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Celebrating the best of outdoor


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Foreword

Contents 04 The judges

06 The winners and the shortlist

07 Best use of outdoor in a multi-media campaign

At Clear Channel, we believe that great advertising campaigns come about through intelligent and brave planning, as much as through powerful creative work. That is why, for the past six years, we have run the Outdoor Planning Awards with our partner Brand Republic.

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This booklet is a collection of the very best campaigns that were entered into this year’s Awards across five distinct categories. We invite you to dive in and gain inspiration and insight into the many ways in which outdoor can build relationships between people and brands, to ultimately deliver commercial results.

Best use of multiple formats in outdoor

Our Grand Prize winner, Digital UK, demonstrates the fundamental power of outdoor to reach people that other media simply cannot, and the effectiveness of planning at a micro-level (p.08). Camelot’s entry in the new digital category (p.18) provides a perfect example of how rigorous planning can be applied to digital outdoor, resulting in campaigns which provide an instant boost to sales. Campaigns entered in the innovation category demonstrate the new, exciting possibilities offered by outdoor, such as augmented reality (Lynx p.36) and using outdoor as a route to mobile commerce (20th Century Fox, p.44). We are committed to making the most of the opportunities offered by the outdoor medium to deliver campaigns our partners can be truly proud of. Through ‘Play’, our growing digital portfolio, we are exploring different solutions enabled by digital technology and ensuring that these work effectively for clients. We are now seeing fantastic results brought about through innovative thinking in all areas of our business, a new flexible attitude and, above all, great partnerships founded in trust and understanding. Matthew Dearden CEO and Outdoor Planning Awards Judge, Clear Channel UK

Best use of digital in outdoor

26 34 Best use of innovation in outdoor

50 Best use of continuity in outdoor


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The judges (left to right below) Marc Mendoza, CEO, MPG Media Contacts Andrew Mortimer, Director of Brand and Media, BSkyB Philip Smith, Head of Content Solutions, Haymarket Brand Republic Group (Chair of the Judges) Gayle Noah, Media Manager, L’Oréal UK and Ireland Matthew Dearden, CEO, Clear Channel UK Tracy De Groose, Managing Director, Carat Mike Baker, CEO, Outdoor Media Centre Russell Place, Chief Strategy Officer, UM James Hilton, Co-Founder and Chief Creative Officer, AKQA Mick Style, Managing Director, MEC Manchester (not pictured)


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The winners & shortlist

Grand Prize winner: Digital UK ‘Yorkshire’ entered by MediaCom Best use of outdoor in a multi-media campaign Winner: Digital UK ‘Yorkshire’ entered by MediaCom Highly commended: Nintendo ‘My First Wii’ entered by MEC and Kinetic Shortlisted: Fiat, Fiat 500 ‘TwinAir’ entered by Maxus, Kinetic, Yuki and Krow H&M ‘A Versace Frenzy’ entered by UM London and Kinetic (not included) Mercedes C63 AMG ‘Escape the Map’ entered by Maxus and Kinetic

Best use of digital in outdoor Winner: Camelot, The National Lottery ‘Jackpot Support’ entered by MPG Media Contacts and Posterscope Highly commended: AOL, Huffington Post UK ‘Blog All About It’ entered by MBA, Total Media and Posterscope Shortlisted: ESPN ‘The Gift’ entered by Posterscope and Arena Media Heineken ‘Tweet Map’ entered by MediaVest and Kinetic ITV, ITV 1 ‘Rugby World Cup’ entered by Mindshare, Kinetic and Grand Visual

Best use of multiple formats in outdoor Winner: McDonald’s ‘Extended Hours’ entered by OMD UK and Posterscope Highly commended: Heineken ‘Champions League Final Outdoor Activation’ entered by MediaVest and Kinetic Shortlisted: Marks and Spencer, General Merchandise ‘Autumn 2011’ entered by Walker Media and Posterscope (not included) Virgin Media ‘Network Expansion’ entered by Fifty6 and Posterscope

Best use of innovation in outdoor Winner: Unilever, Lynx ‘Angel Ambush’ entered by Mindshare, Grand Visual, Kinetic and Mind’s Eye Highly commended: ESPN ‘The Gift’ entered by Posterscope and Arena Media Shortlisted: Xbox Forza Motorsport 4 ‘Where Dreams Are Driven’ entered by UM London and Rapport Posterscope ‘Treasure Hunt’ entered by Posterscope 20th Century Fox Home Entertainment ‘Christmas Gifting’ entered by Posterscope and Vizeum AOL, Huffington Post ‘Huffington Post UK Launch’ entered by Total Media, MBA and Posterscope Google ‘Voice Search’ entered by Posterscope and MGOMD

Best use of continuity in outdoor Winner: KFC entered by Posterscope and Walker Media Highly commended: BSkyB ‘Long Term Holding’ entered by Rapport and MediaCom Shortlisted: BAA, Heathrow Airport ‘2011 Service and Retail’ entered by Carat and Posterscope Coca-Cola, Coke Zero ‘Tasting is Believing’ entered by Posterscope and Vizeum Specsavers, Value ‘Specsavers Residency’ entered by MEC and Kinetic


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Best use of outdoor in a multi-media campaign 8 10 12 14

Digital UK ‘Yorkshire’ Nintendo ‘My First Wii’ Fiat 500 ‘TwinAir’ Mercedes C63 AMG ‘Escape the Map’


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Best use of outdoor in a multi-media campaign Winner: Digital UK Campaign: Yorkshire Agency: MediaCom

The challenge The digital switchover represents the biggest change in UK television since the introduction of colour in 1967 and is a monumental public infrastructure change. Affecting 80% of UK households, its scale and complexity make it a unique challenge for communications planning, with the motto ‘leave no one behind’. Digital UK has been responsible for making sure the switchover happens as simply and smoothly as possible and ensuring people know what to do, and by when. The switchover was rolled out TV region by TV region with Yorkshire switching in August 2011. The challenge in Yorkshire was to ensure 2.65M households were ready for switchover. What made the task difficult was the high proportion of ‘traditionalists’ in Yorkshire. This audience (women, 65+, C2DE, living alone) are most resistant to change and tend to be analogue viewers – therefore those most at risk. Awareness of the switchover date was identified as the key metric by which Digital UK would measure success in Yorkshire. The strategy The campaign needed to communicate to everyone who received their TV signal from the Yorkshire TV transmitters. There were five transmitters in Yorkshire, all of which switched on different dates. Each transmitter would therefore require bespoke plans. All out-of-home planning had to be confined to a strict set of postal sectors. A 90% postal sector threshold was agreed to ensure the right audience saw the specific date message relevant for their transmitter. Working outside the postal sectors would confuse people.

TV, radio and press activity was planned throughout the six month campaign period targeting all adults, while out-ofhome would serve as highly targeted reminders, driving reach and targeting the all-important ‘traditionalist’ audience. Yorkshire is made up of a mix of rural and urban conurbations, with a heavily populated core area in the South and more sparsely populated areas in the rural North. Out-of-home could react to the local landscape in a way TV, radio and press could not. A high proportion of the audience would be travelling to and from work by car or bus, making roadside formats a key component of the campaign. The execution A truly local approach was the focus. By ‘hot housing’ each transmitter area, impact and relevance were maximised. Micro-regional TV and outof-home were prominent in delivering ‘date awareness’ messaging with press, radio, roadshows, community centres, PR and door drops playing a supporting role. Multiple OOH formats were bought to communicate with people at every opportunity. Roadside 6 sheets, 48 sheets and 96 sheets provided blanket coverage against each transmitter. Phone boxes were utilised to penetrate town centres and more suburban areas where roadside formats didn’t have such a strong presence. TV, press and radio had been used from six months out to tell people to ‘prepare’ for switchover which enabled out-of-home to concentrate on the ‘action’ element of the campaign. The strengths of out-of-home were played to by focusing on delivering a clear, uncomplicated message. Other

channels were used to convey the longer, more complicated messages. Bespoke copy changes were agreed in order to change copy on specific dates outside traditional in-charge periods which aligned with the precise transmitter switchover dates. Unique local opportunities were also taken advantage of, such as high profile banner sites in Sheffield and Leeds in order to maximise visibility in these cities. For a deeper communication with the ‘traditionalist’ audience, specific


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Judges’ comment

“An expertly constructed campaign employing effective phasing and using local connectors with great success”

formats were bought to truly engage with them and offer further advice regarding the switchover. For this older, harder-to-reach audience, planning was concentrated on community hubs to reach them in relevant environments. Healthcare networks were identified as a key ‘trusted’ environment and formats used for this deeper level of communication included leaflets, posters and digital screens in doctors’ surgeries and pharmacy bags. Other ‘trusted’ environments which indexed highly against this audience, such as digital screens in post offices and interior bus panels, were also added to the plan, thereby saturating this hardto-reach audience. Results Awareness of the switchover date was targeted at -five months, -two months and -one week. Yorkshire far exceeded targets at each critical point. Crucially the campaign achieved fantastic results amongst the ‘traditionalist’ audience. Date awareness achieved 81% at -one week (compared to 78% v Yorkshire Date Awareness Performance Date

-5 Months

-2 Months

-1 Week

Target

30%

55%

75%

Actual

45%

65%

78%

all adults). Out-of-home worked especially hard in Yorkshire within the multi-media mix, proving to be 40% more efficient at driving awareness of the switchover date than in other regions. Part of this success was due to the change in creative, proving that to deliver strong awareness messages through out-of-home requires two key components: a well thought out media plan and simple clear creative.


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Best use of outdoor in a multi-media campaign Highly commended: Nintendo Campaign: My First Wii Agency: MEC Specialist: Kinetic

The challenge With a presence in one in three households, the Wii is a living room staple. The challenge with this campaign was to meet highly ambitious volume targets, increasing penetration through a price drop message on the Wii bundle, predominantly reaching families with young children. Research demonstrates that uptake generally starts when children reach 5+, which is also the time when mums start looking for more forms of distraction and entertainment for the children. This was a niche which Wii could use to its advantage. The strategy A two-fold strategy was developed. In order to appeal to those mums looking for a distraction, Wii needed to reassert its family fun credentials, to be there when mum was looking for inspiration and also tap into joint family moments. The second part of the strategy was a push to purchase. The campaign needed to act like a retailer, with strong call to action messages, high coverage on retail days whilst also leveraging opportunities to create a sense of immediacy. Analysis showed 1.5M households with 5-9 year olds did not have a Wii. In terms of what made the chief purchaser (mum) in these households tick, price was established as a key factor, with 73% of mums spending more carefully during the recession and 72% always looking for special offers. The next task was to communicate the value proposition in the strongest way whilst sticking to the strategy.


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Media for mums and using OOH in a different way Housewives with children are traditionally heavy TV viewers. They are also savvy digital users, hunting out the best deals and researching before most ‘big’ purchases. As a consequence, TV was identified as key to delivering mass awareness, with search/digital communicating the value proposition. However, this wasn’t enough to hit those high targets. On further investigation advertising in shopping environments emerged as one of the most seen media by the target audience, with malls at 38% and supermarkets at 39%. Learnings from previous price drop activity also taught that the campaign had to capitalise on key

impulse moments, dominate, provide immediacy and deliver mass audience coverage. Outdoor was identified as the perfect solution to help nudge mums into purchasing. Budget splits were 70% TV, 27% OOH and 3% digital (vs. client average of 1% OOH). This in itself was a huge achievement. The execution With the price drop planned for Friday 20th May, a key opportunity presented itself in the form of school half term (Mon 4th-Fri 8th June). With the plan to position Wii as an entry point into gaming by focusing on family fun and great value, promoting in shopping environments where mum was likely to be spending time with the family and being price focused was critical. Running the campaign during the school half term was key as this is the time when parents are often faced with the challenge of keeping their children occupied. Wii offered the perfect solution. All media was phased to only give away the price drop at the last minute, increasing the perception of added value and behaving in a similar way to retailers, who pull off these deals with huge success. TV activity was phased to have key spots on the Thursday evening during key programming for housewives with children to ensure 1+ coverage was built quickly. Over the four week campaign the ratings increased in the build up to half term when relevant programming increased, with overall delivery of 79% @ 5.4 OTS. Digital and search activity then went live on the Friday, ensuring mums couldn’t fail to see the messaging. The digital element comprised contextual placement at the point where mum is looking for inspiration for time with the kids, as well as providing mass reach price messages.

