Welcome to The Real World,Posterscope’s Out-of-Home landscape document that covers all the key facts and figures, market dynamics and drivers, revenues, new and relevant media and industry news and understanding the connected consumer.This document is updated on a monthly basis.
We live in a world changing at dramatic pace… Innovations are changing the way audiences consume media, almost overnight. For example, the iPad has been the most quickly adopted non-phone electronic device ever recorded (source: CNBC / Bernstein Research). Formats are converging... For example, the humble poster is no longer this in a traditional sense… it can be a TV or a website, or a transaction point or a gaming console. Similarly, experiential activity is transforming - combining interactive content, video, mobile and social activation. And of course phone handsets themselves can now do many of these things and more…There is a huge race amongst payment-services brands to dominate the mobile commerce platform. People are increasingly expecting to be able to do anything, anywhere. The content brands are using to communicate to audiences with is also changing – many used to rely largely on a bought media model, but are now increasingly incorporating owned assets in strategies, plus driving earned sharing / exposure. Data is the new gold in identifying exactly where, when and how to engage these audiences. To plan effective multi-market campaigns requires efficient use of a wealth of local, proprietary, 3rd party and client data. Whereas the variety of communication channels that consumers have access to is fragmenting, businesses are increasingly centralising their media planning, ensuring consistency in the way their brands talk to ever-more-mobile audiences. This mobility is on a global scale, by both land and air:51%+ of global citizens already live in cities... by 2050 this will rise to 70% (source: UN World Urbanisation Prospects 2009 Revision)Global airport traffic will rise from just under 5.0bn in 2010 to 6.3bn by 2015 (source: ACI Global Traffic Forecast 2010).
The world is being transformed by technology, changing how people behave, especially when Out-of-Home…This is evidenced by the way we are having to re-define OOHTraditionally positioned as posters and screens that you can put ads on. Maybe a bit of experiential too.Today’s OOH media infrastructure looks very different...For example, it incorporates all kinds of bespoke placements, exhibition spaces, client owned inventory and BTL retail communications.Plus the technology that consumers use when they are out and about - in principle, a laptop can be just as OOH as a posterAnd there’s a whole range of things that can be layered on top of straight advertising;Services (search, public utility content on screens)Experiential conceptsPlatforms (Facebook, twitter)Content (YouTube, DOOH ‘programming’)Commerce (virtual store posters, downloadable vouchers)Games (on mobile, DOOH or both together)So what we have here is very much a bought, owned and earned OOH ecosystem of media, technology, content and experience, with lots of interconnected and interdependent partsWhat’s interesting about the OOH ecosystem is that it overlaps with other major global ecosystems e.g.;Google (video – YouTube, search, mobile display, Gmail, Google+)Facebook (website, mobile app/site, f-commerce)apple (iPhone, iPad, iTunes, iAds)Amazon (app, website, affiliate)But unlike them, the OOH ecosystem isn’t dominated by any large multi-disciplinary multi-nationalsPosterscope aims to help bring a lot of this together.
OOH is one of the only forms of media that continues to see audiences grow year after year as we spend more time out of our homes and do different things with our time.
This section examines how we can understand the connected consumer in greater depth. It encompasses industry and proprietary insight, media owner consumer panels and Route, OOH’s revolutionary audience measurement system.
OCS is Posterscope’s proprietary consumer surveybased on a representative sample size of over 6,000 adults. It evaluates their OOH activities, their attitudes towards, and opinions of, advertising in different environments, and importantly their typical moods and mindsets in different environments. Available audiences include all the standard demographic groups plus detailed audience segmentation (matching client specific audiences), category enthusiasts, WOM influentials and social and mobile audiences. Typical areas of analysis may include weight of media consumption, travel behaviour, thoughts when travelling, OOH environmental effectiveness, OOH formats noticed, intention to purchase, actions taken in response to OOH advertising, etc.
OCS is now present in over 30 of the Posterscope network countries with a total of over 100,000 respondents. In the UK the survey is now in its 5th incarnation, has a total sample size of 6,836 and incorporates almost 40 OOH formats in the analysis.
OCS enables us, for example, to understand how smartphone users interact with OOH which will in turn influence planning decisions.
IPATouchPoints is a unique, consumer-focused, multi-media database which has been produced in response to the needs of the communications industry, specifically to provide insights into how people use all media. TouchPoints’ Hub Survey provides a detailed view of ‘a week in the life’ of consumer behaviour. Respondents record their activities every waking half hour over a seven day period, giving a unique view of people’s daily lives and how their media usage fits into these patterns. TouchPoints, now in its 4th generation, is a two-pronged system which comprises of an e-diary and a self-completion questionnaire:The e.diary- Active purchasing each half hour. They also ask the respondent to tell themhow much they have spent if they have bought something. This allows them to find out more about purchasing behaviour in general. Where people are when they are buying – how much of it happens online or when they are out and about. Whether major purchases at the point of sale are made when people are with others or when they are alone. And of course to enable them to understand respondent’s media consumption just prior to actual purchase. -At the end of the half hour e.diary questions a screen of 12 emoticons have been added which respondents are asked to click on to reflect their mood state. The Self Completion Questionnaire: - More questions have been added on social networking and use of social media. - The technology section has been revised to reflect the ever changing technology market and questions about use of tablets and e books have been introduced.-In the television section respondents are asked about the platforms they use to watch content including ipads, internet connected televisions and 3D TV sets. -There are also new questions relating to product placement on television for the first time. And the VOD questions have been completely revised and expanded. - For radio respondents are now asked about radio listening via an app with frequency levels. -For newspapers and magazines respondents are now asked about readership via electronic devices for the first time, by title. - The outdoor section has been revised to include more questions about digital screens. - The gaming section has more questions relating to games played on the internet rather than just hand held devices. - The internet section has been radically revised and now includes many more frequency questions in terms of both sites used, activities on the internet and location of use.
VirtuoCity is a joint insight project between Posterscope and JCDecaux and was voted ‘Best Research Paper’ at the 2012 MRG Conference . It is a four minute driving simulation where research respondents watch video footage that follows a car driving through the suburbs and into the town centre. Specialist laptops measure respondent’s eye-tracking and then recall studies identify the memorability of different OOH advertising variables within the virtual city. These OOH variables included size, orientation, frequency and animation. The brand creatives and poster locations were rotated for different respondents, so the results were based on the advertising variables rather than the creative.VirtuoCity provides great insight into levels of fixation, recall and the ‘engagement index’ for OOH exposure elements.In future months we hope to transfer these learnings from the virtual world into the real world to plan OOH more effectively.
