By Felix, site contributor, ranter and curmudgeon for The Denver Egotist
Any Blazing Saddles fan should know that reference. As the townspeople attempt to make a duplicate of Rock Ridge in one night, Reverend Johnson says, “Do we have the strength to pull off this mighty task in one night...or are we just jerking off?”
That phrase has been running round and round in my head for the last few months, and it happens every time I see an ad filled with hyperbole and platitudes.
As you can imagine, I’m hearing that phrase a lot.
Advertising has changed. Anyone who refuses to admit that can basically kiss their career goodbye right now. It’s not just that everyone and everything is going digital. It’s not just that we’re becoming jaded with advertising messages. In fact, at Advertising Week many experts talked about the trade off millennials are willing to make; you give me something, I’ll engage with your ad, if it’s got something to say to me.
This is about the way we are willing to receive our advertising messages. As a copywriter, it’s hard to believe that the kind of ads Neil French, Tony Brignull and David Abbott wrote are no longer relevant. But…they’re not. Anyone who knows me knows that is a really fucking painful thing to say.
Am I saying copy is dead? Not at all. I’m not even saying long copy is dead. But what we’re dealing with now is a culture that, for the most part, wants to know what the hell you’ve got to say. And you better get to the point really quickly.
So when you get ads like the latest Ikea “Bed” spot, or “Up” from Delta airlines, you have to wonder what the fuck the creative team was thinking.
Let’s look at the script for “Up.” (Remember, this was a Super Bowl spot). Imagine lots of black and white images of planes, airports, and passengers, all with Donald Sutherland’s smooth and expensive VO over some inspirational music.
“Up. A short word that’s a tall order./
Up your game. Up the ante.
And if you stumble, you get back up.
Up isn’t easy. And we ought to know. We’re in the business of up.
Every day, Delta flies a quarter of a million people, while investing billions improving everything from booking to baggage claim.
We’re raising the bar on flying. And tomorrow, we will up it yet again.”/
Delta: Keep Climbing.
I can imagine the writer and art director patting themselves on the back for some of that. “Oh yeah, I love that short word, tall order line. Nice.”
What does it mean to anyone watching? Jack shit. It means nothing. It’s a lot of pomp and puffery and not much else. Is anyone going to go online to book a flight and go “oh fuck, don’t choose United. They have that godawful Rhapsody In Blue song. I hate that. Let’s book Delta, they’re in the business of up. I like up. Up is good.”
What will make the difference? Probably price and number of stops. If the cost is identical, then it will come down to prior experience. The ad is a lavish waste of millions of dollars.
Instead of saying a lot of poetic small talk, the ad could have pushed a product innovation. What does Delta do differently? What makes flying Delta a way better choice than flying any other airline? If there’s nothing new to say, why not think of something inexpensive that could be rolled out across the fleet of aircraft?
How about a section just for kids? Maybe use a service that uses something like Tinder to let singles find each other on the plane and chat for the flight? What if long flights gave you the chance to learn something? Offer free interactive courses that use the touchscreens in the headrest in front of you. When you get off, you’ve got a new skill.
So maybe those suck balls, but what I’m saying is that fancy prose is not going to cut it any more. The modern consumer wants something tangible. You are fighting for their attention, and the fight is getting harder and harder every, single day. You always have to ask, what is in it for them?
This must comes down to responsibilities. It is the client’s job to bring something worth talking about to the ad agency. If they have nothing, they must be willing to listen to ideas from the agency that include suggestions on a better service or product. This is not a new concept; Bill Bernbach was doing it in the sixties.
It is also the ad agency’s responsibility to present ideas that go beyond hyperbole and tired old clichés. The client is usually not brave, and that kind of glossy shit is easy to sell in. Everyone loves a good-looking ad, but if it’s as empty as Kim Kardashian’s book shelf, what’s the point?
Finally, it is the responsibility of everyone in the industry to stop awarding these empty vessels the gold and silver gongs. Just stop it. We can’t keep slapping ourselves on the back for work that looks good but doesn’t move or persuade the target audience. As long as we keep on doing it, we really are just jerking off.
