Transmedia sizzles with generation z


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The Youth Report
How brands like Doritos & Adidas are wooing Generation Z

Transforming Maple Leaf
The CPG giant overcame crisis,embraced marketing and became a food innovator.

Stuck in a Mad Men era
Think diversity in the workplace is nolonger a problem? Think again.

Editorial: Time for an “engagement” reality check?
- HMV Canada fights extinction
- tweets as currency
- brands’ 3D printing plans
- SpongeBob and Ben & Jerry’s go socially niche with
Instagram and Vine
- The Shopper Marketing Forum offered up serious insight,
while The Shopper Innovation Awards rewarded it

- The debate of age vs. experience
- move beyond user generated content to reach youth
- BBDO’s Peter Ignazi taps into the hottest (er, coldest)
youth influencers: the undead

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Transmedia sizzles with generation z

  1. 1. APRIL 2013 • $6.95Diversity: adland’s hot-button topicTRANSMEDIA SIZZLESWITH GENERATION ZTHEISSUEDoritos dials up social heat+ Adidas, Kotex & Ubisoft give kids a voiceCoverApr13.indd 1CoverApr13.indd 1 13-03-26 5:50 PM13-03-26 5:50 PM
  2. 2. May 23rd 2013 Kool Haus, Toronto #atomic13KEYNOTE SPEAKER:Media sponsors Presenting sponsoratomic.strategyonline.caWhere Media Innovation,Technology and Creativity CollideAdvisory Board:As brands strive to create compelling content and technology changes how thatcontent engages audiences, AToMIC explores the many ways brands, producersand platforms are collaborating to re-imagine and re-shape the mediascape.AToMIC is a one-day conference featuring thought-provoking keynotes, sessionsand case studies examining what’s working in the evolving space whereadvertising, technology, media creativity and innovative storytelling converge.Cathy CollierCEOOMD CanadaBrooke LelandConnectionPlanningDirectorJungle MediaDre LabreCreative DirectorRethinkJames MilwardExecutiveProducer&FounderSecret LocationSteve MykolynChief Brand OfficerTAXI*Conference passes include access to the AToMiC Awards.Grant McCrackenCultural Anthropologist & AuthorST.23100.AtomicHA.indd 1ST.23100.AtomicHA.indd 1 13-03-26 5:07 PM13-03-26 5:07 PM
  3. 3. 3April 2013ON THE COVERThe youth! The youth! The youth are on fire! (Sorry, we had to.) This month’s Youth Report isall about engaging the next generation of digitally-savvy, seen-it-all young people. Brands likeDoritos have to make a big (and fiery) splash to get their attention – and then keep them engagedthrough tech-y tools, honest conversations or one-on-one interactions. Doritos’ AOR, BBDO,created the flaming cover art, a take on the brands latest online campaign for its new chips,Inferno. That’s hot.The Youth ReportHow brands like Doritos and Adidasare wooing Generation ZTransforming Maple LeafThe CPG giant overcame crisis,embraced marketing and becamea food innovatorStuck in a Mad Men eraThink diversity in the workplace is nolonger a problem? Think again.The industry weighs in on thishot topic12 17 214 Editorial Time for an “engagement” reality check? • 8 Upfront HMV Canada fights extinction, tweets as currency, and brands’ 3Dprinting plans • 26 SpongeBob and Ben & Jerry’s go socially niche with Instagram and Vine • 38 The Shopper MarketingForum offered up serious insight, while The Shopper Innovation Awards rewarded it • 40 Forum Emma Hancock weighsin on the debate of age vs. experience and Mike Farrell calls for moving beyond user generated content to reach youth • 42 Back pageBBDO’s Peter Ignazi taps into the hottest (er, coldest) youth influencers: the undeadAPRIL 2013 • VOLUME 24, ISSUE 4"Dylan Carter" can enjoyhot dogs again, with MapleLeafs new on-trend healthyproduct lineup.Contents.Apr13.indd 3Contents.Apr13.indd 3 13-03-26 6:31 PM13-03-26 6:31 PM
  4. 4. 4 www.strategyonline.cahow to reach usStrategy, 366 Adelaide Street West, Suite 100, Toronto, Ontario, Canada M5V 1R9Tel: (416) 408-2300 or 1-888-BRUNICO (1-888-278-6426) Fax: (416) 408-0870www.strategyonline.cacustomer careTo order a subscription, visit To make a change to anexisting subscription, please contact us by email: (416) 408-2448 Fax: (416) 408-0249. PO BOX 369 Beeton ON L0G 1A0.subscription ratesSTRATEGY is published 12 times per year by Brunico Communications Ltd.In Canada: One year CA$80.00 Two years CA $144.00(HST included. Registration #856051396 RT)Single copy price in Canada is CA$6.95. Please allow four weeks for new subscriptionsand address changes.copyright and trademarkSTRATEGYandthetagline“Boldvisionbrandnewideas” © 2012 Brunico Communications Ltd.postmaster notificationCanadian Postmaster, send undeliverables and address changes to: Strategy, PO BOX 369,Beeton ON L0G 1A0 strategycustomercare@brunico.comU.S. Postmaster, send undeliverables and address changes to: Strategy PO BOX 1103Niagara Falls NY 14304 Printed in Canada. Canada Post Agreement No. 40050265.ISSN: 1187-4309.Memberofapril 2013 volume 24, issue 4www.strategyonline.caUsing FSC certified products supportsresponsible forest management.If you want engagement, try engagingWe acknowledge the financial support of the Government of Canada throughthe Canada Periodical Fund of the Department of Canadian Heritage.cynical person might observe that a lot of youth campaign “insights”must read something like this: Youth like music. Youth like games.While on the connection front, there’s lots of very literal takes onengagement (contests, for instance).So what’s standing out?Our Youth report (p.12) looks at campaigns by some of Canada’s top youthplayers – from Doritos techy social evolution of its traditional UGC program, toAdidas’ new culture-curation chapter, "Unite All Originals," featuring a site thatpairs artists, designers and musicians for collaborative collisions.Music is actually a good lens for examining what’s resonating with youth, and theRed Bull Music Academy is a useful yardstick since they arecredited with nailing the whole brand-as-media-companything. It’s been around since 1998, and puts music iconstogether with emerging artists around the world. Theymake good choices. When Red Bull hooked up with MFDoom a few years back, that was brilliant match-making.The notoriously incognito, talented and original Doom hasa loyal following, so the content was a welcome offering.And that’s the conundrum in the brand content space– you’re up against everything on YouTube, TV and theconcert circuit, so it almost has to be better than what’salready out there. And while brands love scale, a lot ofcontent is compelling and relevant due to its nicheness.Finding the right model is half the battle. Finding theright content – now that more brands are entering thespace and there are more free-range gatekeeperlessoptions to sort through – is the other challenge, and anongoing one.As Mike Farrell points out in his Forum column (p. 41), today’s youth havemore disparate and unique music, fashion and entertainment preferences thanthe last wave, so mass and mainstream associations have diluted brand bondingpower. Think Brooklyn rather than New York, and that’s where the taste andtrend-setting cues are coming from – a little street, a little DIY, a little quirky.To truly engage, many companies need to get better at giving consumersmeaningful opportunities to be heard. Give them a platform to help direct thebrand and take that feedback to heart. After all, Gen Z grew up in an iTunes world,not Top Hits radio.Aexecutive editor | mary maddever | mmaddever@brunico.comcreative director | stephen stanley | sstanley@brunico.commanaging editor | emily wexler | ewexler@brunico.comnews editor | megan haynes | mhaynes@brunico.comspecial reports editor | jennifer horn | jhorn@brunico.comcopy chief & writer | matthew chung | mchung@brunico.comcontributors | mike farrell | emma hancockexecutive publisher | russell goldstein | rgoldstein@brunico.comaccount manager | neil ewen | newen@brunico.comaccount manager | kelly nicholls | knicholls@brunico.commarketing co-ordinator | aimee ross | aross@brunico.comproduction & distribution supervisor | robert lines | rlines@brunico.comsenior manager, audience services | jennifer colvin | jcolvin@brunico.commanager, audience services | deborah brewster | dbrewster@brunico.comadministrationpresident & ceo | russell goldstein | rgoldstein@brunico.comvp & editorial director | mary maddever | mmaddever@brunico.comvp & chief information officer | omri tintpulver | otintpulver@brunico.comvp administration & finance | linda lovegrove | llovegrove@brunico.comvp & publisher, realscreen | claire macdonald | cmacdonald@brunico.comvp & publisher, kidscreen | jocelyn christie | jchristie@brunico.comCheers, mmMary Maddever, exec editor, strategy, Media in Canada and stimulantP.S. Once brands know what their audience finds relevant, discovering a contentmatch among what’s new in the realm of webisodes, film, games and TV can bechallenging, especially when a lot of North American content deals are brokeredin the U.S. To that end, strategy has partnered with Playback, our sister pubcovering Canada’s film and TV industry, to launch a platform to help brands findnew projects in development from Canadian producers, with an eye to hooking upon branded content deals. BCON Xchange is in beta mode, so be in touch if you’dlike to be part of it.EditMasthead.Apr13.indd 4EditMasthead.Apr13.indd 4 13-03-28 2:49 PM13-03-28 2:49 PM
  5. 5. ST.22983.Mesh.indd 1ST.22983.Mesh.indd 1 26/03/13 3:21 PM26/03/13 3:21 PM
  6. 6. 6 www.strategyonline.caapril 2013 volume 24, issue 4www.strategyonline.caThe spotlight is on activationhere’s a bright light shining on Canadian retail and it’s starting toburn brighter. It’s no secret that there’s a dogfight taking place inthis country and the Canadian consumer is ground zero. While it’sunclear how the retail landscape in Canada will change, there willbe winners and losers, and everyone will come away with battle scars. Thespoils of achieving supremacy, in one of the world’s most resilient and stableconsumer marketplaces, are considered to be worth it.For all of the disruptive trends affecting retail (suchas showrooming, big brand foreign competition, theevolving shopper mindset, and the need for partnercollaboration), it became increasingly clear as I satthrough the fourth edition of the Shopper MarketingForum on March 4 and 5, that right now, more thanany other time, success for marketers of consumergoods is driven by a brand’s ability to activate. Thatmeans grabbing the shopper’s attention and closingthe deal in-store or beyond.For example, last year, Maynards took home theprestigious Best of Show award at the PROMO!Awards with its innovative “Make your Face aMaynards” campaign, which allowed fans acrossCanada to create their own candy likenesses online and win a chance to literallybecome the face of a new Maynards treat. The beauty of the program was theachievement of its dual-brand objectives: increased awareness of the Maynardsbrand as well as sparking massive in-store volume gains. All of this was drivenby deep integration of its digital and in-store presence.The concept and execution was neither simple nor obvious. It required a bigidea, tech innovation, a talented multi-disciplinary team, and a big investmentfrom the brand. If that seems like too much to ask from your agency/marketingteam, then get used to disappointment. This level of planning and integrationis quickly becoming table stakes for breakthrough programs that moveproduct. And with more and more brands looking to put product in the handsof consumers outside of standard retail channels, marketing activation isbecoming increasingly important to master.This is why strategy has partnered with CAPMA to showcase the most brilliantand successful cases of marketing activation across the country each year throughthe 13th annual PROMO! Awards. If you feel your work is up to task, then whynot benchmark against the best and prove it to your client/agency team? We’reaccepting entries now until April 19 at Promoawards.strategyonline.caTRussell GoldsteinExecutive publisher, strategy, Media in Canada and stimulantUPCOMING SUPPLEMENTSALSO IN THIS ISSUE...UPCOMING EVENTSjune 2013Digital AgenciesCommitment date: May 2ndReal-Time Bidding ExchangesCommitment date: May 30thContact: Russell Goldsteinrgoldstein@brunico.comor 416-408-2300, ext. 700TORONTO | KOOL HAUS | MAY 23, 2013ONLINEVIDEOADVERTISINGs28SPONSOREDSUPPLEMENTslug.indd 1 27/03/13 3:25 PMPublisher.Apr13.indd 6Publisher.Apr13.indd 6 13-03-27 5:10 PM13-03-27 5:10 PM
