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Artificial intelligence, virtual and augmented reality are here. But are marketers ready to use them? You may find out at Lions Innovation. JULIANA KORANTENG reports


T THIS year’s Lions Innovation, we’re going to be introduced to the awe-inspiring future of the ad business. Take the seminar Man-Machines — Humanity And Creativity In The Age of AI, for example. Speaker Yifei Chai, an innovation architect at London-based innovation studio Unit9, will introduce The Pretender Project. Essentially, Chai will demonstrate how wearing muscle stimulators, compression sleeves, and flex sensors attached to a computer and electric stimulation, together can allow one wearer to control the physical body

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of another. “The first can see through the other person’s eyes. When one looks down, he or she sees what the other person sees,” Chai says. “In the future, it will be possible for people to use another person’s body to experience new things.” The Pretender Project is obviously still experimental and the neo-noir world of I, Robot, the 2004 Hollywood sci-fi movie is not here yet. However, as with any emerging technology, the long-term ramifications of The Pretender Project cannot be ignored by marketers. Robotics and robots are increasingly part of industry manufacturing process and

The Pretender Project

consumer retail services. “Technology and engineering have always been about extending humans’ natural limits,” Chai adds. “Physically, we’re not as strong as gorillas, but we’ve used engineering and robotics to compensate for our physical limitations. As we move into an increasingly creative economy, so robotics is moving into empathy.” Consequently, robots with human characteristics, for example Japan’s Junko Chihira and SoftBank Robotics’ Pepper — which was at last year’s Lions Innovation — are increasingly common. Chai doesn’t fear the rise of robots or the possibility of AI taking over the human race; nor does he believe automated advertising will dictate marketers’ strategies. But as robotics takes in more of human beings’ five senses, the more

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personalised advertising could be in the future — and that is what Chai hopes to demonstrate. “The brain has a greater ability to know what is wanted because it can crunch through data much faster,” he says. “At the moment, we’re allowing advertising to be based on the way machines communicate with humans. In the future, marketers will be able to target people with real-time advertising and deliver messages to their specific needs.” When it comes to the internet, here is what we’re grappling with. According to Wired magazine, it hosts 60 trillion web pages, millions of emails per second, texts, images, videos, sextillions of data, and now mass-produced virtual reality (VR), augmented reality (AR). Consumers take such access to digital media for granted; advertisers cannot afford to do so. They are constantly investing to keep up with consumers and stay ahead of competitors. They have to understand social media, ephemeral short-form and snack-sized videos on new but fast growing channels like Snapchat, Instagram, Periscope, Vine and Meerkat. Their costs include multi-platform delivery of content, plus customised and personalised advertising based on data and delivered in real time. And advertisers want to know what innovation agencies can bring to campaigns for consumers who do not need TV or newspapers. The internet is empowering brand owners, for example soft-drinks giant PepsiCo, to launch their own content production companies. YouTube multi-channel networks such as Vice Media, Disneyowned Maker Studios and online publisher BuzzFeed are competing against agencies to offer original branded entertainment. Print media colossus Time Inc owns INVNT, a global brand communications agency. Advance Publications, owner of Vogue magazine publisher Condé Nast, has acquired digital ad agency Pop. Computer behemoth IBM recently bought Resource/Ammirati, a digital marketing agency whose clients include Microsoft and Nestlé. Meanwhile, US tech giants Apple and Google and their Chinese counterparts Alibaba Group Holding and Tencent Holdings, are competing against General Motors, Toyota, BMW and Fiat Chrysler to dominate the future of electricity-powered

Yifei Chai

Absolut Labs offered a VR performance by Bob Moses to fans


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driverless cars. With some describing driverless cars as computers on wheels, marketers engaging with drivers of the future face new challenges. “Today, there are ways of providing more scalable information on the consumer but the critical point to make here is that the consumer is faster-moving and more fickle than ever before,” says Jonathan Chippindale, CEO of UK digital creative agency Holition, which has partnered with global media agency MEC for one of this year’s Lions installations. “As the consumer becomes more digitalised, so the tools for communicating to the consumer need to change. For example, augmented reality is an additional tool, which digs down to a deeper level of engagement. Great content can communicate the passion and personality of the maker and make it more appealing to the consumer.” “Driving taxis, working in offices, buying and selling ads, such routine jobs are already being automated,” says Martin Ford, US software entrepreneur and author of the 2015 New York Times best-selling book Rise Of The Robots: Technology And The Threat Of A Jobless Future. He continues: “In the near future, truly creative tasks will be safe because humans have a competitive advantage over machines. But remember that

software used to be shipped in physical boxes; it can now be delivered electronically. It’s a warning and we need to think about the implications now.” Ford will be discussing The Rise Of The Robots with Stefan Bardega, chief digital officer at Publicis media-buying subsidiary ZenithOptimedia, at Lions. “The influence of technology on creativity has already started,” Bardega says. “Facebook is creating video formats that are unique to its platform and this has forced creatives to think about the resulting constraints. For example, the fact that the videos’ sounds are off by default is a constraint a creative has to deal with.” Haydn Sweterlitsch, global chief creative officer at Seattle-headquartered international marketing firm HackerAgency, says we should not have to wait until 2020 before marketers start taking into account the 50 billion internet of things (IoT) devices predicted to be in existence that year. “As more and more devices become connected and start communicating with each other and with us, we’re going to see a scarcity of attention. And as attention becomes more scarce, we are going to need marketing campaigns that inform but never interrupt; that is calm technology,” he says. He also cites the Amazon Echo as an

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developed tools that allow them to do this without any direct involvement from us.” Immediate future plans include upgrading the technology into a visual search engine that combines AR with artificial intelligence and content. “It means all search results will be visual because there are many things that people are curious about but for which they don’t have the written language to explain,” he adds. “And one way for brands to get involved is to sponsor the related content.”

