Planning Awards Booklet 2013 by clear channel uk

Celebrating the best of outdoor

outdoor planning awards 2013.

Foreword

Contents 04 The judges

06 The winners and the shortlist

07 Best use of digital in outdoor Clear Channel’s Outdoor Planning Awards, in association with Haymarket Brand Republic Group, celebrate the power of combining relevant and exciting creative with intelligent planning to create brilliant outdoor campaigns. 2012 was an incredible year for the United Kingdom and many of the fantastic campaigns entered into the seventh annual Outdoor Planning Awards provided a memorable backdrop to our nation’s successes. This book provides an overview of the shortlisted, highly commended and winning campaigns in each of the five categories. Every campaign within this book deserves recognition as this was the most competitive set of entries in the event’s prestigious history. The Grand Prize and ‘Best use of digital’ category winner, Eurostar (p. 08), deserved both accolades. This modern and innovative campaign demonstrates the future direction of digital out-of-home advertising through transparency, real-time conversations and targeted messaging. Other winning entries, including Channel 4 (p.16) and the Olympic Delivery Authority (with Transport for London, p.28), brilliantly challenged perceptions and behaviour with fantastic results. Marmite (p.36) deserves a special mention for their innovative approach which, when combined with great planning, helps consumers build a personal relationship with a brand.

14 Best use of outdoor in a multimedia campaign

26 Best use of multiple formats in outdoor

34 Best use of innovation in outdoor

46 Best use of continuity in outdoor

Innovation is at the heart of what we do at Clear Channel. Earlier this year we made the high street interactive with the UK’s first permanent outdoor mobile platform, integrating NFC and QR code capabilities into thousands of roadside panels nationwide. The platform allows brands to deepen their engagement with consumers and vice versa. We also launched The Chiswick Towers which are the first step in taking roadside premium advertising to an entirely new level. These developments are a sign of our commitment to innovative outdoor advertising. We are excited to partner with brands who want to challenge the norm and deliver memorable outdoor campaigns and this year’s winners exemplify brands pushing the boundaries. Chris Pelekanou Commercial Director and Outdoor Planning Awards Judge, Clear Channel UK

The judges (left to right below) Mike Baker, Chief Executive, OMC Chris Pelekanou, Commercial Director, Clear Channel UK Gill Reid, Head of Out of Home, MediaCom Angie Elsley, Client Services Director, Carat Manchester Stuart Sullivan-Martin, Chief Strategy Officer, MEC Rian Shah, Head of Strategy, Zenith Media Philip Smith, Head of Content Solutions, Brand Republic Group (Chair of Judges) Richard Smith, Head of Marketing Communications Planning, Marks and Spencer Mark Rose, UK Brand Manager, BP George Prest, Executive Creative Director, R/GA

Judging was held at the interactive Clear Channel Playground.

outdoor planning awards 2013.

The winners & shortlist

Grand Prize winner: Eurostar, Amsterdam Route ‘Eurostar Live’ entered by Posterscope, Arena Media, The Cloud and Compass and LIVEPOSTER Best use of digital in outdoor Winner: Eurostar, Amsterdam Route ‘Eurostar Live’ entered by Posterscope, Arena Media, The Cloud and Compass and LIVEPOSTER Highly commended: Camelot Instants ‘Socialising Scratchcards’ entered by Havas Media, Posterscope and psLIVE (not included in this publication) Shortlisted: Microsoft, Windows Phone ‘People Powered DOOH’ entered by UM and Rapport News International, The Sun ‘Second Sight’ entered by Kinetic, M/Six and Grand Visual Penguin, Jamie’s 15 Minute Meals ‘Cook it, Snap it, Share it’ entered by Havas Media and Posterscope (not included in this publication)

Best use of outdoor in a multimedia campaign Winner: Channel 4 ‘Paralympics’ entered by OMD, Posterscope and LIVEPOSTER Highly commended: Greggs the Bakers ‘Taste Rescue Centre’ entered by Carat Manchester and Posterscope Shortlisted: adidas ‘Take the Stage’ entered by Posterscope and Carat BSkyB ‘Sky Sports F1 Launch’ entered by Rapport and MediaCom Subway ‘Train Hard, Eat Fresh’ entered by MediaCom Edinburgh and Kinetic

Best use of multiple formats in outdoor Winner: Olympic Delivery Authority & TFL ‘Travel Demand Management’ entered by Walker Media and Posterscope Highly commended: London Southend Airport ‘2012 Relaunch’ entered by Kinetic and Rathbone Perception Media Shortlisted: BSkyB ‘Pay TV Difference’ entered by Rapport and MediaCom EE ‘4G launch’ entered by Kinetic and MEC (not included in this publication) Microsoft Xbox ‘Halo 4’ entered by UM and Rapport (not included in this publication)

Best use of innovation in outdoor Winner: Unilever ‘Marmite Gold’ entered by Kinetic, Mindshare and Grand Visual Highly commended: Paddy Power ‘Ryder Cup Sky Tweets’ entered by M2M and Curb Shortlisted: Microsoft, Internet Exporer 9 ‘The Capitol Tour’ entered by UM and Rapport Nestle Kit Kat ‘We Will Find You’ entered by Posterscope and Mindshare Tesco, Tesco.com ‘Virtual Grocery Store’ entered by Rapport and Initiative

Best use of continuity in outdoor Winner: lastminute.com entered by MGOMD and Posterscope Highly commended: BSkyB ‘Long Term Holding’ entered by Rapport and MediaCom Shortlisted: McDonald’s, Long Term Holding ‘McScore’ entered by Posterscope and OMD Milk Marketing Forum ‘Make Mine Milk’ entered by Posterscope and John Ayling & Associates (not included in this publication)

outdoor planning awards 2013.

Best use of digital in outdoor 8 10 12

Eurostar, Amsterdam Route ‘Eurostar Live’ Microsoft, Windows Phone ‘People Powered DOOH’ News International, The Sun ‘Second Sight’

Best use of digital in outdoor Winner: Eurostar, Amsterdam Route Campaign: Eurostar Live Specialist: Posterscope Agency: Arena Media Creative agency: The Cloud and Compass Technical platform by: LIVEPOSTER Background and objectives Eurostar faced a tough challenge. Travellers were getting seduced by aggressive flight pricing and ‘sleepwalking’ onto planes without even considering the benefits of travelling by train. As a result passenger numbers were suffering. This situation was likely to be further exacerbated when in 2015 Eurostar faced on track competition on the channel tunnel link and on routes from London to key European destinations such as Frankfurt via Deutsche Bahn. Finally, there was a real need to promote the new route between London and Amsterdam; at the time Paris and Brussels were the only two real considered destinations. Eurostar needed to increase consideration and ultimately change travel habits. To do this they had to

achieve the following: get consumers to value them above their competition entering the UK market and give people reasons to choose Eurostar over cheap air travel. Underpinning these objectives was a real need to build meaningful relationships and use these relationships to understand customers’ opinions and needs; which would then directly inform how Eurostar do business. Target audience The core target group identified were ‘Novelty Seekers’, a young, driven and upwardly mobile group. New and varied experiences are important to them, as is technology; providing more open opportunities for them to express themselves, share their adventures and connect with friends. Focus groups reported that ‘Novelty Seekers’ respect brands which are

open, honest and truthful. Therefore, in order to build truly meaningful connections and engagement with this campaign, Eurostar needed to behave in a fundamentally more human and social way than a traditional marketing campaign would allow. The strategy In October 2011, Eurostar launched their new corporate identity and brand promise of ‘Opening the Way’ which positioned it as an enabler of new experiences, connections and progress. Built on the insight that ‘the most loving relationships are based on openness and honesty’, the approach was to behave as an open brand and social business that allowed for transparent, real-time conversations and shared experiences with customers.

Grand Prize Winner The OOH campaign did just this. It communicated with the right people, at the right times, and gave consumers a genuine ‘feel’ of the experience; whether conveying the speed the trains go, the frequency of the service, relevant and useful information (such as that day’s weather and events in specific destination locations), or even real-time reviews of experiences in these locations. Through a medium trusted by the audience, using a variety of locations, multiple touchpoints were created throughout the working week aimed at developing this relationship and bringing Eurostar back to the forefront of consideration. The execution A platform was created, called Eurostar Live, that placed consumer generated content, experience and business data at its heart. Customer experiences were displayed, along with the inner workings of Eurostar for all to see using a realtime content management system. This system curated and managed content over seven different digital outdoor formats, 365 digital screens, eight online digital display executions and delivered in excess of 7,000 uniquely curated spots every day (all of which were made accessible to the client and agencies for preview and approval prior to publishing several times a day). The content comprised of a variety of generated executions including: 9 ^æZcdZ^X Tæ_XXWbc d_ `_cd Z]çXWc _å their ‘secret gems’ from Amsterdam, all of which were uploaded and displayed within seconds to London’s commuter audience 8 ZbWUd åWWVc åb_] 9eb_cdçb¼c :çUWT__\ and Twitter, displaying conversation and sentiment in real-time

outdoor planning awards 2013.

< ^dWbçUdZfW »c`_ddWV¼ U_]`WdZdZ_^c asking commuters to guess the Amsterdam landmarks via Twitter G YW fZceçæZcçdZ_^ _å 9eb_cdçb¼c _g^ business data including live departure countdown clocks to the next train to Amsterdam, locations and speeds of trains en route to Amsterdam Results The campaign worked. Throughout the campaign duration Eurostar, received an average of 250 Twitter and Facebook interactions a day, a 30% increase in Facebook fans and over 1,200 pieces of user generated content were shared across the platform. Web traffic to Eurostar’s content site (Europe by Eurostar) increased by a massive 5000%. Along with this, in post campaign advertising tracking, the Eurostar Live activity achieved the highest scores with Eurostar being seen as ‘an innovative brand’. But even more importantly, Eurostar Live contributed to a massive 44% uplift in bookings for the new Amsterdam route (on which the campaign focussed) whilst also having a halo effect on other key destinations such as Paris and Brussels (with an increased volume of 6%).

Judges’ Comment

“We’ve learnt a lot from this great piece of brand marketing. The campaign really points the way for the future use of digital outdoor. It’s a behaviour changing campaign.”