  7. 7. CALL FOR ENTRIESDEADLINE: APRIL 19, 2013SUBMIT YOUR ENTRY TO:promoawards.strategyonline.caPRESENTED BYWHO WILL STEAL THE SHOW THIS YEAR?2012BEST OF SHOWWINNERMAYNARDSST.23101.PromoAwardsHA.indd 1ST.23101.PromoAwardsHA.indd 1 13-03-26 3:30 PM13-03-26 3:30 PM
  8. 8. 8 www.strategyonline.cahile 3D printing is a still a relatively young technology, it’s rapidlybecoming affordable (printers run as low as $500, but the plasticfilament is pricey). Since 3D printers used to be prohibitivelyexpensive, most brand executions tend to still be gimmicks, says Tribal DDB’stechnology director, Joe Dee, pointing to projects like Disney’s “Frozen inCarbonite,” which takes photos of theme-park visitors and prints figurinesof them in the vein of Hans Solo’s iconic Star Wars scene, or its “PrincessExperience,” which creates custom Disney princess figurines for young girls.Alan MacDonald, partner, innovation, at Naked Creative, who saw the techat SXSW, says curious agencies are bringing the technology in-house, notnecessarily to incorporate in marketing efforts, but to play around with. Hepoints to Amsterdam-based Resoluut, which recently did away with businesscards in favour of customized 3D-printed figurines (pictured above). Each“card” is modeled after the employee and dressed up like a superhero, withthe contact info imprinted on the base. Both Dee and MacDonald anticipategimmick-led stunts will continue for the next few years as brands try to figureout how to build the technology into their communication efforts.But with the cost now paving the way for mass adoptions, MacDonald islooking beyond the novelty value to a reward or revenue stream opportunityfor companies to hand out 3D designs to consumers. For example, a luxuryretailer like Harry Rosen could send out limited-edition cufflink designs to itsloyal consumer base, and those with the printers at home could easily printtheir own version, while those without could pop into a nearby store to havethem made.Bensimon Byrne’s managing director of strategy, Max Valiquette, concurs,adding there is a huge opportunity for companies to create personalizedexperiences in stores, creating customized add-ons for products. Forexample, after a sale, Virgin Mobile could offer to print a custom phonecase or perfectly-molded headphones for its customers. But he cautionsbrands not to get lost in the hype. “The challenge is that while I do think it’sthe future – and I mean immediate future – the technology itself is so cool,it’s hard for brands to do something with it and not [have everyone] focusexclusively on the 3D printing and not on anything else.”“Celebrities as creative directors” is of icially atrend, with the most recent additions of AliciaKeys for BlackBerry and Justin Timberlake forBud Light. And whether these celebs are actually“directing” anything or it’s just a fancy synonymfor “endorser,” we thought we’d jump on thebandwagon and suggest a few young Canadianswho might want to lex their creative muscles.CARLY RAE JEPSEN AND TELUS: Call her, maybe?Sure, that was the song of last summer, but thatdoesn’t mean that she can’t squeeze every lastounce of its popularity by becoming Telus’ CD.Teens like Carly Rae. And teens like cellphones.And cellphone plans need to be advertised. ACarly Rae song for every ringtone? Out with thecute animals, in with the pop star.MICHAEL CERA AND UBISOFT: The self-professedvideogame geek is growing up. Not growingout of his awkward phase, mind you, but heshould consider branching out now that he’san established celeb. So why not be the creativemind behind a videogame label? We predict asudden rash of games with a thin, gawky anti-hero who always gets the girl in the end.DRAKE AND HARLEY-DAVIDSON: You wouldn’tnormally associate a rapper with a motorcyclecompany, but with Drake’s infamous YOLO(you only live once) motto and Harley’s newQuebec campaign that shows men living lifeon the edge, it suddenly makes sense. It wouldhelp Harley expand from its Sons of Anarchy-esque clientele to a new generation of youngfans. Picture Drake casually leaning against amotorcycle in his next rap video.RYAN GOSLING AND GUINNESS: He’s dark,brooding, cool and universally adored.Guinness is dark, brooding, cool and adored,perhaps not universally, but could be with theright celebrity CD. We see black-and-whiteindie music videos in this beer’s future, withor without Gosling playing a banjo, with orwithout a shirt on.By Megan HaynesBy Emily WexlerCELEBRITY CDWISH LISTW3D printing goes mainstreamUpfront.Apr13.indd 8Upfront.Apr13.indd 8 13-03-26 7:26 PM13-03-26 7:26 PM
  9. 9. 9April 2013Above: Anin-store adpromoting aCD for the bandParamore. Topof page: Vinylis making acomeback atHMV stores(left) while salesof collectibleswill grow inimportance as CDand DVD salesdecline.HMVick Williams believes he’s unlocked the right strategyfor HMV in the digital age.The president and CEO is in charge of a music-and-movies retailer under pressure from digital alternatives and big-boxstores, which contributed to HMV Canada’s former U.K.-basedparent company filing for bankruptcy protection in January.But in Canada, HMV is not just standing its ground in the face ofadversity; it’s attempting tofight fire with fire. Williams saysthe company is ready to makeits big push into the digitalmusic arena this month, whenit will launch an advertisingcampaign for The Vault, itspaid-subscriber streamingservice. The service, whichgives users access to a database with millions of songs that they canalso download, for an additional fee, has been available in beta modesince December. It will re-launch on April 19 to coincide with theJuno awards, which HMV sponsors. It will also be promoted by an in-store and online campaign, with customers able to, for the first time,purchase subscriptions at one of the company’s 117 stores.“It’s a fairly hefty campaign that will allow us to start really drivingit,” Williams says. He wouldn’t divulge how many subscribers TheVault currently has, but says he aims to have more than 300,000users in three years.In addition to rolling out The Vault, HMV has a number of otherinitiatives meant to attract its wide target market of 18- to -45-year-olds. It wants to grow its Pure loyalty program – which lets membersuse points to enter competitions to win trips to concerts, or to spendthem on signed merchandise or other exclusive items – to betweenthree and five million users in three years from 1.3 million today.Vinyl is also making something of a comeback in HMV stores.After a successful pilot, the company is expanding the offering to 40stores, though vinyl records make up only 1% or 2% of the retail mix,at most.In the meantime, Williams insists CDs, DVDs and Blu-ray aren’tgoing away in Canada. He says at HMV Canada – sold by theU.K.-based HMV Group in 2011 for $3.2 million to restructuringfirm Hilco – DVDs account for more than 50% of the company’ssales, while music makes up 35%. The rest is made up of a mix ofgifts, collectibles, t-shirts and technology items. With physical CDand DVD sales slowly declining in Canada, HMV plans to grow themerchandise stream to represent 20% to 25% of its mix.Some of those merch items are hot sellers. Williams says HMVsold nearly 71,000 items related to boy band One Direction overthe holidays, while enjoying its best holiday sales period in fiveyears (reported as $65.4 million). He says HMV exceeded its salesforecast for the first quarter of 2013, with January seeing year-over-year double-digit growth.The company also opened six pop-up stores over the holidays lastyear, one of which was made permanent in Quebec. Williams saysHMV will look at 12 to 15 more locations to trial this year.The Vault, meanwhile – at a cost of $4.99 per month to useon a computer or $9.99 to also use on a mobile device – entersa crowded market, with Rdio and Slacker Radio offering similarservices at a similar price. But Williams says that HMV has an edgebecause of the brand’s physical locations where people can havequestions answered one-on-one.“The unique opportunity we have is we can talk to people aboutit with confidence and tell them what it is,” Williams says. “That’sthe big difference, I think, between a retail model and a purelyonline model.”BETS ON STREAMING, LOYALTY AND MERCHNBy Matthew ChungUpfront.Apr13.indd 9Upfront.Apr13.indd 9 13-03-26 7:27 PM13-03-26 7:27 PM
  10. 10. By Matthew ChungSOCIAL CURRENCY GETS REALIt appears that the value of a tweet is on the rise.With brands scrapping for attention on social media and consumersincreasingly expecting rewards for paying attention and playing along, a fewcompanies recently engaged passersby by exchanging products for the price ofa shout-out on Twitter or Facebook.Kellogg’s handed out boxes of its new cereal at a pop-up All-Bran TweetShop in downtown Toronto’s Eaton Centre last month. To get a box, consumerstweeted with the hashtag #AllBranTweetShop or wrote a Facebook post onthe brand’s wall. The shop was part of a larger media strategy led by Starcom,with TV and online advertising by Leo Burnett, sampling by Inventa and PR byStrategic Objectives. Initial feedback from visitors to the shop was positive,says Andrew Loucks, VP Marketing, Kellogg Canada. In addition to tweetingthe hashtag, many users added positive product reviews.A nearly identical Kellogg’s campaign in London, England for the company’sSpecial K Cracker Chips, generated 2,800 media mentions, the majority fromcustomers visiting the shop, Loucks says. More than 72 million people werereached through that program.In February, Hot Wheels and Chevrolet Canada, working with Toronto-basedTrojanOne, placed a retrofitted vending machine on the show floor of theCanadian International AutoShow in Toronto. Passersby tweeted to@HotwheelsCanada with the hashtag #ChevyCIAs to get a pint-sized versionof the Chevy Camaro. More than 1,800 cars were delivered through thevending machine over the run of the show, according to Danielle Minard,manager of consumer engagement at TrojanOne.Liz Crawford, VP strategy and insights at Match Drive, expects morecompanies will develop offers to earn social currency – a tweet, a Facebookposting or a “like” – from people rather than real money.“The value exchange mechanism is the key to driving engagement in thedigital world and successful marketing of the future,” says Crawford, author ofThe Shopper Economy.“I do believe that activating consumers’ social networks to create buzzis here to stay,” she adds. “These mechanisms are an important part of themarketer’s arsenal to get the word out.”APRIL 25, 2013InterContinental Toronto CentreJoin us at the 10th annual SMCC conference as industry leadersshare how the power of sponsorship marketing can be harnessedto deliver results that are nothing short of revolutionary. Our stellarline-up includes Sun Life Financial’s Mary De Paoli, Bell Canada’sWade Oosterman and the NBA’s Mark Tatum.Featuring the 9th annual Sponsorship Marketing AwardsREGISTER TODAY! Go to for details.M MARKETING INC.Mary De PaoliExecutiveVice President,Public & CorporateAffairs and ChiefMarketing Officer,Sun Life FinancialWade OostermanPresident,Bell Mobility &Residential Services,Chief Brand Officer,Bell CanadaMark TatumExecutiveVice President,Global MarketingPartnerships,National BasketballAssociationST.22951.ACA.indd 1 26/03/13 3:21 PMUpfront.Apr13.indd 10Upfront.Apr13.indd 10 13-03-26 7:27 PM13-03-26 7:27 PM
