Posterscope Belgium, post an annual overview guide to the OOH marketplace.
This is their summary for 2018 covering the Belgium and Luxembourg regions.
For more detail and guidance on their perspective, please click HERE ….
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.
Whether driving down the interstate, waiting at a train station, or visiting city centers like Times Square, consumers across the country were inspired by out of home (OOH) media featuring images from National Geographic’s Photo Ark – a bold, multi-year project aimed at saving animals at risk of extinction.
Read More ….
President Trump’s comments referring to certain nations, including Haiti, as “shitholes” provoked widespread anger and outrage. But one agency creative in the Caribbean nation is working on a more lighthearted response—raising money to run out-of-home and print ads in Washington, D.C., that aim to use Trump’s words against him to boost the image of Haiti.
Fabien Dodard, a Haitian native who has worked at U.S. agencies Victors & Spoils, CP+B and Colle McVoy, and now a creative director at Parkour Studio, has started a GoFundMe campaign to raise cash to run “shithole” themed ads for Haiti in the American capital. He has set a $40,000 goal, and raised a little over $2,000 so far.
The more money he raises, the more ads he’ll be able to run. The creative has already been produced, with headlines like “A majestic sh**hole awaits,” “You bring the sunscreen. We bring the sh**hole” and “Our sh**hole beaches go on for days.” There is also a letter to Trump that could run in The New York Times.
Here are mockups of how the ads would look:
The campaign is not connected to the government of Haiti or its tourism agency.
While the official fundraising goal is $40,000, Dodard would happily take more. On the GoFundMe page, he offers this breakdown of how the funds would be used at certain levels:
• With $3,000, we can have one billboard on the insterstate.
• With $15,000, we can have one billboard up downtown.
• With $20,000, we’ll have one billboard + some transit ads
• With $35,000, we’ll have 2 billboards + some transit ads
• With $40,000, we’ll have all of the above + some ads in a D.C. mall
• With $200,000, we’ll have all of the above + a half page insertion of our letter in the New York Times. (yes a shithole half page insertion in the NYT is very expensive…)
• With $500,000+, we’ll have all of the above and will invest the rest of the money in tourism projects and infrastructure.
Via: AdWeek
With a strong emphasis on smart cities, there were clear implications for the out-of-home sector at this year’s Consumer Electronics Show, writes Ahmad Sayar, VP of Strategy and Innovation at Posterscope US.
Last year marked the 50th anniversary of CES, the largest global gathering of technology and innovation, with over 4,000 exhibitors spanning across 2.6 million square feet of exhibition space. Over 180,000 industry professionals attended in 2017, 58,000 from outside the US, making it truly a record-breaking event.
In simpler terms, CES is unlike any other trade show. Since its inaugural year in 1967, when the show took place in New York City versus Las Vegas, it has set the bar for excellence in technology and innovation, and since then, has grown exponentially.
So, to say that CES 2018 had some big shoes to fill would be an understatement. How would CES 2018 kick off the next 50 years in breakthrough technologies and next-generation innovations? Despite the torrential downpour (first rain in Las Vegas in 116 days) and a two-hour power blackout the following day, CES 2018 was an absolute hit.
With a strong emphasis on Smart Cities, there were clear implications for the Out-of-Home (OOH) industry and multiple brands gave us a glimpse of life in the future.
Transportation, Smarter Cities and OOH
The way we get around is going to drastically change in the next decade. Some of the world’s largest companies are investing heavily in changing how people travel. Virgin is projecting to have three Hyperloop, electric propulsion, high speed, train-like transportation systems in service by 2021 and is continuing to expand its efforts throughout the US and Middle East. Mercedes-Benz unveiled the Smart Vision EQ which completely embodies the idea of autonomous. The vehicle lacks a steering wheel and pedals and provides the driver with a fully “hands-off” experience.
