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Editorial Carlos Bruinsma, Editor carlosb@marketing-interactive.com Inti Tam, Deputy Editor intit@marketing-interactive.com Angel Tang, Senior Reporter angelt@marketing-interactive.com Tracy Chan, Bilingual Sub Editor tracyc@marketing-interactive.com Advertising Sales - Hong Kong Sara Wan, Sales Director saraw@marketing-interactive.com Sherman Ho, Account Manager shermanh@marketing-interactive.com Ruby Lee, Account Manager rubyl@marketing-interactive.com Advertising Sales - International Søren Beaulieu, Publisher (Singapore) sorenb@marketing-interactive.com Production and Design Shahrom Kamarulzaman, Regional Art Director shahrom@lighthousemedia.com.sg Evisu Yip, Associate Art Director evisuy@lighthousemedia.com.sg Samson Lam, Graphic Designer samsonl@lighthousemedia.com.sg Events Yeo Wei Qi, Regional Head of Events Services weiqi@lighthousemedia.com.sg Finance Evelyn Wong, Regional Finance Director evelynw@lighthousemedia.com.sg Management Tony Kelly, Managing Director tk@marketing-interactive.com Justin Randles, Group Managing Director jr@marketing-interactive.com
Lighthouse Independent Media Ltd. Printed in Hong Kong by Asia One Printing Ltd. For subscriptions, contact circulations at +852 2861 1882 or email subscriptions@marketing-interactive.com. COPYRIGHT & REPRINTS: All material printed in Marketing is protected under the copyright act. All rights reserved. No material may be reproduced in part or in whole without the prior written consent of the publisher and copyright holder. Permission may be requested through the Hong Kong office. Disclaimer: The views and opinions expressed in Marketing are not necessarily the views of the publisher. Hong Kong: Lighthouse Independent Media Ltd, publisher of Marketing magazine 2/F, Connaught Harbourfront House, 35-36 Connaught Road West, Sheung Wan, Hong Kong Tel: +852 2861 1882 Fax: +852 2861 1336 Singapore: Lighthouse Independent Media Pte Ltd 100C Pasir Panjang Road, #05-01 See Hoy Chan Hub, Singapore 118519 Tel: +65 6423 0329 Fax: +65 6423 0117 To subscribe to Marketing magazine, go to: www. marketing-interactive.com
Overall, I’d say I’m a technology optimist. I dream of the day I get to be driven to work by robots, and I can’t wait to inform my toaster on how I like my brekkie. But technology isn’t always right, or flawless, or even useful. Sometimes, it’s outright fraudulent or intentionally deceptive. Other times, it’s so complex that most of us struggle to understand the scope, let alone the inner workings of whatever cool new gadget or piece of software is put in front of us. On that note, advertising technology has been under scrutiny over the past few weeks. Investigations have shown that programmatically placed ads by some of the world’s biggest brands were displayed next to unsavoury content, such as videos from terrorist groups, for example. This disturbing outcome of willy-nilly programmatic ad placement has been in the works for some time, but it seems advertisers and brands are finally taking action to ensure their ad budgets, at the very least, do not directly fund terrorism. It should be pointed out, though, that digital ad placement, while mired in complexity, smoke, mirrors and questionable metrics, can be controlled. It simply requires human oversight and scrutiny – two things adtech promised us would no longer be necessary. Maybe, just maybe, we’ve all been a little bit too optimistic about how easy it is to automate our jobs. The bottom line is we need more transparency from ad networks and actual human oversight from marketing’s side. Let’s not understate the value of a responsible human being behind the wheel while the robots are going through pre-school. Enjoy the read.
ⓘ៘ᗔⅉᅗᔾ៦ዯᒳᡡᕂ∛⟤᎐ὤᜇᅙᔾ⁈ầᷕᑺ 㯮㨿⁉▇㯮㔴憐ᾙ䕼虇㎠‵ㆴᾜ╙ㄔ㊂ℎ䚷㠉劌⪩ ⩺䎟媌⃫㎠㊂嬐㝸檟Ҹ ⃕䭠㐏棭ᾏ棱↡⢿㳲䩉ҷⴛ儝ҷ䚩厂㢘䚷Ҹ㢘 㟑虇䭠㐏ⴛ⋷㞾埪⇖㎥㢘㊞㳉殨Ҹ军ᾣ䭠㐏棭⿇吀 㾀媖桫虇⪶⪩㜇⁉幊䋭ㆬ捞抌䊰㹤―孲虇㢃懠履䣋⏜ ₊⃤㜿㳍梊ⳟ䃽䏸㎥恮₅䠓⋶扷懚⃫Ҹ 杫㝋憨㝈棱虇ひ◙㐏姢⢷懝╊」懀ᾏ䢃∨╦杫 㹷Ҹ⪩榔屎㥴槾䫉虇ᾏ⋷䖒㢏⪶♐䏛䠓䮚〞ゞひ ◙㢍槾䫉⢷ᾏ⁉ᾜⴘ䠓⋶ⵈ㝐戙虇⬑㇟ㆥ仓俣 䠋⾒䠓䏖㵄Ҹ 憨䮽样㯮䠓䮚〞ゞひ◙㏏憯㎟䠓㊀⁉仟㤫⾁㒐 倛ᾏ㵄㟑朢虇ひ◙⛕╙♐䏛῝仑㝋㔰╥姛⑤虇⁴䩉 Ⅼ⌅ひ◙㚾⎉厂ⶠᾜ㞾䢃㔴幖㇟ㆥῊ儸Ҹ 封 㒖⎉䠓㞾虇⊧ 䴰㜇䩋ひ ◙槾䫉㾻捞㒖㮨媖 桫ҷ►乙ҷ⋔䂎⇖巰╙╾䜠虇⃕⁜䋅╾⁴㔶⏅䠓虇憨 ╹梏嬐⁉㏚䠓䡲䣲╙㥴Ҹ ㎥冔虇⁉槭㝋ひ◙㐏姢⬑⃤悤㞢㎠↠䠓⽴ ⃫崙ㄦ卹⑤⒥㢘灭懝㝋㮑孏Ҹ 峈宧䠓㞾虇㎠↠梏嬐㢃汧䠓ひ◙佁仰憞㞝〵虇 梏嬐⾑⧃㔷ひ㝈棱䠓株⁉㏚䡲䣲Ҹ䜅㯮㨿⁉⁜ ⢷ⴇ兡栝㵄虇㎠↠ⓒ喻ᾜ嬐⃝₿剛ㄛ㔛叄䠓⁉槭 捞Ҹ 屚亿杀⁙㢮桫尛Ҹ
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Carlos Bruinsma Editor WWW.M A R K ET I N G — I N T ER A C T I V E.C O M
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Retro-lution – in with the old, out with the new?
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Snapped.
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Marketing metamorphosis.
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When programmatic becomes problematic.
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The art of making HK a cultural destination.
ㄸ╳䃽㻐虇帹厙┼㜿虚
䍮摆㻊⑤呀份
⾑⧃㔷ひ懁⒥履
䜅䮚〞⒥ひ◙崙㎟⛞槛ひ◙
♐䏛⿅榧欨㾾坬姢廿⎉㧕㧕
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What’s on? MARKies Awards 2017 What: The MARKies Awards recognises the most innovative, creative and effective campaigns or projects spanning Hong Kong’s entire marketing services industry. Where: JW Marriott Hong Kong. When: 20 April 2017. Retail Marketing 2017 What: Asia’s leading conference that zeroes in on marketing challenges in the retail industry – from challenges in brick-and-mortar to the pitfalls of online commerce. Where: Hotel ICON. When: 26 April 2017.
Lisa Wong Head of marketing and communications, Southeast Asia Swarovski
First job? Sub-editor at Zip Magazine in Hong Kong. First job in marketing? PR manager at Moët Hennessy Diageo Hong Kong and Macau. I was given the chance to move into brand management soon after I joined. The nine years with Moët Hennessy was precious as I was offered different roles in the region, managing different portfolios. Everything I know about marketing, I learnt at Moët Hennessy. Perks of your current job? Unleashing the full possibility and potential of the most exciting emerging markets in the world. Why a career in marketing? I only work for brands that I love. I see it as a very meaningful job to be a brand guardian in their histories and to ensure the story of these brands are told in a memorable and beautiful way. Best career advice you’ve been given? “Never say die” by Ruby Tang, former regional marketing director at Moët Hennessy APAC. If you weren’t in marketing, what would you be? Travel journalist.
ᯧዯᐡጤᓆ៦ᅞҿZip MagazineӀ䠓欨㾾䖕佷悾Ҹ ᯧዯᐡᏕᲵᭆ⇚ጤᓆ៦ᅞ⢷Moët Hennessy Diageo 欨㾾╙䅂朏㙣₊⋻杫伢䖕Ҹ⋴⋻▇Ὶㄛ虇㎠㢘㯮㢒 ╒厖♐䏛䴰䖕⽴⃫Ҹ⢷Moët Hennessy䠓Ῥ〃㞾ᾏ 㵄ⶅ幃伢毦虇㎠⪯㙣䜅封⢿Ⓩ䠓ᾜ▛分⃜ҷ䴰䖕ᾜ▛ 䠓㫼⑨虇㎠㝋⾑⧃㔷ひ䠓ᾏ⎖尜峧虇抌㞾⢷Moët Hennessyⴇ⎿Ҹ ᯀᐞጤᓆᑗᛵᑊ፵៦ᅩ䠋㕽⋷䖒㢏⁉厗⫽䠓㜿厗 ⾑⧃⋶ᾏ⎖╾劌ㆶ╙䃪Ҹ ᠥᒺᬙᗇᏕᲵᭆ⇚ጤᓆᅩ㎠╹㢒䉉ㅒ⊏䠓♐䏛⽴⃫Ҹ ㎠尜䉉劌⪯㎟䉉♐䏛㴆▁捛䮚䨠ᾼ䠓⌅ᾼᾏ⃜ⴗ崆 冔虇⁴⁉桲ㅧ╙儝瀦䠓㝈ゞ岪慿憨♐䏛䠓㛔 ‚虇㞾ᾏ₅棭⿇㢘㊞儸䠓⽴⃫Ҹ ᑺᠻ↚▱ᲵᙜᓯᅩMoët Hennessy⏜⪹Ⓩ⾑⧃㔷 ひ俌䡲Ruby Tang尹懝處Ӂ㷇ᾜ宏㛦ӂҸ
Shantanu Narayen, CEO of Adobe Adobe姛㛎俌婐Shantanu Narayen
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ᑙᚤጰᬙᗇᏕᲵᭆ⇚ᛵᾭᅗᓇỒ␋⍛ᠻ↚ᅩ㝔懙宧冔Ҹ
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APRIL 2 017 MARK E TING HO N G KON G 7
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We have seen the comeback of Nokia’s 3310 make international headlines; and Nintendo’s NES Classic Mini has been in high demand since it went on sale last November. And in Hong Kong, Coca-Cola’s beverage brand Hi-C recently rolled out a limited time edition of its iconic vintage packaging, while McDonald’s also launched a toy museum to tickle our collective memories last year. The aim of marketing is to influence customer behaviour, and a better understanding of psychology can make us better marketers, so let’s dive a little deeper into what nostalgia really is. The term “nostalgia” was coined by Swiss medical student Johannes Hofer in 1688, combining the Greek terms nostos (for “returning home”) and algia (for “longing”) to describe an entirely new medical disease at a time during which soldiers experienced mental and physical maladies due to their longing for home. Today, nostalgia is no longer looked upon as a mental disorder, but as a natural, common and even positive emotion – a vehicle for travelling beyond the deadening confines of time and space. Led by Constantine Sedikides, professor of social and personality psychology at the University of Southampton, researchers found that nostalgia can “counteract loneliness, boredom and anxiety”.
It also makes people “more generous to strangers and more tolerant of outsiders” and couples feel closer and look happier when they are sharing nostalgic memories. Nostalgia in marketing means tapping into the fond memories of the “good old days” in a current marketing strategy to create a positive emotional feeling in customers. In this sense, the “magic” of nostalgia is then enhanced when savvy marketers realise they can emotionally connect with their customers by providing a sense of nostalgia by going back in time to reinvent their iconic products or look.
Julie Purser, associate partner of Prophet, says consumers feel good when reliving positive memories of the past. “Nostalgia marketing taps into this emotional need and creates an emotional connection with consumers that builds brand loyalty.” She adds that for brands to be successful they must be relentlessly relevant. Brands that are relentlessly relevant consistently inspire and move consumers to action, but do it while remaining unwaveringly authentic to who they are. In this sense, she says, nostalgia marketing is a very effective tool for brands to do both things well.
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⏱ᗉ 3310 ᢽᎤᒆᵏᑯᠥↂ᭾ᅜᐞ፞ᛵᩲ ⃯五䠌㯮NES Classic Mini卹╊〃ⓐᾏ㢗朚⚽⁴ℕ 摆捞ᾏ䢃汧徭ᾜᾚҸ⢷欨㾾虇╾╲╾㮑䠓栌⋘♐䏛 㢏慠㔷⎉柟捞䏗伢⌇ㄸ⏊⒔婬檁♐虇瀴䜅⑭‵㝋╊ 〃㔷⎉䔸⌆㮑⢡虇✩弆㾾⁉䠓桕汣⡭㍅Ҹ ⾑⧃㔷ひ㝷⢷榎槶ⴱ姛䉉虇㢃―孲槶ⴱ䠓ㅒ 䖕ⶖℎῚ㎟䉉㢃⎉吁䠓⾑⧃㔷ひ⁉♰虇ⷀ崢㎠↠ᾏ ▛㾀⋴―孲㎆厙䍀䃽䠓䢮䢇Ҹ Ӂ ㎆ 厙虃 n o s t a l g i a 虄ӂᾏ 寭 㞾 㝋 1 6 8 8 〃 䛀 䗭 ⩺ 挺 䭠 䚮 J o h a n n e s H o f e r ㏏ ␄虇 䜅 ᾼ 仟 ▗ ⾛ 卧 尭 n o s t o s虃 ㊞ 㒖Ӂ⡭ ⵅ ӂ虄╙ a l g i a虃㊞ 㒖Ӂ㌶ ㌻ӂ虄虇ヱ ⵈ 䜅 㟑 ⩺ ⌄ ↠ ⡯ 㿃 㢪 ⡭ ⵅҷㆬ 折 ㎟ 䝍 军 䚱 䚮 䠓 ᾏ 䮽 ㅒ 䖕 ╙ 䚮 䖕 䝍䝔Ҹ ⁙ ⪸虇㎆ 厙ᾜ ⌜ 嬥 䉉 乍 䫭 栫 䪨虇军 㞾 ᾏ䮽卹䋅ҷ㟽 懜ҷ䚩厂㳲棱䠓㉔佡虇劌⪯弔 弙㟑朢╙ 䰉朢䠓柟⏅虇⡭⎿ 懝╊Ҹ ⢷ 咀⢚ⓦⴘ 㟽㛵 ⪶ⴇ 䫍㢒厖 ⁉㧋ㅒ 䖕ⴇ㛨㔗 Constantine Sedikides䠓 ⿅榧ᾚ虇䦣䰅⁉♰䠋䖍㎆厙 ╾⁴Ӂ㑄 䬵 ⳳ 䓷ҷ䊰 凙╙ 䊵 ㋽ӂҸ ⴒ‵ℎ⁉↠Ӂ柛䚮⁉㢃 ㌆㋷虇⪥⁉㢃ⵈӂ虇⪺⯵ Ὶ朢㙐㢘⌀▛䠓㎆厙⡭㍅虇㢒 ㊮孉㢃嬹ⵕҷ㢃〇䬞Ҹ 军㎆厙䍮摆㞾憞懝䡽⏜ 䠓⾑⧃㔷ひ䳥䛴虇⒍弆㼗幊 冔Ӂ㞣㝴灒捠㟑ӂ䠓儝⬌ ⡭㍅虇↠䚱䚮㳲棱䠓㉔ 佡╙㊮孉Ҹ ⡯ 㳳虇㢘 乍 㞝䠓 ⾑ ⧃ 㔷 ひ⁉♰㊞峧⎿虇䉉⌅䚱♐㎥ 宼宗㹷⋴ᾏㄸ╳⋒亯虇ⅎ劌 厖㼗幊冔䚱䚮㉔㊮⌀溃虇ㄭ军⨭テ㎆厙䠓Ӂ泣ӂҸ Prophet ⏾▗⪴⁉Julie Purser姷䫉虇捜䀺㞣 㝴䠓儝⬌⡭㍅虇㢒㼗幊冔㊮孉叾⬌ҸӁ㎆厙䍮摆 㳲㳲慝▗憨䮽㉔㊮梏㷑虇厖㼗幊冔ら䱚㉔㊮ᾙ䠓凾 俺虇ㄭ军ら䱚♐䏛ㅯ尯〵Ҹӂ Purser 婫⋔㒖虇♐䏛嬐╥ㄦ㎟虇ㅔ榗ᾜ㝆Ⅼ 㒐ㇾㇾ䢇杫Ҹ似㒐ㇾㇾ䢇杫䠓♐䏛╾㒐倛◇イ╙㔷 ⑤㼗幊冔虇⃕厖㳳▛㟑虇♐䏛ㅔ榗⦔Ⅼ㒐┮ℕ䠓 䢮棱帛Ҹ ⬈尜䉉虇㎆厙䍮摆♐䏛懣㎟⁴ᾙ⋸㝈棱䠓䡽 㮨棭⿇㢘㛗ҸӁⴒ♐䏛㊮孉䢮尯虇▛㟑㢘㯮㢒■ 槶ⴱⷤ䫉⌅㛈✓Ὶ埤Ҹӂ ⬈ら峿虇㎆厙䍮摆ᾜ≔嬐⒍弆⪶䣍懝╊䠓儝 ⬌⡭㍅虇嬐㕟K厖㟑懁䠓䚱♐ҷ㢜⑨╙汣毦虇憨 㮲㏜劌䠋㕽㢏⪶㎟㛗Ҹ 屖⎿⡭㍅虇咀⢚厹䰉伢⿇⢷⌅⾑⧃㔷ひ㻊⑤ᾼ
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“It makes brands feel authentic and real – while offering an opportunity to explain to customers how you’ve improved.” She suggests that nostalgia marketing is most effective when it not only elicits fond memories of the past, but concurrently provides new products, services and experiences that deliver on the modern needs consumers have. Speaking of memories, British Airways often uses nostalgia in its marketing efforts to reconnect with consumers and remind them of its legacy. For example, to celebrate its 80th year anniversary of flying the Hong Kong to London route last April, the airline featured models wearing vintage cabin crew attire for a photo shoot against the backdrop of Hong Kong’s iconic skyline. British Airways also curated a heritage exhibition at The University of Hong Kong to take visitors for a trip down memory lane with the company. Choi Fong, marketing campaign manager of British Airways, says the company showcases its history and heritage for campaigns where it’s appropriate and relevant so that customers can see its rich heritage and the events that “have led us to become the airline that we are today”. And this strategy seems to be effective and the results have borne fruit – for the 80th year anniversary of the Hong Kong to London route celebration, Fong says from a PR perspective, it generated 251 pieces of coverage with an ROI (based on PR value) of 21. Another upside of nostalgia marketing is that it can be relatively easy to implement, as reminiscing about the past and feeling a sense of nostalgia for times gone by is a universal experience. Fong thinks nostalgia marketing is powerful because it can show today’s generation what was achieved in the past because “history can teach us a lot of things”. It’s also good to look at the past to see how it has shaped the future and with more technological advances, she adds. “Today, we often look back at past events with a sense of nostalgia and amazement to see how our forerunners were so forwardthinking and pioneered innovations.” Baby boomers and Gen X are usually
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found to have an emotional attachment to the past, but the new generation is also attracted to retro brands. To rejuvenate its brand image, 7Up last year rolled out a thematic campaign with a four-minute online video titled “Days of being refreshed” which revisited the classic Cantonese movie Days of Being Wild. It took reference from the charismatic figure of the late pop idol Leslie Cheung’s character Ah Fei, the nostalgic vibe of the movie, and also the iconic scene where Ah Fei meets Su Li-zhen to capture the audience’s hearts and minds. Targeting younger audiences in their early 20s, the soft drink brand looked to raise awareness among millennials and drive interaction. The video reached more than one million views in a week. 7Up said by employing this nostalgic mood and the classic script of the movie, it resonated with audiences and also showed the product was “refreshing” and has a “witty brand personality”.
