CONTENTS acknowledged. Allrightsreserved. trademarks andregistered trademarks instance torequest suchpermission.All contact [email protected]first the relevant copyrightowner. Please (BCMA, DMC,NewMediaWorks) and the writtenpermissionofpublishers reproduced inwholeorpartwithout Copyright 2014.Thisbookmaynotbe INTRODUCTION FOREWORD Andrew Canter Next 10Years Looking Forward tothe 10 Years oftheBCMA Alison Knight

CASE STUDIES Ogilvy Unilever Hellmann’s ‘InSearch ofRealFood’ Pereira &O’Dell Intel+Toshiba ‘TheBeauty Inside’ Fuse Russia PepsiCo Lyubimy ‘NaturalLove’ DigitasLBi Lights’ Sony Xperia‘VsTheNorthern Forsman &Bodenfors Volvo Trucks ‘TheEpicSplit’ ITV Unilever SurfTOWIE‘SummerD’Reem’ McCann Metro Trains ‘DumbWays Melbourne toDie’ Red BeeMedia Barclays ‘Your Bank’ Ogilvy Unilever Dove‘RealBeautySketches’ Wanted AgencyandASASdaImaginação Terra ‘PenetrasdeLuxo’ Somethin' Else Chivas Regal‘MASHTUN’ Adjust Your Set Carphone Warehouse ‘SmarterWorld’ Tenthwave Duck Tape ‘RaceofGentlemen’

CLIENT VIEW THE FUTURE MARKET REPORTS RESEARCH Nick Mercer Eurostar Justin Kirby Expert Predictions Report Patrícia Weiss Brazil Anton Efimov Russia Ipsos MORI&Oxford Brookes Age: PhaseOneFindings Defining BrandedContentfortheDigital Unruly Top TipsforVideo Success Stop Trying toMakeYour AdsGoViral:

ABOUT THE BOOK Feedback Producers Contributors FOREWORD BCMA Founder, Alison Knight F IGURE IGURE 2.1

branded content. entertaining andengagingwaythrough invitation, notinterruption,inan consumers andbrandstogetherby communication basedonbringing parties andpromote anewformof try tobringtogethertheseinterested It struckmethatitseemedagoodideato routes. replacing more traditionaladvertising often substitutingandinsomeinstances communicating withtheiraudiences, brands tousedifferent waysof number ofcompanieswhowere advising Back intheearly2000s,Iworkedwitha strengths tothewidermarket. marketing mediumbycommunicating its adoption ofbrandedcontentasa share andtopromote learning the share ideas,todevelopbestpractice, was formedtooffer support,advice, advertisers, agenciesandplatforms.It barriers betweencontentproviders, as acatalystinbreaking theexisting The BCMA’s primaryobjectivewastoact officially launchedinOctober2003. Marketing AssociationorBCMAwas increased andtheBranded Content development ofbestpracticesteadily setting industrystandards and a forumfordiscussion,sharingofideas, The numberofinterested partieswanting Over the last 10 years, the BCMA has editing, production, distribution and recent case studies, a report on emerging established itself as the leading promotion – we have pleasure in markets, expert predictions on future organisation for branded content. We publishing this, our second ebook. We trends and an in-depth analysis of the have created a proprietary measurement envisage this being an annual publication first phase of the Oxford Brooke’s tool, contentmonitor, giving us valuable showcasing the very best of branded University and Ipsos MORI Academic insight into what makes branded content content. Study which sets out to develop a clearer effective. We have opened dedicated understanding of this key marketing We also publish the ‘BCMA Weekly BCMA chapters in the USA, Russia and concept and define branded content in Digest’ that brings together all branded most recently South America and the digital age. content news and stories from around the Scandinavia. world. Our Insight Series of events brings We look forward to our next ten years

We were delighted with the response to together leading experts in the field of with great excitement and we hope you our first ebook showcasing great branded content to share their views on are inspired to join us on this amazing examples of branded content, which was the current and future trends. And our journey. published in early 2013. recently developed Leadership Series

showcases the latest developments Due to its success – and with special affecting the industry. thanks to Tenthwave, Somethin’ Else,

Ipsos MORI, Adjust Your Set, DMC and Contained within this ebook are all things

New Media Works for their help with branded content, including the best

3 INTRODUCTION BCMA CEO Andrew Canter impact willmaximiseROI.” branded contenttoitsfull strategies thatembrace think thatbrandsadopt asarealInternet driver, andI growth ofsocialmediaandthe major brands.We’ve seenthe amazing campaignsfrom exciting yearwithsome “2013 hasbeenanincredibly F IGURE IGURE 3.1

Next 10Years Looking Forward tothe branded contentmarketingcameof age. for brands.2013wastheyearthat us aglimpseofwhatthefuture mayhold positively onbrandedcontentandgiven development oftechnologyhasimpacted explosion ofsocialmediaandtherapid and predict theemergingtrends, butthe We generallylookbacktoforward star-studded line-upofactorsincluded John Woo, RidleyandTony Scott.The producers, suchasAngLee,GuyRichie, working withluminarydirectors and on producing five‘mini’feature films million advertisingbudgetandspendit when BMWdecidedtotakeitsUS$30 traced backtoaseminalmomentin2001 The recent contentrevolution canbe Clive Owen, Madonna, Don Cheadle, We can surmise that this influenced the a whole new meaning to the phrase, “Red

Mickey Rourke, Gary Oldman and Forest decision of the likes of Audi (2005) and Bull gives you wings”.

Whitaker. more recently Renault (2009) to launch Mobile telecommunications brands have dedicated channels to showcase their BMW Films’ ‘The Hire’ series season one been extremely active in the branded brands. We have also seen Jaguar featured ‘Ambush’, ‘Chosen’, ‘The content market in the last decade. We producing the 2013 film, ‘Desire’, starring Follow’, ‘Star’, and ‘Powder Keg’. The have seen Orange create the music show Damian Lewis. It was created in brand followed this up with three more ‘Playlist’ with Initial (Endemol), broadcast collaboration with Ridley Scott films for season two: ‘Hostage’, ‘Ticker’, on ITV in 2005. A year later T-Mobile Associates (RSA) and features music and ‘Beat the Devil’. decided to follow suit and co-produced a from Lana Del Rey. show with Channel 4 called Already ahead of the curve, BMW then The masters of branded content, Red ‘Transmission’, and Vodafone’s music created BMW Audiobooks in 2006, which Bull have created some incredible show TBA ran on E4 from 2006, produced were given to customers to play in their content over the past few years, by Endemol. new cars, but were not deemed to be a culminating in the Stratos project that great success. However, we often learn Drinks brands have relied heavily on saw Felix Baumgartner freefall from more from things that don’t work than branded content, with great examples space. Who would have thought that a from things that do, so BMW should be from Bacardi’s B-Live events in brand would be bold and confident congratulated for their vision and partnership with Groove Armada. A enough to spend millions on achieving foresight. drinks brand as a record label? Also, this? Money well spent? It certainly gives 5 established brands such as Johnnie areas that were at the centre of their core

Walker have created a rich vein of consumer’s life, i.e. music, football, content based on the history of the nightlife and social media. With this “We’ve evolved from, “If [consumers] brand. campaign, they recognise the legend in might skip my ads then I’m going to try all of their drinkers, those who know their Other brands like Chivas Regal have and hide my ads in the content they’re way around and recognise a fine beer invested heavily in content creation with already consuming” to “Wait a minute, I when they taste one. In ‘The Entrance’, two films based on real friendships actually have stories that I can shape

the film’s hero demonstrates his and share with my audience that are directed by multi-award-winning Joachim ‘legendary-ness’ by making the ultimate worthy of their time.” That is really a Back: ‘Here’s to Big Bear’ and ‘Here’s to party entrance. huge transfer of thought from a world of Twinkle’. branded content being a tactic, to a This was followed by their high-profile We also witnessed a huge change in world of strategic, story-based involvement in the James Bond movie attitude to content as brands such as marketing where all forms of

‘Skyfall’, which caused a great stir among communication have to be put through Heineken reportedly increased their Bond fans as beer replaced his Martini the filter of “What do I have to say that branded content marketing budget from and generated huge coverage for the adds value to people’s lives and under 5% to 25% over the course of 18 conversations?”” brand. It was a notable example of how months. This culminated in their highly Scott Donaton, brand integration can be subtle but acclaimed 2011 ‘Open Your World’ Global Chief Content Officer, effective, notwithstanding the £45 million UM campaign that was created to engage in investment. 6 Branded content has always been at the ‘Content 2020’ vision. They believe this stood out with a tale of possibility that heart of Luxury brands, with great will leverage the opportunities in the new just had to be told. Not only did his dance examples coming from: Dunhill’s ‘The media landscape and transform one-way move – the ‘Toe Tappy’ – take off, but

Voice’ campaign, featuring distinguished storytelling into dynamic storytelling that also he got the whole world dancing to it. gentlemen who have achieved great hopes to add value and significance to And who can forget the Coca Cola Polar things in their chosen fields; Prada with people’s lives. Their ‘Move to the Beat’ Bears that featured during the Superbowl ‘The Therapy’, a short movie directed by campaign in 2012 formed part of their in 2012? Another great example of Roman Polanski, starring Helena Bonham Olympic Games association and branded content from a truly visionary Carter and Ben Kingsley; LVMH; Chanel, achieved great results. brand. producing the 30-minute film ‘The Tail of We have also seen them diversify into In sport, Nike have been the most active a Fairy’, created by Karl Lagerfeld and sub brands, such as Coke Zero for which brand creating content around specific featuring Vogue cover girl Freja Beha ‘A Step from Zero’ was created with events, such as their city-based ‘Run’ Erichsen; and Cartier with their incredibly excellent results. The campaign series – for example, aligning ‘Run moving ‘Painted Love’ campaign, consisted of launching a global social London’ to the recent ‘My Time Is Now’ featuring original music by French band, media audition to define the next global campaign. Air. dance move. After hundreds of original Then there are the charities that have The soft drinks sector has been dance move submissions poured in from used branded content effectively. Of note dominated by Coca Cola who have fully all parts of the world – igniting thousands is ‘Movember’ that has helped to raise committed to branded content with their of social media conversations – one guy 7 £276 million over the past 10 years with implemented for subsequent activity to

577 funded projects for men’s health in ensure the best possible outcome.

21 countries, focused upon prostrate and At our most recent BCMA event, BC: “I think one of the most interesting testicular cancer as well as mental health things about marketing today is just 2023, we asked our experts to look 10 how much being a globally connected issues. There is also Cancer Research years into the future and give us their society has changed things. As more UK’s ‘Tesco Race for Life’, the UK’s people enter the job market and [join] views on what brands would be doing to biggest women-only fundraising event, organisations that understand the value engage with their customers. of relevant content and being a good which incorporates a 5km run for the social brand, and that value Eric Schwamberger, Partner at charity. It has raised almost £500 million relationships over impressions – as Tenthwave, said that brands will stop these people are put in charge of over the past two decades. budgets, we are going to see more "disrupting what people are interested in" attention paid to branded content and There are many more great examples of and try to "become what people are content marketing. This is going to be brands using content effectively, which interested in", shifting marketing value essential for these people to succeed, can be viewed on the BCMA’s YouTube because many brands will be competing from brand impressions and message to win the hearts and minds of their channel. There are also examples of frequency to brand engagement and consumers. The successful agencies in where branded content has not worked the next five years are going to become experiences. obsessed with delivering branded as well as planned. It is often the latter experiences that can create real bonds His other prediction was that, as the first campaigns we learn most from, and we with their customers.”

‘Social Generation’ grows up, Eric Schwamberger, must ensure that changes are transparency and sharing will become Partner, Tenthwave 8 part of a new global dynamic. The idea of term that it tends to make any discussion

social media will move past a line item in of it broad and fuzzy as well.” These

the marketing budget to an integrated quotes come from the literature review of “I don’t think brands are taking enough risks in the content space. tactic of just about everything we do. our current academic study, ‘Defining

[They are] looking at what they Branded Content for the Digital Age’ – We have seen an unprecedented bought from a mass media see the Phase One results report here. perspective and trying to replicate increase in the level of branded content that in the realm of digital. I also over the past year, and, although the However, through the BCMA’s desire and believe that the content produced by process of producing great content has passion to drive forward creativity and brands is primarily passive and linear. I don’t think it takes advantage of improved, there is still much debate and establish academic understanding, advanced platforms like Xbox One. I discussion about the best approach. champion best practice and share don’t think it has a high level of learning, we truly believe that branded consumer engagement. I don’t think This was summed up in 2013 by Robin it is transmedia in the truest sense of content will continue to be an Thornton of Shaman Marketing, who delivering different content increasingly important part of the experiences, be they entertainment said, “There is a significant amount of marketing mix. or utility based. So I think there is confusion and controversy out there tremendous growth opportunity.” around what content is, what it does and This will maximise the return on

Doug Scott, how to use it.” This is backed up by investment for those brands adopting a

President, Cindy Gallop of IfWeRanTheWorld who strategy that fully embraces the power of OgilvyEntertainment said, “Content is such a broad and fuzzy content.

9 “The branded content segment is “In the Age of Social Conversation, the period of interruption-based advertising is diminishing and is being replaced by engagement-based advertising in most parts of the South American region. developing and becoming more In Brazil, 2013 has been the year of the video, due to the social visual culture evolution. Naturally, popular among advertisers in Russia. marketers are planning to increase social video ad placements, leveraging the production investments of

Top TV programmes of general original content to create their own experience and conversation territory with the consumer - without causing an impact on the traditional, and still predominant, investment in TV. interest and top sport events are Because we are an emerging market, in many cases, the content created is still centred on the brand and already branded. Further growth will is media-oriented, demanding stronger planning and creativity to develop more entertaining, efficient, involving, storied and relevant branded content initiatives within the consumer’s context to provoke follow the segmentation of content shareability and relationship. delivery channels (Internet and digital The big challenge for the Brazilian market is in maturing and expanding branded content strategies by TV) and technologies that analyse permeating other forms of connection between the brand and the consumer. When storytelling gets incorporated in the centre of the brand strategy, it will triumph as a powerful, ‘meaning-conveyor’ audience preferences. Audiences will marketing tool. require more and more specific- More examples of compelling stories that manage to get the attention of a dispersive audience will be interest content that will be produced seen, informing and delivering value while entertaining. Marketers are getting serious about creating great stories that spread brand meaning and help to humanise the brands – exactly now, when the most in partnership with advertisers.” important universal currency is the conversation.”

Anton Efimov, Patrícia Weiss,

Managing Director, SVP Strategic Consultant for Branded Content, Branded Entertainment and Transmedia Storytelling,

Fuse Russia ASAS da Imaginação

10 Campaign : The Race of Gentlemen Client : ShurTech Duck Tape Agency : Tenthwave Digital CASE STUDY 12 CHALLENGE

First run over an Autumn weekend in 2012, the Race of waiting to see a machine at its top speed pass before them on a

Gentlemen is an invitation-only series of races in which hand- wide open beach,” said Mel Stultz of the Oilers Car Club and

built, modified pre-World War II cars and motorcycles roar along founder of the Race of Gentlemen.

a 1/8-mile sandy straight on the beach at Wildwood, New Jersey. One of the spectators at the 2012 event was Brendan Kennedy –

The Race was conceived by a group of hot-rod enthusiasts from now a Tenthwave Creative Director. Brendan went to Tenthwave

the Oilers Car Club, which was established in the 1940s. The in summer 2013 and pitched the idea of partnering with a brand

Race invokes the bygone era when people built cars to push to help raise the profile of the Race.

their skills and their love of speed, using parts pulled from other The agency loved the idea, but had just three weeks to find a cars or fabricated by hand in their backyards and home garages. partner, conceive and produce a campaign that would be ready

“My vision was for a race much like you would have seen in 1910 to go live at the second annual Race in October 2013.

or ’20: people dressed up, with picnic baskets and good booze,

13 When looking to engage a brand with a niche target audience required the could seal canisters, secure cracked

cultural event, Tenthwave aims to satisfy support of a cult brand that’s relevant to windows, repair trucks and more. The SOLUTION

two important factors: that niche and interested in building its tape has been a staple in garages and

own profile within the same community. toolkits across America ever since. 1. The event should be something that

people care about and are already talking One of Tenthwave’s clients, ShurTech’s Not surprisingly, drivers in the Race of

about, but there is an opportunity to Duck Tape®, was an obvious and natural Gentlemen were already using Duck Tape

expand the conversation in some way. fit. to build and patch up their cars, make

pre-race modifications and running 2. The involvement of the brand must Duck Tape was first used during World repairs – it was literally holding together be relevant and authentic to the event – a War II, when US troops needed a strong, vital car parts. brand can’t stomp all over an event and flexible, durable, waterproof tape that

take it over, they have to be genuine

participants with a right to be there, and

they have to participate in a way that’s

not only on-brand but also feels natural

to the consumers involved.

For their first challenge – finding a willing

and suitable brand partner – the agency

realised that a cult race series with a

14 spending a lot of money. In fact, there

was less than US$10,000 allocated for

media.

Hurricane Sandy had hit the beach the

year earlier, destroying some of the

historic beach huts and infrastructure. In

order to support the event, Tenthwave

would have to bring their own technical

communications equipment, such as

power and Internet connectivity, and get

Duck Tape involved from the ground up.

So both culturally and from a product The agency had several other From a creative viewpoint, the energy angle, Duck Tape was a perfect match for considerations to take into account for and passion of the historic motoring the Race. The brand agreed to get the conception and production of a event was matched by the amazing involved at short notice, trusting campaign. natural beauty of the backdrop itself – the Tenthwave to come up with a branded First, they had to do something highly beach with its sand and sea spray, the content marketing idea that would effective for the Race and the brand with crazy characters, the old jalopies and the expand on Duck Tape’s existing goodwill a very short lead-time and without heritage buildings would all enable the and authenticity among race-goers. creation of great visual content. 15 Tenthwave decided to create an Live photographic experiential, branded content marketing contest pilot campaign, consisting of a mix of live Spectators were encouraged to take "This campaign worked activities during the Race from 4-6 photos during the Race weekend and because it was cool and fun

October 2013: hashtag their photos with and relevant for hotrod

#raceofgentlemen and #ducktape for a enthusiasts. Whatever it is Live online broadcast that’s culturally relevant, we of races chance to win US$500. Instagram was want to bring that authenticity the main social media platform for the Tenthwave created a campaign website and relevance to all the brands photos, however photos also appeared that included live streaming of race we work with. This campaign is on Duck Tape’s Facebook page where footage from the beach, so that anyone just one excellent example of the brand has more than 5.5 million fans. anywhere in the world could view the facilitating the meeting of a brand’s product with cultural races and the surrounding activity. Social The contest was promoted on the and social currency." media, including Facebook, Instagram campaign website via a live feed of the and Twitter, was used to help drive traffic Instagram shots, and it was promoted Drew Rayman, to the live feed site before and during the live at the Race, where Duck Tape and Managing Partner,

Tenthwave Race. Tenthwave staff walked around chatting

with attendees and handing out cards

with directions on how to enter the

contest. 16 Duck Tape giveaways Archival video footage

‘stand’ A production crew filmed thousands of

Duck Tape gave away free branded T- hours of footage during the Race "What was so great about this shirts, rolls of Duck Tape and cards weekend, with the aim to use this branded content campaign is promoting the photo competition from collection of stories and social content in that it was just an off-the-cuff idea from a guy in a garage: the back of a suitably modified future Duck Tape social and digital “Hey this is going on, wouldn’t stationwagon on the beach. marketing initiatives. it be cool if…” Duck Tape was

literally invited in to the event

and they took a chance that it "Duck Tape is the most versatile tool in my bag. I keep a roll in every car I own and I use a ton of it when I'm prop-making would generate some benefits for the Race of Gentlemen" Meldon Van Riper Stultz III, Oilers Car Club, and his 1939 for them as well as for the Race Indian Chief of Gentlemen. And boy did it!

