2014 Outdoor Planning Awards Case Studies by clear channel uk

CELEBRATING THE BEST OF OUTDOOR

Foreword

Contents

I feel a great sense of pride writing this foreword. The Clear Channel Outdoor Planning Awards, in association with Haymarket Brand Republic Group, are a great opportunity for the industry to get together and celebrate the best in outdoor planning. This was the eighth year these awards have run and I believe it was the best yet. It has been a memorable twelve months for outdoor advertising and there is a great sense of momentum. This was reflected in the overwhelming number of entries which all showcased creativity, innovation and, most importantly, brilliant and intelligent planning.

This book is our chance to share with you the smart thinking behind the shortlisted campaigns. The featured campaigns really were the best-of-the-best - each applying exceptional planning at the front end of the process meaning their creative reached the right people at the right moments in the right places.

The judges

06 The winners and the shortlist

07 Best use of digital in outdoor

14 Best use of outdoor in a multimedia campaign

This year’s Grand Prize and ‘Best use of innovation in outdoor’ winner (p.08) is a campaign close to our hearts. British Airways and OgilvyOne worked with Storm, Clear Channel UK’s new super-premium brand, to create something the world hasn’t seen before – advertising triggered by planes that showed real-time information. Every campaign featured in this book pushed the boundaries in outdoor planning, delivering some truly memorable advertising. Congratulations to everyone involved – the judges found it exceptionally difficult to choose which campaigns made the shortlist in each of our five categories.

The next 12 months will be challenging, but also incredibly exciting as we continue to focus and develop our digital, mobile, Adshel and audience products. This means expanding our digital portfolio, including Storm, our new super-premium brand. We have also recently announced the global roll out of our Connect Mobile Platform and we will soon complete tagging and mobile enabling a further 15,000 Adshel panels nationwide as well as screens in other environments. We are working with our local authority partners to develop Adshel, our bus stop product, in towns and cities nationwide. Finally, we will soon launch the next phase of our Ngen community, which helps us and our brand partners to really get to know and understand an important audience of 18 – 34 year olds from eight major UK cities.

Best use of continuity in outdoor

Best use of multiple formats in outdoor

36 Best use of digital in outdoor

I want to thank everyone for taking the time to enter the Outdoor Planning Awards. Every year you make these awards what they are and we are proud to celebrate your fantastic work.

Chris Pelekanou Commercial Director, Clear Channel UK and Outdoor Planning Awards Judge

The judges (left to right below) Philip Smith, Head of Content Solutions and Studio, Haymarket Brand Republic Group (Chair of Judges) Adam Foley, Head of Strategy, Starcom MediaVest Group Chris Pelekanou, Commercial Director, Clear Channel UK Sarah Leach, Connections and Media Director for NWEN, The Coca-Cola Company Simon Andrews, Founder, Addictive Mike Baker, Chief Executive, OMC Hamid Habib, Managing Partner - Strategy, OMD UK Ian Edwards, Managing Partner - Strategy, Vizeum Sally Weavers, Managing Director, Initiative Jo Lyall, Joint Head of Client Leadership, Mindshare (not pictured)

Judging was held at the interactive Clear Channel Playground.

The winners & shortlist

Grand Prize winner: British Airways ‘#LookUp’ by OgilvyOne and Posterscope Best use of innovation in outdoor Winner: British Airways ‘#LookUp’ by OgilvyOne and Posterscope Shortlisted: O2 ‘4G’ by Meridian Outdoor, ZenithOptimedia and Newcast Unilever, Lynx ‘Lynx Apollo’ by Kinetic, Mindshare and Grand Visual

Best use of outdoor in a multimedia campaign Winner: Fox Home Entertainment, Skyfall ‘Skyfall DVD’ by Posterscope and Vizeum Highly commended: Mattel, Scrabble ‘#scrabblechallenge’ by Posterscope, Carat, LIVEPOSTER and Oakwood Shortlisted: BSkyB, Sky Broadband ‘Fibre Launch’ by Rapport and MediaCom Confused.com, ‘QuickQuote’ by PHD, Talon and Blis Media Pepsico, Tropicana ‘Paint London Orange’ by OMD UK, Talon and Grand Visual Specialist Holiday Group, Sovereign Luxury Holidays ‘Stark Contrast’ by RAPP Media

Best use of multiple formats in outdoor Winner: Microsoft, Microsoft Office 365 ‘Work from Anywhere’ by UM London and Rapport Highly commended: Virgin Trains, ‘Fly Virgin Trains’ by Manning Gottlieb OMD Special mention for: Art Everywhere by Posterscope and Vizeum Shortlisted: Camelot, National Lottery Instants ‘Surprising Numbers’ by Havas, Talon, Grand Visual and OMD Diabetes UK, ‘Care Connect Campaign’ by Kinetic and The Gate Worldwide TSB, ‘Launch of TSB Bank in the UK’ by Kinetic and MEC

Best use of digital in outdoor Winner: Google, ‘Google Outside’ by Talon, OMD International, R/GA and Grand Visual Highly commended: Mini, ‘Mini Not Normal’ by Posterscope, Vizeum, Iris, LIVEPOSTER and Koffeecup Shortlisted: Danone, ‘Volvic Juiced’ by Kinetic, MEC, Frank PR and Grand Visual Johnson & Johnson, Benadryl ‘Social Pollen Count’ by Kinetic, MEC and Grand Visual RBS Group, NatWest ‘NatWest Mobile Banking’ by Meridian, ZenithOptimedia and LIVEPOSTER

Best use of continuity in outdoor Winner: Coca-Cola ‘#Shareacoke’ by Posterscope, Vizeum, MediaCom and LIVEPOSTER Highly commended: BT, BT Sport ‘Channel Launch’ by Posterscope and LIVEPOSTER Shortlisted: Nestle, Nestle Confectionary ‘Long Term Laydown’ by Posterscope Samsung, Multiple Brands ‘Long Term Holding’ by Rapport and Cheil Sony PlayStation UK, ‘PlayStation 4 Launch’ by Manning Gottlieb OMD, Talon, Grand Visual, Curb Media and DRUM Some entries are not included in this publication.

Best use of innovation in outdoor 8 10 12

British Airways ‘#LookUp’ O2 ‘4G’ Unilever, Lynx ‘Lynx Apollo’

The grand prize winner & best use of innovation in outdoor British Airways Campaign: #Lookup Creative agency: OgilvyOne Specialist: Posterscope

The background

The strategy

Faced with low cost carriers, priority boarding charges and out-of-town airports that often feel closer to home than the desired destination, it is easy to forget how magical flying really can be. BA set out to rekindle the public’s sense of wonderment and show that there still is a little magic in flying with BA.

In an increasingly cluttered world, crowded with messages, it is becoming progressively harder for brands to create cut-through. And it is becoming even harder to impress. To earn their audiences’ attention, BA’s strategy was to provide a truly new experience worthy of consumer’s time and consideration.

Judges’ comment

“Innovative on every level, this campaign really pushes the medium forward. It is truly inspiring, a game changer with extraordinary impact which was loved by the public and delivered on warmth and emotion.” 08

The creative idea was to feature a child pointing to British Airways planes as they travelled overhead, whilst displaying the flight number and starting point of each flight. The strategy was to use real-time data to inform dynamic copy selection and ensure accurate creative, which would only surface when appropriate. Pinpoint digital OOH sites would be used to take the consumer beyond the confines of the screen, drawing them upwards to the sky in a world first.

Grand prize winner The execution Behind every aspect of #Lookup there was innovation. From a custombuilt antenna, bespoke surveillance technology and new data-processing software, to the ground-breaking OOH ad serving arrangement. A bespoke surveillance antenna was positioned in central London, which was capable of reading all data from every aircraft within 200km. This data was processed through Ogilvy’s custom made software to filter out non-BA planes before sending the location, speed, altitude and call-sign of each to Ogilvy’s cloud server. Each ‘call-sign’ then had to be converted to a flight number and then to the associated route. For this, a vast database of flight numbers and destinations had to be created from open source data and cross referenced. The bespoke software ran tight parameters to ensure a positive consumer experience. Planes over a certain altitude were ignored as they would not be visible. Automatic weather updates halted the campaign when it became too cloudy to allow for plane visibility. Each creative output featured a dynamic copy element supporting new routes, live price data or highlighting new A380 aircrafts as they passed. Key to the success of the campaign was its ability to be present only when needed. The campaign was only effective when a plane was visible. To ensure that BA could react to real-time data triggers and guarantee screen time, the campaign required a sophisticated scheduling solution. The two sites selected were Storm’s Chiswick Towers and Coventry House. Both offering the flexibility required, as well as the perfect geographical

location under flight paths. Situated on the M4, between central London and Heathrow airport, the Chiswick Towers were ideally located for this campaign, the long approach ensuring enough time for the creative execution to be understood. Coventry House sits high above Piccadilly Circus, a social and retail hub popular with tourists and locals, with high dwell time to ensure the message hit home. Both screens sit against an uncluttered skyline, ideal to ensure maximum creative impact. Storm and Posterscope created a non-traditional payment structure for the campaign that provided the flexibility required to deliver the creative pay-off. As a number of variable factors influenced when the campaign played, a cost-per-play mechanic was implemented - meaning BA only paid for screen time achieved. In total, the campaign was aired 1,560 times across 33 days, a true testament to the collaboration between all the parties involved.