⋴㎆厙⋒亯虇坘㳳厖㼗幊冔捜㜿凾俺虇捜寃⌅ ♐䏛㴆▁䠋ⷤҸ ℚ⬑䉉㌅䫬ℕㄏ欨㾾╙↺㛵厹佩 80 ◷〃虇╊ 〃⡪㢗虇ᾏ䣍㮰䐈⋡䰎ᾙ咀厹ㄸ╳䠓㯮叨㢜⑨♰⏅ 㢜虇⢷欨㾾䠓▓↚⢿㮨㑜䋶Ҹ 咀⢚厹䰉戓⢷欨㾾⪶ⴇ䳥␒ᾏ⧃㴆▁ⷤ孌虇⿅ 榧╒孏冔ᾏ▛從ᾙ封厹䰉⋻▇䠓⡭㍅Ὶ㝔Ҹ 咀⢚厹䰉⋻▇⾑⧃㔷ひ㻊⑤伢䖕㝈兯啾姷䫉虇 咀厹憩懝▗懸╙䢇杫䠓⾑⧃㔷ひ㻊⑤ⷤ䫉⌅㴆▁ ╙戉䚱虇崢㼗幊冔䢚⎿Ӂイ榧㎠↠㎟䉉⁙⪸䠓咀⢚ 厹䰉⋻▇ӂ䠓巟ⵛ㴆▁╙‚₅Ҹ 憨↚䳥䛴῝䢇䜅㢘㛗虇╥ㄦ巟䨸䠓㎟㤫Ҹ 㝈兯啾姷䫉虇ㄭ⋻杫孡〵ℕ尹虇橪ㄏ欨㾾厹佩80◷ 〃䠓㌅䫬㻊⑤ㄦ⎿ 251䵖⧀虇㐤幖⡭⧀䔖虃⦉㝋 ⋻杫⇋虄䉉21Ҹ ㎆厙䍮摆╵ᾏ↚⊹⑱㞾悒ⵈ㞢姛虇⡯䉉⡭㍅ 懝╊ҷ㎆佻㞣㝴㟑⋘㞾ᾏ䮽䊰⎕⢚䛛䠓汣毦Ҹ 㝈兯啾尜䉉㎆厙䍮摆⌆テ⪶榎虇╾⁴■㜿 ᾏⷤ䫉懝╊䠓㎟ⷀ虇⡯䉉Ӂ㴆▁╾⁴㛨㡘㎠↠ㄗ ⪩㤀嬎ӂҸ ⬈婫⋔姷䫉虇⡭槶懝╊╾―孲㴆▁⬑⃤榎㢹 ℕ虇╙䭠㐏䠓䠋ⷤ懁䮚ҸӁ⁙⪸虇㎠↠伢⿇⿅嗦㎆佻 ╙㛻䠓ㅒ㋚⡭槶懝╊䠓‚₅虇⡭䢚⋗幱䠓懯嬚╙ ␄㜿Ҹӂ
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ᾏ去尜䉉ⲿ⋡䃽ᾏ╙Xᾥ懝╊㢘悒⪶䠓 ㉔㊮ℬ㎏虇⃕㜿ᾏ΅㢒╦ㄸ╳䍀䃽㏏◇イҸ 䉉⧠憯凂䡽ᾏ㜿䠓♐䏛ヱ巰虇ᾒ✫╊〃㔷⎉ᾏ ↚Ὴ槛㔷ひ㻊⑤虇拜▗ᾏ扷▜䉉ҿ柎橪⪥≂Ӏ䠓 ⡪⎕斧䏖虇捜㜿䂣倈伢⌇乄尭梊ҿ柎橪㳲≂ӀҸ 封ひ◙╒冒䛀⾁㛔㻐姛∅≞ツ⢚㬽㏏檍䂣䠓ᾜ 儗孡吁柎橪ҷ捜⧠梊ᾼ䠓㎆厙㶲㶪ҷ╙柎橪懖嬚 垖瀦䕜䠓伢⌇⧃㟾虇⁴䎼╥孏䣍䠓䡽⋘Ҹ 捬20⪩㴁䠓〃悤孏䣍虇封♐䏛⾛㢪㕟汧⢷ⓒ 䬶ᾥῚ朢䠓䥴▜〵炢⒄‡⑤虇䏖㔷⎉ᾏ◷⾁ 撓ㄦ懝䠍喻㲰䠓䆞孌Ҹ
“If one brand breaks the mould, and it’s good, others will follow,” says creative veteran Chris Kyme, CEO of Kymechow. He says when a campaign goes out and is popular in a certain style, other brands adopt a similar approach, as they’ve seen it was successful. But he adds that some Hong Kong companies are conservative by nature and
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campaigns that fall outside of “familiar” territory tend to not get approved as quickly – or at all. “Most advertisers in Hong Kong these days will not bet their money on ideas or styles which are completely different. Which is why so many campaigns in various categories all look and feel the same. Clients feel comfortable signing off on the familiar.” But there are, of course, some campaigns he does appreciate. For example, in the 1980s and 1990s in the UK, creative agency Bartle Bogle Hegarty London adopted the nostalgic approach for jeans label Levi’s. At the time, jeans targeting youths were all trendy designer labels, and Levi’s was seen as outdated – the jeans their parents’ generation wore.
ᾒ✫姷䫉虇憩懝㎆厙樷㧋╙伢⌇梊㉔䵏虇╾ ⁴厖孏䣍䚱䚮⌀溃虇槾䫉䚱♐Ӂ⁉䋴䋅ᾏ㜿ӂ虇 ⌆㢘Ӂ䤎㠉䠓♐䏛↚ㆶӂҸ Kymechow 姛㛎俌婐Chris Kyme尹處Ӂ䜅ᾏ ↚♐䏛劌⪯㏢䧃⿇嬞虇军ᾣ╥ㄦᾜ撾䠓㛗㤫虇⌅ ♐䏛ⷀ㢒彮樷Ҹӂ Ky me 姷 䫉虇䜅ᾏ榔 㔷 ひ 㻊 ⑤棱 ᾥ虇 ⁴ 㥟 䮽㝈ゞ⪶╦㳰慝㟑虇⌅♐䏛΅㢒㔰䚷槭䠓㏚ 㹤虇⡯䉉⾁伢䢚 ⎿⌅ ㎟ 䠓ℚⳟҸӁ䖍㟑㢻㾾⪶ ⪩㜇䠓ひ◙⛕ᾜ㢒⌡根㐤幖⢷㎹䋅ᾜ▛䠓Ὴ㊞㎥ 樷㧋Ҹӂ Ӂ憨㳲㳲㞾ᾜ▛槭⎴䠓ひ◙䢚弆ℕ㊮孉抌㞾ⓐ ⎕䢇䠓┮⡯虇⡯䉉㼗幊冔悒ⵈ㞢㔴╦↠䌮㈘䠓 ‚䏸Ҹӂ 䜅䋅虇㢘㔷 ひ 㻊⑤ 㞾ⓐ⎕㲲 幭虇ℚ⬑⢷ 80╙90〃䠓咀⢚虇␄㊞䖕⋻▇Bartle Bogle Hegarty London䉉䏪嫁♐䏛Levi’s㔰䚷㎆厙䠓 䍮摆㏚㹤Ҹ
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Bartle Bogle Hegarty turned that upside down and turned a negative into a positive with “The original jeans” tag line and began an incredibly successful campaign using old soul music tracks which made the past cool again. So capturing hearts and minds is one thing, but how about capturing wallets? According to a study in the Journal of Consumer Research titled “Nostalgia weakens the desire for money”, consumers feeling nostalgic could actually decrease their price sensitivity. The authors, Jannine Lasaleta, of Grenoble École de Management, Constantine Sedikides, of University of Southampton, and Kathleen Vohs, of University of Minnesota, conducted six experiments that looked at how much people were willing to spend, donate, and value money when feeling a sense of nostalgia-evoked social connectedness. In one study, consumers asked to think about the past were willing to pay more for a set of products than consumers asked to think about new or future memories. Another study showed an increased willingness to give more money (but not time) to others after recalling, reflecting or writing about a nostalgic past life event. Additionally, consumers asked to think about a nostalgic event were less willing to endure unpleasant sounds in exchange for a set amount of money than consumers who were asked to think about an ordinary event. The scholars concluded that feeling nostalgic weakens a person’s desire for money. In other words, someone might be more likely to buy something when they are feeling nostalgic. During times of recession, the authors noted that consumers are more reluctant to part with their money and added that nostalgia could be used to help stimulate a dwindling economy. “We found that when people have higher levels of social connectedness and feel that their wants and needs can be achieved through the help of others, their ability to prioritise and keep control over their money becomes less pressing,” they said. While this strategy has much to gain and little to lose, Kyme says there is no point in using nostalgia just for any old reason. “It has to be rooted in a strategy.”
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Also, he warned against featuring any past period which has negative connotations. Case in point, a few years ago a fashion brand thought it was a good idea to play on Nazi memorabilia, but severely underestimated how strongly people would react. On the other hand, Prophet’s Purser suggests two things brands need to bear in mind when using nostalgia marketing to connect with consumers. First, they need to make sure they identify those truly special moments that consumers desire to reconnect with. A nostalgia marketing campaign that’s not truly rooted in emotional sentiment from the past will fall flat. Second, brands should offer something new while highlighting their past. Brands that truly succeed connect their history to new products, services and experiences to show not only their authenticity, but to also show they are in tune with what consumers want today. The bottom line is, as marketing is the art and science of connecting with consumers – if you find the sweet spot between the numbers and the psychology – the payoff can be substantial.
7Up’s nostalgic ad campaign ᾒ✫䠓㎆厙ひ◙
䜅㟑虇〃悤ᾏ悸抌㞾䰎嗦䛀▜䏛宼宗⾺㏏␄⃫ 䠓䏪嫁虇╜孏Levi’s 娺嬥䉉懝㟑ҷ冐⢮虇㢃㞾冐ᾏ 悸㏜䰎嗦䠓䏪嫁Ҹ Bartle Bogle Hegartyⶖ㉔ 㹐憕惘懝ℕ虇㔰䚷ӁThe original jeansӂ⃫䉉㮨 尭虇ℎ♐䏛ヱ巰ㄭ帯棱崙㎟㳲棱虇ⷤ朚䰉⏜㎟ 䠓㔷ひ㻊⑤虇懚䚷㎆厙䠓毆棗概㮑㳛㢁虇厙♐䏛 崙ㄦ⌜㲰⤚㧋弆ℕҸ 庞ㄦ㼗幊冔䠓㳰ㅒ㞾ᾏ⡭‚虇⃕⬑⃤庉╥↠ 䠓捠撱◱虚㧈㙩ҿ㼗幊冔䦣䰅桫尛Ӏ䠓Ӂ㎆厙⏙ダ 捠撱䠓㌍㢪ӂ䦣䰅槾䫉虇㢘㎆厙㊮孉䠓㼗幊冔╾ 劌㢒柜⃝⊈㧋䠓㛞㊮〵Ҹ 㹤 ⢚ 㧋 ② 岍 ⾒ 䏍 䴰 䖕 ⴇ 柱 䠓 Jannine L asaletaҷ咀 ⢚ ⓦ ⴘ 㟽 㛵 ⪶ⴇ 䠓 Constantine Sedikides╙儝⢚㞝ⷋ垖懣⪶ⴇ䠓Kathleen Vohs ᾘ⃜䦣䰅⧀◙⃫冔懁姛―⋼㲰毦虇䦣䰅╦容巰 ⡯㎆厙军䚱䚮䫍㢒凾仟㊮孉㟑虇㢒槧㊞呀幊ҷ㓟店 ⪩ⶠ捠撱╙⬑⃤寤₿捠撱䠓⊈⇋Ҹ ⢷ᾏ榔 䦣 䰅ᾼ虇嬐㷑⡭㍅ 懝 ╊䠓㼗幊冔虇悒 ㊂≞㢹ℕ䠓㼗幊冔㢃槧㊞呀撱╊庋幆䚱♐Ҹ╵ᾏ 榔䦣䰅姷㞝虇⢷⡭㍅ҷ╜ㆬ㎥㕞懝╊䚮㻊‚₅ Ὶㄛ虇䦣䰅巰㢃槧㊞仵 ‗㢃⪩䠓撱虃军ᾜ㞾㟑 朢虄Ҹ 㳳⪥虇嬐㷑⡭㍅㎆厙‚₅䠓㼗幊冔虇悒娺嬐㷑 ㊂≞ᾏ₅㟽憩‚₅䠓㼗幊冔虇㢃ᾜ槧㊞ㅜ╦⏉凂刁 概ℕ㕪╥ᾏ㜇捞䠓捠撱Ҹ ⴇ冔↠俌仟㒖虇㎆厙㊮孉⏙ダᾏ↚⁉捠撱䠓 ㌍㢪Ҹ㕪╴尀尹虇䜅↠㎆厙㟑虇庋䏸㊞㳁╾劌㢒 ᾙⓖҸ ⃫冔↠㒖⎉虇㼗幊冔⢷伢䅮姿憏㢮朢悒ᾜ槧 ㊞呀撱虇⡯㳳㎆厙⋒亯╾⁴䚷ℕ⿺⏉䅏䝁ダ䠓 伢䅮Ҹ ↠尹處Ӂ㎠↠䠋䖍虇䜅⁉↠厖䫍㢒㢘悒汧䮚〵 䠓凾仟虇ᾣ孉ㄦ↠䠓⾛㢪╙梏㷑╾⁴憩懝⎴⁉ 䠓⿺ℕ䖍㟑虇↠捠撱䠓㌍㢪╙㔶⏅劌ⅎ 㢒㾪ダҸӂ 桥䋅㔰╥憨䮽䳥䛴⎸⪩㝋゙虇⃕ Kyme㕟挡虇 ᾜ劌䊰佲䊰㛔ℎ䚷㎆厙䳥䛴ҸӁㅔ榗嬐⁴䳥䛴䉉⦉ 䪝Ҹӂ 㳳⪥虇㕟挡ᾜ嬐ℎ䚷⿅㢘䎼峿䠓⡭㍅虇ⷀ≞ 」〃⏜虇㥟㟑婬♐䏛⁴亜么䠓㴆▁ℕ➸䣍╥ⶄ虇仟 㤫⃝₿㼗幊冔䠓╜㍘Ҹ ╵ᾏ㝈棱虇Purserら峿♐䏛⢷ℎ䚷㎆厙䍮摆厖 㼗幊冔凾俺㟑虇嬐余宧⋸₅‚Ҹ 欥⋗虇䩉Ⅼ⿅⎉㼗幊冔䢮㳲㊂㍅弆䠓䐈 㴙㟑 ⏊虇⇖⬑ᾏ↚ᾜ劌䢮㳲㪜㧈㝋懝╊㉔㊮䠓㎆厙䍮摆 㻊⑤虇㛗㤫ⶖ㢒⪶㏢㐧㏲Ҹ 䲻‛虇♐䏛⢷テ屎懝╊䠓▛㟑虇戓嬐㕟K㜿‚ 䏸Ҹ♐䏛嬐ⶖ⌅㴆▁厖㜿䠓䚱♐ҷ㢜⑨╙汣毦仟 ▗虇ᾜ≔ⷤ䫉⌅䢮ᾏ棱虇戓嬐峘㞝↠厖㼗幊冔 ⁙⪸䠓㢮㢪Ⅼ㒐ᾏ厃Ҹ 尹 ⎿ 〤虇⾑ ⧃ 㔷 ひ 㞾 凾 俺 㼗 幊 冔 Ὶ 懢虇㐍 ⎿ 㜇 ⳦ 厖 ㅒ 䖕 Ὶ 朢 䠓 㢏 ℂ 㙩 灭虇㛅 䯺 ⶖ㢒棭⿇ 巟䨸Ҹ
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Lyndon Hale Executive creative director DigitasLBi APAC
HOT: #DickTheDog for MTV Staying Alive Foundation
NOT: Turkish Airlines – Morgan Freeman Super Bowl Commercial (2017)
I guess it’s hard when you start down the route of an animated ditty not to be compared to “dumb ways to die”. So much so that creatives will shy away from it, for fear of not living up to the comparison. However, in this case, I have to applaud the choice. Right subject matter and right target audience who will be receptive to the message. All wrapped up in a suitably bizarre and surreal story. Bravo!