The OOH campaign challenged mums’ perceptions, showed value and demonstrated how Wii could fit their needs Outdoor was the real hero of the campaign, offering Wii that final push to purchase. With TV and digital activity having run for two weeks prior to the outdoor launch (from 19th/20th May respectively), reach with mums was high already, so the addition of activity in the retail environment was the ultimate boost. The outdoor campaign launched w/c 30th May, the weekend before half term and ran throughout half term week. Activity went live on a Friday (out of traditional posting cycles) to allow maximum impact and footfall, driving sales in retail environments with a strong value call to action. Wii ran: • 7  30 shopping mall 6 sheets, delivering 38 million footfall across 80 malls nationally • L CD digital screens, delivering 900,000 impacts over 2 weeks • R  oadside 6 sheets in 100m proximity to high streets, delivering 62% coverage at 8.4 OTS Results Wii saw a dramatic shift in results when the out-of-home activity began, with sales going from 10,990 up to nearly 27,000 per week, representing a week-on-week increase of 146%. When these figures are compared with a 2011 weekly average of 12,818, it’s clear that the multi-media approach was the success factor. Q4 campaigns with TV only did not reach the same weekly sales figures (despite a lower price), showing the My First Wii campaign was the ultimate hardware driver.


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Best use of outdoor in a multi-media campaign Shortlisted: Fiat 500 Campaign: TwinAir Agencies: Maxus, Yuki and Krow Specialist: Kinetic

The background The Fiat 500 TwinAir is the cleanest petrol engine in the world and on January 4th 2011, it became exempt from the London congestion charge - the first petrol engine car to achieve this. This presented a real opportunity to create a campaign that cut through for the Fiat brand in the car marketplace. The campaign needed to raise awareness of the new engine and engage commuters with the Fiat brand. The challenge The TwinAir is a compelling product. However, carbon emissions and commuting are dry and potentially negative topics with which to portray a fun iconic car that stands for ‘A to B with a smile.’ Additionally there was potential for other car manufacturers to start to launch and promote congestion charge exempt cars shortly after the TwinAir. This meant it was all the more important to create a campaign that was not only high in reach but one that also created standout and cut-through. There were additionally crucial barriers to overcome in reaching the target audience of young urban professionals. Firstly, they are a busy bunch, both at work and socially. Secondly, although the product is compelling, it was going to be a push to engage them on an emotional level talking solely about emissions. A solution had to be found that would cut through their hectic lives. The strategy This was an acutely pertinent time to be talking to Londoners about this exciting news. The recession was in full swing and the papers were full of news about rising transport costs at a time when people were counting the pennies. The Fiat 500 TwinAir was a neat solution to present to London’s commuters.


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Loves London’ page was produced, encouraging people to share their own recommendations of what to see and do in London. Fiat were one of the first advertisers to integrate Facebook Places into a campaign, meaning people could check in and share their experiences, spreading the word further. Outdoor ads were placed around the congestion zone entry points and arterials, which were identified using the Kinetic mapping tool ‘Locator’. Digital screens in busy train stations were used to capture commuters’ attention on their way in and out of London.

At the time of planning the campaign, a survey carried out by Reed.co.uk had just been released which found that the number of car journeys to work was set to rise by more than 50% in London. Coupling this with the fact that rail fares were at an all-time high, it was important to arm the audience with the information that the Fiat 500 could be a more cost efficient option for their commute. Working with this insight a campaign was developed that would reach the target London audience at multiple touch points on their commute into the city. This meant a multi-media campaign with different media performing distinct roles in reaching the audience, including radio, press, online and outdoor. Outdoor was to be used both tactically, targeting around the congestion zone, and innovatively, through an unmissable special build.

The execution The campaign was brought to life at multiple media touch points, targeting people at every point as they commuted into the zone. Targeted radio reached people at an opportune time as they were driving in and around London. A partnership with Lastminute.com was established and a selection of exclusive discounts and offers for Fiat were sourced. Among others, these included spa treats at the Hilton, comedy and theatre tickets and lunch at the Prism by Harvey Nichols. Importantly, these were exclusive to Fiat and not available anywhere else on the Lastminute. com site. Metro prompted users to recommend their ideas for the best days out in London. Advertorials drove traffic to the website, and the best entries were rewarded with exclusive days out in the city. Facebook was also integral to the partnership, and a new ‘Fiat 500

To bring extra impact to the OOH offering Fiat commissioned a special build outdoor creative on one of the busiest roads into London, Cromwell Road. The ‘Cromination’ presented an opportunity to stand out from the competition with an exciting, never been done before format, which even featured three of the real Fiat TwinAir cars on display! Results Results for the activity were fantastic, demonstrating people really engaged and understood the TwinAir engine message. The Cromwell Road special build created great impact at the start of the campaign with over 2.3M targeted people seeing the site. The rest of the outdoor campaign delivered over 8.5 million impacts over two weeks. On Lastminute.com, 26,000 users interacted with the pages for an average of six minutes each and over £19k of offers were sold. Over 10,000 people entered the competition. Downloads of the app exceeded industry standards and there were over 33,000 views of the Facebook page with a large increase in fans over the period.


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Best use of outdoor in a multi-media campaign Shortlisted: Mercedes C63 AMG Campaign: Escape the Map Agency: Maxus Specialist: Kinetic

The challenge Mercedes-Benz has always been an aspirational brand but commonly perceived as an older person’s car. The challenge was to move opinion from “a car I’d love to own” to “a car I’d love to own now” to contest the likes of Audi and BMW who tend to resonate better with younger drivers. In a category dominated by TV and print advertising, a new, exciting way to showcase the C63 AMG was created for outdoor in a context more familiar to a younger audience. As always though, while delivering on brand metrics, the campaign also had to drive interest and enquiries for the C63 itself. The strategy The media campaign centred around the interactive film, “Escape the Map”, narratively set in Google Streetview. Players were invited to help the main character, Marie, escape the map in a Mercedes-Benz via a series of challenges and tasks with the chance to win the car. The role of media was to create intrigue and ultimately participation. This was achieved by avoiding traditional car advertising norms in favour of behaving like a major film release. To start with a persona was created for Marie online across Facebook and Twitter to introduce the character and garner early interest, directing people to an online countdown to the film launch. As a whole the outdoor strategy allowed Mercedes to move away from the perceived safe ‘premium’ large formats associated with the car industry while getting word of the film out in front of 83% of the target audience over 20 times.


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As a major release, the success of which lives or dies with the opening weekend, awareness had to be raised quickly especially amongst a younger audience.

would see Maria literally coming out of the creative, telling them she was trapped inside Streetview and that the only way to help her was to go to escapethemap.com.

The execution

On the premiere weekend a coverwrap of the Metro was also produced reaching 2M young urbanites, before a 30” trailer for the film debuted on YouTube via a homepage takeover and then later that day in ITV’s X-Factor reaching over 10M people with each.

Bus stop 6 sheets were identified as the best format for reaching young people with immediate access to smartphones. Blippar technology was utilised, allowing people to access augmented reality content from Maria on their smartphones. People who held their camera to the poster

Results The results reflected a huge success both for the brand and the business. 720,467 people visited the ‘Escape the Map’ website in one month. 62% of unique visitors were under 44. To date, 143,000 (over five times the target) have completed the game, spending over five and half minutes doing so. 124,000 people entered the competition with film awareness and age perception scores decreasing by two years in one month. 16,000 people accessed augmented reality on their smartphones via Blippar. At the same time visits to the C Coupe product pages increased 118%, and brochure downloads rose 141%. All of this was achieved at a time of year when interest is traditionally down in the automotive market. While overall search patterns for the industry were down 16% compared to the yearly average, searches for the C Coupe doubled.


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Best use of digital in outdoor 18 Camelot, The National Lottery ‘Jackpot Support’ 20 AOL, Huffington Post UK ‘Blog All About It’ 22 Heineken ‘Tweet Map’ 24 ITV, ITV 1 ‘Rugby World Cup’ Shortlisted: ESPN ‘The Gift’ - See page 38


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Best use of digital in outdoor Winner: Camelot, The National Lottery Campaign: Jackpot Support Agency: MPG Media Contacts Specialist: Posterscope

The challenge The National Lottery is very big business, with a turnover over of more than £5.8bn1 in lottery sales each year. Camelot’s primary remit is to generate funding for good causes, with, on average, 28p of every £1 sale going directly to various UK funds. Demonstrating healthy ROI for any investment on media is therefore crucial for The National Lottery. The media plan has to be extremely flexible to cope with the incredibly fast moving pace of The National Lottery business: Lotto and EuroMillions jackpots are the lifeblood of the business. The simple rule is, the bigger the jackpot, the better the sales potential. However Camelot has no way of knowing when the big jackpots will arrive, and in what combination. Player ‘complacency’ is also a significant barrier to sales, with consumers often intending to play but forgetting to buy their ticket in time. As such, ‘nudges’, especially in proximity to retail, can be powerful drivers of sales. The strategy The campaign strategy needed to do many things, specifically: • Cope with the pace, unpredictability and complexity of The National Lottery business • Bring high impact communications to market at less than 24 hours’ notice

• Reach consumers in close proximity to the 7.30pm ticket sales shut down • Give accountability and flexibility to model the impact of advertising, as part of a multi-media mix The execution Specific 24 and 48 hour plans were built, which could be turned on and off precisely (at 7.30pm, when The National Lottery terminals close down). This allowed for the delivery of relevant time-sensitive messaging. It also meant more accountable econometric models could be built, with greater ability to identify the impact of a consolidated burst of OOH impacts on sales. As the jackpot size increased, so did the number of digital formats used. For certain ‘mega jackpots’, over 30 digital formats were used. As digital facilitated more individual bursts of OOH, at increasingly significant weights, so the econometric modelling evolved and allowed better understanding of the incremental impact. This in turn enabled a better understanding of the ‘trigger-points’ at which it becomes efficient to turn OOH on during a rollover, and at what weight. Understanding the ways in which screens are consumed depending on the environment, mindset and technology was paramount to building the most effective campaign. People’s habits, thoughts and destinations when

out-of-home vary dramatically from weekday to weekend. The National Lottery was able to build jackpotspecific lay-downs. So, for example, Wednesday rollover plans featured more commuter and travel-focused screens, while Saturday rollover plans were more retail-focused. The implementation of the campaign involved very precise planning, a very quick turnaround and lots of hard work as follows:


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• For a Lotto roll on Saturday night, this means it’s a Wednesday double rollover! • On Monday at 9am, availabilities are checked and plans are drawn up, based on pre-agreed ‘Wednesday’ formats • By 4pm, the plan is ready to go to Camelot • By 5.30pm, the plans are booked

• Copy is supplied overnight, by Camelot’s dedicated in-house digital creative team, and the campaign is live on Tuesday morning, in time for the morning commute • The campaign finishes at 7pm on Wednesday, just in time for the draw • Once the campaign is live, the process starts again in case it’s a Saturday triple rollover