Felix is a site contributor, ranter and curmudgeon for The Denver Egotist. He’s been in the ad game a long time, but he’s still young enough to know he doesn’t know everything. If he uses the f-bomb from time-to-time, forgive him. Sometimes, when you're ranting, no other word will do. He's been known, on occasion, to drink alcohol by the gallon. Do as he says, not as he does.
By AJ Scherbring, Associate Creative Director, Digitaria
I work in Minneapolis.
This phrase will usually elicit one of two reactions from anyone in the ad industry who isn’t from here. The first is centered on the level of mercury in our thermometers, followed by a quip about the amount of hard alcohol in our blood. And while the inverse correlation between the two is charming at times, our usual temperament for temperature talk is as low as, well, it’s low.
The other reaction typically involves people recalling a TV spot that Fallon did in the early 90s that they thought was groundbreaking for the time, and then excusing themselves to hit the bar or find the bathroom or just go somewhere else. To them, Minneapolis had fallen behind the ad curve, with nothing to offer the creative community. I can see that. I’ve seen where the city has been. But I can also see where it’s going. And if you can handle the wind chill, humidity and mosquitoes, it’s worth the look.
Not so many years ago—but forever in tech years, which is like dog years but with more dongles—Minneapolis was one of the hottest ad markets in the country. Our city gave birth to and saw the revival of some of the biggest agency names in the ad game. We outsmarted instead of outspent. We put the big idea into advertising. When it came to traditional media content, you came here to cut your teeth. And for the better part of a decade, that’s exactly what I did. TV, print and radio were the mirepoix of media buys. We wrote, we designed, we shot, we edited, we published, we moved on to the next.
With the introduction and rapid advancement of digital, agencies here went one of two ways. Many agencies stubbornly held on to the processes and thinking that made them traditionally famous, only to be left suffering the consequences of solving a website need with a broadcast mentality. In doing so, their digital work has become the afterthought of the larger campaign, developed as a place to archive print and TV ads, link to YouTube and run a Facebook promotion. Because Facebook is the new, cool thing, right? With banners, right? Right?
For others, the only option was to embrace the ever-changing environment of digital, deciding to reinvent themselves along with it. This is where I found Digitaria and left what I thought was digital behind me.
On my first day at Digitaria, my traditional experience stunk on me like a microwaved fish. And in my very first meeting I found what was to be my digital deodorant in one singular concept that was missing from so many meetings I had been in before: Iteration.
Undoubtedly invented by someone who wore expensive jeans, an ironic T-shirt and a sport coat, the word carried with it all the buzzword buzzkill of net-net, synergy, paradigm and strategic alignment. So let’s call it what it really is: embracing the idea that it’s not going to be right the first time. That it will have to change. Evolve. And this was a good thing.
Traditionally speaking, this kind of thinking was the chain mail gauntlet between clients and creatives. (Actually, the account person would be the one getting whacked around, and very often unfairly so.) It was indicative that someone screwed up. Someone didn’t plan properly. Someone was too scared to stand up and say no. Or yes. Or I don’t know. If it had to change, it was done wrong.
To the contrary, I sat in a room full of people who embraced the idea that the work will go live and then instantly need more work. Not because it was incomplete, nor because it wasn’t quality. In actuality, the exact opposite. The creative was some of the best on which I’ve been lucky enough to work. It was good because we could test. Optimize. Discover. Update in real time. Make it better. Iterate.
And that, I discovered, was the difference between doing digital and being digital. When you treat digital as an afterthought—when it is entirely driven by traditional thinking or traditional mediums—digital becomes trapped by the same rules. Content isn’t driven by the latest spot. Strategy isn’t the scrap that designers, UX, writers and developers are forced to fight over.
We aren’t doing digital. We are being digital. Projects start not with a media buy, but with a blank slate. Every step is a discovery, both in capability and efficacy. Digital is different every day, because it is an experience that translates into every aspect of our lives. When we work, when we drive, eat, sleep, everything. It is a part of us, not part of a campaign. It’s a relationship. And who wants to have a relationship with someone for only :30 at a time? (Not counting running into a crazy ex or a bad blind date.)
