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ISSUE 211 (JULY-AUG2017)
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SPRINTING TOWARDS DIGITAL:
NEW CHAPTER FOR NSTP
IT’s hard to imagine the charismatic and commanding new CEO of New Straits Times Press (NSTP) Datuk Abdul Jalil Hamid or Datuk Jalil as a young cub reporter. But indeed, this man who was recently appointed in March this year to lead Malaysia’s largest newspaper company...
Mccain Goh, email@example.com Web & Digital Manager Saravana Kumaa Contributors: Josh Sklar, Paul Loosley, Contagious Print Spec Solution Sdn Bhd (726670-H) No 57, Jalan Balakong Jaya 6, Taman Industri Balakong Raya, 43300 Balakong, Selangor Darul Ehsan
Distribution: Five E-Comm No. 2 & 2-1, Jalan Palma Raya Bandar Botanic, 41200 Klang, Selangor MARKETING magazine is published by Sledgehammer Communications (M) Sdn Bhd 22B, Jalan Tun Mohd Fuad Satu, Taman Tun Dr. Ismail, 60000 Kuala Lumpur, Malaysia. Tel: 603-7726 2588 Fax: 603-7722 5712 www.marketingmagazine.com.my follow us on: www.facebook.com/marketingmagazine.asia Digital Edition: http://goo.gl/e0B07B © All Rights Reserved By: Sledgehammer Communications (M) Sdn Bhd (289967-W) No part of this magazine may be reproduced in any form without prior permission in writing from the publisher. While every effort has been made to ensure the accuracy of the information in this publication, the publisher assumes no responsibility for errors, omissions and/ or for any consequences of reliance upon information in this publication. The opinions expressed in this publication do not necessarily represent the views of the publisher or editor. Advertisements are the sole responsibility of the advertisers.
04 DIGITAL CAN’T LIVE WITH IT... CAN’T LIVE WITHOUT IT... Digital has always been the blue eyed boy of the marketing world. In the past few years, we have seen ad spend in the digital space growing by double digits and investments from companies looking to grow their capabilities in this space...
FACTS AND FACT-CHECKERS ARE BOTH UNDER SIEGE With the incessant disingenuous cries of “fake news” and “alternative facts” from the American conservatives and their allies, as directly inspired by the self-serving proclamations of their egomaniacal Bully-in-Chief, President Trump, as told from the universe he alone lives in, non-partisan, fact-checking sites such as Snopes. com are now more crucial than ever. You are undoubtedly familiar with Snopes whether you are someone who continually rolls your eyes when your elderly parents or reactionary friends post something to social media that is maddeningly unsubstantiated or you just want to double check your info to make sure you’re not going to get the same reaction from your own followers. This invaluable, free public service that we have come to rely on for our sanity (and reputation) is now in danger of disappearing – and the fight is, of course, over ad revenue. For 22 years, the site has been the go-to place to check out and either debunk or verify an assortment of urban legends....
BEST GLOBAL DIGITAL
THE ONLY TIME THE CLIENT SAID “MAKE THE LOGO SMALLER!” Cannes Lions awarded three Cyber Grand Prix awards this year. Each of the three winners are covered in great detail at the Best of Global Digital conference held on August 14th at the Sime Darby Convention Centre. Journalist and content marketing veteran Hando Sinisalu interviewed the three winning agencies hailing from Stockholm, Melbourne and New York....
SHUT UP ABOUT ADVERTISING!
APPIES MALAYSIA SHINES BRIGHTER IN YEAR TWO!
CTRLSHIFT REORGANISES AROUND NEW SOFTWARE CtrlShift, an audience solutions company, has reorganised the business into three units – The Hub, The Studio and The Lab – with its flagship media management product, The Hub, at its core...
APPIES Malaysia, organised by MARKETING Magazine, came back strong in its second year with a total of 17 awards given out to the most effective marketing campaigns in Malaysia....
CANNES LION 2017
SHUT UP ABOUT ADVERTISING!
HEY, NO-ONE PUT A GUN TO YOUR HEAD!
This time no jokes, witty asides, or anything less than serious. I have just seen the latest spots from the National Rifle Association of America (NRA). And it’s difficult to express how I feel. The Ad industry has been accused of manipulation, of insidious acts of persuasion but these spots are quite frankly, horrid... ISSUE210MAY-JUNEMARKETING
DIGITAL CAN’T LIVE WITH IT... CAN’T LIVE WITHOUT IT...
By Malati Siniah, firstname.lastname@example.org
Digital has always been the blue eyed boy of the marketing world. In the past few years, we have seen ad spend in the digital space growing by double digits and investments from companies looking to grow their capabilities in this space. However most recently, many have been questioning the digital space.... Big brands pulling out, questions arising on the effectiveness of online ads, shocking news of P&G cutting its global digital spend.... I’m not trying to 4
paint a gloomy picture or even indicate that digital is no longer the future forward. It is undeniably a fact that these questions and issues are being brought up only means that digital has grown from being a buzzword into an area people are commited and investing more time, effort and money. Marketers are begining to ask the right questions and platforms, agencies and vendors should be ready to answer them with the accurate answers backed by insights and
data (yes I used that 4 letter word everyone loves). It’s undeniable that more platfroms are getting serious on embracing the digital era, everyone from MARKETING to our featured company NSTP. The man of this issue, Datuk Jalil outlines his plans on leading the digital transformation of the country’s oldest news brand. We also touch on a key pain point for digital advertisers: Brand Safety. We look at how
publishers are evolving to ensure the safety of brands on their platforms. I hope you enjoy this issue and for those of you reading this at our Best of Global Digital Marketing conference, I hope the insights from our event inspire you to kickstart even greater things in the digital marketing realm.
THE ONLY TIME THE CLI “MAKE THE LOGO SMAL YOU DON’T USUALLY SEE A B2B MARKETING WIN BIG AT CANNES BUT DROGA5 HELPED ITS CLIENT WIN A GRANDPRIX FOR THIS ONE....
Cannes Lions awarded three Cyber Grand Prix awards this year. Each of the three winners are covered in great detail at the Best of Global Digital conference held on August 14th at the Sime Darby Convention Centre. Journalist and content marketing veteran Hando Sinisalu interviewed the three winning agencies hailing from Stockholm, Melbourne and New York. In this piece Hando interviews the creative minds behind the Cannes Lions 2017 Cyber Grand Prix winnining “Did you mean MailChimp” campaign. “It’ s quite rare to see a B2B marketing case study winning Grand Prix in Cannes Lions. But legendary American digital agency Droga5 managed to achieve this with their work for email marketing company MailChimp." Hando shared. More on his 6
interview and the campaign case study below:
MailChimp is a marketing automation platform and an email marketing service and a trading name of its operator, Rocket Science Group, an American company founded in 2001. MailChimp began as a paid service and added a freemium option in 2009. Within a year its user base had grown from 85,000 to 450,000. By June 2014, it was sending over 10 billion emails per month on behalf of its users.
MailChimp is quite popular in the USA, but not really a household name. It was their first major advertising campaign and they chose to work with Droga5, one of the most awarded agencies in the US. They wanted to get their name out, to be more public and get people to know their
company. Their clientele is mainly the creative community and the goal of the campaign was to raise the awareness and increase the Liking of the brand among the creative class.
