BOBCM: Best of Branded Content Marketing Volume I


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Created in conjunction with the Branded Content Marketing Association, The Best of Branded Content Marketing is the first in a series of social media and branded content ebooks.

This book includes explanations and observations from contributors as diverse as Laurence Llewelyn-Bowen, DuPont, MINI, HSBC, Remington, Duchy Originals, Ipsos OTX MediaCT, Martha Fiennes, BBC Worldwide, Capital One, Perrier and more.

It features 10 of the best recent campaigns produced by major brands and SMEs, providing different perspectives on how organisations are approaching the use of branded content and how consumers are responding – complete with details about the challenges faced, solutions chosen and results achieved.

Finally, expert practitioners from around the world postulate about what the future holds for branded content marketing – and invite you to provide your own views via an interactive form.

The book was pre-launched in April 2013 at MIPTV in Cannes where it was cited as "extremely well-received" and "a fantastic read".

We hope you enjoy it and find it useful for your work.

iBook version also available:

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BOBCM: Best of Branded Content Marketing Volume I

  1. 1. contentcreationsintroductionmetricsthefutureMINIAll the wrong placesAgency: BSURCapital OneEndless SummerAgency: BlipLittlewoodsLive with Laurence Llewelyn-BowenAgency: Dot.TalentRemingtonTouch ControlAgency: AddictionNissanJuke RocksAgencies: Somethin Else, OMD/Grand CentralMeasuring SuccessAssessing the value ofbranded contentDuchy OriginalsAward-winning websiteAgency: Story WorldwideDupontThe Horizons ProjectAgency: OgilvyEntertainmentLe Club PerrierLe Club PerrierAgency: Ogilvy & MatherEn+Caixin China-Russia Debate SeriesAgency: Alpha GridForewordMartha FiennesIntroductionBranded contentis pricelessMaths DoctorMaths Doctor TVAgency: Digital Media CommunicationsExpert predictionsThe future of branded contentmarketingWhat do you think?Tell us your viewsAbout this ebookthanksAbout this ebookthanksAbout this ebookthanksThis ebook was created for,and in conjunction with, theBranded Content MarketingAssociation (BCMA) byDigital MediaCommunications (DMC) andNew Media Works (NMW)
  2. 2. Content pervades every aspect of ourlives. It has transformed communication,between us and to us. The rapid growth ofdigital technology has freed up thepotential for content creation anddistribution in unprecedented ways.People are now gifted with a vast choiceas to what they can see, view, explore,edit and share. It has empowered nations,governments and consumers.Word of mouth has always beenimportant. Digital word of mouth is a newforce in communications. To influencedigital word of mouth, we must providecontent that people will talk about. Peopledon’t have time for interruption buteveryone will share the stuff they love. Thisis the essence of new investment andcommunications strategies.There are now endless possibilities forbrands to involve themselves with content,but choosing to opt for greater visibility inthis way, they must put their implicit trustin content practitioners to create theircontent. Brand owners would not ask adirector to manufacture and distribute aproduct. The immediacy that technologyhas given consumers can engender a fearof failure or anxiety and even paralysis asto how to judge their contentcommunication - but brands must allowcontent creators to ‘do their thing’. Brandsthat ignore and distrust the contentcreators will do so at their peril.ForewordMartha Fiennes
  3. 3. 3This is a proposition whose time hascome. It recognises that it is consumerswho decide what is and what is not abrand. They give their loyalty, time andmoney to things that make them feelbetter about their lives and it is no longerthe sole preserve of ‘brand guardians’ todetermine what these are. They arerecognising that they have to influencethese choices and to do so they can nolonger just interrupt.Word of mouth or social media is on theverge of evolving far beyond being just amarketing tool. Social media creates notjust a new marketing dialogue betweenbrands and consumers but a powerfulrationale for why corporations must beginpartnering with the rising tide of customerswho can now demand new standards.The brands that consumers are choosing donot meet with traditional definitions. Toinfluence consumer choices, brands need a‘gift’ and the ‘gift’ is content.The practice of making fantastic, exciting,moving, funny and exhilarating content forall to talk about and share remains a properskill. If brands allow those with that skill toperform it then branded content could bethe most powerful iteration of this gift.Martha Fiennes is a visionary andaward-winning director working acrossthe field of moving image to producefeature films, commercials and digitalfilm artworks. Fiennes directing debut,the sumptuous Russian period piece,Onegin (1999), won Best Director atthe Tokyo Film Festival, a BAFTAnomination for Best British Film and theLondon Critics Circle Award for BestNewcomer. Her second feature, thehighly original Chromophobia (2005),was applauded for its powerfullycontemporary style, icy and superbscript and dazzling visual language.Fiennes has worked with an acclaimedrange of high profile actors, performersand brands including Penelope Cruz,Kristen Scott Thomas, Ian Holm, RhysIfans, Harriet Walter; artists such as AlGreen, Boy George, Linda Evangelista,Jerry Hall, Beyonce, Dita Von Teese;and brands such as Reckitt Benckiser,Thomson Holidays, Procter & Gamble,Yardley, Pharmacia and Mars.
  4. 4. IntroductionBrands paying to produce content isnothing new. The original soap operasbroadcast on American radio in the 1950swere funded by soap manufacturers, suchas Procter & Gamble, Lever Brothers, DialCorporation and Colgate-Palmolive.We have come a long way since thoseearly days of broadcast. Nowadays themajority of brands are either usingbranded content as an integral part of theirmarketing strategy or are consideringusing it in some shape or form.The massive proliferation of channels,rapid acceleration in new technology andexplosion of social media now mean thatbrands need to devise new strategies toengage with their customers.DefinitionBranded content is anything a branddoes that is not directly aboutcommunication. Currently, it is defined asa brand funding content, created tocommunicate with customers in anentertaining, engaging, relevant wayacross any chosen media channel,achieving brand marketing objectives. Ormore simply put it is editorially-ledmarketing.The BCMA is undertaking an academicstudy to define branded content in thedigital age, which will give the industry adefinitive definition for branded content. Itwill give an overview of definitions basedon current formats.VariantsHowever, we currently define brandedcontent in its many variations and formatsin the following way:Branded entertainment: An entertainment-based vehicle that is funded by a brandand complementary to a brandsmarketing strategy.Advertiser funded programming (AFP):Affords brands a deeper relationship withprogramming via a funding model either infull or in partnership with the media owner.Short- or long-form branded vignettes:Short-form branded content (less than fiveBrandedContent isPricelessAndrew Canter BCMAAndrew Canter, CEO, BCMA
  5. 5. 5minutes) compresses engaging materialwithout becoming a formulaic traditionalcommercial. Long-form branded content isoften an extension of short-form brandedcontent and is typically in excess of 30minutes in length.Brand storytelling: A way to convey acommercial message using a brand’s historyand existing assets.Branded content partnership: A joint venturebetween a brand and a media owner tocreate original audiovisual programmingacross any media platform.Brand integration: An evolution of productplacement, whereby the brand is moresubtly written into the entertainment format,primarily in film. Enables further exploitationthrough unique content creation.Product placement (real and virtual): Thepaid-for use or mention of a product within aprogramme/film. With virtual productplacement, the product is inserted after theprogramme is complete, often with theplacement tailored to the demographic ofthe viewer.Branded channel: A broadcast or onlineframework established to showcase videosthat support and build the brand.Branded ebooks: A book-length publication indigital form, consisting of text, images, orboth, and produced on, published through,and readable on computers or other electronicdevices.Branded webisodes: Aired online andtherefore engineered for the online viewer,resulting in episodes less than 15 minutes inlength.Branded games: Brand can be integrated viaproduct placement, appearing prominently orfully integrated within the content of the game.Branded events: By attending the event,individuals are invited into a world created bythe brand, however they may take a passiveparticipatory stance.These variants can all be delivered across amultitude of platforms.Doug Scott,President, OgilvyEntertainment"It all boils down to consumerbehaviour which is driving brandsto adopt content creation. Theproliferation of screens acrossdifferent touchpoints becomes anopportunity for brands to push outa message, make an impression,or actively drive transaction basedon behavioural triggers."
