Max Simmance ADV280 Convergence & Transmedia Storytelling- Assignment 2: Re-Imagine Project: Cinzano
The discovery of the Internet, huge advances in digital technology, and today’s plethora of social media platforms, have meant that advertising has had to keep up and develop too. Moreover, the huge and increasing popularity of mobile devices has directly impacted on the growth of digital advertising spending. The UK now spends more than half of its adverting money on digital. https://www.theguardian.com/media/2015/mar/27/half-ad-spend-digital-media
These developments mean a brand must now engage with consumers not just through its narrative on static traditional platforms like TV and radio, but also by making sure that the storytelling works across a range of new and different interactive platforms. And whilst a TV advert might once have reached the masses, it now competes for attention with new and emerging digital technologies, which can target specific consumers more directly, and encourage them to participate in the brand in ways traditional above-the-line advertising might not. So, whilst above-the-line advertising may still be the most powerful tool to ‘tell the story’, digital transmedia communication provides an opportunity to actively engage an individual consumer, and offers scope for word of mouth advertising which a brand cannot ‘buy’ and something which wasn’t possible 20 years ago. Brands are switching huge percentages of their media budgets to the likes of Facebook, Twitter and YouTube in the hope of having others ‘spread the word’.
Gone are the days when a media budget was simply spent on blanket TV, radio, press or poster or perhaps a combination of the four. These days there are not only multiple channels and platforms to consider, but also ever more so the Convergence of different Technologies. An interesting article on the possibilities of very targeted advertising states that, as TV is increasingly delivered to homes through the same technology as the Internet, it offers brands opportunities to deliver different messages into different households, based on the occupier’s viewing habits, and going forward enable them to ‘click on and explore’ something they have just seen on their TV. Or changing poster sites dependant on the car and occupant that is passing. These things are the next step to your search engine sending you display adverts, based on your browsing history, which appear very relevant to what you’re looking for. http://www.knowthis.com/advertising/advertising-trends-digital-convergence
The downside to this kind of digital advertising is consumer fatigue and irritation, as they know their habits are tracked, and they are bombarded by the same ads and so become ‘blind’ to the advertising they see, and for the company there is the potential cost as every click costs.
The beauty of social media is that it encourages people to share, engage and participate and offers a good way for brands to connect with their consumers in real time. A brand does need to ensure they clearly set their goals and identify the target audience, and moreover achieve the very real challenge of working out how to get consumers to do these things in a positive way. https://www.digitaldoughnut.com/articles/2014/november/4-important-digital-marketing-channels-you-should
The re-imagined advertising campaign this report will focus on is the Cinzano vermouth campaign from the late 1970’s featuring the “unlikely” duo of Leonard Rossiter and Joan Collins. The reason for choosing this campaign is that whilst it is voted as the 11th best campaign of all time, Cinzano is a drink most people I know are unfamiliar with. In fact, until reading this fact somewhere I had never heard of it.
The campaign presented a series of situations in which Leonard Rossiter (a well-known TV comedic actor in the 70s) would play the clumsy, pretentious, buffoon, and unknowingly always spill his glass of Cinzano over the sophisticated ‘woman-of-the-world’ Joan Collins.
At the time of this campaign, Cinzano’s competitor, and the market leader by a long way, was Martini. Martini were targeting a similar young audience to Cinzano. Their executions were full of glamorous, beautiful, trendy people, exuding wealth and lounging about on yachts, racetracks and beaches, (think today’s Made in Chelsea) to the catchy tune “Anytime, anyplace, anywhere…. that’s Martini” https://www.youtube.com/watch?v=kxVKR_Tto24. The reality was that this was an unobtainable lifestyle for most of their target audience.
Cinzano saw on opportunity to take advantage, slightly ‘ridicule’, and make a spoof of Martini’s style. Their organising idea was to sell the virtues of this sophisticated and special aperitif drink, but in an accessible and humorous way, so that everyone could ‘buy’ into it.
They expressed it creatively by Rossiter trying desperately to be cool, impress with his knowledge of wine and foreign language, and ‘fit in’ with the sophisticated vermouth drinker set, like Joan Collins; however, he is a bumbling, clumsy, oaf and the only thing that is ‘cool and sophisticated’ about him, is that he drinks Cinzano.
The advertisements were a huge success and drove sales of the Cinzano by 50%, and they are, to this day, hailed by many people as their favourite adverts. However, it is important to note that during this time Martini’s sales increased by 50% too. Consumers were so caught up in the storytelling, and the humour, of what became a long series of different ads, that they weren’t paying attention to which brand specifically was being advertised, and many attributed the campaign to Martini. http://www.biznews.com/ian-kilbride/2014/10/06/ian-kilbride-what-joan-collins-cinzano-and-martini-can-teach-sa-financial-services-companies-about-advertising/
Whilst the adverts were built on witty repertoire, Leonard Rossiter still managed to inject the crucial information describing the ingredients in the drink (Cinzano’s USP) in a cultured but pretentious manner and kept everyone entertained.
In today’s market Vermouth is a small fraction of the overall drinks market, having lost its appeal in the 80s. Vermouth is an aromatised, fortified wine flavoured with various botanicals (roots, flowers, herbs and spices). The modern version of the beverage was first produced in Turin in Italy and was served as an aperitif in fashionable cafes around the clock. It was later that it became popular with bartenders as an ingredient for cocktails. Once a widely drunk ‘aperitif’ (over ice), it is now largely used in original cocktails such as Martini, Manhattan and Negroni to name a few, where it is ideal for lowering the alcohol content and providing herbal flavour and aroma. https://en.wikipedia.org/wiki/Vermouth and http://vinepair.com/wine-blog/youre-probably-drinking-storing-and-making-cocktails-with-your-vermouth-wrong/
Vermouth, whilst still a drink of choice in some European countries, is no longer common in the UK and as such young people and the original target market hasn’t really heard of it.