JCDecaux’s Connected Commuter, run by On Device Research, is a mobile panel of 1,500 rail commuters from London/South East and provides insight across a wide number of categories. Surveys have included finance, supermarkets, fashion, media, travel, motoring and insurance amongst others.In addition to this, in May 2013 JCDecaux launched its Connected Youth research initiative plugging in direct to 1,000 urban mobile-connected 15-24 year olds and enabling advertisers and agencies access to their opinions, habits and lifestyle choices. The Connected Youth community, also run through mobile research specialist On Device Research, gives brands up-to-the-minute insight from one of the hardest to access social groups. To further connect with this group JCDecaux have also developed an app to talk to its Connected Youth community on smartphone devices. JCDecaux will deliver short weekly surveys that will ensure advertisers get the information they need, when they need it. JCDecaux will also offer bespoke surveys at the specific request of agencies and advertisers to its Connected Youth community.
Ngen ,a unique audience insight community,was launched in June 2013.Dixons Store Group and Channel Five are among the brand partners for Clear Channel’s new audience insight community Ngen, which allows Clear Channel and their brand partners to participate in a hosted, two-way dialogue with 400 engaged and connected 18-34 year olds from eight major UK cities. The community will cover a wide range of topics close to the hearts of its participants, creating great insight for this influential audience. Ngen participants are from a tech-savvy generation who are used to documenting their lives through social media and are happy to interact online. Ngen builds on the community’s familiarity with social media to gain a deep insight into who they are, where they go and what they think about the latest hot topics.Run in collaboration with Crowd DNA & Trajectory Partnership, Ngen ran for an initial 18 weeks, alongside two waves of quantitative online research in the summer and autumn of 2013. A dedicated website which can be accessed by Clear Channel and their partners houses insights gained from the research including photography, video, quotes, survey results, analysis and third party literature.A full report will be released in early 2014 capturing all aspects of the project.
work.shop.play is an online research panel consisting of people aged 16+ who work, shop and play in the UK’s urban areas. It quickly provides up to date research and insight into the urban audience’s opinions, mindsets and behaviours, which can be used by Exterion Media to generate valuable audience insight and help shape clients products, services and communications. Weekly studies are run to generate behavioural, motivational and product usage insights about our audience. To ensure panel members are kept engaged and consistently feeling part of ‘The Urban Community’ – an interactive platform has been built, hosting a programme of rewards and benefits in order to incentivise participation.The panel is nationally representative with an up-weight to account for London audiences, and a predicted total size of 10,000+ members by the end of 2012. Vision Critical host the panel on behalf of Exterion Media.
Route, which launched on February 26, replacing Postar, is OOH’s revolutionary new audience measurement system enabling greater targeting across more environments than ever before. It incorporates the latest measurement technology and covers all major formats – which acts as a catalyst to allow OOH to be truly accountable in this increasingly multi-media, multi-platform world.£19m was invested in the research which took 4 years in the making.
The research study, undertaken by IpsosMediaCT and MGE Data, combines several elements: - The largest ever GPS travel survey with a fieldwork sample of 28,000 people, who each carried a GPS meter for nine days revealing how people move around as they live day-to-day. In total 19 billion GPS records were read to date and will increase by 3.3 billion every year.- A mapped network of all the pathways in the country (including tube stations, retail mall precincts, and all types of roads) to which traffic flows and audience numbers have been affixed – the Traffic Intensity Model (TIM).- Also from the TIM, the realistic opportunity to see (ROTS) has been calculated- Pioneering eye-tracking studies gauge the likelihood to see (LTS) factor of the various types of display. The research accounts for scale, orientation and distance. It also calibrates properties such as movement and illumination.
Route, based on a sample size of 28,000, encompasses all outdoor environments – airports, buses, London Underground, National Rail, pedestrian shopping precincts, shopping malls, supermarket exteriors and all roadside frames. These environments will be added in stages – the launch data includes 360,000 frames for road, bus and tube. It is designed around hyper-local geography allowing you to select from 24 conurbations or the 14 BARB areas.
With the release of Route there is a significant opportunity around the use of the data, as it can be the catalyst for the industry to behave in a very different way. Route is not a planning or optimisation tool, (more a detailed reporting tool) but as investing underwriters, Posterscope (along with Kinetic, Rapport, CBS, JCDecaux, Clear Channel and Primesight) have unique access to the ‘raw’ IPSOS data files (which includes all the recorded information for the 28,000 respondents in the GPS travel survey and the full frame universe database together with all of the visibility characteristics that contribute to the audience delivery). In addition we have the gold standard algorithmic code that is the basis for the outputs from the collected data. This dataset is a crucial element in our development of a unique proprietary planning tool, and trading by audience.
Sources:Science Omega, 12th April 2013http://www.thinkwithgoogle.comhttp://www.thinkwithgoogle.comMedia Week, 14th August 2013Evening Standard, 3rd June 2013LoveUKGoogle InsightBusiness Insider, October 2012Evening Standard, 3rd June 2013
Sources:Science Omega, 12th April 2013http://www.thinkwithgoogle.comhttp://www.thinkwithgoogle.comMedia Week, 14th August 2013Evening Standard, 3rd June 2013LoveUKGoogle InsightBusiness Insider, October 2012Evening Standard, 3rd June 2013
Examples of convergent OOH campaigns….March 2013 saw the launch of Posterscope, Proxama and Clear Channel’s latest OOH campaign for KFC. Utilising over 400 of Clear Channel’s NFC-enabled UK outdoor media sites, the campaign promoted KFC’s Hot Shots Box Meal and encouraged consumers to tap or scan for directions to their closest restaurant.All OOH site locations were stored on Proxama’sTapPoint™ platform. Tapping the NFC tag assigned to the panel redirected the consumer to a Google Maps page; this identified all of the KFC restaurant’s within their vicinity and provided them with walking directions to their closest one.The campaign ran for 2 weeks across the UK and gathered a lot of attention from passers-by. Many consumers interacted with the campaign via NFC and QR. Highlights included:- 60+ interactions per day-3rd most interacted phone was NFC-enabled-3rd of all campaign interactions were via NFC
The vast majority of global digital screens are internet connected (excluding China, where content updates are largely conducted physically). This enables content to be changed quickly and cost-effectively, plus allows advertisers to optimise activity in real-time, based on variables such as sales, search etc. Optimisation can involve anything from creative content featured, to airing location / time / day etc. Thus screens can be used reactively and tactically. Content can be redistributed from other digital sources – allowing for integration with other bought / owned / earned digital media and new data feeds, plus enabling a variety of other interactive and content-sharing options.LIVEPOSTER allows us to broadcast dynamic real time advertising to digital out of home screens. UK jobsite reed.co.uk is launched a digital out-of-home campaign featuring live vacancies as they are posted to the website. The campaign includes national rail and bus shelter ads from JCDecaux and Clear Channel and sits alongside the brands current TV push. Working with LIVEPOSTER, the out-of-home push features reed.co.uk’s ‘Love Mondays’ messaging, originally developed by Contagious ContentRead more at http://www.thedrum.com/news/2013/01/24/reedcouk-launch-digital-outdoor-push-liveposter#jTwBVyagCzVKMXP3.99
Posterscope embedded interactive digital screens in 20 bus shelters around the country to show hyper-local consumer generated reviews on Yell. Users can drill down into more detail to read the full review using the on-screen interface.