The best relationships aren’t perfect at first. They don’t try to be either. They simply excite you with all the potential they bring and all the curves they take. And all we can do is simply work to be better, every day. We don’t have a choice. Digital is different every minute. The approach has to be, too.
I stepped outside to revel in this new perspective, and the new iteration of myself. And I saw a city that was, and had been for some time, in its own state of iteration.
When a magazine was the only mobile advertising around, Minneapolis had its time to shine. And as the channels change, so does the city. The agency landscape is evolving. The clients are coming and going. Expertise is shifting to catch up with what this company already knows and employs. The truly Digitarian creative we output is not only evolving the way the rest of the industry sees digital but also how they see the city that we call home. We’re earning global clients. We’re attracting worldwide talent. We’re a MN Business Magazine Top 100 Place to Work. And most importantly, what we are tomorrow will be better than what we are today.
Do we have everything figured out? Certainly not. But I’d be worried to work in an agency, or a city, that thought it did. If so, they’ve already been left behind.
I work in the latest iteration of Minneapolis. And yes, it’s cold here. But it’s warming up.
While our universe is defined by the majesty of heavenly bodies such as the sun, 95 percent of it is made up of dark matter. Similarly, the oft-heralded Twitter successes enjoyed by Oreo and Arby’s obscure the fact that the majority of brand efforts in the real-time space are swallowed into the ether.
Just over one-third of the 100 brands comprising Interbrand’s Best Global Brands published at least one Super Bowl-related tweet during this year’s contest, with 11 accounts publishing at least 10 tweets over the course of the game.
Despite the fact that many of these organizations have millions of Twitter followers, more than 30 percent of branded Super Bowl tweets were retweeted (or shared) less than ten times. Three-quarters were retweeted less than 100 times.
That’s staggering. From another angle, the average tweet only motivated approximately 0.01 percent of a brand’s followers to share its big-game message.
To put that in perspective, GQ columnist and Deadspin blogger Drew Magary received more retweets per tweet during the Super Bowl than 11 of Interbrand’s top brands. And unlike the corporate colossuses who fiercely vied for the Twitter-sphere’s attention, Magary boasts a relatively paltry 80,000 followers. (Magary's tweet referenced a hypothetical evil NFL Commissioner Roger Goodell ordering a Super Bowl blackout due to the competitiveness of the game slipping away).
Why the lack of traction? For starters, brands that took to Twitter during the Super Bowl chose to compete in one of the noisiest environments imaginable.
According to Twitter, nearly 25 million tweets were published during the game, a figure that doesn’t include the countless retweets, favorites and replies that add to the cacophony. To stand out positively against that backdrop, brands have to be more interesting than a consumer’s friends, celebrities, comedians, athletes, media entities and parody accounts – no small feat.
Does that mean brands should throw their hands up in defeat and forego real-time marketing? In some cases, yes. While the promise of authoring the next “Dunk in the Dark” tweet is alluring, the pursuit of this chalice requires a commitment of resources that, for many brands, is likely better spent elsewhere. Worse, as countless instances have shown, every click of the “send now” button represents an opportunity for a brand to achieve virality through putting its foot in its mouth.
But as many examples have shown, adroit navigation of the real-time landscape represents legitimate opportunity for brands to make a sizable impact for relatively few dollars. Brands looking to maximize the likelihood that their real- time social efforts will cut through the noise and leave an impression should pursue the following:
Few would argue that listening is the key to effective communication. Listening, however, is more than scanning through Twitter streams and mining for conversations you can interrupt. It’s paying attention to cues, elements of the story as they unfold, and perceiving how they contribute to the greater narrative.
Effective listening can be found at the heart of all real-time success stories, whether it’s Arby’s recognizing the similarity of Pharrell Williams’ hat at the Grammy's to its logo (which got 83,600 retweets) or Oreo understanding the significance of last year’s blackout to Super Bowl mythos ("You can still dunk in the dark," which got 15,900 retweets).