Best use of digital in outdoor Shortlisted: Microsoft Windows Phone Campaign: People Powered DOOH Agency: UM Specialist: Rapport

The background In November 2012, with Christmas around the corner, Microsoft set out to launch the new Windows Phone. Windows Phone is a unique, personal device, designed to reflect the individual personalities of everyone who owns it. It was crucial that the media support communicated this in as ‘real’ a way as possible. A global celebrity-endorsed campaign had already ran. This featured James Corden and Holly Willoughby in the UK. The campaign demonstrated how Windows Phone could be ‘re-invented around you’. The local, outdoor execution of the campaign needed to go a step further, showcasing as many of the uniquely personal Windows Phone experiences as possible. The idea was to give the consumer the opportunity to become a celebrity and to enable them to create their own personalised version of the phone. The solution lay in digital OOH. The strategy One crucial insight was central to the campaign idea; the Windows Phone audience love following celebrity lifestyles. Building on this insight, the idea was to give ordinary people the opportunity to see their name (and face) in lights - by becoming the stars of a national interactive DOOH advertising campaign, in a UK media first. Digital OOH allowed Microsoft to get intimate with consumers on a level that no other platform allowed, delivering a one-to-one personal trial of Windows Phone as part of a mass media experience. It also allowed multiple creative executions and demonstrated how the phone could be ‘tailored around you’. Finally, it allowed the target

audience to be reached in key retail environments, and was a clear leader in terms of driving awareness and hands-on interactivity. Such was the confidence in DOOH that more money was invested in the medium than Microsoft had ever invested in UK out-of-home advertising for Windows Phone. With all of this in mind, a pioneering DOOH strategy was developed that combined interactive, broadcast and social elements on a scale that had not been attempted before. The execution 1. Interaction: getting hands-on with Windows Phone Working in partnership with every broadcast outdoor media owner, 24 interactive posters were placed in UK shopping malls and cinemas; in places where the audience would be flocking to in the pre-Christmas period, and which would complement in-store marketing. By interacting with the posters, consumers could create an image of how they would personalise their own Windows Phone Start Screen. 2. Broadcast: national OOH fame Following this, thousands of iterations of people’s creations were broadcast to 450 DOOH screens across the country. Within 30 minutes of interacting with the posters, consumers were able to see their face on digital sites across the country; giving a unique, ‘real people’ feel to a global celebrity campaign and perfectly showcasing the phone’s USP. 3. Social: a Facebook gallery Adding another layer of personality, the entire campaign was linked up to Facebook. Operating in real-time, images of the DOOH creative actually in situ were placed onto a Windows Phone

Gallery, allowing consumers to tag themselves and share their moment of fame with friends across the web. Results & ,+ Z^VZfZVeçæ `ZWUWc _å ]_VWbçdWV creative were rolled out over 2 weeks, across 10 different ad formats % ) (-$ Z^dWbçUdZ_^c gWbW çUYZWfWV across 24 screens (benchmark was 5,000) & &** ceT]ZccZ_^c gWbW bWUWZfWV to become stars of the broadcast campaign 8 BB; bWçUYWV ** _å &)!(( èWçb old adults at 10+ opportunities to view

outdoor planning awards 2013. 6 bç^V `WbUW`dZ_^ _å JZ^V_gc CY_^W saw a +21% rise around core brand statements UK Windows Phone (WP) sales surpassed all expectations: 6 WdgWW^ Uç]`çZX^ æçe^UY ç^V Christmas (when OOH was the core medium), WP sales rose 143% above target G YW JC _`WbçdZ^X cècdW] Yçc trebled its UK market share from 12 months ago E WdçZæ cçæWc `b_åWccZ_^çæc bW`_bdWV a +45 pt increase in requests for WP since the campaign began The success of Windows Phone also had a positive effect on its hardware partners: A _\Zç cçæWc e` )$ è_è çådWb ]ç\Z^X WP the operating system for all its devices 8 ebZ^X dYW Uç]`çZX^ `WbZ_V Microsoft’s two key mobile operator partners, O2 and EE, reported an average of 3.5 x greater sales of WP This campaign brought out the magic of interactive Digital OOH on a scale never achieved before in the UK. It was the first time any brand had linked interactive, to broadcast to social, the first time consumers had powered it all in realtime, and the first time media owners had pulled together on such a massive scale to make it work.

Diane Perlman, Marketing Communications Lead, Windows Phone UK

“This idea had the wow factor right from the start. With this innovation, we enabled consumers to become ‘famous’ and see first-hand how Windows Phone is unique to each one of us. The result is slick, easy to use and fun to interact with, just like Windows Phone.”

Best use of digital in outdoor Shortlisted: News International, The Sun Campaign: Second Sight Specialist: Kinetic Agencies: M/Six and Grand Visual

outdoor planning awards 2013. The challenge Whilst around two million copies of The Sun are sold every day, there are closer to 20 million people who buy at least one copy of the paper across the year. With newspaper sales declining and News International suffering particularly badly in the wake of the phone hacking scandal, the challenge was to turn this larger proportion of promiscuous readers into more regular readers. Based on this insight, News International abandoned the traditional in-paper promotions and embraced the opportunities digital OOH offered, opting for a far more radical way of pushing the newspaper’s content to a wider audience. The three main objectives of the campaign were to sell more papers every day and arrest circulation decline, to push content from deeper in the paper to millions of people and to re-build brand perception in response to the Leveson inquiry. The strategy People are far more interested and responsive to news (and therefore newspapers) as stories are breaking. So the strategy centred on immediacy. This meant exposing people to contentled messages in the morning, when they are near a point of purchase. The day’s front page headlines could then be fed to the public during peak morning commute hours, enticing readers to buy the paper in order to read that morning’s exclusive story. As the only media capable of being this fleet of foot, digital outdoor and online ran in tandem to execute the strategy. Digital outdoor was the perfect medium with its creative flexibility, high frequency, short turnaround times, as well as the ability to target by day-part and change messaging in real-time. While digital

outdoor pushed the main headline, online distributed editorial messages to multiple audiences.

Karl Wells - Integrated Communications Director, News International

News International had two types of message to convey: ‘Code Magenta’, which involved updating daily front page headlines across digital OOH networks and ‘Code Red’; a big one-off story or promotional push, which was played out across digital OOH networks as well as key landmark screens nationally. The biggest challenge was that News International couldn’t give advance warning when the majority of these messages would need to run. The activity had to be completely flexible so a streamlined process for campaign approval and the creation and dissemination of artwork was created. An artwork template was created which could be quickly adapted depending on the headline, imagery and call to action.

“In The Sun we have a product that differs on a daily basis. We needed a solution that would help promote the variety of content in the paper each day, and digital outdoor provided the flexibility and relevant day parts we needed to achieve our objectives”

Campaign approval was only granted the day before the activity was due to run. Finished copy was then distributed to media owners, ready to play first thing the following morning. Media owners were on standby to moderate and schedule copy. The execution Whilst digital OOH provided the reach and flexibility needed, the inventory could accommodate the two different requirements of the campaign. A longterm holding of 2,800 digital screens for The Sun’s daily headlines (Code Magenta) formed the backbone of the plan and ran between October and December across rail, underground, petrol forecourts and CTNs (confectioner, tobacconist, newsagent) reaching more than 3.2 million adults daily. Digital 6 sheets extended the campaign’s reach and frequency nationally in conjunction with networks across UK

petrol forecourts, neighbourhood CTNs and WH Smith stores. When a ‘Code Red’ was activated a further 160 digital OOH locations were utilised across high footfall towns and cities, including roadside digital 6 sheets and 48 sheets in London and landmark screens in key cities. Search and display (mobile and desktop) online messaging supported the DOOH activity. Results Sales of The Sun increased dramatically as soon as the campaign broke, rising even further the following week and continuing throughout the campaign.

Best use of outdoor in a multimedia campaign 16 18 20 22 24

Channel 4 ‘Paralympics’ Greggs the Bakers ‘Taste Rescue Centre’ adidas ‘Take the Stage’ BSkyB ‘Sky Sports F1 Launch’ Subway ‘Train Hard, Eat Fresh’

outdoor planning awards 2013.

Best use of outdoor in a multimedia campaign Winner: Channel 4 Campaign: Paralympics Agency: OMD Specialist: Posterscope Technical platform by: LIVEPOSTER

The challenge Channel 4 had won the broadcast rights to the Paralympic Games in 2012 and had a clear objective: to drive viewing. This meant overcoming three major challenges: 1. The British public were apathetic to the Paralympics. Awareness was low at only 16%. Virtually nobody could name a Paralympic athlete. 2. There would be a two week gap between the Olympic closing ceremony and the start of the Paralympics; more than enough time for excitement to fade. There was a real threat of an Olympic ‘hangover’.

3. This was the first time the Paralympics would be hosted by a broadcaster other than the BBC. The challenge to assert Channel 4 as their home in 2012 was massive. Channel 4 was to put outdoor at the heart of their dynamic approach to herald the biggest television viewing event in ten years. The strategy and execution The campaign ran in three parts. The strategy was to firstly tackle the ‘hangover’ head on. The next stage was to lift the Paralympic athletes to hero status, and finally to broadcast the live excitement of the events themselves.

On your marks: ‘Thanks for the Warm Up’ A tongue-in-cheek, tactical campaign was developed that insinuated the Olympics was just a prelude to the main event, using the line, ‘Thanks for the Warm Up’. All communications focused on one moment; the Olympics closing ceremony. Outdoor was critical to this. High quality, large format sheetage was employed across roadside and underground to write the message large across the Olympics closing period. A banner was erected which would reach the Olympians on their way to Heathrow Airport once the Games had finished.

outdoor planning awards 2013. Other media focused directly on the night of the closing ceremony. Promoted tweets were bought in the most talked about conversation topics revolving around the closing ceremony. Simultaneously, a Channel 4 copywriter was on constant alert during the ceremony in order to respond immediately to what was on-screen and capture the public spirit at that moment, also pointing viewers to the date the Paralympics would start. To complete the story, newspapers were used to place the ‘Thanks for the Warm Up’ message amongst the reviews of the sporting event.

Get set: ‘Meet the Superhumans’

Results

The second part of the activity took place directly after ‘Thanks for the Warm Up’ and was intended to excite the British public about the elite ability of the Paralympians. They were invited to ‘Meet the Superhumans’. Highimpact, large format outdoor allowed a seamless flow of messaging. Sites were hand-selected across four weeks, so all it took was a re-posting to move the message on. Other media built the story around the outdoor presence. On air the Superhumans trail launched and its reach was spread using digital environments, through an association with Sport Magazine, an iPad app and cinema.

Channel 4 was successfully established as the home of the Paralympics. Awareness of Channel 4 being the Paralympic broadcaster soared to 97%. Intention to view was a staggering 86%, with outdoor playing a pivotal role in this success.

Go!: ‘The Paralympics in Real Time’ The final stage was to bring the momentto-moment excitement of the events themselves to life. Digital OOH was used as an extension of Channel 4’s on air coverage of the Paralympics. With the Games underway, a campaign was launched using LIVEPOSTER technology on digital screens across rail and underground, providing the public with top coverage of the Paralympic action in real-time and driving them to the Channel 4 highlights show each evening. Channel 4’s out-of-home messaging was turned into a platform not only for advertising, but as a Games news outlet for commuters.