But what caught my eye is what Ford is doing with its new mobility services network. Ford has partnered up with the likes of Domino’s, Lyft and Postmates to create a fully autonomous delivery and rideshare economy.
The partnership is powered by its mobility services platform and can provide users with a constant flow of data that includes efficient routes and seamless transitions between vehicles, public transportation and payment nodes, changing the way we’ll move for the better.
To improve the everyday journey, and in collaboration with Qualcomm, Ford’s Cellular Vehicle to Everything (C-V2X) technology has the potential to help cities around the world create safer, more capable infrastructure and connect vehicles to a larger communications system. It is these such mobility networks that are the key component in the growth and sustainability of smart cities.
As a result, cities can reclaim space that was once solely used for cars and transform the street into a space for people that offers a place to stop, consume and connect. This presents a prime opportunity for the OOH industry to simultaneously expand its efforts and continue to play a key role in the growth of smart cities.
Imagine city centres, void of any vehicles, focused on free moving people and connected through dynamic OOH inventory, which leverages real-time data collected from sensors built into static structures, connected objects or more complex systems like Ford’s C-V2X vision.
The underlying commodity for the OOH industry is the sheer amount of data that will be available.
It is the ability to leverage real-world activities, happening in both a physical and digital space, in real-time, to create a memorable consumer connection. With so much free-flowing data available, the idea of following the consumer journey has never been more real. But the value proposition is not limited to just hyper-targeted messaging; smart cities will influence how OOH media is planned and bought. The goal is to minimise ad waste and maximise effectiveness by leveraging data to pinpoint how your target audience moves throughout the day and reach them at the right time and place.
As leaders and politicians are urged to innovate, improve the quality of life and increase profitability, cities around the world are quickly adopting the smart city initiative. As Ford showcased, there are clear transportation and infrastructure benefits, and continued investments from both the public and private sectors are being made to drive this movement forward.
New York City has seen this first hand with multiple street closures, converted to pedestrian areas, and supplemented with multi-functioning and connected OOH inventory. It is estimated that around three million people are moving to cities every week and approximately 54% of people worldwide now live in cities, up from 30% in 1950. As cities continue to grow and innovate, brands will need to compete even harder to grab the attention of their target audience, and it will be up to the OOH industry to help make that real-world and custom connection possible.
Ahmad Sayar is VP, Strategy & Innovation, Posterscope (US)
Via: MediaTel Newsline
Out-of-home is reaching its ‘big bang’ moment as technology, data and infrastructure are now seamlessly coming together, writes Glen Wilson, the managing director at Posterscope.
Les Binet and Peter Field’s recent IPA study, Marketing Effectiveness in the Digital Era, again draws attention to the importance of reach and time spent with a medium as key drivers of effectiveness. The fact that out-of-home, in its entirety, continues to deliver more than 90% reach and three hours spent in its company every day, underlines its importance and resilience in a transforming media landscape.
Interestingly, the report also observes that, since the advent of digital OOH, effectiveness of the medium has nearly doubled. I believe this is just the start.
I think OOH is nearing its “big bang” moment, where data, technology and physical infrastructure genuinely and seamlessly connect to enable a new era of efficiency and effectiveness for advertisers. All of the key ingredients are in place so here’s why the medium will be bigger and better then ever.
OOH has been transformed by digitisation over the past few years and that aggressive digital focus will continue in 2018. Fifty per cent of OOH revenue will be digital, and digital alone will be able to reach 50% of the population.
A significant development will be the delivery of more scaled automated trading. We’ve seen lots of column inches and many promises but we’re starting to see the full delivery of automated booking across the industry, albeit at varied pace. For advertisers, the key benefit is speed.
OOH planning and buying has traditionally occurred months out from live dates with the exact sites selected, negotiated and transacted upfront. Now channel investment can be more flexible with some campaign parts confirmed days before the live date.
It can also enable upfront impression commitments but with agile deployment; automated guaranteed, in other words. This will provide a more compelling and competitive proposition to deliver more responsive and reactive broadcast reach.