Sticking with the same organising idea of a sophisticated special drink, and making it accessible for everyone still works. Firstly, the brand needs to be re-introduced. Secondly, it needs to fight for space in the very crowded spirits market which is dominated with glamorous and sophisticated advertising, not unlike Martini at the time, albeit it far more modern. (Smirnoff/Bacardi et al; – cool people, partying, diversity, current, ‘deep and meaningful’, belonging, crowd, energy, moody art direction, etc).
My re-imagined approach therefore would be to; still slightly ‘mock’ this style of uber-cool, and re-introduce Cinzano as an aperitif drink over ice enjoyed by those really ‘in the know’ who aren’t trying so hard. Cinzano’s target demographic is “youth, self-confidence, authenticity, irreverence, passion and coolness” http://www.camparigroup.com/en/motogp-ideal-theatre-cinzano
The slightly ‘mocking’ style will appeal to the younger generation who know what is portrayed in the spirits market is unattainable and perhaps even somewhat over the top. In terms of the brand itself; advertising it as a neat drink on the rocks (rather than a cocktail ingredient) will restore its taste integrity and authenticity. It would also tap into the quiet trend that’s emerging toward vermouth again. http://www.saveur.com/how-day-drink-spaniard.
I would capitalise on this and build an advertisement around it being a gorgeous ‘starter’ drink with a unique taste and heritage ingredients dating way back. It is easy to drink (neat) and sophisticated in that ‘European way’, but you need to be ‘in the know’, and encapsulate it in the important humour that was associated with the brand.
In terms of a modern transmedia campaign and specifically capitalising on the ‘sharing’ power of social media, entertainment value is crucial. This is not just about a star-studded commercial. What makes people share and participate? I think creating a funny and unique campaign provides entertainment. I looked at the case study for Old Spice. http://www.dandad.org/en/d-ad-old-spice-case-study-insights. Like Cinzano this was a ‘forgotten brand’ and associated with the older generation. But through humour and the use of a good-looking NFL player recognised by all, and “The man your man could smell like” campaign which was witty, tongue in cheek, and very appealing, the advert was shared millions of times on YouTube before even hitting our TV screens. And Old Spice was re-introduced to a whole new generation.
I would use a similar strategy where humour is the hook to get people in. What I have in mind for how this campaign could be expressed to a modern audience would be to introduce the modern equivalent to Leonard Rossiter. I imagine his contemporary to be a Keith Lemon type of character. I see him strolling down the King’s Road in London, past a strip of trendy bars/clubs. Every bar he walks past is full of these glamorous, young and beautiful, partying, young adults drinking their cocktails, spirits like Belvedere vodka, etc. (Again, think the cast of Made in Chelsea). He doesn’t ‘fit’ in at all, and no one gives him a second glance, as he mockingly mimics their behaviours and conversations, before entering a quiet yet even trendier little bar. The female protagonist would be a woman like Felicity Jones, or Rosie Huntington-Whiteley, the epitome of sophisticated cool to the target audience that the champagne and vodka drinkers will associate with and aspire to. Keith walks in, and as he orders his Cinzano, she turns around and smiles at him, and naturally is also drinking Cinzano. The roles could also be reversed using someone like Miranda Hart and Tom Hiddleston. The humour could be introduced by having impressed her with his choice of drink he then spills it all over her. The slogan “Cinzano, delivering unpretentious enjoyment” would close the scene. This will also remind older users of a brand they may have forgotten. However, key is attracting new users to the brand. If the campaign is witty enough with charm and recognisable characters, young people will share it, and hopefully be a part of it.
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I would then aim to rely heavily on Earned Media in the form of sharing, mentions, posts on social media to get the brand message out there, with my witty, ‘Paid for’ advertising campaign. For example, I looked at the case study for O2 and their “Be More Dog” campaign. http://www.campaignlive.co.uk/article/campaign-year-2013-o2-be-dog/1224596#X482hIsI721svCVZ.99
Again, it is a bit silly, hence people laughing and sharing, but the message is don’t be like the others, instead come to us and be a bit different and have more fun. In a similar vein, I would use the target market’s excessive use of social media and I would develop a range of hashtags, e.g. Be #CoolLikeKeith, be # MarvelousLikeMiranda etc. and challenge people to show how they’ve ‘impressed’ someone on Snapchat, Facebook, Twitter, in a ‘look at me and how sophisticated I am’ way. Like Old Spice did a great job of allowing people to laugh with each other and at themselves. I could even look at introducing a Cinzano emoji for use on Instagram and filters for Snapchat that identify the user holding a drink and make it Cinzano.
I also looked at the Starbucks #redcupcontest on Instagram which encourages users to photograph themselves holding their red cup in different locations. That idea would work well for Cinzano and getting people to photograph themselves drinking Cinzano and perhaps a prize for the photograph in the company of the coolest people?
Young consumers are savvy enough to realise brands like Smirnoff – for all their ‘diversity – check √, moody – check √, clever art direction- check √, brief brand message right at the end – check √’ are so clearly… advertising. I would use Twitter and Snapchat, Instagram and Facebook to make it not just a drink but a lifestyle / behaviour statement.
With modern day technology, contemporary media channels, the campaign would be able to converge and develop the story on a much larger scale than previously. With the use of social media, larger and more targeted audiences can be reached; especially the young target market that Cinzano seek, as this generation is the primary user of social media platforms. It would make the consumers part of the fun and the story of this sophisticated drink called Cinzano that actually has this great heritage and authenticity but you ‘need to be in the know’. http://reborn.co/blog/2014/05/7-ways-to-bring-transmedia-storytelling-into-your-campaign/.
Jake Smith ADV280 Convergence & Transmedia Storytelling- Assignment 2: Re-Imagine Project: LEGO
What do a mouse, cat, dog, dragon, fire engine, submarine, submarine eating slipper kipper, anti-kipper eating missile, missile cruncher and a very big elephant have in common?
They can all be built out of Lego.
