Marketing Magazine Hong Kong - August 2016 by Marketing Magazine Group

MARKETING MAGAZINE HONG KONG EDITION

THE ART & SCIENCE OF CONNECTING WITH CONSUMERS

HONG KONG

AUGUST 2016

marketing-interactive.com

AUGUST 2016

編者的話

EDS LETTER

THE STORY IS CHANGING – WILL YOU BE PART OF IT?

Editorial Inti Tam, Deputy Editor intit@marketing-interactive.com Angel Tang, Senior Reporter angelt@marketing-interactive.com

㛔‚㳲㛈崙ʟ⃯㢒╒厖⌅ᾼ虚

Tracy Chan, Bilingual Sub Editor tracyc@marketing-interactive.com Advertising Sales - Hong Kong Sara Wan, Senior Sales Manager, Advertising & Sponsorships saraw@marketing-interactive.com Sherman Ho, Account Manager shermanh@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, Senior Designer evisuy@lighthousemedia.com.sg Samson Lam, Graphic Designer samsonl@lighthousemedia.com.sg Events Yeo Wei Qi, Regional Director, Events Services weiqi@lighthousemedia.com.sg Cathy Luk, Manager - Events Services cathyl@marketing-interactive.com Sarah Kee, Lead Producer sarahk@marketing-interactive.com Sanna Lun, Events Producer sannal@marketing-interactive.com 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 +65 6423 0329 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. 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 Hong Kong: Lighthouse Independent Media Ltd 1/F Wui Tat Centre, 55 Connaught Road West, Sheung Wan, Hong Kong Tel: +852 2861 1882 Fax: +852 2861 1336 To subscribe to Marketing magazine, go to: www.marketing-interactive.com

As with most media professionals who started out on the content side of the business, and worked through the past five to 10 years in the media, I have grappled with the dramatic changes in how and who gathers content, and what and what isn’t considered content. As the barrier between journalists, bloggers and KOLs, content and native advertising, continues to thin, along with margins in the media business, the need to work out where the line is drawn is becoming more urgent. A recent survey on the current state and future of journalism polled 2000 journalists, and 49% of those working in the UK and US, said they were comfortable producing native content (or sponsored content). This might seem like a betrayal to some longer serving journos who have fiercely fought for editorial independence from commercial interests, but it’s also telling of the changes the media business has gone through. So while there has been traditional resistance to producing articles for clients, it appears the filter down effect of withering traditional media revenues and the growth in online, integrated and full participation media, is reaching right down into the newsrooms of most media. The thirst among readers and audiences for authentic, compelling storytelling will not wane even as attention spans shorten, and competing stimulus continues to multiply, and marketers need to fully understand this. Then, if the media, thought leaders and the audience have all broadened their definition of content, then marketers need to get better at storytelling to maximise leverage in the new media landscape. Keeping it authentic, being honest about the message and where it’s from and understanding the environment you’re placing it in are the keys to success in the reshaped media landscape.

ῃጙᑑ∋᎔፲ᑛᩪᤲᅘᗄᚑ῜Ꮄጺᒣጀᑧዯᛸᬙᗇ ≂Ⱑ姛㫼䠓姛ⵅᾏ㮲虇㎠ᾏ䢃厖⋶ⵈ㘿⵺㝈ゞҷ㘿㜖冔╙⋶ⵈ⴩儸䠓⽷⪶惘崙◷㝚Ҹ 宧冔ҷ佁尛⃫ⵅ厖杫攄㊞嬚榧娥虇⋶ⵈ厖┮䚮ひ◙虇⁴╙≂Ⱑ姛㫼Ὶ朢䠓⽽彬ᾜ㝆侽䰓虇损⴩▓ 㝈棱Ὶ朢䠓䛛佩崙ㄦ㢃䉉慺⎖Ҹ 㢏慠ᾏ榔㢘杫㜿凭姛㫼䖍㹐╙㢹ℕ榟㾻䠓屎㥴虇容⛞ 2,000⃜㜿凭⽴⃫冔虇䜅ᾼ 49虀⢷咀⢚╙ 儝⢚⽴⃫䠓ㄭ㫼♰姷䫉虇⁥↠ᾜ⁚㊞㘿⵺┮䚮⋶ⵈ 虃㎥庙␸⋶ⵈ虄Ҹ ⶜㝋ᾏ䢃呵呵㐦姰⛕㫼⎸䡙⅄壤佷㔰䓷䱚䠓幖㾀宧冔ℕ尹虇憨⃋῝㞾ᾏ䮽剛╪虇⃕▛㟑‵╜㞯≂ Ⱑ姛㫼䠓惘崙Ҹ ⡯㳳虇⊧䴰⁜㢘ᾜⶠ柊␪虇⃕䉉ⴱ㏅㘿⵺㜖䱯 ⃋῝㢘␸㾪㋱≂伀Ⱑ汣㛅⋴喝侽Ҹ军佁ᾙҷ伫▗╙ ⋷棱╒厖Ⱑ汣虇‵憟䃇䂁⋴⪶扷⎕㜿凭⽴⃫ⴳ虇᾵ ⿅ℕ帯棱㄀榎Ҹ 䖍㟑崏冔╙孏䣍䠓⶗㹷␪桥䋅崙䥼虇⃕⶜䢮⵵ ╾棯㛔‚ℬ䋅梏㷑㵆⎖虇军ᾣ≂Ⱑ姛㫼䠓䲅䎼㊗䡙䅏䉗虇⾑⧃㔷ひ⁉♰ㅔ榗尜㾔憨ᾏ灭Ҹ 戲灋虇⬑㤫Ⱑ汣ҷ㊞嬚榧娥╙孏䣍⋷抌䉉⋶ⵈ 宑ᾚ㢃ひ㹪䠓⴩儸虇戲灋⾑⧃㔷ひ⁉♰ㅔ榗㔰䚷㢃 ⬌䠓㛜‚㝈ゞ虇⢷㜿Ⱑ汣䘿⨒ᾚ㐙㕰㢏⪶㯮懖Ҹ Ⅼ㒐┮㷐┮☂ҷ䢮⵵䠓⋶ⵈҷ㾔㫩㮨䫉㼗ㇾℕ 䀟虇▛㟑―孲孏䣍杀崏䠓䚮㋚虇㞾⢷㜿Ⱑ汣榧⥮㎟ ␮Ὶ杫攄Ҹ

SCAN TO SUBSCRIBE

Tony Kelly Managing director WWW.M A R K ET I N G - I N T ER A C T I V E.C O M

AU GU S T 201 6 MARK E TING HON G KON G 1

AUGUST 2016 6

Re-imagining the world of luxury.

Ad Watch/Web Watch.

Snapped.

App Marketing.

Marketing Event Awards 2016.

⫱啾㜿⢚〵

ひ◙灭寤虊佁仰灭寤

䍮摆㻊⑤呀份

㍘䚷䮚ゞ⾑⧃!

䍮摆㻊⑤⪶䓝2016

2 M A RK ET I N G H O N G K O N G AUG UST 201 6

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PROGRAMMATIC

CONNECT

2016

Get G ett connected, connectted d and d enj enjoy joy tthe he restt off your summer!!

29 Sep @ The Wave Learn the programmatic path to increase your profit Connect with programmatic buyers/sellers for premium deals Success cases sharing For more info: acquamedia.com.hk/connect

60 seconds with

Brieﬁng

May Law General manager Shiseido Hong Kong

What’s on? Spark Awards 2016 What: The Spark Awards are back to celebrate Hong Kong’s top media companies and the work across the ﬁelds of content, client engagement, new media and programming initiatives. Where: The Mira Hong Kong When: 10 August 2016 Customer Loyalty 2016 What: The fourth Customer Loyalty Hong Kong conference aims to uncover the insights of future loyalty programmes, customer retention and engagement as well as innovative technology. Where: Hotel ICON When: 7 September 2016

The phenomenal success of augmented reality mobile game Pokèmon Go has created a surge in proﬁts for the virtual reality sector of the gaming industry. The hype behind the game not only has existing virtual reality fans playing the much-loved game, but has also introduced new players to the world of VR. Let’s take a look at the statistics behind this multi-billion dollar industry. 㚃⨭⵵⨒㏚㯮懙㏁Pokèmon Go䰉⏜㎟␮虇 ⁳懙㏁姛㫼䠓埪㙻⵵⨒⎸䃳䅏⨭Ҹ懙㏁㎟䉉䍀䃽虇 ᾜ≔䖍㢘䠓埪㙻⵵⨒丘企㊪ᾜ捚㏚虇㢃◇イ㜿䔸ⵅ㐤⋴埪㙻⵵⨒䠓ᾥ䛛Ҹ ᾏ▛䢚䢚憨↚⊈⇋㜇ⓐ⊓䠓䚱㫼剛ㄛ䠓伀宗㜇㙩Ҹ

Top devices most frequent gamers use: 䔸ⵅ㢏⿇䚷䠓懙㏁宼∨處

“As we are told on the first day of work 56% – at Dyson we are all engineers, not marketers.” Ӂ㎠↠䲻ᾏ⪸ᾙ䕼!! !⋻▇ⅎ彮㎠↠尹處 !⢷Dyson虇⪶ⵅ抌!! !㞾⽴䮚⾺虇军棭⾑⧃! !㔷ひ⁉♰Ҹӂ Tammy Ng, marketing director at Dyson Asia, said as the company recently launched its futuristic-looking hairdryer Supersonic. Dyson Asia⾑⧃扷俌䡲Tammy Ng⢷封⋻▇㢏慠㔷 ⎉イ榧䃽㻐䠓Supersonic樷䳡㟑尹懢Ҹ

4 M A R K ET I N G H O N G K O N G AUG UST 201 6

53%

Dedicated game console

↚⁉梊勵

⶗䚷懙㏁㯮

What made you want to work for Shiseido? I was interested in one brand management rather than looking after lots of brands. The opportunities I was offered then led me to work for Shiseido where I worked for the professional hair care department. I also had the opportunity to become marketing manager and now I am the general manager. What are the perks of your job? I get to learn new things as well as getting the opportunity to touch on new technology. I also get to try products that have not been launched, products from other brands and products that are not available in Hong Kong. What is the most challenging part of your job? There are a lot of challenges which I face every day. The customer, world and market demand change every day (it’s never ending) so the challenge is coming up with solutions that keep up with this dynamic business world.

ᯧዯᐡጤᓆ៦ᅞ㎠䠓䲻ᾏ₌⽴⃫㞾⢷ᾏⵅ梊勵⋻▇⇩ ⾑⧃㔷ひ虇ㄛℕ惘⎿ᾏⵅ搏姛ᾙ䕼虇Ὶㄛᾏ䢃⢷瀴刾ひ◙⋻▇⽴⃫Ҹ

36%

17%

Smartphone

Dedicated handheld system ⶗䚷㏚㔲亊伀

㠉劌㏚㯮

First job? My ﬁrst job was at a computer company doing marketing and then I changed to working in a bank. After this, I worked with advertisement agency McCann Erickson.

55% of the most frequent gamers are familiar with virtual reality; among those, 40% say they will likely purchase VR headsets within the next year. 55虀㻊怜䔸ⵅ䌮㈘埪㙻⵵⨒㐏姢虇䜅ᾼ40虀⁉姷䫉 ⁥↠ⶖ╾劌⢷㢹ℕᾏ〃⋶庋幆埪㙻⵵⨒宼∨Ҹ

ᠥᠻ↚ầᎧዹΆ᏷᫜ᅞ䢇㵣䴰䖕⪩↚♐䏛虇㎠⶜✽ᾏ ♐䏛䴰䖕㢃㊮厗弲Ҹ㎠䜅㟑ㄦ⎿ㄗ⪩㯮㢒虇イ榧㎠␯ ⋴幖䚮⦑Ҹ㎠⢷幖䚮⦑䠓⶗㫼崆汽扷朏⽴⃫虇ㄛℕ㢘㯮㢒㎟䉉⾑⧃扷伢䖕虇䖍⢷㎠㞾俌伢䖕Ҹ ᯀᐞጤᓆ᲌ᑗᛵᑊ፵៦ᅞ╾⁴ⴇ兡㜿‚䏸虇᾵ㄦ⎿㔴宇㜿㐏姢䠓㯮㢒Ҹ‵╾⁴䔖⋗寵䚷㢹ᾙ⾑ҷ⌅⁥♐ 䏛ҷ⁴╙欨㾾㸡㢘⎉⚽䠓䚱♐Ҹ ᯀᐞጤᓆᛵ᲌ጙ៛⍓៦ᠻ↚ᅞ㎠㵞⪸抌嬐棱⶜ㄗ⪩ 㒠㎿虇⡯䉉ⴱ㏅ҷᾥ䛛╙⾑⧃䠓梏㷑㵞⪸抌⢷惘崙虃军ᾣ㷇懯ᾜ㢒仟㣮虄虇㏏⁴㢏⪶䠓㒠㎿㞾㭚ㆬ⎉孲㸉㝈㧗虇㍘⶜䤻ㇾ喻崙䠓⛕㫼ᾥ䛛Ҹ

40% WWW. MARK E TING-IN TE RAC TI VE . C OM

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WWW.M A R K ET I N G - I N T ER A C T I V E.C O M

AU GU S T 2 016 MARK E TING HO N G KON G 7

專題報告

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An experience is perhaps the only differentiator brands have when it comes to retaining customers, more so, in the world of luxury. And enabling that are technologies such as virtual reality and augmented reality. What was once our mere imagination, often splashed across the screens in movies (think Minority Report and The Matrix), can be pretty much created today using these technologies. For those not yet completely familiar with the world of VR, here’s the simple breakdown of what VR does – it recreates specific environments which can be either fictional or based on a reallife place and seeks to engage the sensory functions and create a lifelike user experience for participants. As eager marketers rush to embrace the possibilities VR presents for their industries, one question to ask is how VR will impact the elite world of luxury. Given the exclusive reach and nature of luxury, it is still perceived to be largely traditional. But that reality is fast changing. One hospitality brand which has made a substantial investment in VR technology is Carlson Rezidor Hotel Group. The hotel group engaged a globally renowned international design visualisation studio to produce virtual experiences for its luxury hotel line Radisson Blu. Thorsten Kirschke, Asia Pacific president for Carlson Rezidor Hotel Group, told Marketing that VR provided “an immersive and sensorial approach” to its brands which is ultimately 8 M A R K ET I N G H O N G K O N G A UG UST 201 6