The Arby's tweet was clever, as its marketing team was quick to tie Pharrell's eccentric choice in headgear to its iconic brand imagery. Oreo was similarly entertaining in how it was able to recognize the significance of the Super Bowl blackout and create a playful, amusing message on the fly.
If your brand is spending more time on Twitter talking than listening, chances are you’re doing it wrong.
Make sure you’re relevant
The brands that enjoyed the greatest success during this year’s Super Bowl were relevant to the game. Not only did Budweiser have a TV spot, for example, its beverages had a presence at parties across America.
Among the Interbrand Top 100, Budweiser captured far and away the most Super Bowl shares, receiving just under 40,000 retweets of its content. MTV also achieved significant virality, accruing approximately 10,000 retweets over the course of the evening.
Budweiser received a lot of attention due to the inclusion of the puppy from their Super Bowl ads (9,237 retweets). In addition, it placed a heavy focus on saluting veterans (9,258 retweets). Budweiser's success was particularly noteworthy given that its follower-base falls just shy of 50,000.
In contrast, MTV's success is attributable to its heavy investment in building a sizable Twitter following – at 10 million, the brand has twice as many followers as Pepsi and Coke's parent accounts combined.
Consumers have a harder time, however, understanding the tangential link between men’s razors and professional football. As a result, they’re less inclined to pay attention to what Gillette has to say about the Super Bowl. Just as in real life, your brand’s ability to deliver a relevant perspective determines the value it can contribute to a conversation.
Before undertaking any planning, make an honest assessment as to whether your brand’s presence at an event makes sense.
Quality trumps quantity
Ever been to a party and been trapped by someone who never shuts up? It doesn’t matter if one of his stories has a high point. On a per-word basis, he’s a bore. Similarly, a message that’s truly enlightening is easy to miss if it’s surrounded by 50 throwaway tweets.
While there’s something to be said for creating at-bats, most brands could stand to tighten their filter. If what your brand has to say isn’t interesting, don’t force it. And simply using graphics or video in and of itself doesn’t constitute interesting. Spend the time you allotted for spewing on listening instead.
It’s increasingly evident that setting up a war room, tossing out some Vines, and interacting with social media managers at other brands is not a recipe for success. Brands that want to leverage the opportunities presented by real-time online conversations must first internalize the principles that make human conversations rewarding: listen, have a relevant perspective, and be interesting.
Do ad networks need a restraining order? By Doug deGrood
Creative Director for Gabriel deGrood Bendt in Minneapolis
Not long ago, I went to a well-known shoe company’s website, not because I wanted to buy or research their shoes, but because I was looking for one of their employee’s contact info. Ever since then, no matter where I go online, I’m stalked by ads for the shoe company.
At first it was oddly interesting, especially since I had forgotten about visiting the site. “Wow, what a strange coincidence! I was just thinking about… wait a minute.”
But soon, it became annoying. Like when your little brother used to follow you and your friends around the neighborhood, either hoping you’d let him hang with you, or that he’d spy you doing something he could use for blackmail purposes.
Over a month went by and the shoe ads continued to follow me. “Look, shoe company, I don’t want your shoes! I’m not who your data suggests I am!” It had gone beyond annoying to sad and a bit creepy. I don’t know which was worse: the mistrust I felt toward the shoe company, or the fact they were flushing a chunk of their ad budget down the toilet on a dead lead.
I know I can empty my cache and put an end to the stalking. But that isn’t the point. There’s no bigger ‘turn-off’ than making the consumer responsible for turning off the ads.
It’s not like online display ads had the greatest reputation in ad land to begin with. For too long, they were being used to do the heavy lifting of brand advertising. Bad idea. The sizes tend to be too small, and/or too restrictive (unless you’re selling pencils or Q-tips). And they’ve got all the craft of an old Yellow Pages ad.
Of course, they can be so much more. The entire concept of ‘big data’ is that we now have so much information about users at our disposal that we can tailor messaging and experiences to their interests and place in the purchase funnel. If you want to engage your customer with a contest, or a coupon, or some useful free content, there’s no better medium.