Blippar is using AR to create “visual discovery” experiences

example of how consumers will interact with products in the future. A voiceactivated wireless device invented by e-commerce pioneer Amazon, the multi-tasking Echo lets users do anything from playing music, streaming podcasts to accessing weather information and controlling appliances in the home, via one smart object. “There needs to be a tectonic shift in how we approach marketing. Marketers still relying on interruptive ads run the risk of being ignored at best, and becoming extinct, at worst,” he says. The increasingly ubiquitous VR and AR use digital technology to immerse consumers in synthetic worlds for entertainment, information and stimulation. Both formats take audio-visual media to a new level and Swedish vodka brand Absolut plans to apply them to attention-grabbing innovative projects that complement its award-winning campaigns. “We create digital products and experiences that help people have a great night out,” says Afdhel Aziz, brand director at US-based Absolut Labs, an ideas and innovation incubator launched last year. One of those experiences involved Bob Moses, the popular Canadian

Stefan Bardega


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electronic dance music act, who was filmed in VR playing live on a rooftop in Brooklyn. About 5,000 units of Google Cardboard VR headsets were sent to fans, who attached their smartphones to watch the exclusive event as if from the front row. “Absolut Labs complements our traditional (ad) campaigns by looking at how we can include innovations like VR, AR, internet of things and wearable tech in our commercial strategies.” Chris Johns, managing partner at UK/ US creative and innovation specialist Forever Beta, which includes Absolut Labs among its clients, adds: “Labs give you permission to experiment and fail, something large organisations, especially pre-digital legacy brands, cannot do during normal activities in their commercial calendar.” That Blippar, the London-based AR developer, was able to raise a phenomenal $54m in new investment from the Malaysian government’s Khazanah Nasional Berhad in March says much about the technology’s promise. Blippar is using AR to create “visual discovery” experiences. Point a smartphone embedded with the Blippar app at any physical object, and you retrieve a host of information about the object in the form of life-like images on your device’s screen. Omaid Hiwaizi, Blippar’s president of global marketing, says: “We usually have to help creative agencies using our technology. But we’ve now

Two companies bringing magic into innovative marketing are start-ups LISNR and APD International. US-based LISNR’s CEO/co-founder Rodney Williams says clients, including sports and other live-event venue owners, broadcasters, music companies and retailers, use its inaudible smarttone frequencies to offer more engaging communications experiences to consumers. “Thanks to geo-fencing, conventional WiFi and Bluetooth signals need hardware transmitters and are limited to specific locations and boundaries,” says Williams, who is presenting the Lions session called Making Magic – Inspiring The Impossible. “LISNR is sound-based; you can’t hear, touch or feel it. It is like magic. As it is installed in a song, a TV broadcast and advertising campaigns, this allows more connections for brands to send messages to wherever the consumers are accessing the content on whatever devices they are using.” Intel Capital, part of the computer chips giant, led a funding round that invested $10m in the award-winning company last November. Former child prodigy Josh Valman invented his first robot at the age of 10. Today, he is a young entrepreneur and CEO/founder of RPD International, a virtual innovation lab that outsources the research-and-development needs of 96 international companies to 120 manufacturers and suppliers globally. RPD provides the magic by ensuring big-corporation clients do not worry about keeping up-to-date with consumers’ rapidly evolving expectations about their brands. “Brand owners have the ideas, but it is difficult for them to move nimbly,” Valman says. “If you rely on standard customer surveys, by the time you’ve launched the product, society has moved on. We’re able to analyse their digital data live and develop the new products and experiences they want to offer in weeks.”

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iProspect, the world’s leading performance agency, drives the charge in ensuring the voice of a new era of female entrepreneur is heard. Over 40 million self-employed female online merchants operate across APAC, LATAM and Sub-Saharan Africa alone. These are numbers that the world can no longer ignore. Digital convergence and an emerging generation of entrepreneurs are transforming the shape of traditional roles and responsibilities for women in emerging markets. Can we as an industry impose a new kind of moral and social conscience to everything we do? Can we ensure her voice is heard?

Join the conversation #hearhervoice Š 2016 iProspect | All Rights Reserved.

