The Real World April 2015

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Welcome to The Real World, Posterscope’s Out-of-Home landscape document that covers all the key facts and figures, market dynamics and drivers, revenues, new and relevant media and industry news and understanding the connected consumer.

This document is updated on a monthly basis.

The world is being transformed by technology, changing how people behave, especially when Out-of-Home…

This is evidenced by the way we are having to re-define OOH

Traditionally positioned as posters and screens that you can put ads on. Maybe a bit of experiential too.

Today’s OOH media infrastructure looks very different...

For example, it incorporates all kinds of bespoke placements, exhibition spaces, client owned inventory and BTL retail communications.

Plus the technology that consumers use when they are out and about - in principle, a laptop can be just as OOH as a poster

And there’s a whole range of things that can be layered on top of straight advertising;

Services (search, public utility content on screens)
Experiential concepts
Platforms (Facebook, twitter)
Content (YouTube, DOOH ‘programming’)
Commerce (virtual store posters, downloadable vouchers)
Games (on mobile, DOOH or both together)

So what we have here is very much a bought, owned and earned OOH ecosystem of media, technology, content and experience, with lots of interconnected and interdependent parts

What’s interesting about the OOH ecosystem is that it overlaps with other major global ecosystems e.g.;

Google (video – YouTube, search, mobile display, Gmail, Google+)
Facebook (website, mobile app/site, f-commerce)
apple (iPhone, iPad, iTunes, iAds)
Amazon (app, website, affiliate)

But unlike them, the OOH ecosystem isn’t dominated by any large multi-disciplinary multi-nationals

Posterscope aims to help bring a lot of this together.

This section examines how we can understand the connected consumer in greater depth. It encompasses industry and proprietary insight, media owner consumer panels and Route, OOH’s revolutionary audience measurement system.

OCS is Posterscope’s proprietary consumer survey based on a representative sample size of over 6,000 adults. It evaluates their OOH activities, their attitudes towards, and opinions of, advertising in different environments, and importantly their typical moods and mindsets in different environments.

Available audiences include all the standard demographic groups plus detailed audience segmentation (matching client specific audiences), category enthusiasts, WOM influentials and social and mobile audiences. Typical areas of analysis may include weight of media consumption, travel behaviour, thoughts when travelling, OOH environmental effectiveness, OOH formats noticed, intention to purchase, actions taken in response to OOH advertising, etc.

Posterscope’s Out-of-Home Consumer Survey (OCS) is now present in 30 countries with a total of over 100,000 respondents. The UK is just about to launch version 7, which has a total sample size of 6,827 and incorporates over 40 OOH formats in the analysis.

New for OCS 7 is:

250 brands across over 14 categories
Consumer Journey questions across 21 categories including purchase frequency, locations purchased from, planned vs spontaneous purchases and category/product search on smartphones/tablets when OOH
18 airports flown from
Airport Advertising noticeability by area
Noticeability of 11 types of OOH customisations
Mobile response after OOH priming
Word of Mouth for Experiential Events
Level of interest in 9 Contextual OOH Messages e.g. weather, time of day
Level of interest in OOH Content e.g. local attractions, News feeds, Social feeds
Excitement about Annual Events e.g. Bank Holidays, Fathers Day
OOH Interaction Methods e.g. Facial Recognition, Voice Controls, Touch Screen

OCS 7 2015

PA TouchPoints is a unique, consumer-focused, multi-media database which has been produced (for the communications industry) specifically to provide insights into how people use all media.

TouchPoints provides two distinct databases: the first, the Hub Survey, provides a detailed view of ‘a week in the life’ of consumer behaviour. Respondents record their activities for every waking half hour over a seven day period, giving a unique view of people's daily lives and how their media usage fits into these patterns. The survey, involving c.5,500 adults, gathers information through individuals' e.Diaries and self-completion questionnaires.

The second database, the TouchPoints Channel Planner is the only industry available, multimedia channel planner. It has been created by integrating the industry media currencies onto the Hub Survey. In addition, users can integrate their own databases or proprietary tools to build a more complete picture of their company, clients and brands.
TouchPoints, now in its 5th generation, is a two-pronged system which comprises of an e-diary and a self-completion questionnaire.

What's new for TouchPoints5?

Both questionnaires have been completely reviewed and revised to reflect the changes in media consumption today. We are moving towards using an app to collect e.diary data. Those respondents with a smart phone will be asked to download the app onto their own phone rather than carry around a PDA. In addition the app will collect passive data - it will collect everything the respondent does with their mobile phone.
The main changes to the TouchPoints self-completion questionnaire are in the following areas:-

- Harmonisation of frequencies across media consumption
- TV viewing - including catch up VOD and short form films
- Music in our day
- Tablet use
- Apps use
- Engagement
- Shopping - payment forms
- Information sources
-Mail - direct mail and advertising mail
- Technology
- Events
- Social Circles
- Pet ownership

The main changes to the TouchPoints diary questionnaire are in the following areas:-
- Location – added “in someone else’s home”
- Location – added “attractions/events” to “Elsewhere indoors”
- Activities – now split out: -Snacking / Drinking / Eating a meal
- Shopping – Groceries split out main shop and top up shop: Online via a laptop/desktop / Online via a tablet / Online via a mobile phone device
- Media consumption by device: TV via TV set / TV via the internet or an app / Radio via a radio set or a TV set / Radio via the internet or an app / Newspapers/magazines in print / Newspapers/magazines via the internet or an app
- If listening to the radio or TV via the internet - through which device? Laptop/desktop / Tablet / Mobile phone / TV with internet connection / Games console / Any other device
- If reading a newspaper or magazine via the internet - through which device, as above but with the addition of e.readers e.g. Kindle
- Social networking sites used: Facebook / Youtube /Twitter – Instagram / LinkedIn - Google+
- Social networking via what device? Laptop/desktop / Games console / Tablet - TV with internet connection / Mobile phone - Any other device Emoticons now include: Angry / Happy / Alert / Bored / Sad / Relaxed / Confident / Tired / OK/fine / Frustrated / Stressed / Positive

For the first time we will be collecting data passively via an app on the respondent's own smart phone.

For more information http://www.ipa.co.uk/Page/About-TouchPoints#.Uz0ih_ldXVk

JCDecaux Unveils ‘Connected’

JCDecaux has unveiled ‘Connected’, a new community of three audience panels that delivers unique insights across JCDecaux’s rail, roadside and retail portfolios. ‘Connected’ is a targeted insight tool for brands and agencies to find out more about hard-to-reach audiences to help deliver high-impact campaigns.

Building upon the success of the ‘Connected Commuter’ rail community, JCDecaux has re-launched ‘Connected Commuter Rail’ and has unveiled ‘Connected Commuter Road’ and ‘Connected Consumer’. Questions can be posed, based on any category or current trending topic, to the whole ‘Connected’ community or to each panel separately. ‘Connected’ also allows brands to tailor or adopt an advertising campaign to a specific audience through dynamic content on JCDecaux’s digital screens, with results delivered within hours.

Via: JCDecaux

Ngen , a unique audience insight community, was launched in June 2013 and was repeated in 2014 with 10 new brand partners

Clear Channel’s new audience insight community Ngen, allows Clear Channel and their brand partners to participate in a hosted, two-way dialogue with 400 engaged and connected 18-34 year olds from eight major UK cities. The community will cover a wide range of topics close to the hearts of its participants, creating great insight for this influential audience.

Ngen participants are from a tech-savvy generation who are used to documenting their lives through social media and are happy to interact online. Ngen builds on the community’s familiarity with social media to gain a deep insight into who they are, where they go and what they think about the latest hot topics.

Some key Insights from the 2013 study included

• 95% Ngens still shop on the high street with the corresponding figure of 71% for online. Smartphones are also key with nearly half using smartphones for shopping related purposes
• 52% of Ngens rated their smartphone as the technology they would keep above all else
• 63% of Ngens agree advertising is important to a brand’s identity and almost half say they prefer targeted communication over general advertising. The contextual opportunities provided by OOH advertising is therefore key to this audience
• Ngens are also one of the audiences that are key to the UK economy returning to positive growth. They have continued to spend and often think about the now rather than the future with 59% not contributing to a pension and 65% spending the same if not more on retail in areas such as clothing, footwear and consumer technology

Detailed infographics on other Clear Channel audiences can also be found at Clear Channel Audiences - www.clearchannel.co.uk/think-big-think-adshel

work.shop.play is an online research panel consisting of people aged 16+ who work, shop and play in the UK’s urban areas. It quickly provides up to date research and insight into the urban audience’s opinions, mindsets and behaviours, which can be used by Exterion Media to generate valuable audience insight and help shape clients products, services and communications.
Weekly studies are run to generate behavioural, motivational and product usage insights about our audience. To ensure panel members are kept engaged and consistently feeling part of ‘The Urban Community’ – an interactive platform has been built, hosting a programme of rewards and benefits in order to incentivise participation.
The panel is nationally representative with an up-weight to account for London audiences, and a total size of 10,000+ members. Vision Critical host the panel on behalf of Exterion Media.

Work.shop.play now have an interactive dashboard available here: www.exterionmedia.co.uk/insight

Insight for some individual categories is also available through brochures such as The Look Book and Urban Food.

The Look Book gives ideas and inspiration around Fashion & Beauty from market trends to purchase journeys for specific fashion segmentations.

Urban Food delves deep into city dwellers eating behaviours for all the main meals of breakfast, lunch and dinner to snacking mid-morning, mid-afternoon and in the evening.

work.shop.play. was awarded the accolade of Insight Panel of The Year at the 2014 Vision Critical EMEA Summit. Vision Critical manages over 700 communities and each year awards a prize for the best performing EMEA community.

The award win follows a successful year for work.shop.play., the insights from which offer Exterion Media insight into the thoughts, mind-sets and behaviours of urban audiences. The panel has seen astounding growth of more than 50% in 2014; membership numbers now stand at 10,634 up from 6,823 at the start of the year; making it the biggest online urban community of its kind in the media industry. In addition, a 50 strong mobile community has been launched.

Media Digest is Posterscope’s bi-annual update of the latest research and insight relevant to the OOH industry.

This latest edition, released in January 2015, features a broad economic outlook and highlights from the Bellwether review which shows marketing budgets reached their third highest level in the survey’s history.

It also includes a thought piece on how Behavioural Economics can be applied to planning OOH, based around the key principles which emerged from the Behavioural Economics research and development commissioned by the IPA.

In addition, it covers mobile insights looking at how research for Lenovo proves the value of optimising OOH campaigns using mData, insight tools Crimson Hexagon and IPA Touchpoint 6 as well as the latest research from our media owner partners.

The report is located here: http://www.slideshare.net/Posterscope/posterscope-media-digest-january-2015

Route, which launched on February 26 2013, replacing Postar, is OOH’s revolutionary new audience measurement system enabling greater targeting across more environments than ever before. It incorporates the latest measurement technology and covers all major formats – which acts as a catalyst to allow OOH to be truly accountable in this increasingly multi-media, multi-platform world.

£19m was invested in the research which took 4 years in the making.

