3 Reasons to Have Your Out of Home (OOH) Campaign Data Driven

3 Reasons to Have Your Out of Home (OOH) Campaign Data Driven

Out of home (OOH) advertising is one of the oldest, yet most effective and profitable methods of advertising your business. Reasons for this are as follows according to Air Out Door:

  • 71% of consumers view messages on roadside billboards.
  • Bus shelter ads reach 92% of the US population weekly.
  • Billboard marketing costs 80% less than television advertising.
  • Almost 26% of customers have visited a website in response to OOH adverts.
  • OOH ads are able to drive a 38% increase in mobile engagements with brands.

According to WARC, the global out of home ad-spend is forecast to increase 3.2% in 2018 to 34 billion dollars, driven by an increase in digital OOH; and as one of the oldest forms of advertising, OOH is undergoing a vast revolution as digital formats grow and become more targeted.

Smart phones have now given advertisers a means of interacting with consumers via DOOH, placing data driven campaigns in the spotlight which can drive your initiative beyond how many people are passing a site.

Lets dive into the top 3 reasons why!


1. Build Your Brand and Drive Sales

Brands are in constant competition in getting consumer attention. There are two distinct trends within our current market. The first trend is where the Out of Home activity has been planned to strengthen an already present social media campaign; the second trend is where social media is used to emphasize the digital out home movement.

Studies convey that full-motion Out of Home can extend the reach of a TV campaign effectively by contributing to positive brand-building outside the home. When a message is relevant in the moment and contextually delivered, consumers are more receptive. And this is especially true when allowing brands to engage with consumers, from interactive experience to ‘bespoke’ messaging.

OOH as a brand builder has been apparent since the birth of modern day billboard advertising via the invention of lithography in the 1970’s. Its 98% reach of the UK population distinctively positions this channel to grasp the attention of a broad range of customers. Bus shelter adverts reach 92% of the population every week, and after TV Out of Home delivers the second-best sales ROI out of traditional media.

However, with the advent of DOOH and data driven marketing, marketers have the opportunity to engage customers with tactile, experiential and interactive experiences.

For example, Audi unveiled a DOOH campaign on using API’s and public data to present their digital ads on roadside displays to promote real-time driving conditions, measuring the present driving conditions such as time, weather and traffic to boost the diverse characteristics of their driving technology. This movement has now been successful in 9 cities in the UK and has been viewed on 211 screens reading the tagline “Audi as your sixth sense.”

Chief Creative Technology Officer at Grand Visual, Dan Dawson, states, “Clever use of data and technology amplifies campaign relevance, transforming digital out-of-home advertising networks into real-time marketing platforms. With the right team and a collaborative approach, it’s never been easier to produce engaging and responsive campaigns at an individual screen level ensuring the campaigns remain targeted and relevant.”


2. Local Messaging

This is a great tool in promoting their business effectively to those that are local to the area in which the brand is being advertised. Survey results from OCS shows that 74% of those asked, said that they were most engaged by advertising messages that are relevant to their location.

Growth of smaller DOOH set ups in shopping malls, high streets, airports and transport hubs allow for more proximity or location-specific instigation’s. An example of this is B&Q; this brand uses different ads depending on the local weather. They have high street ads running which are powered by weather data they collect, pushing specific products dependant on the current climate.  Using OOH advertisements in this way will have a better chance in reaching potential customer needs.


3. Measurable – Outdoor Effectiveness

When measuring the effectiveness of outdoor advertising, numerous diverse aspects need to be taken into account, as there are two main things to consider with poster and billboard advertising. You will need to question yourself on:

  • What is the potential audience size for your displays?
  • How many of those individuals from that potential audience viewed your ad?

Then from that, it is important to ask yourself:

  • How many of those that viewed your ads have engaged with your brand?
  • Has there been a positive effect on sales?

The measurement of outdoor effectiveness can be broken down into 2 elements. Firstly, opportunity to contact. Esomar, the market research company, uses the term Opportunity to Contact (OTC) as a metric for gauging how many individuals will possibly walk past your advert and view it. Similarly, Visibility Adjusted Contact (VAC) is regarding the actual number of people that view the billboard ad.