In 1932 Lego was founded and throughout the 20th century it grew and grew becoming the world’s favourite toy. In the past adverts were limited to what we call now ‘standard media channels’: Posters, early television, radio etc. Prior to deeper understanding of human insight and the tools used to further convey an insight to the advertising industry, it’s easy to see that many of the great advertising campaigns of the past could have been made even more effective with today’s array of channels and reach a greater audience with far more effectiveness. In this essay I will pitch an idea which takes a Lego advert and see how it could be transferred into the modern day.
Lego have never clouded their ideologies, they always fully express that they can be ‘anything’, and as vague as ‘anything’ is, it is yet so perfect. Lego Kipper - is without doubt one of the best television commercials ever written. The circular script, the performance of the voiceover, the stop-frame animation and the way it perfectly captures how Lego fires and embodies the imagination of the children that play with it. It’s all there, beautifully rooted in the product and without having to explain itself. A slightly surreal look at all the things you can make out of a box a Lego. A battle ensues between a mouse which, when threatened by a cat, turns into a dog. The cat turns into a dragon and so on, to a submarine and a submarine-eating kipper. The submarine eventually morphs into an elephant, the mouse rebuilds and the elephant faints. Lego: It’s a new toy every day — just like that! The voice over is Tommy Cooper, except it isn't; it’s comedian Mike Reid doing Tommy Cooper. Apparently Tommy turned up, had a go and then flipped the agency Reid's number – "call him, he does me better than I do” – and left. So Tommy Cooper takes all the credit, slightly annoying for Mike.
It incorporates everything about Lego which makes it such a timeless toy. The advert is included in channel 4’s greatest all time adverts. The advert made such an impact that upon the adverts 50th birthday they reused it. 2010 saw it hit screens, and only screens, again. And just as before people fell in love with it.
It is quite amazing that an advert made with so little channels and human discovery still has the same impact as it did 50 years ago – with all the advertising we are exposed to now you would think we would become immune to the standard TV advert. Campaigns nowadays have some kind of obligation to span across so many platforms and try and form a relationship with user so much that they perhaps forget to actually connect with the viewer and promote truly what the brand stands for. This insight provokes the thought of, what if this campaign was recreated in the modern day?
Because Lego relies so heavily on the users imagination we will look at case studies in which the user has complete control. Facebook is a platform with an ever growing user base, in the first quarter of 2016 it was registered at 1.76 billion daily users. A game which has truly used the power of Facebook is ‘Farmville’.
Similar to Lego, Farmville has this universal understanding that everyone tries it once. It was at a time just before the explosion of smart phones, the internet was the prime place to play games and connect with your friends. You played a simple tutorial in which it explained the world and what you can do in it, and then you were placed in a position to do anything you wanted. Endless paths you could go down, comparable to Lego. With virtually no advertising except for in platform Facebook adverts Farmville was recording 29 million daily users in 2009, something which at the time was unrivalled. In December 2009 Farmville had 70 million users. It was a extremely powerful name and one which everyone knew about.
The continuation of the game solely relies on the user interacting with friends, helping each other to make the game even more customisable for the user. The nature of the game lends itself to the goodness in humans, sharing, creativity, caring - it promotes a level of innocence in an open world to all ages, once again comparable to Lego.
Since 2009 the popularity has decreased considerably only logging 18 million users in 2016, however the growth of this ‘gaming’ market has grown exponentially, with games like this coming out on a regular basis. One of the reasons for this is because of the growth of the smart phone. Smartphones are now responsible for a third of internet access, up from 23% in 2014, this is of course at the expensive of the desktop in which Farmville mainly operated.
In 2016 Pokémon utilised the flourishing smart phone by releasing Pokémon Go. A game in which you, the user, had to find monsters too battle friends to make your camp better than others.
The brand which already had a massive following gave itself to a whole new face to which they hadn’t explored, involving the user into a universe in which they had only been a spectator of before. Day one release in America saw it downloaded 3.9 million times, but when the game hit worldwide releases it had over 500 million downloads. 14% of the world was playing this game. It attracted not only fans of the brand already, but collecting these monsters and building your camp was something that appealed to the enjoyment of the average human. The average user spent on average 26 minutes on the app every day, which for a game is an amazing amount of time. The game hit a nerve that inspired the user to really delve into the universe to see what it had to offer, coining this with a competitive streak that all of us have with our friends made for a returnable factor.
The way that it uses the smart phone though is impressive, it will vibrate when you’re near a new monster, so you instinctively look at your phone. An app controls when you look at it, therefore doubling the frequency of opening the app.
Lego is no stranger however to creating these worlds for users to be a part of. During an commercial break on ‘Dancing on Ice’ the five million people were treated to a special tv event. This time Lego impersonates other brands' TV ads (British heart foundation, confused.com, BT infinity, Premier Inn), illustrating how the world of advertising has evolved. It’s stunt TV, it’s a press spectacle, it’s inherently funny as an idea and in execution, it's commercially smart and it not only sells the film but also the product. What it isn’t is a boring old TV script. Best of all Lego has always been about imagination and this idea is a fantastic demonstration of it. Not explaining it, but demonstrating it. This campaign received an overwhelmingly positive response and has prompted ITV to pursue this style further
The most importing thing when transferring the 1980’s advert into modern day is to keep the organising idea – ‘a new toy everyday’. An area that Lego are yet to exploit is the online sphere, they are yet to create Lego online, allowing the user to create whenever they want. There is clearly a huge market for it as case studies have proven, and with the weight of Lego fandom behind them it’s not hard to imagine them surpassing records set by Pokémon Go.
My idea would be to create a program which would allow the user to create something using digital Lego bricks, and then in return they would connect with their friends promoting them to build something that could rival, if not better, what you have created. It would start as a computer app, which would connect with Facebook as it has the biggest user base (as Farmville did), but unlike Farmville I would create an app to go along side which users could play on, as smart phones are now becoming the main platform for connecting with your audience. Connecting, sharing and saving your creations is an idea that incorporates all the successful aspects Farmville and Pokémon Go. Being able to save and share your creations would overcome a problem that users encounter with original Lego, you can never keep what you’ve made unless you’re willing to sacrifice the bricks. When a friend has completed a build they could send it to you giving you a notification – similar to the way Pokémon uses the notification system. You would hope that people would spend a lot of time making their pieces and a considerable amount of time looking at others so this would push up the average playing time considerably.