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TUESDAY / JUNE 21 / 2016




After insightful debates and inspiring displays of what next-gen technologies can do for brands’ relationships with consumers, Lions Innovation is back in 2016 for its second outing. JULIANA KORANTENG reports


HAT launched last

year as a two-day sideshow to the main event is being repeated right in the middle of this year’s Cannes Lions International Festival of Creativity. On June 21-22, Lions Innovation will explore how everything that might have sounded like a tech gimmick in 2015 is now a reality that marketers, their agencies and their media partners can no longer ignore. Phrases like big data and data visualisation are already out-dated. We are now dealing with concepts like virtual reality (VR), augmented reality (AR), artificial intelligence (AI), autonomous vehicles (driverless cars), the internet of things (IoT), robotics and even algorithms, a word many ad executives thought they had left behind in school maths lessons. Lions Innovation acknowledges technology is overturning how marketers must communicate with today’s digitally savvy consumers. Advertisers continue to pay for brand messages to be distributed by traditional TV’s 30-second spots, newspapers, glossy magazines, radio and outdoor billboards. But they also have to invest in the future at the same time. Lions Innovation acknowledges the resulting revolution and sets the platform for top industry executives and visionaries to exchange ideas and share experiences with delegates, including the young people vying to be tomorrow’s decisionmakers. It also raises questions that senior executives and entrepreneurs do not have time to ask in their demanding day-to-day jobs. This leads to interesting industry

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match-ups, such as the participation in Lions Innovation of Australia-based Uncanny Valley, the music and sound company led by executive producer and music supervisor Charlton Hill, and Justin Shave, head composer and music producer. Arguably, Uncanny Valley could be part of this year’s inaugural Lions Entertainment. But as Hill points out about their presentation, Can Music Technology Detect Your State Of Mind?, the art of marketing in the 21st century is also a science. “Through many and varied sources of data collection, technology is getting closer and closer to truly being able to detect a human’s emotional state,” Hill says. “It may be biometric data collected from your personal devices or situational data based on geography, the company you keep, what music you historically enjoy or even brainwave activity. Agencies and brands are constantly trying to hone their profiling of individuals who they may wish to engage with, so this data is crucial and how it can be used in music and sound is very exciting.” These days the advertising business relies on more than creativity and media. “In a world where content is more dynamic, our job is more like an advertising agency,” says Jim Kite, strategic development director at media-buying giant Starcom Mediavest Group. “We’re also working with more and more technology companies like Google, Facebook, Twitter and Amazon. We’ve gone from Mad Men to Maths Men. But we can trust those tech companies to generate innovation. Clients expect innovation from their agencies. They want

to know what we’re doing to add value to their needs.” This scenario has seen several agencies invest in tech start-ups and start-ups that are developing products they believe brand-owners would want. An example of the latter is London-based Exclusiph, which enables creatives that depend on photography for marketing to deliver to a myriad media channels with one upload. With its sister company Musikki, a music-services start-up, Exclusiph recently raised $1m from venture-capital group Portugal Ventures. It has also won the endorsement of independent record labels such as 4AD, whose roster includes Canadian singersongwriter Grimes, indie rockers Cocteau Twins and 1960s legend Scott Walker. “Exclusiph doesn’t sell images — it offers an end-to-end service that connects labels and artists with news media and musictech companies, to distribute and update their images,” says Joao Afonso, Exclusiph’s CEO/co-founder, who adds that the tech is equally applicable to other creative sectors, including advertising, film and fashion. “This not only provides a more productive and efficient way to manage imagery, but it also saves money. Currently, labels are using several different services to fulfil the needs that Exclusiph delivers with a single dashboard. It takes a few weeks for an artist image to be updated on Spotify, for example. With Exclusiph, it takes a couple of seconds.” The future is always evolving and Lions Innovation aims to help the advertising and creative industries keep up.

Charlton Hill: “THROUGH DATA


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THURSDAY / JUNE 23 / 2016



Entertainment is big business. And it’s getting bigger by the year, drawing in new players with new energy and vision. Reflecting the industry’s growing momentum, 2016 sees the launch of a Lions event dedicated to the brands and agencies that are helping to shape entertainment in the 21st century. JULIANA KORANTENG reports



HE CANNES Lions International Festival of Creativity’s inaugural Lions Entertainment (June 23-24) will focus on brands, their agencies and entertainment: the fast-emerging triumvirate of power players in the modern-day business of entertainment. Don’t be surprised to see major entertainment industry names networking along the Croisette at this year’s Festival. Among those attending are CBS Corporation’s chairman, president and CEO Les Moonves, Mexican Oscar-winning filmmaker Alejandro Gonzalez Inarritu, US NFL football star Victor Cruz, UK Oscarwinning director Tom Hooper and US actor/producer Rashida Jones. Also keep an eye out for Hollywood actor/ entrepreneur Tatum Channing, US TV star Mindy Kaling and Dubai-based TV phenomenon Hayla Ghazal. For decades, agencies have understood the importance of using popular culture on media platforms to hook consumers’

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attention. But the internet and its escalating offshoot channels, social media and mobile apps continue to fragment the general media landscape, vying for the attention of consumers overwhelmed with endless choices in entertainment. Simultaneously, entertainment consumption continues to soar. In its Global Entertainment and Media Outlook report last year, international consultancy giant PwC predicted that revenues from entertainment and media would grow to $2.23tr worldwide in 2019, from $1.74tr in 2014. A significant chunk will come from marketers, which are shifting large portions of their budgets from traditional TV, radio, print media and cinema to digital, websites, in-app mobile games and streaming services, plus a host of new platforms, such as the mobile-first channels Snapchat and Periscope so popular among millennials. We are also seeing a trend towards

