Marketing Special Edition THE DIGITAL OUTDOOR ISSUE

MARKETING

DECEMBER/JANUARY 2016

THE DIGITAL OUTDOOR ISSUE marketingmag.com.au

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THE DIGITAL OUTDOOR ISSUE

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Special edition

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APN Outdoor’s national Elite Screen portfolio.

Unrivalled scale, superior quality. Leading the way in Digital Outdoor in Australia and New Zealand.

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Digital Billboards | Elite Screens – Young & Jackson, Melbourne CBD

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FEATURES 12 FEATURE Outdoor's digital transformation

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18 INTERVIEW SXSW on the evolution of interactive media

20 FEATURE Mobile and outdoor: a match made in heaven 26 BRAND McDonald’s modern marketing menu 12

32 INTERVIEW Sydney Airport is up and away 36 FEATURE The world’s largest outdoor art show

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74 PROFILE John Moore, an accidental marketer 26

80 BRAIN TRUST Expert advice for digital outdoor creativity

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SHOWCASE 24 XTRACKTV The ultimate platform for brands

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40 APN OUTDOOR SHOWCASE Digital outdoor creativity in Australia 64 INTERNATIONAL SHOWCASE The best international outdoor creative

OUTDOOR IN ACTION 42 COKE ZERO Drinkable advertising

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OPINION 54 DAMIEN RATH & PAUL PETERS The lifecycle of a digital outdoor site

46 HOTEL QUICKLY Context is king

56 SIMON BELL Luxury brands in the outdoors

50 NATIONAL GEOGRAPHIC CHANNEL The other side of the tracks

58 MATT SANDWELL Semiotics and ethnography in #myrealworld 60 LIEVEN BERTELS Sydney Festival celebrates summer, art and life 62 PHIL CLEMAS Pixel perfect New Zealand 82 RICHARD HERRING CEO’s note

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Contributors Publisher PAUL LIDGERWOOD Editor PETER ROPER peter.roper@niche.com.au Assistant editor MICHELLE HERBISON michelle.herbison@niche.com.au Sub editor MADELEINE SWAIN Art director KEELY ATKINS Production manager JAMUNA RAJ jamuna.raj@niche.com.au

Australia’s premier digital media space towers over Melbourne’s busiest intersection at Flinders and Swanston Streets. Adjacent to Federation Square and Flinders Street Station, this LED site commands commuters’ attention as they exit the country’s largest transport interchange. Multiple advertisers comprise a rotational display schedule, and on one Tuesday evening in November that included our very own masthead to create the cover for this special issue.

Design & Digital pre-press MONIQUE BLAIR Advertising enquiries National advertising manager LUKE HATTY Tel: +613 9948 4978 luke.hatty@niche.com.au Subscription enquiries Tel: 1800 804 160 subscriptions@niche.com.au www.marketingmag.com.au Marketing is a publication of Niche Media Pty Ltd ABN 13 064 613 529.

142 Dorcas Street, South Melbourne, VIC 3205 Tel +613 9948 4900 Fax +613 9948 4999

Chairman NICHOLAS DOWER

AARON RIGBY Page 80

CHARMAINE MOLDRICH Page 80

DAMIEN RATH Page 58

JOE COPLEY Page 80

LIEVEN BERTELS Page 62

MARK FAIRHURST Page 20

Managing director PAUL LIDGERWOOD Commercial director JOANNE DAVIES Content director CHRIS RENNIE Financial controller SONIA JURISTA Printing GRAPHIC IMPRESSIONS

MATT SANDWELL Page 60

Marketing ISSN 1441–7863 © 2015 Niche Media Pty Ltd. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, internet, or otherwise, without the prior written permission of the publishers. While every effort has been made to ensure the accuracy of the information in this publication, the publishers accept no responsibility or liability for any errors, omissions or resultant consequences including any loss or damage arising from reliance on information in this publication. The views expressed in this publication are not necessarily endorsed by the editor, publisher or Niche Media Pty Ltd. Niche Media Privacy Policy This issue of Marketing may contain offers, competitions, surveys, subscription offers and premiums that, if you choose to participate, require you to provide information about yourself. If you provide information about yourself to NICHE MEDIA, NICHE MEDIA will use the information to provide you with the products or services you have requested (such as subscriptions). We may also provide this information to contractors who provide the products and services on our behalf (such as mail houses and suppliers of subscriber premiums and promotional prizes). We do not sell your information to third parties under any circumstances, however the suppliers of some of these products and services may retain the information we provide for future activities of their own, including direct marketing. NICHE MEDIA will also retain your information and use it to inform you of other NICHE MEDIA promotions and publications from time to time. If you would like to know what information NICHE MEDIA holds about you please contact The Privacy Officer, NICHE MEDIA PTY LTD, 142 Dorcas Street SOUTH MELBOURNE VIC 3205.

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Welcome Note

MICHELLE DUNNER Page 20

MICHELLE HERBISON Page 12

PAUL PETERS Page 56

PETER ROPER Page 74

PHIL CLEMAS Page 80

RICHARD HERRING Page 82

As pioneers of digital outdoor across Australia and New Zealand, our vision for powering this issue of Marketing is to reflect on a moment in time within this bourgeoning industry.

To admire the triumphs of the medium, reflect on the challenges and anticipate the imminent and longer-term developments, we have been fortunate enough to speak with local and international experts in their field, each with a unique affinity and a thoughtprovoking perspective on digital outdoor.

If you are an advertiser, supplier, client of ours or any marketer for that matter, you will know it is impossible to ignore the advent of digital outdoor and the impact this is having on the evolving media landscape.

As frontrunners in this space, our commitment to quality, agnostic approach to technology and leadership position in research, set us apart from the rest, and we are delighted to share our expertise with you throughout this issue.

– The Team at APN Outdoor

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Airport | Check-in digital screen – Sydney Airport, T2 (Domestic), Sydney

Think airports. Think APN Outdoor.

Our superior, Trans-Tasman digital media offering dominates Auckland, Christchurch, Perth, Brisbane and Canberra airports as well as Australia’s premiere media estate, Sydney Airport.

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Editor's note Peter Roper Editor, Marketing

W @marketingmag

elcome, Dear Reader, to this very special issue of Marketing. It’s currently the height of summer and a time when the outdoors is the place to be seen – not least for brands.

To bring you this special bonus issue we've collaborated with APN Outdoor, Australia and New Zealand's leading outdoor provider, to investigate and showcase the world of digital outdoor.

As you’ll see throughout this issue, there is no shortage of media smarts and technological innovation happening behind the scenes in the world of outdoor, as this most traditional of media continues to reinvent itself. Outdoor's consistent growth in both revenue and audience is testament to its ability to buck the trend and find new ways to remain a frontline weapon in a brand’s arsenal.

As Marketing’s Michelle Herbison explores in the feature beginning on page 12, digital signage is bringing new opportunities from both a creative and media angle. Our second feature, page 20, investigates one of those opportunities in more depth: the expanding interactivity between outdoor and mobile. It’s an exciting space, not least because the surface of interactive branded

entertainment and utility has barely been scratched.

There isn’t enough room to mention every great article in this issue here – and I’d prefer you turn the page and just read them anyway – but there are many compelling stories and perspectives from here and around the world.

Working on this issue has also afforded some time to reflect on the role of brands in outdoor environments in Australian urban centres.

Over the next 35 years, the proportion of Australia’s population currently living in urban centres will rise from 89% to 96%, according to Unicef, as the population of our capital cities sets to double by 2050.

As the advertising industry actively explores the future city, we note that with digital capabilities outdoor can become a component in the fibre of a place – from an informational life-line to the public, to providing services such as USB charging ports on buses to navigational aids.

Interestingly, a lot of the things we’re likely to see appear across Australia’s cities in the next few years will be taking cues from airports.

You can read my conversation with Sydney Airport’s Martin Salter on page 32 in which utility is his

number one tip for brands looking to engage with audiences in those city-like microcosms.

Look at IBM’s 'Smarter Cities' signs that double as rain shelters, wheelchair ramps or bench seats. It’s a novel, but tangible representation of the role that brand will play in the future. Audi’s Urban Agenda, on the other hand, seeks to be a leading influence on a safer, more efficient role for the automobile in the city of the future. For IBM, it’s a delightful but straightforward piece of advertising. For Audi, it’s an equally straightforward but more significant long-term business problem, as the risk of non-involvement could mean a car-less urban future.

This is where the magic happens, as public need and corporate interest collides. That’s the promise of branded utility. As in airports, there’s no reason the public services of the city of the future can’t be delivered in harmony with – or more likely enhanced by – business interests.

I do hope you enjoy this issue as we venture with APN Outdoor into the flourishing world of digital outdoor.

Peter Roper Editor

THE OUTDOOR ISSUE

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“The creative ideas to make the most of digital outdoor are in relatively short supply. Yes, we need more data, but also, to quote a billion school reports, we ‘must try harder’.”

Economy', 2014.

– Joe Copley, Posterscope, page 80.

“There will be weatherrelated, daterelated and very topical news-related digital outdoor activity, the surface of which has only been scratched so far.”

Outdoor /ˈaʊtdɔː/ Adjective 1. Done, situated, or used out of doors: a huge outdoor concert.

2. Fond of the open air or open-air activities: a rugged, outdoor type.

Oxford English Dictionary

– Mark Lollback, McDonald’s, page 26.

34% of people have engaged with a poster/billboard/ digital screen format.

– 'The Airport Economy, 2015', Aus/NZ.

“Brand marketers need to consider outdoor as a digital channel with an outdoor audience. There is massive untapped opportunity.” – Grant Guesdon, MOVE, page 12.

42% of train commuters have engaged with outdoor advertising.

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72% of people have seen outdoor advertising in the past seven days. – 'The Attention

– 'The Airport Economy', 2015, Australia.

“XtrackTV formed part of our launch marketing allowing us to use music and video to create excitement in an environment where large numbers seek entertainment.” – Luke Trigwell, Seven Network, page 12.

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Neuroscience studies demonstrated that digital outdoor was better at priming audiences for mobile advertising than other media.

74% of the audience consider digital outdoor more engaging than static outdoor. – 'The Attention Economy', 2014.

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“The ability to deliver rapid content change that matches with consumer profiles has grabbed the attention of progressive thinkers.”

Eye tracking has shown that digital outdoor attracts attention (51% of the audience looked) for longer (1.1 seconds view length) and more frequently (3.1 views per engagement) resulting in significant cutthrough of 52% unprompted brand recall.

– Dave Petschack, One For All Productions, page 12.

– Access HQ, eye tracking study, 2014, Aus/NZ.

– Heather Andrew, 'Beyond Out-of-Home: The Science Behind the Art of Outdoor', 2013.

“With campaigns for new TV series like Tales by Light, all we’ve really tried to do is get across the magnificence of the show, and XtrackTV really helped us engage with a targeted audience and at scale.” – Jerry Butterfield, National Geographic Channel, page 12.

Digital outdoor performs well across all key metrics that correlate with subsequent purchase decisions and intent such as visual attention, emotional intensity and memory encoding.

– Heather Andrew, 'The impact of digital out of home advertising on people, places and purchases', 2013.

“SXSW Interactive brings together some of the world’s most creative digital innovators and, in today’s world, branding and marketing professionals need to understand what these innovators are working on.”

– Hugh Forrest, SXSW Interactive, page 18.

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12 FEATURE

Outdoor’s digital transformation

s digital technology transforms all aspects of marketing to become more relevant, personalised, data-driven and measurable, it is making a strong, positive impact on the outdoor advertising industry. While other traditional media struggle to adapt to the challenges of digital, outdoor is booming.

In October, the Outdoor Media Association (OMA) recorded its 10th month of year-on-year industry growth to $532.8 million in revenue so far, with digital outdoor making up 25.3% of total revenue, up from 16.5% for the same period last year.

Data from measurement body MOVE (Measurement of Outdoor Visibility and Exposure) shows outdoor audiences increasing 3.4% year-on-year as infrastructure improves and 12.2 million people move through outdoor environments daily.

The Commercial Economic Advisory Services of Australia determined that outdoor accounted for 5.2% of the $11.6 billion advertising spend in Australia in 2014 (excluding classifieds and directories), up from 4.8% in 2013.

PwC identified outdoor as a key growth channel in its 2015 Outlook.

Alongside this general industry growth, outdoor industry players have been investing in digital opportunities since 2008, when APN Outdoor established the country’s first roadside digital billboard above Melbourne’s iconic Young and Jackson hotel on Flinders Street.

A

The APN Outdoor portfolio of digital billboards, known as Elite Screens, has gone from strength to strength since then, with the company boasting 51 screens currently live in Australia and New Zealand and a further 14 due in Q1 2016.

Other outdoor players have been following suit, with selected bus shelters turning digital in October 2015 and other formats going down the programmatic route.

For just over a year, APN Outdoor's XtrackTV has been engaging and entertaining rail commuters in Sydney and Melbourne with short-form video content with directional audio. Earlier this year XtrackTV successfully launched in Brisbane and, more recently, was switched on in Adelaide.

The Perth portfolio, which will complete the national rollout, is anticipated for launch in early 2016.

While concerns about fraud in online advertising grow, the outdoor industry took a chance to highlight its authenticity and relevance to people in the real world.

The Outdoor Advertising Association of America (OAAA) launched a digital outdoor campaign in October, ‘Feel the Real’, which capitalises on this notion, aiming to build awareness of the medium’s abilities and encourage more media planners to incorporate outdoor into campaigns.

“We really look at outdoor as being a perfect complement to digital and that together both campaigns are stronger,” says Nancy Fletcher, CEO of the OAAA. With new technology comes new opportunities for brands to engage their audiences in fresh and creative ways – and

marketingmag.com.au

Advertising in the outdoor environment is finding new ways to connect and engage with the public through digital technology, with digital screens, beacon and image recognition technology, social integration and real-time dynamic creative just some of the exciting opportunities. Michelle Herbison looks at the state of digital outdoor in 2015 and beyond.

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@marketingmag THE OUTDOOR ISSUE

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14 FEATURE given moment in time. So digital outdoor offers the opportunity to share the right message or the right content at the right time with the right people, and that can deliver a huge uplift in engagement.”

Matt Sandwell, of research and brand strategy agency Innovative opportunities in digital The Lab Strategy and Planning, emphasises the perceived outdoor authenticity of outdoor in the age of digital screens.

“Given the ever increasing amount of time in front of Eye tracking, facial/gender/age recognition, beacon techcomputers, TV screens and devices, outdoor in general is nology, location and geo-gating, dynamic content and social increasingly seen as a more real way to engage with media media integration are just some of the exciting innovations – not overly contrived, controlled, manufactured or maniexpected to increase in demand in the outdoor space as more cured. It can remain dynamic and vibrant, but delivered at a marketers trial and prove their worth. more human pace.”

“The marketing opportunities for digital outdoor are APN Outdoor’s research has shown how people's mindstaggering,” says Dave Petschack, managing director of sets differ when they’re commuting to work versus coming marketing production agency One For All Productions. home, at the airport before security versus after security, “The ability to deliver rapid content change that matches travelling for business versus for pleasure and so on. with consumer profiles has grabbed the attention of Mazda took advantage of these insights with its MX-5 progressive thinkers.” campaign, which utilised digital billboards to serve different While outdoor has always had the ability to deliver messaging depending on time of day. such as ‘You can be messages where they are most relevant, digital adds the ability a few minutes late’ in the mornings and ‘It’s lunch. Open to deliver them when they’re most relevant, explains Grant roads, not emails’ in the middle of the day.

Guesdon, general manager of MOVE, Australia’s national Optus and Netflix ran a weather-sensitive campaign outdoor audience measurement system, endorsed by the in April this year across multiple locations in New South OMA. Wales, Queensland, Victoria and South Australia – drawing “Digital increases and strengthens what clients can do on weather and sporting results to with outdoor, particularly offering determine which creative to serve. immediacy and flexibility, including While it’s easy to get excited about a short turnaround from planof people have seen the possibilities, it’s important to stay ning/buying stages to messaging strategic, says Wood. the consumer, dynamic messaging, outdoor advertising “Our recommendation is always the ability to hone the timing and/ in the past seven days, audience-focused, rather than assetor location of the message,” explains of the audience focused, and it really depends on Guesdon. considers digital what format has the greatest strengths APN Outdoor general manager outdoor more engaging than for that particular advertiser or marketing Janine Wood sees the appecampaign.” tite for digital outdoor increasing in regular static outdoor, both Australia and New Zealand for of people have those two main reasons: immediacy Investing in new engaged with a and flexibility. ideas and untapped poster/billboard/digital screen Global outdoor specialist opportunities format, and communications agency Posterscope conducted research in the UK last APN Outdoor’s Wood is pragmatic of train commuters year that found relevant messaging about her company’s role in the adophave engaged with delivers an up to 50% increase in tion of digital outdoor, believing it outdoor advertising. memorability. is their responsibility to educate “Each screen delivers a different marketers its capabilities. audience at different times,” explains She is excited about the improved Joe Copley, managing director of storytelling capabilities of digital billSources: 'The Attention Economy' 2014, Posterscope Australia. “Dwell times boards and signage compared with 'The Airport Economy' 2015. change, audience mood changes, intent their static counterparts. changes and therefore the level of influ“However, there are a limited ence is different for each screen at any number of advertisers who are

72%

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many brave and adventurous early adopter brands have done just that – but the full potential of digital outdoor is yet to be seen.