To promote their 123 Current Account and credit card Santander wanted to save the people of Shrewsbury £1 million. They did this by creating a three day event in the heart of the town with experiential staff capturing the combined savings for if everybody switched to the 123 Products. Posterscope assisted with this project by creating new out-of-home displays across the town.
John Lewis, the official department store of London 2012, wrapped its Oxford Street and Westfield Stratford City stores in spectacular fashion, with branded banners as part of its support for the Games. The Oxford Street store was wrapped with an asymmetric British flag, whilst a banner displaying medals made from items shoppers could buy in store went up at Stratford. The campaign, executed by Posterscope, formed part of a wider campaign targeting both domestic and international tourists while they are around the Olympic venues and travelling across the capital
Twentieth Century Fox promoted the launch of its latest film Walking With Dinosaurs in December with an augmented reality experience at Westfield Stratford.Visitors to the shopping centre in east London could become immersed in the world of dinosaurs.During the innovative experiential event, which was unveiled on Monday 16 December and ran until 22 December, visitors could meet and greet the star of the film, Patchi, as well as see and hear the dinos brought to life all around them using augmented reality technology.The project was delivered by psLIVE.
psLIVE put on a surprise ‘pop up concert’ featuring Lawson within the LGW airport terminals over the Christmas period to promote British Airways.The concept of the gig was to disrupt the airport environment. In order to ensure there was authentic disruption and to genuinely surprise passengers, production elements were designed to blend in with the environment. Staging looked like Christmas presents, positioned around the Christmas trees already in place at the airport and all sound equipment was disguised behind draping.A back drop featuring BA branding and the dedicated hashtag was erected behind the staging to provide clear brand association with the activity.Lawson made their way through the Arrivals Hall together as they played acoustic versions of their hits. Stunned passengers followed the band as they made their way to a stage in the central atrium to continue the gig!A film crew was on site at both terminals to capture the action. The video was featured across the social media channels of both BA and the band and paid for media.
Online fashion retailer, Very.co.uk, launched a digital ‘window shop’ for the Christmas party season using an empty shop window in Liverpool’s shopping and leisure complex, Liverpool One. The ‘window shop’ incorporated both NFC and QR code functionality which allowed passers-by with smartphones or tablets to scan and shop the collections on the Very.co.uk website. Purchases ordered before 9pm were delivered for free the following day. The windows featured three of Very.co.uk’s key festive trends, Glitz and Glam’, ‘Rock Chic’, and ‘Snow Princess’, which were specially created to appeal to the tastes of Liverpool’s shoppers, based on their typical browsing and purchasing habits with the e-tailer. The campaign was planned and bought by Posterscope and Carat.
During a fictional graffiti billboard campaign promoting the demise of GioCompario, Twitter saw a huge increase in buzz. OOH was the only live broadcast media during this period proving its power to influence digital behaviour. Brand Objectives:Increase brand considerationCreate a unique & authentic graffiti campaign in OOH Tactical Planning: Avoiding quality backlit and scrolling formats by selecting undesirable locations, increasing authenticity of the creative.
MINI Fan the Flame. In this campaign, executed by Posterscope Belgium, MINI launched a pretty cool, live streaming social installation at the Brussels Motor Show, featuring the new MINI Countryman. The Countryman was placed on a 15% slope, held only by a thick rope, while a Bunsen burner was placed under the rope and remote rigged to their live streaming app, where each “like” generates you a burst of flame on the rope in real time…Whoever’s ‘burst of flame’ broke the rope and set the MINI Countryman free, got to keep the car.
Samsung held a live event in Portugal to showcase the capabilities of the Galaxy Note 10.1. An outdoor advertisement featured a remotely-located artist on a two-way digital screen, who was asked to draw caricatures of passersby in real-time.Those who stood in front of the interactive billboard could watch the artist live on the giant screen as he drew their picture. Instead of using paper and a pencil, he was given a Samsung Note 10.1 to create the caricatures.Afterwards, he revealed his drawings to the subjects and the pictures were also posted on Samsung Portugal’s Facebook page.
Fanta launched a highly interactive OOH campaign to target teenagers, which offered them the chance to physically connect with the brand. Users were encouraged to participate on a range of challenges and games through a targeted national 6s campaign, designed to seamlessly drive consumer engagement with the brand from offline to online. The ‘Fruit Throw’ game, which took place on 10 interactive screens strategically located where teenagers typically socialise, allowed users to play the game directly on screens on roadside bus shelters and shopping malls. The screens also featured a local leader board. Consumers were further encouraged to engage with the brand through Fanta branded bus stops, which were adorned with moveable Fanta stickers. People could take photos of themselves pulling their best ‘Fanta face’ with the stickers and post them on the Fanta Facebook page for a chance to win prizes. In addition, other roadside and mall 6s encouraged teens to take part in challenges, posing with 6s and uploading their photos to Facebook. Created by Posterscope and Publicis.
Posterscope worked with digital and design agencies Work Club and AllofUs to create the “Window of Intensity” for coffee brand Carte Noire Instinct at Westfield Stratford. A shop window was transformed into a unique sensory experience combining sound and real-time generative visual effects across a five-metre LCD video wall. Using a live HD video feed, motion-tracking technology and Microsoft Kinect, the public see their surroundings transformed through visual effects ranging from immersive colour trails, weather alterations to crystallising patterns, triggered by motion and proximity. The closer the user is to the window the more intense the experience, emulating the intensity inside every tin of Carte Noire.
As the web becomes increasingly hyper-local and businesses / consumers create more location-based data, there are huge opportunities to use the latter to inform and optimise OOH planning, plus measure effectiveness.Electronic transport tickets, sat navs, loyalty cards, mobile search, mobile wallets, plus numerous websites / mobile apps are just some examples of how technology is being used to create location-specific data trails – all of which have the potential to help determine which OOH sites, day-parts, and creative treatments are most effective for a particular campaign.Location based tweets provide an ideal data set to mine, thus helping us infer which posters may be more effective in influencing a consumers digital behavior. The map shows tweets generated in Nottingham in a 7 day periodThe pins show poster locations, while the color represents the associated index of the volume of tweets (generated in a 200m proximity to the poster). Red pins are the highest indexing posters that people tweet in proximity to.