  11. 11. ST.23093.CMA.indd 1ST.23093.CMA.indd 1 13-03-26 3:32 PM13-03-26 3:32 PM
  12. 12. BY JENNIFER HORNTHE YOUTH REPORTTo get a youth perspective, we worked with SPC Card,a Canadian student loyalty program, and Mike Farrell,SVP research and strategic insight at ConversionMarketing-Communication to recruit an online panelof teens and young adults to weigh in on the tacticseach brand is using to incite participation.Just as marketers begin to feelcomfortable speaking to yesterday’syouth, in walks the next generation ofunpredictable targets to which society hasassigned a letter. Generation Z, a cohortborn after the commercial adoption of theinternet (roughly 1995 on), who account for22% of Canada’s population, are aware andeven flippant of brands that blatantly sellthrough one-way marketing, according toForrester Research’s 2013 “How To BuildYour Brand With Generation Z” report.Participation trumps persuasionas this crowd responds to programsinviting them to play rather than onesurging them to pay. To understand howmarketers are engaging this new breedtoday, strategy looks at recent digitaland experiential efforts from savvy youthbrands – such as Doritos and its Infernolaunch, which is encouraging teensto set social media ablaze using newtech. We also look at how U by Kotex isinvolving youth in spurring social change,Adidas’ collaborations with people of thearts and Ubisoft’s shift from celebrityendorsements to real people.12 www.strategyonline.caI LOVE WHEN A BRANDTAKES MY IDEAS ANDIMPLEMENTS THEM.IT’S A BIG DEAL TOHAVE A WELL-KNOWNCOMPANY GRAB YOURIDEAS AND USE THEM– ROBERT, 17Youth.Apr13.indd 12Youth.Apr13.indd 12 13-03-27 4:19 PM13-03-27 4:19 PM
  13. 13. 13April 2013It appears 2013 has ignited achange in Doritos. Recently,the PepsiCo brand bid adieu todiffering logos (a red and yellowpulse in North America and a bluetriangle in the rest of the world),and began rolling out a consistentpackage design for all its productsacross 37 markets – starting withits Inferno launch in Canada.Having tested well in Mexicolast year, the brand decided toship the chip to Canada, alongwith a program that remapsDoritos’ typical path-to-purchasepromotion. Since fire symbolizesthe spicy Inferno flavour, thebrand animated this trait with amicrosite that allows visitors tolight words on fire. From there,fans can show off their flamingtext by posting it as a status onFacebook or as a tweet on Twitter.Consumers are used to puttingon their creative thinking caps forthe brand ever since it launchedthe “Become a Doritos Guru”contest to create a commercialin 2009. Having recycled thecontest in various ways overthe years — such as the online“Viralocity” program, which had1,804 consumers submit videosfor a product launch, and “TheEnd,” which racked in another30,000 submissions — Doritosdecided it was time to evolvefrom asking its fans to be contentcreators. Instead, the brand isdabbling with new technologythat animates otherwise staticsocial content.“We’re always evolving andlooking at different ways forconsumers to interact with thebrand,” says Susan Irving, directorof marketing, PepsiCo Canada.“For this, we’re reshaping theusers’ experience, giving them anew technology and leveragingsome of the interactions they’realready having [online].”Doritos and its partneragencies Proximity and BBDOdidn’t cut corners when producingthe creative for the tool, filmingreal fires and explosions toincorporate in the text.The program for the newproduct, which landed on shelvesin March, also extends beyondthe brand’s site to other digitalplatforms and traditional media.Working with OMD, the brandplaced banner ads that enableusers to share their fiery creationswithin the ad window, as wellas rich media placements thattransform a person’s mouse iconinto a Doritos chip on fire. Ontelevision, advisory messagesbefore shows on Comedy, MTVand CTV have been altered towarn viewers of the program’s“wicked awesome hot” rating, justlike Inferno.Irving says Doritos programsneed to respond to youthexpectations for the brand to “beon the cutting edge,” which callsfor Doritos to be a pioneer in newtech and to create programs thatpush the boundaries of what’spossible, to “stay current and ontop of the trends and [therefore]cut through the clutter.”Doritos trades UGCstrategy for spicy techI WOULD LOVE TO PARTICIPATE IN THISPROMOTION BECAUSE IT’S DIFFERENT. IDEFINITELY THINK THAT THIS MAKES DORITOSSTAND OUT. THEY WIPE OUT THE COMPETITIONBY DOING DARING, EXCITING PROMOTIONS.”– ROBERT, 17DESPITE IT BEINGA GREAT CONCEPT,THE IDEA OF HAVINGAN ENTIRE POST SET“ON FIRE” IS A LITTLEBIT TOO MUCH. HADTHEY MADE AN ADWHERE SOMEONECOULD SIMPLY TYPEIN A WORD AND THISWOULD BE TURNEDINTO A SHORT VIDEOOR A GIF TO THENBE SHARED ON AWEBSITE, THEYWOULD HAVEHAD ME– IYNGARAN, 19Youth.Apr13.indd 13Youth.Apr13.indd 13 13-03-26 7:34 PM13-03-26 7:34 PM
  14. 14. 14 www.strategyonline.caWhile Nike affiliates itself withhero athletes and Reebokcapitalizes on fitness, Adidastends to take a more culture-focused approach, creatingprograms that connect thebrand to influencers of music,contemporary art and fashion.Its association withculture is evident in its newglobal positioning, “Unite AllOriginals,” which launchedin early March and usesinternational artists to targetwhat it calls “Next GenerationYouth,” or NGY.The program, by Canada’sSid Lee, revolves aroundan online portal called the“Originals Collider,” wherethe brand pairs two artistswith different backgrounds(from musicians and rappers,to graphic designers andpainters) to create “collisions”that include music videos andart. These are then posted onthe website (which is linkedto various online portals,such as andSoundCloud), with the brandfurther connecting its productswith the multimedia pieces byshowcasing “styles inspired bythis work.”The brand’s strategy isto inspire consumers withcontent that speaks to diverseyouth sub-cultures, says Jean-Francois Dumais, ACD, Sid Lee.He likens the different crewsrepresented on the site tohigh school cliques that wouldtypically go their separateways in earlier generations.But, he says, today’s youth area lot more involved, open andcurious. “When I was 16 yearsold, there was only one gangyou could be affiliated to. Youwere with the sports crew, theskaters, the graffiti guys orthe musicians,” Dumais says.“What makes [today’s] targetmarket interesting is they’reinto everything. The internetreally accelerated the amountof influencers we’re willing tolisten to.” By bringing togetherartists from different walksof life, he says Adidas is ableto show its appreciation foryouth’s wide range of interests.For now, the program willlive mostly online and partiallyon TV, with a 90-secondcommercial featuring acollision by French directorSoMe and DJ/producer A-Trak,which uses ambient sounds tocreate a unique song. Dumaissays he hopes to eventuallyevolve the Collider intosomething more participatoryfor the brand’s second fall/winter phase. For example,it might have consumers trytheir hand at collaborating withothers and actually be a part ofthe collisions.“Originals is a verydemocratic brand. It’snot trying to be superunderground, and it’s nottrying to be super mass,” henotes, further adding thatthe brand avoids speaking toyouth in an “extreme way”(much like what more nicheexclusive brands are able todo) to ensure it does not comeoff as inauthentic. “[Youth] willalways be the ultimate judgeof what you do. You need togive them something that’scool and speaks to them intheir own language. Be a partof their culture, and make sureyou’re not just polluting the airwith a message.”Adidas gets inclusivewith sub-culturesI LIKE THE BEAT OF THE COMMERCIAL,BUT IT SEEMS TOO FLASHY. THIS HAS NOTCHANGED MY PERCEPTION OF THE BRAND.I HAVE ALWAYS KNOWN ADIDAS AS BEINGA COLOURFUL AND CREATIVE BRAND, NOMATTER WHAT THEY ARE TRYING TO SELL– ROBERT, 17I THINK THE COLLISIONSARE QUITE INTERESTING,AS THEY BRING TOGETHERTWO FIELDS OR TYPESOF ART IN ORDER TOCREATE SOMETHINGNEW. IN A WORLD WHEREORIGINALITY IS SELDOMSEEN, IT IS REALLY COOLTO SEE THESE KINDSOF ADS THAT TAKEA DIFFERENT TWIST.THIS CAMPAIGN JUSTREINFORCES THE IDEATHAT ADIDAS, UNLIKENIKE AND REEBOK, ETC.,HAS A DIFFERENT, MOREUNIQUE TAKE ON WHATIS CONSIDERED SPORTSAPPAREL, AND THEREFOREHAS REINFORCED [MY]POSITIVE VIEW [OF] ADIDAS– IYNGARAN, 19Youth.Apr13.indd 14Youth.Apr13.indd 14 13-03-26 7:34 PM13-03-26 7:34 PM
  15. 15. 15April 2013U by Kotex wants girls tomeet the moms, peers andhealth experts that makeup its “Generation Know”myth-busters. Not to beconfused with the DiscoveryChannel team thatuses scientificmethods to filterfacts, these womendraw upon personalexperiences to revealthe falsehoodssurrounding vaginalhealth.Launched earlierthis year, theGeneration Knowwebsite is a safehaven for young girlsto ask questionsrelated to their bodies(for instance, “CanI swim when I’mon my period?”) and haveanswers posted by a team ofambassadors. There are alsoprojects for teens and youngadults to get involved in, suchas “Change the message”where older girls can post tipsor a positive message aboutwomanhood to pass on to thenext generation.“This is really aboutspringboarding from the ‘Breakthe Cycle’ campaign we had [in2010],” says Lauren Kren, brandmanager, U by Kotex. Beforeparent company Kimberly-Clarkintroduced its first youth-targeted tampon and padproducts, Kren says the brandconducted research that foundgirls were tired of feminine-carebrands not speakingfrankly with themabout their periodsand that they desired abetter understandingof their bodies.This opened thedoor for U by Kotexto “reshape theconversation” when itlaunched nearly threeyears ago, creating atelevision spot thatessentially threw outdecades of ads thattend to sugar-coatmenstruation andinstead show theactual (sometimes icky) truths.The campaign to get peopletalking about vaginal healthresulted in 6,774 Declarationof Real Talk signatures, closeto 900 Real Answer questionssubmitted on its website andanother 700,000 visits to thesite within the first month of itslaunch. Kren says this year’sevolution of the program willinclude a community-drivenonline portal provides “a safeenvironment for girls to engagewith and get involved.”In addition to the onlinecomponent (handled by Organic) and TVadvertising (created by NewYork-based Ogilvy & Matherand planned by MindshareCanada), the brand is alsoreinforcing its messagethrough retail activations.U by Kotex products arepackaged in limited editionGeneration Know creative,and include pledge bracelets,which girls can wear to showtheir commitment to learning.A partnership withWalmart, co-ordinated byOgilvyAction, provides retailsupport through an e-blastas well as an online editorialfeature on the retailer’swebsite. The brand andretailer have also taken theprogram to print, creatinga four-page GenerationKnow “exam guide” insertin Vervegirl magazine thatprovides study tips anddebunks health myths to helpthem become a “generationproud to be in the know.”“Research has also shownthat somewhere betweenthe 14- and 22-year agerange, girls are experimentingwith products, and at somepoint, she becomes loyal toa brand,” Kren says, addingthat its honest approach putsthe brand at the centre of theconsideration process.Kotex adds forumto its Real Talk platformMANY GIRLS ARECURIOUS ABOUTTHEIR BODIESAND NEED A SAFEPLACE TO TURNTO WITH THEIRQUESTIONS. THEANONYMITY OF THEINTERNET MAKESTHIS A GOOD, SAFEOPTION FOR THEM.IT IS ABSOLUTELYRELEVANT – ASA FEMALE, IDEAL WITH THESAME ISSUES ASEVERYONE ELSE,AND IT’S NICE TOSEE THAT THERE[IS A BRAND]LISTENING TO OURPROBLEMS– HELEN, 18I THINK IF I WAS YOUNGER, THIS WEBSITEWOULD DEFINITELY BE RELEVANT TO MY LIFE.I WOULD HAVE LOVED THIS WELCOMING ANDINFORMATIVE SOURCE WHEN I WAS NEW TOGETTING MY MONTHLY VISITOR– PHUONG (DESIREE), 22Youth.Apr13.indd 15Youth.Apr13.indd 15 13-03-26 7:35 PM13-03-26 7:35 PM