It’s all about finding the right

idea and the right brand and

bringing them together."

Kate Daggett,

Executive Creative Director,

Tenthwave

17 • c.30,000 people accessed the live event online broadcast Founded in 2010, Tenthwave is the PROFILE customer-obsessed digital, social and mobile marketing agency. • Online viewers from 60+ countries Its passion is to inspire customers through insight and understanding, • Average 15+ minutes spent on site creating share-worthy social content for brands that resonates with – and per visitor between – people. As a more personal, full-service • c.1 million pieces of branded digital agency, its core service offerings lie in strategy, research, content consumed in a week digital design, development, branded "My first truck, a 1969 Toyota Hi-lux, had a floor entirely made of Duck Tape" content development, user John Illenye and his 1928 German-built Triumph and experience, social media Hindenberg metal werks sidecar management, online media, analytics, promotions and online marketing.

"I've used Duck Tape to make a fan belt – and a Tenthwave has about 100 employees belt to hold up my pants!" globally, with offices in New York David Stein and his 1930 Ford Model A City, Long Island, Chicago, Detroit, Speedster San Francisco, Washington DC and London.

See more of Tenthwave's work here.

18 RESULTS The Duck Tape 'Race of Gentlemen' branded content marketing initiative matched "Our goal with the Race of

the right brand with a relevant, relatively unheard-of, cool cultural event. It was the Gentlemen is to give car buffs perfect opportunity to tell a story about Duck Tape in an authentic way – a story some pure, event-driven that people could help create and share in real time from a live event via earned content that stirs passion and media. makes them the marketing

The brand was welcomed into the event, rather than having to buy its way in, and engine. When a brand delivers all the Tenthwave and Duck Tape staff rolled up their sleeves to help build the content so cool that people event infrastructure. This translated into a feel-good, morale-boosting story that OUTCOMES OUTCOMES want to share it with their brought kudos to Duck Tape for its support of the event and the traumatised Jersey Shore, and in turn helped the live, socially activated campaign to take off friends, there’s a credibility you under its own steam. can’t buy."

The Duck Tape partnership also raised the Race of Gentlemen’s profile, connecting David Rodgers, this niche subculture with other enthusiasts who create – and break! – things. Senior Digital Marketing Manager,

Looking at the impact of the individual Duck Tape campaign activities, the stand at ShurTech Brands the Race was mobbed by race-goers and the free samples ran out within minutes, tens of thousands of people from around the world tuned into the live event on the campaign website, and over a million social impressions flooded the Internet over a couple of days.

19 There were several The photographic contest also proved For 2014, Tenthwave plans to involve useful outcomes from vital to the live broadcast activity. When additional strategically aligned brand there were breaks between races, the collaborators to augment the campaign the photographic footage from the beach wasn’t constantly activities, create more rich content to contest: riveting. However, the accompanying share, and use it to build a larger cultural

When Duck Tape and Tenthwave staff Instagram feed always featured shots story for the Race of Gentlemen and its walked down the beach to hand out that captured breathtaking moments in associated partner brands. cards about the contest, the reaction was time and covered stories that were going extremely positive and they were treated on all over the beach, such as performer as part of the family. Duck Tape wasn’t stunts that were pulled – a racer standing "I X out my headlights and seal my floor with borrowing the equity of the Race; it was on a motorbike, the passion and energy Duck Tape when I'm racing" dedicated to helping build it – a of the event. TJ O'Grady and his 1931 Model A Ford roadster pick-up difference that was apparently obvious to The archive film footage of the event is event attendees and social media being curated, along with all the fan viewers alike. content, and it will be distributed

As a result, Duck Tape saw its largest throughout the coming year. spike in conversation across its social Building on 2013’s campaign experience, media channels. Through its presence at Duck Tape and Tenthwave are now "We use Duck Tape on the seams between the hood the Race and the inherent awareness this and grill and the hood and body to help cheat the wind" looking to scale up the reach and Ken Schmidt and his 1932 Ford 3-window Coupe created, the brand also appeared in amplification of the pilot project’s vastly more attendee photographs as an success. integral part of the cars, motorbikes, and general race experience.

20 Campaign : Smarter World Client : Carphone Warehouse Agency : Adjust Your Set CASE STUDY 22 Carphone Warehouse appointed Adjust

Your Set as its video agency following a

competitive pitch, then challenged the

agency to create a campaign with two

objectives:

CHALLENGE 1. Develop an ongoing programme

In 2012, Carphone Warehouse decided to return to its roots – a new ‘back-to- of entertaining and engaging video

basics’ approach, with a focus on becoming the specialist smartphone retailer. content that inspires people about

With every network represented (7million+ purchase combinations), Carphone smartphone possibilities.

Warehouse’s unique sales proposition is to offer more choice than any rival retailer, 2. Support the brand’s desire to

and to be the only place for truly independent expert advice. become the number one destination for

To fulfil this aspiration the brand needed to inspire people about what smartphones smartphone research and browsing.

can do: the mini-computer in the pocket that can make people laugh, cry, keep The results benchmark for the

close to loved ones, educate, provide the soundtrack to a commute, help run a new campaign was to generate 6 million

business – even spark revolutions and regime change. aggregated views and a 5% click-

through rate within a year. Video has an important role to play in this activity. Video consumption is becoming

increasingly critical in the consumer research and purchase journey – 39% of all

smartphone shoppers now use video at some point in their buying process. 23 Adjust Your Set came up with the Adjust Your Set has now started creating film crew took Dilshad Corleone to

‘Smarter World’ branded video campaign, a series of six ‘Smarter World’ SOLUTION Barcelona to shoot the city with its

creating a content strategy split into documentaries focussing on different stunning architecture and beauty, simply

three phases; awareness, engagement inspirational stories. The first looks at an via his smartphone and the variety of

and interaction. amateur photographer’s rise to fame apps now available to photographers.

through smartphone photography. The For the launch of the campaign, Adjust

Your Set produced an introductory film to

a ‘Smarter World’, unveiling ‘Cliff’ as a

humorous salesman in a Carphone

Warehouse store, fed up with customers

not using their phones to their full

potential. Cliff takes customers on a

journey through the ‘Smarter World’ lab

where dogs can communicate, a DJ can

spin tunes and you can work up a sweat

with a personal trainer, all from your

smartphone or tablet.

24 To host this content and enable it to be

shared with other people, Adjust Your Set

designed and built a dedicated video

player system that presents both the

professionally produced content and

user-generated content integrated across

multiple channels

(carphonewarehouse.com, YouTube,

Facebook) and devices (desktop, mobile

and tablet).

When people upload their own

The next documentary features the Warehouse and Geek Squad, smartphone content, as well as sharing achievements of blind runner Simon showing viewers how they can use apps via social media the ways in which

Wheatcroft who is using his smartphone to achieve similar style photos, videos smartphones have affected their lives to help him train for an ultra-marathon in and challenges. The audience is then they get the chance to win smartphone- the desert. encouraged to create and submit their related prizes. The winning entries are

own photos and videos. then used to populate the ‘Smarter The documentaries are complemented by World’ player to provide an immersive how-to content created by Carphone visual experience to the user. 25 Launched in 2013, the ‘Smarter PROFILE World’ campaign has achieved: Adjust Your Set™ is a full-service • 1 million+ aggregated views digital content agency. within six weeks of launch, Their approach is to fuse content strategy, creativity and technology to backed by media spend enable brands to become always-on publishers in a customer-centric • 36,000+ page impressions digital world.

• 4,000+ user-generated As the most visible and powerful content format available to brands content uploads on digital and mobile channels, and the fastest growing advertising medium ever, video is the agency’s focal point. Adjust Your Set have been pioneers and distributors of video in a multi-screen world since 2008.

Take a look at some more work from Adjust Your Set.

26 RESULTS The 'Smarter World' branded video "Our customers want to campaign achieved its core aims. connect with us in new and smarter ways, and video is the

ideal content format to share The device that generated the most our brand stories with them. We were really impressed by the

strategic thinking from Adjust

Your Set, and their expertise in OUTCOMES OUTCOMES engagement, not surprisingly, was the retail video-commerce. The smartphone. It drove 68% of the page ‘Smarter World’ branded content marketing campaign

combines creative and impressions, followed by the tablet at 55% technical innovation to deliver strong brand engagement."

Gareth Jones,

Head of Online Marketing,

Carphone Warehouse

27 Campaign : MASHTUN Client : Chivas Regal Agency : Somethin’ Else CASE STUDY Working with Havas, Somethin’ Else

SOLUTION took Chivas’ overall campaign MASHTUN objectives and put their proven design approach to work.

Somethin’ Else could have proposed

CHALLENGE Chivas Regal is a sophisticated, modern brand of Scotch whisky – a perfectly suitable game where little

hosts barrel back and forth. However, with over two centuries of history. Their ‘Art of Hosting’ marketing creating a game that actually makes campaign is sharply focused: Chivas makes the modern social social gatherings go well was deemed

gathering complete. a far better plan: the game should be

a tool for hosts and should bring the Chivas asked their marketing partner Havas Worldwide London to campaign to life. include a smartphone app in the campaign. Havas challenged Recognising that social gatherings content design and creation company Somethin’ Else to come up are affected by personal digital

with a game that showcased the ‘Art of Hosting’, which is all about technology, Somethin’ Else also

decided to embrace that technology creating an environment, a novel experience, and facilitating a to turn the attention of party guests good time. towards each other. This called for a

29 social game that made players look at each other rather than their devices.

Those two insights framed Somethin’

Else’s mission: to reinvent the parlour game for the modern age; to make ‘real- time social games’; and ultimately to make you a better host.

The starting point for developing the game was to look at the most successful parlour games from history and capture their essence. What made them popular had to make smart, entertaining and Scoring was an interesting challenge. The games? What was the central mechanic imaginative use of iPhone and iPad aim was for scoring to be arbitrary, that encouraged interaction? hardware, such as the touch screen, something to be set by the party host to

camera, gyroscope, accelerometer and demonstrate that s/he had the qualities The creative team tested them out (a lot) microphone. that Chivas was interested in fostering. and whittled the list down to around 20 games. A shortlist was then compiled and the The results of several user testing

resulting games were prototyped and sessions with a target audience of The next step was to test these ideas tested to see if they fit the bill. professional people aged 25-35 were fed against the central premise: the games

30 • Mashseek: Hide and seek for the

modern age. One team hides their

device. The other team uses their device

to find it.

The MASHTUN app automatically

suggests the number of teams and the

number of players on each team, based

on the guests and smartphones or tablets

in the room.

Launched in April 2013, the free app was into the whole development process to • Mashjam: Players ‘jam’ by playing made available on the iTunes app store create the final app: MASHTUN – a suite sections of a track in time. as part of the wider ‘Art of Hosting’ of five parlour games for the modern campaign, and promoted via YouTube, • Mashtip: Players complete physical host: Vimeo and Facebook. challenges while keeping a tower of

• Mashact: Inspired by Charades, this blocks balanced. quick-fire acting game encourages wild • Mashrelay: A head-to-head relay team acting under pressure, with the race powered by your voice! words selected by the opposing team.

31 "This collaboration with Havas Somethin’ Else designs and creates PROFILE content that millions of people Worldwide London shows why watch, listen to and play with every enlightened brands and day on their computers, radios, agencies are instrumental in devices and televisions. the future of content. Together Awarded internationally at the we've created a parlour game highest level – they are 2013’s BAFTA like never before – truly social Production Company of the Year, for example – Somethin’ Else has an and sophisticated, challenging interdisciplinary team of media and people’s perceptions of technology experts who work with technology and gaming." brands, broadcasters and content publishers across four areas: digital, radio, talent, and TV and video. Paul Bennun,

Chief Creative Officer, Their knowledge of strategy and Somethin’ Else their obsession with audiences and users help them to achieve difficult objectives by creating content people love.

Take a look at Somethin’ Else’s showreel.

32 The MASHTUN app has been nominated © Olivia Arthur/Magnum Photos for a number of awards (already winning

"Chivas MASHTUN combines a bronze award in the Kinsale Sharks elements that we know modern gentlemen love: games,

gadgets and, above all, being a International Creative Festival 2013 – great party host. Chivas has always been about bringing OUTCOMES OUTCOMES Digital category), and generated people together, celebrating friendship and generosity. With

this new venture, we wanted to significant interest from other FMCG change the rules of gaming technology, which can be

insular, and make entertaining

brands on how games can play a part in at home sociable, entertaining

and memorable." their content marketing. James Slack,

Global Brand Director,

Chivas

33 Campaign : Penetras de Luxo Client : Terra Agency : Wanted ASAS da Imaginação CASE STUDY 35 SOLUTION Wanted Agency and ASAS da

Imaginação decided to create

PENETRAS DE LUXO branded content that featured

Generation Y and could be viewed

digitally, making it possible to CHALLENGE Terra is a Brazilian ISP and media network that sponsors Planeta generate spreadability.

Terra, one of the largest music festivals in Brazil. They came up with ‘Penetras de

Luxo’ (VIP Party Crashers), a series of

The brand challenged Wanted Agency and ASAS da Imaginação to online films that uses Planeta Terra as

a backdrop to tell the story of a group

come up with a marketing campaign that had two objectives: of friends that gatecrashes the

festival’s VIP area.

extend the experience of the one-day Planeta Terra festival into To shoot the series, the festival was

turned into a set where the storyline other territories; and connect with Generation Y to continue the and characters were fictional but

settings and surroundings were real. conversation about the festival long after the event ends.

36 Live incidents that occurred throughout name, Sergio. So when a fictional kiss the festival were used to develop the between him and another character was story, grabbing the attention of the public shown on the big screens at the festival, during and after the event. it generated tweets and impressions on

social media instantly. Launched online and on digital TV after the festival, six short episodes and one short film presented the ‘Penetras de

Luxo’ characters and showed how they gatecrashed the VIP area. Just like every good work of fiction, a conflict was also added: a mysterious situation occurs and they all end up at the police station.

The idea of blending real life with fiction was taken a step further with a celebrity twist that started during the festival. One of the characters was played by a famous Brazilian actor and, in a PR stunt, his character’s name reflected his real

37 Wanted Agency was founded in Brazil in the age of participation, in

the midst of a culture of PROFILE RESULTS convergence. During the Planeta Terra festival weekend: The Agency believes that fan culture is the new reality in which consumers participate in the • c.65,000 festival attendees were exposed to production of collective intelligence elements of the series about brands and products. In order to succeed, the brand story needs to connect with the broader • The kiss scene received 600,000 social conversation and discussion of what media impressions is happening in today's culture.

Wanted Agency specialises in • The buzz became so intense that Sergio had creating or developing brand culture. to publicly announce that the kiss was part of It uses a proprietary methodology to tell a consistent story throughout the ‘Penetras de Luxo’, creating even more buzz brand experience and initiatives, about the series connecting the brand to contemporary culture and creating tribes who actively participate in the ‘Penetras de Luxo’ subsequently became one of life of the brand. the most watched national productions on Take a look at some more work from Terra’s digital TV platform, Sunday TV Wanted Agency.

38 The ‘Penetras de Luxo’ series of

branded content films became

"The key to the success of this branded content marketing such a hit for Terra that it has campaign was creating intriguing narrative content that seamlessly incorporated the product (the festival) with the

OUTCOMES OUTCOMES now evolved into a sitcom with audience, as well as blurring the lines between fiction and reality. This created an appetite for people to discover more, to a contract for an entire season put themselves in the shoes of the characters and to talk to

each other about the story on web and cable TV. unfolding before them."

Patrícia Weiss,

CSO, Wanted Agency; SVP Strategic

Consultant for Branded Content,

Branded Entertainment & Transmedia

Storytelling, ASAS da Imaginaçaõ

39 Campaign : Real Beauty Sketches Client : Unilever Dove Agency : Ogilvy CASE STUDY Real Beauty Sketches

"Unilever asked us to

make women feel better

CHALLENGE From 2005, Unilever's Dove brand of about themselves. We personal care products has celebrated wanted to move women, to find an idea that could

women's natural beauty in its 'Real actually prove to women Beauty' marketing campaigns. that they're wrong about their self-image. Hats off

Market research suggested that only 4% to Unilever – they didn't of women describe themselves as approve a script, they beautiful, so the Dove Real Beauty approved a social experiment that could've

campaign for 2013, created by Ogilvy gone either way." Brazil, was tasked with raising the self- Anselmo Ramos, Creative Director, esteem of the other 96%. No short order! Ogilvy Brazil

41 comparison, with the sketches from the The campaign was presented on YouTube

strangers' descriptions being the more as a branded, documentary-style film (in SOLUTION

accurate and flattering. The women six-minute and three-minute versions) Ogilvy came up with the idea to run a reacted strongly to the sketches, some with the tagline 'Women: You Are More social experiment that turned on its head with tears, as they realised that they were Beautiful Than You Think'. the tendency of women to be critical of doing themselves an injustice. their appearance. It involved women being filmed going through a process of self-discovery, seeing themselves through their own eyes and those of strangers.

For the experiment, FBI forensic artist Gil

Zamora sketches women he can't see on different days – firstly based on their own descriptions of themselves, then based on a stranger's description, without Gil ever knowing when the subject was the same person. The resulting sketches are then revealed to the subjects for

42 RESULTS • 170 million views on YouTube

• Most-watched online branded content of 2013

• 3rd most-shared branded video of 2013

43 The Dove Real Beauty Sketches branded content marketing campaign

strongly reinforced Dove's ongoing Real Beauty strategy. It was

successful in tapping into women's emotions and making people think

again about how they judge their own appearance.

The film went viral very quickly (more than 15 million views within a

OUTCOMES OUTCOMES week of its launch) and inspired conversations, debate and articles in

media as diverse as Adweek, The Telegraph, Facebook, Bloomberg,

Mashable, New York Times, Forbes, Huffington Post, and Psychology

Today – as well as wider adoption of the concept, such as the 'Men:

You Are Less Beautiful Than You Think' spoof video.

44 Campaign : Your Bank Client : Barclays Agency : Red Bee Media CASE STUDY SOLUTION Video content held the key to Your Bank answering those particular challenges. Its power to move, amuse

and persuade people was used by

Red Bee to tell real stories about the

CHALLENGE After a period when high street banks haven’t been top of the

general public’s Christmas card list, Barclays wanted to changes Barclays had made and is demonstrate a change of approach, one born of a very real desire still making now. to regain the public’s trust and preference.