“extremely beneficial to owners, investors and guests in visualising their investment and creating brand awareness”. In May, it launched its VR interfaces featuring Radisson Blu and Radisson RED rooms, social and food and beverage spaces. “Our technological edge seeks to redefine the design process by providing owners and investors the ability to provide on the spot feedback with virtual walk-throughs. VR delivers value to our partners through a practical, portable tool,” he told Marketing. The brand hopes to open fresh dialogue and deliver to partners a personalised and experiential engagement, along with a sensorial appreciation of Carlson Rezidor’s brands. The brand has been steadily embracing new technologies for some time now. In February this year, Carlson Rezidor Hotel Group launched “BluPrint”, a new interior design programme for Radisson Blu’s global portfolio of hotels, followed by a downloadable “BluPrint” app that allows consumers to enjoy a 3D experience and a sneak preview of a BluPrint city or resort room. “In doing so, we remain nimble and flexible in our drive to stay ahead of changing guest expectations, and capture new audiences to ensure stronger returns for owners and investors,” Kirschke said, adding the response by participants and the media to its new VR offering has been positive. According to Kirschke, developers and

ᑋ᫡ᗘ᝸ᎌᠾᅗ➳➱Ꮅᨬ៦᝸ᵬᰉ⎭ᒚᎤᅘ᧒ᒴ❁ហ 䠓⚾ᾏ憣ㄠҸ军埪㙻⵵㟾╙㚃⨭⵵⨒虇⏖㞾㏢憯汣毦䠓⼓㜿䭠㐏⽴⌆Ҹ ⁴ㄏ╹㢒⢷梊㄀婰⎉䖍䠓㉔䵏虃ℚ⬑ҿ㢹ℕ⧀ ◙Ӏ╙ҿゎ‛ᾥ亏㵉⁉佁仰Ӏ虄虇䖍㟑╹嬐懚䚷憨‪㐏姢ⅎ劌⵵䖍Ҹ ⶜㝋戲‪戓㢹ⴛ⋷䌮㈘埪㙻䖍⵵ᾥ䛛䠓⁉虇㎠↠ ⶖ㢒䛴䛴孲捚埪㙻⵵㟾⎿〤㞾䚩灋Ҹ憨䮽㐏姢劌捜㜿㏢憯埪㭚㎥⦉㝋䖍⵵䠓䐈㴙䘿⨒虇᾵仟▗ᾜ▛㊮ ⴧ␮劌虇䉉╒厖冔㏢憯⎉ᾏ↚㦸㦸⬑䚮䠓䚷㏅汣毦Ҹ ᾜⶠ⾑⧃㔷ひ⁉♰亪亪㊂㐙㕰埪㙻⵵㟾⿅ℕ䠓㯮懖虇⃕憨䮽㐏姢⎿〤⶜⫱℗♐乍咀ᾥ䛛㢘⃤㄀榎虚无㝋⫱℗♐䠓╦䣍㔴宇䵓⢜╙⌅㢻幹虇ⴒ⁜嬥䉉ᾏ↚ ≂伀姛㫼Ҹ ⃕䖍⵵䤻ㇾ喻崙虇⓰䏍㩽䗭ㅆ拡〦桕⢧㞾⌅ᾼᾏ ↚⪶␪㐤幖埪㙻⵵㟾㐏姢䠓拡〦♐䏛Ҹ封拡〦桕⢧ 厖⢚株䥴▜䠓嬥孉宼宗⽴⃫ⴳ▗⃫虇䉉⌅巹啾拡〦♐ 䏛瀦䲨拡〦媌⃫埪㙻汣毦Ҹ⓰䏍㩽䗭ㅆ拡〦桕⢧‭ ⪹Ⓩ俌婐Thorsten Kirschke■ҿMarketingӀ姷䫉虇埪㙻⵵㟾㐏姢䉉⌅桕⢧㝦ᾚ♐䏛㕟KӁ⬑卷⵵㟾䠓㊮ⴧ汣毦ӂ虇㢏仑Ӂ棭⿇㢘⎸㝋拡〦㒐㢘⁉ҷ㐤幖冔╙ ⃞ⴱ嬹䣋䢚⎿拡〦䠓⵵㟾虇㢘㛗㕟ⓖ♐䏛䥴▜〵ӂҸ ⁙〃‣㢗虇封桕⢧㔷⎉埪㙻⵵㟾䛛棱虇ⷤ䫉瀦䲨坜㮨拡〦╙瀦䲨五㮨拡〦䠓ⴱ㏎ҷ䫍″╙檟檁䰉朢Ҹ ⁥■ҿMarketingӀ姷䫉處Ӂ㎠↠␪㷑㔰䚷⋗懁䠓㐏姢 ℕ㕟ⓖ宼宗懝䮚虇崢拡〦㒐㢘⁉╙㐤幖冔╾憞懝埪㙻⶝孌㕟K䖍⧃╜櫚Ҹ埪㙻⵵㟾㐏姢憩懝⵵䚷䠓ⅎ 㚫ゞ⽴⌆虇䉉㎠↠䠓▗⃫⪴⃃⨭⇋Ҹӂ 封♐䏛⾛㢪朚⛮⼓㜿䠓⶜尀㮰ゞ虇䉉▗⃫⪴⃃㕟 K↚⁉⒥䠓汣毦╙╒厖虇憞懝㊮ⴧ无幭⓰䏍㩽䗭ㅆ拡〦桕⢧䠓♐䏛Ҹ 封♐䏛㔰䚷㜿㐏姢⾁㢘ᾏ㵄㟑朢Ҹ ⁙〃‛㢗虇⓰䏍㩽䗭ㅆ拡〦桕⢧䉉⋷䖒瀦䲨坜㮨拡〦㔷⎉⋷㜿䠓ⴳ⋶宼宗坜⢥ӁBluPrintӂ虇样ㄛ╗㔷 ⎉╾Kᾚ悘䠓ӁBluPrintӂ㍘䚷䮚ゞ虇崢㼗幊冔╾⁴憞懝3D㄀≞汣毦拡〦㏏⢷⥝⾑╙〵⇖拡〦ⴱ㏎Ҹ Kirschke尹處Ӂ憨㮲㎠↠⁜劌Ⅼ㒐棗㻊プㆶ虇⢷ ᾜ㝆崙⒥䠓⃞ⴱ㢮㢪ᾼⅬ㒐榧⋗⢿⃜虇᾵◇イ㜿䠓╦ 䣍虇⁴䩉Ⅼ㒐㢘⁉╙㐤幖冔䔁ㄦ╾孏䠓⡭⧀Ҹӂ⁥婫 ⋔㒖虇╒␯冔╙≂Ⱑ⶜㜿埪㙻⵵㟾㢜⑨䠓╜㍘㳲棱Ҹ 㙩Kirschke姷䫉虇䠋ⷤ⛕╙㒐㢘⁉尜䉉憨䮽㐏姢㢘␸⁥↠憞懝㵞↚䰉朢䠓嬥孉╙刁概㛗㤫虇䤻朢㔛㕰♐䏛䠓䐈吁╙䓷䐈干灭Ҹ ⁥婫⋔尹處Ӂ⁥↠╹榗⿅ᾙ凂㯮虇ⅎ╾样㊞孏幭 ▓♐䏛䠓ᾜ▛宼㝌Ҹӂ 厖㳳▛㟑虇欨㧋捛㑘拡〦╊〃〤΅ⴲ⾒ⶖ埪㙻⵵ 㟾㐏姢㜃▗厂⌅⋷䖒摆⚽㢜⑨Ҹ 封拡〦桕⢧㝦ᾚ䠓⋷䖒摆⚽愵‚埤ᾏㄚ拜∨ᾘ 㞮Gear VR宼∨虇᾵䉉94ⵅ拡〦╙〵⇖㣠䜅ᾼ弔懝 ⡪⎕Ὶᾏ䠓拡〦媌⃫360〵埪㙻⵵㟾㄀䏖Ҹ 欨㧋捛㑘拡〦桕⢧⾑⑨俌婐Steven Taylor尹處Ӂ ╹㢘ⶠ㜇♐䏛劌⪯弤ᾙⴱ㏅㔰䚷㜿㐏姢䠓㳴₟虇军‭ 㻁⢿Ⓩ䠓㜿㐏姢㍘䚷憮〵㞾⋷䖒㢏ㅺ虇♐䏛ㅔ榗弤 ᾙ強⑱虇▵⏖╹㢒娺㽧㷿Ҹӂ 㙩Taylor姷䫉虇㔰䚷埪㙻⵵㟾㐏姢崢♐䏛劌⪯㏢䧃⁴ㄏ拡〦厖ⴱ⁉Ὶ朢⳧⢷䠓⢿䖕柊栣虇崢䃪⢷⃞ ⴱ䊰榗懯懢军ℕⷀ劌汣毦拡〦╙⌅㢜⑨Ҹ 封♐䏛媌⃫䠓埪㙻⵵㟾ⴲ≂䏖╾憞懝佁ᾙ360〵㄀䏖㘼㛍⟷孏䢚虇╗㎥冔ℎ䚷憲㔴 Oculus。╿䠓埪 WWW. MARK E TING-IN TE RAC TI VE . C OM

專題報告

FEATURE

owners shared that this technology helped them grasp brand differentiation very quickly and the unique selling points of each brand through each space’s sight and sound effects. “It also gives them a good inclination of the target profile of each brand simply by experiencing the headsets,” he added.

Meanwhile, late last year, Shangri-La Hotels also announced the integrating of VR experiences into its worldwide sales efforts. Using Samsung Gear VR headsets across all global sales offices, the hotel chain produced immersive 360 videos for more than a quarter of its 94 hotels and resorts. “Customers are adopting new technologies at a pace that few brands can match, and nowhere is that technology adoption faster than across Asia. Brands have to evolve at the pace of the consumer or risk becoming irrelevant,” said Steven Taylor, chief marketing officer at Shangri-La International Hotel. According to Taylor, adopting VR allows the brand to break down geographical barriers that previously existed between its hotels and guests. This allows potential guests to experience the hotel and all its offers, quite literally, without having to move much from where they are. The VR promotional videos created by the brand can be watched online on a 360 degree video player; or for a fully immersive experience WWW.M A R K ET I N G - I N T ER A C T I V E.C O M

viewed on a VR headset that uses the Oculus platform. The Oculus powered headsets then enable travel advisors, meeting planners and potential corporate clients to virtually experience Shangri-La Hotels and destinations around the world. “Virtual reality makes it easier for our

customers, clients, partners and guests to book our hotels and that will have a significant revenue impact now and in the future,” he said. “VR is a platform that could empower our sales teams globally and transport our customers to, quite literally, the other side of the world.” Virtual reality is also expanding rapidly into destination marketing allowing consumers an unprecedented in-depth immersion into local flavours of a city or country. According to Taylor, this means VR opens up doors to reach out to targeted guests who have heard about the brand, but never experienced what it is like to stay at one of its hotels. As such, Shangri-La decided to first target travel consultants with its VR efforts. “We wanted to focus our first VR efforts on travel consultants because of the critical role they play in the traveller’s decision-making process and the feedback has been wonderful,” he said. “We have heard positive feedback from many travel counsellors who have been able to