This more frictionless connection across digital OOH products will see an increasing application of dynamic content and ad-serving to optimise creative delivery. Messaging that reflects more closely what audiences are thinking, feeling and doing at specific moments, in specific places.
Powered by more prolific, accessible and usable data, digital OOH will be used in more dynamic ways and deliver a growing array of benefits to advertisers.
Research has revealed that dynamic digital OOH used to serve more contextually relevant messages increases spontaneous advertising awareness by 18%. Furthermore, ad-serving relevant content by audience increases the effectiveness of a campaign by at least 15%.
Ultimately, where data-driven, location-based insights reveal the customer “moments that matter”, and where OOH is planned and activated around these, it works harder and delivers significant ROI improvement.
Media owners’ tireless and relentless pursuit of a better product will bring an incredible line-up of new offerings in 2018.
These will include the roll-out of Wi-Fi-enabled Inlink units, a reimagination of BT’s phone boxes, Clear Channel’s smart payphone project, JCDecaux’s continued screen investment, Exterion’s full-motion Underground cross-track screens and Ocean Outdoor’s recent launch of the biggest digital OOH screen in Western Europe, the Piccadilly Lights. All of which will support more convergence with other digital media, principally mobile, resulting in better media campaigns for the advertiser and better experiences for consumers.
Big strides in performance and effectiveness will come from the integration of feedback loops into the dynamic, digital ecosystem. Sales, stock levels or footfall will be used to calibrate, in real time, the weight, frequency and nature of messaging.
We’ve already seen pockets of activity across categories, such as British Airways’ flight sale campaign earlier this year where messaging changed depending on BA’s weekly “priority” routes and availability of specific destinations.
In particular, we’ll see the obvious symbiotic relationship between mobile and OOH become more of a reality. Accessibility of mobile location data, greater collaboration with location-based mobile media owners and the ability of OOH planning systems to seamlessly ingest and process this data, will enable more holistic, integrated and effective activation across both channels.
There is undeniable and enduring power and purity in a great idea, articulated with a striking image and pithy copy line – a classic poster. There is, perhaps, a perceived simplicity to this task that makes it a less alluring creative challenge in a world of one-to-one communication. The fact is, simple is hard and we must do more to acknowledge and celebrate this among the creative community.
Mass digitisation of OOH presents a new creative palette and we’ve seen only a fraction of what’s possible as the creative industry starts to embrace the new opportunity.
Via: Campaign Live
Spotify is wrapping up 2017 with its biggest marketing campaign of the year that builds upon last year’s “Thanks, 2016… it’s been weird”.
The brand once again puts a humorous twist on user data to open a window into pop culture. Featuring 70 artists including Ed Sheeran and Sam Smith, the ads will run in 18 markets and include straplines such as “2018 goals: Be as loving as the person who put 48 Ed Sheeran songs on their ‘I Love Gingers’ playlist”. The work was created in-house by Spotify’s brand and creative team.
Via: Campaign
Location-based marketing combines the best of online and offline, of narrowcast and broadcast, of the real world and the virtual world.
The use of location in targeting marketing communication is not a new phenomenon but, fuelled by the explosion of mobile devices and the data trails they leave, it has become a significantly more effective tool in recent years.
As a result, it has been forecast that as much as 43% of all adspend will be location targeted by 2019.
But understanding where an audience is and serving marketing messages relevant to that specific place only represents one facet of what a location-based strategy can provide to marketers.
In my view, there are two other components that are arguably more significant in terms of their potential to transform marketing effectiveness.
The first is the cross-over between the digital world and the physical world.
As access to the online world becomes increasingly dominated by mobile devices, location-based marketing provides a meeting of online and offline, of narrowcast and broadcast, of the real world and the virtual world.
Working together, mobile marketing and out-of-home provide powerful synergies.