From left to right: Gwyneth Paltrow, Les Moonve,s Jennifer Breithaupt

entertainers becoming brands in their own right, as developers of branded products and as creative contributors to global brand campaigns – think of US rap mogul Jay Z. And brand-owners want to be associated with the new forms of creativity that this nextgeneration of media and entertainment platforms and personalities are delivering. This explains why a financial-services goliath like Citi is the headline sponsor of the first Lions Entertainment. As Jennifer Breithaupt, Citi’s managing director of media, advertising and global brand entertainment, says: “We hope to inspire and, in turn, be inspired at this year’s Cannes Lions.” Terry Savage, the Lions Festivals’ chairman, says of the alliance with Citi: “(Citi’s) innovative thinking within the entertainment space is testament to the power that strategic partnerships with both talent and the entertainment industry as a whole can have on a brand’s visibility and business.”

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d n a r B The

WE’RE WITH Are brand-owners set to become the biggest investors in musical talent? The presence of several seriously big music stars at this year’s Cannes Lions International Festival of Creativity is a major clue, writes JULIANA KORANTENG

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1 2 4


HECK out the roll call. It includes mega music producer Mark Ronson as well as superstar DJs Gilles Peterson and Steve Angello. Music legends Iggy Pop and Brian Eno spoke in Cannes. Grammy award-winners Usher and Will Smith dropped in, as did music tech pioneers, including Spotify co-founder and CEO Daniel Ek. And brands’ willingness to engage with the mavericks too is illustrated by Danish music artist MØ (real name Karen Marie Ørsted) and Nigeria’s Falz The Bahd Guy, discussed how they have taken their respective styles to a global audience. It is no secret that the international recorded-music business has been battered financially by the speed at

1 - Usher 2- Mø 3 - Will Smith 4 - Brian Eno 5 - Falz The Bahd Guy 6 - Iggy Pop


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which digital media continues to evolve. And copyright legislation’s inability to keep up with technology’s revolution and the bane of online piracy have not helped. Equally, as the power of the 30-second TV spot slowly wanes, slapping samples of licensed music on to traditional commercials is no longer the creative ambition it used to be. In the meantime, music acts have been cementing their relationships with brands, which were renowned for sponsoring live concerts but are now becoming direct investors in artists’ careers. Uniqlo, Kentucky Fried Chicken, Puma, Mercedes-Benz and Budweiser are among the global brands partnering next-generation artists such as Kano, Wiley, Chip and Skepta. These are UK rap acts who have found fame performing ‘grime’, a home-grown genre once considered inferior to American hip-hop but which is now gaining international recognition. These artists are also brand-owners via their merchandise companies, a case in point being Chip’s Cash Motto Clothing. “I think there will soon emerge digital platforms dedicated to new music that are backed by brands,” says Jez Nelson, founder and CEO of London-based content agency Somethin’ Else. “In the past, brands have sponsored live events, competitions or TV shows. But we know that the power base is shifting. Some brands like enormous exposure to strong new music.” Nelson is hosting What Brands Can Learn From Superstar DJs, a Lions Entertainment panel featuring famous turntable spinners and producers Steve Angello, formerly of electronic dancemusic trio Swedish House Mafia (SHM), and UK DJ/broadcaster Gilles Peterson. Angello — a solo act since SHM disbanded in 2013 — and Peterson have sustained careers thanks to mutually beneficial partnerships with brand-owners. And Nelson believes marketers can benefit from listening to how these entertainers work with brands. “We’ll be talking about how brands can engage with music in a much more meaningful way and build long-term relationships with the artists’ audience,” Nelson says. “It’s about understanding what backing creativity really means, as opposed to licensing music and sticking it on to an ad.” He notes how music acts bring more than just their popularity to such collaborations. Angello’s experience

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includes SHM’s content-marketing pact with Swedish auto giant Volvo. This led to ad agency Forsman & Bodenfors creating the band’s farewell video and accompanying multimedia content, which was funded by Volvo. Since 2009, Peterson has worked closely with rum producer Havana Club International to create Havana Cultura, an international initiative designed to promote authentic Cuban music by both known and unknown acts. The arrangement has led to Peterson making frequent visits to Havana to mix with, learn about and make recordings with local musicians. He has also produced a related documentary and music festivals. Nelson adds: “It is also about brands investing in culture over a long period of time. There must be some synergy between them and, by association, the