㙻⵵㟾䣋数䔁ㄦ怺卷⌅㟾䠓汣毦虇拜∨Oculus㐏姢䠓䣋数崢㝔姛槶⛞ҷ㢒峿䳥␒⁉╙䃪⢷⛕㫼⃞ⴱ劌 ⪯⢷佁ᾙ懙孌ᾥ䛛▓⢿䠓欨㧋捛㑘拡〦╙⌅㏏⢷䡽䠓⢿Ҹ ⁥尹處Ӂ埪㙻⵵㟾㐏姢㢃ⵈ㞢◇イ㎠↠䠓ⴱ⁉ҷⴱ ㏅ҷ▗⃫⪴⃃╙⃞ⴱ榟宑㎠↠䠓拡〦虇⶜䡽⏜╙㢹ℕ 䠓㛅⋴ⶖ㢘槾嗦䠓㄀榎Ҹӂ Ӂ埪㙻⵵㟾㞾ᾏ↚㢘⎸⋷䖒摆⚽⢧栙䠓。╿虇᾵ 崢㎠↠䠓ⴱ⁉╾⁴㠱懙⋷ᾥ䛛Ҹӂ 埪㙻⵵㟾㐏姢䠓㍘䚷䵓⢜‵慔憮㑢ⷤ厂㝔懙⾑ ⧃㔷ひ榧⥮虇崢㼗幊冔⏜㏏㢹㢘⢿㾀⋴㔱亱ᾏ↚⥝ ⾑㎥⢚ⵅ䠓⢿懢樷☂Ҹ㙩Taylor姷䫉虇埪㙻⵵㟾㐏姢㢘␸拡〦㔴宇刌懝♐䏛䠓▜⳦ҷ⃕ㄭ㢹⋴⃞懝㝦ᾚ ₊⃤ᾏⵅ拡〦䠓䡽㮨ⴱ⁉Ҹ ⡯㳳虇欨㧋捛㑘拡〦㸉⴩⁴㝔懙槶⛞⃫䉉埪㙻 ⵵㟾㢜⑨䠓欥↚䡽㮨Ҹ ⁥尹處Ӂ㎠↠⾛㢪⁴㝔懙槶⛞⃫䉉埪㙻⵵㟾㢜⑨ 䠓欥↚䡽㮨虇⡯䉉⁥↠⢷㝔懙⁉⩺嬞␒姛䮚㟑㏽䂣杫攄䠓孡吁虇军⁥↠䠓㊞嬚⌆㢘䢇䜅⪶䠓㄀榎␪Ҹӂ Ӂㄗ⪩㝔懙槶⛞⾁懚䚷埪㙻拡〦ⴱ㏎⶝孌虇䉉ⴱ ㏅㕟K㢃ℂ䠓㒖イ虇㎠↠⾁㛅⎿㳲棱䠓╜櫚Ҹӂ 㢒峿䳥␒⁉‵劌⢷嬞␒㻊⑤⏜虇榟⋗懙孌欨㧋捛㑘拡〦䠓ⵃ㢒も虇军⁥↠䠓╜㍘‵ㄗ㳲棱Ҹ  ỉូ℆፵ᑨ ⢷ҿMarketingӀ㢏慠厘愵䠓㢒峿ᾙ虇咀喁ⷋ慹㸌恙⋻▇‭ 㻁☛⪶ 㺚㻁Ⓩ⿇⑨嗲‚ DaneFisher 姷䫉虇⢷㔷ひ汧亩䚱♐䠓㟑↨虇ⶳ⌅㞾㸌恙虇嬕噚㏏㢘䠓㔴宇灭ҷ᾵仟▗テ⪶䠓佩ᾙ佩ᾚ㻊⑤⾁懯懯 ᾜ⪯Ҹ ⡯㳳虇ᾏ䮽㜿䠓槶ⴱ凾俺㝈ゞ㞾ㅔ榗Ҹ⫶慹‵ 䯜㬄㐤怺埪㙻⵵㟾䍀䃽虇封♐䏛ⶖ埪㙻⵵㟾㐏姢仟 ▗⌅SG50榔䡽䠓⋶ⵈ䍮摆䳥䛴虇⁴╙⢷㜿␯⣰恙ⷤ 㢮朢厘姛䠓㢏㜿Audi A4䠋⾒㢒虇䜅ᾼ⎕⎴◇イ弔懝 6,000╙1,200⁉憞懝埪㙻⵵㟾㍘䚷䮚ゞ汣毦SG50 ╙A4Ҹ 㙩⫶慹⾑⑨俌伢䖕 AnnaBory姷䫉虇戇㙖ℎ䚷埪㙻⵵㟾㐏姢虇㳲⬌拜▗♐䏛⁴␄㜿䉉㧇ㅒ䠓䯜㬄㋚〵Ҹ封㐏姢崢ⴱ㏅╙䃪⢷ⴱ㏅⁴⋷㜿䠓㝈ゞ汣毦 ♐䏛虇厖悒≂伀䠓㔷ひ㻊⑤䢇患䢇㐎Ҹ ⬈姷䫉虇⋸↚㝈㧗⣖㕟ⓖ♐䏛䥴▜〵ҷ䫍″Ⱑ 汣㄀榎␪ҷⰡ汣⧀⶝ҷ䚩厂卷㟑⋴⃞拡〦䠓ⴱ⁉㜇䡽Ҹ ⬈尹處Ӂ㎠↠䚮㻊⢷㜇䩋㟑⁲虇ㅔ榗䩉Ⅼ㎠↠䉉 ╦䣍㕟K䠓汣毦ᾜ≔䲵▗⁥↠䠓䚮㻊㝈ゞ虇᾵ᾣ㞾埤㝋䃽㻐䠓ⶥ䱾Ҹӂ ╊〃 SG50埪㙻⵵㟾㔷ひ榔䡽䠓⦆姛榟䴦≔⃣ ⫶慹ᾏ去Ⱑ汣榟䴦䠓30%ҸBory姷䫉虇╥㼗摆⚽杫攄俍㛗㒖㮨‵㢘␸㻊⑤䠓㔷姛Ҹ⬈尹處Ӂ䉉憨槭㔷ひ㻊⑤宼⴩摆⚽杫攄俍㛗㒖㮨㢒㐋㵉␄㊞Ҹ憨㮲ᾏℕ 㢘␸㾪悤摆⚽⢧栙䠓⩢␪虇崢⁥↠䡰㉔䠋㕽␄㊞Ҹӂ ⬈╗尜䉉虇⶜㝋⫱℗♐姛㫼虇᾵棭㵞榔⾑⧃㔷ひ㻊⑤抌⢷㝋㕟ⓖ䢃㔴摆⚽Ҹ⬈㐎尜虇䡽⏜⁜㢹㢘 ⴛ⋷䀥䩉䠓䭠ⴇ㾻捞㝈ゞ虇寤₿埪㙻⵵㟾㔷ひ㻊⑤ 䠓㄀榎␪虇⃕⫶慹㝋㔷ひ㢮朢╙Ὶㄛᾏ䢃憌忳⛕〦 ⁉㻐虇᾵懁姛䖍⧃屎㥴⁴懁姛⋷棱䠓寤₿Ҹ 㢏仑仟㤫槾䫉虇㔷ひ㻊⑤⢷ Facebook 㔴宇弔懝185喻䚷㏅虇YouTube䆞孌捞懣287,995㲰虇Ⱑ汣㛅䡙弔懝60喻Ҹ AU GU S T 2 016 MARK E TING HO N G KON G 9

專題報告

FEATURE

virtually tour hotel rooms to better guide their clients’ choices.” The brand has also seen a positive response from meeting planners who have been able to experience the Shangri-La ballroom before planning for an event. A new way of thinking At a recent conference organised by Marketing, Dane Fisher, managing director of Asia and Oceania at Infiniti Motor Company, said when it came to marketing luxury products, especially in the automotive industry, covering all the touchpoints, along with strong above and below-theline campaigns, are no longer enough. As such, a new way of engagement is necessary. Also making waves in the VR field is Audi, which integrated VR into its content marketing strategy for its SG50 project as well as the launch of its new Audi A4 during the Singapore Motorshow. The initiative saw more than 6,000 participants using its VR application for SG50 and over 1,200 people experiencing its A4 application during its launch. According to Anna Bory, general manager of marketing at Audi, choosing to use VR fitted the brand’s progressive mindset which places innovation at its core. It also allowed customers and prospects to experience the brand and its products in a whole new way, complementing its more traditional campaigns. Both the initiatives, she said, resulted in an increase in brand awareness, social media reach, media coverage and even walkins. “We are living in the digital age and we need to ensure that the experience we offer to our audience not only matches their lifestyle, but is always on top of the latest trends,” she said. For the SG50 VR project last year, the budget for the execution was only 30% of Audi’s usual media budget. What also helped in creating the campaign, said Bory, was not having a sales KPI. “Having a sales KPI for such a campaign would have killed the idea. In this way, the pressure of sales was lifted and the team had the freedom to come up with ideas,” she said. She was also of the view that for luxury brands specifically, not always will every marketing initiative in the luxury industry be about direct sales. She admitted that while there wasn’t a totally accurate science of measuring the impact of the VR campaign, Audi did track the footfall to stores, during and post the campaign, and combined it with onground surveys to establish a correlation. Eventually results indicated the campaign saw a more than 1.85 million Facebook reach, 287,995 YouTube views and more than $600,000 in PR coverage. 1 0 M AR K ET I N G H O N G K O N G AUG UST 201 6

Challenges and possibilities But with every new initiative challenges are bound to arise. Bory added that ensuring a premium quality and experience, while working under the limitations of current hardware and infrastructure, was one such challenge. Kirschke said the key challenges for VR lie in ensuring the utilisation of the required engineering and technology advances. “As it is a fully immersive experience, resolution for the display has to be substantially high, with quick update rates. It is vital to look into various aspects such as surrounding environments, sounds and motion to ensure that serious simulations are incorporated,” he said. But the future remains bright, he added. As more luxury brands jump on the VR bandwagon, more will be done in enhancing the experience of the customer as technology advances. This will not only help prospects gain a more complete access to what a brand has to offer, but do so in a more realistic manner to help informed decision-making. According to Kirschke, the hospitality and travel market will embrace VR’s strong adoption moving forward. Already plans are underway to have VR technology incorporated into the content offerings of Carlson Rezidor’s other hotel brands. “We are also moving into the next phase of our exercise to embrace VR in a broader way, and increase product differentiation knowledge with plans to visualise the rooms, meetings and event spaces of our other brands,” he said. Shangri-La’s Taylor added virtual reality is genuinely at the cusp of transforming the way people do business today. Shangri-La is currently looking at partnership opportunities with other travel suppliers. “We are accepting virtual reality for the revolutionary new sales tool that it is, and integrating it across an entire global sales organisation. In terms of future impact, it’s open for imagination,” Taylor said. He added VR will become increasingly accessible to consumers as the cost of headsets reduce dramatically, and that means that brands which can create inspiring content, representing unique and aspirational experiences, will reap the greatest rewards. “I think the opportunities here are endless and we’ve only just begun,” Taylor said. For the luxury auto industry, the use of VR will be indispensable, according to Bory. This is more so as the level of customisation that luxury brands such as Audi are offering, increases. “VR will help to support the sales team at point-of-sales. Maybe one day, virtual test drives are possible,” Bory said.

៛⍓፛⍶Ὶ 䋅军虇㵞ᾏ↚㜿㝈㧗䠓⎉䖍虇样 Ὶ军 ℕ䠓ⷀ 㞾㒠㎿ҸBory 婫⋔㒖虇⌅ᾼᾏ↚㒠㎿㞾⬑⃤⢷䡽⏜䧻₅ ╙⦉ら䠓柟⏅ᾚ虇䩉Ⅼ㕟K汧幹亯䠓㢜⑨╙汣毦Ҹ Kirschke姷䫉虇埪㙻⵵㟾䠓㒠㎿⢷㝋䩉Ⅼ㏏梏䠓宼∨╙㐏姢懚䚷㝈ゞ厖㟑᾵懁Ҹ ⁥尹處Ӂ䛀㝋憨㞾ᾏ↚ⴛ⋷怺嬹卷⌅㟾䠓汣毦虇槾䫉ⷞ䠓孲≞〵ㅔ榗Ⅼ㒐汧〵㾔㟿虇㢃㜿憮〵‵嬐 ⪯ㅺҸㅔ榗冒㋽⎿▓↚㝈棱虇⬑◷戙䘿⨒ҷ刁概╙⑤ ⃫虇⁴◗䖍㢏ℂ䠓₎䢮㛗㤫Ҹӂ⃕⁥婫⋔㒖虇㢹ℕℬ 䋅ᾏ䏖⋘㞝Ҹ 样嗦㊗ℕ㊗⪩⫱℗♐䏛㐤⋴埪㙻⵵㟾䠓㎿⧃虇䭠㐏ⶖ㊗䡙懁㳴虇⁴㕟ⓖⴱ㏅䠓汣毦Ҹ憨ᾜ≔㢘␸䃪 ⢷ⴱ⁉㢃⋷棱㔴宇♐䏛䠓㢜⑨虇㢃劌⁴㢃⵵株䠓㝈ゞℕ㔷⑤⁥↠⃫⎉㼗幊㸉⴩Ҹ 㙩Kirschke 姷䫉虇拡〦╙㝔懙⾑⧃㢹ℕⶖ㢃ひ㹪懚䚷埪㙻⵵㟾㐏姢Ҹ⓰䏍㩽䗭ㅆ拡〦桕⢧⾁宗␒ ⶖ埪㙻⵵㟾㐏姢仟▗⌅㝦ᾚ⌅⁥拡〦♐䏛䠓⋶ⵈ㢜 ⑨Ҹ ⁥尹處Ӂ㎠↠‵㳲成懁ᾚᾏ栝㵄虇ⶖ埪㙻⵵㟾㐏姢㍘䚷厂㢃ひ㹪䠓䵓䜖虇᾵宗␒憞懝⌅⁥♐䏛䠓ⴱ ㏎ҷ㢒峿╙㻊⑤䰉朢䠓埪㙻⵵㟾䫉䵓虇⁳䚱♐劌⪯⢷ ⾑⧃ᾙ劺䯝军⎉Ҹӂ 欨㧋捛㑘拡〦䠓Taylor 婫⋔㒖虇埪㙻⵵㟾㳲⪶ ⪶㛈崙䖍㟑⇩䚮㊞䠓㝈ゞҸ欨㧋捛㑘拡〦䡽⏜㳲䦣䰅厖⌅⁥㝔懙K㍘⛕▗⃫䠓㯮㢒Ҹ⁥尹處Ӂ㎠↠嬥埪㙻⵵㟾䉉⼓㜿䠓摆⚽⽴⌆虇᾵ⶖ⌅㍘䚷厂⋷䖒摆⚽ ⢧栙Ὶᾼ虇ⶖ㢘␸⛮䠋㢹ℕ䠓㊂≞␪Ҹӂ ⁥婫⋔㒖虇埪㙻⵵㟾宼∨䠓⚽⊈⪶⿔柜⃝虇㢹ℕ 㢒㢘㊗ℕ㊗⪩㼗幊冔劌⪯帯㙣ㄦ弆虇憨㊞☂嗦劌⪯ ␄憯炢厭⁉ㅒ䠓⋶ⵈҷ㕟K䓷䐈╙㢘弲汣毦䠓♐䏛虇 ⶖ䔁ㄦ㢏⪶䠓⡭⧀Ҹ Taylor 尹處Ӂ㎠尜䉉憨㝈棱䠓㯮懖䊰柟虇军㎠↠ ╹㞾⏪⏪朚⭚Ҹӂ 㙩 Bory姷䫉虇⶜㝋巹啾㸌恙㫼ℕ尹虇埪㙻⵵㟾㞾ᾜ╾僉ⶠ䠓Ҹ样嗦⫶慹䳘汧亩♐䏛㊗䡙↚⁉⒥虇憨崙ㄦⶳ⌅捜嬐Ҹ Bory 尹處Ӂ埪㙻⵵㟾ⶖ䉉摆⚽灭䠓摆⚽⢧栙㕟 K㚾㖃虇㎥寀㢘ᾏ⪸虇埪㙻寵此㢒崙㎟╾劌Ҹӂ WWW. MARK E TING-IN TE RAC TI VE . C OM

觀點

OPINION

Marco Lam Head of digital creative Tribal Worldwide

AD WATCH 廣告點評

HOT: Canon PowerShot G7X Mark II

NOT: Pocari Sweat “Sweat for dreams”

The competition in the entry-level digital camera market is tough. Brands often resort to wacky approaches or gimmicky tactics in the hope of creating a viral effect. Marketers default to showing off the product’s functions and features to make the target audience believe that buying the product will instantly turn them into a master of photography. In this instance, Canon instead focuses on the art of light and shadow, one of the most important factors in photography, to create a stunning visual impact.