The campaign helped create the biggest success for Channel 4 in over 10 years – with a peak audience of 11.6 million for the opening ceremony. 87% of adults who recalled seeing the campaign went on to watch the Paralympics. The campaign also changed perceptions around disability. 64% of viewers agreed they felt more positive towards disabled people as a result of Channel 4’s coverage of the Paralympics. 85% of those who saw Channel 4’s Paralympics campaign thought that disabled athletes were as talented as able-bodied athletes. The campaign was truly unmissable and the OOH activity was largely responsible for this impact.

Judges’ comment:

“Very clever creative with careful and thoughtful planning. A beautiful piece of work all round, it enabled a cultural shift and changed people’s perceptions.”

Best use of outdoor in a multimedia campaign Highly commended: Greggs the Bakers Campaign: Taste Rescue Centre Agency: Carat Manchester Specialist: Posterscope The challenge Greggs is a British institution. It engenders popularity bordering on fanaticism with its loyal customers. It is also a major employer, with 1,700 outlets there are more Greggs shops in the UK than there are McDonald’s. But popularity brings its own problems, with lunchtime queues sometimes out of the door. There was a strategic business requirement to drive additional footfall and revenue into stores at other times of day, with breakfast being the most obvious area of opportunity. Greggs undertook a massive overhaul of their breakfast range, introducing 100% Fairtrade Arabica and Robusta bean freshly ground coffee, healthier options such as porridge, yoghurts and juices, alongside the ever-popular pastries and hot rolls. The challenge was to build consumer awareness of this delicious new product line and establish Greggs as a venue of choice for breakfast on the go, despite huge levels of competition on the high street. The objectives < ÛbWçcW dbZçæ _å TbWç\åçcd `b_VeUdc from non-Greggs customers < ÛbWçcW åbWaeWÛè _å èbUYçcW Tè existing Greggs customers, using coffee sales as the key benchmark H ædZ]çdWæè VWæZfWb ZÛbW]W^dçæ cY_bd term sales revenue from breakfast goods The strategy All communication planning was informed by detailed consumer understanding. Carat segmented the entire UK “food on the go” market, identifying key audience segments for Greggs based on attitudes to food, health and lifestyle. This audience insight drove the communications

strategy: “Food on the go means advertising on the go” With a multitude of places to choose from at breakfast, including fast food outlets, coffee shops and supermarkets, it was imperative to maximise presence on the high street in order to drive footfall into Greggs stores rather than competitors. OOH media played a crucial role in delivering this high street presence. The execution Sector domination was not an option. Greggs had a total media budget of just £800k to promote the breakfast range. To put this into perspective, one competitor spends £55million annually on above the line media. Focused, intelligent, tactical use of media was the order of the day, leveraging target audience motivations and media habits to ensure every penny was deployed effectively. Radio built cost-effective awareness, upweighting key dayparts and regions to maximise efficiency. Reach was boosted through selected national press such as Metro to influence morning commuters. But awareness in itself is meaningless unless it translates into action. This is where OOH media came into its own, acting as the vital ‘decision influencer’ on the high street to drive footfall, and therefore sales, into Greggs shops. Working hand in hand, Carat and Posterscope reviewed all OOH media opportunities to discern those that would most effectively drive hungry commuters into Greggs shops. The tight budget meant picking the right battles, so Greggs embarked on ‘battleground planning’. This meant mapping 700 key Greggs locations to build a unique competitor profile for

each. Proximity targeted phone box panels gave an on-street presence in these key battlegrounds, going headto-head with competitors. Directional signage diverted customers towards Greggs. Multiple panels at each location maximised the chances of delivering a motivating sales message. ‘Battleground planning’ was further extended to mobile, using geo and day-part targeting to deliver display ads, rapidly reinforced with SMS containing mobile vouchers prompting instant redemption.

outdoor planning awards 2013.

Graeme Nash, Head of Customer and Marketing, Greggs the Bakers.

However Greggs needed that little something extra that would truly embody their unique brand values and raise people from their morning stupor. To waken the senses with a tantalising aroma of freshly brewed coffee and a hot bacon butty, scented special builds were installed at key city centre locations. Results The campaign worked - there are now queues outside Greggs at breakfast! There was also a huge step-change improvement against all KPI’s. Increases in both product trial and frequency of purchase saw the revenue target

smashed. This means that the media investment delivered a positive shortterm ROI in its own right. But the greater win came in the form of longer term sales value as a result of regular purchasing behaviour. Brand tracking results showd that after the breakfast campaign there was a 17% increase from the pre-campaign tracking results in customers saying they now “buy coffee at Greggs every week” - a key measure of regular custom.

“Using Carat Manchester’s battleground planning strategy we were able to target our main competitors as well as drive footfall to our stores without having to increase our media investment. The campaign achieved real stand out on the high street, with the special build bus shelters in particular really capturing our brand values and engaging with our audience. The success of this campaign has already led to us investing in OOH again for 2013.”

Best use of outdoor in a multimedia campaign Shortlisted: adidas Campaign: Take the Stage Specialist: Posterscope Agency: Carat

The background The summer of 2012 saw a six week celebration that helped put the Great back into Great Britain. A time that has gone down in history as the Games that delivered the most successful British Olympic performance of all time. Twelve months earlier it had been a very different story. The country was reeling from the shock of the London riots. Young people were being given a bad press and global news reports were questioning where this would leave London 2012 and its desired legacy for the next generation of kids in the UK. The strategy With adidas being a celebrated youth brand and Tier one sponsor and sportswear provider for the Olympics, it was clear that this was a time for them to help inspire this ‘forgotten generation’; to engage teenagers into the Olympic legacy and to give them, and the inspirational athletes of Team GB, their chance to Take The Stage. The execution There were two phases to the campaign: Phase 1: Giving teens the platform to ‘Take The Stage’ This consisted of an integrated TV, cinema, online and OOH campaign. A year-long rewards programme was also set up during which teens could visit the Take The Stage website and participate in challenges across sport, street and style, with ‘passion specific’ rewards available each month. The campaign was a call to action to young Londoners to showcase their passions. OOH gave them an opportunity to become a hero in their local borough. In April 2012, the hyper-targeted benefits of OOH were used to deliver a 6 sheet

campaign tailored to each of the 32 London boroughs, championing local teenagers’ achievements in a particular sport or passion – three months prior to doing the same for Team GB. In Hounslow, Jivendra (a local athlete) was shown on 6 sheets with the tag ‘Pride of Hounslow’. This was the case across every London borough. It showed the teen audience that they were an important part of their community and, like the athletes that would follow them on these same sites just a few months later, a key element of the upcoming Olympics. Phase 2: Challenging Team GB to ‘Take The Stage’ Three key activations dominated the UK landscape pre and during the Games: a 4 week TV campaign in the run up to the event, a 17 day Metro newspaper cover wrap during Games time and the domination of London using multiformat OOH. Bus t-sides delivered coverage within central London, whilst a mixture of roadside 6 sheets, mega portraits and backlit/mega 96 sheets provided huge standout in every borough of London across the summer. Conversations were dominated across the different forms of media, stimulating social buzz and keeping adidas on everyone’s lips during Games time, including: F Y_gUçcZ^X dYW ZU_^ZU GWç] é6 \Zd by legendary fashion designer Stella McCartney H cZ^X VZååWbW^d çbdZcdc¼ Z]`bWccZ_^c _å a Team GB athlete every day of the games via a Metro cover wrap 5 c_UZçæ ]WVZç Uç]`çZX^ dYçd XçfW teenagers a chance to win adidas London 2012 prizes

G g_ YeXWæè `_`eæçb _^æZ^W videos, featuring both a David Beckham photo booth stunt and also Team GB singing ‘Don’t Stop Me Now’ by Queen OOH was a key element. Four bold copy changes were used across different OOH formats to tell the story of the Games and built excitement amongst Londoners whilst challenging and championing the efforts of Team GB. By including a consistent social tag of #takethestage on all media messages, social interaction was encouraged. Part 1 (pre-Games) Iconic images of key Team GB athletes were displayed with the tag line ‘Take The Stage’, urging them to rise to the challenge of the Olympics.

outdoor planning awards 2013. Part 2 - 3 (during the Games) This was even more provocative, with copy including ‘Take The Respect’ and ‘Take The Crown’ emblazoned in front of now legendary images of the likes of Tom Daley and Jessica Ennis. Part 4 (post Games) A celebration of Team GB and London 2012’s success. Using the copy line ‘Stage Taken’ it showcased the passion, jubilation and sense of pride there was surrounding the Games. Results It’s clear that this fully integrated, all inclusive campaign truly engaged adidas’ target audience, delivering over a 25% increase in followers on their Twitter feed, plus 202,429 additional fans and 36% more people talking about their page on Facebook. Commercially, the campaign was also hugely successful, with adidas recouping their sponsorship investment through sales before the Games had even finished; and going on to be named ‘Advertiser of the Year’ by Campaign Magazine. adidas delivered a campaign that created a plethora of inspirational communications which truly enhanced one of the most memorable events in the nation’s history.

Best use of outdoor in a multimedia campaign Shortlisted: BSkyB Campaign: Sky Sports F1 Launch Specialist: Rapport Agency: MediaCom

The challenge

The strategy

The challenge this campaign faced was to launch a new Formula 1 channel on Sky and change consumer opinion in order to deliver a brand new customer base for the business.

The key insight was this: F1 fans viewed the BBC as the spiritual home of F1 but failed to see how limited the BBC coverage actually was. Contrast this to Sky; where sport has been at the epicentre of their purchase cycle for years due to huge technological innovation they have brought to coverage, including 3rd Man, Hotspot, FanZone, Talking Tactics, HD and 3D. People who have sport on Sky love it because of these innovations. People who don’t have Sky or Sport on Sky are more cynical because they haven’t seen how good the coverage can actually be. The idea was therefore a simple one: allow F1 fans to sample the new Sky Sports F1 channel.

Sky has done an amazing job of revolutionising the technical coverage and visibility of UK sport, yet there are many negative critics, who end up with a disproportionate share of voice. This campaign set out to highlight how Sky would cover F1 like never before and help unlock another stage in the Sky growth story; delivering against key business objectives of customer retention, upgrades (dual Sport and HD) and acquisition.

Joel Keoghan, Sky Sports Marketing

“Outdoor provided an excellent platform for us to deliver scalable, national impact. We were able to portfolio some stunning Formula 1 visuals whilst communicating the breadth of content on our brand new Sky Sports F1 channel.”

