1st November 10
Posted in BBH Labs
“It is not the same to talk about bulls, as to be in the bull ring”
- Spanish proverb (HT @juzmcmuz)
We’ve mentioned before that we pick just 10 links we like the look of every week (provocative, challenging, useful and/or entertaining tend to be the order of the day) and send them to our friends at BBH around the world.
It’s heavily based on the @BBHLabs twitterstream across 7 days, but filleted, honed and whittled to a Top Ten for anyone who fancies a filter between them and the 24/7, 365 days a year drenching in data that is Twitter.
So here it is again. Feel free to pass on. As usual, ideas on making it more useful always welcome.
“140 chars is not a limit, it’s a shape” – exceptional interview with @discographies on Big Spaceship’s Think blog: http://bit.ly/bXzMkz
‘Ball Droppings’, a Chrome HTML5 experiment: http://bit.ly/9ua0s (via @timogeo @seth_weisfeld)
The history of mankind in a minute – a great stop-motion animation for BBC: http://bit.ly/aFhOUN (via @motionographer)
Super cool – Stamen Design’s 2 week long series of race data visualisations for W+K London’s Nike Grid is live: http://sta.mn/x3g
Not sure why this took so long. Augmented Reality app that lets users graffiti buildings. Interesting “steal” feature too: http://gizmo.do/bHdwRm
*Extraordinary* short ‘Nuit Blanche’ – if you’ve not seen this, think Brief Encounter + CGI – by Arev Manoukian: http://bit.ly/bEnTvw (via @finnbarrw)
NASA turns its attention to sustainability challenges right here on Earth, with its LAUNCH initiative: http://launch.org/ (via @jess3)
How Money Follows Attention, Eventually – Kevin Kelly on the commercial future of mediators who boost the signal: http://bit.ly/dfGfun
“The first step for each of us is to imagine fearlessly; to dream.” – big thinking from Ray Ozzie: http://bit.ly/a3RsM5 (via @Techcrunch)
And a bonus 11th, Power to the Pixel guest post on Labs: Powered by Pixels – on new storytelling: http://bit.ly/pttppost
1st November 10
Around here we like nothing more than creativity put to great use. Last Friday night, in a cinema in central London, St John Ambulance (a BBH London client) staged an event they hope the audience – and anyone watching the film of what took place – won’t forget for a while. The film you see here was edited at speed over the weekend. Below, we catch up with one of the CDs on the project and share our starters for ten on what perhaps we can take from it.
First up, inbetween edits, Adrian Rossi told us a bit about how the idea came about.
“People eat popcorn in cinema. One of the main reasons people, especially children, choke is from eating popcorn. So we thought how do we make people in a cinema audience (and beyond) question the importance of First Aid. To shake them out of that lethargy that “It won’t happen to me.” Or “Someone will know what to do.”
There were several parts to this. The first was writing and filming a commercial for popcorn that felt believeable as a real popcorn ad. Something that no one would even question. This meant trawling through bland commercial after bland commercial to get the feeling for the language, music and pacing. Even finding a unique popcorn name which felt real and which hadn’t been used before. This kept people in their ad comfort zone. These ads almost kind of wash over you in the cinema. Which is what happened when it played in the cinema, people carried on chatting, looking at their phones and of course eating popcorn.
After creating this idyllic ‘ad family’, we shatter it by having the little girl choke and the Mum – understandably – completely lose it. The actress who played the ‘Mum’ was amazing. She cried on cue so many times during the shoot itself, amazing to do it once – but to keep to carry on doing it – extraordinary. It was one of the most emotional shoots I or any of the crew had been involved with. Everyone was absolutely drained afterwards.
Like all good stories there had to be a third act. Here, we had an individual in the audience volunteer to help, then run down the cinema aisle and disappear behind the curtains at the side of the screen, before you see her appear in the film itself. Getting the timing and her eyeline (so it felt the two actresses were actually looking at each other and talking to each other) right as she made her way through several hundred people and onto the stage, then behind the curtain to reappear a beat later in the film… that was the nerve wrecking part. This hadn’t been done before. It worked perfectly, the actress, Joanna, nailed it. Even reducing one corner of the cinema audience to gasp and point.
