Author: Globecreative

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Apple is now a trillion-dollar company. Better-than-expected iPhone sales have propelled the company to be wealthier than all but the 15 richest companies in the world, and only the second company (following PetroChina, an oil and gas company) to reach that valuation. But wait, there’s one more thing …

With Apple TV unit sales and revenue growing by “very strong” double digits last quarter, and a 100 percent increase in third-party providers (like AT&T’s DirecTV Now) using the Apple TV platform as the go-to-market device for their services, Apple has its sights set on another heretofore untapped market for the company: original content.

“The cord-cutting in our view is only going to accelerate and probably accelerate at a much faster rate than is widely thought,” said Tim Cook.

In August 2017, Apple announced plans to spend about $1 billion to acquire 10 TV shows. The company has since signed deals with Oprah Winfrey, Steven Spielberg’s Amblin Television and Sesame Workshop, and hired Jay Hunt, who brought shows like “Black Mirror” and “The Great British Bake Off” to Channel 4 in the U.K.

Then there’s Netflix, Amazon, and HBO

Apple will be joining a crowded and very competitive marketplace. Netflix (125 million subscribers), the market leader, is set to invest $8 billion on content in 2018, up from $6 billion last year. Amazon (95 million subscribers), is set to spend $4.5 billion on content in 2018, with estimates that its upcoming “Lord of the Rings” series could cost $500 million (and that’s after the $250 million Amazon spent to win the rights to stream the show).

HBO (54 million subscribers), the platform that has “Game of Thrones,” spent $2 billion on content in 2017. “Game of Thrones” was never an inexpensive show to make, but budgets have gotten far bigger as the series has rolled on. Its first-season episodes cost on average $6 million each, but each of the six nearly feature-length episodes that will make up 2019’s eighth and final season will cost $15 million or more. With multiple prequels planned to begin in 2020 and beyond, HBO has big plans and even bigger budgets; Francesca Orsi, HBO senior VP of drama, has said, “$50 million (per season) would never fly for what we are trying to do. We are going big.”

As the saying goes, when you play the game of thrones, you win or you die—but either way, you wind up spending a lot of money. In discussing the nine-figure deals Netflix has given Ryan Murphy and Shonda Rhimes, HBO programming chief Casey Bloys told the Hollywood Reporter, “You kind of have to adjust to the marketplace … It’s just a reality that doing a show will cost more.”

No commercials needed (or wanted)

We’re nearing a point where the consumer experience and product offerings brought to us by Netflix, Amazon, HBO, and Apple (let’s collectively call them NAHA) will replace commercial TV for a substantial percentage of consumers. Since none of these services need (or want) to sell advertising time, the concept of “mass marketing” is about to change.

Imagine reducing commercial broadcast TV audiences by 25 percent. What impact would it have on a national advertiser’s ability to drive retail sales for a mass-manufactured, mass-distributed brand? Will Facebook and Google fill the void? Is there even enough digital inventory to make up the difference?

What about data?

Perhaps the evolution of mass communication will leverage the wealth of data NAHA collects. There are probably some very interesting ways to use content tokens and loyalty programs to help subsidize subscription costs. But I’m not sure that any of these organizations are motivated to do anything that would confuse their subscribers or negatively impact their consumer experiences. Commercials will still work for live broadcasts, but nowhere else.

Bad dreams

I can imagine a not-too-distant future filled with content “haves” and “have nots.” If you can afford to pay for NAHA, you’ll enjoy the most compelling content served with the best on-demand user experience. If you can’t, you’ll be stuck with unwatchable fodder that is created as cheaply as possible and designed so that the fewest number of viewers will tune out. Commercial TV will devolve into filler between an almost unbearable number of commercials (yes, it can get worse than it is now), and advertisers will still reach only a fraction of the audiences they need to reach.

Where does this leave mass-market advertisers? It’s probably time to start thinking about how many-to-many (social) communication can be re-engineered for maximum reach to supplement or replace one-to-many (broadcast) communication. Of course, other solutions come to mind—one of the NAHAs may find advertising dollars irresistible. We’ll see.

Author’s note: This is not a sponsored post. I am the author of this article and it expresses my own opinions. I am not, nor is my company, receiving compensation for it.


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When the Cambridge/Facebook scandal first broke, financial analysts held their breath to see if ad dollars would flee as the depth of the breach in trust became obvious.

This question seemed settled with Facebook’s crushingly impressive first-quarter financial results, which reassured analysts that advertisers merely “shrugged” at this news, as they had to all previous tracking glitches, algorithm misfires and feature failures. In fact, there was growing consensus that as long as users stick with Facebook, advertisers will stick with Facebook too. A shrug, many believed, was marketers’ proverbial white flag of surrender to the ad duopoly that dominates the marketer’s landscape.