Abigail Comber, Head of Marketing, British Airways

“This is a first, not just for British Airways but for UK advertising. We all know from conversations with friends and family that we wonder where planes are going and dream of an amazing holiday or warm destination. The clever technology allows this advert to engage people there and then and answer that question for them.”

Results The campaign captured the imagination of millions across the globe and generated earned media value that far outweighed the paid for media. The campaign has received over 1.2 million YouTube views, 17,000 mentions on Twitter and generated 277 articles worldwide including articles in The Sun, Mashable and The Mail Online. The #lookup, which featured on the OOH creative, was used 1,865 times across public, advertising and airline industry tweets. The campaign has set a new standard for the industry. It has succeeded in highlighting the bold new future of the medium to clients and consumers alike.

Best use of innovation in outdoor Shortlisted: O2 Campaign: 4G By: Meridian Outdoor, ZenithOptimedia and Newcast

The challenge

A two-tiered strategy was implemented -

The challenge for O2 was to combat the high level of consumer apathy towards 4G and take on the dominant player in the market. EE began rolling out 4G at the end of 2012 and had a serious head start on O2. However, EE only focussed on the rational benefit of 4G - speed. The fact that O2’s 4G coverage would be 13% at the end of 2013, compared to a massive 70% for EE, meant the challenge was on.

1) Generate excitement and engagement and bring the key benefit of 4G to life (the ability for mobile and tablet users to effectively live-stream content on the move) by live-streaming an exclusive gig onto giant digital OOH screens.

The objectives Objectives were threefold; to drive sales, with specific sales targets set for both conversions to 4G and new customers; to drive an average weekly retail footfall of 500,000; and to positively impact on key brand tracker statements – specifically regarding O2’s new brand positioning ‘Be More Dog’. The aim was to drive mass awareness and excitement across London amongst O2’s target audience, known as ‘Sociables’. Sociables are a young, aspirational target audience who increasingly live their lives online, are constantly on the move and cannot live without a smartphone. Tapping into the emotional benefit of 4G was the perfect way to persuade the Sociables to ‘Be More Dog’ about 4G. The strategy To hit the growth targets and change perceptions, the campaign needed to be amazing, something completely innovative that everyone would remember and talk about. A campaign Londoners could ‘Be More Dog’ about. OOH was identified as the lead medium – perfect for the mobile audience, with support from press and online.

2) Employ a multi-format OOH campaign to promote the live stream activation and generate mass awareness of the O2 4G launch. Using innovative data-planning, locations were selected with Telefonica’s Smart Steps mobile data to pinpoint hotspots of potential 4G customers – identified as ‘heavy data users’. The execution The centrepiece was the multi-platform launch gig, live-streamed across London and YouTube, to celebrate O2’s 4G switch-on. It featured the award-winning London-born artist, Plan B, playing an exclusive set at the O2 Shepherd’s Bush Empire. In a UK first, the gig was successfully live-streamed to three central London locations; Kings Cross Station, Victoria Station, and Westfield Shepherd’s Bush. An experiential element was added to the event, with buskers hired to play Twitter requests. O2 4G Angels also demoed 4G tech and handed out O2 headphones and lanyards to consumers to encourage participation in the livestreamed ‘silent-disco’. Images taken from gig-goers at the O2 academy were also live streamed on digital landmark screens across London to publicise the successful event. The multi-format campaign consisted of two phases. In the first, DOOH was used to build excitement for the 14 days

Shadi Halliwell, O2’s Head of Brand

“We wanted to inspire customers by showcasing the exciting possibilities provided by 4G, and what better way to do this than by live streaming an exclusive gig across London. By bringing to life brilliant entertainment on the move, we wanted to encourage customers to explore technology and to live more, do more and be more with O2.”

before the live-stream and create hype on the day. A massive 18 digital screens, plus medium weight digital 6-sheets, rail and London Underground screens were selected, ensuring domination of the commuter journey. For the second phase, following O2’s 4G launch day, a heavyweight OOH campaign, featuring 6-sheets, 96-sheets, buses and banners kicked in. Using Telefonica’s Smart Steps mobile data to pinpoint hotspots of potential 4G customers, O2 was able to target them where they live, work or commute. By combining music, video, 4G and DOOH in busy transport hubs, supported by a London-wide campaign, Sociables were able to experience the possibilities of 4G in an exciting and innovative way, driving desire and demand. Results Ground breaking use of audience data and a unique delivery of 4G video to customers, resulted in a stand-out campaign that smashed O2’s business objectives. A focus on the emotional needs of the consumer, not the speed, size or cost, resulted in a truly innovative and exciting campaign. Targets were smashed, with sales 2.5 times higher and new customers four times higher. Along with this, perceptions amongst non-customers against the “brands you love” statement increased to 15% (from 11%). Importantly footfall targets during the launch period were surpassed to reach 550,000 per week.

Best use of innovation in outdoor Shortlisted: Unilever, Lynx Campaign: Lynx Apollo Specialist: Kinetic Agencies: Mindshare and Grand Visual

The challenge To celebrate the launch of Lynx Apollo, the challenge was to create the biggest, boldest and most ambitious unveiling in the brand’s history. Lynx initiated a global competition to turn one ordinary guy into the ultimate hero and give him lifelong Lynx Effect, by sending him into space. A select few contestants would be invited to join the Lynx Space Academy, where they would have to pass tests to earn a seat on the world’s first commercial space craft. The strategy The media campaign had to be big – intergalactic big! OOH was essential in bringing this epic idea to life, driving entries to the competition, engaging guys by giving them a taste for being an astronaut and increasing social conversations. A tease campaign was launched on 10th January 2013, with a countdown played across selected digital OOH screens to build up to the big launch moment. At exactly 9pm on launch day, the largest ever multimedia simulcast was delivered. A specially recorded announcement by Buzz Aldrin was broadcast on all commercial TV channels, across desktop, mobile, tablet and gaming devices, and via huge digital OOH and cinema screens, all at exactly the same moment. Recruitment Once the competition was announced, a dynamic, awareness-building campaign was launched across 12 digital OOH networks. Creative featured an astronaut casually saluting the audience and the strap line: “Leave a man, come back a hero.” The call-to-action encouraged people to enter online at lynxapollo.com. In order to make participation as easy and seamless

as possible, Lynx delivered countless ‘entry’ points to guys as they travelled - through geo fencing digital OOH sites and text messages. This element of the campaign reached 75% of the target audience in the crucial first two weeks of the campaign. The next stage of the campaign included eye-catching interactive touch-screen 6-sheets at key roadside and mall locations, encouraging guys to take a picture and put themselves in the creative as the astronaut. ‘Astronaut Me’ enabled participants to become the ‘hero’ and then share and tag their pictures on Facebook where again they could enter the competition. Selection To win the competition contestants had to register at the Lynx Space Academy and invite friends to vote for them. The 250 contestants with the most votes convened at Westfield London for a weekend of live challenges that whittled the hopefuls down to just four. Those lucky guys then flew off to space camp in Florida for the final challenges. In order to create excitement at Westfield in the lead up to this event, Lynx built a 40 foot, socially enabled, two tonne astronaut and suspended it above the main atrium. It dominated the space and proved to be the largest ever interactive digital OOH special build to run in the UK. Geo-targeted texts invited shoppers to submit an image of their face, via their mobile phones, to become part of the giant installation. Within moments of interacting, participants could see their face displayed in the visor of the giant astronaut. Shoppers could submit photos via MMS, email or tablets used by Lynx Astronaut girls who whipped up the crowds underneath the astronaut. Digital OOH screens across the mall and

a giant digital wall wrap then heroed these faces further. Shoppers submitting images via email automatically received a photograph of themselves as the astronaut to share online. Results The results were out of this world. A British engineer from Worcestershire, Oliver Knight, was the happy winner, beating off 87,000 competitors to become the ultimate hero and blast off into space. After just three weeks, the UK and Ireland accounted for more than a third of total entries. Over 87,000 applications were received and almost one million votes made online. The interactive digital 6-sheets alone attracted over 30,000 interactions and generated 5,500 photo submissions. At Westfield one photo submission was received every 5 minutes, with 95% of people then downloading their photos from the website. All photos were shared with Lynx’s 1.2 million Facebook fans. The OOH campaign created unparalleled talkability and sales of Lynx Apollo products soared; up by 19% versus the previous year’s launch.

