Group items tagged

A Lexus 2013 ES changes colors, turns on its headlights and exposes its interior as throbbing music plays in this highly interactive print ad in the Oct. 15 Sports Illustrated.

Using a Lexus-created technology called CinePrint, the ad comes to life only when you put an iPad behind the printed page that’s displaying the iPad edition of SI or on lexus.com/stunning.

As the release from Lexus notes, most traditionally “interactive” print ads direct users away from the page (think QR codes.) However, “CinePrint Technology flips that on its head, creating a tactile and visceral connection that brings one closer to the printed page with a multi-sensory experience that combines sight, sound, and touch.”

Even before a major communication channel comes of age, it is immediately invaded with advertising. And so much media has proliferated in just the last 22 years that it’s mind-boggling to think about it taking us nearly 400 years to emerge from a print-dominated media landscape, and 48 more years to emerge from period of pre-digital platforms such as TV and radio, to finally arrive at the disproportionately short two-decade span where digital now dominates most advertising budgets.

From the moment printing became possible with the invention of the printing press way back in 1440, advertisers began plastering posters on walls and doors within their communities. The first poster ad in English is placed on church doors in London in 1492! Over the next 400 years, ads would find their way into newspapers, magazines, and other print media.

When you allocate that across the 2.4 billion internet-connected persons on the planet, it means there are 417 web pages and 2,502 display ads for each! It's simply bonkers to think pumping more interruptive ads into the internet is going to work. Want some more reasons why? Here, lemme tell you: In 1920, there was 1 radio station. In 2011, there were 14,700. In 1946, America had 12 broadcasting TV stations. In 2011, there were over 1,700. In 1998, the average consumer saw or heard 1 million marketing messages – almost 3,000 per day. It’s even more than that now. Just imagine how many Facebook posts or tweets you scroll past every day. Each of those are messages, and now, oftentimes ads. 

Once upon a time, Schwinn pretty much owned the American bicycle market and, with models like Varsity, Continental, and of course, the Paramount, defined American-made bicycling dominance. But that was back when a carbon frame was something you made with a pencil, and brands like Trek, Specialized, Cannondale and Giant had not climbed onto retail bike racks.

Schwinn is hoping to get its brand mojo in high gear with a new campaign aimed squarely at a vast consumer base of recreational riders:

The $5 million-plus marketing push -- Schwinn's largest in at least a decade -- includes TV, print, Internet banners, a new Web site (RideSchwinn.com), social media, and a major retail rethink for Schwinn's big-box and independent bike shop retailers, based on the idea that a forest of bicycles on store racks does not a brand make.

Category: Best Use of Social ($2 million - $4 million) Few marketers, especially beauty brands, have made it their mission to improve their consumers' self-esteem. That's what Unilever brand Dove has done, making inroads since 2004 with its "Campaign for Real Beauty." But a lot can change in a decade. "In 2004 women were fundamentally benchmarking themselves against the images in a magazine," says Cindy Gustafson, managing director of the invention studio at Mindshare. "And in 10 years there's been an incredible seismic shift because of the advent of social media and technology. The fact is this is where women are now taking their self-esteem cues from." Mindshare analyzed 18 million tweets and found that a third of them contained negative beauty or body image content, and women were 50 percent more likely to tweet negatively about themselves. Dove decided to change the conversation and partnered with Twitter for the #SpeakBeautiful campaign, which encouraged women to use social media as a tool for body and beauty in a positive way. Given the image-conscious nature of awards shows, Dove launched #SpeakBeautiful during the Oscars' Red Carpet and published tweets every 30 minutes. It also sent 800 personalized messages to women during the event, hoping to inspire them to send positive messages. The results were impressive: The campaign scored almost 6 million tweets, over 800 million social impressions and reached a unique audience of 13 million. Compared to the Oscars in 2014 there were 30 percent fewer negative tweets and 69 percent more positive tweets about self-beauty. It helped Dove's brand perception, too. Among people who engaged with the campaign, 27 percent had a higher intent to purchase Dove products, according to Nielsen; brand sentiment also increased 17 percent, according to Twitter. —Kristina Monllos

Category: Best International Campaign ($1 million - $5 million) No one can dispute the success or ubiquity of Coca-Cola's "Share a Coke" campaign, which substituted the iconic Coke logo with people's names in a bid to personalize their carbonated experience. But how to keep it bubbly? Coke and MediaCom U.K. planted the flag for Year 2 of the campaign in England, giving viewers of Channel 4's 4oD digital catch-up TV platform (now called All 4) a chance to see their own names on bottles—a potential reach of 11 million. Led by Chris Binns, managing partner and head of engineering, MediaCom U.K. latched onto 4oD subscribers' sign-in names to create personalized ads for each viewer, ending the messages with the tagline "Share a Coke With …" followed by the viewer's name on the bottle. In total, the effort generated 4 million dynamically generated, highly personalized TV ads. And 4oD subscribers carried the effort one step further, with many taking to Twitter to register their happiness at seeing their names on the small screen. ("How did the 4oD Coke advert know my name and put in on a can? I'm so confused and happy!" tweeted @remzitomlin.) The effort, says Binns, "delivered that moment to millions of consumers in their own homes, in a natural way while they were doing something they loved [watching TV], rather than … hoping that they would find their bottles on store shelves." Furthermore, campaign awareness in the U.K. rose 17 percent, while ad recall jumped 71 percent and purchase intent gained 24 percent. —Michael Bürgi