The primary role of OOH would be to drive awareness, through high impact and strong broadcast national reach, conveying the message that Sky was the new home of F1. Other media would be used to complete the consumer journey, moving from awareness to understanding, consideration, conversion and advocacy. The execution A national campaign ran over 4 weeks in February and March 2012 and the OOH strategy centred on “launching big” to make a statement of intent. OOH was to go beyond standard formats. The core of the schedule was roadside 48 sheets, 96 sheets and rail 48 sheets, used to deliver nationally scalable coverage and

outdoor planning awards 2013. impact. Digital networks, including 6 sheets, were then used to up-weight the London presence at rail and underground stations and in shopping malls. Iconic sites were used to create a ‘market leader’ statement. The Cromination, Clear Channel’s flagship Cromwell Road site, helped to deliver truly outstanding impact and cut through using huge F1 car cuts outs and giant branding. The OOH launch supported a 90 second TV spot to kick off the campaign, and versions online across search and AV driven social (delivering over 900,000 earned impressions). This helped showcase all of the detail and passion that Sky would bring to the sport.

Beyond this, to prove to fans how committed Sky were to accessing the best experts and analysis, digital formats ran expandable copy where users could engage with content from expert F1 pundits including Martin Brundle. An MSN homepage takeover invited fans to ‘unlock the garage door’ to allow them to engage with the Sky F1 experience through a live bespoke content hub that pulled together the best Sky had to offer in terms of video, news and opinion. To add a further “experience” dimension to the OOH, static sheetage was content enabled via Augmented Reality. Aurasma technology (allowing readers to unearth extra content through AR) was embedded into high dwell time outdoor

sites showcasing F1 on Sky. Commuters could overlay their smartphones and tablets against 48 sheets to see Martin Brundle wax lyrical about the new F1 season coming to Sky. The same technology was also integrated within the press activity. These exclusive experiences in the social space provided fans with increased opportunities to interact and new ways to engage with content, helping to combat the negative views about Sky and instead create advocates and increase purchase intent. Results Engagement levels and customer acquisition results speak for themselves: OOH activity generated a staggering 430,000,000 impacts, 59% of enthusiasts believed that Sky would show F1 ‘like never before’ and 20% of new customers joined Sky solely due to F1. With a channel launch as exciting as F1, this campaign highlighted the many attributes of OOH, including its creativity and virtual connectivity, generating a sense of scale and ceremony to F1’s arrival on Sky that just wasn’t possible in any other medium. With seamless integration into the wider media mix, it proved that OOH has a vital role to play in working with other channels to deliver tangible business results.

Best use of outdoor in a multimedia campaign Shortlisted: Subway Campaign: Train Hard, Eat Fresh Agency: MediaCom Edinburgh Specialist: Kinetic

The challenge

The solution

Subway is a fast food brand and for most consumers fast food means unhealthy, fattening and lacking nutritional value. However Subway isn’t like most fast food restaurants. They have a range of healthy subs and drinks that are low in fat, high in fresh salad ingredients and represent a balanced and nutritious meal option. The challenge was to set Subway apart from its peers and convince a sceptical public that fast food can actually be good for you.

When you consider individuals who embody health, elite sportsmen and women inevitably come to mind. They need to be at their physical peak to compete with the world’s best and this means consuming food and drink that is full of high-quality fresh ingredients. From this insight the strategy became clear – find elite British sportspeople who loved the Subway brand and use them to deliver the message that Subway is a healthy alternative.

There were three core objectives:

Subway identified four athletes who fitted the criteria: the Olympic boxer Anthony Ogogo, the Olympic gymnast Louis Smith, the Olympic pole-vaulter Holly Bleasdale and the Olympian and NBA basketballer Pops Mensah-Bonsu.

F YZåd `WbUW`dZ_^c _å dYW Tbç^V in relation to healthy food F Wææ ]_bW ceTc åb_] dYW æ_g fat range < ^UbWçcW cçæWc ç^V `b_åZdc å_b franchisees Research and business metrics were identified to benchmark campaign performance. The strategy Subway’s health credentials are very strong; there are nine subs with less than 5g of fat and under 360 calories, it is the only fast food restaurant chain to commit to all five of the government’s healthy eating pledges and every sub counts as one of your five-a-day if you take the salad options. Subway had tried before to underpin health communication with these messages but it just didn’t cut through consumer cynicism. What Subway needed was a ‘fast-track’ to credibility. A strategy that would make Subway’s health message believable because of who was delivering it.

The execution The underlying message to the campaign was that Subway is different. No other fast food brand could credibly have a world-class athlete stand-up and say that they loved the food. This message needed to be conveyed in a powerful, bold and confident way. The campaign launched on TV to deliver a fast coverbuild, to introduce the athletes and convey something of their personality and their passion for Subway. To set this campaign apart though, a strong support medium was needed. Large format outdoor was the perfect solution. This was based on three key insights:

FZ]`æZUZdè · The communications strategy was to focus on tying the athlete to the brand, allowing their credibility to do the rest as Subway didn’t want to clutter the message with nutritional and product information. A striking and bold outdoor execution fitted perfectly with this strategy. FdçdebW · Fast food brands tend to rely on tactical, product-led communications. Using large-format outdoor in a bold and vibrant way would set Subway apart from its competitors and convey confidence in its products and its brand. GçbXWdZ^X · Whilst the TV buying was carefully planned to reach the target segment, active 16-44 year-olds are inevitably light television viewers. Large format outdoor significantly overindexed in reaching those consumers most receptive to this message. Results The campaign met the three key objectives. It shifted perceptions of the brand in relation to healthy food, exceeding ambitions. Prompted association with key qualities such as ‘healthy’ and ‘low-fat’ jumped significantly following the campaign to levels not seen before in the UK. Importantly the brand tracking research also highlighted the importance of large format outdoor in the marketing mix, particularly relating to younger demographics. When prompted, 37% of adults reported having seen the posters but amongst the 16-24 age-group this rose to 56%.

outdoor planning awards 2013.

35%

29%

Pre campaign 30% Post campaign 25%

43%

20%

15%

There was also a very quick shift in consumer behaviour. The percentage of sales accounted for by low fat subs rose from 37% prior to the campaign to 41% by July. Over the summer of 2012 (June to August) the average Subway store sold 1,800 more healthy subs than during the same period in 2011. Econometric research has demonstrated that the campaign was the most cost-effective health campaign ever carried out by Subway in the UK, delivering significant additional revenue to franchisees.

10%

The future 5%

Low Fat Food

Healthy Food

The success of the campaign has led Subway to commit to the inclusion of large-format outdoor in the communication strategy for the medium-term.

Best use of multiple formats in outdoor 28 30 32

Olympic Delivery Authority and TFL ‘Travel Demand Management’ London Southend Airport ‘2012 Relaunch’ BSkyB ‘Pay TV Difference’

outdoor planning awards 2013.

Best use of multiple formats in outdoor Winner: Olympic Delivery Authority and TFL Campaign: Travel Demand Management Agency: Walker Media Specialist: Posterscope The challenge and key objectives With the arrival of the London 2012 Olympics, the challenge was to change the daily travel behaviour of millions of commuters. This included 10 million Londoners along with 11 other venue areas across the country to consider. There was no room for error. Success meant a smooth Games and national pride. Failure meant chaos and irreparable damage to the image of the London Games. The objective was to deliver a general travel reduction of 30% across the transport network. Commuters had to be persuaded to make a change on day one of the Games rather than ‘wait and see’. The strategy The campaign was designed to capture the public’s interest and demand their attention in the lead up to the summer of 2012. Behaviour change theory was placed right at the heart of the strategy in order to establish what would make the public change behaviour en masse. Research proved that the campaign needed to tell a clear story over time. It had to capture the public’s attention to drive them to Twitter (for real-time travel updates during Games time) or to getaheadofthegames.com for a rich digital experience providing all the tools they needed. Outdoor was the lead channel of the campaign as it offered the unique ability to deliver: Journey – A contextually relevant canvas on which to tell a clear story during the public’s daily commute (from the moment of leaving the house to the office) to capture interest. Place - Precision targeting across roads (Olympic Route Network and major travel hotspots), venues (local planning around venues and hotspot stations) and modes of transport to ensure 100% relevancy.

GZ]W · A sense of urgency could be created through the use of digital and smart re-posting. The execution The 2012 campaign consisted of four phases which drew on these strengths. Stage one: announcing the impending travel phenomenon

Judges’ comment

“It tackled a daunting problem really well… right message, right time, right place.”

The campaign delivered mass awareness across core modes of transport (rail, London Underground, road and bus) to get the looming disruption on the public’s radar. All activity was carefully mapped according to proximity to a venue or place on the Olympic Route Network. Sites were even selected by hand in some areas, such as Weymouth, to ensure 100% relevant deployment. Significant twitter buzz ensued with the result that the ODA and TFL had to allow the public to download the posters to satisfy demand. Stage two: encourage the public to consider their travel options Stage two involved encouraging the public to consider changing their travel using the 4 R’s (re-route, re-time, remode and reduce options). Research demonstrated the need to display a variety of options together in order to capture the public’s interest. Significant frequency was therefore built behind the 4 R’s across all modes of transport using consecutive or digital formats to ensure the commuters’ entire journey was covered with multiple messages. A wide variety of formats were used across London and separate regional campaigns ran in all 11 venue areas, again using precision mapping. Each venue and sport had an individual execution to ensure hyper relevancy.

Stage three: creating a sense of urgency As the games approached a sense of urgency was created using posting flexibility (via static and digital formats). Creative encouraged people to make a plan immediately. This ran across multiple formats including digital 6 sheets, 48 sheets, rail and London underground. Boris Johnson also made station announcements and over 300,000 branded Oyster cards and maps were handed out at 30+ stations reaching 3m+ people. Stage four: (Games time) support behaviour change The stage three activity continued throughout the games period. Creative

outdoor planning awards 2013.

Peter Hendy CBE, Transport for London Commissioner

reposting and updates on digital formats ensured the message was current and timely whilst encouraging the public to keep checking for updates throughout the Games. The 79,000 Twitter followers were also given real time travel updates. Results During the Games public transport carried record numbers of people. Games lanes changed the landscape of the roads. However, there was minimal disruption in London or any other venue area. The outdoor campaign significantly contributed to that success. Media tracking proved that those exposed to the London OOH campaign were far more likely to plan ahead:

+ ( _å `eTæZU dbç^c`_bd ecWbc _edV__b aware) reported planning their travel vs 37% unaware. During the games 61% of those outdoor aware continued to check their travel vs 31% unaware ) , _å VbZfWbc _edV__b çgçbW reported planning their travel vs 28% unaware. During the Games 50% (outdoor aware) continued to check their travel vs 26% unaware These results were echoed in the other venue cities.