74%

34% 42%

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OPTUS & NETFLIX Optus and Netflix ran a weathersensitive campaign in April 2015 across multiple locations in New South Wales, Queensland, Victoria and South Australia, drawing on weather and sporting results to determine which creative to serve.

@marketingmag

embracing that at this early stage – the adventurous early adopters,” she says.

One advertiser at the cutting edge of image recognition technology was Lexus, with its ‘This is the new Lexus’ campaign in January 2015. The brand used digital billboards in five Australian cities that identified nine different brands, plus model and colour of passing vehicles and served a personal message to passing drivers such as, ‘Hey white Evoque, it’s never too late to crossover. This is the new Lexus’.

“I get excited when advertisers are becoming more revolutionary in regard to the way they’re actually briefing us these days – they want to do things with digital,” Wood says.

APN Outdoor is in a similar stage of educating consumers about digital opportunities with its new rail advertising format, XtrackTV, which Wood describes as “definitely ahead of its time”.

Effectively a series of televisions on train platforms, the medium gives advertisers the opportunity to engage with a captive audience when they’re waiting for their train, after going through the hustle of ticket machines and finding the correct platform.

“XtrackTV is probably the medium that I’ve been most excited about in my 35 years in the media industry,” she says.

Repeat advertisers come from a range of industries including automotive, entertainment, retail, real estate, FMCG, events and entertainment.

Luke Trigwell of Seven Network’s Network Marketing division says using XtrackTV to promote the new X Factor helped the show launch with 21% increase in ratings.

“XtrackTV formed part of our launch marketing allowing us to use music and video to create excitement in an environment where large numbers seek entertainment.”

Jerry Butterfield, channel manager at National Geographic Channel, has also had success using XtrackTV to promote series on National Geographic Channel. “With campaigns for new TV series like Tales by Light, which is

a series about the quality of the image that’s filmed and produced in 4K, all we’ve really tried to do is get across the magnificence of the show, and XtrackTV really helped us engage with a targeted audience and at scale,” he says.

Posterscope's Copley believes many brands are not prioritising their efforts to review and update their approach to outdoor amid the growth in digital.

“There is so much change in communications generally and, while old habits die hard, not many of the accepted ‘truths’ of a few years ago remain unchallenged.

"For those truly focused on outdoor, the future of dataled, dynamic or real-time optimised messaging has already started.

“For others, it’s still in the ‘maybe, we’ll get to that later’ basket. As always, those who lead will be already be doing it better when the realisation reaches the masses.”

One For All Productions’ Petschack says digital takes outdoor beyond its already-powerful place in the marketing mix.

“Brand marketers need to consider outdoor as a digital channel with an outdoor audience. There is massive untapped opportunity for brands to extend their activity in other channels (social, digital, broadcast) to outdoor and to amplify their entire marcomm plan.”

MOVE’s Guesdon says it all comes down to creative, creative, creative. “Digital outdoor is often thought of as the fourth screen to TV, mobile and video. That doesn’t mean what works on those will work on outdoor,” he points out.

He likens the stage that digital outdoor is currently at to the early days of the web – people are still learning and starting to test different technologies.

“What is the best technology for your customers now?

How will that evolve as technology, such as tap and scan, grows across mobile platforms; low tech today could be better than high tech. Just like the web, we probably haven’t seen the complete potential of digital outdoor yet.”

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How programmatic will change the industry Programmatic is a hot topic in marketing lately, and it is coming to digital outdoor. Posterscope Australia is planning to start transacting at scale through automated systems in the next 12 months, says Copley, following its UK branch already doing so.

He says it’s “critically important” that the industry embraces automation and data-led media and creative thinking in order to deliver superior results for brands and customers.

“Automation and workflow efficiencies will create more thinking time – and data-exploration time. As the data becomes more robust and immediate, the scale of the real-time or right-time messaging opportunity will become more obvious – and automation will help ensure that quick decisions can be made with confidence – to deliver the most pertinent message to the most valuable audience,” Copley says.

Guesdon agrees that automating processes will make it quicker and easier to plan and buy outdoor campaigns – and advertisers and agencies will start to expect quicker turnaround times as the technology increases in prevalence.

The Lab Strategy and Planning’s Sandwell warns that the challenge with programmatic will be in ensuring speed and efficiency don’t come at the expense of quality decision-making.

“To be truly effective it will demand a deeper understanding of the context in which media is consumed, not just where, when and why, but understanding people’s mindsets and motivations during their moments and micro moments outdoors.”

APN Outdoor’s Wood says automation definitely has a place in the future of digital outdoor, but believes it is people, and not machines, that will always be at the forefront of media planning and buying. “We’ve got a long way to go before we’re actually trading assets in real-time without being conscious of where they’re going.”

She points out the approvals process that outdoor advertising must go through, including considerations of the Advertising Standards Board, the OMA and state legislations.

“Digital outdoor is the obvious choice as a format to be the most likely to be programmatically responsive first. But will it be happening in my lifetime? I doubt it very much,” Wood says.

The future of digital outdoor Sandwell predicts a few key changes to the way people will spend time outdoors, and what this means for outdoor.

“People are wanting to pack more into their outdoor time, and wanting to be engaged by the environment around them. "[And] people are re-embracing their own local, communal space. This is seen via an increase in investment in civic spaces, and the rise of outdoor cinemas, night markets and food truck parks.

Petschack says outdoor has an opportunity to thrive while other media faces challenges.

“TV is becoming more fragmented, data-driven marketing can be soulless, social media marketing is

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A great example of this was an Australian Meat and Livestock Corporation campaign that started off inviting people to SMS for more information. This changed to a button that could be pressed to get a coupon or a recipe printed. The low-tech button achieved 10 times more interaction from consumers than the high-tech SMS solution.

ALLIANZ TRAVEL INSURANCE Messaging specific to travellers’ destinations targeted them at their airport departure gates, specific to both stopover and final destinations including Singapore, Los Angeles, Hong Kong, Dubai, Bangkok, London and Auckland.

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LEXUS Using image recognition technology on APN Outdoor’s digital billboards, Lexus served relevant messages to drivers of key competitors’ vehicles, such as: “Hey white Evoque, it’s never too late to cross over. This is the New Lexus”.

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resource heavy, press and magazines are re-finding their way and digital and mobile are proving to be part of the solution but no silver bullet,” he says.

“In this complex media environment one thing that brands can be sure of is that they look great in big, bold and colourful outdoor.

"Add to that new targeting, measurement and content technologies and the future is truly exciting.”

Wood hopes the future will see the standardisation of digital play-lengths across the country (currently each state has its own differing legislations).

Copley agrees this has been a barrier. “Roadside digital outdoor has been slower to develop [in Australia] than many developed markets, partly due to government restrictions,” he says.

Copley hopes Australia can take a leading position on the world stage, with our high level of exposure to digital (according to PQ Media), close to the highest smartphone

penetration and the highest media spend per capita globally.

Wood believes outdoor is set to become an even larger part of advertisers’ marketing budgets in the future and, for some advertisers, even the centrepiece of their campaigns.

With outdoor being the ‘least avoided’ advertising medium, according to research conducted by APN Outdoor last year, Wood truly believes the paradigm is changing.

Despite the OMA reporting 10 months of consistent year-on-year industry growth, she says the growth is still “from a very low base”.

“It will be interesting as money starts to shift around if we become more of a lead medium rather than always a secondary, complementary medium.

"There are only a handful of advertisers in this country, more than five and fewer than 10, that would use outdoor as a centrepiece of their campaign.

“That means that we’ve got a great opportunity for growth.”

DARE ICED COFFEE This campaign regularly changed its messaging on digital billboards in Sydney, Melbourne, Adelaide and Brisbane to coincide with topical news and entertainment events. It also encouraged online conversation around #brainfail and #darefix and reacted in real-time to trending moments.

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The epicentre of interactive media Director of SXSW Interactive, Hugh Forrest, talks us through the marketing industry’s growing involvement in the digital innovation festival held in Austin, Texas each year.

Marketing: Tell us about the growth you’ve seen in the branding/marketing industry’s involvement at SXSW Interactive?

Hugh Forrest: The SXSW Interactive Festival has been lucky enough to experience a large amount of growth over the last decade – and a lot of that growth has come via increased attendance from the branding/marketing industry.

More specifically, this rise in branding and marketing industry attendance begin in March 2008, a year after Twitter essentially launched at SXSW Interactive 2007.

Forward-thinking marketing professionals realised the value of new social media technologies like Twitter, and they wanted to be at the event where so many of these new technologies were getting their initial push.

Why have marketers been getting more and more involved in terms of attending and learning?

Because it is the launching spot for so many innovative technologies, SXSW Interactive is a great place to get a hands-on preview of what’s going to be hot in the next two years. Such

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18 INTERVIEW

was the case with Twitter in 2007, Foursquare in 2009 and Meerkat in 2015. Said another way, attending SXSW Interactive brings together some of the world’s most creative digital innovators and, in today’s world, branding and marketing professionals need to understand what these innovators are working on in order to stay relevant and competitive.

What’s the pitch to brands to be involved in terms of the type of audience the event attracts and the value of attendees?

SXSW Interactive attracts a hyper-connected audience that is looking for the most innovative new ideas. So it is a great testing ground for new ideas, new applications and new technologies. Moreover, if the service, product or event succeeds at SXSW, then it typically generates a strong buzz that can help with a more consumer-oriented rollout.

However, the reverse can also be true. In other words, if a service, product or event fails at SXSW, then it fails on a pretty large stage – and that can be a kiss of death that may be impossible to overcome.

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Brands getting interactive at SXSW GE’S BRILLIANT BREW BOTS At SXSW 2013, GE took the coffee truck to another digital level, creating a robot that drew portraits of customers as latté art. A webcam took a photo of those waiting for their caffeine fix and then the program processed the image to simplify the outlines and draw it using a syringe of coffee into the top of the foam.

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SAMSUNG’S VR LOUNGE Samsung has been involved in the festival for several years now, and the brand’s permanent lounge consistently draws a long line over the course of the event. Attendees interact with every part of the lounge through Samsung products, of course, including tablets for designing personalised clothes and bags and the Samsung Gear virtual reality headset through which they’re guided along an immersive course.

MASTERCARD’S PRICELESS ELEVATOR PITCH Turning the idea of an ‘elevator pitch’ into its literal embodiment, MasterCard offered a $15,000 grant prize for the contestant that could convince its judges – in 60 seconds – that their business deserves the money.

SXSWESTEROS HBO leveraged the event to give fans of its blockbuster series Game of Thrones the chance to wield a replica of Arya Stark’s wooden training sword. With a three-metre screen and motion sensors embedded in the sword, players sliced objects in an interactive video game.

What are your favourite activations from brands that have taken place at SXSW? There have been so many great activations at SXSW Interactive over the last few years – and I’d hate to play too many favourites here by singling out one over another.

That said, I always get a kick out of how popular Grumpy Cat is at SXSW Interactive. The popularity of this feline demonstrates a number of things. One, it demonstrates the strong power of this internet meme. Two, it cuts to the heart of what SXSW Interactive is all about – ours is an event where people do serious business, but they have lots of fun in the process of this deal-making.

Chevy was the automotive sponsor for SXSW for many years. One of its most successful activations at the event was called ‘Catch a Chevy’. This activation helped solve one of the biggest challenges for SXSW registrants – simply getting from one place to another when downtown parking is difficult.

More recently, Mazda has taken over as the automotive sponsor of the event. It has embarked on a similar program.

With both Chevy and Mazda, the lesson here is that activations that help improve registrants’ experience at the event tend to be the most popular activations at SXSW. What exciting/interesting things are coming up in the 2016 event?

We are really excited about the addition of a new VR/AR track (which runs from Wednesday 16 March through to Friday 18 March). Virtual reality and augmented reality are two of the biggest industry trends for the next few years – and this track will give attendees some good perspective on the possibilities these new technologies will offer across a variety of different fields and applications.

For marketers specifically, we have a track of content called ‘Branding and Marketing’. That is where the bulk of sessions that focus on these topics occur. One of the early favourites in this track is a session titled ‘That New Un-Car Smell: Selling The Post-Driving Ex’, which focuses on how the changes ahead in marketing automobiles as the experience of driving undergoes significant changes in the next few years.

That said, I think that industry professionals often get the most value out of SXSW Interactive by attending sessions that are completely outside their area of expertise.

Going to sessions outside of your area of expertise helps you learn new things – and it also helps you meet new people that lead to valuable new opportunities.

SXSW Interactive 2016 takes place 11 to 15 March in Austin, Texas. See details of all events in the branding and marketing track at mktm.ag/sxsw2016marketing.

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20 FEATURE

Are marketers equipped to get the most from the marriage of mobile and outdoor? Michelle Dunner reports.

marketingmag.com.au

A match made in heaven n the ďŹ lm Minority Report, Tom Cruise walks into a shopping centre and is inundated by advertising holograms turning him on to everything from a deal at Gap to a pint of Guinness. It was characterised as part of a disturbing, dystopian future, but marketers the world over licked their lips.

Mobile technology for delivering outdoor advertising and marketing has come a long way. It may not have the ability yet to beam directly to our frontal lobes, but it has evolved light years from traditional outdoor advertising.

The watchword now is interactive, rather than static, driven by technologies that make the experience personalised, direct and powerful, even if those devices are in our pockets, rather than our eyeballs, as in Minority Report.

But despite the ubiquity of smart devices, underpinned by generous data plans or access to public Wi-Fi, combining mobile and outdoor is far from being a slam dunk for marketers.

While technologies such as NFC, beacons and geofencing have dramatically expanded what’s possible, technology is not all things to all target demographics.

There’s a danger for marketers focusing on the means rather than the message.

I

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Maark M rk Fai airh airh rhu urst ur st, ge gene neerraal m maan naage ger off sal ales es at AP APN Ou Outd tdoo tdoo o r,r saay yss the h re re are re siggnifi nifi ni fica cant ca n reeaaso sons why hy mob obil bil ilee an and ou outtd do oo or go tog oget ethe heer,, and d to tr trul uly re r al a is issee su ucc cces ess maarket es rk ket e errs ne need eed ed a clear cl ear pi ea pict cttur ure of wh ure haat th hey ey’r ’rre trryi ying to ac a hi h ev ve wi with th the th heir eiirr c mp ca m ai aiggn. gn. gn “Wit “W Wit ith th 62 62% % of o peo eopl p e saayi pl ying ng the ng h y co c ul uldn d 't't ima dn magi gin ne lif ne ifee with wi hou outt th hei e r sm smar artp tph tp hone ho n , it mak a es e seen nsee to in inte tegr te grat atte tth his is into cam into in mpa paig igns nss tar arge geti ttiingg peo eopl plee wh pl who ho are arre ou out ut an nd ab abou o t. t “A Adv verrtisi tiising ng in sp pec ecifi ifi fic env n irron o me m nt nts, parti arti ar ticu culaarl rly bu use ses, es, s tra rams ms,, raail ms i wa way y st statio attio i nss and n air irrp po ortts, can n suc ucce ceesssfu ull lly faaciili lita taate str t ai a gh ght caall llss to to act c io ion, on, n butt acrrosss ev ever eerrry y en nvi vironm ronm ro nmen en nt itt'ss ess s en enti tial ti tial a to un unde deers rsta taand nd whaat fu f ncti tion on nal rol ole mob mo biiile le and le n out u do d or o colllecttiv ivel ivel e y pl p ay ay, y, o otthe herw rw se yo rwis you u ma may en nd u up p witth ju just stt a gim i mi mick ck k or a st stun unt w wh heen n th heere r 'ss a nee eed to o g t mean ge mean me nin i ggfful ul dat ata an nd a me meas eassur urab urab ble l ou uttcco om mee.”