Best use of outdoor in a multimedia campaign 16 18 20 22

Fox Home Entertainment, Skyfall ‘Skyfall DVD’ Mattel, Scrabble ‘#scrabblechallenge’ BSkyB, Sky Broadband ‘Fibre Launch’ Confused.com, ‘QuickQuote’

Best use of outdoor in a multimedia campaign Winner: Fox Home Entertainment Campaign: Skyfall DVD Specialist: Posterscope Agency: Vizeum

The challenge Skyfall was a hugely successful film at the cinema. The challenge for this campaign was to match that success with the Skyfall DVD. There were various obstacles to overcome along the way. The DVD market has been in steady decline for many years, with sales down 11.4% in 2012 (Source: ERA). Furthermore, research shows that 48% of people only buy one or two DVDs a year and most of these are bought at Christmas. Promotion of a film that so many people had already seen, and outside of the key gifting window, would be a particularly challenging mission. The objective The main objective was to drive 3.6 million DVD sales in just 12 weeks – an ambitious target of 30 DVDs per minute. To achieve this scale the campaign had to appeal to a broad, all adult audience and deliver mass awareness, stature and ubiquity. The strategy Professor Byron Sharp wrote ‘the single most important factor in effective communications is to dial up the elements that make your brand distinct. This makes a more powerful representation in the mind of a consumer, which in turn leads to more sales’. The strategy was based on this insight: take what makes Bond and Skyfall distinct and dial those elements up through the communications. The movie became the strategy. Iconic scenes and themes from the film were identified and aligned with the media channels to provide a truly integrated campaign. A multimedia approach was employed, which not only created a sense of ubiquity but also provided

a diverse range of platforms for creative opportunities and innovation with which to bring the film to life, maximising engagement and create word-of-mouth. Out-of-home formed the bedrock of the campaign, it provided national scale and the opportunity to make Skyfall unavoidable. AV, radio, digital, cinema, VOD and experiential were used to increase overall cover and provide further creative scope for disruption. The execution Using OOH, the Bond and Mr. Silva London Underground chase was recreated with a takeover of Bond Street station, including the digital panels and a mega escalator wrap featuring a sliding Bond. The train scene in the movie inspired Premier PR to create the first ever fully wrapped East Coast express train, officially named Skyfall. This departed from (the temporarily renamed) platform 007 at Kings Cross, and travelled along the route M and Bond took in the film. This was supported by a media domination of the station, whilst Skyfall Oyster cards were dispersed giving people a daily reminder to purchase the DVD. A Bond-style danger was created (in conjunction with Fox and Premier PR), providing the ultimate photo opportunity, when Mr Silva’s helicopter appeared to tail the Skyfall train. To support this activity, roadside digital screens and bus t-sides added stature and delivered valuable cover. National 6-sheets increased frequency and added a feeling of ubiquity. A point-ofsale 6-sheet campaign added that final push to purchase in the last window of influence. At the same time as the OOH activity, further disruption came from impactful, innovative print formats, with

the London freesheets upweighted to complement OOH commuter presence. Taking the campaign to the next level, the iconic Adele soundtrack from the film was aligned with key cultural moments on TV. This included running the first 60” Shazam-enabled competition spot using the Adele theme tune during The Brit Awards on ITV. It was the perfect audience fit especially when Bond girl Bérénice Marlohe was presented an award. It was the icing on the cake when Adele won an award for Skyfall. Further disruption and endorsement was delivered through Absolute Radio, giving listeners a chance to escape like Bond and win a year’s salary live on air. All this was accompanied by some digital which ‘Q’ himself would have been proud of - tapping into moments when the audience were looking for entertainment on the move, including YouTube mobile HPTO and Skippables, Facebook newsfeed amplification and Apple iAds, along with a London Underground sponsorship of the WiFi splash page. Results Skyfall became Fox’s biggest DVD release of all time and the UK’s biggest ever Blu-ray release. The highly ambitious 12 week sales target was exceeded by 9% and the campaign reached 96% of all adults – over 42m people. Skyfall was also listed in over 5,250 stores, more than any other Fox title.

Best use of outdoor in a multimedia campaign Highly commended: Mattel, Scrabble Campaign: #Scrabblechallenge Specialist: Posterscope Agencies: Carat and Oakwood Technical platform by: LIVEPOSTER The challenge On January 19th 1955 Scrabble went on sale in the UK and it has been one of the nation’s most popular word games ever since. Fast forward to 2013 when Scrabble faced a new challenge – how to maintain its relevance with a generation of families brought up on iPads, Xboxes and social networks. The challenge for this campaign was to embrace the audiences’ love of gaming on their mobiles and use digital outdoor to drive participation with a Twitter version of the game called “#scrabblechallenge”. The objectives The objective was to develop an engaging and exciting campaign that would reintroduce Scrabble to the casual gamer audience. Within this context there were three specific objectives; to assist in re-positioning the brand to a broader audience, to communicate the brand to the casual gamer in an exciting and intriguing way and to drive buzz around the re-launch of Scrabble to entice a younger target audience. The strategy The strategic approach was born out of four key insights reflecting the lives of the target audience: • They are commuters, travelling out of town in the evening to the suburbs where their families live • They are casual gamers, using their mobiles to play simple games • They are highly connected and use their mobile phones to access social networks, particularly Twitter • They look to their mobile devices to maximise absolutely every moment. Hectic, urban lifestyles mean that

no amount of (micro) time is too fleeting, or activity too absorbing to cram in more content, connection, consumption or simply fun. From these insights #scrabblechallenge was created, the premise of which was amazingly simple. Each evening as commuters travelled home from train stations, they would be set a challenge to produce the highest scoring word possible out of a combination of letters. This would be promoted on large format digital outdoor screens, with commuters invited to submit their entries via Twitter. Digital outdoor would then be used to complete the cycle by communicating the winning words back to commuters. The outdoor activity was combined with mobile, digital and experiential activity to drive meaningful business results. The execution High dwell time and the ability to dynamically update copy made digital screens in rail stations the ideal format for engaging commuters with #scrabblechallange. To drive engagement, each screen displayed a combination of letters and a call-toaction, inviting passengers to tweet their highest scoring words. Every week a different letter sequence was released, and on Fridays the highest scorer was awarded with a Scrabble prize. Once the entrants had submitted their words via Twitter #scrabblechallenge, Mattel’s social team responded to participants with encouragement and recognition for brilliant word entries. Finally, to celebrate the best entrees, the LIVEPOSTER content management system was used to create a live feedback loop. This saw the highest scoring words displayed via the screens at the key mainline rail stations.

A combination of online seeding, mobile marketing and experiential activity were then used to maximise impact and drive further participation, in conjunction with the digital OOH screens. Digital seeding (a combination of cross platform video and social PR) ran during the two days prior to the digital OOH activation and on the day itself. Along with this, two lines of Weve targeting were used on mobile. ‘WeLocate’ geo-fenced the digital screens at the stations where they invited travellers to look up and engage

Wendy Hill, Director of Customer Marketing and Brand Communications, Mattel

with #scrabblechallenge. ‘WeTarget’ broadened the reach by targeting all zone 1 commuters. The campaign was supported with experiential activity including a tour of Scrabble tile head characters visiting the highest footfall train stations. Branded Scrabble coasters were distributed to commuters whilst the tile heads entertained the public by spelling out different words encouraging photo opportunities and participation in the #scrabblechallenge.

Results There were over 60,872 online interactions (engagements) with the campaign and the cost per engagement was less than half the industry average. OOH really drove engagement, with rates 4 times higher when the OOH was live. The OOH activity also powered great click through rates on mobile. In the stations with digital OOH screens the click through rate was 1% (WeLocate) vs. 0.19% (WeTarget) in zone 1 commuter stations with no activity running.

“This was a great campaign demonstrating how we are driving brand engagement for Scrabble using digital out-of-home integrated with social media and mobile”

Best use of outdoor in a multimedia campaign Shortlisted: BSkyB Campaign: Sky Broadband Fibre Launch Specialist: Rapport Agency: MediaCom

The background Since its launch, Sky Broadband has constantly strived to evolve and develop its proposition alongside consumer needs, and to build on Sky’s established credibility of being best in class. June 2013 saw the Sky Broadband proposition become even stronger with the launch of their Fibre offering. Sky Fibre was to offer consumers all of the benefits of Sky’s unlimited broadband, but now at faster speeds. The aim was to enhance the credibility of Sky’s overall broadband offering and establish it as a highly desirable product among prospective customers. The objectives The key objective for the campaign was to launch Sky Fibre, establishing a strong position for the service in a maturing market. The campaign needed to create significant impact in a highly competitive market. The proposition to consumers was simple: demand more from your fibre optic broadband. Sky now had the ultimate broadband experience superfast and totally unlimited, in and out of the home, with award-winning customer service to boot. The primary target was ABC1 Sky families with BT broadband, but with a catch-all audience of all broadband users. The hard business objective was to sign-up customers. The soft objective was to encourage new customers to consider Sky Broadband, moving them further down the purchasing funnel. Brand positioning & consumer insight Consumer insight showed that advertising in the broadband category was seen as bland, with the same tired messaging displayed again and again. Ads tended to be offer-led or promote the same benefits – mainly speed and

awards. Here was an opportunity for Sky to be different, to reject the norm and be brave with communications to create stand-out. The strategy was to tell the world about the offering, but also to get broadband customers excited about the potential of unlimited fibre. The execution Using TV, OOH, radio, press, digital and cinema, this truly was a multimedia campaign, phased to launch, peak and then maintain communication between June and August. OOH played a critical role during all three phases of this multimedia campaign. National 48-sheets were used at launch to build impactful cover, with supporting TV. During the peak phase national 48-sheets, 96-sheets, digital OOH landmarks and the ‘Cromination’ were used to deliver scalable impact and disruptive stature. This was supported by TV, digital and press. To maintain the momentum and deliver cost-effective campaign longevity, taxi activity, including Sky Fibre 4G WiFi enabled taxis, were rolled out alongside TV and digital activity. In an innovative multimedia collaboration designed to involve and excite people, Sky brought together unlimited Sky Fibre taxis and Absolute Radio to broadcast a show live and unlimited on the streets of London. The flagship Christian O’Connell Breakfast Show ran a competition, giving listeners the chance to win Sky Fibre on-air, online and across social media platforms. Two callers a day played the ‘panic’ game, a superfast quiz, and listeners were asked to tweet about why they should win a Sky Fibre taxi for the day. On-air activity directed listeners to the Sky Fibre unlimited broadband hub, hosted at absoluteradio.co.uk for another chance to win.