To keep the designs authentic to actual Lego also it would be important to say that whatever brick you use, from the entire library of bricks that exist, is a random colour. This importantly keeps a charm that Lego has acquired by building these amazing multi coloured structures. Also it stays within the ethos of Lego in general, one of the key components however would be the simplicity of the program, one of the selling points about Lego is how simple it is, so this would have to reflect in the program. Perhaps a layout/style as simplistic as Minecraft, where it is so easy for the user to choose blocks and build.
The untouched organising idea of the advert I think would translate seamlessly across, the whole concept only further enhances the fun of Lego. Building, creating, sharing with friends would just enrich the joy you get from playing with Lego.
“Where people aren’t having any fun, they seldom produce good work.”
In the style of the Kipper advert, this process of building against friends could go on forever – just as Lego can. Endless possibilities.
It lends itself to all ages – the millennials (18-34), generation X (35+) and generation Z (under 18’s) who are all embracing the use of smart phones equally. The app/program would encourage the imagination of the mind in a way in which other apps do not, you are bound by nothing other than how much time you’re willing to put in.
To add another feature to the app, in a similar way to how snapchat filters work, it can react to where you are in the world – you could have a look at famous landmarks that people have built within the app.
All of these features push towards a world made of Lego, which, from the success of the Lego adverts/ Lego movie, is something that world is overwhelmingly keen for. Bringing a brand all about impossible imagination and creation into the real world can only make the world a better place in a continuing rough couple of years for the globe.
In terms of Lego and how long they have been around they have a lot of content whether it be ‘Paid Owned or Earned Media’. This is gained from their continued hard work and their relationship with their customers. Below is a chart which visually explains how each category relates and how it effects the all aspects of the brand/campaign :
Utilising channels and connecting with the audience just as Farmville and Pokémon Go did, would make Lego a even more profoundly worldwide brand. Something like this is a achievable reality, Lego continue to reach into new channels and platforms, from: games, movies, toys, to theme parks. To go big and make a statement is something that Lego are not afraid to do, if they were to do it there would be next to no sign of a backlash against the brand as they are only further trying to make the world fun.
“The real giants have always been poets, men who jumped from facts into the realms of imagination and ideas.”
Brick + Brick = New Object
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Mini Essays: ADV231 Assignment 1:
ADV231 Assignment 1
(TO BE MARKED)
What Makes A Video ‘Go Viral’?
60 hours’ worth of video footage is uploaded to YouTube every minute, and over 4 billion videos are viewed every day. That’s just on YouTube. If we consider social media platforms too, the numbers are even more astonishing: 500 years’ worth of YouTube videos are watched every day on Facebook, and over 700 YouTube videos are shared on Twitter each minute.
As a result, on a daily basis we are constantly bombarded with ‘funny’, ‘cute’, ‘jaw-dropping’ or ‘incredible’ videos; to be honest, literally anything can go ‘viral’ today. As the number of social media users increases, and new social media platforms are introduced, the term ‘viral video’ has become harder to define.
A few years ago, a video would be considered ‘viral’ if it had a million views, and whilst that is a still an impressive achievement, it is now a normal view count for any well-known or trending topic.
Casey Neistat is arguably YouTube’s most popular personality, blogger and video up-loader, with over 5.5 million subscribers and more than 1.2 billion total channel views. With over 700 total uploads, it is not surprising that he has had several videos that can qualify as ‘viral’. His latest one: “THE $21,000 FIRST CLASS AIRPLANE SEAT” published on September 19th now has over 24 million views (it’s October 24th).
Casey himself explains that a viral video is “almost impossible to manufacture”, but gives some theories as to why his videos go viral. Niestat says the key factor is that they are “perfectly innocuous… Nothing offensive, nothing harmful or bad… No swear words, nothing gross, nothing yucky, there was nothing offensive about it to anyone”. This means that they are general enough that anyone can watch and share the video with their friends and family without having to worry about the kids or content.
He also talks about timing, and how his videos serve as a break from all the negativity and chaos in the news and world right now. So “when something fun and harmless and playful and interesting and sort of news worthy pops up, everybody just jumps on it”.
He finishes by explaining that it is a combination of these factors that contribute to a videos success, but a large aspect is purely down to luck.
When attempting our own viral video, we wanted to try and follow this recipe for success and see how we got on. In less than 12 hours we managed to get over 4,000 views on Facebook, which was far better than we imagined. It reached as far as South Carolina and Barbados, simply from being general enough that friends everywhere enjoyed watching it and shared it with other mutual acquaintances.
In summary, we drank a shot of Tobasco and ate a very big hot chilli. It was horrible. We set ourselves a challenge that the majority of people wouldn’t, and because of this, it meant they naturally wanted to see other people do it.
In summary, what makes a video ‘go viral’ is uploading something that is going to appeal to the masses, with content that is engaging, fun and as mentioned earlier “perfectly innocuous”.
(TO BE MARKED)
Creative Team Pen Portrait
For our pen portrait we decided to do something a little different. Instead of writing about each other in a cheesy and artificial essay, we wanted to show what we are really like as a team. And so, we decided to showcase ourselves in the way we know best… By taking the micky out of each other.
