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OOH and Motion activated technology raise awareness of Parkinson’s disease

Using motion activated technology in an OOH setting aimed at raising awareness on benefits of dancing for sufferers of Parkinson’s disease
Motion-activated technology has been put to innovative use in a new outdoor campaign for La Trobe University live in Melbourne this week, aimed at raising awareness about the benefits of dancing for sufferers of Parkinson’s disease.
Created by J. Walter Thompson and JCDecaux, the campaign utilises JCDecaux interactive Innovate panels to showcase breakthrough research being undertaken by La Trobe University into the debilitating disease, and therapy to alleviate symptoms.
Installed at three of Melbourne’s busiest stations, the panels will capture people waiting for public transport or walking by via motion detectors.  They will then be asked by ‘Anne’ (a Parkinson’s sufferer who is featured on the panels) if they’d like to dance.  Once people move in front of the screen, Anne will begin to dance.  After a short time, she thanks the passer-by and information about La Trobe’s research appears on-screen.
“The use of motion activated technology in public places is an exciting way to communicate the importance of our research work, and how it is benefiting individuals in a very personal way,” said La Trobe University’s director, market development Matt Boyd.
The idea and creative platform developed by J. Walter Thompson aims also to reflect La Trobe’s brand essence of ‘Bold thinking with a conscience’.
“La Trobe undertakes a raft of groundbreaking research to benefit the entire community.  Therefore it was important we developed a creative platform that would not only capture the public’s attention, but engage in a one-on-one experience to reinforce the amazing and very real effects its work and therapy can have,” explained J. Walter Thompson creative director Tim Holmes.
“We’re incredibly proud to be part of such an innovative project that not only engages the community, but benefits those suffering symptoms on a daily basis.
Danni Robinson, JCDecaux innovate operations manager, said: “It’s fantastic to see this unique motion sensor technology used in such a creative and beneficial way. OOH is a truly engaging medium and through this campaign, we show that actions really do speak louder than words.”
The campaign is live in Melbourne from 22 September – 5 October 2015 on the Southern Cross Station, Melbourne Central Station and Flinders Street Station concourses.
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Source: Littleblackbook

Posterscope and Blue 449 partner on Project Everyone to deliver the world’s largest ever digital Out-of-Home campaign

Project Everyone ─ the brainchild of filmmaker and comic relief founder Richard Curtis ─ launched on September 26 2015 with the aim of sharing the UN’s Sustainable Development Goals (a series of ambitious targets to put an end to extreme poverty and tackle climate change for everyone by 2030), with seven billion people over seven days across an extensive range of platforms including digital OOH screens.
Out-of-Home communications agency Posterscope and media agency Blue 449 joined forces with their media partners across the globe to deliver the world’s largest ever digital OOH campaign in order to raise awareness of the initiative. Over 125 media partners came on board enabling the ad to be shown on over 146,000 screens in 450 cities, around 28 different countries, in busy central locations including Piccadilly Circus in London, Swanston Street in Melbourne, Bukit Bintang in Kuala Lumpur, Shibuya Crossing and Shinjuku Kabuki-cho in Tokyo and Times Square in New York.
Richard Curtis, founder of Project Everyone, said “The best chance of the UN’s global goals being met is if everyone is aware of them, and that’s where Project Everyone comes in, along with the support of its many partners. I have been overwhelmed by the response of brands, consumers and institutions alike to this initiative. Posterscope and Blue 449 have been instrumental with getting out of home media owners on board to help us get our messages across, to really raise public awareness of the issue at hand. With their help, we have secured sites in the busiest areas of key cities around the world to visualise the global goals and what Project Everyone stands for.”
Annie Rickard, Global CEO of Posterscope, said, “It is a great opportunity to be involved in an initiative like Project Everyone. We are delighted to be able to capitalise on our media network and connections to help raise awareness around the issues at hand and hopefully, slowly but surely, change the way we live and the world we live in.”
Phil Georgiadis, Chairman at Blue 449, said, ”There is no better an opportunity than Project Everyone to demonstrate the power of open source collaboration. Posterscope has secured through their media owner partners an extraordinary level of exposure for the Global Goals and in the process reminded us all of the broadcast impact of the Outdoor Medium”
 