The exciting outside broadcast concluded the promotion, with the entire four-hour breakfast show hosted from a Sky Fibre wrapped taxi moving around London. The cab’s integrated 4G connectivity kept the breakfast team on-air throughout the morning and allowed them to stop and interact with the unsuspecting general public. Social media was used to amplify the excitement of the brand campaign, with a 24-hour promoted trend running on Twitter to drive conversation and sharing.

Results Overall campaign results were impressive. It delivered the highest noticeability of all broadband campaigns. The taxi and radio promotion drove over 5,000 entries, created 8,722 unique user sessions through the taxi WiFi and delivered over 20,000 page views on Absolute’s website ( +54% above the norm).

Nikki Griffiths, Brand Marketing Manager – Communications, BSkyB

“The OOH Platform played a significant role as part of the media strategy to create impact and deliver a simple clear message to successfully launch Sky Fibre”

Best use of outdoor in a multimedia campaign Shortlisted: Confused.com Campaign: QuickQuote Agencies: PHD and Blis Media Specialist: Talon

The challenge People begrudge buying car insurance. They have to buy it and ultimately donâ&#x20AC;&#x2122;t want to have to use it. This makes people resent giving up their hard-earned free time to try to get the best deal. Despite that, traditionally Britons spend on average two hours searching for the best car insurance deal, making it a lengthy and timeconsuming process. With the launch of QuickQuote, Confused.com had a new weapon in its armoury. Using details from a previous Confused.com quote, existing customers could now get a quote for car insurance, simply by entering a registration number and their e-mail address, in less than 20 seconds. The online aggregator market is a very competitive sector. With similar product offerings, itâ&#x20AC;&#x2122;s hard to differentiate a brand on much more than creative flair. QuickQuote gave Confused.com something to shout about. However, insurance is such a low-interest category, the challenge was to use media to engage consumers in the QuickQuote proposition. The objectives The core business objective was to increase customers YOY in a very competitive marketplace and drive use of the new QuickQuote tool. The brand objective was not awareness (Confused.com has buckets of that), but for consumers to choose it over competitors. The communication objective therefore was to increase both likeability and perceptions of the QuickQuote service.

The strategy The strategy for the QuickQuote launch was to go beyond simply making people aware of the service. It was to find smart ways to use media, to offer people the chance to turn dead time into power time, by using QuickQuote while they waited. In combination with TV, OOH would drive high levels of awareness and reach. However, outdoor would also play a vital role in bringing the service to life and converting that awareness into use and brand preference through contextually targeting the London-centric, time-poor, light-TV-viewing, smartphone-using, ABC1 audience. Selecting high dwell-time environments, uniquely possible within the OOH market, consumers would be prompted to use QuickQuote while they were waiting around or killing time travelling to and from work. This would take advantage of the “smart boredom” time when consumers are educating themselves on the things that matter to them. Mobile would obviously be key to the experience, therefore combining this with the power of OOH would be key to success.

Presence on the London Underground and rail environments was further extended through a partnership with BlisMedia, which offers geo-locational and audience-targeted banner solutions through mobile. London Underground stations with free WiFi access were identified where the campaign was running. With this data, any consumers then accessing the internet via smartphones on the WiFi service were targeted. During the campaign, over 107,000 tactically-targeted impressions were served, and an impressive interaction rate of 5.58% was achieved. Merging the two media opportunities in this way helped to deliver a more complete OOH solution, and further showcase Confused.com to this knowledge-thirsty audience.

delivered fantastic use of Confused. com’s QuickQuote app, which grew tenfold over the campaign period. Research shows that both brand likeability and perceptions of the service increased. Likeability of the brand personality BRIAN the Robot also rose. Post-campaign, consumers also believed that Confused.com had the lead over competitors in regards to ‘speed of quote’. QuickQuote was seen as the most appealing innovation within the category, and a main reason to choose Confused.com instead of a competitor (All Morar brand tracking data Oct’13). During the period that the OOH campaign was live, Confused. com also experienced considerable revenue growth. A fantastic set of results in what is viewed as a lowinterest category.

Results The campaign was a success on every level. Contextually using outdoor to capitalise on moments of downtime

The execution National Rail and London Underground were combined in order to reach a high proportion of unique commuters. And with a cross-over rate of only 30% between the two environments, this further increased coverage. The campaign utilised central London Underground sheets and train car panels, with a focus on reaching audiences making the connecting journey from train to tube in the morning, or making the tube journey from central London back home.

Best use of multiple formats in outdoor 26 28 30 32 34

Microsoft, Microsoft Office 365 ‘Work from Anywhere’ Virgin Trains, ‘Fly Virgin Trains’ by Manning Gottlieb OMD Art Everywhere by Posterscope and Vizeum Camelot, National Lottery Instants ‘Surprising Numbers’ by Havas, Talon, Grand Visual and OMD TSB, ‘Launch of TSB Bank in the UK’ by Kinetic and MEC

Best use of multiple formats in outdoor Winner: Microsoft Office 365 Campaign: Work From Anywhere Agency: UM London Specialist: Rapport The challenge Office 365 is the office in the cloud that allows you to ‘Work From Anywhere’. The challenge for this campaign was to change the perception of the brand from being a purely ‘desk- based’ tool. Microsoft needed to contest Google’s dominance in the field of online solutions. Google had invested heavily over the years, resulting in higher awareness and greater familiarity within the field. The objectives The objective was to demystify the sector and the product. Microsoft needed to inspire IT decision makers, demonstrate why Office 365 is the best tool on the market, and in doing so make it a lot easier for them to sell into their businesses. The strategy Insight demonstrates that IT Decision Makers are sick of jargon, they’re time poor and don’t have time to go through reams of marketing detail. As a group they are risk adverse, practical and cynical. They are tech enthusiasts but not always pioneers or early adopters. They want straight talking, clear and simple communications. The strategy therefore was to build all communications on the core selling point of the product - that Office 365 lets you ‘Work from Anywhere’. But the campaign also needed to create something that went way beyond traditional media. The idea was to use media in smart ways to follow the audience through their working day, demonstrating how they could use Office 365 wherever they went. One simple USP was taken from this very complex product – and the entire campaign was then built around demonstrating that USP through

creative OOH media. The campaign would incorporate six outdoor media firsts, showcasing media innovation at its best. But it also went way beyond media, by creating an efficient, productive workforce on the move. The execution Four unique commuter hub dominations were created across the UK, ensuring that the Office 365 message was seen by on-the-go commuters. Sixteen mainline stations were WiFi-enabled, each with bespoke creative for added cut-through. On the trains themselves, train-table branding followed the audience on their commute into the office. A fleet of 225 NFC taxis hit London’s streets, with WiFi delivering useful content and a great service, allowing people to work on the go. The taxis showcased content from multiple Microsoft commercial campaigns: Office 365, IT STB and Dynamics. In airport lounges and the Eurostar terminal, OOH brought the ‘Work from Anywhere’ message to life where it was most pertinent for the time-poor business audience. Over 200 coffee shops across the country helped to get the message out to those on the go: 2,340 table wraps, 590,000 coffee sleeves and 525,000 sandwich bags put ‘Work From Anywhere’ into the hands of consumers on their lunch breaks. In the open air, playful lawn art helped commuters in Manchester, Canary Wharf and Edinburgh envisage their office outdoors The strategy was really brought to life with ground-breaking WiFi enabled Office 365 park benches, positioned in 20 locations in London, Birmingham, Edinburgh and Glasgow. These custombuilt, fully branded mobile offices were

a great way to physically demonstrate the core ‘Work From Anywhere’ USP. Results Office 365 was one of the fastestgrowing UK product launches in Microsoft’s history. Microsoft saw a 150% increase in small and mediumsized businesses using Office 365 and major business conglomerates have totally converted their IT infrastructure from Google to Office 365, citing the campaign as a key influence. Web traffic increased dramatically with 21 million visits compared to 1.4 million in the previous 6 months. The campaign reached over 10 million UK adults, delivered over 7,400 sessions on the WiFi benches and drove over 100MB of data downloads per month. Finally, bespoke research into the OOH campaign shows that 70% of those exposed would consider Office 365.

Philippa Snare, CMO at Microsoft UK,

“This innovative OOH campaign really brought the product to life, physically encouraged new ways of working, and contributed to one of our most successful launches in the UK.”

Best use of multiple formats in outdoor Shortlisted: Virgin Trains Campaign: Fly Virgin Trains Agency: Manning Gottlieb OMD

The challenge The challenge was to encourage consumers to reappraise Virgin Trains. Key to this challenge was creating a change in behaviour – a switch from the car (or plane in Glasgow) to the train, whilst also ensuring that consumers choose Virgin Trains over any competitors. The strategy Outdoor is the perfect vehicle to communicate to an audience when they are in their car, on autopilot, during their most sensitive emotional moments; traffic jams and grid lock. The aim was to force travellers out of autopilot and out of complacency with a clear message of ‘Time Flies’ on Virgin Trains. The media planning had to be very precise and attention to detail was paramount in exploiting this very specific, and often short-lived moment. By reaching the audience at the exact point of irritation, the campaign could create greater cut through and impact. The planning Modal choice is engrained in habitual behaviour, rarely considered, unplanned and unconscious. (“45% of behaviour is habitual, repeated daily and in similar contexts”).1 Behavioural shifts happen when people experience the greatest frustration with their current form of transport. In order to prompt consumers to switch from the car (or the plane in Glasgow) to the train, Virgin needed to identify all of the touchpoints that cause consumers the greatest frustration when driving (or flying). Another consideration was the modal shift balance, which changes significantly in and outside of London. Outside of London, 78% of journeys are made by car. However the reverse is true in the

capital where National Rail accounts for 57% of journeys made within, to and from London. The challenge in London was therefore about driving preference for Virgin Trains over any competitors. Using congruent channels in London (rail and underground) Virgin needed to push a speed message, as this is something competitors can’t compete with. A value message would support this, to counteract the view of Virgin Trains being hugely expensive.

achieved through the content and context of the advertising. Messaging was tailored to specific geographical locations, giving train journey times from that specific city to London or vice versa. In total the roadside activity included 16 different executions, each one referencing the nearest Virgin Trains station. Trucks and motorway service stations took a more generic theme and highlighted the benefits of train travel to a vehicular audience.