Combining rising star Cecilia So, award-winning movie director Adam Wong and a high school story, this Pocari TVC seems to have ticked all the boxes. What was supposed to be one of the most anticipated summer campaigns of the year ended up as an overwhelming, forgettable 30-second ad with too much content and branding elements crammed into a short spot. It also suffers from a serious case of overusing hashtags, which are seemingly unrelated to the campaign.

⟰;Canon

⇜;⚮⛀ዾᎁᧁᠥ⁈ầ᠐ᒄ

PowerShot G7X Mark II

ᾼ⊈⋴朏亩䢇㯮䠓⾑⧃䲅䎼␖䉗虇♐䏛⢷⾑⧃䳥䛴ᾙ▓㝌▓㹤虇⾛㢪⢷ᾜ▛。 ╿懣厃㢏ℂⴲ≂㛗㤫虇䜅ᾼㄏㄏㅧ宧⋶ⵈ䠓㢻幹Ҹ▓⪶♐䏛㵣≞㜇ҷ㵣␮劌ҷ 㵣䭠㐏虇䡽䠓抌㞾䉉―⁳槶ⴱ孉ㄦ䚷―㥟♐䏛䢇㯮Ὶㄛ╾⁴悤沕㎟䉉㚬㄀⪶ ⾺ҸCanon憨㲰ひ◙テ屎㚬㄀䠓捜灭ʟʟ⋘㄀儝ⴇҸ䛺棱乍ㅒ⃗⷏虇㐙⋘㄀儝 ⴇ憨↚㬑ㆄ汧〵㻊⒥虇㜃汣㧋屎㞾▛槭䚱♐Ὶ⌯Ҹ㳳䥼䏖ㄦ⎿ㄗ⪩宼宗⾺⢷佁 ᾙ䠓⎕›☛⬌寤虇憨峘㞝⋶ⵈℕㄦ䶰✽䢃㔴虇╜军╾⁴劺䯝军⎉Ҹ

Patrick Wong Creative director Y&R Hong Kong

▜㞮␯ᾙ▜⶝䂣虇⌜␯ᾙ䍀姏䠓㦰⢡㛔‚虇╾⁴尹ㄦᾙ㞾ⴲ≂ㅔ⑬㝈䮚ゞῚᾏҸ 䰎ᾙ㦰㢜䠓垖瀦䕙␯ᾙ捠≞䓝⶝䂣灒ⅽ。虇干䠓䜅䋅㞾棡㞴☛⪱㊂虇戇㙖憨↚仓 ▗虇令⶜㞾⁳⁉㢮ㄔҸ⎉ℕ䠓㜃汣㊮孉叾⬌虇㢘♐䏛䠓乍汢Ҹ╾㉫⢷㦰⢡憌⪱䠓㛔 ‚剛㟾虇␯ᾙ⪶捞♐䏛⋒亯☛㞮亩⁲宏⁉虇⋶ⵈ㢘灭帹ㅒ☛懝₌巟ⵛ虇ᾘⓐ䭡䠓懝䮚ᾼ㢘ⶠ寀⫀╊捜ㅒҸ♐䏛΅⎸䚷䫍″。╿䠋㛍ゅ倛⋶ⵈ虇⃕㏏䚷䠓hashtag΅ ⪹⪩☛㢘灭桱槛虇⪶ⵅ嬐䛨㊞䅺䚷hashtag䠓⛞槛―Ҹ

WEB WATCH 網絡點評

HOT: If Insurance – Slow Down GPS

NOT: I Sea App

By simply switching the voice of the GPS navigation from an adult to a kid when a vehicle is approaching kids’ areas such as schools and playgrounds, the driver is instantly reminded to be more cautious and slow down. No fancy gimmicks, no tear-jerking sentiment, just direct and effective communication. Simply put, less is more. Shouldn’t we have more ideas as simple as this?

I Sea … I see … scam ad for an award? I understand … but please don’t take advantage of those refugees. Now it’s a tragedy on top of a tragedy.

⇜;I Sea App ㎠䥴懢虇㎠䢚⎿///憨㞾ᾏ↚庞ㄦ䓝榔䠓㳉察ひ◙虚㎠㞝䠌―///⃕屚ᾜ嬐㒎戲‪ 桲㶠ℕ⇩ⴲ≂干灭Ҹ䶰䢃㞾㉁␖Ὶᾼ䠓㉁␖//////

⟰;If Insurance—⁰ጄᗔGPS 䜅恙悪歪慠⳸ⳟ㏏⢷䠓䵓⢜虇⬑ⴇ㦰ҷ懙㮑⧃虇GPS⶝厹亊伀㢒ㄭ㎟⁉刁概⎖㕪㎟⶞⳸虇㕟挡▇㯮嬐⶞ㅒ䛨㊞彾棱㉔㹐虇㾪㋱恙憮Ҹ㸡㢘呀⽶䠓⠀榼ҷ㸡㢘∻㽩䠓㉔䵏虇╹㞾䶰✽䢃㔴⢿姷懣宙ㇾҸ㏏岑幃乍ᾜ幃⪩虇⌅⁥ひ◙␄㊞⁉㞾▵㍘⪩⪩ ╒冒虚

1 2 M AR K ET I N G H O N G K O N G AUG UST 201 6

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BRANDED CONTENT

JOOX BRINGS BRANDS AND THE RIGHT AUDIENCES TOGETHER WITH HIGH IMPACT TARGETING Everyone from budding Gen Zers to professionals is enjoying music on JOOX. With timely, locally curated playlists, JOOX provides a tailored service for a wide range of music fans. In 2016, Asia Pacific will surpass North America as the world’s largest market for digital ad spend, rising to just shy of $60 billion dollars. Consumers are digital and increasingly, mobile and in app. JOOX users epitomise these trends. JOOX users spend about 80 minutes a day listening to their favourite music on JOOX; 99% of those users stream music from JOOX through their phones. Marketers and brands can now connect with JOOX users in app through category playlists, skins and in-app themes, in addition to banner ads, audio ads and splash ads. Brands like Asia Miles, Coach, Converse, 20th Century Fox, EPS, Etude House and HK Express are already taking advantages of the consumer shift to mobile and the engaged community of users on JOOX. Marketers in every industry find a receptive audience on JOOX. Listeners prefer the digital music ecosystem and find ads, audio ads to traditional banners and splash ads, less intrusive while they listen to their favourite music. Skins are designed by brands and can be downloaded for free by users. Coach’s recently released skin on JOOX provides a backdrop for sartorially-minded users on the app as they play their music and search for new artists. With themes, a brand can tailor buttons and icons. WWW.M A R K ET I N G - I N T ER A C T I V E.C O M

A travel brand could create a theme around top summer destinations, so users can enjoy pictures of paradise and a reminder to book a holiday with each tap of a button as they listen to their music at work. JOOX has perfected playlist creation – users listen to JOOX’s timely, locally curated playlists about half the time they use JOOX. With category playlists, brands can beneﬁt from JOOX’s expertise and create their own playlists to exhibit their unique characters, connect with target users and provide the soundtrack for their audience’s daily lives. For instance, a fashion brand like Converse could create “Dressing for a Night Out”, while a movie studio like 20th Century Fox could promote a new ﬁlm with playlists “curated” by the main character of the upcoming movie.

JOOX’s strong digital partnerships with brands and fans are mirrored in real life with the JOOX LIVE concert series. Partnering with dynamic, locally relevant artists and high-proﬁle brands, JOOX hosts LIVE concert events, bringing fans closer than ever to the artists and brands they love through oncein- a-lifetime experiences. Brands get to meet their audiences at a unique touch point, and, in helping to bring JOOX LIVE events to life, inspire goodwill and make a great impression on the young, music-savvy audiences that attend JOOX LIVE. There is no better time for brands to look for in-app advertising to target the right audience at the right time, without the need to ﬁght for their attention and interrupt them while they are enjoying in the app. AU GU S T 2 016 MARK E TING HON G KON G 1 3

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The Marketing Events Awards 2016 DATE: 21 July VENUE: The Mira Hong Kong The Marketing Events Awards kicked off in style at The Mira Hong Kong on Thursday 21 July with a packed room of marketing and agency executives. Head to Facebook or check out https://goo.gl/photos/ r5SwgRkzRQLeqEnv7 for more photos from the night.

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Audi A4 launch party DATE: 14 July VENUE: Hong Kong Convention and Exhibition Centre 1 Using the headsets allowed guests to immerse themselves in the new Audi A4. 2 Singer Sammi Cheng attended the launch.

3 LED lights on the light wall followed the guest’s movements and formed various shapes when they walked in front of the wall. 4 Audi Hong Kong’s managing director René Koneberg introduced the new cars.

Arena Aqua Splash Day DATE: 23 July VENUE: Hang Seng Management College 1 Wilson Yeung (left), assistant honorary secretary of Hong Kong Amateur Swimming Association, presenting the award to Nireki Eijiro, Asia manager of arena Brand Management.

2 Swire Resources handed out swimming tickets to support the InspringHK Sports Foundation in organising free swimming lessons for underprivileged students.

3 Celebrities and guests participated in the aqua yoga activity. 4 Nireki Eijiro also joined the aqua challenge.

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應用程式市場 1 6 M A R K ET I N G H O N G K O N G A UG UST 201 6

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The rise of the mobile app has gone far beyond our imagination. With a variety of apps emerging in the market to provide users further flexibility in their daily lives, and improve productivity, this is certainly a huge market to explore. ㏚㯮㍘䚷䮚ゞ䠓⺪弆虇懯懯弔⎉⁉↠䠓㊂≞Ҹ样嗦▓ゞ▓㮲䠓㍘䚷䮚ゞ⢷⾑⧃ᾙ㿶䖍虇䉉䚷㏅䠓㝴⿇䚮㻊㕟K㢃⪶ⅎ⎸虇᾵㢘㛗㕟汧䚮䚱㛗䔖虇憨䊰䜠㞾↚㙐㢘焟⪶䃪␪䠓⾑⧃Ҹ

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UNLOCKING THE APP MARKET IN CHINA 釋放中國手機應用程式市場潛力

As the mobile industry continues to expand, so does the app market. With thousands of apps available, they provide businesses with the opportunity to utilise them as a marketing platform, along with being used as a gaming or social application. 样嗦㏚㯮姛㫼ᾜ㝆㚃⪶虇㍘䚷䮚ゞ⾑⧃‵䢇㍘⨭朆Ҹ䖍㟑㢘㜇⁴ⓒ宗䠓㍘䚷䮚ゞ╾K戇㙖虇ℎῚ ㎟䉉ₐ㫼䠓⾑⧃㔷ひ。╿虇弔弙―╹㞾⷏柟㝋懙㏁╙䫍″㍘䚷䮚ゞҸ 1 8 M AR K ET I N G H O N G K O N G AUG UST 201 6

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With the increased penetration of smartphone devices, mobile is fast becoming the central hub as more things get digitalised or connected as people take the smaller personal screen to watch videos, shop and play. Take the recent unstoppable phenomenon of Pokémon Go as an example. It is more than just a game, as it utilises a customised version of Google Maps to map in-game locations such as “stops” and “gyms” to encourage users to move from one location to another, bringing people closer together. In the business sense, some shops are already capitalising on this massive opportunity, driving huge amounts of foot traffic and conversions both with simple in-app purchases and creative marketing campaigns. Sponsoring locations may involve making a particular venue an official “Pokémon stop” in the future which will, hence, help in driving people to businesses with a brick and mortar shop. However, the augmented reality mobile game hasn’t rolled out in a number of countries, including China. For those who are eager to “catch ’em all” in China have been left wanting. That might explain why the top free game in China on the Chinese iOS App Store last month was a Pokémon Go clone. With fears of piracy and knock-off concerns, these might prevent many developers from choosing to explore the Chinese app industry. Yet, China has already become a place no app development company can afford to miss. It is expected that app downloads in China will reach 90.2 billion by 2020 due to a high smartphone penetration rate and enormous economic potential in tier three and four cities, according to the latest app forecast report by App Annie. The volatility of the economic downturn has hindered growth in global markets. Yet, the GDP of fast-growing countries such as China is still expanding at an official rate of 6.7% in the first quarter of 2016. The rise of the Chinese economy drives innovation in technology and use of payment tools and social media platforms. While China is no easy market for app developers, the huge potential of this market can make it very lucrative for developers who adopt the right strategy and take the trouble to understand the Chinese market. It is important to understand the similarities WWW.M A R K ET I N G - I N T ER A C T I V E.C O M

All the rage: Pokémon Go has taken the world by storm. Pokémon Go䠓㄀榎␪⑱ᾜ╾㙚Ҹ

It is expected that app downloads in China will reach 90.2 billion by 2020. ᾼ⢚䠓㍘䚷䮚ゞᾚ悘䔖ⶖ㝋 2020〃榟㾻懣厂902⊓㲰Ҹ

and differences between the West and the Chinese markets, and be willing to work with the Chinese culture and economy to be successful in this market. For the foreign app developers and companies who are eager to get a slice of the cake in this rapidly growing market, it is now essential for them to tailor their products to meet Chinese users’ needs.