The campaign invented the names MaleCrimp, MailShrimp, KaleLimp, FailChips, SnailPrimp, JailBlimp, WhaleSynth and included all sorts of wacky ads and activations with the line “Did You Mean MailChimp?” The work was originally inspired by the girl who mispronounced MailChimp as “MailKimp” in the introduction to the MailChimp-sponsored podcast “Serial” in 2014. Don Shelford, Group Creative Director of Droga5: Their only branding activities so far were sponsorships for podcasts. In sponsorships, they became somewhat popular
as they intentionally mispronounced their name. It was kind of fun and a silly thing to do and people loved them for that – being a sponsor and fooling around about their name. This creative and fun attitude created the basis of the campaign. It was constructed as a very complex search campaign. There was purposely no branding at all – only small monkey head
[logo]. The intention was to mix things that were intriguing or humorous enough to make people Google it. So, when the people were searching they came up to MailChimp. We bought paid search with all these fake names. So, if you Googled KaleLimp or anything that sounds like MailChimp you will end up there. All keywords were interlinked and directing to MailChimp.
best global digital
LIENT SAID ALLER!”
DON SHELFORD GROUP CREATIVE DIRECTOR DROGA5
- HIGH (44%) campaign awareness (vs. 40% benchmark) - 1.5-2x MORE time spent with the content than average - 2-3x HIGHER Social engagement rates than average - Metrics smashed the B2B/ Tech category, stacking up to that of an entertainment brand - 83% positive social sentiment - 3.3x more social buzz for the MailChimp brand once the campaign was revealed - 67 million searches for products/musicians/ hairstyles etc., that never existed before - 334M people reached in total
Through that campaign, MailChimp crawled up in the search list and in the end Google suggested: “Did you mean MailChimp?”. The more people were intrigued about the search results, the more they begin to know about MailChimp.
Don Shelford, Group Creative Director of Droga5: It was brave to use the lack of branding approach. The thought
that if we give people something to enjoy we don’t have to be empty handed with credit – they will give us that credit. We didn’t ask much for return, a very unselfish way to do a campaign. But it needs a lot of guts to do that, because it’s expensive to put money on trust that people will like it. That actually makes people talk about them even more. It’s kind of ‘anti-sponsorship sponsorship’.
Why did you decide to target “creative class” with this campaign? We bet that only very specific people will be genuinely interested – very curious and creative class of people. The purchase behaviour of business owners who decide about what e-mail marketing solution to buy is: they ask their creative friends what would be the best e-mail marketing platform. So basically, we were mostly targeting possible ‘influencers’. The beauty of this campaign was that it became a part of popular culture which is a difficult task to achieve. Did you have any kind of pre-testing proofing whether that idea would work at all? Honestly there was no testing at all. It was just intuition. We did some research what kind of things would be popular for example on Instagram. We noticed that finger nail art was popular, so for example NailChamp had this kind of potential. In the music we tried to bind it with what was popular. But there was no hard testing or research group studies before that. Was there anything that went wrong or you didn’t expect? Any surprises? None of us would’ve guessed that one of the most popular would be NailChamp, a silly little thing, but it was hugely popular and had a very enthusiastic following. We thought that films that were very beautiful would be the most popular. WhaleSynth was very popular among musicians and it was relatively cheap to make compared to films. People made covers of the MailShrimp song and it was definitely catchy. The most fun part of the whole campaign was the work process. It was kind of an opposite relationship between the client and the agency, because the client asked for something completely different from usual practice: they were constantly asking for making the logo smaller! We almost got into an argument with that request. And even for the FailChip they wanted to completely get rid of the logo, but finally we agreed to put it on the corner of the package which will be torn away when opening the package. That was the compromise!
say what “WHILE PRINT CIRCULATION NUMBERS USED TO DEFINE A MEDIA BRAND, NOW THEY ARE SIMPLY ONE MEASUREMENT AMONG MANY FOLLOWING THE MASS DIGITALISATION AND DIVERSIFICATION OF THE MEDIA INDUSTRY WORLDWIDE.” - DATUK ABDUL JALIL HAMID, CHAIRMAN AT NEWSPAPER PUBLISHERS ASSOCIATION (MNPA) SHARED IN THE STAR WHEN ASKED ABOUT THE STEPS TAKEN TO WORK TOGETHER WITH NEWSPAPER PUBLICATIONS IN MALAYSIA
“ACCESSING AND USING DATA IS INCREASINGLY THE KEY TO BUILDING ADDRESSABILITY WITH CONSUMERS, DELIVERING PERSONALISATION AT SCALE.”
“YOU NEED A LEADER TO DRIVE CHANGE, A DIGITAL PLATFORM TEAM TO SPOT THE IRREGULARITIES, A FLUID CREATIVE HIVE TO DELIVER THE CONTENT AND A CRACK MEASUREMENT TEAM TO BRING IT ALL TOGETHER. AN ADAPTIVE MARKETING TEAM FOR AN ADAPTIVE AGE.”
– NICK EMERY, GLOBAL CHIEF EXECUTIVE AT MINDSHARE TOLD CAMPAIGN ASIA IN A FEATURE ON COMPANY CULTURE 8
– LIM SUE-ANNE, CHIEF DATA OFFICER AT DENTSU AEGIS NETWORK MALAYSIA REPLIED THE STAR WHEN ASKED ABOUT DATA AND MOBILE TRENDS IN MALAYSIA
“SUCCESSFUL LOCAL BRANDS TEND TO BE HIGHLY ENTREPRENEURIAL, FINDING THE RIGHT BALANCE BETWEEN ELABORATE PROCESS CONTROLS AND SPEED OF LOCAL INSIGHTS AND EXECUTION.” – PRASHANT KUMAR, SENIOR PARTNER AT ENTROPIA SHARED IN AN INTERVIEW WITH CAMPAIGN ASIA WHEN ASKED ABOUT LOCAL BRAND MARKETING IN ASI
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cover story SPRINTING TOWARDS DIGITAL:
NEW CHAPTER FOR NSTP
DATUK MUSTAPA OMAR (DMO) GROUP EDITOR, HARIAN METRO
DATUK MAHFAR ALI (DMA)
GROUP EDITOR, BERITA HARIAN
YUSHAIMI MAULUD YAHAYA (YMY)
GROUP EDITOR, NEW STRAITS TIMES
By Malati Siniah
DATUK ABDUL JALIL HAMID
CHIEF EXECUTIVE OFFICER, THE NEW STRAITS TIMES PRESS
IT’s hard to imagine the charismatic and commanding new CEO of New Straits Times Press (NSTP) Datuk Abdul Jalil Hamid or Datuk Jalil as a young cub reporter. But indeed, this man who was recently appointed in March this year to lead Malaysia’s largest newspaper company is a newsman through and through. Having graduated from UiTM (then ITM) with a Degree in Mass Communications in 1982, Datuk Jalil immersed himself in the world of reporting starting his career at BERNAMA where he quickly climbed the rungs to become its acting Economic News Editor and Johor Bureau Chief. After seven years at the national press agency, he moved to Reuters in 1990, where he served as the Chief Political Correspondent and Deputy Bureau Chief in Malaysia and Brunei between 1998 and 2008. Working with the international newswire, he covered Malaysia during its most turbulent times from its challenging socio-political landscape to the infamous 1997/1998 Asian Financial Crisis. Having proved his mettle covering breaking news close to home, Datuk Jalil was then posted to Reuters’ offices in London, Singapore and Jakarta, where he covered commodities and equities updates for the European markets and political news. ISSUE211JULY-AUG
cover story After 18 years with Reuters, Datuk Jalil then made his first big leap into the corporate world. Armed with his razor sharp journalistic skills, Datuk Jalil helped to cut through the communications clutter at the Securities Commission Malaysia and later as the head of the National Communications Team, a unit under the Prime Minister’s Office to help spearhead strategic communications advice and planning for the government. Despite successfully thriving in the communications industry, this newsman felt the tug of his journalistic roots which pulled him to NSTP, a subsidiary of Media Prima Berhad, accepting the position of Group Managing Editor. Eight years later, Datuk Jalil is now faced with the mammoth task of digitising this 172year old brand name, a challenge he is ready to take on with a new digital first mindset, a transformative strategy and a solid team to set things in motion.