The research study, undertaken by Ipsos MediaCT and MGE Data, combines several elements:

Route launched with the largest ever GPS travel survey with a fieldwork sample of 28,000 people, who each carried a GPS meter for nine days revealing how people move around as they live day-to-day. In total 19 billion GPS records were read to date and will increase by 3.3 billion every year. The most recent fieldwork worked with a sample of 29,808 and will be absorbed into the next data release (year 6 2013-2014). To ensure that the sample reflects what people are doing in the real world, the first year of respondent data is removed, to keep the sample rolling.
- A mapped network of all the pathways in the country (including tube stations, retail mall precincts, and all types of roads) to which traffic flows and audience numbers have been affixed – the Traffic Intensity Model (TIM).
- Also from the TIM, the realistic opportunity to see (ROTS) has been calculated
- Pioneering eye-tracking studies gauge the likelihood to see (LTS) factor of the various types of display. The research accounts for scale, orientation and distance. It also calibrates properties such as movement and illumination.

Route, based on a sample size of 29,080, encompasses all outdoor environments – roadside, bus, Underground and train are already featured, with retail, airport and pedestrian environments to follow soon. Additions such as leisure and taxi audiences are expected to follow in 2015.
The launch data includes 360,000 frames for road, bus and tube. It is designed around hyper-local geography allowing you to select from 24 conurbations or the 14 BARB areas.

With the release of Route there is a significant opportunity around the use of the data, as it can be the catalyst for the industry to behave in a very different way.

Route is not a planning or optimisation tool, (more a detailed reporting tool) but as investing underwriters, Posterscope (along with Kinetic, Rapport, Exterion, JCDecaux, Clear Channel and Primesight) have unique access to the ‘raw’ IPSOS data files (which includes all the recorded information for the 28,000 respondents in the GPS travel survey and the full frame universe database together with all of the visibility characteristics that contribute to the audience delivery). In addition we have the gold standard algorithmic code that is the basis for the outputs from the collected data. This dataset is a crucial element in our development of a unique proprietary planning tool, and trading by audience.

Sources:
Internet retailing http://internetretailing.net/2014/04/monthly-contactless-card-spend-tops-100m-and-nfc-sim-shipments-boom/
http://searchenginewatch.com/sew/study/2343577/google-local-searches-lead-50-of-mobile-users-to-visit-stores-study#
http://www.thinkwithgoogle.com
Google Insight
facebook.com, 2014
http://www.gartner.com/newsroom/id/3008917
http://www.gartner.com/newsroom/id/2996817

Sources:
The Guardian Feb 2015 http://www.theguardian.com/money/2015/feb/12/contactless-card-payment-limit-rise
Facebook
http://www.adweek.com/socialtimes/files/2014/06/social-media-statistics-2014.jpg
https://ondeviceresearch.com/blog/global-smartphone-penetration-2014
http://www.gartner.com/newsroom/id/2905717
http://www.mycustomer.com/feature/social-crm-technology/connected-consumer-shopping-goes-social/169046

What was the idea?
Two years on from our successful UK launch, we wanted to develop a campaign that moved beyond simply improving brand awareness. The objective was to actively engage fans with content relevant to them. We also wanted it to reflect our summer campaign of getting gig tickets, not #gigenvy. We needed a dynamic campaign that adapted to users in real time, giving details of entertainment at venues relevant to them. It would also need to stretch across April to August.

What was the media strategy?
To reach fans at the right time with the right content across multiple channels, whether through outdoor, mobile, social, paid search or earned media. That means giving fans or potential fans relevant information in different ways to show them that we are the brand to trust when it comes to selling or buying tickets to the events they love.

How are you using outdoor?
We share a live feed of concerts, focusing on Londoners making decisions at the last minute. The campaign is live Wednesday to Friday, between 4pm and 7pm – critical times for weekend planning and commuter hours with high footfall. It runs on Clear Channel’s Connect Mobile Platform, allowing people to use their smartphones to tap or scan the interactive tags via NFC or QR-code technology. This takes them to a mobile-friendly version of our site where they can buy tickets. This allowed us to be seamlessly integrated while giving fans content that was relevant to them – and at the right time.

The campaign was planned and bought by carat Manchester and Posterscope Manchester

Via: Marketing Magazine

British Gas Targets Commuters with Hive Active Heating DOOH Activity

British Gas’ Hive Active Heating has mounted a digital out-of-home push to highlight its product to commuters and travellers heading home to a cold house as summer draws to an end.
Running on digital screens across London train stations, bus stops and office foyers, the responsive ads feature temperature updates and tailored messages to remind travellers and commuters that with Hive they can control their heating and hot water from their phone.
Using Liveposter the feeds deliver bespoke messages – such as ‘Chilly back in Blighty? Get your home all cosy from your phone’ and ‘Keep the Malaga Mood. Turn on your heating and hot water from your phone’ – and pull in arrivals and delays via live feeds as well as temperature details.
Transvision screens at London train stations and digital six-sheets at bus stops let commuters know when transport is delayed and remind them to warm up the house while they travel. Office foyer messages serve up temperature reminders.
“As the nights close in and temperatures drop, we want to remind busy, active Londoners and commuters there’s a clever, easy way of staying in control of central heating as well as energy costs,” explained Pamela Brown, head of marketing and insight for connected homes at British Gas. “We love this campaign, as it uses smart technology to communicate a smart brand idea – you can now control your heating and hot water wherever you are.”
Created by CHI&Partners, the digital out-of-home push was planned by Carat media and implemented by Posterscope and forms part of a wider campaign spanning TV, radio, digital and social to drive awareness of Hive Active Heating.
Hive launched in October 2013 with 100,000 households now using the product to control their central heating and hot water.
Via: The Drum

Store projections were executed to launch the new Tommy Hilfiger store on Brompton Road.

Film group Entertainment One tasked experiential agency psLIVE with bringing to life the Woman In Black to market the horror character’s latest film, Angel of Death.

psLIVE responded with two spooky stunts as part of the film’s #SheNeverLeft publicity campaign
.
The first prank took place at the Odeon in Greenwich on 20 and 21 December and featured a poster that came to life. An actress dressed as the spooky spectre hid behind a translucent screen and screamed as the poster lit up to scare unsuspecting passers-by.

The second stunt took place at Odeons in Kingston and Newcastle on New Year’s Day, where the Woman in Black walked through the cinemas scaring movie-goers as her film played.

Balpreet Mangat, business director at psLIVE, said: “We were thrilled to work on the hotly anticipated release of The Woman in Black: Angel of Death. It has been a pleasure to work with a film studio that is keen to push the boundaries and create a stir amongst fans.
“The pranks have gone down really well with viewers and we’ve seen some hilarious reactions from fans who have been genuinely scared.”

Online fashion retailer, Very.co.uk, launched a digital ‘window shop’ for the Christmas party season using an empty shop window in Liverpool’s shopping and leisure complex, Liverpool One. The ‘window shop’ incorporated both NFC and QR code functionality which allowed passers-by with smartphones or tablets to scan and shop the collections on the Very.co.uk website. Purchases ordered before 9pm were delivered for free the following day. The windows featured three of Very.co.uk’s key festive trends, Glitz and Glam’, ‘Rock Chic’, and ‘Snow Princess’, which were specially created to appeal to the tastes of Liverpool’s shoppers, based on their typical browsing and purchasing habits with the e-tailer. The campaign was planned and bought by Posterscope and Carat.

During a fictional graffiti billboard campaign promoting the demise of Gio Compario, Twitter saw a huge increase in buzz. OOH was the only live broadcast media during this period proving its power to influence digital behaviour.

Brand Objectives:

Increase brand consideration
Create a unique & authentic graffiti campaign in OOH

Tactical Planning:

Avoiding quality backlit and scrolling formats by selecting undesirable locations, increasing authenticity of the creative.

MINI Fan the Flame.

In this campaign, executed by Posterscope Belgium, MINI launched a pretty cool, live streaming social installation at the Brussels Motor Show, featuring the new MINI Countryman. The Countryman was placed on a 15% slope, held only by a thick rope, while a Bunsen burner was placed under the rope and remote rigged to their live streaming app, where each “like” generates you a burst of flame on the rope in real time…

Whoever’s ‘burst of flame’ broke the rope and set the MINI Countryman free, got to keep the car.

Lurpak Launches Experiential Campaign for New Cook’s Range

Arla-owned Lurpak launches a fully immersive experiential and digital campaign targeting “passionate cooks” to promote its new Cook’s Range.
Running from 24 to 26 April, the campaign integrates JCDecaux’s advertising screen Motion@Waterloo, with an interactive experiential campaign, where three celebrity food ambassadors, including Lily Vanilli, Tom Sellers and Valentine Warner will be aiming to inspire visitors to “start their food adventure”.

The high-definition screen at London’s Waterloo station will stream live content captured on the food stand throughout the campaign.

Stuart Ibberson, senior director for BSM at Arla, said: “We’re really excited about landing our new Cook’s Range in such an innovative way, being able to tie into the sense of theatre Waterloo offers and create an industry-first in the process is fantastic. We’re really looking forward to launching our new products to customers old and new and seeing how many food adventures we can inspire.”

Around three million visitors are expected to interact with the campaign and will be encouraged to enter competitions on Twitter using the hashtag #foodadventures after trailing the product at the stand.

Following the London launch, the campaign will roll out at other stations across the UK, including Manchester, Leeds and Glasgow.

This was a fully integrated campaign involving BD Network, Carat, Posterscope, psLIVE, LIVEPOSTER, Wieden & Kennedy, JCDecaux and JCDecauxLive.

Via: The Drum

Xbox is using augmented reality digital out of home in a global campaign to promote the launch of new open world game, Sunset Overdrive.
Conceived by Xbox and Empowering Media, and produced by Grand Visual, the campaign sees augmented reality (AR) DOOH executions taking place in San Francisco, London, and Melbourne during the week of the game’s worldwide launch.
Available exclusively on Xbox One, Sunset Overdrive is a stylised open-world shooter set in the fictional metropolis of Sunset City in the year 2027. The game requires players to transform the open-world into their tactical playground by grinding, vaulting and wall-running across the city while using a devastating, unconventional arsenal to save Sunset City starting 28th October.
The creative for the campaign draws on key aspects of Sunset Overdrive’s story and gameplay to create a digital out of home AR experience that conveys the dynamism and excitement of the game. Each of the three international activations is based on a similar concept, but creative has been tailored to the specific country, location, and screen environment.
The San Francisco activity — launched on 27th October and active for four weeks — appears on ten of Clear Channel Outdoor’s touch-screen equipped bus shelters. One screen features an augmented reality activation that shows mutants appearing to run amok in the street. Bus travellers are drawn into the world of the game as hordes of mutants appear to jump off the rooftops and out of the windows onto the sidewalk adjacent to the bus shelter. Creative also features an image of energy drink Overcharge Delirium XT (a key element of the game’s backstory), the game poster, and release date information.
The remaining nine San Francisco sites are touch screen sites displaying exclusive game content. Users are able to interact with the screen to select the content they wish to see.
“The Xbox team was thrilled with the opportunity to provide a truly immersive experience for our fans, bringing the open world of Sunset City into the real world in a unique, compelling and memorable way,” said Julie Lowe, Xbox Group Marketing Manager, Global MarCom.
In the UK, activity is taking place at Canary Wharf where Grand Visual has worked with Dentsu Aegis Network, JCDecauxLive, and Russell Signs to create a special build site that incorporates a large LCD screen into a purpose built crate. Creative for the UK activity features four different augmented reality concepts played in a loop. Much like the San Francisco AR activation, members of the public are presented with an immersive experience in which game characters appear to come to life in front of their eyes. The UK activity started 27th October and continues until 31st October.
The Australian element of the campaign will feature a single augmented reality DOOH execution on a JCDecaux Innovate screen situated in Melbourne’s Southern Cross Station. Again, the creative will feature the mutant horde, but this time members of the public will think they are looking through a window and witnessing the mutant mob overrun the station. That activity will run from 30th October through to 3rd November, coinciding with the popular gaming Penny Arcade Expo (PAX) at the Melbourne Convention Centre.

