Archives par mot-clé : marketing

Watch: In spite of being fired by Steve Jobs five times, this person still loved working with him

Two-wheelers are the lifeline of urban Asia, where they account for more than half of the vehicles owned in some countries. This trend is amply evident in India, where sales in the sub-category of mopeds alone rose 23% in 2016-17. In fact, one survey estimates that today one in every three Indian households owns a two-wheeler.

What explains the enduring popularity of two-wheelers? In one of the fastest growing economies in the world, two-wheeler ownership is a practical aspiration in small towns and rural areas, and a tactic to deal with choked roads in the bigger cities. Two-wheelers have also allowed more women to commute independently with the advent of gearless scooters and mopeds. Together, these factors have led to phenomenal growth in overall two-wheeler sales, which rose by 27.5% in the past five years, according to the Society of Indian Automobile Manufacturers (SIAM). Indeed, the ICE 2016 360 survey says that two-wheelers are used by 37% of metropolitan commuters to reach work, and are owned by half the households in India’s bigger cities and developed rural areas.

Amid this exponential growth, experts have cautioned about two-wheelers’ role in compounding the impact of pollution. Largely ignored in measures to control vehicular pollution, experts say two-wheelers too need to be brought in the ambit of pollution control as they contribute across most factors determining vehicular pollution – engine technology, total number of vehicles, structure and age of vehicles and fuel quality. In fact, in major Indian cities, two-thirds of pollution load is due to two-wheelers. They give out 30% of the particulate matter load, 10 percentage points more than the contribution from cars. Additionally, 75% – 80% of the two-wheelers on the roads in some of the Asian cities have two-stroke engines which are more polluting.

The Bharat Stage (BS) emissions standards are set by the Indian government to regulate pollutants emitted by vehicles fitted with combustion engines. In April 2017, India’s ban of BS III certified vehicles in favour of the higher BS IV emission standards came into effect. By April 2020, India aims to leapfrog to the BS VI standards, being a signatory to Conference of Parties protocol on combating climate change. Over and above the BS VI norms target, the energy department has shown a clear commitment to move to an electric-only future for automobiles by 2030 with the announcement of the FAME scheme (Faster Adoption and Manufacturing of Hybrid and Electric Vehicles in India).

The struggles of on-ground execution, though, remain herculean for automakers who are scrambling to upgrade engine technology in time to meet the deadlines for the next BS norms update. As compliance with BS VI would require changes in the engine system itself, it is being seen as one of the most mammoth RD projects undertaken by the Indian automotive industry in recent times. Relative to BS IV, BS VI norms mandate a reduction of particulate matter by 82% and of oxides of nitrogen (NOx) by 68%.

Emission control in fuel based two-wheelers can be tackled on several fronts. Amongst post-emission solutions, catalytic converters are highly effective. Catalytic converters transform exhaust emissions into less harmful compounds. They can be especially effective in removing hydrocarbons, nitrous oxides and carbon monoxide from the exhaust.

At the engine level itself, engine oil additives are helpful in reducing emissions. Anti-wear additives, friction modifiers, high performance fuel additives and more lead to better performance, improved combustion and a longer engine life. The improvement in the engine’s efficiency as a result directly correlates to lesser emissions over time. Fuel economy of a vehicle is yet another factor that helps determine emissions. It can be optimised by light weighting, which lessens fuel consumption itself. Light weighting a vehicle by 10 pounds can result in a 10-15-pound reduction of carbon dioxide emissions each year. Polymer systems that can bear a lot of stress have emerged as reliable replacements for metals in automotive construction.

BASF, the pioneer of the first catalytic converter for automobiles, has been at the forefront of developing technology to help automakers comply with advancing emission norms while retaining vehicle performance and cost-efficiency. Its new state-of-the-art manufacturing facility at Mahindra World City near Chennai is equipped to develop a range of catalysts for diverse requirements, from high performance and recreational bikes to economy-oriented basic transportation. BASF also leverages its additives expertise to provide compounded lubricant solutions, such as antioxidants, anti-wear additives and corrosion inhibitors and more. At the manufacturing level, BASF’s RD in engineered material systems has led to the development of innovative materials that are much lighter than metals, yet just as durable and strong. These can be used to manufacture mirror brackets, intake pipes, step holders, clutch covers, etc.

With innovative solutions on all fronts of automobile production, BASF has been successfully collaborating with various companies in making their vehicles emission compliant in the most cost-effective way. You can read more about BASF’s innovations in two-wheeler emission control here, lubricant solutions here and light weighting solutions here.

This article was produced by the Scroll marketing team on behalf of BASF and not by the Scroll editorial team.