Our research shows that mobile click-through rates increase by up to 15% when supported by OOH, and a major piece of industry research conducted last year demonstrated that better performing OOH campaigns create a 38% uplift in short-term brand action taken via mobiles, with 66% of all actions being direct to the brand itself.
The second is the ability to go beyond simply knowing where your audience is at a particular time to understanding where they have come from, where they are going and, crucially, what they are thinking, feeling and doing in that location.
This depth of context is gold dust in terms of ensuring that marketing has the highest possible relevance and timeliness, and it’s this deeper level of insight that perhaps explains why 75% of marketers consider location-based marketing a vital part of their future marketing strategy.
The traditional criteria of targeting the right people in the right medium is complemented by the right place, the right moment and the right state of mind.
Location-based marketing is most immediately associated with mobile marketing but the location-specific search, browsing, social media and app usage data derived from mobile devices can also revolutionise all other, location-based media channels and disciplines.
Probably the most significant of these is OOH. The rich and complex data now available means that OOH planning can be done to a level of sophistication only dreamt about a few years ago, and data-led, dynamic ad-serving technology like our own Liveposter platform can optimise digital OOH content in real time.
In a recent campaign for Microsoft, we saw a 62% increase in ad recall in the areas when location-specific, mobile behavioural data was used to optimise the content and uplifts of over 50% are regularly attainable.
But this opportunity for marketers isn’t in any way seen as intrusive or unwelcome by consumers. Quite the opposite. In a major survey conducted by Dentsu Aegis, the parent company of Posterscope, across nine countries, 80% of respondents chose ‘relevance to location’ as their top pick in terms of the content they wanted to see on digital OOH screens.
It’s clear to see that location-based marketing is evolving at pace. Bruce Rogers, chief insight officer at Forbes Media recently described it as “marketing’s vital frontier”.
The scope and power of deeper data insights will help brands win when it comes to location-based marketing.
Stephen Whyte is chief executive of Posterscope
Two experts pick their favourite out of home campaigns and explain why their chosen work makes the most of the medium
Dear 3,749 people who streamed It’s the End of the World As We Know It the day of the Brexit vote, Hang in there.” This is one of my favourite headlines from Spotify’s OOH campaign “Thanks 2016, it’s been weird”.
It was a year that ran away with itself. There was nothing we could do to tame it. All we could do was wallow in the music. Spotify cleverly used streaming data to bring to life some insights into our music listening habits. It picked up on the truth that not only is music a reflection of life, but so are the songs we listen to and the names we give our playlists – a good gauge of public mood. Localise this data and you’re onto a winner.
Yes – data can be boring. It lumps people into categories they don’t belong in; its sweeping generalisations are infuriating. But the way the data is used for this campaign is different. This is all about pulling out our human quirks – talking about things that are relatable, rather than stereotypical. The more insights creatives have, the more witty, entertaining and effective their OOH work can be.
That’s the wonderful thing about this campaign: the freshness of the insights, and the fact that it landed slap-bang in the middle of whatever we were all going through at the time.
It would be really interesting to be even more reactive with this campaign in digital spaces.
In 2016 we bade farewell to so many musical talents – and within minutes of the news of their death breaking, those beloved stars were propelled to the top of the streaming charts. Imagine if Spotify created these funny, relatable headlines based on that day’s news? Or if you could know how many people in your town were listening to DJ Jazzy Jeff and The Fresh Prince’s Summertime on a blazing hot day?
The art direction is bright, vibrant and true to Spotify’s Swedish heritage. Clean and bold, with no need for hashtags, social media icons or calls to action, it’s OOH creativity at its best.
Politics can be a dry old world – that is, until election time, when the circus well and truly comes to town. Trump and Hillary squared up and we, the world, watched as the mad reality show of the US presidential election played out in front of our eyes. It was beyond a feast for the media as it was handed characters (or caricatures) like politics had never seen before.