Barclays asked Red Bee Media to produce branded content for a Working with Barclays, Red Bee

new marketing initiative called 'Your Bank'. This initiative invites identified the stories with the most consumers to help influence changes to everyday banking. Your tangible and demonstrable human Bank includes an online platform to gather and share ideas to improve Barclays products, services and overall banking impact – the ones that would lend

experience. themselves best to video. Wherever

The development of Your Bank presented as much of a challenge possible, these stories were told from as an opportunity. Namely, how do you make people stick around the customers' perspective, not that voluntarily to explore a website dedicated to everyday banking issues – not normally a high interest category? And how could of the Bank. This was important for

Barclays show that it was and is acting on the ideas suggested? two reasons. Firstly, it placed The branded content on the Your Bank website therefore needed customers and their needs at the to both enthrall and inform. heart of the story, demonstrating 46 Barclays' determination to put customers demonstrating Barclays’ commitment to

first in all of its thinking. And secondly, it listening to and understanding its made the stories more instantly relatable customers. The first batch of films to the audience. included:

Your Bank launched with a series of • Blind stand-up comedian Chris • An animated story of how a these stories in the format of online films, McCausland introducing Barclays’ new customer and a Barclays Personal some showcasing initiatives that audio cash machines for blind and Banker created a new type of high

Barclays had already implemented to partially sighted people. Chris gives us visibility debit card for visually impaired make everyday banking better as a result some insight of his previous difficulties customers. of its customers’ feedback, others with talking machines. • The experiences of Barney, a

Barclays Branch Manager, who spends

an uncomfortable day in an “age suit”

that simulates the physical restrictions

and difficulties of being elderly or infirm,

to research branch accessibility for older

customers.

• The story of Ken Bellringer, injured

in Afghanistan, now on placement with

47 Barclays as part of its AFTER programme launch was supported by print, outdoor for ex-military personnel. and digital advertising driving consumers

to the Your Bank website. • John Dennerly, a country park manager in Scotland who is deaf, introducing Barclays’ new sign video service.

• The story of Sam, an older customer empowered to get online through a joint initiative between Age UK and Barclays.

• And a series of films featuring

Barclays “Ideation” workshops with customers to generate ideas for making everyday banking better.

The online videos were placed within the integrated Your Bank online platform

(customised and managed by Dare) and on the Barclays YouTube channel. The

48 RESULTS "The Your Bank branded Within the first three months of launch: video content is playing a key role in persuading the public that their ideas count • 449,000 interactions and that it's worthwhile to submit them. The high level • 283,000 video views of interaction and idea submission is an indicative measure of audience • 26,900 poll votes engagement for Barclays, • 3,693 ideas submitted by consumers which can only help them improve customer service for the future."

Michael Reeves,

Business Development Director,

Red Bee Media

49 Thanks to Your Bank and its branded

video content, Barclays is now able to

have an ongoing conversation with "The 'Your Bank'

customers – learning from them, listening platform and its content

represents a very public

to them and demonstrating the changes commitment to listening

to our customers and

OUTCOMES OUTCOMES it’s making for them. showing how we are "Offset savings account to current account going to act on change, when going overdrawn" - ellievin89 big and small, which can

make their lives easier." "Show the interest rate of all savings accounts in online banking." - simonjones12345

Sara Bennison,

"Create a Barclay's programme for schools to educate Managing Director, children about money matters." - Mumsnetter Marketing Communications,

"Be able to withdraw different currencies from an ATM." Barclays UK Retail Bank - Parliament Street, York branch customer

"Enable Skype meetings with branch advisors." - Telegraph reader

50 Campaign : Dumb Ways to Die Client : Metro Trains Melbourne Agency : McCann CASE STUDY

Images and data © Metro Trains Melbourne, Dumb Ways To Die™, all rights reserved. SOLUTION Two insights propelled McCann’s

solution for the campaign: that young

people hate being told what to do;

and that if you get hit by a train,

you’ve probably done something

CHALLENGE Every year there are needless deaths or accidents around trains in Melbourne, Australia. And while rail accidents are pretty dumb.

tragic, they are in most cases completely avoidable. This is So the campaign strategy focussed

particularly true for young adults. on turning a message about rail

Metro Trains Melbourne challenged McCann Melbourne with safety that nobody wants to listen to three primary objectives for a new marketing campaign: into a piece of entertainment people

actively seek out and share, that tells 1. Reduce train-related accidents in key accident areas by the truth about rail accidents. 10% over 12 months

McCann created ‘Dumb Ways to Die’, 2. Generate a stated commitment to be safe around trains a branded content marketing (40,000 pledges) campaign consisting of a three- 3. Generate campaign awareness of 25% among the core minute song and video featuring 21 target audience of young adults cartoon characters dying in really

52 dumb ways – three of them in train- related accidents.

McCann launched the song in the usual way on iTunes, YouTube, radio and more.

The agency used both traditional media

(radio, TV, cinema, posters, press) and social media (Soundcloud, Tumblr,

Instagram and Facebook) to drive traffic to the music video on YouTube.

To extend the reach of the campaign through social media and PR, they also created dedicated forms of shareable content across multiple channels, including a karaoke version of the song, limited-edition posters of the characters, the ‘Little Book of Dumb Ways to Die’ for schools and the Dumb Ways to Die smartphone game app.

53 RESULTS

"We’ve got a campaign that’s 74 million+ video views on YouTube relied on content and with the Worldwide #1 app downloaded over 35 million times app we’re starting the move to merchandising. I think the way Song charted on iTunes in 28 countries; sold over forward … is to steer away from the advertising model 100,000 copies and create content and create 1 million+ pledges to be safe around trains on the merchandising … We need to keep creating shareable pieces campaign website that people can seek out and AU$60 million of earned media impressions

[that] have a worth beyond just the marketing message."

Most awarded campaign at the Webby John Mescall, Most awarded campaign ever in D&AD history. Awards 2013. Executive Creative Director,

McCann Melbourne Clio Awards 2013 top ranked Australian Agency. Most awarded agency in the history of the 3rd ranked global agency at One Show 2013. From interview in AdAge Spikes Asia Festival of Creativity. Selected among TED’s top 10 Ads Worth Spreading 24/6/2103 2013. (The only Australian advertisement ever to have been so recognised.) Most awarded agency in the history of the London International Awards Agency Second ranked Australian agency Cannes Lions Festival of Creativity. of the Year 2013. at Adfest 2013.

54 The ‘Dumb Ways To Die’ campaign became a global phenomenon and quickly demonstrated a real impact on social behaviour. Far exceeding its objectives, it’s one of Australia’s most successful public service campaigns.

As well as the results listed previously, there were hundreds of cover versions and parodies viewed more than 20 million times themselves, campaign awareness among the core target audience of 46% after only one month, and most importantly a 10% reduction in near misses and accidents at level crossings and station OUTCOMES OUTCOMES platforms over 12 months.

55 Campaign : Summer D'Reem Client : Unilever Media Owner : ITV CASE STUDY SOLUTION Today, functional differences between Summer D’Reem detergents are minimal. Personality is the extra dimension that powerfully

and intimately connects brands with

consumers. CHALLENGE In 2012, Unilever’s Surf laundry detergent found itself facing a This insight led to a fitting solution: extending Surf's multi-platform

challenge. Washing detergent is a sponsorship of The Only Way is Essex low-interest category and Surf’s (TOWIE) – the show with some of the competitors were aligning biggest and most influential personalities on TV. The themselves with the biggest event in entertainment show’s reach and the

the calendar – the 2012 Olympics. A buzz it generates represented an big idea was needed for Surf to excellent opportunity for Surf to get its key audience listening – and resonate in customers’ minds. buying.

57 To deepen and personify the TOWIE/Surf ‘Fresh Out Of Essex’ was an online mini- Unilever also knew that competitions relationship, Unilever extended its TOWIE series of exclusive content that lived on were key in engaging Surf’s target licence to launch a brand new Surf the official TOWIE website, devised to audience, and who would say no to a fragrance called Summer D’Reem, feed fans’ constant demand for free, glamorous trip to ‘Marbs’ in Spain? featuring cast favourite Joey Essex. The everything TOWIE. Bumpers on ITV Certainly not TOWIE fans. launch included: mobile and ITV Player, plus roadblocks

on ITV.com consolidated this activity. • TOWIE branding on Surf packs and across in-store design

• Social media-driven discussion from TOWIE’s fiercely loyal and active fan base

• Joey Essex starring in unique viral video content ‘Fresh Out of Essex’

• Additional Surf digital advertising to support the launch

58 • £1 million+ gross retail sales value across the summer

• Talkability 51% (vs. 36% non-viewers)

• Purchase intent 62% (vs. 51% non-viewers)

• 1.3 million ‘Fresh Out of Essex’ video views across the year

• 61,501 visits to the Marbs competition entry page (297% vs. KPI)

• 19.9 million monthly total video requests and 18 million page RESULTSviews online during the campaign

59 'Summer D’Reem' was a very successful

branded content marketing campaign with a

"Sponsoring TOWIE was a massive influence on viewer response. great chance to build brand

awareness and demonstrate

Surf’s TOWIE sponsorship awareness grew to we are a fun brand with a point

of difference. The new

77% (22% above the norm) by the end of the fragrance launch, aligned with

TOWIE, further helped extend OUTCOMES OUTCOMES campaign. The campaign was viewed as the sponsorship into retail,

leading to great business especially effective in terms of persuasion, results that helped meet our with 62% of viewers likely to say it made them objectives."

think differently about Surf and made them Katy Holder, Surf Brand Manager,

Unilever more likely to consider that Surf’s image was

more positive.

60 Campaign : Live Test Series: The Epic Split Client : Volvo Trucks Agency : Forsman & Bodenfors CASE STUDY SOLUTION The solution to both the targeting and

Live Test Series: The Epic Split budgeting challenges was to embrace

the new media landscape.

Forsman & Bodenfors’ idea adhered The trucking industry is a traditional business-to-business CHALLENGE to Volvo Trucks’ communications

environment in which it’s quite a challenge to introduce a radically new strategy in which innovation plays a

communication approach. key role. The agency devised an

In addition, the target group of truck purchasers is scattered and online marketing campaign using

difficult to reach. There are many influencers around each buyer, branded video content presented on

ranging from drivers, family and friends to trade press journalists. Volvo Trucks’ YouTube channel.

Called the ‘Live Test Series’, the Volvo Trucks and their Swedish independent agency partner Forsman campaign consists of a group of & Bodenfors knew that the most obvious way to reach their core online films, each showcasing a target group would be a ‘catch-all’ broadcast marketing approach. But different new Volvo truck feature ‘reaching’ doesn’t equate to ‘connecting’, plus there was no allowance being put through its paces in a live for the huge media budget needed to conduct a global advertising test. campaign to launch their new truck models.

62 However, this was not going to be any ordinary product review; the live experiments had to test the chosen features in informative, astonishing and entertaining ways, designed to focus on the trucks and catch the attention of the widest possible target audience. The aim of this creative strategy was to generate viral hits and a subsequent wave of (free) media publicity, effectively driving positive word of mouth about the film content that was relevant to both trucking and non-trucking audiences.

'Pyramids in the Wild'

63 True to this strategy, the first five online with an electric motor fitted to the truck’s Filmed in one astounding 76-second take

films include one in which two trucks steering gear. The electric motor receives after three days’ practice at a Spanish race towards a tunnel while a woman 2,000 signals per second from the truck’s airfield, the film was designed to work on walks across a wire between them and sensors, allowing for more precise two levels: most viewers are expected to another in which a truck takes part in a steering and a more relaxed and think “Wow, Jean-Claude Van Damme”, bull run. The former film generated nine ergonomically designed experience for but the core target audience is expected million views. truck drivers. to think “Wow, two trucks are able to be

driven in reverse like this”. The sixth film in the Live Test Series – To demonstrate this stability and

‘The Epic Split’ – is an even better precision, the creative team worked example of the power of this strategy, closely with film director Andreas Nilsson with the added twist of a celebrity to come up with the idea of a spectacular participant whose existing fanbase stunt: actor Jean-Claude Van Damme helped drive word of mouth. slowly performs a split while standing on

the side mirrors between two Volvo FM The starting point for ‘The Epic Split’ trucks – that are driving backwards at 15 came from talking to Volvo’s technicians miles/25 kms per hour as they move about the film’s chosen feature: Volvo apart! Dynamic Steering. This system combines conventional hydraulic powered steering

64 RESULTS "The media landscape is Within the first three months of its launch in November 2013, changing. We have different ‘The Epic Split’ achieved: media consumption habits • 70 million+ views (10 million within the first 48 hours) today than a couple of years

• 8 million+ shares ago. That’s why, starting with

• Most shared video in the world within week one the Live Test Series, we’re

• Most watched automotive ad ever on YouTube investing in this cost-efficient way of reaching out to millions • 20,000+ editorials globally online, in print and on TV (inc. of people via online branded general press and all major automotive and trucking press) content marketing." • 5 million+ shares

Anders Vilhelmsson, • #6 in YouTube’s Top Ten Trending 2013, a list that draws from PR Manager, all YouTube content across all categories, including babies and Volvo Trucks music videos that tend to generate the highest engagement

• Earned media value of €126 million 65 The Live Test Series has not used any traditional paid media – YouTube is its only media channel. The relevance and power of the branded content itself has kickstarted organic distribution, editorial coverage, wider interactions and an upsurge in awareness of the Volvo Trucks brand and product messages, both online and via the Volvo Trucks global dealer network.

The Series has already won the Grand Prix award for Branded Content OUTCOMES OUTCOMES & Entertainment at Eurobest 2013. And, in the ultimate evidence that ‘The Epic Split’ film has entered a wider cultural consciousness, it has already inspired a raft of consumer-generated spoof versions, some of which have racked up 50 million views themselves.

Volvo Trucks will continue to release more Live Test Series stunt films, paving the way for future advertising and sales campaigns in local markets.

66 Campaign : Vs the Northern Lights Client : Sony Agency : DigitasLBi CASE STUDY SOLUTION DigitasLBi developed ‘Xperia Vs…’,

Xperia Vs The Northern Lights an online branded content

programme that aimed to extend the

target audience’s awareness of the

new Sony Xperia Z and to encourage CHALLENGE Sony is a household name when it comes to consumer electronics, however it’s a challenger brand in the relentlessly competitive them to find out more about the

smartphone market. phone. In order to be among the top three brands people consider when The initiative consists of a series of choosing a phone, it’s essential to spread the word online. This is online video films in which where people research ahead of purchase, and where brands earn the right to be viewed as a credible option. ambassadors from the creative

Supporting the introduction of the new Sony Xperia Z smartphone, industries put features of the new

DigitasLBi was tasked with creating an initiative to keep building phone to the test in interesting ways. product awareness post-launch – specifically online among the For ‘Xperia Vs the Northern Lights’, curious-minded, technology-loving target audience. the first group of chosen The key challenge was to stand out from the existing plethora of online branded content in a way that was true to Sony’s philosophy: inspiring ambassadors – members of the wonder and emotional response through technology. And all with bands OK Go and Pyyramids, and the

minimal paid media support. photographer Martien Mulder –

68 travelled to northern Sweden to capture the sights and sounds of the Northern Lights ‘Damian Kulash and the sound of outer space' (Aurora Borealis).

They used Sony Xperia Z smartphones and tablets to capture their inspiration, and then 'Making Of (From Under Other Stars)' used the Xperia Z's one-touch connectivity feature to bring their work together, resulting in a four-minute track ‘From Under Other

Stars’.

DigitasLBi also created a series of in-depth, making-of films demonstrating the process

'Photographer Martien Mulder on ice' and the technology involved.

Designed to appeal to the motivations of 'Pyyramids in the Wild' consumers with an interest in what’s new and exciting, along with a love of technology and its possibilities, the full series of films from the trip was hosted on

Sony Mobile's YouTube channel.

69 "The 'Xperia Vs' series is essentially a product demonstration on RESULTS steroids. It's a chance for us to put Within a week of release: the device to the test in truly surprising ways, and see if it survives to tell the story. • #1 most shared video on Facebook and Twitter in last 24 hours - UK Tech always forms the backbone to these stories, and in this instance • #3 most viewed YouTube video in last 24 hours - UK we put the Xperia in the hands of musicians and photographers and • #1 most popular YouTube video in 'Entertainment' - UK sent them to the Arctic Circle. Their mission? To create a one-of- • #1 most popular YouTube video in 'All Categories' - UK a-kind audiovisual experience, using only the features of the phone, especially connectivity.

Within seven months: A soundtrack to the Northern Lights was born. The result was a • 500,000+ unique views stunning, shareable piece of branded content and was supported by an innovation tale • 1,000 new Sony YouTube channel subscribers that spoke directly to our tech- curious audience."

Simon Attwater, Group Creative Director, DigitasLBi

70 With little paid media support, the Sony Xperia Vs

Northern Lights online videos spread the message of the

new smartphone to a vast new audience.

By understanding the audience, creating a strategy that OUTCOMES OUTCOMES spoke to their interests, and developing branded content

that was new and innovative, DigitasLBi produced a

campaign that exceeded expectations.

71 Campaign : Natural Love Client : PepsiCo Lyubimy Agency : Fuse Russia CASE STUDY SOLUTION Fuse Russia decided to bring ‘Natural

Natural Love Love’ from real life to the TV screen.

The agency created a cross-media

marketing campaign that used social

PepsiCo’s Lyubimy (meaning ‘beloved’) is one of the biggest fruit juice media to invite people to tell their CHALLENGE

real-life love stories by writing in to brands in Russia. Its marketing activity focuses on the message campaign pages on two Russian “beloved because it’s natural”, and stories about love lie at the heart social networks (vk.com and ok.ru)

of every communication. and on STS TV channel’s website.

The most popular content among the brand’s target market – women

aged 25-45 with average income – are TV shows and series about love.

However, these portrayals of love are perceived by the audience to be

artificial, not real.

PepsiCo challenged its agency partner Fuse Russia to find a way to

link Lyubimy juice with unquestionably real, natural love stories.

73 The 50 stories that received the most

‘likes’ online were turned into professionally shot video clips. Edited versions then appeared on STS, the biggest family TV channel in Russia, while the full versions were made available to view online.

The people who submitted the best three love stories – one happy couple and two sad single people – won a romantic trip to France.

'Pyramids in the Wild'

74 The campaign became the talk of Russia:

• 2,000+ story submissions

• 4.6 million active users on the campaign web pages (twice the previous biggest national Internet campaign)

• 6.5 million online views

• 200,000+ ‘likes’

• 3-4 times above market average conversion indices for online registration and subsequent actions

“Thanks to Natural Love and STS channel.” “Thanks Lyubimy.”

“So cute!”

RESULTS 75 The ‘Natural Love’ branded content marketing campaign provided cut-through of the

Lyubimy brand’s key message "We were challenged by to the target audience, and PepsiCo to find a new way to converted online love into cut through to the Lyubimy core market on TV. We used

consumer love: the number of branded co-created content to people who stated that their give millions of people the ultimate real-life, natural love

most often bought juice brand is stories they already craved." Lyubimy rose by 20% during the Anton Efimov, Managing Director, campaign period. Fuse Russia

76 OUTCOMEs Campaign : The Beauty Inside Client : Intel & Toshiba Agency : Pereira & O'Dell CASE STUDY SOLUTION Pereira & O'Dell realised that all

young people go through a journey of

self-discovery and use technology as

a key tool for this exploration and

expression. CHALLENGE Following the success of the 2011 thriller 'The Inside Experience', award-winning agency The agency came up with the idea of co-creating a film about the universal Pereira & O'Dell was asked to create a second search for self-knowledge and

branded content film for Intel and Toshiba. This acceptance, using contemporary

film needed to feature the Toshiba Ultrabook Hollywood stars (Topher Grace, Mary laptop and refresh the 'Intel Inside' branding, Elizabeth Winstead and Matthew Gray Gubler) and social media to involve as introducing both Intel and Toshiba as many people in the target audience

innovative technology brands to a new as possible.

generation of 18- to 34-year-old millennial They devised a love story with the

consumers. intriguing premise that the main

character, Alex, wakes up every day

78 as a different person on the outside but Philippines, Canada and Spain. An The final film was divided into six weekly the same person on the inside – and s/he additional 50+ Alexes were featured on episodes and presented on Facebook has fallen in love with someone who can the Facebook timeline. and YouTube running over an eight-week never see him/her as the same person. period.