OOH was clearly the only medium which could match each of these touchpoints. Seven major OOH environments were identified to ensure all of the moments of frustration were covered. OOH therefore became the lead channel for the launch activity and accounted for 60% of the above-the-line media spend for this burst.

Results

The detail In March 2013 Virgin Trains went live over a four week period with 1,242 sites spanning the whole West Coast train route from London to Glasgow. The campaign needed to be highly targeted as the West Coast route is not relevant to everyone in the UK. All the activity was planned in proximity to the route using data shared by Virgin Insights. A medium weight was maintained across all formats, up-weighting the key cities of London, Birmingham, Liverpool, Manchester and Glasgow. Utilising business data, routes with the greatest threats were identified. Premium digital holdings were then secured for three months in the city centres to maintain post-launch presence. Tailoring the activity A key insight from all of the Virgin Trains regions was that Virgin Trains felt like a ‘London brand’. Activity therefore needed to feel more local. This was

The OOH activity really worked. It was responsible for 310,000 additional journeys, generating revenue nine times the total OOH spend. OOH outperformed every other medium on the Virgin Trains brand tracker with 18% of leisure and 31% of business users having seen OOH vs 12% leisure and 24% business users seeing the press activity. The outdoor activity performed very strongly against the business audience, who historically have been difficult to isolate. As a result, for the first time, econometric modelling has been able to directly attribute marketing influence on 1st class ticket sales. In addition, online searches for Virgin Trains increased by 10% in the first OOH in-charge period. 1. Thaler and Sunsunstein

Best use of multiple formats in outdoor Special mention: Art Everywhere Specialist: Posterscope Agency: Vizeum

The challenge Art Everywhere was the brainchild of entrepreneur Richard Reed, co-founder of Innocent Drinks. His aim was to showcase great British art across the UK and turn the streets into a very, very big art show. The altruistic project had one clear objective; bring UK art to the masses through out-of-home using the breadth and diversity of the medium, which would, literally, allow people to see art everywhere.

However, with no media or production budget available, the project needed a lot of goodwill to make it work. Richard worked in collaboration with the Reed Page Foundation, Art Fund, the Tate Galleries, Posterscope, Vizeum, 101 Creative Agency, Easyart, Blippar, ArtsMediaPeople, Clear Channel, JC Decaux, CBS, Primesight, Ocean and a host of other media owners and organisations to make this the largest exhibition of its kind in the world.

The strategy The creative content for the exhibition was ultimately decided by the public who were invited to help select the final list of works from 100 possibilities compiled by a group of expert curators. Voting took place on Facebook, with the public ‘liking’ their favorites. After several weeks of debate and discussion, and 30,000 ‘likes’ later, 57 British masterpieces were chosen to feature in the project. The most popular British masterpieces selected by the public

ranged from Waterhouse’s ‘The Lady of Shalott’ at number one, to Cornelia Parker’s ‘Cold Dark Matter’, and all combined to create a powerful, diverse and confident public exhibition. The campaign lent itself perfectly to a multi-format, multi-environment OOH strategy, not only as an effective way of demonstrating a real sense of ubiquity, but also allowing for synergy between creative content and platform. Landscape and portrait sites, small and large formats, digital and paper, and roadside environment through to bars were all selected to do full justice to a campaign of this kind. With no budget available, the UK poster industry generously donated £3 million worth of advertising space for the two week period in August 2013. Money was also raised through crowd-funding for the poster production to convert the billboards into works of art. In all over 1,000 individual donations from people around the world were received. The execution Designs were allocated according to which would resonate most effectively in a specific location, format or site. So, for example, Peter Blake and Jann Howarth’s brilliant Sgt Pepper’s Lonely Hearts Club Band album cover ran in Liverpool. Whereas David Hockney’s vibrant ‘A Bigger Splash’ was juxtaposed with the less than vibrant feel of the London Underground to create a campaign that was impossible to ignore. The more popular works appeared on the more high profile sites, whilst on digital sites, where production costs was less of a concern, multiple images were used. Roadside 6-sheets were at the core of the campaign, with over 2,000 sites being visible to over 60% of the population and covering all major towns and cities across the UK.

On top of the cover-building 6-sheets, more than 300 48-sheets and 96-sheets provided the selected pieces of art with a huge canvas to truly showcase the inspirational work on an even grander scale. The use of more than 6,000 digital OOH screens allowed for the implementation of frequent copy rotation showcasing multiple pieces of artwork, whilst also provided additional reach and standout. Ensuring the campaign was visible to all, over 1,500 ‘leisure’ locations were also accessed nationwide, with multiple formats used across the busiest malls, bars and cinemas around the country, thereby showcasing art to the public when they were in a relaxed mindset and most likely to talk about it with their friends or via social media. Not only was the activity fully integrated from an OOH perspective, to help further engagement with the public, the campaign also involved the integration of technology, competitions and social buzz. The ArtEverywhere poster sites were made interactive through Blippar technology. This enabled smartphone users to point their phones at a poster to access more information about each piece of art, such as where the original was displayed, or more information on the artist. An official Art Everywhere competition was also incorporated by Easyart, where the public were challenged to take some ‘out-of-theordinary’ shots of Art Everywhere posters for the chance to win a Leica camera. Adding in #Arteverywhere helped to encourage the public to share their photos via Instagram and twitter, taking the campaign beyond the streets and into the online world.

Results Art Everywhere was a massive success delivering; over 90% cover of the UK population, 22,000 free sites valued at £3 million; 57 different pieces of creative; 850 news stories - including major networks CBS news and BBC News; 380,158 total impressions from PR exposure; 7,504 augmented reality interactions; 59 million Twitter impressions; 6.5 million Facebook impressions, and a Guinness World Record. Most more importantly, the objective was to bring UK art to the masses using a very public and very accessible medium. Using British masterpieces as content on out-of-home sites did exactly that. Art everywhere is now a global movement. Not only is it set to be repeated with different works of art in the UK across the summer of 2014, it has also made it to the US where images of great American art will be seen from coast-to-coast throughout August.

The judges gave a special to Art Everywhere

“A fantastic, charitable celebration of art, which was truly collaborative. A great initiative, this campaign was genuinely loved by the public and is a brilliant advert for the industry.”

Best use of multiple formats in outdoor Shortlisted: Camelot, National Lottery Instants Campaign: Surprising Numbers Agencies: Havas, Grand Visual and OMD Specialist: Talon The background National Lottery Instants (Scratchcards and online Instant Win Games) produces more than six winners every second. Nonetheless, amongst occasional players, win belief has historically been stuck at relatively low levels. The challenge was to tell the story behind the number of winners and make this more relevant and meaningful. The objectives The core objective was to persuade less frequent players to play more regularly and entice new players into the brand. National Lottery Instants has some mind-blowing statistics around win frequency. The challenge was to communicate those statistics in a ‘surprising’ way to invite an emotional rather than rational response. Research demonstrated that the numbers were almost too big – to the point that they were meaningless statistics. The idea was to unlock the opportunity by making frequency of winning seem more ‘real’ and digestible. The strategy The strategic vision was to put win frequency into everyday context, to translate the “6 winners per second” claim into “real world” experiences. The idea would be brought to life across multiple channels including TV, press and OOH, with each message tailored appropriately to each media environment. Digital OOH would be used to drive the relevance and message impact. The chosen environments efficiently targeted the primary audience of lighter Instants players (younger, upmarket urbanites) and offered key windows of opportunity when Instants could be purchased. Combined with this, rail and

underground formats presented a great opportunity to incorporate live data feeds, facilitating bespoke messaging by location and generating real context for the campaign. Furthermore, with Scratchcards being primarily an impulse purchase, the digital screens would be located in close proximity to convenience retail stores. The execution Multi-environment, multi-format Digital OOH was used during commuter hours in order to keep targeting as efficient as possible. The campaign ran across roadside, rail and London Underground screens. The rail and London Underground environments provided a combination of frequency of message and high dwell time, with the premium large format roadside delivering impact and bringing an element of stature to the campaign. In total over 260 individual digital screens across three key environments delivered over 68 million impacts across the two week campaign period. In order to deliver relevant and contextual messaging, creative was served according to mind-set and time of day. Utilising Grand Visual’s Open Loop platform, along with a bespoke template designed by Camelot’s in house Studio, tailored content was delivered across 160 individual locations. Live data feeds from TFL and National Rail websites were married to Instants winner data providing contextualised content based on the next departing train. Messages unique to each screen location were centrally managed, updated and dynamically delivered throughout the day generating messages such as “There will be 4872 winners before the 16:50 to Basingstoke leaves”. There were

hundreds, if not thousands of potential variables that could be thrown up based on the destination of train/tube, time of departure and length of journeys all timescales equating to a different number of winning tickets. Alongside the contextual messaging, bespoke copy for other formats was also produced by location, ensuring relevance at all times. Key arterial DOOH showed the number of winners in the time it would take to reach the city centre. Digital 6 sheets and London Underground screens highlighted a variety of messages, from number of winners’ vs daily station footfall or winners’ vs time to the next tube station. This ensured continuity across the entire campaign. It created a highly contextual, highly relevant and customer centric campaign that elevated the brand positively into the commuter mind-set, delivering the message in a striking and unique way. Results The objective was to persuade infrequent, occasional and new players to play Instants more often by changing the perception that “nobody ever wins”. The results clearly demonstrate that the strategy worked. 75% of people who saw the campaign identified the core messages of ‘more winners, more prizes, and more chances to win’. During the week the campaign went live, penetration of infrequent players increased to 19% vs. 3-9% over the previous 12 months. One pound Scratchcard sales also had their biggest ever selling week in the last 6 years.