As the web becomes increasingly hyper-local and businesses / consumers create more location-based data, there are huge opportunities to use the latter to inform and optimise OOH planning, plus measure effectiveness.

Electronic transport tickets, sat navs, loyalty cards, mobile search, mobile wallets, plus numerous websites / mobile apps are just some examples of how technology is being used to create location-specific data trails – all of which have the potential to help determine which OOH sites, day-parts, and creative treatments are most effective for a particular campaign.

Location based tweets provide an ideal data set to mine, thus helping us infer which posters may be more effective in influencing a consumers digital behavior. The map shows tweets generated in Nottingham in a 7 day period

The pins show poster locations, while the color represents the associated index of the volume of tweets (generated in a 200m proximity to the poster).

Red pins are the highest indexing posters that people tweet in proximity to.

Strava is website and mobile application used by runners and cyclists to track runs and rides through GPS. Combining stat tracking with social networking, it provides route rankings, reward badges and timed challenges to its users.

The Strava map above shows cycling activity during the night of the Dunwich Dynamo, 20-21 July 2013, when a thousand or so people cycled from London to the Norfolk coast.

A snake of light shows the riders gliding through the night, while the bright lights appearing all over the UK and Europe are regular users of the app.

This data source provides fascinating location based data trails and helps us identify which roads index highest to target cyclists in the UK, helping us make a more data driven approach to selecting roadside locations to place OOH posters.

http://lcc.org.uk/articles/strava-map-shows-hundreds-of-dunwich-dynamo-cycling-trips-from-london-to-the-norfolk-coast

Out of Home 200% More Effective When Mobile Data is Used to Plan Ad Campaigns

Big data partnership hailed as game-changing as it improves out-of-home advertising effectiveness by a significant margin
Posterscope clients using EE data include Lenovo, Nationwide, RBS, Studio Canal, Very.co.uk and British Gas.

Out-of-home (OOH) advertising is 200% more effective when mobile data is used to plan campaigns, according to initial results from Posterscope’s exclusive mData partnership with EE.

In a trial conducted from January to May 2014, the pioneering out-of-home (OOH) communications agency used EE’s anonymised and aggregated group level network usage data to optimise OOH media selections and measure increases in ad awareness, purchase consideration and online searches across 120,000 usage hotspots. Clients, including Lenovo, Nationwide, RBS, Studio Canal, Very.co.uk and British Gas, took part in the trial.

To achieve the results, Posterscope feed its proprietary ‘Planner’ app, an algorithm-based tool powered by Route, with EE’s mData. This data was then used to gain insight into consumers’ movements and location-based digital behaviours when they were out of their homes. This revealed how, when and where mobile devices are used in relation to, and in the proximity of, OOH media sites nationwide.

“Mobile data is the OOH industry’s biggest game-changer in a decade,” said James Davies, Chief Strategy Officer at Posterscope. “We set out to redefine the approach to OOH planning using big data from EE and the partnership has really delivered.

“We can now accurately identify which outdoor sites are seen by users of particular websites or apps and what they are doing on their mobile devices at the time. For example, we now know Surbiton and London’s Caledonian Road stations both deliver major peaks in visits to fashion related websites so placing relevant OOH adverts in those areas will increase ad effectiveness.

“A lot has been written about big data’s usefulness recently but this is a real-life example of how we’re using it to transform an industry. And the best thing is we’re the only OOH agency with a mobile network partnership, enabling us to draw on a dataset which features 27 million mobile users to improve OOH ad effectiveness.

“However, despite this landmark moment for the industry, we believe there’s still more to come. By using more sophisticated data analysis techniques we’ll be able to identify audiences in real-time, display relevant digital-out-of-home adverts and improve campaign effectiveness even further. For example, a sportswear brand could use this advanced real-time data to identify runners coming towards a digital screen and then display adverts for products such as running shoes.”

Chris Gobby, Head of mData at EE, said: “At EE we strive to help businesses make better decisions from big data with the results speaking for themselves in our work with Posterscope. We’re excited to be a part of this, and future, ground breaking applications of EE mobile data in out of home advertising and look forward to generating further unique products with Posterscope in the outdoor advertising space.”

The internet has seen a huge uplift in the past decade- from almost no revenue in 1999, to becoming the largest advertising media today. This rise has been at the expense of press, with newspapers and magazines seeing dwindling revenue. Those papers which have adapted to online formats have survived whilst local newspapers have suffered. Outdoor, TV and Radio have maintained a similar share of voice across the period.

Strong Q4 helps outdoor post record 2014 revenue of £1bn

Outdoor reported its strongest-ever performance in the final three months of 2014, helping the sector achieve a record £1 billion in revenue for the full year
Figures from the Outdoor Media Centre show outdoor adspend rose 6.1 per cent to £300 million in the quarter. Among the biggest spenders were Asda, Sky, Sony Mobile, TSB and Warner Bros.
Google was another brand to invest heavily in outdoor during the period, using the medium to amplify campaigns for search, YouTube and Android.
The performance contributed to the sector growing 3 per cent year on year in 2014 to reach £1 billion for the first time.
The industry has fared well over the past few years, exceeding its goal of becoming a “10 per cent medium” (its aim to capture a tenth of all display advertising revenue) while continuing to innovate with new partnerships, technology and content.
The OMC credits the increasing number of digital sites now available through many media owners’ portfolios for much of the growth momentum. Digital out-of-home now accounts for more than 28 per cent of the medium’s total revenue.
Mark Craze, the chairman of the OMC, said: “These are great results for the sector. The market is benefiting from the investment in digital but also the rampant inflation levels in TV. The growth in retail is clearly a result of press advertising losing share, which is moving on to digital screens.”

Digital revenue increased by 27% in 2014 versus the previous year and also represented 27% of total OOH revenue

2015 2014 +/- %
Grand Total 100,169,433 94,505,995 5.99

Entertainment & Leisure 20,938,142 21,085,419 -0.69
Telecoms 13,315,862 12,579,009 5.85
Travel & Transport 12,863,778 8,496,377 51.40
Finance 9,274,811 10,350,599 -10.39
Govt,social,political Organis 8,915,721 8,007,825 11.33
Food 7,329,841 7,006,647 4.61
Motors 7,260,886 5,741,032 26.47
Retail 3,810,894 1,774,754 114.72
Media 3,717,165 3,967,745 -6.31
Cosmetics & Personal Care 3,169,516 2,985,733 6.15
Drink 2,965,700 3,032,850 -2.21
Pharmaceutical 1,421,896 1,204,335 18.06
Business & Industrial 1,355,566 2,578,018 -47.41
Computers 1,112,752 3,542,016 -68.58
Clothing & Accessories 583,000 804,082 -27.49
Miscellaneous 578,870 34,388 1,583.34
Household Equipment & Diy 445,239 94,666 370.32
Property 270,335 313,101 -13.65
Household Fmcg 262,875 332,791 -21.00
Online Retail 250,877 125,674 99.62
Electronics & Household Appl 145,654 143,948 1.18
Games & Consoles 116,492 53,884 116.19
Leisure Equipment 57,773 111,282 -48.08
Mail Order 5,788 126,972 -95.44
Multi Advertisers 0 12,848 -100.00

Overall the market is up 5.99%

NB: data is based on individual company as opposed to overall holding company which would show a different ranking.

Advertiser 2014 2013 %difference

Grand Total 26,439,841 13,291,358 98.92%
British Sky Broadcasting Ltd 4,988,463 4,360,699 14.39%
Royal Caribbean Intl 4,816,850 0 0.00%
Kentucky Fried Chicken Gb Ltd 3,121,929 1,704,483 83.15%
Mcdonalds Restrs Ltd 2,532,792 1,695,584 49.37%
Visa Intl Service Assn 2,162,249 0 0.00%
O2 Uk 1,918,309 46,059 4,064.89%
Twentieth Century Fox Film Company 1,864,143 2,164,034 -13.85%
Channel 4 Tv Co Ltd 1,717,680 307,391 458.79%
Vodafone Ltd 1,666,400 1,653,694 0.76%
Universal Pictures Limited 1,651,026 1,359,414 21.45%

2014 2013 YOY
48 Sheets £14,467,110 £12,767,396 13.31%
6 Sheets £33,811,981 £36,082,937 -6.29%
96 Sheets £4,389,941 £4,811,548 -8.76%
Large Digital £13,008,036 £5,225,895 148.91%
Specials £1,615,430 £181,536 -36.72%
Total £100,169,433 £94,505,995 -5.99%

2014 2013 YOY
Tube 13,516,275 11,947,143 13.13%
Bus 6,965,180 6,105,285 14.08%
Rail 5,732,859 9,146,393 -37.32%
Airport 4,869,515 5,973,120 -18.47%

Media owner SOV
JCDecaux 31%
Exterion Media 23%
Clear Channel 21%
Primesight 8%
Others 17%

Strapline: Media where it matters

About:
JCDecaux is a privately owned French OOH advertising company, founded in 1964 in Lyon with a small business based on street furniture.
Reporting €2,676.2 million in revenue in 2013, JCDecaux now operates in more than 55 markets worldwide and is market-leader in the UK

Key Formats:
Roadside: Large and small-format locations nationwide including The Platinum Collection of premium sites such as the M4 Torch and Old Street Roundabout, national 6-sheets and national StreetTalk phone kiosks.
Rail: National networks of large and small format digital and poster sites, key locations such as Euston Motion and immersion zones that deploy wraps and digital screens.
Malls: National digital networks across premium malls including the high-profile M-Vision portrait screens and a national digital 6-sheet network.
Supermarkets: National 6-sheet networks at ASDA, Tesco, Morrisons and Waitrose.
JCDecaux Airport: Digital and high impact media space at Heathrow, Heathrow Express, Aberdeen, Edinburgh, Glasgow, Eurostar at St. Pancras International, London Luton and Eurotunnel.
Experiential: JCDecaux Live reaches audiences at multiple locations including Covent Garden and Canary Wharf, London Underground, UK airports, premium malls, national rail stations, student unions and leading venues from ExCel London and the LG Arena to the NEC.

Geography: Nationwide across environments in all the key cities across the UK

Areas for Investment:
Roadside: Continued investment in digital following the digitisation of The Cromwell Road Digital Gateway. Key new digital locations set to launch including The M4 Tower and The Holland Park Tower.
Rail: Waterloo Motion set to launch at Waterloo Station. Continued expansion of Transvision and D6 networks.
Retail: M-Vision will expand to further premium malls as D6 network extends.
Digital investment at Tesco.
Airport: JCDecaux Airport will unveil digital and high impact media space for Heathrow Terminal 2 launch.
Experiential: Newly launched division JCDecaux Live links experiential to screens in malls and rail stations and is set to expand the multi-environment portfolio further.

