Global Sources - Multi-language
Scottish Rugby has chosen digital agency Amigo to design and build a dedicated website for Scotland’s 2015 Rugby World Cup campaign.
The online portal will combine live updates, such as breaking news and social feeds, with match-day information and Scottish Rugby content including behind the scenes footage and insights from the players within the squad.
Matt Horler, head of media at Scottish Rugby, said the site will give it “a highly dynamic content publishing platform to keep Scotland’s fans up to date with all the latest news as it happens in the coming months".
He highlighted the importance of Scottish Rugby’s strong track record in social media which resulted in them wanting to “create an accessible and innovative space to give our fans a one-stop-shop for all the forthcoming matches and events the team will be involved in”.
The site has already launched and features an autoplay video at the header of the site as well as a number of sections including one for ticket sales which enables fans to buy tickets for Scotland’s next home game against Italy on 29 August.by Virginia Fiume via SCE Demos 7/2/2015 4:59:06 PM
Google Play has unveiled the latest installment of its animated video interview series, ‘California Inspires Me’.
Part of an ongoing partnership with Pop-Up Magazine’s publication California Sunday, the series celebrates how the state of California has shaped and influenced the careers of successful artists.
For the July issue musician, comedian, performer and self-proclaimed ‘weirdo’ Reggie Watts has been interview and in his video piece he discusses blowing up model airplanes, how he prepares (or doesn’t) to go on stage and the health benefits of life on the West Coast.
The video was created by BBH LA with animation by Drew Tyndell Watts.by Virginia Fiume via SCE Demos 7/2/2015 5:59:27 PM
Monopoly the famous board game played by a billion fans is finally headed for the big screen. Film company Lionsgate and games giant Hasbro are teaming up to make the Monopoly movie. Andrew Niccol (“The Truman Show”) will write the screenplay, says Variety.
Lionsgate and Hasbro Allspark Pictures will produce the film and Lionsgate will finance it. The story is about a boy from one of the game’s modest streets who is on a quest to make a fortune.
“Hasbro is a partner with incredible global reach, one of the most compelling brand portfolios in the world, and a signature brand in Monopoly that has multigenerational appeal,” said Lionsgate Motion Picture Group co-president Erik Feig.
“Andrew Niccol is the ultimate world creator responsible for such disparate and imaginative films as ‘The Truman Show,’ ‘Gattaca’ and ‘The Terminal,'” said Feig.
“He is an inspired choice to develop this timeless property into a big, crowd-pleasing event film that will appeal to kids, families and anyone who has ever played the Monopoly game.”
The companies say Monopoly has been played by more than 1 billion people in 114 countries around the world and has been translated into 47 different languages. The original game was released in 1903.
Hasbro’s Allspark is currently finishing off “Jem and the Holograms” and “Ouija 2” as a sequel to last year’s low-budget horror film.
Hasbro has been attempting to launch a Monopoly movie since 2009. In 2013 one with 2013 with Ridley Scott as a producer was planned but it never got there.
The game was originally called “The Landlord’s Game.” Parker Brothers began selling a variation of the original game in 1935, based on streets in Atlantic City, N.J., such as Baltic Avenue, Kentucky Avenue, Park Place and Boardwalk.
Lionsgate is noted for young adult franchises such as “The Hunger Games” and “Divergent.” The studio is developing a family-friendly franchise in “Power Rangers” with Saban, with a release set for Jan. 13, 2017.by Virginia Fiume via SCE Demos 7/2/2015 7:00:39 PM
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D&AD has revealed the winners of the New Blood Awards 2015, featuring real briefs set by clients including Airbnb, Facebook, Nationwide and Pantone.
This year 41 young creatives were the recipients of a Yellow Pencil, with three receiving D&AD's highest accolade, a Black Pencil. Four White Pencils, given for projects aimed at making a positive difference to society, were also awarded.
In line with the Professional Awards, ‘In Book’ status was marked with a Wood Pencil, while projects ‘nominated’ (but not quite making) a Yellow Pencil were recognised with Graphite.
Take a look at some of the winning work below.