Fair Fa irhu hu h urst rst sa rs say yss tha hatt w wh hen en teecch hn nolloggy’ y s ne new, w emb mbra raci ciing ng it c n be abo ca boutt con onve veyi ying yi ingg tha h t a bran brran and d iiss prog rogr ro gres gre essi essi sive v. ve “But “B But if yo yo do you don’ n’t un n’ nders deers rsta tand nd what hat yo ha you’ u ree try u’ yin ing ng to achi ac hiev evee it can be a bi ev bitt ho holl lllow o ,” , he sa says says y . “Y You u nee eed to en nssur ure ure e ch of th ea thee plat latfo form fo rmss iin rm n pla lay yh haave v a fun nctio ona nall ro role le, in ind deep peenn den de dent nttly ly and in co conj njun nj u ct ctio io on, and n it is the suc uccess cess ce s fu f l in nte t rp r la lay y betw be tw wee een n ou outd tdoo oorr and an nd mo mobi b le bi le tha hatt we we hav avee seeen n wor ork k sso o wel elll when wh en the he bal alan ance cee is ri righ ght. t.””

Fair Fa irh hurs hu rstt be beli liiev eves ess tec echnol hn nol olog oggic i al al wiz izar ardr dry w wiill ll not ot ove verrcome co mee a lac ackl klus kl u tr us tree off offer. r. “Wh What att we’ e’re re put utti tiingg in pl plac aacce no n w ceert cert rtai tai ainl inl nly y off ffeers ad dv ver erti tise seerrss and mar ak keete t rss frreequ q ency en ncy c of meess m s age agge an and al alsso o opp pportu orrtu tuni nity ni ty to en e ga g ge ge.

“O “Our Our u res esea earc ea rch h ha hass sh s ow wn th hatt the h key e to su succ cccesss th hou uggh h i provi is ro ovi vidi idi ding ng and nd promo ro omoti tiin ngg a com ompe p llin i g offe off ffer. Peo opl p e arren e ’t in ncl clin ined in ed to m ed maaake k the ke he eff ffor orrt, t use s the h ir i datta or wasste te the h ir tim imee unle un nle less less ss th hee offeerr is cco omp mpellliing ng and d uni n qu ue, e,”” he h say ays. s.

Ease Eas Ea se of een n nga ggaaggeeme ment nt and nd exp xped edittin ed edit ingg th he cco onn nnec ecti ec tion ti on n betwee be tweeen ou tw o td tdo door oor aan nd m mo obi b le le is al also s a key so y con nsiid deera rati tiion on.

“At AP “A APN Outd Outd Ou tdoo oor we oor w 'v ve jju ustt put ut 20 00 00 be beac acon ac on ns in i to thee bu b bus us n neetw etw wo orrk in in Syd ydne n y y.. Where here NFC is mo he moree ab bo outt a cal alll to cons co cons nsum umer er accttio tiio on, n the h beaco eaacons co ons n aree abl b e to pus u h me mess ssag ages ag gess witth with wi hout out an ou any eff eff ffo ortt requi equi eq uirreed an nd th thei heeiir su ucc cces e s cco es om mees do down n to bein be i g ti time mely ly, rreele leva leva v nt nt and d effor ortl tles les esss.. ess.

“We “W We thi thin th ink it it wil illl be be a succceess ssffu ul way waay ffo or ad adve vert rtis rt rtis iser erss to to e ga en gaggee in me meaan nin inggffu ull in ntte ter eraaccttiion n wit i h cu cust sttom omer ers in in an othe othe ot h rw rwis rwis ise em mpt p ty m mo ome ment ntt.. Yo Y u’ u rree mor ore liike k ly ly to re resp spon sp ond on nd to to a pu p sh mes essa s ge sa ge on a bu bus th than an wal alki k ng thr hrough ough ou g a sh ho opp ppin ingg in cent ce ntre re wit re i h th the he ki kids ds in thei ds th hei eir ir st s ro oller lller e.

“It re “I real ally y is al alll ab abou out ma m tcch hiingg a mob obil bil ilee--leed ca camp amp mpai aign ign n with wi th thee rigght ht env vir iro on nme m nt nt, fo nt, for th the he ri righ ghtt pu purp pos ose se, e, and d when hen he tth his i wor o ks ks it tr t ul uly el elev lev evat vat ates eess a cam mp paaiggn n..” .”

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It’s important to understand what functional role mobile or outdoor plays in your campaign, otherwise you may end up with just a gimmick or a stunt. – Mark Fairhurst, APN Outdoor

The need for dwell time

”

Technologies to harness the power of mobile and outdoor have only really come to the fore since 2012, Fairhurst says.

“Before that, our mobile campaigns were limited to Bluetooth or QR codes – a more basic interaction.

“In saying that, there’s still a world of potential in terms of ad serving to mobile from outdoor, whether that be based on some kind of geofence campaign or otherwise, we are very focused on being not only first, but best to market with these types of progressions.”

Any way you look at it, it’s about dwell time, Fairhurst says. “If I have an empty moment, sitting in an airport for example, I can choose to respond to email or do something fun.

“When you’re standing on a train platform, sitting in the airport, on the bus, you have no stimuli. The bus is the classic environment. You’re trying to avoid the other people around you. There's a very high dwell time, for example, when you're on your way to work and all of a sudden there’s a message saying, ‘Your chance to win’ or ‘two-for-one introductory offer’. Our research tells us that 70% of bus commuters are willing to engage with advertising if there's something in it for them.”

And it's not just the research. “I know of a health fund that engaged Tapit within their campaigns earlier this year and recognised this as a great opportunity to communicate about something you're unlikley to set aside your own time to organise,” he says Rob Marston, Australia and New Zealand head of Airwave, the mobile division of OMD, says mobile can work well with outdoor media, but complexity and scale are the

biggest hurdles. “To get from a physical poster to a mobile, there needs to be a bridge,” he says. “The options – QR codes, NFC and beacons, geo-fencing – none are perfect. QR is the most universal because everyone has a camera on their smartphone, but it’s not sexy. The scale is awesome, but there is complexity – you need to download an app to be able to read the code.

“And there’s not been the uptake like we’ve seen in Japan. I saw a study from a couple of years back that only 4.6% of people used QR codes and 62% didn’t even know what they were.

NFC on the iPhone is limited to Apple Pay. For Android, BlackBerry, there’s very little scale and lots of complexity.

Beacons are fabulous and can do lots of amazing things, but they need to talk with a native app. It’s important for marketers to understand the challenges.

“It’s still a bit clunky and I don’t think anyone’s doing it particularly well. There’s still an education piece that needs to happen. NFC, beacons, QR codes and geo-fencing are all valid and appropriate tools in the mobile marketer’s arsenal and while it may appear that they perform the same task, they are components of a location marketing communication mix and should be viewed as complementary more than competitive.”

Each ‘tool’ has its own merits and limitations, Marston says, and as such it is vital to understand both the context in which it will be used and the audience to be engaged.

Beacons are a red-hot topic in the mobile world, not least since Facebook announced it will begin to test them as part of its new Place Tips service.

“Beacons are a perfect solution for linking outdoor with mobile,” Marston says, “as they ‘listen’ for users when they are in proximity to the beacon. When they ‘hear’ the user’s device, they can activate content on the device, possibly even deep within an app.”

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22 FEATURE

The customer value exchange Marston says marketers still view mobile as an isolated part of a campaign, rather than how it supports and augments the advertising activity. “Brands need to understand the ‘customer value exchange’ – why would the customer want to give up either valuable screen space for an app, or bend down to snap a QR code or tap an NFC chip? This shouldn’t be new to marketers, but has mostly been overlooked to date.”

Sanjay Manandhar, founder of digital signage platform Aerva, which has partnered with APN Outdoor New Zealand, says mobile and outdoor are ideal for crosschannel messaging.

“Every consumer has a mobile device when they’re out of home, away from the more typical channels like TV and, to a certain extent, also not using online browsers.

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“But all channels can be integrated into a holistic experience, which is what consumers/end-users care about. They don’t care about the marketers’ ‘silos’ and budget pools.”

He points to a global user-generated content campaign Aerva did with HTC, which extended it beyond the outdoor presence in Times Square. Consumers all over the world submitted images in a photo sweepstakes for a chance to win a 24-karat gold plated phone.

"The virality of social and online amped up the reach beyond a simple digital outdoor campaign. We were also able to include a ‘moderation engine’ that filtered out unwanted content.”

The social compact

@marketingmag

Social has a major role to play in broadening the appeal of outdoor media, says Jenny Goodridge, head of business development and platform partnerships for Twitter, in Australia and New Zealand.

“While technologies such as NFC and beacons are making outdoor less about delivery of static, short-lived messaging and more about driving brand/consumer engagement, Twitter offers a number of further advantages,” she says.

“Twitter operates largely over the mobile network and in real time, so there are no proximity limitations requiring people to walk up to the outdoor ad and tap it or be within range of a beacon antenna. Most compellingly, Twitter is a public platform meaning brand engagement happens on a many-to-many basis, dynamically, on mobile and in real time.”

Goodridge says marketers need to find ways of breaking through information overload. “Integration of messaging through different media channels is really critical to improving cut-through and spend efficiency,” she says.

“Social media takes this one step further by helping tie together messaging through various media channels to improve retention. That means the amplification of messaging happens to the widest possible audience and opens up all sorts of engagement opportunities with consumers.”

Further, social content created by the brand or its audience is increasingly being leveraged in campaigns, including on digital outdoor sites. Live events are a standout example, with digital screens curating user-generated content.

A collaboration between Topshop, Twitter and curation platform Stackla during London Fashion Week featured digital billboards with trending hashtags from fashion influencers that could immediately be shopped by consumers.

A growing share of the pie While some marketers look at the UK as a hotspot for mobile and marketing tech, Fairhurst says he doesn’t believe that’s

necessarily the case for outdoor. “Anything that is possible we’re doing and, in some cases, we’re leading the way,” he says.

“The biggest challenge with outdoor is education. There’s so much going on, so much fragmentation, it’s almost impossible for marketers to keep up.”

A major aspect of technology’s appeal is the ability to measure. “It is increasingly about the measurement – with Wi-Fi, Tapit, you can have a data dashboard tailored to suit your individual needs; it really shows up whether your offer is compelling to consumers.

“Data feedback through this tech is limitless, but marketers need to understand the functional role the combination of mobile and outdoor plays in the campaign. They need to ask themselves: ‘What am I trying to learn? What kind of engagement and how easy is it to engage with this audience?’ There are lots of things clients need to get their head around.”

Airwave’s Marston adds, “The technology from both sides is progressing rapidly and data collected from ‘listening’ to consumer behaviour will enable out of home inventory buys to be optimised to create a more efficient and targeted campaign.

"Targeted digital signage serving real-time relevant messages using the data collected from mobile is unquestionably the next phase for digital out of home. Importantly, marketers need to understand the pros and cons of all of the options and should look for trusted advisers to help them get the most out of this cross-channel opportunity.”

Aerva’s Manandhar agrees: “Anything that has user participation generates metrics that are extremely valuable.

Aerva has used a combination of beacons, digital screens and products to demonstrate the efficacy and attractiveness of an offering on visual screens – and they are tweak-able in real time.”

“

To get from a physical poster to a mobile, there needs to be a bridge.

The options – QR codes, NFC and beacons, geo-fencing – none are perfect. – Rob Marston, Airwave

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24 XTRACKTV

The ultimate platform for brands

marketingmag.com.au

With the national Australian expansion of XtrackTV on the horizon, APN Outdoor reflects back on the launch of the innovative product and the rollout across the country.

LAST YEAR, APN OUTDOOR launched what is arguably one of the biggest developments the outdoor media landscape has seen in the last 25 years, XtrackTV. This exciting new platform, complete with high definition, full motion video as well as directional audio, is the first of its kind in Australia and the first of this scale anywhere in the world. As APN Outdoor targets a national rollout in early 2016, we look back on the journey that it has already been and the trajectory the outdoor leaders envisage.

Initially rolling out across Sydney and Melbourne in 2014, XtrackTV was an instant hit with advertisers looking to extend their multiscreen campaign to a new and hard to reach audience in the rail station environment. Like anything

new, education was key in the early stages but as more and more brands from all key advertising categories became active users on the platform, XtrackTV soon became in hot demand and has remained so throughout its sustained rollout.

With the Sydney and Melbourne networks delivering 7.9 million gross contacts a week (MOVE Total Gross Contacts People 14+) the platform has exciting potential for advertisers and content partners alike who understand the potential within the key captive moments on the rail platform.

When developing this product and launching it to market, APN Outdoor looked to maximise the audience engagement levels and ensure the location was optimal for dwell time. With the average wait on

the platform being 12 minutes, the decision was an easy one.

Having conducted a pilot eye-tracking study with commuters in Sydney, Greg Barnett of Access HQ, observed that, “One of the great things about XtrackTV is the very high dwell time with very little visual clutter in the area to distract people, people are primarily facing forward on the platform and the cross-track advertising is right there in front of them to engage with.”

Next on the hit list for APN Outdoor’s XtrackTV rollout was the Brisbane market, which joined the portfolio in early 2015. Completing the Eastern Seaboard footprint and further expanding the reach, this was a key market in the rollout that has changed the Brisbane media landscape and added further scale

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for advertisers looking to reach the highly sought-after rail audience.

Along with the growing portfolio, APN Outdoor has also grown in what it’s able to offer the audience. Having partnered early on with Brand New Media, XtrackTV offered various health and Lifestyle content from SurfTV and Healthy Me and continues to share this with commuters. Testament to the power of the medium, Healthy Me’s website traffic grew 26% during the time it was live across XtrackTV, compared to previously.

As 2015 has gone on, the outdoor leader has again grown its network making an impression in Adelaide. Mark Fairhurst, general manager – sales at APN Outdoor, commented on the developments in Adelaide: “As pioneers in the digital outdoor space we are continually

looking at ways we can extend our already strong foothold in the market.

The development and significant expansion of XtrackTV into new markets has reaffirmed our position of leadership and we look forward to sharing this impressive product with the wider advertising market.”

XtrackTV’s ability to engage an audience who are seeking distraction on the commute and looking for something to fill their time is unmatched in the rail environment.

With a balanced mix of advertising and content, advertisers have truly embraced the medium, and begun to push the envelope with what would traditionally be shown in this arena.

From story-rich advertising such as that seen from Tourism Tasmania, recipes from Coles, weather-

dependant messaging and day-part messaging, XtrackTV facilitates a conversation with commuters who are embracing of this type of communication.

The fashion in which XtrackTV spots are being sold, and the speed in which the network is being sold out, have demonstrated two things: advertisers are willing to think outside the box and demand for this proven product is remaining strong.

With the network set to be a complete national offering early in 2016 we expect it will go from strength to strength.

With further growth will come further innovation in the creativity accounted for, content integration and overall positioning of XtrackTV and we look forward to seeing what’s next for this exciting product.

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26 BRAND STORY

McDonald’s modern marketing menu ith a giant lunchbox to launch its steak products, McDonald’s Australia not only tapped into the zeitgeist of experiential marketing, but also made it into the Guinness World Records.

It was a campaign aimed at taking the ‘boring’ out of lunchtime, and McDonald’s Australia CMO Mark Lollback says he’s passionate about having fun, being disruptive and really getting out with the people.

“The agency said, ‘Well, the whole campaign’s about lunch, so why don’t we build the biggest lunchbox?’ So we built a big lunchbox and parked it down near the Opera House, where it sat for two days,” says Lollback.

“People wondered what it was about, then it opened as a restaurant and we gave away free sampling tasters of the steak wrap.”

It was so successful in Sydney, he adds, that they packed it up and moved it around the country.

“Consumers loved it and it was a great way to get a trial going, and in a very disruptive way,” he says. “Everybody was taking photos and putting them on Instagram and generating a lot of awareness for us.”

Australia was the first country in the world in which the fast food giant launched steak, just as it had with salads.

“Why? Because we have fantastic beef here and people love it,” he says.

“Although McDonald’s Australia is always trying to be innovative, there is no doubt that we watch what other McDonald’s countries are doing and if it’s something interesting we’ll see if it’s right for here.”

W

Current consumer challenges Asked about some of the company’s current marketing challenges, Lollback says all brands have consumer tensions and consumer challenges. McDonald’s has identified a few of those that it focuses on as a business.

