Cadbury’s Eggperiential Hunt hits Dublin

Cadbury’s Eggperiential Hunt hits Dundrum
With the hunt for the white crème eggs really heating up and everyone scrambling to find one, Cadbury surprised the unsuspecting shoppers of Dundrum, Dublin with the opportunity to find the elusive eggs.
On Saturday 3rd February, four hunts took place over the course of the day with each hunt resulting in one lucky hunter winning €1,000.
A total domination of the dPod located outside the Schuh store in Dundrum Town Centre was used to build awareness of the hunt, indicate the start times and more importantly provide a map of the centre with the location of the white creme egg being revealed. Promo staff were on hand at the dPod and the 4 hidden locations where the much sought after white Crème eggs were located.
The activation married the Mall Digital OOH format and experiential activity as the dPod acted as the facilitator and focus of the hunt. The activation was a great success with hunters gathering around the dPod for the eggs’ locations and taking off as soon as they were revealed.
The innovation team at PML Group’s (Posterscope’s Irish office) were hugely excited to be involved in creating the egg hunt in partnership with Carat and Mondeléz while our in-house creative team, Design +, animated the digital creative for the hunt.
Their iQ research intelligence shows that 68% of respondents agree that experiential activations allows a brand to create a real-life connection with its consumers.

Charlotte Tilbury continues OOH innovation with a dynamic digital campaign featuring user-generated content #GlowMo

Charlotte Tilbury Beauty has launched a dynamic, digital OOH campaign featuring user-generated content and a weather-triggered activation to launch their new #GLOWMO collection.
Devised by out-of-home (OOH) and location marketing specialist Posterscope and media agency Cream UK, delivered through the Liveposter platform, the campaign comprises two creative executions highlighting the performance of the #GLOWMO products, one triggered by weather conditions (high temperatures, low temperatures and rain), and the other featuring a real-time stream of beauty shots from people showing off their use of the Charlotte Tilbury make-up range.
The campaign is appearing nationally on a wide range of digital out-of-home screens including Ocean’s large digital formats, LCDs and mall digital six screens on weekends throughout May, June and July.
Neil Cunningham, MD of Cream UK, said: “As one of the first ever beauty brands to do dynamic outdoor Charlotte Tilbury Beauty is keen to continue innovating in the category with the #GLOWMO campaign. Achieving a glow moment is possible whatever the weather, so in order to inspire our perfect glow consumer to visit nearby stores and join the ongoing social conversation we launched this dynamic creative in hyper-relevant spaces explicitly designed to adapt to weather and temperature.”
Dan Carey, Business Director at Posterscope, added: “By linking weather data directly to the benefits of the #GLOWMO product range, we have been able to create a smart, engaging DOOH campaign for Charlotte Tilbury.  In addition, displaying real-time user-generated content on screens will increase engagement further by bringing endorsement directly from users, which should help to drive both consideration and purchase among existing and potential customers.”

Ad Week Europe 2017: Getting back to what works

By Brad Gilbert, Account Director at Posterscope
Initially I struggled to write-up ‘what I found interesting’ at AdWeek. My initial reaction was there wasn’t a great deal of new things, nothing I hadn’t read about elsewhere from trade publishers, blog posts etc. I was disappointed and disillusioned. But then I realised there was no need to be upset; I didn’t need new things. My neophilia relaxed.
Hearing experienced heads, discuss tried and tested principles and how it relates to now was what I enjoyed and needed. This was no more apparent than in the Marketing Society’s Uncomfortable Conversation. Hearing Dave Trott is always a delight and reminded me that what he’s done in the past and continues to do now comes down to simple thinking we can all emulate. Marketing and advertising is not rocket science and it shouldn’t be anywhere near as complicated as we sometimes make it; it should however, make the complicated simple. Just read a couple of his books and writing and you’ll get it.
Hearing from Zaid Al-Qassab (BT) too lifted me up. He reiterated his stance on the current issue in marketing of two tribes (customer centric people that don’t know how to connect in the modern world alongside click harvesters who don’t understand customers) and how solving this divide is vital to marketing success. This wasn’t a fancy new concept but a point that persists and is important to act upon.
I like what these people have to say! They’re not talking about ‘revolutions’ that make the headlines but are instead focusing on simple steps to take to make marketing work (better). Not fluffy chat around the latest ‘ecosystem’ but persistent questions we need to ask like ‘what clients are paying for, what they’re getting and if it will work’.
I have come away from AdWeek more confident than ever of taking on a crap brief and calling it just that, in taking on those that snivel at the ‘traditional’ medium of OOH and telling them ‘hey, it still works!’ New things can be great but not all innovations work, and if they do they may not work in the same way for each client or campaign.
I found fitting AdWeek in around pitches and the day to day was more difficult than ever this year but perhaps more important than ever to get some much needed perspective on what actually needs to be done. I am breathing a sigh of relief I won’t have to research rocket-science to do good work.

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.