Black pencil winners
Nationwide – How It Should Be
Greg Ormrod, Thomas Worthington from the School of Communication Arts 2.0
Pantone – Project Monsoon
Nu Ri Kim, Seunghoon Shin, Yoonshin Kim from School of the Art Institute of Chicago.
WeTransfer – When I’m a Dad
Tom Watkins from University of Lincoln
Other winners at the awards included WWF – Endangered Soles by Frazer Price, John Trainor and Teddy Souter from School of Communication Arts 2.0 who scooped a White Pencil, and Pantone – Colourful Accents by Hilda Cortei at the Arts University Bournemouth who also picked up a White Pencil.
Mark Bonner, D&AD President, commented, “The New Blood Awards offer an unparalleled opportunity for young creative people to shine. The list of winners is a curated resource for employers to cherry pick the hottest talent just as they’re graduating. D&AD’s mission is to ensure that the creative industry continues to enjoy rude health, both in the UK and around the world, and the New Blood programme is a vital pillar in our efforts to support talent at a grassroots level.”
Entry to the awards is open to anyone in full or part-time education, recent graduates who finished their course within the past two years and anyone 23 or under.by Virginia Fiume via SCE Demos 7/2/2015 9:07:08 PM
Les champions empruntent des voies différentes : si PepsiCo parie sur le marketing avec une croissance à deux chiffres de ses investissements marketing en Amérique du Nord, d’autres acteurs comme P&G et Pernod Ricard poursuivent leurs plans d’économies.by Virginia Fiume via SCE Demos 7/2/2015 9:11:37 PM
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Vijf jaar geleden vertrok de Tour de France ook al uit Nederland, maar toen maakte de Grand Départ lang niet zo veel indruk als die van dit Utrecht dit jaar. Dat is voor een belangrijk deel te wijten aan het beperkte budget. In Rotterdam werd de investering van 15 miljoen gewoon gelapt. Utrecht bruist van de initiatieven en marketinginspanningen omdat een belangrijk deel van het budget moest worden verdiend. Maar het succes is ook voor een belangrijk deel te danken aan een knagende onvrede bij de organisatoren van de Olympische Spelen in Londen.by Virginia Fiume via SCE Demos 7/3/2015 5:01:03 AM
I corsi di web marketing e comunicazione di alta formazione online, in aula o in house di Ninja Academy sono stati scelti già da oltre 15.000 professionisti per trovare risposta al tema dell’aggiornamento e della crescita professionale. Il marketing digitale è una materia in continua evoluzione e, per poter essere sempre al passo con i tempi, [...]by Virginia Fiume via SCE Demos 7/3/2015 5:12:27 AM
Laatst kreeg ik de vraag voorgelegd: “Wanneer moet je nu voor outbound marketing gaan en wanneer voor inbound?” Goede vraag vind ik. Pure inbound-evangelisten zijn dat niet met mij eens. Zij zeggen dat de vraag overbodig is, omdat het gedaan is met outbound marketing. Ik vind het wel een goede vraag. Ik denk dat outbound marketing […]by Virginia Fiume via SCE Demos 7/3/2015 6:21:09 AM
Droga5 has hired TBWA\Chiat\Day’s former ECD Matt Ian as group creative director.
Ian has spent the past two years at TBWA as executive creative director, but was lured by Droga5’s “strong creative pedigree and diversity of client experience.”
“Overall, the agency has produced some of the most influential work in the business, and if you can't beat em, join ‘em,” he said.
Droga5 New York won 25 Cannes Lions at the festival last week, including a Cyber Grand Prix for Under Armour’s ‘I Will What I Want’ campaign.
The agency was also named this year’s Independent Agency of the Year at both the Cannes Lions International Festival of Creativity and the North American Effies.
“Over the past year, Droga5 has experienced exponential growth. We are always looking to add great talent to the team to continue this momentum,” said Droga5’s chief creative officer, Ted Royer. “We are thrilled to welcome Matt to the agency and look forward to seeing him in action.”
Ian is slated to join the agency in August.
MasterCard is seeking to bring the era of ubiquitous passwords to a close by putting its weight behind a new system of image recognition which can identify account holders by instructing them to take a selfie.