Strava is website and mobile application used by runners and cyclists to track runs and rides through GPS. Combining stat tracking with social networking, it provides route rankings, reward badges and timed challenges to its users.The Strava map above shows cycling activity during the night of the Dunwich Dynamo, 20-21 July 2013, when a thousand or so people cycled from London to the Norfolk coast.A snake of light shows the riders gliding through the night, while the bright lights appearing all over the UK and Europe are regular users of the app.This data source provides fascinating location based data trails and helps us identify which roads index highest to target cyclists in the UK, helping us make a more data driven approach to selecting roadside locations to place OOH posters. http://lcc.org.uk/articles/strava-map-shows-hundreds-of-dunwich-dynamo-cycling-trips-from-london-to-the-norfolk-coast
OOH and mobile display media have a symbiotic relationship: audience, location and recency. However often planned in silos for each channel. Our approach is to integrate planning efforts to these OOH mediums. Right now, the consumer public is acting through their mobile after seeing a poster and vs. the national average the smart phone audience after seeing a poster are twice as likely to: check in, download the app, tweet, visit a brands Facebook page. With Nokia, we are pioneering in this space to test the effectiveness of planning with an integrated approach.
The internet has seen a huge uplift in the past decade- from almost no revenue in 1999, to becoming the largest advertising media today. This rise has been at the expense of press, with newspapers and magazines seeing dwindling revenue. Those papers which have adapted to online formats have survived whilst local newspapers have suffered. Outdoor, TV and Radio have maintained a similar share of voice across the period.
The Outdoor Media Centre (OMC), the trade body for outdoor media owners, today announces total revenues for July to September 2013. The headline total reported across all outdoor is £256.1m, which represents a decline of 4.8% year on year. Digital revenues in the quarter amounted to £53.6m, which was 21% of the total. Digital revenue growth was up 3% year on year. Mike Baker, CEO of the Outdoor Media Centre comments: “This quarter was always going to be a big ask, following the +25.4% year on year growth we enjoyed during the Olympic quarter last year. But minus 5% implies an underlying growth of around 10% for each of the last two years in Q3. So we have to be pretty pleased with that. Expenditure has held up as more advertisers continue to find outdoor a sure-fire way to reach the right consumers in the right contexts and the right mindsets. We have momentum.” Categories which spent significantly more in the quarter on Outdoor include Computers, Finance, Games, and Pharmaceuticals. The top 10 advertisers in the quarter according to Nielsen for Q3 were 1. British Sky Broadcasting Ltd £16,230,2022. Samsung (UK) Ltd £7,045,7233. E1 Entertainment UK £5,572,3404. Heineken UK Ltd £4,989,8165. Unilever UK Ltd £4,853,9856. Vodafone Ltd £4,353,6647. Lloyds Bank Plc £4,034,2558. Twentieth Century Fox Film Company £3,958,1439. Asda Stores Ltd £3,740,82910. BT Ltd £3,581,945 In the digital sector, spend was up 3%.Digital growth was concentrated chiefly in the roadside sector, with continued investment especially in the large format sector, which is up 22% year on year. Top spenders in large format digital roadside sites were Halifax, BMW, American Express and Ford.
January- December 2013 Sector 2013 2012 %difference Entertainment and Leisure £151.5m £139.3m 8.7%Telecoms £115.1m £128.6m -10.5%Finance £65.9m £51.9m 27.0%Drink £56.5m £57.6m -1.8%Retail £54.9m £50.2m 9.4%Motors £48.5m £48.8m -0.7% Travel and Transport £39.1m £43.3m -9.9%Computers £26.7m £17.1m 56.4%Electronics and Household Appliances £26.7m £23.0m 15.9%Food £25.3m £32.6m -22.5%Other £182.5m £197.9m -7.8%Overall market £792.6m £790.4m 0.28%Overall the market is up 0.28%... (data up to 31st December 2013)
NB: data is based on individual company as opposed to overall holding company which would show a different ranking. January- December 2013 Advertiser 2013 2012 %difference BSkyB £37.2m £39.0m -4.5%Samsung £23.4m £19.2m 21.5%Vodafone £15.7m £13.4m 17.4%Twentieth Century Fox £14.7m £10.1m 45.8%Unilever £14.1m £8.1m 73.2%McDonalds £12.9m £13.0m -0.6% KFC £12.2m £12.1m 0.8%Coca Cola £11.9m £11.2m 6.6%Lloyds Bank £11.8m £9.1m 29.8%Heineken £11.1m £9.7m 14.8%Top 10 £165.0m £144.8m 13.9% (data up to 31st December 2013)
2013 2012 YOY6 sheets £276.6m £246.5m 12.2%48 sheets £107.7m £110.8m -2.7%Specials £23.4m £25.3m -7.6%96 sheets £86.2m £100.0m -13.6%Large Digital £47.4m £65.0m -27.0%Miscellaneous sizes £12.9m £17.9m -27.7%Total £554.3m £565.3m -1.9%(data up to 31st December 2013)
2013 2012 YOYTube £86.7m £90.2m -3.9%Airport £51.0m £39.8m 28.1%Bus £60.2m £65.8m -8.6%Rail £40.4m £29.3m 37.9%Taxi £0.00 £0.00 -Total £238.3m £225.1m 5.9%(data up to 31st December 2013)
Media owner SOVJCDecaux 31%Exterion Media 23%Clear Channel 21%Primesight 8%Others 17%
Strapline: Media where it mattersAbout:JCDecaux is a privately owned French OOH advertising company, founded in 1964 in Lyon with a small business based on street furniture. Reporting €2,623m in revenue in 2012 JCDecaux now operates in 55 markets worldwide and is market-leader in the UK.Key Formats: Roadside: Large and small-format locations nationwide including The Platinum Collection of premium sites such as the M4 Torch and Old Street Roundabout, national 6-sheets and national StreetTalk phone kiosks.Rail: National networks of large and small format digital and poster sites, key locations such as Euston Motion and immersion zones that deploy wraps and digital screens.Malls: National digital networks across premium malls including the high-profile M-Vision portrait screens and a national digital 6-sheet network.Supermarkets: National 6-sheet networks at ASDA, Tesco, Morrisons and Waitrose.JCDecaux Airport: Digital and high impact media space at Heathrow, Heathrow Express, Aberdeen, Edinburgh, Glasgow, Eurostar at St. Pancras International, London Luton and Eurotunnel.Experiential: JCDecaux Live reaches audiences at multiple locations including Covent Garden and Canary Wharf, London Underground, UK airports, premium malls, national rail stations, student unions and leading venues from ExCel London and the LG Arena to the NEC.Geography: Nationwide across environments in all the key cities across the UKAreas for Investment: Roadside: Continued investment in digital following the digitisation of The Cromwell Road Digital Gateway. Key new digital locations set to launch including The M4 Tower and The Holland Park Tower.Rail: Waterloo Motion set to launch at Waterloo Station. Continued expansion of Transvision and D6 networks.Retail: M-Vision will expand to further premium malls as D6 network extends.Digital investment at Tesco.Airport: JCDecaux Airport will unveil digital and high impact media space for Heathrow Terminal 2 launch.Experiential: Newly launched division JCDecaux Live links experiential to screens in malls and rail stations and is set to expand the multi-environment portfolio further.Research: Exclusive and bespoke insight from JCDecaux’s Connected Commuter and Connected Youth communities.‘Power of Influence’ research and new ‘Business Traveller 2’ insight from JCDecaux Airport.http://www.jcdecaux.co.uk/
