Archive for the ‘interactive’ Category
22nd January 10
Posted by Fran Hazeldine (@franhazeldine), Planning Director, BBH London
‘Myspace is dying’. How many times have you heard or read that in recent months? It’s not a hard conclusion to reach from recent visitor trends.
But speak to some of the guys here at BBH London and they’ll tell you a different story. For the past few months they’ve been working with our Myspace clients on the UK relaunch of Myspace Music. It’s a revolutionary platform for the stream and share generation, and they’ve created some really smart and engaging work to promote it. Will that be enough to kickstart a turnaround? Only time and data will tell. But it’s a good excuse to share some wider thoughts on the kind of work we get excited about at the London office.
The campaign started back in December, when 9 artists revealed the music they love in a series of interactive films showcasing the new music player. The idea was to bring fans closer to their favourite artists, reinforcing the core Myspace offer of music community.
Building on this idea, the team have created a new set of films starring Fiddy, Florence, Furtado – and you. Visitors to Myspace.com/fanvideo can create a playlist of videos, log in with Myspace ID or Facebook Connect, then sit back and watch as the artists take turns to make a personal dedication. If you’re feeling friendly, you can also give a load of your Myspace / Facebook pals the super-fan treatment.
Sure, most of us have seen personalised video apps before. But I do think the Fan Video app moves things on a bit. In fact, I think it’s made with three fresh ingredients that will be part of the mix in most of our best BBH London work this year.
1. LOVEABLE MAGIC
Agency types get very excited about whizzy new technologies. Apparently, “any sufficiently advanced technology is indistinguishable from magic”. And boy, do we love magic. It’s what our clients pay big bucks for. We spend countless hours trying to conjure up little bits of it. So when ACME Tech serves up another massive blob of ready-made magic there’s a rush to give it a branded twist. AR bog roll? Awesome!
Problem is, some of this pure techy magic is losing its allure. Out in the real world people are suffering innovation fatigue. They’ve seen a thousand tech firsts and the give-a-fuck bar is iPhone high. You can dress that bog roll up in in AR magic clothes, but it’s still just bog roll. Where’s the good stuff? The funny, emotional, cool stuff? What’s there to LOVE?
With the Myspace Fan Videos, the magic isn’t in the tech. It’s in the moment when 50 Cent hangs a picture of you on his wall, or Alicia Keys sings you a song. Sure the magic is tech-fuelled, but it’s the twisted cultural content, the playful reference to things I love or hate, that really makes it. Tech is the means, not a magical end in itself.
Tech magic is out. Loveable magic is in.
2. COLLABORATIVE CRAFT
One of the things we’ve become more and more sure of as an agency is that we can’t do everything. Not on our own, anyway. And certainly not to the ‘best in class’ standard our clients demand. We’ve got bags of creative talent in the building, but to make truly awesome, loveable magic, we need the help of great craftsmen from outside BBH. These aren’t just suppliers or production companies. They won’t settle for a white label. These are creative partners who respect the vision, shape the execution and share the credit.
I spoke to Dom Goldman, the BBH Creative Director on this project, and it was refreshing to hear him say that the Myspace Fan Videos couldn’t have been made without Pulse Films (who shot them), Absolute Post (who did the post production), and Domani Studios (who built the application). More importantly, they couldn’t have been made without genuine collaboration between that network of partners. Let’s call this process ‘collaborative craft’.
If you watch the Alicia video carefully, you can see the reflection of your Facebook profile pic in the glossy piano surface. That isn’t off-the-shelf tech. That’s collaborative craft. Dom’s creative team obsessed over those art directional details. Absolute advised on special filmic effects. And Domani coded away until they were subtlely, perfectly achieved.
3. SIMPLE SOCIAL
We sometimes fool ourselves into thinking that people can’t wait to participate in marketing, and will happily jump through branded hoops.
Most personalisation apps I’ve used in the past have asked me to answer several questions or find and upload an image. Sharing has tended to mean entering lists of email addresses or choosing from lists of buttons. Those are pretty big demands at every step of the experience.