  6. 6. Although this can cause some confusion, thecritical point is that they all have content attheir heart. Content is no longer “King” but“Kingmaker”.TechnologyThe advance of technology has been a ‘gamechanger’ for branded content. The rapidgrowth of tablets and mobile smart phoneshave meant that content is accessibleanytime and anywhere. Add to this theexplosion of social media, which has meantthat content is instantly accessed and shared.We have seen this manifest itself in thenumber of major brands adopting a content-led strategy. General Electric (GE), theconglomerate, is utilising an increasinglytargeted approach to content marketing andstorytelling as a means of engagingconsumers and business clients moreeffectively."We are involved in renewable energy intransportation, healthcare and natural gases.These are inherently interesting. We usestorytelling, which is critical, to make sure webring to life what we do in ways that areinherently interesting," Linda Boff, executivedirector, global digital marketing for GE saidrecently."Content is important because it helps peoplerelate to what it is we do. We obsess aboutcontent. We think of it as a way to tell thegreat stories of GE. The GE approach tocontent is: We completely lean into who weare."Good stories, well told, have always been atthe heart of the greatest brand activations.The difference nowadays is the tremendousproliferation of channels and platforms." Coca-Cola’s marketing mission statementis Content 2020, a content marketingbrainchild of Coca-Cola’s JonathanMildenhall, VP Global Advertising Strategyand Creative Excellence, who recently statedthat: “All advertisers need a lot more contentso that they can keep the engagement withconsumers fresh and relevant, because of the24/7 connectivity. If you’re going to besuccessful around the world, you have tohave fat and fertile ideas at the core.""If we disappoint consumers, theyll hunt youdown and call you out in a way that they werenever able to do before," said Marc Pritchard,P&Gs global marketing and brand buildingofficer.
Social listening has become a key way totrack positive and negative chatter. Tide, thelaundry detergent, is one of a number of P&Gbrands with a dedicated Newsdesk thatconstantly monitors this activity and entersthe conversation when relevant.
"Social media is the worlds focus group,"Pritchard said. "Platforms like Twitter are analways-on, real-time conversation. We listenmore than we talk in social media."EconomicsThe parlous state of the major economies hasseen a refocus on return on investment (ROI)in marketing. What has been apparent withthe increasing use of branded content on theInternet is the immediacy of feedback andresults.Using branded content in this way enablesbrands to amortise costs by producingcontent for a global target audience. A great6
  7. 7. example of this was Heineken’s Open YourWorld campaign that ran across 75 markets.This campaign recognised the legend in all ofits drinkers: men who know their way aroundand recognise a fine beer when they tasteone. In The Entrance, the film’s herodemonstrates his legendary-ness by makingthe ultimate party entrance.The results were outstanding. The campaignlaunched with a nine-hour live show onHeineken’s Facebook page to more than900,000 fans before being launched on TVand cinema screens around the world. Thecampaign attracted 25 million views and sixmillion fans on Facebook in year one. This wasa multiple-award-winning campaign,culminating with Heineken being named asBrand of the Year at MIPTV in Cannes.Brands like Littlewoods have moved theirmarketing to embrace entertaining brandedcontent in the form of a TV show hosted onFacebook. Designer Laurence Llewelyn-Bowen was involved in a retail first in 2012when he hosted the first interactive TV showon Facebook, Littlewoods Live. The onlineretailer immediately branded it a success withover 4,000 viewers watching the show.This inevitably led to a 2012 Christmas specialwhich was even more successful with nearly5,000 live streams achieving a Facebookreach of 3.9 million people.Llewelyn-Bowen, who has gone on to produceLittlewoods’ most successful homewarescollection in its 80-year history, says the showoffers inspiration for the customer: “Goingshopping used to be entertaining. Mostpeople would take the time to go to Harrodsnow, but no high street retailers make itanything other than a shopping experience.Littlewoods Live puts personality intoshopping. We’re peddling a romance for theelectronic age.”The format clearly engages consumers asnearly 1,700 comments or questions wereposted during the Christmas show, up 55% onthe first show.Planning for SuccessTo plan branded content campaignssuccessfully you should aim to keep in mindsome basic principles and a simplephilosophy.7Morgan Holt,Chairman, BCMABranded content has the abilityto build a brand through earnedor driven media, so thatadvertisers can have a closer,deeper and more measurablerelationship with theircustomers.
  8. 8. The BCMA’s four key principles of 1)imagination, 2) perspective, 3) support and 4)clear ROI objectives are critical for success.It is important to have the imagination tounderstand what you are going to achieve,but it is imperative to keep that in perspectiveand ensure that the solution works in the ‘realworld’.Everyone involved with the project must be infull support and buy into the idea from thestart, and of course there must be clearobjectives that cover ROI and measurement.Once these are in place, then the processbecomes so much easier to manage andfulfil.2012Last year was a seminal year for brandedcontent. It saw the introduction of astandalone ‘Branded Content &Entertainment’ category at Cannes Lions.There was also the inaugural Brand VideoAwards or BRAVES, recognising andrewarding the use of video by brands. TheBrand Entertainment & Content Summit isnow part of the Cristal Festival and is the firstevent to house all that matters in brand video,entertainment, music, experiential, digital,gaming and events.We have seen the gathering of digital brandedcontent experts at UbiQ in Paris. Part of thefocus for China Connect in 2013 is onbranded content. And MIPTV and MIPCOMcontinue to grow their focus on brandedcontent and entertainment.Great ExamplesWe have seen some great examples ofbranded content during the past year.Red Bull, the masters of branded events andcontent, had spectacular success with FelixBaumgartner’s freefall from space achievingthe highest ever live viewing of 8 million for abranded channel event. To date it has beenseen over 30 million times.The first Grand Prix winner of the BrandedContent & Entertainment category at CannesLions was Chipotle Mexican Grill fast-foodrestaurant chain. Distributed using a digital-first strategy, Chipotles Back To The Startfilm first launched on YouTube with no paidmedia support. The launch was supportedwith an earned media plan and the socialmedia assets of Chipotle, Willie Nelson andColdplay to a collective audience of 21 millionFacebook fans. Next, the campaign addedpaid digital media while shifting to the bigscreen with Back To The Start spending eightweeks running on 10,000+ theatrical screensacross the USA. Finally, the campaign tookChipotle into TV advertising. Back To TheStart ran in its entirety, during the 54th AnnualGrammy Awards to an audience of over 40mviewers.Perrier mineral water created mini-dramas in‘Le Club Perrier’ branded content video thatevolved based on the number of viewersachieved, another first. It achieved 11.5million views on its dedicated YouTubechannel and was the number one tweeted-about video in France.Persil washing powder in Russia created adance club event in St Petersburg that wasbroadcast on MTV. Everyone attending had todress in white. Persil logos were integratedthroughout the all-white arena and theSensational Whiteness video being broadcastevery 20 minutes. Persil set up a Deluxe Zone8
  9. 9. that had lines of white clothing hanging up. Atthe Sensation Shops, specially designedclothing could be purchased with eachperson given a Persil sachet. You could notfail to notice that this was a Persil event. Theresults for the brand were sensational.Other great examples were produced byPrada, Cartier, Chivas, Sotheby’s, Dulux, K-Swiss, Qantas, Xerox, Nissan, POM, Kraft,General Mills, Standard Chartered Bank,Toyota, HSBC, Asus, Dunhill, Asics andCoca-Cola.BCMAIt has been a definitive year for the BCMA. Wehave launched dedicated chapters in NorthAmerica and Russia. Our Monitors’proprietary measurement tool, run inpartnership with Ipsos, has gone fromstrength to strength with the introduction ofplacementmonitor and socialmonitor tocomplement the original contentmonitorevaluation system.We are also undertaking a major academicstudy into branded content with OxfordBrookes University and Ipsos, which will bereleased in 2013.The future looks extremely bright for brandedcontent with huge benefits to brands willingto embrace the power of content.9If youd like to share your own viewsabout anything to do with brandedcontent marketing, pleasecomplete and submit the form at theend of this ebook.If youd like to submit your own casestudy to the BCMA for possible usein future editions of this ebook,please email the BCMAs CEO,Andrew Canter.