  16. 16. 16 www.strategyonline.caUbisoft shifts its focusto fans on campusI HAD NO IDEA ABOUT THIS COMPETITION. IT NEEDED MORE MEDIA!– PHUONG (DESIREE), 22It’s no wonder Ubisoft hasinvested sponsorship dollarson its Just Dance title forso many years (taking it ontour with Katy Perry andJustin Bieber, as well asmaking appearances at theMuchMusic Video Awards).The game is its most popular,having sold more than 1.4million units in Canada sinceits 2009 launch.Touring with pop starsprovides Ubisoft theopportunity to have its producton-site for youth to demo atshows. Its partnership withBieber also allowed the brandto create original content,such as when it documentedimpromptu visits from thesinger at focus group sessionsand posted it online (so far,the video has received over6.6 million views).And while sponsorshipshave proven effective forthe game developer, Ubisoftdecided it was time to testa more personal approach,launching a program thatreaches out to universitystudents (as opposed to itstypical tween target) andhaving them (instead ofcelebrities) become advocatesfor the brand.The “Crush Exam Stress andJust Dance” program, createdby Redwood Strategic andEdelman, launched mid-Marchwith a microsite that invitesdance crews from campusesacross Canada to enter for thechance to take part in a one-day dance party (and hopefullyset a world record along theway) on April 6. The program,which will see 20 crewswhittled down to eight finalgroups, is timed to align withthe students’ exams to helprelieve them of the stresses ofstudying, says Lucile Bousquet,marketing and communicationsdirector at Ubisoft.“When we found out thatuniversity students use thisgame to help de-stress,we wanted to extend thisexperience,” she says of thereasons for shifting the brand’scommunications to speak touniversity students for the firsttime. “This is almost a test forus to see how we can extendthis to a younger audience.If we see a success, [this is]something that we would liketo do [again].”Participants can registertheir school dance crew onthe microsite and, as anambassador, build a case forwhy they should be chosen toparticipate in the Just Danceparty by mobilizing theirschool community to postimages and videos that showoff their moves. The eightchosen crews can win prizesfrom Samsung, Microsoft andUbisoft, as well as sponsorshipmoney to help them buildawareness of the event.By asking avid fans ofthe game to become brandambassadors, Ubisoft gainsmore credibility than if it wasto push its own message out tothe students, Bousquet says.“[Youth] want to beinvolved. Once you give themall the tools, they becomethe content creator. They arelooking to have a voice, theywant to have an impact onwhat [a brand] does, be a partof something and share theirexpectations,” she adds.I THINK THIS CONTEST IS PROPERLYDONE. [IT HAS] COOL PRIZES, [IS]VERY INTERACTIVE, HANDS-ONAND IT GETS PEOPLE PUMPED ANDMOTIVATED. THE TERMS AND IDEAOF THE CONTEST MATCHES THEMARKETED PRODUCT VERY WELL- IYNGARAN, 19IT WOULD BE NICE TO HAVE MORE THANEIGHT SCHOOLS PARTICIPATING, AS THERE’SA WHOLE LOT OF TALENT OUT THERE THATTHE WORLD WOULD LOVE TO SEE– HELEN, 18Youth.Apr13.indd 16Youth.Apr13.indd 16 13-03-26 7:35 PM13-03-26 7:35 PM
  17. 17. 17April 2013The manufacturer is changing into a food marketing machinefocused on building love for its brands BY MEGAN HAYNESTransforming Maple LeafAbove: MapleLeaf introducesNatural Selectionsas a healthy, no-preservatives option.Right: Grahambrings his experience“transforming”companies to theCanadian CPGcompany.tephen Graham walks intothe Maple Leaf boardroomhumming a song. It’s the newtune for an upcoming Olivieri spot due outthis month. They just chose the track thatmorning and planned to finalize it right afterour interview.“Fresh,” by ’70s R&B band Kool & theGang has been stuck in his head all day,he says. And he hopes it’ll be stuck inyours too.A catchy tune for its latest ad is justanother way 86-year-old Maple Leaf is tryingto get into consumers’ hearts and minds.Graham, who joined Canada’s fifth-largestCPG company as CMO in 2010, tends to getpulled into companies as they go through“transformations.” As CMO at AT&T startingin 1996, he was brought in during the“wireless wars,” and was named Ad Age’sCMO of the year in 1999 for his brandingefforts against Sprint. At Coca-Cola, it wasthe soda wars, where he helped repositionthe brand against Pepsi. With Maple Leaf,Graham had a different challenge.It’s a well told story now. In 2008,Maple Leaf issued a meat recall as a resultof listeria contamination from its NorthYork, ON plant, resulting in 22 deaths.In the ensuing months, president andCEO Michael McCain took to the airwaves,quickly owning up to the outbreak, offeringpublic apologies and promising that sucha tragedy would never happen again atMaple Leaf.From a PR perspective, the companybecame the gold standard for its handlingof the crisis, according to multiple mediasites and industry analysis.But confidence was damaged, andthe whole ordeal would go on to cost thecompany more than $100 million in lostsales, settlements and recovery. That wascompounded with the 2008 recession,increased food costs, a more health-conscious consumer shying away fromprocessed foods, and a boom in private-label lines.Once buzz around the Listeriosis crisissubsided, Maple Leaf began chats withGraham, bringing him in as the company’sfirst-ever chief marketing officer, toreorganize the way the food manufacturersells itself. His job was no simple task:SWE’RE NOT SELLING NIKESHOES. WE’RE SELLINGFOOD. SO WE HAVE TOWORK HARD TO MAKE ITINTERESTINGMapleLeaf.Apr13.indd 17MapleLeaf.Apr13.indd 17 13-03-26 7:43 PM13-03-26 7:43 PM
  18. 18. 18 www.strategyonline.catransform the way Maple Leaf operates toincrease focus on brand-led innovation andemphasize the importance of marketing.“We never had marketing at the centrebefore,” says Graham. “It had all been in thebusiness units.”Pre-2010, the company took adecentralized approach to its marcom: eachof the brands had its own head, but therewasn’t any direct access to the C-suite.Marketers across brands didn’t reallycommunicate with each other, and therewas no one person leading the marketingcharge for the entire company.And this reflected in Maple Leaf’sadvertising. Focus was on the product, notthe consumer, while campaigns tended torevolve around new launches, rather thanbuild the brand, Graham says. He came in tobridge that gap.He benefited from having a lineup fullof market leaders: its bread, pastas andsauces, bacon, deli meats and wienersand sausages each enjoy the top marketpositions. All meat products have a 33%share, while baked goods enjoy a 43% hold.But the company – even before the recall– was in a sales decline, dropping steadilyfrom $5.9 billion in 2006 to $5.2 billion in2007, before dropping off to $4.9 billion in2010. Sales have leveled off between nowand 2010, but are still far from their peak.To reorganize with a marketing focus,he first shifted the corporate structure ofthe team. Marketing heads now report toGraham directly, as well as to their ownbusiness units (frozen baked goods ormeats, for example), while on the corporateside, he made an effort to bolster expertisethat could cross brands, such as digital,strategy or innovation.“When I joined, we had a lot of talentedpeople, [but] we needed to start movingfaster and getting more focused on customertrends. We needed to make sure we wereretaining and bringing in [marketing] peopleand treating this function as important,”he says. Marketing will be a key factor inMaple Leaf’s future success, he says, so it’simportant to treat it as such.He likes to “collect” talented people, hejokes, and since he’s joined, he figures he’sadded 20% to 30% new staff to his 200-plusmarketing team.Maple Leaf also changed its relationshipwith its advertising agencies, tapping threeagencies to work across its big portfolios— meat (John St.) bread (JWT) and pasta(Ogilvy). In fall of 2012, it added Cundari tohandle digital across all brands.Having worked with Maple Leaf since2004, Angus Tucker, partner and ECD atJohn St., says the shifts are noticeable. Theagency is now treated as a partner, ratherthan a service provider, and emphasis isplaced less on promoting new products andmore on creating a brand halo.“It’s much more of a 360 [degree]relationship as opposed to project orientedin nature,” he says. “In many ways theywere a manufacturing company before.They are a marketing company now.”Core to this marketing focus, Grahammade it a priority to reposition each of thecompany’s lines across all divisions – fromMaple Leaf to Italian bread line Vilaggio.Above: In 2009,Mississauga-basedThinkFood! openedits doors as MapleLeaf’s innovation hub.Bottom Right: A bigcompany focus hasbeen on rolling out on-trend products suchas natural and gluten-free lines. Oppositepage: Villagio Italianbread focused on its“village” roots in itsbrand positioning.MapleLeaf.Apr13.indd 18MapleLeaf.Apr13.indd 18 13-03-26 7:41 PM13-03-26 7:41 PM
  19. 19. 19April 2013“The transformation agenda weset up when I came in was: ratherthan just [treat] our consumers as thetarget, make marketing more consumerinsight-driven and move from reactiveand tactical to proactive and strategicin how we provide value to consumers,”Graham says. “And then [move] froman advertising and promotion focus to amore integrated look at how we use allthe marketing tools.”Each brand was given its own identityand unique strategy that highlights thevalue it gives consumers, he says. “In thelast two years, we’ve become very crispon what our brands stand for.”Prime chicken, for example, competesin a crowded category, with littledifferentiation on the shelf. Fresh meatstend to sit in similar Styrofoam packagingcovered in plastic, while chicken itselflooks pretty identical across all brands.Prime, as a result, was experiencing adecline in sales.“Prior to Steve coming in, basicallythe only advertising done was for newproducts,” says Tucker. “But there was noreal emotional heart behind that brand.People didn’t really feel much towards it.So they responded to it rationally.”To combat this, John St. and MapleLeaf, in spring 2011, launched whatTucker says was the first brand campaignfor Prime in 10 years. The emphasis wason dinner — an ideal time to bring familiestogether. Prime chicken attached itself tothis core family time to make an emotionalconnection. Spots made heroes of themeal, focusing on happy interactions overpreparation and consumption, bringing theproduct in only at the end. The promotionresulted in two consecutive years ofdouble-digit sales growth, Graham says.For Dempster’s, the company tooka slightly different route. Despite beinga Canadian-owned and manufacturedbrand, consumers weren’t aware that itwas Canadian. Nor were many aware ofthe nutrients in bread.“So we launched the position that[Dempster’s is] Canada’s bakery and[highlighted] all the good things in it,”Graham says. “When you think about it,we represent half of Canada’s food guide.”The campaigns, by JWT and Cundari,really drive home the patriotism andhealth benefits of bread. They featureCanadian stars, such as hockey playerSidney Crosby (in 2011) and comedianGerry Dee (in 2013), while another spot(launched in 2012) features a “breadfarmer” plucking slices from trees, asone would for fruits. Everything drivesback to, whichoffers healthy recipes, emphasizingbread as an important part of a dailydiet, Graham says.