Secondly, mobility, which is a measurement of any movement; be it journey on foot or by vehicle taken between various points in the outdoor environment. This monitors the movement from potential consumers through use of GPS, allowing a more accurate understanding of how people view OOH. With location data enabled, brands can survey people walking past a billboard.

And lastly, traffic data, which consists of a measurement of vehicle traffic or pedestrians through a specific road section relating to the advertising site.

 

An OOH campaign that ICP created for Captain Morgan at Clubhouse St. Pauli in Hamburg, Germany.

 

Certain trends are already having a huge difference on how OOH is reaching its audience. Following these steps correctly will ensure a better response, more effectiveness and a stronger delivery for your future OOH campaigns.

 

I can’t hear you!

I can’t hear you!

By David Howlett –

It’s a missed opportunity that so few advertisements carry subtitles, when one in six people regularly use the closed caption option when viewing content. We’ve been offering this service on the video ads and the social media videos we produce for many years, and we always recommend it. There is a small cost increase to cover this, and this seems to have been a blocker for some. But the numbers are surely now making the case for this to be done every time? For this small incremental cost, every advert or video will hold the attention of the 17% of the audience who use subtitles to follow what they are watching, when otherwise it would be without its full meaning.

There are not many small tweaks that you can make to any video that have such a rapid payback. In addition to those people who have diagnosed hearing difficulties, there are many more people who choose to turn on subtitles to overcome the din of everyday life. This is often the case for those using mobile devices with earbuds whilst on a train or bus, or even at home when watching on a device whilst someone else in the room is playing something on the TV.

Subtitles act as a safety net to make sure you don’t lose the plot on the latest Netflix blockbuster just as the train driver announces the latest delay in your journey! It’s also very much aligned with best practice on the social media platforms which often auto-start the videos without audio. We also note that Procter & Gamble has said it will be adding audio descriptions of what’s happening on screen to help the high percentage of people who watch TV and video content with some form of visual impairment.

Again, there’s obviously a small cost attached, but it’s the right thing to do both commercially and morally. UK Ofcom targets exist for TV Channels (both BBC and privately funded TV), but it’s down to brand owners to do the right thing in their advertising for their customers. We’d argue it’s safeguarding the future appeal of their brands to make the decision now to do this on every video they commission or produce, and winning them a short term advantage over their slow-moving competitors, as well as yielding an immediate Return On Investment. What’s not to like? ICP is very happy to work with adtext for both subtitling and audio descriptions, and we will be pleased to advise on this for all global clients.

Top 5 Remedies For Your Digital Asset Management Pain Points

Top 5 Remedies For Your Digital Asset Management Pain Points

 

By Ruth Peters –

 

When DAM works well, it delivers the promised business benefits of streamlined working, increased asset re-purposing and brand compliance. When it’s not so good, well, it can cause frustration at multiple levels and fail to bring the promised value to your business.

In this blog we outline the top 5 DAM pains we see and also bring best practice advice from ICP’s experienced team of consultants and change managers.

 

1. Clearly Defined Business Case and ROI Model

Whatever the scale of the DAM project, the basics are essential. The chances are you will have written a business case to get the budget in the first place, but is that business case tracked by regular ROI monitoring and is it understood and bought into by all stakeholder groups, not just at go live but also beyond?

ICP Consultants Top Tip

  • Develop your ROI model before you begin implementation. Then, ensure all of the program stakeholders are measured on the successful ROI/adoption of the solution.
  • One of the most powerful ROI metrics you can have is “Re-purposing of content” (total downloads offset against ‘would have re-purposed anyway’, minus anticipated ‘wastage’). Link the resulting figure to a monetary value (cost of creating new minus adapting from existing), depending on the asset type.

2. Lack of Adequate Governance Structure

It’s true, DAM solutions have progressed enormously from a usability viewpoint but that does not mean that they will run themselves. Your DAM solution needs to be nurtured, cared for and key elements such as; metadata management, QA procedures, stakeholder engagement and change management need to be documented and adhered to. Otherwise, the effectiveness of your solution will be compromised.

ICP Consultants Top Tip

  • Establish a governance group that will go beyond implantation, ongoing into ‘business as usual’. Ensure your business users have a key ‘seat’ at the table to help shape the ongoing strategic direction and evolution of your DAM.