The following transcript took place on a Facebook group chat, unplanned, and spanned over 6 hours and involved us giving each other stupid nicknames. We realised the next morning, that it was the perfect and most authentic way to illustrate our relationship and our personalities. This chat demonstrates that our partnership isn’t just in the work sphere; it was formed outside of it, and continues outside of it, as we are also best mates * Queue ‘aaaah’s’ *
Max: Jake ‘Cricket’ Smith
Jake: Max ‘Wellington’ Simmance
Max: Jake ‘Did you see the cricket’ Smith
Jake: Max ‘I didn’t have breakfast, have you got anything’ Simmance
Max: Jake ‘I think I’ll wear shorts today… like I do everyday’ Smith
Jake: Max ‘My dog wears a wax barber jacket’ Simmance
Max: Jake ‘I talk to my cats’ Smith
Jake: Max ‘I’m not drinking anymore’ Simmance
Max: Jake ‘Jagerbomb’ Smith
Jake ‘Yeah I had 14 Jagerbombs’ Smith
Jake: Max ‘Okay, only a pint though’ Simmance
Max: Smithy ‘Nah can’t I’m playing cricket’ Smith
Smithy ‘Oi have you seen the cricket’ Smith
Jake: Max ‘I’ve been to Peru’ Simmance
Max: Smithy ‘Yeah cricket’ Smith
Jake: Max ‘Did I mention Ecuador’ Simmance
Max ‘I went on a gap year’ Simmance
Max: Smithy ‘Where has my Supreme cap gone’ Smith
Smithy ‘Yeah Arctic Monkeys all the time’ Smith
Jake: Max ‘Smart casual, but always smart’ Simmance
Max ‘Honestly, Led Zeppelin are the best band ever’ Simmance
Max: Smithy ‘Yeah you probably haven’t heard of it, Fruit of the Loom?’ Smith
Jake: Max ‘I’ve been to 13% of the world’ Simmance
Max: Smithy ‘I can Photoshop’ Smith
Jake: Max ‘I occasionally say big words, I just said one’ Simmance
Max ‘What’s the difference between Spring and Autumn’ Simmance
Max: Smithy ‘I love Cornish pasties, I’m from Cornwall’ Smith
Jake: Max ‘Caramel latte’ Simmance
Max: Smithy ‘I love cutting shapes on a Thursday night’ Smith
Jake: Max ‘Debating a haircut’ Simmance
Max ‘Debating a shave’ Simmance
Max: Smithy ‘That’s my cap’ smith
Smithy ‘You’re meant to wear it backwards, it looks cool’ Smith
Jake: Max ‘At Welly we used to…’ Simmance
Max ‘Odds on, nah allow’ Simmance
Max: Smithy ‘My cars called Tanisha’ Smith
Jake: Max ‘Might not go out tonight (always ends up out)’ Simmance
Max: Smithy ‘Yes I am still wearing my cap’ Smith
Jake: Max ‘Worst haircut’ Simmance
Max: Smithy ‘Yeah I could’ve been a pro cricketer’ Smith
Jake: Max ‘I don’t have a nickname’ Simmance
Max: Smithy ‘Mug’ Smith
Jake: Max ‘Mug’ Simmance
What Is Native Advertising?
Native advertising is paid content that appears primarily online; and it copies the “form and function” of the medium or platform on which it appears. It disguises itself within the article or video, hence the word ‘Native’, and so appears to be part of the home editorial as though it belongs there. Native advertising matches the publication’s editorial standards, and remains within the audience’s expectations of the site they are on.
The main objective is to drive and increase brand awareness and social engagement by piggybacking on the brand and audience of a given publication or social media platform.
The drawbacks are that it is expensive to measure success and seeing a tag saying ‘sponsored’ means that they can be recognized as adverts, which consumers may find devious, off putting or annoying.
An example of a native advertising campaign is ‘Cocainenomics’ produced by Netflix for The Wall Street Journal:
The article itself is exactly what The Wall Street Journal would publish, and what their readers would be expecting from them; a telling chronicle of the exploits of the Medellin Cartel (what the Netflix show Narcos is about). Netflix is paying for a detailed journalistic article, but it is full of interactive maps, graphics, and videos from the show, to help illustrate the article, instead of using re-enactments. Netflix analysed data to see how engaged audiences were with their content, and this helped them to program more content. At the end of the article is a quiz, and unless you have been following carefully, you will find it very hard. It is simple to share to social media the parts you find most interesting, and so Netflix is gathering more and more information.
A second example would be SB Nation publishing “First & Long”, sponsored by Nike, a section where 6 professional NFL football players return to their high schools for training. Each athlete then created a video, motivating young athletes to keep pushing themselves:
Readers of the sports blog again accept the article, but it is crammed with the Nike brand. From the clothes the athletes are wearing, the logo, the style and tone of voice, and even the font is Nike.
Native advertising is important because online advertising is arguably becoming more and important and effective than TV or other forms of advertising. With the number of people connected to Internet rapidly growing (now 40% of the world’s population), the impression online advertising can leave is very significant. The number of people it reaches is vast and so brands are becoming more sophisticated and clever in “grabbing” attention in the heavily populated online advertising arena. Thus, a lot of money is invested into native advertising to get it right, with figures expecting to reach $21bn by 2018.
Some may see it as morally wrong- advertising to consumers without them “realizing”- but if it is providing intelligent and thought provoking content, as the examples mentioned, does this out weigh the possible immoral perception of native advertising?
We think so.
Online Reputation Management
Online Reputation Management is the control of what consumers see when they look for you online. It is therefore key to making sure you have a positive online presence with consumers and the general public. Online platforms such as Twitter and Facebook reach such a large and constantly growing number of consumers, that brands and companies know that everything that is seen out there will be reacted to. Moreover, whether it is negative or positive, once it is up, anyone and everyone can see it. If managed correctly, it can be used to boost positive comments, showing the company in a good light. But if done badly or sloppily, which is far too often the case, it can destroy a brand’s reputation.
It is important to note that online reputation management is not just simply monitoring social media, or improving public relations. It is about monitoring how consumers see your company or brand, being open and prepared for criticism (and then addressing it), asking for feedback, and building one on one relationships and interactions with consumers.
It is all too easy for advertisers to send out the wrong message on social media, sometimes unintentionally, or one that does not resonate, leading to the opposite reception that they hoped for. One reason is there could be too little control over who manages social media or that staff members may not understand how social media really works. A good example is, Toyota:
The reply sums it up perfectly; don’t simply expect the public the share your message because you tell them to.