For Joanna she was only half way through her performance – she had to reappear on the other side of the curtains just as her onscreen character leaves, after saving the little girl. This was the real feelgood moment – as she appeared, the entire audience broke into spontaneous applause. This wasn’t scripted, but it made for a genuinely uplifting end to the experience and worth all the effort everyone had put into it.
I believe in this idea and St John Ambulance so much that even though I left BBH 3 months ago I’ve taken holiday from my new agency, Glue, to do all the rehearsals and shoot the cinema event itself. And that goes for almost everyone involved in this project from the beginning – too many people to mention have believed in this and have given up their time and more to make this the best it could possibly be.
There was always that element of risk and nerves attached to doing a live performance as you can’t control entirely what might happen. In the end everyone went with it. Seeing a couple of people reduced to tears and the entire audience spontaneously clapping at the end makes you realise the power a message like this can carry. Strangely, people didn’t seem to be eating so much popcorn afterwards. . .’
What can we do now?
Not to put too finer a point on it, we can all be the difference. Here we’re celebrating the thinking behind this idea by sharing the film, as well as the accompanying campaign collateral (below). We hope you will too, either by sharing the link to the film which is up on the St John Ambulance site and/or YouTube.
We believe there are a few things to take away from all of this – some are age-old advertising truths, some a little more new-fangled. Please let us know what you think:
1. A clearly defined problem: St John Ambulance know there are 150,000 deaths every year in the UK that could be prevented if someone in the vicinity knew first aid.
2. A relentless focus: St John Ambulance could be about a lot of things, but they are focused on First Aid. They believe no-one should be out of reach of someone who can help in an emergency. Someone who can *be the difference*.
arabada seks 3. Imagination + commitment beat money: this idea is more proof, if proof were needed, that big impact doesn’t rely necessarily upon big budgets.
4. Coherency beats consistency: each component part of the campaign (print campaign, the cinema event, an iPhone app and a pocket-sized guide) adds layers of knowledge and usability. Different, connected platforms, not identikit, matching luggage.
5. Awareness is not enough. The St John Ambulance team want this film to be watched and shared, but most of all they want it to acted upon. The advertising doesn’t simply tell a dramatic story, it a) gives us basic and top line knowledge about what to do in an emergency and b) gives us somewhere to go – text SAVE to 82727 in the UK for a free pocket-sized guide to Essential First Aid, which covers five common conditions where straightforward first aid could be the difference between a life lost and a life saved:
And if the booklet’s not your thing, you can try the branded iPhone app (note: the app costs £2.39):
St John’s Ambulance: Scott Jacobson – Director of Marketing Communications & Fundraising
BBH Creative Directors: Alex Grieve and Adrian Rossi
BBH Producer: Olivia Chalk
BBH Asst Producer: Chris Watling
BBH Team Directors: Louise Addley, Nick Stringer
Director: Jeff Labbe
Producer: Gregory Cundiff, Gabi Kay
Production Company: Sonny London
Director of Photography: Daniel Bronks
Sound: Wave Studios, BBH Voodoo
Post Production: The Mill
Editor/Editing: Sam Gunn, The Whitehouse
Media Partners: DCM – Louise Trinder, Jill Cooper
Digital Cinema Media and the Cineworld Haymarket - Ash Chaudry
Special thanks also to the team behind the scenes: Emma Shepherd (PR Manager at St John Ambulance), Kevin Brown, Helen Kenny, Zak Razvi, Lucy Powell, Justin Abuzid, Christina Collins, Tracy Blyth, Andrew Southam, Romy Miller, JoJo Jenkins, Gemma Smith, Hannah Gibson and Paisley Wright.
29th October 10
Aside from the smart, engaged and talented colleagues here at BBH and likeminds the world over, at Labs we are lucky to be in close proximity (in the same office in fact) to the smart, engaged and forward-facing Power to the Pixel team. Their mission is to explore new ways of getting stories in front of increasingly fragmented audiences and support media producers wanting to make the sometimes difficult transition to digital and cross-media distribution.
Audiences no longer think in silos – the recent 2Screen evening demonstrated the power of creating compelling behaviour drivers and experiences across multiple platforms. Power to the Pixel’s recent centrepiece event, the Cross-Media Forum in London, brought together leading thinkers and pioneers from across the media industries who are instrumental in changing the way stories are conceived and are reaching audiences.