Results Through a refined understanding of the optimum opportunities of ‘when and where’ to deploy digital impacts, OOH is now regularly the strongest non-TV media in terms of ROI. In some instances, OOH ROIs have been 26% higher than the TV average, helping to improve overall media ROIs in the process2. Camelot’s investment in OOH continues to grow each year. In 2011, digital OOH featured on 21 individual National Lottery plans and assisted in delivering record year end sales of £5.8 billion1. That equates to over £1.6 billion raised for UK good causes in the last 12 months alone. Digital has made out-of-home a practical solution in The National Lottery’s plans, and has also driven the use of more ‘traditional’ outdoor formats. For ‘megajackpots’ traditional OOH is regularly used, working with contractors on shortterm (48 hour) posting cycles on select high impact sheetage, but also committing to standard two week packages on some less time-sensitive campaigns i.e. scratchcards and launches. Max Lucas, Media Strategy Manager, Camelot

“Because of the remit to make money for good causes, every marketing pound counts for Camelot. By embracing digital OOH, and fully maximising its potential through innovative implementation, we have been able to add another valuable dimension to our jackpot plans.” Sources: 1. Camelot Annual Report, June 2011 (YE March 2011) 2. MPG econometrics


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Best use of digital in outdoor Highly commended: AOL, Huffington Post Campaign: Blog All About It Agencies: MBA and Total Media Specialist: Posterscope

The challenge Launched in 2005, the Huffington Post is the world’s most widely read news site, surpassing 100 million user comments. Despite this, the Huffington Post had very low brand awareness in the UK. With the 2011 acquisition by AOL this heralded an international expansion and the launch of this new brand into the UK market. Phase one of the UK launch had to appeal to journalists and bloggers, recruiting them to the site. The campaign also needed to generate buzz around the launch, helping it to gain prominence in a saturated market. When considered within the wider media and entertainment sphere, The Huffington Post’s distinction as a social platform is its hybrid nature – the trusted quality news site with the heart and soul of a blog. This was something that needed to be projected through the creative and communicated during every step of the campaign. The strategy The campaign idea, “Blog All About It”, was a call-to-action embodying a blend of old and new media, subverting traditional formats and updating them for a technology-centric world. Classic features of newsprint were transformed by digital formats and technology. Disrupting the British media landscape was a strategic challenge. It called for an original campaign creating instant impact and differentiating the brand. Participation and innovation were at the heart of the campaign messaging – resulting in an advertising idea that reflected these integral qualities. One of the most important messages to communicate was the fact that Huffington Post offers incredibly

up-to-the-minute information and a wealth of opinion. The campaign had to showcase this at the launch event and beyond throughout the entire campaign. Digital and social media were identified as the greatest platforms to best showcase the launch. The execution For the centrepiece of this launch, the boundaries of outdoor media were explored with a UK media first in a ten day long campaign, with digital poster sites incorporating a live Twitter feed. Individuals could tweet using a hash tag to appear on the feed, which looped on each site, displaying the ten most recent tweets. The poster sites were present for ten days in London railway stations. The idea was that the posters would be amongst the first messages the target audience would see each morning. The posters were updated daily with a topical headline, igniting opinion, and inviting public Twitter contributions. Each of the ten headlines was agreed the afternoon previously, and uploaded to the sites at 1am, to ensure that the very first people to see them each morning would be able to appreciate the up to the minute nature of the ads. In order to demonstrate the wealth of opinion offered by the Huffington Post a live debate was held at the launch event, chaired by Richard Bacon. The panellists included a variety of well-known individuals including Alastair Campbell and Kelly Osbourne, all cherry-picked to bring a different perspective to proceedings. The audience was encouraged to participate with a live Twitter feed, projected throughout the debate and allowing everyone present the opportunity to voice an opinion.

In order to add more of an ambient element to the campaign, traditional news stands were produced with iPad screens displaying the Huffington Post UK homepage instead of newspapers, and set up in the same stations as the poster sites. An actor dressed as a newsboy handed out branded USBs while shouting ‘Blog All About It’. This was another opportunity to use digital


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to allow the public to interact with the brand and have fun, while also exemplifying the mash-up of traditional and modern media seen within the Huffington Post. Results The digital outdoor elements of “Blog All About It� invited the public to get

involved with the Huffington Post UK website and interact via Twitter. It exceeded initial objectives, attracting widespread attention from mainstream and industry press. However, the real success of the campaign lay with the participatory social media element, with #huffpostuk trending at number one on Twitter during the campaign.


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Best use of digital in outdoor Shortlisted: Heineken Campaign: Tweet Map Agency: MediaVest Specialist: Kinetic

The challenge The UEFA Champions League, the most watched annual sporting event worldwide, is Heineken’s biggest global platform. The sponsorship is utilised to build brand fame, drive premium credentials and maintain front-of-mind awareness. 2011 presented a special opportunity for Heineken: to take advantage of the fact that the final was being held at Wembley Stadium in London and to build on Heineken’s long term association with the world’s most prestigious club football competition in a local setting. Heineken’s target audience are fast paced, urban-centric, early adopting males with broad interests and horizons. The challenge was to make this campaign dynamic and relevant to their world in order to create a strong impression. Being one of six leading

sponsors of the event, this meant going beyond a simple placement of the Heineken logo. The strategy Outdoor was identified as a key component to create enthusiasm and excitement in the build up to the big match. With Barcelona confirmed as finalists alongside Manchester United, Heineken had the opportunity to show that it was truly a global supporter of the competition. These two teams arguably have the biggest fan base in the world. A strategy was identified to mobilise these fan bases in the most effective way possible, to build on their excitement, dedicated support and competitive nature: to communicate in real-time to fans in the build up to the big game in a large scale public forum with the use of digital outdoor screens and Twitter.

The persistent rise of Twitter continues to grow amongst football professionals and fans alike, allowing them to boast, share, and banter with a broader audience than ever before. Broadcasting these conversations using digital screens would allow fans to show support for their teams as well as compete with rivals in a shared, public forum. The execution The idea was simple: Heineken would amplify the sense of excitement and anticipation that builds prior to the game. To do this, software was developed which brought together all tweets featuring #MUFC and #BARCA from across the globe. The technology targeted where all tweets came from and created a stunning data visualisation graphic that indicated the volume of Twitter traffic coming from


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each country. The size of the Heineken bottle on the screen represented the total volume of global traffic. It was all created using live data, updated by the minute. The graphics were displayed on digital screens across major London terminal stations. Further exposure to the Heineken Tweet Map came with a dedicated hub held on SkySports. com which fans were directed to. All SkySports.com, Twitter and Facebook fans, as well as all 1.7M Heineken fans, were reached. Along with the digital activity, key premium outdoor sites were utilised at every London gateway, including the M4 and Hammersmith Towers, the IMAX cinema and the Cromwell Road domination. There was also a particular focus on recreating the sheer anticipation of the Wembley Way walk with Wembley Rail Station domination and premium 48 and 96 sheets around the stadium. At every turning point on the road to Wembley fans saw Heineken as an active supporter of the UEFA Champions League, thereby stamping a signature on their world, passions and interests. Imperatively,

these connections were all made on market leading sites and with technology that reflects Heineken’s premium ethos. Results Results were impressive, scalable and delivered on key campaign metrics. 5.8M people saw the Heineken Tweet Map via Transvision screens which showed 1.75M #MUFC or #BARCA tweets over the weekend of the final. References to the Heineken Tweet Map reached 163,000 fans on Twitter with people tweeting from 58 countries from America to Azerbaijan. The activity was a key factor in increasing national brand saliency scores by c.2.4%, pre to post the campaign duration. Focusing on London to isolate the outdoor activity, scores for ‘quality’ and ‘reputation’ rose by 74% and 23% respectively. With a little help from Twitter and some passionate, digitally active fans, this campaign turned local, digital screens across London into a platform for a global brand to showcase their support for a global event in an innovative fashion.

Louise Dennett, Brand Manager on Heineken:

“This campaign showcased an impressive synergy between digital outdoor and social media. The team successfully broadcasted a social media phenomenon that reflected the excitement and anticipation felt by fans and enforced Heineken as a truly global brand.”


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Best use of digital in outdoor Shortlisted: ITV Campaign: Rugby World Cup Agencies: Mindshare and Grand Visual Specialist: Kinetic

The challenge The challenge for this campaign was to restore credibility to ITV following the infamous black out at a crucial moment of England’s opening game in the 2010 World Cup. ITV needed to restore its reputation, proving that it could not only broadcast live sporting events but also add value for the fans. ITV’s exclusive coverage of the Rugby World Cup 2011 provided an opportunity to demonstrate to sports fans that it could do just that. There were two key objectives for communications: to activate the ITV brand around the Rugby World Cup to build credibility with sports fans and to drive audiences to ITV’s multiple platform content around fixtures.

tournament stage, engaging rugby fan communities and building groundswell. The second phase, from the group stages to the finals, would keep rugby fans engaged across the tournament with ‘always on’ content. The campaign would give a mass, commuter audience access to all the latest news and scores direct from ITV.com. It also needed to communicate the ITV Rugby World Cup mobile content offering to an audience on the move to prompt them to download and stay up to date on

The strategy Insight demonstrates that sports fans are people who value credible points of view, whether from peers or the media, and so for ITV to truly earn their respect, they would have to demonstrate superior sports knowledge. The challenge was for ITV to behave like the ultimate fan, demonstrating an unrivalled passion and knowledge of sport. This premise led to the communications idea: ‘ITV – The Ultimate Sports Fan.’ Media and creative plans were informed by fans’ behavioural characteristics: • A  vid – Always switched on across the entire tournament, using broadcast channels and content rich messaging to continuously talk about the Rugby World Cup • K  nowledgeable – Share content that adds value to the fan experience, demonstrating ITV’s point of view and knowledge of the game This would be delivered through two phases. The first of these was a pre-

the move. Further to this, the media needed to be flexibly turned on and off to facilitate a sustainable long term presence. The answer was digital OOH. The execution Phase 1. Pre-tournament Engage rugby fan communities, build groundswell In order to reach core rugby communities pre-tournament, digital OOH was used to great effect. The Rugby World Cup warm up games


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Kinetic’s Academy Selector tool showed that digital OOH in commuter environments was the best medium to reach a high ABC1 audience, the typical profile of a rugby fan.

in Cardiff and London were a perfect opportunity to introduce ITV’s four World Cup winning pundits to avid rugby fans first, and at a time when buzz was in full flow. Mobile digital OOH provided a short term, targeted presence with digital vans outside Twickenham and Cardiff stations and stadiums, right in the heart of the action. Phase 2. Group stages to final Keep rugby fans engaged across the tournament with ‘always on’ content

Efficient planning was needed for the campaign. Home nation games took place at the weekends, providing an opportunity to focus activity on Mondays and Fridays in order to leverage pre and post-match buzz. Digital OOH provided the opportunity to ‘switch on and off’ dynamic content at optimum times. Fridays allowed ITV to share live scores, team news and headlines from morning games and heighten anticipation ahead of the weekend fixtures. Mondays delivered ITV’s point of view on ‘game changing moments’ from the weekend’s matches, demonstrating ITV’s credentials as a ‘knowledgeable fan’. In addition, partnering with Grand Visual using the ‘open loop’ system, allowed ITV to deliver real-time updates from ITV. com. Multiple live messages were communicated to give the campaign greater perceived scale across multiple commuting moments. In total, six digital OOH formats giving live feeds from ITV. com were planned across the six weeks on Fridays and Mondays.

Results The campaign was a huge success in helping ITV achieve their objectives. Post campaign tracking showed that positive perceptions of ITV as a sports broadcaster increased by over 20%. Off air media activity was instrumental in achieving this - combined OOH, press and digital activity added 33% unique reach of ABC1 men. Traffic was successfully driven to ITV’s digital platforms, with record levels of users for any ITV sports tournament. 2.2M unique users visited ITV.com, 1.9M people viewed Rugby World Cup content on ITV Player and 133,000 people downloaded the mobile app (smashing a target of 100,000). Paul Ridsdale, Head of Marketing for ITV Sport, commented:

“The digital OOH elements of the campaign were planned to demonstrate ITV’s ongoing commitment to the Rugby World Cup, whilst adding value for commuters by delivering the latest news and results at times when they were unlikely to be in front of a TV. As well as significantly improving brand perceptions, the activity also promoted our online rugby coverage with traffic to our website up by 100% compared to the 2007 tournament.”