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Birmingham Airport makes £200,000 digital media investment

Advertisers at Birmingham Airport can now benefit from state-of-the-art premium displays following a major investment in digital media.
The high-impact displays were installed at key locations within the passenger terminals by digital communications expert ADXBA on behalf of Peel Advertising, which sells advertising at the UK’s seventh busiest airport. The digital media opportunities are mostly free-standing, although a number have been mounted on pillars within the international departure lounges and arrival areas.
The investment is already paying dividends, with brands including O2, EE and FedEx among the first to capitalize on the new premium opportunities.
Birmingham Airport caters for over 10 million passengers a year. Following a £40m runway extension, aircraft can now fly non-stop to the US west coast, South Africa and the Far East.
Matthew Carroll, Business Development and Operations Director at Peel Advertising, said: “This has been our first venture into digital media at Birmingham Airport. We worked closely with the airport and ADXBA to identify the best locations within the terminal buildings, and the new digital displays are fantastic with superb quality and screen definition. It’s a huge improvement on the existing digital range,  and gives our clients the opportunity to move to a premium product at a premium location within the airport. We will continue to invest in the advertising infrastructure at Birmingham Airport following the great success we have had so far.”
Richard Gill, Head of Commercial at Birmingham Airport, said: “Birmingham Airport is continually evolving its passenger experience and looking for new ways for brands to engage with our visitors. We are pleased to bring our advertising sites right up to date.”
Jim Kerr, Managing Director at ADXBA, said: “We have worked in partnership with Peel Advertising from the start, examining passenger profiles and helping them identify the best locations where screens will offer the best return on investment. This is a significant upgrade from the static media that was previously in place. Digital networks enable live content and dynamic data feeds that are tailored to the type of passenger and time of day. We actively monitor and maintain the screens and content, which gives the airport peace of mind and leaves Peel to do what they do best – selling the space.”
Last year, ADXBA installed state-of-the-art screens into Gatwick and Stansted Airports in one of the largest investments in advertising in UK airports this decade. This involved the latest high-spec screen formats and gave advertisers the opportunity to “dominate” the airport environments.
 
Via: Outdoor Media Centre

Heineken brings Rugby stars to digital OOH

Heineken, one of the worldwide partners of the Rugby World Cup, is using Motion@Waterloo in its multi-platform OOH campaign. The creative features clips from the TV spot featuring famous Rugby players Jonah Lomu and John Smit.
The campaign was planned and booked by Starcom MediaVest Group and Posterscope.

Going underground – what can the Tube tell us about the future of advertising? By Glen Wilson, MD, Posterscope