Research: Exclusive and bespoke insight from JCDecaux’s Connected Commuter and Connected Youth communities.
‘Power of Influence’ research and new ‘Business Traveller 2’ insight from JCDecaux Airport.

http://www.jcdecaux.co.uk/

Strapline: Where brands meet people

About:
Part of Clear Channel Communications Inc, the American-based global media and entertainment company, CCO was bought out by venture capitalists in 2008 and in 2013 posted revenues of $2.9bn worldwide.

Built on the foundations of a national network of bus stop 6 sheets, the UK business has since expanded via an extensive portfolio of iconic, digital and mobile assets.

Key formats: 6s (Adshel, Sainsbury’s and shopping malls), 96s, 48s, Connect phone boxes, digital portfolio (D6s, M6 digital portrait tower, socialite, D48s, The Big Screen at the Trafford Centre), pinnacle (backlight 96s, halo mega 6s, banners and tower mega 6s). Clear Channel UK’s expanding digital portfolio includes LD6 in the capital, and desirable environments across the UK.

Geography: nationwide

Key areas for investment: special builds, digital and interactivity;

Storm- Storm is designed to revolutionise premium digital out-of-home. It launched with The Chiswick Towers and Cromwell Road Tower, The A40 Power Station and Coventry House at Piccadilly Circus. The portfolio will be further strengthened with the North London Towers

Mobile platform- Clear Channel UK and Metro have announced a partnership that will bring free content to commuters at mobile-enabled bus shelters with interactive tags right across the UK.

Research: Ngen

http://www.clearchannel.co.uk/

Strapline: Engaging audiences

About:
Part of American-based CBS Corporation, the sale of CBS Outdoor International to LA-based Platinum Equity was announced summer 2013. CBS Outdoor has now rebranded to Exterion Media.

Key formats:
Underground: 96, 48, 16, 6, 4 Sheets, LEPs, TCPs, DEPs, LCDs, XTPs
Bus: T-Sides, Supersides, Streetliners, Bus Interior Panels
Retail: LCDs, Large format LEDs in Westfield London and Stratford and One New Change
Rail: 48, 16, 6, 4 Sheets, LCDs

Geography:
London
If you want to talk to the influential Londoners, we own London with 80% of panels including London Underground, DLR, London Tram, digital, Buses, National Rail & Westfield.
Sole rights to London Underground.
Exclusive contractors to Westfield, London, Westfield Stratford & One New Change.

National
Bus:
34,000 buses on 12,000 routes travel around the UK’s urban centres daily and 5.2 billion passenger journeys per year in the UK
National Rail:
30% of entire National Rail coverage (100% in Wales, 77% in Scotland, 75% in England).
This equates to an annual footfall of 408 million.

Key areas for investment
Expansion of our National Rail & London Underground digital assets
Illuminated New Bus For London
Kings Cross digital escalator panels expansion
Performance 48s National Rail – all National Rail 48 sheets will be dry posted and skinned by October.
Birmingham Express – Roadside digital panel
Increasing retail offering

Research
Exterion Media’s urban audience panel work.shop.play. provides us with weekly insights into the urban audience.
It is the largest urban audience online research panel of 10,000 people aged 16-55 from London & other key UK urban areas

The London Worker Planning Tool provides information on all London workers, including the 700,000 who don’t even work in the capital.
It is a quantitative study to understand London workers who are drawn to the capital to work, shop and play.
Using an online survey of over 3,000 respondents, data has been fused with TGI and Touchpoints to give deeper insight into London workers.

We have dashboards hosted at http://www.exterionmedia.co.uk/insight/ where you can tap into this rich stream of info.

http://www.exterionmedia.co.uk/

Strapline: Results are our culture

About:
Jointly owned by GMT Communications Partners LLP and the Primesight management team, Primesight is a UK-based business which posted turnover of £50.1m in 2011.

Key formats:
6 sheets
Roadside- 9517
Cinema- 967
Cinema digital- 131
48 sheets
Roadside- 5674
HD- 197
BL- 373
69 sheets
Roadside- 416
HD- 110
BL-63
Glasgow subway
DEP- 48
6 sheets- 152
Digital 6 sheets- 20

Geography: National coverage with sites in all major cities across the UK and Glasgow Underground

Investment:
Primesight has spent millions in recent years investing in our estate and portfolio including:
HD 48’s, HD 96’s
Backlights
Illuminations- i.e. 6 sheets outside key convenience stores
Illumination enhancement project via LED
Digital, 6 sheets
DEPs x48
Ongoing audit of panels across the UK is continuous
Recent improvements have been made to key sites such as Waterloo/ Elephant and Castle

Proprietary insight:
Primemobile
Primedesign
Hitwise
EPOS
Shopwyre
Geofencing

http://www.primesight.co.uk/

Strapline: The Art of Outdoor

About:
A relative newcomer to the OOH scene, launched in 2005 Ocean Outdoor is a boutique, UK-based media company pioneering creativity in digital OOH via an expanding portfolio of large-format, high profile sites.

In May 2012 a management buyout, backed by LDC Capital, purchased the business from Smedvig Capital for £35m.

Ocean Outdoor reported revenues of £23.4 million in 2012

Key formats: Ocean specialises only in large-format digital (i.e. sites such as Eat Street @ Westfield London), iconic landmark and super-premium banner locations. 50% of Ocean's inventory is traded by day part, hour, minute or even gender.

Geography: Oceans has a regional footprint that spans the following UK cities: London, Birmingham, Liverpool, Manchester, Leeds and Glasgow.

Key areas for investment: Ocean practices 'The Art of Outdoor', with every site in the Ocean portfolio having a unique quality and personality.

The Grid: In September 2013 Ocean launched The Grid the UK's first large format, full-motion, city-centre network. The Grid consists of 7 key digital outdoor locations in London, Birmingham, Liverpool, Manchester, Leeds & Glasgow & has increased Ocean's UK coverage.

Ocean Labs: Allows us to test the very latest Out-of-Home innovations such as gender recognition technology, sound showers as well as mobile integrated campaigns.

We launched 4 new sites across the regions: Leeds city centre (first exterior DOOH screen in Leeds city centre), Glasgow & Liverpool.

Research: The Science Behind the Art of Outdoor

In part in response to Route research being launched, we recently commissioned some Neuroscience research that looks into the true impact of Out of Home advertising.

Neuroscience identifies the wow factor at the heart of great outdoor. A theoretical model, grounded in neuroscience, says that to get great results, outdoor advertising needs to capture our attention and then engage our emotions.

A strong emotional response serves memory encoding, and this is key for any communication, because memory encoding correlates with subsequent purchase behaviours.

KEY NEUROSCIENCE LEARNINGS:

Neuroscience identifies the Wow factor at the heart of Outdoor. Premium Outdoor sites generate stronger emotions by impacting the right brain.
Digital sites offer elevated engagement because our brains are programmed to respond to changes in our environment.
Creative, when framed by a premium site, works much harder for the brand.
The most iconic sites have a powerful priming effect delivering elevated impact for the campaign beyond the initial viewing.

http://www.oceanoutdoor.com/

https://vimeo.com/73369556

What OOH can take from Mobile World Congress. By Ben Milne, head of innovation

Last week thousands worshipped at the altar of Mobile World Congress 2015. Microsoft won big collecting 10 awards including best tablet and best of MWC 2015, Facebook co-founder and chief executive Mark Zuckerberg held the keynote, however their notable Californian neighbours were missing.

Apple opted out of attending instead they decided to spring forward and launch the Apple Watch (for real this time) at their own event as well as expand on Apple Pay. As one might expect, this was a relatively simple affair without any huge surprises. The focus was on the watch, specifically on its function, form and connectivity.

It was a safe bet, as these are the universal elements that consumers are looking for in their mobile technology choices and were reflected across all the halls at MWC 2015. It got me thinking whether out-of-home (OOH) could look to mobile developments in these areas for its own continued evolution?

So what’s next in Digital OOH form factor? Like their big LED TV brothers our portable handheld devices are now shipping with curves, the latest form has emerged as evidenced in handsets such as the Samsung S6 Edge which uses the curved edge to provide people with useful notifications and navigation. If people become used to this kind of UI on their mobile devices, then could this be useful for Digital OOH screens?

In the future, media owners could display ancillary information or real time travel updates, time and weather on the curved edge, whilst allowing advertisers to utilise the full time and area of the main display. Alternatively, could the curved edge on peoples handsets become the default area for notifications received from OOH displays and locations such as Beacons? This would certainly improve the experience for consumers.

So what of function? Perhaps the biggest functional development on show at MWC 2015 was the advance in mobile transaction platforms and partnerships. Separate announcements from Samsung and Visa in this space certainly add to the bubbling potential that existing platforms like Paypal, Starbucks and Apple Pay herald.

With this growing simplicity and reality of mobile payment it is becoming clear that there is huge potential for OOH to perform as a virtual shop front allowing consumers to transact directly from a poster, eradicating the gap between engagement and purchase, with the option to collect their purchases from an OOH locker on their way home the same day.

Of course, all of this relies on the consumers being connected and at MWC the connected consumer was front and centre. 5G has moved from concept to prototype, bringing unimaginable speed to the on the go consumers of the near future. This bandwidth increase will be important as more of the machines we are used to are going to need it to communicate with us and each other.

Driverless cars were the domain of CES, however MWC brought us the Car connected to the home and the bicycle connected to the car – with the aim of reducing accidents, of course. These ‘connected life’ developments will create rich data that could be used to understand OOH consumer location, behaviour and intent and will undoubtedly feed the real time creation and deployment of personalised content that we expect to see on Digital OOH in the near future.

Tinder, Toy Story and total stupidity – My first visit to Advertising Week Europe by Dan Carey

With the Adweek Europe festival being a bit like the advertising industries Glastonbury, I approached my first ever visit in the same way I’m sure many people will approach that hallowed field in Somerset this June; no not drunk and furious about Kanye West’s inability to play a guitar or wear tweed, but excited about what was about to happen and perplexed about how on earth I was going to see everything I wanted to.

It didn’t start well. On Monday I had at least four sessions I was determined to attend. However, after seeing Posterscope – the agency I work for – present an excellent and innovative DOOH pitch battle on Monday morning, the workload back at the ranch compelled me to return to my desk and declare to myself that the sooner programmatic buying came into the world of OOH the better – even if we only ever switched it on during AdWeek.
The ‘Let’s get ready to rumble’ pitch battle was my first taste of Adweek and despite my disappointment that Ant and Dec were nowhere to be seen, I must say seeing three top creative agencies in the form of VCCP, adam&eveDDB and M&C Saatchi deliver three unique ideas that were a mixture of the heroic, the humbling and the hilarious was a brilliant introduction for what was to come. However the fact I missed the rest of the day left me hungry for more.

My next visit didn’t initially go to plan either. Being a massive Disney/Pixar fan and having previously worked on their business, I turned up to the Disney Animation Studios Storytelling session on Wednesday full of childish excitement. This excitement was somewhat quelled however when I was confronted by, and then turned away from, a queue that a festival toilet would have been proud of.

I blame myself really. I turned up late and I guess I should have known there’d be a large queue as a talk from the guys behind the likes of Toy Story was always going to generate massive amounts of err Buzz….

(Yes that pun did just happen and no you can’t unsee it).

Not put off, I marched on to the local coffee shop and bought a grande frappe squiggly wiggly – a.k.a some mediocre drink I didn’t quite understand – in order to access the free Wi-Fi so I could stream it live. Unfortunately the internet seemed to be suffering a mid afternoon drought and the stream had pretty much dried up, so I downed the rest of my mocha flocka choca blocka latte and returned back to the streets to get in the queue for Outdoor Plus’s ‘Exploring Outdoor Space’ session with the legend that is Brian Cox.