3. Complexity of implementation 

Scope creep is an evil thing. The solution of hope becomes a mess of complexity, as key user requirements and how they are going to deliver value to the company gets lost. Frequently this loss of focus is understandable, as the business gets excited about the potential without being adequately challenged on need, priority and timing.

ICP Consultants Top Tip

  • Cultivate a living, breathing enhancement ‘backlog’, that your governance group can help steer and prioritise. Operate on the best-practice principle of “Think big, start small”.

4. Inability to scale/integrate with wider ecosystem

DAM is no longer in a silo; in many instances, it is now a global solution with multiple integration needs and the expectation of supporting the digital transformation of a company. Integration needs to be supported with best practice advice, as well as fit for purpose technology. In addition, the technology must be agile enough to adapt to ever-changing needs.

ICP Consultants Top Tip

  • Avoid point-to-point integrations wherever possible! As success will only increase the demand, ensure that you develop integrated solutions that can be flexible and scale.

5. Lack of Engagement/User Adoption

The number one symptom of DAM pain is poor user engagement and adoption.  Its root cause needs investigating but frequently we find that the cause is well known but moving from the current scenario when a perception of the DAM solution is already set needs the right support.

ICP Consultants Top Tip

  • Getting the right measure of “carrot” and “stick” can be a tricky proposition. Getting the right support in place, during implementation and during business as usual stages will significantly increase your chances of success. Make sure however that you ‘switch off’ legacy solutions, so that the DAM becomes an integral part of your users’ day-to-day, so that they HAVE to use it to do their jobs.

Of course, there are many more pains and if you would like advice on any of the above or others please do get in touch, we would be happy to provide some no obligation best practice advice to help make your DAM solution a success for your business and its users.

 

At ICP we offer both global advertising production and Martech managed services. The step into Martech came from our production pedigree, as clients recognised how good we are at managing, as well as producing assets.

If you would like to learn more about our MarTech or Production Services please call Matt or Ruth on: +44 (0) 20 7436 4300 or +1 (646) 360 1716.

A Match Made In Heaven

A Match Made In Heaven

By Ruth Peters – 

Strawberries and cream, honey and lemon, Posh and Becks ….All matches made in heaven, of course! Well you would be forgiven if Production and Martech Services is not top of your heavenly list but we think it should be, for the following top 5 reasons:

  • Marketing Value – there is no better way to understand the value of marketing than being involved in the creative process, at ICP we are involved with the very inception of the marketing asset and we believe this understanding is essential in order to deliver best practice MarTech advice.
  • Asset Value – as creators of assets we have real life experience of metadata, rights, brand compliance and regional sensitivity issues, helping us provide superior services to our DAM clients.
  • User Empathy – from our production services we understand the creative process from all disciplines and also from both the client and the agency side, this puts us in a unique position to manage the MarTech change management process.
  • Opportunity Spotter – all of our marketing and creative experience helps us add value and spot ways to streamline marketing processes and integrate solutions seamlessly.
  • Keep it Clean – Rest assured, we always keep it clean – advice from both our Production and MarTech teams are never influenced by vendor subjectivity or financial reward, we all always remain agnostic and objective.

At ICP we offer both global advertising production and Martech managed services. The step into Martech came from our production pedigree, as clients recognised how good we are at managing, as well as producing assets.

If you would like to learn more about our MarTech or Production Services please call Matt or Ruth on: +44 (0) 20 7436 4300 or +1 (646) 360 1716.

The Typography Diaries

The Typography Diaries

By Paul Stedman – 

 

IT’S A STORY OF DECEIT, INTRIGUE AND HIGH-LEVEL SHENANIGANS…

I blame Bill Gates. Someone has to be responsible.

Throughout the latter half of the twentieth century, Helvetica was one of the most popular typefaces around – it had the lot: style, class, elegance.

Helvetica was probably the first universal typeface and could be spotted in most environments from big businesses to transport, to clothing and then to luxury brands. A film was made detailing its popularity and usage. Helvetica was voted “Best Font of All Time” by a German foundry. Everyone was happy. Well, almost everyone: a predator was lurking…

The Microsoft Corporation needed an alternative to shelling out licensing fees for using Helvetica on their Windows Operating System. So, in 1990 the font Arial was born as an alternative – some would say imitation – to Helvetica. While the two fonts look similar, there are subtle, but key, differences. The clincher however was that the font characters for Arial were exactly the same as Helvetica’s, meaning one could be substituted for the other with minimal risk of text reflow. That move was not well received.

