Pringles pop user generated content onto DOOH to promote Easter on-pack promotion

Kellogg’s owned snack brand Pringles is launching a UK-wide digital out-of-home (DOOH) campaign to encourage participation in its Easter on-pack promotion “Take a Bite and Win a Flight”.
Players are invited to snap and share a picture of themselves enjoying their favourite Pringles on social media for the chance to win a trip to a European destination every hour throughout every day of the month-long promotion.
The DOOH campaign has been designed to amplify the social media campaign and will harness the real-time capabilities of digital out-of-home by featuring the social photos of each hourly winner in real-time on panels close to point of purchase.
The campaign runs until 16 April on six-sheet digital panels outside key Tesco and Asda stores nationwide. OOH campaign planning is by location marketing specialist Posterscope and Carat with creative produced by ZEAL.
Emily Dutton, Assistant Brand Manager, UK & I Pringles, said: “Easter is a time for friends and family to get together and celebrate, and Pringles plays a big part in this sharing occasion. Our “Take a Bite and Win a Flight” adds another sharing opportunity into the holiday, and with our winners celebrated on advertising panels close to purchase points, we want to encourage shoppers to grab a tube and get involved.”
Lee Mabey, Agency Strategy Director at Posterscope, added: “Research has shown that people are more likely to enter a competition if they feel that they have a real chance of winning. Our ability to feature real-time, user-generated content from our competition winners on panels right next to purchase points, taps directly into this and will help to drive interest and desire for this fantastic Pringles promotional.”

Hapa Sushi uses real Trump tweets so we 'eat well before it all ends'

Doomsday is coming at you hard and fast in Hapa Sushi’s new campaign reminding us to “eat well before it all ends.” The Colorado-based restaurant chain teamed up with TDA_Boulder to fuse Donald Trump with raw fish (a winning combination, apparently). Uncensored and unedited tweets from the president are appearing in outdoor placements, on social media and in a number of print publications next to a snappy tagline reminding us to dine like kings because the end is nigh. It follows Hapa’s other real-world campaign in which it used the legalization of marijuana in Colorado to create a pairing menu with weed and sushi.
Via: Campaign 

Monty Python Foot of Cupid Activity goes Nationwide

Monty Python’s famous ‘Foot of Cupid’ has been placed on phone kiosks around the country as part of a new outdoor and social media marketing campaign.  Eagle Rock Entertainment launches this out-of-home phone kiosk activity to promote the release of the Monty Python Live – One Down Five to Go DVD.
The unveiling of the iconic Foot of Cupid is being supported by a major social media drive to stimulate participation and engagement in the campaign.  To be in with the chance to win the new Monty Python DVD, Fans in London, Manchester, Birmingham, Liverpool and Edinburgh are being encouraged to find the kiosks, take “selfies” with the build and post them to social media channels, using the hash tag #pythonphone. A QR code in the design will also take people to the mobile site which will enable users to hear one of ten special recorded answerphone messages from the Python team.  These messages are played using the soundcloud widget and will be available to share across all social media platforms.
The campaign is a collaboration between MJ Media, Posterscope and JCDecaux, and these unique, eye catching builds will be making a large “foot print” across key cities up until the end of November.
Daniel Kavanagh, Account Director at MJ Media commented saying: “Despite a challenging budget, we really wanted to help Eagle Rock Entertainment engage fans by bringing Monty Python’s iconic artwork to life. By using special builds we were able to ensure this was done in a creative, exciting and original way. By working closely with the client to amplify the campaign across their social media channels, we’ve taken a regional campaign, maximised cut-through and engagement and generated national exposure during one of the most competitive periods of the year.”
Daniel Carey, Business Director at Posterscope said; “With an iconic and irreverent show like Monty Python, it was essential that the OOH activity followed a similarly anarchic route.  The use of the equally  iconic ‘Foot of Cupid’ special builds was a perfect way to deliver the same humorous tone as the show, in turn engaging with their core audience, whilst delivering cut through in the busy pre-Christmas period.  In addition, integrating the OOH with mobile and online activity via the use of selfies and QR codes, will further help to drive interaction and word of mouth, both in the offline and online space”.

‘Say What You See’ in PML Group’s New OOH Campaign

In its new out of home campaign PML Group is using the promotion to interact with the media community in Ireland and the public in general, as well as highlighting the creative possibilities when using OOH advertising.

The OOH specialist has used three strong and clear images on separate OOH formats. When combined, these three images represent a popular catchphrase and PML is asking the public to guess this phrase.
Once people seen all three images and figured out the answer, they can enter the competition on a dedicated website for the campaign The competition will run until 29 June, with the winner receiving an iPad.
Taking inspiration from the game show Catchphrase, the hashtag #SayWhatYouSee is present on all formats in the campaign to encourage interaction about the campaign on social media sites.
The campaign emphasises how OOH is a key advertising format that can be used by a variety of businesses to communicate their message to target audiences.
“The campaign highlights the creative possibilities for OOH advertising and its ability to arouse interest and connect with the population in their daily lives,” said Colum Harmon, marketing director at PML Group.
It is live around Dublin for the month of June and a variety of OOH formats have been used in this promotion.
The campaign is also running in Cork, using six sheet and 48 sheet formats.
Via: Business and Leadership

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

Real-Time Messaging is Fun, But It Can Be So Much More reports Morag Cuddeford-Jones in Marketing Week

The number of digital outdoor sites is growing and many are adding real-time messaging to the mix. What can this deliver brands beyond the wow factor? Morag Cuddeford-Jones, Marketing Week, investigates.