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Best use of multiple formats in outdoor 28 McDonald’s ‘Extended Hours’ 30 Heineken ‘Champions League Final Outdoor Activation’ 32 Virgin Media ‘Network Expansion’


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Best use of multiple formats in outdoor Winner: McDonald’s Campaign: Extended Hours Agency: OMD UK Specialist: Posterscope

The challenge With a third of the McDonald’s estate offering extended opening hours from 11pm - 6am, the objective of this campaign was to drive awareness of late night opening and generate footfall. The challenges to this were two-fold: 1. Most McDonald’s restaurants are not open 24 hours. A solution was needed which would drive business only into open stores - avoiding the disappointment of darkened windows and a locked door 2. McDonald’s faced low awareness of the extended hours and a limited budget of less than £400k. The messages needed to work extra hard to resonate with the late night target audience, driving both awareness and action The strategy The use of multiple outdoor formats was informed by three key insights: 1. By the summer of 2011 half of the McDonald’s audience had a smartphone in their pocket (ComScore). Research has shown the strong relationship between OOH and smartphone response: Posterscope’s OCS analysis showed that the target audience was 2.5 times more likely than the average adult to respond to seeing an outdoor ad with their smartphone (Index 247). In this way outdoor offered the means to drive people to the specific Extended Hours restaurants through the use of a mobile restaurant finder as a call to action 2. The target late night audience ranged from clubbers to nurses to long distance lorry drivers. Using

Touchpoints time diary, this broad audience was reduced to two key groups, each accounting for around half of the available late night market: pedestrians and travellers. Different types of outdoor formats were identified to effectively reach each group depending on whether they were likely to be on foot or in a vehicle 3. 64% of decisions on where to grab a quick bite are made within 15 minutes before purchase (OMD Influence Survey 2007), and nearly half of fast food purchasers claim to have seen OOH in the last 30 minutes before entering the store (OMC Last Window of Influence 2011). OOH offered by far the most effective way of reaching consumers in close proximity to specific Extended Hours restaurants, with multiple formats allowing McDonald’s to utilise every available touchpoint for reaching both vehicular and pedestrian customers The execution When out at night the target audience tend to follow certain rituals: from getting cash out at the start of the evening to visiting a favourite bar, travelling to work along the same route to popping into a service station to fill up. The media approach was to position McDonald’s as an integral part of a night out, whether socialising, working or travelling, by embedding the brand within these rituals: making McDonald’s ‘part of the night.’ Based on a Touchpoints analysis of the late night daypart radio was also selected along with outdoor. The former would primarily deliver broadcast awareness, with outdoor playing that critical role in converting awareness to action via proximity and the mobile restaurant finder.

Outdoor environments were assessed on the basis of strict criteria. Each one needed to: • B  e ‘part of the night’ media rituals for our night owl audience • O  ffer 750m proximity to restaurant, or 2km for drivers • A  dhere to McDonald’s brand guidelines, particularly preventing association with alcohol Three formats were identified which together would form the crux of the outdoor campaign: 1. ATMs. These are an essential part of every night out on the town:


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Results

getting cash out for the night ahead, for a taxi home, or to buy a bite to eat. Posterscope’s PRISM Map identified an ATM in proximity to every McDonald’s restaurant, which was daypart targeted from 7pm to reach those planning a night ahead, through to 6am. They offered excellent dwell time to explain the restaurant finder with receipts to provide a takeaway reminder 2. Petrol Nozzles. Service stations reach drivers whether filling up on a long journey or stopping for refreshments, and nozzles provided a perfect opportunity to encourage mobile response amongst drivers

at a rare time when they have the ability to act on it 3. Illuminated 6 sheets. The illumination of 6 sheets, combined with very close proximity, makes them a highly impactful way of diverting both pedestrians and drivers into restaurants on impulse These three formats provided comprehensive coverage of the local area around each Extended Hours restaurant, firmly establishing McDonald’s as part of the night out, whilst integrating with a mobile call to action to ensure people can always enjoy McDonald’s, whatever time it is.

The Extended Hours campaign was one of McDonald’s great successes of 2011. Over the campaign period traffic to the McDonald’s mobile store finder site saw a 220% uplift - over 530,000 additional visits. Most importantly it made a huge difference to sales: McDonald’s Extended Hours stores saw a +2.5% uplift in sales between the hours of 11pm and 6am, a considerable achievement given the campaign spend of £441k represents less than 1% of McDonald’s annual spend, and delivering £2 in sales for every £1 in spend. The campaign was repeated at Christmas and into 2012, with an associated 60% increase in OOH spend. Judges’ comment:

“The judges applaud the campaign for its granular planning, excellent targeting and outstanding results.”


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Best use of multiple formats in outdoor Highly commended: Heineken Campaign: Champions League Final Outdoor Activation Agency: MediaVest Specialist: Kinetic

The challenge

The execution

The UEFA Champions League is Heineken’s biggest global platform. The sponsorship is utilised to build brand fame, drive premium credentials and maintain front-of-mind awareness amongst consumers. The continual challenge for Heineken is how to create standout from the partnership, which was especially true for the UK team in 2011 when the final of the tournament was played in London.

The campaign created a modern-day, customised Heineken jigsaw puzzle that ultimately produced a complete picture of a very ‘green’ London. Using Kinetic Academy’s cutting-edge mapping tool, Locator, individual poster locations were geographically analysed and each high impact and premium site was carefully selected and an emotionally relevant creative message was then matched, piece by piece.

In 2011 outdoor accounted for 23% of total premium lager category media spend when compared with 16% of the total lager category. The challenge therefore was how to leverage a cluttered partnership in an equally cluttered outdoor market. The opportunity was to reinforce Heineken’s long-term association with the world’s most prestigious club competition and to get people talking about the brand amid the building consumer excitement of the Champions League Final.

The journey started at key airports targeting fans flying into London: the Wembley Way was starting all the way from the airport. Heineken targeted those flying into Heathrow and Gatwick with the message ‘Wine drinkers have never screamed non-stop for 90mins in the rain’, which built on existing fan anticipation. At every London gateway route consumers saw Heineken on key premium and impactful roadside panels. ‘Open your World’ gleamed from Towers on the M4 and in Hammersmith, to backlit 96 sheets at Wandsworth Roundabout, Westminster Bridge and Cheyne Walk. 96 sheets and 48 sheets in high footfall London locations reinforced Heineken’s premium credentials with the copy ‘We write quality in CAPS’ and ‘Transparency is beautiful if you have nothing to hide’. At every turning point the audience saw Heineken green on premium, quality outdoor sites. A special build dominated Cromwell Road, showcasing no less than 5.5metre high Heineken bottles and flying bottle tops, with the site illuminated beautifully in bright green during non-daylight hours. The consumer excitement in the lead up to the big day of the final between Barcelona and Manchester United was building and Heineken was helping drive that.

The strategy A lot of excitement for big matches starts in the walk up to the main event. The strategy was to use outdoor to recreate the sheer anticipation of Wembley Way and expand that experience to the world. Heineken consumers are Men of the World. Being urban-centric they have varied interests and broad horizons; with no wife or family as yet, they still have the freedom to travel and experience all that life has to offer. They are always out and about, busy commuting to and from work, drinking in central London hotspots and are prime viewers of the Champions League. Heineken needed to become a part of that world and engage with them at their every move, in the right context, to get talked about.

Building excitement on the day Digital screens were utilised in the three days leading up to the final. Ensuring Heineken built on the sense of excitement and anticipation, a Heineken Tweet Map was created and displayed on digital screens in major rail stations. All tweets from Twitter featuring #mufc and #barca were brought together and combined to create a beautiful piece of data visualisation to show the volume of Twitter traffic by country. The data was visualised by the size of a Heineken beer bottle - the bigger the bottle, the greater the volume of traffic. This was updated every minute. Heineken completely dominated underground


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and rail stations around Wembley and Marylebone to target consumers on their way to the matches. Emotionally relevant creative built on their competitive spirit and thirst for sport, with copy such as ‘Been to 172 countries and still thirsty’ and ‘Players dream of Wembley. Hops dream of Heineken bottles’. Results  eineken’s multi-format outdoor H campaign was seen by 7.2M people at least 24 times during the two week campaign: 75% of the target. The Tweet Maps were viewed by 5.8M people in the run up to the big match showing the global support from the 1.75M people

who tweeted #mufc or #barca over the weekend. References to the Heineken Tweet map reached 163,000 fans on Twitter with people tweeting from 58 countries from America to Azerbaijan. The activity was a key factor in increasing national brand saliency scores by c.2.4%, pre to post the campaign duration: a significant increase in a highly competitive market. Focusing on London to isolate the impact of the outdoor activity saw scores for ‘quality’ and ‘reputation’ rise by 74% and 23% respectively, a significant increase compared to increases outside London of 31% and 15% respectively.

Louise Dennett, Brand Manager on Heineken, was delighted with the activity commenting:

“We wanted to paint London ‘green’ and the outdoor activity certainly did that! Premium, high profile and high footfall sites were carefully selected by MediaVest and Kinetic to deliver an impactful and very impressive campaign.”


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Best use of multiple formats in outdoor Shortlisted: Virgin Media Campaign: Network Expansion Agency: Fifty6 Specialist: Posterscope

The challenge Virgin Media was rolling out its cable network to Southampton, expanding the infrastructure and opening up access to their service to thousands more homes. Virgin Media needed to drive sales enquiries and uplift direct mail response levels in the selected area. However, this wasn’t the first time the city of Southampton had received news that fibre optic was coming to town. In fact Virgin Media had already cabled up half of the area, meaning no new news. On top of this Virgin Media had already saturated the regional media channels. They needed a new idea,

one that would help Virgin Media stand out and meet the aggressive sales targets set. This called for an inventive and unique regional approach. The strategy A hyper-local strategy was adopted with outdoor acting as the lead channel. Fifty6, Posterscope and DDB identified the exact streets and homes that would now be able to access Virgin Media’s products and then meticulously handpicked the highest quality, and most appropriate outdoor sites in Southampton to target the people who lived there with messaging that was personalised to

its exact location. It was key for the people of Southampton to know that this campaign was unique to them and therefore increase their likelihood to engage with it. Locating, planning and creating posters that spoke with the local residents directly meant that the site list was governed by location and relevance regardless of format and each panel was used to maximum creative effect. The campaign would utilise the unique advantages of outdoor in being able to target a fixed location, and enhancing its impact by delivering a relevant and targeted message.


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One day Mr Smith was on his way home from work and got stuck in a traffic jam just outside the Co-operative Food store on Portsmouth Road. He was fed up as the Saints were about to kick-off against Portsmouth, and he was missing it. As he looked up he saw a billboard stating ‘Everyone on Portsmouth Road can get Virgin Media’. He normally didn’t notice advertising but he had seen some TV ads with Mark Warren recently, talking about the best way to watch TV which was interesting to him as he loved TV! He made a mental note to look up Virgin Media when he got home. When he finally got home, the football was at half time and the Saints were winning 3-0. He had missed the goals. If only he could have recorded it, he thought. The next day, Jess was on her way to school. She had spent hours on her laptop the night before discussing her best friend Hannah’s birthday party on Facebook. Unfortunately Mum had been researching on the computer in the study for her class next day and Jess’s Facebook kept cutting out. The story Here’s the story in Southampton. The Smiths lived in a white house at 367 Hinkler Road in Southampton. Mr Smith worked as a detective in the local police station. He liked nothing better than relaxing at home after a long day at work by watching his favourite TV programmes and following the progress of the Saints. Mrs Smith worked as a teacher at Thornhill Primary school and often spent evenings prepping her classes. The Smiths had a daughter –13 year old Jess. Jess loved to plan hang outs with her friends on Facebook.