“We are thrilled at the success of the ‘Get Ahead of the Games’ campaign. It proved instrumental to the success of transport during the Olympic Games. It is the largest and most successful campaign focusing on changing travel behaviours ever.”

Best use of multiple formats in outdoor Highly commended: London Southend Airport Campaign: 2012 Relaunch Specialist: Kinetic Agency: Rathbone Perception Media The challenge It’s not often you get a challenger brand in the airport market, but this is the role London Southend Airport took on as it fought to break into the market dominated by rival, world-famous airports. London Southend Airport had to compete head-on with five world-class, well-established rivals if it wanted to establish itself as London’s sixth airport. For London Southend to grow its customer base and have any impact against the established airports, it needed a clear and distinctive offering. The task was substantial. However, the necessary infrastructure to support the airport was coming together: a new rail station, terminal and hotel were all launched in Q1 2012 and easyJet was introducing flights to Malaga, Ibiza and Majorca. A target was set for two million passengers to pass through the terminal annually by 2020. Key objectives for the campaign were: increasing awareness and consideration, building an understanding of the accessibility and geographical benefits, educating consumers on the variety of locations they could fly to and achieving passenger figures of 150,000 by the end of Q2 2012. The strategy With research demonstrating that consumers will drive up to 60 minutes to an airport, the target audience was determined geographically rather than demographically. Media selection had to get the campaign seen by a broad base – albeit in the right location. A core catchment area was identified, drilling down to key towns within Essex and a key audience of adults looking for a short break and European flights. The

new rail hub also presented a further opportunity to target customers from central London, especially those around Liverpool Street, the City of London and East London who had easier access to Southend. Ultimately three distinct customer profiles were identified: Essex residents living and working within a 60 minute drive; Essex residents commuting to London and London residents within travelling time of London Southend Airport.

Essex based resident commuting to London on a near daily basis

Outdoor was identified as the perfect medium to achieve the reach needed, both in terms of coverage and standout, within the defined area. In order to give consumers enough time to absorb the message, the campaign launched two months before the new routes started. The majority of activity was in February and March, with the new routes effective from April. Outdoor was allocated a disproportionately large share of spend, securing 26% of the £1.15m media budget.

; ZXY `b_åZæW æçbXW å_b]çd _^ ]ç[_b arterials such as the North Circular and Eastern Avenue

The execution The outdoor execution was based on the three distinct customer profiles with multiple platforms picked to best reach each target group: Essex resident working and residing within the 60 minute drive time ; ç^V`ZU\WV b_çVcZVW * cYWWdc 48 sheets and 96 sheets alongside buses from carefully selected Essex depots meant that everyone travelling through core catchment areas would be exposed to the advertising C b_]_dZ_^çæ dWç]c Yç^VWV out flyers in key town centres to drive awareness and promote special deals

* cYWWdc (, cYWWdc VZXZdçæ cZdWc ad-gates and interior train panels at select rail stations on the main routes from Essex into London, including Liverpool Street and Fenchurch Street London residents within travelling time of Southend Airport E _çVcZVW * cYWWdc Z^ ?_^V_^ gZdYZ^ the 60 minute drive time

6 ec ce`WbcZVWc _`WbçdZ^X _ed _å dYW Stratford depot with an East London/ Essex coverage footprint In addition to the initial burst of advertising, longer-term activity to maintain consideration was included in the strategy. Bus mega rears out of Romford depot and London taxi liveries were launched from February to reach the core Essex and London residents. This activity was planned for an initial one-year period. Relevant messages were up-weighted in appropriate environments throughout the campaign. Results Immediately after the campaign ran, London Southend Airport began to take three times more bookings than Stansted Airport on matching easyJet routes, leading the client to increase media investment and extend some of the activity through April and May. Passenger figures for Q2 2012 showed an almost 12 fold increase (year-on-year) with 185,788 passengers in Q2 2012, compared with 15,884 passengers in Q2 2011. This clearly outstripped the 150,000 target set.

outdoor planning awards 2013.

Jonathan Rayner, Head of Business Development, London Southend Airport.

â&#x20AC;&#x153;Launching an airport with new airlines, routes and facilities was never to going to be easy. As we approach our millionth passenger, riding between 1,500% and 2,000% year-onyear growth, the results speak for themselves: 600 people were surveyed across Essex and London and 31% had recall of the outdoor element of the campaign.â&#x20AC;?

Best use of multiple formats in outdoor Shortlisted: BSkyB Campaign: Pay TV Difference Specialist: Rapport Agency: MediaCom

The challenge The pay TV space has always been competitive but it was to become even more so in 2012. In 2011, Sky had concentrated on offering more ways for consumers to access its content, such as the mobile service Sky Go. However with concerns over the stalled economy and household expenditure being further hit post-Christmas, a back-to-basics strategy was agreed upon in late 2011.

Consequently in January and February 2012, Sky was looking to make a lot of noise about their wide range of exclusive new and repeat series. The sole aim of the campaign was to make Sky’s Pay TV the only option for consumers who demand high quality programming. The strategy

This was to promote the core platform of “great paid-for content” in the opening months of 2012. The marketing objective was simple: to ensure that UK consumers identified Sky’s pay TV offering as a unique and desirable TV proposition.

With a great range of programming to promote including Mad Dogs, True Blood, Mad Men and Luck, Sky needed to create a blended and multi-layered national OOH campaign over two calendar months. This had to present the value and crucially the difference of Sky’s Pay TV offering to potential viewers.

The month of January is traditionally the point when the majority of season premieres take place. Seventy new series launched in the US market in January 2012; and Sky’s key content channels had contractual rights to take their pick of them. Sky also had a roster of newly commissioned UK productions to promote.

The flexibility of OOH to deliver dual roles (of cut through and breadth) was one of the key reasons why 25% of the total campaign media budget was allocated to the medium. With such a broad potential customer base, one of the core roles for OOH was to deliver broadcast national awareness, and communicate the portfolio breadth of

Sky content. But the number of shows to promote caused a dilemma. How to deliver sufficient frequency of each message without compromising on audience reach? The answer was a carefully cultivated cross-environment OOH plan that employed multiple strands to deliver optimum reach and frequency nationally. The core schedule consisted of three OOH formats, all selected for their ability to deliver national broadcast reach: billboards, bus t-sides and digital 6 sheets. This provided a strong presence across mainstream commuter and leisure environments, including roadside, rail, underground and shopping malls. The same formats were used throughout the six week period, thus providing a consistent platform that could be tweaked creatively to fit the required programming schedule.

outdoor planning awards 2013. The execution The OOH plan had to be finely balanced, requiring an element of cut through for flagship show launches, but without comprising on reach or frequency in order to create awareness of the range of content available. Traditional formats were selected to carry each of the flagship launches in order to generate national awareness. However “hero” shows, such as Mad Dogs, were upweighted on premium formats and iconic billboards to aid cut through. Digital assets then allowed for the rotation of creative executions to showcase the full portfolio of Sky content. A total of 14 creative executions were to be used across the six week campaign period to promote seven shows. Marketing and creative teams collaborated to schedule the planned activity based on a content hierarchy of ‘hero programming’, ‘repeat shows’ and ‘niche shows’. Using previous Sky OOH creative research, it was established that two to four messages could be run on traditional formats without compromising ad recall; but Sky were able to run a considerably higher volume of messages on digital assets. The multiple OOH formats were therefore matched to the required creative rotation, based on the strengths of each format, their

ability to carry multiple creative, and the distribution split required. Results The campaign delivered over 468 million impacts across six weeks, reaching 85% of the UK adult population at a frequency of 12 (source: rapport intelligence / POSTAR). But the true value of the campaign came in the shape of independent research from Mesh, which told a story of changing customer perceptions: B B; VWæZfWbWV dYW ]_cd `_cZdZfW customer scores of any media channel C _cZdZfZdè çT_ed Cçè GI 8ZååWbW^UW increased by 12% from the OOH activity (vs. average Sky experience score in the same period). The OOH shift was 200% higher than the TV ad shift and 71% higher than the online ad shift »<^dWbWcd Z^ gçdUYZ^X¼ Cçè GI Difference increased by 18% from the OOH activity. The OOH shift was 157% higher than the TV shift and 80% higher than the Online shift

Sky Pay TV Difference (customers) vs. average Sky experience scores in this period. Positivity

Interest in Watching

+4%

+7%

Outdoor

+12%

+18%

Online

+7%

+10%

Hannah Death, Head of Planning and Platform Marketing, BSkyB

“The Pay TV Difference campaign was designed to communicate the quality of programming Sky has within its core content offering. The highly visible project was used to launch multiple flagship programmes as individual entities, whilst tying together the spring schedule to help communicate the range of content across the platform. The success of this strategic direction led to OOH being chosen as the lead medium in our core content comms campaign ‘New Unmissable and Exclusive’ throughout 2012.”

Best use of innovation in outdoor 36 38 40 42 44

Unilever ‘Marmite Gold’ Paddy Power ‘Ryder Cup Sky Tweets’ Microsoft, Internet Exlplorer 9 ‘The Capitol Tour’ Nestlé Kit Kat ‘We Will Find You’ Tesco, Tesco.com ‘Virtual Grocery Store’

outdoor planning awards 2013.

Best use of innovation in outdoor Winner: Unilever Campaign: Marmite Gold Specialist: Kinetic Agencies: Mindshare and Grand Visual The challenge Marmite is one of Britain’s most iconic brands. Its ‘love it/hate it’ positioning has been so successful the brand has muscled into the English language as a generic descriptor of something that divides opinion. Whether you love it or hate it, the brand gets talked about. However Marmite lacks the brand reinvigoration that product innovation can achieve. Instead, for the past few years, it has relied on limited edition jars to stimulate new interest. But with seven limited editions in the past five years, the challenge was to create enough expectation and excitement around this latest one. So to celebrate Christmas and the end of an historic Olympic year, a gold version was released. Marmite Gold was an all gold jar containing marmite with eye-catching gold flecks through it. The objectives then were to; deliver a campaign that captured the imagination, engaging the lovers, the haters and those who had forgotten Marmite was there; to increase Facebook fans and Twitter followers and to create an online buzz around the brand. The strategy The Oxford Street Christmas lights are an institution in their own right. The strategy was to use the lights in a totally new way, to create a buzz around Marmite Gold and push the boundaries by giving shoppers a chance to be part of the lights themselves. Never before had such an interactive element been attempted with the Oxford Street lights. In a final twist to drive engagement, Marmite gave the ‘haters’ a chance to get the lights turned off earlier than planned. For every new 100 likes on the ‘hate it’ Facebook page, the switch off time would be brought forward 30 minutes.

outdoor planning awards 2013. The execution

Judges’ comment

Fifty million shoppers pass through Oxford Street in November and December. However activity also had to reach people in the rest of the country who wouldn’t be visiting central London. The execution therefore contained two strands:

“A deliberately provocative campaign that was fun and right on brand. Demonstrating original thinking and a well-rounded idea that was bold and brave.”