ADAPTING TO CHANGING TIMES
As the great migration towards digital had already begun with most local and global publications, NSTP continued to forge ahead transforming digitally while staying true to its iconic print edition.
Pushing the boundaries of creativity, NSTP picked up several prestigious awards last year including the Spark Awards for Media Excellence, bagging the Gold Awards for Best Media Solution (Print) for Mountain Dew’s ‘It Doesn’t Exist Until You Do It’ campaign and a Bronze award for best subscription strategy. NST also bagged the Bronze Award under the Media and Network category at last year’s Putra Brand awards. Continuing to drive innovation in a traditional medium, Datuk Jalil and his team had already set into motion an overhaul on its digital offerings. “NSTP’s traditional business has been known to be in print publications. We have embarked on a radical transformation plan which, while maximising on the current value of our print business, will also emphasise on digital publications to build our position as a leading digital publisher.” “Focus will be on transforming our three newspaper brands to embrace a ‘digital-first model’ that will involve overall newsroom integration, digital-driven business strategies and operations as well as embracing the digital culture. We are excited and very committed to bringing NSTP to the next level in today’s digital disruption age.”
NEWS FOR A DIGITAL GENERATION To Datuk Jalil, change has to come from within, which is why for his new digital strategy to succeed, the people driving it had to see its importance. “Shifting our strategy from print to ‘digital first’ will require total commitment from all staff, plus a change in mindset. There will be changes in how we think, how we do things and in sustaining the momentum and culture. We will embark on a great deal of re-skilling and up-skilling of our workforce.” “Other than the newsroom transformation, digital infrastructure and tools will also be revamped and strengthened to enable our digital journey towards reaching our end-state goal.”
As the group continues to develop its digital products and pursue strategic partnerships, Datuk Jalil shared that they would continue to grow and leverage upon opportunities provided by the government such as the Digital Free Trade Zone (DFTZ) and the Digital Malaysia Hub.
THE BUSINESS SIDE OF NEWS
When asked what keeps him up at night, Datuk Jalil only had one answer: the company. “Managing a publishing company that operates a 24hour news operation and sizeable print operations is not an easy task. Anything can go wrong. It could be a printing problem or late delivery by truckers that
... THE DIGITAL WORLD OFFERS MUCH BIGGER OPPORTUNITIES THAN WHAT WE USED TO ENJOY IN TRADITIONAL MEDIA...
can affect sales and revenue.” While one would think that with digital publications, that thought should not run on Datuk Jalil’s mind, however, ensuring that its traditional business continues to thrive is also his key focus. “NSTP’s latest transformation strategy focuses on three main pillars to ensure there is synergy between protecting our traditional business and growing new revenue streams. This is premised on: • Being the market leader in digital publishing, • Maximising current value. • Increasing productivity and efficiency. “While recognising that digital is the way forward, we are also mindful that our traditional print business accounts for the bulk of our revenue at present. We are exploring avenues and ways to optimise our printing business. This means that we have to look at effective and efficient ways of delivering the traditional business’ profitability to the group revenue.” One of the company’s biggest move in the digital space this year was its acquisition of REV Asia Holdings, a subsidiary of Southeast Asia’s leading digital media group, Rev Asia Berhad. As a result of Media Prima’s investment, the group’s digital platform ISSUE211JULY-AUG 13
audience now stands at RM10.4 million (5 million pre-acquisition). This, according to the company, would establish Media Prima as the largest Malaysian digital media company and third overall in Malaysia after Google and Facebook with 15.7 million and 14.1 million respectively. The group’s eight online brands, which have a strong influence amongst the lucrative market segment of consumers aged 18 – 35 years, will lend a positive impact towards NSTP’s advertising sales, Datuk Jalil shared. “With our focus on diversifying businesses and income streams, there are more ad options for advertisers to explore since there will be additional crossselling of ad packages across products and platforms. With the inclusion of Rev Asia in the Group’s stable, the higher number of viewers will lead to an increase in ad engagement which will bode well for advertisers.” “We have been in the business of reach for a long time. The digital world offers much bigger opportunities than what we used to enjoy in traditional media. The digital strategies that we have implemented in recent years have proven that our strategies do work.”
NSTP's new way of producing engaging digital content
CRAFTING DIGITAL FIRST CONTENT
Ramping up its video content and improving its engagement on social for its three brands was something the Group had already set into motion upon deciding to go digital. Numbers for NSTP products have been climbing steadily whereby the combined reach of its Facebook, Twitter, YouTube and Instagram users stand at 6.12 million for BH, 5.31 million for HM and 1.08 million for NST. The numbers, Datuk Jalil shared, was a result of its refreshed content and video strategies. “ComScore ratings for April 2017 ranked hmetro.com.my as the top website with a total digital population of 4.16 million unique
visitors while bharian. com.my was ranked fifth with 3.45 million unique visitors.” “On creation of video content, as compared to 2016, the monthly average views for MetroTV increased by 44% to 3.25 million views for January to June 2017 while for BHTV, it was a 104% increase to 1.66 million views. Monthly average views for NST rose by 189% to 675k views in 2017.” As with any content based business, its refreshed content strategy was based on extensive research of consumer’s consumption habits. One of the trends observed was that users no longer turn to one source point when consuming online
content. “Besides online, more and more Malaysian readers are now consuming news more broadly from various digital platforms and social media. Real time updates, especially in social media, is more convenient and keeps the consumer up-to-date in a timely manner.” “Social Media Live updates or online live news streaming such as Facebook Live, Instagram Live and many others, has also become a trend in spreading news to the consumer.” Looking into the content crystal ball, Datuk Jalil predicts that with the major telco players investing on bigger bandwidth, video content and technology related to
video such Augmented Reality will be the go-to platform where consumers consume their information and content. “The digital marketing industry in Malaysia is growing at 16% per annum while mobile internet users are expected to increase by 23% in 2019. Both media budget allocation and mobile usage trends will push the expected mobile advertising revenue to grow more than 165% in 2019. Recognizing this trend, NSTP is placing great emphasis on mobile advertising.” Another area of growth in content for him is the four letter word on everyone’s lips - Data. “One more element that we at NSTP see in
cover story the future is that the direction of content is going to be data driven. Science and big data will guide creativity with regards to content direction. To take full advantage of this, we will be utilising data analysts in our newsrooms in the future.”
A TRANSFORMATIVE FUTURE
Datuk Jalil’s vision for the future is reflective of inspiring innovators like AirAsia’s Tony Fernandes and Apple’s Steve Jobs, who he looks to for inspiration. “Their journey will help me in transforming
NSTP from a pure print company into a digital publisher.” Despite the turbulent times in which the industry is going through, Datuk Jalil is positive of the Malaysian media industry’s growth. Just like how digital has disrupted industries such as music, news
and travel, the key thing is to address these changes head on. “With customers shifting towards a digital lifestyle and expecting a digital customer experience from companies, organisations that want to survive the digital disruption will have to
introduce innovative digital approaches to improve and rethink their customer experience.” As the NSTP enters its digital phase, we look forward to seeing what would be the next move for this inspired innovator...