Now as she left the house she noticed a poster saying, ‘All these houses can get Virgin Media. Including the white one’. How do they know about my house? she thought. She knew that Virgin had fast internet and thought she might mention it to Dad and Mum as she couldn’t live without Facebook! Saturday came and Mr and Mrs Smith were driving Jess to Hannah’s party. Jess was whining to her dad about how slow their internet connection was and had he seen the ad for Virgin Media outside their house? Mr Smith was enthusiastically telling Jess about the ad he had seen earlier that week.

Mrs Smith was thinking about what she could cook for dinner that night. She didn’t really feel like making the effort and had just begun asking Mr Smith for some ideas when he stopped the car at the traffic light. All three of them looked up and saw two billboard posters next to each other that said ‘Grab a kebab and watch Virgin Media. All you need now is a beer’ and ‘Grab a beer and watch Virgin Media. All you need now is a kebab’, conveniently located next to an off-licence and a kebab shop. ‘That sounds like a plan!’ Mrs Smith exclaimed. Mr Smith made a mental note to visit the retail store near Hanover Buildings the next day and ask them how he could get Virgin Media. Results Overall the campaign generated the buzz required to make it a success. Southampton was the most effective network expansion campaign to date with 5,000 new Southampton customers connected to Virgin Media’s network. Direct mail response rate was the best ever seen at 201% within the first two weeks. The Southampton Virgin Media retail store footfall doubled, exceeding forecasts. And finally the most influential man on Twitter, Richard Branson, tweeted his support for the campaign with over 100 followers re-tweeting the post.

Julian Hawkins, Virgin Media Marketing:

“A great result from meticulous media planning/buying and bespoke creative (and hanging out with the locals!). A big thank you!”


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Best use of innovation in outdoor 36 38 40 42 44 46 48

Unilever, Lynx ‘Angel Ambush’ ESPN ‘The Gift’ Xbox Forza Motorsport 4 ‘Where Dreams Are Driven’ Posterscope ‘Treasure Hunt’ 20th Century Fox Home Entertainment ‘Christmas Gifting’ AOL, Huffington Post ‘Huffington Post UK Launch’ Google ‘Voice Search’


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Best use of innovation in outdoor Winner: Unilever, Lynx Campaign: Angel Ambush Agencies: Mindshare, Grand Visual and Mind’s Eye Specialist: Kinetic

The challenge The challenge with this campaign was to launch Lynx Excite, to leverage the idea of angels falling by surprising people and to generate buzz. It needed to drive the target audience - social men aged 16-34, who are keen to impress the fairer sex - to Lynx’s “owned” assets. The strategy The campaign needed to unlock the Lynx Angels from behind the TV and bring them into reach. Today’s consumers live in an experience economy and reward culture and they expect brands to deliver interactivity and arousing experiences. To deliver this and bring the Lynx Angels into their world, digital OOH was chosen but with the twist of transforming it into a brandnew experience through augmented reality. The campaign had to be as shareable as possible - Lynx thrives in the social space and its Facebook community is important and engaged. The power of these fans needed to be harnessed in not only making the event massive but also sharing any content as far and wide as possible, turning a localised event into a global campaign. The execution Digital OOH allowed Lynx to offer the audience an augmented reality experience, giving them the opportunity to get up close and personal with the Angels. The target audience have grown up with Lynx adverts, but through the use of augmented reality this campaign offered consumers the opportunity to come as close to featuring in a Lynx advert as is possible. Augmented reality allowed the audience to interact, experience and engage on a personal level, which inevitably alters perceptions and

favourability of the brand. With this campaign, the audience are actually at the centre of the action - the Lynx guy actually gets the girl. After cherry-picking the perfect digital sites and booking weekend takeovers, the perfect experience space was created. There were many technological issues, but with upfront testing and trigonometry, a digital media solution was pioneered. This solution blended the real and virtual world and got guys talking worldwide.

Judges’ comment:

“A clever, creative campaign with innovative use of technology, effective collaborations and outstanding delivery.”

The activity was supported by proximity digital OOH advertising (created using the same green screen assets as the AR element) to drive awareness of the activity amongst the target audience. o2 proximity messaging was also used to increase the likelihood of engagement, promoting the Angels’ presence and encouraging participation, issuing a challenge “to see if the angels fall for you…”. Social integration Lynx’s owned social channels were integral during the events, creating an appointment to view and harnessing the power of the fans to take part through event invites, posts and tweets. Integrating with the wider conversation calendar, the Angels posted about their visits and responses were instantaneous. Having cool stuff to share online is vital for Lynx’s target audience: they will happily share brand content online as long as they deem it cool. Entertaining films of live augmented reality Lynx Angel encounters were produced that were very cool. The viral was unveiled on Facebook and hosted on the LynxEffectUK’s YouTube channel. This went global, being picked up by WIRED US, Yahoo! Japan and the BBC as a great example of how

augmented reality can help businesses really engage and interact with their consumers by creating amazing experiences. Results The immediate effect of the activity was that over 300,000 people saw the Lynx Angel Ambush live on the big screens, delivering approximately 25,000 interactions across both weekends. Increasing the reach, and capitalising on the target guy’s propensity to share, the video was viewed on the Lynx YouTube channel over 1.7 million times, outperforming all other videos on the LynxEffectUK channel by more than double. The video was also shared over 20,000 times on Facebook, 10,000 times on YouTube, generating over


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1,300 Likes. The BBC, WIRED and 249 blogs, including grooming and tech sites, uploaded Angel Ambush, resulting in a massive wave of “earned� media, delivering an estimated total of 240 million OTS (bigger than anything Lynx had ever done before). Following its success at Cannes Lions, the campaign went global and was replicated in seven other Lynx markets including Australia, Turkey and India. The concept has also been copied across the globe.


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Best use of innovation in outdoor Highly commended: ESPN Campaign: The Gift Agency: Arena Media Specialist: Posterscope

The challenge ESPN is a global sports TV broadcaster and, in the UK, operates as a subscription based business running on Sky, Freeview, Virgin and BT Vision platforms. ESPN entered this market three years ago when it became the only broadcaster but Sky to have English Premier League TV broadcast rights. It also, through the Goals app, is the sole provider of highlights of the English Premier League on mobile phone devices. The two marketing tasks for ESPN in Season 3 (Aug 2011 – Dec 2011) were: 1. T  o launch ESPN’s new season of football and rugby broadcast TV coverage and new creative direction, ‘The Gift’ – driving a 17% YoY increase in subscriptions 2. To launch ESPN’s Goals mobile app going free – with the target of driving 700k downloads by the end of 2011 ESPN’s communications have long been purely acquisition based. This had been successful in the short term, quickly driving subscriptions, but its effectiveness was increasingly diminishing. Whilst pure acquisition communications had driven new subscribers, it hadn’t engendered loyalty. After three years, ESPN lacked a meaningful brand personality and this was starting to affect business performance. The 3 main areas affected by this were: • P  erception –The brand lacked a personality and was viewed as a pay-per-view channel • L  oyalty – Because the brand had little equity, people felt no loyalty to ESPN. They would dip in and out depending purely on content and had no actual emotional attachment to ESPN

• P  erformance – ESPN had successfully converted those most likely to subscribe, the ‘hardcore’ sports fan. New subscribers to the business would come at an ever-increasing cost unless brand perception and loyalty improved. Brand engagement activity was needed to foster loyal advocates of the brand The start of the 2011 season was an opportunity to create a change in the way ESPN communicated. The strategy Sports fans derive brand ‘value’ from social currency. Social currency in this case was the tool of banter – the audience want the latest news, scores, and expert point of view/analysis on sports, and they want their views to be considered too. They want to be part of the banter pre, during, and post event. The audience don’t consume media passively anymore. ESPN needed to provide sports fans with the opportunity to engage with the sports media in this way. ESPN has a great, unique personality that fans can engage with. Through the 2011 ‘Gift’ ad, creative was developed to demonstrate this and a brand promise, ‘miss nothing’, which could be brought to life through paid, owned, and earned media. Brand engagement activity on a mass scale would make for a more loyal customer base, and ultimately increased revenues for ESPN. The execution Season 3 was about giving fans the gift to ‘miss nothing’ with ESPN. Digital roadside and rail formats allowed ESPN to drive engagement on a national scale around various events

Mike McKibbin, Marketing Director EMEA, ESPN:

“This launch has been our most successful to date. Not only have our subscription numbers jumped but we have found many more of our viewers and subscribers having a deeper engagement with ESPN. The digital outdoor campaign has been a critical part of an incredibly successful integrated campaign.”


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of the day. As part of the launch of the new football season, ESPN’s social media assets were integrated with online digital display and digital OOH ads. Fans were given the opportunity to join the debate across multiple platforms, share their opinions and keep abreast of the games. Via Twitter, conversation was driven between ESPN’s on-air talent, Ray Stubbs and Kevin Keegan, and football fans. This real-time debate was broadcast live through online display ads and across over 300 digital OOH sites which simultaneously carried real-time automated and customised

content. Anyone could join the debate wherever they were via #ESPNUK. Sports fans were targeted whilst they were out and about but didn’t have easy access to sports media analysis, results, and highlights – helping them to ‘miss nothing’. A range of sites were used; from railway station Transvision screens, to digital rail 6 sheets and large stand-out digital screens. Live scores from ESPN’s own Soccernet. com were included to ensure sports fans didn’t miss any of the day’s action. And, come 5.15pm, fans were offered the opportunity to be the first to see the day’s Premier League goals by downloading ESPN’s free Goals app.

Results Consumers immediately started to engage more with ESPN - with an average of 547 tweets a day when the activity was live and a 43% rise in ESPN’s Twitter follower base. Viewing figures shot up too, with average viewing at the start of the campaign up 25% YoY, while impacts were up 26%. ESPN smashed their 2011 business targets - delivering 115% YoY increase in subscriptions: 10% more than the target for 2011. Loyalty has improved with the churn rate down 7% YoY. ESPN also more than doubled the target number of downloads for the Goals app.


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Best use of innovation in outdoor Shortlisted: Xbox Forza Motorsport 4 Campaign: Where Dreams are Driven Agency: UM London Specialist: Rapport

The challenge Xbox released their blockbuster Forza Motorsport 4 game in October 2011. With Christmas around the corner and amid fierce competition during this crucial season, Xbox needed to rev up their core audience (16-24 males), and along with this needed to draw in fans and gift-buyers from beyond the gaming and motoring worlds. The challenge was to give Forza 4 blockbuster appeal, showcasing the beauty and customisation elements of the game, winning the hearts of the nation and showing entertainment seekers that this was the game to own. The strategy OOH was identified as a key platform from which to reach the core audience of 16-34 year old males: one that would allow Xbox to deliver in reach, as well as delivering in ‘wow’.

high dwell time and receptivity. With outdoor there were fewer boundaries, and a greater opportunity to do something truly innovative; something that would appeal to an Xbox audience who love having ‘something extra’ to talk about with their peers. A bold and exciting outdoor strategy with two distinct phases was devised. Firstly, Xbox would capture the imagination of core Forza fans: those who love the minute detail of the game and the mechanical workings of the cars, and convey the customisation element. With the imagination of core fans captured, this initial buzz would be amplified through a wider campaign, appealing to those with a love of beautiful cars. The execution A unique car build event at Westfield, London, was developed. With real

Out-of-home

Touchpoints indicated that the target audience spend a lot of time outdoors. Outdoor was identified as a key opportunity to infiltrate the ‘out and about’ target audience and entertain this audience during moments of

life mechanics, real life parts and a beautiful supercar at the end of it all, this was a Forza fan’s dream come true. Viewers were invited to chat to the team of on-site mechanics via online video streaming, and cast their

votes around the customisation of the car, so they could own the experience for themselves. Xbox also gave one fan the chance to actually drive away with the £80,000 Forza car at the end of the week. The stunt clearly gave the audience something to talk about, and the buzz carried the campaign seamlessly into the second phase of outdoor activity. With core Forza fans fully on board, the campaign shifted up a gear to achieve ‘blockbuster’ status. The London underground was identified as the perfect playing field, offering high dwell time and an environment contained enough to create a sense of ubiquity and spectacle. Stations were chosen with the best proximity to key game retail outlets and the highest concentration of affluent, 1634 year old males. Bold, high-impact triple 48 sheets and clusters of 12 sheets were employed to create Forza 4 domination, using the traditional inventory in an innovative manner. London underground packs were


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Results The ‘Car Genesis’ stunt gave motoring fans, gamers and shoppers alike a completely unique experience – one that they couldn’t wait to share with fellow fans across the web: • A  pproximately 377,970 people saw the live car build, and a further 140,000 consumers watched it online broken up and hand-stitched together to create giant, bespoke, aweinspiring posters. This meant moving around other advertisers who were already booked in and even replacing some of the poster placements to accommodate the 3-in-a-row 48 sheets. Digital and outdoor Digital and outdoor were both identified as being equally impactful amongst the target audience; it was therefore important to link the two. Teaming up with Blippar, a bespoke augmented reality app was created. This brought the cars out of the

posters straight onto people’s mobile screens as a 3D image. Each iteration had the same tactic – teasing fans with the unattainable, then giving them immediate fulfilment through interactive augmented reality tagging that took them, via mobile, into the Forza game. The same short-run, high impact activity was employed across the entire multi-media campaign, to maintain the ‘blockbuster’ feel across all platforms. High impact TV spots and bold digital site take-overs were utilised, as well as interactive print ads and a mobile campaign built in HTML5 for consumers to engage and play with.