Jez Nelson: “IT’S ABOUT UNDERSTANDING WHAT BACKING CREATIVITY REALLY MEANS, AS OPPOSED TO LICENSING MUSIC AND STICKING IT ON TO AN AD” brand is seen as genuinely backing great culture and art.” Jared Gutstadt, who is at Lions Entertainment with songwriter and producer Poo Bear, agrees that music creators and brands have a very strong future together. The co-founder, president and chief creative officer of Jingle Punks Music, a US-based music-marketing agency that has worked with brands including Jack Daniels whiskey, cites the success of Lil Dicky, a US rapper who is signed not to a record label but to Jingle Punks. Without a label, Lil Dicky raised more than $113,000 on Kickstarter in 2014 to fund an album, Professional Rapper, and his music video $ave Dat Money (feat Fetty Wap and Rich Homie Quan) has had more than 43 million YouTube views. Not only is he a famous online brand, but Jingle Punks sees brandowners wanting to use his music. Furthermore, Jingle Punks has joined forces with superstar producer Timbaland to create celebrity-driven projects involving talent, entertainment and advertising. “The music business is no longer the best platform for selling records, but it is the best platform for marketing and connecting with a wide audience using brand dollars,” Gutstadt says. “There is top-notch music being created for ads today and, with so many opportunities for branded content, the competition to produce tracks of the highest quality is


fierce.” But Jingle Punks is not a label either. The agency wants to be the best supplier of music content to brands’ campaigns. And for Gutstadt, that means working with the best talent there is, including big names such as Timbaland, Steven Tyler and Kris Kristofferson. “Advertisers and marketers set out to tell their narratives through filmmakers, visual artists and music, so a certain level of expertise in each of these fields continues to be essential in effectively reaching a brand audience,” he adds. “We are not only trying to tell the best stories in the music space, but connecting with the highest level of talent.” Marketing agencies have occasionally been criticised for waiting until the last minute before they realise they have failed to include music licensing or commissioning in the overall budget. The role of music in winning over potential consumers or customers should never be undervalued, says Hans-Christian Schwingen, chief brand officer at Germany’s Deutsche Telekom, one of the world’s biggest communications brands. It is why Deutsche Telekom has its own music marketing personnel. “I’m afraid that too many people on both sides of the table still don’t know just how music helps influence consumer behaviour and sales,” says Schwingen, who is speaking on the session 101 Great Minds: Exploring The Power Of Music In Branding with Uli Reese, president of Frankfurt- and Nashville-based audio agency iV2, and Amir Kassaei, global chief creative officer of DDB Worldwide. Schwingen notes that there is scientific evidence to support music’s critical place in marketing: “We know that music is able to activate almost all of those areas of the brain that are responsible for the production and processing of emotions. Actually, music is a powerful vehicle for communicating brand attributes on an implicit level.” It is vital to teach brand-owners why music should be at the forefront of their strategies, Reese adds. “As the digital landscape is becoming more vast and more complex, each sound through which a brand connects with its audience at every audio consumer touch point is simultaneously becoming more important,” he says. “While audio has been a key ingredient to advertising in the past, its role in the future of brand communication cannot be underestimated.”

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Guinness’ admired ‘Sapeurs’, the five-minute documentary by AMV BBDO


y t i l Qua The very existance of Lions Entertainment shows how far today’s branded entertainment has come from the crude product-placement strategies of yesterday. JULIANA KORANTENG considers the state of the art


HE LAUNCH of Creators League earlier this year is a sign of the times. The 4,000 sq ft (371.6 sq m) state-of-the-art contentproduction studio in New York is designed to produce non-branded scripted shows, reality entertainment, feature films, recorded music and branded entertainment for multiplatform distribution. The owner? PepsiCo, the multinational soft-drinks behemoth. Creators League’s alleged goal is to compete openly against entertainment production companies, including the Hollywood studios, to generate even more income for Pepsi to invest in its marketing budget. Creators League joins the ranks of a handful of marketers, including energy drinks-maker Red Bull, luxury carmaker

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BMW and financial services corporation American Express, with the monetary clout to produce high-end content as a sideline. But PepsiCo brands are the most consumer-friendly of the lot. So the move has triggered an intense debate among the international agency community, which is asking whether this amounts to competition against PepsiCo’s ad agencies of record, which include BBDO. Whatever the long-term implications, the fact is that branded entertainment — and any other entertainment involving brands — is here to stay. Indeed, US research firm PQ Media estimates that marketers will spend $108bn on branded entertainment globally from 2015 to 2019. The liaison between advertisers, agencies and entertainment producers is no longer a matter of convenience for the content

creators that make compromises in their work in exchange for funding. The production of branded content calls for new specialist skills with their own type of monetisation, metrics and management. Equally important, the entertainment and marketing industries need to respect each other’s contribution for the format to work. Scott Donaton, chief content officer at Publicis Groupe agency DigitasLBi, says that has begun in earnest. “There isn’t a week goes by without some creative talent calling me to say, ‘I want to work with brands’,” says Donaton, who is speaking during the NATPE-hosted session What Creators Want To Say, What Brands Need To See. “Intrusive forms of advertising don’t work and consumers are empowered to bypass them. Brands are getting to the point of realising the things an audience will choose to spend time on. So collaborations with great storytellers, directors and writers with talent is growing.” Until a decade ago, there was distrust between brand-owners and artists. “Now, some talent say they understand,” Donaton says. “For brands, it is no longer a matter of purchased opportunities [product placement]. This type of content has to stand on its own for the consumers’ attention.” There is much more to branded entertainment than a more sophisticated version of traditional product placement, according to Andrew Canter, global CEO