Here’s the paradox: Helvetica is popular and people love it; Arial is more popular and is loathed. It’s all about the “imitation” factor – you would be amazed at the bad blood that can be generated within refined typographic circles about “clone fonts”. As a taster, go to You Tube and enter “Font Fight” by “College Humor” – it’s a stand off between two rival gangs (Helvetica v Arial) and respective hangers-ons . Arial is now probably the most widely used and second most derided typeface in the world. Arial is everywhere, there is no escaping it.

The Medium Is In The Message

At ICP I work on the Avon account and use Arial all the time. The fonts’ weakness and pervasiveness is its strength. Our need to create text in a myriad of foreign languages – Turkish, Greek, Czech, Serbian, Russian, and many more – with the associated accents – calls for a typeface that covers all bases. If a foundry is going to cut the necessary accents for such wide use, they need economies of scale. That calls for Arial. It might be derided, hated by some, but we cannot do without it.

I suppose I am what you might call a Type Geek. No trip on the Underground is complete without me taking an opportunity to admire the classic quality of the fonts on tube maps (Johnston Sans); a trip to the City of London leaves me marveling at the refined street signs (Albertus). Johnston SansEqually a trip to upmarket High Streets leaves me scratching my head at what “Patisserie Valerie” were thinking when they commissioned their art nouveau style (Arnold Böcklin) for their branding; it might look odd, ugly even – but it is distinctive.

To borrow a famous phrase – The Medium is the Message:  How type is used says a lot about a company or organisation and the message it seeks to convey. EasyJet, for instance, and their use of Cooper Black: The font might not be everyone’s cuppa’, but it has a certain retro, even kitsch, appeal. When combined with its corporate orange colour, (PMS021C) you are left in no uncertain manner who are you dealing with and what they are trying to say – “We’re fun and friendly. So, hey, let’s fly to the Costa Brava”.

So, if Arial is the second most hated font:  what is number one? That’s easy: Comic Sans. It’s more a case of the font’s inappropriate use, such as on the front page of the Sydney Morning Herald. It might be suitable for a child’s party invitation, but not much else. There has been a campaign to have Comic Sans banned. The argument being that a typeface should match the tone of its text, and that its misuse is a disservice to the art of typography “analogous to showing up for a black tie event in a clown costume”.

Endless Fonts To Choose From

The assembly of type used to be the preserve of craft professionals. Type was assembled in large frames; It originating from large cumbersome trays or racks, each containing lead characters in a given size and style. If the size was not correct, or typeface not appropriate, well it was simply a question of starting again. Those days are long gone and an operator has immediate access to thousands of fonts to choose from – and the choice can be bewildering. In typography, as with any form of design, there is no absolute right or wrong, it’s about what works. If you are producing for a solicitor or Accountant, you are probably going to need something conservative and respectable: Bembo or Baskerville for instance. A building company needs something solid and sturdy, Rockwell or Stymie perhaps; whilst a tech company might need something with sleek, geometric lines: Syntax or Futura perhaps.

Times New RomanThe options can be endless – baffling, but there are some universal truths to fall back on. Your starting point will normally be: serif or sans serif font? Serifs are small lines attached to the end of a stroke of type characters , Times Roman is probably the best known example of a serif font (the bookseller Waterstone’s use Times Roman with a large serif “W”). Arial and Helvetica are sans serif fonts. Sans is French for “without” – so sans serif, translates as “without serif”:  get it?
Generally speaking, large blocks of text call for serif fonts –refer to a long newspaper article or novel and you will see what I mean. The rationale being that the serifs aid the reader’s eye and leads to increased concentration; Sans serif fonts are felt to have too many similarly shaped characters. The reverse is true for smaller items or headlines, which normally use “sans” type. Sans serif is trying to grab your attention, while the “serifs” are designed to keep you hooked. That’s the theory anyway, but if all else fails, you can also fall back on hardy perennials – Times, Helvetica or even, dare I say it, Arial. But not Comic Sans. Please.

 

The Power of Outdoor Advertising

The Power of Outdoor Advertising

By John Stuart

The arrival of the PC on the Beara Peninsular, the struggles of a picture researcher before Google, and finally, Do Americans know what Artichokes look like?