I wish I could write “lazy” 80 times to fill my word count … a bit unfair, but come on! This feels like an exercise in how much money can we spend in the shortest amount of time. Morgan Freeman, Superbowl. All that we have ended up with is … feeling a bit adventurous? We can take you to some places. Granted, that rather dull message does sound better in his voice, but this hardly sets them apart from the competition.
⟰;᠖䪙ᜲỒ!#DickTheDog for MTV
⇜;ᒜᗥᨴᜀᅮ⇴ᦉḈ᪻ḐᨑἽ⇚ᓯᅳ2017ᅴ
從ᾙ⑤䛺ひ◙␄⃫Ὶ彾虇桲⋜㢒娺⁉⁴Ӂdumb ways to dieӂℕ㵣悒虇㢘␄⃫ ⁉䚩厂⡯㳳㊮⎿䛞侽虇㇟ㆤ㢘帯䣍㢪Ҹ䋅军虇㎠ㅔ榗MTV 㻊䣏⦉捠㢒䠓ひ◙ ‗⁴崩幭Ҹ憨⏖ひ◙䩉䱚㳲棱䠓Ὴ槛虇捬㳲䩉䠓䡽㮨╦䣍虇⒔婬㎟ᾏ↚弲 ㆹ军╗弔䖍䠓㛔‚虇⇩ㄦ⬌蘼
㎠⾛㢪㎠╾⁴80㲰Ӂ㎅㉿ӂℕ⋔⳦㜇//////⃕憨㮲㢘灭ᾜ⋻懢Ҹ憨⏖ひ◙⬌≞ ᾏ↚㾻寵⢷㢏䥼䠓㟑朢⋶╾⁴䍡⪩ⶠ撱䠓毦處㗸㧈幊㢋ᾙSuperbowl虇㢏 ㄛ䠓仟㤫㞾//////㊂⌡根❝虚ひ◙䏖╾⁴⿅⃯懙孌ᾏ⢿㝈Ҹ䜅䋅虇⁴㗸㧈幊㢋 䠓棩刁ℕ懢⎉憨㸘㉅䠓宙ㇾ虇刌弆ℕ㞾榕凂ᾏ灭虇⃕ㄗ桲ㄭ䲅䎼㏚Ὶᾼ䰐 ⢜军⎉Ҹ
MOBILE CHOICE 流動熱潮 Presented by
Tomy C.C.Choi Principal consultant cccdi ltd.
Digital freshness Last year, artificial intelligence (AI) programmes came under the global spotlight after Google’s AlphaGo defeated South Korea chess player Lee Sedol. This has once again become a hot topic as different countries developed their own AI chess programmes and made their debut at the Go game this year, including Facebook’s Dark Forest from the US, DeepZenGo from Japan, Crazy Stone from France, Tencent’s Fine Art from China, etc. Based on the insight for digital, AI will drive development in three aspects in the next few years: cloud services – it is required to advance the self-learning progress of AI programmes, record different cases and keep enriching cloud data for analytical learning during the learning process; software products such as Siri in iOS, Microsoft Skype Translator in Skype and so on; and API application – this is the most notable aspect which will become an insight into digital marketing and marketing. API related to realtime cognitive services, especially, it can’t only reduce human resources costs for marketing or operations, but also help companies build up a high-tech brand image to appeal consumers. For example, an intelligent image recognition and text recognition system can filter information automatically for a UGC (user-generated content) campaign, filtering
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indecent images and malicious comments. In another case, an intelligent voice recognition system can identify customers, provide 24-hour virtual assistant customer service, and communicate with customers through instant voice translation to eliminate language barriers.
∋≜ỉ╖ ╊〃Google䠓AlphaGo㎿⑬楢⢚⢜㩚汧㏚㣝ᾥ乭虇⁉⽴㠉劌亊伀㎟䉉⋷ 䖒杫㹷䠓㜿凭Ҹ⁙〃䛀ᾜ▛⢚ⵅ朚䠋䠓⁉⽴㠉劌亊伀虇‵样Ὶ⢷⢜㩚㵣庌ᾙ ‽䢇虇峻⬑ℕ卹儝⢚䠓Facebook Dark Forestҷ㝴㢻䠓DeepZenGoҷ㹤⢚䠓 Crazy Stoneҷᾼ⢚䠓殿宙令坬䳘䳘虇⁉⽴㠉劌⌜㲰㎟䉉䍀䉧䉧䠓尀槛Ҹ 㝋㜇⳦㺭㈘虇㠺䢚㢹ℕ㜇〃虇⁉⽴㠉劌ⶖ⿅⑤ᾘ㝈棱䠓䠋ⷤ處)1*梁䱾 㢜⑨ʞ⁉⽴㠉劌亊伀嬐ᾜ⇫卹㎠ⴇ兡㛈懁虇⢷ⴇ兡懝䮚ᾼ宧撓ᾜ▛‚ℚҷᾜ ⇫㚃⋔⋁⳧㜇㙩⎿梁䱾⎕㤟ⴇ兡Ҹ)2*恮₅䚱♐ʞ⬑iOSᾼ䠓SiriҷSkypeᾼ䠓 Microsoft Skype Translator䳘䳘Ҹ)3*API㍘䚷ʞ憨㝈棱㢏⇋ㄦ杫㹷䠓虇ⶖ㢒 㞾㜇⳦䍮摆╙⾑⧃㔷ひ䠓㺭㈘虇ⶳ⌅㞾│㟑尜䥴㢜⑨䢇杫䠓API虇㝱╾⁴侽㾪 㔷ひ㎥䍮懚䠓⁉幖䀟㎟㢻䠓▛㟑虇‵䉉ₐ㫼⧠憯汧㛗䭠㐏♐䏛ヱ巰ⓣ◇ イ㼗幊冔Ҹ⌆汣㍘䚷虇ℚ⬑ᾏ↚UGC虃䚷㏅䚮㎟⋶ⵈ虄㔷ひ㻊⑤虇⢥䏖尜䥴ҷ 㜖⳦尜䥴㠉劌亊伀虇╾⁴䢐㾪⁴⁉㏚懝䆍虇卹⑤䵸戇幖㜨虇ⶖᾜ桔⢥䏖ҷ⁉怺 㛊㙙䛨宏懝䆍Ҹ╗ℚ⬑拜▗㠉劌尭概尜䥴虇梊尀尭概峧⎴ⴱ㏅虇㕟K24㟑䠓 埪㙻㏚ⴱ㏅㢜⑨虇⎸䚷│㟑尭概冊峾䀬憩虇㼗柳ⴱ㏅Ὶ朢䠓尭宏⽽䛿柟⏅Ҹ
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Adobe Summit 2017 DATE: 19-23 March 2017 VENUE: Venetian, Las Vegas 1 Adobe kicked off Summit 2017 with 12,000 attendees. 2 Actor Ryan Gosling on stage during the summit. 3 Saturday Night Live’s Kate McKinnon shared how digital has impacted her career. 4 Executives from Adobe talked about their visions for the future.
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Art Basel Hong Kong DATE: 23-25 March 2017 VENUE: Hong Kong Convention and Exhibition Centre 1 Alan Cristea Gallery (courtesy Art Basel). 2 Neugerriemschneider (courtesy Art Basel). 3 Sadie Coles HQ (courtesy Art Basel). 4 Workplace Gallery (courtesy Art Basel).
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Ever tried buying theme park tickets, air tickets or concert tickets online? “System busy”, “Come back later”, blank screens and server errors are the bane of the existence of ticket bookers – and marketers. Users are left with two equally frustrating choices: to wait, or not to wait and press F5, that is the question. The technical term for this phenomenon is “Resource Contention”. Usually, this is caused by insufficient resources such as unstable networks or CPU allocated to visitors. To avoid this problem and keep customers happy, HotdogTix. com uses the Google Cloud Platform (GCP). HotdogTix.com is a modern ticketing platform for big scale concert events in Hong Kong, developed by Red Soldier Limited (RedSo). When you purchase a ticket on the website, you will receive an email which contains your ticket, alongside a QR code for actual check-in, so the entire process is digital. The first sales made on the platform were for Leon Lai’s concert at the Central Harbourfront Event Space. Without much ‘surprise’, over 10,000 tickets were sold within the first hour after the sale had started, and the 3-day-event successfully served nearly 40,000 audiences. The result is a combination of high-quality engineering effort and a powerful cloud system like GCP that scales to meet peaks of customers increase in a sudden. The pre-show project scope covers a wide range of components, including backend server, responsive website, administration panel, content management system (CMS), system generated emails, EDM (Email Direct Marketing) system integration, and Payment Gateway Integration. To ensure ease-ofuse, the actual check-in to the show is done through a mobile app that ushers use to scan the ticket’s QR code. In light of safety during the show, government bodies need to have WWW.M A R K ET I N G — I N T ER A C T I V E.C O M
the actual attendee figure, so we have also developed a real-time monitoring system which automatically sends out the figures at a scheduled time.
Google Cloud Platform is the backbone of all world famous Google services like Gmail, Maps, Calendar, YouTube etc. Running your application on GCP means you are able to access world-class resources at a fair cost. Mission critical systems like e-commerce, ticketing, and video streaming rely heavily on the scalability of the backend server. A short delay to serve your customers in time could result in loss in sales, or even worse, sales taken by your competitors.
RedSo is the first Google Cloud Service Partner in Hong Kong and we have been using GCP for more than 5 years. Our team has 4 Google Certified Cloud Engineers to provide professional development and consultation. Our team of 30+ provides mobile apps, backend and frontend solutions to customers in various sectors. RedSo.com.hk looks forward to seeing you in the Google Cloud soon.
⃯⢷佁ᾙ幆懝Ὴ槛㮑⢡朏䫷ҷ㯮䫷㎥䂣⛀㢒朏䫷❝虚 Ӂ亊伀俐ㅨӂҷӁ屚䮜↨⌜寵ӂҷ㴊㯮䛺棱㎥㢜⟷撾 尳䳘宙ㇾ虇俌㞾⁉棭⿇㶲檡䠓ᾏ₅‚Ҹ⎿〤⃯㍘封 個倛䳘虇戓㞾㒘F5㢃㜿䏗棱虚憨↚㸉䢮䠓㢘⬑⁉ 䚮″╘灭Ҹ 憨䮽䖍巰㐏姢ᾙ䯀䉉Ӂ幖䀟姬䰐ӂ虇䛀㝋容ⴱ⪹ ⪩虇梊勵幖䀟ℚ⬑佁仰虊戓䴦劌䳘䠓ᾜ彂㏏厃Ҹ崢 ⴱ⁉庋䫷㢃榕㠱虇HotdogTix.comⷀ戇䚷Google梁 䱾。╿Ҹ HotdogTix.com 䛀 Red Soldier Limited! )RedSo*⋷㲙朚䠋虇㞾ᾏ↚䖍⒥䠓䫷⑨亊伀虇Ὴ 摆⚽⪶⤚䂣⛀㢒朏䫷Ҹ封⋻▇欥㲰干䫷䠓㻊⑤虇ⷀ㞾 灝㞝㝋ᾼ䘿㼆䆀㻊⑤䰉朢䠓䂣⛀㢒Ҹ㝋佁䱨庋䫷ㄛ虇 䚷㏅㢒㛅⎿梊抄䩉尜虇㏚㒐⿅㢘QR䩋䠓梊ⳟ朏䫷│ ╾⋴⧃虇㜃↚懝䮚抌㞾㜇䩋⒥Ҹ
⢷朏䫷䠋⚽䠓欥↚㟑虇亊伀⢷㸡㢘₊⃤䛿㮲Ὶ ᾚ虇⁴䯸䠓䑏㹐㎟干⎉弔懝ᾏ喻ツ朏䫷Ҹ军⢷䉉 㢮ᾘ㝴䠓㻊⑤ᾼ虇亊伀俌宗㢜⑨弔懝⡪喻⁉㲰懁⎉ ⧃⢿Ҹ䔁ㄦ⬑㳳ℂ俍虇⋷広⢧栙䠓㫼㐏姢╙テ⪶䠓 梁䱾懚䴦。╿虇㢘プㆶ⢿⡯㍘䰐⬑⌅ℕ䠓容ⴱ⁉㜇 军屎䵏㏏梏䠓亊伀幖䀟Ҹ! 㻊⑤䠓⏜㢮⽴⃫䵓⢜䛀㜇↚扷⎕㭚㎟處⬑㢜⟷ҷ 榎㍘ゞ佁䱨ҷㄛ╿䴰䖕亊伀ҷ⋶ⵈ䴰䖕亊伀ҷ卹⑤⒥亊 伀抄₅虇梊抄㔷ひ亊伀㜃▗╙㚾。╿Ҹ㝋㻊⑤䜅㝴虇 毦䫷♰╹梏㏢朚。㤎梊勵䠓㍘䚷䮚ゞ虇ⷀ╾⁴㔒㕞梊 ⳟ朏䫷虇懝䮚㝈ⅎㅺ㔆Ҹ╵⪥虇䉉拜▗▓㛎〫扷朏㝋 ⧃⢿ⴘ⋷䠓嬐㷑虇㎠↠‵朚䠋㟑⋴⧃⁉㜇䠓梊抄亊 伀虇⢷榟宼䠓㔡䮚ᾚ虇䠋憐│㟑䠓⢷⧃⁉㜇㜇㙩Ҹ! Google梁 䱾 。 ╿ 㞾 墩 刁 ⢚ 株 䠓 GmailҷMapsҷCalendar╙Youtube䳘㢜⑨䠓ㄛ 卲Ҹ╹嬐ᾏ↚▗䖕䠓⊈撱虇朲ᾚ䠓㍘䚷䮚ゞⷀ╾⁴ ⢷ᾥ䛛亩䠓Google梁䱾ᾙ懚姛Ҹᾏ杫攄䠓亊伀ℚ ⬑梊ⳟ⛕⑨ҷ梊ⳟ䫷⑨╙῁㻐䏖䳘虇⣖棭⿇ℬ広 㢜⟷䠓ㅺ憮幖䀟屎拜Ҹᾏ↚ㄽ䠓ゅ尳ᾜ✽⃯⫀ ╊ⴱ㏅虇㢏⩭䠓㉔㹐㞾虇ⴱ㏅䚩厂㢒⡯军崙㎟䲅䎼 ㏚䠓槶ⴱҸ! RedSo㞾欨㾾䲻ᾏⵅGoogle Cloud Service Partner虇ᾏ䢃ℎ䚷GCP弔懝‣〃䠓㟑朢Ҹ㐏姢⢧ 栙ᾼ㢘⡪▜Google尜╾䠓梁䱾⽴䮚⾺虇㕟K㫼䠓 朚䠋╙槶⛞㢜⑨Ҹ䛀ᾘⓐ⪩⁉仓㎟䠓⢧栙虇㕟K▓䮽 ㏚㯮㍘䚷䮚ゞҷ㢜⟷╙佁榐⏜䱾䳘朚䠋㢜⑨虇ⴱ㏅ ⒔㑻㢻⢿╙㤀ⓦ⢚ⵅ䠓▓姛▓㫼ҸRedSo.com. hk㢮ㄔ⢷Google梁䱾ᾙ彮⃯䨿棱蘼 APRIL 2 017 MARK E TING HON G KON G 1 5
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Marketing was as astonished as anyone when we heard this statement from Adobe’s think tank with experts in marketing, technology, and trend forecasting; but hold on here, it would be a mistake to think that marketing will go away. In fact, to discard the term does not mean marketing has lost its business value. Rather, the meaning and sound of it has led marketers to think in a certain way as we step onto the cusp of one of the greatest, and most disruptive technology waves in history, the experience business wave. As customers become more demanding about what they want, old mindsets no longer fit the new era. “It is about time to put forward and reformat marketing, propelling marketers’ roles alongside,” said Ethan Imboden, vise president, head of venture design at design and strategy firm Frog. For instance, you should now value the efficiency of the marketing strategies by asking the question, “Is the marketing strategy filling a gap in the customer journey?” instead of, “Is my product performing?” Drawing United Airlines as an example, Jordan Kretchmer, GM for Adobe LiveFyre & Adobe Social, said the carrier breathed life into the once-ailing brand by looking into the poor on-time record and lagging customer service performance, and fixing the fundamentals of the airline a few years ago. The company identified key signature touch-points as being the premium lobby and boarding process for frequent flyers, and improved seats for first class and business class international passengers. To support these changes, new internal training was developed for customer-facing employees. 1 8 M AR K ET I N G H O N G K O N G AP R IL 201 7
❯ ᗭ ᏻ Ꮥ Ჵ ᭆ ⇚ᅘᕂ ᰰ ┣ Ṭ ᵗ ᤲ ᑯ ᛵ Adobe㠉〺尹⎉憨╴尀㟑虇ҿMarketingӀ彮㏏㢘⁉ ▛㮲▒毩Ҹ⃕䳘ᾏ䳘虇尜䉉⾑⧃㔷ひⶖ㢒㼗⫀㞾ᾏ↚ 撾尳䠓㊂㹤Ҹ ‚ᾙ虇㩓䚷憨↚寭ヨᾜ姷⾑⧃㔷ひ⾁⫀ ╊⌅⛕㫼⊈⇋Ҹ䢇╜虇样嗦㎠↠從懁㴆▁ᾙ⌅ᾼᾏ 㲰㢏⪶ҷ㢏⌆槪嬕ㆶ䠓㐏姢㻹䃽ʟʟ汣毦㫼⑨㻹 䃽虇⌅⋶⢷䠓►儸ⶖイ⾑⧃㔷ひ⁉♰㕪ᾏ䮽ㆬ冒 㮰ゞҸ 样嗦㼗幊冔䠓嬐㷑㊗ℕ㊗汧虇厙䠓ㆬ似ᾜ⌜懸 ㍘㝋㜿䠓㟑Ҹ 宼宗╙䳥䛴⋻▇Frog䠓⏾俌婐⌋樷根宼宗帯帻 ⁉Ethan Imboden尹處Ӂ䖍⢷㞾㔷⑤╙㛈崙⾑⧃㔷 ひҷⶖ⾑⧃㔷ひ⁉♰䠓孡吁㛍⢷ᾏ戙䠓㟑↨Ҹӂ ℚ⬑寤₿⾑⧃㔷ひ䳥䛴䠓㎟㛗㟑虇♐䏛㍘封⛞處 Ӂ⾑⧃㔷ひ䳥䛴劌▵ホ婫槶ⴱ㝔䮚Ὶ朢䠓侺栨虚ӂ虇 军棭Ӂ㎠䠓䚱♐摆㉔㞾▵䖕㊂虚ӂ Adobe LiveFyre╙Adobe Social俌伢䖕Kordan Kretchmer⁴凾▗厹䰉䉉ℚҸ封厹䰉⋻▇憩懝㰱宝 厹䕼尳灭宧撓╙⇫䁾ᾜ⏜䠓ⴱ㏅㢜⑨姷䖍虇懝╊」 〃㛈✓厹䕼䠓⦉㢻宼㝌虇䉉䆤㴊䠓♐䏛㹷⋴㜿䠓䚮 ☌Ҹ 封⋻▇ⶖ橪姛⿇ⴱ䠓幃幢ⴳ╙䠊㯮懝䮚嬥䉉Ὴ 嬐㔴宇灭虇㛈✓―⢚株厹㯮䠓榼䳘叨╙⛕⑨叨ⴱ ⃜Ҹ䉉慝▗憨惘崙虇封⋻▇䉉⏜佩♰⽴㕟K㜿䠓⋶ 扷⦈客屁䮚Ҹ Fjord虃⥒㩽⚁虄宼宗䳥䛴嗲‚俌伢䖕 Nandini Nayak 尹處Ӂ䖍㟑䠓⾑⧃㔷ひ嬐―孲ⴱ㏅㏏梏虇 ■↠⃫⎉⡭㍘虇⡯㳳㎠↠㍘捜㜿儸㫼⑨䠓ㆶ 幹ʟʟ㫼⑨ᾜ㍘⌜䛀䚱♐ῊҸӂ Ӂⴱ㏅ᾜ㊂ㄭ⃯戲婰庋幆䚱♐虇↠⾛㢪♐䏛㕟 K㢘弲䠓汣毦虇军汣毦仟▗弆ℕⷀ㞾䚱♐Ҹӂ Ӂ䖍㟑㢏捜嬐㞾⢷宼宗╙姛ᾙ厖槶ⴱ䚱䚮⌀ 溃Ҹӂ 㜿䠓⾑⧃㔷ひ㏚㹤凩䊵㝋㛈✓㛈✓㫼⑨ᾼ姷䖍 ᾜ䖕㊂䠓⢿㝈虇ₐ㫼㍘㚃⪶㫼⑨䠓▛䖕ㅒ╙帻₊Ҹ⾑ ⧃㔷ひ⁉♰䠓孡吁ᾜ㍘⌜柟㝋♐䏛ⴲ≂㎥摆⚽䚱 ♐虇军㞾嬐㾀⋴䠋㔧ₐ㫼䠓㧇ㅒ嬐亯虇ㄭᾼ㭚らⶅ 幃䠓㢜⑨汣毦Ҹ Verizon㜇䩋䍮摆╙Ⱑ汣䍮懚扷朏Ὴ䴰 Theresa Lamontagne婫⋔虇♐䏛梏厖槶ⴱら䱚㉔㊮杫⅑虇⃕ ᾜᾏ嬐㎟䉉槶ⴱ䠓⬌㢚╚ҸӁ棭⁉⁉抌㊂厖汽⤚ ⾺″㢚╚虇㢘⁉╹㊂ㄦ⎿⬌䠓㢜⑨Ҹら䱚杫⅑䠓捜 灭虇㞾♐䏛嬐⪯䢮Ҹӂ ╵ᾏ↚捜灭㞾虇♐䏛―孲㢏㜿䠓䭠㐏㻹䃽Ὶ檧虇 嬐㐙凩⋘䍗桕ᾼ⢷ⴱ㏅汣毦ῚᾙҸ Ӂ㎠↠梏嬐㠺㟑ⶖ㐏姢㛍⢷ᾏ戙虇俌㞾⁴槶ⴱ 䠓梏㷑䉉⎉䠋灭Ҹӂ䠖ⵅ②㵣⢚株懙悹㜇䩋汧亩⏾ 俌婐Jay Schneiderら峿尹處Ӂ㸡㢘槶ⴱ㊂嬹卹䴰䖕 㐏姢虇呀⽶䠓‚䏸╹㞾柹嫾Ҹӂ ㊂ら䱚㢜⑨汣毦虇⌅ᾼᾏ↚㝈㹤㞾㕟汧㛅幊䠓 憞㞝〵Ҹ♐䏛柳―⎦⎉㛅幊榔䡽虇戓嬐宼怺埤⢿冒 ㋽㼗幊冔䠓梏㷑ҷ╒厖↠䠓㝴⿇䚮㻊虇⁴╙孲捚 ㎟㢻Ҹ