“I think a lot of times companiesforget [what role their products play inpeople’s lives],” he says. “Companiesbecome consumed with ‘Well, wemake this. You should buy it.’ And theconsumer asks, ‘Why? How is it going tomake life better?’”To help improve people’s lives,Graham says a key focus for the companyMaple Leaf has gotten into the digital swingof things.Graham admits the company’s onlinepresence wasn’t great prior to 2010, but saysthat it’s a big focus now.To kick things off, he created a digital teamof seven over the last few years, and recentlysigned on Cundari as the brand’s first-everdigital agency partner.Because many of the foods Maple Leafsells (primarily milk and meat) are lowengagement categories, Cundari was taskedwith piquing interest by moving from productmessaging to entertainment in order toattract eyeballs, says Jennifer Steinmann, VP,director of client services at Cundari.The kick-off effort is a campaign forDempster’s, focused on the nutrients ofbread. Tapping Canadian comedian GerryDee, the agency hijacked a juice bar andkids day camp in hidden-camera stylecommercials. The first spot features Deebehind the bar serving real customers juicecocktails with Dempster’s bread mashed infor a nutrient-infused drink. In the second,Dee takes over a sports camp, offering youngtykes grilled cheese sandwiches with cookedspinach in place of bread.“We’re pushing the envelope from a creativeperspective,” says Steinmann. “They’re reallytaking risks. We’re taking them to places thatare a bit uncomfortable, given that they’ve[gone] from product messaging to hijackingand candid cameras.”In less than two months, the two videoshave surpassed 1.4 million hits on YouTube,with the kids’ camp one garnering more than500,000 views in two weeks.While at press time Steinmann had nometrics to share on sales success of thecampaign, she says the conversationshappening around the videos were positiveand seemed to be “striking the right chord.”GOING DIGITALMapleLeaf.Apr13.indd 19MapleLeaf.Apr13.indd 19 13-03-26 7:41 PM13-03-26 7:41 PM
  20. 20. 20 www.strategyonline.cahas been on making innovative products.Now, each of the marketing departmentshave dedicated “innovation teams,” as wellas a newly-established centralized teamsolely dedicated to creating new or improvedproducts, allowing for a much larger pipelineof ideas. Product developers report directlyto the marketing teams, so innovationsare consumer-led to help keep the brandsrelevant, where before, it tended to beproduct-led. Its ThinkFood! innovation lab inMississauga, for example, brings togetherchefs, product developers and consumers tohelp create or tweak new lines.Maple Leaf also established threecore factors driving innovation at thecompany: changing demographics (suchas single-person households), emphasison health and nutrition, and the increasedimportance of food convenience, whichwasn’t clearly laid out prior to Graham’sarrival. All new products should addressone or more of these realities, he says.He points to Maple Leaf’s NaturalSelections as a great example. The meat linefaced increased concerns over processedfoods and had been in a steady 1% annualdecline. The 2008 recall accelerated that.To combat this, the company expandedits no-preservative products (whichwas only available in a couple of SKUs)across the entire line, with campaignsre-introducing the products to the massesas something that was once banned, butcan now be enjoyed by all – includingmoms weary of processed foods. (It alsointroduced Maple Leaf’s more brand-focused message of “Your butcher shop.”)As a result, the brand grew sales 5.8% inthe first year and 10.1% in the second.Since its launch, Maple Leaf market sharehas grown by more than 30%, and holdsfour of the top 10 sliced meat SKUs inCanada.Simultaneous to Maple Leaf’s rebrand,Graham says they “bet the farm” andrelaunched the Schneiders line as an all-natural product as well. While they fearedthat with so many new SKUs retailers mightbe unwilling to take both full lines at thesame time, he says stores were on board,happy to have lots of on-trend products tostock on shelves.The two complete new lines launchedwithin six months of their ideation,something that highlights the speed atwhich Graham’s been leading the change.“Large companies need to move faster,”he says. “There are tons of entrepreneurs outthere who are going to create things if youdon’t. So to be a competitive company, youhave to be the one creating innovation.”Only three years into the job, he’s stillearly in the company’s transformationefforts, recognizing that some of the brandsaren’t where they need to be “yet.” But hefigures that with 30 million Canadians androughly 100 million meals a day, Maple Leafshould be ubiquitous in people’s lives. It’sjust a matter of selling itself as such.“If we’re not important to [an elementof] people’s lives, then by definition, we’renot important,” he says. “So [the questionis], how do we become more important byhelping people, which takes us beyond afunctional product? We’re not selling Nikeshoes. We’re selling food. So we have towork hard to make it interesting.”Clockwise from topleft: Prime chickenmade dinnertime thestar of its new spots;“Dylan Carter” isoverjoyed that he canenjoy hotdogs fromthe Natural Selectionsline; Dempster’s is asnutritious as fruits,according to this2011 spot.MapleLeaf.Apr13.indd 20MapleLeaf.Apr13.indd 20 13-03-26 7:41 PM13-03-26 7:41 PM
  21. 21. 21April 2013In part two of strategy’s diversity series, we examine why agenciesstruggle to get women and visible minorities up the ranksBY MEGAN HAYNESStuck in a Mad Men erahe lack of diversity insenior managementhas gotten a lot of hyperecently, with companies likeYahoo! criticized for taking awaylexible working schedules, seenas an important step towardsincreasing women in the seniorrank and ile. Prominent essayshave ignited the debate, such asWesley Yang’s “Paper Tigers”article in New York Magazine, whichexamined the “bamboo ceiling”(the barrier for Asians to theC-suite), or Anne-Marie Slaughter’sexamination of whether womencan have a career and a family, inthe Atlantic.But conversations are startingto happen, with companies likeUnilever, L’Oréal and PepsiCorealizing the value of a diversesenior management team andputting in place robust programsand networks to help shatter thatglass ceiling (Unilever and Coca-Cola recently won Catalyst Awards,which honours companies thatexpand opportunities for womenin business).But while consumer-facingcompanies have joined thetechnology, legal and inancialindustries in the diversity chorus,one of their most importantpartners – advertising agencies –have stayed on the sidelines.Canadian statistics are scarceon the agency side, but looking atTSabrina Kandasamy, digital marketingdirector at Spin Master, is nine monthspregnant – due any day now. It’s hersecond child, and she’s excited to talkabout balancing a career and a family.She’s got a nice plan for a staggeredreturn to work that she and her bossnegotiated, something she hopes meansboth parties come out ahead.But she wasn’t always so sure.Kandasamy began her career on theagency side in the planning and accountdepartments. “I loved working at anagency [which she won’t name], butyou don’t have the balance. I couldn’timagine being pregnant and working atan agency,” she says candidly.She didn’t feel comfortabletalking to her boss about alternativearrangements. “I could have sat thereand said, ‘This is something I really want. I’m going tohave my family, leave at a certain time.’ But becausethere is someone else who can stay, who is typicallymale, you’d go to your employer and talk to themabout it, and they saw it as complaining.”So she left to work on the client side.Paul Evans can count on onehand the number of black peoplein the advertising industry. Thefounder of Toronto’s The BraveAlliance began in the industryin the mail room, but quicklyworked his way into the creativedepartments. During his 20-yearcareer, he moved into seniorroles, becoming creative directorat one agency before forminghis own.While still a junior creative,a senior CD pulled him intohis office to ask his opinion onsome work. After Evans gave hisblessing, she responded with“Great, I was so worried I wasgoing to offend your people.”He blew it off, he says, butsubtle digs continued throughout his career. “You slush it away. And as it starts tobuild up, you start to wonder what it all means.”As a result of his race, he says he felt he had to work twice as hard to getcoveted jobs and promotions and never felt comfortable talking about it. “You getlabeled a complainer [if you bring up race as an issue] and labels follow you. I gotthe sense I was already being labeled [as black], so I didn’t want to compound andadd to that label. So you shut up and don’t say anything.”Diversity.Apr13.indd 21Diversity.Apr13.indd 21 13-03-26 3:59 PM13-03-26 3:59 PM
  22. 22. 22 www.strategyonline.cathe U.S. (where only 3% of womenhold creative director roles and16% of senior roles at agencies,according to a study by U.S. agencyMaternal Instinct) and the U.K.,(where women account for 23%of executive or managing directorroles, according to the IPA) revealsthat women and visible minoritiesare still greatly under-representedin senior advertising roles.Since there is no staf ingoverview of the Canadian creativeindustry for either women orvisible minorities, and withsuch high-pro ile namesas Leo Burnett’s JudyJohn, Juniper Park’s JillNykoliation and JWT’sBrent Choi leadingthe charge atmajor Canadianagencies,it’s beenechoed onnumerousoccasionsthatCanadianadvertisingagencies aredoing “Okay”on the diversityfront. But a countof the nameson strategy’s2013 CreativeReport Card’screative directorlist reveals only14% are women,placing us right inthe middle of thepack compared tothe U.S. and U.K., and nowhere nearequal representation.This contrasts greatly with thenumbers coming out of universityprograms. For example, HumberCollege’s three-year ad programhas a female-to-male graduate ratioof two to one, and Michael Rosen,program co-ordinator for Humber’sadvertising program, says in someyears, it’s been as high as three toone, while visible minorities makeup 14% of the current crop ofstudents. (Visible minorities makeup 16% of the Canadian populationand workforce).Faced with these numbers, andclients beginning to lead the chargeinternally, what are agencies sayingwhen it comes to addressing thelack of diversity?Not much.Many people strategy spoketo agree that there is a problem,but few say something needs tobe done to address the issue, andmost don’t believe policies orprograms are necessary (balkingat the idea of a “diversity quota”).Talent – they say – is the only thingpeople look for when hiring orilling positions and many say thathiring for talent should lead to adiverse team.But if talent is the only factor,does that suggest women andvisible minorities are statisticallyless talented or less capable ofhelming senior roles than the whitemale majority?Research says otherwise.A McKinsey study of Europeanand Asian businesses revealedthat companies with a higher-than-average number of femaleexecutives were as much as47% more pro itable than theircompetitors.Meanwhile a study by theAmerican Management Associationfound that companies with seniormanagers from non-Europeandescent reported sales growth 13%higher than their competitors.An ethnically diverse teamleads to “greater innovativeness,greater creativity, quality decisionmaking and eventually inancialperformance,” according to a studyby the Malaysian Universiti TunkuAbdul Rahman.And research by the ConferenceBoard of Canada reveals women aremore prone to using committees andhave a better long-term overview ofa company, surpassing men in theirattention to audit and risk-oversight.Is there an issue with a lack of diversity in the advertising and marketing world?ANGUS TUCKER, ECD and partner, John St.There are tons of white men. Yeah, I’d say that’s a problem. It can be a fairly narrow socio-economic vision through whichyou evaluate work. In any kind of country, that would be problematic, but I think in a multicultural society like ours, the riskis you end up speaking with a voice that is ultimately relevant to a much narrower group of people.The Multicultural Partnership’s Prasad Rao musesthat agencies are too insulary focused to attractdiverse teams.Diversity.Apr13.indd 22Diversity.Apr13.indd 22 13-03-26 3:59 PM13-03-26 3:59 PM
