Posts Tagged ‘Event’
20th January 12
Posted in technologyAuthors: Saneel Radia, Head of BBH Labs NYC & Tim Harris, EVP/Managing Director of Innovation at McCann Erickson*
Last week was the Consumer Electronics Show, an event more widely attended by brand marketers than ever before. Although the show resembled last year’s a bit too closely for our liking, we’ve resisted simply republishing our 2011 recap. What was unique however, is the sense of relief we feel upon our return. Instead of feeling intimidated by the speed of innovation, or anxious from the ever-fragmenting tech landscape, we’ve come home with our industry angst alleviated. Let us elaborate on the trends keeping us relaxed.
No one actually knows how to design for “laplets”
As the world of consumer electronics bounces between convergence and divergence, we were a bit surprised to walk through booths full of laptop + tablet hybrids that seem to be a unique device offering in and of themselves. Then there were phone + tablet hybrids like the Samsung Note. There was even a tablet + gaming rig hybrid. On top of those converging devices, we were struck by the number of input peripherals accompanying them. Peripherals are nothing new, but this onslaught of converged devices with inputs beyond touchscreens is really interesting. It seems touch interface isn’t the panacea we all wanted it to be. When the iPhone and iPad changed the way we did stuff, we figured that was it.
However, one look at how game developers and electronics manufacturers are interacting demonstrates just how difficult it is for content creators to stick immersive content into a touch environment. Ever played a mobile game with dual-virtual-stick control? It sucks. But game developers are still designing games that require it. As anyone that works at an agency has seen, designing irrespective of context happens daily. Sure, we all have our different remedies for this (see BBH’s media design practice), but almost no marketers truly craft ideas from environments. The best simply craft to them, closing the gap as best they can, but not truly letting the context or medium play as fundamental a role as it deserves.
Seeing some of the world’s best content creators struggle with familiar issues, we couldn’t help but let guilty smiles cross our faces. We can take solace it isn’t just us marketers.
TVs being “smart” means we may not have to be
Last year, virtually every booth had the word “smart” displayed on it, obliquely referencing the fact that their TVs were internet-enabled. Although the idea of apps on TVs isn’t going away (especially with gesture-based engagement on the horizon), we saw a more conservative- dare we say even practical- approach to TV apps this year. Instead of highlighting obscure developers they had worked with to make apps, this year the manufacturers were presenting the familiar logos of Netflix, Hulu and Fios. We’d argue such familiarity is welcome to both consumers and marketers. It means less subscriptions for people, and a less fragmented media landscape for marketers.
As TV manufacturers came to the welcome realization that the revenue from app sales simply wasn’t going to change the face of their business, content providers with app-driven models like Netflix have been emboldened (it’s no coincidence Hulu announced its first unique scripted series on the heels of CES). This media-agency-friendly revenue model will make it easier for brands to get onto TV screens without having to partner with developers. Instead, they’ll work through content and distribution companies they already know how to engage. If we had to guess, that means subscription-services like HBO and FiOS will experiment with ad presence of varying levels, depending on the platform (e.g., Xbox 360 vs Panasonic Viera Connect). It’s certainly a lot easier as a brand to think about how to work with Hulu than it is to sort out unique offerings across Sony and LG devices. No one should be more relieved about this consolidation than marketers, a group notoriously bad at partnering with developers and quantifying value in new ways.
Perhaps most importantly, media deal-making lunches have been preserved. Phew.
We put a big bet on Apple and we seem to be winning
Apple is famously absent from every CES, yet it’s clear to any attendee that they are present, if not formally as an exhibitor. Last year was a show of iPad alternatives. The year before was an exhibition of iPhone derivatives. This year was the “hey we have a MacBook Air too” show. Apple certainly didn’t invent the ultra-thin laptop, but any analysis of the design and feature-set selected across various manufacturer’s devices (see Samsung’s new Series 9, Dell’s XPS 13 or any device featured by Intel as an Ultrabook) reveals a very Apple-like device.
Once again, a comforting thought donned on us as we walked the Convention Center floor. Few industries have adopted Apple products as early and as deeply than the ad industry. As creative teams relentlessly pitch tech ideas born from an Apple-centric view of the universe, they may just start to see more nodding heads and fewer rolling eyes. Agencies are notorious for their dogmatic approach to ideas. In this case, Apple’s vast grip on consumer electronics may justify our utterly biased view of tech experiences.
It seems creatives have yet another thing to thank Steve for.
The home is connecting to retail (and we had nothing to do with it)
We’ve all been hearing about the refrigerator that tells you when you’re low on milk since before there were computers (fine, not quite that long, but still). This year’s CES brought all of the “smart” into context for the truly connected home. An LG refrigerator not only speaks to your phone or tablet to tell you all about its contents or encourage you to fill it up again– it also helps you manage a diet via personal profiles and nutritional information. Smart vacuums and ovens do their duties when you’re not even home, and some appliances talk to each other to save on power usage. We’re used to hearing about appliances that talk to retail (or an online grocer), but this year, the retail environment talks back. Walking through the stores of the near future, we’ll get notifications about relevant offers, loyalty plus-ups and even recipe analysis based on what’s at home in your fridge. We’ll no longer have 58 heads of garlic at home or 9 jars of cayenne pepper. What a pleasant surprise– we’ve been trying to solve for the gap between home/planning and shopping/buying forever in marketing. Promotions, brand extensions and partnerships will have much more clarity, because they’ll be based on consumer need rather than marketing guesswork. LG, Alcatel-Lucent and others have given us a palette from which to create truly integrated designs for the makers, sellers and buyers of everyday products. In other words, marketers’ inability to close the gap between retail and brand experiences may soon be a non-issue. The tech industry is sorting it out for us.
Now maybe we can help them figure out how to make their biggest event fresh again.
*Saneel & Tim were two of the co-founders of Denuo, and this was the 10th CES they’ve attended together. They’ve come home broke, and in a fight, after each.
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*.
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.