Right Brain, Left Brain Blog

75 posts categorized "Experiential"

31 May 2016

Why brands should make participation the ultimate goal

If brands struggle with one thing in the audience engagement stakes, it’s getting people actively involved. They can develop highly creative and striking cross-channel ad campaigns, target consumers through social media and mobile, entice them with offers, boost customer experience both online and offline, and more, but arguably more valuable than all of this is driving a direct action – getting people to participate. To do this, brands need to push the boundaries of marketing a little further.

Lego is great at this. It’s Yoda Chronicles offers short tales from the legendary sci-fi story told through animated Lego figures via YouTube. It provides a safe way of presenting to kids what could otherwise be violent stories, is a wonderful soft sell for the Stars Wars Lego range, but more importantly it’s a very clever way to reinforce the world of Lego via social media using content, which is far more engaging and effective than simply advertising its toy range. What’s more, it has proved so engaging that some consumers have been creating their own Lego animations – and we all know that imitation is the sincerest form of flattery. Essentially, this provides a great way of participating in Lego outside of the traditional brick building, while reinforcing this core proposition.

Lego

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07 March 2016

Judging Experiential (Part 3 of 3)

The same idea can be executed amazingly or poorly. It can seem authentic and original, or gauche and cheap. It can touch millions with clarity, or just hundreds with confusion. This excerpt from the book “Real World Ideas” explores some principles which mark out the very best experiential work, which you can look for when judging a creative idea.

Integrate with reality

Experiential is at its most effective when it interweaves with reality – when it solves a real problem, provides a real service, or similarly effects something else in the real world.

Often however, experiential ideas restrict themselves to the four imaginary walls of a site space in much the same way a TV ad restricts itself to the four walls of a screen. They act out an idea superficially rather than really bringing it to bear in a manner that matters.

When looking at an idea, always ask: “Is the concept communicated here really making an impact, or is it superficial and fictional?”

Use Context

Closely related to encroaching on the real world, this principle involves making the best of your experience's environment to amplify your creative. When people build an experience in a vacuum and place it on an allotted site, they ignore the fact that all around them are things that their budget would never be able to simulate – lots of busy people, nature and so on – which would become part of their experience if they acknowledged them.

Take for instance the New Zealand Coastguard, who showed people how tough it was to find those lost at sea not by building a sea substitute, but by actually dropping people in the middle of the sea itself. The ocean became a core part of their creative idea – free of charge.

Continue reading "Judging Experiential (Part 3 of 3)" »

29 February 2016

Defining Experiential (Part 2 of 3)

Over the years there have been many attempts to define experiential, and generally they have fallen short. This is hardly surprising, as recognisable examples of the discipline have taken on an unlimited number of forms.

What, for instance, is the link between these two ideas?

Sense 1

Sense 2

We can see they’re both “experiential”, yet behave very differently. They share no format or formula, goal or purpose, and we wouldn’t even place them in the same strategic marketing territory.

What marketers need is a holistic definition of experiential that encompasses all the discipline has to offer, acting as a platform from which to create great work yourself.

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22 February 2016

Advertising’s authenticity problem (Part 1 of 3)

Advertising has always been in competition with entertainment media, and has always tried to copy it in order to borrow some of our attention. We’ve seen our love of movies and drama condensed into 30 second spots. Our tastes in art have carried over to print. In infomercials we see the aping of our favourite chat shows, and in advertorials a shameless camouflage of sales in the trappings of editorial.

Recently however, entertainment media has undergone a far more fundamental change to which advertising is yet to fully adjust.

It all started with reality TV. Pioneers like Jeremy Beadle and Jade Goody have now seen their art form expand, in one guise or another, to become the dominant media style we consume today. When it comes to video, YouTube has of course dramatically advanced this kind of content, but beyond that platforms like Facebook, Twitter, Instagram, and services like Whatsapp and Tinder have rendered almost all we consume “reality” in some way. What is the Facebook News Feed if not, essentially, a reality “TV” stream of people you know?

The dominance of this kind of content has changed the tastes of the public. People are now trained to respond more favourably to “real” content than fictional – it’s more significant because, ultimately, it actually happened. Even the more traditional media forms have sought to update themselves in order to keep up. For instance, in cinema there has been an explosion in “reality” films, with the number of documentaries released in British theatres growing from a measly four in 2001 to 86 in 2014.

They are responding to a wholesale paradigm shift.

Continue reading "Advertising’s authenticity problem (Part 1 of 3)" »

22 January 2016

Experiential Ad of the Week: Land Rover ‘See Winter in a New Light’ (UK)

Land Rover has partnered with Lumiere London, the UK capital’s largest ever light festival, to celebrate the Great British Outdoors as part of its annual Hibernot seasonal campaign.

Produced by arts charity Artichoke, the campaign sees a series of five handmade large-scale specially lit ‘Private View’ frames positioned in front of key London landmarks at locations including Leicester Square, Oxford Circus, Piccadilly and King’s Cross.

Lumiere-1001884_LowRes

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23 November 2015

Taking brands into the realm of the senses

Tate

“Galleries are overwhelmingly visual. But people are not – the brain understands the world by combining what it receives from all five senses. So can taste, touch, smell and sound change the way we ‘see’ art?”

This was the question that prompted the creation and launch of the Tate Sensorium – an award-winning small but beautifully formed installation that has been receiving great reviews and proved so popular that it was extended until October this year.

It featured four famous paintings, but rather than simply letting visitors view them, it built a sensory experience around each one encompassing smell, taste and touch inspired by the art. The result was a far more immersive experience than you would get in any traditional gallery. This enabled people to make a deeper connection with the paintings and get a better understanding of each one.

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13 November 2015

Driving innovation through brand experience

As the saying goes: “If you spoke to people the way advertising does, they’d punch you in the face.” Today, it is necessary to communicate with people like they’re people, not treat them as if they’re machines made up of consumer data. Even more important is to understand that consumers are in control of your brand. Brand success today is about interacting with your customers to address joint needs. Finding out the challenges your audience faces and making sure your business answers those needs with the products and services it develops is key.

Therefore, it makes sense to build participation or ‘co-creation engagement’ into events so you can collect relevant customer information that can be used to drive innovation within your business that solves real customer problems.

A double win

Events offer the perfect co-creation engagement platform, where customers can personalise their experience through being able to give feedback about their needs and challenges. This can significantly increase the return you get from your live marketing.

It is a double win because not only does co-creation lead to the development of relevant products and services that your customers want, but it also delivers your field research, as you gain a deep understanding of the customer’s state of mind and their decision-making process for purchasing your goods.

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23 October 2015

Why marketers need to create a stink

Did you know that smell is the sense most connected to memory? It’s something that has intrigued marketers for some time. But until recently it has been seen more as a gimmick than a serious marketing tool. However, it’s increasingly being viewed as an effective way to create more immersive brand experiences, thanks to developments in scent technology.

Scent marketing has already been used with some success in packaging and in the automotive sector. Samsung, for example, has created a particularly distinctive and comforting smell that is emitted when someone opens the box that holds their new phone. Meanwhile, car manufacturers have used the technique to develop the ‘new car’ smell – so when you get into a new car for the first time, that wonderful aroma is likely to be less about the interior materials, and more a scent that has been specifically crafted for the experience.

Aroma therapy

One of the most well known examples is fashion retailer Abercombie and Fitch, which scents its stores with a particularly strong, exotic aroma. Although it isn’t to everyone’s taste, it certainly differentiates the brand.

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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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