  10. 10. Client : MINIAgency : BSURContact :
  11. 11. 11ChallengeResearch showed that the MINI brandwas losing its iconic edge and its appealto men. The challenge was to establisha unique and masculine niche for theMINI Coupé and Roadster within theMINI range, while reinvigorating theMINI brand overall in the eyes of theyounger male demographic aged 25-34.SolutionMINI partnered with brand communicationagency and international medianetwork to develop andpromote ALL THE WRONG PLACES – asocial media branded content series wherethe new MINI, a host and five Facebookco-pilots are filmed taking on unwisemissions across the globe.This was the very first time that MINI hadput their Facebook fans in front of thecamera.Japan, South Africa, Peru, Sweden, Jamaica– the fans five missions were epic and theybrought back the kind of adventure storiesthat young guys in particular wanted to seeand believe in. The new MINI Coupé andRoadster were at the heart of the action fromstart to finish.Tapping in to VICEs extensive network withits 63% male audience, an activation planwas drawn up to drive people to theresulting ALL THE WRONG PLACES videos.There were monthly online banners (US, UK, Italy, Japan and Franceeditions), posts on VICEs social mediachannels (Facebook, Twitter, Digg,StumbleUpon, Reddit), two bursts of printads in VICE Magazine, global press releasesfor the campaign launch and for each of thefive video episodes, as well as content
  12. 12. 1212distribution to a number of establishedsyndication partners.In addition, MINI Facebook banners wereused for the campaign launch and YouTubeTrue View ads for the first two episodeslaunches. Finally, a detailed six-montheditorial calendar with a weeklycommunication strategy was developed toengage the global MINI social mediacommunity through Facebook, Twitter andMINISpaceResults1,827impressive entries from the MINI Facebook community, out ofwhich five great co-pilots were chosen 3,180,342video views across five episodes within five months366,150clicks to social mediaALL THE WRONG PLACES audience is 70%male and the majoritybetween 25-44 years old100% increase in the target audience of men between 25-34years old compared to overall MINI audienceOver 140,000hours of content consumed on - that’speople from a new audience spending more than 5,833 days with theMINI brandGOLDAward WorldMediaFestival
  13. 13. 13OutcomesThe ALL THE WRONG PLACES brandedcontent campaign successfully launched thenew MINI Coupé and Roadster as bothsupremely masculine and truly MINI, andproved that sometimes going to ALL THEWRONG PLACES is the best idea of all.Japan:Att4525 Its amazing when you find out that somethingexist when you think that it had not. Almostlike pimp my truck! Great video!South Africa:09BradynHahaha this is great to watchThe Taxi Drivers do Jam their music veryloud, but they also dont obey any rules onthe road hahaIm South African, I can say thatPeru:tony38omAWESOME_ !!!Sweden:the19thletter Great piece again, but yo, dont ever have aweak ass hipster try to throw somethingagain!"It was great partnering withFacebook fans for the first time on aglobal scale to reinvigorate the MINIbrand with adventurous young maledrivers. Were also thrilled that thisinnovative branded contentcampaign won the Gold Award at theWorldMediaFestival for IntegratedCampaign in 2012."Amadeus Henhapl, copywriter,BSUR
  14. 14. Client : Capital OneAgency : blipContact : blip.tvChallengeBlip, the worlds largest independently owned video network, was asked tocreate an online branded content campaign for the Capital One Journeycard. The campaign was tasked with associating the Capital One brandwith interesting, unique and creative people, and driving card sign-up.
  15. 15. 1515SolutionBlip developed a two-pronged onlinebranded content campaign based aroundthe idea of the Endless Summer.Part one of the campaign involved thecreation of a number of original web videosthat explored the various creative journeystaken by some of Blips top videoproducers from around the world.Part two of the campaign took viewers onan entirely new creative journey. Itconsisted of a bespoke section on Blip.comthat featured special premieres of all thenew web video content for themonth of August 2012, playing off theEndless Summer campaign theme.The campaign was presented as a curatedonline video festival hosted by producer/actress Paula Rhodes (A Good Knight’sQuest).The idea behind this concept is that whilethere is never anything good to watch on TVduring the summer there is always newand exciting content on - allbrought to you by Capital One.ResultsVideo Completion Rate; 78%55,170views of the "Endless Summer" content5,440total viewing hours of the "Endless Summer" contentCTR: 1.30%
  16. 16. 16Outcomes"Each week we handpicked aselection of awesome blip.tvepisodes from different genres – likeSci-fi, Comedy, Women in WebSeries, and Gaming – and wereleased an interview with one of theweb’s most popular producers fromthat genre, including TonyValenzuela, Sandeep Parikh, TarynSouthern and Sean Plott."Rick Rey, VP Original Programmingand Development, BlipThe Endless Summer Capital One-branded online video festival wassuccessful in aligning the Capital Onebrand with appealing creative people,achieving immediate brand lift andJourney card sign-up. Blip and CapitalOne are joining forces again to run anew branded content campaign in 2013.
  17. 17. Client : LittlewoodsAgency : Dot.TalentContact : of the Shop DirectGroup, and one of the UK’slargest online retailers,Littlewoods were lookingfor new ways to engagetheir consumer base anddrive sales.
  18. 18. 1818Solution‘Littlewoods Live’, a UK retail andFacebook first.Created by Dot.Talent, this brandedcontent campaign is comprised of a seriesof live one-hour interactive broadcastshosted on Facebook.The launch show featured a homemakeover-style broadcast with celebritypresenter Laurence Llewelyn-Bowenintroducing his new homewares range.The interactive format took real-timequestions and comments from viewers viaa Facebook application that streamed theshow, and by using a live phone-in strand.Live footage was later re-purposed tobecome shopable VOD content, housedon Littlewoods website, whose aim was tofurther drive sales.
  19. 19. 1919ResultsThe Facebook app was created using OpenGraph, which broadcast viewer activity totheir network of Facebook friends. The use ofOpen Graph massively increased thesecondary audience, driving up viewinglevels.A 24-hour Facebook advertising spend thenenabled Littlewoods to increase its reach by5,700% from 70,000 to 4 million on the dayof broadcast! The Facebook page increased10% with 15,000 new Likes gained as aresult of the broadcast.Despite an absence of pre-promotion usingtraditional media, 4,000 people streamed theshow in real-time, proving that the brandedentertainment experience had been acompelling proposition in its own right.1,500 comments were posted by viewersduring the programme. This is on par withvolumes of conversation seen aroundprimetime lifestyle programmes on UK TVchannels.A 24-hour Facebookadvertising spend then enabledLittlewoods to increase itsreach by 5,700% from 70,000 to4 million on the day ofbroadcast!
  20. 20. Following the broadcast, week-one sales ofthe Llewelyn-Bowen homewares rangeincreased 292% compared with the debutof a similar homewares range.22% of the audience viewed the broadcastvia mobile, which reinforced the rationalefor Littlewoods to accelerate the mobileoptimisation of their website.Adding a celebrity ambassador to the mixexpanded the audience base and gaveviewers a sense of excitement at being ableto interact with some of the UK’s most-loved stars.OutcomesBeyond delivering strong ROI well aboveexpectations, Littlewoods Live has enabledthe retailer to engage with its consumer basemore deeply around product in a way thattranslates directly into sales, brand loyaltyand a powerful perception of innovation -impressive for a company that in 2012marked its 80th anniversary.The Littlewoods customer has been at thecore of the branded content experience,asking questions important to them andfeeding back on what they are looking topurchase. This information is providingLittlewoods with a rich source of customerinsight.As a result of the launch of this engagingbranded content format, Littlewoods hassince commissioned six additionalLittlewoods Live broadcasts for 2013."Its a true interactiveexperience, a true interactivebroadcast. Within the hourshow people will tweet in,post through Facebook andtheyll phone-in, and Laurencewill be answering questions inreal time." Gary KibbleGroup Brand Director at ShopDirect Group20Direct Group
  21. 21. Client : RemingtonAgency : AddictionContact : addictionworldwide.comChallengeSince 2010, Addiction has been workingwith Remington as global agency of recordacross all Remingtons product categories inover 100 countries.Against a backdrop of declining categoryshare in recent years, Remington askedAddiction to help launch their new TouchControl collection of male shaving andgrooming products. With touch-screentechnology, 175 length options and titanium-coated blades, power, precision, and controlare this range’s watchwords. Touch Controlrepresents the latest in gadgetry with thetechnology-loving, style-conscious 18-40ABC1 man firmly in mind.In order to put a lean budget to good use, itwas clear that Addiction would need to beintelligent in effectively engaging the targetaudience.
  22. 22. 22SolutionQualitative and quantitative studies toldAddiction that Remington Touch Controlstarget consumer preferred to research andpurchase gadgets like the Touch Controlrange online. The data also confirmed thathe spent a lot of time using the Internet forsocial networking, and watching andsharing videos that cover a wide anddiverse range of interests. These factorscombined, the online space quicklybecame an obvious platform forcommunications with the target consumer.The question was how could Addictionmake Remington Touch Control relevant tothe target consumer’s natural habits andinterests, and a seamless part of his onlineexperience?Addiction responded by creating a seriesof branded content films that would behighly compelling for the male consumer,guaranteeing the shares and exposureneeded among the consumers whoRemington wanted to speak to.Addiction put tens of potential heroes forthe films through a rigorous selectionprocess to find talent that would:• appeal to the target man’s interests and drive video shares;• project a sleek and aspirational ‘ Remington’ image;• and demonstrate a certain mastery and skill that would emphasise the products’ key attributes of power, precision and control.The resulting stars were four extremesportsmen, ranging from an F1 test driverto a snowboarding freerider, whodemonstrated their skills in beautifullyshot, breathtaking scenarios.In one fell swoop these ambassadorswould serve to entertain the consumer(thereby guaranteeing the films’propagation and negating the need formedia buy), communicate a specificRemington brand image, and seed the keyqualities associated with the productrange. And, of course, the customer wasjust clicks away from purchase afterviewing – just the way Remington know helikes to shop."Working with Addiction we wereconvinced that the result would besomething emotional, unique andinspiring to watch – we couldn’t bemore thrilled to associateRemington Touch Control with theprecision, control and skill thepioneers in the series exude."Dominic Lewis,European Brand Manager, Remington22
  23. 23. 23Results• First seeded online in early September 2012, the latest film in the series – ‘Danny MacAskillvs. San Francisco’ – has achieved over a million organic views and taken #1 position in theUnruly viral video ad chart, with a positive knock-on effect for the rest of the films in theseries.• YouTube analytics confirm the videos successfully hit the male 18-40 bull’s-eye.• The campaign story has been featured by scores of news outlets including the Daily Mail,The Mirror, and The Huffington Post, and has been picked up and shared by YouTube’sown trends team.• The Danny MacAskill film is also due to be broadcast by The BBC and Channel 4 – gainingmedia coverage that the original budget could never have afforded.• But the proof is in the pudding: sales of the Touch Control beard trimmer doubled in thethree weeks following the launch of the Danny MacAskill film.