The pilot project will see 500 customers log-in by taking a selfie from their phone rather than keying in an alpha-numeric code, this image is then sent over the web for comparison against a stock image of the card holder which is held on file.
Speaking to CNN Money MasterCard executive Ajay Bhalla said: "We want to identify people for who they are, not what they remember.
"We have too many passwords to remember and this creates extra problems for consumers and businesses. The new generation, which is into selfies ... I think they'll find it cool. They'll embrace it."
Customers wishing to avail themselves of the new technology must first download the MasterCard smartphone app with the payment provider also offering people the chance to log-in via fingerprint recognition technology on compatible phones.
60% of female marketers have experienced sexism in the workplace according to The Drum's Women in Marketing researchOver half of female marketers (59 per cent) say that they have experienced sexism in the workplace according to research conducted by The Drum.
The research, which received 500 respondents from both the UK and US, found that although over half had experience sexism in their careers, 86 per cent were also happy with their jobs.
It was also discovereded that women were still struggling to gain the same opportunities that were being opened up to their male counterparts, however almost two thirds (65 per cent) said that they were satisfied with their current salary.
Women in Marketing 2015
Diane Young, managing director of The Drum, explained why the research was carried out: “We are committed to celebrating the contribution of women across all parts of the marketing industry. It’s therefore important, to us, to conduct this study to highlight the experiences of women working in marketing and identify the challenges that they are facing so that, as an industry, they can be addressed.”
Also discovered was that 46 per cent of female marketers worked between 41-50 hours a week and over a third (33 per cent) felt stress most of the time. Over three quarters (77 per cent) were also found not to be involved in any women’s industry organisation or mentoring initiative.
Content marketing agency One Two Four has rebranded to become The Moment to stand apart from its peers with the promise of helping brands understand content from the perspective of the entire end-to-end customer journey.
The refreshed agency aims consist of more than 120 members spanning offices in London, Plymouth, Philadelphia, Manchester, Southampton and Abu Dhabi. Backed by private equity firm LDC, The Moment hopes to establish a global content business eyeing further international growth in 2016.
The strategy is led by the recent appointments of chief strategy officer Sandra Peat, and group development director Matthew Robinson as well several other hires. The team will work with advertisers to understand and integrate distribution channels right from the outset of campaigns, including it as part of the creative briefing and process. Clients will be promised content strategies built on strong ties to media partners that are geared to meet the brand and business needs.
These efforts are backed by The Moment’s centre of excellence in Southampton that is using digital learning and technology to educate its staff. Elsewhere, the agency’s team will also employ the Accelerator Test, a research tool that marries behavioural data with audience insight to gauge the impact of content of band associations and attitudes that stimulate real behaviour.
Other agencies claim similar offerings but The Moment believes its own mix behavioural data with audience research is a powerful combination that provides real insight into why content works.
“Planning content to move audiences along the Customer journey to purchase (and beyond) is central to our work,” said Mark Hawkins, chief executive of The Moment. For every new client, the agency does an audit to understand how their current content is meeting their audience needs as they move along their journey. This helps us to understand the broader content play for a brand - to identify where content is working and where there are gaps.
“We build our content strategies off the Audience Journey, which we believe is the most effective foundation for a plan. Journeys should be based on audience insight, ensuring that any content solutions are based on solving a real audience need. It also contextualises content solutions within the journey to purchase, providing a clear criteria for measuring the success of content.”
The launch of The Moment comes amid a growing tide of advertisers searching for alternative content strategies. Marketers acknowledge the importance of a robust content plan but are not yet skilled enough to do build one themselves, which has made them increasingly willing to look outward for advice. In March, Mondelez announced that it would sign a deal later in the year with media platform Zefr that would make it better at crafting content that not only sells its products but also makes money.
Facebook is finally introducing a way for video creators to earn ad revenue, adopting YouTube’s revenue sharing percentage in a move that smart marketers could look to exploit by testing the platforms contrasting user behaviours in parallel.
When a Facebook user goes to watch a video later this year they will be taken to a Suggested Video feed that show recommendations with branded videos wedged between them, much like TV ads. Similar to YouTube, Facebook will keep 45 per cent of the revenue these videos make and give the rest to their creator.