How media brands are using marketing to turn accusations of fake news into page views

The rise of the internet promised to deliver a wealth of information to the public. It had the power to enrich lives if the information conveyed was considered incorruptible and fact-checked by reputable journalistic outlets. This didn’t quite pan out.

The decline of print revenues, coupled with the leader of the free world branding much of the free press liars after his ascent to power, has led to the world’s leading titles having to recommunicate their inherent value as gatekeepers of the truth.

The infantile and categorically broad accusation of ‘fake news’ is a term commonly on president Donald Trump’s tongue; with it he has lashed the likes of CNN, BuzzFeed and even BBC News while cosying up to those who give him more favourable coverage like Breitbart.

It’s no wonder that the American public, on the whole, is more trusting of UK publications than their US counterparts. But even in the UK, 71% of people conflate advertising with fake news, further dirtying the waters. As a result, publishers have made no secret about adapting their content strategies to meet a diminished public trust head on.

Earlier this year, Channel 4 unearthed stats claiming only 4% of people could readily identify fake news. This necessitates the need for accessible quality journalism. However, in addition to altering content, publishers have had to communicate this paradigm shift in their marketing in an attempt to defend against – or even exploit – the fake news phenomenon.

Chris Arning, ‎founder and director of Creative Semiotics has helped deconstruct the campaigns from a semiotics standpoint on a case-by-case basic. He reveals some pointers in what makes the ads tick and uncovers the message news brands are trying to convey.

New York Times

Back in February 2017, The New York Times enlisted Droga5 to unite the nation against alternative facts (a freshly minted obfuscation from the Trump administration at the time).

It culminated in the New York Times airing its first branded TV ad in a decade (something that will be a common pattern throughout this analysis).

The ad aired during the Academy Awards to take a swing at the falsehoods being perpetuated by Trump and its media rivals.

NYT was also one of the first media outlets to buy into this renewed line of quality journalism marketing in 2017 with the above OOH buy on its home turf in New York.

Arning: The black text on white helps communicate in a stripped back, no-nonsense way. Charcoal or copper type is used to add more weight to the paper’s truth. It also plays with the notion of the lenticular, that way words are swapped out at will, showing the mutability of facts. And finally, as the ad rushes to its conclusion, it increases in speed, making reference to the information overload of the 24/7 news cycle.

The Wall Street Journal

‘The Face of Real News’ was the WSJ’s attempt to forge trust with the public. Working with ThePartnership, the paper looked to position itself as the antithesis of fake news.

A series of ads launched as trust in the media reached a reported all-time low in the US. The WSJ looked to be more transparent about how its reporters got and delivered stories. To do this it got artists to animate reporter narratives, building the personalities of the writers across numerous platforms.

Accompanying the campaign, journalists got on stage and shared their first-hand experiences of running their beats.

Speaking to Adweek, Wil Boudreau, North American chief creative officer of ThePartnership, said: “You can click on anything on the internet and it looks like news, but when you hear the story of how journalists actually get their stories firsthand from them it really is quite compelling and makes you respect what it takes to get real news.”

Arning: Black and white and monochrome is becoming a trend here. WSJ goes for handdrawn graphic novel illustration style to connote craftsmanship. By using the human hand, it conveys a sense of trustworthiness versus glossiness of news idents. With The Face of Real News strapline it shows that its reporters will not shrug away from transparency. It foregrounds the printing press, typewriter, paper files and other tools of journalist’s trade to signify veteran ethics.

Financial Times

Earlier this year the Financial Times launched a global marketing campaign called ‘Think Beyond Black and White’ to take a stance against fake news and show the nuance in its coverage. The broadsheet urged readers to buy into its ethos using the strapline ‘For the full perspective, turn to the FT’.

The publication looked to “take readers beyond the headlines and help them make the right connections in complex and uncertain times.”

The work ran across UK, US and Asia Pacific, with Essence creative director, Andy Veasey, stating: “This campaign promotes the unique perspective of the FT by presenting typical news as black and white before turning the page to reveal the FT’s distinctive pink brand and the full perspective: clarity amid the complexity.”

It also made use of reader testimonies to promote the spectrum of its audience across the globe.

The Telegraph

UK broadsheet the Telegraph sidestepped any mention of Trump but looked to outline the power of the written word in a video that touches down on the cornerstones of human ingenuity like Martin Luther King’s ‘dream’, Neil Armstrong’s ‘leap’ and Muhammad Ali’s ‘float’.

Robert Bridge, chief customer officer at the Telegraph, said: « Quality journalism has never been more important but in an era of fake news it’s vital that we continue to raise awareness and encourage reappraisal of the Telegraph amongst new audiences, on whichever platform they use. »

The ad from AdamEve/DDB aired during the finale of Game of Thrones and ran on other platforms henceforth. Like the NYT, it was the publication’s first brand marketing activity on TV for more than a decade.