One of Remington’s most successful campaigns to date, this online branded social videoseries has enabled the brand to set itself apart from its rivals, and align itself with male targetconsumers’ natural interests and modern lifestyle habits.23“Branded content seeded online associal video was a compellingchoice for this market as it wouldgenerate more cut-through thantraditional advertising could.Danny’s significant presence onlineis a great boost, and he reallyspeaks to our core audience. Add tothat the reality that our ABC1 18-40male target spends an ever-increasing amount of spare timeonline, and that’s where he goes toresearch innovative products likeRemington Touch Control.”Martin Delamere,Planning Director, Addiction
  24. 24. Client : NissanAgency : Somethin Else and OMD/Grand CentralContact : / www.grandcentral.tvNissanJukeRocksSomethin’ Else
  25. 25. 25Challenge• To support the launch of the new NissanJuke in key European markets (France,Germany, Italy, Spain) with a brandedvideo content campaign• To support the Juke positioning ofinfectious energy in the city at night andcement an association with music• To connect and engage with the Juketarget demographic of young, urban‘retrosexual’ males so they felt “at last, a‘B-segment’ car that excites me”SolutionOMD/Grand Central and Somethin’ Elseconceived an ambitious social media-driven competition between popular, up-and-coming local music acts in each of theNissan Jukes four key European markets.The competition was captured in a seriesof video episodes broadcast acrossEurope on a Nissan Juke Rocks-brandedYouTube channel.Each music act was given a Nissan Jukefor one week and asked to complete aseries of urban, musical challenges, suchas performing at three fans’ houses withinthree hours, setting up an impromptuflashmob gig and making a music video.The bands were charged with activatingtheir online fanbase to view, comment on,rate and vote for the resulting challengevideos, with the winning act curating andhosting a special gig in their home city.The band that eventually won thecompetition was The Pinker Tones fromBarcelona, Spain. They hosted theirtriumphant gig at the fantastic Sala Bikinivenue in Barcelona. This was captured infilm alongside the story of the band’s roadto victory, and formed the final piece ofcontent for the campaign.
  26. 26. 2626ResultsThe campaign achieved extremely strong results. Every metric and KPI set at the startof the campaign was over-delivered on. These include:10.6mtotal video views (against a target of 7m)56,000public votes on the contentAn estimated 83mtotal ‘impressions’ for the campaign overallA YouTube masthead used to promote the series saw a publicinteraction rate of 11% (against a predicted 3%)OutcomesThe Nissan Juke has received numerousawards and, at the time of the JukeRocks campaign, was experiencingunprecedented demand in terms oforders and waiting list subscriptions.Its impossible to credit this outcomeentirely to the Juke Rocks campaign.However in terms of connecting with ayounger, urban male audience,anecdotally Nissan believes that thisdemographic has now engaged with theNissan Juke more than other B-segmentcars in the Jukes key European markets,thanks to the campaigns innovative useof branded content.“Nissan continue to demonstrate their innovative approach tocommunications with Nissan Juke Rocks. This exciting andambitious branded content project perfectly blends musicentertainment and marketing communications for a fast-movingonline audience, with a level of production value usuallyreserved for primetime television.”Rabin Mukerjea, Director of Branded Content, Grand Central
  27. 27. Client : Duchy OriginalsAgency : Story WorldwideContact : www.storyworldwide.comAn award -winningwebsite with astory to tellstory to tell
  28. 28. 2828ChallengeHaving produced high-quality organic foodfor nearly two decades, Duchy Originals(Duchy) could perhaps be expected todominate this market.Increasingly, however, newer andseemingly cooler organic brands such asInnocent have stolen a march on Duchy,communicating more meaningfully withtheir customers and engaging them withrelevant content. The brief for StoryWorldwide (Story) was to create a newwebsite that would better reflect the Duchybrand, tell its story more convincingly,deepen relationships with consumers, andencourage debate about the environmentand organic farming.As well as being a little staid anduninspiring, the old Duchy website waspoor in terms of information architecture. Itwas also weak from an SEO perspectiveand visitors were offered little incentive toreturn. Despite having an incredible arrayof stories to tell, Duchy had also failed toeditorialise its online content to engageexisting and prospective customers.SolutionStory established an appropriate tone ofvoice and produced engaging features,product descriptions and opinion piecesfor the Duchy website, employingjournalistic techniques to bring the Duchystory to life. Storys editorial departmentalso used web-specific writing techniquesto maximise the effectiveness of the copy– and carefully positioned all content in linewith the latest eye-tracking studies.To attract new visitors, Story providedkeyword-rich content, an intelligent linkingstrategy, a regularly-updated blog and ane-newsletter. All of this work enabledDuchy to tap into the huge online demandfor organic products and information, andto capture the interest of people who maypreviously have looked elsewhere online.“Story Worldwides creativity,passion for their work and genuineenthusiasm for our brand runsthrough all the work that they do - itmade them really stand out as thepartner of choice to deliver ouraward-winning branded content.”Meg Elvin-Jensen,PR & Communications Manager,Duchy Originals
  29. 29. 2929ResultsStorys story-telling approach had the twinbenefits of creating a much greaterunderstanding of Duchys products (by feedingcustomers’ desire for provenance andenvironmental credentials) while alsodramatically boosting SEO performance. Forexample, a search for smoked back bacon onGoogle shows Duchy products in first place –ahead of over 8.5m other results, includingWikipedia. The websites SEO performsequally well across a range of other keyproduct categories, creating dramaticallyhigher exposure for Duchy compared to itscompetitors.In addition, the websites blog - written byworkers on Duchy’s Home Farm - helpsgenerate regular communication withcustomers, giving them a reason to return tothe site and helping them build a body ofknowledge about organic agriculture, cookingand sustainability.Together, the blog and the SEO work havemade Duchys website easier to find, moreengaging to interact with and easier torecommend to friends. As an exemplar of howcreativity can be used to engage acustomer with a brand in the mostcompelling way, the website won aprestigious Association of PublishingAgencies Creative Award for BestDesigned Website.OutcomesDesigned and built around the simpleproposition that Duchy’s food “is good”,“does good” and “tastes good”, the Duchywebsite shows the true value of relevant,well-executed, branded content. Asbackground stories were added to theproduct pages, not only did those pagesreceive more visitors but also those visitorswere more likely to purchase Duchyproducts. The content rewarded existingDuchy customers and generated newones, demonstrating that branded contentcan deliver immediate commercial returnsas well as being a reward for loyalty.
  30. 30. Client : DupontAgency : OgilvyEntertainmentContact : www.ogilvy.comTheHorizonsProject
  31. 31. 3131ChallengeFounded in 1802, DuPont is a Fortune 100global company that puts science to workby creating sustainable solutions essentialto a better life for people everywhere.Operating in over 70 countries, DuPontoffers a wide range of innovative productsand services for markets includingagriculture, nutrition, electronics,protection, home and construction,transportation and apparel. In 2011, Earths population surpassedseven billion, rendering the challengesfacing our world more urgent than ever.DuPont believes that collaboration is theway to tackle humanitys challengesaround food, energy and protection.However, business and industryleaders understood little of DuPontsbreadth of research and development todeliver solutions to these challenges.SolutionTo position DuPont as a vital global partnerand cutting-edge scientific thought leader,OgilvyEntertainment created The HorizonsProject: an innovative branded contentplatform that fosters a compellingconversation about the future of the world,and centres DuPont at its core.The Horizons Project is built on four mainpillars that reach audiences in a trulyintegrated campaign:
  32. 32. 32321. Broadcast partnershipOut of The Horizons Project was bornHorizons, a broadcast series developedindependently by BBC World News thatinvestigates companies shaping the wayhumankind will live and work over the nextdecade. Horizons is hosted by Adam Shaw, BBCWorld News business correspondent, whothrough meeting a future-facing panel ofanalysts, academics and business leaders,explores emerging, compelling issues,such as: Who will feed the world? Who willreduce our dependence on fossil fuels?Who will keep people safe from harm?2. Stories of inclusiveinnovationOgilvyEntertainment created a series ofshort documentary-style commercialsdesigned to complement the Horizons TVshow and highlight the multi-tieredrelationships that have resulted in solutionsto address global challenges. Each two-minute video uncovers the inventivethinking, materials and science behindthese solutions. The videos are broadcast as the solecommercial breaks alongside eachepisode of Horizons. They also air asonline videos on DuPonts YouTubechannel. In addition, DuPont presents thefilms through top industry PR channels,thought leadership events, trade showsand internal channels to inspire clients,customers and employees about theimpact DuPonts work is having on realpeople.3. Global leadership eventsAs part of The Horizons Project, four liveevents that focused on the DuPont brandmessages about food, energy andprotection were held in Delhi, Istanbul,Jakarta and Sao Paulo. The live eventsincluded debates and business summitsmoderated by highly respected andrecognisable DuPont representatives. Theydeveloped conversations in a regionaltone, candidly delving into global issuesfrom a local viewpoint.4. Digital hubThe Horizons microsite serves as adynamic hub to pool and showcase thecontent from the series. Microsite visitorscan engage directly with video, blog andsocial media content, browsing archivefootage, interacting with topicalcommentary, and visiting the Facebookand Twitter pages.