The future of OOH will be defined by innovation by Glen Wilson Posterscope UK

The out-of-home (OOH) advertising industry is at an exciting point in its evolution.
Decisions being made at the moment could have a huge impact on both the long-term and immediate future of the industry.
Transport for London (TfL) is preparing to announce the winner of the London bus shelter OOH contract, and has just kicked off the pitch process for one of the world’s biggest OOH contracts, London Underground.
Each of these contracts will last for a number of years, meaning the winners will control the future of two of the most high value networks of OOH inventory in the UK.
Essentially, TfL’s position as a landlord with an enormous amount of media space inventory means that it is very influential in terms of the direction of the industry.
Unique dynamic for OOH
OOH is the only media industry whose existence is predicated almost entirely on third party landlord contracts. In addition to massive contracts like those held by TfL for both the London Bus Shelter network and the Underground network, there are approximately 7,000 individual contracts in the UK.
These include a broad range of local authorities, public bodies and individuals that happen to have a billboard on the side of their home.
While client media and advertising pitches are familiar and well-understood processes in the communications industry, what’s not so apparent is how important the dynamic of the third party contract is for the OOH sector.
An enormous amount of work goes into each tender, as media owners demonstrate to landlords the sort of future-thinking that keeps them at the forefront of their industry. This means that each tender can be a huge driver of change in what the medium looks like today and how it will look a few years from now.
Bright future for OOH
Encouragingly, even if the exact shape of the long-term future is somewhat unclear, its prospects are not. OOH is on the rise here in the UK. While other traditional media’s audiences are steadily declining, OOH audiences continue to grow.
Outdoor Media Centre reported in February this year that the industry had enjoyed its strongest quarter ever, with revenues close to £300m for the first time ever. 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. The medium has also seen higher growth than any other, apart from online, over the past 10 years.
Now, the challenge for TfL’s numerous bidders is in how this industry success can be maintained and superseded for its extensive network of inventory. Both the London Bus Shelter and Underground contracts combined make up approximately 15 per cent to 20 per cent of the total market, collectively worth in excess of £1bn over the duration of the contracts.
However, the challenge will be in extracting as much value as possible from TfL’s existing inventory.
Innovation is key for success
As a public body, TfL has a responsibility to the taxpayer, and currently has a goal to generate £3.4bn in non-fare revenue, so the more OOH contract bidders can help TfL meet this goal the more likely their pitch will be successful. However, this comes with its own difficulties.
TfL’s inventory is mostly fixed – the number of buses, bus shelters, tube trains and stations is unlikely to drastically fluctuate over the next few years, meaning the amount of available advertising space probably won’t change all that much either.
Bidders will need to focus on the one factor that can change, and drive real additional value – innovation. Delivering new, exciting, high value, easily accessible, dynamic advertising propositions that resonate with the public will be the battleground.
Innovation in the medium enables all involved to deliver the best campaigns possible. It’s a unique dynamic in the media industry where OOH businesses will live or die by the purity of media innovation alone, which can only be good news for advertisers.
Glen Wilson is MD at Posterscope

This article was first published on

What’s Next for Out of Home?

Roman Greze, MD of Limited Space, discusses what he thinks is next for the Out-of-Home industry.
Out of home (OOH) advertising has made unparalleled leaps in capability and greater creative thinking, it has the power to captivate target consumers to a higher degree. Innovation and technology have raised the stakes in how advertisers deploy OOH to accelerate and amplify online, social and mobile advertising campaigns by allowing consumers to interact and transact with brands.
The potential of OOH lies in its ubiquity to reach consumers where other media don’t go. When layered on top with screen technology like interactive touch screens, near field communications (NFC), and a host of other advanced technologies like geo-targeting and augmented reality, advertisers can interact, to create genuine, two-way brand relationships.
Outdoor drives a better online search uplift than TV in some sectors, showing a 5.5 per cent increase in travel search terms versus 3.5 per cent for TV and a 3 per cent uplift for insurance keywords compared with TV’s 0.6 per cent, claims The Outdoor Media Centre.
Digital and NFC-enabled sites, or those offering free wifi, have made OOH much more responsive and in real-time. The use of interactive displays has allowed OOH campaigns to tie into digital and online campaigns well. Compared to traditional OOH campaigns, using interactive displays on LED screens and other formats allow companies to increase their chance of conversions by promoting more instant interactions with the customer. LED technology is also expected to play a big part in this shift, as it’s great for viewing from long distances; it also allows for interactive capability and will be implemented across different locations from shopping malls to highway billboards.
Twitter is an obvious choice for putting social engagement at the centre of interactivity. During the curling final at the Sochi Winter Olympics, Cadbury Curly Wurly ran a tactical digital campaign with the catchline: “The difference between a curling stone and a Curly Wurly: you don’t let go of a Curly Wurly.” This was broadcast in real time so that drivers could see the image change while listening to the curling final on their car radios.
Weather is a popular theme that carries through some of the most successful campaigns. Land Rover recently launched their #hibernot campaign using digital posters to engage consumers by encouraging people to get out and enjoy all the elements of a British winter. The brand used the OOH element to provide a ‘reward’ for those engaging with the campaign by using their images on the digital outdoor posters. Ford recently ran a ‘thermal geo-targeting’ campaign where the image that appears on screens changes with the temperature and with rain, sleet or snow.
So what’s next for OOH? Apart from interaction and digital displays there are many strategies being applied online that will soon be helping OOH advertising innovate once again. For example, social media platforms such as Foursquare have already begun letting customers check into displays and receive corresponding benefits. This allows for different deals to be given out at different locations, which relates back to targeting. The use of interactive screens will also allow OOH campaigns to seed further into digital and online campaigns as well. Imagine social media contests and check-ins, being combined with displays in places like shopping centres where brands can directly boost spend. This cross-platform marketing would allow for companies to experience a level of interaction with customers and deliver potential for conversion that’s been previously unattainable for a long time.
The quality of technology has helped boost the capability of brands to target consumers through engaging their senses. Digital screen sites, for instance, deliver cinema-quality digital content, a static full screen surround artwork wrap and full zonal sound audio to fully engage with shoppers through multiple stimuli. Ensuring that the location is on the shoppers’ journey is important here too because they’ll already be in the right frame of mind and be more receptive to entertainment. When a watch brand wants to target shoppers, what better place to elicit engagement than with screens in a shopping mall minutes away from an H.M.Samuel or Goldsmiths?
There is a magical gap between what people expect from OOH and what they experience. Consumers now expect a dynamic experience from their smart phones and televisions but when they see an OOH board they expect the same fixed reality. This is where the OOH market is beginning to change. The landscape is the perfect delivery medium for more bespoke and creative experiences and can fully embrace these new technologies in an age where the value of targeting consumers when their senses are open to movements in ads cannot be underestimated.
Via: The Wall Blog