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“Marketing drills down to knowing what the customers need, and respond to them. This is why we should redefine what business is – it is no longer a product-generating business,” said Nandini Nayak, managing director, design strategy at Fjord (Accenture). “The customer doesn’t want to buy a product from you, they want an engaging experience from the brand; The sum of the experience is the product.” “It’s time to over-index on empathy in design and delivery.” The new marketing means improving the things that you are not doing well. Companies should scale empathy and responsibility in a business, understand it, and leverage it. The roles of marketers are no longer just about branding or selling a product, but digging deep into the core elements of the business and building valuable experiences from it. Theresa Lamontagne, head of digital marketing & media operations, Verizon, added that building an emotional relationship with customers does not mean every brand should become a customer’s best friend. “It might just mean to be authentic. Not everyone wants to be friends with a hairstylist, some of them only want the services.” Another important note to take is to take control of the disruptive technology waves, and place the limelight back on customer experience. “We need to put technology aside for a moment, and always start with what the customers want,” advised Jay Schneider, SVP digital at Royal Caribbean Cruise Lines. “No customer wants to manage the technologies themselves. Use the shiny subject as a background.” One idea to step into experience business, is to list more information about billings. Don’t just say how much you are charging, put yourself in their shoes and participate in their daily lives, and explain the cost. Another example presented for airline companies was to cooperate with companies such as Uber in the US, which would mean customer journeys can be extended to ensure passengers arrive at their final destination. “Every experience point is a marketing effort. Taken in that context, everyone in the company becomes a marketer,” said Daniel Newman, Forbes contributor and CEO at Broadsuite. WWW.M A R K ET I N G — I N T ER A C T I V E.C O M
“In mapping an experience business, all teams need to speak the same language – the language of design. You need to design how you interact with the customers. The word no longer confines to purely material or surface interfaces,” said Steven Cook, former chief marketing officer at Samsung NA, who was also VP worldwide strategic marketing and planning at Coca-Cola for nearly seven years up until 2007. “The transformation would be a top-down process. Leaders should step up to fill in communication gaps between the department silos, and initiate the new mindset.”
㠉〺╗㕟峿厹䰉⋻▇⢷儝⢚厖Uber▗⃫虇ゅ朆 槶ⴱ䠓㝔䮚虇䩉Ⅼῧⴱ⎿懣⌅㢏仑䡽䠓⢿Ҹ 䬞⾒㜾㘿䯎⁉⌋ Broadsuite 姛㛎俌婐 Daniel Newman尹處Ӂ㵞↚汣毦灭㞾⇩⾑⧃㔷ひ䠓㯮㢒虇 ⢷憨䮽㉔㹐ᾚ虇⋻▇㵞⃜㎟♰抌㎟䉉―⾑⧃㔷ひ⁉ ♰Ҹӂ ᾘ㞮⏜⒦儝Ⓩ⾑⑨俌婐ҷ2007〃⏜㙣₊╾╲╾ 㮑⋷䖒䳥䛴⾑⧃㔷ひ╙嬞␒⏾俌婐慠ᾒ〃䠓Steven Cook尹處Ӂ嬞␒汣毦㫼⑨㟑虇㏏㢘⢧栙䠓⌀▛尭宏ⷀ 㞾Ӄ宼宗ӄҸ柳―宼宗䚱♐ҷⴲ≂♐虇♐䏛戓嬐朚⭚宼 宗厖ⴱ㏅䠓‡⑤㝈ゞҸӂ Ӂ惘⤚ⶖ㢒㞾ㄭᾙ军ᾚ䠓懝䮚虇䴰䖕ⷳ㍘余 ⧺婫扷朏Ὶ朢䠓䀬憩䰉栨虇⛮䠋㜿䠓ㆬ似Ҹӂ
While an experience business focuses more on the quality than quantity of the business returns, metrics are still important – albeit a new set of measurements for the new era. “As marketers sometimes we get lost in the metrics,” Fjord’s Nayak explained. “The way we look at a campaign is to usually study its results and response, but ROI does not always reflect if the campaign has empathy.” “You can get the same number of thumbs up for two separate campaigns on social media, with different sets of feelings and levels of customer engagement,” added Frog’s Imboden. For example, from a dry cleaner company’s standpoint, it may be more beneficial to have customers recommend its services to two people than to have a thousand fans on Facebook. Rana June, chief executive officer at Lightwave, suggested brands start finding emotion and physical measurements to help marketers know which way to go. “There are no universal KPIs or measurements on these quantitative aspects because different business and industries have different priorities in creating experiences. Plus, no one says ‘I am loyal to this brand’; they say ‘I love that’, ‘so much fun’ or other emotional expressions,” she explained. “As we move forward, there will be new ways to track the signals that indicate
experience as a success.” 桥䋅汣毦㫼⑨䠓㫼⑨⡭⧀㞾捜幹ᾜ捜捞虇⃕㾻捞⁜䋅捜嬐Ҹ㜿㟑㢘ᾏ⫦㜿䠓㾻捞㮨䀥Ҹ Ӂ⾑⧃㔷ひ⁉♰㢘㟑㢒憆⫀㝋㾻捞㒖㮨ҸӂFjord䠓Nayak孲捚處Ӂ㎠↠寤₿㔷ひ㻊⑤䠓㝈ゞ 憩⿇㞾䦣䰅⌅仟㤫╙╜㍘虇⃕㐤幖⡭⧀䔖㢹ㅔ劌╜㞯⎉㔷ひ㻊⑤劌▵イ弆⌀溃Ҹӂ
Frog䠓Imboden婫⋔尹處Ӂⷀ䴦㢘⋸↚㔷ひ㻊⑤⎕⎴䔁ㄦ䢇▛䠓Ӄ崩⬌ӄ虇╦䣍䠓㊮╦☛ⴱ ㏅╒厖〵΅╾⁴⪶⪶ᾜ▛Ҹӂ ㄭ㺦⋻▇䠓孡〵ℕ䢚虇槶ⴱ■⋸↚⁉㔷圵⌅㢜⑨虇㵣⢷Facebook㙐㢘ᾏⓒ▜丘企㢃㢘 䚷Ҹ
Lightwave姛㛎俌婐Rana Juneら峿虇♐䏛嬐朚⭚㐍㉔㊮╙䏸䖕㾻捞㝈ゞ虇崢⾑⧃㔷ひ⁉ ♰―孲㜿㝈ゞ㞾▵㢘㛗Ҹ ⬈孲捚處Ӂᾜ▛䠓㫼⑨╙姛㫼⢷␄憯汣毦㝈棱㢘ᾜ▛䠓⊹⋗冒㋽虇⡯㳳㸡㢘伀ᾏ䠓KPI㎥ 㾻捞㮨䀥Ҹ╵⪥虇㸡㢘⁉㢒尹Ӄ㎠ㅯ㝋憨↚♐䏛ӄ虇↠╹㢒尹Ӄ㎠✫㳰ӄҷӃㄗ㢘弲ӄ㎥⌅ヱ ⵈ寭Ҹӂ Ӂ样嗦㎠↠個倛䠋ⷤ虇ⶖ㢘㜿䠓㒖㮨ℕ憌忳╙槾䫉汣毦㞾▵㎟Ҹӂ
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Getting and using the right data “Keeping the status quo is not a strategy. Digital transformation is all or nothing,” said. Shantanu Narayen, CEO of Adobe, in front of 12,000 marketers in the summit. With a vast change in customer preferences and desires, marketers have experienced the digitally motivated disruption at a very personal level – roles and job responsibilities are changing dramatically and most roles have been shaken to the core. Referencing Mercedes, Brad Rencher, Adobe’s executive vice president and general manager, said their branding is no longer about the logo or creating awareness, but something more – brand purpose. Companies should now move their focus to providing an experience that closes the gap between people to make them feel special, which requires departments to join hands to bring it forth. “If you think about mobile, the least interesting thing you can do with it today is make a call,”he joked. “Similarly, the least interesting thing about the car soon will be driving it. The car has become an extension of a consumer’s life, and is becoming the ultimate experience pod. It begins even before a rider gets into the car.” The 130-year-old National Geographic, which now has more than 72 million followers on Instagram, said the brand has also seen the need to push the boundaries of visual storytelling across all its assets. “Back in 1905, when 35mm film was introduced, several members of the board left saying the company was bastardising the product and that magazines had become a picture book; but that put the course forward for the brand,” said chief marketing officer Jill Cress. 2 0 M A R K ET I N G H O N G K O NG AP R IL 201 7
⒫ᗻῒᏸᏩ≘ᛵ∋⍙ Adobe 姛㛎俌婐 Shantanu Narayen ⢷㢒ᾙ■ 12,000▜厖㢒⾑⧃㔷ひ⁉⩺尹處Ӂ似㒐䖍䑏ᾜ㞾 ᾏ䮽䳥䛴Ҹ♐䏛嬐⢷懁姛㜇䩋惘⤚☛⫀╊㏏㢘Ὶ朢 ‛戇ᾏҸӂ 槶ⴱ䠓✫⬌ҷ梏㷑虇⁴厂䭠㐏ᾙ䠓⽷⪶崙⒥虇槪 嬕―⾑⧃㔷ひ⁉♰䠓分劌虇⪶扷⎕孡吁⾁娺ㅈ〤⑤ 㖥Ҹ Adobe⦆姛⏾俌婐⌋俌伢䖕Brad Rencher⁴。 㹊㸌恙䉉ℚ姷䫉虇♐䏛ⴲ≂ᾜ╹⢷㝋㮨尛㎥ら䱚䥴▜ 〵虇军㞾嬐ら䱚♐䏛䠓㊞儸Ҹ ₐ㫼䖍㟑㍘嗦㏚㕟K劌⪯侽䰓⁉厖⁉Ὶ朢彬桱 䠓汣毦虇ℎ↠孉ㄦ卹⾀厖⎴ᾜ▛Ҹ憨梏嬐▓扷朏䠓 㚫㏚▗⃫Ҹ Ӂ䖍⢷㏚㯮㢏㸡弲䠓劌ⷀ㞾㏢梊尀Ҹӂ䲠 懢ҸӁ▛㮲ⷀ㸌恙军宏虇此歪ㄗㅺⅎ㢒崙㎟㢏㸡弲䠓 ‚㉔Ҹ㸌恙⾁㎟䉉㼗幊冔䚮㻊ᾙ䠓ゅ虇ᾣ㳲䂣崙 ㎟仑㬄䠓汣毦⧃㟾Ҹ汣毦䚩厂⢷此歪冔懁⋴㸌恙Ὶ ⏜虇伢⾁朚⭚Ҹӂ 㙐 㢘 130 ⪩ 〃 㴆 ▁ 䠓ҿ ⢚ ⵅ ⢿ 䖕 Ӏ䖍 㟑 ⢷ Instagramᾙ㙐㢘弔懝7,200喻▜憌样冔虇封♐䏛‵尜 䉉嬐ᾜ㝆䰐䧃䚷嬥孉岪㛔‚䠓㝈ゞҸ ⌅⾑⑨俌婐 Jill Cress尹處Ӂ1905〃♐䏛欥㲰■ 嗲‚㢒⁚仈35㵺丂梊虇㢘」▜嗲‚㢒㎟♰㌳䋅桱 朚虇㒖⋻▇柜⃝䚱♐䠓幹亯虇ⶖ桫尛崙㎟ᾏ㢻⢥䛺 㢇虖仟㤫憨↚惘崙┊㔷⑤―♐䏛䠓䠋ⷤҸӂ Ӂ憨䮽ᾏ䢃㹎䚷厂⁙䠓嬥孉㛧慿㝈ゞ虇亽㧈㝋♐ 䏛㝋㔴╦␄㜿╙㜿䭠㐏ҷ摂㊞㎟䉉ᾥ䛛ᾙ㢏⬌䠓㛔 ‚㛧慿冔Ὶᾏ䠓㝷Ҹӂ Brencher姷䫉虇㜇㙩⦉䪝⎿―⁙⪸⁜䋅㞾欥嬐冒 ㋽⡯亯Ҹ Ӂㄗ⪩㟑↨虇⾑⧃㔷ひ⁉♰╙戲㢘㊞㕟K汣毦 䠓⁉抌㸘憆㝋尹處Ӄ䢚虇㎠╾⁴ⶖひ◙䠋憐厂⃯䠓㏚
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“That visual storytelling, which is followed to this day, is rooted in the ethos of embracing innovation and new tech to be one of the world’s best storytellers.” As for today, the first step is always about your data foundation, Rencher said. “A lot of times, marketers and those looking to provide an experience get enamoured by, ‘look, I can send an advertisement to your watch, or to your car,’ and just because you can do it, doesn’t mean it’s the right thing for the experience,” Brencher explained. “You have to make sure that you’re providing consumers with that value exchange.” Context is an important cue for marketers to deliver the right experience. Marketers can make use of opt-in information like customer feedback to predict and know their context, which helps to determine the right experience. NBA’s chief marketing officer Pam El, for example, said they did an analysis to understand there are two common types of NBA fans: the hard core fans, as well as the casual and curious fans. By understanding their patterns in content consumption, the league then uses technology to feed fans the content they want. “Less than 1% of NBA fans actually experience the game inside an arena. It’s through technology that we interact with most of our fans on a global basis,” she explained, quoting the use of NBA replay centre as one of the examples that has showcased the NBA’s rapid adoption of technology. Another example is the NBA InPlay app, which allows core fans to interact with the game while the game is on TV. Those who are in a different timezone can also enjoy its NBA league pass to watch the game live on a tablet or smartphone on the go, or on social media platforms. “It is about connecting better with our fans; to manage data that allow us deliver the right message, to the right person, at the right time, on the right channel, so that we don’t overwhelm this guy with things we offer.” Know me and respect me Rencher added that marketers should always balance between providing a personalised experience and showing respect for the customers’ privacy to avoid being creepy. “As marketers we have a huge array of data at our fingertips, but much of this data is collected from watching our customers’ every move on different digital channels.” The key takeaway is to execute meaningful personalisation strategies while not overstepping the privacy mark. WWW.M A R K ET I N G — I N T ER A C T I V E.C O M
Speak in one voice “Fragmented, disparate tech just doesn’t get you there,” Rencher said. From marketing, product teams, to customer service, companies and brands should create a seamless experiences powered by a unified voice, while keeping location and type of platform in mind. Make technology transparent All in all, the IT department will have a key role to play in orchestrating the possibilities of creating an experience for the customers, but companies should make sure they are behind the scenes. “The medium is not the message, the experience is,” Rencher explained. “Tech can help you deliver context at scale, and you have to adjust your data strategy to deliver it. It can be a catalyst to break down the walls, and unify content, data and workflow. However, companies should not make it about tech, and apply tech only when that is the right thing to do.” Delight me at every turn An experience business will “delight at every turn”, constantly elevating and staying in tune with the consumer. “You need to rethink your entire content supply chain for better speed and scale,” said Rencher. “When you’re bound to legacy systems that weren’t meant for the real-time digital age, it can seem impossible to transform, but you can’t let that be an excuse. Optimising customer journeys can only happen if you master the milliseconds.”