Currently, only the biggest companies with deep pockets are truly leveraging this from an owned media standpoint, but some of these benefits are available to clients with more modest budgets via ad networks.
We can now target by site—contextually (sites related to brand). And by person—demographically, behaviorally (articles read, sites visited, social activity), keyword (search activity), retargeting, offline behavior (offline purchases using store rewards program data), etc.
But back to my original point, as brand marketers, it is incumbent upon us not to annoy, but to engage and inspire.
And as far as cookies-based re-targeting goes, the question still remains. Shouldn’t the ad networks be able to determine an annoyance threshold for the number of times they serve an ad to a user? Maybe they already do, and I just don’t know. In which case, they’d be wise to decrease it. Know when to say when, people. It’ll prevent advertisers from wasting precious ad dollars and consumers from being annoyed. Or worse.
In 20 words or less, what's your creative philosophy? What a great question that surely would generate some very creative responses. The SF Egotist first took to asking San Francisco based creatives that very question, the response was a wonderful glimpse into the thought process of some very talented creatives.
We decided to take the very same question to Toronto creatives, in 20 words or less, what's your creative philosophy? What they shared gives us a look into the thought process of some extremely talented individuals. Take a look - tell us what you think and if you have a creative philosophy of your own share it in the comments.
"Love what you sell.
Then be honest with yourself about
the human emotion why you love it (greed, lust, etc). " - Kevin Drew Davis
Chief Creative Officer at DDB Canada,
We’ve all thought it: If only I worked at so-and-so, my genius would be recognized and I’d churn out award-winning work. But you don’t have to work at so-and-so. Here are some workarounds to getting your best ideas realized right where you are.
What can I say? I needed the money. My kids were small, my own agency had just ground to a halt, and I needed a job--tomorrow. The phone rang. A headhunter told me about a place that wanted me for a ton of money and I could start right away. The only catch: It was a dreadful, dreadful advertising agency. Walking into its reception was like entering a scene in a horror movie. It wasn’t blood on the walls that broke me out in a cold sweat; it was the ads.
If you work in the creative industries, or you’re trying to break into them, then you’ve probably watched some industry legend swagger onstage to dish out career advice. Their life story almost certainly went like this: They got their first job at the hottest shop in the world. They kept working there for years earning the square root of nothing. Then they took a creative director role somewhere amazing, before setting up their own world-dominating company. Well, not everybody can do that. By definition, half the companies in any industry are below average. And somebody has to work at them. For a while, one of those somebodies was me.
You will search in vain for that job on my LinkedIn profile; I don’t admit to ever having been there. But when I emerged six months later, I’d got some decent print work out the door and won them their first-ever major award. I’d also learned a lot about the differences between a good company and a bad one - they’re not what you might think.
1. WORK AS IF YOU LIVE IN THE EARLY DAYS OF A BETTER COMPANY
“Work as if you live in the early days of a better nation.” These words are carved in stone on the wall of the Scottish Parliament. They’re also pinned up above my desk as I’m writing this. If you’re working in a dump, you don’t have to work as if you’re in a dump. Form a startup in your own head. Write a manifesto. Keep showing up for work in the same building, but follow the ideals of your invisible hotshop.
Nancy Vonk is a partner at Swim, a coaching company for creative directors. She recommends creating your own “micro climate” within your company. “Another terrible brief? Find out the business problem. Pull together a group and brainstorm. Go for diversity--somebody who ‘isn’t creative’ from finance, an intern with fresh eyes and an inability to edit themselves. Even ‘terrible’ clients recognize and prize great ideas, in my experience. If going rogue means great work, forgiveness is usually a given."
You’re not the only frustrated talent in the place. There will be plenty of recruits to your startup-within-a-terrible-agency. Find a few and you will already be working in the early days of somewhere better.