ᴙᨬ፯⍶᰿ᲆ፶┣ᴓ፛ᅗዷዷᱣᱜ῜᱑ᣥ᯶ጟᛵឤ⁣ 䢚㄀䏖ҷ庋䏸╙䔸懙㏁虇⡯㳳㊗ℕ㊗⪩‚䏸廿■㜇䩋 ⒥虇ℎ㏚㯮慔憮㎟䉉ᾏ↚ᾼㅒ㮭亟Ҹ ⷀ⁴㢏慠⑱ᾜ╾㙚䠓Pokémon Go䍀䃽䉉ℚ虇 ⴒᾜ≔㞾ᾏ↚懙㏁Ҹ封㍘䚷䮚ゞ㔰䚷宑媌䏗㢻䠓 Google Mapsℕ㮨䫉懙㏁⢿灭虇ℚ⬑Ӂ⶞乍棗ᾼㅒӂ ╙Ӂ懢檷ӂ虇⁴炢⒄䚷㏅ㄭᾏ↚⢿灭廿⎿╵ᾏ↚⢿ 灭虇ℎ⁉↠余ⵕ凾俺⢷ᾏ弆Ҹ ᾏ‪⌆⛕㫼宇孉䠓⛕〦⾁✓䚷憨↚㯮懖虇䶰✽⢿ 憞懝庋幆㍘䚷䮚ゞ⋶僽ひ◙䏗棱╙␄㊞䍮摆㻊⑤虇 ⁴◇イ⁉㻐虇⁳䚮㊞槜⪶⨭Ҹ 庙␸⃜僽╾劌㢒⁳䐈⴩⧃⢿崙㎟㢹ℕ䠓㳲ゞ Ӂ⶞乍棗ᾼㅒӂ虇㢘␸◇イ⪶䣍⏜ㄏ⵵汣⛕〦Ҹ 䋅军虇憨↚㚃⨭⵵⨒㏚㯮懙㏁⢷ᾏ‪⢚ⵅ⁜㢹㔷⎉虇⒔㑻ᾼ⢚Ҹ 戲‪ㆴ㝋⢷ᾼ⢚Ӂ㓤㓘⶞乍棗ӂ䠓䚷㏅╹劌㢪䰎䭚㷃虇憨㎥冔╾⁴孲捚䉉⃤ᾙ㢗ᾼ⢚iOS App Store ⋜幊懙㏁㔡姛㬫ᾙ⃜⎦䲻ᾏ䠓虇㳲㞾⸀⵷䏗䠓ᾼ⢚ Pokémon Go懙㏁Ҹ ⎉㝋⶜䡫䏗╙⵸㥴䠓㌑㋽虇ㄗ⪩朚䠋⛕╾劌⡯ 㳳⶜懁恜ᾼ⢚㍘䚷䮚ゞ姛㫼┊㳴Ҹ 䋅军虇ᾼ⢚⾁㎟䉉₊⃤ᾏⵅ㍘䚷䮚ゞ朚䠋⋻▇ᾜ ╾撾懝䠓捜嬐⾑⧃Ҹ 㧈㙩 App Annie㢏㜿䠓ᾏ榔㍘䚷䮚ゞ榟㾻⧀◙ 姷䫉虇䛀㝋㠉劌㏚㯮㟽╙䔖汧虇␯ᾙᾘ⡪佩⥝⾑䠓⽷ ⪶伢䅮䃪␪虇ᾼ⢚䠓㍘䚷䮚ゞᾚ悘䔖ⶖ㝋2020〃懣厂902⊓㲰Ҹ 伢䅮ᾜ㟾╙⾑⧃㹱⑤柊䪨⋷䖒⾑⧃⨭朆虇䋅军虇 ᾼ⢚䳘㜿厗⢚ⵅ⢷2016〃䲻ᾏⳲ〵䠓⢚⋶䚮䚱俌⇋ ⁜㒘〃⨭朆6.7%Ҹᾼ⢚伢䅮䠓⺪弆⿅⑤䭠㐏␄㜿虇 ⁴厂㚾⁧⽴⌆╙䫍″。╿䠓㍘䚷Ҹ ⊧䴰ᾼ⢚⾑⧃⶜㍘䚷䮚ゞ朚䠋⛕ℕ尹⋔䂎㒠㎿虇⃕╹嬐懚䚷▗懸䠓䳥䛴虇᾵呀ㅒㆬ―孲ᾼ⢚䠓⾑ ⧃䘿⨒虇⶜㍘䚷䮚ゞ朚䠋⋻▇ℕ尹憨令⶜㞾ᾏ↚㔧捠⾑⧃Ҹ ―孲嬎㝈厖ᾼ⢚⾑⧃Ὶ朢䠓䛿▛虇᾵槧㊞慝▗ ᾼ⢚䠓㜖⒥╙伢䅮䠋ⷤ虇㞾⢷憨↚⾑⧃ᾙ厃⑬䠓杫攄Ҹ ⶜㝋㢘㊞⢷憨↚ㆴ憮䠋ⷤ䠓⾑⧃ᾙ⎕ᾏ㣾先䠓 ⢚⪥㍘䚷䮚ゞ朚䠋⁉♰╙ₐ㫼虇㢏捜嬐㞾〵怺㏢憯 ▗懸䠓䚱♐虇⁴慝▗ᾼ⢚㼗幊冔䠓梏㷑Ҹ AU GU S T 2 016 MARK E TING HON G KON G 1 9

DEVELOPING APPS FOR THE CHINESE MARKET WITH TAILORED STRATEGIES 為中國度身訂造的應用程式

According to the China Internet Network Information Centre, the number of mobile internet users in China reached 620 million in December 2015, rising by 10.2% compared with the end of 2014. China not only has a flourishing mobile app market, but it is also a unique one. Social media such as Facebook and Twitter are prohibited in China, but the demand for instant messaging 2 0 M A R K ET I N G H O N G K O NG AUG UST 201 6

and social networking is very strong, paving the way for domestic brands such as Weibo and WeChat. In this lucrative market, competition among the car-hailing and mobile payment services is especially fierce. To stay ahead in this competitive market, many added-value elements are integrated onto the apps on top of basic functions to go

⍙ጱ᫓ጹⓨ⃿ᶲᝂᥖጱ፬។ᅗጱ᫓ᯡ᪳ጹⓨ⃿ᏸ፮ ⁉ 㜇㝋 2015〃 12㢗懣厂 6.2⊓虇悒 2014〃▛㢮⨭ 朆10.2虀Ҹ ᾼ⢚䠓㏚㯮㍘䚷䮚ゞ⾑⧃ᾜ≔噻⑒䠋ⷤ虇军ᾣ ⎴⌆䐈吁ҸFacebookҷTwitter䳘䫍″Ⱑ汣⢷ᾼ⢚娺䬐㳱ℎ䚷虇⃕⪶䣍⶜│㟑憩宙╙䫍″佁仰䠓梏㷑棭⿇㞉䡪虇⡯㳳䉉ㄽⓩ╙ㄽⅰ䳘㢻⢮♐䏛䠓⺪弆虇朚㑢―ᾏ㨬う唙⪶懢Ҹ ⢷憨懜⢿灒捠䠓⾑⧃虇╺恙㍘䚷䮚ゞ╙㏚㯮㚾 ⁧㢜⑨䠓䲅䎼ⶳ⌅䅏䉗Ҹ 䉉―⢷憨↚䲅䎼䅏䉗䠓⾑⧃ᾙⅬ㒐榧⋗⊹⑱虇ㄗ⪩㍘䚷䮚ゞ⢷⦉㢻␮劌ᾙ㾊␯⨭⇋⋒亯虇㕟K弔弙憩宙╙㏚㯮懙㏁䠓㢜⑨Ҹ ⁴ㄽⅰ䉉ℚ虇ⴒ⒔㑻⪩⋒⒥㢜⑨虇ℚ⬑╺恙ҷ╺ ⪥干╙拡〦ⴱ㏎榟宑虇憨‪␮劌ᾜ≔㎟␮朚㑢㛅⋴ ℕ䀟虇㢃ㄭᾜ▛㝈棱巟ⵛ䚷㏅䠓汣毦Ҹ 䡽⏜⢷ᾼ⢚㔡▜⏜100▜䠓㏚㯮㍘䚷䮚ゞ⪶⪩ 㢘ᾏ↚⌀憩灭虇ⷀ㞾╾⃇ゅㆶҸ 厘ℚ尹虇䠍〵梁㕟K㜇㙩⋁⳧ҷ梊㄀ᾚ悘ҷ幖䀟 ⌀›╙䲻ᾘ㝈。╿㜃▗䳘㢜⑨虖㚾⁧ⶅ㕟K彷⨒⢷ 佩″㞢ҷ㢒♰Ὶ朢䠓䖍捠惘幻ҷ⋻⌀‚㫼倂幊䳘㢜 ⑨虇ℎ⌅㔴宇灭ㄭ⢷佩⃇ⷤ厂桱佩Ҹ ⪩⋒⒥㢜⑨ℎ㚾⁧ⶅ㎟䉉ᾏ䱨ゞ䠓㚾⁧孲㸉㝈㧗朏㏅佁䱨虇⋷㝈⃜⛕㫼㮰ゞ⢷ᾏ⴩䮚〵ᾙ㢘⎸ₐ 㫼⢷ᾼ⢚䠓朆懯䠋ⷤҸ ᾼ⢚㢘200⪩䮽ᾜ▛㍘䚷䮚ゞ⛕〦虇⾑⧃⪩⋒⒥ ℎ㍘䚷䮚ゞ⢷㜃↚⾑⧃懁姛ⴲ≂崙ㄦ㢃䉉媖桫Ҹ䉉㢘㛗㔴宇ⴱ㏅虇♐䏛╾劌㢒冒㋽ᾏ‪嗦▜䠓䲻ᾘ㝈 ⛕〦虇⬑殿宙䠓MyApp㎥䠍〵䠓㏚㯮␸㏚Ҹ 厖⢚⋶汧䭠㐏ₐ㫼▗⃫΅㞾庉╥㛅⋴䠓╵ᾏ 憣ㄠҸ 䉉㏢⋴ᾼ⢚Ὴ嬐⥝⾑虇Uber⁙〃ⴲ⾒厖㚾⁧ⶅ 懣㎟ᾏ榔䉉㢮⋸〃䠓▗⃫ⓣ峿Ҹᾼ⢚ⴱ㏅劌⪯ℎ䚷 WWW. MARK E TING-IN TE RAC TI VE . C OM

beyond just offering messaging and mobile games. Take WeChat as an example. It includes diversified services such as ride-hailing, food delivery and hotel room reservations. These functions have not only successfully enhanced revenue streams, but also enriched the customers’ experiences from different aspects. Among the top 100 mobile apps in China, many of them have one common feature – highly extensible. For example, Baidu Cloud allows data storage, movie downloads, resources sharing and third party integration; Alipay offers services such as cross-border online transactions, money transfer between members, utility bill payments and so on, extending its touch-points from online to offline. The comprehensive package enables Alipay to develop itself into a one-stop portal for payment solutions. More than one type of business model promises long-term business sustainability in China to a certain extent. With more than 200 different app stores, the fragmentation makes it more complicated to promote an app across the entire market. To reach out to customers, brands might consider some famous third party stores such as Tencent’s Myapp or Baidu’s Mobile Assistant. Partnering with domestic tech companies can also be an option to open up monetisation channels. Looking to break into major cities in China, Uber announced a two-year partnership with Alipay this year. Chinese customers are able to pay for their rides by using the Chinese digital payment app when travelling across the globe in 68 countries and 400 cities. This move helps Uber break regional boundaries and step into the realm of Alipay’s 450 million Chinese users. Another important box to tick is localisation; it has to go beyond just translating the content into Chinese within the product. Successful localisation means excellent translation plus adapting the date and time into the correct format, utilising the customised design with a local look and feel to align culturally, and adjusting to cultural and regulatory norms to optimise the customer experience. With variation in culture between different provinces in China, it is also crucial for brands to make use of big data collected. Analytical information related to customer behaviours WWW.M A R K ET I N G - I N T ER A C T I V E.C O M

is useful for marketers to implement suitable marketing strategies and customised content. Despite a boom in the Chinese mobile app market, it is also necessary for foreign brands to understand China’s mobile app ecosystem. Under strict political censorship and online regulation, the internet network is closely monitored by the Chinese government, causing a negative impact on the free flow of information. Recently, the Cyberspace Administration of China tightened rules by requiring mobile app developers to verify users’ identities with real-name registration systems and save users’ activity logs, which brings along concerns for foreign business groups about privacy controls. Second, copyright is another issue. Mobile apps are pirated through reverse engineering or copycatting from scratch. These obstacles are not easy to sort out at the moment, but a feasible solution to this problem is working with a local partner who is familiar with the China app stores’ ecosystem to ensure the illegitimate apps are pulled and replaced by the official app. China’s app market still has a lot of room for development. In the long-term, localised content and value-added services will be vital factors for developers to engage users and boost revenue.

封ᾼ⢚㜇䩋㚾⁧㍘䚷䮚ゞℕ㚾⁧恙幊虇㢜⑨嬕噚 68 ↚⢚ⵅ╙400↚⥝⾑Ҹ㳳厘㢘␸ Uber ㏢䧃⢿䖕䛛柟虇㔴宇㚾⁧ⶅ䠓4.5⊓ᾼ⢚䚷㏅Ҹ 䢮㳲䠓╵ᾏ↚杫攄㞾㢻⢿⒥虇䜅ᾼᾜ≔㞾ⶖ䚱 ♐䠓⋶ⵈ冊峾㎟ᾼ㜖戲灋䶰✽Ҹ ㎟␮䠓㢻⢿⒥㞾㒖⊹䭏䠓冊峾虇⁴╙ⶖ㝴㢮╙ 㟑朢屎㜃䉉㳲䩉㧋ゞ虇✓䚷〵怺宑憯䠓㢻⢿⒥宼宗 ╙䜅⢿㜖⒥⋒亯虇᾵⡯㍘㜖⒥╙䡲䴰嬞䵓⃫⎉屎㜃虇 ⁴㕟ⓖⴱ㏅汣毦Ҹ ᾼ⢚▓䢐▓侲抌㢘ᾜ▛䠓㜖⒥≂伀虇⡯㳳♐䏛 ㅔ榗✓䚷⪶㜇㙩虇⡯䉉ⴱ㏅姛䉉䠓⎕㤟㜇㙩㢘␸⾑ ⧃㔷ひ⁉♰⵵姛▗懸䠓⾑⧃㔷ひ䳥䛴虇⁴╙㏢憯〵怺宑憯䠓⋶ⵈҸ ⊧䴰ᾼ⢚㏚㯮㍘䚷䮚ゞ⾑⧃噻⑒䠋ⷤ虇⪥⢚♐ 䏛‵嬐―孲ᾼ⢚㏚㯮㍘䚷䮚ゞ䠓䚮㋚亊伀Ҹ ⢷⡃㧋䠓㛎㹊⵸㥴╙佁仰䡲䴰ᾚ虇‡凾佁仰╦ ᾼ⢚㛎〫䠓ⵕ⎖䡲㔶虇⡯㳳⶜宙ㇾ䠓卹䛀㻐憩憯㎟帯棱䠓㄀榎Ҹ 㢏慠虇ᾼ⢚⢚ⵅ‡凾佁ⅰㇾ愵⋻ⴳ⾁㛅余嬞⴩虇嬐㷑㏚㯮㍘䚷䮚ゞ朚䠋冔毦峘䚷㏅䠓怺₌╙㔰╥⵵ ▜䠊宧虇⁴╙⋁⳧䚷㏅䠓佁ᾙ㻊⑤亏撓虇イ弆⪥⢚⛕ 㫼⢧汣⶜䭐桀㔶⏅䠓杫㹷Ҹ ⌅㲰虇䏗㲙╗㞾╵ᾏ↚⛞槛Ҹ㏚㯮㍘䚷䮚ゞ憩懝憕■⽴䮚ℕ媌⃫䡫䏗虇╗㎥冔捜㜿㏢憯ᾏ↚⸀⵷䏗㢻Ҹ 憨‪栫䪨䡽⏜㞾ᾜⵈ㞢孲㸉虇军╾姛䠓孲㸉㝈㹤㞾厖䌮㈘ᾼ⢚㏚㯮㍘䚷䮚ゞ⛕〦䚮㋚亊伀䠓㢻⢿ ₐ㫼▗⃫虇⁴䩉Ⅼ劌⪯㏢㙙棭㹤㍘䚷䮚ゞ虇᾵⁴ⴧ㝈㍘䚷䮚ゞ⃫╥⁲Ҹ ᾼ⢚䠓㏚㯮㍘䚷䮚ゞ⾑⧃⁜㢘ㄗ⪶䠓䠋ⷤ䰉朢虇朆懯ℕ尹虇㢻⢿⒥⋶ⵈ╙⨭⇋㢜⑨ⶖ㎟䉉朚䠋⛕ ◇イ䚷㏅☛⨭␯㛅⋴䠓杫攄⡯亯Ҹ