INSIDE THE NEWSROOM
Driving Datuk Jalil’s vision of a cutting edge newsroom are three seasoned veterans in the local journalism scene. Datuk Mustapa Omar (DMO), Group Editor, Harian Metro; Datuk Mahfar Ali (DMA), Group Editor, Berita Harian and Yushaimi Maulud Yahaya (YMY), Group Editor, New Straits Times. As all three newspapers enter their digital phase, these newsmakers share their hopes for the new changes within the Group... DMO: My hope for the new digital age is that the public would be wise to differentiate between fake news and credible news as this is what separates us from the rest. Besides that, I also hope that the new digital changes can address tomorrow’s goals as well as today’s market pressures. Most importantly, these changes can also gain traction in the media industry. However, the digital agenda must enable effectiveness to reduce cost in the short term
YMY: “The reach of online media has allowed people from all around the world to DMA: My expectations are that consume news. A healthy portion of our online readers the switch to digital does not now come from those outside in any way reduce the quality of Malaysia. A good case in of our content and lower our point is the marked increase in loyal audience’s perception the number of online viewers of our credibility. As a news as a result of our online organisation with over six approach. For example, our decades of know-how and expertise, we have to stay true recent news coverage of Kim Jong-Nam’s assassination to our roots and continue to provide fast and accurate news, which, according to several international news agencies without sacrificing credibility, principles and values which we have built over the years. while maintaining a profitable operation.
covering the story, was at par or better than even their own, drew in many readers from outside Malaysia.
Many have continued to consume our content digitally due to the standard of reporting at NST, which had broken tradition by being the first English media to win the coveted Kajai journalism award in 2014. It also has the proud distinction of winning the same award consecutively the following year.”
marketing platform CtrlShift, an audience solutions company, has reorganised the business into three units – The Hub, The Studio and The Lab – with its flagship media management product, The Hub, at its core. The restructure allows the company to have a scalable, technology-led, data-sciences based approach to the market. CtrlShift will continue to offer data-driven marketing services to companies requiring a comprehensive techplus-services package. The Hub is a SaaS platform used by agencies and brands to facilitate efficient mediabuying at scale across multiple channels and buying ecosystems. It is expected to be the key growth driver for CtrlShift. The Studio focuses on providing audiencefocused marketing solutions; offering media strategy and trading-desk services (leveraging The Hub) for marketers as well as audience segmentation consulting and sales for publishers. The Lab is the data sciencesfocused research and development (R&D) unit of the company. It develops in-house technology and audience intelligence tools for The Hub and The Studio units. Reza Behnam, Cofounder & Executive Chairman at CtrlShift, said: “The digital advertising industry is broken – it is optimised
CTRLSHIFT REORGANISES AROUND NEW SOFTWARE-AS-A-SERVICE OFFERING – THE HUB The Hub, an intelligent media management platform, is the anchor business unit and key growth driver for the intermediaries at the expense of brands and publishers. On average 60 to 70 cents out of each media dollar is siphoned off before it gets to the publisher. While technology and automation have greatly enhanced our ability to target audiences in real time, the continued fragmentation and complexity of the industry have caused major inefficiency and confusion. While companies like Google and Facebook have created “pre-packaged” full stack (inclusive of DMPs, DSPs, ad servers and analytics tools) solutions to address the complexity, issues like pricing transparency and
“THE DIGITAL ADVERTISING INDUSTRY IS BROKEN – IT IS OPTIMISED FOR THE INTERMEDIARIES AT THE EXPENSE OF BRANDS AND PUBLISHERS. data retention remain unresolved.” He continues, “The Hub attempts to address this by allowing brands to access and optimise campaigns across multiple technology and inventory partners simultaneously. Think of The Hub as having the ease-ofuse of pre-packaged
full-stack solutions, while revealing the best combination of partners for your specific objective as they compete to optimize your media dollar. Essentially, we are taking care of mediabuying execution in a risk-free, transparent way so that brands can focus on strategy and planning.” At present, The Hub is connected by API to a plethora of technology partners and inventory sources – DSPs, ad servers, data providers, exchanges and private marketplaces - giving greater visibility into the digital advertising supply chain; empowering brands to maximise
returns on media investments with speed, transparency and intelligence. It is currently integrated with eight buying platforms in the open ecosystem as well as Google and Facebook, giving it access to almost 100% of automated inventory in major markets. The platform also provides real-time updates of campaign performance with crosschannel metrics unified on a central reporting dashboard. Ganga Chirravuri, CIO and Global Head, Platform Solutions at CtrlShift, adds: “The Hub has a recommendation feature which leverages data-science models that learn from historical campaign data to provide insights to optimise campaigns. It does this by proactively suggesting specific tactics to improve performance - which websites to whitelist, which platforms to buy through, how to allocate budgets - and by predicting the impact of choosing a certain set of inputs. Tactics recommended by The Hub have helped our traders consistently outperform client benchmarks.” In 2017, digital advertising is expected to account for 38 per cent, or USD59 billion of ad spend in Asia Pacific. Total ad spend in the region is expected to increase by 5.6 per cent by the end of year, and is forecast to grow at 5.1 per cent in 20181.
FACTS AND FACT ARE BOTH UNDER
by Josh Sklar, President of Heresy, Author of “Digital Doesn’t Matter (and other advertising heresies)” email@example.com, @ chiefheretic, http:// heresy.co, http:// digitaldoesntmatter.com
WITH the incessant disingenuous cries of “fake news” and “alternative facts” from the American conservatives and their allies, as directly inspired by the selfserving proclamations of their egomaniacal Bully-in-Chief, President Trump, as told from the universe he alone lives in, non-partisan, fact-checking sites such as Snopes.com are now more crucial than ever. You are undoubtedly familiar with Snopes whether you are someone who continually rolls your eyes when your elderly parents or reactionary friends post something to social media that is maddeningly unsubstantiated or you just want to double check your info to make sure you’re not going to get the same reaction from your own followers. This invaluable, free public service that we have come to rely on for our sanity (and reputation) is now in
T-CHECKERS R SIEGE ER ... DAVID SET UP A GOFUNDME TO HELP WITH THAT SITUATION AND EXCEEDED HIS US$500,000 GOAL IN ONE DAY...
danger of disappearing – and the fight is, of course, over ad revenue. For 22 years, the site has been the goto place to check out and either debunk or verify an assortment of urban legends. They do comprehensive research, reference all of their sources, display official documents and imagery, generally talk to the parties involved (if they exist), and they put it all out there for anyone to validate for themselves. Snopes is also famously unbiased when it comes to American politics since one half of the founding couple is Canadian and the other an Independent who was once upon a time registered as a Republican. The very well respected Annenberg School for Communication at the Ivy League University of Pennsylvania (where Trump went to school) evaluated the political content on the site a few years ago and
found absolutely no evidence of bias in any of its posts, which, as we all sadly know, is all too rare but of absolute critical importance here in mid-2017 (reference: first sentence of this column). Unfortunately, Barbara and David Mikkelson, the founders and co-owners, divorced after they had expanded the operation into one that requires a good deal of overhead, mostly in the form of salaries for their 16 employees. Barbara sold her 50% stake last year to a newly formed vendor called Proper
Media that took over critical functions like technical development and managing ad sales — and now they and David are suing each other over control. Proper Media wants the courts to remove David from the business citing mismanagement of funds (ironically this has not been fact-checked) and he wants Proper to stop withholding all revenue from advertising and allow him technical control over the system once again. According to court documents, David says there is absolutely no money coming in to pay
the staff or bills because advertising is their only form of income for the site, as is usually the case. The only power he and his team have on Snopes.com at the moment is the ability to post and edit content and without getting paid, there’s no guarantee that will last long. David set up a GoFundMe to help with that situation and exceeded his US$500,000 goal in one day (it’s up to more than $667,000 donated by over 24,000 people as of this writing), which should keep the lights on, but is likely not enough to fund both the operation and the ravenous lawyers. It does demonstrate how beloved and necessary the truth platform is during this bumpy period when people in positions of tremendous power are trying very hard to gaslight us all with an endless stream of lies designed to benefit them and theirs at our expense. We can only hope that Mr. Mikkelson and his team can overcome Proper Media’s attempt to wrestle control of the advertising dollars and possibly convert the content into something that’s designed to maximize the ad revenue at the cost of this indispensible public good – especially when it’s needed now more than ever. ISSUE211JULY-AUG 19
NEWS DATUK KAMAL LEADS MEDIA PRIMA INTO NEW PHASE
MARKETING’S CEO HONOURED FOR ENTREPRENEURSHIP EXCELLENCE Professor Harmandar Singh recently received the Golden Bull Award which honours the best of SMEs in Malaysia for their hard-earned success and outstanding achievements. MARKETING’s Regional CEO was given the award for his outstanding achievements in the industry. Sharing more on the award and passion towards entrepreneurship Prof. Ham shared, “I enjoy managing risks - in people, opportunities and
expectations. I am so used to giving out awards for more than two decades. But to receive one, especially from those outside my industry, was a real shocker. This ‘Outstanding SME Award 2017’ is not about me, but about the people in the company. They are outstanding; I am merely standing outside, looking in.” The Golden Bull Award acknowledges, celebrates and awards businesses for their achievements. It is an award that symbolises strength and growth and serves as the penultimate award for successful businesses.