擅㎥㸌恙婰Ҹӄⷀ䴦⇩⎿憨ᾏ灭虇⃕ᾜ姷憨㞾䖕 ㊂䠓汣毦ҸӂBrencher孲捚處Ӂ⃯ㅔ榗䩉Ⅼ♐䏛㕟K 䠓汣毦㼗幊冔㢘⊈⇋Ҹӂ 䘿⨒㞾崢⾑⧃㔷ひ⁉♰㕟K㳲䩉汣毦䠓捜嬐㕟 䫉Ҹ⾑⧃㔷ひ⁉♰╾⁴憞懝ⴱ㏅╜櫚䳘幖宙虇榟㾻╙ ―孲ⴱ㏅怺埤䠓䘿⨒虇ㄭ军㐍⎉㳲䩉䠓汣毦Ҹ NBA⾑⑨俌婐 Pam El‵姷䫉虇NBA㢒憩懝⎕ 㤟虇ⶖ⌅䖒憆⪶厃⎕䉉⋸⪶槭處ㅯ丘企虇⁴╙⬌⫖ 䠓㟽憩䖒憆Ҹ ―孲⋸槭䖒憆䠓⋶ⵈ㼗幊㮰ゞㄛ虇封凾䡮ⅎ懚䚷 㐏姢虇■䖒憆㕟K↠㊂嬐䠓⋶ⵈҸ ⬈孲捚處Ӂ株ᾙ虇ⶠ㝋1虀䠓NBA䖒憆㢒嬹怺⋴ ⧃㊮╦㵣庌㶲㶪Ҹ㎠↠Ὴ嬐憩懝㐏姢厖⪶⪩㜇䠓⋷ 䖒丘企懁姛‡⑤Ҹӂ⬈⁴NBA捜㘼ᾼㅒ䉉NBA慔憮㔰 䚷㜿㐏姢䠓ℚⳟҸ ╵ᾏ↚ℚⳟ㞾NBA InPlay㍘䚷䮚ゞ虃app虄Ҹ封 app崢ㅯ丘企⢷梊嬥㘼㞯㵣庌㢮朢虇厖㵣庌懁姛‡ ⑤Ҹ怺埤ᾜ▛㟑Ⓩ䠓䖒憆΅╾⁴样㟑样⢿⢷。㤎梊 勵ҷ㠉劌㏚㯮ҷ㎥䫍″。╿ᾙ㲲幭NBA䖒庌Ҹ Ӂ㎠↠䠓捜灭㞾⅒懁厖丘企䠓凾俺虇憩懝㜇 㙩䴰䖕虇⢷㳲䩉䠓㟑朢憩懝㳲䩉䠓㾯懢虇■㳲䩉䠓⁉ ≂懭㳲䩉䠓宙ㇾ虇军棭䚷㎠↠䠓宙ㇾℕ惮䉇↠Ҹӂ Ꮧ⏡ድᾢᢽ Rencher婫⋔虇⾑⧃㔷ひ⁉♰ㅔ榗⢷㕟K↚⁉⒥汣毦 厖捜ⴱ㏅䭐桀Ὶ朢Ⅼ㒐。姰虇⁴⋜⇩⎉⁉ㅒⵡ䠓 厘⑤Ҹ Ӂ⃫䉉⾑⧃㔷ひ⁉♰虇㎠↠㏚ᾼ㔛㕰⪶捞㜇㙩虇 ⃕⪶扷⎕㜇㙩㞾憞懝孏ⴱ㏅⢷ᾜ▛㜇䩋㾯懢ᾙ䠓 ᾏ厘ᾏ⑤㏏ㄦ䠓Ҹӂ⡯㳳虇♐䏛㝱嬐⦆姛㢘㊞儸䠓↚ ⁉⒥䳥䛴虇▛㟑΅ᾜ嬐⢷䭐桀⛞槛ᾙ弙䛛Ҹ ᏸᐹዯ⃣⅃⊷ⅉᾭ Rencher尹處Ӂ懝㝋⎕㛲䠓㐏姢䊰㹤⃯㎟Ҹӂ ㄭ⾑⧃㔷ひҷ䚱♐⢧栙ҷ⁴厂ⴱ㏅㢜⑨虇ₐ㫼╙ ♐䏛抌㍘㏢憯尭屎ᾏ厃䠓䊰侺汣毦虇▛㟑嬐䛨㊞。╿ 䠓⢿䖕⃜僽╙槭⤚Ҹ ⟇ᡡᕂ➦ᱜᚘ 䠓军ᾣ䩉虇幖宙䭠㐏扷朏ⶖ⢷ⓣ屎ⴱ㏅汣毦␄憯㝈棱 䠋㕽捜嬐⃫䚷虇⃕嬐戎⋜崢䭠㐏崙㎟䚱♐㎥㢜⑨䠓 Ὴ孡Ҹ Ӂ捜灭ᾜ⢷㝋Ⱑ⁚虇军㞾⢷㝋汣毦ҸӂRencher 孲捚處Ӂ㐏姢╾⁴⿺⃯ら䱚⪶嬞㮰䠓汣毦虇军⃯ㅔ 榗䢇㍘屎㜃㜇㙩䳥䛴Ҹ䭠㐏㢘㏢䧃⩐⩧虇伀ᾏ⋶ ⵈҷ㜇㙩╙⽴⃫㻐䮚虇⃕ₐ㫼ᾜ㍘懝㝋凩䊵⢷㐏姢㝈 棱虇⢷懸䜅䠓㟑↨㏜㔰䚷㐏姢Ҹӂ ⃔ᶷ⃔ᡱ 汣毦㫼⑨嬐⢷▓㝈棱䡰✓䡰儝ҷᾜ㝆懁㳴虇厖 㼗幊冔Ⅼ㒐▛㳴Ҹ Ӂ⃯梏嬐捜㜿冒㋽㜃↚⋶ⵈK㍘敗虇⁴㕟ⓖ憮〵 ╙嬞㮰ҸӂRencher尹處Ӂ⬑㤫⃯㳲╦⏅㝋≂伀亊伀虇 惘⤚㢒䢚ᾜ╾劌Ҹ䋅军虇⃯ᾜ劌⁴㳳⃫䉉坘╲Ҹ╹ 㢘㔛㕰⬌亿ㄽῚ埤虇㏜劌⊹⒥槶ⴱ䠓㝔䮚Ҹӂ
Adobe paid for the journalist’s trip to Adobe Summit 2017, held in Las Vegas. 㢻桫尛宧冔䔁Adobe戏屚⎉⾼⢷儝⢚㑘㜾似㜾厘姛䠓Adobe汧㢒2017Ҹ
APRIL 2 017 MARK E TING HON G KON G 2 1
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JCDecaux Transport creates memorable interaction by integrating mobile technology with out-of-home advertising. ㅆ汧帬䠊␄㜿⢿ⶖ䮊⑤㍘䚷㐏姢厖㏅⪥ひ◙仟▗弆ℕ虇⋷棱テ ‡⑤Ҹ
With the high level of daily passenger traffic, MTR advertising is effective to boost a campaign reach. 㾾旄㝴⣖ⴱ㻐捞焟⪶虇䉉㾾旄ひ◙⿅ℕ㬄汧䠓㡬⋘〵虇ひ㹪◇亜╦䣍杫㹷Ҹ
Railways are the backbone of Hong Kong’s public transport system, carrying millions of passengers to work, shop and play every day. MTR advertising¹ is widely recognised as the number one outdoor advertising medium in Hong Kong with a massive reach in terms of audience and quality passenger profile. JCDecaux Transport, the market leader in outdoor advertising in the city, exclusively manages the advertising sales concessions of 7 MTR lines, including MTR Kwun Tong Line, Tsuen Wan Line, Island Line, Tung Chung Line, Tseung Kwan O Line, South Island Line (East) and Disneyland Resort Line, and Airport Express Line. When the world’s number one out-of-home advertising company partners with the world's leading railway operator together, they bring creativity and innovation to the railway network! Network Extensions Following the extension of MTR Island Line to Western District in Dec 2014 and opening of Kwun Tong Line Extension in October 2016, the MTR South Island Line opens for passenger service in December 2016, extending the MTR network from Admiralty Station to the Southern District of Hong Kong.
This extension represents that MTR advertising further expands the network to 61 stations, reaching more than 3.44 million² passengers every day. It enables the brands to connect audiences from all walks of life, including families, students, business executives, millennial generation, shoppers, tourists, etc. Creativity and Innovation Apart from quality profile coverage, MTR advertising is also renowned for its creative flexibility and innovativeness. JCDecaux Transport has been a pioneer in introducing cutting-edge technologies such as augmented reality, 3D motion sensor and the latest Beacon application to enhance passenger engagement. New dynamic advertising formats are developed from time to time, for instance, the InterActiveAds, Digital Panels and Digital Escalator Crowns with real time content feeding functionality which allow the integration of offline and online communications. Leveraging on MTR advertising platform, brands are able to surprise, entertain and captivate audiences and thus create memorable experiences!