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of London-based BCMA (Branded Content Marketing Association). He highlights campaigns such as Guinness’ admired ‘Sapeurs’ (the Society of Elegant Persons of the Congo), the five-minute documentary by AMV BBDO that celebrates the real-life, resplendently dressed gentlemen from impoverished parts of Brazzaville, the Republic of Congo’s capital. Also well regarded is the YouTube channel for the GoPro cameras used for filming extreme sports. The channel boasts more than 1.3 billion views for its curation of content sent in by the camera’s fans and users. Business-to-business campaigns can also be entertaining, Canter says. The Virgin Media Business ‘#VOOM Pitch to Rich 2015’ stint for Richard Branson’s broadband services at Virgin Media Business included content featured on UK TV network Channel 4 and primetime news programme ITV News. It invited the UK’s small and medium-sized businesses to compete for investment from a £1m ($1.44m) fund and audiences were asked to vote for the most deserving enterprise on the website. Online traffic shot up to 165,000 daily visits from 2,000 visits before the campaign. Canter says: “The best way to approach a content- or entertainment-led campaign is to ensure you have a solid foundation based on clear insight and true audience data. Brands can no longer control what people say about them, but they can influence the conversation using entertaining and engaging content.”

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A recent example was producing an 8 x 30 mins primetime fly-on-the-wall factual series called Ready For Take Off for the airline Qantas in Australia to “reawaken public affection and employee pride”, Clark says. It reached an average of 790,000 viewers each week, and was seen by more than one million at one point. Sam Glynne, FremantleMedia’s vicepresident of global branded entertainment, emphasises the importance of not confusing branded content and its ultimate commercial message with pure family entertainment. “We don’t compete in the same space as the brands we work with, which include automotive, health and beauty, FMCG and technology,” she says. “Got Talent is an opportunity rather than a threat in that the alignment of super-brands can be incredibly powerful when they exist in non-competitive spaces.” Caressa Douglas, senior vice-president of branded integration at US-based BEN (Branded Entertainment Network), notes that such an approach is crucial at a time when high-end branded entertainment is at its most competitive. A subsidiary of computer-software giant Microsoft, BEN uses data and science to analyse the brand and entertainment alignments that will be most productive for clients, which include General Motors, Hyundai Group, Honda, Heineken, and Microsoft and its videogames brand Xbox. During her Cannes Lions International Festival of Creativity talk, The Era Of Brand Integration & The Science Behind It, she will demonstrate how to insert


Leading entertainment producers are directing their skills to the brandedentertainment world, as demonstrated by FremantleMedia, the TV-production goliath behind Got Talent, the reality talent show that made UK singer Susan Boyle an international star in 2008. Got Talent has since become one of the hottest reality TV formats of all time, with localised versions in 69 territories — a Guinness World record. Its videos have recorded more than 19 billion YouTube hits combined. FremantleMedia’s director of global entertainment, Rob Clark, explains the branded-content business model: “While our core clients are broadcasters, more and more brands are becoming clients as well and we see Cannes Lions as a place to talk about all the ways we can work with brands.”

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brands seamlessly into on-screen entertainment. “We don’t normally have a metric, but brands want to know what they would get out of branded-content campaigns. So we [via Microsoft] built an algorithm based on duration on the screen, strength of the entertainment property and the show’s time slot, among others, which would dictate the price [the brand paid],” she says. Other activities include working as closely as possible with the production team — from the shows’


creator to the crew in charge of wardrobe — for a complete understanding of its objects. “Entertainment is much more personal than it used to be because audiences seek out what they want to watch,” Douglas adds. “They are much more selective so a brand needs to figure out where they are.” And when you find them, you need to understand what they want in an era where traditional living-room TV viewers are joined by “cord cutters”, “cord shavers” and “cord nevers”, a generation of viewers who reject TV subscription packages on the basis they can access free entertainment online, on social media and via mobile apps. The need to get the partnership right is heightened by the fact that there are now a myriad more shows from which brands can choose. As Douglas notes, during the recent Upfronts (the US industry event at which TV networks showcase their upcoming programming slates to advertisers), there were 39 new entertainment platforms. “How are brands to navigate all of that?,” she asks. “They used to choose from 100 new TV shows and 100 movies a year. Now, you can have 200 TV shows a day.” BBC Advertising, part of BBC Worldwide, the commercial division of the UK public broadcaster, says it has developed a technology that will enable brand-owners to ascertain whether or not audiences are responding positively to their brandedcontent initiatives. Its sister division, in-house creative agency BBC StoryWorks, worked with facial-recognition coding expert CrowdEmotion to conduct The Science Of Engagement, a research project for figuring out how marketers can use branded content more effectively. “The current metrics used to measure content-led marketing performance are often based on those used for more traditional forms of digital advertising, and we don’t believe they fully capture the content’s impact,” says Richard Pattinson, BBC StoryWorks’ senior vice-president of content. “We are currently exploring the impact of different content formats, and the types of stories being told, on audiences.” The resulting tool kit that will be built from The Science Of Engagement’s findings will be available to advertisers and agencies from September. FremantleMedia’s Sam Glynne

22/06/2016 9:15 PM


THURSDAY / JUNE 23 / 2016



e m i T y P la IT’S

The gamification and sportification of content, where video entertainment is created specifically to reach video games and sports fanatics, is becoming established as new digital media platforms from Snapchat to Periscope are fully embraced by addicts of competitive entertainment. JULIANA KORANTENG meets two players in the business