There are inherent dangers in social media leading to the abuse of your brand, doubly so if the wrong people have access to your company’s social media platforms. In the example below for HMV, the HR department used the company’s own Twitter account against them, to express their anger over their unruly firing:
Whilst this is a #disaster for the company, this was clearly the intention from the HR department.
Unlike a TV or radio advert, where it can be pulled if there is a problem, once it is online, it is there forever. The tweet, post, or photo can be deleted, but by then it will have been seen by followers, liked and shared, for everyone to see.
However, advertisers can use online platforms extremely successfully to spark a revolution, start a conversation, or bring an instant massage to the world, and boost their brand at the same time.
Make-A-Wish launched one of the most successful social campaigns ever, with #SFBatKid. Make-A-Wish wanted child Miles Scott to live his dream of being BatKid, Batman’s sidekick. Make-A-Wish made social media their top priority, employing a dozen people to focus solely on and engage with #SFBatKid. Social media users were so touched by his story that it catapulted around the world, even President Obama took part. The planning and organisation meant they had already written the content and scripted the tweets. This meant that users could follow the event live and in real time, therefore driving engagement and a worldwide conversation. There were over 500,000 tweets with the hashtag, and it made 1.7bn impressions on social media.
Calvin Klein also used their audience and consumers to cleverly market their products for them with the hashtag #MyCalvins. Achieving a global reach of almost 500m users and 23.5m total interactions. The hashtag encourages their consumers to post pictures of themselves to social media, wearing the company’s underwear. Consumers are more likely to buy a product if they feel ‘included’ and part of a movement, and their friends tell them to do so, as they trust them, rather than an advert. It caused a big marketing win for the company.
Targeting your Campaign
Product / Service:
Max and Jake Advertising
To start a conversation with our target audience about our work
By persuading the target market (Creative Directors) that we can win their agency awards
We win every award
Look at all the awards we win
Award logos, our website address and links to see more of our work, pictures of us
Tone of Voice:
Cheerful, Driven, Humourous
Desired Consumer Response:
“These two could win us some awards”
Our target market is the men and women who will be hiring us in the near future: the creative directors of agencies. Until that point, our objective is to start a conversation with them about our work; to put our names on their radar, be spoken about and with any luck, build a relationship with them.
Our insight is that agencies love to win awards; no matter how big or small, whether they’ve heard of them or not. Winning an award is a massive ego boost for creative directors, and they love it. We want to use this insight to our advantage, and force creative directors to see who we are. We played with and developed this idea, and knew that if we can show creative directors that we can win their agency awards, it will separate us from our competition. The idea is that we write to creative directors congratulating them on their nomination for an award. In the letter it will explain to them that to see whether they have won or not, they need to follow the link to the award show website.
Even though they will have never heard of our award show, their agency having been ‘nominated’ is more than enough to spark an interest. Of course, they haven’t won anything, because when they see the winner, they will see us, Max Simmance and Jake Smith having won the award, along with a series of others. In fact, we will win every award there is, awards we wouldn’t have been nominated for, such as ‘Best Female Team’. We hope they aren’t too annoyed at not having won a fake award, and so from there they can be directed to our website. Human nature will make the creative directors want to see if our work is as good as we say.
We want a campaign that shows a balance between drive and determination, and humour and light heartedness, qualities that we use to describe ourselves with. We feel that this campaign reflects this balance and is engaging, fun and different enough that it will spur a discussion and the beginnings of potential relationships and connections with industry leaders.
ADV231: Assignment 2:
“Discuss the methods, strategies and techniques that make social media campaigns effective, using specific examples”
The importance of social media in advertising and communication campaigns is becoming increasingly obvious in today’s world. With the number of social media users continuously rising, and social media platforms becoming increasingly integrated and advanced, it is paramount that brands and companies carefully plan and execute successful social media strategies, not only for brand awareness but to set themselves apart and stand out from the competition.
Social media campaigns are not simply a fantastic and immediate way of reaching a large audience, they specifically enable interaction and involvement with the product or service from the consumer, like no other media form. Whilst TV advertising continues to have the largest audience and greatest impact for storytelling, social media allows specific and even niche consumers to be reached, and equally the right campaign - executed correctly - can explode in the public consciousness, get shared and go viral.
The process of creating an effective social media campaign is not to be underestimated or rushed. Firstly, as with all media forms, the target market needs to be clearly identified and researched, to ensure the campaign is not only relevant, but creates the desired impact. Being relevant is vital due to it being online; consumers decide instantly whether to click on a link, close down the page they’re on, or ignore it and continue scrolling. Thus, it needs to grab their attention and excite them enough to peruse, and stay with it. Secondly, the choice of social media is important as well; how active is the target market on Facebook vs Twitter, Snapchat or Instagram… do they even use these platforms at all? Are they more active on YouTube? Whichever social media is chosen; they require specific strategies and communication forms. Twitter is all about the words and there’s only 140 characters so each one needs to count and grab the focus succinctly. Instagram is about the picture, instead of the words, and so something eye-catching is needed. YouTube lends itself to a fully filmed communication and so on.
Before talking about our own social media campaign, we explored many campaigns, before deciding on Adidas and the US presidential election race as good examples for how social media can be an effective part of an overall media strategy.
Adidas have a tremendous opportunity to create social media campaigns for several reasons. Firstly, the brand following is enormous, almost 3 million followers on Twitter, and 11.7 million on Instagram; their consumers are very active on Snapchat; hence they are too - featuring famous sport stars around the world. Adidas consumers are loyal to the brand, and similar to a brand like Apple, once you start buying the product, you’re hooked, ready for the next product in the range. As such Adidas’s market capitalisation is now $17bn. Secondly, what the brand stands for and the qualities they represent, are central to their advertising, because they are so admired by their consumers. Adidas’s identity is all about the ‘three stripes’ and expressing quality and leadership. They also have the Trefoil for the leisure market, and adopted by fashion conscious consumers, so allowing Adidas to be seen as more than a sports brand. Then there is the newest Three Bars logo symbolising a mountain for people to challenge themselves to the limit, for the innovation and technology for their sporting products. Finally, and as mentioned previously, Adidas sponsor and represent many superstars of the world of sport, who again are religiously followed by their fans: from Lionel Messi to Novak Djokovic, and Adidas knows the value of their athletes and use their fan base to promote the brand.