About Mtel Mtel is a leading digital solutions provider in Hong Kong and nearby regions, headquartered in Hong Kong, with branch offices in Macau, Guangzhou and Taipei. With more than a hundred talents, it provides a myriad services, including design and development of mobile, web, social applications, campaigns, digital installations and cloud platform. We serve leading corporations in a myriad industries, including retail, finance, insurance, telecommunications, advertising and public utilities. Our proprietary solutions power enterprises, encompassing internal communications, event interactions, sales presentations tools, e-learning platforms and so on. Our substantial experience in serving international enterprises enables us to provide one-of-a-kind professional tools to our clients. Our state-of-theart solutions ensure stable and continuous support to clients in this quick changing landscape.

Mtel㞾欨㾾╙抿慠⢿Ⓩ䠓榧⋗㜇䩋孲㸉㝈㧗K㍘⛕虇俌扷宼⢷欨㾾虇⢷䅂朏ҷひ⽭╙╿⒦⣖宼㢘⎕⋻▇Ҹ㙐㢘䠍⪩⃜⊹䭏⁉㏜虇㕟K⪩⋒⒥㢜⑨虇⒔㑻宼宗╙朚䠋㏚㯮ҷ佁䱨╙䫍″㍘䚷䮚ゞҷ㔷ひ㻊⑤ҷ㜇䩋婬僽ҷ⁴╙梁䱾。╿Ҹ ㎠↠䉉䣍⪩姛㫼䠓榧⋗㯮㭚㕟K㢜⑨虇⒔㑻梅⚽ҷ捠夜ҷⅬ根ҷ梊宙ҷひ◙╙⋻⌀‚㫼Ҹ ㎠↠䉉ₐ㫼㕟K䠓⶗⎸孲㸉㝈㧗㽄噚⋶扷憩宙ҷ㻊⑤‡⑤ҷ摆⚽䂣䫉⽴⌆ҷ梊ⳟⴇ兡。╿䳘Ҹ ㎠↠㙐㢘巟ⵛ䠓⢚株ₐ㫼㢜⑨伢毦虇劌⪯䉉ⴱ㏅㕟K䓷ᾏ䊰‛䠓⶗ 㫼⽴⌆Ҹ㎠↠㢏⋗懁䠓孲㸉㝈㧗虇䩉Ⅼ劌⢷憨䤻ㇾ喻崙䠓⾑⧃ᾙ䉉ⴱ ㏅㕟K䯸⴩军╾棯䠓㚾㖃Ҹ

AU GU S T 2 016 MARK E TING HON G KON G 2 1

CASE STUDY ↚㧗⎕㤟

A SEAMLESS JOURNEY ACROSS BORDERS 跨境無縫旅程

Catering to a new era of digital revolution, Hong Kong International Airport has taken the China market into consideration when developing an app to global travellers by adding personalised content. Challenge: HKIA handled 58.3 million passengers in May 2016. With such a great volume of passengers in the airport and a rapid flow of information regarding gate changes, flight delays and special announcements, it is a challenging task for the airport to update every passenger with the latest news in time as everyone is scattered in all directions.

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To optimise the passenger experience, there was a need for the airport to launch a mobile application to deliver the real-time flight information. S Solution: To serve international visitors, travellers fr from Greater China and locals, its mobile app “H “HKG My Flight” is available in English, simplified C Chinese and traditional Chinese. It doesn’t only provide basic flight searches, b but also enables a bookmark function, which p passengers can get their flight information such as gate changes, departure times and terminals at a glance. Visitors from Mainland China have become th the largest group in Hong Kong’s tourism industry, so to transit these travellers with a smoother jo journey, the app also includes information for M Mainland transport connections, such as coach schedules and route details. Moreover, facilitated by iBeacon technology, passengers using the “HKG My Flight” app are able to receive push notifications of airport information, including dining and shopping offers and promotions at the airport. For Chinese tourists, the app provides a portable map for shopping at ease; no matter whether they travel by ferry, coaches or planes. Result: The app has won several awards, including snatching gold in the Best LocationBased Marketing category at the Mob-Ex Awards 2016, recognising its innovation in mobile marketing.

ᠥᜪᑁ∋≜ᣄᘒᛵỉ᥸᎚ᅗᣍᵁ᫓ↂ⍶Ჵᑋᡘᶋᗒ ⋷䖒㝔懙⁉⩺ℎ䚷䠓㍘䚷䮚ゞ㟑虇⾁ⶖᾼ⢚⾑⧃⒔ 㑻⌅ᾼ虇᾵㾊␯↚⁉⒥䠓⋶ⵈҸ ៛⍓ᅝ欨㾾⢚株㯮⧃⢷2016〃 5㢗㔴ㄔ―5,830喻⁉ 㲰虇嬐埤䖕⬑㳳焟⪶䠓ⴱ懚捞虇⁴╙䠊㯮朧╲崙㢃ҷ 厹䕼ゅ尳╙䐈⎴⋻◙䳘宙ㇾ虇欨㾾⢚株㯮⧃嬐╙㟑 ■⡪棱⋺㝈䠓ῧⴱ㕟K㢏㜿㼗ㇾ令⶜㞾ᾏ榔吀揔䠓 ₊⑨Ҹ 䉉㕟ⓖῧⴱ䠓汣毦虇㯮⧃ㅔ榗㔷⎉ᾏ↚㕟K│ 㟑厹䕼宙ㇾ䠓㏚㯮㍘䚷䮚ゞҸ ᾢᕰ፵ᦆᅝ䉉㝈ⅎ⢚株容ⴱҷᾼ⢚╙㢻⢿懙ⴱ虇⌅㏚㯮㍘䚷䮚ゞӁHKG My Flightӂ㕟K咀㜖ҷ䶰汣ᾼ㜖 ╙俐汣ᾼ㜖䏗㢻Ҹ 封㍘䚷䮚ゞᾜ≔㕟K⦉㢻㥴寱㢜⑨虇▛㟑‵⌆ ∨㢇䷳␮劌虇ῧⴱ╾ㄭᾼ䔁╥⁥↠䠓厹䕼宙ㇾ虇䠊㯮朧╲崙㢃憩䥴ҷ䠊㯮㟑朢╙ⴱ懚⪶㮢⃜僽⣖ᾏ䡽 ―䋅Ҹ ℕ卹ᾼ⢚⋶⢿䠓懙ⴱ⾁㎟䉉㢻㾾㝔懙㫼䠓㢏⪶ ⴱ䀟虇䉉ℎ憨‪容ⴱ䠓㝔䮚㢃␯榕㠱虇封㍘䚷䮚ゞ ‵⒔㑻⋶⢿″憩㔴歐宙ㇾ虇⬑⋶⢿朆憣⾃⩺㟑朢姷 ╙彾佩専亿幖宙Ҹ 㳳⪥虇憞懝 iBeacon㐏姢虇ῧⴱ╾ℎ䚷ӁHKG My Flightӂ㍘䚷䮚ゞ㔴㛅㯮⧃䠓㔷憐憩䥴虇⒔㑻㯮 ⧃檟檁╙庋䏸⊹㉯╙㔷摆Ҹ ⶜ᾼ⢚懙ⴱℕ尹虇封㍘䚷䮚ゞ㕟K㝈ⅎ䠓╾㚫ゞ庋䏸⢿⢥虇ᾜ䴰⁥↠㞾ῧ㖼㾰悹ҷ朆憣⾃⩺㎥橪㯮㝔姛虇抌╾样㟑样⢿㥴䢚庋䏸幖宙Ҹ ᶬ ᚤᅝ封㍘䚷䮚〞⾁䔁ㄦ ⪩ ↚ 䓝榔虇⒔ 㑻 ⑖ ⫹ Ӂ㏚㯮⾑⧃㔷ひⓢ弙⪶䓝 2016ӂ㢏ℂ⴩⃜⾑⧃㔷ひ仓⎴䠓捠䓝虇峘㞝⌅⢷㏚㯮⾑⧃㔷ひ␄㜿榧⥮䠓㎟ⷀҸ

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CASE STUDY SPECIAL 2016

Lighthouse Events, the events management division of Lighthouse Independent Media, has been bringing Lighthouse’s conferences, awards shows and internal meetings to life since 2006 - over 40 events annually in multiple formats through numerous markets across Asia. Staffed by a team of experienced and dedicated event professionals, Lighthouse Events is commited to understanding and delivering its clients’ strategic objectives. Lighthouse Events has the expertise and experience to conceptualise and manage any customised event, making sure its clients’goals are met on every occasion. Call us if you need a partner for:• Venue Sourcing • Destination Management • Event Conceptualization • Supplier Management

• Registration Services • Branding & Graphic Design • Event Production/Logistics Support

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F E BR UA R Y 20 1 6 M A R KE T ING HON G KON G 25

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2016

Live events are an undeniably important part of the marketing industry. Events are powerful things. They have the ability to bring people together, leave a lasting impression, they’re fun and they’re engaging, but more importantly they offer the ability to create an experience that most parts of the marketing world cannot. This year Marketing continued to recognise and honour the very best of Asia’s event marketing, management and planning industry with our Marketing Events Awards. Judged by senior marketers across North Asia, the awards saw an overwhelming response from the industry, which shows how strong and how competitive the world of event marketing has become. The coming pages are a snapshot of the 2016 winners, along with the Best of Show – Brand and Best of Show – Agency. Congratulations to all the ﬁnalists and a huge thank you to our partners and the industry for supporting this initiative.

ᯀ Ჵ᠖ ᪳ ៦Ꮥ Ჵ ᭆ ⇚ ᒭỔ ጰ ᤶᙝ ᷲ ᛵᢽ ᢢ ᯸ ᑯ 扷⎕Ҹ 䍮摆㻊⑤⌆㢘テ⪶䠓㄀榎␪虇劌⪯⍬凩⪶䣍虇䛨ᾚ㾀⏊䠓⓿巰虇㻊⑤ᾜ✽⋔䂎弲☂军ᾣ⌆◇イ ␪Ҹ㢃捜嬐䠓㞾虇ⴒ劌⪯␄憯⌅⁥⾑⧃㔷ひ㝈ゞ䊰㹤㕟K䠓汣毦Ҹ ҿMarketingӀ個ㄏ朚ℕ虇⢷㞾㲰Ӂ䍮摆㻊⑤⪶ 䓝 2016ӂ榡䓝⌇䬽ᾼ姷㕩‭㻁⢿Ⓩ䠓⾑⧃㔷ひ姛㫼⢷㻊⑤䍮摆ҷ䴰䖕╙䳥␒㝈棱䠓∠⎉姷䖍Ҹ 寤⵸⢧䛀ℕ卹⒦‭⢿Ⓩ䠓汧亩⾑⧃㔷ひ⁉♰ 仓㎟虇憨㲰㻊⑤ㄦ⎿㫼䛛⁉⩺䠓䍀䉗榎㍘虇╾嬚㻊 ⑤䍮摆姛㫼ᾜ⃕⁉テ欻⩾虇军ᾣ䲅䎼䅏䉗Ҹ ⁴ᾚ ㎠ ↠ ⶖ ⁚ 仈 2016〃〵 ▓ 䓝榔䠓ㄦ䓝 ▜ ✽虇⁴╙Ӂ㢏ℂ姷䖍⪶䓝͑ ͑♐䏛ӂ╙Ӂ㢏ℂ姷䖍 ⪶䓝͑͑⁲䖕⋻▇ӂㄦῊҸ

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Renee Sin

Tom Watkins

Inness Chu

Marketing director, joy and peace Belle Internatio International (China)

Head of PR and marketing CÉ LA VI Hong Kong

Digital Marketing and Social Media Manager CLP Power Hong Kong Ltd

Michael Lim

Jennifer Jenn nifer Lam

William Tsing WilliamTsing

Nick Rodd

Marketing manager, commercial HK Express

Head of marketing and communications H Hongkong Land

Marketing director KFC HK, Jardine Restaurant Group

Marketing and menu lead McDonald’s Asia – foundational

Venus Yeung VenusYeung

Esmond Tsang EsmondTsang

Connie Kou

Director, communications Orbis Hong Kong

Marketing director, BG home, Greater China nvestment Co. Philips Lighting (China) Investment