Arning: This runs with monochrome aesthetic atop a montage style video. It has been put together in a way that communicates cut and paste, even punk ethos. There are metatextual insertion of browsers, and other signifiers of the online world. The background clatter seems designed to evoke the speed of events to add jeopardy to the slot. Finally, the use of the rat-a-tat-tat of typewriter keys/machine gun salvos represents weaponisation of words.

The Atlantic

The Atlantic, back in February, encouraged more cynicism from its readers by urging them to question their answers.

Actor Michael K. Williams led the title’s first brand campaign in over 10 years to ask the public if he is indeed typecast as a prominent black artist. The work saw four different versions of Williams arguing about whether he is typecast helping to portray the nuanced shades of truth that can be conveyed. The two and a half minute brand film was created by Wieden Kennedy.

Agency creative director Jaclyn Crowley told AdAge: “The [Atlantic] really respect process and debate. Sometimes the best way to show something is through examples, so we presented the idea of having notable personalities confronting something they might have been surprised they struggled with. »

The video heads up a landing page on the 160-year-old publication stating that it has been “challenging established answers with tough questions”.

The Economist

The Economist looked to dissect the ‘noisey, chaotic, confusing world’ and help the public “see more clearly” with a campaign created to drive subscriptions. It stated: ‘The World Needs Another Economist Reader’.

The ad was created in-housed by Economist Films and aired in October across the US, enticing potential readers with a free issue. It debuted on the Late Late Show with James Corden.

David Alter, director of programmes at Economist Films, said: “This was a great opportunity for Economist Films to spread our wings creatively and also pay homage to our parent brand and its mind-stretching content. We firmly believe that now, more than ever, the world does need another Economist reader.”

Vanity Fair

In September, Vanity Fair was the latest publication to be bludgeoned by Trump’s titillating Twitter tantrums. He tweeted:

Not one to take a beating lying down, the publication mimicked Potus’ language to state that it was in actual fact not on its last legs. Also embedded is a cheeky call to arms asking fans to subscribe.

CNN

As the recipient of the original ‘fake news’ accusation, CNN launched a campaign in October making a covenant to tell the truth.

For the purposes of the ad, the publisher said it would call an apple an apple. The bold aesthetic from ad agency Figliulo Partners also took some time to throw some shade at president Trump by claiming he would call the apple a banana. The drive was called Facts First and more ads are set to follow.

It is worth noting that rival BuzzFeed, also an earlier recipient of the fake news brand, mocked the ad in a surreal video.

Arning: CNN goes for a single image on white, the most restrained use of image yet. The use of the apple is interesting – apple is a good, honest fruit, a forbidden fruit, there inter-textual shades of iMac aesthetic. There’s no score, just the apple and banana comparison. It positions the viewers as children. With #FactsFirst – straight to the point, and neatly avoids the use of Truth, which is ultimately a hugely load word.

Arning reflects on some wider trends from the campaigns: « The use of binary opposites in terms of opinions (the NYT Lenticular flipping between diametrically opposed views) have been around a while. He discusses how broadcasters can create self-fulfilling prophesies with campaigns such as those above. He draws attention to Russia Today which has embraced the regular accusations that it is merely the propaganda wing of Russia.

« Of course it has its Kremlin bias and spends an inordinate amount of time gleefully dwelling on domestic unrest and scandals in the US… It has been running ads on the London Underground recently with scurrilous headlines such as ‘The CIA calls us A Propaganda Machine,’ ‘Find Out What we Call the CIA’ and ‘Watch RT and Find Out Who We Are Planning to Hack’. »

Fundamentally, Arning adds, there is an irony in the way « media brands, themselves funded by advertisers, are relying on advertising – which is a quintessentially rhetorical form – in order to persuade us of their love of truth over bias and persuasion.

« This is corporate communication – once you strip it down to its bare essentials – masquerading as a disinterested moral homily. They use propaganda codes – in particular popular understanding of Soviet Montage techniques shows they used – didactic text on black or white slugs, and suturing and then colliding together news footage from various sources to make their point (The Telegraph in particularly ) in order to get across their point.

Arning concluded: « So in short, some are using a rhetorical medium and a Soviet propaganda medium to plead for their editorial probity and commitment of truth. »

oBike files police report after couple caught dumping bikes into drain in video

oBike has filed a police report after a couple was caught on camera dumping their bikes into a drain in a video on Stomp.

The video which was sent in by Stomp contributor Chin, was posted on Stomp on Nov 20 where it went viral, garnering over 50,000 views on Facebook and sparking outcry from netizens who condemned the couple’s behaviour.

The video was also later posted to other Facebook pages such as ROADS.sg and reported by other publications such as The Straits Times.