In 2016 Adidas released the campaign: ‘Boss Everyone’, which they used to advertise their new groundbreaking laceless football boot. The aim, as with previous campaigns, is to get consumers talking about the brand. The adverts are very ostentatious, with famous players showing off their incredible skill and ability. Adidas know that by doing this, people will not only want to see it for themselves, but share it with others. The campaign took the viral meme “Thug Life” and turned it into their own. They used 4 generations of players from the football world: the past legend, the current great, the upcoming star, and the promising future. It begins with the legend Zinedine Zidane who shows how to be the boss of the game. This forces others to outperform his piece of skill and ask him ‘who’s the boss now?’ as the campaign says ‘Boss Everyone’; they “boss” the legend, and this tells the audience that with Adidas you can be the best and achieve anything, you will be able to “Boss Everyone”. The campaign was hosted on all forms of social media and continuously updated to keep it fresh, exciting and front of mind with the audience.
The campaign ran under the slogan “Boss Everyone”, but used the hashtag #bethedifference on social media, which was only a minor detail in the ads. This could have been a mistake if consumers got confused, or used the wrong hashtag, or did not see the connection. Fortunately, it didn’t, and the ad has been seen by more than 3m on YouTube. Additionally, Adidas went on and continued to release short 10-30 second clips of other famous players, showing off their skill and how they’re the “boss”. This kept the excitement going and encouraged more social interaction, as fans want to see their idols and join the competition to see who is the best.
The genius of the campaign is that it relies heavily on consumer’s fandom of their favourite players and the ambassadors for the brand. If you are at all interested in football, then you will be able to find something to enjoy in this campaign. Instead of using one player, they have strategically used several, from multiple nationalities and teams, therefore increasing the range of the target market. The teams which these footballers play for will unwittingly advertise Adidas too by sharing the videos featuring them, which means anyone who doesn’t follow Adidas on social media, but does follow the player or team, will be reached and made an impression upon. Constantly updating the campaign with a new piece of skill that raises the bar from the previous player’s efforts, causes a return-factor from consumers to see who the latest “boss” is. The featured players encouraged the idea of competition with Arsenal’s Mesut Ozil beginning the campaign by posting two videos on his Instagram (reaching all his followers). Chelsea’s Oscar replied to Ozil’s attempt on Twitter (again, reaching more fans) until finally, Tottenham’s Dele Alli ‘bossed’ them back over YouTube.
The campaign ran across all social media platforms, but predominantly via Twitter and Instagram. It was through these channels that the hashtag #bethedifference would mainly be seen. The hashtag promotes a community between their online users and plays on the rising ‘meme-culture’ expressed on social media nowadays.
Adidas marketed the boots in a way that was different to competitors and previous campaigns. Instead of advertising to try to be like the best, or to motivate consumers to ‘get out there’ and as Nike say “Just Do It”, the narrative in this campaign states that with these new boots, you actually will be the best and can be ‘boss’ of a skill.
As Adidas expected, the campaign went viral, and was seen all over the football world and social media. In total, it got over 150 million views on Twitter, YouTube and Instagram, 15 million likes, favourites and retweets, and several million new fans and followers across the platforms. The most astonishing statistic, and overarching proof of the success of this campaign is that it caused 3 months’ worth of stock to be sold in only 7 days.
To have an effective and successful social media campaign, you need to have a good understanding of exactly how social media works, and online reputation management needs to be carefully monitored. Online Reputation Management is the control of what consumers see when they look for you online. It is therefore key to making sure you have a positive online presence with consumers and the general public. Online platforms such as Twitter and Facebook instantly reach such a large and constantly growing numbers of consumers, that brands and companies know that everything that is seen, will be reacted to. Moreover, whether it is negative or positive, once it is up, anyone and everyone can see it. If managed correctly, it can be used to boost positive comments, showing the brand in a good light. But if done badly or sloppily, which is often the case, it can destroy a brand’s reputation in an instant.
It is important to note that online reputation management is not just about monitoring you social media output and improving public relations. It is about monitoring how consumers view your company or brand, being open and prepared for criticism (and then addressing it), asking for feedback, and building one on one relationships and interactions with social media users.
In the case of 2016’s US presidential election, social media demonstrated how “powerful and dangerous” it could be for a person’s brand. The world watched Hilary Clinton and Donald Trump battle it out, not just in the public eye, but also over social media. The now president-elect Donald Trump clearly knew and understood the influence social media, and whilst Clinton did so too, Trump’s strategy and tactics triumphed, and were a key factor to his victory in November. Social media is where voters go to voice their political opinions, and it is where much of today’s political conversation and debate starts and takes place. Tweets, Instagram posts and Facebook statuses act as a form of confirmation of what people feel. If people like or share your post, it provides confirmation that you are right in what you believe, and in reverse, if you see a post sharing you view, it makes you more confident in your beliefs because you see other people are thinking the same as you. As stated by Karen North, a professor of communication and director of the digital social media program at the University of Southern California: “they want to find like-minded people to tell them why their opinion is correct. It doesn't mean the people won't change their opinion, but it feels better to find people who are supporting you and telling you why your opinion is right."
If one is connected to a group of friends on social media who are regularly expressing their views, you may slowly start agreeing with them, and even if you aren’t following the election, you may subconsciously sway to one side of the election debate; not due to any opinion of your own, but because it is human nature not to want to be the odd one out. Furthermore, users who don’t understand the election, or political views expressed by both parties, are easily influenced by what they see on social media, because they aren’t paying attention to what is really being said in the real world. What is shared on social media is sometimes an inaccurate representation of what is actually going on, because it is usually entertaining or fascinating stuff that gets shared. And one thing that Trump is, is entertaining and fascinating – even if not for the right reasons. Donald Trump used this to his advantage by creating content that would create a large impression on social media… and he proved that there is no such thing as bad publicity. Even after the revelations of his racism, sexism, and utter ignorance, voters somehow looked past this, and found a truth in what he was saying. They liked his direct, unpolitical, anti-establishment and no waffle approach.