SCARE TACTIC OR BRILLIANT MARKETING STUNT?
PREMNATH HEADS DIGITAL PERFOMANCE AND INVESTMENT Havas Media Malaysia has appointed Premnath Unnikrishnan as Head of Digital Performance and Investment. He joins the agency with a rich digital experience covering tech, strategic planning,
buying and account management with a proven track record of building brands digitally and executing successful marketing campaigns. In his new role, Prem will be responsible for all aspects of our digital operation including strategic digital leadership, digital capabilities expansion and adoption of worldclass practices in the Malaysian market.
RapidKL has gone live with a campaign to promote social etiquette featuring an unassuming character as its face. In a string of timely events, the public transport system by Prasarana Malaysia mobilised its campaign to curb vandalism and wrongdoings and encourage courtesy using a photo of Annabelle — possessed doll cum movie star — is seen to be seated in a train which it received from a public transport user. With quick thinking and sharp wit, RapidKL jumped at the opportunity to strengthen its stand for good behaviour by ‘frightening’ those who aren’t on board the ‘good manners’ bandwagon. The post which appeared on the RapidKL Facebook page went viral and garnered 23,000 likes, 8,800 shares and spurred encouraging chatter of the company’s social media presence. Speaking to MARKETING, a rep from RapidKL said the response and traction it received was positive and hoped it would help to achieve the objective of positive social etiquette on their trains. He also said
Following a recent announcement from Media Prima Berhad, Datuk Kamal Khalid the current CEO of Media Prima TV Networks (picture) has taken on the role of Group Chief Operating Officer (and Group Managing DirectorDesignate) of the media group. He succeeds Datuk Seri Amrin Awaluddin who will still remain on the board, however, will be redesignated to Executive Director. Datuk Kamal has been with the Group for
NEWS over 10 years and played a key role in MPTN’s digital transformation and business expansion initiatives. Prior to joining Media Prima, he served as Head of the Communications Unit in the Prime Minister’s Office from 2003 to 2009. He had also worked in the financial services sector gaining experience in banking and private equity financing. Commenting on his decision to step down, Dato’ Sri Amrin said, “It was indeed a difficult decision on my part, having been with this media conglomerate for many years but I believe the time is right to pave the way for a new leadership team to follow through on our business transformation initiatives. that it was RapidKL’s take on ‘approaching the subject of social etiquette in a different way’. Many netizens praised the public transport provider for injecting personality into its social media presence, a trend that seems to be on the rise with more and more corporate organisations. It’s not surprising to see this spooky doll in the spotlight with her movie ‘Annabelle The Creation’ running in local cinemas. When contacted for a comment on Annabelle’s appearance on RapidKL’s social media a representative from Warner Bros Malaysia shared, “The RapidKL campaign wasn’t in our original publicity stunt plan, but we are very happy that the main star of our next blockbuster is able to contribute positively to RapidKL’s education program on good public behaviou.”
7-ELEVEN MALAYSIA CEO RESIGNS 7-Eleven Malaysia Holdings Bhd (SEM) has appointed Ho Meng as acting chief executive officer as the company’s current CEO Gary Brown (picture) has decided to leave the company. Prior to joining 7-Eleven, Gary held the role of Business Development Director at Berjaya Group. The newly appointed Ho Meng was appointed by 7-Eleven as non-independent executive director in 2013 before being re-designated as a nonindependent non-executive director on April 29, 2016. His experience includes serving in Digi Telecommunications for almost a decade and leaving the company in 2005 as its chief financial officer.
SONAL DABRAL HEADS UP CREATIVE AT OGILVY INDIA Ogilvy India has announced the appointment of Sonal Dabral as Group Chief Creative Officer and Vice Chairman, Ogilvy India. Piyush Pandey, Executive Chairman and Creative Director, Ogilvy South Asia shared, “I am delighted to welcome
back Sonal Dabral to Ogilvy India as Group Chief Creative Officer and Vice Chairman. This is a first-time designation at Ogilvy & Mather in keeping with Sonal’s stature. Sonal was my first partner in building the creative reputation of Ogilvy India as it stands today. I am sure we will have a great partnership again to take Ogilvy to even greater heights.” ISSUE211JULY-AUG 21
THIS time no jokes, witty asides, or anything less than serious. I have just seen the latest spots from the National Rifle Association of America (NRA). And it’s difficult to express how I feel. The Ad industry has been accused of manipulation, of insidious acts of persuasion but these spots are quite frankly, horrid.
LET ME TELL YOU ABOUT JUST ONE.
Paul Loosley is an English person who has been in Asia 39 years, 12 as a Creative Director, 20 making TV commercials. And in recent years, a brand consultant. And still, for some strange reason, he can’t shutup about advertising. Any feedback; mail firstname.lastname@example.org (please) 22 MARKETINGISSUE211JULY-AUG
A woman faces the screen and begins a tirade, which I have to repeat it in its entirety for you to get the full impact. She says: “They use their media to assassinate real news. They use their schools to teach children that their president is another Hitler. They use their movie stars and singers and comedy shows and award shows to repeat their narrative over and over again. And then they use their ex-president to endorse 'the resistance.' All to make them march. Make them protest. Make them scream racism and sexism and
xenophobia and homophobia. To smash windows, burn cars, shut down interstates and airports, bully and terrorize the lawabiding — until the only option left is for the police to do their jobs and stop the madness. And when that happens, they’ll use it as an excuse for their outrage. The only way we stop this, the only way we can save our country and our freedom, is to fight this violence of lies with the clenched fist of truth. I’m the National Rifle Association of America. And I’m freedom’s safest place” As the woman (more on her later) delivers these words, ominous images of protests and street violence are sharply intercut with her simply framed talking head.
LET ME BREAK THIS DOWN FOR YOU.