According to Variety, the amount of time people watch the video will factor into the size of the pot that’s split. It is not yet clear whether this means people will have to watch the full ad to ensure advertisers receive the maximum money.
While a test (for now), the move could close the gap on Google and ultimately give brands more opportunities and flexibility in activating video based content campaigns. However, is it also the catalyst for a game changing innovation from YouTube. Rather than be backed into one camp just yet, smart marketers will start testing Facebook and YouTube video in parallel and either optimise investment levels live to the better performing platform or make a final strategic decision between the two as a central part of their post campaigns analysis.
Daily videos on Facebeook went from one billion in September to four billion in April and eMarketer estimates that US adults will spend 6.4 per cent of their time per day there. And yet consuming video on Facebook is still arguably a passive behaviour with people not necessarily having watched a post because it appeared in their feed. For YouTube, it’s an active process because people normally visit and search for specific content.
Paolo Nieddu, managing partner of content at AnalogFolk London, said the more “astute brands and agencies” will consider the contrasting ’Seek (YouTube) versus Serve (Facebook)’ user behaviours on the two platforms and how they can “actually be harnessed to complement each other as part of the same campaign”.
“If executed correctly Facebook could act as a mass reach and /or laser targeted discovery tactic to drive awareness of long-form content campaigns on YouTube for example,” she continued. “In addition, let’s not forget the usage behaviours that straddle the real world too. We’ve all been in the ‘I’ve got to show you this video’ moment in the pub with friends. The natural inclination is to search for said video on your smartphone via YouTube, an inherent behaviour I don’t believe Facebook will be able to affect (yet).”
It remains to be seen whether Facebook’s Suggested Videos will be profitable for its early adopters like the NBA and Fox Sports. In a worst case scenario those advertisers will get further branding for themselves and best case they will get more money as daily video views grow.
If the potential for making money isn’t as good as YouTube, then Facebook may not be able to take YouTube as the dominant video platform. By adopting YouTube’s revenue split from the outset, Facebook isn’t just assuming that marketers are going to switch in their droves because of its mass reach and realises it needs to offer decent return on investment or the switch from YouTube will stutter.
Jed Hallam, head of digital strategy at Mindshare said: “The battle for video viewing is certainly heating up, with Twitter announcing better viewability standards, YouTube/Google denouncing its competitors, and now Facebook offering revshare with original content creators. From a Facebook perspective, this is another brick in the wall of its burgeoning media empire, as it begins to cement itself as a destination for original content (‘Facebook-first’ native publishing deals with a number of high profile publishers). From a media perspective we’ll be watching this closely, as ever, the formats might be exciting, and the concept might be interesting, but we’ll need to see consumers thinking that way too.”
Facebook has turned up the heat in its battle for video budgets with Google. For advertisers, it is a chance to gain valuable insight into the next stage of video monetisation on both platforms as they try to understand how best to plan their media buys.
De natuur groeit en bloeit. Op weg naar grootsheid. Het is immers tegen de natuur in om kleiner te groeien. Net als de natuur zijn wij onderdeel van een groter geheel en staan we met elkaar in verbinding. Alleen al dit besef laat ons inzien dat het leven oneindig veel mogelijkheden biedt. Zo ook voor bedrijven. Laten ze alles bij het oude? Of verdiepen ze zich in deze vier bewegingen, op weg naar grootsheid?by Virginia Fiume via SCE Demos 7/3/2015 8:01:41 AM
Welcome to Take 5 where The Drum, along with jones knowles ritchie (JKR) Singapore strategy director Katie Ewer, take a bi-weekly look at some of the design industry’s best imagined packaging design where you, the reader, are in control.
Every other Friday we’ll pick a theme and ask you to submit the design you feel deserves a top spot. You’ll have one week to get your entries in, the votes will be counted and the best of lot will be published the following Friday. (Make sure you scroll down to find out the next topic winging its way).
But back to today's theme; airline liveries. Unlike most categories airline brands are in the unusual position of having half their customers literally fearing for their lives when they use their products, so it’s not easy to get an airline rebrand right. It has to look reliable and trustworthy, but it also needs to have personality and charm. Here’s five from across the spectrum.