“We know that our customers want to feel valued,” he says. “We know that our customers want to feel good about the food that they eat and we know that they want McDonald’s to keep up with the times.

“What we want to do is make sure we remain very focused on how best to serve our customers, and how best to keep remaining relevant as a brand in a very competitive environment, which is food.”

With the majority of McDonald’s Australian stores being open 24 hours, seven days a week, Lollback says the

“

The best thing we can do is grow. The more we lead, the more we continue to innovate, the more our customers reward us.

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McDonald’s CMO Mark Lollback talks us through the brand’s current state of play and how its products and communications are evolving to meet changes in customer needs.

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28 BRAND STORY

Available between 10:30AM and 10:00PM in store only excluding MyMacca’s® Mobile ordering. See www.mcdonalds.com.au/create-your-taste for participating restaurants.

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company is, in essence, about trying to help people solve problems. It may be a coffee before work, thinking about the day ahead or a taxi driver driving in the middle of the day or night who wants a snack and to use the bathroom.

“In mobile in particular and in gaming, we’ve had great success,” Lollback says. “We’re a fun brand at the end of the day and people want brands to act in a fun way and make life fun, right through to advertising on mobile phones and generally trying to connect.”

“

We’re about as Australian as you’re going to get – at being an American company.

Maccas – world leader or follower?

Lollback says that although McDonald’s is a large brand internationally, each country operates autonomously.

“We don’t get mandates from the US, or the global team.

We don’t get told ‘you must do this, you must do that.’ Our management team is all-Australian… I heard recently that there have only ever been two expats,” he says.

“The strategy we’re pursuing here is right for McDonald’s Australia, where our customers are, where our food trends are and where our competition is.

“We have been on a 40-plus-year journey of being part of the Australian fabric and community, and we’re really passionate about serving that community, so I wouldn’t say we ‘lead the world’ for McDonald’s, I just think we’re independent and we do what’s right for us.”

For example, McDonald’s in the US was the first market to test the all-day breakfast, and that will shortly be introduced

marketingmag.com.au

Available between 10:30AM and 10:00PM in store only excluding mymacca’s® mobile ordering. See www.mcdonalds.com.au/createyourtaste for perticipating restaurants.

”

in Australia. “We looked at the US results, and said, ‘Well, Australians have been asking for all-day breakfasts for many years, so we thought we’d test that. We tested that and it was a great success and we will roll it out. That’s a great example of, ‘Why didn’t we think of that?’”

On the other hand, Australia is the lead market for the rollout of ‘Create Your Taste’.

“McDonald’s companies around the world are always looking at what’s happening in other markets, and I’m sure some countries will pick it up and roll it out,” he says.

McCafé was also invented here in Australia. “Really good coffee means a proper cappuccino or a latté, a proper barista-made coffee.

“You can get a barista-made coffee in drive-through. That’s another Australian innovation. We’re the first country in the world to do that.”

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The modern media menu

@marketingmag

Asked about the best media mix for McDonald’s, Lollback says the company in Australia is a large media buyer, as well as a large user of different media channels. “I would say our media mix is changing, but it’s not extreme. At the end of the day we’re a large brand that has multiple parts, trying to serve our customers seven days a week with multiple messages and multiple demographics. And with each one of those, there are many different ways to get there.

“We absolutely still use TV and see television as a really important part of our portfolio. We definitely use outdoor, we use radio, we use mobile, we are very much on social media.

“Money moves around – I don’t think anybody would be surprised to see more money be directed into digital – but it’s not an avalanche,” he says.

McDonald’s has always been a big user of outdoor, says the CMO, but he predicts that once the medium goes more digital, we will start to see some really clever pieces of advertising, including weather-related, date-related and topical news-related activity, the surface of which has only been scratched so far.

“Outdoor will evolve, but it will depend on location. It only makes sense if there is proximity. I think we’ll see some really interesting things happen. In terms of interactivity, mega sites like Trafalgar Square in London are already starting to be utilised very creatively.

“Most of our customers are driving around in their cars or they’re catching buses and trains and that’s where they see our out-of-home advertising, so outdoor for us is great.

It is one of those mechanisms that is very location-based. We buy a lot of outdoor that is based around our locations. We buy a lot of directional signage.

“Australians also love going on holidays in their cars and we’re a very big part of Australia’s culture and fabric, and we tend to use outdoor, so it will be seen on those road trips. Drive up and down the coast and you’ll find that.”

Lollback says although digital is already here, it’s still quite erratic.

“Digital is going to open up a lot of flexibility around out-of-home,” he says. “We’re exploring, we’re experimenting, but to be able to do it en masse, on road signs and the like, it’s still got a long way to go.”

Asked how traditional media like outdoor can become more integrated through interactivity with mobile phones,

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30 BRAND STORY

“

There will be weather-related, daterelated and very topical news-related [digital outdoor] activity, the surface of which has only been scratched so far.

Lollback points to examples such as offering instant rewards via static sites such as Times Square in New York City.

Connecting with the board through a mobile device, people could take a selfie and end up as part of the billboard.

This type of activation taps into people’s desire to see their name up in lights.

Another example, from Stockholm, allowed viewers to play a Pong-like game on a digital billboard using their smartphone as a controller.

Things like this keep the brand fun, Lollback says, engaging with people who think, ‘This is a fun brand, this is a brand that understands me’.

“There was a very creative piece of McDonald’s outdoor that one of our agencies did in Europe. There was a postersize case with approximately 40 empty McFlurry cups, and when the temperature hit 35 degrees the door would open, and you could take a cup and go to the restaurant and get a free McFlurry. There were people standing around gunning for the temperature to get up to 35 degrees.”

Looking ahead Having been the market leader for a considerable amount of time in its category, McDonald’s doesn’t get too distracted or too focused on its competitors, says Lollback.

“I think we’ve found that the best thing we can do is grow.

The more we lead, the more we continue to innovate, the more our customers reward us.

“There’s no doubt today that customers want more choice than ever,” he says. “Their demands are higher than ever, rightly, and I think it’s up to us as a leading brand to continue to lead the category.

“I’ve always been of the view that market leaders should never act as a leader, but always as a challenger to keep

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”

the category and the industry in growth and keep people excited about it.

"We are not complacent about it, but I think there is a responsibility to lead as well, for our customers and also for the category.”

McDonald’s Australia’s current media agency roster is large and varied, and includes both DDB and Leo Burnett as creative agencies, OMD as media agency, Mango as PR agency and Y&R Group’s Digital Agency, which was appointed earlier this year.

Lollback, who has been with McDonald’s for four years, says he feels really proud for his team and agency partners when they win awards, of which there have been many.

He says he heard a great line that McDonald’s was ‘born in the USA’ but ‘grew up in Australia’. He says the company likes to think that, “We’re about as Australian as you’re going to get – at being an American company.”

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I

n 2008, Sydney Airport looked very different. The shops looked different. The passenger profile looked different. And the advertising looked different.

From that point the Sydney Airport has been on a mission to pursue new digital opportunities. Martin Salter, head of advertising and new media, has been leading the evolution of the digital and advertising spaces at the airport, seeking out commercial opportunities in digital experiences and outdoor media.

Salter also looks after partnerships such as that with American Express, in which the airport identified an opportunity to partner with the global brand to deliver customer enhancements. At the same time the brand can provide its customers with enhanced value through ‘money can’t buy’ opportunities.

He also sits on the digital committee that was set up in 2015.

Up, up and away Sydney Airport’s Martin Salter speaks to Marketing about the evolution of advertising, retail and audience profiles, both domestic and international.

Marketing: What does ‘digital’ entail at the airport, and to what does the ‘new media’ in your job title refer?

Martin Salter: Our digital strategy is focused on the improvements of delivering products that are going to help our passengers navigate their way through the airport experience while they’re here.

Everything we do in a digital format is designed to enhance the passengers' digital experience. Hence, there are opportunities where we can commercialise that experience.

If customers are happy we find that we can deliver results for the company, both the experience and commercially.

‘New media’ really was set up to look at advertising opportunities that weren’t traditional, so it covers aspects such as partnerships, kiosks, mobile apps... and the commercialisation of those formats. In addition to that, I manage the Wi-Fi service and the commercial opportunities that exist with this service.

Looking back seven years ago to when you started, what was the scene then for how brands were using the airport environments to reach customers?

It was very different. Airport media back seven years ago was focused on the static lightbox. Digital wasn’t really prevalent. I think we had about 12 digital screens in the old portrait format that showed weather and advertising around the departures precinct.

Since then, we were the first airport nationally to implement a free Wi-Fi network. That was in 2010, because we identified an opportunity to provide what was traditionally a paid service for free, enchancing the passenger's journey at Sydney Airport.

Obviously, that’s a greater cost to the business, but we’ve seen exceptional engagement and you will see that our performance for Wi-Fi on the ASQ airport ranking rates very highly as far as airports in Australia go, and also in the APAC region.

Back in 2010 we developed a ‘CAN’ network to target passengers as they flow through the airport and certain dwell areas. We identified that this was going to be an opportunity commercially and in 2012 we started to provide more in-depth and contextual content to our passengers while they are in these areas such as gate lounges.

Now, technology has evolved so much that when it comes to LED signage and other digital signage, which was once price-prohibitive is now affordable, meaning we can reduce the amount of it that we have in the terminal, make it clutter free, but make what is there more impactful and better quality.

Our focus with APN Outdoor in the recent tender process we’ve been through, is on three key points: consolidation of our network, improving our network through better quality signage, and the standardisation of formats – so where we had old inconsistent formats both externally and internally, we now have a same format signage type, which on a digital basis it means that we can run the same content through both our T1 international terminal and our T2 domestic terminal.

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32 INTERVIEW

In terms of selling the airport to advertisers as a channel, do you frame it like any other media channel? You work out the audience segments and demographics, psychographics and behavioural profile of people within airports? How much detail do you have on that stuff?

We’re very lucky in that we do obtain quite a bit of information through various different sources.

Like most businesses, we do our best to consolidate the data and provide information to other areas of the business that allow more meaningful decisions both operationally and commercially.

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We get a lot of valuable information from our Wi-Fi platform that we input into the Mosaic profiling research platform, and we do that quite often.

Profile information attained gives us real insight into what brands we should be talking to from a retail point of view and from an advertising point of view. Of course, we treat all the information very carefully and in line with the Privacy Act.

we have a Chinese version of our website and we tailor broader communication to this audience.

We developed those about a year and a half ago, and even now we’re looking at new digital strategies as to how we could improve upon the strategy.

For our marketing team, they’re looking at how we can get involved in WeChat and other Chinese social media platforms to promote what we have at Sydney Airport to that market.

At the merging of those retail and advertising spaces, what’s the growth been like in branded experiential type activities? Coopers, for example, running its own bar.

There’s certainly more of that. We’ve identified a retail pop-up opportunity in the business with a casual leasing executive driving the strategy.

That experience provides a consistent turnover of new and innovative retail pop-ups, so for people that are regular travellers, it keeps the terminal experience fresh and interesting.

And all these learnings you’ve experienced similarly need to be taken on board by brands as well.

If I look at the last seven years, and the types of brands that we had in arrivals – including MasterCard, Diners Club, Vodafone – to now, almost all advertisers target the Chinese audience.

We’re seeing a lot of health supplement advertisers and a lot of property developers. The nature of the way people are targeting arrivals is very different and we get a lot of our Chinese airlines advertising on our digital screens in that area, also.

On the domestic side, we’re finding that technology has become a lot more prevalent as a category, so brands like Google and Intel have been advertising more frequently.

Telecommunications not so much recently, but we’re starting to see a little bit of an increase in telco spending in the domestic precinct.

Right, because for a lot of business travellers it’s a second home.

Exactly. There’s a lot more frequency of visit in the T2 domestic terminal, as opposed to T1, however through the research we conduct we have interesting insights that show which brands resonate with our passengers and, through our improvement program at T2, we’re securing a lot of those brands to deliver an enhanced airport experience for passengers.

How does that development work relate to changes in the profile of passengers coming through?

A lot of the decisions are being made by the nature of our changing passenger mix, specifically targeting the Chinese audience.

The Chinese passenger number has grown 16.4% in 2015, which is quite a significant amount. We expect that the Chinese passenger will soon overtake New Zealand as an international segment.

Domestically, we’re seeing a new ‘young ambitious’ segment come through. They’re very connected and digitally savvy. And they’re price conscious and not as loyal – they will fly down on one airline and they’ll come back on another.

We’re seeing that this audience is more inclined to fly on price and value, so we need to be smarter about the way we engage with them, and provide services and entertainment in the airport that are going to attract them and enrich their experience.

Internationally, though, we're focused on being Chinaready, and from a digital standpoint we have Chinese apps,

What advice do you have for brands targeting airport audiences?

This is my personal view, but I think what they need to do is look at how long they are here and how they can integrate their brand with our customer by providing a customer service experience.

Sponsorship of operational benefits is excellent. We’ve seen Optus do that very well with providing the free internet.

American Express does that by providing our Express Path access, charging stations, a lounge and the like.

There's certainly always an opportunity for brands here, and on a brand point of view we’re developing a lot of contextual-based advertising at Sydney Airport. We’ve merged our advertising software with our flight information software.

With new projects that we’re going to be announcing shortly, we’re able to provide brands with a profile-based, much more targeted way of advertising in specific areas at the airport.

That’s where we’re going. We really are focusing on developing opportunities by integrating our technical assets and our ability within the precinct to be able to deliver more targeted messages to our audience, so then our messages are more relevant to them, thus increasing the engagement of the customer.

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APN Outdoor’s across platform, high definition, full motion and audio enabled network of screens.

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36 FEATURE

2013 saw the birth of a movement involving stakeholders from across the world of arts and advertising that would turn the streets of the UK into the biggest art exhibition the world had ever seen.

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The world’s largest art exhibition

or two weeks in the summer of 2013, static and digital signage all over the UK hosted a selection of British masterpieces, spanning from the 1500s to the present day.

The Art Everywhere project began as a collaboration between Richard Reed, co-founder of Innocent Drinks, the Art Fund national fundraising charity, Tate galleries and creative agency 101, as well as Posterscope, Vizeum, Easyart and Facebook. More than ÂŁ3 million worth of inventory was donated by world-renowned outdoor media providers.

Billboards, tube stations, shopping centres, buses and black cabs played the part of gallery walls for works selected by public vote, which in the inaugural edition comprised 57 pieces, including The Lady of Shalott by John William Waterhouse, Ophelia by John Everett Millais and Head VI

by Francis Bacon.

Art lovers could use the Blippar smartphone app to scan the pieces and access additional information. The over-

F

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whelming success of the campaign and international press coverage of the inaugural event set the stage for Art Everywhere to become an annual campaign in the UK, and even expand internationally – a national US version took place for the first time in 2014.

The follow-up instalment grew to become a six-week celebration of art for art’s sake, encompassing more than 30,000 outdoor sites.

The project stays true to the original values of art: for the people. Indeed, all pieces in the UK project are from public collections. The organisers hope that Art Everywhere can challenge billboards and advertising locations to communicate powerfully and emotively with the public through some of the greatest art ever made.

It’s designed to empower, inform and inspire people in the street to enjoy art as well as signposting them to public galleries and museums.

On the other side of the Atlantic, the model was replicated in a one-off project in 2014. The US public voted on which classic American works of art should be featured across the country’s cityscapes.

From a long-list of 100 pieces from the collections of a consortium of US museums, Edward Hopper’s Nighthawks, painted in 1942, was voted the most popular work of art.

With 57 other pieces, it went live in Times Square and across all 50 states.

During the second UK campaign, 90% of the population had an opportunity to see a work of art at an outdoor site. The art was also shown in a national on-screen exhibition in Vue cinemas.

As part of the launch, British sculptor Antony Gormley – renowned for The Angel of the North – unveiled a specially commissioned digital artwork made available for the public to download for free.

The work, entitled Feeling Material, was shown on digital poster sites across the UK, such as London’s Waterloo Station and Coventry House, Piccadilly Circus, and in Manchester’s Trafford Centre, as well as on motion screens in the back of more than 2000 black cabs.

Gormley also donated 100 signed limited-edition works that were gifted to the first 100 donors that contributed £950 or more. Funds raised supported the cost of print and production.

The success of Art Everywhere in the UK and US is a testament to the power of outdoor and its ability to transform a cityscape.

In Australia and New Zealand, APN Outdoor aims to embody this principle, promoting outdoor as a canvas for advertisers and partners alike, frequently taking creative leadership and education initiatives to market, such as Pixel361° in New Zealand and The Digital Degustation in Australia.