Twitter seemed to be Trump’s preferred platform, because it allowed him the most intimate connection and conversation with vast numbers of people, who were socially and politically disenfranchised from conventional media news outlets. Furthermore, the 140-character limit meant he could keep his comments to the point, direct, and easy to understand. He used short sentences, but with strong and powerful words like “dangerous”, “problem”, “bad” and “weak”. He was able to impact and emphasise more with limited output. Moreover, based on an analysis of 2000 tweets, 45% were negative, compared to only 23% from Hillary. 60% of commonly used adjectives tweeted by Trump were negative, and when they were positive, they were very basic words: good, great, nice. Only 20% of Clinton’s were negative, and instead of throwing insults, hers were related to politics: affordable, equal, progressive, and presidential. As a result, Trump appeared more entertaining, and was more ‘shareable’. Clinton would tweet The White House and other political figures - 9 out of her top 10 were in politics. Whereas, Trump would engage with media accounts - 9 out of his top 10 were news outlets. The New York Times estimated he received $2bn in free press during the election. He was on every social media platform, shared by everyone, because he was entertaining and often controversial in his word choice.
In our social media campaign “The Awards” we chose to target the men and women who will be hiring us in the near future: the creative directors of agencies. Our objective is to start a conversation with them about our work; to put our names on their radar, be spoken about and with any luck, build a relationship with them.
Our insight is that advertising agencies love to win awards; no matter how big or small, whether they’ve heard of them or not. Winning an award is a massive ego boost for creative directors, and they love it. We want to use this insight to our advantage, and force creative directors to see who we are. Similar to Adidas consumers who are hooked by the brand, agencies are hooked to winning awards. We played with, and developed this idea, and knew that if we can show creative directors that we can win their agency awards, it will separate us from our competition. What we came up with was to write to creative directors congratulating them on their nomination for an award. In the letter it will explain to them that to see whether they have won or not, they need to follow the link to the award show website.
Even though they will never have heard of our award show, their agency having been ‘nominated’ is more than enough to spark an interest. Of course, they haven’t won anything, because when they see the winner, they will see us, Max Simmance and Jake Smith having won the award, along with a series of others. In fact, we will win every award there is, even awards we couldn’t have been nominated for, such as ‘Best Female Team’. We thought of producing short comical videos of us; for example, we could be sunbathing on a beach drinking cocktails, when we receive a call telling us we’ve won, but we just shrug it off like it’s such a regular thing. The aim is to be shareable and entertaining, as we know that this is what is effective on social media. We hope they won’t be too annoyed at not having won a ‘fake’ award, and so from there they can be directed to our website. Human nature will make the creative directors want to see if our work is as good as we say.
We want a campaign that shows a balance between drive and determination, and humour and light heartedness, qualities that we use to describe ourselves with. We feel that this campaign reflects this balance and is engaging, fun and different enough to encourage a discussion and the beginnings of potential relationships and connections with industry leaders.
Bibliography & References:
Doctoroff, Tom (2014) Twitter Is Not a Strategy: Rediscovering the Art of Brand Marketing, Palgrave Macmillan
 Logaster. 2012. The Adidas Logo. [ONLINE] Available at: https://www.logaster.com/blog/adidas-logo/. [Accessed 30 November 2016].
 The Drum. 2016. Adidas goes for meme marketing with ‘thug life’ homage. [ONLINE] Available at: http://www.thedrum.com/news/2016/01/29/adidas-goes-meme-marketing-thug-life-homage. [Accessed 1 December 2016].
 YouTube. 2016. Adidas Football. [ONLINE] Available at: https://www.youtube.com/user/adidasfootballtv?feature=iv&src_vid=ZtnS7hgLDVc&annotation_id=channel%3A51ee096b-0-27f0-867e-f46d043c8212. [Accessed 1 December 2016].
 Iris Worldwide. 2016. Boss Everyone. [ONLINE] Available at: http://www.iris-worldwide.com/work/adidas-boss-everyone/. [Accessed 1 December 2016].
 CIO. 2016. How social media is shaping the 2016 presidential election. [ONLINE] Available at: http://www.cio.com/article/3125120/social-networking/how-social-media-is-shaping-the-2016-presidential-election.html. [Accessed 2 December 2016].
 Karen North for CIO. 2016. How social media is shaping the 2016 presidential election. [ONLINE] Available at: http://www.cio.com/article/3125120/social-networking/how-social-media-is-shaping-the-2016-presidential-election.html. [Accessed 2 December 2016].
Campaign Creation ADV220: Assignment 1: Portfolio
'Give Them Bread, Save The Spreads'
Problem: Consumers aren't buying Warburtons
Insight: Without good bread, spreads are useless
Solution: Personify the spreads in the cupboard, saying they will hide unless there is Warburtons
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'It's That Absorbant'
Problem: VIVA isn't used by UK consumers
Insight: It can absorb an impossible amount of liquid
Solution: Show VIVA to absorb an unrealistic quantity of liquid
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Problem: Fiat 500 is seen as a girls car, so men refuse to drive it
Insight: You'll secretly love it
Solution: Show situations where men make excuses to drive the car
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Problem: UHU changed its formula to make it stronger, but consumers don't know about it
Insight: It can stick anything together, even letters and words
Solution: Use common sayings and 'stick' them together
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Snake & Dagger:
'Made In London'
Problem: It is an unknown brand
Insight: The old jeans advert man (Levi's, Wrangler, Diesel etc.) is now outdated and not cool, because everyone is like him now.
Solution: Make the Snake & Dagger man the pinnacle of individuality by demonstrating how ordinary other jean wearers are.
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