Music lovers heading to this year’s T in the Park festival are being warned to leave their selfie sticks and flagpoles at home, after organisers banned their use citing safety concerns and their impediment of views.
Organisers DF Concerts fret that such material could pose a trip hazard and could irritate others who find their view of the stage obstructed.
An estimated 85,000 people are expected to descend on Strathallan Castle for each day of the weekend event, each of whom is being advised not to smoke in tents, be cautious in the use of disposable barbecues and drink lots of water.
Geoff Ellis, chief executive of organisers DF Concerts, said: "We've got a stunning new home, incredible music, delicious food and drink and the very best entertainment. All we need now is for guests to arrive and help us ensure it's the best house-warming party in living memory.”
Other banned items include laughing gas, flares, fireworks, laser pens and air horns.
Consumers have been left baffled by a bizarre series of messages found stamped on the inside lid of bottles of PepsiCo’s SoBe Lifewater, sparking confusion on the beverage giants Facebook page.
Preparing to glug thir water customers have been distracted by a printed message reading ‘Help me trapped. In Sobe factory’, imprinted in a ‘best before date’ style on their bottles.
Theories abounded as to the source of the intriguing missive with many speculating that a disgruntled employee may be playing havoc on the production line.
Eventually however PepsiCo moved to clear up the confusion, sensitive to issues of forced labour and poor conditions that exist in some parts of the world, by admitting that the message was intentional.
A spokesperson said: “We’re sorry that our cap slogan caused you concern, that was certainly not our intention. These sayings are intended to give our customers a little smile or pause for thought, not offense.
“We are planning on removing the cap slogan from our current rotation, however, it will take a while for existing stock to run through the market.”
Almadom.us è una startup che intende portare l'Internet of Thing in piccole case e appartamenti senza la necessità di lavori e installazioni complicate. Scopriamo di più su questo progetto targatoby Virginia Fiume via SCE Demos 7/3/2015 8:48:36 AM
Google has been forced to apologise after a German newspaper reported that the search giant had incorporated several notorious concentration camps in its augmented reality app Ingress.
Players use their smartphones to submit historic locations for use as in-game locations but it was the inclusion of Auschwitz, Dachau and Sachsenhausen which raised eyebrows.
At first Google cited the ‘significant historical value’ of the death camps as justifying its approval of their inclusion the firm also apologised for any offence caused.
John Hanke, head of Google’s Niantic Labs, said: “After we were made aware that a number of historical markers on the grounds of former concentration camps in Germany had been added, we determined that they did not meet the spirit of our guidelines and began the process of removing them in Germany and elsewhere in Europe.
“We apologize that this happened."
Over the last 35 years, the branding world has undergone a revolution. The once false, perma-smile perfection of beautiful people smiling at us from a fabricated place where the sun always shines and everyone is happy has been trumped by a darker, realistic, if more uncomfortable, truth. This truth is manifested in all corners of our culture – from the products we use to the docudramas we watch.
Brands are now toying with and exploring the darker side of their identity in order to be more distinctive, relevant and believable. Traditional notions of beauty have been subverted, imperfections are being celebrated, the taboo is becoming permissible. What was once deemed ugly, undesirable and unacceptable is now being used as a means of unlocking emotion and empathy in a way that consumers may truly relate to.
These ‘shadows’ are qualities that might elicit negative feelings. In essence, they are the problems, associations and contradictions that every brand faces. Brands that win in the shadows and embrace them are brands that resolve these contradictions and thus create much stronger relationships with their consumers.
Great brands have become adept at resolving these contradictions. Persil made dirt good, Adidas told us ‘there will be haters’, and Skittles let you taste ‘the other side of the rainbow’, appealing to a more sinfully sophisticated and sensual palate. Dove meanwhile repudiated traditional notions of beauty by celebrating the diversity of the female form in its iconic ‘Campaign for Real Beauty’, which sought for women to accept and embrace their individual looks and love their natural shape rather than strive for an unrealistic ‘ideal’.