¹ MTR advertising refers to advertising at Kwun Tong Line, Tsuen Wan Line, Island Line, Tung Chung Line, Tseung Kwan O Line , West Island Line, South Island Line, and Disneyland Resort Line ² Daily patronage of MTR Kwun Tong Line, Tsuen Wan Line, Island Line, Tung Chung Line & Tsuen Kwan O Line
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✷៦ᣍᵁፊᐩῒ␅ᖗᯱᛵ᪒ẜᅗᕦ፶ᙱ῍∋᎔ᒑ 喻宗䠓ῧⴱ⏜ㄏ⽴⃫ҷ庋䏸╙⮪㮑虇䉉⁉↠䚮㻊⿅ ℕ㬄⪶ⅎ⎸Ҹ㾾旄ひ◙º‵㌠坘ひ㹪嬕噚䔖╙⊹幹 䠓ῧⴱ剛㟾虇军娺⋻尜䉉⥝ᾼ欥ᾏ㒖䠓㏅⪥ひ◙ 。╿Ҹ ㅆ汧帬䠊㞾ㅆ汧桕⢧㝦ᾚ䠓染ⷻ㯮㭚虇䖍䓷ⵅ 伢䍮7㨬㾾旄伺彾䠓ひ◙Ⱑ汣榔䡽虇⒔㑻㾾旄孏⧧ 伺ҷ哒䇲伺ҷ㾾⺅伺ҷ㤀㼛伺ҷⶖ恜䅂伺ҷⓦ㾾⺅伺 虃㤀㵄虄╙慹⩺ⷋ伺☛㯮⧃ㅺ伺Ҹ䜅⋷䖒䲻ᾏ䠓㏅ ⪥Ⱑ汣⋻▇㚫㏚⋷䖒榧⋗䠓旄彾亊伀虇⑱ㅔⶖ␄㊞ 厖␄㜿夜⋴㾾旄㝔䮚" ⇚╅ᶲ!ጰ╴ᙓᓀ 样嗦㾾旄㾾⺅伺ゅ厂嬎Ⓩ╙孏⧧伺ゅ伺⎕⎴㝋2014 〃12㢗╙2016〃10㢗⛮䚷虇ⓦ㾾⺅伺΅㝋2016〃12 㢗㳲ゞ憩恙Ҹⓦ㾾⺅伺憨㨬㜿旄彾伺ⶖⓦⓏ厖欨㾾 䠓旄彾佁仰憲俺弆ℕ虇䛀捠斧ゅ厂㼆㺚⋻⢡ҷ灒䲈 ⣠ҷ⎸㤀⁴㼆ㆰⓙ⺅䉉仑灭䱨Ҹ 㾾旄㹎伺ゅ虇㾾旄ひ◙嬕噚ⷀ㢃⋷棱虇䖍⾁嬕 噚61↚㾾旄䱨虇榟宗㵞⪸╾◇亜弔懝344喻⁉㲰³虇 憨΅㊞☂嗦㾾旄ひ◙㡬⋘捞ⶖ槾嗦㕟ⓖ虇㢘♐䏛 憲俺⎿㢃⪩䡽㮨槶ⴱ虇⒔㑻ⵅ〼⃞㏅ҷ唧唧ⴇⳟҷ䠌 榧乍咀ҷⓒ䬶ᾥҷ庋䏸䃽⁉䳘虇▓↚栝ⷳ⣖╾⋷棱 ◇亜Ҹ ⟏᠖ᑑ➦!ᝣᚑᲐỉ ㅆ汧帬䠊⁴棗㻊⪩崙╙␄㜿嬚䯀虇ᾜ㟑䉉㾾旄ひ◙ イ懁⋗懁䭠㐏虇⒔㑻㚃⨭⨒ҷ䱚汣憌忳╙㢏㜿䠓 Beacon懚䚷虖䯜㬄朚㑢⪩㮲䠓ひ◙ヱゞ虇ℚ⬑㔷 ⎉‡⑤ひ◙ҷ⑤㋚㜇䩋ⷞ虇憞懝㟑幖宙㢃㜿䳘 劌虇ⶖ佩ᾚⰡ汣厖佩ᾙ。╿余ⵕ凾俺弆ℕҸ样嗦 㾾旄伺彾ゅ虇㾾旄ひ◙ⶖ懁ᾏ㳴ヿ槾⌅㢘㛗ᾣ␄ 㜿䠓ⴲ≂㾯懢虇䉉ひ◙ⴱ㏅厖䡽㮨╦䣍ら䱚㢃余ⵕ 憲俺虇⋷棱㕟ⓖ䥴▜〵蘼
º!㾾 旄ひ◙彾伺⒔㑻孏⧧伺ҷⶖ恜䅂伺ҷ哒䇲伺ҷ㾾⺅伺ҷ㤀㼛伺ҷⓦ㾾⺅伺╙ 慹⩺ⷋ伺 ³㾾旄㾾⺅伺ҷ哒䇲伺ҷ孏⧧伺ҷⶖ恜䅂伺╙㤀㼛伺。⣖㵞㝴ῧⴱ⁉㲰
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In 2017, programmatic is set to grow “comfortably faster” than even the much sought-after social channels. While social media has been predicted to grow at 25%, and online video at 20%, programmatic advertising will take a healthy 31% of the pie in 2017, according to a recent report by Zenith. In the past, programmatic marketing was used as a way to reach target audiences as cheaply as possible. Today, the fi eld has matured to a point where programmatic is now being used in conjunction with valuable data segments to target individuals and identify who is the most likely to be receptive to brand messages – often in premium environments. The Zenith report added programmatic ad spend has grown from US$5 billion in 2012 to US$39 billion this year at an average rate of 71% a year. In fact, it boldly claimed that programmatic will become the principal method of trading digital display and will account for 51% of expenditure, rising to 58% in 2017. But as 2017 rolls forward, the problems surrounding programmatic seem to be on the rise. In fact, the term “problematic programmatic” is now on everyone’s lips. Just weeks ago, media agency Havas in the UK said it would be stopping ad spending 2 6 M A R K ET I N G H O N G K O NG A P RIL 201 7
with online search giants Google and its video-streaming platform YouTube after ads for clients started to appear on “questionable” sites with videos supporting hate speech and terrorism. Affected clients included the likes of Domino’s, O2, Royal Mail, BBC, Hyundai and Kia. The French media agency has also made changes to the company’s advertising policies following the discovery. While the stance taken was isolated to the UK market alone, it would be naïve to think the problem has not yet reached the shores of Asia. Singapore, often touted to be one of the most digitally savvy countries in Asia Pacifi c, has also seen some of the country’s big names being affected by wrongful ad placements. News of this fi rst broke in The Straits Times, which reported that a National Environment Agency (NEA) video advertisement was found on a website, which it claimed had articles supporting the Islamic State in Iraq and Syria. NEA was not the only brand to be affected. A quick check by Marketing showed that on the same site, banner ads from brands such as DBS, Uber, TAFEP, Malaysia Airlines and Hilton were also placed. When contacted by Marketing, a NEA
ᑋ2017ᑧᅗᶗᔫፓ⇚ᓯᛵ↾ᜳᛠ፯Ꮅ∻ᛵᐐ 㾯懢ㅺㄦ⪩Ҹ㙩Ⱑ汣㢏㜿䠓⧀◙槾䫉虇䫍″Ⱑ 汣䠓榟宗⨭朆䉉 25%ҷ佁ᾙ䏖䉉 20%虇军䮚〞⒥ ひ◙ⶖ㝋2017〃╥ㄦ31%䠓⨭⿔Ҹ 懝╊虇䮚〞⒥䍮摆娺嬥䉉㔴宇䡽㮨╦䣍䠓㢏ⅎ 㝈ゞҸ㟑厂⁙㝴虇䮚〞⒥ひ◙庋幆⾁䠋ⷤ㎟䌮虇䖍 㟑厖⌆㢘⊈⇋䠓㜇㙩㫼⑨此烙比虇⁴䤓䀥↚⁉䡽 㮨╦䣍虇䩉♹⁉⢷⊹幹䠓ひ◙䘿⨒ᾚ虇㢏㢘╾ 劌㔴╦♐䏛宙ㇾ!Ҹ Ⱑ汣⧀◙婫⋔㒖虇䮚〞⒥ひ◙庋幆㚾⎉ㄭ 2012〃䠓50⊓儝⋒⨭朆厂⁙〃䠓390⊓儝⋒虇。⣖ ⨭朆䔖懣71%Ҹ‚ᾙ虇封⧀◙⪶卌刁䯀虇䮚〞⒥庋 幆ⶖ㎟䉉㜇䩋槾䫉ひ◙䠓Ὴ嬐″㞢㝈ゞ虇⃣朚㚾䠓 51%虇⢷2017〃ᾙⓖ厂58%Ҹ ⃕從⋴2017〃虇䮚〞⒥ひ◙䠓䢇杫⛞槛῝ᾜ 㝆㻽䖍Ҹ‚ᾙ虇䖍㟑⁉⁉抌ⶖӁ䮚〞⒥ひ◙⾁崙㎟ ⛞槛ひ◙ӂ㔪⢷⟃戙Ҹ ⷀ⢷」㞮㢮⏜虇咀⢚䠓Ⱑ汣䖕⋻▇䂱⮐⩺姷 䫉虇䛀㝋⌅ⴱ㏅䠓ひ◙⎉䖍⢷⿅㢘㚾㒐⁖ㇷ宏履╙ ㇟ㆥῊ儸䏖䠓Ӂ╾䜠ӂ佁䱨ᾙ虇封⋻▇㸉⇫㳱⢷ 㖫亱⽷榼Google╙⌅䏖㘼㛍。╿YouTube 䠓ひ ◙㐤㛍Ҹ ╦榎䠓ⴱ㏅⒔㑻Domino’sҷO2ҷ咀⢚䠖ⵅ抄 㛎ҷ咀⢚ひ㘼⋻▇ҷHyundai╙Kia䳘Ҹ 䠋䖍憨↚⛞槛ㄛ虇封Ⱑ汣䖕⋻▇‵⌅⋻▇ 䠓ひ◙㛎䳥⃫⎉ⅽ㛈Ҹ⊧䴰封屎㜃≔懸䚷㝋咀⢚⾑ ⧃虇⃕呴䋅尜䉉憨↚⛞槛ⶩ㢹宇╙㻁㼆⺌䠓尀虇 戲㢹⋜⪹⪸䢮―Ҹ 㜿⣰伢⿇娺◈㓶䉉⪹Ⓩ㜇䩋䠋ⷤ㢏䠋懣䠓 ⢚ⵅῚᾏ虇⃕㞮㻁ᾏ炝炝㢘▜䠓♐䏛▛㮲╦⎿ᾜ 㳲䜅䠓ひ◙㐤㛍㏏榎Ҹ ҿ㼆⺌㟑⧀Ӏ欥⋗㐺棁⢷ᾏ↚佁䱨ᾙ䠋䖍⎿㜿 ⣰⢚ⵅ䘿⨒虃NEA虄䠓䏖ひ◙虇㒖封佁䱨⎙
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spokesperson said the advertisement was part of a broader digital media network placement, and the government body was unaware its advertisement had appeared on that particular website. It added that NEA works with a contracted media buying agency to put in place guidelines on advertising on appropriate websites and added that upon being informed, NEA immediately instructed its media agency to remove the advertisement from the website. “Given the nature of programmatic advertising that relies on technology to serve advertisements onto multiple websites, NEA will continue to monitor our outreach efforts to ensure that future NEA advertisements do not appear on unsuitable websites,” the spokesperson said. Meanwhile, a DBS spokesperson explained that in the event that a DBS/POSB ad appeared inadvertently on an inappropriate website, it would work with its agencies to remove the ad immediately and place the website on the blocked list. “DBS has in place a set of guidelines that determine the placement of our ads. We avoid websites with inappropriate content such as violence, mature content and gambling. This list is regularly updated,” the DBS spokesperson said. A TAFEP spokesperson said it had been alerted about the publication of its ad on an inappropriate website. “We have asked our appointed agency to remove the ad immediately. We take this seriously and are working closely with our agency to review why this has happened and improve their placement of our ads,” the spokesperson said. WWW.M A R K ET I N G - I N T ER A C T I V E.C O M
A spokesperson for global hotel brand Hilton said the brand pays careful attention to where its brand is represented and it is currently working with the relevant parties to investigate the matter and ensure appropriate actions are being taken. He explained there are currently strict guidelines in place, using fi lters and other further controls, to ensure advertising sites are of high quality and align with its brand values. “Additionally, we require that our partners advertise only on websites that are sensitive to local cultural considerations and do not contain any inappropriate content, including anything offensive,” the Hilton spokesperson said. In response to the article and comments, online search giant Google – the leading solutions provider for the programmatic ad placement space – said it had been made aware of some instances of ads running on religious sites with “reportedly controversial content”. A spokesperson added: “We have a zero tolerance policy for content that incites violence or hatred, and only allow advertising against content which falls within our advertising guidelines. Our partners can also choose not to appear against content they consider inappropriate, and we have a responsibility to work with the industry to help them make informed choices.” What to do when programmatic becomes problematic According to Ryan Lim, principal consultant and founding partner of QED Consulting, it is not fair to blame advertisers entirely for
悘―㚾㒐ₙ㑘⋚╙㛧⎸⢿Ⓩ䠓ₙ㜾垼⢚㇟ㆥ仓俣 䠓㜖䱯Ҹ N E A 棭 ⚾ ᾏ ╦ 榎 䠓 ♐ 䏛Ҹ㧈 㙩 ҿ M a r k e t i n g Ӏ䠓 並 䛴 屎 㥴 䠋 䖍虇㞮 ⷤ 搏 姛ҷUberҷTAFEPҷ欻ℕ嬎厹䰉╙⾛䏍榢拡〦䳘 ♐䏛䠓㯺槜ひ◙‵⎉䖍⢷▛ᾏ佁䱨ῚᾙҸ 㢻⎙㢍凾仰NEA虇⌅䠋宏⁉姷䫉虇封ひ◙ⷻ⪶嬞 㮰㜇䩋Ⱑ汣佁仰ひ◙㐤㛍䠓ᾏ扷⎕虇军封㛎〫㯮㭚 ᾜ䥴懢⌅ひ◙⎉䖍⢷ᾙ慿佁䱨Ҹ ⴒ婫⋔㒖虇NEA 厖▗亓Ⱑ汣㔰庋 䖕⋻▇▗ ⃫虇⏅―⢷懸䜅䠓佁䱨ᾙ⎙䠊ひ◙䠓䀥⏖虇婫⋔ 㒖NEA 䔁ㄦ㼗ㇾㄛ虇⾁䱚│㒖䫉⌅Ⱑ汣䖕⋻▇ㄭ 佁䱨ᾙ䮊柳ひ◙Ҹ 封䠋宏⁉尹處Ӂ无㝋䮚〞⒥ひ◙㞾ℬ棯㐏姢ⶖひ ◙⎙䠊厂⪩↚佁䱨Ὶᾙ虇NEAⶖ個倛䡲䣲㎠↠䠓⪥ ⷤ⽴⃫虇⁴䩉ⅬNEA 㢹ℕ䠓ひ◙ᾜ㢒⎉䖍⢷ᾜ▗懸 䠓佁䱨ᾙҸӂ 厖㳳▛㟑虇㞮ⷤ搏姛䠓䠋宏⁉孲捚㒖虇⇖⬑㞮 ⷤ搏姛虊㜿⣰抄㛎⋁噓搏姛䠓ひ◙䊰㊞ᾼ⎉䖍⢷ ᾜ懸䜅䠓佁䱨ᾙ虇ⴒⶖ㢒厖⌅䖕⋻▇▗⃫䱚│䮊 柳ひ◙虇ⶖ䢇杫佁䱨⎦⋴灠▜✽Ҹ 㞮ⷤ搏姛䠓䠋宏⁉尹處Ӂ㞮ⷤ搏姛⏅―ᾏ⫦䀥 ⏖虇⁴嬞䵓ひ◙䠓㐤㛍Ҹ㎠↠㢒戎⋜⢷►㢘ᾜ䜅⋶ ⵈ虇ℚ⬑㡃ҷ吁㉔╙幼ⓩ䳘⋶ⵈ䠓佁䱨ᾙ⎙䠊ひ ◙Ҹ封▜✽㢒㢮㢃㜿Ҹӂ TAFEP䠋宏⁉姷䫉虇⾁䥴㈘⌅ひ◙⎉䖍⢷ᾜ㳲 䜅䠓佁䱨ᾙҸ 封䠋宏⁉尹處Ӂ㎠↠⾁嬐㷑䖕⋻▇䱚│䮊柳ひ ◙Ҹ㎠↠㢒尜䢮埤䖕‚₅虇厖䖕⋻▇ⵕ⎖▗⃫虇 㰱宝䉉⃤㢒䠋䚮憨䮽㉔㹐虇㛈✓ひ◙㐤㛍䠓埤䖕 㝈ゞҸӂ ⢚株拡〦♐䏛⾛䏍榢䠓䠋宏⁉姷䫉虇封♐䏛棭 ⿇捜嬥⌅ひ◙䠓⎙䠊⃜僽虇䡽⏜㳲厖㢘杫㝈棱▗⃫ 屎㥴‚₅虇Ⅼ峘䖍㳲㔰╥懸䜅䠓姛⑤Ҹ 孲捚㒖虇封拡〦䖍姛⾁㢘ᾏ⫦⡃㧋䠓䀥⏖虇ℎ 䚷懝䆍⟷╙⌅懁ᾏ㳴䠓㔶⏅㔹㝌虇⁴䩉Ⅼひ◙佁 䱨䠓幹亯虇⁴╙䲵▗♐䏛䠓⊈⇋孏Ҹ ⾛䏍榢䠓䠋宏⁉尹處Ӂ㳳⪥虇㎠↠嬐㷑▗⃫⪴ ≔⢷慝▗㢻⢿㜖⒥䠓佁䱨ᾙ㐤㛍ひ◙虇ᾣᾜ劌► 㢘₊⃤ᾜ䜅⋶ⵈ虇⒔㑻₊⃤⌡䐾ㆶ䠓⋶ⵈҸӂ 捬⧀╙寤履虇⃫䉉榧⋗䠓䮚〞⒥ひ◙㐤㛍 孲㸉㝈㧗K㍘⛕虇㖫亱⽷榼Google姷䫉⾁䔁㈘扷⎕ ひ◙⎉䖍⢷►㢘Ӂ⌆䎼峿⋶ⵈӂ䠓㛨佁䱨ᾙҸ ⌅䠋宏⁉婫⋔尹處Ӂ㝋䌌⑤㡃㎥⁖ㇷ䠓⋶ ⵈ虇㎠↠㔰╥梅ⵈㅜ㛎䳥虇ᾣ╹ⵈ寀ひ◙⎉䖍⢷ 䲵▗ひ◙䀥⏖䠓⋶ⵈ染慠Ҹ㎠↠䠓▗⃫⪴‵╾戇 㙖㑡令⢷↠尜䉉ᾜ▗懸䠓⋶ⵈ◷⢜槾䫉ひ◙虇㎠ ↠㢘帻₊厖姛㫼⪴▗⃫虇⿺↠⃫⎉㞝㠉䠓戇 㙖Ҹӂ ἡᶗᔫፓ⇚ᓯᎤᯀ᫆◶ᾤឿ↚␈ 㙩 QED Consulting 欥⾼槶⛞⌋␄愵▗⪴⁉Ryan Lim姷䫉虇䛀㝋䮚〞⒥ひ◙㞾汧〵卹⑤⒥虇⡯㳳Ӂ䮚 〞⒥ひ◙㢘╾劌㢒⎉䖍⛞槛ӂ虇㏏⁴⬑㤫ⶖ帻₊ⴛ ⋷㴇☝㝋ひ◙⛕㞾ᾜ⋻。䠓Ҹ䛀㝋▓䮚〞⒥庋幆。 ╿ℎ䚷ᾜ▛槭⤚䠓㮨䷳虇⡯㳳仟㤫‵㢘㏏ᾜ▛Ҹ 尹處Ӂら䱚Ӄ䠌▜✽ӄ㎥Ӄ灠▜✽ӄ虇㎥冔䵸戇 ♹佁䱨㞾╾㔴╦㎥ᾜ╾㔴╦虇棭⌅ᾼᾏ㝈䠓帻
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these situations as “programmatic can be problematic” due to its highly automated nature. Hence, the results vary for everyone because of the different types of tags used on programmatic buying platforms. “It is also diffi cult to pinpoint which party exactly needs to take responsibility as there is no single party responsible for every ‘white list’ or ‘black list’ or which websites are deemed as acceptable or unacceptable,” he said. He added that moving forward, there needs to be an industry effort to curb this problem and determine which websites are acceptable or unacceptable. “One way this can be done is having a centrally maintained list that programmatic by default needs to have access to,” he said. “This pre-approved list of websites cannot be incendiary in nature, and needs to be overseen by a neutral and authoritative party with the support of the whole industry. This way there would be more active rather than passive enforcement.” Chris Pattinson, senior vice-president of Grapeshot Asia Pacifi c, added the term “brand safety” is often used, but its meaning is not always clearly defi ned. “As brand safety means different things for every brand and every campaign, it is imperative to clarify what it means for you to ensure that you are getting the most from your brand safety partners,” he said. Keyword blacklisting and effective contextual targeting is a remarkably effi cient way to ensure your brand, company or product remains safe from unfavourable or harmful content. “We recommend that brands work with their teams to implement a thoughtful and comprehensive brand safety protocol, starting with custom blacklists that include brand incompatible words and phrases,” he said. “Ad quality/verifi cation software can then be implemented to scan websites for potential issues, depending on the keywords in place.” When brands work with their technology partners to vet potentially inappropriate placements before bidding, potential landmines can be easily avoided. The cost issue Meanwhile, Darren Woolley, founder and global CEO of TrinityP3, said that while programmatic is a terrifi c way to reach more specifi c target audiences, the problem is not programmatic per se, but the way it is often used. 2 8 M AR K ET I N G H O N G K O N G A P RIL 201 7
Supporting this claim is separate research done by Rubicon Project, which recently revealed that by making a two-fold investment in programmatic, marketers may achieve as much as a 6% increase in sales, and a 22% increase in marketing return on investment. But an increasingly common situation is that in the minds of many marketers, a low media price becomes more important than safety. “Buying on the lowest price without the checks and verifi cation will lead to mistakes being made such as your ads appearing on sites and in environments that either refl ect poorly on your brand, or fund organisations that refl ect poorly on your organisation,” he said. “But if it is used simply to deliver mass audiences at the lowest possible price then mistakes get made.” Woolley added that to combat the issue, advertisers need to be willing to look past targeting at the lowest possible cost. While quality environments often come at a higher cost – they are worth the extra expense. “If you are measuring your programmatic performance on CPM then you will get what you pay for – low quality and sometimes harmful environments,” he said. He added that brands need to pay for independent verifi cation, and preferably have a direct arrangement with one of the verifi cation companies. Marketers should not just rely on their agency or programmatic trading desk to provide this service as it may compromise the “independent effectiveness”. Agreeing with him on the matter is Rob Norman, global chief digital offi cer for GroupM. He said the idea of programmatic is that it allows advertising to be more adaptive, relevant and timely by connecting demand and supply in an automated fashion.