• T  witter and Facebook went crazy over the event, and blogs and forums were filled with positive comments. In total, they helped Xbox to engage with over 2 million people The blockbuster campaign, for which OOH provided the backbone, delivered Xbox’s biggest launch of 2011, taking Forza 4 to no. 1 in the games chart. It also helped make Forza Motorsport 4 the best-selling simulation racing game of the year, and the fastest selling Xbox racing game of all time. Hitting the sales targets meant that Forza 4 out-performed the entire games market, which had declined 9.5% YoY.


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Best use of innovation in outdoor Shortlisted: Posterscope Campaign: Treasure Hunt Specialist: Posterscope

The challenge Out-of-home is changing so fast it can be hard for media planners to keep up with it all. The world is being transformed by technology which in turn is changing how consumers behave, particularly when out-of-home. For the out-of-home medium and the advertisers using it, the proliferation of mobile devices, whether smartphones or tablets, along with the introduction and maturing of technologies such as Near Field Communication (NFC), augmented reality, and the rise of geosocial networking for example, have all opened up a range of opportunities to have a far richer interaction with the consumer, from delivering content, driving search or even acting as a point of purchase. These days OOH is so much more than just an advertising medium: it is a portal to engage with brands, and in the future will become even more so. It is therefore essential that the marketing community fully embrace the ‘new world’. The difficult challenge with this campaign was to educate a broad audience from within the media industry about the existence of all these new technologies, and the benefits they bring to advertisers and consumers. The campaign aimed to get agencies to reappraise the role and capabilities of OOH in this new connected economy, in a collaborative way for the greater good of the industry. And it had to do all of this in a truly engaging and interactive way. The strategy The strategy was to send media planners on a treasure hunt that involved actually using the new technologies. In this way they would really understand their potential. The primary target audience were time-

poor, information overloaded media agency personnel, ranging from junior planners all the way up to managing directors. As with any media planning, it was essential to reach them in the right place, at the right time, and with the right message. The solution was to create the totally unique, highly interactive, technology-heavy ‘Posterscope Treasure Hunt’, working collaboratively with two technology providers, Proxima and Blippar, and key media owner partners, whose contribution was invaluable in making this happen. The execution The Treasure Hunt, which was run on seven evenings across July 2011, consisted of a number of sites, each showcasing one of seven different technologies. It was attended by representatives from Posterscope, the media owners, technology partners and, of course, the Treasure Hunters. Participants, who were targeted via inhouse marketing campaigns, were put into teams of 5/6 and were instructed, prior to the event, to download certain technology to their smartphones. ‘Enabled’ phones were also provided by Posterscope. Each team was then given an answer sheet to complete, a route map, a phone including all apps / technology needed on the tour, and were asked to find clues from poster

sites across London, clues which could only be deciphered by utilising mobile interactive technology. Using 7 different types of mobile based technology, one for each poster location, the participants worked their way around a predetermined route answering questions by using their smartphones. The technologies included NFC, voice search, QR codes, Blippar, augmented


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reality, mobile Search, digital live feeds and Facebook search. At the end of the Treasure Hunt all of the agency participants, along with the major media owners, made their way back to Posterscope’s offices for an evening of prizes and merriment. The competition In addition to the quiz on the day, each participant was also invited to submit a 100 word entry on how one of their clients could best use one of the technologies that were demonstrated on the hunt. Part of the prize for the winning submission was £50k worth of free media space to implement the idea. Results It worked. The planners loved the Treasure Hunt, and loved the new OOH opportunities they encountered. This project was truly innovative. Using cutting edge technologies, social media and the OOH media Posterscope clearly met the objectives, and achieved results that massively exceeded expectations. In total almost 500 people attended the Treasure Hunts. When interviewed those participating said the following: 4. Has the Posterscope treasure hunt inspired you to think differently when planning?

Response Response Percent Count

Yes

96.7% 29

No

3.3% 1

Steve Williams, Chief Executive, OMD Group:

“A fantastic initiative by Posterscope – they really brought to life all of the amazing new ways you can interact on OOH with your mobile which is a key trend. We need to be ahead of this curve and making it into a Treasure Hunt was a stroke of genius as it got everyone really involved and excited about the possibilities for our clients.” Alan Brydon, Head of Trading, MPG Media Contacts:

“The recent Treasure Hunt that you organised was a hugely interesting, informative and enjoyable event. All of the participants from MPGMC learnt a lot about a very important part of the OOH world.”

7. Has the day increased your knowledge about Posterscope & Pioneering OOH?

Response Response Percent Count

Yes

100.0% 28

No

0.0% 0

8. Would you recommend the treasure hunt to colleagues?

Response Response Percent Count

Yes

100.0% 28

No

0.0% 0

The Treasure Hunt was directly attributed with generating over £3 million of business in 2011 and there are currently many plans, using these technologies, under discussion for 2012, including Barclaycard, Ladbrokes, KFC, UKTV, C4, COTY, Citroen, Waitrose, HMV, amongst others. 2012 looks set to be buoyant year.


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Best use of innovation in outdoor Shortlisted: 20th Century Fox Home Entertainment Campaign: Christmas Gifting Agency: Vizeum Specialist: Posterscope

The challenge Fox are dedicated to using new technologies to enable customers to discover and consume entertainment content in the way that best suits them. The area of M-Commerce, the ability to conduct commerce using a mobile device, is a growing phenomenon. By the end of 2012 it is predicted that M-Commerce will be worth over £3.3bn in the UK. Through their campaign, Fox wanted to provide an innovative way to integrate M-Commerce into their marketing activity (in partnership with one of their most established suppliers, HMV) and engage with an audience that are open to using smartphones to purchase. Christmas presented the perfect opportunity to create a high impact, innovative and relevant campaign, at a time when consumers were highly focused on shopping. The strategy The strategy was to create a ‘Virtual Shop’ targeting the ‘on-the-go’ mobile shopper with a convenient impulse purchase whilst they were out and about shopping, and using technology that allowed purchase directly from HMV.com. The campaign featured best-selling products, ranging from box sets and new releases through to old favourites such as Star Wars. QR codes were decided upon as the most effective route, due to the relatively high proportion of QR-enabled phones and awareness of how to use them. The obvious choice of outdoor medium for this campaign was high street bus shelter panels as they met all the requirements necessary such as sufficient proximity to the poster to


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allow consumers to scan the QR code, and the internet connection required to allow mobile phone users to connect to the HMV site. From Posterscope’s insight tool ‘OCS’ it was clear that the target audience over indexed against using buses in major cities and that they welcomed distraction here. A number of bus shelters in major shopping areas were to be turned into Fox ‘Virtual Stores’ (with some of them wrapped in vinyl). All the consumer had to do was scan the QR code on the poster site to be transferred straight through to the HMV site and to the film of their choice and click to add to basket. The execution For the campaign, seven of the UK’s largest shopping cities (London, Manchester, Leeds, Nottingham, Bristol, Glasgow and Edinburgh) were selected and sites in the main shopping areas of each city which met the specific campaign requirements were identified. The complex nature of the campaign, with such a large number of creative executions, demanded a collaborative approach, not just with client and agency partners, but also with the special project teams of the media owners’ innovation departments: Clear Channel’s Create and JCDecaux’s innovate, the Posterscope innovation team Hyperspace and PCDS. Results The campaign met all objectives first in terms of the number of scans linking consumers directly to the HMV mobile site to purchase. Secondly it created ‘news’, due to the scale of the campaign, in several of the marketing trade press titles and also in the more general news sites such as the BBC.


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Best use of innovation in outdoor Shortlisted: AOL, Huffington Post Campaign: The Huffington Post UK Launch Agencies: Total Media and MBA Specialist: Posterscope

The challenge The Huffington Post is widely recognised as the most powerful news blog in the world, but ahead of the UK launch the brand was almost unheard of outside of media circles. Faced with an increasingly cynical blogging community and a lack of relevance for the British news audience, there were clear cultural and behavioural challenges to overcome for the launch. Participation in news stories, one of The Huffington Post’s USPs, was not mainstream behaviour in the UK prior to launch, and those who did participate already did so via established platforms such as Twitter and The Guardian’s ‘Comment is Free’. On a small budget, and with high expectations from AOL, the campaign needed to create a ‘cultural space’ that would go beyond advertising to allow a cynical, habitual print news reader to try something new, whilst also attracting credibility from the UK blogging community. The strategy Insight suggests that no matter what the choice of news brand, high-brow or low-brow, the British public love a great story with a big bold and witty headline, something the Huffington Post introduced to the market with their unique front page splashes. The campaign needed to leverage these bold headlines in a modern, digital context to connect the personality of The Huffington Post brand to the general news reader, allowing them to get involved, whilst garnering credibility from the wider industry and blogging community. Digital out-of-home was identified as the ideal platform to subvert traditional news formats and update them for a

technology-centric world. Taking the classic concept of a gossip mongering news vendor the campaign aim was to transform London into live real-time spaces where people were inspired to share opinion on the daily topical news agenda. Carefully selected digital sites reaching the busy free-sheet consumer would run sensationalist pun-tastic headlines covering the popular news agenda of the day, such as ‘Will & Kate in L.A. Don’t keep your views confidential’. Londoners would be invited to add their own contributions via a Twitter hash-tag, which would then be fed onto the live formats as they happened. This innovative use of technology would showcase the brand personality of The Huffington Post and provide a direct call to action for people to share their opinion on the site. The execution The campaign pushed the possibilities of digital outdoor, disrupting London with interactive copy on rail station digital screens and digital 6 sheets at key transport hubs - demonstrating the site’s real-time, participatory nature in a mainstream environment. The digital screens were updated daily with topical headlines and people were invited to tweet their views on the headline into the live feed appearing on the screens by using the hash-tag #huffpostuk. Teams worked around the clock to deliver the campaign, with very tight deadlines, pulling in feeds from multiple sources and allowing the audience to interact in real time. A great example of this was the breaking News of the World story – with teams and contractors working together to change content literally minute-byminute to ensure screens were as up-to-date as possible.

To bring real theatre to key hubs around the city on particularly newsworthy days, live interactive newsstands fitted with iPads allowed people to try the site with newspaper vendors exclaiming “Blog All About It”, handing out branded USBs and briefed to deliver the key messages and direct interest online. To provide broader awareness, taxi advertising wove the campaign through the city and press advertising in


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magazines such as Stylist and Shortlist created a final prompt for consumers at the end of the day to visit the site when they got home so they were ready for the next day’s headline.