Head of field marketing Schneider Electric

April Lau

Joey Look

Rose Yeung

Karen Chan

Regional general manager, professional business Shiseido

Head of marketing – Tissot Hong Kong Swatch Group

Director, sales and marketing, 7-Eleven Hong Kong and Macau The Dairy Farm Company

Regional general manager, North China – Mannings The Dairy Farm Group

Neville Lin

Ricky So

Gary Lee

Marketing director, TNF Asia The North Face

Head of marketing Uber Hong Kong

Assistant director, marcom W Taipei

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BEST C-LEVEL/VIP EVENT SILVER Audi AG Campaign Audi Q7 Launch Brand Audi Hong Kong Agency Uniplan

GOLD Studio City, Macau Campaign Studio City Grand Opening Agency Uniplan

BRONZE Porsche Centre Hong Kong Campaign Porsche Centre Hong Kong 60th Anniversary Celebration Brand Porsche Agency Imagine Lab

BEST CULTURAL EVENT SILVER Times Square Campaign The Living Room Museum Agency OMD Hong Kong

GOLD Volkswagen Group China Campaign Rain Room Brand Volkswagen Agency VOK DAMS China

BRONZE The Hong Kong Jockey Club Campaign Taking Horse Race Legacy to Another Level Agency PHD Hong Kong

BEST DIGITAL INTEGRATION SILVER Sun Hung Kai Properties Campaign Transcending Boundaries and Time (Inside a French Chateau – Antique French Furniture Exhibition) Brand Shanghai ifc mall

GOLD RB Hong Kong Campaign Dettol Refreshing Gashapon Brand Dettol Agency Havas Worldwide Hong Kong

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BRONZE Crown Motors Campaign Toyota Sienta & Spade – “FUN2GATHER” Brand Toyota Agency Uth Creative Group

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BEST USE OF LIMITED BUDGET SILVER Brilliant Top Inc Campaign Boutir Collect Delivers Virtual Guide through Hong Kong’s Lunar New Year Fair Brand Boutir Agency Across Asia Strategy (HK)

GOLD AIDS Concern

BRONZE PizzaExpress (Hong Kong) Campaign Stripes In Town

Campaign Kuk Fa Cha Agency Havas Worldwide Hong Kong

BEST EVENT – CORPORATE SILVER AIA Campaign AIA Accelerator 2.0 Demo Day

GOLD Daimler AG Campaign Mercedes-Benz National Dealer Conference Autumn 2015 Brand Mercedes-Benz China Agency Auditoire China

BRONZE Parfums Christian Dior Campaign 2015 Dior Beauty Consultant Seminar Brand Dior Agency cievents

BEST EVENT – CSR SILVER Festival Walk Campaign Colouring. Caring for Alzheimer’s at Festival Walk Agency ET Promotions

GOLD AIDS Concern

BRONZE DBS Bank (Hong Kong) Campaign DBS Social Innovators’ Pitchathon Brand DBS Bank

Campaign Kuk Fa Cha Agency Havas Worldwide Hong Kong

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BEST EVENT – TARGETED COMMUNITY SILVER adidas Campaign adidas Sports Base – Boost Your Summer Campaign Agency WRG Creative Communication (Asia)

GOLD AIDS Concern Campaign Kuk Fa Cha Agency Havas Worldwide Hong Kong

BRONZE Bel Groupe Campaign Happy Family Time by Kids Brand The Laughing Cow Agency DDB Group Hong Kong

BEST EVENT DESIGN SILVER Daimler AG Campaign Mercedes-Benz AMG GT China Launch and AMG Driving Performance Awards Ceremony 2015 Brand Mercedes-Benz China Agency Auditoire China

GOLD Crown Motors

BRONZE Toys “R” Us (Asia) Campaign Star Wars Force Friday Brand Toys “R” Us

Campaign Toyota Sienta & Spade – “FUN2GATHER” Brand Toyota Agencies Uth Creative Group, Imagine Lab

BEST EXHIBITION EVENT SILVER Festival Walk Campaign BATMAN v SUPERMAN: Dawn of Justice x Festival Walk Agency ET Promotions

GOLD Times Square

BRONZE Ngong Ping 360 Campaign Ip Man Experience Hall

Campaign The Living Room Museum Agency OMD Hong Kong

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BEST EXPERIENTIAL EVENT SILVER UNIQLO Hong Kong Campaign UNIQLO 10th Anniversary Pop-Up Store Brand UNIQLO Agency Dentsu Hong Kong

GOLD BBK Electronics Campaign Vivo X Play 5 National Launch 2016 Brand Vivo Communication Technology Agency Auditoire China

BRONZE McDonald’s Restaurants (Hong Kong) Campaign A Surprise in Disguise Awards Ceremony 2015 Brand McDonald’s Agency DDB Group Hong Kong

BEST LARGE EVENT SILVER Times Square Campaign The Living Room Museum Agency OMD Hong Kong

GOLD Studio City, Macau Campaign Studio City Grand Opening Agency Uniplan

BRONZE Daimler AG Campaign All-New Smart for Two National Launch Brand Smart Automobile Agency Auditoire China

BEST MALL EVENT SILVER Hang Lung Properties Campaign RUNNING PAC-MAN at The Peak Galleria Brand The Peak Galleria Agency Sweet Concepts

GOLD Hang Lung Properties

BRONZE MTR Corporation Campaign Love in Time for Christmas Brand ELEMENTS

Campaign Fashion Walk x Spotify “Found the Sound” Music Events Brand Fashion Walk Agency Pixels 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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BEST MEDIA EVENT SILVER Toys “R” Us (Asia) Campaign Star Wars Force Friday Brand Toys “R” Us

GOLD Studio City, Macau Campaign Studio City Grand Opening Agency Uniplan

BRONZE MHD Campaign Hennessy Artistry 2015 Brand Hennessy Agency Auditoire China

BEST OUTDOOR EVENT SPORTS SILVER Standard Chartered Bank (Hong Kong) Campaign Standard Chartered Trophy 2016 Brand Standard Chartered Agency 505 United

GOLD Puma Hong Kong Campaign PUMA 24-Hour Trainathon 2015 Brand PUMA Agency Yello Marketing

BRONZE Starwood Group Campaign The St. Regis Macao Cup Brand The St. Regis Macao Agency Neap

BEST OUTDOOR EVENT: ARTS, LEISURE AND ENTERTAINMENT SILVER Times Square Campaign Times Square Music Room Agency OMD Hong Kong

GOLD Light Rose Garden HK

BRONZE The Hong Kong Jockey Club Campaign Jockey Club Community Festival Agency PHD Hong Kong

Campaign Light Rose Garden & Light Up Your Love Campaign Agencies Six Degrees PR, AllRightsReserved

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BEST PR STRATEGY SILVER Light Rose Garden HK Campaign Light Rose Garden & Light Up Your Love Campaign Agencies Six Degrees PR, AllRightsReserved

GOLD Harbour City Campaign Swimming by the Harbour @ Harbour City

BRONZE Festival Walk Campaign Colouring. Caring for Alzheimer’s at Festival Walk Agency ET Promotions

BEST PRODUCT LAUNCH SILVER Belle International (China) Campaign Joy & Peace x Vivienne Tam Collaboration Collection Brand Joy & Peace Agency PR Network

GOLD Studio City, Macau Campaign Studio City Grand Opening Agency Uniplan

BRONZE Mercedes-Benz Hong Kong Campaign Mercedes S-Class Maybach Launch Brand Mercedes-Benz Agency Uniplan

BEST SMALL EVENT SILVER Volkswagen Group China Campaign Volkswagen Design Workshop Brand Volkswagen Agency VOK DAMS China

GOLD AIDS Concern Campaign Kuk Fa Cha Agency Havas Worldwide Hong Kong

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BRONZE Daimler AG Campaign Mercedes-Benz AMG GT China Launch and AMG Driving Performance Awards Ceremony 2015 Brand Mercedes-Benz China Agency Auditoire China WWW. MARK E TING-IN TE RAC TI VE . C OM

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When Studio City, Macau, Melco Crown’s US$3.2 billion Hollywood-themed casino resort opened in October 2015, its key mission was to create a “talk of the town” that distinguished Studio City from other casinos. And Studio City’s grand opening lived up to its hype. Audiences today have seen a multitude of celebrity performances, fireworks and Cirque-style acts, and the desire to create an impressive show is no easy task. Yet, Studio City, Macau managed to create international buzz with its high-profile launch that was joined by A-list Hollywood stars, including Leonardo DiCaprio, Robert De Niro and Martin Scorsese. The stars appeared in the short film dubbed The Audition, themed around a Studio City storyline, and the world premiere on the night became a highlight of the grand opening. The commercial was thought to have been the most expensive ad ever made at US$77 million. With all the excitement it created, the biggest challenge was making sure Studio City was not overshadowed, and established itself as a star venue, even with all the WWW.M A R K ET I N G - I N T ER A C T I V E.C O M

heavyweight Hollywood actors. Studio City nailed the challenge by creating an even louder noise in every sector, including a tailor-made Broadway performance that went live on all screens across all of Melco Crown’s properties, the largest star-studded red carpet in Macau, and a massive VIP gala dinner with multi-Michelin-star chefs. The results for Studio City were overwhelmingly positive. The launch received global coverage of US$35 million, with broadcast channels such as Bloomberg TV and CNN, and print titles such as Financial Times, The Wall Street Journal, and The New York Times. The launch stirred up its social media platforms, winning more than 33 million impressions and more than 50,000 active discussions. Most importantly, the occupancy rate of Studio City, Macau reached 99% in the first three months and has been projected at 95% for 2016. Visitors have reached more than four million since the launch and the number continues to increase. It is an exciting time for Studio City, Macau and we can expect bigger things to come.

⎂᜴ỉ⒓⇝Ṯ⅐╮32↝ᡱፅᏞᱛᛵᰟᖾ᠖᎐◶⋆Ჵ ╙伫▗〵⇖㣠虇㝋2015〃10㢗㳲ゞ朚㫼虇䡪⪶䠓朚⿤ 䬽㎟␮㎟䉉⋷⥝尀槛虇⁳㜿䅯㄀Ⓘㄭ呇呇幼⧃Ὶᾼ 劺䯝军⎉Ҹ 䖍㟑䠓孏䣍⶜▜⁉姷䂣ҷ䋨呀ҷ欻㏁⢧ゞ桫㐏姷䂣伢⾁嬚ㆹᾜㆹ虇嬐㏢憯⁳⁉䛨ᾚ㾀⏊⓿巰䠓䂣⎉᾵ 棭ᾏ₅ⵈ㞢䠓₊⑨Ҹ 䋅军虇䅂朏㜿䅯㄀Ⓘ䠓朚⿤䡪⌇戏屚⎿唆捛㻊捜捞亩▜⁉␸柲虇⒔㑻捛ⴘ亜〵䑓⓰㵣⫶ҷ儔㑣慹ⷋ 彾╙欻䚿▁汧嬎㜾虇㎟␮墩刁⢚株Ҹ 䣍㞮⎉䂣䠓ⴲ≂ㄽ梊㄀ҿ戇孡樷梁Ӏ⁴㜿䅯㄀Ⓘ 䉉㛔‚Ὴ槛虇᾵㝋朚⿤䬽䜅㟩⃫⋷䖒欥㞯虇ℎ⌅㎟䉉 ᾏ⪶䊵灭Ҹ封ⴲ≂䏖㜴幖7,700喻儝⋒媌⃫虇埮䯀▁ ᾙ㢏㞑幃䠓ひ◙Ҹ ㎟␮㔏弆尀槛ㄛ虇㜿䅯㄀Ⓘ棱⶜䠓㢏⪶㒠㎿㞾䩉Ⅼ樷榼ᾜ㢒娺唆捛㻊⽷㞮噚懝虇᾵䉉卹怺ら䱚ᾏ↚ 㞮亩⧃⢿䠓怺₌Ҹ 㜿䅯㄀Ⓘ⡯㳳⢷▓㝈棱䉉卹⾀媌憯㢃⪶䠓刁⑱虇 ⒔㑻⢷㜿䅯ⓩ‭㝦ᾚ㏏㢘䏸㫼。╿䢃㘼〵怺宑憯䠓䠍冐Ⓘ姷䂣ҷ⽷㞮梁桕䠓䅂朏㢏⪶⤚朚⿤䬽五⢿㵾ҷ ⁴╙䛀榑亩丂听噽⪶どῊ䖕䠓䡪⪶VIP㟩ⵃҸ 㜿䅯㄀Ⓘ仟㤫庞ㄦᾏ棱↡䠓崩幭Ҹ朚⿤䬽庞ㄦ⋷ 䖒3,500喻儝⋒䠓Ⱑ汣㛅䡙虇ーⓩ梊嬥╿╙儝⢚㢘佩梊嬥㜿凭佁䳘ひ㘼。╿虇⁴╙ҿ捠夜㟑⧀Ӏҷҿ啾䏍姦㝴⧀Ӏ╙ҿ亟亓㟑⧀Ӏ䳘亨Ⱑ⣖䎼䢇⧀⶝Ҹ 封㻊⑤‵⢷䫍 ″。╿ᾙ㔏弆䍀尀虇撓ㄦ弔懝 3,300喻㲰䆞孌虇⁴╙50,000⪩㨬㻊怜宝履Ҹ 军㢏捜嬐䠓㞾虇䅂朏㜿䅯㄀Ⓘ朚㫼欥ᾘ↚㢗䠓⋴ ⃞䔖汧懣99%虇榟宗2016〃䠓⋴⃞䔖懣95%Ҹ卹朚⿤ ⁴ℕ虇⃞ⴱ⁉㜇弔懝⡪䠍喻虇㜇䡽‵㳲ᾜ㝆ᾙⓖҸ ⶜䅂朏㜿䅯㄀Ⓘ军宏虇憨㞾ᾏ↚⁳⁉厗⫽䠓㟑 ⏊虇⌅㢹ℕ䠓⑤■⇋ㄦイ槇⁴ㄔҸ AU GU S T 2 016 MARK E TING HON G KON G 37

On the agency front, Uniplan took out the coveted title comfortably at the annual Marketing Events Awards in Hong Kong. The branding and events agency snatched six gold in Best Media Event, Best Event – Consumer, Best Product Launch, Best Large Event, Best C-level/VIP Event and Best Use of Multi-Channel, in addition to four silver and three bronze awards. Uniplan scored for one main event – the grand opening of Studio City Macau, one of the largest casino openings in the world. The evening was successfully transformed into a Hollywood experience with packed A-list Hollywood stars, driving visitation and generating revenue for the casino and other businesses. Uniplan also clinched accolades for various initiatives with clients such as Mercedes-Benz Hong Kong and Audi AG. The event with Mercedes-Benz was kicked off with a massive transparent marquee on top of Central Pier 4, a location surrounded by Hong Kong’s largest financial centres and buildings. The intention was to build a space with a strong essence of luxury that coincided with the positioning of the new Mercedes S-Class. Uniplan arranged various interactive performances such as a dance performance on the evening. 38 M A R K ET I N G H O N G K O N G A UG UST 201 6

As for the campaign with Audi AG, it aimed to create a dynamic, yet interactive launch, with a hint of industrial atmosphere to bring out the elements of the Q7. The agency immersed guests into powerful visuals, with digitally interactive experiences such as multiple photo-taking interactive stations and a transparent interactive touch-screen glass panel for VIP guests. The visual and interactive elements Uniplan added into the campaign effectively helped maximise exposure. “I am so proud of the team for creating some of the largest and most innovative events in the region. They have worked very hard and truly deserve this recognition,” said Daphne Choi, managing director of Uniplan Hong Kong. “The diverse nature of the awards we received highlights our skills in a variety of event types and client industries, and is a true reflection of Uniplan’s immense growth in the past few years.” Founded in 1989, Uniplan is an international creative agency focusing on live communication. The company’s vision is to create an own approach for every task and idea to help develop strong brand relationships between its clients and customers.