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40 APN OUTDOOR DIGITAL SHOWCASE

UBET – Young and Jackson, Melbourne

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Gumtree – King George Square, Brisbane

VB – Domestic Entry Gantry, Sydney Airport

Lexus – Domestic Entry Gantry, Sydney Airport

VRC – Young and Jackson, Melbourne

Omega – The Aviator, Sydney Airport

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Holden – St Kilda Junction, Melbourne

Meridian Energy – LED Tower E13, Auckland Airport

Samsung – Warringah Freeway, Sydney

All Blacks Welcome Home – Entrance Gantry, Auckland Airport

Mercedes – All Traffic Entry Gantry, Sydney Airport

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Vodafone – Domestic FID, Auckland Airport

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Coke Zero’s ‘Drinkable Advertising’ campaign, produced with Ogilvy & Mather New York, started with a huge billboard filled with Coke Zero, then took interactivity to almost every medium imaginable.

T

he NCAA (National Collegiate Athletic Association) is a membership-led non-profit association of US colleges and universities committed to supporting academic and athletic opportunities for more than 460,000 student athletes at over 1000 member colleges and universities. Each year, more than 54,000 student athletes compete in NCAA championships.

As one of the NCAA’s official Corporate Champions, Coca-Cola was looking for a way for its brand to be involved in the 2015 Men’s Division I Basketball Final Four weekend, in which the champion would be decided from the top four teams at Lucas Oil Stadium in Indianapolis.

To get more people to try the beverage, Coke Zero and Ogilvy & Mather, along with partners Shazam, IMG LIVE and Specialised Mobile Exhibits, created a campaign that people could literally drink.

The ‘Drinkable Advertising’ campaign was to serve as an innovative approach to removing barriers and make it ridiculously easy for those who were ‘open to try’ Coke Zero to enjoy it in fun and unique ways.

The campaign was based on the simple insight that many people think they know the taste of Coke Zero, but they actually don’t.

Coca-Cola Zero would debut a first-of-its-kind marketing campaign during the NCAA Men’s Final Four in Indianapolis, Indiana. Those who were ‘open to try’ the delicious and refreshing zero-calorie taste of Coke Zero had numerous avenues to try Coke Zero.

The most literal manifestation of Coke Zero’s drinkable advertising campaign was a 23,000-pound (10,400-kilogram), 26- by 36-foot (eight- by 11-metre) drinkable billboard located at the March Madness Music Festival in White River State Park in Indianapolis. For

US sports enthusiasts, this meant the billboard was about the same height as two-and-a-half basketball hoops or three power forwards.

The billboard appeared to magically dispense ice-cold Coke Zero from a massive contour bottle through 4500 feet (1370 metres) of straw tubing that spelled out “taste it” before carrying the liquid to a free sampling station on the ground.

Coke Zero’s Drinkable Advertising would also be brought to life in broadcast, print, retail and outdoor during the NCAA Men’s Final Four weekend in support of its status as the Official Fan Refreshment of the NCAA. Coca-Cola said the Drinkable Advertising was meant to be about less talk and more proof, but creating numerous opportunities for college basketball fans in Indianapolis and at home to experience the taste of Coke Zero.

The campaign played out across an

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Advertising you can taste

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The most literal manifestation of Coke Zero’s Drinkable Advertising campaign was a 23,000-pound (10,400-kilogram), 26by 36-foot (eight- by 11-metre) drinkable billboard.

@marketingmag

array of paid, owned and earned media, from radio spots that poured Coke Zero using just sound, to print ads that became cups and tweets that poured Coke Zero in 140 characters.

Drinkable commercial During the broadcast spot, viewers were able to watch as refreshing Coke Zero was poured from a glass contour bottle followed by a prompt to Shazam. They then watched the experience migrate seamlessly from their TV to their mobile device as the Coke Zero continued to pour within the Shazam app until the glass was full, ultimately revealing a mobile coupon to redeem for a free bottle of Coke Zero at a participating retailer location.

The drinkable commercial aired during national broadcasts of both semi-final games, Saturday 4 April 2015 on TBS, and the national championship game on Monday 6 April on CBS.

Drinkable stadium HD video boards Using the same technology as the drinkable commercial, drinkable videos played on the HD Video

Boards in Lucas Oil Stadium, offering thousands of spectators the chance to simultaneously receive a coupon for a free Coke Zero on their mobile devices that could be redeemed at a participating retailer. These drinkable ads aired during the semi-final and national championship games at Lucas Oil Stadium, as well as the Coke Zero Countdown Concert at White River State Park.

Drinkable challenge at Coke Zero Countdown Concert Throughout the NCAA Men’s Basketball Tournament, Coke Zero encouraged rival fans to be open to try being ‘frenemies’. At the Coke Zero Countdown Concert on Saturday, selected frenemies from opposing Final Four teams could go toe-to-toe by using the microphone in their smartphone as a straw to see who could finish their bottle of Coke Zero from two digital screens near the concert stage. The winner earned free Coke Zero for their team’s fans in the audience.

The ‘Drinkable Advertising’ campaign was to serve as an innovative approach to removing barriers and make it ridiculously easy for those who were ‘open to try’ Coke Zero to enjoy it in fun and unique ways.

Drinkable interactive mall kiosks Coke also turned a simple kiosk into a drinkable experience at Circle Centre Mall in downtown Indianapolis. By ‘Shazaming’ the ad, a phone became a straw that people could then use to ‘drink’ the liquid on screen. Once the bottle was empty, the user received a code to redeem for a free Coke Zero at an exclusive vending machine, located on the first floor of the mall at the Washington and Illinois Street entrance.

Drinkable flyers An innovative flyer that became a straw gave event-goers the perfect tool for trying out Coke Zero. All they had to do was pull the straw away from the page and take the coupon on the flyer to a participating concession stand inside the Lucas Oil Stadium.

There, they could redeem the coupon for a Coke Zero by simply presenting their coupon when ordering.

Vending machine mascots The public had no need to approach these vending machines; these vending machines approached them! Throughout Indianapolis, people dressed in what appeared to be authentic Coke Zero vending machines randomly rewarded passers-by with free Coke Zero… and some entertainment.

Sentiment around the Coke Zero ‘Drinkable Advertising’ campaign was overwhelmingly positive. The brand dominated social share of voice, and the TV spot was the most Shazamed TVC ever, proving that ads can look delicious, sound delicious and, now, even taste delicious.

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As digital media facilitates more and more opportunities for advertisers, we explore how Hotel Quickly implemented a contextually-relevant campaign throughout APN Outdoor's Airport network.

H

otel Quickly is the leading last-minute hotel booking app across Asia-Pacific, enabling users to book same and next-day hotel rooms in an instant. Having operated in Asia since 2013, Hotel Quickly launched in Australia in late 2014.

It exists as a mobile platform designed to offer easy access to superior discounts on hotel rates when compared to other online booking platforms. Hotel Quickly offers a curated list of deals specific to the user's location and allows searching by country, city or specific location by dropping a pin on the map of their choice.

Entering an already strongly established and crowded hotel booking market, Hotel Quickly built its 80,000-strong loyal database of users through social media and digital marketing, driven by a robust cost-per-acquisition model and from here set out to grow awareness and

get clever with its digital outdoor strategy.

Waterfront, Hotel Quickly's integrated communications agency, was tasked with building brand awareness and interest and driving downloads of the app. The campaign was designed to test the strength and effectiveness of outdoor advertising, and Hotel Quickly partnered with APN Outdoor for the brand’s first above-the-line communications in Australia and New Zealand.

The assumption was that once Australians and New Zealanders experienced the access to desirable hotels in preferred locations at a superior price point as a solution to a short-term need, the next challenge would be to change consumer behaviour in the longer term, with Hotel Quickly offering simplicity, convenience and discounted pricing.

Through its research, Waterfront identified that Hotel Quickly needed to build a personality that kept the

brand top-of-mind when people are booking a spontaneous trip, travelling or simply without a hotel for any reason.

'The unmanaged business traveller' was identified as a key target audience for Hotel Quickly.

This audience is predominantly SMEs without a PA or travel agent.

They know that saving money is important and so is the last-minute flexibility to make or change plans.

The secondary audience identified was the ‘suburban city-goer’, who is likely to be an adventurous type on a night out in the city. Instead of taking an expensive taxi ride home or catching public transport, they can have an extended night out. The later the booking is made on the night, the better the price.

The longer-term opportunity is to appeal to the ‘spontaneous couple’ – those who like to live a more unplanned life and are comfortable

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Context is king

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@marketingmag

enough to decide on taking a relaxing weekend away at the last minute.

There will always be those times in the traveller’s day or, more importantly, night when events seem to conspire against them: when the business meeting goes over, the thunderstorm causes flight chaos or the taxi rank totally devoid of life makes you miss your flight.

Research supported the choice of airport environments as relevant precincts in which to communicate with SMEs, with 64% of business travellers being managers/ professionals. APN Outdoor's airports provide access to a broad array of occupations and, in terms of the leisure traveller, research supports the audience Hotel Quickly is looking to reach, with 32% of leisure travellers couples, skewing towards 18- to 34-year-olds (37%) and 49% dual income.

In partnership with APN Outdoor, Waterfront collaborated with Matterhorn to create a campaign aimed at business travellers and the wider leisure community. While you don’t need to be stranded to take advantage of the app and great prices, strategically those who face delays and cancellations will find it most helpful in the first instance.

The campaign targeted both international and domestic travellers, commencing in Australia’s busiest airport, Sydney Airport, which sees

The brand work was supported with tactical creative executions targeting the moment of receptivity and higher dwell times of people at airports. over 38 million passengers per year and is the key international gateway, with over 40% of all international traffic to and from Australia passing through it.

Using selected digital sites, the campaign delivered both brand and retail messages. Brand ads contained striking images that told the common narrative of travellers trying to make themselves comfortable while stranded at the airport.

The brand messaging was supported with tactical creative executions targeting the moment of receptivity and higher dwell times of people at airports. Each execution was specifically designed for maximum exposure, bringing Hotel Quickly front of mind during the dwell times, such as when looking at flight information or waiting for luggage to arrive.

Designed to take advantage of both out-bound and in-bound environments, sites targeted the journey throughout airports and high

dwell time locations, building the brand and promoting the opportunity for download with messages such as: ✪ ‘Hotel rooms without delays’ appearing on flight information boards, ✪ ‘Bag a room before your luggage arrives’ appearing at baggage collection, ✪ ‘We help business travellers sleep easier at night’ appearing at club lounge entry points, ✪ ‘Is your hotel booking up in the air?’ appearing at aeroplane gate lounges, and ✪ ‘Grab a hotel before you grab a taxi’ appearing at airport departure points.

APN Outdoor's sophisticated assets within airport precincts afforded the opportunity to target key audiences, specifically considering state of mind and stage of journey.

While the campaign is midway through and results were not available at time of printing, anecdotally after three to four weeks, an increase in downloads began to emerge, predominantly from the Perth market. This coincided with the AFL Grand Final, potentially providing a solution to the many West Coast Eagles fans making the trip to Melbourne at the last minute.

In response to consumer feedback, Hotel Quickly is expanding its 48-hour time-frame to seven days, giving users more freedom when they travel.

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The other side of the tracks

Brand background One of the most preeminent and iconic brands in the world, National Geographic Channel is the only television network aligned with a real scientific organisation with a 127-year legacy: the National Geographic Society.

Driven by a passionate belief in the power of science, exploration and storytelling, National Geographic Channel continues to bring back stories about the most thrilling events happening all over the world. National Geographic Channel is the home of smart, relevant and inspiring factual entertainment about life, the universe and everything in between.

Foray into outdoor and XtrackTV Entering into a strategic partnership with APN Outdoor has allowed National Geographic Channel extensive use of leading outdoor formats, including digital and static billboards, transit, rail and even some great assets at the airport.

Each of these platforms presents particular strengths for the brand’s advertising intentions.

However, it is XtrackTV that has really allowed National Geographic Channel to bring its leading storytelling to life and put its incredibly captivating content in front of a new, extensive and captive audience, as well as being present

marketingmag.com.au

How National Geographic Channel drew on its storytelling expertise and high-quality content to find success with the innovative XtrackTV format.

across an innovative and exciting medium in the Australian market.

Experiences with the platform “Everything that we do with National Geographic is about big images and big ideas,” says Jerry Butterfield, channel manager, National Geographic Channels Australia/New Zealand.

“But it’s much more than that with campaigns for TV series like Tales By Light," Butterfield says, "which is about how images can drive the story, including both amazing still photography and breathtaking moving images that are filmed in 4K."

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53 OUTDOOR IN ACTION

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Most recently, XtrackTV has been used within a larger campaign for the National Geographic Channel original series Outback Wrangler to bring the powerful imagery, excitement and energy of the Northern Territory to key rail platforms.

Butterfield says the aim is to get across the magnificence of the experience. “In this instance XtrackTV really helped us engage with a targeted audience that we couldn’t reach with other media and at scale – which ultimately ticks all our boxes,” he says.

After using XtrackTV for Tales by Light, and quickly realising the value it added to the campaigns, National Geographic Channel has begun using it more frequently as part of its outdoor strategy.

Most recently, XtrackTV has been used within a larger campaign for the National Geographic Channel original series Outback Wrangler to bring the powerful imagery, excitement and energy of

the Northern Territory to key rail platforms across Australia’s major cities.

Being an early adopter of XtrackTV has allowed the brand to try different approaches with the platform and use its abundance of great content to really engage the commuter audience. XtrackTV’s unique ability to reach this captive audience in high dwell moments, compounded by compelling, creative and eye-catching storytelling has made for a great combination time and time again.

Trying it once and using it again Since first using the platform in 2014, National Geographic Channel

has seen the value in XtrackTV in connecting with large audiences in targeted environments. It has proven to be a valuable marketing touch point for the channel.

Campaigns include the ground-breaking series Cosmos: A Spacetime Odyssey, giving commuters a rare insight into the eyes of some of Australia’s and the world’s best photographic storytellers with Tales By Light in May 2015 and bringing the territory to the city with Outback Wrangler in November 2015.

Looking forward, XtrackTV’s extension across the country into more capital cities will allow the brand to engage with a national audience.

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54 OPINION

The circuit of life Damien Rath and Paul Peters of APN Outdoor give us a sneak peek into the life of a digital outdoor site.

1. Strategic fit assessment APN Outdoor places emphasis on ensuring every digital asset has a clear and concise strategic fit and purpose within the business.

Our cities, roads and freeways are dynamic and constantly changing, so careful consideration is given to the placement of digital assets and how they are expected to perform in the future.

Our digital signage generally needs to span a life cycle of time up to 15 years, so getting the fundamentals right is critical.

Our assessment of strategic fit will include the proximity of other digital assets to ensure an even distribution of our digital assets relative to forecast sales demand, demographics and proximity to the CBD or major hubs in which we can capture and measure our audiences.

Other considerations include traffic volumes and whether any planned freeways, tunnels or bypasses might affect traffic volumes in the future. Planned building developments or redevelopments can also block viewing of signs, so we also look at worst case scenarios.

At a macro level we ensure we have proportional distribution of

digital assets across the cities in which we operate. This can be challenging as certain states are faster to embrace new technology.

2. Commercial feasibility We spend a great deal of time making sure we have the right inputs into all business cases, which is often a delicate combination of historical data with careful predictions of how the sign is likely to perform in the short, medium and long terms.

Typically, each business case will include analysis around forecast sales, media rates, rotation and duration of ads and a detailed estimate of forecast capital and operational expenditure.

Each sign resides on a host property so in all cases the operator, such as APN Outdoor, will enter into a property-related lease or licence with the land concession holder. The level of rent becomes a critical aspect of commercial feasibility, as these agreements can span anywhere from five to 20 years.

3. Design, technology and vendor selection APN Outdoor invests a significant amount of time to ensure we optimise the design, vendor and technology selection to maximise the effectiveness of our digital products.

We have developed a contemporary and flexible design palette to ensure a fit with the relevant surrounding architecture and landscape, but also to ensure that the

Damien Rath General manager – digital media, APN Outdoor

marketingmag.com.au

T

he process of bringing a digital billboard to life is complex and meticulous, from the initial idea to the go live date there are many boxes that must be ticked, parties involved and considerations to be made.

Paul Peters General manager – operations, APN Outdoor

visual display area clearly dominates the space for our clients.

APN Outdoor has a small number of carefully selected partners within our key supply chain segments: LCD and LED screens, design, engineering and construction.