This musing will not give you any insight into technology, as the series proposes. However, while I was reflecting on my friendship with Indra Sinha described in a previous blog, this memory came back to me.

Indra had decided to take a holiday in Ireland.He was aware that I regularly spent time in Kerry and Cork in the southwest and always came back to the agency with wonderful, if not a little blurred memories. I suggested he should meet close friends of mine who were living on the Beara peninsular in South West Cork. I was sure they would enjoy each other’s company. He came back full of memories (possibly hallucinatory) of surreal conversations ranging across many subjects, fuelled by helpful stimulants and I believe gave him food for thought for his book The Cybergypsies.

An Introduction To My Friends

The events I am about to describe exactly demonstrate why I have such fond memories of this enchanted place. My regular visits to the area were to see my young daughter. Through these visits, I got to know and became very close to Tony and Christa, who gave me a roof over my head and a support system. They were the most eccentric couple I have ever met and I thought would be perfect company for Indra.

They had 5 children, a donkey, no electricity, rudimentary plumbing, a phone that worked occasionally and a car that functioned even less than the phone. Tony spent his time on a number of pet projects, but was slightly inhibited by the lack of any means to communicate his views. He felt art had been too commercialised and was keen to promote a year where it was banned entirely. He made his own contribution to this endeavour by taking down all his pictures and locking them away in one of his outbuildings.

Eccentric Problems

Even in those days, he was keen on green and regaled all the locals to support environmental issues. He was particularly keen to promote ethical fishing and strict quotas. The local fishermen were unsupportive. He was vocal regarding his disquiet about the establishment, church, politicians, schooling and the police. He had problems with American foreign policy and EU meddling in Irish agricultural policy, particularly unpasteurised cheese. And he didn’t like mussel farming in the Kenmare estuary. I didn’t think we was doing a very good job of merging quietly into the local community..

He also had two commercial ePotcheennterprises. He ran astill up in the mountain’s and sold his Potcheen (see picture) to the deputy bank manager in Castletown, Berehaven. He also had a greenhouse nestled away on his smallholding, where he grew a crop of plants which helped him relax. He then branched out into another agricultural enterprise. This is where I came in.

 

 

 


The discussion went a little this this: “John, I have established a new enterprise; The Allihies Globe Artichoke Co-operative Society and I need your help.”

“What’s it going to do?”

“Grow and sell artichokes, initially locally and if successful across Europe.”

“Who are your partners?”

“I haven’t got any.”

“How can I help?”

“You’re in advertising and I need a campaign.”

“Have you got a budget?”

“No, but I like the idea of Gorilla marketing that you mentioned to me.”

“Its guerrilla marketing,” I said.

“I thought we could put posters up on the telegraph poles around the Beara Peninsular. I think we need to keep it simple. Just say ‘Globe Artichokes for Sale’, with an arrow pointing left at 200 meters.”

Putting together the artwork for his poster when I got back to London was easy, apart from sourcing an image of an artichoke (particularly with no budget) and decades before Google images. I chanced upon the Readers Digest Gardeners Year tome in the agency library, and there it was.

First & Second Version

Outdoor Advertising Outdoor Advertising

Next to the gardening book was another Readers Digest publication on the fishes of the World. To ring the changes, I introduced another graphic using the same copy, printed 200 of each version and dispatched them to the Beara Peninsular.

On my next visit, we discussed the campaign rollout. The findings were as follows:

  • Tony posted the first version and added 3 of the second version, all around the peninsula’s telegraph poles. Not one artichoke was sold. The crop was consumed by the family.
  • The alternative version, in today’s terminology, went viral, with visitors and the locals discussing at great length in the pubs – over a pint or two of Murphy’s – what the strategy behind the imagery was meant to convey. Popular opinion decided it was subliminal advertising.

The remaining 197 copies were stocked by the local arts and crafts shop and they sold out over the summer season. At 20 punts each! The gallery owner said they were mainly purchased by American visitors. After the gallery owners commission, Tony had a nice little windfall. With the proceeds of his art sale, he bought the first PC in private hands on Beara and joined Indra as a cyber gypsy.

So much for the over commercialisation of art. Needless to say, his pictures are back on the wall.