According to the Outdoor Media Centre, 2013 saw digital outdoor revenues of £214m. It only takes a moment standing in London’s Piccadilly Circus to note the impact large digital screens have on passers-by as every one of the 2 million visitors passing through each week is stopped in their tracks by the 205sq m screen featuring animated Coca-Cola advertising. Brands are now adding real-time messaging in an effort to redouble that impact, but is it having the desired effect?
The use of real-time messaging varies widely, from brands capitalising on news events to real-time brand activity. Radio station LBC used digital outdoor ads in last-minute promotions of the debate it broadcast in March between UKIP’s Nigel Farage and deputy prime minister Nick Clegg. Coca-Cola capitalised on Father’s Day by driving social media content to digital out-of-home (DOOH), posting tweets hash tagged #ShareaCoke. Others have used automation to link to events. British Airways deployed tracking technologies to interrupt the creative on digital screens in Piccadilly Circus and Chiswick when one of its planes was overhead.
Merging digital screens with other media is a favourite. Many are in commuter hubs where dwell time is at its highest (an estimated 17 minutes) and several companies have tied out-of-home to experiential marketing. Danone’s flavoured water brand Volvic Juiced ran a touchable digital billboard at Bluewater Shopping Centre, with the campaign live for two weeks. Consumers could touch the screen to ‘crush’ apples that fill a bottle of juice. Players were rewarded with a free juice as well as being entered into competitions for higher value prizes.
In April JCDecaux deployed its Motion@Waterloo screen to broadcast video from a Lurpak cooking event using the brand’s new Cook’s Range, planned and booked by Posterscope and Carat. Chefs such as Valentine Warner cooked at the zone and the food was handed out to waiting passengers. The screen streamed live and dynamic content captured on the stand throughout the campaign, while commuters were encouraged to live tweet cooking tips to the screen using the hashtag #foodadventures.
Motion@Waterloo was launched in February to create the UK’s largest indoor advertising screen, at 12m wide, with launch partner Audi, using real-time content.
“The audience profile of Waterloo station was important, with a strong ABC1 representation,” says Audi head of national communications Kristian Dean. “The idea of interactive content via social media sites, Twitter and mobiles allows you to have fun and get much deeper engagement with consumers rather than just ‘shouting’ at them through traditional advertising.”

Fun seems to be the central element of brands’ real-time activity in DOOH and Coke, BA and Google all refer to these campaigns as delivering the wow factor.

Sara Dunham, BA head of retail and direct channels, says of Magic of Flying: “The hashtag #lookup was all about the wow factor and putting BA out there as a brand looking for opportunities to do things differently.” The campaign was created and bought by Ogilvy One, Posterscope and Carat, and displayed on Storm media sites.
Emma Houston, head of media at Coca-Cola Great Britain and Ireland, adds: “What digital outdoor is good at doing is creating the wow. We have to look at creating memories and achieving cut-through, and the wow factor impact lasts longer.”
Meanwhile, Google launched a pilot DOOH campaign called ‘Google Outside’ serving geotargeted search results to 100 Clear Channel bus shelters and 60 Exterion Media (formerly CBS Outdoor) Tube station sites across London. Screens adopting Google Now smartphone technology provide content tailored to location, time of day and weather. Refreshed content is delivered by Open Loop and the pilot was created by R/GA London and Google, produced by Grand Visual and planned and booked by Talon and Manning Gottlieb OMD.
Google head of media Greg Smith notes: “The aim was to provide Londoners with relevant search information in a truly magical way. That meant using digital outdoor in a way that had never been done before. The biggest reward was seeing that consumers really engaged with it.”
While these campaigns undoubtedly involve magic and fun, it can be difficult to translate their impact into hard metrics that justify the increased cost and organisational impact of running a real-time DOOH campaign. Houston notes that Coke had to involve cross-disciplinary teams to set the tweeting campaign up and ensure ‘live’ tweets were safe to broadcast.
“It required collaboration between Google, our agency partners and the media owners. It was also technically challenging.”
Coke linked hard figures to its Father’s Day campaign, noting a 5 per cent shift in spontaneous brand mentions, and that out-of-home overall delivered a 28 per cent rise in ad awareness. Google used geo-targeted survey tools to isolate brand uplift and awareness, but does not divulge figures. BA’s #lookup was deemed to be a trial and the company claims that over a million YouTube views and what Dunham calls “a serious amount of social conversation and PR” mean the campaign was a success.
Audi’s Dean, meanwhile, says the benefits of DOOH include the impact on brand perceptions. “The social media link with digital outdoor is exciting and we’ve only just scratched the surface. If we claim to be a progressive brand we’ve got to behave like that.”
As far as out-of-home’s role in the marketing mix is concerned, it is often found in close partnership with social media. BA, Lurpak and Coke rely on hashtags to deliver content to their digital screens, while Volvic’s Juiced campaign incorporates a Facebook game created by We Are Social.
“The critical thing for any real-time out-of-home activity is taking the social aspect and amplifying it,” Coke’s Houston insists.
In BA’s case, the aim was to drive viewers to, but the campaign’s impact was measured by the volume of social conversations, visits to the landing page and conversion rates.
Campaigns remain limited by the number of screens available as well as their location, with 45 per cent of all DOOH in London and 90 per cent of all digital roadside panels also in the capital. There are moves to expand availability, with Primesight putting interactive screens in cinemas and JCDecaux putting 400 digital screens in large Tesco stores across the UK.
Shopping centres and transport hubs such as bus stops and train stations are also proving fertile ground. Google’s activity with Clear Channel is part of a wider expansion that will see the company offer NFC tags in bus shelters across the UK. The introduction of mobile interactivity will take the potential of real-time push-messaging into true interactivity where consumers can download relevant, real-time information that is hyper-personalised.
It is a strategy that ticket agency Stub Hub is considering, according to its international marketing director Brian Streich.
“There are some NFC-enabled DOOH screens but they’re not prevalent yet,” he says. “I see it being the way the industry goes. In San Francisco you can interact with bus stops and we could progress to that,” he predicts. There remains much to be learned about DOOH, including ironing out what Google’s Smith terms “hiccups” in implementation. He will not elaborate, but states: “Given that we created hundreds of assets and delivered them in real time across 160 sites, working with two media owners and two systems, you can imagine hiccups occurred. But we were able to isolate the issues. It’s part of pushing the boundaries.”