Yet it is a mistake to take the “Facebook shrug” at face value because there’s a lot going on beneath the surface that will significantly impact Facebook’s financial future. In fact, advertisers haven’t capitulated but are quietly rethinking Facebook’s role as part of a new and dynamic trust-marketing architecture built on three principles:

1. Reunification of media and creative functions under one agency roof

Facebook became a mega media platform precisely because it “re-bundled” media and creative, filling a void left by the “Great Unbundling of the 1990s,” in which clients sought to manage lower media labor costs separately from high creative costs. Today, though, the “unbundled” agency model is counter-productive because media has become as labor-intensive as creative work (maybe more so). Beyond that, trusted marketing relies on data to drive both creative and media, requiring a unified execution plan—from messaging to media. As agencies become re-integrated, they will re-allocate Facebook budgets by choosing newer technologies to express their integrated brand marketing visions.

2. Emergence of “brand to demand” contextual marketing

The ability to link branded content activities directly to sales or leads, sometimes called “brand to demand” marketing, remains the gold standard but is elusive because ad tech is so fragmented. Here, too, Facebook stepped in to give advertisers a seamless single platform to run branded campaigns along with large audiences to slice and dice at will. Yet since the Cambridge episode, hallmarks of Facebook vitality such as time spent there have taken a hit.

Edison Research earlier this year found that for the first time since 2008, the portion of Americans reporting they currently ever use the service has declined to 62 percent from 67 percent among Americans at least 12 years old. New data from Nielsen also shows that, significantly, Facebook’s core platform lost 18% in time spent last year. As Facebook’s ubiquity erodes, advertisers will adjust budgets and turn to new alternatives for “brand to demand” acquisition marketing.

3) New priority on establishing trust with consumers

Brands understand creating trust is very very tough but a critical competitive differentiating attribute. Facebook helped advertisers establish trust through the Facebook “trust halo” but this too is declining since the Cambridge Analytica scandal. Now 66 percent of consumers have lost trust in Facebook, according to an NBC poll. The financial consequences of this steep loss of trust are significant for Facebook. Increasingly, advertisers will divert funds into new communications tactics—i.e.—advocacy advertising that don’t undermine brands’ trust efforts, visibly moving brands closer to consumers’ evolving “trust” demands and further from Facebook.

Whether Facebook can withstand any storm is a hypothetical question, but what is not in doubt is that post-Cambridge, advertisers will fundamentally change how they use Facebook. And in the process, they will fundamentally change Facebook forever.


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Even Snapchat publishers are switching to video.

Hearst’s Sweet, the first Snapchat-only media property, is closing its daily digital magazine, but the brand will be kept alive with a new show under that name. Other video titles will be available as well. The publisher has fired some staff as a result of the change, but would not say how many people.

“Our video-focused stories have always been a consistent performer, so we’ve decided to focus on that format exclusively for the Sweet channel going forward,” a Hearst Magazines spokeswoman said in an email statement. “We are currently in development on a slate of new shows, one of which will be called ‘Sweet.'”

In 2015, Snapchat launched Discover, a media section inside its messaging service, with about a dozen publishers, including Hearst, BuzzFeed, Vice, DailyMail, ESPN and Comedy Central. The publishers built daily channels filled with multimedia articles, videos, GIFs and other Snapchat-inspired flair. Later that same year, Snapchat and Hearst Magazines teamed up to create Sweet, a youth-serving lifestyle and culture publication.

Shows are different than the daily Discover channels, less like digital magazines and more like short-form television programs. Last year, Snapchat started focusing more on video and media companies like Viacom reimagined MTV shows like “Cribs” to fit the app. Snapchat is competing with Facebook, Twitter and YouTube for this type of mobile media entertainment to attract younger users, who watch less ad-supported TV.

Hearst would not say how many shows it was interested in developing for Snapchat.

Sweet, which Hearst said has 5.5 million subscribers on Snapchat, has stopped putting out new content, but plans to return to the platform under its new video focus in September. Hearst declined to comment on whether Sweet was profitable and how it measures its success. Sweet went through a round of layoffs last year, according to Digiday, including then-editor-in-chief Luke Crisell.

Sweet could keep its costs down and advertiser interest up by tightening its focus on a select slate of shows instead of producing a daily magazine, according to digital media industry executives.

“Shows make a lot of sense for the Sweet brand,” says a digital publishing executive, who works closely with Snapchat and spoke on condition of anonymity. “They have a very targeted young audience, and this could give them the room to breathe, to create premium video that works for brands.”

Snapchat splits revenue with its media partners, which comes from commercial breaks and brand integrations in the programs.

Snapchat had a redesign this year, which made the Discover section even more competitive for media, because all the Shows, digital magazine channels, and video stories now appear in the same stream. Sweet may have had a hard time in that environment, because it got lost alongside too many rivals, even other youth-focused publications from Hearst like Cosmo and Seventeen.