The spot, by a mid-west agency, called AckermanMcQueen, uses two of advertising’s most prodigious tools. And uses them
spectacularly well. They are: Fear and Sex. Now ads have used fear to create a need for a product for ages: fear of fatness, fear of bad skin, fear of bad breath, fear of being behind the times. The list is long. And sex has always been used in ads to attach primal appeal to cars, beer, tyres, even burgers. So, to begin, here’s how the NRA advert generates fear. Who are ‘they’? ‘They’ are nameless; a hidden threat. Faceless, anonymous and alien. The deliberate use of the third person plural is very smart. ‘They’ are no one you know. And fear of the unknown is indisputable. (By ‘they’ the NRA mean, of course, anyone who promotes gun control and would see guns done away with; that is, any completely sane person!) Words like assassinate, scream, smash, burn and terrorize pepper the whole script at nice, regular intervals. These are words which, in this day and age, are all very, very scary. It’s all we hear, day and night, in the
Shut up about advertising!
HEY, NO-ONE PUT A GUN TO YOUR HEAD! papers, on the TV; the world and the news is filled with people ready to do us harm. Talking of news. The protest images are all in black and white and hand held; newsreel-type footage of people doing extreme violence to people and property. (There is no indication as to who these people are except ‘they’ are America’s enemy). The ambiguity is quite deliberate, it allows the viewer to imprint his or her own vision of who is out to get them. The reality of this footage is therefore immediate, highly credible and, in consequence, particularly terrifying, especially if you were scared to begin with. And here’s how the NRA advert uses sex. The woman presenter is a right wing journalist/broadcaster called Dana Loesch. She is actually rather attractive, full figured, buxom and somewhat provocative looking. (And being a celebrity to boot, doesn’t hurt). Her delivery is compelling and severe; she spits out words, she curls her lips in a horrid sneer. Challenging the viewer to disagree with her. She seems to
scared the living daylights out of you, delivers the perfect solution; the thing that will dissipate all your fears and allow you to sleep well. Allow you to fight back against the threats against you and your family. This is how you can feel totally safe, by taking your fate into your own hands and…
GO BUY A GUN!
savour words like ‘xenophobia’ and ‘homophobia’, enjoying the alliteration. Do ‘they’ dare take her on? The sense of sexual domination is palpable. Other images proliferate of Dana Loesch holding guns. The idea of an attractive woman holding a gun, in leather, short skirts and tight tops, heightens all and every feeling of a gun being a symbol of male potency. In one spot she is dressed something like a biker chick. Altogether she must be every redneck’s wet dream MILF. Finally, as in all good formulaic commercials, the appealing presenter, who you now want to believe more than anything in the world, having
So are the NRA ads motivated by pure altruism? A deep concern for America’s safety? I don’t bloody-well think so. Consider this; the annual revenue of the American gun and ammunition manufacturing industry is $13.5 billion with a $1.5 billion profit margin. (IBIS World Research 2013 via NBC). It is sincerely difficult to doubt that money is the final goal. The Sandy Hook Elementary School shooting occurred on December 14, 2012, in Newtown, Connecticut, when 20-year-old Adam Lanza fatally shot 20 children between six and seven years old, as well as six adult staff members. He used a military grade Bushmaster XM15-
E2S automatic assault rifle, a gun that can fire 45 rounds a minute. And is shockingly easyto-buy at any American sportsgoods store or even on-line. This particular weapon, believe it or not, belonged to Lanza’s mother! The NRA’s response to this unspeakable horror? They recommended that all teachers carry concealed weapons. To use the considerable and persuasive skills of advertising to strike fear into people about body odour and to have them buy your brand of deodorant is one thing. To use sex to sell hamburgers is another. No-one ever killed a child with an antidandruff shampoo or a meatball sandwich. But to use the art of advertising to put something into the homes of men, women and children whose only one real purpose is to kill people, is hateful. To use the power of a well-crafted advert to put an assault rifle into the hands of people like Adam Lanza, and keep them there is despicable. Beneath contempt. I don’t suppose the clearly talented ad people who did these adverts feel any shame or fear. But I do. ISSUE211JULY-AUG 23
creative showcase FISH BREATH CATEGORY CONFECTIONERY & SNACKS CLIENT WRIGLEY AGENCY DDB SOUTH AFRICA COUNTRY SOUTH AFRICA
JULY 6 & 7, 2017
APPIES MALAYSIA SHINES BRIGHTER IN YEAR TWO! APPIES Malaysia, organised by MARKETING Magazine, came back strong in its second year with a total of 17 awards given out to the most effective marketing campaigns in Malaysia....
Rakesh Mohan, Chief Judge APPIES Malaysia 2017, Chairman of Unilever Malaysia, Singapore, Myanmar, Cambodia & Laos charming the audience on stage with his insightful keynote presentation on Brand Purpose driven marketing. ISSUE211JULY-AUGMARKETING 27
THE SECRET LIVES OF KFC FANS ENTROPIA/ KFC DELIVERY AGENCY ENTROPIA HANIM MAZAM Engagement Director, Entropia JONN DOGRA Director of Experiential Design, Entropia KHOO HOONG Director of Experiential Design, Entropia JAYDEN CHIN Senior Associate of Experience Design, Entropia NOORHAJAR YUSOF Senior Manager, IPG Mediabrands CLIENT QSR BRANDS (M) HOLDINGS DENNIS FOO Head of Digital Marketing, KFC Marketing STEFF YONG Digital Manager, KFC Marketing MEGAN WONG Senior Executive, KFC Marketing
ACTIVATING BISKIDZ WITH EJEN ALI VIZEUM MEDIA SERVICES (M) SDN BHD/ MEDIA PRIMA TELEVISION NETWORKS/ MAMEE MONSTER BISKIDZ AGENCY VIZEUM MEDIA SERVICES (M) SDN BHD/ MEDIA PRIMA CLIENT MAMEE-DOUBLE DECKER • MEDIA PRIMA BERHAD • MAMEE-DOUBLE DECKER • VIZEUM MEDIA SERVICES (M) SDN. BHD. NINI YUSOF Director of Sales & Strategy, Media Prima TV Networks Client Service Group of Media Prima TV Networks • BRANDED CONTENT OF MEDIA PRIMA TV NETWORKS • CREATIVE MARKETING OF MEDIA PRIMA TV NETWORKS • MEDIA PRIMA LABS OF MEDIA PRIMA DIGITAL
HOW MILO BROUGHT THE CHILD'S CHAMPION ECOSYSTEM TO LIFE SOCIETY MALAYSIA/ MILO AGENCY SOCIETY MALAYSIA STANLEY CLEMENT Executive Director AMIR FAIZ Creative Director ALIYA ANUAR Social Team Lead REUBEN LIU Social Specialist CLIENT NESTLÉ MALAYSIA PHILOMENA TAN Business Executive Officer APRIL WONG Consumer Marketing Manager VANESSA LIM SU PING Brand Manager RAJA NURMARIA MURNI Senior Brand Manager
The Fast Food industry's battleground extends beyond physical stores to online. KFC Delivery needed to stand out from the competitors and new players.
MILO was seeing a 2% drop and wanted to increase share of throat (SOT) by 4% from Q1 to Q2. MILO was losing out on the breakfast table.
Through social listening data we know that KFC fans roam amongst us, they have deep KFC cravings which they hide and only KFC delivery service could help satisfy them. Hence this is a call for all the KFC Kakis (fans) to reveal, revel, share and be proud of their cravings. The campaign garnered 5 million Views, ongoing engagement and counting. KFC Delivery stories’ engagement doubled industry benchmark. Website traffic increased by 44% and Online Sales increased by 32.5%.
CAMPAIGN SYNOPSIS MAMEE-Double Decker entered into a collaboration with Media Prima Television Networks to launch MAMEE Monster Biskidz, the first nutritious biscuits fortified with DHA and vitamins. The campaign involved a clever integration of Biskidz in the world of Ejen Ali – an inspiring new local animated series. Beyond conventional advertising, the collaboration extended onto multiscreen exposures and engagement through a mobile game app integration. Charting an average sales growth of 38% month-on-month, it signalled the brand’s successful foray into the heathy snacks category, capturing strong demand from kids while winning acceptance from increasingly health conscious parents.