  23. 23. 23April 2013There’s also a mathematicalargument, says Sharon MacLeod,VP marketing at Unilever.“In Canada, 61% of universitygraduates [and 58% of theworkforce] are women.By the very nature ofthat, if by the time youget to the C-suite your[talent pool is] 90%men, you don’t havethe best men andwomen. You justhave the bestmen. You’remissing outon half of thepopulation.”You aren’tchoosing fromthe best of thebest. You’rechoosing fromthe best of what’sleft, she says.Alex Johnston,executive directorof Catalyst, a globalorganizationdedicated tobreaking downgender barriers,says businesses are also goingto start driving change toaddress the fact that only 29%of all senior-level managers arefemale, while only 5% are visibleminorities (despite making up16% of the population). In thelegal profession, for example,companies are mandating that lawirms better re lect the population( irms are notoriously bad atretaining female talent, accordingto multiple studies and oversightbodies). That, more than any otherfactor in the diversity debate, isdriving change.“I think this will happen inthe marketing sector,” Johnstonsays. “Whether or not agenciesare acknowledging it’s an issue,companies are going to start saying‘It’s an issue for me, and if youwant my business, then it’s got tobe an issue for you.’ There’s a hugeopportunity for people who canadapt early and adapt well.”For example, Leo BurnettCEO and CCO Judy John saysthat while diversity is notsomething the agency activelypromotes when pitching newbusiness, companies arestarting to speak up.“We won aclient recently,and they felt theirprevious agencywas missing thatfemale perspectiveand it was impactingtheir work.”A consumer studyin the U.S. (where80% of the buying power lies withwomen) by Maternal Instinctsreported that 90% of respondentssaid they can’t relate to brands’advertising. Having a diverse teambrings different perspectives to thetable, adds Nancy Vonk, founder ofSwim, and can help agencies betterunderstand the differences intarget markets. Diversity can bringcultural and gender sensitivitiesto the table, allowing for a voice ofdissent when a creative productmay cross the line into offensive.A number of agencies –made up almost exclusively ofvisible minorities, such as theToronto-based The MulticulturalPartnership or DyversityCommunications – exist for thesole purpose of reaching differentcultural audiences, who have anestimated buying power worth$78 billion in Canada, accordingto a study done by Toronto’sDiverseCity project.So with all these businessarguments for a diverse seniorteam, what’s holding agenciesback? Johnston says Catalyst foundthat a direct barrier for womenis a lack of access to “hot jobs,”or what she calls mission-criticalassignments, that often propel acareer forward.It isn’t necessarily a consciousdecision on bosses’ part. Nor dopeople on the teams realize there isan inequality in receiving “hot jobs.”“When we drilled down, wefound men [had budgets] twotimes as great as their femalecounterparts, [as well as] moredirect reports and signi icantmore access to senior leaders ofthe company, and that has a hugeimpact on career advancements,”she says.Advancement opportunities alsocoincide with prime child-rearingyears, and when a woman goeson maternity leave, it can leavethe company in the lurch, says JillKing, president of Toronto-basedOne Advertising.“I had an individual have threechildren in a row, but becausewe couldn’t communicate openlyabout what that would mean in theend, it did cause an issue from abusiness perspective. In a smallercompany, that is a reality ownersand managers have to deal with.In some cases I think that canbe what forces the conversationIs it an issue if the senior teams don’treflect the population?CARLOS MORENO, SVP/ECD, BBDOFrom a business perspective, it’s only an issue if you’re not gettingsomething. But I wonder if we, as an industry in general, are missing apoint of view in terms of what the new Canada looks like.Diversity.Apr13.indd 23Diversity.Apr13.indd 23 13-03-26 3:59 PM13-03-26 3:59 PM
  24. 24. 24[of discrimination and diversity]underground,” she says. “On onehand, employees have rights. Onthe other hand, employers haveto run a business. On both sides,you get a lack of communicationbecause everybody has an agenda.”“We need to end the penaltyof being a parent,” Vonk adds,saying that in the agency world,hours can be unfavourable topeople with young children, andwhile it would be great for bothparents to share the burden, theresponsibility to care for the familyoften still falls on the woman’sshoulders (Statistics Canadaestimates women take on twice thehousehold burden than men).Angus Tucker, ECD and partnerat John St., concedes that agencylife can be hectic – though he says itis possible to balance – butit is the responsibilityof company leadersto show that balance.(For example, hetries to leave theof ice at 5:30,and continuesworking oncethe kids are inbed).Whilewomen faceone set ofproblemsclimbingthe ranks,the issuesfor visibleminoritiescan varygreatlydepending on whether they’re irst-generation Canadians or were bornand raised here.For example, BBDO’s SVP/ECDCarlos Moreno says that in theHispanic community, people aren’tnecessarily pushed into advertisingas a career choice, something HelenPak, EVP/ECD, Saatchi and Saatchi,repeats for the Korean community.Kids are often encouraged topursue other career streams, suchas medicine or law (Pak began hercareer as an architect).That being said, Moreno saysthat he’s seeing a change. Throughhis involvement with the Hispanicchamber of commerce, he’s ieldedrequests from youth wanting tolearn more about the industry,while at the university level, moresecond-generation Canadians seemto be making their way into theadvertising ield. But only time willtell if this leads to greater diversityat the top tier.On a more immediate basis,however, agencies might be losingthe opportunity to tap global talent,says Prasad Rao, former SVP andgeneral manager at MacLarenMcCann and now partner at theMulticultural Partnership.When comparing agencies andbrands, he points to multinationals’entrenched talent managementsystems in place, and global reachwhen illing the most senior roles,for their ability to attract diverselabour pools. He also theorizesthat it makes these companiesmore amenable to hiring a newimmigrant who might not havethe deep Canadian culturalunderstanding or language skillsthat a Canadian-born candidatewith similar credentials has.Agencies, both local and thosepart of global networks, are lessfocused on HR, career managementand facilitating global moves(which limits their internaltalent pool). Further, he saysmany agency leaders don’t haveinternational experience, makingthem more insular in their hiringchoices. Because agencies aren’tthinking globally, they tend to picklocal talent.He also maintains that inding ajob is about “who you know,” whichfor many non-local candidates,makes mid-career moves dif icult.There are core issues facingagencies as well. On a practicallevel, Tucker says that time isn’ton their side when hiring. In thislightning-quick industry, thepriority is to ill the position, andthat doesn’t leave much breathingroom to examine the issue througha diversity lens.And of course, there isdiscrimination. The word itselfseemed taboo, with many sayingit’s not a factor – other issues weresimply at play.But, as Karen Howe, SVP/CD atOne says, “At a previous agency Iwas told categorically I would notbe considered for the role because Iwas a woman and was going to havea baby. I wonder if [discriminationhas] just gone underground?”“People say, ‘oh you’re not likeother black guys. You’re a whiteblack guy,’” Evans says. “And it’sso offensive that you have to grinIs there room to step back and say, yes, we need to hire the best talent, but that talent needs to befemale or a visible minority?JILL KING, president, One AdvertisingThat feels a bit like affirmative action. [A diverse team moving up the ranks] probably happens a lot naturally ororganically. I think smart people realize that a mixed team is what’s right for business.Diversity.Apr13.indd 24Diversity.Apr13.indd 24 13-03-26 3:59 PM13-03-26 3:59 PM
  25. 25. 25April 2013and bear it. There’s this old boysclub and they’re very comfortableamongst themselves. And as soon asthey’re uncomfortable…well, it’s justeasier to be comfortable.”Even though discriminationmight not be an overtpractice; there are stillcurrents of it in day-to-day business dealings.For example, aUniversity ofToronto studyfound thathypotheticalleaders withCaucasian-soundingnames wererated higherthan identically-quali ied oneswith Asian names.And Catalyst’sJohnston saysthat women faceculminative barriersin their careers,often taking lower-paid (an averageof $5,000 less thanmale counterparts)and less-prestigiousjobs early on, whichcompound over time.“There are lots ofthings that help youadvance – networking,sporting activities, closed doormeetings, socializing – and thoseare real barriers for womenand minorities if they’re notparticipating in the same way asmen,” Johnston says.So what now?As Evans says, having onewoman or minority at the tabledoesn’t mean you’re representativeof diversity. For instance, justbecause Canadian agencies havea few impressive female or visibleminority leaders, it doesn’t meanour agencies are doing better thanother markets or indeed otherindustries, and people shouldn’t belulled into complacency.“We’re never where we needto be,” says Minda Sherman, EVPhuman resources at Blast Radius,one of the few agencies we spoketo that has entrenched efforts topromote diversity.Agencies need to accept thathaving diversity practices ortargets doesn’t mean you’re losingout on talent, she adds. “Too often,there’s this notion that you eithergo with the member of a racialminority or the woman or you getthe best candidate for the job. Andthat’s just not the case.”She says that all other thingsbeing equal, Blast Radius willdefault to the most diversecandidate to ill a role, as well ascast a wider net to ind top talent.As a result, the company has agender-equal senior team, andmore than 30% of its creative staffis women – which she says they’restill working on improving.Agencies also bearresponsibility for highlighting keytalent and keeping them engaged,even while they’re trying tobalance a family life.“You have to be lexible if youwant to keep good talent,” saysLeo’s John, where the top threecreatives are female. “If you’rereally bright and doing well, we’regoing to want to keep you.” Thismeans allowing for alternativearrangements, she says.But of course, the onus isn’tjust on companies. As King says,people need to feel comfortabletalking with their bosses to indarrangements that work for allparties, whether that be throughmore open policy discussions ora zero tolerance on racism (evensubtle racism).But that level of comfort thatcreates an environment wherepeople are able and willing to talkabout what they need to succeedcan only occur if it comes from thetop. That means leaders need tochampion the issue.“If [the boss] doesn’t say ‘I wantto see a bit of rainbow action goingon here,’ you get into the problemof telling yourself, ‘No, we all thinkdifferently. We all happen to bethe same colour and gender, butwe think differently,’” says Vonk. “Ithink there’s room for us to stepback and say, ‘Can we all comeout ahead if we look at the rootof the problem and create moreopportunities for a bigger group ofpeople to come to the party?’”And all of this begs the question:Why is the advertising industry asa whole so unwilling to addressthe lack of diversity?Other ields have identi ied thisto be a problem and are activelyworking to solve it. Advertisingagencies are most certainly notimmune to the problem. So, why aretheir collective heads in the sand?People seem to fear this idea of“af irmative action” or “diversityquotas.” But as Blast Radius’Sherman says, just because youlook for diversity, that doesn’tmean you’re losing out on talent.And since talent, repeated over andover, was the most important hiringfactor for agencies, tapping into awider candidate pool should meanaccess to more talent, not less.So what’s holding agencies back? Rao says there’s no economic incentive, while Sherman says time isn’t on their side.See their full arguments and weigh in at Strategyonline.caJudy John, CEO andCCO at Leo BurnettDiversity.Apr13.indd 25Diversity.Apr13.indd 25 13-03-26 4:00 PM13-03-26 4:00 PM