“Discover is now full,” says the digital publishing exec. “There are so many other publishers there with much clearer brand propositions than Sweet.”


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Here’s an in-flight safety video that people actually want to see. Turkish Airlines’ clever in-flight safety film featuring Lego Batman characters has aced the Viral Video Chart for the week of August 13, soaring from No. 10 to first spot.

With that, it unseats Adidas’ “Team Mode” commercial, which moves to second place, just ahead of a new entry from Groupon featuring Tiffany Haddish, who isn’t playing around.

The view counts for the Viral Video Chart include both organic views and paid ads.


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Gamify your life

Have you ever wished your life was a Final Fantasy video game? If you’re one of the tiny percentage of people who both understood and answered ‘yes’ to that question, then LifeRPG is for you. The mobile app, only available on Android devices, enables you to attach stats, points and achievements to virtually any activity, thus turning your day-to-day existence into an intricate and engrossing role-playing game.

Fans of the fantasy genre will be instantly familiar with the concept of having a list of skills, each with a score, and completing missions to increase those scores and ‘level up’. LifeRPG lets you programme missions with varying levels of difficulty, urgency and fear, and then rewards you with experience points once you accomplish them. You can view your strengths and weaknesses across all your skills on a radar map.

So why on Middle Earth would you want to immerse yourself in such an involved pursuit? A certain segment of super-nerds out there will not require an answer to this, but for anyone else the appeal is in having, as one Google Play review puts it, a “motivator for people like me who need a gentle push and positive reinforcement to do things”.

As with any RPG, you can personalise your strategy and incentivise yourself according to how you want to achieve your goals, then enjoy reaping the rewards as you see your in-game profile take on superhuman proportions. However, if you have board-level aspirations, avoid going around the office bragging about being a level-65 database wizard.


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Laundry and homecare business Henkel is looking to “disrupt” advertising in the sector with the launch more diverse and emotionally-driven campaigns.

Nikki Vadera, who joined Henkel five months ago as marketing director for laundry and homecare, says she is sick of the sexist stereotypes that have long been associated with household products.

“In all our adverts we were showing a white housewife in her mid-40s cleaning the toilet with her Marigolds on. That’s not the consumer these days.”

Since joining the business Vadera’s mission has been to steer the company away from these outdated concepts, and in September two of the company’s leading brands Bloo and Colour Catcher are launching new campaigns – with not a rubber glove in sight.

She explains: “Ultimately Colour Catcher is a sheet you put in your washing machine but one of the things we really tapped into is the changing consumer. We want to show you’re not just a mother or a business woman, a friend or a colleague, people have these different personalities that they show throughout the day and that is emulated in their washing.

“For example, I come to work in corporate clothes, then I go to the gym and then a meet a friend for a drink. That’s three different outfits in one day and you could argue three different personalities in one day as well.”

The campaign features a female football playing scientist and a lawyer who moonlights as a drag queen. This isn’t a gimmick – diversity is high on the agenda for Vadera.

She says: “I’m a woman in my 30s with an Indian background. I’ve grown up with not necessarily being the stereotypical personality that you see within communication.

“A lot of communication in the laundry and homecare category used to focus on women doing the cleaning and that’s not necessarily true of my generation, where it might be shared with your partner. That diversity does not exist at the moment for women and it’s what I want to bring to the industry.”

Delivering real diversity

For every truly diverse advert there are 20 more that fall flat. This is something Vadera is clearly mindful of and she is passionate about diversity being delivered in the right way.

“That’s not just about putting someone of a different ethnicity on an ad,” she explains. “It’s about actually really tapping into consumer insight and realising that women aren’t just housewives or career women but are juggling all these different parts and personalities and same goes for men.

“This extends to the traditional family set up, it doesn’t have to be a husband and a wife it could be a female or male couple.”

Despite being a huge global brand, Vadera says that compared to P&G and Unilever she sees Henkel as a challenger.

“It’s quite different to other FMCG brands because we have the challenger brands versus the Procter & Gambles the Unilevers. Although we do have brands within our portfolio that are leaders within the segment, overall we are a challenger,” she says.

The company has been growing at a steady pace but Vadera is looking to accelerate growth and says that being a challenger has helped her take risks.

She concludes: “You can play a bit more and not stick to the status quo and you’re not so concerned about doing what you’ve always done because you know you’ve got to do something different.”


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Opinions expressed by the contributors are their own.

A logo is often times made synonymous with brand. But that’s far from the truth because branding is much more than creating a sleek-looking logo. Branding -when done well – has the penchant to create an emotional bond with customers and build enduring, meaningful relationships.

From the standpoint of a customer, the perennial brand denotes quality, trust, performance and commitment to 360-degree customer satisfaction – the differentiator that encourages your audience to become your friends for life.