The big idea was to storify the various stages of a child becoming a champion within one universe by focusing on an ecosystem of cheerleaders and confidantes that form the emotional support system. We developed five 5-minute webisodes themed ‘Own the Day’ which brought to life the lives of 5 individual children in an interconnected universe. Each webisode was emotionally crafted to specifically target what mothers cared about.
THE MOST TALKED ABOUT PLAN M&C SAATCHI MALAYSIA/ CELCOM FIRST GOLD AGENCY M&C SAATCHI MALAYSIA HENRY YAP Executive Creative Director KENNETH MENON Associate Creative Director MICHAEL QUAY Head of Planning LEE POH LI Digital GM
STOP NURSERY CRIMES NAGA DDB TRIBAL/ PROTECT AND SAVE THE CHILDREN AGENCY NAGA DDB TRIBAL CLIENT PROTECT AND SAVE THE CHILDREN MADELEINE YONG Committee member
MAXIS POWER OF ONE LEO BURNETT / ARC WORLDWIDE/ MAXIS AGENCY LEO BURNETT / ARC WORLDWIDE JESS WONG Writer AUDREY WONG Writer CHIS KOK Designer AKIJAY FONG Designer CLIENT MAXIS BROADBAND SDN. BHD. BERNARD LEE KIN KIT Head of Marcomm ADELINE CHONG HUI LEE Marcomm Lead - Postpaid & Integrated Services Products CHAN MEI PING Marcomm Specialist - Postpaid
CLIENT CELCOM AXIATA ZALMAN AEFENDY ZAINAL ABIDIN Chief Marketing & Online Sales Officer
CAMPAIGN SYNOPSIS The task was to rejuvenate the smartphone-centric postpaid game with a unique value proposition. In a market where the phrases ‘zero down payment’ and ‘free’ devices were overused, we gave our offerings a quantifiable face: RM1. Top-selling devices for just RM1, no installments, no interest rates.
CAMPAIGN SYNOPSIS Early 2016, amid the telco speed wars, Celcom was juggling churn, revenue and upgrade issues, losing market position. The ringgit was dropping. More than anything, our customers were seeking value. Competition was still racing for supremacy in network speed. We changed the conversation into a need for value. The creative hammered on value offers for Celcom’s First Gold Plan using comedy and exaggeration. The campaign produced a lot of jokes, but the results were no laughing matter. Celcom regained its leadership, making followers out of former leaders.
CAMPAIGN SYNOPSIS An estimate of 30,000 cases of child sexual abuse happens every year but only 3% had been reported. Protect and Save the Children (PSTC), an organization to help prevent the crime had been struggling to get the issue into the public’s consciousness. While there were many numbers and facts to educate the masses, it will not be enough to trigger action unless there is a genuine outrage. This is a story of how we created an immersive experience to put the viewers into a child victim’s shoes and as a result, instigated a conversation nationwide.
The Results: revenue increase by 4.6%, with ARPU increase by 3%. MaxisONE Plan subscribers climbed to an all-time high of 40% of total subscriber base and reclaimed number 1 position in overall brand preference.
讲到尽, 旺到尽 (KONG DOU ZHUN, WONG DOU CHUN) ENSEMBLE WORLDWIDE/ LISTERINE AGENCY ENSEMBLE WORLDWIDE CHUNG RU ZEN Copywriter CHIN SIN MAY Senior Art Director CHONG JIA LING Business Manager NATHANAEL KOH Business Executive CLIENT JOHNSON & JOHNSON JULIA TEO MAY MAY Associate Marketing Director AIZURRA CHRISTY YONG Marketing Manage LOW KIU FUNG Senior Brand Manager
#YOUCANDUIT ASTRO ENTERTAINMENT SDN BHD/ MDEC AGENCY ASTRO ENTERTAINMENT SDN BHD MOHD SHAHRIZAL ABD RAHIM Head Of Sales, TV Advertising - Branded Content LAI CHIN PENG Senior Executive Branded Content JOYCE LEE Associate - TV Advertising Sales, Malay Channels AMIEY SAI Integrated Associate Media Director CLIENT MALAYSIA DIGITAL ECONOMY CORPORATION (MDEC) RAZALEIGH ZAINAL Vice President Corporate Communications NOREEN SABRINA MOHD NOOR Head Of Brand Communications ADMEN HASSAN Manager, Corporate Affairs Team MOHAMAD SYAFIQ AZHAR Brand Communications
MCCHICKEN #3BITESCHALLENGE LEO BURNETT / ARC WORLDWIDE/ MCDONALD’S AGENCY LEO BURNETT / ARC WORLDWIDE ANDREW LEONG Managing Partner ANDREW LOW Executive Creative Director LIM XIN WEI Senior Account Director TAN WAN SHIN Senior Account Manager CLIENT GERBANG ALAF RESTAURANTS SDN BHD MELATI ABDUL HAI Sr. Director – Marketing and Communications EUGENE LEE Director – Marketing ALICIA LOW Manager – Marketing
CAMPAIGN SYNOPSIS During the CNY period, there has been a constant decline for mouthwash sales year-onyear. As category leader, we aimed to reverse this trend. Every CNY, people face the same old awkward questions. How could we help people cope with this ‘problem’? We launched a campaign titled “Kong Dou Zhun, Wong Dou Zhun” (‘Talk To The Max, Prosper To The Max’), implying that a confident mouth faces awkward questions with ease. The campaign had three content films, a shareable e-greeting on social media, and redesigned bottle sleeves plus point-of-sale creatives. Needless to ‘kong’, we reversed the downward trend and even grew the category.
CAMPAIGN SYNOPSIS '#tanahairku: Two Decades of Bringing Malaysians Together’ is an ideal platform for PETRONAS to champion social cohesion and a perfect voice for Malaysians to express their love for the nation through various mediums.
CAMPAIGN SYNOPSIS MDEC created eRezeki and eUsahawan programs to boost the income for Malaysia’s bottom 40% wage earners (B40). The objective is to help them generate income via digital. The participants will be trained, qualified and supported to empower them with the skills to earn digital income. The main challenge was to convince them that they can make money via digital, due to the lack of knowledge and fear among the B40s. Hence, #YOUCANDUIT campaign was conceived to communicate with them that it is easy enough to generate income via digital. #YOUCANDUIT has trained over 150,000 candidates, generating over RM76million!
The campaign rejuvenated the significance of Merdeka and Malaysia Day by engaging primarily with Malaysian youths. We started with ‘akrab’ webfilm, followed by misi #tanahairku, #tanahairku street arts and #tanahairku exhibition as the finale. Social media was our main stage evolving #tanahairku into a social movement. From 2013 until today, the #tanahairku campaign is PETRONAS’ footprint made up of an everlasting legacy with deep-rooted values treasured by all.
CONFIRM GILA BABI TORPEDO IDEAS SDN. BHD/ TICKLISH RIBS & ‘WICHES AGENCY TORPEDO IDEAS SDN. BHD TC Chief Executive Officer RYAN CHONG Brand Manager SHABETA KRISHNA KUMAR Copywriter SAMUEL TSEN Graphic Designer CLIENT TICKLISH MALAYSIA SDN. BHD. FELICIA LIM Founder CHAN MUN LEONG Chief Operations Officer DANNY WANG Co-Founder
CAMPAIGN SYNOPSIS In a Muslim country with a niche non-halal market, establishing a pork orientated restaurant would be a gamble, what more to sustain the business? Ticklish went against all odds to prove itself worthy, not only as a restaurant, but as a brand. The first outlet, opened in May 2015, has been profitable ever since. What went right? Branding and Marketing. Humour, coupled with all-things-pork, made the brand identity. Customers kept coming back for the food, atmosphere and individuality of the brand, which led to the opening of a second outlet and the esteemed No.1 spot on TripAdvisor!