Below, PttP’s CEO Liz Rosenthal and COO Tishna Molla picks out some themes that are emerging from their work and, for anyone interested in new tools for storytellers, links to deeper thinking from the Pixel Report.
“The best storytelling devices are, and have always been, rooted in human behaviours and desires,” says Mike Monello, Founder of Campfire and Co-Creator of The Blair Witch Project. His keys to creating a successful story experience are;
- Communal experience
- Making it tangible
- Fostering discovery
- Making it personal
- Building a world larger than your characters
Story = brand
Whilst marketers have long been used to advertising products across multiple platforms, do they really understand how to keep audiences engaged? How do you begin to find your audience, let alone engage them? How do you decide which platforms to use to tell your story, let alone work out how to use them? Director Jon M Chu, is an expert in how to not only reach, but to sustain an audience. He conceived The Legion of Extraordinary Dancers (The LXD) – “a living, breathing comic book” – first and foremost as a brand, enabling connections with different audiences across multiple platforms.
Power lies with the audience
With the impact of new technologies has come a shift in authorship and access. Audiences have moved from passive viewer to active collaborator, stakeholder, co-creator, marketer, distributor, even financier. There’s a new breed of storyteller emerging, one that understands the new technologies, tools and services that are changing the way that stories are told, how and where audiences can interact with them and, as a result, the whole business of storytelling.
Lance Weiler (@lanceweiler), US filmmaker and story architect, grew his audience for Head Trauma - a fusion of feature film, live performance, mobile interaction, porno video online gaming and remix – by allowing the audience to discover and expand elements of the story, moving them from one platform to the next in the process. Audience numbers grew in direct correlation to the number of access points made available to them.
Finnish director, Timo Vuorensola is an expert at collaborating and engaging with his audience throughout the development, production and distribution of his films. Crowd Controls is one great example of a tool that he uses to harness the power of the audience.
With technology advancing so rapidly, the possibilities for storytelling and audience interaction seem limitless or intimidating, depending on your point of view. No-one has all the answers anymore (if they ever did) which makes it essential now, more than ever, to share information and foster new networks, collaborations and partnerships. Which is what we do @powertothepixel.
26th October 10
Author: Erin Riley, Brand and Communications Director, ZAG NY
BBH Labs has become a watering hole for inquisitive, enterprising, and forward thinking minds. Thus, it is a fitting place for ZAG NY to make its first open call for ideas.
ZAG, a wholly owned subsidiary of BBH, is focused on brand invention. We invent brands by exploiting brand lags – where consumer activity outpaces brand activity. redtube The trick of course is not only scouring technology, media, breaking trends, and cultural & consumer insights for what consumers want and need, but then uniquely satisfying those needs in a delightful and profitable way.
ZAG is fortunate because via BBH we have a unique network of collaborators who provide expertise in areas fertile for brand invention. Now, ZAG NY is looking to extend that network beyond the BBH walls and tap an even larger bevy of creators, innovators, entrepreneurs, and anyone else with a brilliant idea.
This slideshare serves as an official call for ideas which will be formally evaluated this November to feed the 2011 pipeline. While we’ll entertain ideas throughout the year, this marks one of three annual formal reviews that will garner the most focused attention from the ZAG team. Pitches will be heard live or by phone/skype/virtual meeting starting week of November 8th.
To stay up to date on ZAG news and thought starters follow our Blog.
(Presentation is best viewed by clicking MENU and FULL SCREEN)
20th October 10
We’ve discussed “wind tunnel marketing” quite a bit recently. As a result, we’ve been thinking more and more about one particular facet of the issue: the misuse of metrics and data. Few industries more regularly confuse their objectives and metrics than marketing. I’m referring to when marketers take digital proxy indicators of progress, and make them the destination, even when they’re multiple degrees removed from the objective. This is distinct from our use of data to adapt our efforts. Maybe it’s karma for collectively turning to display advertising in the late 90’s to save our business, unknowingly opening the Pandora’s box of click-thru-rates that’s held us back for over a decade since.