1. A photo booth bus shelter beneath the interactive lights Brand ambassadors encouraged shoppers to engage with the interactive 6 sheet. People had their picture taken and within three minutes their face was on the lights – the speed of picture delivery was vital and was delivered through Grand Visual’s ‘OpenLoop’ system. 2. Engagement via Marmite’s Facebook page An app on the Facebook page allowed fans to have their picture taken and sent to the lights. They were given a date and time when their face would be up. This meant that fans could get involved and be part of the lights without necessarily visiting Oxford Street. Because of the complexity of the campaign, six agencies – Kinetic Fuel, Mindshare, Grand Visual, DDB, Splendid and New West End Company – worked together to make it a reality in an excellent example of media and creative collaboration. Results The unique personalisation of the Marmite lights captured people’s imagination and sent social media into a frenzy. In total, 940 people had their picture taken at the photo booth bus shelter across 12 sessions of four hours. This equated to a new face going up on the lights every three minutes and demonstrated how willing consumers are to engage with OOH media if the

placement, call to action and payback are right. Facebook saw a further 4,310 people upload their pictures through the app and the number of fans of the page grew by 60,449. This was an increase of 8% in a month. For a well-established brand on Facebook this exceeded expectations. Twitter followers grew by 4,959, a 20% increase, again a fantastic result. In all, 20.8 million people were reached throughout the campaign on Twitter, with 20,109 mentions of #thisismarmite. This huge success was helped by high profile tweets from celebrities including Piers Morgan, Derren Brown, Alan Sugar, David Walliams and Olly Murs. Sixteen celebrities had their face on the lights which reached 2.1m followers. And finally, a total of 137 pieces of coverage were driven across national and regional newspapers, magazines, online and blogs (vs. a campaign target of 61).

Best use of innovation in outdoor Highly commended: Paddy Power Campaign: Ryder Cup Sky Tweets Agencies: M2M and Curb The challenge Ahead of the Ryder Cup, American captain Davis Love III stoked the flames for a fiery confrontation, stirring up U.S fans to deliver the loudest frenzy ever seen at the tournament. With the tournament being played at Medinah in Chicago, the Europeans knew they were going to be up against it. The challenge for this campaign was simple; to audaciously redress the balance for Team Europe and give power to the punter to help the Europeans retain the Ryder Cup. Paddy Power had no real foothold in golf, so the campaign needed to change this and place Paddy Power at the heart of the conversation about the Ryder Cup. The objectives é çZ^ cdç^V_ed Z^ ç UæeddWbWV environment 8 bZfW c_UZçæ ]WVZç çgçbW^Wcc snaring new Twitter followers and Facebook friends E WZ^å_bUW CçVVè C_gWb¼c »JW ;Wçb You’ campaign 6 WU_]W `çbd _å dYW U_^fWbcçdZ_^ about the Ryder Cup EZæW GWç] HF5 F WbfW çc 9eb_`W¼c %'dY ]ç^ ç^V inspire the team to bring home the win! The strategy The 39th Ryder Cup, held at Medinah Country Club Illinois in September 2012, saw an extraordinary comeback by Europe which some have called the ‘miracle of Medinah’. How did it happen? Could it have had something to do with the giant Paddy Power sky tweets? The campaign needed to reach those fans watching at home, who all care passionately about golf. As much as they

would love to, these fans will never get a chance to play for Team Europe. So Paddy Power gave them a way in which they were able to have some influence over the match. To gain the support of golf fans, the aim was to join up with them to serve as Europe’s 13th man and inspire the team to bring home the win. This aim sat alongside the long term communications strategy of ‘We Hear You’, in which Paddy Power listen and respond to their audience in an over the top fashion. With ‘We Hear You’ and the words of Davis Love III for inspiration, Paddy Power played on the intense rivalry between Europe and the US in a brave and innovative way. Bringing the online and offline worlds together, a ground breaking OOH stunt was placed at the core of the execution in true Paddy Power style. The execution After day one the Europeans were behind 5-3; heads were down, spirits were low. After day two things still didn’t look great, Europe really needed some outside help. Paddy Power introduced the first ‘Help a Yank to Shank’ press ad, encouraging readers to tweet their messages of support with the hashtag #GoEurope. With the Europeans still far behind though, the message needed to reach even further. TV was then used to reinforce the press ads in real-time, again encouraging viewers to tweet their message of support to Team Europe. Within these ads Paddy Power promised that viewer’s messages would reach the US Team. Staying true to this promise, with the help of five stunt planes flying at 10,000 feet above the Ryder Cup course, Paddy Power then launched the world’s first

sky tweet campaign. This was a pivotal moment that inserted the brand into Ryder Cup history. @ColmRyan09 wrote ‘Hey Team USA, Tiger was dropped. Do you know where your wives are?! #GoEurope’. Other messages included ‘Mrs Dufner is hot #GoEurope’, ‘Rory’s Gonna Get ya #GoEurope’ and ‘Do it for Seve #GoEurope’. The messages started getting through to the players, fans and officials. Rory Mcilroy, Darren Clarke and Graeme McDowell were filmed taking photos of Mcilroy’s message in the sky, and six birdies in a row from Ian Poulter kept the European hopes alive. At the

outdoor planning awards 2013. start of the final dayâ&#x20AC;&#x2122;s play, the U.S. led 10â&#x20AC;&#x201C;6. It seemed an impossible job for the Europeans to turn things around. The message to them was simple; when all hope seems lost and your spirits are down, look up to the skies and smile. Results The results eclipsed expectations. Paddy Power played a part in proceedings and really riled everyone involved. Team USA were frantically trying to find out who was responsible and get the planes stopped, to no avail.

Using ground breaking computerised technology, the planes delivered 40 messages over two days. Each character was taller than the Shard and could be seen from 20 miles, and by 500 million Europeans watching on TV. Rory Mcilroy uploaded the video of himself photographing his message to his personal You Tube channel. The activity led to 173 news articles, 68,000 social media mentions, 2000 new Twitter followers and over 5000 new Facebook fans.

The promoted trend delivered 18 million impressions (2.5 x the Twitter norm) with a staggering 21% engagement rate. The promoted tweets delivered 171,000 impressions and combined nearly 30,000 clicks, whilst #GoEurope was adopted wholesale by fans and celebrities. Paddy Power generated tweets reached a combined audience of 31 million people, and Paddy Power and #GoEurope both organically trended in the top five trends in the UK.

Best use of innovation in outdoor Shortlisted: Microsoft, Internet Exlorer 9 Campaign: The Capitol Tour Agency: UM Specialist: Rapport The challenge Internet Explorer 9 (IE9) is one of the most exciting web browsers on the market, providing a fast, clean and stunning web experience. The challenge was that tech-trendsetters didn’t know this. They considered Google Chrome to be faster, more modern and generally more appealing. To get them to switch, Microsoft had a major perception job on their hands. The strategy The tech-trendsetter audience are always looking for the next big thing. But seeing it is never enough. They need to be involved. Microsoft teamed up with the latest box office blockbuster film, The Hunger Games, and created a bespoke companion website that allowed fans to completely immerse themselves in the film’s fictional world of Panem. Named ‘The Capitol Tour’, the site was to provide a beautiful, interactive web experience and was built with Microsoft’s HTML 5 and best experienced with IE9. Microsoft needed to find a way to excite the audience and draw them into this new world. And, as they were such a demanding bunch, it would need to be truly pioneering. Out-of-home offered the ideal opportunity. Not only would it allow for the digital integration and interactivity required, it was also perfect for reaching the tech-trendsetter audience given their highly active and social lifestyle. Research indicated that this audience would be 36% more likely to be heavy consumers of OOH, and 124% more likely to be frequent cinema goers and display a strong affinity to The Hunger Games.

2500 TV

Sustained heavy OOH exposure throughout the day: Cinema and high football roadside desitinations were selected to target tech trendsetter whilst out and about with friends

Radio

2000

NewsP/Mags Online 1500

OOH

1000

500

0 06:00

08:00

10:00

12:00

14:00

16:00

18:00

OOH Perfect in Reaching Tech Trendsetter

Touchpoints 4 shows targeted reach of OOH for our audience

20:00

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outdoor planning awards 2013. The most prominent locations were picked out for the audience. Cinema lobbies nationwide were chosen to tap into tech-trendsetters’ love of films and the trendiest areas of London were picked to reach them when they were out and about. A number of high footfall entertainment areas in London were also identified. The execution A revolutionary digital OOH campaign was developed that brought the Capitol Tour and the futuristic world of Panem to the streets of London. It allowed the audience to jump head-first into the exciting online world, through mind-

blowing interactive OOH technology. On roadside poster sites across London and in cinema lobbies nationwide, Microsoft used gender recognition, proximity sensing, facial tracking, and augmented reality technology to create a truly immersive OOH experience. And, boldly going where no outdoor campaign had gone before, using gesture control for the first time commercially in the UK. By simply looking at the screen and stepping into range, the user received a full body scan to capture their photograph, whilst cutting-edge gender recognition technology created a bespoke ID card granting them access to exclusive content on the Capitol Tour site. Full bus shelter wraps created a completely immersive experience, literally taking people out of one world and into another. To coincide with an IE9 cinema ad during The Hunger Games, and to build on the excitement surrounding the film, audio and 3G-enabled touchscreen units were placed in cinema lobbies, which provided real-time data in the style of The Hunger Games to anyone who interacted with them.

this campaign wasn’t just a stunt. The 44 interactive OOH sites delivered meaningful & considerable interaction volumes (35,995 interactions in total) amongst a very specific and hard-toreach tech-trendsetter audience. Results The unique OOH installations drove hundreds of thousands to the Capitol Tour website, generating 12.5 million impacts, 36,000 unique interactions and 43,000 unique visitors. There was a 311% uplift in search traffic for the duration of the OOH activity and the interactive sites saw a huge 35,995 interactions amongst the tech-trendsetter audience. The pioneering technology and cuttingedge cinema link-up caused major shifts in perception, with those exposed to the OOH Capitol Tour campaign 55% more likely to recommend IE9 browser to friends, 29% more likely to download IE9 and 32% more likely to agree with the statement ‘IE9 is my favourite browser.’ Most importantly, Microsoft saw a huge uptake of IE9, with 1.7 million downloads, and a market share significantly ahead of target (51.8% Vs 53.9%).