This time my luck was in. After doing some rather unsubtle queue jumping (sorry, I blame the caffeine), I managed to squeeze into the room and over the next 45 minutes Brian (first name terms) delivered a talk about our solar system that was fascinating, thought provoking and absolutely inspiring. If you get the chance to watch the session online then do it, you won’t be disappointed.

I guess the one question could be is what does a talk on the solar system have to do with advertising? Well other than the fact I was once genuinely asked by a client if it was possible to do a projection on to the moon, probably not a lot. However that thirst for knowledge, desire for exploration and passion for making new discoveries are three traits that I don’t think any industry, especially creative industries like advertising, could survive without.
After Brian Cox’s brilliant talk I then went on the best roll I’ve seen since Madonna did her backwards stage dive at the Brits, attending great session after great session after great session. This included Marketing Weeks excellent panel discussion ‘Innovation: A Start Up Frame Of Mind’ where I heard one of my favourite quotes of the week as Huib van Bockel, ex Marketing Director of Red Bull declared that Brand Marketing was becoming like tinder, with people deciding almost instantly whether to engage with your brand or move on to the next one vying for your attention.

I couldn’t agree more. As consumers become increasingly promiscuous and their brand loyalty continues to aggressively be tested by the flirtations of seemingly younger, sexier, more in your face competitors, it’s vital for brands to constantly evolve in order to survive. Otherwise they run the risk of thinking they’ve found “the one”, only to discover five minutes later that their presumed life partner has actually just run off with some new brand they’ve flirted with on Facebook.

The excellent sessions just kept on coming after that and my final one I’m going to mention was around creativity and titled ‘Redefining Bravery’. I think as a starting point I am going to say that I always feel uncomfortable about the term bravery when used in the context of advertising. I totally accept that some work can be deemed as risk taking, but unless you’re using a rolled up press ad to fend off a terrorist attack, whilst catching a falling baby using a 48 sheet as a crash mat, linking advertising to bravery just makes me feel uneasy.

With that being said, this was still another interesting, original and consistently funny session. A particular highlight was Ben Tollett, joint Executive Director of adam&eveDDB, who talked about the importance of being stupid in the creative process, advising how stupidity means you’ll take more risks, go with your instincts before your logical brain takes over and makes you far less afraid to fail. It was an interesting spin on an area that I find particularly fascinating and personally I think he’s right, but then maybe that’s because I’m a bit stupid myself. As for being brave, well I did once outrun a mugger because his far too baggy trousers fell down, but I’m not sure that counts.

So there you have it, my first visit to the Adweek Europe Festival done and I have to say it was a brilliant experience and one that I would urge anyone to attend if they get the chance, especially those new to the industry. In fact, it actually made me realize how lucky we all are to work in the industry we do and although I’ll be watching a lot of the bits I missed online, my one regret was that I didn’t get to see more of it live! Oh and that pun about Buzz Lightyear I said earlier, I regret that too.

As for Kanye, well he was nowhere to be seen either, so let’s just say Adweek 1 Glastonbury 0 and leave it at that.

Roll on 2016.

Posterscope host Let’s get Ready to Rumble at Advertising Week Europe

‘Let’s get Ready to Rumble’ was a one-off battle-of-the-brands event hosted by Posterscope to find the creative agency best able to exploit mobile & digital OOH media, fully realising the power and potential to target consumers out of the home. Three agencies, VCCP, Adam&Eve/DDB and M&C Saatchi were fully briefed and on the day had ten minutes to pitch their creative digital-out-of-home ideas for the client brand of their choice….and it was the audience that decided the winner.

Adam & Eve/DDB were the eventual winner and were awarded £100,000 of outdoor space from Posterscope.

Richard Brim, the executive creative director at the agency, presented a campaign to help raise £25,000 for a new wheelchair for a young girl, Laya Zenonos (the daughter of Antony, who works in the IT department at Adam & Eve/DDB.), who has Spinal Muscular Atrophy Type 1.
Brim’s campaign asks people to tweet about the cause. The Posterscope screens around London will display an image of Laya on a Twitter bird moving across the screen as the number of tweets increase.

People walking past the screens will be prompted to tweet, once they do so a bird will appear on the screen. They will not be asked for a donation.
Once Zenonos moves across the whole screen an ad will appear from John Lewis or Virgin Atlantic, as Adam & Eve/DDB will sell the space back to the brands. Zenonos will move across different screens around the City.

Brim’s idea won an audience vote during the session, which was chaired by Claire Beale, Campaign’s global editor-in-chief.

Jim Thornton, the creative director at VCCP, won £25,000 from Posterscope for his campaign to raise money for the Defence National Rehabilitation Centre. His campaign features an image of a soldier running in a battlefield when an explosion occurs. The people surrounding the poster will get a text that explains the injuries they would receive if they were in the battlefield. The end of the text encourages them to donate £5.
Also presenting during the session was Dave Bedwood, a creative director at M&C Saatchi.

To read more: campaignlive.co.uk

Neuroscience research points to influence of digital OOH on other media

A new study using neuroscience demonstrates for the first time how digital out of home positively influences responses to other media, exerting a clear impact on the wider digital universe.
The pioneering research, conducted by Neuro-Insight, used brain imaging to explore the neurological impact of digital out of home on other screen and mobile devices.
The results of the Beyond Out Of Home study were released on Friday, March 27 at BAFTA in London before an invited audience of 100 advertising executives, media buyers and industry specialists.
Heather Andrew, CEO of Neuro-Insight (UK) which conducted the study, said: “A previous study had demonstrated that premium outdoor sites positively primed responses to standard outdoor sites. In this new study, we set out to discover whether this priming effect worked beyond outdoor and could apply to other screen based media that is consumed out of home.
“The results were unequivocal in demonstrating strong priming impacts, but we actually found even more than we expected. First of all, we discovered that, regardless of the creative, mere exposure to the priming medium had an impact.
“People who’d seen digital out of home first responded more strongly to advertising on mobile devices, even when not linked to the campaign they had seen on DOOH, than those who’d been exposed to television.
“We call this the congruence effect because it demonstrates for the first time the importance of environment and the power of “brainstate” on people’s responses to advertising.”
Tim Bleakley, Ocean CEO, said: “The findings have clear implications for maximising the impact of cross-media screen campaigns by harnessing the specific priming impact of digital out of home.
“We already knew that iconic, large format advertising delivers heightened emotional response and strong memory encoding, and that this impact is heightened by full motion screens. We also knew going into this study, that large, iconic sites had a positive priming effect on other OOH advertising. This new study takes the learnings further, to show that the priming impact of DOOH extends beyond the OOH world and into the wider all screen media universe.
“We’ve now established that there is a clear congruence between screen experiences out of home, and the combination of large and small screens, accessed on the go, is a particularly powerful one.”
About Neuro-Insight
Neuro-Insight is a market research company that uses unique brain-imaging technology to measure how the brain responds to communications. It is the only company in the world licensed to use this patented technology, enabling the measurement of second by second changes in brain activity. Neuro-Insight delivers unique insights into how a piece of design or advertising is affecting people at both a rational and an emotional level.
http://www.neuro-insight.com

Clear Channel charges forward with investment in weather-sensitive technology

Clear Channel is investing in weather-sensitive technology for its larger digital screens to adjust their brightness according to changes in the weather.

The investment follows the installation of Clear Channel’s first solar powered bus shelter and billboard in the last 6 months.

Chris McClelland, specialist partnerships at the outdoor media owner, said it wanted to exploit a growing trend for advertising campaigns to interact with the weather. Brands including Stella Artois and Corsa have experimented with weather-activated outdoor ads as they look for new ways to build engagement from the ad formats.

“We’re seeing more and more digital campaigns activated by a change in temperature or even an increase in pollen count – it’s great to see technology being used to add an extra level of contextual relevance.”

Clear Channel recently released new research which found that the out-of-home sector needs to better educate marketers on emerging technology due to low levels of awareness. The study of 200 marketing professionals showed that less than a third were aware that the medium offered contactless technology, motion detection, QR and NFC integration or facial recognition technology.

Via: The Drum

Carat positions OOH as second fastest growing media

Global media network, Carat, has published its first forecast for worldwide advertising expenditure in 2016, combined with its latest forecasts for 2015 and actual figures for 2014, with all markets ring-fencing Digital media spending, even when faced with negative economic headwinds.
Based on data received from 59 markets across the Americas, Asia Pac
ific and EMEA, Carat’s latest global advertising expenditure forecasts show Digital media, with a predicted US$17.1 billion or +15.7% increase in spend in 2015, is outpacing previous Carat predictions from September 2014. Powered by a dramatic rise in Mobile ad spending globally of +50% and Online video of +21.1% predicted in 2015, Carat forecasts that Digital will, for the first time, account for more than a quarter of all advertising spend in 2016 with a market share of 25.9%.

From a global perspective, Carat forecasts that in 2015 advertising spend across all media will increase by US$23.8 billion to reach US$540 billion, accounting for a +4.6% year-on-year increase. Market optimism continues into 2016 with Carat’s first forecast for the year predicting a year-on-year global advertising growth of +5.0%.

In 2014 all regions reported positive growth, from Western Europe at +2.3%, +4.5% in North America, +5.3% for Asia Pacific and high performing Latin America at +11.4%. Regional confidence is predicted to continue in 2015 with all key markets forecasting positive growth next year except Russia, due to a struggling advertising market and predicted recession. Western Europe is strengthened by a second consecutive year of positive growth driven by strong numbers in the UK and Spain; as well Greece, Ireland, and Portugal returning to positive growth after six consecutive years of ad spend declines. North America continues to grow at a solid pace of +4.5% in 2015 and +4.6% in 2016, with programmatic spending in the US predicted to grow by +137%, reaching spend levels of US$10billion.

By media, whilst Digital is the star performer in terms of growth, achieving higher that predicted levels in 2014 of +17.4% and accounting for 21.7% of market share, TV will continue to command the majority of market share for the foreseeable future, reaching 42.7% in 2014, and is predicted to grow by more than +3% year-on-year in 2015 and 2016. The steady decline in Print is expected to continue, however Out-of-Home is now positioned as the second fastest growth media, behind Digital, with a global market share of spend of 7.1%. For the first time, Out-of-Home is predicted to outpace Magazines global share of advertising spend, with Magazines forecast to achieve 6.9% market share in 2015, and with continuing declines for this media, it is predicted to fall behind Radio for the first time in 2016.

Commenting on the Carat Advertising Expenditure forecasts, Jerry Buhlmann, CEO of Dentsu Aegis Network, said:
“Carat’s latest advertising forecast gives us increased optimism for the outlook for global advertising spending. With harder times behind us, negative growth markets are pleasingly now a minority, and collectively we can look ahead to 2016 with positive growth predicted for all key markets.

“The strength of Digital continues to dominate discussions and the new distribution of spending. With a quarter of the global population now owning and relying on their smartphones daily, they are our second brain in our hands. Mobile dominates the way consumers access information, view content, browse products and purchase goods and this is reflected in the innovative services and approach we are discussing with our clients.”
Via: Carat

Verifone Media launch geo-targeted and day-part digital tops

To showcase their new technology and format, Verifone Media have launched a self-branded campaign called ‘#HelloGEO’ on their DigitalTops. The two month campaign will run in 39 separate geo-zones across London’s Zones 1-3, and the creative will say ‘Hello’ to the specific area that the screens are running through. Some of the geo-fenced zones are as localised as being down to the street the cab is driving on, or the landmark it is riding by; e.g. Oxford Street, Bond Street, Big Ben or Buckingham Palace. Each zone will have day-parted creatives: saying Good morning, Good afternoon and Good evening.