Strapline: Where brands meet peopleAbout:Part of Clear Channel Communications Inc, the American-based global media and entertainment company, CCO was bought out by venture capitalists in 2008 and in 2012 posted revenues of $6.2bn worldwide. Built on the foundations of a national network of bus stop 6 sheets, the UK business has since expanded via an extensive portfolio of iconic, digital and mobile assets.Key formats: 6s (Adshel, Sainsbury’s and shopping malls), 96s, 48s, Connect phone boxes, digital portfolio (D6s, M6 digital portrait tower, socialite, D48s, The Big Screen at the Trafford Centre), pinnacle (backlight 96s, halo mega 6s, banners and tower mega 6s).Clear Channel UK’s expanding digital portfolio includes LD6 in the capital, and desirable environments across the UK. Geography: nationwide Key areas for investment: special builds, digital and interactivity; Storm-Storm is designed to revolutionise premium digital out-of-home. It launched with The Chiswick Towers and Cromwell Road Tower, The A40 Power Station and Coventry House at Piccadilly Circus. The portfolio will be further strengthened with the North London TowersMobile platform- Clear Channel UK and Metro have announced a partnership that will bring free content to commuters at mobile-enabled bus shelters with interactive tags right across the UK. Research: Ngenhttp://www.clearchannel.co.uk/
Strapline: Engaging audiencesAbout:Part of American-based CBS Corporation, the sale of CBS Outdoor International to LA-based Platinum Equity was announced summer 2013. CBS Outdoor has now rebranded to Exterion Media. Key formats:Underground: 96, 48, 16, 6, 4 Sheets, LEPs, TCPs, DEPs, LCDs, XTPsBus: T-Sides, Supersides, Streetliners, Bus Interior PanelsRetail: LCDs, Large format LEDs in Westfield London and Stratford and One New ChangeRail: 48, 16, 6, 4 Sheets, LCDs Geography: LondonIf you want to talk to the influential Londoners, we own London with 80% of panels including London Underground, DLR, London Tram, digital, Buses, National Rail & Westfield.Sole rights to London Underground.Exclusive contractors to Westfield, London, Westfield Stratford & One New Change.NationalBus: 34,000 buses on 12,000 routes travel around the UK’s urban centres daily and 5.2 billion passenger journeys per year in the UKNational Rail: 30% of entire National Rail coverage (100% in Wales, 77% in Scotland, 75% in England).This equates to an annual footfall of 408 million.Key areas for investment Expansion of our National Rail & London Underground digital assetsIlluminated New Bus For LondonKings Cross digital escalator panels expansionPerformance 48s National Rail – all National Rail 48 sheets will be dry posted and skinned by October.Birmingham Express – Roadside digital panelIncreasing retail offering ResearchExterion Media’s urban audience panel work.shop.play. provides us with weekly insights into the urban audience.It is the largest urban audience online research panel of 10,000 people aged 16-55 from London & other key UK urban areasThe London Worker Planning Tool provides information on all London workers, including the 700,000 who don’t even work in the capital. It is a quantitative study to understand London workers who are drawn to the capital to work, shop and play.Using an online survey of over 3,000 respondents, data has been fused with TGI and Touchpoints to give deeper insight into London workers.We have dashboards hosted at http://www.exterionmedia.co.uk/insight/ where you can tap into this rich stream of info.http://www.exterionmedia.co.uk/
Strapline: Results are our cultureAbout:Jointly owned by GMT Communications Partners LLP and the Primesight management team, Primesight is a UK-based business which posted turnover of £60m in 2011. Key formats:6 sheetsRoadside- 9517Cinema- 967Cinema digital- 13148 sheetsRoadside- 5674HD- 197BL- 37369 sheetsRoadside- 416HD- 110BL-63Glasgow subwayDEP- 486 sheets- 152Digital 6 sheets- 20Geography: National coverage with sites in all major cities across the UK and Glasgow UndergroundInvestment:Primesight has spent millions in recent years investing in our estate and portfolio including: HD 48’s, HD 96’sBacklightsIlluminations- i.e. 6 sheets outside key convenience storesIllumination enhancement project via LEDDigital, 6 sheetsDEPs x48Ongoing audit of panels across the UK is continuousRecent improvements have been made to key sites such as Waterloo/ Elephant and CastleProprietary insight: PrimemobilePrimedesignHitwiseEPOSShopwyreGeofencinghttp://www.primesight.co.uk/
Strapline: The Art of OutdoorAbout:A relative newcomer to the OOH scene, launched in 2005 Ocean Outdoor is a boutique, UK-based media company pioneering creativity in digital OOH via an expanding portfolio of large-format, high profile sites.In May 2012 a management buyout, backed by LDC Capital, purchased the business from Smedvig Capital for £35m.Keyformats: Ocean specialises only in large-format digital (i.e. sites such as Eat Street @ Westfield London), iconic landmark and super-premium banner locations. 50% of Ocean's inventory is traded by day part, hour, minute or even gender.Geography: Oceans has a regional footprint that spans the following UK cities: London, Birmingham, Liverpool, Manchester, Leeds and Glasgow. Key areas for investment: Ocean practices 'The Art of Outdoor', with every site in the Ocean portfolio having a unique quality and personality. The Grid: In September 2013 Ocean launched The Grid the UK's first large format, full-motion, city-centre network. The Grid consists of 7 key digital outdoor locations in London, Birmingham, Liverpool, Manchester, Leeds & Glasgow & has increased Ocean's UK coverage. Ocean Labs: Allows us to test the very latest Out-of-Home innovations such as gender recognition technology, sound showers as well as mobile integrated campaigns. We launched 4 new sites across the regions: Leeds city centre (first exterior DOOH screen in Leeds city centre), Glasgow & Liverpool.Research: The Science Behind the Art of Outdoor In part in response to Route research being launched, we recently commissioned some Neuroscience research that looks into the true impact of Out of Home advertising. Neuroscience identifies the wow factor at the heart of great outdoor. A theoretical model, grounded in neuroscience, says that to get great results, outdoor advertising needs to capture our attention and then engage our emotions. A strong emotional response serves memory encoding, and this is key for any communication, because memory encoding correlates with subsequent purchase behaviours.KEY NEUROSCIENCE LEARNINGS: Neuroscience identifies the Wow factor at the heart of Outdoor. Premium Outdoor sites generate stronger emotions by impacting the right brain.Digital sites offer elevated engagement because our brains are programmed to respond to changes in our environment.Creative, when framed by a premium site, works much harder for the brand.The most iconic sites have a powerful priming effect delivering elevated impact for the campaign beyond the initial viewing.http://www.oceanoutdoor.com/https://vimeo.com/73369556
Posterscope’s new Pioneering Out-of-Home website launchesOur new Pioneering Out-of-Home website has now launched. Please visit it for the latest industry news, cool campaigns, opinion pieces and global work. http://pioneeringooh.com/category/our-campaigns/
Ocean Outdoor Upgrades The Screen @ Canary WharfOcean Outdoor has invested heavily in upgrading The Screen @ Canary Wharf. The brand new full motion screen also introduces Ocean’s latest face recognition technology and full wi-fi capability. The digital screen, which now measures 22.6m2, offers improved clarity, resolution and contrast for full motion creative work. The first brands advertising on the new screen are Swiss Air, Infiniti, Santander and the NBA, all targeting the upmarket male audience of Canary Wharf.