We reject the notion that is due to some psychological need for validation. If it’s about validation, there can only be an empty feeling elicited from the knowledge that the metric isn’t the objective. Thus began our Inception-esque voyage into the psyche of marketers.
Operating under the assumption we’re rational at some level, it was easy to see the correlation between this seemingly irrational behavior and a code of conduct prevalent throughout our industry: self-preservation. Maybe most professions exhibit this behavior to some degree, but the level of self-preservation in marketing is extreme. Scientifically speaking, Cover Your Ass Syndrome is an epidemic amongst us. It couldn’t simply be that opportunistic, self-preservation obsessed humans just naturally tend to find their way to marketing, right? We couldn’t possibly be like baby geese following the first thing that moves, in our case another human that shows as much self-centered focus as ourselves— suddenly and inexplicably asking “what do you do for a living and how can I start?”
Perhaps we’re victims (wait, is that the self-preservation talking? We’re in too deep to tell). Maybe this misuse of metrics isn’t, in fact, innate survival behavior to ensure we’re not left holding the bag when things go wrong. Perhaps this is a learned behavior we’ve created as a result of our environment. Our environmental analysis turned up three factors that seem to be directly responsible for our rampant metrics abuse. The first is the obvious reality of impatience, prevalent throughout shareholder demands and modern human nature. Let’s put that one aside as it’s been discussed ad naseum via analysis of CMO tenures and the fault of modern capitalist markets. It’s the next two factors that are more interesting- and more productive- to analyze. At the surface, they don’t appear linked to our misuse of metrics, but in fact they are due to their impact on behavior and culture within marketing organizations, from clients to agencies. Both are addressable, but would require an organization’s senior leadership to operate in very non-standard ways.
1. Pre-defined Bonuses
When companies define bonuses of marketing executives based on specific metrics like site visits or total audience engagement or- gasp- product sales, it’s human nature to pursue that bonus at any cost. In fact, the existence of black and white bonuses regularly takes a metric for success and makes it someone’s personal objective. What’s best for the company, calculated risk taking and long-term innovation planning go out the window when considered against school tuitions or new drapes.
Although controversial in many business cultures, why not solve this environmental issue by creating subjective bonuses– ones where employees are judged on rational, subjective contribution to the company? Did the risks they take make sense? Did their approach add some broader value? If the objective is what’s best for your initiative, rather than a metric that is only one of many proxies for that success, shouldn’t a bonus be tied to that?
Compensation subjectivity makes people uncomfortable, but with good leadership in place at a company, it’s likely a more intelligent option. Those that truly want what’s best for the organization will trust their leaders.
2. Crediting Systems
In today’s marketing landscape, the way ideas manifest is complicated. All the various executions of an idea involve more moving pieces, multiple partners and blurrier lines between disciplines. Yet, somehow we employ the same crediting system- from awards to inter-company recognition- as we did 30 years ago.
Our credit list may be extensive, but it’s still partitioned by execution: creative, strategy, production, media (assuming media people even get credit). This is true external to the organization (award shows, press releases), but also true internally at most organizations (departments, recognition).
Why? If lines are blurry, why must we categorize contribution? If this sounds ridiculous, please interview young talent in our industry. They have a tough time defining their role by agency verticals and almost always pride themselves on their organic contributions to an agency output. We love that, and in fact look for T-shaped individuals when hiring.
It’s when marketers credit by specific discipline that metrics become disproportionately emphasized. We may call it a team effort, but we take a Hollywood approach to “team,” defining it as a collection of individuals. So, digital-era metrics like sharability, clicks and participation must be measured because they reflect individual contribution (“my part of the project”). As a result, we make decisions that emphasize metrics instead of simply contributing to the broader objective. Credit is needed for survival in this marketing habitat. As a result, metrics are exaggerated and the overall objective goes by the wayside, the remaining vestige of community achievement in a market that deals in only individual currency.
At the end of this pseudo-scientific examination, it’s clear the environment is polluted. The result is a cyclical reality that few companies and brands transcend; even fewer do so consistently. The environment impacts the inhabitants and the resulting means of survival requires substituting metrics for objectives. That said, we remain optimistic that in the near future, leadership of marketing organizations will nurture a culture that shifts our archaic approach to incentives and crediting. This will cleanse the environment itself, breaking the cycle of rational argument for or against the use and application of metrics. The work will no doubt benefit as a result. Ironically, the beneficial impact of the change toward correcting our use of metrics may at first go unnoticed.