The due diligence and selection process is extremely onerous, as we demand excellence in health, safety and environment (HSE), R&D,

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product and service quality, and responsive support frameworks.

In regards to LED screens, we have three partners with one each in Australia, the US, New Zealand and France, which ensures we are aware of and contribute to future global product developments. An example of this was XtrackTV, which was a world-first product innovation for APN Outdoor.

4. Planning, environment and building approval

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Achieving town planning approval for outdoor advertising displays is extremely difficult and typically the most challenging element of a sign’s life cycle.

Since developing our first digital sign on the Young & Jackson building in Melbourne in 2008, much of our time has been spent researching and educating stakeholders, particularly myth-busting.

When we mention digital signage, some people mistakenly assume we want to run full motion or sound, or that the illumination will be too bright or distracting to drivers. All of these concerns can usually be allayed by demonstrating research and, in certain circumstances, by carrying out light simulation studies.

Town planning applications for digital signs will almost always include some reference to or description around control of light emission, particularly at night, and ensuring we have carefully addressed any safety requirements specific to the planned site.

While the town planning requirements continue to remain extremely rigorous, we are seeing an increased acceptance of roadside digital signage nationally, as more and more positive examples appear.

Aside from the enormous benefits, versatility and immediacy for advertisers, digital signs are starting to show government agencies that

they can provide community and emergency messaging capabilities not previously available.

In many cases, the existence of digital signage also reduces the need for physical access, something we argue about with planning authorities. This further improves safety as signs can be changed anywhere in Australia from a desktop in Sydney!

5. Construction and ongoing quality and reliability optimisation The success of the construction stage is based on three key objec-

We have established relationships with several suppliers in Australia and New Zealand, who have relationships back into the US and Europe where digital technology is mature, and in China, which is increasingly gaining ground in quality and pricing.

Since 2008 we have probably researched and stress tested as many as 50 suppliers to arrive at a handful of market-leaders.

Many firms can supply and sell LED or LCD digital technology, but we insist on establishing relationships that can service and maintain the technology for up to 10 years.

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Understanding the entire process in great detail has led to numerous improvements in the technology we choose, pricing and on-time delivery of the products we purchase.

tives: HSE, quality and on-time completion. Our LED screen, engineering and construction partners work closely to install and optimise the screen prior to us scheduling live creative.

All APN Outdoor screens are supported by a 24/7 remote monitoring and diagnostic framework, which automatically identifies any variation to expected quality levels.

These variations can normally be fixed remotely; otherwise, a service technician attends the site.

6. Technology research and development Since commencing our drive to digital we have continued to increase our ‘thirst’ for knowledge and desire to continually improve what we do.

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We have become increasingly interested in understanding the creation of our digital assets from components on a factory floor to their full construction on-site.

Understanding the entire process in great detail has led to numerous improvements in the technology we choose, pricing and on-time delivery of the products we purchase.

Equally, we continually scan the news on a daily basis, attend trade shows and regularly invite our key suppliers to provide updates on their innovation to find points of mutual benefit to grow and build upon our relationships. We think about the long-term and finding ways to fortify and build upon the relationships with our key suppliers, as it is in our interest that they succeed.

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56 OPINION

Luxurious outdoor T

he luxury market is currently waking up to the opportunities of ‘digital’.

Conventional thinking was that the online and luxury experience were incompatible, but with the likes of Net-a-Porter engaging with millions of consumers every day across its online site, app and social media channels, this thinking has been widely debunked.

A 2014 report by McKinsey, ‘Luxury Shopping in the Digital Age’, concluded that while ecommerce represented just 4% of luxury sales, 40% of luxury purchases were in some way influenced by consumers’ digital experience, whether that be online or through social media.

Don’t let the tail wag the dog Given these findings, it would be very easy for luxury brands to overindex in favour of online marketing at the expense of outdoor, especially when competing for the attention of tech-savvy millennials. This, however, would be a mistake.

Luxury brands sell aspirations and dreams, not just products; therefore, crafting and telling compelling stories is crucial. And

Simon Bell Executive director – strategy, South-East Asia, Pacific and Japan, Landor

outdoor advertising plays an important part of the journey for luxury brands.

All brands should be media neutral, but this particularly applies to luxury brands, with the brand and brand story needing to drive media.

Consequently, on and offline have their place in the luxury ecosystem.

The key is to make the experience seamless. Luxury brands need to be set up to work across all touch points. They must be agile and provide brand owners with the tools to react quickly and efficiently to opportunity both on and offline.

is a perfect example of how digital and traditional media can support each other to generate new content.

Last year Net-a-Porter launched a digital outdoor campaign that displayed real-time sales trends across digital signage. A live feed was incorporated into an advertising board, showing the products women were buying globally, as and when they were purchasing them. Using data to create a live trends update for its users was a simple yet innovative way to use outdoor advertising: creating a sense of urgency and a direct call to action.

Online, offline, inline

Big statements

‘Old’ media still has a place. Burberry and Net-a-Porter are examples of luxury brands that understand how to engage consumers across all media.

Burberry has recently commissioned the incredibly popular fashion and portrait photographer Mario Testino to shoot its Spring 2016 advertising campaign.

To support the campaign, the brand will show behind the scenes footage using Snapchat, with the aim being to use digital and social platforms to convey the energy of the brand and the creative process. This

Another advantage of outdoor advertising is that it offers scale and the option of making big statements.

Hermès, for example, is highly adept at creating adverts that are like pieces of art. Large hoardings become canvases that heighten the appeal of both brand and product, especially where the brand’s scarves are concerned.

The same applies to talent. When a luxury brand is paying millions of dollars to a celebrity deemed to be a good fit for the brand, it stands to reason that there is value in larger

marketingmag.com.au

Landor’s Simon Bell explores why outdoor media is an important part of a luxury brand’s strategy.

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consumers’ attention and help that brand stay top of mind. They can create a brand story right when consumers are looking for inspiration before purchasing luxury goods at duty-free retailers or at their end destination.

Personalising your message

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scale outdoor activity that brings brand and celebrity together. Think of the Calvin Klein billboards in Times Square, New York, which can even generate media and social interest well beyond the billboard itself.

London, New York, Paris Luxury fashion brands have long associated themselves with places, with glamorous destinations always playing a part in campaigns and photo shoots.

These destinations now provide the location for luxury shopping experiences that play the role of brand-cathedrals, where the rich and style savvy can worship and experience the brand. Retail destinations like Paris, New York, Dubai, Hong Kong and London provide a natural backdrop for luxury brands. Take, for example, Tiffany & Co and its activity in Hong Kong. The brand regularly takes over the tram stop outside of its store to advertise the brand, bringing the brand out into the street.

There are two ways to look at this execution.

One is to view this activity as unnecessary ‘brand badging’ that needlessly damages the elegance of the brand. The counterview, however, is that in a city like Hong Kong, which is naturally chaotic, vibrant and visually cluttered, bringing the brand to the streets is appropriate. Outdoor is a means for the brand to become part of the fabric of the city.

Gateway to the luxury market The location of outdoor advertising also plays an important role when it comes to large-scale outdoor advertising at international airports.

Airports are a proven gateway to the luxury market, with regular international travellers more likely to purchase luxury goods on a more regular basis, whether it be fashion, cars, watches, or business and first class airline tickets.

Outdoor large-scale advertisements with luxury branded content and images can attract

Outdoor advertising is traditionally a mass medium, but luxury consumers more than ever are demanding personalised service from their brands and this extends to how they are communicated to.

Luxury car brands were some of the first to embrace outdoor advertising, but with the advance of digital they have been able to advance their messaging. This year, Lexus exclusively teamed up with APN Outdoor to launch a series of digital billboards with vehicle recognition technology to tailor messages to drivers of non-Lexus cars. The tongue-in-cheek campaign appeals to a younger and more progressive luxury audience.

Part of the network Outdoor definitely has an important part to play in the luxury brands market and when it comes to reaching affluent consumers.

Outdoor advertising can inspire, create desire and tell a brand story.

But the brand journey cannot start and end with just outdoor, as brands need to ensure consumers can act on inspiration right then and there, however they please.

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58 OPINION

Watch, listen and learn

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he world is an amazing place.

It is also a bloody complex one, full of curious and compelling stories of people and how they engage with society, the media, brands and other people.

This has seen the rise the capability and desire of marketers to make use of data to solve the problem of complexity. The more people engage, the more information is available to understand the ‘who’, ‘what’, ‘where’ and ‘when’ – job done, right? But what about the story behind the ‘why’?

When thinking about the role that qualitative research plays in answering this, the traditional focus group or interview still plays a critical role; however, ethnography and semiotics are increasingly being used to truly get to the heart of meaning in a more complex world.

Finding answers related to people without actually asking them questions may seem counterintuitive; however, semiotics and ethnography

are less impacted by issues of hazy recall as the day’s interactions overwhelm people.

In short, people are doing more and remembering less. We need to be in the moment with them, understanding how they actually engage and the reasons behind this, not just what they say they thought, felt and did hours, days, weeks or even months later.

Of course, the power of these methodologies is determined as much by the question the client is wanting answered as anything else, and The Lab was very fortunate with APN Outdoor on the #myrealworld project that their question provided the scope to allow us to truly unpack and understand people’s lives and media interactions.

The brief: ‘help us understand the role that the outside space plays in people’s lives and in particular how this manifests in people’s day-today routines’.

It’s a great example of a

question that can truly benefit from the answers that semiotics and ethnography can provide.

APN Outdoor’s progressive approach in wanting to understand the category in the broader context of people’s lives and their openness to, what for many is still, a non-traditional approach allows us at The Lab the freedom to let the answer come to us, rather than try to force it into a two-hour focus group.

A little selfishly, it is also the reason why we as researchers head into work with pep in our step on Monday morning!

Without getting too far into the DNA of the approach or the information that we provided to APN Outdoor, the research involved three key things.

marketingmag.com.au

Matt Sandwell reveals how APN Outdoor embraced semiotics and ethnography to help inform its #myrealworld campaign.

1. Starting with clear, consumer hypotheses in mind, driven by the broader culture and context Briefs such as these can be an exercise in ‘boiling the ocean’ –

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Matt Sandwell Research director The Lab Strategy Matt Sandwell is a research director at The Lab Strategy, working with some of Australia and Asia Pacific’s biggest brands to help them understand their markets and unlock growth.

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looking for the answer without some parameters in mind.

In this case, an upfront review of The Lab’s proprietary cultural paradigms study, APN Outdoor’s previous research, semiotic analysis of the outside space in Australian culture, and upfront engagement with APN Outdoor stakeholders was undertaken to ensure that we were focusing on the right areas.

2. Spending time, real time, with the target audience as they go about their day and their activities On average we spent eight hours with each of the people that were part of the project. This time was over a number of different journeys they undertook, different times of the day, days of the week, modes of transport and so on.

It is amazing what people do that they don’t take notice of or can’t articulate, particularly in what some consider the ‘dead time’ of the daily commute!

3. Not being bound by the purity of research, but focusing instead on understanding people and their story When we undertake ethnography, we rarely adopt the purist form of ‘bird watching’ where we simply observe and are not seen or heard. Although the purist approach has clear benefits in certain circumstances, a hybrid lets people undertake their behaviour, with occasional clarification or questioning in situ by the researchers to understand the mindsets and motivations behind their actions.

To ensure that the benefits of this approach were understood and the insights embraced by APN Outdoor and its clients: ✺ we undertook narrative development sessions with APN Outdoor, following the fieldwork, focusing on crafting a clear, compelling and credible story at an individual, segment and overall level rather than endless analysis and content generation, ✺ outputs were largely videobased, using the storyline that was developed as the thread that brought together various clips of people’s behaviours or comments, ensuring a more credible, compelling and less contrived output, and ✺ implications were focused on the future rather than the past or the present, highlighting what all of this means for APN Outdoor’s and its clients’ growth.

We found throughout this process that outdoor advertising enriches, and doesn't interrupt, people's lives. The majority of people see it as a welcome distraction and the starting point of a larger conversation. So, what does this all mean for brands and marketers?

In a world where there are more than seven billion individual stories of ever increasing complexity,

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Finally, semiotics and ethnography are getting their long overdue seat at the table of research in Australia. For APN Outdoor it has provided a powerful tool for unlocking the DNA of the outdoor space.

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now more than ever research can and should play a valued role in understanding these stories, the 'why' and interpret this narrative in a clear and compelling way.

Finally, semiotics and ethnography are getting their long overdue seat at the table of research in Australia. For APN Outdoor it has provided a powerful tool for unlocking the DNA of the outdoor space, and its role within it. It is just as useful for understanding all aspects of people’s lives as they live them, both offline and online.

Ultimately, the opportunities that ethnography and semiotics provide are as wide and varied as all of the complex, curious and compelling stories of people and their relationship with their worlds – all out there, waiting to be told!

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60 OPINION

Celebrating summer, art and life

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very January, there is a buzz in the air that can be felt throughout Sydney. The city comes alive as Sydneysiders and visitors from all over come together to celebrate the highest quality art and big ideas that Sydney Festival has to offer. The Festival has come to define Sydney’s personality and diversity with its audacious contemporary programming and colourful summer fun.

Originally conceived in 1977 to attract people into the city centre during the holiday months, the Festival has grown into one of Australia’s largest annual cultural celebrations. In 2015, with a staggering 179 free and ticketed events showcasing 974 artists from 30 countries and an audience attendance of 554,122 people, there is no denying that this major event is a standout in Australia’s cultural calendar.

Sydney Festival really introduced Sydneysiders and Australians to how

good outdoor events can be. Many of the events we now take for granted as key parts of Sydney’s rich events calendar, once started under the Festival’s wings: the NYE fireworks, the Writers’ Festival, the outdoor cinema in the Domain… were all introduced under the banner of the Festival.

Throughout our 40-year history, we have remained champions of event innovation, surprising our audiences and taking them on creative discoveries around the city.

These same elements of surprise and creativity are, of course, what we look for in our outdoor advertising partners too.

From bringing the world’s greatest artists to our doorsteps, to clever branding and a targeted marketing campaign, the numbers clearly reflect the continual growth and success of the Festival.

The 2015 Festival’s integrated marketing campaign ran for over five months from 22 August to

29 January. The key results achieved during this time were notably 1.2 million visits to the Sydney Festival website with 7.7 million page views, 316 digital advertisements with a reach of 25.5 million, 90 print ads with a 21 million readership, a database of 78,727 email subscribers and cumulative outdoor advertising via APN Outdoor and Adshel with a reach of 3.6 million.

APN Outdoor and Sydney Festival have shared a long working relationship together, and in 2016 we will celebrate a strong partnership of over 20 years. In 2015 alone, APN Outdoor generated a reach of 2,615,000 people through its outdoor signage campaign with Sydney Festival.

The campaign included large-format billboards, roadside posters and bus backs across Sydney, Parramatta, Canberra and Melbourne. XtrackTV signs also screened Sydney Festival TVCs

marketingmag.com.au

Celebrating its 40th birthday in 2016, the Sydney Festival continues to define just how good outdoor events can be. Festival director Lieven Bertels shares some insight into the event’s evolution as the climax of his fourth and final year as director approaches.

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Lieven Bertels Festival director Sydney Festival

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throughout Sydney’s CBD and metropolitan railway interchanges.

Sydney Festival is a huge celebration of summer, art and life in Sydney. Our APN Outdoor campaign communicates the scale of the Festival – people sense that something big is coming in January.

Through our partnership we have the opportunity to showcase the variety of events, and connect with people we otherwise could not reach.

On 21 October, Sydney Festival announced a huge program to celebrate its 40th anniversary year, which will also be my fourth and final year as festival director. From Barangaroo Reserve to Vaucluse House, the Festival will take over several new venues and unusual spaces this January. Sydney’s new creative playground, the Cutaway at Barangaroo Reserve, will be home to one of the largest community participation events presented in Sydney Festival’s history, with French artist Olivier Grossetête’s

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Throughout our 40-year history, we have remained champions of event innovation, surprising our audiences and taking them on creative discoveries around the city.

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fantastically epic The Ephemeral City, and another pop-up installation titled The People’s Tower at Darling Harbour.

In 2016 we will present 11 world premieres, 20 Australian premieres and eight Australian exclusives, including Germany’s famous Thalia Theater Hamburg and director Jette Steckel, who will make their Australian debut with Woyzeck, a stage adaptation by Robert Wilson, Tom Waits and Kathleen Brennan.