Mr Edward Chen, co-founder and chief marketing officer of oBike, told The Straits Times that oBike is « aware of the video that is currently circulating online and can verify that the bicycles in the video belong to us ».

 

« It is evident that the perpetrators have damaged our bikes maliciously and we strongly condemn their behaviour, » he said.

« Our operations teams are working closely with the police to identify those responsible. »

oBike added that it has since filed a police report.

The bike sharing operator has lodged a total five police reports of its bikes being abused and vandalised since its launch in April this year.

Police investigations are ongoing.

‘Bermuda calling’ video marketing ploy a big hit

Scott Neil Assistant Business Editor


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  • Summer success: a woman reacts to being offered a trip to Bermuda after picking up a ringing phone in a New York City street. The video marketing campaign by JetBlue Airways, in conjunction with the Bermuda Tourism Authority, was seen by hundreds of thousands of viewers on JetBlues social-media platforms and YouTube

    Summer success: a woman reacts to being offered a trip to Bermuda after picking up a ringing phone in a New York City street. The video marketing campaign by JetBlue Airways, in conjunction with the Bermuda Tourism Authority, was seen by hundreds of thousands of viewers on JetBlues social-media platforms and YouTube

A quirky piece of experimental marketing involving the Bermuda Tourism Authority and JetBlue Airways drew hearty applause from a roomful of business executives.

They were reacting to an online video that showed pedestrians in New York City answering a ringing telephone in the street and being offered a free trip to Bermuda.

The Bermuda Calling video was devised by JetBlue in co-operation with the BTA and has been viewed by an estimated audience of hundreds of thousands through YouTube and JetBlues social-media platforms.

The campaign ran during the summer. Members of the Association of Bermuda International Companies were shown the video by Kevin Dallas, CEO of the BTA, who was guest speaker at Abics annual meeting.

Featuring squeals of delight from passers-by who stopped to answer the ringing phone, which was attached to a vacant storefront, the video campaign attracted positive tourism media coverage in the US.

Mr Dallas said: It went out online on all of JetBlues social-media channels and YouTube, where it was seen by hundreds of thousands of people. This is a great example of integrated marketing.

The video was an example of the new ways the island is being marketed, both by the BTA and by outside companies with an interest in bringing customers to the island.

Mr Dallas explained the different ways the BTA has been marketing Bermuda, and the success that has been achieved.

He said it had decided the Bermuda brand should reflect the islands people and what it is to be an authentic Bermudian, and a more modern and refreshed version of ourselves.

It was about selling the island more as a lifestyle brand rather than purely as a destination.

Mr Dallas said: The way in which we sell the Bermudian brand, the way in which we tell the Bermuda story, is through real Bermudian stories.

It is often through Bermudas spokespeople that we are telling the Bermuda story, rather than flashy marketing.

The BTA has focused its attention on gateway cities, such as Boston, New York, Philadelphia, Washington DC and Toronto.

Mentioning that the organisation is operating on roughly half of the budget once given to the Ministry of Tourism, Mr Dallas said: Out of strategy and necessity we focus where we have the highest ROI [return on investment].

Air arrivals are up 11 per cent on the year to date, while visitor spending is up 22 per cent.

Thats an extra $40 million coming from leisure visitors, and over $50 million if you count all visitor arrivals. Thats roughly 1 per cent of GDP.

He said 90 per cent of that growth was from visitors under the age of 45.

However, Mr Dallas would like to see hotel occupancy, currently on track to be in the low 60s per cent for the year, reach the 70 mark in order to be true investment-grade territory.

He said that was one reason the BTA is grateful for the Bermuda Government bringing forward the Tourism Investment Act ahead of the Caribbean Hotel Investment Conference and Operations Summit, which was held on the island earlier this month.

A number of the BTAs short TV commercials promoting Bermuda to audiences in the northeast US were shown to Abir members. Mr Dallas said the videos were deliberately intriguing and with an air of mystic in order to draw the curious to the Bermuda tourism website, where the aim was to convert them into future visitors of the island.

Looking ahead, he spoke about the tourism-centred events planned for 2018, including the hosting of a ITU World Triathlon event in April, which is being promoted with assistance from Bermudas reigning ITU World Champion Flora Duffy.

And while acknowledging that Bermuda is about much more than sailing, he said that post-Americas Cup, the island has a lot of inbound opportunity in the sailing world.

One of those opportunities will come in 2019, when Bermuda hosts the World Conference of Sailing which brings together the worlds sailing organisations.

It is a fantastic thing for us to have because the people who decide where the regattas are for every class of boat out there will be here, so we can show them Bermuda and sell them Bermuda for their events, said Mr Dallas.

And this event, when they are here, will be the first time they have a regatta alongside the meeting.