The campaign will run over two months, on all of the DigitalTops across the Verifone Media network. The aim is to fully showcase the incredible flexibility that the DigitalTops serve on geo-targeting, and day-part messaging for potential clients.

Not only does the campaign demonstrate the technological brilliance of the format, the top quality of the LCD screens, and the simplicity of the reporting; but it’s a fun way for media folk and consumers alike to get involved as well, as the hashtag #HelloGEO means that any cabs spotted across the 39 zones, can be photographed & put up on social media platforms; Twitter & Instagram.

Verifone Media’s Marketing Manager, Lucy Couillaud, commented on the campaign, “The team here is really proud to be bringing this integrated targeted campaign onto the streets of London, which highlights the flexibility of the technology. We are really interested to see what the campaign delivers, and look forward to reporting our findings on the number of plays at this level of targeting and day-parting, back to the market. It’s truly enjoyable being at a company that is so focused on the future of taxi.”

Live campaign and post-campaign support, including photographic reports, posting reports and digital performance monitoring, will be reported back to the market post campaign.

UK retailers get real-time customer profiling at their fingertips

In early 2014, Amscreen, provider of in-store digital screen media, worked with a number of select partners to trial a revolutionary platform delivering real-time audience profiling and footfall analytics. The technology, which utilises a camera built into HD in-store screens, is able to identify a shopper’s age and gender by location and time of day.

A year on, Amscreen is now launching OptimEyes® to the broader UK retail sector. The service integrates technology provided by automated audience measurement business Quividi, and then builds upon this to deliver a user-friendly portal designed specifically around the requirements of retailers and their need to access and act upon real-time customer insight.

OptimEyes® has been created to assist in the provision of insight that can help retailers in a number of areas including; predicting traffic flows to identify the most efficient times of day to promote a certain product range, react in real-time to fluctuations in footfall as well as map a customer’s typical journey through store. This insight is all accessible through a real-time online OptimEyes® portal so a network of screens and customer profiles can be reviewed from any single location.

Simon Sugar, CEO of Amscreen states “Our OptimEyes platform and portal is providing real-time audience measurement enabling our solutions customers to identify exactly who their adverts are reaching and change content immediately based on this data. The OptimEyes portal is the gateway to this content providing easy, speedy online access to audience analytics from their entire network of screens.”
The announcement comes following the launch of the OptimEyes® technology in 2014, which uses hardware to detect a series of physical reference points to determine age and gender of viewers. The OptimEyes® portal can be interrogated manually or serve summary reports based on the users preferences. Retailers will also be able to analyse audience trends on a global, national or regional scale, or even by individual store and in-store zone.
Via: Amscreen

OOH needs to educate on emerging technology

As outdoor advertising takes the digital world by storm, the industry must work harder to show marketers what’s on offer.

New research highlights the vital role that the out-of-home (OOH) advertising industry must play in promoting its digital capabilities, as less than a third of marketing professionals said they were aware that the medium offered contactless technology; motion detection; QR and NFC integration or facial recognition technology. This is according to a survey of more than 200 marketing professionals released today by out-of-home (OOH) advertiser, Clear Channel UK.

In Clear Channel UK’s Look Again report, ‘innovation’ was cited as one of the top buying considerations among marketers under pressure to find new ways to reach mass audiences as the ubiquity of mobile devices sees linear television audience figures, in particular, dwindle. Among the innovative technologies dubbed most exciting to the marketers surveyed were environmentally friendly technology (70%), motion detection technology (67%), contactless technology (70%) and use of NFC/QR code technology (72%).

Sarah Speake, CMO at Clear Channel UK, commented:

“We are at the point where many marketing professionals’ perceptions are at odds with the new levels of digital sophistication available across the OOH medium. In the UK, millions of pounds worth of investment in digital over the last few years has created a medium that is capable of delivering broadcast reach, measurability and brand fame at a national and regional level. It’s no coincidence that some of the world’s top brands are already taking advantage. It’s now paramount that we educate the masses on the new digital opportunities available as well as reiterating the strengths of our traditional formats.”Aside from digital, the industry has invested heavily in audience planning, intelligent content and data platforms such as Clear Channel’s ground-breaking Play IQ. Yet the research findings would suggest that this news isn’t reaching marketers.

Speake concluded:

“Today Clear Channel is transforming bus shelters into tweet-activated vending machines and ad-serving aeroplanes. There’s a wealth of sophistication available across the medium to tap into. It’s our job to shout louder and champion the new capabilities on offer to help our customers engage their audiences on a deeper and more meaningful level. Today marks the beginning of this journey to create the future of media, out-of-home.”

This data forms part of Clear Channel UK’s Look Again research, based on a survey of 200 marketing professionals, and qualitative research of 10.

For more information click here

Ocean Seals £250,000 Airtime Deal to Drive London’s Air Ambulance 2nd Helicopter Campaign

Ocean is launching a £250,000 digital out of home campaign across its large format London screens to help London’s Air Ambulance, the charity that delivers an advanced trauma team to critically injured people in London, raise funds for an urgently needed second emergency medical helicopter.

Adverts asking Londoners to support the charity, which has treated more than 32,000 critically injured people since its inception, will appear across Ocean’s premium network of Digital locations including Canary Wharf, Westfield London, Hammersmith and Ocean’s Eastern Lights’ screen. London’s Air Ambulance currently operates just one helicopter to cover the 10 million people that live, work and visit London daily. In 2014 the London’s Air Ambulance helicopter was offline for maintenance for 55 days. The charity’s ‘Your London, Your Helicopter’ campaign is aiming to raise £4.4 million to acquire and sustain a second helicopter and to extend its daylight flying hours for five years. The perfect alignment of the two organisations demonstrates why London’s Air Ambulance benefits so strongly from the exposure – iconic digital out of home locations, that can be seen from the air, promoting an iconic and imperative piece of London’s infrastructure.

London’s Air Ambulance is Ocean’s official charity of choice. The company has worked with the charity for the past three years and this new campaign is the first in a series planned by Ocean and London’s Air Ambulance for 2015 under the I (helicopter) LDN.
yourhelicopter.london

Ocean Head of Marketing Helen Beacham said: “Our goal is to ask generous Londoners to help reach the £4.4 million target needed by London’s Air Ambulance to acquire and sustain a second helicopter.”

“Hundreds of Londoners owe their lives to this life saving charity. It’s an incredibly worthy cause which will benefit people for years to come. We urge the wider media and advertising industries, and the people of London, to get behind this vital service and give what they can. Please text HELICOPTER to 70800 to donate £5 or visit yourhelicopter.london to donate online.”

Specific data which reflects how many patients the London’s Air Ambulance advanced trauma team has treated in each Borough will run across Ocean’s digital locations, using that local relevance to help drive awareness and donations.

London’s Air Ambulance was formed in 1989 following a report by The Royal College of Surgeons that said too many people were dying on the streets unnecessarily. The charity has remained at the forefront of medical innovation, delivering pioneering procedures, including roadside open-heart surgery, anaesthesia and blood transfusions that have been adopted throughout the world.

Charles Newitt, Chief Operating Officer at London’s Air Ambulance said: “We treat six critically injured people a day yet many in London don’t know that we are a charity, not to mention the need for a second emergency medical helicopter. We are very grateful to Ocean Outdoor for helping us get the ‘Your London, Your Helicopter’ message to people across London.”

Cochrane appointed Chief Executive of Clear Channel UK

Clear Channel UK are pleased to announce that Justin Cochrane has been appointed CEO, Clear Channel UK with immediate effect. Justin has been with Clear Channel for over a decade, most recently as Chief Operating Officer of Clear Channel Outdoor’s European business. Prior to this, he held the position of Chief Operating Officer, Clear Channel UK, so is uniquely placed to lead the business.

Justin will report to Matthew Dearden, Clear Channel Outdoor’s President of Europe and Chair of Clear Channel UK.
Resulting from this appointment, Clear Channel UK has today also confirmed that Andrew Morley has left the business. We would like to thank Andrew for his contribution and wish him the best for the future.

Under Justin and the Board’s leadership, Clear Channel UK remains focused on delivering powerful and effective campaigns for advertisers and agencies through our nationwide network of Adshel sites, deep investment in digital, consumer research and insight, and the on-going development of our Connect Mobile Platform.

Via: Clear Channel

Mediatel announce Connected Consumer 2015 awards shortlist

Known as ‘The Connies’, the awards are now in their third year and are held in celebration of those pioneering new advertising, technological and commercial opportunities in the connected industry.

Aimed at organisations that are devising and powering connected strategies, the shortlist represents a wide variety of media focused businesses – including media owners, agencies, consultancies and technology providers.

Posterscope and Total Media’s campaign for Lenovo was shortlisted under ‘Best use of Connected Data’ category.

Chaired by media consultant Graham Lovelace, the nominees were placed in the safe hands of a number of hand-picked media experts – including Richard Marks, managing director, Research the Media; Stacey Anklam, vice president of client solutions, AutoGraph inc; Rupert Staines, managing director, RadiumOne; Mark Cross, director, Chartroom; and David Pidgeon, editor, Mediatel Newsline.

Commenting on the shortlist, Lovelace, director at Lovelace Consulting, a convergent media specialist, said: “This year’s Connies are the biggest and best. As the shortlist shows, we had entries from right across the industry, and the judges were impressed with the incredibly high quality.
“It reflects the many ways that ‘connectedness’ is making an impact in the way that media owners, agencies and brands target and reach connected consumers, and how technology breakthroughs are making it all possible.

“There’s plenty to learn from these players, and there’ll be plenty to celebrate at The Connies on April 23!”

This year’s awards will be followed by Mediatel’s annual Connected Consumer Conference in June – an all-day event that will see a number of key industry players discuss and debate the current state of the industry.
For more information on how you can attend the awards, please visit Mediatel’s events site.

Forrest Media Extends Digital Portfolio in Scotland and Newcastle

Forrest Media, Scotland’s largest Digital screen operator, has started 2015 with a flurry of exciting new digital developments, including two new Scottish screens − in Edinburgh and Glasgow − and a planned second screen in Newcastle.

The ‘CityScreen Glasgow Southern Gateway’ and the ‘CityScreen Edinburgh Eastern Gateway’ both stand at 50 sqm and dominate vital routes into both major cities, offering optimum exposure for advertising brands. The ‘CityScreen Glasgow Southern Gateway’ is Forrest’s third digital outlet in Scotland’s largest city, whilst the Edinburgh site is the group’s third OOH offering in the nation’s capital.

With the new additions set to increase Forrest’s portfolio to a total of eight digital screens throughout Scotland and the north of England, Forrest MD, Marc Keenan, said: ‘Our detailed local knowledge has, once again, allowed us to pre-plan these vital routes and then go out and develop these with new digital platforms. These sites further strengthen our ownership of prime OOH sites in the north of Britain.’