Best use of multiple formats in outdoor Shortlisted: TSB Campaign: Launch of TSB Bank in the UK Specialist: Kinetic Agency: MEC

The background On the 9th September 2013 TSB launched as a standalone banking brand. Around 4.6 million Lloyds Bank customers became TSB customers overnight. After an 18 year absence from the high street, TSB, with a 200 year old bank heritage, needed reawakening. The objectives Following an EU directive, TSB was launched as a new banking brand to the market after an agreement between the European Commission, HM Treasury and Lloyds Banking Group in November 2009. Given the existing negativity towards the banking industry it was never going to be an easy transition. The campaign would need to take into account the many complexities and sensitivities involved, and the multiple stakeholders. Customers were not the only consideration. Staff were at the forefront of the change and were required to be brand ambassadors to ensure the whole transition was a success. The business objectives were to welcome customers to TSB, and TSB to Britain, and to launch the brand nationally to three core audiences: • Commentators (politicians, journalists and the financial world) • Colleagues (people working for TSB in branch and in call-centres) • Customers (existing Lloyds TSB customers) The strategy The campaign had to strike a careful balance - to introduce TSB with scale and stature, using OOH sites that could communicate the business as a significant, well-established entity

and build brand awareness. But it also had to position TSB at the heart of the community, it had to speak to the whole country in a personal and relevant manner in order to avoid the risk of being associated with the large international banks. The strategy was to combine stand-out premium OOH formats, local proximity sites and bespoke creative at an unprecedented level using localised messaging to add relevance and meaning. The launch campaign ran across a two week period on OOH, followed by further activity to sustain the core campaign message. Research on weekly decay rates dictated a three week pause in order to ensure the familiarity of the new TSB brand did not drop back to a base level post-launch. Kinetic’s proprietary mapping tools were used to pinpoint optimum sites in the vicinity of new branches and Route data was used to understand which formats indexed well against the target audience and also drive coverage.

provided a conversation starter for MPs. Mobile and tablet banners aligned with the OOH activity by geo-fencing Westminster with localised messages on mobile devices. Dominating the Cromwell Road (one of the country’s busiest routes and a real wealth corridor) targeted over 164,000 road users every day throughout the first two weeks of launch. Huge impact was also achieved in key regional cities with banners in Bristol and Manchester, as well as in Edinburgh as part of a domination of the Haymarket skyline. Digital escalator panels on both London and Glasgow Underground networks brought static OOH to life to over 1,248,050 commuters. Additional placement of 48-sheets and 6-sheets within proximity to hundreds of branches provided local support to colleagues and customers. As a result over 461 unique branches were supported directly via the national campaign.

The execution

Results

In the biggest ever example of utilising bespoke posters within the finance sector, over 443 posters carried a localised town message across proximity 48-sheets, 6-sheets and rail 48-sheets. National 48-sheets and 96-sheets were also used to drive mass reach and frequency, achieving 67% coverage to deliver impact and recall. Large format presence extended onto national rail and London to increase reach and deliver dwell time to ABC1 commuters.

The campaign delivered an estimated 75% cover with a frequency of 20%, reaching 12,342,500 ABC1 18-54 year old adults over the two week launch period. Social media tracking played a significant role, not just in measuring Twitter sentiment but also gauging opinion of the public and picking up reaction to the localisation of the OOH. Twitter sentiment measured users’ positivity of TSB at 43% after week one of the campaign, a significant 6.6% increase on the previous average.

Station takeovers using premium formats targeted commentators during launch. A series of 35 sites ensured that the City audience were welcomed to TSB, whilst at Westminster station a multiformat domination at the MP entrance

Best use of digital in outdoor 38 Google, ‘Google Outside’ 40 Mini, ‘Mini Not Normal’ 42 Danone, ‘Volvic Juiced’

Best use of digital in outdoor Winner: Google Campaign: Google Outside Specialist: Talon Agencies: OMD International, Grand Visual and R/GA

The challenge Google Search is part of most people’s everyday lives. So much so that Google is no longer merely a search engine, it is a verb in our everyday vocabulary. Before Search, it was cumbersome to find and apply information. Think Yellow Pages, encyclopaedias, libraries. Now it is vastly quicker and easier. Search has freed our time and energy from gathering and memorising information, to processing and applying it. This shift means Search is more than just useful, it is transformative. Almost like magic. But the real magic is what happens inside our minds, when we process information and make it relevant to our lives – finding information and transforming it into knowledge that is used to do more, experience more, and ultimately be more. The only problem is, Googling the answer to a question has become so natural that we rarely spare a thought for just how magical it is. The objectives and strategy The objective therefore was to remind people of the magic of Google Search. The strategy was to radically change the context of Google Search, to remind people just how magical Search is by taking it beyond mobile and desktop, to a whole new environment, for the very first time. A new concept was born; Google Outside. Harnessing the power of digital out-of-home, Google Outside would bring the best of Google Search to the city. Powered by Google Search, digital OOH screens would become smart, context-aware and unique. Each screen would anticipate its audience’s needs, showing genuinely useful, entertaining information, and ultimately help people get more out of their city.

The execution During a one month pilot, 160 locations were identified across London, at bus shelters and across the London Underground. Using these networks the magic of Google Search was demonstrated at times when Londoners could appreciate it most; during the minutes spent waiting for a tube, at a bus stop, in between places, people and priorities. These rare hiatuses in Londoners’ frenetic everyday lives can be moments of relative calm, reflection and inspiration. This is when Google Outside would be most useful, entertaining and inspiring.

Judges’ comment

“A brilliant campaign that helped people to get more out of their city. It was technically fabulous and genuinely useful.”

Together, these digital OOH networks created a city-wide presence. They allowed Google to reach Londoners during those in-between moments, in different contexts and touchpoints, during daily commutes, evenings out or weekend shops. Each screen was individualised, displaying unique content created using real-time data from dozens of live sources and reflecting factors such as day of week, time of day, weather, location, audience mindset and screen type. If it was morning, somewhere unfamiliar, and you needed a coffee, Google Outside recommended cafés within walking distance. On cold, windy evenings when you wanted to get indoors, Google Outside recommended cinemas and movie times nearby. Even if you were just waiting for the bus, Google Outside showed interesting facts about a nearby landmark that you probably saw everyday but knew nothing about. It was a beautiful, simple idea, but there was a lot more to it than met the eye.

Digital OOH has long been able to deliver real-time, relevant content tailored to environments, dayparts and audiences. Google Outside took these capabilities and made them work harder than ever before. Over 3000 individual stories were developed to give Londoners a highly relevant experience at every location, any time of day. Over 100 gigabytes of data were generated and distributed to screens; many hundreds of times more than any previous live and dynamic Digital OOH campaign. The campaign was truly collaborative with over 20 people from six agencies and media owners working full-time for 28 days to deliver the most complex OOH campaign ever seen in the UK. Magically, despite the complexity of the backend, all people saw was relevant and useful information right in front of them. Results The public response was overwhelmingly positive with research showing that 92% of people who saw the campaign found the content interesting, 89% found it informative, 78% learned something new and 68% found it personally relevant. Perception of Google as an innovative company increased dramatically. Most importantly, Google reminded Londoners of the magic of Search with 77% agreeing that Google simplifies their lives, 74% agreeing that Google helps them discover and do more, and 62% agreeing that Google suggests information without them having to ask. One in five people who saw Google Outside downloaded the Google Search app, an outstanding conversion rate.

Best use of digital in outdoor Highly commended: MINI Campaign: MINI NOT NORMAL Specialist: Posterscope Agencies: Vizeum, Iris, Koffeecup Technical Platform by: LIVEPOSTER

The challenge

The strategy

At the start of 2013, MINI faced a significant challenge to its brand. The small car market was getting bigger, encroaching on MINI’s once unique space. In order to re-establish its core DNA as the most inventive brand in the category, MINI launched it’s NOT NORMAL global positioning. The ultimate aim was to drive consideration, preference and purchase intent.