CBS Outdoor rebrands as Exterion MediaCBS Outdoor International today announces the completion of its rebrand. From today, the company will solely be known as Exterion Media. This follows the acquisition of CBS Outdoor International in September by Platinum Equity, a leading private equity firm specialised in mergers, acquisitions and operations.Leon Taviansky, Chief Operating and Financial Officer: “We are very excited to be operating under the Exterion Media brand. It demonstrates a new chapter in the world of out-of-home advertising and we are looking forward to developing more insights and bringing innovation to a medium that continues to capture the eyeballs of millions of potential customers for advertisers”.It was also announced recently that Antonio Alonso, President & CEO of CBS Outdoor International, has decided to leave the company. The departure follows the completion of the acquisition of CBS Outdoor International by Platinum Equity.Antonio Alonso said: “Since becoming CEO in 2009 we have transformed the business and I have enjoyed every minute of the journey. With the completion of the sale, the start of the next phase under new ownership feels like a natural break for me to hand over to a new management team who can continue the great work.”
Outdoor Plus adds new head of marketingOutdoor Plus has hired Suzanne Hodgins as its new head of marketing as it looks to increase its presence in the DOOH market. Hodgins will be responsible for all marketing communications and development of new business, reporting to commercial director Steve Atkinson.Hodgins brings 15 years working in strategic media planning, implementation and buying, having worked at Kinetic Worldwide as UK planning director and Manning Gottlieb as group account director.
Ocean Launches Score:Board to celebrate a year of sporting actionOcean Outdoor is gearing up for a year of international sporting action with the launch of Score:Board, a network of live, interactive outdoor broadcast platforms in six UK cities.Utilising their full motion digital outdoor network, they are offering advertisers tactical advertising opportunities around top tournaments and 2014 fixtures including the World Cup, Winter Olympics, Commonwealth Games, Six Nations, the Tour de France in Yorkshire and Wimbledon.Opportunities include the broadcast of live score updates, match highlights and memorable sporting moments as they happen. Digital outdoor is fully integrated with mobile, meaning fans can interact with the screens by uploading related content in return for rewards and incentives.
AEM Forges New Partnership With Limited Space EventsLimited Space Events, a wholly owned subsidiary of Limited Space Media Group and a specialist in events screen media, has signed a new contract with the Association of Equipment Manufacturers (AEM). Limited Space Events will host its leading digital screen network and new Event TV concept – a bespoke TV channel personalised to AEM - at CONEXPO-CON/AGG, the largest show of its kind in North America by square footage, attracting 130,000 visitors per year. CONEXPO-CON/AGG’s partnership with Limited Space Events represents the first time that digital screen technology has been used at the show to provide information to attendees, aid with creating distinct zones throughout the venue and features content ranging from exhibitor show reels to news feeds. AEM targets contractors and suppliers across the construction industries. The event will be running from 4th-8th March and will be held at the Las Vegas Convention Centre (LVCC), with over 3.3 million net square feet of exhibit space operated by the Las Vegas Convention and Visitors Authority (LVCVA). The centre is well known among industry professionals for its versatility and in addition to approximately two million square feet of exhibit space, 144 meeting rooms (more than 241,000 square feet) handle seating capacities ranging from 20 to 2,500.
Edinburgh City Council Changes Taxi Advertising Regulations Ubiquitous has announced that after two years of negotiations, they have successfully persuaded Edinburgh City Council to overhaul the regulations that govern taxi advertising in the city. Lengthy approval processes, coupled with the requirement to pay council fees, have discouraged many brands from investing in taxis in Edinburgh. As such, since February 2012 Ubiquitous has lobbied the authority to review its regulations and apply the same rules to taxi advertising as other outdoor advertising channels. This success means that from January 1st 2014, it will no longer be necessary to obtain Council approval for individual taxi campaigns in Edinburgh or to make additional payments for each taxi posted, bringing down the barriers to entry for advertisers and increasing revenue opportunities for taxi drivers.
psLIVE has bolstered its UK team by integrating the Carat Live division of Carat Sponsorship into its business.The current Carat Live team has transferred from its former Regent's Place base into the psLIVE offices at The Qube in London, reporting into managing director Michael Brown.Brown said: "The incoming team members will be a very welcome addition to the psLIVE fold and there are many similarities in the way they think and act. Their work has been excellent and we are convinced that this move is the best way to grow a far wider experiential revenue stream than has previously been delivered, from a wider section of Carat's client portfolio.“Four new members of staff have joined psLIVE, which launched this spring, as part of the move this month – which is a strategic decision by overall parent company Aegis Media to reduce competition between its own agencies.Paul Hicks, formerly head of brand experience and events at Carat Live, will take on a global business development role to leverage experiential business from the Carat and Vizeum global teams to bolster psLIVE network's international expansion plan.The team has this week been delivering an inaugural campaign for Burberry in London's Covent Garden to promote the brand's new Beauty Box store.A digital installation includes a virtual nail bar, for customers to try out different polish colours as part of Burberry's bid to capitalise on the popularity of its cosmetics lines.