₊虇⡯㳳ㄗ桲⎳㝆⎿〤♹梏嬐㐎㙣帻₊Ҹӂ 婫⋔㒖虇㢹ℕ梏嬐姛㫼⌀▛ℕ㏢㙙憨↚ ⛞槛虇䩉♹佁䱨㞾╾㔴╦㎥ᾜ╾㔴╦Ҹ 尹處Ӂ⌅ᾼᾏ↚╾姛䠓㝈㹤虇ⷀ㞾媌ᾏ↚䮚 〞⒥ひ◙庋幆灧尜䠓ᾼ⪽䴰䖕㾔✽Ҹӂ Ӂ憨↚榟⋗㐈䠓佁䱨㾔✽ᾜ劌╦⎿⁉䉉、 榟虇梏嬐䛀ᾏ↚䔁㜃↚姛㫼㚾㒐䠓ᾼ䱚㲙⮐姷 懁姛䡲䣲虇憨㮲㏜劌╥ㄦ㢃⪶䠓Ὴ㲙Ҹӂ Grapeshot ⪹ Ⓩ 汧 亩 ⏾ 俌 婐 Chris Pattinson婫⋔㒖虇⪶ⵅ伢⿇㕟╙Ӂ♐䏛ⴘ⋷ӂᾏ寭虇 ⃕㸡㢘ᾏ↚㾔㟿䠓儸Ҹ 尹處Ӂ♐䏛ⴘ⋷㝋㵞↚♐䏛╙㵞榔㔷ひ㻊⑤ ⣖㢘ᾜ▛䠓儸虇⡯㳳ㅔ榗损㾔⃯䠓㊂㹤虇⁴䩉Ⅼ ⃯䠓♐䏛ⴘ⋷▗⃫⪴劌⪯䠋㕽㢏⪶䠓㎟㛗Ҹӂ 杫攄⳦灠▜✽╙㢘㛗䠓㉔㟾⃜㞾ᾏ↚棭⿇汧 㛗䠓㝈ゞ虇⁴Ⅼ崆⃯䠓♐䏛ҷ⋻▇㎥䚱♐ᾜ㢒╦⎿ᾜ ⎸㎥㢘ⵂ䠓⋶ⵈ⅄ⵂҸ 尹處Ӂ㎠↠ら峿♐䏛厖↠䠓⢧栙▗⃫虇㝌 ᾏ⫦⋷棱◷⎿䠓♐䏛ⴘ⋷ⓣ峿虇ㄭ卹儸灠▜✽朚 ⭚虇⎦⎉♐䏛ᾜ䢇ⵈ䠓⳦寭╙╴尭Ҹӂ Ӂ䋅ㄛ╾⁴㔰䚷ひ◙幹捞虊毦峘恮₅ℕ㔒㕞佁 䱨虇㧈㙩⾁ら䱚䠓杫攄⳦㾔✽㥴㐍䃪⢷⛞槛Ҹӂ 呴䋅♐䏛劌⪯⢷ひ◙⃜僽㐤㮨Ὶ⏜虇厖㐏姢⪴ ▗⃫㥴䃪⢷䠓ᾜ懸䜅ひ◙㐤㛍虇ⅎ╾悤㞢戎朚 桀坞䠓⢿梆Ҹ ᑯᏥ᫆◶ ▛㟑虇TrinityP3 ␄愵⁉ ⌋ ⋷ 䖒 姛㛎 俌婐 Darren Woolley姷䫉虇䮚〞⒥ひ◙㞾㔴宇䐈䡽㮨╦䣍䠓 ⬌愵㹤虇⛞槛棭䮚〞⒥ひ◙㢻怺虇军㞾⌅㍘䚷䠓 㝈ゞҸ Rubicon Project懁姛䠓䦣䰅榔䡽㚾㒐憨ᾏ尹 㹤虇封㯮㭚㢏慠㒖⎉虇憩懝䮚〞⒥ひ◙庋幆懁姛 桨↜㐤幖虇⾑⧃㔷ひ⁉♰䠓摆⚽槜╾劌懣⎿ 6虀䠓 ⨭朆虇⾑⧃㔷ひ㐤幖⡭⧀䔖‵㕟汧22%Ҹ ⃕㊗ℕ㊗⿇嬚䠓㉔㹐㞾虇⢷寀⪩⾑⧃㔷ひ⁉♰ ㅒ䡽ᾼ虇⃝じ䠓Ⱑ汣庋幆⊈㧋㵣ⴘ⋷㢃䉉捜嬐Ҹ 尹處Ӂ⁴㢏⃝䠓⊈撱庋幆㸡㢘伢懝㰱㥴╙毦 峘䠓ひ◙⃜僽虇ⶖ㢒厃撾尳虇ℚ⬑⃯䠓ひ◙⎉䖍 ⢷㢘㖜♐䏛ヱ巰䠓佁䱨㎥⃜僽虇㎥冔厖戲╾䜠仓 俣㏾ᾙ杫⅑Ҹӂ Ӂ⬑㤫✽亣㊂⁴㢏⃝䠓⊈撱㔴宇⪶㐈╦䣍虇戲 ⷀ⪶撾䐈撾Ҹӂ
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Of course, he added, there are issues of questionable videos and content existing on some platforms that have not yet been blocked from the sell side for being the recipients of advertising. “You don’t need an agency or client to deploy a tool for ads to stop appearing next to jihadist videos. The supply side has the responsibility for simply blocking access to that kind of content,” he said. He added as a thesis, and from a technical and performance point of view, programmatic works very well. But this is dependent on the quality of inventory in supply. “There are a number of tools available on the demand side that will help you minimise risk on the supply side, but if you don’t use them, you deserve the risks you get,” he said. As such, a small cost will always be incurred for security. “If you do use them, to the practical limit of their ability, your risk is hugely reduced, but it can never be eliminated,” he said. And while in the near future we can expect prices to drop because of the increase in demand, currently, price still remains a big factor – especially if a brand is new to the programmatic area. Steve Doyle, chief commercial offi cer of InSkin Media, said when many new brands exploring this space are told they have to put in additional dollars for verifi cation and other WWW.M A R K ET I N G - I N T ER A C T I V E.C O M
administrative issues (otherwise known as non-working media), they often deem the spend as an additional cost rather than an investment. Miranda Dimopoulos, CEO of IAB Singapore and ambassador to SEA, said the cost of programmatic and its value are directly proportional to each other. However, she points out the industry is still at a stage where it is being educated about the advantages of shifting onto the digital platform. Therefore, at this point in time, it is challenging to explain to marketers that they need to invest 30% of the media budget onto programmatic platforms to draw effective results. Sanchit Sanga, chief digital offi cer of Mindshare APAC, added that 30% of a typical programmatic campaign is non-working media, which is a signifi cant chunk. As such, he said the cost model was not conducive. “The ideal cost of non-working media should be reduced to 10% to 15%. This way, advertisers would feel more motivated while investing in programmatic,” he said. “Failure to do so would be an obstacle for marketers.” But he added that as investments in the programmatic arena increase, the cost of technology will eventually drop, as it is with any other form of technology. Programmatic is no different.
Woolley 婫⋔虇嬐孲㸉憨↚⛞槛虇ひ◙⛕嬐㗡㩓 ⁴㢃⃝䠓㎟㢻ℕ㔴宇䡽㮨╦䣍䠓㊂㹤Ҹ桥䋅汧幹亯 䠓ひ◙䘿⨒憩⿇梏嬐㢃汧䠓㎟㢻虇⃕憨槜⪥䠓㚾 ⎉䠓䩉㞾䏸㢘㏏⇋Ҹ 尹處Ӂ⬑㤫⃯㒘ⓒ⁉㎟㢻㾻捞䮚〞⒥ひ◙庋幆 䠓姷䖍虇㛅䔁ⶖ厖㚾⎉㎟㳲㵣虇ⷀ㞾幹捞⃝ҷㄏㄏ㢃 㞾ᾜ䖕㊂䠓ひ◙䘿⨒Ҹӂ 婫⋔姷䫉虇♐䏛梏嬐呀撱懁姛䓷䱚䠓毦峘虇 ら峿㢏⬌㞾厖⌅ᾼᾏⵅ毦峘⋻▇䢃㔴凾仰ⴘ㔡Ҹ⾑ ⧃㔷ひ⁉♰ᾜ㍘≔棯⌅䖕⋻▇㎥䮚〞⒥ひ◙″㞢 。╿ℕ㕟K㳳㢜⑨虇⡯䉉憨╾劌㢒㖜ⵂӁ䓷䱚毦峘 ㎟㛗ӂҸ 儳戠⋷䖒欥⾼㜇䩋ⴧRob Norman憨㝈棱姷 䫉▛㊞Ҹ姷䫉虇䮚〞⒥ひ◙庋幆┮㊞㞾⁴卹⑤⒥ 䠓㝈ゞⶖ梏㷑㝈厖K㍘㝈憲㔴弆ℕ虇ℎひ◙劌⪯㢃 㞢㝋懸㍘䘿⨒ҷⅬ㒐䢇杫☛╙㟑Ҹ 婫⋔姷䫉虇䜅䋅⌅ᾼ㢘㥟►㢘╾䜠䏖╙ ⋶ⵈ䠓。╿㢹㢘娺干㝈柊栣虇㎟䉉ひ◙䠓㔴㛅冔Ҹ 尹處Ӂ䖕⋻▇㎥ⴱ㏅ᾜ梏嬐扷儁ᾏ榔⽴⌆虇 ⁴柊㳱ひ◙⎦⢷凥㎿冔䏖染慠ҸK㍘㝈㢘帻₊ 柊栣憨槭⋶ⵈҸӂ 婫⋔㒖虇ㄭ䖕履ҷ㐏姢╙㎟㛗㝈棱ℕ尹虇䮚〞 ⒥ひ◙庋幆䠓㛗㤫ㄗ⬌虇⃕憨╥㸉㝋K㍘㝈䠓ひ◙ 〺⳧幹捞Ҹ 尹處Ӂ梏㷑㝈㢘ᾏ⽴⌆虇╾䡰捞㾪ⶠ⢷K㍘ 㝈。╿ᾙ䠓樷根Ҹ⃕⬑㤫⃯戇㙖ᾜℎ䚷憨⽴⌆虇 戲灋㻊封㐎╦樷根Ҹӂ ⡯㳳嬐䩉Ⅼⴘ⋷虇桲⋜嬐呀幊䠓朚㚾Ҹ 尹處Ӂ⬑㤫⃯ℎ䚷憨⽴⌆虇⢷⌅株劌䵓 ⢜⋶虇⃯䠓樷根㢒⪶⪶柜⃝虇⃕樷根㞾㷇懯䊰㹤㼗 柳䠓Ҹӂ 军⢷ᾜ䠓ⶖℕ虇样嗦梏㷑⨭虇㎠↠榟宗⊈㧋 㢒ᾚ屎Ҹ䡽⏜⊈㧋⁜䋅㞾ᾏ↚ㄗ⪶䠓冒㋽⡯亯虇ⶳ ⌅㝋⎬從彂䮚〞⒥ひ◙庋幆榧⥮䠓♐䏛ℕ尹Ҹ InSkin Media⛕⑨俌婐Steve Doyle姷䫉虇䜅 寀⪩㳲㔱亱䮚〞⒥庋幆䠓♐䏛虇刌⎿↠ㅔ榗䉉毦 峘╙⌅姛㛎⛞槛虃‵䯀䉉棭㢘㛗Ⱑ汣虄㐤⋴槜⪥ 幖捠㟑虇↠憩⿇嬥䉉槜⪥䠓㎟㢻军ᾜ㞾㐤幖Ҹ 儝⢚‡⑤ひ◙虃IAB虄㜿⣰姛㛎俌婐⌋㤀 ⓦ宏⁉Miranda Dimopoulos姷䫉虇䮚〞⒥ひ ◙䠓㎟㢻厖⌅⊈⇋㞾䢃㔴㎟㳲㵣Ҹ䋅军⬈㒖⎉虇憨 ↚姛㫼㝋惘⤚厂㜇䩋。╿䠓⊹⑱⁜埤㝋―孲䠓栝 㵄Ҹ ⡯㳳虇䖍㟑■⾑⧃㔷ひ⁉♰孲捚梏嬐ⶖ 30%䠓 Ⱑ汣榟䴦㐤㛍䮚〞⒥ひ◙庋幆。╿⁴䔁╥㎟㤫㞾ᾏ 榔⪶㒠㎿Ҹ ≂䱚Ⱑ汣⪹Ⓩ欥⾼㜇䩋ⴧSanchit Sanga婫 ⋔姷䫉虇30%䠓⌇⤚䮚〞⒥ひ◙㞾棭㢘㛗Ⱑ汣虇憨 㞾ᾏ↚ㄗ⪶䠓㵣ℚ虇⡯㳳姷䫉㎟㢻㮰⤚䠓⿺ᾜ ⪶Ҹ 尹處Ӂ棭㢘㛗Ⱑ汣䠓䖕㊂㎟㢻㍘柜⃝厂10% ⎿15%Ҹ憨㮲ᾏℕ虇ひ◙⛕㝋㐤幖䮚〞⒥ひ◙ⅎ 㢃㢘⑤Ҹӂ 倛䯀虇ᾜ憨㮲⇩㢒㢘䪨⾑⧃㔷ひ⁉♰╥ㄦ㎟ 㤫Ҹ ⃕姷䫉虇样嗦䮚〞⒥ひ◙庋幆榧⥮䠓㐤幖 ⨭虇㐏姢㎟㢻㢏仑ⶖ㢒ᾚ柜虇㳲⬑⌅₊⃤ヱゞ䠓 㐏姢虇䮚〞⒥ひ◙‵䋅Ҹ APRIL 2 017 MARK E TING HONG KON G 2 9
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As a global financial hub, it’s no wonder Hong Kong has developed a reputation for its art market. Its notable lack of tax on buying and selling art has long supported a local gallery scene and in 2013 it attracted the attention of Art Basel, now an annual event. Local art fairs and a plethora of international heavyweight commercial galleries and auction houses followed shortly after. But the commercial art world treads a delicate line between supply and demand. Those of us lucky enough to live in this metropolis know only too well its tight residential spaces. For many years, galleries stocked what they could sell: paintings and wall hangings that could easily be installed in homes.