For all the grumbling about the crowds, prices, temperatures, delays and the occasional crippling strike, Londoners have it pretty good with their public transport system. The services mostly run on time, are relatively reasonably priced and are certainly the easiest way to get around the city. The systems also run on a non-profit basis – all the revenues TfL produces are funnelled back into the network to improve the quality of service.
One of the most universal experiences of public transport in London is our exposure to advertising. TfL controls some of the most valuable and influential advertising inventory OOH networks in the world. Combined with the London Bus Shelter contract, the London Underground OOH contract represents 15 to 20 per cent of the UK’s total OOH market, collectively worth in excess of £1bn over the duration of the contracts. The London Underground contract is one of the biggest of its kind in the world, and demonstrates not only the power TfL holds, but also a dynamic unique to the OOH sector.
TfL is a landlord, which means that media owners must bid for the right to buy and sell ads on the network. The pitch process for the London Underground OOH contract recently opened, while the London bus shelter OOH contract has recently been awarded to JCDecaux, a change from the incumbent media owner, Clear Channel’s Adshel, for the first time in 30 years.
This relationship, in which media owners must rely heavily on winning contracts from third party landlords, is unique in the media industry to the OOH sector. The major contracts held by TfL are just the tip of the iceberg. There are roughly 7,000 individual contracts in the UK. These include local authorities controlling media space around public spaces, private companies with extensive inventory networks and individuals that happen to have a billboard on the side of their home.
However, in spite of its importance to the OOH sector, the pitch process for third party contracts isn’t nearly as well understood as that of media and advertising pitches. Huge amounts of work go into each and every contract tender, as media owners constantly seek to demonstrate to landlords the value of their expertise, the quality of their technology and the way in which they will maximise revenue for the landlord. This gives every tender the capacity to change the landscape of the OOH industry, both today and in the years to come, particularly when the tenders are for major inventory networks like TfL’s London bus shelter contract, or indeed London Underground.
The influence held by OOH landlords will be buoyed by the strong performance of the OOH industry recently. Even as traditional media’s audiences are declining, OOH audiences continue to grow. In February this year, Outdoor Media Centre found the industry had enjoyed its strongest quarter ever, with revenues close to £300m. In addition, the sector grew by 6.1 per cent in the fourth quarter of 2014 to reach annual revenue in excess of £1 billion, with overall annual growth at three per cent. OOH also saw higher growth than any other media industry over the last decade, apart, of course, from online.
With performance so strong, bidders for the London Underground contract will need to demonstrate how the industry’s success and growth will be reflected in the revenues they can generate. TfL is a public body, and as such has a responsibility to the taxpayer. It currently has a goal to generate £3.4bn in non-fare revenue. This means that the more revenue contract bidders can promise TfL the more likely they’ll achieve their goal, and thus the more likely the pitch will be successful. However, there are challenges media owners must address when credibly promising an increase in revenue. TfL’s inventory is predominantly fixed – the number of buses, bus shelters, tube trains and stations isn’t going to change too much over the next decade, so the amount of advertising inventory is unlikely to increase either.
Instead, successful bidders will need to focus on the one factor that can change, and provide real additional value – innovation. Delivering new exciting, high value, easily accessible, dynamic advertising propositions that resonate with the public is how media owners will be able to differentiate their offering. Innovation gives bidders a credible way to demonstrate how greater value can be driven through OOH media, by enabling campaigns to be more impactful, more engaging and more relevant to consumers.
That the purity of media innovation alone can be so influential to a successful OOH contract pitch shows how unique the dynamic of third party contracts is for the industry. However, it also forces the industry to consistently put its neck out, to push boundaries and break new ground. It transforms those of us working in the sector into pioneers, a cultural necessity that has a fantastic impact for advertisers.