Alex makes a daily video diary of this experience on a Toshiba Ultrabook that goes everywhere with the character as a vital and natural accessory.

The 45-minute film included gaps for consumer-generated content. Facebook was then used to invite people to audition to be an Alex by submitting their own video diary, putting themselves in

Alex's shoes to share the experience.

From over 4,000 auditions on Facebook,

26 Alexes were cast in the film. They included fans from all over the world, including Japan, France, German, Italy,

79 RESULTS 70 million views in eight weeks

"Branded content is becoming 26 million social interactions an increasingly important part of Intel and Toshiba's 97% YouTube approval rating strategy to reach out to a 66% and 40% brand perception lift for Intel and younger audience. They can Toshiba respectively among Facebook users see that people enjoy making branded content part of their lives – it draws people in 300% sales increase naturally with a deeper message they can identify with "This is beautiful, poetic and powerful...." on an emotional level" - Pamela V PJ Pereira, "We are all Alex in one way or another, and Chief Creative Officer, he is all of us" - Larissa B

Pereira & O'Dell

"I can’t wait for next Thursday!" - Leah M

80 'The Beauty Inside' was the most-shared branded video during the campaign

period. It won an Emmy for Outstanding New Approach to A Daytime Series,

and three Grand Prix awards – including one for Branded Content – at Cannes

Lions 2013.

The campaign inspired hundreds of thousands of fans to give and request love

advice and discuss their own sense of identity, while celebrating the principle OUTCOMES OUTCOMES

that - with humans and computers alike - it's what's inside that matters most.

The campaign also started to create a relationship between the client brands

and the audience that will grow over time. In fact, Pereira & O'Dell has already

created the next social film instalment for Intel and Toshiba, a horror story

called 'The Power Inside'.

81 Campaign : In Search of Real Food Client : Hellmann’s Agency : OgilvyEntertainment CLASSIC CASE STUDY FIGURE 16.1 SOLUTION With the insight that people wanted to

say no to over-processed food yet

had time, cost and taste

considerations when it came to

making meals, Ogilvy devised a CHALLENGE Hellmann’s Real Mayonnaise was first made for pioneering marketing initiative called a mass market in 1913 and is now America’s ‘In Search of Real Food’. favourite mayonnaise. Part of the project involved traditional

Hellmann’s asked their agency partner Ogilvy print and TV advertising that used real to develop a summer marketing initiative that people to deliver Hellmann’s point of view on food made from natural, would explain the product’s ingredients and simple ingredients that are good for

range of uses in an attention-grabbing way, you.

and reinforce Hellmann’s positioning as the In tandem with this strand of the

epitome of simple, honest, real food. campaign, Ogilvy created a

Hellmann’s-sponsored ‘In Search of

Real Food’ microsite hosted by media

83 partner Yahoo! Food. This creative presenting celebrity chef Dave Lieberman platform was designed to drive consumer on a weekly road trip through America in conversations about real food, using search of real people making real food – "The challenge with branded interactive branded content, co-created from the proprietors of a Mexican food content is to maintain the content and a variety of fun community cart in SoHo, New York creating a pulled authenticity of the production features. pork taco, to a bighearted lady’s regular while maximising the potential

fundraising Friday Fish Fry in New for the brand. This show In order to draw people in to join the offered incredibly rich content, Orleans. Each episode was split into four conversation and keep them coming allowing multiple channels for three- to four-minute chapters for easy back to the site, Ogilvy created a 12- consumer engagement. By web consumption. episode branded content web series teaming with Rock Shrimp

Productions and Dave

Lieberman as our host, we had

a ready-made fan base that

was looking for the 'real food'

point-of-view that Hellmann's

as sponsor is all about."

Doug Scott,

President, OgilvyEntertainment

84 Beyond watching the weekly video To promote the web series to consumers,

content, ‘In Search of Real Food’ website Ogilvy used web banners in which

visitors could: excerpts of the show were embedded, TV "’In Search of Real Food’ was a and print ads, and creative on Hellmann’s programming concept that • continue the real food conversation jar tops. There was also coverage on US captured the fast changes by reading Dave’s blog (including his taking place within the food TV news channels, inviting people to star recipes) and posting comments. industry – the emphasis on in the show by making their own ‘real local-grown and real foods – as • share their own ideas and recipes food’ cookery videos. well as the changes within the on the Real Food group page. entertainment industry. • ask and/or answer questions using Finding new ways to reach a Yahoo! widget embedded in the site. consumers using interactivity, this show set a new standard • look for real food restaurants in for consumer engagement." their neighbourhood using a local dining

guide widget pre-programmed with real Bobby Flay,

Celebrity chef; Executive Producer, food locations.

Rock Shrimp Productions

85 "We've always been about what's simple and real. Whether it's the quality RESULTS ingredients in our jar or the real experiences people have The ‘In Search of Real Food’ with others when they share initiative tapped into cultural food made with our Mayonnaise. This effort conversation and delivered: leveraged the technology available to have a • conversation about that with 1 million unique visitors to consumers, offering recipe ideas and a point-of-view the campaign website about food that kept the brand relevant to moms and built • 5,000 Real Food affinity to new and younger users" community members

Brian Orlando,

Senior Brand Manager,

Hellmann's

86 This groundbreaking project teamed branded content with traditional

advertising, forged an innovative media partnership with Yahoo!, and

capitalised on celebrity connections for Hellmann’s.

Consumers shared and commented on the branded content via YouTube

and social media networks, and even created their own real food videos.

This activity resulted in the spread of the conversation about real food OUTCOMES OUTCOMES (and Hellmann’s’ association with it) far beyond the original campaign site.

Ultimately, the integrated mix of traditional advertising and branded

content enabled Ogilvy to convey positive brand messages about

Hellmann’s Real Mayonnaise, while provoking a dialogue with consumers

about real food.

87 By David Waterhouse Global Head of Content and PR at marketing technology platform Unruly Stop trying to make your ads go viral

Top tips for social video success

“How do I make my ad go viral?”

Of all the questions, this is the one we’re They care about going viral with good asked most often from brands and reason (aside from ticking the viral video agencies wanting to promote online campaign box on their CVs). The number video content via social media – aka of video shares of branded content has social video marketing. rocketed over the last eight years. In RESEARCH 2013, the top three ads attracted 11.6 videos and nine individual studies. The million shares combined – almost 50 research findings are presented in the times more than the top three ads in 2006 2013 book ‘Viral Marketing: The Science (244,395 shares combined). There are of Sharing’, and they support the now more than 500,000 shares of development of simple formulae for branded videos online every 24 hours. advertisers to follow when they want to increase their social video marketing But what makes people share video success. content? And what steps can a brand take to improve its chances of attracting Here are Unruly’s top tips: more shares? 1. Stop Chasing Viral Success – Focus For starters, there’s a lot more than to it on Social Video Success than featuring cute babies, talking dogs It became possible in the early 2000s to and cats that looks like Shakespeare. went on to win a Gold Lion at Cannes in track views of online video clips 2002. We worked extensively with accurately using the video technology Dr. Karen Nelson-Field, itself. These were the days before social Slowly more advertisers started releasing Senior Research Associate media when the only distribution branded video content online in the at the Ehrenberg-Bass channels were email and a handful of elusive search for consumer-driven, Institute for Marketing specialist humour websites. Very early exponentially increasing views. Further Science, on her latest brand-created viral video hits include boosted by the advent of social media project. It consists of John West’s Grizzly Bear, Budweiser’s such as YouTube, Facebook and Twitter, original research from more than two Whassup and XBOX’s Champagne – an this practice is now firmly part of years of work, five different data sets ad that was banned on TV in the UK and mainstream marketing. including Unruly’s own data, around 1000

89 However, uploading a branded video that What exactly is social video? the spot, blast it out to a captive you think is funny, without any paid audience, and raise a glass of Scotch for According to the Internet Advertising distribution, in the hope of it attracting a job well done. Today consumers pick Bureau, it’s “a non-interruptive, user- cartloads of earned (free) media, is the and choose what they watch with a fickle initiated video format sold on a cost-per- strategic equivalent of shoving your hand flick of their DVR remote. engagement basis”. In other words, it’s in a haystack and expecting to pull out a the perfect union of online video and So rather than releasing a video and needle. social media – content plus conversation. keeping your fingers crossed that it will Just as technology and social media go viral, try focusing on optimising the There’s no need to force people to sit have evolved, so too has online video. 'shareability' of your video content and through a badly edited TV commercial for These days, the word “viral” is simply distribution strategy. toilet cleaner before they watch the thing unhelpful. It suggests something that is they really want to watch. As we’ve seen 2. Make it emotional random, untargeted and out of control. with recent campaigns by Dove and Videos that go viral are the exception, not Marketers hoping to attract significant Volvo Trucks, the social video ad is the the rule, and that’s why seeking viral earned media should think less about star! People choose to watch it. Viewers success is a terrible tactic to focus on for creative appeal and more about have total control of the viewing your brand. emotional appeal. Videos that elicit experience, including the ability to strong emotions – positive or negative – Instead, advertisers should focus on a comment, share, re-post, pause and from an audience are twice as likely to be marketing strategy that’s predictable, replay. After all, everyone likes to be the shared as those that elicit a weak repeatable and measurable: social video. one holding the remote. emotional response. Open your company wish list and replace Social video is fundamentally changing “make a viral video” with “create and ‘Viral Marketing: The Science of Sharing’ the rules of advertising. Long gone are distribute highly shareable content, explains that professional video creators the Mad Men days when all an advertiser repeatedly and at scale”. may be aiming to create hilarious, needed to do was buy the airtime, create exhilarating and inspiring material,

90 however the vast majority are falling However, there are some underused 6. Exhilaration can make a lasting short. In fact, 70% of all commercial creative devices that are more likely to impression videos provoke only “low-arousal” attract large amounts of sharing. One is Eliciting a strong, positive emotional emotional reactions. personal triumph, as used for example in reaction will not only boost your content’s P&G’s 'Best Job' from the 2012 Olympics. 3. Be positive shareability, but also help your audience 5. Big up your brand to remember you – often for years to Video content that draws a strong, come. positive emotional response is 30% more Using poorly branded advertising is like likely to be shared than content that throwing away your marketing budget. Which positive emotion is most likely to elicits strong negative emotions. According to Dr. Nelson-Field’s research, cut through the clutter and help viewers there’s no relationship between how recall your message? Strong negative emotions, such as anger much sharing across social media a or shock, can prompt viewers to share At the individual emotion level, video achieves and the level of branding your content, but you risk alienating your exhilaration is the most successful, it uses. Nor does overt branding reduce a consumers. Focussing on positive followed by hilarity. However, exhilaration video’s emotional impact. emotions is a much safer bet. is an emotion that has been largely So when you consider that the average ignored as a creative hook by brands 4. Feature personal triumphs social video has one third of the branding over the years, as bemoaned by Dr.

It’s a myth that featuring a cute cat will of the average TV commercial, there’s a Nelson-Field. make your video go viral. Such creative huge opportunity for marketers to In 2013, that started to change. We saw devices are ineffective, unless your promote their brands via social video more examples of brands, such as content also elicits strong emotions from marketing. GoPro, Ford, Red Bull and Volvo Trucks, its audience. embracing exhilaration and using it as the main focus of their video campaigns.

91 This highlights the importance of brands The same goes with creating video Find out all about Unruly and their global making shareable content for a reason. content. Even if you have the most social video testing, distribution, sharing It’s not just about racking up a huge shareable video in the world, if you start and analytics services. number of views among potential with a small viewer base, the total shares Watch this video of Dr. Karen Nelson- customers. It’s about being remembered, and views will typically be small. Field discussing key findings from ‘Viral favoured and bought in the process. Investing in seeding your campaign Marketing: The Science of Sharing’. Throughout 2014, the trend of eliciting across a variety of platforms will make it top-performing emotional reactions in easier to deliver good sharing metrics social video content will only get stronger over a shorter period of time. as the world’s gaze falls upon Brazil for 8. Quality reach is key the FIFA World Cup. When we trained Unruly’s algorithmic tool to predict viral Reach is important, but it needs to be success in the Brazilian market, we quality reach in order to maintain and discovered that exhilaration was the most increase your video views and shares. effective emotional trigger in the Latin There’s no point in simply placing your American country – more effective than videos on your company’s Facebook or humour which is the most popular Twitter profiles – you’re already preaching emotional sharing trigger in the US and to the converted. Besides, Facebook and UK. Twitter brand profiles are inefficient at 7. Don’t under-invest in distribution and providing vast reach to consumers. over-invest in creativity To build the market share of your brand, It’s all very well being the best violinist in reach out to light and medium buyers the world, but if you’re playing in your outside of your own social media bathroom, no one will hear you. channels. 92 By Bjoern Asmussen, Andrew Canter, Andrew Butler and Dr. Nicolette Towards the future of Michels branded content

‘Defining Branded Content for the Digital Age’, Findings of the Research Project, Phase One

Overview

Little research has been conducted to Conducted by Oxford Brookes University date in the area of branded content, in and the BCMA’s global research partner spite of the rising use of this key Ipsos MORI, this study has two main marketing concept, and the estimated US purposes: $4bn value of the branded content 1. Identify and understand the

RESEARCH market. different conceptualisations people use As part of the Branded Content when talking about branded content Marketing Association’s (BCMA’s) 2. Develop a definition that helps to strategy to establish academic clarify the concept for a broad range of understanding as well as champion best stakeholders and therefore supports the practice and share learning, it has progress of branded content marketing commissioned a study entitled ‘Defining practice Branded Content for the Digital Age’. The first phase of the study – a literature choice when it comes to what they want review of practitioner and academic to read, watch, or listen to. Bjoern Asmussen, publications – has resulted in the Senior Lecturer in Marketing, Oxford Brookes The best way for an organisation to get University Business School development of a new definition of through to its target audience and receive Bjoern leads the Branded Content Research branded content and the uncovering of Team at Oxford Brookes University, which positive attention in this challenging includes Andrew Butler and Dr. Nicolette emerging themes that will help Michels. environment is therefore by creating great organisations to harness the power of content. How? The study revealed four branded content. These initial findings key strategies that organisations use to are presented in this chapter. produce successful branded content: the Why does branded content is either entertaining, informative, Sarah Gale, content matter? educational, or something that serves a Senior Director, Ipsos MORI, Media, Content function (e.g. the branded content could and Technology Division

RESEARCH TEAM RESEARCH TEAM Organisations creating branded content be an app that the target audience can is nothing new, however the “We’re delighted with the first phase of the advancement of technology, particularly results. One of the other elements of the the evolution of social media, has made “Content, in all study is that we’ve developed a new the process of content creation and its shapes and dissemination much easier – even for methodology for brands to plan effectively end-consumers. for branded content, using it as a core part forms, is core

of their marketing strategy.” Likewise, the consumption of branded to everything content has changed dramatically and Andrew Canter, continues to do so. Today, consumers we do as CEO, BCMA have an unprecedented freedom of marketers.” Econsultancy, 2013

94 “The future of the marketing department is half marketing and half publishing.” Joe Palazzo, Founder, Content Marketing Institute, 2012

download to make their life easier). The developing deeper engagement and marketing as one of their top priorities in research also showed that these content long-term relationships. 2013. strategies can be combined. The BCMA and Ipsos MORI have noticed We now live in a world in which virtually The initial findings of the study indicate an increasing emphasis on the use of every digitally literate individual can so far that organisations are using branded content among marketers, with become a branded content creator and branded content mainly to meet two many major organisations integrating it distributor on an unprecedented scale, objectives: to create a positive brand now as a core element in their marketing and this is a considerable paradigm shift, meaning or image, and to engage with strategies. This observation is supported not only for marketers and their certain stakeholders. So it’s not by a survey conducted by Econsultancy organisations but also for media predominantly about a quick win with a in which 39% of digital marketing companies. campaign or promotion – it’s more about professionals nominated content

95 How are people talking about and using “The concept of branded content? branded content “The term is fundamentally ‘content’ seems a bit of a broad flawed.” David Martin, Forbes, 2011 stroke owing to its multi-dimensional “There is a significant amount of nature.” confusion and controversy out Amar Trivedi, Social Media Strategist, 2012 there around what content is, what it does and how to use it.” Robin Thornton, Shaman Marketing, 2013

“‘Content’ is such a broad and fuzzy term that it tends to make any discussion of it broad and fuzzy as well.” Cindy Gallop, If We Ran The World, 2013

96 Branded content comes in numerous communicated via traditional media 2) The Digital TMO Perspective different forms, such as native channels, such as TV, radio and print. For This second perspective refers to advertising, branded entertainment, example, in the 1950s and 1960s, branded content initiated by the advertiser funded programming, viral companies such as Procter & Gamble not trademark owner of the brand and videos, and many more. It is therefore no only sponsored soap operas, but also distributed on digital channels. The surprise that the term ‘branded content’ paid for the entire production of TV trademark owning organisation behind means different things to different shows, aiming to create some positive the brand is initially in control of the people, leading to misunderstandings brand associations in the target digital channel and the content they and confusion. audience’s mind. choose to publish or broadcast, however The first phase of the study has This perspective, where the trademark it is not in control of what happens to the concluded so far that people talk about owner of the brand is in control of the content after release – for example, the branded content in five different ways. created content, is still used nowadays. amount of views online, or viewer These are categorised as: Some organisations produce and comments that are made about a distribute branded content without the branded content video and published on 1) The Traditional Trademark Owner help of sophisticated digital media the YouTube website. (TMO) Perspective technologies. For example, in 2013

This perspective was originally McDonald’s produced millions of books developed in the pre-digital age when in the UK to replace the toys that branded content was usually controlled accompanied its Happy Meals for by the trademark owner of the brand, children. In terms of volume, McDonald’s who financed the production of the has subsequently become one of the content. UK’s leading book publishers and distributors, while the branded content Since it was the pre-digital age, the activity aims to add educational values to content was most likely to be its brand image. 97 One business-to-business example of This content is usually initiated (and this kind of digital branded content is funded) by the brand’s trademark owner, from Corning, a US industrial glass however the owner’s level of control over manufacturer. The company produced a the content varies. If you pay for the corporate communications video that has production of a TV show, for example, fired the imaginations of people from all you can assume that you will basically be walks of life, well outside their core target in control of everything within it. But if be a competitor, a pressure group, or any audience, generating over 23 million you send a tweet, you have hardly any other external stakeholder. views of the original version alone. This is control over how people will retweet that An example of this kind of branded just one example that shows that content – they can put a new spin on it, content is the memorial video ‘A BMW branded content can be useful not only place it in a different context and even Motorcycle Story’ by Bill Costello. It tells for business-to-consumer lifestyle sabotage your message completely. the story of Bill painstakingly restoring marketing, but also in bringing seemingly 4) The Stakeholder Perspective his dead father’s classic motorcycle. Bill dull information to life. posted his video onto YouTube and it has This new branded content perspective 3) The Integrated TMO Perspective generated over half a million views. BMW that has emerged in the digital age is one had no control over and nothing to do According to the first stage of the study that many marketers and organisations with this content, but it still created findings, the most popular perspective have ignored so far. positive brand associations and has when it comes to branded content become a cult video among many It describes branded content that is among practitioners in the marketing motorcycle fans. initiated (and in some cases even funded) industry appears to be the integrative use by someone who doesn’t work for or with of traditional, non-digital channels with Of course, any stakeholder can also the trademark owner of the brand – it digital channels for the dissemination of create content that generates negative doesn’t have to be a consumer, it could branded content. perceptions of a brand. Greenpeace, for example, is renowned for creating

98 content that doesn’t portray brands in a This loss of control over branded content Forming a single, positive light. is an aspect of social media that comprehensive definition organisations have to learn to live with. It Another example of consumer-generated, of branded content supports the need for organisations to negative branded content is the 2009 instil good practices, good customer Phase One of the study has encapsulated music video and song by Dave Carroll in service and communications across their the initial findings about how people talk protest at United Airlines’ customer entire business. about branded content, resulting in the service. ‘United breaks guitars’ generated development of a preliminary, all- about 3 million views on YouTube within 5) The All-Encompassing Perspective encompassing definition of branded content: one week, United Airlines’ share value The study’s literature review points to the dipped reportedly about 10% (equating Branded content is any content that can be idea that concentrating on what an associated with a brand in the eye of the to US$180million) and there was organisation can control in terms of beholder. substantial reputational damage to the branded content is not good enough any brand after the story was reported across Note the intentionally subjective element of more in the digital and social media age. US news channels. this definition. You might see a video on The findings therefore expound a fifth YouTube and think, “This has nothing to do Even experienced crisis communications perspective on branded content that with my brand”. But if, for instance, a few professionals can do little to control aims to enable people to understand it in thousand people associate it, for whatever negative branded content in the digital its entirety: the all-encompassing reason, with your company then you have age, as BP found out. After the explosion viewpoint that combines both the TMO- some stakeholder content affecting your and oil spill in the Gulf of Mexico in 2010, controlled traditional and TMO-initiated organisation’s brand, positively or negatively, somebody created a fake BP PR Twitter digital aspects, as well as external whether or not you realise it. Hence branded account that attracted three times as stakeholders contributing to the creation content is ‘any content that can be many followers as the official BP America and dissemination of branded content. associated with a brand in the eye of the account. beholder’.