Hey, maybe we should put a measurement in place for it….
15th October 10
Earlier this week @saneel and I were at Power to the Pixel’s Cross-Media Forum, contributing as part of a jury looking at 9 different projects competing for an ARTE Pixel Pitch Award (see who took part here). Whilst the talent and ideas were impressive, this post is to share something the founder of Arts Alliance, Thomas Hoegh, showed at the very start of the day. Thomas had just one slide, but it was killer. So simple and useful, we photographed it (badly) and then re-drew it for posterity:
We like the way it breaks down Jacob Nielsen’s 1:9:90 rule of participation inequality into something a little more chewy. The best bit about it? According to Thomas, this slide is 15 years old.
yesilcam porno Our friend Dan Light (@danlight) live blogged Thomas Hoegh’s excellent keynote which you can check it out here.
14th October 10
Author: Steven Peck, Creative, BBH New York (@stevenpeck)
When I began design school at the age of eighteen, it was the first time I was ever exposed to a large group of people whose individual skillsets, interests and backgrounds varied so differently from my own. I was thrust into a new intellectual and creative environment that was completely foreign. Little did I know then how much value that experience actually created. Over the course of five years, I built great friendships with people in a variety of creative disciplines – from automotive design to interactive design to fashion design to architecture and urban planning. Many of my closest friends in design school were in programs outside my own discipline and as a result, I did a lot of my graphic design work in the car design studio. Simply working in the same studio with people who were creating completely different kinds of projects had an immense effect upon my approach and process, and the feedback from respected people outside my own creative discipline was, in many ways, more valuable than the people within it.
It’s been awhile since I was in design school. But looking at the world today, the need for a destination to house conversations that spawn new ideas, insights, and creativity is more pertinent than ever. Acquiring perspectives from smart, talented people with a different frame of reference, and the constant ability to see and experience creative work in the periphery of your own has a real, tangible, and positive effect. The reality is fast becoming that collaboration is not just a new way of doing things – it’s becoming necessary to survive and be competitive in business. Technology is enabling creative people to work in more ways than ever before and bring great ideas to life. It’s certainly an exciting time to be making things.
These beliefs led to my 20% project. The Knot Collective attempts to bridge the gap between these disciplines that are so often siloed to help share knowledge and cultivate thought leadership for creative businesses. We believe that cross-disciplinary collaboration is the future of innovation and design. We hope the site can serve as a valuable resource and build a thriving community that fosters critical thinking and lively discussion.
My longtime friend and product/transportation designer Marc Reisen and I have been discussing and developing the foundation of The Knot Collective for over two years. After thinking about it, building it, rethinking it, and rebuilding it, we’re extremely happy to have launched the project last month. It’s been a long road, but a considered one, and a labor of love nonetheless.
You can check it out here: www.theknotcollective.com (or @theknotcollectv)
We hope you find the mix of disciplines as valuable as we do. We’d love to have you join the conversation.
7th October 10
I know that I’m late to the game on this ‘five things I’m thinking about’ meme and very new to the game in this advertising business, so here’s hoping that the two things balance out here, in my first nervy post.
1) Where is knowledge stored?
OK – so just a week ago I was posting farewell on The Penguin Blog, trying to distill a few years of digital publishing thinking into a couple of hundred words and now I am in a new office with new people doing a completely different thing in a new industry. So my short term goal is to find the well(s) of knowledge and drink deeply.
In preparation for this transition I’ve read a couple of books and redirected my RSS and twitter streams adwards. But already in 4 days I’ve learned more from a few concentrated conversations than from hours of reading. So maybe I’ve been reading the wrong books and blogs, or reading them badly.
But perhaps it’s a very analogue notion that knowledge is stored on paper and a digital notion that knowledge is amalgamated in crowds. Everyone is an expert in something, everyone has a specialist subject or a unique take on an issue – the challenge is finding them and unlocking their knowledge. And face-to-face beats distance learning every time.
2) Is there still an edge?