Many brands jumped on the political bandwagon – how could they not? – when standing for something felt even more important somehow. Diesel delivered the beautiful and punchy “Make love not walls”, and I absolutely loved the elegance and power of AeroMexico’s’ “Borders” campaign. Pure class.
But the one that really stood out for me came from Der Tagesspiegel, a German daily paper. It’s not a regular publication for me, but it captured what I love so much about the powerful iconography that can be created in politically charged times when, in among the flurry of commentary and conversation, big, bold images can stand out above all the noise and come to define a moment in history.
In case you haven’t seen it, it’s OOH at its best – simple, bold and has a major impact.
The image of Trump on the front page, his mouth manipulated into a raging scream by shooting the pile of newspapers from above, is just bloody clever. No tricks or gimmicks in post-production needed – just
a smart idea, shot well, in-camera. It creates something original by taking the familiar and twisting it, and is made for the scale, impact and immediacy of OOH, where one powerful image can tell a story better than 1,000 words ever can.
We all remember Blair’s “Demon eyes” from the Conservatives’ “New Labour, new danger” campaign, and Obama’s “Hope”. They’re brilliant, but I love that this comes from a daily newspaper in Berlin. No fuss, no big budgets, just a great idea, simply executed and on a fast turnaround. Had it been the New York Times, I’m sure it would be more widely famous, and part of the visual lexicon of this now infamous moment in history. It deserves to be.
Ich liebe es.
Via: Campaign Live
Truths—inconvenient, irreverent and otherwise—are the focus of truTV’s irrepressible out-of-home campaign promoting the second season of Adam Ruins Everything, a show that amusingly debunks popular myths and sets the record straight on all manner of cultural misconceptions.
Developed with Work in Progress and themed “Contextual Ruins,” the ads share truths in or near physical locations that could be “ruined,” in theory—for some folks, at least—by such knowledge leaking out.
Take, for example, Mount Rushmore’s complicated and controversial history, truTV caused a viral stir by chiseling away at the topic with billboards that popped up around the iconic national memorial in South Dakota:
“We wanted to create one-to-one marketing on a scalable level,” says Puja Vohra, truTV’s evp of marketing and digital. “We used a few criteria—topics that were the most relatable to consumers, locations that could be tied to and amplify them, and subjects we thought would cause the most disruption and conversation.”
Sure, life’s not soul-crushing enough already. Let’s add some truth to the mix!
Which brings us, naturally, to the campaign’s take on herpes:
Thankfully, most of us will never develop icky symptoms. Isn’t that reassuring?
“The topic is so universal, the statement is accurate, and the placement really generates a surprise and grounds it in reality—just like the show,” says Vohra.
If that herpes bus wrap left you smarting, never fear. truTV dumbs things down for its next outing:
“The biggest challenge we had was finding the right media in the right locations,” Vohra says. Here’s an example of one such highly targeted buy designed to make a splash:
Here’s a spirited take on pricey wines vs. cheap hooch:
And why skirt the topic of hula dancers?
Breaking with the OOH formula, the campaign’s roadblock on SheKnows should whet baba’s appetite:
“truTV fans are millennial comedy lovers who engage in a broad range of comedic styles, and one of their core attributes is that they love takeaways—nuggets from our shows that they can share with their friends in person or on social media,” Vohra says. “So, delivering these nuggets of relevant information in surprising and contextual places feels like a bull’s-eye for this audience. It really brings Adam Ruins Everything directly into their lives, even when they’re away from the TV screen.”
Moreover, “Contextual Ruins” and the series it touts seem especially in tune with the times, as cries of “fake news” echo across the landscape, with today’s consumers unsure exactly who and what to believe. “At a time when people are hungry for the truth and some comedic relief, Adam Ruins Everything delivers both,” Vohra says.
That dynamic has fueled considerable coverage of the campaign, boosting its reach well beyond the media buy. “I’d be lying if I said we weren’t hoping for it,” adds Vohra.
Ain’t it the truth!
Via: AdWeek
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