  26. 26. 26 www.strategyonline.caBRANDS GO SOCIALLY NICHEBY MEGAN HAYNESBEN & JERRY’S VINE FISHINGTo launch its Phish Food lavour in Canada(inspired by the band Phish) Ben & Jerry’s andOgilvyOne have taken to social media with a Vine-powered campaign.The Twitter-owned social media site allows users toupload six-second videos using their smartphones. Becausethe medium is in the early stages of adoption (and competesin a crowded space alongside similar sites like Viddy andSocialCam), the Canadian campaign is not designed to buildup a Vine following for the brand, but rather to test thesocial channel and feed content to Twitter and Facebook,says Matt Hassell, CCO, OgilvyOne.“It was a good creative challenge and I think there’s alittle bit more authenticity associated with Vine right now,”he says. “It’s really early days, so we designed everything sothat if you don’t know what Vine is, you’re still getting thefun announcements. But if you are fond of Vine, we’re hopingpeople will appreciate that we’re a part of that conversation.”The campaign targets 20- to 30-year-olds and will runfrom March until April. The videos are basic lip-bookanimations, shot in one take on an iPhone, and feature theinteraction of a spoon and chocolate ish (which are a keyingredient in the ice cream). In one, the spoon is used as alure, in another the spoon is a paddle in a canoe that attractsthe chocolate ish, while a third shows the spoon fall victimto a shark attack-style ish feeding frenzy.Though Vine doesn’t doesn’t allow users to upload videosshot outside the app or to do any editing, Hassell says he wasamazed at how few takes they needed to complete the irstfew videos, also commenting on how low-cost the effort was.The videos will be supported by conversations and imagesthat encourage people to share content on social media,such as a “GoPhish” game on Twitter and Facebook, wherefollowers can “collect” images (by “liking” or retweeting) fora chance to win a tub of ice cream.Creative.Apr13.indd 26Creative.Apr13.indd 26 13-03-27 4:16 PM13-03-27 4:16 PM
  27. 27. 27April 2013pongeBob is going extreme.To reinforce his cult roots, the brand istapping BMX for a bit of grit and aspirationalstreet cred. According to Tanya Visano,Viacom’s senior director of Canadian consumerproducts, the Nickelodeon sea sponge character wastaking too broad of an approach.“All of our products seemed to be [an] all-over yellow,big SpongeBob face,” she says. “It’s still the numberone animated show on YTV. If you have that much ofa following, it would make sense that you would havereally strong consumer products play.”But by trying to appeal to kids of all ages, SpongeBobmerchandise sales stagnated despite the show’s hugefollowing. So in 2011, Viacom decided to refocus it asa lifestyle brand by tapping into its extreme sports cultfollowing. The irst target was the tight-knit communityof BMX riders, who Visano says are often overlookeddespite their large in luence on fashion and trends.“I think we underestimate this community,” she says.“In 2001, I was working with a couple people in theBMX industry who were all wearing trucker hats beforeanybody was wearing trucker hats.”Viacom assembled a three-person SpongeBob BMXriding team of 20- to 24-year-olds, involving the bikersto help create the team look and swag (such as t-shirts,hats and igurines), lending them a level of authenticity.“We needed it to feel organic and not corporateAmerica,” she says.The team will be charged with handing outSpongeBob merchandise (with an emphasis onsix- to eight-year-old boys) when they compete ordo demonstrations. To launch the team, SpongeBobtook to Instagram, with plans to incorporate a to-be-determined video platform, all of which will feed“It speaks to their community. They love postingvideo and photos [especially] when [it shows off how]they’ve worked for days, weeks, sometimes months on aparticular trick,” Visano says. “[Instagram] is somethingthey’re already doing. It’s not something we’re askingthem to do that feels unnatural.”To help build the following, the irst socialcampaign, by Toronto-based Salt & Pepper, offerssomeone from the BMX community a spot on theSpongeBob team. Riders are invited to show off theirbest moves (incorporating SpongeBob merchandise,such as small igurines), and the community will weighin on the winner.Visano says they’ll continue to push out socialcampaigns throughout the year, targeting SpongeBob’ssweet spot of young boys (“little innovators,” she callsthem), though she says this approach will also reacholder kids and teens.The team-designed merchandise and swag willeventually trickle into retailers as well, though Visanodidn’t have a set date at press time.SSPONGEBOB HITS THE BMX RAMPSCreative.Apr13.indd 27Creative.Apr13.indd 27 13-03-25 5:22 PM13-03-25 5:22 PM
  28. 28. SPONSOREDSUPPLEMENTs28That old industry maxim, ‘fish where the fish are’, has never been amore apt principle for marketers than it is today. In Canada, the fishare online. Canada is the second largest country for online videoviewing penetration in the world, so it’s only natural that advertisers arenow looking to tap into this escalating and engaged audience.Whether on their PC, tablet or smartphone, as comScore’s Digital Futurein Focus - 2013 reports, Canadians spend an average of 25 hours eachmonth watching a whopping 291 videos per viewer. That’s everythingfrom short clips, to long-form video and premium programming – and theamount of online video available to them is multiplying daily.“Because of its sight, sound and motion, video has been a very powerfulform of communication since the inception of television,” says AndrewSaunders, vice-president of advertising sales for The Globe and Mail.“Something like 92% of Canadians are now consuming video on a monthlybasis on the internet and we’ll soon get up to 95% or 98%. If qualitycontent is there, consumption patterns will increase, time spent will grow.”Saunders adds, “From what we can see at The Globe and Mail and fromour Globe Edge branded content team, online video advertising is one ofthe fastest growing formats because it seems to be performing better thantext, rich media or standard banner ads. It’s maybe a $70 to $80 millionbusiness now and forecasts are pretty good for marketers at 40% to 50%growth in this area over the next several years.”While navigating the online video environment may seem like adaunting task at first glance, the online industry has developed consumer,brand and audience measurement tools and research that help providetargetability, measurability and accountability that parallel those fortelevision and other media. All of these resources are put to work todetermine the right creative approach, the right environment and the rightviewers to meet campaign objectives and brand needs.Fortunately for Canadian marketers, there is also a solid roster of videoplatforms, production companies, content publishers and ad networks withthe expertise to help make their evolution to online video a successful one.CREATIVEDRIVESCAMPAIGNSUCCESSJenny Munford, CEO and CCO of Creative Bube Tube, regards onlinevideo as simply TV in a different form and says that according tocomScore, a lot of online video viewing minutes can actually be attributedto watching television shows.On the other hand, even if the programming is the same on the big orsmall screen, Munford believes online video advertising does need to take adifferent creative approach from television executions in order to be effective.“I believe the message has to be short, concise, to the point – and I amseeing, for example, anything that has some type of promotional idea toit, or social media component to it, drives around seven-times more brandexposure. The message needs to have that really good call to action,whatever that might be,” says Munford.ONLINEVIDEOADVERTISINGHarness the Power of Sight, Sound & MotionXONLINEVIDEOADVERTISINGSupplement.indd 28Supplement.indd 28 26/03/13 4:57 PM26/03/13 4:57 PM
  29. 29. ONLINEVIDEOADVERTISINGSPONSOREDSUPPLEMENTs29“Unlike TV where you can just throw on a brand spot andthink that will be fine, online you have the ability to capturethat person right there when they’re sitting and watching it.You can get them to clickthrough to your website and do thatnext thing you want them to do. That’s what video advertisingis so good at.”The consensus of the experts we spoke to seems to bethat pre-roll video is the most effective ad placement, butthe optimal length for the ad is still a debatable point. Thedetermining factor is really whether the ad is placed in a shorttwo-to-three minute clip or in online TV programming.Munford says that because she places campaigns mainly intop TV shows that are viewed online the ads are mostly 30- and60-second slots. She says that a one minute ad really givesviewers significant information about a product, allows themessage to dig down deep into the unique selling proposition,and then can drive viewers to a website to get even more details.Munford is also a big proponent of the magnification effectand increased response that comes with multiplatform ormultiscreen campaigns rather than video-only campaigns.“If you’re doing TV I find people are going to their iPhone oriPad to look for that video. And from the video they’re goingto the website, Facebook, and the social media component.“For example,” Munford says, “Our ‘Heart For Heart Girls’doll campaign for Playmate Toys was a complete multiscreencampaign. That campaign consisted of running a 30-seccommercial on TV driving the kids to a website where theycould see more video of the dolls, and then engaging them bywatching the videos and viral videos so they’re passing themalong. At the same time they were entering to win these dollson a social media platform. This was geared naturally towardsTweens and we had 85,000 girls enter to win this doll. So, thenumbers are incredible.”Hector Pantazopoulos, vice-president of SourceKnowledge,recommends shorter ad units: “Keep pre-roll ads to15-seconds, especially when placing your ad in short-formvideo. Create a pre-roll spot that is made specifically for onlineviewing rather than a repurposed TV ad, because, typically,there is no call to action in TV spots so you’d be missing anopportunity.