99 During the next phase of the study, which for a longer-term effect, not just for a 4. Organisations need to transform the involves expert interviews, this holistic short-term campaign. If you have, for way they communicate definition will be further examined and, example, some product innovation There is an art to creating a sustainable depending on the outcome, changed or advantage, your competitors can often brand narrative and connecting it with the refined with the aim to determine how copy it very quickly. However, if you right audience(s) in the right place at the branded content should be create powerful content and meanings right time. conceptualised in the digital age. that are very close to your brand, you have the opportunity to drive sustainable 5. Organisations need to be better Additional insight into brand differentiation. organised and coordinated emerging branded 2. There are many more controllers of content trends To be able to implement your branded branded content in the digital age content strategy successfully, you need Besides the study’s findings of how resources, processes, structures and New technologies and media have people talk about branded content and coherence across all channels, which is opened up widely the creation and the proposal of a new definition of particularly challenging in an international dissemination of branded content to all- branded content, five key insights about or even global context. comers – consumers, competitors, emerging trends in branded content have pressure groups, and many others – not These insights can be used to develop been revealed: just to the trademark owner of the brand. branded content strategies as part of a 1. Branded content can build methodology to harness the power of 3. Consumer power over branded sustainable brand differentiation branded content. content is growing The creation of great branded content Phase Two of the study is under way and Interruptive marketing with no perceived can be difficult and challenging, but it’s its findings will be published in late 2014. value is increasingly ignored or avoided worthwhile because it enables Further details of the study as it progresses by consumers. organisations to differentiate themselves can be found here.

100 By Anton Efimov FUSE RUSSIA Head of BCMA Russia and Managing Director of Fuse Russia Russia When looking at emerging trends and owners) and one of the most cluttered in insights into branded content marketing Europe. in Russia, we need to remember that This maturity and saturation helps explain advertising in Russia is relatively young. why the number of people who like and The very first TV ads, from multi-national trust traditional advertising has started to FMCG giants, were aired in 1989. decline year on year, according to TNS Nevertheless, during the past 25 years M’Index annual study. the Russian advertising market has became relatively mature, very fragmented (there are hundreds of media mARKET REPORT Meanwhile, Russia is fertile ground for new communication technologies:

- 93% of Russians own a mobile phone (30% smartphone)

- 85% (52 million) have a social network account, the 5th highest figure in the world. The top Russian social network is VKontakte, the European leader by average monthly time-spend – more than 7 hours per user

- 35% of Russians are exposed to a ‘second screen’ i.e. actively use PC and/ Humour generally has a special place in comedians before they move on to the or smartphone while watching TV the life and culture of Russians. 81% of increasingly popular new stand-up the population considers a sense of shows. - 51% of Russians prefer spending humour as one of the most important leisure time on a PC, rather than The second most popular (53%) content character traits. watching TV format, talent, is led by a locally adapted Not surprisingly then, the most popular version of The Voice. Then comes DIY Whereas Russians are open to new TV content format (with a 62% rating) is (47%), including programmes about technologies, their preferred content humour. Domestic comedy shows cooking, house repairs and beauty/ formats are well established. These dominate, the most popular being KVN – grooming that are mostly adapted from consist of both local and international now more than 50 years old and the de international franchises. Finally, we have material. facto proving ground for budding TV games content (40%) among which

102 the most popular shows are local quiz There has also been considerable public Club Production; STS (the leading family ‘What?Where?When?’ and international interest in sport-related content recently. entertainment channel) by Yellow, Black franchises ‘Who Wants to be a In particular, feature movies and series and White production house. Millionaire?’ and ‘Wheel of Fortune’. about sports people (both up-and- This partnership between TV channels coming and legendary) have generated Notably, the Russian hosts of all these and production houses provides a very great interest among Russian audiences. shows are strong opinion leaders and are wide scope of opportunities for This could be explained by a general heavily featured by advertisers in integrated branded content marketing national sports boom, thanks to marketing initiatives. initiatives, created by content numerous world-class sporting events professionals in a seamless and While humorous content is perennially being hosted in Russia – Universiada engaging way for audiences. popular, it’s experiencing a boom 2013, Sochi 2014 Olympic Games, FIFA nowadays thanks to the rise of stand-up World Cup 2018 and others. TV programme sponsors, predominantly comedy programmes and the new FMCG and mobile communications Another notable factor influencing pseudo-reality shows – series featuring companies, are most active in exploiting Russia’s branded content marketing the ordinary daily lives of extraordinary these branded content marketing activity is the very close association people, which are shot on amateur opportunities. For example, Syoss hair between leading TV channels and cameras. care brand provided professional stylists production houses, something that’s on ‘The Voice’ and presented extra seldom found in other countries. content features, such as contestants For example, the majority of content on experiencing the brand’s products, to the biggest Russian TV channel, Pervy, is achieve deep brand integration in a shot by Red Square production house; recent branded content marketing TNT channel (the major entertainment campaign. network for young adults) by Comedy

103 In another instance, Russia’s leading • A Baltika #3 branded ‘3 news about • The top three news items were telecommunications group MTS has football’ scoring tool within the ‘Football selected by audience votes then became previously aligned itself with the ‘What? night” programme on major TV channel discussion topics on TV and fed into the Where?When?’ quiz show and KVN NTV, where experts discuss the main content creation for Baltika #3 ads online comedy programme, as well as football news. and on TV. broadcasting its own programme, ‘The • Similar rubrics on top football This legally compliant, cross-media, Game’, which was closely tied in with live websites, where fans discuss the main integrated branded content marketing MTS marketing activity as it aired. football news with each other and with campaign firmly associated Baltika #3 A more multifaceted example of a recent experts in chat forums. with football and resulted in a 10% successful Russian branded content increase in sales, a 20% increase in loyal marketing campaign is that of Baltika #3 customers and a 4 point increase in beer. The brand wanted to be strongly market share. associated with football, gain mass coverage, yet stay within new advertising regulations under which beer is not allowed to be integrated into sports competitions, nor advertised on TV before 11pm.

With the insight that beer consumption related to football also takes place away from matches, when discussing them with friends, the Baltika #3 campaign featured several strands of activation:

104 3. Industry partnerships through which both content producers and media agencies can enrich their expertise in integrated branded content marketing campaigns, and provide advertisers and TV audiences with engaging new solutions – including cross-media ones that may comprise content on TV, Internet, radio, in-store and other communication channels.

4. Finally, the first robust research studies analysing the efficiency of branded content marketing In summation, the use of branded communication channels have recently content marketing in Russia is growing been completed. and there are several major factors contributing to this growth: Please contact Fuse Russia to request a copy of their latest branded content 1. A negative attitude to traditional marketing information for the Russian interruptive advertising that’s worsening market. year on year.

2. A fertile market for personal communication technologies and social media.

105 By Patrícia Weiss Chairman & Founder BCMA South America; CSO, Wanted Agency; SVP Strategic Consultant for Branded Content, Branded Entertainment & Transmedia Storytelling Asas da Imaginação Brazil At this point in time, Brazil is in Never before have consumers had so ‘hypermediatic’ mode, driven by an much on tap, combined with the will to overabundance of information, images, choose and consume whatever interests platforms, excessive brand offerings, a them, as often as they like, anywhere huge variety of products, screens, they want. And of course, sharing this restaurants, music, movies and facts that content and letting the world know can be found anywhere in the world at about it. any time. mARKET REPORT "50 years ago, South American A transformation households had access to only two TV channels, with only one TV programme produced by a major player, so in content advertisers promoted their products without any problem. creation and Fast forward to the '80s and there were 65 TV channels, AM radio gave way to FM, the production of content remained in the hands of the major distribution players, but there was so much content to produce that independent producers such as Endemol and Fremantle started to emerge.

Nowadays, this story is being written "Both are rare gems in Brazil: great all over again. Since the arrival of the quality content and companies that digital era, entertainment content has have mastered branding. And usually, multiplied a thousandfold on the web, when both of them meet, there isn't tablets, phones and smart TV. The big enough money on the table to get this question is: where will the money effort in front of a massive audience." come from to produce so much content? Advertisers."

Domênico Massareto,

Chief Creative Officer, Rodrigo Figueroa Reyes, Agency ID/TBWA Brazil Founder & CEO, FiRe Advertainment, Argentina 107 Brazilian consumers are profoundly changing the way they relate to media Brazil in the social era and content. They are now co-authors and can produce their own content • Population: 190.7 million singlehandedly within a model of • Internet users: 105 million participatory culture. They are in a hurry and want to know about everything on • Internet coverage: c.20 million more domestic users were connected in the past two years, reaching a total of 76.62 million in 2013 – a 32% rise. the spot, live, interacting, and in real time. • Mobile connection: 56% use Internet via smartphones and tablets; 52 million people access the web via mobile phones. The audience in Brazil is directly involved • Brazil has 142.7million mobile phone users – c.71% of the total population. in the circulation of content, at the same time as the reality of the broadcast • Second screen: almost 7 in 10 Brazilians use TV and smartphones at the same system and the centralised media time (Ipsos research for Google Brazil, August 2013).

(distribution of content) still reigns in the • 63 million Brazilians use at least two screens daily (TV + computer); 30 million country. This means that the ‘stickiness’ use three screens (TV + computer + smartphone). For 75% of users, the main logic still dominates, facing the powerful smartphone feature used is to access social media. rise of a ‘spreadability’ logic model. The • Social media: Facebook Brazil has 76 million users. Brazilians use Facebook largest share of media spending in Brazil more often than Indians, making Brazil the second country in the world in daily is dedicated to traditional advertising access, only behind the USA. media based on impact, especially for TV • Brazil has the second largest teenage population on Facebook: 12.2 million and the Internet. But on the other hand, users aged 13-17 years old. But they are seeking agility and private we are living intensely in the ‘Social conversations, so migrating to apps such as Whatsapp and Snapchat.

Conversation Era’ where the circulation Sources: IBGE, Ibope. of media content is also a big reality.

108 New media coexist with traditional media not necessarily also mean engagement. heart to become a fan of both in Brazil. In such a dispersive This profound change is evident and international and Brazilian series. The environment, the audience is looking for challenging to marketers. number of productions is increasing by ideas and content that’s entertaining and the minute. Shows are being produced by The most viewed online ad campaign in effective in engaging their minds. If the independent national production the world in 2013, Dove ‘Real Beauty content is not relevant, shareable and companies that already work in Sketches’, was created by Ogilvy Brazil. appealing enough, it isn’t spread in non- advertising, on feature and short films, It’s fundamentally a powerful creative linear conversation. reality shows, documentaries, web idea that united consumer insight with series, etc. – for example, O2 Films, Worldwide, we are experiencing a the brand truth. A story was created to BossaNovaFilms, Zeppelin, Mixer, fundamental transformation from an connect with people and to be shared. Conspiração, Sentimental, Hungry Man intrusion-based marketing model So, a fact is more likely to be and more. economy into an invitation-based model. remembered if it’s anchored in a story. These production companies are well And stories should be greater than The importance of placed to meet the demand for content products. Anywhere. brand storytelling coming from major advertising agencies, Brazilian audiences are definitely hungry including digital content agency LiveAD While the narratives of the contemporary for more stories. More fiction and less (for example ‘Nike SP-Rio’ awarded in the world are collapsing, storytelling is reality. More entertainment and less Branded Content category at Cannes becoming increasingly essential. The interruption. And more reality shows and 2012 and ‘Mil Casmurros’ for Globo TV), traditional business model of advertising live programmes that enable their full as well as specialist branded content in Brazil, and TV commercials that still participation and interactivity. (Yes, Event agencies such as New Content (‘Battle of present the brand as the protagonist or TV is a trend, too). the DJs’ Skyy vodka’), Mutato/JWT and hero to push products to the consumer others. (except the ones that do entertain), will A country with a tradition and passion for suffer a collapse, because impact does soap operas has enough space in its

109 The development "Latin America has a huge potential for branded content. First and foremost it has to do with vocation. Latinos are of Brazil’s branded social and have always loved to share with others. In the last few decades, there has been significant economic development that is still in progress. This has content market enabled people to have computers and mobile phones, which has driven lots of content development, sharing and co-creation. Latinos are early adopters in technology – they are always mirroring the United States as their model.

It is not by chance that the most developed country in "Only a few companies in Brazil understand "Branded content will only become a terms of social media is Brazil. People in the region are how much content can be positive for their protagonist in Brazil when the market very active in creating stories and talking to each other. brands in order to make their relationships realises that TV, web and mobile devices Brands that best understand this behavior will profit stronger with the consumer. Providing talk to and complement each other, and more from the conversations that are already happening information like recipes or tips for mums is that the difference between them comes in various channels. not enough. It does not build a down to the screen size. Strengthening the The biggest challenge in LatAm in general is developing differentiated conversation with the value of a brand through content produced the infrastructure to enable people to connect and share. consumer. Companies need to find other by it – not about it – is one of the most Once this issue is fixed, there will be an exponential ways to talk with their clients, maybe efficient strategies for effective growth in stories and as a result a lot of great content." through documentaries, video games, etc. communication with consumers." Claudia Colaferro, Thus, there is a lot of work to do." Daniel Bacchieri, President, Latin America, André Pedroso, Head of Content Development, Dentsu Aegis Network Creative Director, Zeppelin Films Publicis Red Lion

110 Brazil has arrived at an intersection of its buying traditional media remains focused contribute to the development of the marketing, entertainment and advertising on impact, rather than on creating culture of the Brazilian entertainment industries, and is currently experiencing conversations and relationships with industry. something exciting: a revolution that’s consumers based around brand stories. And finally, marketers in Brazil are breaking the traditional mindset and However, branded content is slowly demanding more metrics, results heading towards the inevitable breaking the barriers of TV and taking measurement tools and engagement. convergence of the advertising and over the Internet, which naturally enables They express a greater concern about entertainment industries, regardless of its distribution. bringing together content strategy and formats and platforms. Increasingly, The strong trend to embrace visual content marketing, resulting in the organisations are recognising the conversation – caused by Vine, Instagram development of better capabilities and predominance of branded content and and then Facebook and Twitter – experience for planning holistic branded storytelling, and placing it at the heart of triggered a greater focus of the content marketing initiatives. their brand strategies. advertising market on developing social For example, the publishing group Abril In tandem with this migration, the strategies that include images and mainly has created a platform dedicated to production of content is growing in Brazil. video production to involve and engage content marketing for two magazines, In some cases, it’s growing intuitively, but consumers, provoking the sharing of Exame and Info, and it’s already mostly, it’s growing because of the content. producing, with successful results, native demand for videos aiming to reach The production of entertainment content advertising projects for brands such as consumers in social networks and on for cable TV has also grown considerably Dell, GE and IBM. YouTube. This represents the antiquated in Brazil since Audiovisual Law 12.485 expectations of marketers who still focus came into force in 2011. This law requires on higher rates of likes, views and more hours of independent and national volume, showing that we are still in a content to be exhibited in the TV transitional stage where the mindset of channels’ prime time periods, which will

111 Challenge Results

Exame was asked to associate HSBC This 2013 project generated a 2014 Commercial Banking with relevant renewal with a larger investment. Many content about international trade aimed other advertisers are now interested in at a select audience of executives. HSBC using the index footer space. asked for a special ad format within the Advertorial recall research among readers magazine index (very unusual for a achieved: Brazilian magazine).

