Right Brain, Left Brain Blog

78 posts categorized "Experiential"

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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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.

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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.

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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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  • 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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