By focusing on the simple and specific request for your Facebook Connect login, the Myspace Fan Video app makes that experience faster, simpler and more spreadable (auto-post your fan video to newsfeed, batch-create fan videos for your friends). The use of Connect also amplifies the magic. You don’t know the app has scraped your Facebook profile image until you see it spinning round on David Guetta’s turntable.
Stepping back from the content, it’s just very cool to offer Facebook login for a Myspace promotion. That’s confident, user-centric behaviour. It makes my life a little more convenient. It says “we’re not trying to replace Facebook, we’re different”.
And isn’t that all Myspace need to say, really?
Check out the work here and let us know what you think:
21st October 09
I first came across this last year, and found it to be one of the best written and most insightful papers of the year.
At first glance this year’s presentation, posted yesterday (20th Oct) looks equally essential reading. See what you think.
15th October 09
We liked this.
Fairly cutting edge stuff – probably not easily accessible to everyday (‘normal’ i.e. have-a-life) users, quite yet at least, but still really interesting step on the way from mouse to touch-based (more direct) interface. See what you think.http://www.vimeo.com/6712657
Thanks to @kunaldpatel for the heads up.
30th July 09
“There are always at least two ways to tell a story”
Launched last month under their Puffin label, We Make Stories is the latest in a long line of digital publishing innovations masterminded by Jeremy Ettinghausen (@jeremyet), Penguin’s Digital Publisher. This is the second piece we’ve done in recent months looking at the publishing industry as a whole. Back in May we wrote about the transformational change going on at TMG in the UK (also check out the ever brilliant Nieman Lab for a far deeper examination of journalism in this respect). Why are we so interested in what’s going on here? In short, we’re witnessing a radical re-shaping of an industry we believe we can learn a lot from. An industry which – aside from its sheer cultural importance in the first place – has been experimenting with new creative & organisational solutions for some time now.
The launch of the new service from Penguin was a good excuse to catch up with Jeremy and find out what he’s learned from this and other past projects, as well as ask him to share his thoughts on the future of digital publishing, the struggle to monetise content & services online, the impact of the web on storytelling and finally, what role he sees for brands in this space. So just a couple of meaty topics then…
14th July 09
For a good while now we’ve been hearing about the death of the big idea (put that phrase into Google and see what you get back), but before the coffin gets nailed down once and for all, I’d like to check for life signs. Not so that we can limp on, clinging to an old familiar industry cliché, but to make sure we’re not systematically talking ourselves into killing off something that still has the power to bring tangible and intangible value to the brands we serve. Read full post
9th July 09
How many marketing campaigns can you name that are properly innovative, laudable in their intent (cheap to produce & for a good cause), blindingly simple to interact with and delivered with laugh out loud wit? Here at Labs at any rate we reckoned we would be pushed to name one. Then along comes something that completely blows us away, the brilliant i.Saw and its sister product, Papercut.
We first heard about the whole idea when our friends from BBH Asia Pacific got in touch. Inspired by mountains of uncollected pages on the printers in the office, they’d developed a unique, downloadable sound effect application of a chainsaw, designed to drive home a straightforward message: printing unnecessarily = killing trees.
Peter Callaghan, CD on the project, explains the brilliantly simple idea: “Papercut is a simple reminder of where paper comes from. When you press ‘print’, you’ll hear the roar of a chain saw. It is not to make you stop printing, just print less, using only what you need. Reminding people that printers run on trees.”
The next step was to orchestrate a campaign to encourage people to download the app. The team given that task, Noel Yeo and Shawn Loo, explained they were intrigued by the idea of creating a product, rather than a classic viral. And with that, the i.Saw was born. An entirely spoof creation, the i.Saw is a USB-powered chainsaw (the answer to all your office needs, natch) complete with its own lovingly created product page.
‘Pre-ordering’ the i.Saw on the site initially generated a classic, automated email response thanking you for your order. Now a banner informs us that pre-ordering is closed, click here to find out why… which takes you to some brief copy revealing the spoof and offering you the entirely free, downloadable sound effect app. Genius. Read full post
3rd July 09
Wow, we’ve all become over-exposed to the hype around augmented reality, but we’re starting to see applications emerging which genuinely seem to add value and utility, rather than just make you go “cool!”