MINI owners love their cars more than any other car owner. They are more likely to talk about them and express their love for MINI in creative and interesting ways. The strategy was to explode this NOT NORMAL relationship and inventive spirit to the masses. Research showed a desire among MINI’s core target audience (post-modern trendsetters) for stimulation, surprise and serendipity. In order to get

this audience participating, promoting and preferring MINI the idea was to create a MINI ‘community’ campaign to give them a taste of what it’s like to own one. So MINI owners across Britain were asked to submit their NOT NORMAL declarations of MINI love. These declarations were then celebrated via broadcast media, making each execution an authentic acknowledgement and public salute to MINIness.

being 100% digital, enabling MINI to update multiple creative executions to sites in real-time. The execution Fans were encouraged to share their MINI-inspired creations via the Tumblr hub or on Twitter using #MININOTNORMAL. Tributes were then saluted on over 1,100 digital poster sites. Using a combination of Route, OCS and Touchpoints the target consumers’ daily routine was mapped when out of home. The optimum times to reach them were then identified within a range of frequently visited environments to create an ‘always on’ effect, and encourage a sense of scale and ubiquity. These included the London Underground and mall and rail environments, which had relatively long dwell time (providing ample time for the audience to appreciate the creative content) and roadside. A combination of small format networks were used to drive high frequency against the target audience, providing optimum opportunities to disrupt their daily routines. These included mall digital 6-sheets, roadside digital 6-sheets and London Underground screens. To add impact, large format roadside, rail and retail screens were also used.

Out-of-home provided the perfect platform to deliver these salutes in an engaging way, true to the original MINI spirit. To hit MINI’s growth targets, scale was critical. But the campaign still needed to feel organic, authentic, human and social. The strategy was to use multiple formats – to create a feeling of ubiquity, maximise awareness and reach the audience in the relevant environments and mindset – while also

Three weeks in, the campaign took a surprising twist, with the ultimate NOT NORMAL moment. Using five digital billboards and android tablet-enabled spotters, anyone driving a MINI down London’s Cromwell Road triggered a personal NOT NORMAL salute across each of the screens. The personalised messages were tailored to each passing car, sequenced to the speed of traffic and designed to raise a smile, such as “Who da man, you da man and your Countryman man”.

Drivers were rewarded with a series of gifts throughout the day, from bacon sandwiches, to flowers or a tank full of petrol at a designated MINI-branded roadside stop hosted by a full activation team. At the end of the campaign MINI drivers had a chance to claim their fame, with photos of themselves in their MINIs displayed on the digital billboards, This was also delivered in real-time. When no MINIs were present, the sites carried the original NOT NORMAL copy, tying the activity neatly into the wider marketing campaign. The concept was authentic and uniquely MINI. Results The NOT NORMAL campaign met all objectives and exceeded targets. Over the course of a month, 230,000 people engaged with the campaign via social media whilst millions watched the story unfold through digital out-of-home and PR. 2,217 pieces of consumer content were shared and 29,420 new fans and followers were recruited (twitter following tripled). 3,853 visitors to the campaign hub went on to look for a new MINI on mini.co.uk and 1,914 salutes were made to MINI drivers along the Cromwell Road (in just one week). Post campaign analysis (ICE research) showed a 33% uplift in brand preference, 44% uplift in brand purchase intent and 27% uplift in brand consideration (For which OOH was 67% responsible).

Best use of digital in outdoor Shortlisted: Danone Campaign: Volvic Juiced Specialist: Kinetic Agencies: MEC, Frank PR and Grand Visual

The challenge Volvic Juiced is in the most competitive of advertised markets. Consumers are bombarded with soft drink alternatives on TV, in supermarkets or CTN’s. The concept of Volvic Juiced is appealing – a refreshingly juicy drink that is the perfect blend of delicious fruit juice and thirst quenching Volvic Natural Mineral Water. Yet getting this to resonate with consumers and persuade them to trial isn’t easy. Persuading retailers to give it head space and shelf space isn’t a given. In fact, getting the idea on the radar of trade buyers who are inundated with marketing pushes and TV launches can’t be assumed. Gaining attention for a new product isn’t just earned by spend, it has to be created. The objectives for the campaign were; to prompt consumer trial; and to engage and excite about both the product idea and the emotional brand positioning. The strategy Volvic Juiced had planned a UK wide tasting tour and new TV ad (which launched earlier in the year), but they needed an activation to bring the brand concept to life. The communications strategy recommended a combination of TV (as the main advertising medium), traditional OOH and an interactive heropiece to the campaign. The key message was refreshingly straight forward “Volvic water + fruit juice = Refreshingly Juicy”. The brand positioning was ‘bursting with life and filled with volcanicity’. In May 2013, the Volvic Juiced idea launched on one screen in the Bluewater shopping centre in Kent. The concept of the game delivery was simple; consumers get “juiced” by physically bursting as many falling fruit as possible

in 60 seconds to win refreshing prizes of Volvic Juiced. Grand Visual provided the bespoke technical build as briefed and project managed by Kinetic. The latest interactive touch system was deployed to make full use of the giant screen surface. Zonal sound technology was employed to draw customers to the site and the space in front of the screen. The site was installed with a 165-inch ultra-HD digital touch screen with full surround wrap, floor decal and an innovative ‘smart window’ to both showcase the product and achieve a fully interactive experience. To ensure consumers of all ages were engaged, the game had different levels of difficulty, meaning that the youngest child or most competitive parent could play. The campaign ran for two weeks. To keep it active and interesting throughout the day, a bonus game allowed users to win special prizes. A different version of the game was uploaded on to Volvic Juiced’s Facebook page where users matched fruit to win prizes and a place on the coveted leader board. This encouraged repeat play, social sharing, positive fun and brand understanding. Sharable photos of Bluewater were used to gain online and mainstream PR, which directed consumers to the Facebook game. Key visuals were also skilfully deployed to achieve highly impactful exposure, spreading the Volvic Juiced message throughout trade and consumer worlds across a number of digital platforms. The most prominent locations were picked out for the audience. Cinema lobbies nationwide were chosen to tap into tech-trendsetters’ love of films and the trendiest areas of London were

picked to reach them when they were out and about. A number of high footfall entertainment areas in London were also identified. Results One big idea, using digital innovation in a way that brought the product to

life, tapped into human behaviour, with the effect amplified exponentially. The sales uplift was an amazing 45%* and many of the KPIs were far outstripped. The Volvic Juiced interactive Billboard achieved over 6,000 game plays (KPI: 4,000). Interaction with the Volvic Juiced Ambassadors, helping to raise

awareness with shoppers, numbered over 8,800 (KPI: 5,000). The campaign also drove over 23,500 Volvic Juiced Burst Facebook game plays (KPI: 10,000) and over 2,200 new Facebook fans. * Source: Nielsen scantrack average Base Value SPPD (Grocery) (WE 06.04.13 - WE 01.06.13 vs previous period)

Pam Pines, Head of Marketing, Danone Waters UK

â&#x20AC;&#x153;The interactive billboard game enabled us to build proximity directly with consumers, allowing them to have fun while playing a game that was literally bursting with the Volvic Juiced brand concept. The game was extremely popular, entertaining thousands of shoppers and allowing them to get hands on with our brand. Over the two weeks there were more than 6,000 game plays, plus more than 8,800 members of the public stopped to talk to our Volvic Juiced ambassadors and sample the drink.â&#x20AC;?

Best use of continuity in outdoor 46 Coca-Cola ‘#Shareacoke’ 48 BT, BT Sport ‘Channel Launch’ 50 Nestle, Nestle Confectionary

Best use of continuity in outdoor Winner: Coca-Cola Campaign: #ShareaCoke Specialist: Posterscope Agencies: Vizeum and MediaCom Technical platform by: LIVEPOSTER

The background Coca-Cola is a celebrated supporter of the OOH medium, creating some of the industry’s most recognsiable ads ever. In 2013, this continuity would be vital in helping to support a unique promotion; the iconic Coca-Cola branding was to be removed from products and replaced by the UKs most popular names. The promotion was designed to reignite the nation’s passion for Coca-Cola by encouraging people to #ShareaCoke with the people they love, ultimately to drive volume.

Judges’ comment

“Personalisation on a game-changing scale. The campaign really caught the public’s imagination and was warmly embraced.” 46

In order to achieve this, a fully integrated campaign was required to deliver; scale; relevancy through personalisation; salience throughout the shopper journey to drive sales; and an emotional connection between the brand and consumers. Importantly the campaign also had to remain fresh over a five month period. The campaign would need to connect with Coca-Cola’s core audiences: young adults, teens and gatekeepers (a key audience who purchase carbonated soft drinks for the family).

The strategy and execution A large multimedia campaign was planned to create a sense of ubiquity, to encourage consumers to talk about Coca-Cola and engage with the promotion. OOH played a crucial role in this with significant investment placed at key moments to drive awareness, scale and resonance. Digital OOH would play a key part too, linking to social media and giving consumers the chance to reveal their sharing stories and see these on screen. Key phases were identified where OOH could drive strong

engagement and maintain consumer momentum over the course of the campaign. Phase 1: Launch A national showcase was created to deliver instant noticeability to a mass audience. 150 names would be featured on-pack at launch, so high frequency was imperative to display multiple creative executions each showing a different name. Different formats were used to reach consumers at multiple touchpoints. Roadside 48 and 96 sheets

built cover and created gravitas along with key city digital screens, bus t-sides targeted gatekeepers along the path-topurchase, rail and London Underground formats targeted people in moments of togetherness on journeys with friends and families and digital mall screens targeted teens and young adults socialising with their friends. Phase 2: Father’s Day A key moment in the promotion, with a limited edition aluminium ‘Dad’ bottle released. Digital OOH was a perfect way to allow consumers to engage with the promotion and show why they wanted to #ShareaCoke with their Dad. Consumer tweets were integrated into digital creative, providing an emotional connection between consumer and brand. Phase 3: New names New names were launched in phase three. To inspire consumers to continue sharing with friends and family and to build continuity, a campaign similar in structure to launch phase was delivered. Again, each format ran multiple executions showing key reasons and moments for sharing. Social content was once more integrated to showcase the real-life moments of sharing. Phase 4: Thank-you The campaign proved hugely popular with consumers, with many people uploading photos of themselves sharing a Coke with friends. In recognition of their contribution, a national digital OOH campaign was activated, showcasing a thank-you message consisting of consumers’ social contributions collated from Twitter and Facebook.