This clear and increasing trend for ‘embracing the shadows’, where brands are pushing and challenging our perceptions using campaigns with real shock factor and punch, could be attributed to the recession. For it was at this point that the advent of a more risqué, grimier and even sordid type of aesthetic came to the fore, infiltrating every corner of our modern culture through advertising, TV, film, book and visual art. Consumers became more primed to accept the colder, harsher realities of life – from death and dirt to graphic sex, villainy and violence.
So what is the recipe for brands successfully embracing their dark side? How can brands ditch the glossy, ‘chocolate-box’ fail-safe ideal and re-engage with consumers using a franker and more uncomfortable truth?
Firstly, brands must be honest with themselves and their consumer and then welcome and embrace negativity. Nature is governed by opposites, and to accept and appreciate the good we must also acknowledge the bad.
Take a look at Pot Noodle’s down and dirty ‘slag of all snacks’ positioning, which saw a pantomime-style WAG transvestite called Brian releasing his own celebrity perfume inspired by his first love: the new Piri Piri flavoured Pot Noodle. Marmite embraced the divisiveness it created among consumers who either passionately loved or hated its tarry wares; in fact it paved the way for a series of comical adverts that dramatised this passion and even spawned a number of rather unsavoury sounding spoof products – from Marmite toothpaste to Marmite fabric softener.
In the mainstream, another poster boy of a brand that ‘embraced its shadows’ is Yorkie. Having always been promoted as a men-only snack, the Nestlé brand controversially took this a step further by categorically ‘banning’ women from eating its chocolate bars. On April Fools' Day, Yorkie launched a campaign with the slogan: ‘It’s not for girls’. It was done as a deliberate antidote to the “feminine silks and swirls and indulgent images of most confectionary communications,” said the then-marketing director, Andrew Harrison. It was supported not only by TV, press and poster advertising (one execution telling women to: “save your money for driving lessons”), but the packaging was also changed to incorporate a new logo in which the ‘O’ of Yorkie featured an illustration of a lady with a restrictive red line running right through it alongside the tagline: ‘It’s not for girls’.
But did courting controversy pay off? Absolutely. Within 12 weeks, the brand had an uplift in sales of 30 per cent [according to ACNielson]; focusing on a negative certainly had positive results.
Secondly, in this process of embracing the dark side, brands must ‘flip’ the unexpected. Impactful campaigns take common perceptions, subvert them and then present them in a way that portrays a different truth. Jaguar’s ‘Good to be bad’ campaign celebrates the dangerously seductive charisma of the Hollywood villain – the anti-hero if you will – intelligent, smooth, fearless and unflappable. Mirroring its British heritage and tagging this alongside the elite of filmic villains (who are also always British), the campaign juxtaposes these slick attributes with that of its brand spirit in order to promote its range of luxury saloons and sports cars.
Thirdly, in order for brands to win in the shadows, they must not be afraid of the dark side of their identity. Ice cream brand Antonio Federici’s advertising offensive featured two enrobed gay priests eating a tub of ice cream; they are composed in such a way that strongly suggests they are about to kiss. The seductive advert’s accompanying tagline, ‘We Believe In Salivation’ was deemed insulting to the Catholic Church and was swiftly banned by the Advertising Standards Authority (ASA). Yet despite this, the Antonio Federici brand become an overnight sensation; it became the most shared story of the day on the BBC News website and even made the headlines on the US Comedy Central show, The Colbert Report.
These are just a handful of examples, but this trend is manifesting across all kinds of brands – from Peperami’s sadistic and cannibalistic ‘Animal’, to Thug’s Kitchen’s healthy food served with punk swagger and F-bombs. Whether it’s the use of brutal honesty or the acceptance of a darker more twisted sensibility, using darkness to your advantage is an effective way to stand out from the crowd and, conversely, will actually allow your brand to step into the light.
Ed Silk is strategy director at global and brand and packaging design agency Bulletproof
The BBC’s Wimbledon coverage has been blasted by viewers as a ‘mess’ following the replacement of long-standing host John Inverdale with Clare Balding.
Inverdale was axed as a presenter after 14 years as the face of the broadcasters Wimbledon coverage after criticising the appearance of tennis star Marion Bartoli live on-air, which this year saw him relegated to the commentary box.
Viewers have been left unimpressed by the changes however, describing the new chatty format as ‘awkward’ and calling for a return to more concise analysis and courtside action.