Top three challenges

1. Managing the content

Delivering content to sites where DOOH can have relevance is a difficult task and many advertisers are running pilot schemes to test appropriate content against ease of delivery. One of the most popular ways to engage in real time is to enlist consumers by incorporating tweets into the ads. While hashtags such as BA’s #lookup and Coke’s #ShareaCoke easily parse relevant tweets out from social chatter, there is still a heavy human requirement to ensure these are appropriate.
“We managed 100 tweets on the real-time display over the week before Father’s Day, but at least that number again were selected to go into the filter and were rejected,” notes Emma Houston, head of media at Coca-Cola UK.

2. Managing the multichannel

No DOOH campaign exists in isolation. Whether it is generating content for the real-time display from social media or using the message to drive consumers to a landing page, real-time digital screens have real-time impacts.
Interactive tags have to consider mobile coverage, while direct response calls to action such as generating ‘click to call’ rely on call centre capacity at the right time. And the wow factor so many brands rely on in real-time DOOH must be consistent across the customer journey.

3. Managing the partners

The number of agencies involved in running a campaign can multiply exponentially as the real-time element is added. A degree of automation is possible, such as BA’s plane tracking technology, but in cases where consumer interaction and live events such as Lurpak’s Waterloo experiential project collide, multiple departments have to be involved in campaigns where parameters are constantly shifting. The advice from Google and Coca-Cola is that preparation is key.
Via: Marketing Week

JCDecaux Partners with Hachette UK for Twitter Book Club

JCDecaux has struck the first content partnership for its commuter book club, with publisher Hachette UK.

JCDecaux’s @RailBookClub scheme broadcasts book reviews and recommendations, sourced through Twitter, on digital screens in train stations across the UK. The out-of-home media owner launched the club in July 2013. Book publisher Hachette UK is its first partner.

The partnership will have the pair working together to create content for the club. It will give JCDecaux access to signed publications, limited edition manuscripts and other collateral to offer commuters, followers and clients through digital media.

The company will also gain access to authors such as Martina Cole, Jill Mansell and Cressida Cowell for events such as live Q&As, book readings and other one-off events.

Via: Brand Republic

Caribou Coffee Builds Five-Story-Tall Pinterest Board at the Mall of America

Caribou Coffee, whose previous out-of-home ad stunts have included heated bus shelters in Minneapolis, is back with another special campaign—a giant, five-story-tall Pinterest board built at the Mall of America in Bloomington, Minn.
Caribou used pinned images from fans as inspiration for its new Real Inspiration Blend variety of coffee. That sounds like a stretch, but the giant Pinterest board is pretty impressive. It includes two large screens that feature inspiring photos from fans on Instagram and Twitter that are tagged with the hashtag #CaribouInspires.
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Via: AdWeek

Kanye West released his latest track with large-scale video

The Rapper premièred his song in 66 different locations around the world, using super-size projections on the side of buildings. The public display was announced by Kanye on Twitter, including a prompt to visit his website where you could find out the various locations.

Go Compare

The Go Compare OOH campaign (planned and bought by Carat and Posterscope) is a great example of how using smart creative can generate huge social media traffic. The pre-graffitied billboards had people up and down the country tweeting photos of advertising, thinking their town has the most original ‘vandals’ around.