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As the size of the art scene in Hong Kong has grown, a deeper understanding of art has been fostered in the city. Sectors such as Encounters at Art Basel, where museum-sized installations are for sale, increasing sculptural exhibitions and public art projects such as Antony Gormley’s Event Horizon indicate a growing appetite here for a more varied scene, yet the city remains void of an international-quality public art museum – M+ remains incomplete following a series of setbacks. Who will step in to prevent the art scene stagnating in a rapidly developing scene lacking the basic public institutions to sustain it? Enter the corporate sponsor and its growing
ᓆᠥↂᜲ⏠ጱ፬ᅗᣍᵁṍᮿᑯᱹᑯᠥᑀᛵ♐ 姢⾑⧃Ҹ欨㾾ᾏ■⁴坬姢♐⋜ㅄ摆⚽䮔嬚䯀虇䉉㢻 ⢿坬姢⾑⧃㕟K㢘⎸䘿⨒虇2013 〃㢃ㄦ⎿⾃⧭䏍 坬姢ⷤ䠓⤑棡虇䠋ⷤ㎟䉉㢻㾾⌅ᾼᾏ榔〃〵䡪 ‚虇军㢻⢿䠓坬姢ⓩ孌㢒╙䣍⪩⢚株捜捞亩⛕㫼 䛺す╙㑜干姛‵余样⌅ㄛҸ 䋅军虇⛕㫼坬姢ᾥ䛛ㅔ榗㒎㓞⬌K㷑Ὶ朢䠓。 姰Ҹ䚮㻊⢷憨↚⪶抌㢒虇㎠↠抌㾀㞝㢻⢿⃞ⴔ䰉朢 余仏䠓⡿⨒Ҹ军⪩〃ℕ虇▓䛺す⋁⳧䣍⪩╾K⎉⚽ 䠓䏸♐虇⬑䛺⃫╙⿇䚷⃫ⵅⷔ婬檍䠓㔪㵾Ҹ 样嗦欨㾾坬姢䛛䠓嬞㮰 ᾜ㝆㚃 ⪶虇㾀㢻 ⢿ ⾑⧃坬姢䠓尜峧Ҹ⢷欨㾾⾃⧭䏍坬姢ⷤ䠓Ӂ坬凩 䰉朢ӂ⋶虇㢘ⓩ䏸檷ゞ䠓⪶⤚桤⧠婬僽⃫♐ⷤ孌⎉ ⚽虖▛㟑虇㊗ℕ㊗⪩䠓桤⧠ⷤ孌╙⋻⌀坬姢㻊⑤⢷ 㢻㾾厘姛虇⬑坬姢⪶⾺ Antony Gormley 䠓Ӂ嬥䛛 欨㾾ӂ虇╾嬚㢻⢿⾑⧃ᾜ▛槭⤚䠓坬姢␄⃫㢘㢃 ⪶厗弲Ҹ䋅军虇欨㾾⁜䋅僉῞⢚株亩䠓⋻⌀坬姢ⓩ 䏸檷虇M+ⓩ䏸檷䠓厗ら懼懖捜捜㒺㐧虇厂⁙⁜㢹 嗌㎟Ҹ⢷汧憮䠋ⷤ⃕僉῞⦉㢻⋻⌀㯮㭚㚾㒐䠓㉔ 㹐ᾚ虇尿劌㔷⑤䠋ⷤ⇫䁾ᾜ⏜䠓坬姢⾑⧃虚 军ₐ㫼庙㮰ゞ㎥㢘⅒懁欨㾾坬姢䛛䠓䠋 ⷤ虇㧈㙩欨㾾坬姢䠋ⷤ⢷2011〃懁姛䠓坬姢庙 屎㥴仟㤫槾䫉虇ₐ㫼庙⛕⪶⪩尜䉉虇㚾㒐坬姢姛 㫼㞾⌅㔷⑤欨㾾坬姢䠋ⷤ䠓ₐ㫼帻₊╙㐎岍ᾏ扷
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role in the health of Hong Kong’s art scene. The Hong Kong Arts Development Council’s survey on arts sponsorship in 2011 found that corporate sponsors predominantly felt that supporting the arts was part of their corporate responsibility and commitment to developing arts in Hong Kong. Six years later, I would suggest it now goes one step further – it makes good business sense. Last year, Art Basel in Hong Kong smashed previous records regarding visitor numbers, attracting 70,000 people and completely selling out on public days, while Art Central similarly eclipsed last year’s figures reaching more than 30,000 visitors. Every March, the art world’s finest collectors descend upon the city and the public is more engaged in culture than at any other time of year. Quality arts programming is a way to draw a crowd. Swire Properties has been a patron of the arts since its first residential development at Taikoo Shing. Now celebrating its fifth year of sponsorship at Art Basel, its impressive property portfolio is uniquely placed to bring art beyond the confines of the fairs and to the public. Its offerings this year were greater than ever – an exhibition of early paintings and drawings by architectural titan Zaha Hadid, brought in partnership with Serpentine Galleries, along with four VR installations developed with Google Arts and Culture.
Eleanor Porter
Account manager Sinclair Communications WWW.M A R K ET I N G — I N T ER A C T I V E.C O M
On the other hand, Julius Popp’s aweinspiring BIT.FALL, which showcased googled buzzwords displayed in real-time as a cascade of water droplets, was housed at Pacific Place. If that wasn’t enough, Hugh Dutton married aesthetics, design and engineering to create a beautiful lounge at Art Basel, which hosted a talks programme featuring some seriously high-profile speakers, from Hans-Ulrich Obrist to Philip Tinari. Van Cleef & Arpels was presenting its very first arts activation to coincide with Hong Kong’s month of art at Asia Society. Instead of presenting the work of a visual artist, the Maison commissioned award-winning theatre designer Robert Wilson to create L’Arche de Noé racontée par Van Cleef & Arpels. Renowned for his unique approach to lighting design, this immersive, cinematic backdrop was something different, was free, suitable for adults and children alike. It re-imagined a mythical adventure across the seas, while highlighting the Van Cleef & Arpels “High Jewellery” series that celebrates the animal kingdom. As more companies and brands wake up to the benefits of developing an arts initiative in Hong Kong’s art month of March, they are increasingly jostling for the limelight. The only true way to muscle into this market is by offering something different and of high quality. Corporate sponsorship is no longer something to be sniffed at – it plays a crucial role in changing the art scene for the better.
⎕Ҹ⋼〃ㄛ䠓⁙⪸虇㎠尜䉉憨ᾏ㝈棱嬐㢃懁ᾏ㳴虇⡯ 䉉憨䲵▗⛕㫼┮⏖Ҹ ╊〃虇⾃⧭䏍坬姢ⷤ欨㾾ⷤ㢒㏢䧃㴆〃⋴⧃⁉ 㲰宧撓虇◇イ懍ᾒ喻⁉╒孏虇⋻䣍朏䫷⋷扷㗅庋ᾏ 䰉虖军Art Central䠓⋴⧃⁉㲰‵▛㮲弔弙╊〃虇懣 ⎿懍ᾘ喻⁉Ҹ㵞〃ᾘ㢗虇坬姢䛛㢏⊹䭏䠓㛅坞ⵅ亪 亪此卷欨㷮虇军㢻⢿⋻䣍‵悒。㝴㢃䯜㬄╒厖㜖⒥ 㻊⑤虇㕟K汧亯幹䠓坬姢䵏䡽㞾◇イ儳䣍䠓㝈ゞ ῚᾏҸ 卹⪹╳⥝欥↚⃞ⴔ榔䡽㔷⎉⁴ℕ虇⪹╳⢿䚱ᾏ 䢃㚾㒐坬姢␄⃫㻊⑤Ҹ⃫䉉⾃⧭䏍坬姢ⷤ憲倛䲻 ‣〃䠓庙⛕虇⌅䓷䐈䠓⢿䚱䏸㫼㞾⿅榧坬姢廿⎉ ⷤ孌㢒虇䢃㔴㔴宇⋻䣍䠓䖕㊂⧃⢿Ҹ⪹╳⁙〃㔷⎉ 䠓㻊⑤㵣⁴ㄏ㢃⌆嬞㮰虇㢃厖↺㛵塖ヱ坬す▗⃫厘 愵Zaha Hadid⃫♐ⷤ虇拜▗⡪↚䛀Google Arts and Culture 䦣䠋䠓埪㙻⨒坬姢婬僽虇ⷤ⎉封ら 䵘⪶⾺䠓㝸㢮䛺⃫╙哘⢥Ҹ 㳳⪥虇⪹╳ひ⧃ⷤ⎉Julius Popp梖㙋⁉ㅒ䠓 BIT/FALL虇ⷤ䫉ᾏ〶⁴㷃䂃仓㎟䠓㷃䷍虇㟑槾 䫉ᾜ▛佁仰䍀朏㖫寭ヨҸ㢹⪯䠓尀虇⪹╳⢿䚱‵ 厖Hugh Dutton凾㏚虇仟▗儝ⴇҷ宼宗╙ら䵘虇䉉⾃ ⧭䏍坬姢ⷤ㏢憯ㇻ棫⊹桔䠓幃幢ⴳ虇⢷⋶厘愵ᾜ ▛䠓〶屖㢒虇戏屚Hans Ulrich Obrist╙Phil Tinari 䳘⪶⾺亩⁉䏸㙣₊䂣岪➘幢Ҹ 䉉拜▗ᾘ㢗欨㾾坬姢㢗虇Van Cleef & Arpels ⢷㻁ⓣ㢒欨㾾ᾼㅒ厘姛欥㲰坬姢ⷤ孌Ҹ憨㲰ⷤ ⎉䠓ᾜ㞾嬥孉坬姢ⵅ䠓⃫♐虇军戏屚ⷱ䔁㴙㬽䠓␖ ⧃宼宗⾺Robert Wilson㏢憯䠓L’Arche de Noé racontée par Van Cleef & ArpelsҸ⁴⌅䓷䐈䠓厭 ╿䍗⋘㛗㤫军凭▜虇憨䮽㸘㼇ゞ䠓␖⧃剛㟾厖⎴ᾜ ▛虇ⷤ孌⋜幊朚㛍╒孏虇冐ⶠ♇虇崢╒孏冔㊂≞捜 ⧠ᾏ㵄㼆ᾙ䫭尀㝔䮚虇▛㟑⎇⎉懍40 崩榛⑤䏸ᾥ 䛛䠓Van Cleef & Arpels䕯ⶅ⑤䏸亊⎦Ҹ ㄦ䥴⢷欨㾾坬姢㢗厘愵㜖⒥㻊⑤䠓⬌埤虇㢃⪩ ₐ㫼╙♐䏛䯜㬄怚怺⌅ᾼҸ嬐㏢⋴憨↚⾑⧃虇㕟K 厖䣍ᾜ▛䠓汧幹亯⃫♐㞾㎟䠓ᾜ‛㹤朏Ҹ㛔㳳虇ᾜ 劌⌜ₐ㫼庙❳Ὶ⁴烊虇⡯ⴒ㕟ⓖ坬姢㶲㶪䠋 㕽厂杫捜嬐䠓榎Ҹ
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JOB SHUFFLE ⁉‚崙⑤ David Paysant, managing director of Geometry Global Hong Kong, WPP’s activation unit, will be leaving the firm at the end of June. Meanwhile, Anne Vanlaeys was appointed managing director to succeed him in February. Paysant first joined Ogilvy in 2008 as business director at OgilvyAction. In 2010, he was promoted to managing director of WPP’s activation arm. In 2013, OgilvyAction merged with Geometry Global, and he was then appointed as managing director of Geometry Global Hong Kong. Vanlaeys relocated to Hong Kong from France last September as she took up the role of global brand director at Geometry Global Asia Pacific.
HONG KONG AIRLINES APPOINTS GEORGE LIU 欨㾾厹䰉⭣₊ 欥⾼♐䏛ⴧ Hong Kong Airlines has named George Liu as its chief marketing officer. He has more than 25 years of experience in brand strategy, marketing, communications, customer relations and government affairs. He previously served as the director of airline global brand and marketing at Boeing Commercial Airplanes, and was based in the US for 10 years where he managed strategic partnerships with customer airlines. Heading up Hong Kong Airlines’ branding and customer experience department, he will be responsible for leading the airline’s branding, marketing, communications, and customer experience in line with the overall company transition and business expansion from a regional airline to an international carrier. 欨㾾厹䰉₊☌␘㷮䉉欥⾼♐䏛ⴧ虇⢷♐䏛䳥䛴ҷ⾑ ⧃䍮摆ҷ≂宙ҷⴱ㏅杫⅑╙㛎〫‚⑨榧⥮㙐㢘弔懝 25〃䠓伢毦Ҹ␘㷮㢍㝋㹱概㶠㯮桕⢧儝⢚俌扷㙣₊ 厹䰉⋻▇⋷䖒♐䏛䍮摆俌䡲分⑨懣ⓐ〃虇帯帻䴰䖕 厖▓厹䰉⋻▇䠓㎿䛴▗⃫⪴杫⅑Ҹⶖ⿅榧欨㾾 厹䰉♐䏛╙槶ⴱ汣毦扷虇⢷♐䏛ҷ⾑⧃㔷ひҷₐ㫼≂ 宙虇⁴╙槶ⴱ汣毦䳘㝈棱拜▗⋻▇㜃汣㫼⑨惘⤚╙ 䠋ⷤ虇ⓣ封⋻▇ㄭⓏ⥮ㆶ厹䰉ₐ㫼廿■⢚株Ҹ
WPP桕⢧㝦ᾚ䠓⅒⑤姛摆佁仰Geometry Global 欨㾾嗲‚俌伢䖕 David Paysant ⶖ㝋⋼㢗〤桱 分Ҹ厖 㳳▛㟑虇Anne Vanlaeys 䔁₊☌䉉嗲‚ 俌 伢䖕虇㝋‛㢗₌㔴㢎⌅分 ⑨ҸPaysant 㝋 2008 〃 ⋴⫶儝虇㙣₊⫶儝⅒⑤虃OgilvyAction虄㫼⑨俌 䡲Ҹ2010〃虇㟘ⓖ䉉封扷朏䠓俌伢䖕Ҹ2013〃虇⫶ 儝⅒⑤厖Geometry Global▗℄虇⡯军䔁₊☌䉉 Geometry Global䠓欨㾾嗲‚俌伢䖕ҸVanlaeys 㝋 ╊〃Ῥ㢗ㄭ 㹤⢚屎㻍 厂欨㾾虇⎉₊ Geometr y Global⪹Ⓩ⋷䖒♐䏛俌䡲Ҹ
Omnicom Media Group named Aaron Wild the new CEO of OMD China, while Anna Chitty will replace Wild as PHD China CEO. Wild will fill the top job at OMD, which has been vacant since former CEO Arlene Ang joined Google as director of marketing solutions for Greater China last June. The duo transitioned into their new roles from 20 March. ⴞ䡮Ⱑ汣桕⢧⾁₊☌ Aaron Wild 䉉㻸殿Ⱑ汣ᾼ ⢚Ⓩ欥⾼⦆姛ⴧ虇军 Anna Chitty ⶖ㔴㢎㎟䉉 PHDᾼ⢚Ⓩ欥⾼⦆姛ⴧҸ卹⏜₊ᾼ⢚Ⓩ欥⾼⦆姛 ⴧ㷹 ㋶ 䕁㝋 ╊〃⋼㢗䡮 Google 㙣₊⪶ᾼ啾Ⓩ 䍮摆孲㸉㝈㧗俌䡲⁴ℕ虇封分⃜ᾏ䢃㎇䰉Ҹ‛⁉䛀 3㢗20㝴弆㐤⋴⌅㜿孡吁Ҹ
Mirum Hong Kong hired M i c h a e l Leung (right) as creative strategic director, and Tobing Lanata as user experience design lead. Before joining Mirum, Leung worked at Havas and Pixo Punch. His experience in the digital world has seen him work with clients such as Hong Kong Airlines and the Hong Kong Tourism Board. Lanata moved to Hong Kong to take up his new role and most recently worked at Mirum Singapore. He has more than nine years of digital experience and is well-versed in user interface and user experience design. Mirum Hong Kong ⎕⎴₊☌ Michael Leung 虃▂虄╙Tobing Lanata 䉉␄㊞䳥䛴俌䡲╙䚷㏅ 汣 毦 宼宗帯帻⁉Ҹ⢷ ⋴ Mirum ⏜虇Leung 㢍㛗 㝋䂱⮐⩺桕⢧╙Pixo PunchҸ㙐㢘巟ⵛ䠓 㜇䩋伢毦虇㢍厖欨㾾厹䰉╙欨㾾㝔 懙䳘 ⴱ㏅▗ ⃫ҸLanata Ὶ⏜₊分㝋 Mirum 㜿⣰虇䖍㟑戆ㄏ 欨㾾⎉₊㜿分⑨Ҹ㙐㢘弔懝Ῥ〃䠓㜇䩋伢毦虇乍 憩䚷㏅䛛棱╙䚷㏅汣毦宼宗Ҹ
PayPal has appointed Soon Sze Meng as the new senior director and general manager for Hong Kong, Korea and Taiwan. In his new role, he will be tasked with strengthening the digital payment platform’s cross-border business and expanding market share in the domestic market. In his previous leadership roles, Soon has led teams to achieve high profile commercial and marketing partnerships with merchants and banks in China, Southeast Asia, India and Russia. PayPal⾁⭣₊⳺ᾥ䕘䉉㜿₊汧亩俌䡲⌋欨㾾ҷ楢⢚ ╙╿䇲Ⓩ俌伢䖕Ҹ⢷⌅㜿分⃜ᾙ虇⳺ᾥ䕘ⶖ㢃懁ᾏ 㳴㑢ⷤ封佁ᾙ㳍。╿䠓彷⨒幎㞢㫼⑨虇個倛㕟 ⓖ⌅⢷㢻⢿䠓⾑⧃⃣㢘䔖Ҹ⳺ᾥ䕘⁴ㄏ㢍⿅榧⢧栙 ㎟厖ᾼ⢚ҷ㤀ⓦҷ⓿〵╙⅓儔㜾䠓ᾜ▛ₐ㫼╙ 搏姛懣㎟叾⬌䠓⛕㫼╙䍮摆▗⃫⪴杫⅑Ҹ
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