Results The campaign proved a massive success. Following burst one, research (Dipsticks) showed that OOH formats drove strong awareness and truly demonstrated the personalisation of the campaign. 23% of respondents only saw the OOH activity, demonstrating its importance in delivering cover within the multimedia campaign. The campaign resulted in a 5% shift in spontaneous brand mentions (strong results for such a large brand) and OOH delivered a 28% increase in advertising awareness. There were also strong shifts in promotion awareness and word-ofmouth. When asked what they currently associate with Coca-Cola, there was a 24% increase in spontaneous mentions of ‘Share a Coke’. The campaign achieved the objective of creating personal relevance and generating an emotional connection; it drove an increase in the percentage of people purchasing Coke to share with their family and friends. OOH was essential to the overall success of the campaign; it drove significant incremental reach; provided constant encouragement to consumers to interact with the campaign; remained socially integrated throughout; and brought the visual takeover to the streets over the course of the summer. Most importantly it drove sales for the brand.

Best use of continuity in outdoor Highly commended: BT Sport Campaign: Channel Launch Specialist: Posterscope Technical platform by: LIVEPOSTER The challenge With an audacious bid of over £1.2bn, BT secured the broadcast rights to 38 live Premier League football fixtures for the 2013/14 season. Also included was an exclusive deal with Premiership rugby. BT Sport would be free to BT broadband subscribers, making live Premier League matches free to view for the first time in more than 20 years. BT Sport’s campaign had to capture the public’s attention. It needed to appeal to the UK’s 20 million broadband subscribers and persuade them to add BT Sport to their TV package or consider switching broadband to get it for free. The campaign also needed to challenge Sky’s 20 year domination of sport broadcasting, but with a much smaller budget. The objectives The main objective was to drive sales in the first year. The campaign needed to quickly establish BT’s credibility and position BT Sport as a desirable proposition. Other objectives were to ensure a sustained campaign, to drive consideration and subscriptions, to build credibility amongst influential sports fanatics and the wider sport viewing audience. BT also needed to drive home the fact that live Premiership Football was no longer exclusive to Sky, that BT had 18 of 38 top picks and exclusive coverage of Premiership rugby. The strategy BT identified two male audience subgroups; Sports Fanatics, who have to watch live and are prepared to pay for BT Sport; and Dabblers, who watch key sporting fixtures on the big screen and won’t pay Sky’s subscription.

Posterscope’s Outdoor Consumer Survey showed that the target audience, ‘men who regularly watch Sky Sports’, mainly commute via car, train and underground, whilst 69% notice roadside billboards and underground/rail posters. Sports stadia ads, beer mats and posters in pubs and bars also over indexed. Research has shown that in order to change public perception of live sports broadcasting, messaging should be consistent and continuous over four weeks, with creative refreshed to maximise awareness. Therefore a sustained, heavyweight presence with three extended phases was planned. Built in was a digital strategy, which would allow BT to gain a competitive edge by using engaging dynamic updates to hold attention and drive action. The execution Phase 1 – Intrigue From April 1st a nationwide tease campaign was delivered to build anticipation amongst influential sports fanatics prior to the May 9th launch announcement. Targeting only Sky Sports pubs and Premiership stadiums, this ran on small formats, digital screens, beer mats and crowd-facing perimeter boards to capture sports fanatics and hijack live sporting moments covered by Sky. The activity was expanded to amateur and five-a-side football clubs to sow the seed at grassroots level. A simple creative encouraged fans to find out more on btsport.com and Twitter was used to perpetuate word-of-mouth among the wider public.

Phase 2 – Announcement On May 6th a national four week campaign was launched using roadside, rail and underground 48 sheets to deliver 87% cover. 96 sheets and premium roadside were used to add stature and gravitas. In the first two weeks sports fanatics were targeted by up-weighting stadium proximity panels around the season’s final fixtures. On 10th May, coinciding with the official media launch announcing BT sport as free to view, the campaign was reposted with an ‘Every Kick Free’ message. At 12am on May 10th, demonstrating the power of digital OOH at scale, 81 iconic digital screens were switched on to amplify this launch message. Creative impact was optimised using multiple rotating copy to coincide with fixtures. Phase 3 – Harvest With most consumers known to subscribe around season kick-off, the four week nationwide campaign was repeated on 29th July to boost awareness around the Aug 1st channel launch and drive subscriptions. Proximity panels around stadia were again up-weighted to convert sports fanatics attending the opening fixtures. Creative was regionalised in line with local football teams to maximise relevance. Digital OOH delivered maximum value through; dynamic updates displaying multiple creative; countdowns to channel launch and season kick-off; data feeds from Facebook polls; and live scores. Phase 4 – Tactical To drive continued subscriptions tactical digital bursts were reactivated around BT Sport fixtures throughout September to December.

Results Brand awareness increased from 34% on May 9th to 67% by campaign-end on August 25th. Spontaneous awareness also increased from 5% to 35%. Research showed a 63% recall on seeing BT Sport posters and a shift in brand perception of BT Sport vs. Sky. The campaign resulted in a halo effect for BT Broadband with net advocacy up 4 percentage points BT Sportâ&#x20AC;&#x2122;s increased awareness boosted consideration for BT broadband. Most importantly the campaign delivered over 2.5 million BT Sport subscribers in 2013, far exceeding the target.

Best use of continuity in outdoor Shortlisted: NestlĂŠ Campaign: NestlĂŠ Confectionary Specialist: Posterscope

The background

The strategy and execution

Results

The UK confectionery market is an extremely competitive arena dominated by three global players all fighting to retain market share; Cadburys leads with majority share followed by Mars and Nestlé respectively. With a low price point, impulse-led marketplace, the confectionery consumer is open to experimentation. This has driven greater competition as consumers are happy to choose novelty over the established choice. Novelty is therefore increasingly becoming a strong driver for market growth.

Convenience is Nestlé’s most profitable sales channel and CTN 6 sheets are a historically proven sales driver, acting as the last window of influence due to their strategic placement outside store. CTN 6 sheets provided the optimal solution for this campaign - to encourage consumer purchase, deliver high levels of coverage, reach 70% of the audience and perform a valuable trade role, supporting the convenience store and influencing stock control.

The campaign performed phenomenally well. EPOS data, conducted after each burst showed dramatically increasing sales well above category norms for each brand advertised. The campaign also drove a halo effect for the wider portfolio - a rarely achieved holy grail for many brands.

The challenge 2013 was forecast to be a tough year; the confectionery singles market was in decline and rising commodity prices meant that the price of Nestlé’s products would increase. Moreover, Nestlé’s brand equity was in decline, and whilst consumers still bought into the hero brands Kit Kat and Rowntrees, they didn’t engage with the brands as much as they once had. To gain momentum and combat market share erosion, Nestlé had four new product developments planned within the first half of the year. These included a new Kit Kat chunky variant (to be decided via a competition by the public), a Kit Kat 5 finger limited edition, Rip Ems and Squidgy Speaks. The challenge was to showcase these novelty products under the umbrella of the established brands, to drive awareness, trial, consideration and engagement amongst the key target audience (tech-savvy, mobile 18-34 adults) and to do this with maximum budget efficiency.

Research conducted previously for Kit Kat demonstrated that the 18-34, tech-savvy target audience welcomed brands talking to them. Nestlé therefore prompted further engagement through the inclusion of NFC and QR codes onto 10% of the 6 sheet panels. This drove consumers to social media with their smartphones, which was central to each of the brands’ online promotional activity. For the new Kit Kat Chunky variant, OOH was also used to launch the competition itself. Bus t-sides were used to provide good coverage of the target audience in the right environment (on the high-streets in proximity to convenience stores).

The main objectives of driving awareness, recommendation and purchase intent were achieved. Results showed that the long term ‘novelty’ CTN 6 sheet strategy worked. People who saw the posters frequently over an extended period of time were most likely to buy the product or recommend it to others.

A continuous approach was used, with an on/off phasing across the 6 month period. The same panels we used for each burst to build upon existing ad awareness. Budgets were committed upfront, in order to maximise cost efficiently, whilst also ensuring flexibility was built in to allow for the ‘vagaries’ of new product launches. The additional value gained, enabled those launches with lower budgets to be increased. To further bolster sales of the new products mailers were sent to shop owners two weeks prior to each OOH campaign to ensure they had plenty of new product stock.

Notes

We are committed to ensuring excellence in outdoor planning. If these campaigns have inspired you, call our sales team on 020 7478 2200 (national) or 0845 894 8937 (regional) to ďŹ nd out what we can do for you. Clear Channel UK 33 Golden Square / London / W1F 9JT / United Kingdom T +44 (0)20 7478 2200 / www.clearchannel.co.uk / @clearchanneluk www.clearchannel.co.uk/planningawards