We spotted this simple, still slightly rough-looking, but potentially amazing app for the iPhone, which works off the phone’s video function. Currently only available for the London Underground, and for those lucky enough to have a 3GS, but follow-up apps across broader geographies and platforms can’t be far behind.
When you load the app, holding it flat, all 13 lines of the London underground are displayed in coloured arrows. By tilting the phone upwards, you will see the nearest stations: what direction they are in relation to your location, how many kilometres and miles away they are and what tube lines they are on. If you continue to tilt the phone upwards, you will see stations further away, as stacked icons.
Geo applications and brand experience-based applications seem to be emerging as two of the most interesting playgrounds for AR – we’ve certainly started putting our heads together on a couple of the brands we work with. Watch this space.
(For some existing BBH work that uses AR, see BBH Asia-Pacific’s work for WWF).
Thanks to Tim Bradshaw (@Tim) for bringing this to our attention this morning.
30th June 09
Without doubt our find of the week (the year?) here at BBH Labs has been this staggeringly cool flash application, from a Singapore-based band called Concave Scream. I’d never heard of them, and now I can’t stop listening to them.
Created as a piece of marketing content for their new LP, ‘Soundtrack for a Book’, it consists of data visualizations of the front covers of 50 all-time classic books (think Moby Dick, Alice, Pollyanna, Last of the Mohicans), brought to life and mashed-up with the soundtracks from the new LP.
It is completely customizable & interactive. Each of the 50 books can be played with using controls at top right. You can add or accentuate colours, change rotation speed, create wallpapers, or simply opt for a more randomized effect. Go full screen for best effects (top right).
In a week when smart new ways to launch music have been recognized and awarded (for example, close to home, BBH NY’s launch of the new Oasis LP, a Titanium Lion winner in Cannes), this takes that to another level.
We’re certainly guilty of getting over-excited fairly frequently here at BBH Labs, but this is genuinely staggeringly good. Best of all, it’s utterly beautiful in a mesmerizing way, with the vocal-less music from the LP completely complementing the visuals.
The actual CD itself is a fairly well-designed piece of work too (see below).
“[Concave Scream] have a lot of naïve aggression and a dirty kind of
sound, which I think makes them a lot more credible than the other pop
acts which seem to be singing just for the sake of singing, with no real
point of view.”
- Malcolm McClaren, The Straits Times
For more info: www.concavescream.com
Email us at: email@example.com
13th June 09
Slightly spooky voiceover (always unnerving to have recorded ‘live’ pauses thrown in), but we’re enjoying the simplicity of these pieces about information architecture, stripped down to the bare essentials, and split into a piece on architecture and another on information. Cool animation too.
“By thinking about the architecture of how information is used, how it flows, and how it fits within the user’s world (its context), you can capture the essence of how to build a system that is not only intuitive but futureproof.”
Thanks to @daveElf for drawing it to our attention.
22nd May 09
Within about 5 minutes of arriving at the Telegraph Media Group offices last week, those unvarnished words – first uttered back in 2007 by TMG’s now editor-in-chief, Will Lewis – had been recounted to us, setting the tone for the rest of the afternoon. A bit of a surprise. This after all was the home of the Daily Telegraph, the UK’s biggest broadsheet, famously the ‘paper of the shires’ and historically the bastion of the Conservative party, right? Well yes and no. Invited in by Nancy Cruickshank, TMG’s recently appointed Executive Director of Digital Development, a group of us from BBH and BBH Labs were about to hear how the paper had undergone a complete operational and cultural transformation over the past few years: moving from a print production-led organisation to one intent upon embracing an integrated, multi-format, audience-focused future.
Before we go much further, it’s worth saying what this isn’t about: it’s not another essay on the accelerating declines in the newspaper industry’s circulation figures and ad revenues, as much as these may form the backdrop, even the driving need behind the changes at TMG. Instead, the starting point here is the premise that adland still needs media and media needs adland, no question. And, equally importantly, all of us need to find forward-looking ways to accelerate our own response to the change going on around us. Listening to what they had to say, the relevance for any commercial creative business hit home hard. Here then is an unapologetically positive attempt to capture the implications of what we heard: what can we learn from one media brand’s story?