Integrating so many technology threads into one digital OOH platform was a huge feat of innovation; one that incorporated the most media firsts that Microsoft (and arguably any other brand) has ever achieved with one OOH campaign. But whilst hugely innovative,

Gabby Hegerty, UK Lead, Internet Explorer, Microsoft

“The Capitol Tour brings The Hunger Games story to life within the IE browser in a visually stunning, interactive and technically creative way. Through innovative and immersive digital OOH we were able to take this a step further, and let people experience that new world for themselves.”

Best use of innovation in outdoor Shortlisted: Nestlé, Kit Kat Campaign: We Will Find You Specialist: Posterscope Agency: Mindshare The challenge The brand objectives for this campaign were; to contribute to an increase in penetration and frequency of purchase as well as drive awareness of the ‘We Will Find You’ promotion. The objective for the out-of-home activity was to create a 6 sheet only campaign that would drive sales of the four finger Kit Kat, Kit Kat Chunky, Aero and Yorkie, driving deeper engagement through OOH media. The campaign also needed to drive engagement through mobile interaction,

via Near Field Communication (NFC), QR Codes and search (measured through Google). The strategy and execution Six chocolate bars were fitted with GPS tracking devices, to be activated by the consumer upon purchase, with a £10,000 prize being delivered within 24 hours. Further prizes could be won by entering an on-pack code online. CTN (confectioner, tobacconist, newsagent) 6 sheets and rail CTN 6 sheets were

mobile enabled with NFC and QR codes. They ran with the copy ‘We will find you with £10,000 in 24 hours’ with a call to action encouraging consumers to tap, scan or search ‘KK GPS’ on their smart phones. The NFC and QR codes directed users to a bespoke mobile landing page where they received competition updates (including information about how many winning bars were still in circulation). Facebook and Twitter generated further earned media. The campaign ran nationally for two weeks to coincide, and

outdoor planning awards 2013. fully integrate, with a medium-weight TV, VOD, search, mobile and Facebook campaign. Those interacting with the unique search term ‘KK GPS’ were served a paid for Google ad. Clicking the ad directed users to Facebook.

Mobile interaction via NFC, QR codes and search was measured through normal digital measuring channels, with further quantitative and qualitative research being conducted in two seperate research studies. Results and learnings

Measurement of the campaign

Awareness

The HTV region was excluded from the 6 sheet campaign to provide a control area, isolating the effects of the campaign.

The OOH element of this campaign had a national coverage of 71.1% which Kit Kat considered the optimum number. Research involving 250 research respondents demonstrated high awareness of the OOH campaign, with 68% of respondents seeing it an average of three times. Frequency was the key to encouraging purchase; 19% of those respondents who saw the ad three or more times, bought the brands in store compared to only 7% who saw it once. Engagement The CTN 6 Sheets returned 3,389 interactions over the two week campaign. 25% of these interactions were via the NFC chip, with the most popular hour for interaction being 6pm. 75% of interactions were via the QR code. Thursday generated the highest levels of interaction suggesting a gradual change in consumer mind-set towards more relaxed, playful and curious towards the end of the week. The unique OOH search term “KK GPS” generated 224 impressions leading to 151 clicks. The level of click through was exceptionally high at 67%. General search increased by 34% in the OOH regions vs the control region with no OOH presence. Research was also conducted by the Clarke Chapman Research agency. This consisted of 300 on street interviews, including 200 individuals who did engage with the OOH and 100 who did not. The research showed that 48% of the 100 non interactor respondents felt a free

promotional code or voucher would have encouraged interaction, with 30% citing an electronic coupon/voucher instead. Ease of use, convenience and speed were cited as the main reasons for using NFC or QR Codes. Amongst individuals interacting with NFC or QR codes there was a greater increase in brand equity. There was also greater consideration to purchase. Engagement remained relatively consistent over the two week period. This can be attributed to awareness building and also because consumers had a reason to engage on multiple occasions (continuous updates on the number of winning bars remaining in stores/ circulation). Sales uplift Sales across the entire Kit Kat range increased over the two week campaign period in the measured CTN stores. Insights and recommendations Nestlé gained some key insights from the campaign: consumers are more likely to engage with OOH media if the reward for doing so is great enough, the dwell time is long enough and the time of interaction is considered: using free promotional codes or electronic coupons could potentially increase interaction rates further; innovative and engaging OOH can provide a positive impact on brand equity scores; objectives, budget and audience should be analysed when considering search activity and NFC and QR codes, with the former both presenting a higher cost..

Best use of innovation in outdoor Shortlisted: Tesco Campaign: Tesco.com, Virtual Grocery Store Specialist: Rapport Agency: Initiative The challenge The virtual grocery store was built on the back of Tesco’s launch of the world’s first virtual store in South Korea in 2011, a pioneering innovation which generated 25 million online posts around the globe. It allowed commuters to shop in subways and at bus stops by pointing their mobile phones at billboards. Tesco.com wanted to trial a similar, ground breaking concept in a UK airport, as this presented the perfect opportunity to target families with time on their hands. The objective was to deliver a service which was truly helpful for users and which would generate significant PR coverage. The strategy Interactive Media in Retail Group forecast that M-commerce would account for 15% of all online sales by the end of 2012. Tesco.com needed to capitalize on this growth by building awareness of the ease with which you can shop on the go using their grocery app. The resulting communication strategy was simple: demonstrate to people how the tesco.com grocery app can make the chore of grocery shopping that bit easier and promote it in a place where people have time on their hands and a real need to fill their fridges for when they get back from holiday. Gatwick airport, with a 90 minute dwell time in the departure area, offered the perfect environment. Research also showed that 66% of passengers would be interested in stocking up on groceries whilst at the airport. The “Come Home to a Full Fridge” concept was born. The concept was simple. Download the app, register with tesco.com, book a delivery slot, scan the products you want from a virtual grocery store, add

them to your online shopping basket, and checkout in the knowledge Tesco would deliver your shopping to your home to coincide with your now stressfree return to the UK. The audience of various airport terminals were profiled before selecting the right placement. Activity took place in Gatwick’s North Terminal Departures lounge as 74% of passengers are UK residents and 82% of journeys are for leisure purposes; crucial statistics for a UK based campaign targeting housewives with kids as a core audience. Activation during the school Summer holidays ensured the campaign reached families, and the London 2012 Olympics maximized exposure. The execution Three communication touch-points delivered the Tesco message throughout the passenger journey: Touchpoint one Five digital screens & two digital landmarks in check-in areas drove initial awareness of campaign activity, providing a ‘call-to-action’ for passengers to enable their Wi-Fi and visit the experiential zone. Touchpoint two A fully staffed Tesco.com zone featuring a giant 3m milk carton alongside four interactive digital touchscreens housed in ‘fridge’ units created a virtual grocery store. The attention-grabbing interactive zone enticed passengers to experience the App for themselves, by either downloading it to their smartphones or through assistance from trained staff on hand with i-pads and i-phones. The bespoke programmed screens allowed users to flick through 80 popular grocery essentials which represented a typical family shop. All items featured

relevant barcodes that could be scanned by the users’ smartphone and added to a shopping basket ready for checkout. The average 90 minute dwell time in the departure area offered the perfect environment for the level of interaction needed for this activity.

outdoor planning awards 2013. Touchpoint three

Results

Six additional interactive digital screens replicated the main stand screens to extend the experience to a wider audience. They featured promotional materials attached to the sides offering further guidance, to assist customers wishing to self-navigate through the app.

The project delivered beyond expectations in terms of the amount of PR coverage generated. The virtual store generated unprecedented media standout. It showed both customers and the industry that tesco.com was forward thinking and trying to find

helpful initiatives in an increasingly time pressured life. PR coverage included a BBC 1 oâ&#x20AC;&#x2122;clock news feature, press articles on the BBC, FT, Telegraph and Mail and specialist technology PR such as Wired.

Michelle Thompson, Marketing Manager, Tesco.com

â&#x20AC;&#x153;Working with our other partner agencies on this project was a pleasure and a real team effort. The key part that rapport played, was to help us project manage one of the highest profile marketing launches of the year. Having managed and run similar events in the past they were able to help us identify the key timings and activities which we needed to develop in order to land a seamless event.â&#x20AC;?

Best use of continuity in outdoor 48 50 52

lastminute.com BSkyB ‘Sky Long Term Holding’ McDonald’s, Long Term Holding ‘McScore’

outdoor planning awards 2013.

Best use of continuity in outdoor Winner: lastminute.com Agency: MGOMD Specialist: Posterscope

The challenge The challenge with this campaign was to recapture the brand’s lastminuteness to become the definitive last-minute specialist. Press and online display could have been seen as the obvious choices, allowing daily or real-time updates. However, the target audience were identified as busy working Londoners. Therefore in order to capture their attention when they would most appreciate inspiration, on the monotonous daily commute, OOH was identified as the best medium. However, in order to be dynamic and reference real-time offers, lastminute.com needed to scrap the rule book on two week incharges and ten day posting cycles. The objectives The OOH communications objective was twofold. Firstly, to increase cut through vs. competition. This would be measured via an increase in competitive share of voice and an increase in search volume. The second objective was to build longterm “last-minute” associations. This would be measured via the variety and range of offers that were presented. The strategy Two key insights were identified which informed the strategy: 1. Differentiated media behaviour was essential in cutting through clutter. lastminute.com’s competitors spend heavily in TV and Press, therefore there was an opportunity to own unexploited OOH territory and to be the first to take advantage of new OOH technologies. Employing a platform to communicate real-time “last-minute” updates would demonstrate digital leadership (key for a .com brand), and position lastminute. com as superior to their competitors.

2. Bespoke research, as well as sales data, showed people were in a more spontaneous mind-set on Fridays, displaying positivity, spontaneity and last minute planning. This made it the perfect day to build long term associations with “last-minuteness”. The strategy was to build on this by surrounding the target audience and disrupted their daily routine. By focusing on Fridays, share of voice could be increased from 7% across the week to over 40% in one day, with the added benefit of maintaining a longer presence throughout the year. The execution A pioneering media approach was developed to ‘hero’ the brand expertise and position lastminute.com as a thought-leader in ‘acting at the lastminute’. OOH was the lead medium at launch, therefore formats were selected that would provide reach (bus supersides, rail 48 sheets), impact (bus, roadside portraits) and category differentiation (the underground). ‘Last-minuteness’ was conveyed through an ambitious long-term campaign surrounding the consumer on Fridays, and providing real-time updates to strengthen the perception of expertise. Following the initial fame burst, an ambitious long-term holding ran across the underground on 18 Fridays. To ensure these screens worked as hard as possible at showcasing the range and quality of offers, MGOMD and Posterscope worked with LIVEPOSTER to deliver dynamic content in the form of live feed. The LIVEPOSTER technology was utilised to provide a standalone brand channel on air each Friday via 10 screens (in the highest footfall stations), allowing lastminute.com to serve earned social content, owned content from staff blogs, the current top five website

deals and mapping of locations. Content was tailored to suit different audiences throughout the day, demonstrating true digital leadership. How the campaign developed GYb_eXY_ed dYW %, gWW\ VebçdZ_^ of the campaign, lastminute.com were able to optimise the campaign creative, offers and interaction with social channels

Judges’ comment

“A campaign which championed outdoor - the media strategy and brand strategy go hand in hand here.”

outdoor planning awards 2013. GYW bWçæ!dZ]W å_b]çd gçc ecWV d_ highlight tactical 24hr sales and offers that were underperforming elsewhere

representing an 8% increase in bookings. Increases in online search at campaign launch increased to a high point of 80%.