- 80% stimulated recall rate Solution - 69% of readers consider the HSBC A bespoke advertorial page with premium advertising easy to understand content about the global economy and international business was created and - The information is interesting for 64% of appeared fortnightly in the printed them Exame + magazine. An exclusive space for HSBC - 82% agree "content matches the was also created in the index footer. HSBC magazine“

Commercial - 77% agree "It is an advertisement that Banking provides useful information“ CASE STUDY - 60% agree it "generates more sympathy for the brand that is advertising"

112 Challenge Results

Info was asked to show consumers how - 1.3 million page views of ‘Mundo the Qualcomm Snapdragon processor is Mobile’ from March to August 2013 important for mobile device performance. Research among magazine readers who Solution saw the infographics revealed:

A custom channel called ‘Mundo Mobile’ - 73% will pay more attention to the was created and placed on the INFO brand of the processor when buying a website. Its content consisted of editorial new smartphone news about smartphones and - The infographic ad format contributed technology, as well as infographics and to the positive perception of this branded advertorials highlighting the Qualcomm content (85% found it to be more Snapdragon processor quality. The attractive than an ordinary report) infographics were also published inside Info + INFO’s printed magazine in July 2013 to Qualcomm explain how the processor works in a Snapdragon simple, graphic way. CASE STUDY

113 The future of "What I have been predicting branded content for years in the field of branded content is happening today: brands marketing in Brazil have started investing in producing their own content and are already part of the

I believe that 2014 will be the turning point And the outlook is also quite optimistic in entertainment industry. This activity goes far beyond year for the Brazilian market, driving forward leveraging business for the second screen to being in the plot of a story; the evolution of the use of branded content meet the potential of the market. it's about a million-dollar by organisations as an essential strategic We will experience the increase of social business that will open the tool, instead of simply a campaign tactic to door to a brand's assets: campaigns involving many kinds of public captivate, involve and engage consumers proprietary products, participation via social media and with a that, as humans, are eager for stories. licenses, property rights –to strong engagement angle. make money with its own Anything and everything can happen in the advertising. In short, the The discussion about a less intrusive, more year of the FIFA World Cup in Brazil. Brands paradigm shift in this consumer-relevant marketing approach is will increase their investments, primarily in business is that advertising growing in Brazil. This will result in marketing media and social initiatives, maximising the is no longer an expenditure, communications with less impact but greater capitalisation of this moment and their but an investment." audience involvement and conversation, sponsorships. where the brand’s message flows within, not Rodrigo Figueroa Reyes, just around, the content, and brands aim to Founder & CEO, become accomplished storytellers. FiRe Advertainment, Argentina

114 The Future of Branded Content Marketing

by Justin Kirby VP, Strategic Content Marketing Plus Ça Change, Plus C'est La Même Chose Tenthwave The more things change, the more they remain the same

Last year, I asked a number of experts to analyst, author and founder of Altimeter

help me with some crystal ball gazing Group, Charlene Li, who’d pointed out

that resulted in the Expert Predictions that despite the many different sites,

chapter of the first edition of the Best of technologies and business models we

Branded Content Marketing ebook. have today, “the fundamentals of

marketing have remained the same as This year I asked a far broader group of have the challenges.” marketing practitioners from around the

world what they expect to see change in The question brought a seven-fold

the next five years, and what they expect increase in response with a mixture of

will remain the same. The question was description, prescription and prediction.

prompted by comments made by the Because the term ‘content’ straddles so Expert Predictions Report many marketing and other disciplines, ‘Whom’, ‘Where’ and ‘When’. There’s also answers yet, but we also hope the the responses highlighted the need for a the important question of ‘How’ any responses and points raised will also shared lexicon which we hope the success might be measured. provide a frame of reference for industry can move towards. The recently marketers to better navigate a path We hope what follows, and the case BCMA commissioned research through the many challenges ahead. studies, will start to address some of undertaken by Oxford Brookes University, these issues. No-one has all of the in partnership with Ipsos MORI, which has resulting in the following overarching definition of branded content:

"Branded content is any content associated with a brand in the eye of the beholder”

This is helpful first step by describing what branded content is generically, but it doesn’t explain the ‘Why’ (in what is the marketing problem it attempts to solve?), nor ‘What’ the branded content specifics might be for the different variations of

116 REPORT INDEX AND SUMMARY

THE YIN YANG OF BRANDED WHAT WILL CHANGE WHAT WON’T CHANGE

CONTENT MARKETING Branded Content At The Heart Of Every Marketing Strategy ABOUT THE REPORT New (Open And Collaborative) Agency STRATEGIC CONSIDERATIONS Models Will Emerge But New Skill Sets Will Be Required The Rise And Rise Of Storytelling More Platforms, Devices And Personalisation Measurement, Analytics And The Rise Of Empathetic/Emotional Marketing

117 SECTION 1

“Talking about branded content and content marketing, I think The Yin Yang of Branded it’s all about one word that connects both, and that’s the Content Marketing word content.”

Jan Godsk Jan Godsk of ideatakeway and Chairman, BCMA Scandinavia, Chairman BCMA Scandinavia believes that branded content and content marketing may be two different categories. He uses the term ‘branded content marketing’ as we have done with the title of this ebook to point out that it has brand on one side, marketing on the other, and content in the middle. Content Marketing

On the marketing side, Jan proposes we think about this as being based around the product/service USP, with the content being more rational and informative. Content marketing campaigns are often conducted downstream in what McKinsey & Company call the customer decision journey, with ROI more focused on lead-generation and sales. Looking at content marketing in this way helps explain why some prefer the term ‘brand publishing’, why it is often used within a associated with longer-form video-based Branded Content B2B context, its close connection to output from more creative advertising On the brand side, Jan suggests we think Search Engine Optimisation, and the disciplines where audiences are engaged of this as being more irrational and formats most commonly used: with entertainment-type content that focused around our impressions, such as resonates emotionally. This helps shift • Blogs whether we like a brand or share their brand preferences and consumer • E-newsletters values. Branded content campaigns are • Case studies behaviours. In theory, the less USP- more likely to be conducted upstream as • Press releases focused you become, the more your part of an engagement approach rather • ebooks branded content will emotionally involve than to just drive awareness in the • White papers people. traditional AIDA funnel. The term is often • Infographics • Webinars • Podcasts

119 And Branded Entertainment? creating exclusive, engaging and entertaining content. The term ‘branded entertainment’ is used by some to describe branded content Branded Content And Content marketing campaigns where the product Marketing: Two Sides Of The Same is more integrated into the content. That’s Content Coin why the term is often used in connection “In the future, I’m sure, as with formats such as advertiser funded The Yin Yang image is a simple way of within most disciplines, programming (AFP) that use more illustrating that the two approaches are branded content marketing will traditional media like TV, radio and even two sides of the same coin, but begin to fracture and divide film and often overlap with product seemingly based on different intent that into more specialist areas. New placement and sponsorship. shapes the output, engagement and platforms and ways of distribution approaches. This type of approach is evolving as we engaging will drive the process have showcased with the Summer As Mark Welland explains, it also shows on the back of services that D’Reem case study where Unilever’s Surf how other disciplines can be users wish to be a part of. This brand borrowed the attributes from ITV’s accommodated as part of the mix. ‘The only way is Essex’ (TOWIE) TV show will need new language to to extend their association with it by describe the areas and will

hopefully lead to better ways of

describing the broader

discipline.”

Mark Welland Founder New Media Works

120 SECTION 2

“I often hear the cry “We need a social media strategy” when Strategic Considerations what is really needed first is a customer engagement strategy based on content.” Some of the response from experts focused less on

Dave Chaffey the future, and more on the strategic considerations CEO Smart Insights that brands need to be thinking about with regard to branded content marketing. We’ve grouped these in themes to provide a context for the predictions in

the following sections. The 3 Circles of Branded Content Marketing diagram on the right is a helpful prompt to start thinking about DISTRIBUTION practice more holistically. The diagram MEASUREMENT was inspired by the Three Pillars of Connected Marketing model developed by Idil Cakim, the analyst and author of Implementing Word of Mouth Marketing.

As Dave Chaffey at Smart Insights CONTENT ENGAGEMENT explains, content and social media (CO)CREATION MANAGEMENT marketing have become the de facto way of explaining customer engagement approaches and so it’s “unfortunate” that these are too often considered THREE CIRCLES OF BRANDED CONTENT MARKETING separately. He says what is needed is a “customer engagement strategy based on content”. Idil’s model shows how • What kind of branded content is and ‘When’ in the customer decision these can be unified. created (or co-created) by ‘Who’ and journey?) for ‘Whom’? I’ve adapted Idil’s model to provide a • How is the success of the different prompt for thinking through the following • How is engagement managed? parts and their sum measured? questions as part of developing a • How is content distributed? (i.e. These are also useful questions for branded content marketing strategy: ‘Where’ in the converged landscape analysing the predictions in the following of earned, owned and paid media, sections, as are these strategic considerations raised by contributors: 122 We are media so get yourself invited, don’t just and ensure that your branded buy your way in content marketing strategies are Chris Gorell Barnes at Adjust Your Set truly consumer-centric suggests that we’re also moving from a Blended Republic’s Chris Sice thinks that world where mass media ruled to one right now, “too many brands follow an Chris Gorell Barnes predicts that “the where the masses themselves are the outdated ‘push’ content model. They brands that will thrive in this new world media: “People not only decide what, create content and look to ‘buy’ will be those that put the needs of the when and where they want to consume audiences.” Chris Gorell Barnes adds consumer at the heart of what they do.” media, but also whether or not the that “if a brand wants to be a part of this Max Garner at Aegis Media adds that message is passed on.” world they must be invited in – you can’t “authentic and constant consumer- buy your way in.” centric behaviour from a brand will Your brand is a social construct always be the best way to aid success in that you no longer control or just try and catch the next our rapidly changing convergent media big wave That’s why Bjoern Asmussen at Oxford world.” For Patricia Weiss of the BCMA’s Brooks University thinks that marketers Branded content is also “no longer about South American Chapter this means will increasingly realise that brands “are client strategies or wanting to be in on creating branded content in all formats best understood as socially constructed the next big wave” according to and platforms that are personally relevant organisms”. They will consist of “all kinds Vodafone’s Melissa Hopkins. She says it for consumers, so that brands move from of brand meanings, brand manifestations is now “simply a news provider, a a media-centric approach to one based and brand stakeholders, such as conversation piece, a portal for on human context where the “consumer consumers, employees, competitors, stimulation, with a brand discreetly is the protagonist and hero of every suppliers, pressure groups and the behind it.” Melissa believes only the story.” media.” brave brands understand this.

123 and that your branding is aligned with your branded content marketing strategy PERSONAL WHERE SOCIAL Veteran advertiser turned brand RELEVANCE SHOULD LIVE consultant Robert Bean explained that what were once walls that companies could control have now become windows as a result of the digital explosion, and anyone can see into an organisation from DRIVING CULTURAL any number of vantage points. As such it PURPOSE CONTEXT “behoves brands or companies generally to sharpen up their act and decide who they are and what they’re about and be true to themselves in a way that they’ve THREE TENETS OF NARRATIVE BRANDS never really had to before.” This means branding needs to start from the inside or you’ll get found out! Welcome to the rise of the out, so that the people within the narrative brands business are aligned around what they Put another way, Robert thinks digital is a Robert Bean’s inside-out branding are trying to do and create a culture that great way of exposing organisations that approach is based on the alignment of a produces a commensurate product that are “disorganisations” for want of a brand’s culture, product or service, and when managed properly results in a better term. Brands can no longer get reputation around what he calls the commensurate reputation. away with trying to project an image that ‘Single Organising Principle’. This attempts to engineer a reputation. In provides a clear sense of purpose of summary, brands cannot “fake” another what a brand does. five years, believes Jan Godsk.

124 Purposeful content and alignment are Cultural Context Personal Relevance themes that are raised in the following A cultural context ensures that the brand As Patricia Weiss explains, if your section, as is the importance of is culturally relevant. Gretchen believes branded content is interesting for your storytelling. that in practice this means capturing audience, “they will be interested in it.” macro and micro cultural trends. A My colleagues at Tenthwave produced Being personally relevant is behind the branded content marketing strategy must the diagram above that is helpful for ‘passion’ in the fractured passion centres be developed with these cultural factors thinking about how branding can be that Barney talks about. Gretchen in mind. Another way of looking at aligned with a branded content marketing Ramsey believes personal relevance is at cultural context was highlighted in a strategy. It’s based around the idea that a “nascent stage” but a feed customised comment made by the dotcom pioneer the strongest social brands are described for the individual user could include Joe Kraus of Excite fame in a BBC as ‘narrative brands’, i.e. brand helpful personal visualised data (think interview last year: “If the 20th century storytelling that combines the following: loyalty programming and smart CRM), was about dozens of markets of millions geo-context as well as social graph Driving Purpose of consumers, then the 21st century is integration. (see more on this theme in

As Tenthwave’s Gretchen Ramsey about millions of markets of dozens of the More Platforms, Devices & explains, a purpose is simply a tangible consumers.” Unruly’s Barney Worfolk- Personalisation section.) reason for being a brand (why the brand Smith talks about interacting with people We hope that you find this introduction to exists): “It's that flag in the ground, that through “fractured passion centres.” The the following predictions both interesting rally cry that everything ladders to and Duck Tape ‘Race of Gentlemen’ and useful. The ideas presented here that is visible and visceral throughout the campaign is a good example of how a provide a backdrop to our contributors’ entire consumer experience.” For brand got itself invited to a very culturally thoughts on what they expect to see example, Red Bull's purpose in simple relevant ‘fractured passion centre’. change in the next five years and what terms is ‘adventure’. they expect will remain the same.

125 image © BBP Media / Giuseppe SECTION 3

“We definitely feel the future of branded content is very What Will Change exciting. And if 2013 was

anything to go by we’re going to see a rapid increase Branded content at the heart of every marketing strategy in the number of brands

using branded content as As the CIPR’s Stephen Waddington explains, “Content is the drum beat of the core of their marketing.” engagement between a brand and its publics”. But the ability of content

Andrew Canter “to draw people in naturally through entertaining, emotionally engaging CEO BCMA messaging” is why Pereira & O’Dell’s creative chief PJ Pereira believes that “branded content will continue to feature in more and more client strategies” helping to “develop deeper relationships with audiences”.

Publicis Slovenija’s Uroš Goričan also thinks we can expect brands to put “more emphasis on branded content in their marketing strategy.” Driven by digital and social will always be those stand-out du jour more traditional marketing has been set. examples, but it’s “more standardised However, he thinks brands will learn to The BCMA’s Andrew Canter predicts that, procedures” that will encourage the plan branded content alongside other by 2019, branded content will be at the adoption of entertaining branded content disciplines in order to get the maximum heart of every campaign, driven by the marketing approaches. effect, so that it can lead to or become growth of digital technologies and social the “central articulation of a brand or media. Moving across the spectrum, to communication idea.” become less isolated and more and stand-out examples integrated Becoming the communication Romelle Swire’s Chris Smith predicts that MEC’s Chantal Rickards sees the next norm across the organisation the stand-out branded content five years as an exciting time with campaigns we’ve seen during 2013 will Stephen Waddington believes the shift content moving “across the spectrum”. both increase industry awareness for the will go further so that what he describes Sky MEDIA’s Jason Hughes thinks we’ll approach and drive more examples. as “content development” will move see a greater joining of the dots over the Chris specifically mentioned work by beyond marketing communications to next five years between the linear and Amazon, Chipotle and Heineken, but “become the communication norm for all non-linear world to a point where other examples cited by experts include operational areas of an organisation.” “branded content campaigns transcend Red Bull ‘Stratos Mission to the Edge of but more risks still need to be TV, online, social, POS with the overall Space’, Coca-Cola’s ‘Small World taken activation far greater than the sum of its Machines’, and Banco Popular de Puerto parts.” Jason Hughes expects “a tipping point Rico’s ‘The Most Popular Song’ (also see where the penny will drop around the real Jan Godsk and John McDermott). and not just an afterthought value and power branded content and more standardised procedures Red Bee Media’s Michael Reeves thinks delivers way beyond traditional media we’re still at the point where branded Branded Entertainment Online’s (BEO) valuation”, so that it “becomes the norm content is being commissioned in Sandra Freisinger-Heinl thinks that there centrepiece of every campaign.” isolation as an afterthought once the 127 NEW (OPEN AND paid media operations, brand strategy COLLABORATIVE) AGENCY units and digital production services.” MODELS WILL EMERGE Agency-facilitated brand alliances The social media strategist Jadis Tillery with publishers predicts that “collaboration will be the Forrester’s Ryan Skinner sees brands name of the game” in the brave new “Native Advertising will become the regularly building “quasi-official alliances world of branded content. Compelling with each other and publishers, usually starlet in the blurred lines between stories can be created that evolve facilitated by an agency, to collectively ads and content, by reinventing the “dynamically thanks to the consumer produce a compelling digital experience.” shaping the story itself.” Somethin’ Else’s business of publishing and snatching

Steve Ackerman thinks we’ll also see More and different kinds of the emerging markets. A growing “content strategists and content creators celebrity partnerships number of publishers will create their coming together to form new agencies.” Sean ‘Diddy’ Coombes’ recent JV with own branded content divisions, paid Here are some other predictions along Diageo suggests that celebrity talent similar lines: media operations, brand strategy partnerships will continue to play a key units and digital production services, Publishers as agencies role in branded content. For Jadis Tillery this is not just about “the loyal and in-house. More often, they will be Patricia Weiss who heads up the BCMA’s sizeable fan base they can mobilise for a hiring publishers to create content on South American Chapter thinks native brand, but as dynamic content creators advertising looks set to “become the their behalf.” and media owners in their own right.” starlet in the blurred lines between ads That said, United Agent’s Joanna Scarratt and content”. She sees publishers Patricia Weiss thinks that a social media following is Chairman and Founder becoming more agency-like, working BCMA South America becoming an increasingly important directly with brands through the creation factor, and as a result we’ll start seeing of in-house “branded content divisions, new highly paid social superstars. 128 New (open source) business human connections will increasingly use models the multiplying and diverse channels in more and more interesting ways - blurring Crispin Reed at UK Fusion Learning the lines until there are no lines thinks we’ll see “more and more anymore.” interesting collaborations between “A platform (YouTube, for brands when it comes to content BUT NEW SKILLSETS WILL BE example) could host brands marketing.” He cites Google’s acquisition REQUIRED that were prepared to open of smart thermostat brand Nest as a way As the online revolution outstrips their assets to the general they can enter the “home through a marketing knowledge, Joanna Scarratt at public and see what people did different door.” The convergent home is United Agents thinks that no-one quite with them. This would give not a new idea, but for Crispin it’s an yet knows how to exploit branded creators license to rethink the indication of a more “imaginative coming content properly. She thinks that this is brand's meaning and create a together of brands to deliver branded because the “speed of the online content”. BCMA’s Chairman Morgan Holt whole new presence for the revolution, and development of platforms, thinks that the combining of has outstripped marketing knowledge.” brand itself.” micropayments and user content channel new skill sets required Morgan Holt technology platforms would be Chairman interesting. Mike Arauz at Undercurrent recently BCMA wrote about The New Digital Strategist’s so that lines will continue to be Skill Set that’s moved from the T-shape of blurred until there are none left having to know a little about a lot and a The strategist Sarah Farrugia predicts lot about a little to the square-shape of that “those who really understand social now having to know a lot about a lot. media and the importance of truth and

129 to understand culture better having a “wide breadth of skills and knowledge across various marketing Gretchen Ramsey at Tenthwave mentions disciplines, but crucially possessing both how dramatically and quickly specialised left-brain and right-brain abilities”. As areas shift in digital, which is why she Ashley goes on to explain, it’s about thinks we have “a duty to understand being analytical and data-driven on one “Agencies need to hire culture on a new level, as it’s intimately hand, but also “understanding brands, behavioural economists and tied with our ability to plan relevance.” storytelling and experiential marketing.” creative technologists as well and social behaviour as individuals that truly REAL TIME AND AGILE OgilvyEntertainment’s Doug Scott thinks understand social interaction. Unruly’s COO Sarah Wood sees new that “agencies need to hire behavioural This goes well beyond the tools emerging that will help support the economists and creative technologists as "social media specialist" who macro-trend of real-time content well as individuals that truly understand claims to understand how to marketing and allow marketers to social interaction.” For him this goes become more ‘agile’. This is where evoke more tweets out of a “well beyond the social media specialist.” post.” brands become “newsrooms for their The dawn of the pi-shaped data niche” and invest to support “content Doug Scott storytellers? discovery, content curation and content President OgilvyEntertianment creation” to compete for consumers’ In a recent interview by Renegade’s CEO mind share on social platforms. Drew Neisser with Econsultancy's CEO Ashley Friedlein on PSFK, the pi-shaped or something more additive?