In Hyde Park we will see the return of the ever-popular Meriton Festival Village with two Spiegeltents bursting with music, cabaret and circus events, and on the opening weekend of the Festival The Flaming Lips will play a free show to thousands in The Domain.

Sydney Festival also returns to Parramatta’s Riverside Theatre with another exclusive international circus show, La Verità from Switzerland, promising fun for the whole family.

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62 OPINION

Pixel perfect

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he best ideas often come from times of pressure.

2012 was a challenging year for most in the New Zealand advertising industry, but this was the year in which we at APN Outdoor designed our digital development strategy. The strategic organisational pillars were: be first to market; lead the way; and, invest in the most premium quality technology.

After robust negotiations with Auckland Council, we secured consent to build New Zealand's first permanent digital billboard, which was launched by the Mayor of Auckland on 1 July 2013.

From here, a network of five screens was launched in July 2014 and this is where we truly hit our stride.

Next it was into the airport space with Apollo, our iconic curved Elite Screen, and our Portrait Tower Screen both going live on 1 November 2014 at Auckland Airport.

We also developed a further 60 screens inside both terminals at Auckland Airport, complementing the existing the 12 at Christchurch Airport. Our network was thriving and our leadership was irrefutable.

We had amazing inventory and exceptional technological capabilities, from there it was about inspiring clients to take risks, push

the envelope and use our assets to their full potential. In September 2015 we introduced Pixel361°, an annual competition designed to inspire digital outdoor creativity.

Developing the medium and garnering attention from the industry was important to us, but the greatest motivation was the opportunity to inspire innovative and creative use of the digital outdoor channel.

We felt this would require some education and what better way than a competition focused on the quality of creative to motivate creative thinkers?

To gain attention and interest we offered a great prize (the top entry won a trip for two to the 2016 SXSW Festival in Austin, Texas) and centred the brief for the campaign on Men’s Health (Trust NZ), making available a significant amount of digital inventory to bring the winning campaign to life.

The response from the market was amazing. You never know how these things are going to go but the initial registrations showed the industry was really keen to be involved in this exciting challenge and there was a thirst to explore the potential for digital outdoor.

We had high hopes for the competition but in the end were truly blown away with the entrants’ final artwork, which naturally meant that the process of judging was quite

Phil Clemas General manager New Zealand, APN Outdoor

marketingmag.com.au

Phil Clemas, general manager New Zealand, APN Outdoor, talks us through his experience with the growing digital outdoor industry and inspiring great creative with the first annual digital outdoor creative challenge, Pixel361°.

the task. Even so, it was inspiring to see many campaigns demonstrating the vastly untapped potential of great creative executions in our digital environments. The entries we received each took a unique view on the brief. With the focus being on men’s health there was the obvious trend in the creative approach taken – with interesting takes on male anatomy. These all got a laugh, but we were more drawn to the entries that dug deep, pulling at the heart strings for this worthy cause.

Two of the standouts made effective use of the immediacy digital outdoor offers. The lung health test was powerful in rating your lung health against your age – an effective and simple way for people to interact with minimal effort required.

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@marketingmag

The winning entry stands out for its powerful message that a man dies every three hours in New Zealand from preventable causes. With the impact of using real victims, this entry was a clear standout and ultimately the winner.

The key outtake was the quality of the ideas across the board. We really do have a very creative bunch here in New Zealand and Pixel361° gave them the space and freedom to play with this.

Overall, the greatest satisfaction for me was witnessing the quality of the thinking and being challenged with the judging process. The overall result was outstanding and demonstrates the promising trajectory for digital outdoor in this country.

So what's next? With three new sites due in March 2016 (in Wellington, Christchurch and Hamilton) the network will soon encompass a total of eight sites and be the country’s first national network. It will collectively deliver more than 3.7 million visual impacts over a two-week period, creating a unique advertising opportunity for brands and further extending our reach and leadership in this space.

In addition, APN Outdoor will develop two standalone Elite Screens in Auckland’s CBD and we expect those screens to go live in February.

These new Elite Screens will possess the hallmarks of APN Outdoor’s expertise in this space, integrating the very latest developments in energy efficiency, LED technology, and be of an absolute premium quality. These screens will utilise a six-millimetre pixel pitch to provide the highest resolution currently offered in New Zealand, and the viewing corridors are going to be significantly widened with pixel density increased by more than 150%.

In terms of quality, the real breakthrough is the reduction in the SMD diode size, which in layman’s

terms means blacker blacks, brighter brights and superior performance in direct sunlight situations. This equates to greater contrasts and brighter, crisper, more vibrant images for advertisers.

From the inception of our digital strategy formed back in 2012, we have embraced the emerging

opportunities digital technology afforded. We have and will continue to take a leadership stance in this field, consistently elevating the quality of sites and expanding the scale of our Elite Screen portfolio, and we are looking forward to seeing great creative come to life across our expanding networks.

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64 CREATIVE SHOWCASE

THE BEST INTERNATIONAL OUTDOOR CREATIVE Around the world brands and their agencies are leveraging the unique powers of outdoor media channels to impact on the hearts and minds of audiences. Here is a selection of the most lauded campaigns of the past year.

See page 73 for campaign details.

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1 APPLE Spots: Brendan O (pictured), Cielo D, Jirasak P, Cole R, Teppo K (pictured) Agency: TBWA\ Media Arts Lab Los Angeles/Apple Cupertino Award: Grand Prix Cannes Lions 2015, Grand Clio 2015 Winning the Grand Prix at Cannes 2015 was the ‘World Gallery’ outdoor-led integrated campaign from Apple that saw 162 users contribute photos taken with iPhone 6 to make “the largest mobile photography gallery in history”, spanning 25 countries, 73 cities and more than 10,000 installations.

@marketingmag

2 UNICEF Spots: Fatty (pictured), Nerd Agency: Prolam Y&R Santiago, Chile Award: Gold Cannes Lions 2015 The copy in this Chilean poster campaign reads: “One shot is enough.

Cyberbullying represents one of the main causes of depression and suicide among kids at school. If you have a smartphone, use it wisely. Don’t kill anyone’s self-esteem.”

3 ABRINQ FOUNDATION – SAVE THE CHILDREN Spots: B&W Dress (pictured), Blue Dress, Pullover, Sweater, Tunic Agency: Lew’Lara\ TBWA São Paulo, Brazil Award: Gold Cannes Lions 2015 These Brazilian ads about child labour contain subtle yet

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striking imagery to represent how garment manufacturing work can become a prison for children.

4 ECOFILL INK CARTRIDGES Spots: Cyan, Magenta, Yellow (pictured), Black Agency: Ogilvy and Mather Colombia Bogotá Award: Gold Cannes Lions 2015 With one spot for each of the CMYK colours, this campaign from Colombia highlights the danger of running out of ink at inopportune moments.

5 ALGHANIM MOTORS Spots: Confusing Indian, Confusing Iranian (pictured), Confusing Arab Agency: Impact and Echo BBDO Safat, Kuwait Award: Gold Cannes Lions 2015 Promoting the GPS guidance in the Honda Accord, this campaign from Alghanim Motors illustrates the peril of relying on locals to give confusing directions.

6 NEWS UK/ SUNDAY TIMES Spots: Elton, Branson (pictured), Cowell Agency: Grey London Award: Gold Cannes Lions 2015 To promote the newspaper’s annual ‘Rich List’, three of the UK’s fat cats – Elton John, Richard Branson and Simon Cowell – are rendered as exactly that.

7 WOMEN’S AID Spot: Look At Me Agency: WCRS London Award: Gold Cannes Lions 2015 Facial recognition technology was used in this digital billboard campaign to detect when people were looking at the ad. The more people paid attention, the faster the bruised woman in the image healed.

8 CITY OF BUENOS AIRES Spots: Dog (pictured), Baby Agency: The Community/La Comunidad Miami Award: Gold Cannes Lions 2015, Gold Clio 2015 This campaign for the Buenos Aires Public Bike System also won the Grand Prix and two gold Lions in the Press category, and depicts several illustrations of chasers and what they chase.

9 28 TOO MANY Spots: UK (pictured), Sweden, Netherlands, Germany, Italy, Scotland Agency: Ogilvy & Mather London Award: Gold Cannes Lions 2015, Gold Clio 2015 To raise awareness that female genital mutilation occurs in Europe, not just in Africa and the Middle East, these confronting executions show the flags of some of Europe’s most developed nations being sewn up.

10 WATER FOR AFRICA Activation: The Marathon Walker Agency: Ogilvy Paris Award: Gold Cannes Lions 2015, Gold Clio 2015.

Water for Africa and Siabatou Sanneh made headlines around the world when Sanneh walked the Paris Marathon with a 20-litre water container on her head to highlight how far women in Gambia walk to reach clean water.

11 NO SOMOS DELITO (WE ARE NOT CRIME) Activation: Holograms for Freedom Agency: DDB Madrid Award: Cannes Lions 2015 Outdoor Gold To protest new gag laws in Spain, the world’s first hologram protest was held in Madrid, showing that freedom will always find a way.

12 SAMSUNG Activation: Safety Truck Agency: Leo Burnett Buenos Aires Award: Gold Cannes Lions 2015, Gold Clio 2015 One person in Argentina dies in a traffic accident every hour, often involving someone trying to overtake.

Samsung saw a way to make a difference by incorporating its technology into its trucks. Cameras up the front of the truck fed video to screens on the back, giving drivers behind a clear view of the road ahead.

13 MILLIMED THAILAND/ THROATSIL Spots: Alex, Ramsay (pictured), Tyler Agency: BBDO Proximity Bangkok, Thailand Award: Gold Cannes Lions 2015 Alex Ferguson, Gordon Ramsay and Steve Tyler are famous for yelling.

This Thai throat lozenge brand reveals how they’ve been able to keep their throats in such good condition as they’ve aged.

14 HELL PIZZA Spot: Rabbit Billboard Agency: Barnes, Catmur & Friends, Auckland Award: Gold APAC Effie Award AsiaPacific 2015.

As the name suggests, Hell Pizza’s not one to mince words. But rabbits are a different story, so when it launched a rabbit pizza ( just in time for Easter, no less) it decided to erect a billboard covered in rabbit skins. Suffice it to say, the point was taken and the brand achieved world wide fame/infamy.

concept was taken to a digital extreme by making the art scannable, like QR codes, linking to information and even enabling mobile purchases of rice from the area.

16 REPRIEVE/FFR Activation: Not a Bug Splat Agency: BBDO Pakistan, Lahore Award: Gold APAC Effie Award 2015, Gold Clio 2015, Gold AMES 2015 This giant outdoor installation targeted the pilots of predator drones, for which ‘bug splat’ is slang for a kill. The campaign aimed to raise awareness of civilian casualties in the Khyber Pukhtoonkhwa region of Pakistan.

15 INAKADATE VILLAGE Spot: Rice Code Agency: Hakuhodo, Tokyo Award: Gold APAC Effie Award 2015 Back in the 90s, the people of Inakadate revitalised their village by creating rice-paddy art with the different types of rice, attracting hundreds of thousands of visitors.

More recently, the

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74 CAREER PROFILE

An accidental marketer ive years after graduating with a commerce degree from the University of Tasmania, Moore was working on CRM at one of Australia’s largest banks. It was the nineties, a revolutionary decade for data-driven marketing.

Four years in and he’d reached the top of the bank’s CRM function – a global position, since at the time it owned Michigan National in the US. That North American experience, as well as his thirst for challenge and change, saw Moore relocate to Canada to head up CRM at Scotiabank. His next move was, unusually for him, just across Toronto at Canadian Imperial Bank of Commerce (CIBC), where he became senior vice president of marketing.

After six years in Canada and a decade in banking, the change bug bit again, and Moore relocated to Vodafone’s global operations in the UK where his responsibilities expanded again to include relationship marketing and customer experience.

His path back to Australia, and finally to Bupa in 2013, wound its way via general manager roles in Suncorp Group’s personal insurance business and then Australia Post.

Moore now heads marketing for Bupa in Australia and New Zealand, covering the broad spectrum of businesses that sit under the Bupa brand: health services, dental, medical visa services, telehealth practices and rehab aged care, as well as insurance for health, life, cars, homes, pets and travel.

The organisation currently claims five million customers and more than 18,000 staff in Australia and New Zealand.

Moore leads the marketing teams for each of the businesses Bupa operates, as well as having responsibility for the customer and the digital and data functions across the organisation in Australia and New Zealand.

Moreover, he sits on a global brand and marketing team

F

that connects the 70-year-old international health services group together across the 190-odd markets in which it operates.

It’s a broad and varied role, and Moore struggles to remember whether he’s ever had a ‘typical’ day. “That would be really cool if we did,” he laughs.

“It varies. You’re looking at the overarching piece. That means that you end up being involved in a lot of conversations because you are quite openly the voice of the customer.

“Probably where I spend the least of my time, frankly, is on what would be traditionally known as ‘marketing’.

“Digital is not only where we are today, but where we’re going. My role sits on the overall executive team, so I find that a lot of my time is really spent on where we’re going strategically, more so than on just the day-to-day execution.”

marketingmag.com.au

John Moore, marketing director for the Australia and New Zealand operations of health services provider Bupa, sits down with Marketing editor Peter Roper to reflect on a career that has spanned continents and sectors.

Marketing: What does that digital future look like?

John Moore: I don’t think any of us know. It may not even be digital. I think what we do know is that if we put the focus on understanding the customer problem we are trying to solve for then that becomes what we’re delivering today digitally.

We know it’s mobile for now. The reality is that’s just where people are doing their interactions and their behaviours.

People are becoming less episodic in how they’re thinking.

They just want to know the answer to what they want to know now.

Even though people put lots of planning into things, it’s at that moment that they want it that they literally just want an outcome straightaway.

Not even for things that may be classed as ‘high consideration’?

We know, for example, for 31-year-olds, 30 June is a big time for them to discuss health insurance. We also know

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@marketingmag THE ANALYSE ISSUE

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76 CAREER: JOHN MOORE

Every marketer should read...

Think Like a Freak by Steven Levitt and Stephen Dubner

leads to the bankers and getting them to collect information.

Interestingly, it was a great learning, because we did both NAB in Australia and in the US. What was really good learning was that it wasn’t about how good the data was or what you could do with it. It was about how you get people who fundamentally are not used to doing this to see value in collecting the data and then value in using the leads that are being sent to them.

The hardest bit is the change program with your people, not the technology or the capability or the knowledge. It’s actually getting people to do something differently.

The Second Machine Age: Work, Let’s wind the clock back. You Progress and Prosperity in a Time studied economics – was that of Brilliant Technologies by Erik because you hadn’t decided to go Brynjolfsson into marketing or was that because you wanted that skill set?

The Alchemy of Growth: Practical Oh, it’s not even that. I started out as Insights for Building the Enduring a trainee chartered accountant, doing Enterprise

by Mehrdad Baghai commerce, and I absolutely hated accountancy. For the year I worked at Skunk Works: A Personal Memoir of an accounting firm for two days a week My Years at Lockheed by Ben Rich and did my degree for the rest, I really pity the clients that got stuff from me, Is it very different now, 20 years The Brown Book of Design Thinking because I really sucked at it. on?

by Jose Berengueres I literally failed all my accounStrangely enough, the differences are tancy subjects in the first year – I not that great in terms of what you try like to think, in post-rationalisation, to do underneath. How you can deliver deliberately. the experience and make it happen, particularly in a digital I loved the maths on the economics side, so I just stayed world, is dramatically changing, but you have to really find and did an economics degree. If you had asked me postgradthat line because you can actually be a bit creepy. So you don’t uation if I’d work in marketing, I don’t think I would have want to do that, but you do want to show that you know them. even known really what it was, let alone whether I would It’s easier than it was in the 90s because you’re not doing consider it. mainframes and you’re not doing big clunky systems, but I did a fair bit of law, as well; I never finished the law part fundamentally, the data is still the data and you’ve still got to of the degree. It was something to do until I worked out what be able to bring it together to do next. I could tell you a really fancy story but, realistically, it was a way to fill in four years.

As the marketer in charge of a brand with many different facets, does it feel less or more competitive?

So when did that introduction to marketing come?

Oh, look, it’s definitely an asset. When you combine our Market research is where I started. I did a graduate program breadth and our purpose and who we are structurally as a at a bank and on my fourth rotation I was forced – I really was company that exists for its purpose – not one that exists for forced – to do something that didn't involve forex or derivaits shareholders – it’s definitely an asset in terms of being tives or so forth, so I did a marketing rotation. I worked in able to tell that story. When we do tell the breadth of service a market analyst role and absolutely loved it and never left. story, it has a massive impact in terms of how customers see I’m definitely what you call an accidental marketer. us and view us.