The campaign generated site traffic ahead of target and attracted highprofile contributors such as Gordon Brown, Alastair Campbell, Dom Joly and Ricky Gervais.

Results

The real success of the campaign, however, lay with the participatory element. Just as The Huffington Post depends on community, so did the campaign. People’s contributions resulted in #huffpostuk trending at

“Blog All About It” exceeded expectations, launching The Huffington Post into the UK blogging community and attracting widespread attention from mainstream and industry press.

number one on Twitter and included comments from influential tweeters such as John Prescott. The campaign was not only a key element of the marketing strategy for the launch but has informed ongoing communications into 2012, cementing The Huffington Post UK in a live realtime cultural space that connects the brand personality with the busy London news reader.


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Best use of innovation in outdoor Shortlisted: Google Campaign: Voice Search Agencies: MGOMD Specialist: Posterscope

The challenge Google launched the next wave in mobile technology in 2011 with its pioneering new ‘voice search’ product. This campaign needed to drive both awareness and usage of the new Google Voice Search app on smartphones, it needed to promote mobile downloads and position the brand as an innovator within the mobile search market. Google’s key campaign objectives were two-fold: 1) L aunch the new Voice Search application on a mass broadcast level 2) E  ncourage mobile downloads whilst people were out-of-home to install the app on their smartphones The target audience was very broad, focusing on moments and behaviours as opposed to a specific demographic group, aiming to reach people at times when they were most likely to use their mobile device for any kind of mobile search i.e. right time, right place, right environment. The out-of-home strategy was to use specific locations and venues with relevant and bespoke creative copy. As a lead medium, outdoor would need to prove it offered the flexibility to deliver this kind of targeting, at scale. The strategy The approach was to think, plan and buy outdoor as if it were a digital medium: delivering the scale and impact associated with OOH alongside the interaction, personalisation and contextual relevance usually associated with a digital campaign. The concept for the whole campaign was based on using ‘phonetic copy’ to demonstrate the power of voice search and also engage the audience by inviting

them to not only work out the word, but to also ‘say’ it. Whilst this delivered a form of interaction, it was clear that this would be much more powerful if the context of the ad, the message and the medium all worked together. The campaign was personalised and carefully targeted by making each poster specific to its environment – something which had never been done before on this grand scale. The execution In order to deliver this, Posterscope and MGOMD worked in collaboration with BBH and Google in handpicking the ideal OOH sites where bespoke copy would be most effective, along with selecting sites which would best


49

showcase the already existing branded copy that Google wanted to use. Panels were cherry picked, side-byside, line-by-line and with no room at all for error. This turned a broadcast medium into a handpicked contextually relevant one. OCS was employed to determine the best formats to use, basing the analysis on heavy users of smartphones. To help aid the positioning of the campaign Google Maps were used, alongside Posterscope’s MOSAIC mapping system to select the copy that would best relate to that environment, for example “rug-bee tikits” at Twickenham Station, “Shur-lok Hoemz” at Baker Street, and “tra-vul up-dayts” at traffic hot spots and busy intersections. 150 different pieces of copy were created and placed, each telling its own individual story across 10 different OOH formats- which was no small feat for an OOH campaign. Results The results proved the strategy and attention to detail paid off. Research showed that word-of-mouth played a key role in the success of the campaign, with over a quarter of respondents saying they remember speaking to someone else about the campaign. Perhaps most importantly people changed their behaviour as a result: Google searches for “Voice Search” in London more than doubled versus the rest of the country – the biggest proportion coming from smartphones ensuring Google hit their launch targets for this product. This further supports the case that OOH does drive search, and to be even more specific, drives mobile search.


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Best use of continuity in outdoor 52 KFC 54 BSkyB ‘Long Term Holding’ 56 BAA, Heathrow Airport ‘2011 Service and Retail’ 58 Coca-Cola, Coke Zero ‘Tasting is Believing’ 60 Specsavers, Value ‘Specsavers Residency’


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Best use of continuity in outdoor Winner: KFC Agency: Walker Media Specialist: Posterscope

The challenge A consistent user of out-of home, KFC faces the challenge of an increasingly competitive fast food market, with the average Londoner today having the choice of over twenty ‘Quick Service Restaurants’ within a mile of their front door. KFC have three major business objectives: increase share of the QSR market; increase footfall and ultimately sales; and to compete effectively within an expanding product portfolio. However in order to succeed in this intensely fought battleground, heavily dominated by McDonald’s and their ever expanding range of products, as well as other high street restaurant chains, KFC needed to do things differently. As such, the key challenges for this campaign were the following: use OOH to drive impulse purchase; maintain brand awareness amongst 16-34s in this ever more cluttered landscape; punch above its weight to make the advertising pound go further; ensure OOH complements the TV activity to produce an optimised multi-media campaign; satisfy regional franchises’ budget requirements and deliver efficient ROI.

• K  FC promotions of menu choices play a role in inciting temptation; images of meal items and choices not only inform passers-by of new products, but also act as a positive brand reminder As the QSR journey is predominantly a spontaneous decision, it is essential to communicate to consumers when they are making mealtime decisions. The OOH strategy needed to deliver stand-out and relevance. It also needed to create brand awareness and advocacy to keep KFC front of mind - as mealtimes blur, it was important to build perceptions of KFC as ‘an anytime eating destination’. With that in mind, OOH needed to reach consumers on the streets, all day every day, in effect acting as a shop-window to encourage ‘kneejerk’ visits and drive sales.

The strategy There are two distinct consumer groups at the heart of the KFC business, both requiring relevant, motivational communications. Whilst TV is used to reach mums with considered family meal solutions such as “I’ll take the family to KFC on Friday”, OOH is used to target young (16-34), urbanites who are highly mobile, making their eating decisions whilst out-of-home. Further insight reveals the following: • F  or the majority, eating from fast food outlets happens as a result of an impulsive decision, and is largely driven by convenience

Judges’ comment

“An intricately planned and precisely executed campaign. Demonstrates an exemplary use of the medium to build a strong presence over time with fantastic results.”

The execution The campaign consisted of two key elements. A long-term, continuous (52-week) national phone box ‘holding’ provided the bedrock of the campaign, sustaining presence and driving footfall to the stores. The holding consisted of over 2,000 sites in close proximity (within 1 km radius) to 98% of all UK KFC outlets. This approach enabled KFC to influence impulse purchase and re-assert the value-pricing strategy, attracting ‘bargain-hunters’ in the market for a better mealtime deal. In addition to the long-term holding, across the year, there were 13 twoweek bursts using a combination of high street 6 sheets and an upweight of phone boxes. These were used to generate high levels of reach, and provide support for new product launches. This strategy enabled KFC to reach over 75% of the UK population in each two-week period, and speak


53

to the target audience at an average frequency of 22, at the right time and in the right environment. The phasing was one of ‘burst and sustain’ using TV and 6 sheets at the start of the promotional window to drive awareness. The ‘holding’ then

sustained that message until the next promotion – typically six weeks later. A further requirement was to satisfy franchise budget splits as each KFC franchise commits 5% of their yearly revenue to the media pot. As each franchise turns over different revenues, the result is a very sensitive KFC geographical spilt which must be adhered to across all campaigns.

By committing budgets upfront, KFC further maximised value, both in monetary terms and also by securing the best sites across the entire year: optimising proximity to their outlets and effectively blocking the competition in the key high-street heartland. Results Unique planning precision coupled with exacting execution enabled OOH to deliver KFC’s communication goals and drive their business. • E  conometric analysis has shown an ROI of £3.39 for every £1 • Q  media analysis showed powerful association of ad awareness with higher usage frequency, suggesting KFC are getting better ‘bang for their buck’ from OOH • S  trong ad awareness and OOH attribution with KFC recognised as heavily featured on OOH formats James Mercer, Marketing Director, KFC:

“Not only does econometric modelling reveal a strong outdoor ROI that continues to contribute to our sales but also maintains both brand saliency and allows us to keep our franchisees happy on a store by store basis. The flexibility of the channel also allows us to balance multiple product promotional campaigns with multiple consumer frequency cycles.”


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Best use of continuity in outdoor Highly commended: BSkyB Campaign: Long Term Holding Agency: MediaCom Specialist: Rapport

The challenge By the end of 2010, Sky had succeeded in hitting its long-term subscription target, through a sales and marketing strategy employing multiple media channels. The outdoor holding played a pivotal role in this success. At the same time, economic conditions were rapidly worsening for many households. Perceived luxuries such as Sky could be threatened. This Barry Louth. Head of Media Planning, BSKYB:

“The outdoor holding enables us to convey the quality and breadth of our products, services and content to our customers and prospects when on the move. We were able to operate outside of conventional posting cycles so our messaging works more effectively when we want it to. Increasing our investment in networked digital sites has provided even greater flexibility, facilitating the communication of multiple messages to consumers at different times of the day and in different environments when most relevant.”

subscription base could see rapid erosion as customers evaluated their monthly outgoings and looked for greater value from their expenditure. The strategy In the new economics of 2011, the previous year’s strategy needed to evolve. As well as demonstrating new services and the range of content, it was important to demonstrate the value offered by Sky to its loyal

customer base. For these customers, Sky launched a wide range of new services, without extra charges and also with a commitment to price freezing. This stood in the face of mounting inflationary and business pressures. The extra services included: 1. A re-launch of content Sky Atlantic launched, adding a new channel that housed the cream of American drama including Boardwalk


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Empire. Sky Living re-launched, and Sky One was re-invigorated. More 3D programming and sport could also be viewed via Sky’s 3D channel

2. On Demand TV: Sky launched a powerful on-demand TV and movie service for broadband customers called Anytime+ 3. Launch of Sky Go: Sky Movies and Sky Sports subscribers could access programming on the move, via an innovative application for their lap tops, smartphones and tablets

4. Customer Rewards: Access to events that money can’t buy for Sky subscribers (screenings and sports etc) The important role of OOH Throughout 2010, Sky had managed to make effective use of the outdoor holding, by getting out specific messages at specific times, all showcased within the HD quality of the medium. These objectives remained in 2011. However, with a new year of commitment, there was the chance to streamline the longterm holding, increasing its productivity through increased flexibility. The execution The core of the holding (as with any truly broadcast, national, large format campaign) contained roadside 48 sheets, alongside other formats such as vinyls and backlights. The holding was also more targeted than previously: identifying key customers and increasing cover and frequency in relevant environments. The migration to digital To capitalise on the scheduling and dynamic capabilities of digital, Sky increased its investment in digital 6 sheets, including underground, mall, rail and large format digital. This strategy allowed Sky to use digital OOH to react to events and instantly update customers, e.g.reporting the Champions League scores. Results By the end of 2011, the overall churn rate within Sky had remained stable despite the economic conditions. The continued presence of the holding and its ability to adapt to the needs of the business was a strong contributor to this success. Again, the diversity of the OOH holding enabled Sky to take multiple messages into the market.