2. GOOD COMPANIES AREN’T MORE TALENTED. THEY’RE MORE TENACIOUS
Today, James Bond is the best-known fictional character in the world. How could you go wrong making a James Bond movie? Simple. Give in to every suggested improvement. That’s what happened to the first attempt to make a Bond movie. I can imagine the meeting now:
“Bond is too English for our audience. Let’s make him American. ‘James’ is kinda stuck-up as a name. ‘Jimmy’ is more down-to-earth. The book character is a bit of a psycho. I know! Let’s make him smile all the time."
Nod. Scribble. Nod.
Watch this clip and see the difference a few helpful changes can make.
3. “THIS SH*T DOESN’T HAPPEN AT DRO5A”
There’s always somebody walking round every company saying something like this. They imagine a perfect office where folks just swan in off the street waving a checkbook and asking you to win awards on their behalf. Naturally, they have never worked at such a place, but their friend has. Don’t be that person.
One day you will work somewhere great. And there will still be people walking round saying, “This shit doesn’t happen at Dro5a.” One day you may work at Dro5a. And I expect that exactly the same snafus happen there. When they do, I bet that somebody will say, “This shit doesn’t happen at Wieden.”
The place where “this shit doesn’t happen” only exists in the minds of bitter people. If you must deal with them, then avoid thinking like them. It’s tempting early in your career to look cool and cynical. Nothing will turn you into a hack faster.
David Ogilvy moonlighted. Many of his most famous ads were done outside of his day job. Sometimes he was paid cash. He boasted that his ads for Holiday magazine earned him some “magnificent china lamps.” If Ogilvy, a tony pipe-smoking adman with his name above the door of one of the biggest networks on earth could still bang out cracking work on the weekends, then so can you. For many years, an informal team of creatives at Ogilvy ran a whole national gym account in their spare time. I was one of them. I think ol’ Dave would have approved.
5. YOUR BEST OPPORTUNITY IS SITTING IN FRONT OF YOU
Co.Create recently published a list of clients that creative people most wanted to work on. From one angle, it was a disappointing list. Because it was a list of great brands. Where’s the challenge in working on a brand that somebody else has made great? When I started working on ads for IBM, technology advertising was a geek ghetto. The action was all in beer. It meant that there were no rules, few expectations, and if you did a decent piece of work, people sat up and took notice.
If you come out of the elevator this morning and think, “If only I had an Apple brief I could do something great,” then you may have a long wait coming.
Whatever you’re working on today, you have an opportunity to make it really stunning. And if you’re working on something that seems dull, then people should be all the more impressed when you nail it brilliantly. And if you’re being held back by the terrible place you work, then start up a new place in your mind.
Head to your desk this morning as if you work in the early days of a better company. And I promise, you will.
Want to watch $275 Million get spent in 48 minutes? Just tune into CBS at 6:30 p.m. on Sunday to see one of America's greatest primetime displays of violence, debauchery and poor impulse control. And I'm not talking about the Super Bowl…
I'm talking about the Super Bowl ads.
In all seriousness, these days it's no surprise that independent research year after year continues to show that over half of U.S adult viewers plan to watch the Super Bowl as much, or more, for the ads than for the game itself. In fact, social listening measurement findings suggested that in 2012 64% of respondents said that half or more of their conversations online with respect to the Super Bowl were about the commercials themselves.
With the average investment of $4 Million on the line for a 30-second spot, it's no wonder why the CMOs of many of these advertisers are looking to squeeze their investment for every penny.
There are three standout trends that have continued to proliferate the Super Bowl ad space for the last several years (and by all accounts will continue even more in 2013).
01. Online Ad Preview and Teasers
Online Ad Previews and Teasers are becoming more of the norm. VW made the most famous splash last year with its Star Wars parodies that received over 56 Million hits after allwas said and done, largely in part to the pre-release of the spotson YouTube.
This year's early winner goes to the Kate Upton Mercedes spot, which in one week gained over 5 Million views (and counting).
Humbling news as, by this author's account, this is one of the more ridiculously off-brand spots I've ever seen. Given the fact that the CLA won't even be available for the next 7 months, the brand needs lasting impression and awareness. Regardless of the substance, it's clear that Mercedes knows the value of online traction and will do whatever it takes, no matter how low-brow, to get an early lead among its rivals.