The publication of any new William Gibson book is always a good opportunity to think about the edges of things and, of course, the places in between, which in our upside down topsy turvy existence must be edges of a sort. My favourite Gibson passage is from All Tomorrow’s Parties where the disappearance of bohemia is explained thus: “We started picking them before they could ripen. A certain crucial growing period was lost, as marketing evolved and the mechanisms of recommodification became quicker, more rapacious.”
Of course, as a new entrant to the world of advertising I need to start rapaciously appropriating the edge as swiftly as possible, which is why I should start finding out where it is.
(Actually, specifically, the sound of resin on concrete, or even more specifically the difficulty in finding good skateboard sound effects)
Don’t get me wrong I am not and have never been a skater but I have always loved skate videos and watching this yesterday (via Ruby Pseudo) it struck me that it is the sound that I love especially. I was born in a city and have lived most of my life in the same city and can’t really imagine not living in a city. Cities, as far as I’m concerned, are where stuff happens, and I am a huge fan of stuff happening. And, since skating demands ‘crete perhaps there is no soundtrack more urban than the sound of skating. If there are other, even more urban soundscapes I should be tuning into, let me know.
4) Flickr and careful curation
Every now and again it’s worth remembering what a lovely and valuable discovery engine flickr really is. Of course for simple image search it’s great but there is also the joy-inducing serendipity of discovering that there are others who share the same interests as you, whether these interests are craneporn, control panels or failure. A friend of mine describes internet pornography as having the same serendipitous effect – all of a sudden you discovers kinks that you didn’t know you had. But with flickr the quality of a group is in the care of the curation. A good group will have clearly communicated criteria for submissions and submissions that fall outside certain boundaries will be rejected, so preserving a curatorial, yet crowdsourced, integrity. It strikes me that there are all sorts of lessons to be learned from flickr and curation and community are good places to start.
5) The Idea Thing
A change in profession is a good opportunity for some good old fashioned introspection and navel gazing. So, is there a difference between what I did (getting things made and selling them) and what I now do (communicating ideas about things other people have made and want to sell)? Who is the customer for an idea, the client or the audience or both?
When ‘things’ encapsulate ‘ideas’ do they stop being purely things or purely ideas? I am less interested in *the social object* than I am in *the idea thing*, a digital or physical object that captures and communicates an idea about the world. Can idea things sell stuff, or are they the stuff that sells?
I guess I’m about to find out.
7th October 10
Author: Emma Cookson, Chairman BBH New York
This bunch of charts comes from a BBH session at a recent conference organized by The Bellwether Group in New York. The subject of the day was ‘Creativity and content creation in a digital age”. So something of a wide canvas….
My start point was the realization of how intimidated I felt speaking on the topic – and the further realization that this intimidation stemmed not just from personal neurosis or the breadth/complexity of the subject (although all that applied), but that I was also intimidated because there’s already so much great comment and advice in this area available. It’s one of the interesting by-products of an age of such extraordinary pace of change that we’re all frantically trying to keep learning, keep up to date, keep pace – and as a result there’s a whole slew of people working to satisfy that desire with tips and advice. Every day brings a deluge of advice and input on digital marketing/comms/business-building.
My observation is that although so much of this advice and comment is truly fantastic, the flip-side is that within all the rush and deluge we are sometimes accepting and sharing – at speed and at face-value – assertions that maybe should bear closer examination and qualification. Perhaps all these assertions we read in the latest expert tweet or in the headline of that skimmed article are all broadly right – but maybe not in all circumstances, not right for all brands, not right in every dimension. Perhaps there’s a slightly more precise story to tell (see our recent post on a similar theme examining participation).
So that’s where this presentation came from. And why it’s called ‘Yes. But…’ I note a number widely accepted truths about creative best practice in a digital age – and, without disagreeing with any of them, suggest that they might benefit from a little qualification. My contention is that – for example – escalating consumer control of brands is of course a real phenomenon, but it doesn’t absolve brand owners of deep responsibility for brand leadership and, yes, still a degree of brand control. Or that ’360 degree marketing’ is a good clarion call, until you start wondering if it really is right that the most powerful communication solutions really do always have to be deployable in every single channel, with every weapon available in our communication arsenal.
Any comment or argument is greatly appreciated.