  33. 33. ResultsHorizons began airing on BBC World Newsin April 2011 and quickly became thesecond highest rating show on thenetwork. The series completed its secondseason in December 2012, engaging aquantified audience of 245 millionthroughout the first two seasons.The short documentary-style commercialsreach the same TV audience, and theyachieved over 4 million views on YouTubeby March 2013.Four live events have so far beenproduced across four countries,collaborating with more than 800 industryleaders to share local views about globalissues. The live events also served ascampaign touchpoints, translating theglobal concerns and perspectives from thebroadcast series into locally accessibleand relevant conversations.The microsite has achieved more than220,000 visits.OutcomesThe Horizons Project has enabled DuPontto be positioned at the heart of globaldiscussions, collaborating with leaders ofbusiness and industry about tackling someof the worlds most pressing humanchallenges in the areas of food, energy andprotection. DuPont employees are alsonow more engaged and knowledgeableabout DuPonts role in researching anddeveloping relevant solutions to thesechallenges.33
  34. 34. Client : PerrierAgency : Ogilvy & MatherContact : www.ogilvy.comLe ClubPerrier
  35. 35. 3535ChallengePerrier is an iconic brand with a strongpersonality: daring, elegant, sexy andprovocative, with a unique French touch.Unfortunately, while this holds true for theircore consumers, Perrier tends to be lessconsumed by a younger crowd, the 25- to35-year-old social hedonists, who do notnecessarily relate to the brand.The challenge was to seduce this highlydemanding target audience with an ideathat would leverage Perrier’s promise asthe ultimate refreshment. Ogilvy & Mather(Ogilvy) had to engage with these peopledigitally, to push the iconic status of thebrand even further and generate high buzzand earned media.
  36. 36. 3636SolutionThe more people there are in a club, thehotter it gets.Ogilvy brought this concept to life onlinewith Le Club Perrier, the first ever videothat evolved with the number of viewers.The video shoot involved 100 hotcomedians, 200 litres of syrup to make theclub melt and 2,000 bottles of Perrier torefresh everyone.Each visit to Perrier’s YouTube Channelmade the resulting videos view counterrise. As this temperature rose, the videogot hotter, increasing the viewers’ need fora refreshing Perrier.Ogilvy had created a video that actuallyencouraged repeat viewing because thecontent was not static. There was a reasonto keep coming back and sharing thevideo – because the experience becameprogressively more intense. Online videothus became truly social.ResultsLe Club Perrier was the most tweeted linkin France during the first week of thecampaign. In addition:• Over 11 million views on YouTube withinone month• Over 25% of users returned to PerriersYouTube Channel at least once during thecampaign• 1:20 average time spent on the Channel• Over 28 million impressions generated inpress and blogs• Campaign ranked #5 viral video duringthe campaign period
  37. 37. OutcomesMost critically for this pioneering brandedcontent, studies show that Le Club Perriercampaign engaged Perriers recruitmenttarget of young social hedonists, andhelped increase brand consideration.37
  38. 38. Client : En+Agency : Alpha GridContact : www.thealphagrid.comThe CaixinChina-RussiaDebateSeries
  39. 39. 3939ChallengeAs a large but low-profile energy andcommodities player investing heavily inSiberia, En+ needed to connect with anincredibly small yet immensely influentialgroup of investors, policymakers andbusiness leaders in Russia, China andbeyond. No traditional advertisingcampaign would enable them cost-effectively to reach this target audiencethat, despite being small, spanslanguages, cultures and consumptionhabits.
  40. 40. 4040SolutionThe Caixin China-Russia Debate Series: abespoke, multi-language, multi-regionpartnership that En+ formed with China’smost respected business news group,Caixin Media.As a major business media organisation(similar in style to ‘The Economist’ inBritain), Caixin is regularly invited toproduce debates at the world’s mostprestigious decision-maker events,including the World Economic Forum inDavos and the St Petersburg InternationalEconomic Forum in Russia.By becoming Caixin’s exclusive strategicpartner for a series of debates exploringChina’s relations with Russia and otherneighbours, En+ secured its ‘place at thetable’ within discussions on precisely thetopics it wished to speak about, before theexact audience demographic it desired.The first debate took place in Russia,conducted in English and Mandarin; thesecond took place in Davos, Switzerland inFebruary 2013. Heres how the En+ Caixinpartnership works:• Caixin’s editorially-independent debatesare filmed and broadcast in Mandarin to anelite business audience in Beijing viaCaixin’s TV partner, CBN.• Special short-form content elements areedited from the debates (and frominterviews with En+) and streamed in English and Mandarin, andon YouTube.• Write-ups about the debates featuringthe En+ CEO appear in Caixin’s magazines(in Mandarin and English).• A video news release including clips fromeach Caixin debate and soundbites fromEn+ is filmed and edited on-site, thendistributed via the Reuters newsfeed tomore than 1700 newsrooms in 116countries around the world by the end ofeach event.
  41. 41. ResultsCaixin’s ‘China-Russia’ Debate Seriesattracted remarkable speakers, includingGoldman Sachs Asset ManagementChairman Jim O’Neill; Citigroups ChiefRisk Officer Brian Leach; HarvardUniversitys Distinguished ServiceProfessor at the Kennedy School ofGovernance, Joseph S. Nye Jr.;Ambassador Extraodinary andPlenipotentiary, Permanent Representativeof the Peoples Republic of China, LiuZhenmin; and Tsinghua Universitys Dean,Institute of Modern International Relations,Yan Xuetong.A direct mailer promoting the DebateSeries and the En+ Caixin partnershipwent to 120,000 registered Caixin readers– and it’s important to note that Caixinboasts the most valuable audience of anyChinese publication.A write-up about the first debate appearedwithin Caixin magazine, which isdistributed to 400,000 of this same,valuable audience.Edited highlights of the debates, includingpromotion of En+ as the sponsoringpartner, were streamed in English andMandarin on whichreceives 10 million unique visitors permonth.The online highlights of the St. Petersburgdebate alone achieved more than 66.4million impressions.The first debates YouTube clips wereviewed more than 325 times by only thehalfway point of the partnership. 325 viewswould seem low to other advertisers,however when you consider the elitecontent and the fact that Chinese viewershave no access to YouTube, this illustratesthat the Debate Series is also engagingdecision-makers in the West.The Davos debate also featured inReuters own news about Davos.OutcomesThe Caixin Debate Series proved to En+that its possible to engage En+s uniquelysmall but broad target audience in a highlycost-effective way. While Caixinmaintained editorial integrity, En+ enjoyedmany powerful opportunities through thedebates and their surrounding mediaactivity to convey En+s views on China-Russia relations and the critical role ofSiberia’s development within thatrelationship. Among the people whomatter, En+ is rapidly being seen as theauthority on Siberia and the trusted partnerfor businesses seeking to invest there.41
  42. 42. Client : Maths DoctorAgency : Digital Media CommunicationsContact :
  43. 43. 43ChallengeMaths Doctor is the UKs largest live onlinemaths tutoring company. It helps boost thegrades of students of all ages and abilitiesby providing fast, flexible access toqualified maths tutors on demand,anytime, anywhere, using the latestInternet and mobile technologies.Founded in 2007 by Simon Walsh - ahighly experienced maths teacher whowas shortlisted in the 2012 DigitalEntrepreneur of the Year Awards - MathsDoctor has won a British BusinessInnovation Award for its inspirationalapproach to education.Maths Doctors early assets included achannel on YouTube providing free revisionlessons. This resource was originallycreated simply for search engineoptimisation purposes. The challengewas to draw together this valuablebranded content and put it tobest use for the business andits customers.43channel on YouTube providing free revisionlessons. This resource was originallycreated simply for search engineoptimisation purposes. The challengewas to draw together this valuable
  44. 44. 4444SolutionMaths Doctor TV – a free online multimediaeducation resource for teachers, parentsand students.To build this new resource, Maths Doctorfirst worked with a group of professionalsecondary school maths teachers andrespected maths book author GeoffBuckwell to co-create hundreds of digitalvideo tutorials, currently covering 80% ofthe UKs GCSE and A-level curriculum.Presented by teachers, every videoexplains an individual maths concept, fromtally charts to quadratic equations, simplyand dynamically.At the same time, Maths Doctor hascreated an interactive QR (QuickResponse) code-enabled worksheet to gowith each video, their connection driven bythe QR app on smartphones or by simplyloading a worksheets URL into a browser.Students watch a video tutorial thencomplete its worksheet exercise, giving theworksheet to a teacher or parent forassessment.The resulting Open Education Resource,Maths Doctor TV, is located on microsite. It can beaccessed anytime, anywhere via computeror smartphone, and its free to use.For teachers, Maths Doctor TV is a time-efficient, asynchronous flipped teachingresource that can be used for 1-2-1, 1-2-many, and unsupervised lessons in theclassroom, library, or at home. Forexample, Jo may be gifted and in need ofa challenge, Joe may be struggling with aconcept, and the rest of the class mayneed to study for an exam. They can all becatered for in an engaging way usingdifferent assets from Maths Doctor TV.Students can use Maths Doctor TV as afun, flexible tool to boost theirunderstanding of maths at their own paceand time, with support on hand from theMaths Doctor tutors.Math Doctor is inviting teachers, studentsand their parents to put Maths Doctor TVto the test and provide advice ondeveloping it, in order to make it as usefulas possible in inspiring students to reachtheir full potential.