Exterion Wins Innovations Challenge Award

Exterion Media took home first place at the annual AdConnection Innovations Challenge. The event gave a shortlisted selection of media owners the opportunity to pitch their latest innovations to the whole media agency, from AdConnection’s CEO to their most recent graduates.
Ten media owners were selected to compete, from Sky and The Telegraph, to app start-up companies, and each were given five minutes to present their ideas. The Exterion Media team chose to focus on the online dating company Lovestruck and presented Lovin’ London, an idea inspired by the changes in the dating market since the launch of Tinder, the dating mobile app.
The Lovin’ London idea was to show user-generated content of Lovestruck members on London Underground LCDs, letting passers-by know that they were signed up to Lovestruck and looking for a date in London that weekend. The challenge began ahead of time, with the announcement that extra points would be given for a social media presence in the run up to the day, so everyone from the Outdoor Media Centre and Jason Cotterrell, to family and friends tweeted their support.
Katie Ingram and George Rossides, who represented Exterion Media, commented:
‘It was an amazing afternoon at AdConnection, and we were faced with a lot of very tough competition. We’re thrilled to come away with the trophy on the night, and that the agency is already talking to us about how we can best work the concept up to take to the client.’

Outdoor Ads Latch Onto Their Surroundings Like Leeches

Alternative, a fashion lifestyle brand best known for comfort, simplicity and a commitment to sustainability, recently announced the opening of its first East Coast store in New York. The company has partnered with Andrew Lyon, a member of the Brooklyn-based art collective The Functionality, to create an installation that ensnares passersby and encourage them to investigate further.
The bespoke sculpture on the front of the store is meant to represent Alternative’s fabric first ethos. “Our New York city customer is globally connected and locally engaged,” said President and Chief Merchandising Officer Erik Joule. “Given such, we have designed our SoHo space to serve as a platform for joining culture, community, and commerce through simply designed and innovative fashion basics, offered alongside a curated arrangement of brands and artists that share our values.”
Via: psfk

In Sweden, Agency Creates 'Dragonglass Dagger' to Promote 'Game of Thrones'

The Swedish agency JMW Kommunikation has come up with a fun way to drum up publicity for the upcoming season of Game Of Thrones.
Comparing the cold climate of Sweden to the northern areas of the Westeros, the agency installed a dagger made of dragonglass—in case the White Walkers from the TV series happened to pass by.
For the uninitiated, White Walkers are a mythological race of giants that roam the northern regions of the Westeros. They can be killed by weapons made of dragonglass.
This creative installation probably brightened up the cold and dreary days the country experiences during winter—it certainly fires up our imagination and brings the world of the Westeros to life.
Via: DesignTaxi

Lingerie Brand’s Smoking Hot Ad Literally Sets Billboard On Fire

To show that their lingerie is too hot to handle, German lingerie company Blush set a billboard on fire, literally.
Created by Berlin-based ad agency Glow to advertise Blush’s winter sale, the billboard comprised of a 20-meter-long fuse in the shape of a woman and the brand’s logo made from 2,543 matchsticks, with the words ‘hot sale’ below it.
While the actual burning was over relatively quickly, it was a creative way of promoting the brand’s lingerie and no doubt attracted the attention of passersby. 

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Via: Design Taxi