Category: Best International Campaign (less than $1 million) To give fashion fans a sneak peek at the Alexander Wang x clothing collection at the department store H&M, media agency UM turned to Twitter as "the key to unlock the mysterious box of Wang." The IPG shop aimed to show fashionistas around the world that its client had the most exclusive apparel from a leading designer, and it built buzz (while downplaying competitors' campaigns) by focusing on bloggers and social media influencers in the high-fashion vertical. First, the client created a literal box that appeared in London's St. Christopher's Place. Curious fans could only view the fashion-forward contents of the box by tweeting the campaign's hashtag, and H&M followed by sending both personalized tweets and images/videos of the Wang items in question to these aficionados. Using this strategy, UM was able to create significant hype around the collection's release, despite having a smaller budget than previous campaigns. UM creative director Marcia Siebers says the campaign was "a direct consequence of our unique relationship with H&M," adding that the live personalization "built anticipation for everyone who got involved" and delivered a unique experience to both those who visited the physical site and those who watched online with "the speed that our fashionista customers demand." The campaign led to a 32 percent increase in positive mentions among influencers when compared to the client's preceding launch. It also facilitated a 179 percent monthly bump in Twitter mentions, with 80 percent of users tweeting about the collection more than once. Most significantly, all six London H&M stores sold out of the collection within 24 hours. —Patrick Coffee

Ms. Brown is the second female in the M&M’s cast, after Ms. Green, and like her colorful counterparts she will be imbued with a distinct personality. Ms. Brown is an intelligent woman with a sharp wit who finally decided to reveal herself after working for decades behind the scenes as “chief chocolate officer.”

Their devotion to the Super Bowl comes at no small cost. NBC is charging an average of $3.5 million for each 30 seconds of commercial time in the game, compared with an average of $3 million for each 30-second spot in Super Bowl XLV on Fox in February 2011. Even at that price, commercial time for Super Bowl XLVI has been sold out since Thanksgiving, NBC recently disclosed.

One way to ensure that a Super Bowl commercial is “not a splash, a flash in the pan,” Ms. Sandler said, is to make it the centerpiece of an elaborate campaign that takes place before, during and after the game. In fact, the spot will serve to “kick off a year of activity” to introduce Ms. Brown, she added.

As befits a performer whose following is concentrated so much among young people, the campaign to promote Girlfriend, with a budget estimated at $20 million, is focusing on social media like Tumblr and Twitter. Mr. Bieber’s Twitter feed is followed by almost 22.9 million people, and he has close to 44 million “likes” on Facebook.

The new media aspects of the campaign will also touch on the ads appearing in traditional media. For instance, Mr. Bieber is going on Facebook and Viddy, a mobile video sharing service, this week to invite fans to enter a “sing-off” on Tumblr to help create a 60-second television commercial for Girlfriend.

The agency working on media planning for the Girlfriend campaign, Media Kitchen in New York, part of the Maxxcom Global Media division of MDC Partners, also handled those duties for the Someday campaign.

Comprised of five agencies – Toyota's agency of record, Saatchi & Saatchi Los Angeles, plus Burrell Communications, Conill, InterTrend Communications and Zenith – Total Toyota unites the automaker's multicultural marketing initiatives under one umbrella. Toyota's Camry is the nation's best-selling car and the automaker claims Toyota is the No. 1 auto brand among Hispanics, African- and Asian-Americans.

A total of six spots will air over the course of the campaign, which also features print and radio elements, as well as some interactive and experiential programs designed to present the car to audiences that are much smaller and more specific than the mass viewership tuning in for Sunday night's game.

One includes sponsorship of the DramaFever Awards. DramaFever is a video-streaming site that specializes in international TV, including South Korean teenage dramas and Spanish-language telenovelas. In addition to sponsorship of the Awards themselves, Camry will sponsor a branded "Bold and Beautiful" award. Another planned facet of the campaign is a social media-oriented push in which a chef will visit restaurants and share recipes while getting fans to share their own.

Universal Pictures' "Despicable Me" campaign Agency: Varied/mobile app created by Crispin Porter + Bogusky About the campaign: Promotion surrounding Universal Pictures' animated film "Despicable Me" combines classic marketing channels (TV, print, radio, outdoor, etc.) with an innovative approach toward online, mobile, and branded partnerships. The film's interactive trailer and mobile application meshes nicely with the campaign's other messaging to create an innovative and unified experience. Why it's great: Big movie campaigns are famous for marketing across as many channels as possible, but there is a thin line between informing and intoxicating your audience. Like many films, "Despicable Me" made the most of classic media channels, but its online efforts and branded partnerships are what separate this campaign from the rest of the pack.

ielsen's upcoming total audience measurement tool—which the company shared exclusively with Adweek on Tuesday—will finally show networks and advertisers how their content is viewed across all platforms. But as the company works with top industry execs to evolve video measurement, Nielsen says its new data will also help buyers optimize their media plans.

In March, Nielsen acquired data management platform Exelate to help with programmatic buying

"We're able to bring all our data assets together in one place and create a respondent-level database," said Clarken. Advertisers can carve out segments for audience buying, which Exelate will pull together and then make real-time programmatic buys.