The BBC has refused to divulge how many complaints it has received from viewers in relation to the new format but admitted it had received 78 within a matter of hours of the first broadcast, sparking speculation that the changes may be short lived.
A BBC spokeswoman said: “The focus of the highlights show remains the tennis which forms the vast part of the programme along with analysis from expert pundits. This is a new look for the show this year which we would expect to evolve as the fortnight progresses.”
A Twitter campaign calling for Inverdale to be reinstated has now attracted thousands of supporters.
YouTube does not view Facebook as an imiment threat to its share of video advertising revenues because it believes the market is big enough to fuel growth for both for now.
Robert Kyncl, head of content and business operations at YouTube, told the Financial Times that the growing appetite for video meant that it “will be a decade before we bump into each other”. Advertisers and media owners expect online video to pull budgets from TV, search and display but agree the migration will be slow due to the challenges of shifting to engagement metrics rather than reach to replicate TV’s high CPMs.
“Before it was just and TV,” Kyncl said. However, the market has become crowded over the last two years with YouTube now competing with not just Facebook but also the fledgling offerings of Snapchat and Twitter’s Vine video app. He said the rush for online video was indicative of it “becoming mainstream” though quelled suggestions from some quarters of the advertising industry that YouTube’s crown as the top player was at risk.
Kyncl made the comments ahead of Facebook’s announcement earlier this week that it will share ad revenue with video creators using a similar split to YouTube. The social network, which has seen daily video views rocket from 1bn last September to 4bn in April, wants to prove its videos can be profitable for advertisers as it pushes to host more premium content on its site.
Google does not split out YouTube’s contribution to its $60bn of advertising sales, however eMarketer estimates it earned $3.04bn last year after it paid back traffic acquisition costs to content creators and advertising partners. The video site's gross revenues are expected to increase 25 per cent to $9.5bn this year, up from $7.6bn in 2014.
Kyncel said that advertising revenue for YouTube had risen 50 per cent each year for the past three years. Despite this, the company is still trying to work out how to extract the maximum value from video, particularly on mobile where it is predominately making less money per ad.
The issue was brought into sharp focus during Google’s latest quarter when it suggested YouTube rather than its mobile search and display ads were the reason for cost-per-click declines.
The YouTube executive also reasserted its status as the biggest channel for vloggers and social influencers using video. Facebook and other video services such as Vessel have stepped up efforts to tempt creators away from Google in the hope that their large following will then make the transition also.
“If you’re a content creator you want to publish on as many platforms as you can,” said Kyncel. “Exclusivity is virtually impossible to pull off.”
Currently, YouTube and Facebook run video offerings with enough differences that the more astute marketers are testing how the two can work in parallel rather than deciding between one or the other. YouTube’s users visit to actively search for content that is usually generated by other users. Whereas on Facebook, the videos appear between posts and as such the experience is more passive.
A recent study revealed that Facebook is fast emerging as a more realistic alternative to YouTube for advertisers to spend the bulk of their video advertising budgets. Video views on the social network are tipped to surpass two trillion this year, which is two thirds of YouTube’s forecasted total for the same period, it revealed.
Beauty blogger Em Ford has fought back against online trolls and internet bullies by publishing a hard hitting YouTube video.
‘You look Disgusting’ saw Ford spend three months posting make-up free selfies on social media before recording over 100,000 responses, from the good, the bad to the ugly, which she then edited for use in the clip.
Commentators responded with a spectrum of praise and bile ranging from ‘I can’t even look at her’ to ‘revolting’ and ‘you look disgusting’.
As Ford begins to apply make-up to her selfie postings the tide of public sentiment begins to noticeably turn with many praising her complexion with remarks such as ‘you look beautiful’.
It isn’t long however before more aggressive responses begin to rear their head again however with comments such as ‘this is false advertising’ and ‘trust no f*cking b*tch with makeup’.
Ford wrote: “I wanted to create a film that showed how social media can set unrealistic expectations on both women and men.
“One challenge many face today, is that as a society, we’re so used to seeing false images of perfection, and comparing ourselves to unrealistic beauty standards that it can be hard to remember the most important thing – You ARE beautiful.”