  45. 45. Results• Maths Doctor TV officially launched in Q12013 at the UKs annual educationexhibitions, and is generating social mediaconversation and PR coverage.• There are now over 250 online videotutorials and their related QR Worksheetswithin Maths Doctor TV – the UKs largestexpert maths library of this kind – and itsstill growing.• Maths Doctor joined MacmillanPublishers new Macmillan DigitalEducation network in October 2012,receiving investment and expertise thatextends Maths Doctors ability to developnew ways of using technology to supportteaching.• Maths Doctor has been approached bytechnology partners from around the worldwho are looking at adding Maths DoctorTV to their in-school multimedia libraryservices, which boast branded contentproviders such as National Geographic.OutcomesThis case study is a fine example of how asmall business, armed with judicious useof branded content, registered onMacmillans radar as a pedagogicalinnovator worth investing in.Maths Doctor TV also disrupted MathsDoctors business model, leading to thecreation of a freemium model to attractpotential customers to other Maths Doctorservices.Maths Doctor is continuing to developMaths Doctor TV as a key digital educationresource.45"Offering educational, inspirationalbranded content opens doors andcreates closer relationships withpartners and customers. This helpsnot only to improve our services, butalso ultimately to build our brand andinform our business strategy."Simon Walsh, founder and MD,Maths Doctor
  46. 46. Measuring a branded contentcampaign can be the market researchequivalent of putting together IKEAfurniture - simple in concept,surprisingly difficult in practice. And likethat Aardvark wardrobe you have spentseveral hours trying to assemble, youcan be left looking at lots ofcomponents without knowing how theyrelate to one another and unsure if thewhole thing will actually fit together.As anyone who has tried to evaluatethe success of a branded entertainmentcampaign will tell you, there arenumerous challenges to overcome.The first is that what constitutesbranded content is very diverse. Itcould be an event taking place over afew minutes, hours, days, months; itmight be a 90-second online video, a30-minute TV or radio show or afeature-length movie; it could exist in avirtual or the real world; it might requireconsumer participation/interaction orbe entirely passive. Whatever it mightbe, it is unlikely that consumers willregard it as advertising and thereforewe cannot talk to them about it in thoseterms.Secondly, branded content is often partof a wider campaign and isolating itssuccess or effect can be difficult. Inparticular, what did it contributecompared to conventional advertising?How well did the marketing support fora piece of branded content performrelative to the actual content? It mightbe that the promise of the content wasstronger than the actual delivery, and insome cases the campaign was asuccess not because of the actualbranded content, but the campaignelements supporting it.Another issue is identifying what isworking well in the branded contentand if a less is more approach wouldhave been more successful, orconversely if the branded element wasso subtle that it was missed by manyconsumers. This is one of the mostcommon debates between brandowners and the makers of the content,BrandedContentMeasuringsuccessAndrew Canter BCMAAndrew Canter, CEO, BCMAAndrew Canter, CEO, BCMA
  47. 47. 47with the natural temptation among theformer to over-acknowledge their ownmagnanimity in providing this greatcontent.These are just some of the morecommon challenges; you can be surethat each branded content campaignwill bring several more of its own. Whenevaluating a campaign therefore, thefirst thing to recognise is that whateverapproach you take, it is unlikely to beperfect. Like that piece of IKEAfurniture, good enough is the aim, notdesign perfection.In general, it is easier to address thechallenges outlined above using anexperimental design, rather than tryingto track a campaign in-market. Unlikean in-market tracker, in an experimentaldesign we are not seeking to findpeople who have seen a campaign inthe real world. Instead, we are creatingan environment in which they are beingexposed to the campaign or elementsof it in a very controlled way, andwithout them knowing that our interestis in the brand featured in the content(more on how we control this exposure ina moment). An experimental designtherefore employs multiple test cellsversus a control group to enable theresearch team to evaluate individualelements of the campaign, as well as thecampaign as a whole.As a simple example, we can evaluate theimpact of both a piece of brandedcontent and the marketing support for itusing a four-cell design. Test Cell 1 isexposed to just the branded content,Test Cell 2 to just the marketing supportand Test Cell 3 to both the brandedcontent and the marketing support. TheControl Cell does not see any element ofthe campaign. Using this approach, we canisolate the impact of the support from theactual branded content, evaluating themindividually and in combination. An in-market tracking approach may struggle toidentify enough consumers who wereexposed to just one particular element ofthe campaign, making it very difficult toisolate and ultimately understand andoptimise its effect.One element (e.g. just branded content) to a campaign will require one test celland one control cell.Two elements (e.g. branded content and product placement) would require four cells.
  48. 48. 48Respondents in all cells answer the samesurvey that covers a number of pre-determined brand metrics as well asfeedback on the branded content andcampaign. With this design it is essentialthat the sample size and profile of each cell- including the number of brand users percell - are tightly controlled. By doing so, wecan make the statement that, other thingsbeing equal, the impact of campaignelement x is y for a brand.The obvious weakness of an experimentaldesign is that it conveniently ignores thereal world problems of both the reach andrelative cost of the different campaignelements. After all, the fact that an in-market tracker might struggle to identifypeople who saw just the branded contentand not the marketing support is a finding.Without a reality check on cost and reach,that experiential element which wasexperienced by the 100 sober people atGlastonbury looks a real winner in anexperimental design.• Depending on the size of your campaign and your research objectives, there are two parts to theanalysis.• The first part evaluates how well the campaign has worked vs. the objectives and identifies strengthsand weaknesses in the creative approach.• The second involves Pointlogic’s Commspoint InfluenceTM media planning system.Commspoint Influence uses the survey results and translates them into a response curve tocapture diminishing returns. It also manages costs, reach and frequency and other planningdetail. In this part of the analysis we can look at various ‘what if scenarios’ to see how thecampaign would have performed vs. each objective with a different spend and a different mix.• Both parts (if applicable) are combined into a single executive summary; moreover, you will also beable to specify your own analysis using the Commspoint Influence system.48
  49. 49. The solution is to anchor the data to thereal world using a system such asPointlogics Commspoint Influenceplanning system. The survey data from thistype of design measures the power ofindividual and combined elements of acampaign. A system like CommspointInfluence then factors in cost, reach, haloeffects and so on to convert it intomeaningful data that a planner can use.This combination of granular data on eachcampaign element (in isolation and incombination) integrated with mediaplanning software allows for a lot of whatif? analyses - which is useful whenmarketers seemingly have so manyunanswered questions around the role andimpact of branded content. For example,this design could help answer what if themarketing support for the branded contentcomponent was doubled, tripled orhalved? What if the rest of the campaignhad made more use of online pre-rolls andsocial media at the expense of TV? What ifthe branded content had strongerbranding? This approach also enables acloser look at reactions to the content toidentify its strengths and weaknesses.As with any approach, the devil is in thedetail. A crucial element of anexperimental design is exposingconsumers to the campaign (or elementsof it) in a way that feels natural, andwithout hot-housing it. The beauty ofbranded content is that the consumer willbe inclined to believe the interest of theresearcher is in the nature of the contentitself and not the brand behind it, whichhelps with this disguising process.Consumers can be exposed to acampaign in a number of ways. It couldform part of an online survey in which werecreate different media experiences, or itcould make use of a media lab (or focusgroup facility) to which respondents areinvited to watch TV, surf the web, etc.individually. It does require some effort onthe part of the research agency to stage-manage the exposure, but it is essential toproducing accurate data.The BCMAs contentmonitor uses thisapproach and has helped numerousbrand owners to quantify the success oftheir branded content campaigns.There are two parts to the BCMAMonitors: the front end is Ipsos49Monitors give marketers an in-depthinsight into:1. How your campaign is performing againstkey brand metrics, allowing you to determinethe ROI.2. Which elements of the campaign areperforming the most strongly in meeting thecampaign objectives.3. What you could do differently to support thecampaign more strongly to optimise its ROI.