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Best use of continuity in outdoor Shortlisted: BAA, Heathrow Airport Campaign: 2011 Service and Retail Agency: Carat Specialist: Posterscope

The challenge 2011 was a challenging year for Heathrow. 2010 had been tough due to the internationally publicised ash cloud and Christmas snow disruption. Public confidence needed to be re-built, while maintaining retail growth – and all of this with the same budget as 2010. The strategy To drive momentum three separate London out-of-home campaigns were employed across the year, speaking to both regular Heathrow passengers and the wider public, to turn the tide against the negative press coverage of the previous year. Easter, Summer holidays and Christmas deliver both peak traffic and interest. For maximum impact BAA needed to speak to people at their most relevant times for travel: when they are just about to go away and most likely to be in the right mindset to be receptive to the messaging. The main focus was promoting the service offering at the airport by showcasing the range of measures in place to make the Heathrow Airport experience as smooth as possible, including features such as a regularly updated Twitter feed, family lanes and greater levels of customer service staff. Creative continuity was vital to tell a


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story with these messages throughout the year. It was important to have presence in the same environments each time a new campaign was planned, so the public became accustomed to Heathrow’s presence out-of-home and began to expect to see Heathrow messaging in the same London locations. The execution Messaging needed to maintain the positive feel of detailed service communications, as well as delivering general brand recognition to the transient Heathrow traveller. Retail messaging ran simultaneously to Service creative. A mixture of formats were used, each of which was chosen to track the journey of the foreign traveller in London. The ‘See it in London, Buy it at Heathrow’ tagline accompanied by key product visuals was used as a trigger in central locations to encourage ‘window shopping’ in central London, and retail spend at Heathrow. Cross-track 48 sheets and tube car panels (32,000 in total) were central to the continuity of the message, due to the long dwell time. The campaign was upweighted on the route between central London and Heathrow (such as station platforms on the Piccadilly Line) to increase frequency, with escalator panels at tactical retail locations. Above ground, bus T-sides were used to get the ‘feel good‘ Christmas message out amongst the millions of shoppers on London streets. Taxi supersides (with tips and receipts) allowed BAA to target the Heathrow route, and taxis with Heathrow permits were specifically bought to optimise the consumer journey from

the airport. This allowed a more tactical campaign, getting close to those shopping around London (and focusing at times on particular shops and shopping areas such as Harrods) whilst telling them both outside and inside the taxis to buy at Heathrow. Another benefit was the enormous opportunity for achieving overshow and therefore added value. In a few instances, this kept the message live for over a month after the campaign was due to end. With a limited budget this was important for managing weights across the year. Results The campaign brought praise from Colin Matthews, the BAA Chief Executive, who on more than one occasion had key influencers and suppliers comment on the positive work Heathrow were doing. HPI Research showed the public’s perceptions of Heathrow improving significantly from where they had been at the start of 2011. The consistent use of out-of-home, balance of retail and service messaging and tactical use of individual formats delivered great results, including 2011 (despite the recession) being Heathrow’s most successful retail year on record. Agreement that Heathrow could cope with disruption increased by 35% from February, recognition of negative press had reduced by 29%, while overall trust in the ‘sincerity’ of the airport has increased 9% since 2009. With regards to recall, one in five Londoners recalled the ‘Family’ campaign, with nearly a quarter recalling the retail messaging. Key metrics had moved, awareness of BAA messaging was at its peak and retail spend was at a record level: proof that the strategy worked.


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Best use of continuity in outdoor Shortlisted: Coca-Cola, Coke Zero Campaign: Tasting is Believing Agency: Vizeum Specialist: Posterscope

The challenge Coke Zero has used OOH consistently from its launch in 2006 with OOH now accounting for more than a third of all media investment. In 2011 a new approach was adopted to support the brand on a continual basis. Coke Zero was an extremely successful launch for Coca-Cola and brand awareness is high. However, in recent years, the brand has not attracted as many new drinkers and rate-of-sale was reducing. The objective was to increase penetration (trial) and loyalty amongst 18-34 year old men. Insight Research revealed that the biggest barrier to consumption was that consumers did not understand the proposition – that it has the same great taste as Coke, but zero sugar. The perception was that ‘diet’ or ‘zero-calorie’ products did not taste as good as the ‘full-fat’ option.

Insight revealed that the greatest opportunity was to focus on health conscious men who would benefit from a zero sugar option. OOH media would be an important mechanism for reminding

Understanding consumer behaviour was a key part of the jigsaw, in order to identify moments which would help deliver the message in a relevant way. Audience data from fitness centres as

Daily online search: Healthy vs Takeaway Healthy 82 Takeaway 53

7 8 Aug 9

10

11

12 13 14 15 16 17 18 19 20 21

the audience that it is a brand for them which delivers ‘Great Coke Taste Zero Sugar’. However, it was important not to alienate the audience by communicating with them in environments overtly associated with weight loss.

22 23 24 25 26 27 28 29

well as online search behaviour revealed that consumers were more likely to think about health earlier in the week – particularly Monday, Tuesday and Wednesday. This created an opportunity to tap into moments of heightened health consciousness so the audience better understood the proposition. The strategy OOH media needed to create continuous communication so that the message was reinforced and absorbed over a sustained period of time, to create a change in behaviour. In order to get the audience to understand, try and become loyal to the product, the campaign was underpinned by two strategic planning principles: • Relevance: increase product understanding and leverage healthy intentions through media which would resonate with the audience and position the brand positively


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EPOS 200%

120%

117%

127%

50% 132%

148%

121%

116%

108%

96%

102%

109%

107%

100%

105%

150%

119%

Awareness

25%

50%

Awareness of males (18-34)

09-Jul

02-Jul

25-Jun

18-Jun

11-Jun

04-Jun

28-May

21-MAy

14-May

07-May

30-Apr

0% 23-Apr

Activity ran for eight months from February to October, allowing consumers to understand the proposition, try and become loyal to the product. The campaign consisted of 1,120 national digital screens

Increase in awareness and sales over time

16-Apr

A dual digital and 6 sheet approach fulfilled both the relevance and recency requirements of the strategy. The flexibility of digital meant the ‘Great Coke Taste Zero Sugar’ message could be aligned with healthy intentions and 6 sheets would increase trial at the highest volume stores.

Prompted Ad Awareness

114%

The execution

By being able to prove that a long term presence on digital and 6 sheets has a positive effect on the brand, consumer perceptions and sales, Coke Zero have extended this strategy into 2012.

• Prompted recall of OOH increased by 28% from 25% to 32%

09-Apr

Posterscope’s audience insight tool (Outdoor Consumer Survey) revealed that OOH media on high streets, at supermarkets and within petrol station forecourts were most noticeable and likely to influence purchase amongst health conscious 18-34 year old men.

98%

• Petrol station retailers

02-Apr

• Managed convenience

105%

• Independent retailers

The business objectives were to increase trial and loyalty. The main metrics to be measured against were increases in product understanding, consideration and sales. Continuous tracking by Synovate revealed that, against Coke Zero’s target audience, there were positive shifts in all metrics:

26-Mar

• Major retailers

Weekly sales data revealed that sales consistently increased vs. control stores. Over the eight month campaign period Coke Zero saw an 11% increase in sales since the start of the campaign. In addition, there was a large halo effect across the portfolio with Coke Red also experiencing a 5% increase in sales over the campaign period. Another major success was the effect the continuous presence had on their competitors. Pepsi Max saw a large decay in sales across the eight month period.

Results

100%

It was crucial that media reached the target audience at the most appropriate points-of-purchase, both from an audience and volume perspective. Working with Coca-Cola’s distribution arm (CCE) sales data was used to establish the core environments where Zero is distributed and drove the most volume. These included:

• Brand consideration for those that would ‘always buy’ Coke Zero increased by 30% from 10% to 13%

Posterscope’s flighting tool (Prism Effect) meant the 6 sheet activity could be planned over multiple bursts to sustain recognition over the campaign period. Two higher weight national bursts were supplemented with one lower weight national burst to build frequency and reinforce the message.

Pre

Combining Client and Audience Data for Maximum Effect

• Understanding that the product has ‘Great Coke Taste Zero Sugar’ increased by 25% from 36% to 45%

across petrol station forecourts, activated every Monday, Tuesday and Wednesday. Running in conjunction with digital, three x 6 sheet bursts were concentrated on high streets and in proximity to key retailers.

19-Mar

• Recency: convert consideration into trial by reaching consumers directly at the point-of-purchase so that they can act immediately upon the relevant messaging


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Best use of continuity in outdoor Shortlisted: Specsavers Campaign: Specsavers Residency Agency: MEC Specialist: Kinetic

The challenge Heading into 2011 it was clear that Specsavers would be facing extremely tough trading conditions for a variety of reasons: • Consumer confidence levels and the outlook for significant financial purchases were still low and had been declining for the previous six months • Glasses are purchased, on average, once every two years with research showing shoppers were prepared to delay given the economic climate • Tesco and Asda were opening on-site opticians which posed a real threat due to their appeal to price-conscious customers Specsavers also have a legacy in great TV executions, bringing ‘Should Have Gone to Specsavers’ to life through a variety of amusing situations. Whilst this ensures that advertising is talked about and shared it means that understanding of the offer sometimes finds it difficult to cut through. So, the challenge was clear: to strengthen perceptions around value and continue to make Specsavers the first port of call for a new pair of glasses. The strategy The idea was a simple yet effective one of using outdoor as a window into people’s lives, letting them know all of the great offers that could be found in-store. The key to shifting perceptions would be in using the same sites over a long time to become part of people’s everyday lives. Historically no opticians had significantly invested into large format OOH in the UK. Specsavers had been hesitant due to concerns about store cover from local managers. No OOH format could cover all stores evenly, so some stores would undoubtedly feel unsupported.


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The execution Understanding how effective large format OOH could be to Specsavers, Kinetic and MEC worked closely to get over this barrier by identifying 1,400 48 sheets that would ensure even coverage at a TV region level. Planning these panels on major arterial routes was crucial in ensuring it was the regions and not stores which were covered meaning no store would be neglected. Once the sites had been identified, the commitment was made to be in-charge for 20 weeks across 2011 to ensure consistency and allow Specsavers to cover the key offers that could be found in-store. A combination of standard 48 sheets and backlights was used to infiltrate people’s lives. The same sites were selected to run across a twenty week period. This was a cleverly planned residency delivering consistency and allowing Specsavers to cover the key offers that could be found in-store: 1) 2 for 1 2) Glasses from £25 3) Shockingly low prices on contact lenses 4) Free varifocals, free reaction lenses and free sunglasses Copy was aligned to TV and print to ensure that the execution was easily recognisable, further helping stand-out. Using this strategy the recommendation was made to spend £3.2M on outdoor in 2011, marking a big change in strategy from previous years. Results The results speak for themselves. Nine waves of research, from Kinetic and Lightspeed, showed that consideration and intent increased dramatically.

Results

Do not recall advertising (%)

Recall advertising (%)

Difference (%)

Would you consider going to Specsavers again?

50

65

+30%

Are you planning to go to Specsavers in the near future?

19

33

+73%

Specsavers has good special offers

48

67

+40%

Specsavers offers competitive prices

52

66

+27%

Specsavers offers good value for money

47

62

+32%

Specsavers offers the lowest prices

26

40

+54%

The research also demonstrated the bursting strategy used in the outdoor activity helped sustain and prolong the core value and brand messages, across the full campaign between April and September 2011. Importantly, the campaign also ensured Specsavers attracted brand consideration from key competitors. Research into the campaign demonstrated that the key messages were cutting through: that Specsavers offers competitive prices, good special offers, and a wide range of fashionable frames, with a consistent effect among those that recalled any Specsavers OOH advertising. Those recalling the outdoor campaign were overall 2-3 times more likely to agree with key statements such as “Specsavers has the best overall range of frames” and “Specsavers has the best quality frames”, reinforcing the media’s ability to cement key messages over time – a result of the media strategy applied. This helped meet the strategy of strengthening perceptions around value, and the campaign was applauded by the client.

Tim Orton, Director of Marketing Planning, Specsavers:

“We’re really pleased with the outdoor activity and, in particular, the response from stores and customers. Research has validated its contribution to strengthened value perceptions and we look forward to renewed investment in outdoor in 2012 and beyond.”


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 0161 888 1810 (regional) to find out what we can do for you. For insight and research enquiries, email our insight team on insight.ccuk@clearchannel.co.uk

Clear Channel UK 33 Golden Square / London / W1F 9JT / United Kingdom T +44 (0)20 7478 2200 / clearchannel.co.uk / @clearchanneluk www.clearchannel.co.uk/planningawards

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