Primesight leads a panel discussion on the subject of DOOH in Manchester

Creativity, Context, and Data were the main themes discussed during Primesight’s media seminar on the 8th September 2015 @ MediaCityUK accompanied by a set of challenges to be overcome by the industry
In a first regional thought leadership event on the subject of digital out-of-home, Primesight led a breakfast seminar that saw the industry experts Sam Grant (Regional Director, Posterscope), Jeremy Taylor (Strategy Director, Grand Visual), Paul Sambrook (Business Development & Marketing Director, Rapport) and Mungo Knott (Marketing & Insight Director, Primesight) take part in a discussion about DOOH’s rich past, challenging present and bright future.
Rubbi Bhogal-Wood (Business Director, Primesight) introduced the seminar by giving an overview on digital outdoor growth over the past 10 years, where forecasts for its growth are being beaten every year. Currently, at 27% of all OOH revenue, digital outdoor isn’t showing any signs of slowing down. In fact, latest forecasts mention it reaching a 50% share of OOH expenditure by 2019. With 170 different formats in the UK and £75 million of investment by all outdoor media owners, half of out-of-home’s expenditure may even be reached earlier than in four years from now.
The challenges that are part of the current transformation of the OOH space were debated by the panel, which was moderated by Graeme Hughes (Regional Director, Primesight).
The panel was in agreement that the quality of creative has improved in the past years and has led to many examples of excellent campaigns that have taught media professionals valuable lessons. The examples mentioned included those of Pimm’s Live, Google’s Brand Love, Netflix’s GIF and 20th Century Fox’s Rocky Balboa digital outdoor executions. Mungo Knott talked about scalability still being a challenge despite the increasing digital panel portfolio throughout the UK.
Questions from the audience pointed towards the conclusion that additional research would be valuable to provide additional credentials behind digital expenditure to advertisers. Others pointed to the fact that digital OOH presents a lot of flexibility which pushes the boundaries of traditional trading and requires a change to the trading model to reflect impressions and audiences as opposed to the current uniform pricing per panel format.
The panel also reminded the audience that ‘a classic poster is perfect when there is nothing to take away from it’. The golden rules for digital out of home creative, however, are still being explored – with the opportunities for execution being expanded on an ongoing basis due to the creativity and curiosity at creative agencies, advertising agencies, and media owners alike.
Despite the wide array of tech available to enhance campaigns, panellists pointed out that within the core of a great campaign continues to be the big idea. All experts agreed that a better understanding on the subject of digital outdoor capabilities is vital across all players in the industry. Of course, the boundaries of these capabilities are continuously changing as the industry introduces the use of various third party data and partners with tech business to generate clever and engaging digital outdoor executions.
As a final note, having been asked to point out the one area that the industry has to concentrate on, the panellists covered the importance of adopting a uniform trading model across all media owners (Sam Grant), the clever use of context (Jeremy Taylor), audience pricing and improved campaign reporting to clients (Mungo Knott) and the need for enhanced scheduling and automation within outdoor (Paul Sambrook).
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Forrest announce the addition of 3 new screens to its digital inventory.

As the sole provider of Giant Super Premium digital roadside screens in Scotland, Forrest has announced the development of 3 new sites to add to its portfolio.
The new locations entitled; CityScreen Glasgow Quayside, CityScreen Glasgow North and CityScreen Clydeside Expressway will open up vital routes within Glasgow and will deliver even greater exposure for advertisers.
The new screens, which launch in November,  have been strategically planned and developed as locations which will enhance Forrest’s existing portfolio and bring the Companies’ total Giant Digital offering up to 12 screens, 6 of which will be in Glasgow, the largest city in Scotland and the third largest in the United Kingdom (after London and Birmingham), with a total urban population of 1.75 million.
Forrest MD, Marc Keenan said:
Our unique local knowledge has, once again, allowed us to plan and develop these important main arterial routes in our home city.
50% of our screens now have consent to play full motion, which gives us a unique position in the market. With digital OOH showing such high levels of demand, we believe that full motion offers advertisers more creative scope to promote their brands.
We will be launching the 3 new screens across November and we are thrilled to be strengthening our position as the premium digital provider in the northern half of the UK.