data storytelling marketer was discussed. Digiday’s John McDermott hopes that For Ashley the pi-shaped skillset isn’t “brands will move away from their real- about expecting people to know about time marketing obsession and create everything (square) it’s more about 130 something more substantive and lasting.” honcho Chris Clarke, what is more He cites the “mesmerising” Volvo Trucks important than anything else is “creative ‘Epic Split’ campaign with Jean-Claude excellence, a fluid relationship with talent Van Damme as well as the “legitimately and a willingness to experiment.” He helpful” Lowe’s ‘Fix in Six Vines’. adds that brands can become “part of “I hope — that brands will culture rather than in the (ad) breaks Evolving beyond real-time move away from their real-time between culture”. opportunism marketing obsession and Tenthwave’s Gretchen Ramsey points to THE RISE AND RISE OF STORYTELLING create something more an “evolution from real-time opportunism substantive and lasting. The to the storytelling model”, but asks “how It's not really a prediction, but the

Volvo Trucks/Jean Claude Van many digital agencies are set up to importance of storytelling was the most manage a meaningful narrative duty?” consistent theme to emerge from expert Damme video is mesmerising She suggests what’s needed is a “new responses. As Mumbrella’s Sean and the Lowe’s Fix in Six Vines model of strategic creative where teams McKeown points out, “brands are already are legitimately helpful. Seems of (visual) storytellers lead brand tales, seeing the value gained from this format not just ideas ‘with legs’.” and will continue to invest more of their a lot more additive than marketing budgets in its development.” tweeting nonsense during the and being more creative, experimental and iterative Super Bowl.” More authentic, entertaining and engaging Being more agile doesn’t necessitate John McDermott working in real-time, or the setting-up of Advertisers must find better ways to build Staff Writer Digiday newsrooms with staff and enabling trust, as raised by Paul Bay at Citizenbay technology, it can simply mean being in last year’s ebook. Paul pointed out that iterative. For DigitasLBi’s creative head the gap between promise and delivery is

131 still wide, and that’s why advertisers are real-time, it's also about emotions. She world, and that this is becoming “more still less trusted than politicians. ISBA’s predicted that the brands that succeed in visual and involving, and less intrusive Mario Yiannacou thinks that one way of the future will be the ones creating and interruptive”. building trust is to ensure that messages content that elicits a powerful emotional original content funded and are completely clear whatever format response from their audience. distributed by brands they’re in. Stan Joseph of Ochre Moving In longer and more digital formats Pictures suggests the creation of more Stan Joseph sees brands becoming MEC’s Chantal Rickards sees more authentic and entertaining story-based significant funders and distributors of traditional formats like advertiser funded content “will continue to be the hallmark original content over the next five years, programing (AFP) being on the wane, at of great branded content.” taking “their place at the table alongside least in the UK. But she thinks “digital broadcasters, distributors and IP and purposeful content continues to offer myriad opportunities, owners.” Joanna Scarratt also thinks the For Tony Chow at What's your Story Inc especially where the content can travel landscape will change dramatically. She in Singapore it’s all about the creation of across many platforms and engage sees brands becoming both purposeful content, and he sees more viewers in clever, dynamic and engaging broadcasters and content makers. She and more brands using story-based ways.” She also thinks we’ll see more cites other platforms like Netflix’s funding branded content as a key engagement brands becoming more adventurous and of ‘House of Cards’, as well as film tool. funding longer-form content like movies competition initiatives like Grolsch's ‘Film and feature documentaries. Works’, or Bombay Sapphire's’ that resonates emotionally ‘Imagination Series’. and more involving, less In last year’s ebook, Sarah Wood interruptive explained that testing what works and Patricia Weiss believes that audiences optimising the performance of branded will become even more intelligent and content isn't just about using data to sophisticated as their lives become make decisions and refine campaigns in increasingly social in a “hypermediatic” 132 Making good stories more even the ports in our heads for faster important than ever to cut through upload/download that Doug Kessler the content clutter predicts. Uroš Goričan thinks that these

Doug Scott thinks, “Great stories are will “enable brands to connect with “Brands are going to have to becoming critical. Right now I would say customers via content in an even more exciting and creative way.” change their processes and do that from an economic standpoint there is an oversupply of content.” something marketers don’t like to It will become more personalised But storytelling changes everything do and don’t do easily. They have Leo Burnett’s James Kirkham predicts about how brands go to market that in five years the content people to change the skill sets of the In my recent interview with UM’s Chief engage with will become more relevant people they hire. They have to Content officer Scott Donaton, he and tailored. He thinks that it won’t be change the time frames they work explains how he thinks that brand recognised as traditional advertising, but storytelling is a strategic, disciplined “more as opt-in personalised content.” on. They have to change the way approach to marketing that actually they allocate and think about changes everything about how brands go Pulled not pushed, and more contextual budgets. They have to change to market. Doug Scott sees content being “pulled by their definition of creativity.” MORE PLATFORMS, DEVICES AND consumers based on their unique PERSONALISATION Scott Donaton preferences and habits.” ISBA’s Mario Chief Content Officer Experts discussed a whole host of new UM Yiannacou also thinks targeting will make platforms and devices that are either a step change that will benefit brand already being used, or on the horizon, owners but also consumers by giving including Google Glass with augmented them messages they want to receive. reality, other wearable tech, or perhaps

133 Doug suggests that the tailored content Patricia Weiss believes the endless will be “contextually related to a brand's willingness of audiences to participate key product and/or core message”. For live in networked culture will “expand the Max Garner at Aegis, context is also key, non-linear conversation around the and the linking of “the right content for content”, and drive SocialTV, second the right device juxtaposed with the right screen and real-time marketing initiatives. “I think one of the most type of brand to consumer interaction at This will in turn increase the production the right time.” of ‘event TV’ programmes, especially important changes in the next reality shows where “the audience fully But as DigitasLBI’s Chris Clarke points five years is going to come with participates and feels like the true out, “more than anything, just as it is winner.” Samantha Glynne at Publicis now, brands will need to recognise that a the maturation of the millennial Entertainment also thinks “TV will have a set of marketing messages plays very resurgence and new forms of live and adult who is going to quickly poorly alongside the latest box set.” social events will become popular.” Content shifts triggered by mobile, become the most powerful Eventually moving off screen to shared by the second screen, and become part of our branded life consumer, literally ever.” expanded through smart displays James Kirkham sees branded content For Doug Scott these shifts will be Eric Schwamberger moving off screen to become things “like triggered by mobile (which he believes is Partner making a branded gesture mnemonic to Tenthwave now the first screen), and then shared on access the brand”, e.g. “tracing out the the living room screen, as well as being Heineken star when you walk into a bar expanded through public out-of-home to access content or order a beer.” For advertising (OOH) smart displays. James this is about thinking of the future less in terms of branded content and

134 more about “your branded life.” This may thinking will be at the heart of their what he calls “fractured passion centres” be more relevant to some generations strategy. He adds that brands need to that is discussed in the Strategic than others, particularly with the learn to act like media owners to attain Considerations section. Barney’s idea maturation of the millennial adult, the desired ROI. Samantha Glynne at provides the basis for more opportunities according to Tenthwave’s Eric Publicis Entertainment adds that as of co-creation between brands and their Schwamberger. “confidence grows in the qualitative role fans. It will also potentially blur the lines of branded entertainment, brands will be between earned and owned media if Optimisation will become the norm braver in trying all platforms and media.” brands start to curate their fan content in Katy Howell at immediate future explains the way that Unruly’s Sarah Wood and developing their own media that “social will increase the volume, but mentions. also reduce the size: as audiences (and Mumbrella’s Sean McKeown thinks that This very much tallies with the content mobile) demands bite-sized, digestible although “social media will continue as ideas around cultural brands that Daniel and continuous content.” As such, an important distribution platform, Bô at QualiQuanti discusses, and informs “optimisation of content will be the norm, brands will need to invest in platforms of the thinking behind Tenthwave’s ‘Race of as brands look to justify content their own that provide greater connection Gentlemen’ campaign. investment.” with audiences.” Jadis Tillery agrees we’ll see brands “fully embrace the multimodal Putting distribution at the heart of With customer stories becoming nature of the social web” while also any strategy more important than brand ones becoming “owners in their own right.” Blended Republic’s Chris Sice thinks In last year’s ebook, Citzenbay’s Paul Bay brands place too much emphasis on Blurring the lines between earned discussed how the democratisation of creating content, but are often ignorant of and owned media with the rise of content would change the media content “fractured passion centres” and distribution and the “boundary-less model. Paul predicted that branded content curation nature” of platforms like Facebook and content marketing would become less YouTube. He thinks this presents huge Barney Worfolk-Smith of Unruly sees about pushing content and more about opportunities and so in future distribution brands interacting with people through listening to your customers’ stories and 135 amplifying these. He pointed out that Welcome to the world of the ‘Internet of storytelling implies that brands or their things’, and the possibility of hyper-geo- agencies are still the authors of the located targeting. For example, Sarah narrative. He thought this downplayed predicts “sausage ads as you open your the increasingly important role that the fridge, replaced by porridge oats ads if customer narrative plays. your cholesterol reading is high, or an ad “Adapted, evolved content for sunscreen displayed on your and the need for earned media tailored and personal to you - smartwatch if the UV rays are high when planning you open your front door. Relevance and just like we are recognised MRY’s David Berkowitz highlights how utility will be key to success.” earned media planning might need to through cookies - will instead be consider the most cost-effective and via mobile to an increasingly you the user recognised through value-added alternatives to investing in screen-less world fully technology-enabled newsrooms. As Mumbrella’s Sean McKeown points talent talking to you, directly to out, mobile will play an integral part in the Learn to make the most of you as part of a pre-orchestrated wearable tech transition to “location-based marketing and content distribution.” But Leo pre-determined image.” When it comes to next-gen advertising, Burnett’s James Kirkham predicts “an Unruly’s COO Sarah Wood thinks brands James Kirkham increasingly screen-less world, less will need to navigate the opportunities Global Head: about desktop computers and more Social & Mobile and challenges presented by not only Leo Burnett about an Internet of things.” James wearable technology, but also smart- thinks we need to be thinking “more appliances. about how content will be engaged with and navigate through the Internet or interacted with wherever we are of things and hyper geo-location whenever we want to.”

136 to interact with a brand construct and requiring a whole lot more computational power James Kirkham predicts a future where the personalisation and tailoring of Charlene Li points out that in five years’ content includes live conversation with a time “we'll have the computational power brand construct. of IBM's Watson in a form factor that will

fit in our pocket - and we'll need it given “9 out of 10 people listen, Becoming more programmatic and the explosion of data.” marketing as service orientated engage and interact with radio, and do so across an ever- Doug Scott sees the evolving approach to get back to where we started from to programmatic (and more algorithmic) growing selection of digital marketing “will engage consumers in an Meanwhile, older media such as radio platforms. So branded audio ongoing dialogue with brands, providing and book publishing have been going content of the future needs to richer stories and greater insights - through their own digital revolutions. engage with audiences across a ultimately leading to smarter data and Folded Wing’s Karen Pearson highlights wide variety of different fuelling big emotional experiences.” “nine out of 10 people listen, engage and platforms, including DAB, Drew Neisser at Renegade thinks “these interact with radio, and do so across an mobile, tablets, podcasts and are the best of times for CMOs who ever-growing selection of digital online platforms.” approach marketing as a service platforms.” This provides a whole host of opportunity rather than a messaging opportunities, especially as now Karen Pearson one.” This customer-centric approach “listeners want to 'see' radio as much as CEO and Founder Folded Wing “only gets better with the advent of big hear it,” which Karen points out offers data and programmatic media,” since it is “additional exclusive visual content that so much easier to provide personalised people can share with their friends”. and relevant content in real-time.

137 Brands have been slow to embrace the develop industry standards for social your investment is to measure outcomes, ebooks publishing revolution, and media measurement. “Everything else is a proxy at best, but leverage distribution channels like there are organisations, such as AMEC We have also seen the emergence of Amazon, iBookstore, or aggregators like with its Social Media Valid Framework innovative new ways to measure branded Smashwords, and social reading sites. and Google with its Zero Moment of content, with the BCMA's proprietary Enhanced media ebooks, like this one, Truth, that are doing some good work in measurement tool, contentmonitor run by provide great opportunities to tailor this area and helping us to grow up.” Ipsos MORI, which demonstrates the relevant branded content for platforms effectiveness of branded content. rather than look at how the whole like tablets in a format that can engage is greater than the sum of the parts people for longer periods. bringing rigour, but often driven by measurement tools As Ian Wright at Tapestry Research MEASUREMENT, ANALYTICS AND points out, “the fragmented media THE RISE OF EMPATHETIC/ Kami Watson Huyse thinks these landscape means that we’re faced with EMOTIONAL MARKETING initiatives, while bringing more rigour to this dual challenge of really social media measurement, “will most There’s no shortage of industry understanding at a micro-level how likely be driven instead (in the near term) measurement standard initiatives individual channels or touchpoints are by the tools developed to do the The changing media landscape doesn’t working, but also at a holistic level, how measurement.” This might put the cart just have an impact on the way that they all fit together.” This is a tough before the horse. brands need to rethink the way they challenge, but Ian believes “we’re getting conduct their marketing, but also how and so there’s a danger of smarter at meeting it through a they measure it, not least because of the measuring data for the sake of it combination of small-scale qualitative insight, big data observation and survey- growing number of datapoints that are The CIPR’s Stephen Waddington thinks it based interpretation.” now available and being used. The is easy to fall into the trap of measuring challenges this poses are highlighted by things for the sake of it. For Stephen the the growing number of initiatives trying to only real way of determining the value of 138 More accountability and analysis right set of tools to measure efficacy. And required here are some examples:

Former Ipsos MORI Research Director Improved semantic analysis Stewart Thomson and others see a Minter Dial sees both listening tools and growing demand “for rigorous skills getting more sophisticated, “One of the biggest differences measurement of the impact of branded particularly with regard to semantic content campaign elements on the goals that we’re going to see is as we analysis. of the overall campaign. Essentially, get into more predictive fields brand owners will demand to know if the Predictive modeling for a better branded content pulled its weight and sense of who wants what right. Brands and agencies trying justified their investment.” David Berkowitz sees brands employing to predict what content people

Katy Howell also thinks we will see a more sophisticated predictive models “to are going to respond to and how significant increase in the level of determine what people want when they they’re going to respond. And analysis that will be expected, want it.” particularly analysis “often in real-time even predict which ways that and understanding the value of that identifies the content that travels on what they share they’re going to want to respond trend, attracts attention and gets shared.” But more importantly, David thinks in turn.” “brands will have a much better with new tools and skills getting David Berkowitz understanding of the kinds of value of CMO more sophisticated what they share” as well as better sense MRY

According to Uroš Goričan, we’re likely to of what their audience wants and likes. see more effort put into developing the

139 and the better targeting of and devices, and mapped not just to a ‘material’ particular demographic on a network, but also to the available psychographic and Minter Dial predicts “better targeting of ultimately behavioural data. the ‘material’ as marketers come to understand better their audience and the and tracking through to purchase “The more that media can be real influencers, and on which platforms and devices they are congregating.” Max Garner thinks “convergence means delivered on an individual basis

that content and the point of transaction and therefore become and more creative scope for are also moving closer than ever, so not crafting messages disaggregated, then that whole only do brands have to still inform, way of thinking is going to be Mario Yiannacou thinks that deeper data entertain and delight with their content will also “make it easier to ‘dial in’ to but they also have to ensure that where challenged. It will become much consumers’ frequencies, allowing more relevant a journey to purchase is easy, more about what people do than creative scope for crafting messages.” smooth and importantly unforced should what audience group they are in. the consumer so desire it.” with emotional data becoming This changes everything in terms of ubiquitous without requiring the capture of how media works and who should lead data As Sander Saar at AOL explains, be on the team to deliver and emotional data has already started to be Ryan Skinner predicts that “businesses evaluate it.” measured through facial recognition will abandon the practice of capturing Tim Foley software to understand emotions, lead data as enough non-personal MD reactions, heart rate, gestures, etc, but identifying data can be captured without pointlogic we have a long way to go. As it.” technologies advance, response could be tracked live across different platforms

140 and valuing individuals based on In the meantime, longer-term view purchase probabilities may be required

Tim Foley at pointlogic thinks that market The BCMA’s Andrew Canter accepts that research will get turned on its head by measuring the ROI for branded content the explosion of more data. He predicts can be a challenge right now, but argues “Marketers can show the value we won’t be aggregating audiences that brands should take a longer-term of branded content by keeping around their demographics, but will view and rethink what is being measured instead be “valuing individuals based on and why. He sees branded content tabs on how brand perceptions purchase probabilities”; and as he points marketing as an investment, that will shift among those exposed to out “this changes everything in terms of often pay back in the mid-long term how media works and who should be on such content. A simple tracker rather than having an immediate impact. the team to deliver and evaluate it.” survey can provide this insight. but you can start with a simple Brands will demand more bespoke The key is to be disciplined tracker survey metrics about asking consumer feedback More brands will want and be able to The analyst and author Idil Cakim and be ready to shift gears develop bespoke metrics that are linked explains that “marketers can show the depending on how such content to their specific brand challenges. This value of branded content by keeping tabs will lead the industry into more on how brand perceptions shift among resonates with audiences.” meaningful discussion than those those exposed to such content.” She Idil Cakim points out that a “simple tracker survey surrounding ‘working’ and ‘non-working’ Analyst + author Implementing Word of Mouth Marketing dollars, and possibly away from the can provide this insight.” The key she preoccupation with reach-type metrics says is “to be disciplined about asking that were designed for traditional mass consumer feedback and be ready to shift communications. gears depending on how such content resonates with audiences.”

141 SECTION 4

“We can’t be blinded by the light of bright shiny What Won't Change objects to ever, ever forget that relationships are paramount.”

Charlene Li Somewhat tellingly, experts have customers and clients will be built one Founder Altimeter Group significantly less to say about what they person at a time.” We shouldn’t get think will remain the same in five years “blinded by the light of bright shiny than what they think will change. Here’s objects to ever, ever forget that the round-up of the responses: relationships are paramount.”