The clip ends with a picture of Ford sans make-up alongside the message ‘You are beautiful’.
People on the move: hires and departures at Facebook, Daily Mail, Hearst Magazines, Virgin Media and moreThis week has seen another wave of appointments and departures at brands, media owners and agencies. The Drum has rounded up the key hires below.
Facebook has hired Google’s Andy Mihalop to head up the UK sales operation of its ad tech business Atlas – its equivalent to Doubleclick.
Mihalop, who was Google’s head of network agencies and media platforms, and second in command for DoubleClick in the UK, is understood to be on gardening leave for the next couple of months.
Veteran journalist Peter Oborne is set to return to the Daily Mail with a new political column.
Following his resignation from the Telegraph in February after he accused the newspaper of refusing to properly cover HSBC’s tax avoidance for commercial reasons, the award-winning journalist will start a new column at rival publication the Daily Mail.
Hearst Magazines UK, the publisher of Good Housekeeping, ELLE, Harper’s Bazaar and Cosmopolitan, has made a number of changes to its senior editorial team.
Editor of Women’s Health magazine, Farrah Storr, has been appointed as the new editor of Cosmopolitan.
Another of the major appointments involves Louise Court who will leave her position as editor-in-chief of Cosmopolitan to fill the newly created position of director of editorial strategy and content across Hearst Magazines UK.
Donna Karen International
Donna Karan has stepped down as chief designer from her eponymous fashion line.
Karan will continue to serve as an advisor to Donna Karan International, which was bought by French powerhouse LVMH Moët Hennessy Louis Vuitton in 2001. She will now commit more time to her Urban Zen line, which centers on wellness and artisanal goods, according to the New York Times.
Brewing company MillerCoors has replaced its chief marketing officer as part of a senior restructuring shakeup at the company which has also resulted in the president of sales leaving.
Chief marketing officer, Andy England, will be replaced by David Kroll effective immediately.
Ed McBrien, president of sales and distributor operations, is also leaving the company after 21 years and will be replaced by Kevin Doyle, who has been with the company since 1983 and most recently served as chief commercial solutions officer.
Virgin Media has appointed David Bouchier to the newly created role of chief digital entertainment officer.
In his new remit Bouchier, who previously worked for Sky, will bring together and lead the content, programming and digital entertainment teams for the group.
Stephane David, executive director, content and Scott Kewley, director of digital entertainment will both report to him.
Arthur Sadoun has been enlisted to oversee MSLGROUP, Publicis Groupe’s global PR firm, in addition to his current role as chief executive of Publicis Worldwide.
In a bid to integrate Publicis’ PR and strategic communications capabilities for all client campaigns, Sadoun will also oversee the MSLGROUP.
Chris Garbutt is leaving his role as chief creative officer at Ogilvy & Mather New York to join TBWA Worldwide as global creative president.
Aside from serving as global creative president where he will be tasked with overseeing creative direction for the agency’s global accounts including McDonald’s and Adidas, he will also lead TBWA’s New York office as its chief creative officer.
Seoul-based agency Innocean has named Steve Jun as chief executive of Innocean Worldwide Americas (IWA).
Previously, Jun served as chief executive of Innocean’s European operations. In his new role, he will support the agency’s US office and its clients which include Hyundai and Kia.
He replaces Tony Kim, who will be returning to the agency’s headquarters in Seoul, Korea.
Millennial Media, the mobile ad marketplace, has appointed Andrew Moore as managing director of platform EMEA, a post which will see him tasked with growing the business and driving programmatic initiatives.
Moore arrives at Millennial Media from online video advertising platform SpotXchange, where he led the European expansion of the business as regional managing director, bringing over 15 years’ experience of traditional and digital media.
Adam Greenwood, founder and managing director of IADigital, has been appointed to the British Interactive Media Association (Bima) board of executives.
Greenwood has filled a casual vacancy role ahead of standing for election at Bima’s AGM later this year.
He said: “Becoming a member of the Bima board is a great personal honour. I can promise you my time, commitment and support in helping Bima achieve our mission of being the best connected and most respected organisation within our amazing industry.”
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