  50. 50. MediaCTs versatile and precise contentevaluator; the back end is PointlogicsCommspoint Influence system which isused by many of the leading mediaagencies. The Ipsos MediaCT componentevaluates the power of the differentelements in the campaign in meeting theobjectives. The Pointlogic componenttakes this data and converts it into amedia planning tool - looking at the powerand the reach of each element as well asthe synergy between elements.The output answers the initial questions ofdid my campaign work? and whichelements of it were most powerful?, thengoes on to reveal how the results couldhave been different with a different mediaspend and mix. Moreover, it enables youto change the importance of differentobjectives and see the implications for themedia plan.An integral part of the analysis is based onmeasuring the emotional and cognitiveresponse to the branded content. There ismuch evidence supporting the importanceof emotion as both gatekeeper and driverof the decision maker.*50The BCMA contentmonitor includes the Cognitive and Emotive Power (CEP) test, devised byDr Robert Heath, author of The Hidden Power of Advertising. The CEP test involves a forcedexposure of the test branded content/ad, followed by a series of questions where therespondent rates the branded content/ad on 10 different elements. Using an algorithm, theresponses are converted into a score for:• Emotive Power (strength of subconscious feeling)• Cognitive Power (strength of conscious thinking)* Damasio, 1994: Rational decision making is hard wired to our emotions; Zajonc 1980, Damasio 1999:Processing of emotions is independent of working memory (cognition) and does not require attention; Shiv& Fedorikhin 1999: Emotion drives decision making when time is constrained with people relying more onintuition; Watzlawick 1962: Relationships are driven not by the rational message in advertising but byemotional content; its not just what you say, but how you say it.
  51. 51. 5151‘Traditional’ advertising canfind it hard to be bothemotional and cognitive atthe same timeBranded content andtraditional advertising canwork together to produce acampaign that is bothemotive and cognitive
  52. 52. One such example is HSBC PrivateBankings partnership with CNBC. Thisinvolved short films created specifically tofeature on the TV channel that featuredalternative investing opportunities invarious markets. The on-air films werecomplemented by HSBC-branded (in theform of banners and pre-roll sponsorshipcredits) web pages on the CNBC website.The campaign was evaluated among 392high net worth individuals (with £1m+ ofliquid assets) in UK (n=100), New York(117), Hong Kong (119) and Brazil (56).Two elements of the campaign weretested: a two-minute branded content filmand the web pages, both individually andin combination.The research found that the brandedcontent on TV was effective in sneakingin under the radar. The informationcontained in the videos was pitched at theright level, as was the level of branding.The web pages had a strong synergy withthe video and they helped to dial-up thebranding of the campaign.Overall, the combination of these twoelements had a strong impact across arange of key brand metrics. The responsefrom this difficult-to-please audience wassimilarly impressive - 76% said that it gottheir attention, while 67% agreed that theywould like to see more of this type ofadvertising in the future.HSBC were delighted with the results andthe Group Head of Marketing Insight &Planning said: "Its usually very hard todetermine the impact of a campaignretrospectively when the target audience,like ours, is so difficult to reach. What thisresearch has given us is real insight, notonly into whether or not our targetaudience liked the campaign, but alsohow different elements made them feeltowards our brand, and which messageswere coming across strongest."With thanks to Ian Wright, Executive Vice President,Corporate Development, Ipsos OTX MediaCT for hisvaluable contribution.Full contentmonitor case studies are exclusivelyavailable to BCMA members.52“The IPA very much welcomesthis BCMA initiative to providegreater transparency andaccountability into themeasurement and understandingof branded content.”Lynne Robinson, ResearchDirector“We’re living in an age ofaccountability, and recentausterity has forced thepace. We’re also living in an ageof media channel proliferationwhich has led to stiff competitionfor advertising revenue. Channelsseeking consideration by potentialadvertisers will have to underpintheir claimed contributions or theywill perish. The BCMA’s initiativeputs branded content firmly in theframe.”Bob Wootton, Director of Media &Advertising
  53. 53. Branded content marketing is evolvingrapidly. Several expert practitionersshare their thoughts about the future ofthis field over the following pages.Do you agree with them? Do you haveother predictions to share? Please letus know what you think by using thisform.1. Its ability to generate advocacy willmake branded content more importantto a brands healthAndrew Canter, CEO, BCMA: Peopledont have time for interruptiveadvertising, but theyll share what theylove via social media and newtechnologies – fast and in real time. Inthe future, more brands will integratetheir messages into compelling contentthat people will talk about, share andeven co-create, ultimately turningconsumers into advocates whogenerate digital word of mouth andinfluence.Morgan Holt, Chairman, BCMA:Establishing closer relationships withyour customers at a time when mediacompanies are finding it more and moredifficult to build business modelsaround holding on to audiences, and ata time when advertisers are findingmore and more of a need to comecloser to their consumers – thats theincidence when content makes adifference to brand building.Chris Sice (CS), Managing Director,Blended Republic: Brands now needto create ideas with the potential toinspire audiences via differentmarketing disciplines. And then knowhow to blend the right mix ofdisciplines. The idea is the key thing,and whether it lends itself to creativethat will engage – by whatever route/sare most suitable.2. Branded content curation is a keyrole that will change the agency modelSarah Wood (SW), COO, UnrulyMedia: With 72 hours of videouploaded to YouTube every minute anda billion bits of content shared onExpertPredictionsThe futureof brandedcontentmarketingMorgan Holt,Chairman, BCMA
  54. 54. 54Facebook every day, content discoveryand curation is as large and important atask as creating content in the firstplace.Ian Farmer (IF), Digital Strategist/Planner, Havas Worldwide:Developing a robust content curationstrategy now requires awareness oftime, device and location.Richard Spalding (RS), CEO, The 7thChamber: Content curators will havemore impact on their audiences brandendorsements than a brand film madeby an agency.3. Advertisers will find better ways tobuild trustPaul Bay (PB), Founder, Citizen Bay:Regarding content curation andbrainpicking, the gap between promiseand delivery is still wide – advertisersare still less trusted than politicians.Brands using branded content need tokeep this trust issue at the forefront oftheir minds. Through a betterunderstanding of what people want,brands will begin to act in a way thatendears them to people and builds trust.4. With the democratisation of content,customer stories will become moreimportant than brand stories, and willchange the media content modelPB: The term storytelling implies thatbrands or their agencies are still theauthors of the narrative. This downplaysthe increasingly important role that thecustomer narrative plays, particularly asmore people create their own brand-related content – whether its a HarlemShake video clip or a product experienceshared on Twitter.IF: Branded content will benefit from thiskind of disruptive influence to the currentmethod of producing, selling andlicensing content.PB: Branded content marketing willbecome less about pushing content andmore about listening to your customersstories and amplifying these.