The use of digital screens in the outdoor market is set to deliver some stunning new opportunities for both brands and consumers, says Primesight's Lee Anderson.Stop and reflect for a moment on the sophisticated advertising campaigns that mesmerise audiences today. The complex screen technology, real-time consumer interaction and the very tangible possibility that what appears on these screens will soon become even more relevant and immediate for the audience.This is not only exciting, but it's actually happening. Furthermore 2014 looks to be a year filled with so many hot conversations around this area.In the last few years there has been an increase in the extent to which screens have pervaded our society. Huge advances in touch technology, primarily driven by Apple, have rapidly increased our ability to interact and connect in free and seamless ways.This and the popularity of social media has proliferated the consumer habit of 'second screening' but it poses the natural question as to whether this is a positive evolution for advertisers, or negative. The current debate most definitely exists about more than one screen holding simultaneous visual attention.There is also a significant trend towards programmatic buying; in video advertising, for example, this grows more common and according to announcements by the likes of Xaxis earlier this year, may soon extend outside the boundaries of computer screens to the outdoor environment.We are already seeing this heavily reported in the US in particular with The Wall Street Journal andAdotas both running prominent reports on the subject in 2013. As this technology finds relevant audiences in real-time by automatic systems - audiences can be located by demographics, by interests or through keyword searches - it poses the question; what does this mean for people's relationships?Media buyers, meanwhile, will believe that their skills, judgement and knowledge will always be required to make advertising work, however automated it becomes.To me, it feels like it's all coming together and that ecosystems are joining up - from ad networks to rich media to automation, and right through to Blippar's use of augmented reality to enrich experiences for brands.The bit that makes my hairs stand up on the back of my neck is the speed in which this is happening, inside and outside, in a cultural world and high stimuli arena. Interestingly, this points towards the active space in the outdoor market.If you think about the outdoor market, digital currently accounts for 20% of all outdoor spend and is without a doubt the fastest growing sector. At this year's annual advertising industry event, AdMonsters Screens, I discussed the development of digital out-of-home and the powerful relationship between outdoor advertising and screens; specifically how we've witnessed the growth of digital out-of-home derive from two distinct paths; pedestrian environments and roadside locations.Pedestrian environments, such as cinemas and airports, provide increased dwell time and engagement, presenting the opportunity to increase the value of display to the audience. Birdseye pioneered this using our digital screens to deliver a game to cinemagoers that they could play before seeing Ice Age 2, with the campaign achieving 11,000 interactions.Roadside locations can also offer a dominant position which warrants significant capital investment in large digital displays, and we expect to see the development of a more mature digital roadside market and a broader range of product entry points.Now, outdoor screens allow consumers to engage with advertising in a unique way; the audience doesn't just see the advert, they can interact with it - such as downloading a voucher or playing a game.Digital out-of-home also provides flexibility; you are no longer confined to buying advertising space for a full two week cycle and have the ability to use outdoor tactically for shorter periods of time.As always, outdoor has embraced innovative technology to enhance its offering: geo-fencing allows targeted messaging to entice consumers in-store; e-commerce technology, like Shopwyre, enables interaction with posters across the retail vertical; and augmented reality works with outdoor to create mind-blowing encounters with brands.In recent times, brands have utilised these advances in outdoor to create remarkable interactive and memorable campaigns. Ray Ban combined screens, mobile and outdoor to encourage consumers to interact with not just the brand, but also each other, and ultimately delivered a unique brand experience for each user.Our campaign with O2 Tracks also demonstrates the interactive capabilities that outdoor and screens can offer when used in tandem by using touch-screen to allow the audience to make decisions on the content they wish to view. Consumers have evolved towards a more empowered status and advertising is now geared around multi-screens and multi-devices to target, attract and engage with the audience - it's happening because consumers are demanding it.It's astonishing how far we have come since the first billboard in Egypt all those years ago and exhilarating how far we can go as the merge gathers even more pace in the coming years. I have no doubt that moving into 2014 screens will continue their inexorable pervasion of our lives.Nowhere is this truer than in the outdoor space. This will deliver new and better opportunities for brands and people to come together. The consumer benefits from receiving current, relevant and contextualised content. The brand benefits from delivering enriched messages which are better able to change attitudes and actions.
JCDecaux Airportopened trading on the key sites at Heathrow’s Terminal 2: The Queen’s Terminal. Potential clients now have the opportunity to invest in advertising space in time for the terminal’s launch in June 2014.JCDecaux and Heathrow announced today that 9 opportunities have already been taken up during the first week of trading. The Couture Portals and Towers were amongst the key digital and iconic sites purchased during the most successful first week of sales ever at a new Heathrow terminal. Additional iconic opportunities remain for other brands to join those already guaranteed a high profile presence at the terminal when the first flight lands next year.
The iconic advertising hoardings of London’s Piccadilly Lights are about to undergo a makeover offering new and current advertisers such as Samsung and McDonald’s greater creativity flexibility.The change stems from the addition of a seventh screen to the famous West Side, marking the first time since the lights were created in 1908 that the advertising space has been expanded. It was announced earlier this year but the site’s owners Land Securities have only now revealed further details on what it means for advertisers. Brands, from later this month, will be able to use the screen, which uses Clear Channel’s digital format Storm, to support more targeted campaigns and tactical stunts to target shoppers as they walk by. The owners say brands can use the space for a period of time that works for them citing a recent British Airways outdoor campaign where a one-minute ad played as one of its plane flew overhead. Some two million people pass through Piccadilly Circus each week, according to the owners, with around 70 per cent of those pedestrians. It is hoped the move will be able to monetise this traffic through emerging trends in digital outdoor advertising.The famous landmark has existed for more than 100 years, showcasing 50 brands including Sanyo, Carlsberg, Volkwagen and Schweppes.
Julie France, managing director of out-of-home specialist JCDecaux Airport, is leaving the company after seven years, to be replaced by sales director Alan Sullivan.Prior to joining JCDecaux, France had roles as the UK group managing director of rival Clear Channel and as sales director of Express Newspapers.France said: "After over 20 years working in the media industry, it feels like the right time to take a break and to think about the next stage of my life and career.“Sullivan assumes the role of managing director of the division that holds contracts for the likes of Heathrow Airport, Eurostar and St Pancras International.He will report to Jean-François Decaux, who said: "Alan's understanding of the media landscape and established relationships with our airport media partners will be invaluable in his new role."As the launch of Heathrow Terminal 5 and the London Olympics demonstrated, airports provide an increasingly important platform for clients and their brands to reach influential, global audiences.“JCDecaux's Airport division operates as a standalone division of JCDecaux, which enjoyed acclaim five years ago when Terminal 5 at Heathrow opened with digital screens integrated within the core of its architecture.