Mr Dallas added: We know that Bermuda has not had the broad community engagement that we want to have. But were delighted there are Bermudians out there in the world of sailing.

In particular Emily Nagel, who is on a Volvo Ocean Racing Team. And the BTA and XL Catlin have partnered to sponsor Mustafa Ingham to go as well. He is at the Volvo Ocean Race Academy. We are hoping he gets the certification to sail the last couple of legs of the Volvo Ocean Race.

We think thats a good story internationally for Bermuda, its an important vehicle for building community engagement, having people follow and get excited about Mustafas journey, and Emilys.


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Published Nov 22, 2017 at 8:00 am
(Updated Nov 21, 2017 at 11:44 pm)



Why Niche Video Game EVE Offers Marketers a Master Class in User-Generated Content

At this very moment, you might be living next to a space pirate.

But don’t fear. It’s just as likely that, rather than a pirate, your neighbor is an ore-mining magnate controlling a burgeoning enterprise worth thousands of real world dollars. Maybe they just own a single ship, and are content to bounce around the universe for leisure. The choice is really up to them after all. And all of this is thanks to one of the Internet’s longest running games: Eve Online.

Launched in 2003, Eve is one of a handful of long-running MMO (massive multiplayer online) games that offer a space for thousands of human players to interact, cooperate, or compete. It holds its position alongside considerably better known, more popular games like World of Warcraft and, for the most part, is considered to be one of the more niche gaming experiences available to players.

As a content marketer, however, Eve caught my eye for two reasons. The first was the company’s continued success as they approach the fifteen-year mark, with Eve‘s creators CCP continuing to drive eight-figure revenues from what should be an impossible-to-sustain niche game. But perhaps more importantly, while other games struggle to get hold of a content edge (for instance, World of Warcraft‘s creators Blizzard Entertainment lost $430 million on a failed movie), Eve has nurtured a community that creates some of the best examples of user-generated content a marketer could ask for.

Spaceships battle in the video game EVE Online

The Great Experiment

As with all content marketing, understanding what sets your brand experience apart is an essential part of creating content that people find engaging and worthwhile. In the case of Eve, there are three primary characteristics that set the game apart.

  1. The game is extremely player-driven. Where many games create spaces for players to interact in a confined way but prevent users from actually changing those spaces, Eve encourages users to impact everything. The game has user-run “corps” that rise and fall, trade and fight. The world is defined by a huge, living economy and stock market. Anything goes, as far as players are concerned.

  2. The game is really complex. We’re not talking re-read the rules on family board game complex. We’re talking corporate intrigue, market rigging, supply chain management, socio-political negotiation, and wars that span real-life years. The learning curve is high but rewarding for players looking for a challenge, earning the game a “niche” descriptor.

  3. In-game assets can equate to real-life US dollars. Eve is a subscription-based game, like many MMOs, but unlike similar games, players can purchase an in-game commodity (using the game currency, not dollars) called “plex” that is redeemable for one month of subscription. This effectively creates a US dollar market in-game, where teams can produce, stockpile, trade, and loot plex with other players.

All of this is important to understand, because right from the start, Eve‘s construction is built around a core tenet of good user-generated content in the form of player-generated stories in the game. Asking for user content alone isn’t enough to generate flow; your brand needs to invest in building spaces for your users that reward them for being creative.

Image of a nebula from NASA

Image attribution: NASA

The Greatest User-Generated Content in the Solar System

Eve is operating from a good position, with a concentrated and clearly defined audience, an exciting space for users to interact, and enough real dollar investment to create a sense of urgency and interest. The result has been a vibrant user content ecology.

Much of this content is community-facing and helps create value that keeps users engaged (and paying month-to-month subscriptions). For instance, an in-game corp developed a journalistic arm that now supports a news channel on Eve‘s website, providing a source of timely blog content that keeps users engaged with the brand even when they aren’t playing the game.

But it wasn’t long before this content began to bleed out into the rest of the web. For instance, back in 2014, when a huge number of players announced in-game that they were planning to attack a “safe” area en masse, Eve‘s developers made a controversial decision—they reorganized the game’s servers for forty-eight hours to support the massive, unprecedented raid rather than preventing the players from breaking the “rules” of how the game was expected to be played. The result was the first of many large-scale battles with real dollar damages amounting to over $300,000, which quickly caught the attention of numerous curious news outlets.

These examples of user-generated news breaking out into the mainstream are the result of a second core tenet: Listen to what your audience is interested in, and try to accommodate it where possible. Eve has earned its community’s trust by working with them to create environments that are conducive to storytelling, rather than trying to railroad users into telling stories they want them to.

These good practices eventually culminated in an excellent user-generated video campaign, somewhat uncreatively titled “This Is Eve.”

