Right Brain, Left Brain Blog

22 July 2016

Innovative Ad of the Week: Sony Pictures ‘Ghostbusters Waterloo’ (UK)

Ghosbusters main

This week brings to an end a pretty spooky burst of outdoor activity for London commuters, who were surprised and delighted by a giant sculpture of the iconic Stay Puft Marshmallow Man at Waterloo, as part of a complete train station takeover by Sony Pictures to promote the new ‘Ghostbusters’ movie.

The ‘super-sized’ out-of-home campaign, a collaboration between Sony Pictures, JCDecaux (campaign concept), Feref (creative), MGOMD and Talon (media), played up the idea of ‘something strange in your neighbourhood’ by transforming London’s Waterloo Station into a film-themed showcase for the past two weeks.

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19 July 2016

Who’s representing your brand?

Staffing

Connecting with people in the real world has never been more important to brands. Investment in experiential was up 6% in the first quarter of 2016, according to the latest Bellwether report, only one of two disciplines that saw an increase in spend – internet marketing was the other. Meanwhile, real world activations increasingly lie at the heart of a wide variety of campaigns, amplified through social and online channels to drive consumer engagement.

Experiential marketing is unrecognisable from what it used to be. Brand experiences are more creative, more ambitious and more unique. But has the promotional staffing world changed at the same pace? On the whole, no. Traditional brand ambassadors are no longer enough. Individuals need to share brand values and possess skills that go way beyond, superficially, “bringing a brand to life”.

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15 July 2016

Innovative Ad of the Week: Entertainment One 'The BFG Dream Jar Trail' (UK)

Bfg

To promote the upcoming movie remake of Roald Dahl's 'The BFG', Entertainment One has launched a experiential campaign which uses Google's Nearby Notifications beacon technology to bring six-foot "dream jars" to life. 

A total of 50 "dream jars" have been dotted around London in an initiative which plays on the concept that the BFG bottles dreams and blows them into childrens' bedrooms. The six-foot jars contain the childhood dreams of a range of celebrities including film director Steven Spielberg and actor Mark Rylance. 

Adding a new layer to the campaign through the help of Zenith by using Google's beacon tech, which launched last month, Android users (with Bluetooth switched on) that pass by one of the activations are notified that they are in close proximity (within 15 metres) to one of the real-life jars. If a user clicks through, they are given more information about the jars, the installation and the film. IPhone users can access the same content through Google Maps or Google Now. 

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12 July 2016

Is cinema the real advertising innovator?

Advertising’s being driven more and more by digital innovation, so it was great to see my favourite channel, cinema, hailed by John Hegarty at Cannes Lions this year as a fantastic medium. This led to comments in the press along the lines that good old fashioned cinema continues to perform well without being seen as particularly innovative.

Traditional, maybe. But old fashioned and lacking innovation? I don’t think so!

To me, cinema is both pioneering and innovative. It was arguably the first truly immersive media experience, and over the past 20 years, cinema tech has evolved massively in terms of both sound and vision – take 3D, for instance. Meanwhile, the growth of the multiplex has made cinema a destination in itself, not to mention the boutique explosion, with  luxuriously comfortable seats and the ultimate in comfort food and drinks on tap. This has driven us all to fall even more in love with the movies, delighting in being a captive audience sharing the experience with family and friends, where ads are simply seen as part of the experience – to my knowledge, no one has ever left to make a cup of tea while they’re showing!

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11 July 2016

Why brands can’t afford to ignore #Unstereotype

If brands want their advertising and marketing communications to resonate with women, then they have to understand that using simplistic one-dimensional stereotypes in their messaging no longer works.

Arguably, the statistic prompting the biggest reaction at this year’s Cannes Lions Festival was revealed by Unilever’s Keith Weed. During his presentation on why and how the FMCG giant is radically changing its female-focused advertising strategy, he announced that 40% of women do not identify with the images of them portrayed by most ads, while just 3% of Unilever’s ads feature women in leadership roles and 1% show women being funny.