Regarding the idea of Super Bowl teasers, the concept is simple,but the debate still rages on about whether or not the big reveal should be saved for the big game. While we don't promote a "one size fits all" approach to advertising, and I'm sure there are errors to the rule, it's hard to argue with the facts. Mashable reports, "According to YouTube's research, ads that ran online before the Super Bowl last year got 9 Million views, on average. Those that waited? 1.3 Million." With, on average, three times as many views online over broadcast, many could argue that the real winner in all of this is actually YouTube.
02. Ads for Social Democracy
Ads by social democracy are becoming more common in 2013. While Doritos pioneered the concept with their user-generated ads in the past few years, this year we are seeing a greater variety of the concept. For instance, one of the biggest brands in the world, Budweiser, has finally launched a Twitter account in itsname. The brand, which had a little more than 600 followers Monday morning, is using the account to promote its upcoming Super Bowl ad, which will feature a Clydesdale foal via their Twitter hashtag campaign. Pepsi is also using their site and Twitterto recruit some of their fans to strike a pose with their can before their half-time show.
But, the big pre-game winners in 2013 seem to be the "choose your own adventure" style ads from Audi and Coke. In what Audi says is a Super Bowl first, they recorded separate endings for their "Prom Night"commercial, and are compiling social votes where the audience chooses the ending. Coke created cokechase.comto tease their spots by highlighting three different sets of teams who are all racing to win a giant coke in the desert. The team with the most votes online will get their spot aired right after the game.
03. Second Screen
This year, more viewers than ever will be watching on a second screen. Now in real-time, technology allows brands to engage with the viewing public on their mobile phone or tablet during the event. For instance, Yahoo's Into_Now pioneered app technology that augments the second screen experience by using the unique audio digital signature in a television show topickup, and serve up, content directly related to that show. CBS estimates ad revenue alone from their second screen engagement to be between $10-$12 Million. Being able to interact with stats,player bios, team formations, highlights and social aspects is an essential part of any second screen approach for the sports enthusiast.
Regardless of all of the hype, a few certainties remain. The Super Bowl represents one of the highest risk: reward ratios in advertising. Because of this, marketers are getting smarter by using not only the right tools, but also the right content to get the consumer's attention. Disintermediation is taking effect and the consumer is finally starting to see large-scale control of and connection with their favorite brands. As our society gets more social and mobile, so does the advertising.
Needless to say, as an advertiser, I am thankful for the Super Bowl. If not for any other time during the year - the Super Bowl gives us an annual magnified window into the progress of advertising. With so much attention to the commercials, it almost makes me feel sorry for the guys on the field.
Yesterday a reader asked us "how do you get into advertising?", our knee jerk reaction was to ship them off to the nearest ad school for a year or so.
Then they told us more about their experiences to date and what a fascinating life they had lived. And as all of us forget from time to time, education is just a base foundation, life is what moulds you into an interesting creative person, ultimately making you more employable than the next guy or gal.
This trending video from Mondo Endruo below seemed an appropriate fit for this editorial.
The London Egotist caught up with Work Club's Al Amin to get the story behind their tshirtOS campaign. It's already generated a lot of buzz in London and beyond. And that's the idea: the more people that register an interest, the more likely this amazing programmable tshirt will come to market.
What was Ballantines' brief?
Make "Leave an Impression" famous digitally.
How does this brief fit into their overarching brand strategy?
It's at the top. Ballantine's want to innovate their marketing by putting ideas and products into market that truly bring their brand idea to life and make it famous.
But – and it’s a very important but – you have to do them because they not only provide the framework and inspiration for creative teams to start creating their magic, but they become a piece of historical reference on the brand that ensures people won’t post rationalise the execution and miss out all the little bits that made all the difference.
That said, the debate of what should and shouldn’t go in a brief still rages and I find that sad because at the end of the day:
+ You should never be a slave to the briefing format, the briefing format should always be a slave to you.
