the world.
"How?" asks the video that opened our local creative awards a couple of years ago. "It's because we have the perfect conditions for creativity. New Zealand has no celebrities, and so agencies have to sell products with brilliant ideas instead. And A-class drugs are obscenely expensive, so advertising people have to put in the late nights and weekends at the office to afford them."
Valid reasons, though I couldn't help feeling these weren't exactly mining deep cultural insight into why we're such a creatively fruitful place. Of course, we're small, which means less of the obvious creativity killers of policy, politics, process and testing research. One guy I worked with put it brilliantly: "In New Zealand, you get to 'no' quicker." He'd spent time in bigger markets doing iterations of campaigns to which the CEO, with whom they finally got an audience 18 months into the process, was never going to say yes.