To counter their reputation for being complex to the point of being unapproachable, CCP decided to create a video campaign that conveyed the spirit of what makes Eve attractive to its player base. These types of video campaigns are common in the gaming industry and often involve expensive shorts with pre-rendered visuals, sensationalized scripts, and stories that are great when they hit and costly when they don’t.

CCP decided they would rather let the players explain directly what they enjoy about the game. Working with a number of popular in-game corps, Eve cut together interviews, user-generated videos, and other in-game recordings to tell the story of Eve‘s universe. It was a tactic that engaged their community, was authentic for viewers to watch, and didn’t break the bank for the brand. But most importantly, it was a story that resonated with viewers, generating millions of views, additional article coverage, and a new wave of interest in the game.

You can see the video below, but note that language hasn’t been edited.

Into the Future

Eve‘s content engine continues to chug along, with growing video channels, blogging hubs, and even a full length novelization of one of the game’s more famous wars. This success, however, has less to do with CCP’s marketing strategy and more the brand’s attitude towards their audience in general. When your brand actively works to partner with users to improve their experiences—which entails both listening to and addressing users’ needs—only then will your audience feel interested in and able to produce stories of their own. Content teams sit at the middle of this relationship, advocating for brand responses, instituting systems to listen to audience needs, and ultimately partnering with users to amplify their stories. By constantly seeking out ways to improve these three pillars of audience relationship, most brands should see a growth in audience trust and opportunities for user-generated content.

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Featured image attribution: Joshua Earle

Four digital trends marketers need to look out for in 2018

Marketing is, in essence, about adapting to the fast-paced, changing world and giving consumers what they want. Thanks to cutting-edge technology, marketers, businesses people, and entrepreneurs alike are forced to find more innovative, impactful, and exciting ways in which to speak to their audiences.

If you, as a marketer, are in the midst of planning your marketing strategy for 2018, take a look at the four following trends:

1. Video advertising

Not only do high-quality videos speak volumes to an audience, but they are also the best way in which to communicate a message. However, the trick to successful video advertising is to keep it short and interesting.

Gone are the days where brands release three-minute videos detailing long-winded descriptions of their services or products. Today, killer content is king; the more innovative and concise, the higher the chances of sparking a conversation. Take a look at the ‘Insane human curling‘ by BIC.

2. Micro-moments

Micro-moments are the moments where audiences pick up their phones to complete a mundane task like answer an email, complete a shopping purchase, or write a Tweet. They are moments where audiences have an opportunity to learn or inquire about a product or service within the shortest period possible.

In order to highlight and make use of these moments, marketers would need to pay close attention to their target audience, and better understand their activities. To sum it up, it’s all about finding out what it is exactly your audience wants and trying to deliver it in the space of a few seconds.

3. The use of AR 

Augmented reality (AR) is often associated with gaming, however, more and more brands are using it to offer their audiences a more unique and emotional user experience. AR is also a great way in which to show your audience that your brand cares about what is going on in the world.

For example, Coca-Cola teamed up with the WWF to create an emotional experience where users could view Polar Bears in the Arctic.

4. Personalised content

While personalised content has previously been in the limelight, the forecast for 2018 highlights the significant role of personalised content in successful marketing strategies. Not only is personalised content effective in maintaining customer loyalty, but it also boasts a degree of tech know-how, which can win over potential consumers.

Ultimately, the trick to successful digital marketing is to properly understand your audience. While some audiences may respond best to an AR experience, others may respond better to a funny or emotional video.

The best way in which to ensure success is to spend the necessary time researching and studying their social and digital habits and, once you have a good understanding of what they want, the chances of success are higher.

Not only do digital trends inform business owners on how to improve their content marketing efforts, they also allow entrepreneurs to explore new concepts and ideas. As we head towards the end of 2017, be sure to keep an eye on the latest digital trend predictions for the New Year.

For more information, visit www.raizcorp.com. Alternatively, connect with them on Facebook or on Twitter.

Watch the highlights from Marketing Excellence Awards Malaysia

Experience Advertising + Marketing’s Marketing Excellence Awards 2017 once again with these video highlights of the glamorous ceremony on 27 October at Aloft Kuala Lumpur Sentral. Over 400 audience members of Malaysia’s marketing community came together to celebrate the best works of the industry.

Unilever Malaysia was crowned “Marketer of the Year” after bagging a total of three Golds, two Silvers and three Bronzes. Coming close was Etika, with a total haul of one Gold, six Silvers and one Bronze.

Check out the victorious moments of our winners here:

For the full list of winners here.

The fifth edition of Advertising + Marketing’s Marketing Excellence Awards gave out a total of 100 trophies to top marketers in Malaysia, rewarding their hard work and contributions to ingenious campaigns produced.