OR ALMOST two decades, video games lured an elusive group of audiences that conventional TV, newspapers and magazines would (virtually speaking) kill for: young male consumers. Research by PwC predicts revenue from games, the hardware and software via computers and consoles, will hit $93bn worldwide by 2019. Meanwhile, consultancy group Deloitte calculated that top-tier sports’ broadcast rights alone, with its mostly male audience, was worth $28bn globally last year. Clearly more than $100bn-plus worth of teenage and young adult males’ attention is worth pursuing for brands. Two Lions

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Entertainment speakers explain why brands need to understand the consumption of video games and sports. Chad Gutstein, CEO of Machinima, the online streaming network centred on cinema-quality video entertainment created with real-time video game technology, is speaking at Combiners: Machinima And Hasbro Partner On Groundbreaking Transformers Digital Series. Toy-manufacturing giant Hasbro has not commissioned Hollywood, but Machinima — which records 150 million unique visitors monthly and four billion views monthly — to create the next high-profile series based on Transformers, the Hasbro toys brand that is already one of Hollywood’s biggest movie franchises. The Machinima-made series is scheduled to premiere on the US mobile-first platform Go90. “We’re partnering with an establish brand and IP (intellectual property), which wants to sell toys,” Gutstein says. “We’re creating native advertising and delivering that to our very hard-to-reach audience. We guarantee that audience. But this is

Copa90 – made by fans for fans

pure entertainment, and it is also pure branded IP. We’re creating great content that not only meets Hasbro’s needs but also provides opportunities for other advertisers to be associated with it.” James Kirkham, head of global online football network Copa90 — made by fans for fans — is telling agencies what they can learn from the online consumption of football via his Lions Entertainment presentation: Football And The Future Model For Creative Agencies. “The reality is this comes down to respecting your audience. Treating them not as a random number or faceless statistic,” Kirkham says. “Instead, we genuinely work hard to ensure everything we do considers fans. Agencies shouldn’t spend hours trying to interrupt what their audience is interested in, but become what they’re interested in. From live streaming on Twitter (NFL) through to periscoped press conferences, sport is demonstrating how the audience should always come first. If fans are treated with respect, they’ll do the hard work for you. This is perhaps the greatest lesson for creative agencies.”

22/06/2016 9:15 PM



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22/06/2016 8:07 PM 21/06/16 14.29


SATURDAY / JUNE 25 / 2016



Samsung Electronics is the 2016 Creative Marketer Of The Year at this year’s Cannes Lions International Festival of Creativity. JULIANA KORANTENG reports



AMSUNG’s Creative Marketer Of The Year award is in recognition of a broad range of achievements by the electronic goods goliath. First, the honour recognises the haul of Lions awards snapped up by the company. In 2015 alone, the Korean marketer snapped up 27 Lions, bringing the total number to 74 gongs for its creative campaigns in 17 countries in the Festival’s history. Second, the accolade acknowledges those campaigns’ effectiveness, having helped turn the company — once famous for its semiconductors and telecoms hardware — into one of the world’s most recognisable consumer brands. And third, the Creative Marketer Of The Year prize homes in on the way Samsung’s relationship with consumers continues to evolve and revolve. A company once limited to its refrigerators, washing machines, computer chips, camcorders and storage discs has expanded to game-changing digital devices, including smartphones, tablets and wearable tech, including smartwatches and VR headsets.

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The famous 2014 Oscar Selfie

Samsung’s creative campaigns know how to trigger conversations about the things that matter to people and its mobile business division has been critical to that strategy. They have been produced over a variety of creative formats: communications, entertainment, healthcare, outdoor, digital and film craft. But they come with a twist, invariably via a Galaxy smartphone, to make them memorable about the way the company’s technologies bring meaning to consumers’ lives. The ‘Look At Me’ campaign by Cheil Worldwide led to the invention of a mobile app that taught and encouraged autistic kids how to interact with other people, including family members and friends who felt shut out. It snapped up five Lions last year. Another Lions award went to ‘Every Day Is Day One’, a long-form ad created by 72andSunny Amsterdam. The film tells a story about the breathtaking beauty and fearsome power of waves that every surfer, no matter how experienced, has to face every single time they step into the sea. It commemorated Samsung’s milestone as the first non-surfing brand to

There are opportunities in Cannes to learn more about Samsung VR hardware

sponsor the Association of Surfing Professionals World Tour. Other acclaimed campaigns such as ‘Samsung Safety Truck’ by Leo Burnett, and ‘Backup Memory’, based on an app designed to stimulate the memories of struggling Alzheimer’s sufferers, have picked up awards. However, Samsung also knows how to do viral as demonstrated by the Oscar Selfie, the apparently spontaneous selfie taken by Hollywood actor Bradley Cooper during the 2014 Oscar awards ceremony. The resulting photograph, of Cooper holding the Samsung smartphone while surrounded by a host of A-List actors and actresses, including Brad Pitt, Angelina Jolie, Meryl Streep, Kevin Spacey, Lupita Nyong’o and Jennifer Lawrence, certainly took over the internet that week. Whether planned or otherwise, the incident — combined with the $20m worth of advertising booked during the broadcast on the US’ ABC network — had everyone talking about Samsung. Unquestionably, it contributed to the boost in Samsung smartphone sales, making it the global market leader in 2015 with a market share of 22.5%, according to market research firm Gartner. Samsung continues to spread the word about its pioneering communications brands at Cannes Lions with ads created by Wieden+Kennedy for the new Galaxy S7 and S7 Edge smartphones — check out the spots featuring US rapper Lil Wayne, and Hollywood actors William H Macy and Wesley Snipes. Meanwhile, Cannes Lions participants can learn more about Samsung Europe’s communications for its VR entertainment products, including the Gear VR headset and the Galaxy S7 Edge handset. Among the first efforts by agency iris Worldwide has been a launch campaign to position Samsung as a leader in the VR entertainment space. This involved music label Polydor Records and its UK electro-pop band Years & Years, whose live gig was available to watch in VR.