Timings of offers were optimised (using OCS data) to relevant day-parts

The campaign delivered a 60% competitive share of voice within the travel market in OOH at campaign launch, compared to 8% in press and 7% in TV. Along with this there was a 20,000 increase in Facebook fans through call outs to the weekly competition.

Results The results were fantastic. The ROI for the nine week solus OOH investment paid for the entire annual OOH budget,

lastminute.com were live on OOH for 38 weeks during which over 2,000 offers were distributed; impossible to deliver through other media without significant investment. With strong campaign planning from the beginning of the year, the OOH investment for 2012 was 29% of the overall marketing spend – an increase from 19% in 2011.

lastminute.com client

“Most people asked if lastminute.com increased budget this year because we seemed to be everywhere at launch, when in reality we had a significant budget decrease, so in fact it was just amazing planning and buying!”

Best use of continuity in outdoor Highly commended: BSkyB Campaign: Sky Long Term Holding Specialist: Rapport Agency: MediaCom The challenge 2012 was the third consecutive year of Sky’s multi-million pound annual investment into their long term OOH holding. It was originally created as an optimum ‘all adult’ national reach platform; weaving Sky into the very fabric of everyday life for millions of people. Since then, the holding has become the foundation from which literally hundreds of Sky campaigns have been built. And with a relentless desire for innovation and quality, Sky’s holding has played an instrumental part in developing the OOH landscape in recent years. Sky have pushed the boundaries of flexible posting (with national 48 hour posting cycles and out-of-cycle posting), and invested in HD quality display. Despite these achievements Sky didn’t want to stand still. So 2012 was to be the year that Sky fully embraced the digital expansion that was developing across the OOH medium. The strategy Although the outdoor holding provided a solid coverage base for campaigns, it needed to be more consistently linked to delivering a specific marketing challenge. In order to grow volumes of new customers as well as retain the existing base, it was important to make both of these groups believe that Sky has content worth paying for. The focal point became the quality of programming available on the standard channels, such as Sky 1 and Sky Atlantic, with an extra bonus in the shape of a new James Bond channel. This channel was perfectly timed for an October launch to capitalize on the buzz surrounding the cinematic release of the 23rd Bond installment, Skyfall.

The challenge was to make this communication as effective as possible within Sky’s existing long term OOH holding. In this era of real-time marketing, the opportunity presented by digital OOH assets was too good to miss. The revised outdoor strategy would capitalizing on TV planning moments. The plan was to use digital OOH to influence same-day TV viewing habits by creating an appointment-to-view, showcasing what shows were on Sky in the next few hours. Millions of people on their way home from work for example could actually see what programmes would be on Sky that evening. This would allow customers to plan their TV viewing accordingly, whilst prospective customers would have a greater sense of missing out. This strategy would take all of the benefits of digital OOH, including animation, day-part audience targeting, and flexible, dynamic copy changes to build the first truly smart DOOH platform. This would be used to generate continual dialogue with consumers over the long term. The strategy would also embrace the benefits of traditional OOH and reinforce the messaging on the nondigital holding too, delivering broadcast reach and high frequency. It was OOH’s very own version of the “TV Times”. A sleeker, more relevant and 21st century version that is. The execution The campaign ran across 370 digital screens across four environments: roadside, rail, mall and underground over a 26 week period from July to December 2012. With so many media partners involved and an incredibly complex phasing of creative executions, this was a logistical minefield. Multiple pieces of day-part

specific copy ran and these changed every day of every week, rotating every month over the campaign period. In total Sky ran copy promoting 37 different TV shows. Results The end result was worth it. Not only did Sky manage to promote shows in a highly relevant time-window; this campaign also showcased the full breadth of the content portfolio. The first three full months of this revised OOH strategy delivered impressive results: G Y_cW Wh`_cWV d_ dYW VZXZdçæ * cYWWd holding were 40% more likely to seriously consider switching to Sky (vs. those not exposed) G Y_cW Wh`_cWV d_ dYW (, cYWWd holding were 28% more likely to seriously consider switching to Sky (vs. those not exposed) Business results were also encouraging in this period: G YW UYeb^ bçdW bWVeUWV Tè & V_g^ to 10.9% for the period Jul-Sep 2012 vs. 11.1% in the same period in 2011) G _dçæ F\è Uecd_]Wbc Z^UbWçcWV Tè 271,000 across 2012 With such positive results, Sky increased their 2013 holding significantly: 24% year-on-year increased investment in 2013 and the digital share of investment increased to 35%. Sky continues to learn from and develop their long term partnership with OOH. The results achieved over the past three years speak for themselves, and the expansion of Sky’s OOH strategy to include digital proves the faith that they have in a medium which continues to develop, presenting brands with new and improved opportunities to engage with consumers.

outdoor planning awards 2013.

Paul Strudwick, Marketing Controller, Content Marketing, BSkyB

â&#x20AC;&#x153;The flexibility of digital outdoor allows us to deliver a relevant message to consumers over the long term. We can tactically target commuters as they journey home to deliver a valuable appointment-to-view message for programming that very eveningâ&#x20AC;?

Best use of continuity in outdoor Highly commended: McDonald’s, Long Term Holding Specialist: Posterscope Agency: OMD

The background

There were two objectives:

McDonald’s long-term holding, built around proximity, is one of the longest continuous media strategies in the UK, using an ever-evolving strategy to ensure maximum relevance and saliency.

1. Increase efficiency of budget and ensure effectiveness of OOH messaging.

This campaign redefined the meaning of proximity. Panels were assessed by location, audience flow and competitor presence to generate a “McScore” rating based on McDonald’s specific criteria. This allowed for the creation of OOH campaigns that can be tailored for each outlet and for each product, allowing McDonald’s owned and bought media to work better together, resulting in a 20% improvement on ROI. The challenge McDonald’s have had an annual holding of proximity-to-restaurant posters for a number of years, being the first Quick Service Restaurant (QSR) to do this. Its purpose is to capture incremental impulse visits by providing a last-minute reminder close to point of purchase. Given the ever increasing competition within the QSR sector and the myriad of choices available to customers along a typical high street or retail park, proximity posters are a very valuable communication channel in McDonald’s media mix. They are also a key competitive battleground in which McDonald’s must maintain their share of high street presence against the likes of KFC, Subway and Burger King. Spend within the core competitive set is up 35% year on year, led by Domino’s, Subway and Burger King. (Source: Ebiquity). In order to succeed McDonald’s needed to do things differently.

McDonald’s need to ensure every £1 spent on media works as efficiently as possible. This means continuing to challenge and explore the effectiveness of the OOH delivery. 2. Keep a traditional strategy at the core and deliver an individual and tailored response for each restaurant.

Due to McDonald’s media budget being part-funded by individual restaurants, they need to ensure that each of their franchisees receives equal value. The audience There were two vital stakeholders to reach and engage with; the surrounding customer base and the individual franchisees. The customer base had to be reached with the best placed OOH sites to provide relevant messaging and drive footfall in store. Engaging with the individual franchisees meant providing

outdoor planning awards 2013. in-depth data on their surrounding areas to enable more effective messaging. The strategy As the QSR journey is predominately a spontaneous decision, it is essential to communicate to consumers when they are making mealtime choices. This means a constant high-street presence, all day, every day, 365 days a year. The strategy was based around proximity planning, using a mixture of promotional and value messaging:

;ZXY!cdbWWd `b_hZ]Zdè ! cWæWUdZ^X the best available small format panel in proximity to restaurants on a national basis JWcd 9^V `b_hZ]Zdè ! VWæZfWbWV fZç a combination of formats across key stations on the London Underground (a cost effective way of reaching a lighter TV Viewing audience) However, the aim was to make proximity planning better. This was done by redefining the process of standard proximity planning that assumes the closest placed panel is always the best. Insight demonstrated that traditional proximity planning, only taking into consideration distance, could be enhanced. By utilising numerous data sources, a grading mechanism was developed allowing McDonald’s to distinguish between panels, taking into consideration a plethora of factors: such as angle of vision, visibility, obstructions and gross vehicular and pedestrian traffic. Other factors were honed towards McDonald’s own business and media strategies, including assessment of local competitors and the number of routes to each restaurant. This allowed for the planning of broadcast campaigns in far more intricate detail than ever before. For example, when supporting the McDonald’s drinks portfolio, OOH panels can be mapped in proximity to all coffee competitors.

already have an owned media space through their physical restaurants throughout the UK and their globally recognisable branding. Therefore by avoiding panels within a 50 metre radius of each store, this ensured that their bought media worked in tandem with their owned channels. The “McScore” data has provided a deeper understanding of every restaurant’s geographical landscape. This means that the holding was able to evolve from “one panel per store” to the position of targeting every individual route to store with OOH sites. Results The ultimate aim of the project was to increase the efficiency of the budget and effectiveness of the panel placing. Based on “McScore” audit findings, 53% of inventory was moved onto new panels which had the net effect of improving the quality score per panel of the holding by 5%. These enhancements in the high street holding helped to contribute towards a considerable increase in ROI in 2012 versus 2011.

The execution The execution appeared to take a traditional form, with one panel targeting one restaurant where possible. However, the integration into McDonald’s current media and communication channels is far more holistic than ever before. McDonald’s

We are committed to ensuring excellence in outdoor planning. If these campaigns have inspired you, call our sales team on 020 7478 2200 (national) or 0845 894 8937 (regional) to ďŹ nd out what we can do for you.

For insight and research enquiries, email our insight team on insight.ccuk@clearchannel.co.uk

Clear Channel UK 33 Golden Square / London / W1F 9JT / United Kingdom T +44 (0)20 7478 2200 / www.clearchannel.co.uk / @clearchanneluk www.clearchannel.co.uk/planningawards