5. A Cost Per Engagementmeasurement will help determine the ROIof branded content marketing campaignsSW: Research proves that content that isshared exponentially generates brandadvocacy and leads to a direct increasein product sales. Brands want to learnhow to create share-worthy contentrepeatably and at scale, rather thancrossing their fingers and hoping for aviral hit. There will be an increasing focuson testing what works and in particularwhat drives active engagement and wordof mouth, rather than measuring merelyviews, which can be bought, and are ameasure of media spend rather than ameasure of content quailty oreffectiveness.IF: This new Cost Per Engagement metricwill incorporate the lifetime value of theengagement.6. Brands will invest more in creating anemotional connectionSW: Testing what works and optimisingthe performance of branded content isnt
  55. 55. just about using data to make decisionsand refine campaigns in real-time; its alsoabout emotions. We make purchasedecisions based on how we feel about abrand. The brands that succeed in thefuture will be the ones creating content thatelicits a powerful emotional response fromtheir audience.IF: This experience extends to mediaplacement as well. Stumbling uponsomething new produces an addictiveemotional benefit, so marketers are alwayson the lookout for new product placementlocations. Advertisers will make an evenbigger investment in understanding thescience of serendipitous placements.7. Myths will be bustedSW: As academics and professionalresearch companies develop a body ofresearch around branded content, therellbe mythbusting galore. For example, in theearly days, marketers thought you neededto hide your brand if you wanted to makeyour content viral. Myth. Studies haveshown that this is not the case - its fine tohave the brand front and centre of thecontent, as long as the content hits therelevant emotional triggers and the brandpresence feels relevant and authentic.8. The continuous client will finally comeinto beingSW: The best available device culture isalready in full swing, with users demandingthe content they want, when they want it,on the best screen they happen to have tohand at that moment. Content makers fromthe Wall Street Journal to Wired are sellingcross-platform subscriptions that enablecontent to be pulled from the cloud ontomultiple devices. This culture is likely tolead to the introduction of a continuousclient (read A Modest Proposal byJoshuaTopolsky, Engadget, 2010), where ourdevices talk to each other and we canplace-shift from screen to screen withoutthe hassle of logging in and out.IF: The Mobile Web has reduced part of theplan ahead step in content gathering, andthe reason scenario mapping of consumerjourneys has the added complexity offlexible and often impulsive triggers. Thelogistics principle of just in time is gainingadoption for many content segments, andwith users enjoying the flexibility of multipleaccess devices, its important for brandedcontent to incorporate a process tooptimise the experience.9. More content will be designed for multi-screen consumptionSW: Content-makers are already gettingcreative with transmedia strategies. RidleyScotts Prometheus did this particularlywell in 2012, uploading a TEDtalk from thefuture (2023), that then became the past-tense and back story for a blockbuster filmset in 2093. Its not just the big screenthats getting in on the act - with as manyas 44% of TV viewers using a companionscreen while watching TV, well be lookingto more brands, particularly broadcasters,making companion content designed forsmartphones and tablets. Plus, theimpending introduction of 4G in the UK willmean that consumers will be able to viewvideos faster on their smartphones than on55
  56. 56. their desktops, which will place increasingpressure on brands and advertisingnetworks to find out how to makesmartphone content work. A smartphone isa very intimate device so theres lots ofscope to create a different type of content.Doug Scott (DS), President,OgilvyEntertainment: We dont live in achannel-based environment. Its not aboutgoing for this channel or that channel. If itsa show I want to watch then Im going tofind it whether its on the DiscoveryChannel, or on demand, or on iTunes for$1.99.I think it’s heading to a place where firstand foremost its not about a TV screen butany screen, and it’s not about a singularexperience, but a shared experience. Itsgoing to be plus screen, so if there’s agroup watching a game, they can now alsolean in via their iPad or smartphone andpull up more on the players, as well as chatwith other fans, find out about other gamesin real-time.10. The definition of branded content willchange, blowing away the 1:9:90participation principleRS: Long-form content is currently King ofbrand engagement. For example, see RedBulls "Art of Flight". People want to beentertained by brands. They are willing tomake content for brands - (see eyeka.comfor crowdsourcing branded content) – andthey prefer to immerse themselves in long-form branded content, not just be shoutedat with 30-second ads.11. Every type of content will be able toadd value to a brandDS: We are going to see the rise of a wholehost of new content formats. We are goingto see the rise of a greater valueproposition to the brand as it relates tocontent in some cases, as we are seeingwith Red Bull right now.IF: Brands will actively find ways toenhance the value of branded content withnew layers. For example, the added valuethat gave to the humble banktransaction statement is empowering theirmarch up the consumer ownership andtrust hierarchy.DS: Microcontent can be pulled out of thecloud, enabling people to get moreknowledge about a certain topic or beentertained for longer because they aregoing deeper into the topic, and I believethat microcontent potentially will be brand-funded. So just as a certain TV programmeis brought to you by a certain brandcommercial-free, the content you wouldtypically be charged 99 cents or £1.99 viaApple iTunes would be presented by acertain brand.12. Brands will realise that they need tothink about distribution (globally whererelevant), not just content creationCS: Just because a brand can create greatcontent, doesn’t mean anyone cares. Rightnow, brands are placing too muchemphasis on creating content, but areignorant of distribution. The boundary-lessnature of Facebook and YouTube, forexample, presents huge opportunities for56
  57. 57. international marketers to engage globalaudiences with branded content.To attain the desired ROI, brands need tolearn to act like media owners: understandtheir target audience; know intimately whatmakes great stories to engage thataudience; know what formats to presentthese stories in and which platforms to tapinto to reach that audience.13. Some brands will effectively becomeentertainment companiesDS: We are going to see brands that aretruly entertainment companies who haveentertainment adjacencies or extensions tothem that truly own the lifestyle. Nike is oneof those brands that I predict we shouldsee something like this come out of. CocaCola is moving in that direction. I think theyhave the relationships and sponsorshipfranchises to do that over time.CS: Brands like Coca-Cola and Diageo areleading the way in embracing brandedcontent. They embed content thinking atthe heart of their marketing planning fromthe outset, which gives them the potentialto create an authentic, inspiring contentvision that can work across borders anddeliver huge international ROI.14. Data will become the new creativeDS: The idea that the brand starts to learnthe customer and enable them with content- whether it be educative or entertaining -that is of interest to them really drills usdown to the idea of data being the newcreative.Luca de Fino, Head of Social, Ogilvy &Mather: The understanding that contentdrives users behaviour forces us to havethe skill to transform that behaviour intousers’ actions that are measurable andlinked to clients business goals. Todayeffective strategies can change behavioursand generate actions when they are mediacompliant.57Andrew Canter, CEO, BCMA
  58. 58. Do you agree with what the expert practitioners in thisebook say about the future of branded contentmarketing? Do you have other predictions to share?Please let us know what you think by completing andsubmitting the form on the left.If youd like to submit your own case study to theBCMA for possible use in future editions of this ebook,please email the BCMAs CEO, Andrew Canter.What doyou think?Tell us yourviewsClick to Feedback
  59. 59. This ebook was created for, and inconjunction with, the Branded ContentMarketing Association (BCMA) byDigital Media Communications (DMC)and New Media Works (NMW).Ebooks have become so ubiquitous inour daily lives that Amazon is nowselling more ebooks than hard copies,and the UK Government has addedebooks to the basket of goods used tocalculate the nations monthly rate ofinflation, based on current trends inspending.At DMC and New Media Works, webelieve its time for brands to takeadvantage of this exciting medium byusing ebooks to showcase brandedcontent of their own, in one place andvia an application such as iBooks thatenables live content to be compiled andupdated in real time, anytime.Hence, we proposed this enhancedmedia ebook to the BCMA. It containsa diverse range of the best campaignsproduced by BCMA members,providing different perspectives on howbrands are approaching the use ofbranded content and how consumersare responding.If youd like to submit your own casestudy for possible use in future editionsof The best of branded contentmarketing, please email the BCMAsCEO, Andrew Canter.If youd like to talk to us about creating,publishing and distributing your ownebook, please email DMCs CEO,Justin Kirby.Why an ebook?Justin Kirby, CEO, DMCJustin Kirby, CEO, DMC
  60. 60. 60Were very grateful to the followingpeople for their contributions to thisebooks content:Martha FiennesSarah Wood, COO, Unruly MediaIan Farmer, Digital Strategist/Planner,Havas WorldwideRichard Spalding, CEO, The 7thChamberPaul Bay, Founder, Citizen BayDoug Scott, President,OgilvyEntertainmentLuca de Fino, Head of Social, Ogilvy &Mather, ItalyChris Sice, Managing Director, BlendedRepublicJan Rijkenberg, CEO, BSURThijs van DamAmadeus Henhapl, copywriter, BSUREvan D Gotlib, SVP Advertising Sales &Branded Entertainment, BlipRick Rey, VP Original Programming andDevelopment, BlipGary Kibble, Group Brand Director, ShopDirect GroupLaurence Llewelyn-BowenDanny Spronz, Dot.TalentDominic Lewis, European BrandManager, RemingtonMartin Delamere, Planning Director,AddictionIan Sharpe, Head of Video, SomethinElseRabin Mukerjea, Director of BrandedContent, Grand CentralMeg Elvin-Jensen, PR & CommunicationsManager, Duchy OriginalsJim BoultonSarah Kelleher, Story WorldwideTom Bowman, BBC WorldwideLauren Rubinfeld, Manager, GroupMarketing and Communications,OgilvyEntertainmentLindsay Stransman, Coordinator,OgilvyEntertainmentRoslyn Shaw, The Alpha GridSimon Walsh, MD, Maths DoctorLinda Boff, executive director, global digitalmarketing, GEJonathan Mildenhall, VP Global AdvertisingStrategy and Creative Excellence, Coca-ColaMarc Pritchard, global marketing and brandbuilding officer, P&GIan Wright, Executive Vice President,Corporate Development, Ipsos OTXMediaCTLynne Robinson, Research Director, IPABob Wootton, Director of Media &Advertising, ISBA.
  61. 61. The Branded Content MarketingAssociation (BCMA)Launched in 2003, the BCMA is theinternational trade body for brandedcontent, and is designed to bring togetherand benefit a broad spectrum of contentcreators and owners, includingorganisations from the advertising, branddevelopment, sponsorship, media,broadcasting, programming andentertainment industries.http://www.thebcma.infoDigital Media Communications Ltd(DMC)Founded in 1994, when the Internet wasjust emerging into the mainstream, DMC isa highly experienced digital marketingconsultancy that specialises in usingcollaborative and social marketingapproaches. DMC is responsible for thestrategic planning, project management,editing, publishing and promotion of thisebook. Media WorksFormer AKQA creative head and co-founder Mark Welland established NewMedia Works in 1998. He has over 20 yearsof interactive design experience, includingthe creation of ebooks and apps for localand global brands and e-learningorganisations. Mark is responsible for thecreative development, design andproduction of this ebook. WEEKLY DIGESTSUBSCRIBE HERECopyright 2013. All rights reserved.All trademarks and registeredtrademarks acknowledged.