24/06/2016 7:11 PM

WE ALWAYS KNEW YOU WERE THE NEXT BIG THING Congratulations to Samsung, 2016 Creative Marketer of the Year.

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24/06/2016 7:15 PM


SATURDAY / JUNE 25 / 2016



Younghee Lee, executive vice-president and head of global marketing and wearable business at Samsung Electronics’ mobile business, is in Cannes to receive the coveted Creative Marketer Of The Year award on behalf of her company. She spoke to Juliana Koranteng


CREATIVITY has been key to the global consumer brand messages from

Samsung’s mobile business division. The marketer has embraced branded entertainment, and stays one step ahead by integrating creativity into innovative tech including VR and wearables. What are Samsung’s current key global brand messages and the slogans for its different products? Younghee Lee : Across Samsung’s mobile business, we strive to innovate in a way that improves consumers’ lives. In order to achieve this, we must be bold, open and inviting, and a joyful pioneer in defying barriers. As a company that thrived through smart risk-taking and an ability to face challenges head on, I believe that we have truly showcased our brand philosophy, which is refusing to accept the status quo and relentlessly pursuing purposeful innovation. We also talk to our customers. In February, we asked consumers to “rethink what a smartphone can do” with the new flagship device Galaxy S7 launch. Samsung as a brand is unwilling to stay within its comfort zone. Instead, the company is determined to break through imposed barriers to dream and strive for something better and bigger. The messaging encapsulates the gateway of opportunities the Samsung Galaxy smartphone provides. What were the crucial aspects of your marketing strategy that earned you this Cannes Lions accolade? Younghee Lee : We have been on a relentless journey to change the perception of Samsung mobile from an incumbent technology-driven engineering company to a truly lifestyle-driven marketing brand providing consumer value. To do this, we worked hard to bring the fun, playful and exciting aspects of the Samsung brand to the forefront of our marketing initiatives. When I joined Samsung nine years ago, the company was known as an innovative tech brand. I didn’t have an engineering background and it was challenging to understand the many technologies we were delivering to consumers. Since then, I’ve learned how to tell meaningful stories about the way our products benefit consumers. This shift also meant taking a completely new approach to communications and the way we talk about Samsung. All the great technologies we have should be meaningful and relevant for our consumers and that sen-

Younghee Lee “WE BELIEVE VR


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timent has to be translated into their language. We’ve spent much time devoted to really understanding what a consumer wants and needs. That is at the core of our marketing strategy. How forward-thinking is Samsung as a brand owner? Younghee Lee : We are always exploring cutting-edge products and experiences for our users, whether it is AI, VR or wearable technology. Smartphones have become essential to our daily lives and we believe the phone should be a gateway to new experiences. Wearables are a key area that we are focused on, not just for a new revenue source, but also as innovative communications experiences. Samsung was the first company to introduce the watch phone in 1998 and the smartwatch in 2010. Since then, we have continued to lead in the wearables category, holding the largest number of wearable patents. We are always looking for ways to intersect technology, content and services so consumers can get the most out of their devices. VR is a truly new media platform and has huge potential to grow further. We believe VR changes the way we store and enjoy our memories, along with being a great tool to communicate how we view the world. Samsung is also a major supporter of branded entertainment as demonstrated by its relationship with Jay Z and the recent Injustice Edition mobile games deal with Warner Bros. Interactive Entertainment. Is branded entertainment fully integrated in your marketing strategy? Younghee Lee : Absolutely. We have a long history of brand collaboration and introducing unique branded entertainment content to the market. Branded content is a very effective way to attract key audiences, such as music fans, cartoon or animation enthusiasts and those within the fashion industry. One recent example is our partnership with Academywinning documentary director Morgan Neville on his documentary A Fighting Chance. The film shares Samsung’s philosophy of defying complacency and spotlights Olympic Games hopefuls for Rio 2016 on their quest to overcome obstacles and beat the odds to reach the competition. What does this award mean to you and the company? Younghee Lee : It’s a true honour to be named Creative Marketer Of The Year by Cannes Lions. This is an incredible accolade and provides a great moment for the entire global marketing team at Samsung to celebrate our achievements over the past 12 months.

24/06/2016 7:12 PM

Lions Daily News 2016 - Articles and Analyses  

JayKay Media Articles and Analyses in Lions Daily News - The Future of Advertising as affected by Virtual Reality, Augmented Reality, Artif...

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