It’ll still be all about relationships Strategy starts with the data

Despite the brave new world of branded The BCMA’s Andrew Canter thinks that content marketing that we’ve already what will still be of the utmost importance seen predicted, Altimeter Group’s is that “the strategy for any branded Charlene Li still thinks “marketing content campaign is based on deep and fundamentals will remain the same, meaningful consumer insight strategies”, namely that the relationship with and that means starting with the data. But go beyond the desk to find real Oxford Brookes University, it also has to insight and opportunities “resonate with the targeted stakeholders’

The advances in analytics and listening needs, interests and/or passions.” As platforms that have been predicted Kemplewood’s Mark Wood points out, for suggest that it will still be the few that go any form of branded content to work “it “Being customer-obsessed and beyond desktop and dashboard. This has to be relevant, useful or entertaining. remains a missed opportunity for those Preferably all of those things.” digging deeper allows brands to that don’t, because analytics might tell Brands will still be struggling to out-innovate their competitors by you the ‘What’ and ‘Where’, but they join all the dots don’t tell you the ‘Why’. As Gretchen offering more authentic, relevant Uroš Goričan at Publicis Slovenija Ramsey, VP, Strategy at Tenthwave, mentions the continuing problem of and personal experiences.” points out, marketers must also give “developing strategies that are truly people “what they don’t know they need” aligned with the essence of the brand” Drew Rayman and no amount of big data can deduce Managing Partner and maintain a common thread that runs Tenthwave that. What is needed is more across all media. Perhaps, as Somethin’ ethnographic-based, face-to-face Else’s Steve Ackerman predicts, the research to help foster empathy and brands who’ll succeed will be those that which leads to a deeper understand of are best able to define their personalities the customer. as opposed to their marketing objectives. and to help create content that People will still be sharing content, resonates and caring more about themselves Cutting through will always require than brands content to be distinctive, but as MRY’s David Berkowitz thinks the sharing mentioned by Bjoern Asmussen at of content will continue, with branded 143 content being a “relatively small but a This is a driver for the prediction from to bore/titillate people in ever more inane relatively important part of the mix” Patricia Weiss of the BCMA’s South ways.” because “people care more about American Chapter that branded video and we’re about to be deluged by themselves than they do brands.” content will continue as the main form of more crap branded content to reach audiences on Where consumers go, brands will social media. In the digital domain, Forrester’s Ryan continue to follow Skinner still sees marketers obsessing One thing that isn’t going to change is But old media habits will continue over Google and that the vast majority of to die hard the need for brands to connect with content marketing won’t be very good. people who buy their products and Patricia Weiss also thinks traditional That’s more delicate than his former boss services. At the same time, David advertising will still get the biggest share Doug Kessler at Velocity Partners who Berkowitz points out that people won’t of marketing budgets. She does, warns that as “every B2B brand turns to stop “shifting to new media properties however, think that advertising is likely to content marketing, we're about to be hit and platforms”, as we have seen with the become more entertaining and story- by a deluge of... “crap”.” take up of Snapchat and Whatsapp. based, even if it will still be used for the Experts will continue to disagree most part to push products in the more particularly with video-based about what the future holds traditional way. branded content Interestingly, the BCMA’s Chairman Leo Liang at Youku Tudou Inc in China Pereira & O'Dell's chief creative officer PJ Morgan Holt doesn’t imagine any thinks that people will still enjoy more Pereira reminds us that what also won't dramatic reinvention of the branded user-generated content (UGC) and semi- change is “consumers' rejection of content business model. He thinks “the UGC content, but there will be more irrelevant interruptive advertising.” But as players know who they are, the value possibilities for them “to watch, share the strategist Sarah Farrugia points out, they get from it, and how to work and even shoot videos at any time and this sadly won’t stop those who continue together.” He also sees the model as any place”. “to blast branded content into the world being “an extension of advertising”.

144 particularly whether we’ll figure out “essential need for branded content to the secret of branded content tell a gripping story, irrespective of the success gadgets and devices used to tell the

Sandra Freisinger-Heinl from Branded tale.” Tony Chow at What’s Your Story Inc “Within the next five years the Entertainment Online (BEO) thinks we’re in Singapore, adds that what will also world of content marketing will currently living in a world of “branded remain “constant is the customer will entertainment cocktails” with “a dash of always be the hero of the story.” be turned upside down, even if content, a splash of social media, a shot businesses are still practicing it So it looks like we’ll still have a lot of digital, laced with a pinch of music.” of figuring out to do (and to a greater degree than However, Sandra predicts that on the today). Only 10-15% will regularly In this book’s introduction, Doug Scott horizon is a basic formula available “to the talks about the branded content industry practice content marketing really tastes of every single target group”. This is being in an adolescent phase. But it well. And people still won’t be similar to Joanna Scarratt’s prediction might be worth thinking about the really satisfied with the word about how the “art of branded content will prediction by Frank PR’s Graham be as rigorously understood in terms of ‘content’ or the expression Goodkind about a time not too far in the effective consumer engagement as TV ‘content marketing’.” future “where consumers get so savvy, commercials are now.” aware and cute, that the only way to Ryan Skinner That seems unlikely if, as Doug Scott at Senior Analyst – interact is via more and more Content Marketing, OgilvyEntertainment predicts, “everything discontinuous thinking and disruptive Forrester Research we know today about branded content will techniques.” Whatever the future holds, I change; the only thing that will remain predict that there’s still going to be a lot constant is the desire for good stories.” of figuring out to do.

It’s a view supported by Michael Reeves at Red Bee Media, who says there will be an 145 SECTION 5 About The Report

This report into the future of branded content marketing will also be published as a standalone paper. It is part of an ongoing project that Justin Kirby started in 2002 when he set up an international discussion forum where hundreds of marketing practitioners and academics shared their knowledge, opinions and experiences of contemporary and emerging marketing and media trends over several years.

The forum activity led to the creation of the 2005 book 'Connected Marketing: The Viral, Buzz and Word of Mouth Marketing Revolution’, and it informed Justin’s ongoing investigation into the future of branded content marketing in collaboration with industry experts, which he curates annually in partnership with the BCMA. The first annual report was published in 2013 in the pilot edition of the ‘Best of Branded Content Marketing’ with the full contributions curated at Afluxstate.com.

Over 60 industry experts around the globe participated in the outreach from which this year’s report was compiled. You can read their full contributions and keep up with the ongoing report series at Afluxstate.com.

ABOUT THE REPORT To participate in this series or send us your feedback about the predictions, please email Justin. CLIENT VIEW Eurostar Commercial Director by NickMercer as theworlddigitalises.” the heartofcommunication content willincreasingly beat “Eurostar feelsthatbranded and stimulating. messages weneedto grabattentioninawaythatisfun be entertaining,asinaworldofsomanycommunication really mattertocustomers.Thesecondisthatithas i.e. itisbasedontherightinsightsaboutthings that on twokeyplatforms.Thefirstisthatithas tobeuseful, customer engagementandtodothisithas tobebuilt The role ofbrandedcontentistobuildmuchstronger We have really taken this approach to staff can interact together. We then We now have a visual record in one piece heart. Our current brand campaign is facilitate our customers sharing the of art of the collective stories and desires based on the insight that ‘stories begin outputs through social media channels of hundreds of customers. Each here’, which started on TV, cinema and with their friends and family. As an individual story in the bigger picture has YouTube with commercials based on example, at Christmas we used a the customer’s name. The piece has been bringing the power of our destinations professional artist to create a piece of art photographed and shared on Instagram alive through telling stories about them. at St Pancras International that he drew and Facebook thousands of times and is This moved into its second phase where by asking customers who had checked-in a record of a fun journey and experience customers are sharing their stories in for their personal desires for Christmas. with Eurostar. pictures and videos so that we have added to the richness of the content. The third phase which we are now embarking on involves us creating a new set of advertisements and videos that use content provided to us by our customers, so we are communicating their stories for the benefit of new users.

A service business’s content also needs to involve staff and their interactions with customers, as this is how true engagement occurs. We take events such as Christmas, Valentine’s Day and Chinese New Year to have real fun events in our terminals where customers and

148 Customer photo from Eurostar's 'Stories begin here’ campaign (London)

149 CONTRIBUTORS Race ofGentlemen Mel Stultz,OilersCarClubandfounder ofthe Manager, ShurTech Brands David Rodgers,SeniorDigitalMarketing Drew Rayman,ManagingPartner, Tenthwave Oilers CarClubmembers Tenthwave Jaime Hoerbelt,SocialMediaDirector, Tenthwave Kate Daggett,ExecutiveCreative Director, Duck Tape ‘Race ofGentlemen’: CASE STUDIES Transmedia Storytelling atASASdaImaginação Branded Content,Entertainmentand Patrícia Weiss, SVPStrategicConsultant for Doug Scott,President, OgilvyEntertainment Eric Schwamberger, Partner, Tenthwave Anton Efimov,ManagingDirector, FuseRussia Scott Donaton,GlobalChiefContentOfficer, UM INTRODUCTION Alison Knight,Founder, BCMA their contributionstothisebook’s content: We’re verygratefultothefollowingpeoplefor Tenthwave Benjamin Zeidler,Director, Research &Analytics, Adjust Your Set Ianthe McLeod,ExecutiveAssistanttoCEO, Director, AdjustYour Set Christopher Lockwood,Editorial&Publishing Carphone Warehouse Gareth Jones,HeadofOnlineMarketing, Your Set Claire Hunter,PR&MarketingManager, Adjust Chris Gorell,CEO,AdjustYour Barnes Set™ Carphone Warehouse ‘SmarterWorld’: Transmedia Storytelling at ASASdaImaginaçaõ Branded Content, Entertainmentand Agency andSVPStrategic Consultant for Patrícia Weiss, ChiefStrategyOfficer, Wanted Terra ‘PenetrasdeLuxo’: James Slack,GlobalBrandDirector, Chivas Jez Nelson,CEO,Somethin’Else Else Paul Bennun,ChiefCreative Officer, Somethin’ Else Steve Ackerman,ManagingDirector, Somethin’ Chivas Regal‘MASHTUN’: Melbourne Lucy Holdsworth,ExecutiveAssistant, McCann Die’: Metro Trains ‘DumbWays Melbourne to O'Dell PJ Pereira, ChiefCreative Officer, Pereira & Communications, Pereira &O'Dell Molly Parsley,Director ofMarketingand Intel+Toshiba ‘TheBeautyInside’: Leo Ryan,Group HeadofSocial@Ogilvy, London Anselmo Ramos,Creative Director, OgilvyBrasil Ogilvy &Mather Stephane Orhan,GlobalManagingPartner, Brasil Ricardo Honegger,AccountDirector, Ogilvy Edelman Kimberly Bernhardt,SeniorVice President, Ogilvy Brasil Suellen Barreto, ComunicaçãoCorporativa, Unilever Dove‘RealBeautySketches’: Red BeeMedia Michael Reeves,BusinessDevelopmentDirector, Communications, Barclays UKRetailBank Sara Bennison,ManagingDirector, Marketing Barclays ‘Your Bank’: John Mescall, Executive Creative Director, PepsiCo Lyubimy ‘Natural Love’: Louise Tullin, Marketing and Communications

McCann Melbourne Anton Efimov, Managing Director, Fuse Russia Director, EMEA, Unruly Adrian Mills, Group Account Director, Clemenger Ilya Rozhkov, Client Service Director, Fuse David Waterhouse, Global Head of Content and BBDO Melbourne Russia PR, Unruly Lachlan Wittick, Account Executive, McCann

Melbourne Unilever Hellmann’s ‘In Search of Real ‘Defining Branded Content for the Digital Food’: Age: Phase One Findings’: Unilever Surf TOWIE ‘Summer D’Reem’: Bobby Flay, celebrity chef; Executive Producer, Bjoern Asmussen, Senior Lecturer in Marketing, Claire Heys, Director, Commercial Brand Rock Shrimp Productions Oxford Brookes University Business School Partnerships, Brand Extension Team, ITV plc Sarah Kostecki, OgilvyEntertainment Andrew Butler, Oxford Brookes University Adam Mitchell, Senior Sponsorship Activation Brian Orlando, Senior Brand Manager, Sarah Gale, Senior Director, Ipsos MORI, Media, Manager, Commercial and Online, ITV plc Hellmann's Content and Technology Division Katy Holder, Surf Brand Manager, Unilever Lauren Rubinfeld, Manager, Group Marketing Dr Nicolette Michels, Oxford Brookes University and Communications, OgilvyEntertainment Sony Xperia ‘Vs The Northern Lights’: Lindsay Stransman, Communication Designer, MARKET REPORTS Simon Attwater, Group Creative Director, OgilvyEntertainment DigitasLBi Doug Scott, President, OgilvyEntertainment Russia: Mike Clear, Head of Branded Content, DigitasLBi Anton Efimov, Head of BCMA Russia; Managing Julia Conroy, PR & Marketing Director, UK, RESEARCH Director, Fuse Russia DigitasLBi Ilya Rozhkov, Client Service Director, Fuse ‘Stop Trying to Make Your Ads Go Viral: Russia Volvo Trucks ‘The Epic Split’: Top Tips for Video Success’: Britta Malmberg, Account Manager, Forsman & Brazil: Dr. Karen Nelson-Field, Senior Research Bodenfors Associate, Ehrenberg-Bass Institute for Marketing Daniel Bacchieri, Head of Content Development, Cilla Pegelow, Account Manager, Forsman & Science Zeppelin Films Bodenfors Cat Jones, Director of Product and Innovation, Claudia Colaferro, President, Latin America, Anders Vilhelmsson, PR Manager, Volvo Trucks Unruly Dentsu Aegis Network Viviane Palladino Donnamaria, Abril

151 Domênico Massareto, Chief Creative Officer, Idil Cakim, analyst and author of Implementing Morgan Holt, Chairman at the BCMA (UK) Agency ID/TBWA Brazil Word of Mouth (USA) Melissa Hopkins, Global Head of Brand André Pedroso, Creative Director, Publicis Red Andrew Canter, CEO, BCMA (UK) MarComms at Vodafone (UK) Lion Dave Chaffey, CEO, Smart Insights (UK) Katy Howell, CEO, immediate future (UK) Rodrigo Figueroa Reyes, Founder & CEO, FiRe Tony Chow, Media Consultant and Chief Jason Hughes, Head of Branded Content & Advertainment Storyteller at What’s your Story Inc (Singapore) Product Placement, Sky MEDIA (UK) Patrícia Weiss, Chairman & Founder, BCMA Chris Clarke, Chief Creative Officer, at DigitasLBi Stan Joseph, CEO, Ochre Moving Pictures South America; Chief Strategy Officer, Wanted (UK) (South Africa) Agency; and SVP Strategic Consultant for Minter Dial, Professional Speaker, Consultant & Doug Kessler, Founder, Velocity Partners (UK) Branded Content, Branded Entertainment and Coach and Brand & Digital Marketing Strategist James Kirkham, Global Head: Social & Mobile at Transmedia Storytelling at ASAS da Imaginaçaõ (France/UK) Leo Burnett (UK) Scott Donaton, Chief Content Officer, UM (USA) Charlene Li, co-author of the bestseller EXPERT PREDICTIONS Sarah Farrugia, Thinker, Strategist, Progressive Groundswell, author of the New York Times REPORT at Sarah Farrugia & Company (UK) bestseller Open Leadership, and Founder of Tim Foley, MD, pointlogic (UK) Altimeter Group (USA) The Future of Branded Content Marketing Sandra Freisinger-Heinl, Journalist at Branded Leo Liang, Senior Director of National Business Entertainment Online (BEO) and Managing Development, Youku Tudou Inc (China) Steve Ackerman, Managing Director, Somethin' Director at MA Media Agency (Germany) John McDermott, Author, Digiday (USA) Else (UK) Max Garner, Managing Partner at Aegis Media Sean McKeown, Commercial Director, Mumbrella Bjoern Asmussen, Senior Lecturer in Marketing, (UK) Asia (Singapore) Oxford Brookes University (UK) Samantha Glynne, Managing Partner at Publicis Doug Neisser, Founder & CEO at Renegade Paul Bay, Founder, Citizenbay Entertainment (UK) (USA) Robert Bean, Founder, Robert Bean Branding Jan Godsk, Founder Ideatakeaway and Karen Pearson, CEO and Founder of Folded (UK) Chairman, BCMA Scandinavia (Denmark) Wing (UK) David Berkowitz, Chief Marketing Officer, MRY Graham Goodkind, Founder, Frank PR (UK) PJ Pereira, Chief Creative Officer, Pereira & (USA) Chris Gorell Barnes, CEO, Adjust Your Set™ O'Dell (USA) Daniel Bô, CEO and founder of QualiQuanti, and (UK) Gretchen Ramsey, VP, Strategy at Tenthwave author of Brand Content, and Brand Culture (USA) (France) Uroš Goričan, Creative director at Publicis Slovenija (Slovenia) 152 Drew Rayman, Managing Parter, Tenthwave Patricia Weiss, CSO, Wanted Agency; SVP (USA) Strategic Consultant for Branded Content, Crispin Reed, Managing Director, Fusion Branded Entertainment and Transmedia Learning ((UK)) Storytelling at ASAS da Imaginaçaõ (BRAZIL) Michael Reeves, Business Development Director, Mark Welland, Founder at New Media Works (UK) Red Bee Media (UK) Mark Wood, Partner at Krempelwood (UK) Chantel Rickards, Head of Programming/ Sarah Wood, COO, Unruly (UK) Branded Content EMEA at MEC (UK) Barney Worfolk-Smith, Head of Creative Sander Saar, Product Manager, AOL (UK) Solutions, Unruly (UK) Joanna Scarratt, Head of Brand Partnership at Ian Wright, Managing Director at Tapestry United Agents (UK) Research (UK) Eric Schwamberger, Strategy Partner, Tenthwave Mario Yiannacou, Media & Advertising Manager (USA) at ISBA (UK) Doug Scott, President, OgilvyEntertainment (USA) Client View Chris Sice, Managing Director at Blended Nick Mercer, Commercial Director at Eurostar Republic (UK) (UK) Ryan Skinner, Senior Analyst - Content Marketing, Forrester Research (UK) Chris Smith, Business development director at Romelle Swire (UK) Stewart Thomson, ex-Research Director at Ipsos MORI, Media CT Division (UK) Jadis Tillery, Social Media Strategist and Speaker (UK) Stephen Waddington, CIPR President Elect, Director of Ketchum Europe and author of Brand Anarchy and #BrandVandals (UK) All images and data are the property of their respective copyright owners. The publishers are not responsible for the content of third-party websites. Kami Watson Huyse, CEO, Zoetica (USA) 153 PRODUCERS audience. branded contentmarkettoawider practice, sharedandgrow learning the The BCMAstrivestopromote best entertainment industries. digital, socialmedia,programming and sponsorship, media,broadcasting, advertising, branddevelopment, owners, includingorganisationsfrom the spectrum ofcontentcreators and It bringstogetherandbenefitsabroad America. South America,RussiaandNorth Australia, Asia/Pacific,Scandinavia, with membersthroughout Europe, global tradebodyforbrandedcontent, Marketing Association(BCMA)isthe Launched in2003,theBrandedContent The BCMA series ofebooks. editing, publishingandpromotion ofthis strategic planning,project management, MacFarlane are responsible forthe founders JustinKirbyandGreta social marketingapproaches. Co- specialises inusingcollaborativeand communications consultancythat is ahighlyexperienceddigitalmarketing just emergingintothemainstream, DMC was Founded in1994,whentheInternet Digital MediaCommunicationsLtd(DMC) ebooks. design andproduction ofthisseries responsible forthecreative development, organisations.Markis learning apps forlocalandglobalbrandse- including thecreation of ebooksand years ofinteractivedesignexperience, Media Works in1998.He hasover20 founder MarkWelland established New Former AKQAcreative head andco- New MediaWorks FEEDBACK of thisebookseries, pleaseemailtheBCMA's CEO, Andrew Canter. If you'dliketosubmityourowncase studytotheBCMAforpossibleuseinfuture editions Marketing’. help informourthinkingandshapethe nexteditionofthe‘BestBrandedContent Please letusknowwhatyouthinkby emailingjustin@afluxtstate.com.Your feedbackwill Haveyouspottedany othertrends? • Whatgoesagainstyourownexperience? • Where didtheExpert Predictions Report hitthemark? • particular yourviewsaboutthefuture ofbrandedcontentmarketing: We’re whatyouthinkabouttheideasandprojects keentolearn presented inthisbook, Send UsYour Feedback