In addition to these sites, Forrest Media has announced the imminent arrival of a second spectacular screen in central Newcastle.
Planned for May 2015, ‘CityScreen Newcastle Central’ will dominate Newcastle’s Times Square, delivering an impressive 50 sqm of digital platform to its advertisers. The screen will sit proudly on Newcastle’s famous Life Building, at the forefront of Times Square in the centre of the city, and will be perfectly positioned to be seen by those departing from Newcastle’s bustling main rail station.

All three screens have been specifically developed to geographically enhance the company’s existing offering.

JCDecaux invests in premium sites in Liverpool

After having recently launched the City of Edinburgh, JCDecaux’s next city focus is in Liverpool where brands are set to benefit from new premium Out-of-Home communications that will enhance JCDecaux’s dominant presence within this key UK city. JCDecaux has invested in large format assets in and around the city centre, including six new Première locations on key city routes: Scotland Road, King Edward Street and Erskine Street. Enhancing JCDecaux’s digital 6-sheet presence, Liverpool Lime Street’s Transvision is set to be upgraded later this year and a brand new high-profile M-Vision will be unveiled in Liverpool ONE this May. Liverpool is the 4th largest city in Britain (CACI) and is home to 50,000 students. Home to some of the UK’s hottest exports, including: The Beatles and Liverpool F.C, Liverpool is the 5th most visited UK city and has a 1.8 billion retail spend (CACI).

Route Research is two years old….

Route is two years old! Happy birthday to them….

2015 holds new opportunities for users of Route data. For starters, please see the notable updates in the next publication, R14, below.

Sample size
The Route GPS survey is ongoing. It continues to capture information about how people move about, and what they do.
The most recent year’s fieldwork will be absorbed into the next data release (‘year 6′, 2013-2014).
And to ensure that the sample reflects what people are doing in the real world, the first year of respondent data is removed, to keep the sample rolling.
The sample in the four releases that will appear over the next year will therefore be 29,808.

New counts added
In addition, R14 will see all the transport counts updated. A reference sheet on the Route website tells you all you need to know about how Route is kept up to date.

Revised geography
And it doesn’t stop there, because R14 will also see new geography included. The significance of redrawing boundaries is that populations and densities can change. You may find that an identical campaign will produce different results compared to R13 or earlier.
Have a look at the new populations page to see where cities have changed.

New locations
You will also see exterior airport frames and some new shopping centres in the data.

Data by day now approved
Reach and frequency data has been produced in day segments, allowing you to plan for a specific day or set of days.
These data have been assessed by the route technical team, and are now approved as gold standard Route currency.
If you would like to use these data, please speak to your software provider.

Any questions?
The Route website lists all of the common questions asked about the research and the data, on the FAQs page. For example…..
What happens if I specify a date?
It is possible to incorporate the effect of illumination into a campaign. Frames that are lit from above or behind, or that are digital screens, are more likely to be seen in the hours of darkness. Because the length of these hours changes across the year, we have incorporated an adjustment. So you can opt to include the ‘illumination factor’ by specifying the date of your campaign. However, the function does not alter audience estimates according to the season or time of year.

When you add new questions to the questionnaire, are they transposed onto older respondents?
A respondent can only answer the question that they have been asked themselves, so new questions can’t be transposed onto older respondents. The sample number will therefore relate to the number of people that have answered it.
When are new environments added?

Once they are produced, environments are subject to validation and approval. They are then published on set dates. The schedule for these is available in a document on our website- reach it by clicking the ‘get schedule’ button below.
Next month Route will highlight some of the changes that come with R14
And in the spirit of springtime, why not refresh your knowledge of the innovative Route method by reading James Whitmore’s latest blog on measuring digital.

MRH extend their contact with Amscreen

MRH has signed a further 5 year contract with Amscreen which will see an upgrade of their existing network of 365 screens in UK forecourts to Amscreen’s 24 inch screen. The new screens also feature Amscreen’s OptimEyes technology, delivering real-time audience measurement data.

The renewal of the existing contract includes a network of 365 screens across company owned sites which are branded Esso, BP, Jet and Texaco amongst others. MRH has been working with Amscreen since 2009, employing a network of screens within forecourts at pay points. This network delivers store specific messages for customers as well as 3rd party advertising sold and served by Amscreen.

The network provides brands the opportunity to reach 3.4m visitors to these venues every week. The MRH estate represents a key part of the larger portfolio of 3,765 within forecourt venues across the UK with 27 million impacts every week.

Andrew Jackson, General Manger MRH Retail said “Having worked with Amscreen for some years, we’ve seen the screens provide an invaluable customer messaging platform. With the addition of the new screen format and real-time audience measurement technology in the form of the OptimEyes technology, we are very happy to continue to work with the team and this excellent product.”.

Simon Sugar, CEO of Amscreen Advertising & Media added: “We are delighted to be extending our partnership with MRH for an additional five years. With our new screen products and audience tracking, we can add further insight and audience metrics for both MRH and those advertisers looking to capitalise on our UK wide network. ”

Via: Amscreen

Eye launch giant curved digital screen at Stansted airport

The massive screen spans 12 metres and integrates state of the art, digital copy with all important flight information to maximise consumer engagement.

Sarah Parkes, MD of Eye Airports said: “This product offers an unparalleled platform for advertisers to inspire and strongly engage with audiences at London Stansted Airport. It is one of the most advanced LED screens which, together with its size, brings optimum value to any advertising copy.”
With a second screen touching down soon, this marks the latest in Eye Airports’ recently announced £8m “Redefining Airports” investment spanning London Gatwick, Manchester, Stansted, Bristol and Newcastle Airports and offering fascinating new digital opportunities for advertisers.

This project is the largest investment in UK Airport advertising this decade and a massive step in the evolution of Airport media. It provides maximum visibility right at the heart of the unique UK Airport retail environment where, most importantly, ‘purchase prompts’ can immediately be acted on.

Pivotal to the Eye Airports network, London’s Stansted Airport offers more scheduled European destinations than any other UK Airport and is currently the fastest growing major airport in the country serving over 20 million passengers each year. The Airport is undergoing a significant re-development with an £80 million terminal transformation project due to be completed later this year as part of a wider £260 million investment programme.

Via: Eyeairports

William Eccleshare to return to the UK as chief of Clear Channel International

William Eccleshare, the chief executive of Clear Channel Outdoor, is returning to the UK to take the role of chairman and chief executive officer of Clear Channel International.

At the same time Clear Channel has appointed Scott Wells, a board member at Clear Channel Outdoor, as chief executive of its Amercias division.
Eccleshare will focus on driving international growth. He will be based in London and continue to report to Pittman.

Eccleshare said: “After a record-breaking year in which we significantly outperformed the market, we have ambitious plans for CCI in 2015 and beyond as we deliver on our customer obsession.
“I’m hugely looking forward to continuing to drive our strategy for long-term profitable growth.”

Wells will jointly report to Bob Pittman, the chairman and chief executive of both Clear Channel Outdoor Holdings and iHeartMedia, and Rich Bressler, the chief finance officer of Clear Channel and president, chief operating officer and chief finance officer of iHeartMedia.

The chief executive officer role is a new one for Clear Channel Americas. It replaces the president post that has been vacant since Suzanne Grimes’ departure in August last year.

Via: Media Week

Coughing’ bus shelter raises awareness of lung cancer

A ‘coughing’ bus shelter will target Scottish residents to raise awareness for the signs and symptoms of lung cancer.
The innovative campaign, created by Leith and planned by Carat Scotland and Posterscope as part of a wider Scottish Government programme, will run for a fortnight across two locations, Glasgow’s Buchanan Bus Station and The Sandgate in Ayr town Centre, on two special build poster sites, from out-of-home expert Primesight.

Passengers waiting at the bus shelter and Station will hear intermittent 30-second audio of a man coughing before a woman’s voice recommends visiting the GP if he, or anyone he knows, has been suffering from a cough for three or more weeks. The creative also includes an image of a man coughing with the strapline ‘Don’t get scared, get checked’ to further reinforce the important health message.

The bus shelter panels provide an opportunity to explain the potential significance of a cough to locals when they least expect it, while their central location and selection using Route audience targeting means the campaign will reach the maximum volume of its C2DE audience. Recent statistics have found that early diagnosis of lung cancer among Scots means they are almost 20 times more likely to experience a full recovery.
Martin McGinnis, Business Director at Primesight, said: “We are very proud to be part of this valuable campaign and the continued fight against cancer. While cases are on the decline, this campaign will increase people’s awareness of the crucial early signs – which are all-too-often overlooked as something more minor.”

Though there are now 1,300 more survivors of lung cancer a year in Scotland than 25 years ago, it remains one of the country’s most common forms of cancer. The Scottish Government’s broader Detect Cancer Early initiative, launched in February 2012, aims to improve survival for people with cancer by achieving early diagnosis.

Detection “crucial”
Dr Hugh Brown, NHS Ayrshire and Arran’s Primary Care Cancer Lead, welcomed the “great opportunity” provided by the shelter “to explain to people the potential significance of a cough when they’re least expecting it.”
He said: “One reason patients are often diagnosed late is that they are unaware of the symptoms of lung cancer.
“I hope this makes a huge impression and helps get the message across to people in Ayrshire that it’s important if you, or someone you know, has had a cough for three weeks or more, it’s time to get it checked out.
“It’s probably nothing to worry about, but it could be a sign of lung cancer.
“The disease can develop slowly over a number of years and often causes no pain. It is much more treatable than it used to be, but being switched on to the symptoms and acting quickly to have them checked by a GP are crucial – you won’t be wasting anyone’s time.”

Via: BBC News

Cinema-goers receive a chilling shock

Arrow Film’s gave those visiting Vue cinemas on the 15th March a chilling shock when they placed a fridge in the cinema foyer which contained a live head to promote their new release ‘The Voices’.
This innovative OOH activation, which brought to life the key themes of the film, formed part of a larger campaign which involved traditional OOH − 1,000 phone kiosks − TV, social media, student-focused targeting, postcards and press.

Jon Sadler, Arrow Marketing Director said; “We were very excited about the proposal and wanted to add in an experiential element to the campaign and create some theatre around the release and found the unique concept and the cinema foyer setting to be very compelling” Jon Sadler.
Gabby Masters, planner at Posterscope added; “For a dark and original comedy like ‘The Voices’, we felt that there was a real opportunity for OOH to deliver a solution that was completely unique in the OOH space and something that would drive increased engagement for our social media savvy, 15-24 year old audience. Tapping into some of the key themes and scenes from the film, the ‘fridge’ experiential stunt – which took place in Cinema foyers – did just that, delivering a surprising and hilarious interaction with our core demographic that would undoubtedly help to create additional buzz in the social space.

The campaign was planned and executed by Target Media, Posterscope and psLIVE. Following the activation, the fridge will be re- positioned at the Hackney Picture House (sans actress) for two weeks with film memorabilia inside.

The Daily Record gives shoppers the chance to be front page news.

The Daily Record is giving shoppers at St Enoch – one of Glasgow’s busiest shopping centres – the opportunity to be front page news, using a cutting-edge “selfie screen”.

An interactive 6 sheet allowed the shoppers to have their photo taken and then super-impose the image into a front page cover design (there are seven to choose from) and insert an amusing and topical headline. The image can then be shared with friends using social media.

This fun, interactive campaign was created by Posterscope Manchester and Carat Edinburgh.