Branding specialist Alina Wheeler summed it well when she said,

“How a brand is perceived affects its success, regardless of whether it’s a start-up, a nonprofit or a product.”

Brand reflects the personality of an organization via impactful visuals interspersed with timely messaging that has its heart in the right place.

But like advertising, publishing and marketing, branding is evolving at a breakneck pace. What used to work last year may not necessarily work this year and change is the only constant.

Here are seven branding trends for the remainder of 2018  and of course, beyond:

Experiential

Experiential branding has captivated the attention of global brands for a number of years now.

By the looks of it, this digital marketing trend is here to stay. No longer are companies merely satisfied at long-term customer engagement; they’re actually looking to let their customers avail a touch-and-feel experience of their business even before getting in touch with them (pun intended).

The focus is on starting and keeping a conversation with the audience that drives transformational change. In turn, this gives the company ample opportunity to involve its customers in results-driven story telling.

Custom illustration

Let’s face it. Your target audience is already inundated with information overload on an hourly basis and most of it is perfunctory, at best. The need of the hour is to cut through the noise and allow your unique value proposition to shine through.  A great way to do that is to deliver useful content to build a trusting relationship with your potential customers.

That’s where custom and branded illustrations become a game-changer as they lend a nuanced advantage to your content. Custom illustrations give your audience the impression of being a committed and competitive anchor partner.

At the same time, it opens up new doors for animation and stock imagery, which can be visible from the longest mile and augurs well for brand continuity.

Mobile First

We know that a responsive and interactive experience is a non-negotiable must for any web design initiative. With an assortment of handheld devices at our disposal, mobile web design has emerged as a vital facet of user experience.

Once you’ve established that your target audience is mostly mobile-based before you go all-out on focusing on mobile-fist design, you’ll be empowered with clarity of thought that encourages you to reduce visual hierarchy and unnecessary content to a bare minimum – thereby paving the way for heightened functionality.

This will also allow you to augment the creativity quotient of your website or general branding exercise without compromising on its functionality.

Color transitions and bold palette

Of late, clients have been going easy on brand colors, almost to the point of muting them in order to make their brands appear cleaner. With world-leading brands such as Instagram using color transitions to lend a bold yet simple look, other players are inevitably set to follow suit.

Now that is not to suggest that companies are not averse to experimenting with bold colors! Given that flat and material designs pair off well with bold colors – leaving plenty of room for intelligent animation and diverse branding literature – nothing should stop you from crafting a compelling style statement that gets you noticed.

Modular

In the past few years, categorizing or splitting your content into a modular layout has added generous doses of extra functionality to user interface (UI) designs. This has emboldened businesses to explore a seamless integration of images and social. Marketing in the years to come is going to be en essentially hybrid exercise if customer expectations are to be transcended.

It also goes a long way in enhancing the efficacy of responsive stacking, as visitors aren’t going to complain about having a wonderful time browsing on mobile devices AND desktop!

This intuitive design process of drawing pieces of content closer to each other and creating a cohesive visual powerhouse not only also helps with legibility and hierarchy, but also facilitates the transition from digital to print or vice-versa.

Aesthetic functionality

Recently, legendary graphic designer and typographer Stefan Sagmeister spoke at the D&AD festival, which has already created quite a stir on the internet. He asserted that one should not dismiss the possibility of leveraging form over function as a means of driving home the point that beauty is a measure of function.

Stefan argued that campaigns can promote themselves to be highly functional solely on the basis of their look and feel.

While this seems to go against the principles of design as per which ideas take precedence over beauty, he does seem to make a strong case for not neglecting on the all-important facet of aesthetic appeal.

By being delightfully (and sensibly) daring and creative, this would help your business stand tall and be noticed in an ever-growing crowd that is making it increasingly hard for new ideas to make their presence felt, let alone flourish.

By doing so, you’ll also be giving your audience an implicit message that you have the courage to undertake painstaking efforts to demonstrate your creative prowess – which is never a bad thing.

VR and 3D animation

With the growing popularity of virtual reality (VR) and augmented reality (AR), 3D designs swiftly becoming the go-to option for brands across the globe that are committed to delivering a lasting impression and position themselves as futuristic influencers.

VR solutions are progressing from being just another technologically-driven player in the space. Businesses are keener than ever before to embrace the technology and drive financial success and reward early adopters.

According to the Goldman Sachs, the market potential of VR is expected to touch a massive $182 billion over the next few years.

3D, in particular, has emerged as a novel way of presenting a story in a refreshingly different package to engage with your audience who’s craving for an authentic experience.

While these trends will surely give you a sense of purpose and direction in 2018, it’s important to remember that trends are just that – trends – and the key to success lies in being different from your peers by adding tangible value to your audience that inspires them to reward you with their enduring loyalty.



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