“Finally, think about browsing behaviour – ad interactivityand shorter attention spans are all factors with online videoadvertising. We’ve seen a high completion rate – viewing atleast 90% of the ad before skipping – with our pre-roll adsacross all of our demographics.”ONLINEVIDEOGOESMOBILEPantazopoulos says that the proliferation of tablets andsmartphones has had a positive impact on video advertising.People are consuming more media online and are actuallyshifting time away from TV to do so. Viewing can now takeplace anytime, anywhere.“In our company specifically, we’ve seen quarter overquarter increases in online video viewing. Not only areThe Loop brings together successful content to inform and inspireCanadians. Evolving from a long-established portal to a fresh, newly-brandedlifestyle destination with more original content and videos featuring prominentexperts, The Loop is a premium, contextually-relevant environment that isbrand safe – and it’s Canadian.It is has become a daily must-visit site where busy people find the latestnews, information and entertainment buzz in addition to entertaining andeasily sharable food, gardening, fitness and décor features that make life betterand easier. The Loop’s inspiring channels – Living, Style, News, and Showbiz –all feature video segments from industry experts presented in high quality, withhigh frequency.The Loop also offers targeted, customized solutions by creating integratedcampaigns designed to meet the objectives of the client that can encompassvideo, relevant blog posts, photo galleries and even other Bell Media properties.THELOOPThe Loop’s home page featuring News, Showbiz, Living, video + moreSupplement.indd 29Supplement.indd 29 27/03/13 3:50 PM27/03/13 3:50 PM
  30. 30. ONLINEVIDEOADVERTISING SPONSOREDSUPPLEMENTs30ST.23032.people watching on their smartphones andtablets, but the amount of time spent on theirsmartphones and tablets is increasing as well,”says Pantazopoulos.“We helped a major mobile company reachtheir audience, mobile-savvy millennialmales, for their new phone offering in Canadaby delivering a pre-roll campaign based onperformance metrics. We delivered 3.5 millionstreams in a three-week period and the clientwas very pleased with the results.”Neil Sweeney, president & CEO of JUICEMobile, says by not having mobile as part of anoverall marketing plan, advertisers are breakingthe chain of influence in the same way that 10or 15 years ago someone was saying, I can’timagine anyone buying a car online so I’m notgoing to include it.“Increasingly, over 50% of consumers aregoing into stores and using their phone tocomparison shop and to do what is termed‘showrooming’. As a result of that, if you’rea retailer and not in the mobile space, you’reobviously missing a huge opportunity. “Sweeney says one thing that is important tonote when it comes to mobile video advertisingis that you’re really dealing with one ad forone user, whereas often with online there aremultiple ads per page so there’s a lot going onin those pages.“Because there is this one-to-one ratio, we’reseeing traditional clickthrough rates anywherefrom 100% to 300% better than we’ve seen inthe online space. This provides advertisers withnot only a less cluttered environment but also amore impactful one,” says Sweeney.“Mobile’s massive amount of scale reallymakes it a unique medium. At JUICE wehave over 100 million video impressions amonth – many of those running typically beforestandalone applications included in the variousapp stores, whether that’s the iTunes store orGooglePlay store. That content is very brandsafe and very brand friendly because, to beadmitted into the app store as a developer, youhave to go through a very rigorous process.”ONLINEDESTINATIONSANDVIDEOPLATFORMSAs with all advertising, it is important formarketers to place their messages in contentthat is relevant to their target audiences. Contentchoices are virtually unlimited in the world ofonline video but there are numerous specializedcompanies to help marketers focus in on thebest choices for them. These companies rangefrom full-service TV and video companies suchas Creative Bube Tube to online destinations thatinclude those associated with established mediabrands The Globe and Mail and The Loop, aSince 2006, Creative Bube Tube has been growing a list of very satisfied clients, includingemerging businesses, mid-sized businesses and multi-nationals in the United States,Canada and around the world. What the company offers its clients are eye-catchingtelevision and video advertisements at a fraction of the usual cost, and media buys thatdeliver more impressions for less.CREATIVEBUBETUBEJenny Munford, CEO and CCO of Creative Bube Tube. Awarded the RBC Canadian Woman Entrepreneur of the Yearin 2011. She and her team have built 6 offices North America wide since 2006, in order to provide the highest qualitycampaign management for integrated TV, Video and Social Media.Since 2006, creative Bube tube has received over 52 awards for their creative work in TV, Video and Social Media.Just ask Slimband, a weight loss clinic that came to Creative Bube Tube a few yearsback with a great idea, a small budget and big dreams. Today they have dozens ofoutlets across Canada. Other companies have found success by simply replacing theirunder-performing advertising with breakthrough television and video advertising byCreative Bube Tube. Think about that. You don’t spend one cent more, but you getsomething you didn’t get before. Results!Creative Bube Tube is committed to meeting – or exceeding – client expectations at everyturn, while providing the convenience of one-stop shopping for all video and advertisingneeds. Forget the same-old, same-old. It is time to break away from the competition with amarket changing, sales spiking television and video advertising campaign.Supplement.indd 30Supplement.indd 30 27/03/13 3:51 PM27/03/13 3:51 PM
  31. 31. ONLINEVIDEOADVERTISINGSPONSOREDSUPPLEMENTs31ST.23032.Bell.indd 1 26/03/13 3:22 PMdestination launched late last year by Bell Media to replace Canada’s firstmajor online portal, Sympatico.Destination sites attract regular daily viewers to their brand-safe,premium content, Saunders says, “Advertisers want the best qualitycontent and context to align their messaging alongside. The Globe hasalways been a strong offering of that in the marketplace and that stillholds true when it comes to video. We want to create the best contextualenvironment for advertisers to deliver their brand messaging and,regardless of text or video, that mandate doesn’t change.”Nancy McConnell, vice-president of digital sales for Bell Media, explainsthat The Loop is more than just a rebranding exercise. The focus ison lifestyle with new content channels that include Living, Style andShowbiz and a roster of experts and video correspondents that includefashion icon, Jeanne Beker.“The Loop is now a much more female-skewed destination. Advertisersare getting a premium contextually-relevant environment that is brandsafe and Canadian. It is really about creating an original voice and anoriginal perspective on content that may come from other places and alsofrom original voices within The Loop. The original content that we havealso allows us the opportunity to create brand-inspired content to alignwith an advertiser’s campaign objectives.”The Loop’s brand-inspired content is the territory of Dave Caporicci,director of brand partnerships, entertainment specialty at Bell Media.“What online video has allowed us to do,” says Caporrici, “is createcontent that is branded but isn’t stuck in that traditional TV mould. Weare able to create content with a brand’s objectives in mind that is two orthree minutes in length and still do some storytelling that is powerful, butgives us way more flexibility.”Caporicci says a customized brand-inspired campaign is anchored byvideo on The Loop, but that the full strength of the Bell Media assets canbe brought into play to create an integrated solution involving everythingfrom relevant blog posts, photo galleries and even television spots thatdrive viewers back to content on The Loop.Marketers can also run campaigns using ad networks and videoplatforms that work with advertisers to place video ads on a wide rangeof sites specifically chosen to reach a brand’s target audience and meetcampaign objectives. These include TubeMogul, SourceKnowledge, JUICEMobile and Videology.Grant le Riche is managing director of TubeMogul, a platform thatintegrates real-time media buying, ad serving, targeting, optimization andbrand measurement to make buying video online as simple as buyingTV. Advertisers can hand-pick the sites they want to run on, select thead units, and set targeting parameters all at massive scale. He stressesthat to be successful in digital video, brand advertisers need control andtransparency with their video campaigns.“We connect to 21 video ad exchanges in real-time with access to videoinventory on more than 50,000 sites across 58 countries,” says le Riche.“31% of those sites are comScore top 100 or tier one premium sites. Weare the largest source for real-time video inventory in the world, but morethan that, we provide advertisers with complete transparency before,during and after their campaigns have run.”Platforms like TubeMogul also offer advertisers a number of video adSupplement.indd 31Supplement.indd 31 26/03/13 4:57 PM26/03/13 4:57 PM
  32. 32. ONLINEVIDEOADVERTISING SPONSOREDSUPPLEMENTs32ST.22932.Juice.indd 1 26/03/13 3:22 PMTubeMogul is the leader in programmatic brand marketing. The world’s largest brands andagencies centralize their video advertising on TubeMogul’s enterprise platform. Createdspecifically for brand marketers, TubeMogul’s platform enables the execution of scalable digitalvideo campaigns, while providing the measurability and accountability marketers demand.The company only partners with premium and transparent inventory sources – includingdirect publishers and private networks – to deliver video to any audience, in any format, onany device. Advertisers only pay when someone chooses to watch their video and they seeexactly which sites their ads ran on, how their ads performed and who watched them.Founded in 2006, TubeMogul is based in Emeryville, CA with offices in New York, London,Tokyo, Singapore, Sydney, Toronto, Chicago, Detroit, Austin and Los Angeles.formats to choose from across the fourscreens including pre-roll, social video,mobile units, connected TV, and more.Costing models are also flexible withbuying choices running the gamut of CPM,cost per click, cost per view, cost percompleted view and cost per engagement.CAMPAIGNTARGETING&MEASUREMENTTo develop their targeting andmeasurement tools, companies likeVideology conduct their own proprietaryresearch in addition to factoring in widelyavailable syndicated research from firmssuch as comScore and Nielsen OnlineCampaign Ratings. Targeting metrics canrange from age and gender, geo locations,interests, and behaviour.At Videology, Brian Danzis, senior-vice-president, North American sales, says thattargetability and measurability really formthe core proposition of the company. ItsVideology Addressable Audience Platform isfueled by aggregating online and offline datafrom leading companies around the world.“By addressable I mean, we actually havecookies in-market where we’ve rewrittenTUBEMOGULThe TubeMogul MediaBuying Platform forVideo AdvertisingST.22912Supplement.indd 32Supplement.indd 32 26/03/13 4:58 PM26/03/13 4:58 PM
  33. 33. ST.22912.CreativeBubeTube.indd 1ST.22912.CreativeBubeTube.indd 1 13-03-26 3:32 PM13-03-26 3:32 PM