Once again, congratulations and a pat on the back to all winners and finalists. We look forward to seeing you again in Advertising + Marketing’s Marketing Excellence Awards 2018.

 

Freshfield makes two promotions and creates four new roles

Members of the Freshfield team (L-R) Ben Hewes, Mark Brennan, Alice Davies, Simon Turner, Samantha Booth, Clare Horton and Samit Nayi.

Preston-based marketing communications agency Freshfield has revealed a double promotion and the creation of four new roles, including a new appointment.

The agency has promoted Samantha Booth to PR communications manager and Alice Davies to digital marketing manager.

It has also created several new roles for members of its existing team. Ben Hewes takes on the title of head of video – combing it with his PR manager role. Samit Nayi has been named head of design and Mark Brennan becomes head of digital and senior marketing manager.

In addition, Freshfield has appointed Clare Horton as business operations manager. Clare will work alongside the management team to oversee people development, finance, facilities management and compliance.

Simon Turner, managing director of Freshfield, said: “These promotions are all about allowing our people to flourish as marketing professionals and giving us a stronger infrastructure to support our clients.

“The marketing world has changed beyond recognition but we believe we are perfectly placed to give clients access to the full marketing tool-kit from advisory and PR to design, digital and video.

“Our recruitment of an experienced business operations manager in Clare will only strengthen us, particularly when it comes to developing our team. We take our role as an employer very seriously and it’s great to see our people delighting clients and growing professionally and personally.”

Based in Preston’s Winckley Square, Freshfield has a 20-strong team offering public relations, marketing advisory, design, digital and video services. It has a turnover of £1.2million.

The rise of the data Influencer

Influencer marketing has been through many incarnations. From the iconic Marlboro Man in the 1950s cigarette ads and boxer George Foreman and his eponymous grill in the 1980s, through to a vast posse of internet celebrities and bloggers today, our attachment to influencer marketing shows no sign of abating.

In fact it is going through a positively purple patch: brand marketers and PR teams are eagerly engaging with influencer partners as never before as they debate the finer points of micro versus macro influencers and everything in between.

Some firms, such as FIFA and Madden publisher Electronic Arts, have even gone on record to say that they are spending more of their marketing budget on influencers and reducing their reliance on traditional media.

Influencer ROI

But as influencer marketing budgets rise and the pool of available influencers continues to grow, ROI is unsurprisingly becoming a hot topic. A 2017 report by Linqia into the state of influencer marketing found that 78% of respondents cite determining the ROI of influencer marketing as their top challenge this year.

Against this backdrop, a growing number of influencers in the tech/gaming space are making some changes.

Frustrated by social media platforms’ stranglehold on data, they are turning to the Qutee data comments platform, which lets them analyse comments, long-form discussions and other feedback provided by their followers for free.

This emerging breed of ‘data influencer’ is using the qualitative and quantitative insight gained from this data to fine-tune future content – and ultimately build a stronger relationship with their digital community. This in turn helps them to boost their value to brands by delivering a stronger ROI.

A game changer for FIFA influencers

Take FIFA data influencer HomelesPenguin, for example, who used his first Qutee post to gather information from over 700 users regarding their choice of console for FIFA 18: “This information was vital. I now know which console is used most frequently by my audience and can tailor my content accordingly. It’s early days but this will help increase my video views and will ultimately have a positive effect on my subscriber growth too.”

Another FIFA data influencer, CapgunTom, also adapted his content based on audience feedback: “I used the first Qutee I ran to better understand the skill level of my audience and found that 50% of my audience weren’t qualifying for the weekend league. I’ve now adjusted the sort of tips and tricks I give my audience to make them more solid players – and hopefully help them qualify in future.”

FIFA 18 scores highly

The ability to conduct in-depth discussions around new game launches also offers useful insights for both influencers and games developers. In the run up to the launch of FIFA 18, CapgunTom, OakelFish and HomelesPenguin hosted a discussion on Qutee with early access gamers to gauge initial reactions to the game via a combination of snap polls and more general discussions. More than 1,600 in-depth comments and 400 poll responses were generated within 24 hours.

A league above

But it’s not just about FIFA. In the fantasy game genre, League of Legends data influencer Phylol started on his Qutee journey by running a ‘What rank are you?’ poll to find out where his audience sits in the League of Legends ranking system. He had been targeting his content at Gold level players so was surprised to find that more than half of his audience were Bronze or Silver level players: “These lower ranking players tend to lose interest in videos faster, so I started to make my videos shorter and more focused. As a result I increased my views for those videos, which is a win-win situation!”

Phylol also calls out the ability to avoid what he dubs the ‘sheep mentality’ around YouTube comments as incredibly valuable: “It’s impossible for me to review 500-1000+ comments on a video every day. There are things that I can ask on Qutee and actually get a real breakdown of answers. This is in stark contrast to YouTube’s system, whereby people read only the most popular comments and tend to form their opinion based on these. The result is that the popular comments get upvoted even more, and any other comments get pushed further down the list, which doesn’t give an accurate picture.”