ᑋ᎚ᮿፊᎽ፵ᣃᅗUniplan⅜☂⁊ᬗᆃMarketingᆄ 〃〵Ӂ䍮摆㻊⑤⪶䓝ӂ䠓㢏汧㴙㬽Ҹ 封♐䏛㔷ひ╙㻊⑤⁲䖕⋻▇⎕⎴⢷㢏ℂⰡ汣㻊 ⑤ҷ㢏ℂ䍮摆㻊⑤ʟʟ㼗幊冔ҷ㢏ℂ䚱♐䠋⾒ҷ㢏ℂ ⪶⤚㻊⑤ҷ㢏ℂ汧䴰虊VIP㻊⑤╙㢏ℂ⪩㾯懢㍘䚷⋼ ↚仓⎴㗧捠虇㳳⪥╗庞ㄦ⡪↚搏䓝╙ᾘ↚搔䓝Ҹ Uniplan㢏⁳⁉⓿巰㾀⏊䠓⪶⤚㻊⑤虇ⷀ㞾埮䯀 ⋷䖒㢏⪶⤚䠓幼⧃朚⿤㻊⑤Ὶᾏ虇䅂朏㜿䅯㄀Ⓘ⮪ 㮑⧃朚⿤⌇䬽Ҹ 封㟩㢒屚ℕ唆捛㻊⽷㞮␸柲虇佯憯⎉唆捛㻊亩䠓汣毦虇㎟␮䉉幼⧃╙⌅⁥㫼⑨⨭␯⁉㻐╙㛅⋴Ҹ Uniplan䉉。㹊欨㾾╙⫶慹AG䳘ⴱ㏅媌⃫䠓㻊 ⑤虇‵崩ㄦᾏ厃⬌寤Ҹ 封⋻▇戇㙖⢷欨㾾㢏⪶䠓捠夜ᾼㅒ╙ら䵘⒔⢜ ᾚ䠓ᾼ䘿⡪埮䩋榼㥅弆⽷⤚憞㞝⿂䶆虇䉉。㹊欨㾾䠓ⴲ≂㻊⑤㕼朚〞⿤Ҹ ⌅䡽䠓㞾ら䱚ᾏ↚⋔䂎⶙幃㶲ㇾ䠓䰉朢虇⁴拜▗ 。㹊S亊⎦㜿恙⤚䠓⴩⃜ҸUniplanⴘ㔡―▓䮽‡⑤ 䂣⎉虇⬑㟩朢厭志姷䂣Ҹ 厂㝋⫶慹AG䠓ⴲ≂㻊⑤虇封⋻▇⾛㢪㏢憯ᾏ↚ ⋔䂎㻊␪䠓‡⑤䠋⾒㢒虇᾵⨭㾊ᾏ企⽴㫼㶲ㇾ虇⁴䰐槾Q7䠓䐈幹Ҹ 封⋻▇䉉ⴱ⁉⿅ℕテ䉗䠓嬥孉㛗㤫虇᾵拜▗㜇䩋 ‡⑤汣毦虇ℚ⬑⪩↚‡䢇㑜䋶䱨虇⁴╙ᾏ↚䉉VIPⴱ ⁉军宼䠓憞㞝䕊䘒‡⑤宇㔶ⷞ⿤Ҹ Uniplan㾊␯䠓嬥孉╙‡⑤⋒亯㢘␸㻊⑤䎼╥ 㢏⪩䠓㡬⋘䔖Ҹ Uniplan欨㾾嗲‚俌伢䖕嚰儝䔘尹處Ӂ㎠↠䠓⢧ 栙媌⃫―ᾏ‪Ⓩ⋶㢏⪶⤚ҷ㢏␄㜿䠓㻊⑤虇㎠䉉㳳㊮ ⎿ㄗ卹巹Ҹ⁥↠棭⿇␹␪虇令⶜⇋ㄦ䔁ㄦ憨↚㴙㬽Ҹӂ Ӂ㎠↠劌⪯⢷ᾜ▛仓⎴庞ㄦ䓝榔虇峘㞝㎠↠⢷ᾜ ▛㻊⑤╙姛㫼㝈棱䠓⶗朆虇᾵╜㞯Uniplan⢷懝╊」〃䠓咐⩾㎟朆Ҹӂ ㎟䱚㝋1989〃虇Uniplan㞾ᾏⵅ⢚株␄㊞⁲䖕⋻ ▇虇⶗朏媌⃫䖍⧃ⴲ≂㻊⑤Ҹ封⋻▇䠓䡽㮨㞾䉉㵞↚ 榔䡽╙㬑ㆄ㏢憯䓷䐈䠓ⴲ≂㝈ゞ虇䉉ⴱ㏅厖㼗幊冔Ὶ 朢ら䱚弆テ⇴䠓♐䏛杫⅑Ҹ WWW. MARK E TING-IN TE RAC TI VE . C OM

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JOB SHUFFLE ⁉‚崙⑤ Robin Hu, chief executive officer of the South China Morning Post, will step down from his position to join the Singapore investment company Temasek Holdings in December. Hu, who will depart eight months after steering the Post ’s transfer of ownership to the Alibaba Group, will serve as a director of the SCMP board. ҿⓦ啾㝸⧀Ӏ姛㛎俌婐剰⁴㟷ⶖ㝋12㢗┇₊虇␯⋴ 㜿␯⣰⢚㢘㐤幖⋻▇㽰欻撺Ҹ剰⁴㟷⋺↚㢗⏜⿅榧 ⓦ啾㝸⧀榕⎸懝㾰⎿柎捛⾃⾃桕⢧㝦ᾚ虇⁥桱分ㄛ ⶖ個倛⎉₊ⓦ啾㝸⧀嗲‚Ҹ

LILIAN LEONG TAKES UP NEW ROLE AT 9GAG 㨐呆哄⎉₊ 9GAG 䍮懚俌婐 Lilian Leong has left IPG Mediabrands for 9GAG. Leong, managing director of IPG Mediabrands Hong Kong, stepped down for a new role as chief operating officer at the pop culture website 9GAG starting in August. Before IPG Mediabrands, she spent nine years at Leo Burnett Hong Kong as general manager and was promoted to managing director in 2009. Meanwhile, the replacement for Leong will be Kasper Aakerlund, with the agency naming him CEO of IPG Mediabrands Hong Kong. He will lead the agency’s overall business strategy and operations and starts his new assignment in mid-September. 䡮ⓩ欨㾾嗲‚俌伢䖕㨐呆哄桱分Ҹ⬈ㄭ⋺㢗弆␯ ⋴㻐姛㜖⒥佁䱨9GAG虇⎉₊㜿宼䱚䠓䍮懚俌婐 ᾏ分Ҹ⬈㢍㙣₊㣝⫶帬亜欨㾾俌伢䖕Ῥ〃虇᾵㝋 2009〃㟘ⓖ䉉嗲‚俌伢䖕Ҹ厖㳳▛㟑虇Kasper Aakerlundⶖ㔴㢎㨐呆哄虇⎉₊䡮ⓩ欨㾾姛㛎俌婐ҸAakerlundⶖ帯帻⿅榧封⋻▇䠓㜃汣㫼⑨䳥䛴 ╙䍮懚虇᾵㝋Ῥ㢗ᾼⷴ㜿Ҹ

IPG Mediabrands appointed Ben Hui as head of digital performance in Hong Kong, leading implementation and integration of paid media across multiple platforms, including display, mobile, social and programmatic for key local accounts such as Coca Cola, J&J, Cerebos, etc. Before joining IPG Mediabrands, he was regional digital director for APAC at Optimedia Hong Kong, where he led strategic planning and implementation for LVMH across digital channels. 䡮ⓩ₊☌Ben Hui䉉欨㾾㜇䩋㫼俍Ὴ䴰虇帯帻⿅榧槾䫉ⷞҷ㏚㯮ҷ䫍″Ⱑ汣╙䮚〞⒥庋幆䳘▓。╿ 䠓㛅幊Ⱑ汣⦆姛╙㜃▗虇㢜⑨䠓Ὴ嬐㢻⢿ⴱ㏅⒔ 㑻╾╲╾㮑ҷテ䚮ҷ橮䡙婫䳘Ҹ␯⋴䡮ⓩ⏜虇⁥㙣₊ Optimedia欨㾾‭⪹Ⓩ㜇䩋俌䡲虇帯帻LVMH⢷▓ 㜇䩋。╿ᾙ䠓䳥䛴嬞␒╙⦆姛Ҹ

FCB recruited Christopher Chan as creative director for its Hong Kong office. In his role, he will define the creative vision and strategy for Prudential and other clients in Hong Kong. Before joining the agency, he was creative director at JWT handling accounts such as HSBC. ⓩ懣⪶㯚ひ◙⋻▇凧屚Christopher Chan䉉欨㾾愵‚埤␄㊞俌䡲ҸChanⶖ帯帻䉉咀⢚Ⅼ尯╙欨㾾⌅⁥ⴱ㏅⏅⴩␄㊞宗␒╙䳥䛴Ҹ␯⋴封⋻▇⏜虇⁥ ⢷㠉⮐㿾懫㙣₊␄㊞俌䡲虇㢜⑨Ⓘ巟搏姛䳘ⴱ㏅Ҹ

Independent creative agency Constant has hired Paul Lam as its new partner and business director. He will be based in Hong Kong and work closely with the founders to define the future vision of the agency. Before joining Constant, he worked on an array of international brands such as Prudential, PUMA, Unilever, Direct Line and Charles Schwab, spanning agencies that included Ogilvy & Mather Hong Kong, TBWA Hong Kong and Saatchi & Saatchi London. 䓷䱚␄㊞⁲䖕⋻▇Constant₊☌Paul Lam䉉㜿▗ ⃫⪴⃃⌋㫼⑨俌䡲Ҹ⁥ⶖ⿇歟欨㾾虇᾵厖⋻▇␄愵 ⁉余ⵕ▗⃫虇⌀▛嬞␒⋻▇䠓㢹ℕ䠋ⷤ㝈捬Ҹ␯⋴ Constant⏜虇Lam㢍㢜⑨⪩↚⢚株䥴▜♐䏛虇⒔㑻咀⢚Ⅼ尯ҷPUMAҷ凾▗⎸啾ҷDirect Lineҷ➘ⅰ䖕帰䳘虇㢍㛗␪䠓⁲䖕⋻▇⒔㑻⫶儝欨㾾ҷTBWA欨㾾 ╙↺㛵䡪ᾥ朆⥝Ҹ

Isobar has promoted Jane Lin-Baden (right), CEO of Isobar China Group to Asia Pacific CEO of Isobar. She takes over from Jean Lin (left), Isobar global CEO. Lin has held the position from 2010 and will now focus on her global role going forward. In her new role, Lin-Baden will drive strategic growth to expand Isobar’s capabilities and accelerate business growth throughout the region. Lin-Baden will continue to be based in Shanghai and lead the Isobar China Group as CEO, in addition to her new responsibilities. She will report directly to Jean Lin and Nick Waters, CEO of Dentsu Aegis Network Asia Pacific. ⴘ亱⾤ᾼ⢚桕⢧姛㛎俌婐㤦䢮)▂*ㄭⴘ亱⾤⋷䖒姛㛎俌婐㤦╚䗃㏚ᾙ㔴₊ⴘ亱⾤‭⪹Ⓩ姛㛎俌婐 ᾏ分Ҹ㤦╚䗃)⽵*㝋2010〃朚⭚㙣₊ⴘ亱⾤‭⪹ Ⓩ姛㛎俌婐虇⁙ㄛ⬈ⶖ⶗㹷㝋⬈䠓⋷䖒孡吁Ҹ⢷ ⬈䠓㜿分⃜ᾙ虇㤦䢮ⶖ帯帻比⑤ⴘ亱⾤䠓㎿䛴ㆶ ㎟朆虇⨭テ⋻▇⢷‭⪹⢿Ⓩ䠓⵵␪虇␯憮㫼⑨䠋 ⷤҸ㤦䢮ⶖ個倛歟₊ᾙ㼆᾵個倛㙣₊ⴘ亱⾤ᾼ⢚ 桕⢧姛㛎俌婐虇▛㟑⌋₊㜿分⑨Ҹ⬈ⶖ䢃㔴■梊憩ⴘ▘㜾桕⢧‭⪹Ⓩ姛㛎俌婐Nick Waters⁴╙ⴘ 亱⾤⋷䖒姛㛎俌婐㤦╚䗃Ⓘ⧀Ҹ

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