I spent time in research and worked on a few change That still doesn’t take away from the need to be really, programs at NAB and then I went to my boss at the time and really good in each of those businesses where we do just said, “I’m bored. What’s something interesting I can do?” compete. We’re not the only optical business in Australia.

He said, “Well, this project might be a good challenge for We’re not the only health insurer. We’re not the only aged you”, so that’s how I got into CRM. care provider. We’re not the only dentist. So you’ve still got to be really focused on what you do, how you deliver it and What was CRM like in Australia at that time? how you get that message out.

It was very new. We were just working out how to use propenFor us, there's no doubt we have an advantage when sity models and common databases. We weren’t even using you put the whole health and care story together because it email marketing at that stage. This was still about getting comes to life and presents a unique proposition.

marketingmag.com.au

they probably spend about 12 months researching it and talking mainly to their family and other friends about what to do, but it all happens on pretty much the last day. It’s very instantaneous, even for stuff that they’ve planned for.

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@marketingmag

Any examples of that?

It’s probably just how insular you can become. In each market I’ve worked in, you often pick a market and you go, ‘Oh, that’s the best one’, so you only look at that. Whereas, if I look today, I have no desire to be the best health insurer in Australia – I want to be the best of any company in the world that’s doing this.

It really opens your mind to different cultures, which teaches you that there isn’t a better or worse, there are just differences. If you appreciate the differences, then you can actually really do some cool stuff.

American leaders are very, very good people managers.

If you ask an American leader about what they’re most proud of, almost every time they’ll talk about people that they’ve grown.

You ask an Australian, and you won’t hear that as the first thing often. The English have a different style, again.

With international experience you get to pick and learn through the best.

TAKE THE TIME TO LISTEN – your Quite rightly, we all have different team members know far more than skills and different capabilities. you about the topic.

Coca-Cola has a design lab called Red Garage, and they talk about BE AVAILABLE AND PRESENT. falling in love with the problem, not the solution. I think as humans, we EMPOWER THEM AND LET YOUR naturally want a solution. We go, ‘Oh, TEAM DO THEIR JOBS – your role that’s a cool bit of kit, what do I do with is to make an outcome happen it?’ rather than, ‘What is the problem rather than being across and that actually matters?’ involved in everything.

Fall in love with that. Whichever

You’ve worked across a fair breadth of industries – has that been deliberate on your part in terms of your career?

Oh, totally, yes. I’m naturally curious.

I’ve only ever worked in services, because I love actually knowing who my customers are and actually having data to do something with, whereas I think FMCG type things would drive me insane.

I’ve always found working in different sectors really exciting and mentally challenging.

You bring the knowledge you have but, more importantly, you learn something different. I think too often people make the mistake of thinking, ‘It worked there, so it will work here’, and it just doesn’t.

I have to admit, out of all the sectors I’ve worked in, this is probably the most personally connected to who I am and so it’s rewarding in that sense.

On managing teams...

Regarding your international experience, what has that done for you? Was that another deliberate move in order to get that experience?

It was a deliberate move to live internationally, frankly, to start off with. I don’t think you can underestimate the importance of working in different sectors and in different countries.

It opens your eyes to some of the goofiness that you do in your own country. You look at it and question it.

solution you come up with is probably

THE OUTDOOR ISSUE

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78 CAREER: JOHN MOORE

On outdoor...

Outdoor is an interesting medium.

At its most basic level, it’s a reliable mechanism to get your message across. At another level it can allow for interaction with your brand, taking advantage of the physical nature of outdoor and its ability to interact virtually or physically with the public. The key is to link this opportunity to your strategy and customers’ needs rather than just doing something creatively cool.

What are the moments in your career that stand out as those you’re most proud of?

I’ve had a number of different highlights, but the things I really remember are about the impact I’ve had on my people. I can think of moments where I’ve actually seen a whole shift in a big group of people. Even if I look at the stuff that we’re doing here at Bupa, the impact we’ve had in moving from a series of businesses to a real story around health and care, that’s something I’m really proud about. It’s getting a whole organisation behind a way of thinking and strategy.

Another thing I'm proud of is having the confidence to say, ‘Screw it. I’m going to move to another country and try a different sector.’ It’s a double whammy. It’s fun. I thrive on change.

And have there been challenging moments that stand out that have been educational?

My favourite interview question for anyone who comes for a job is, ‘Tell me a time when you screwed up and what you learned from it.’ I have this rule of thumb, which is, if you haven’t screwed up, you haven’t pushed the envelope far enough.

There are multiple times [I’ve screwed up], and there probably will be more, but the one that always stands out to me is the first time I went with NAB to the US. I can remember I turned up there and I thought I knew everything.

I’ll never forget. It was week two and the CEO of the Michigan National business called me aside and just said, “You may think you know stuff, but if you don’t take the time to actually listen to people and understand what they’re saying, they’re just going to think you’re a bit of a wanker.”

Actually, he used the American term for that.

It’s been one of those lessons I’ve always taken: people do not turn up to work to be an idiot or to do things that don’t have value. Take the time to actually sit down and understand why they are doing what they’re doing.

Another example would be that there’s only one campaign I’ve ever done that I’d say I personally really loved.

And it failed – because I did it for what I loved, not for those I was marketing to. Everything I’ve done I’m really proud of,

but I made the mistake of thinking I was a representative of my target market, and I’m not. I care too much and know too much.

Have you had any mentors, whether through formal mentor programs or informal? Do any stand out?

I’ve had two bosses that really stand out quite dramatically. One was Stephen Graham, my boss in Canada.

He was ex P&G and Coca-Cola. I still reach out to him quite frequently. He’s someone who can look at a message and just know if it’s right or wrong.

He’s got this innate ability to communicate in a way that draws you in.

The other guy is David Wheldon, who was my boss at Vodafone in the UK. Now, I think he’s working for Barclays, but he was globally in charge of advertising for Coke. (Another Coke guy.)He was the master at the internal side. Even though he built these beautiful pieces of film, he realised that the importance was how it landed internally and how you sold the story internally.

I’ve never had a formal mentor program, but I don’t think there’s a single boss I’ve had – and my current boss is probably the best storyteller I’ve ever met – who I haven’t learned something from. If you treat them as a coach, you can get some pretty amazing insights.

marketingmag.com.au

going to be out of date by the time you come up with it and get it out there. I think that’s probably been what I’ve learned over the last 20-plus years: it’s actually the problem you’re solving for that matters.

What’s next? Are there more goals to tick off in your career, whether near or far future?

I think the great thing about the last 10 years of marketing is it’s totally flipped on its head. It’s no longer just about the creative. It’s now about the data. It’s now about the technology. I spend more time talking about human-centred design and agile than I probably do briefs. With digital marketing and customer, I’m just excited by where my world’s going.

It’s evolving rather rapidly. I think my nervousness is whether I can stay young enough in mind and curious enough to keep up with where it’s going.

I don’t know what it will look like, but I think if I can stay curious and young enough at heart and keep focused on the breadth and the experience, then I think whatever marketing will be will be a very interesting challenge.

I can honestly say that this is a company that I want to stay with and actually see where we go. The opportunity as we go broader into health and care is both intriguing and exciting.

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2/12/15 10:09 AM

80 BRAIN TRUST

Brain trust Expert advice for developing digital outdoor creative seriously, or you will miss an opportunity to make your message 50% more memorable (OCS UK).

This is achieved through relevance – digital outdoor can deliver messages in real time, at the right time, in the right place.

Once you’ve got your Joe Copley Managing director head around this real-time Posterscope Australia opportunity, you need some data to inform your creative brief. Who is the audience, how do they feel, why are they there, what is the dwell time, how can your brand be most relevant to them and how much does all that change by time of day, day of week, weather conditions and traffic?

If you don’t have the data, try and get some, or make some assumptions to get the ideas flowing.

The advantage of digital outdoor is that the message can be changed at will, so that it can be more relevant to more people, more of the time. This is a huge and largely untapped opportunity for brands that can deliver well.

The technology for scaled, dynamic message management and delivery is available, but the creative ideas to make the most of digital outdoor are in relatively short supply. Yes, we need more data, but also, to quote a billion school reports, we ‘must try harder’.

When a brand gets it right, it’s among the purest of all advertising influence: it can’t be blocked, or skipped, it doesn’t interrupt or intrude. In fact, outdoor messages are often the best ‘content’ available. They are there for us to engage with if we want to, or they provide subliminal brand priming when we don’t. Either way, it can deliver valuable and timely influence in a way that few other paid media channels can. Make the most of it.

WE THINK OF outdoor advertising as the original broadcast medium and one of, if not the most, steadfast throughout time.

The presence, magnitude and overall impact of outdoor has long meant it has been a staple in any campaign.

The printing and instalPhil Clemas General manager lation process has restricted APN Outdoor New Zealand the ability for advertisers to react quickly to changing circumstances, but digital has meant that this is no longer the case.

The easy option is to view digital outdoor as nothing more than fast-rotating static billboards. As innovators and leaders in this space we are pushing advertisers and their agents to look beyond this, to think of it as a separate medium that warrants the same considerations of any other, to embrace and employ the creative flexibility and immediacy presented by digital outdoor.

The New Zealand advertising market has long been regarded as a creative vanguard across all formats, in particular outdoor, and we have seen some great examples of advertisers embracing the capabilities.

With any new format or medium, education is paramount in the early stages and our commitment to this has been unwavering. Earlier this year we engaged creative thinkers from around the country to participate in a digital outdoor creative challenge, Pixel361°, that gave them the space and forum to demonstrate innovation. The results were simply outstanding. We have seen the potential this market has in the digital space and we are very much looking forward to this becoming the new normal for creativity in the digital outdoor space. As the industry grows and scale extends we look forward to pushing the envelope even further.

marketingmag.com.au

FIRST, TAKE IT

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REGARDLESS OF WHAT delivery method

@marketingmag

you use in outdoor, static or digital, two things remain true: outdoor is the ultimate broadcast medium and it’s the ultimate creative stage.

It’s big, it’s bold and everyone will see it. And Charmaine Moldrich what’s more, you are now CEO broadcasting to a larger Outdoor Media Association audience.

As we know, today’s consumer is increasingly demanding to be connected with the world on their terms. In the past this may have been hard for outdoor to satisfy, as it was a long-lead channel, but digital has changed this and given two compelling new arrows to the outdoor bow: flexibility and immediacy.

This, however, doesn’t only translate to digital screens – the Internet of Things (IoT) is making all outdoor formats come alive. Wi-Fi, beacons, QR codes and NFC, as well as facial, motion and gesture recognition, have opened up a world of choices for advertisers.

By aligning with mobile and digital technologies, outdoor is now able to connect advertisers with their audience anywhere, anytime, changing the focus from the age-old formula of image, copy and logo to one that offers creatives a plethora of ways of immersing people in a product or service and connecting audiences to those experiences. As the creative process for developing outdoor takes on new dimensions, Digital outdoor becomes a companion screen to online, TV, mobile and video.

So, our best advice is: think of outdoor as a screen, outside the home, that can reach 12.2 million people each day. Outdoor is part of people’s everyday lives, it’s where they live, work and play.

Also understand that outdoor is in the public domain, and therefore has a social responsibility because it is ubiquitous and it broadcasts to a general mass audience. Don’t just repurpose your other content for outdoor, but build outdoor content to engage audiences while they are out and about.

Consider what they are doing. Are they commuting, socialising or travelling? Contextual relevance is key.

Digital outdoor is now challenging creatives to think outside the box and [consider] that a ‘one size fits all’ outdoor campaign no longer exists.

ONE KEY INSIGHT that comes out of the millions of ads we collect and categorise every year is that a good piece of creative – that captivates, entertains, delivers a clear and concise message, and cuts through the Aaron Rigby clutter – is going to be Director of client service – successful, whatever the advertising, Ebiquity medium.

I’m a firm believer in message over media, but digital outdoor certainly adds a new element to how you can both interact with a creative idea, and how that idea interacts with the environmental context of the ad.

Although it’s still a relatively new medium, there have been a few campaigns we have seen that have been tremendously successful in both delivering a key message creatively and extending its value through motivating consumers to share it virally.

The best international campaign we have seen to date would be British Airways’ award-winning ad, ‘Magic of Flying’, which featured in Piccadilly Circus, London.

The key learning from that campaign is how the ad delivered a clear and concise message while also leveraging significant contextual relevance to its surroundings – and that’s the true power of digital outdoor.

If done well, it can seamlessly integrate the message into its surroundings, providing a springboard for an idea to quite literally occupy the space outside of the physical constraints of the ad.

In British Airways’ case, the idea extended out to the constant stream of 747s flying 30,000 feet above – a significant canvas for an idea to come to life and engage with the consumer.

So when thinking about how to create a successful digital outdoor ad, the first question to ask is how can your idea, the location of the ad and the surroundings work together to create cut-through and tell an engaging story to the right audience at the right time.

THE OUTDOOR ISSUE

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82 CEO'S NOTE

Outdoor’s growing bag of tricks ALL MEDIA HAVE their own unique bag of tricks to satisfy advertisers’ needs. Each has its strengths and weaknesses that may put one ahead of another in media channel selection. But in the main, these characteristics never change.

Outdoor advertising has relied on a set of characteristics that provide an advertiser with high impact viewing, longevity of messaging and high frequency together with many other features and benefits.

One of the characteristics that potentially held us back in the past is the timeliness of the logistics of printing, transportation and physical installation of the material.

Apart from being brighter, and consequently more engaging to a viewer, digital screens have revolutionised outdoor’s characteristics and consequently its application when it comes to providing premium solutions for advertisers.

Essentially, our bag of tricks has just got bigger: Immediacy: digital screens have taken outdoor from being the least timely responsive to arguably the most. Responses to competitor offers, changing copy and reactionary messaging are now not only simply executed, but transmitted to any digital screen in the country at the push of a button.

Time relevance: we have known for a while that advertising is more

effective when delivered at times or locations relevant to the consumer – digital screens now provide this.

With full flexibility over where and when your message is posted, the opportunities for highly impactful time-relevant communication will add effectiveness.

Creative flexibility: rather than only being able to display one creative treatment, digital screens now give complete flexibility over creative adaptations to extend engagement.

Place relevance: depending on the location and environment of the digital screen, the message can be adapted to be more relevant to a consumer’s activity.

So what does this new bag of tricks mean?

A focus for APN Outdoor is to not only build the best quality screens in the best locations, but to build enough in each market to penetrate a marketable audience for an advertiser to reach their target at scale. This scale has now been achieved, through our Elite Screens and XtrackTV inventory, and consequently we must continue to engage with advertisers, and media planners and buyers, to promote and educate them on our newfound characteristics and how we can extend the role of outdoor in their communications plan. As always,

some advertisers have identified the advantages of digital screens earlier than others and capitalised on the competitive advantage they offer, and now we are focused on making the early adopters the new normal.

Adding these characteristics to a traditional media channel requires that we subsequently need to change the default perception of what outdoor can provide for an advertiser. It is also necessary to establish new credentials that encourage creative thinking to best utilise the capabilities of digital outdoor.

There is undoubtedly a big prize awaiting the early, creative adopters of digital outdoor and, as digital screens proliferate, the opportunity only increases.

With our growing audiences underlying a greater commitment from advertisers, the product investment has led to playing a greater role with many advertisers. Our original bag of tricks remains solid and, for many advertisers, digital screens may not be the best solution, but for those that are willing to invest the energy and creativity into this new opportunity, the rewards will be high.

APN Outdoor is committed to leading the charge with digital screens and promoting the extensive capabilities of this emerging media channel.

marketingmag.com.au

CEO of APN Outdoor, Richard Herring writes on the dramatic changes seen in the power of outdoor advertising as digital technology has come to the fore.

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– David Redhill, Partner and CMO, Deloitte

marketingmag.com.au/advantage

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WHAT TO EXPECT FROM THE DIGITAL OUTDOOR L E A D E R S I N 2 016 More Elite Screens across Australia and New Zealand.

Completion of a national XtrackTV footprint in Australia.

Exciting digital partnerships, showcasing the power of the medium.

Continuing our commitment to embrace all technology providers, to work harder for brands.

Elevating the mobile and outdoor relationship.

Further investment to provide insight into the connectedness of these channels with the consumer.

T H E C E N T R E F O R D I G I T A L A T T E N T I O N I N 2 0 16

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