Another League of Legends data influencer and Qutee user, Huzzy, likes the fact that he now has a constant feedback loop: “It’s really hard to collect valuable information on social media platforms. The constant feedback loop I get with Qutee is great: I ask questions about the content I’m producing and I receive really valuable information that I can analyse in real time to enhance what I create next.”

A growing band of data influencers

These ‘early adopter’ data influencers have been won over by the deep insight gained from their audience discussions. They are tailoring their content to make it more compelling, driving up video views and boosting subscriber growth in the process.

As the focus on influencer ROI intensifies around 2018 marketing budget preparations, it won’t be long before a whole raft of new data influencers from other industry sectors make the same move.


Tim Wilson

Tim Wilson

Contributor


Tim WIlson, Co-founder and CEO, Qutee

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2017 Award Winners: Grand Prix and Chairman’s Awards

Every day for the next two week’s we’re showcasing the winners of this year’s Effective Mobile Marketing Awards. We begin our round-up today with a look at the winners of the Grand Prix and Chairman’s Awards.

Grand Prix Award
The Grand Prix Award went to Subway France and its partners, S4M, MediaCom and Lokall for their ‘You’re The Chef’ campaign. In a highly competitive market, the sandwich chain wanted to reach users on-the-go and drive them to restaurants with a personalised creative displaying the distance to a nearest Subway restaurant. The campaign also targeted mobile users in the vicinities of four different Subway competitors around France to redirect these consumers to a nearby Subway instead.

To evaluate campaign success, Subway created two groups of user IDs, a control group and an exposed group. The campaign leveraged mobile programmatic targeting to reach hyper-precise audiences with an initial objective of 200,000 visits to restaurants across the country.

To create a fast food consumer audience cluster, Subway and its agencies identified and grouped smartphone IDs using historic and behavioural user. Then, 30 days prior to the campaign, they collected anonymous device IDs at restaurant locations of four different competitors around France. These device IDs were divided into two groups, a control group and an exposed group. During the campaign, only users in the fast food audience cluster and the exposed group of IDs saw the campaign if they were within 400 meters of a Subway restaurant or one of the selected four competitor restaurants. Converted users could click on the call-to-action that led them into the native map application in their mobile with a store locator and travel itinerary.

There were other factors that impressed the judges. Firstly, before the video element of the creative was played, there was a three second countdown, allowing users to exit the ad if they wished. And to ensure the most relevant users saw the campaign and to optimize media budget, fast-food consumers were targeted only during lunch (11:30am to 3pm) and dinner (6:30pm to 10pm). The campaign also applied a frequency cap of three times for each user to avoid bombarding users with the ad countless times.

The campaign exceeded its objectives, generating 262,160 visits to Subway restaurants within 30 days. When comparing the total users exposed to the campaign versus users not exposed, the results showed an impressive 46.72 per cent uplift of visits to Subway restaurants across France. The campaign targeting competitors’ outlets saw almost 40 per cent of smartphone users redirected to the nearest Subway from one of the outlets.

The judges said: “This campaign employed brilliant use of data, targeting and timing to drive results. A meaningful metric in terms of cost per landing page and phenomenal brand switching.”

Chairman’s Award
The Chairman’s Award is a new one for this year in which the Chair of Judges – which this year was me – is invited to choose their favourite entry. The one I went for didn’t win in any other category, but impressed me with its out-of-the-box thinking, and its results.

The winner was The Higher Lower Game, developed by Code Computerlove. It started out as a kind of internal exercise for the Code team to challenge itself and demonstrate its creativity, capabilities, and it’s approach to mobile app design and development.

The premise of the game is simple. The player is given a random search term, such as ‘Strictly Come Dancing’ and told how many average monthly searches it has. Below is another random search term such as ‘Welder’ and the user has to guess whether it sees a higher or lower number of average monthly searches. If the player guesses right, another term is presented, and again, the player has to guess if it sees a higher or lower number of average monthly searches.

It’s a blindingly simple premise, which is perhaps one reason why the game is so addictive. It was also given a boost thanks to Code’s efforts to seed the game on social media, which saw YouTuber PewDiePie post a video of himself playing the game. That video has now been viewed more than 8m times.

The other stats around the game are equally impressive. It reached number one in the iOS Free App Store chart. In its first six months after launch it was downloaded 6m times and played more than 400m times. And when it comes to hard cash, through a combination of advertising and in-app purchases, the game generated £300,000 of revenue in its first five months.

A great piece of work and a worth winner of our inaugural Chairman’s Award.