Ocean announces judges for digital out-of-home competition

Rob Potts, an executive creative director at Saatchi & Saatchi, and Ross Neil, an executive creative director at WCRS, are among the creative and media execs on the judging panel for Ocean’s Art of Outdoor competition.
Presented in partnership with Campaign, the awards will honour the best creative work in digital out of home advertising, including full motion, subtle motion and interactive.
Other judges include: Emma de la Fosse, a chief creative officer EMEA, OgilvyOne; Matt Levers, a creative director at VCCP; Tom George, the chairman UK and Northern Europe at MEC; and the Campaign global editor-in-chief, Claire Beale.
James Copley, a managing partner at Talon; Stuart Taylor, the UK chief executive at Kinetic; Glen Wilson, the UK managing director of Posterscope; Chris Marjoram, the managing director of Rapport; Adrian Cotterill, the editor-in-chief, Daily DOOH; and the Ocean chief executive, Tim Bleakley, complete the panel.
Entrants will have the chance to win a share of a £450,000 prize pot and to showcase their work on Ocean’s premium digital sites across the UK.
This is the sixth year of the competition, which is free to enter. There are two categories for the best interactive and creative work.
The deadline for submissions is 28 August, and winners will be announced at an industry summit and awards held at the Imax in London on 8 October.
Richard Malton, the marketing director of Ocean, said: “Ocean’s competition has educated and inspired our industry and helped deliver the success story of digital out of home so far. It has always been our ethos to stimulate understanding and exploitation of the medium to the best possible effect.
“I am sure the 2015 competition will surprise and inspire in equal measure.”
For details on how to enter, visit the Ocean website.
Via: CampaignLive
 
 

The Salford Arch…coming soon to Manchester

As part of the newly formed The Gateways that launches soon, The Salford Arch – an iconic digital superstructure that stretches across one of Manchester’s busiest arterial routes – will be going live this September.
Showcasing its strong presence in Manchester, JCDecaux has created a CGI video to demonstrate how The Salford Arch will provide a powerful addition to its unprecedented Digital Roadside portfolio in the city. The film takes you on a trip along Manchester’s key arterial roads, bringing to life iconic The Trafford ArchThe Trafford Tower and The Salford Arch.
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Via: JCDecaux

Ocean launches digital out of home campaign to help London’s Air Ambulance

Ocean is launching a £250,000 digital out of home campaign across its large format London screens to help London’s Air Ambulance, the charity that delivers an advanced trauma team to critically injured people in London, raise funds for an urgently needed second emergency medical helicopter.
Adverts asking Londoners to support the charity, which has treated more than 33,000 critically injured people since its inception, will appear across Ocean’s premium network of Digital locations including Canary Wharf, Westfield London, Hammersmith and Ocean’s Eastern Lights’ screen.
London’s Air Ambulance currently operates just one helicopter to cover the 10 million people that live, work and visit London daily.  In 2015 the London’s Air Ambulance helicopter has been offline for maintenance for an equivalent of 50 days.  The charity’s ‘Your London, Your Helicopter’ campaign is aiming to raise £6 million, of which £2.1 million is still needed, to acquire and sustain a second helicopter and to extend its daylight flying hours for five years.
London’s Air Ambulance is Ocean’s official charity of choice. The company has worked with the charity for the past three years and this new campaign is the first in a series planned by Ocean and London’s Air Ambulance for 2015 under the I (helicopter) LDN.
Ocean head of marketing Helen Beacham said: “Our goal is to ask generous Londoners to help reach the £6 million target needed by London’s Air Ambulance to acquire and sustain a second helicopter. Hundreds of Londoners owe their lives to this life saving charity. It’s an incredibly worthy cause which will benefit people for years to come. We urge the wider media and advertising industries, and the people of London, to get behind this vital service and give what they can.  Please text HELICOPTER to 70800 to donate £5 or visit yourhelicopter.london to donate online.”
Specific data which reflects how many patients the London’s Air Ambulance advanced trauma team has treated in each Borough will run across Ocean sites, using that local relevance to help drive awareness and donations.
London’s Air Ambulance was formed in 1989 following a report by The Royal College of Surgeons that said too many people were dying on the streets unnecessarily.  The charity has remained at the forefront of medical innovation, delivering pioneering procedures, including roadside open-heart surgery, anaesthesia and blood transfusions that have been adopted throughout the world.
Charles Newitt, Chief Operating Officer at London’s Air Ambulance said: “We treat five critically injured people a day yet many in London don’t know that we are a charity, not to mention the need for a second emergency medical helicopter. We are very grateful to Ocean Outdoor for helping us get the ‘Your London, Your Helicopter’ message to people across London.”