+ Different people like different levels of information so a ‘one size fits all’ mentality, is totally and utterly ridiculous.
+ A short brief shouldn’t be an excuse for ignoring the real issues that need to be addressed & conveyed.
+ A long brief shouldn’t be an excuse for not being clear, concise and interesting.
+ Regardless of what you are being asked to do, a brief should always be interesting, informative & inspiring.
Because of this, we have a few different briefing ‘formats’ here.
Some are designed for more junior guys to ensure they’ve done all the critical thinking necessary … some are designed for clients to ensure they give us what they need, rather than what they want … but all cover 6 critical questions.
1. WHAT IS THE GOAL
What is the end objective? I don’t mean the execution but the business result.
In short, if they say, “We want some TVC’s”, ask why and don’t stop till you get some real reasons with some real quantifiable goals.
2. WHAT IS THE BARRIER
What are the key issue/s that are stopping this from happening right now.
It might be people’s attitude and behaviour … it might be a competitors product or distribution.
Maybe it’s an issue with our brand or communication or even a product quality or lack of innovation story.
Whatever it is, find the fundamental issue and write it down.
3. WHO DO WE NEED TO TALK TO, TO CHANGE THIS?
Who do we need to engage in conversation? Who do we need to inspire, inform, push?
Don’t just write a bunch of stats or bland statements, explain how they think, live, worry, behave.
Let people feel the person not just read a bunch of cold, clinical bullet points.
4. WHY WILL THEY CARE
This is where blunt honesty is needed.
You can’t write this from the perspective of what the brand wants them to think, it has to come from the audiences mindset. If you’ve done your homework for the previous question, you’ll know the answer to this … and if you’ve done your homework well, you’ll know the answer is not going to be some marketing hype/bollocks, but something that satisfies a real need in their life – be it emotional, physical or mental.
5. SO WHAT’S OUR STRATEGY?
Detail the macro approach you are taking to achieve this brief. It should be short, precise and full of creative mischief.
ie: Deposition the key competitors as ‘old success’ by making XXX the badge for ‘new, entrepreneurial achievers’ … or something.
6. WHAT’S THE KEY POINT OF VIEW
Based on the goal, the barrier, the audience and the strategy – what is the brands point of view on the issue they need to address.
It should be something that is obviously based on truth but also full of tension and pragmatism.
ie: “You can’t change tomorrow if you don’t act today” … or some other z-grade sounding Yoda impression.
Don’t rush it. Take your time to really craft it because apart from needing to be relevant to the task in hand, it also serves as the creative ‘jump off point’ and if you’re going to help your colleagues do something that is powerful and interesting with it, you’ve got to ensure they really feel the tension and energy of what they can play with or play off.
You might ask why things like ‘tone of voice’ are not mentioned.
Well sometimes they are … sometimes they’re not … it depends on a number of factors, however at W+K, we place great importance on ‘brand voice’ so a few abstract words like ‘fun, upbeat & lively’ are not really going to cut it.
I should point out that how you brief your colleagues is another incredibly important part of the creative process.
If you give them a piece of paper and tell them to “read this”, you’re almost doomed before it’s even had a chance to begin.
While the brief should be inspiring on it’s own merits, it’s always good to think of ways to let your colleagues really understand what you are trying to get across.
That might mean you present it in a different location or environment to the office … that might mean you put them in situations where they can really feel what you’re trying to convey … that might mean you get interesting – yet relevant – people in to chat to them before you go through your hard work, but whatever you do, it’s always worth putting in that extra little bit of effort because it will genuinely pay dividends to the work that comes out the other side and that is ultimately what you’re going to be judged on.
At the end of the day it’s worth remembering there is no such thing as a perfect creative brief because ultimately, it’s about what you put on it – or how you present it – rather than what it looks like … however what I can say is that from my experience, as long as you have a culturally provocative point of view running all the way through it [obviously based on truth rather than 'marketing truth'] then you stand a much greater chance of creating something that affects culture rather than just adds to the blunt, advertising noise.