In the countdown to Christmas, premium brands are deploying one of JCDecaux’s newest additions to the Platinum portfolio - the M4 London Gateway.The new digital location has already showcased major brands including: Porsche, Lexus, The Health Lottery, IG Markets, Headline Publishers and Twentieth Century Fox.The M4 London Gateway is the first digital screen to engage audiences driving into the capital, providing a powerful opportunity for brands to communicate with the affluent audiences travelling from Heathrow and the West into central London.JCDecaux’s premium West London digital portrait portfolio comprises: The M4 London Gateway, The M4 Tower, The M4 Torch, The A40 Spire, The Marylebone Tower with The Holland Park Tower set to launch in 2014.
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We Live in a Changing World
Data is the new
Businesses and markets are
converging or fragmenting
People expect to do
Media is not only bought,
but earned and owned
There is increasing
OOH Connectivity is high
New technologies are
as an ecosystem
Stands / Zones
or jet bridges)
Duty Free /
Retail Media &
OCS in Numbers
Total sample in UK
Number of hours saved by
the OCS macro per run
Number of OOH formats
analysed within OCS
Countries OCS is run in
Did you know…
The percentage of
undertook an action
in the last 7 days
after seeing OOH
Driven by technology…
The number of NFC
transactions in the
UK every minute
The percentage of
containing a location
The number of people in the
UK who access Facebook
on a daily basis –
20m do so via mobile
Smartphones are critical
shopping tools with
having researched a product
or service on their device
The percentage of
smartphone users who
look for local information
on their phone with
taking action a result
And consumer expectation
The number of Facebook Places
check-ins at the O2 Arenathe UK’s number one place to
The percentage of
The percentage of
smartphone users who
access the Internet on
their mobile devices
The number of contactless
bus fare payments made in
London since December
Influencing Digital Behaviour: Driving
Influencing Digital Behaviour:
Search Search: Social Media
Mentions of "gocompare" OR "gocompare.com" OR "go compare" AND "graffiti" OR
"poster" OR "billboard" OR "OOH" OR "outdoor"
Popularity – Total Mentions on Twitter – 3,069 over period
Media Revenue Growth
1999-2014 Media Revenue
Annual total media spend in £m
Source: Aegis Media & WARC
2013 (f) 2014 (f)
Top 10 Categories
The top OOH spending categories: Jan- Dec 2013
Note: Data up to 31st Dec 2013
The top OOH spending advertisers: Jan- Dec 2013
Note: Data up to 31st Dec 2013
Spend Trends- Roadside
Spend by OOH format: Jan- Dec 2013
Note: Data up to 31st Dec 2013
Spend Trends- Transport
Spend by OOH format: Jan- Dec 2013
Note: Data up to 31st Dec 2013
Consolidated Market Place
Est. Market share based on revenue
Media where it matters
Key Areas For Investment
JCDecaux is a privately owned French OOH advertising
company, founded in 1964 in Lyon with a small business
based on street furniture.
Roadside: Continued investment in digital. Key new digital
locations set to launch including The M4 Tower and The
Holland Park Tower
Reporting €2,623m in revenue in 2012, JCDecaux now
operates in 55 markets worldwide and is market-leader in
Rail: Waterloo Motion set to launch at Waterloo Station.
Continued expansion of Transvision and D6 networks
Roadside, rail, malls, supermarkets, airports and
Retail: M-Vision will expand to further premium malls as D6
network extends and digital investment at Tesco
Airport: Digital and high impact media space will be
unveiled for Heathrow Terminal 2 launch
Experiential: Newly launched division JCDecaux Live is
set to expand the multi-environment portfolio further
Nationwide across environments in all the key cities
across the UK
Connected Commuter and Connected Youth
‘Power of Influence’ research and new ‘Business Traveller
2’ insight from JCDecaux Airport
About Clear Channel
Key Areas For Investment
Special builds, digital and interactivity:
Part of Clear Channel Communications Inc, the Americanbased global media and entertainment company, CCO
was bought out by venture capitalists in 2008 and in 2012
posted revenues of $6.2bn worldwide.
Built on the foundations of a national network of bus stop 6
sheets, the UK business has since expanded via an
extensive portfolio of iconic, digital and mobile assets
Roadside, supermarkets, shopping malls, digital
Storm- Storm is designed to revolutionise premium digital outof-home. It launched with The Chiswick Towers and Cromwell
Road Tower, The A40 Power Station and Coventry House at
Piccadilly Circus. The portfolio will be further strengthened
with the North London Towers
Mobile platform- Clear Channel UK and Metro have
announced a partnership that will bring free content to
commuters at mobile-enabled bus shelters with interactive
tags right across the UK
About CBS Outdoor
Key Areas For Investment
Part of American-based CBS Corporation, the sale of
CBS Outdoor International to LA-based Platinum Equity was
announced summer 2013. CBS Outdoor has now rebranded
to Exterion Media.
Increasing digital offering across Rail & London
Illuminated New Bus For London
Performance 48 sheets National Rail
Expansion of retail offering
Birmingham Express Roadside digital
Underground, bus, retail (Westfield Stratford, Westfield
London and One New Change), National Rail
work.shop.play and London Worker Planning Tool
National with a dominant presence in London
Results are our culture
Key Areas For Investment
Jointly owned by GMT Communications Partners LLP and
the Primesight management team, Primesight is a UKbased business which posted turnover of £60m in 2011
HD 48s, HD 96s, backlights, illuminations and illumination
enhancement project via LED, digital 6
sheets, DEPs, ongoing audit of panels across the UK,
recent improvements to key sites
Roadside, cinema, Glasgow subway
Primemobile, Primedesign, Hitwise, EPOS, Shopwyre, Geofenci
National coverage with sites in all major cities across
the UK and Glasgow Underground
About Ocean Outdoor
A relative newcomer to the OOH scene, launched in 2005
Ocean Outdoor is a boutique, UK-based media company
pioneering creativity in digital OOH via an expanding
portfolio of large-format, high profile sites
In May 2012 a management buyout, backed by LDC
Capital, purchased the business from Smedvig Capital for
Large-format digital, iconic landmark and super-premium
Ocean has a regional footprint that spans the following
London, Birmingham, Liverpool, Manchester, Leeds
Key Areas For Investment
Ocean practices 'The Art of Outdoor', with every site in the
Ocean portfolio having a unique quality and personality
Regional site expansion
The Science Behind the Art of Outdoor