As Weed disclosed more and more of the findings, a vivid picture emerged of the huge gap between how female identity is evolving and the version presented by advertising. Credit was widely given to Unilever for committing to develop more culturally relevant and resonant work to combat gender stereotyping and more accurately reflect society.

However, Weed was also keen to point out that the change in tack wasn’t just driven by altruism, but was firmly underpinned by a commercial imperative. The research not only uncovered how female identity is evolving at break-neck speed, but also highlighted the opportunity for brands to do something about it and reap the reward.

Based on work Unilever carried out with The Futures Company to identify the evolving nature of female identity, Unilever have galvanized behind their goal to create more communications which show a progressive vision of female identity, by challenging themselves on three key dimensions of how women are represented: through their role, personality and appearance.

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08 July 2016

Ad of the Week: Tiger Beer 'Made in Asia' (USA)

Tiger beer

For its US launch, Tiger Beer went back to its Asian roots by repurposing a New York discount store into a pop-up showroom displaying more than 700 products showcasing the finest art, fashion, technology and design from artists in the region.  

The idea aimed to celebrate the true craft and creativity of the brand's origins, in contrast to the cheaply made Asian cliches and counterfeit goods that would usually populate New York's Canal Street stores.  

Members of the public could gain entry to the store simply by presenting a Tiger Beer coaster from one of several nearby bars.  

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04 July 2016

Think digital. Upfront.

We’re gearing up towards a milestone in the history of digital advertising. It’s something that has been predicted for a while now, but next year total digital ad spend will surpass TV for the first time. eMarketer predicts that, in 2017, it will hit $77.37bn in the US, taking 38.4% of the total ad spend, exceeding TV’s predicted $72.01bn (35.8%). A major driver is mobile video, which grew by 94% in 2015, according to the IAB.

But rather than seeing digital as a threat to TV advertising, the key is to think about it as a complement by enabling a user experience fit for the digital sphere. The explosion in online video usage and the proliferation of technology and devices have unlocked a wealth of opportunities for brands to tell their story through audio and visual means, yet research from Millward Brown found that 90% of online video is just repurposed TV material. The fact is that this just won’t cut it anymore.

There has never been a greater need for video content to be produced and tailored for the digital environment from the outset – it should no longer be just an afterthought. There’s no underestimating the power of TV to create that wonderful theatrical, cinematic experience, but it takes a different approach to deliver that same impact digitally.

Not enough focus is being put on digital in the early planning stages of campaigns. When developing a TV ad brief, there needs to be more of an emphasis on how video ad content is going to work in the digital world where there’s a wide range of screen sizes and formats to consider, not just for TV or cinema.

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01 July 2016

Shop on the spot: Welcoming shoppable video to the mainstream

TV viewing figures are on the decline. The UK has seen a 13 per cent drop in viewing in the past two years, according to Accenture – far from promising for TV advertisers. Conversely, due to a deluge of platforms, services and devices, online video is stronger than ever.

The IAB reports that the UK’s online video ad spend grew by 56 per cent to £292m ($387m) in the first half of 2015, demonstrating the recognition of the ad potential of online video. Its latest iteration, shoppable video, brings another opportunity to win over brands and advertisers who may have otherwise been unconvinced of its success.

Ads that earn money in seconds

Shoppable video provides a direct route to commercial opportunities, by providing a link to shop the products featured in the video. Burberry’s runway video, for example, incorporates new looks with the purchasing experience, allowing viewers to scroll fashion stills, click for more information, and buy. By combining video with an interactive component, brands can capitalise on‘in the moment’ consumer impulses. 

Many have been quick to realise the potential that shoppable video holds and are beginning to experiment with the format, developing innovative campaigns that take advantage of the decreased gap between purchase inspiration and transaction completion.

 

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  • Right Brain, Left Brain sums up the dichotomy of a media business that’s constantly battling with the challenge of delivering a profit and discovering new ways to communicate to consumers. The Cream editorial team combined with a dream team of industry pioneers from around the world share their expert opinions.

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