Via: Daily Record

The Mirror eclipses The Sun

The Trinity Mirror used the solar eclipse as an opportunity to showcase their reader numbers in comparison with The Sun, demonstrating that they are “eclipsing The Sun”.
Booked by Posterscope Manchester/ Amplify Carat Manchester, the digital out-of-home activity dominated Eat Street @ Westfield London for an hour between 9am-10am to coincide with the eclipse itself. The creative featured a picture of an eclipse and the readership figures to demonstrate the higher audience numbers. During this time a brand ambassador gave out solar eclipse glasses to people who walked by, to ensure they could safely enjoy the real thing (had London not been engulfed by clouds!)

Coca Cola make wishes come true with Wish Booths in Dubai
With many South Asians moving to Dubai for work, Coca-Cola have created special Wish Booths that are activated by Coca-Cola bottle caps and have installed them around the city, inviting UAE (United Arab Emirates) residents to make a wish for their families back home.
Some of these wishes went to India, Pakistan and the Philippines to become a reality.

The ‘Wish Upon A Coke’ campaign looked at the very real fact that more immigrants lived and worked in the UAE than Emirati locals (citizens of the United Arab Emirates), at a ratio of almost 5 to 1. After noting that the majority of these workers were earning money to send back home, they decided to launch a campaign to help.

The Wish Booths were created that when a person steps in, they’re asked what they would wish for their family. These wishes were then recorded and some of them with the help of Coca-Cola came true, such as the payment of school tuition fees, a roof for their parents home and the creation of a business.
Yet another amazing stunt that taps into the family-friendly ideals of Coca-Cola and yet again creates an emotional stunt that has become so typical of Coca-Cola in recent years.

This Audi emits nothing but water vapor, so its billboards are made of that too

Innovative products deserve advertising that itself is innovative—embodying the promise of what’s for sale in the way it’s being sold. This Audi campaign from German agency thjnk does a nice job of that.
The Audi A7 Sportback h-tron uses a fuel cell coupled with a hybrid battery and additional electric motor in the rear. Notably, nothing but water vapor comes out of the exhaust. And so, Audi created billboards that similarly leave nothing behind.

It’s clever and intriguingly produced, though it’s not quite clear how the effect in achieved. In any case, it’s perhaps most reminiscent of 2012’s “Invisible Car” campaign for Mercedes,which also promoted zero-emission fuel-cell technology—by draping the car with an LED “costume” that made it look invisible.

Pac Man arcade machines double up as massive charity boxes for the Red Cross

The Swedish Red Cross has thought up a novel way of raising money by using arcade machines as playable money boxes.
The idea is that as people wait at Stockholm Arlanda Airport and Göteborg Landvetter Airport, they can get rid of their loose foreign coins (from any country) by playing on one of the classic machines. Pac Man, Space Invaders and Galaga can all be played and it solves the problem of having foreign currency you’re never likely to use again.

And you needn’t feel like you’ve wasted your money on silly computer games as the cash goes straight to good causes.

Gender Equality Campaign Erases Women From Billboards

Despite a longstanding effort to get women’s rights on par with men’s, women hold 58 percent fewer executive positions than men in Italy. And in Croatia and Argentina, 42 percent of women have fewer top-level jobs than men, according to new research from the Clinton Foundation.
To coincide with International Women’s Day, the Clinton Foundation (an initiative spearheaded by Bill, Hillary and Chelsea Clinton) released data that looks at how women’s equality has changed since 1995 as part of its No Ceilings initiative. Back in 1995, Hillary Clinton sparked the research during the U.N.’s Fourth World Conference on Women in Beijing. While the research shows that women’s rights are catching up to men’s, there is still work to do.

This weekend the foundation launched a campaign with Droga5 that underscores the fact women “still aren’t there” in gender equality. Unilever, iHeartMedia, Beats by Dre, Simon & Schuster, Kate Spade, the New York City Ballet, Under Armour, H&M, Zalla Pilates, Diane von Furstenberg, Snapchat and Condé Nast all teamed up with the organization with creative content that literally wiped women away.

For example, Kate Spade released billboards in New York last week for its spring 2015 campaign featuring fashion model Karlie Kloss sitting on a park bench. But on Friday, the brand replaced its billboards on 45th Street and the West Side Highway, and in Times Square with an almost identical picture of an empty park bench. The Web address not-there.org replaces Kloss—directing viewers to the No Ceilings campaign hub.”Empowering women is really at the core of our DNA—back in 1993 Kate Spade was frustrated that she couldn’t find what women were looking for in the marketplace, so she took matters into her own hands and formed Kate Spade New York,” said Mary Beech, Kate Spade’s CMO.

Every weapon has a history

States United to Prevent Gun Violence and its agency, Grey New York, have created a hard-hitting social experiment set in the real world.
They did what they’re calling “the unthinkable”—opened a real-looking gun store on the Lower East Side of Manhattan and invited first-time gun buyers to check it out, with hidden cameras rolling.
To create drama, they put disturbing tags on each weapon, indicating which models were used in particular mass shootings, unintentional shootings, homicides and suicides. Needless to say, the fresh-faced buyers end up looking rather pallid by the end, and aren’t quite as excited to head home with a firearm.
The point of the PSA (public service announcement) is to debunk the perception, held by six in 10 Americans, that owning a firearm makes a home safer. In fact, according to studies, those who own a gun—and those around them—have an increased risk of injury and death.
There’s a sense here of preaching to the choir. These folks are awfully quick to backtrack from their desire to own a weapon, and the NYC setting might not do much to convince people in less liberal places to consider changing their views.
But it does, at least, suggest—indeed, demonstrate—that minds can be changed on the matter. And it’s chilling in the video to see the actual guns that were used in notorious crimes, and must have been that much more so in person.
“Our goal is to educate those looking to purchase a firearm and ensure they are aware of the potential risks [and to promote responsible gun ownership],” says Julia Wyman, executive director of States United To Prevent Gun Violence.
“Often gun purchasers wrongly believe guns will keep them safe when in fact a gun in the home greatly increases the risk of homicide and suicide. This sets the record straight so consumers can make an informed choice to buy a firearm or not.”

Granary Square fountains become a giant playable version of Snake!

Remember Snake: the game from your Nokia 3210? The dudes who made the fountains in King’s Cross Granary Square certainly do, as you can now turn the fountain into a giant playable version of the game. Download the Granary Squirt app and it’ll trigger a line of water jets, lit up with coloured lights, which makes its way across the fountain.
Tilt your phone forwards and your reptile moves forwards. Tilt it right and it moves right. Tilt it left and, well, you get the point

People Ignore a Giant Lump Growing on a Street in Clever Cancer PSA Stunt

Never underestimate people’s power not to give a damn about what’s right in front of them.
This latest example from AMV BBDO in London is quite amusing to watch. It’s a Public Service Announcement for Cancer Research U.K., which wanted to communicate that British people are missing the first signs of cancer. Well, no wonder they ignore small lumps in their bodies when they just walk right past weird giant lumps growing in the real world.

The road lumps had to match the paving bricks of the street used for the shoot, and be distorted in such a way that made it appear as if a ‘tumor’ was growing in the road,” the company says. “The lumps had to be light enough to carry on and off set, but durable enough for a van to go over them; one of the lumps was reinforced in fiberglass to allow for a road sweeper to go over it.”

A town learns sign language to promote ‘living without barriers’

In this sweet stunt by Samsung, a whole town learnt sign language so that a deaf Turkish man ‘could live one day without barriers’.

Muharrem is seen going about his normal day with his sister Ozlem, but it isn’t long before passersby start communicating with him using sign language – something he has no doubt never experienced before – and something that eventually has him in tears.

The whole thing was organised as part of the ad campaign for the brand’s new video calling centre, which enables the hearing-impaired to communicate more easily.

According to the Metro, it took one month of preparation, with all involved taking sign language lessons especially for the campaign.

People looking at a billboard triggers a change in creative

In a world first for digital out of home, Ocean, Women’s Aid and WCRS are collaborating on an interactive campaign which shows how we can all make tangible changes in the fight against domestic violence.

Timed to coincide with International Women’s Day on Sunday, March 8th, the creative, by the leading London advertising agency WCRS, raises awareness of the how domestic violence charity Women’s Aid saves lives.

The collaboration is a world first because this is the first time the attention of people looking at the digital screens triggers an immediate change in the creative. Ocean exclusively operate facial recognition technology on large format Digital out of Home in the UK, and in delivering this campaign are the first organisation to utilise the gaze tracking element of the system to trigger or superimpose content for live playback in real time on the screens.

The campaign premieres on Thursday, March 5th at The Screen @ Canary Wharf in London and then rolls out to the The Screen @ New Street in Birmingham and Eat Street @ Westfield London on March 7th and 8th.

The initiative will also be supported on Channel 4 with a specially introduced 30 second prime time TV spot designed to amplify the message during the centre break of brand new drama Indian Summers on Sunday, March 8th. The spot will be repeated at 7.20pm the following day in Channel 4 News’ ad break. Promotion of these TV spots will also run across some of Ocean’s most high profile Digital out of home locations in the UK.

The campaign is already an award winner, taking the Interactive Award in Ocean’s annual Art of Outdoor competition 2014.

WCRS worked with famed photographer Rankin, a long-time supporter of Women’s Aid, Ocean and posthouse Smoke and Mirrors to create the interactive billboard which shows the image of a bruised woman with the simple imperative, “Look at me”.

In awarding the WCRS/Women’s Aid campaign the Interactive Award in Ocean’s annual Art of Outdoor competition 2014, the judging panel said: “This campaign figures out how many people are looking at the screen – and the longer you look at it the more it changes. This has not been done before. So, paying attention has a positive effect. It’s very clever.”

To learn more about Women’s Aid visit www.womensaid.org.uk

Via: Ocean Outdoor

Giant X-Ray Screen Erases Gender, Age, Race To Prove ‘We Are All Human’

There are few images more evocative of the human body than a skeleton. But it’s easy to disassociate this image with actual people.

In the “Love Has No Labels” PSA featured in the video above, the skeleton is used as a symbolic reminder that — simply put — we’re all human, despite our varying identities. The yearlong initiative aims to call out some of our latent biases and prejudices.

As “Love Has No Labels” says in its mission: “Before anything else, we are all human. It’s time to embrace diversity. Let’s put aside labels in the name of love.”

To help underscore their point, the Ad Council and R/GA, a New York-based ad agency, set up a large X-ray screen outside in Santa Monica, California, this past Valentine’s Day. The display shows skeletons kissing, dancing, holding hands and hugging behind the screen. These images were initially more puzzling than moving to viewers. But as diverse pairings of people step out from behind the screen, the display takes on a larger meaning.

Two kissing skeletons in the first image, reveal themselves to be two women. They step out to wave at the surprised, but receptive, audience, and kiss again. Next, a dancing skeleton duo that turns out to be an interracial couple takes the stage. In the end, people from a wide-range of identities, genders, ages, abilities and religions comes out from behind the screen. The audience celebrates each person with applause, smiles and tears.

The campaign is in partnership with eight nonprofits that celebrate diversity. Partners include The Anti-Defamation League, which combats hate crimes and anti-Semitism, and The Human Rights Campaign, the country’s largest LGBT civil rights advocacy group.

Ikea uses poorly assembled billboards to show its furniture is hard to put together

Everyone else makes fun of how painful it is to assemble Ikea furniture, and so did Ikea. Ikea used ‘poorly’ assembled billboards to advertise their assembly service. A simple but effective idea.

The creative agency was Thjnk Germany.

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