... IT’S A GREAT LEARNING OPPORTUNITY FOR THOSE ATTENDING. WE ARE ALL CAUGHT UP IN OUR OWN SPHERE OF WORK AND SOMETIMES HEARING ABOUT GREAT CAMPAIGNS, FROM OTHER CATEGORIES OR COMPETITORS, CAN IGNITE FRESH THINKING AND ENERGISE EVERYONE... Ramakrishnan C.N (Entropia Global) and Dennis Foo (KFC) talking on the sidelines of APPIES Malaysia 2017.
THE two-day festival hosted 30 senior marketers from the industry including Chai Hui Fung, Regional Marketing Director, Nando’s Chickenland Malaysia, Foong Ai Peng, Head of Media and Budget Management, Maxis, Maud Meijboomvan Wel, Marketing Director, Heineken Malaysia Berhad and more. A total of 10 gold, 6 silver and 1 best presenter trophies were awarded to 54 shortlisted campaigns who presented their cases over the two days. Maxis, KFC and McDonald’s were among the gold winners who were successful in presenting and defending their campaigns to the judges. Following this year’s theme of ‘Fame starts here’, presenters who hoped to kick-start their winning streak had to follow an interactive 4-615 format, where they had to show a 4-minute creative reel summarising their campaign, present and justify their campaign in a 6-minute oral presentation and finally
field questions about their campaigns from the judges and audience for 15-minutes. Attendees and presenters alike applauded the festival format sharing how the awards show served as a learning platform for those in the industry. “This open concept adopted by the APPIES gives delegates and participants a holistic view of what is important to different individuals when it comes to evaluating a campaign. It’s great that you even give us delegates a chance to ask questions during the presentations,” Jay Murali, Account Director at the Wizard's Room shared. His favourite presenter of the day was the winner of the APPIES best presenter award Stanley Clement, Managing Director for Social & Digital at IPG Mediabrands Malaysia. “I really enjoyed his presentation, truly felt more like a conversation and his points were well thought out” Jay added. So what did the winners think of this year’s APPIES Malaysia? ISSUE211JULY-AUGMARKETING 31
#YOUCANDUIT CAMPAIGN: SPURRING MALAYSIA’S DIGITAL ECONOMY AGENDA MDEC pushes Nation’s Digital Economy aspirations through eRezeki and eUsahawan for the people, writes Noreen Sabrina Mohd Noor, Head of Brand Communications at MDEC. THROUGHOUT the last two years, the Malaysia Digital Economy Corporation (MDEC) has spearheaded the rise of Digital Economy activities – an initiative to uplift the economic income of Malaysians especially below RM4000 income among 40% wage earners Malaysian population (B40) and middle
income RM4001-RM8000 among 40% wage earners Malaysian population (M40). The #YOUCANDUIT campaign by MDEC launched and created digital revenue opportunities through eRezeki and eUsahawan programs. Participants are able to generate digital income opportunities through simple tasks as well as fitting their skills sets in the eRezeki program to become part of a competitive digital workforce. Meanwhile for eUsahawan programs, vocational college students and micro entrepreneurs are encouraged and exposed to digital marketing to further grow their business potential on digital platforms. Approaching it via a fully 360 integrated marketing approach, the #YOUCANDUIT campaign has proven to be crucial in laying a foundation for the development of Malaysia’s Digital Economy by engaging its economic contributors. 32 MARKETINGISSUE211JULY-AUG
To increase the income of those in the B40 and M40 categories, MDEC introduced the eRezeki and eUsahawan programs in 2015, to enable digital income opportunities through training and support. Though the programs were beneficial and equipped with a complete syllabus, many of those in the B40 lacked the know-how and were unaware of the potential of the digital economy. This was because those in the B40 were hesitant in risking their main and only source of income.
In targeting the B40, there was a need for the message to be communicated in a self-explanatory, inspiring and relatable form. The programs were made easy for everyone to learn and implement.
As studies showed the B40s responded best with humour, MDEC introduced three (3) main characters – Siberudin, Siberjeya and SiberOng, each encountering different challenges faced in the community. There was also collaboration with entertainment-based TV programs, ie. Maharaja Lawak Mega, Mak Cun, MeleTOP and other popular local sitcoms to reach out to the targeted audience. MDEC also communicated through celebrities’ advocacies, radio contest and activation.
The campaign kickstarted with the launch of the Sibergurus comedy web series on MDEC’s YouTube channel and Facebook, YouTube video, Google Display ads which
targeted the B40 and created appeal and buzz. TV was also utilized to extend awareness through mass media. MDEC partnered with popular program Maharaja Lawak Mega and created capsules to seed the campaign message as part of the program’s content. Branded contents in ‘Hua Hee Sekolah’, ‘Mak Cun’ and ‘MeleTOP’, were also targeted through humour and entertainment genre programs that everyone could relate to. Testimonial videos were later released on YouTube and TV to explain how #YOUCANDUIT enhanced the participants’ lives while radio advertisements with a call-to-action ran with high frequency throughout the day. Radio segment sponsorships ensured presence throughout the campaign, while interview talk shows allowed MDEC to elaborate the programs in detail. Search Engine Marketing was also in place to enable participants and influential parties to search for eRezeki and eUsahawan programs online. Various Below-the-Line activities and Karnival #YouCanDuit were planned and organized in eight states with interactive activities.
The campaign generated 78% ROI, reached 10 million Malaysians on TV and radio; generated 52 million impressions on social media; attracted 50,000 footfalls to Karnival #YouCanDuit over 8 states, where 30% of them registered on the spot. To date, 259,411 Malaysians registered and 150,581 trained under the eUsahawan & eRezeki programs; collectively generating RM76,093,328 in additional income.
From what surprised them at the presentations, to their learnings at this year’s awards, here is what our APPIES winners had to say… "APPIES does take marketing awards to a new level, and we personally think the theme is inspiring. Winning in APPIES Malaysia is a recognizable effort and is the first step to compete with other excellent marketers in APPIES APAC."
A longstanding supporter of APPIES Ms Goh Shu Fen is the APPIES APAC President & APPIES Malaysia Advisor. This powerhouse who took the stage at this year's APPIES is also the Principal at R3 Asia Pacific.
"The guiding principle of our campaigns is that we had to be innovative and evolve in the way we use media. "Engagement and being different in a sea of sameness is key. This really worked for us as our campaign is visible through a brand health awareness check, and social listening. Our campaigns checked positive on both tools used."
— CHEONG MAY YEEN, KARMEN MARK, TAN I LIN (ETIKA HOLDINGS), WHO TOGETHER DENTSU LHS PICKED UP THREE METALS.
Presenters defending their hard work on stage
Lending some fresh insights from the start up industry is Alan Cheah, GoCar Mobility's Chief Operating Officer
"As the showreel was designed to present the whole case in its entirety, we decided to focus our presentation portion on more 'behind the scenes stories, as this gave an interesting perspective to the campaign - the struggles and how decisions were made."
as this was the first time that something of this nature was done at an APPIES presentation."
— APPIES GOLD WINNER RAMAKRISHNAN C.N (ENTROPIA GLOBAL) AND DENNIS FOO (KFC)
— GOLD WINNER STEPHANIE WONG, GENERAL MANAGER, CLIENT SERVICE GROUP, MEDIA PRIMA TELEVISION NETWORKS AND HOW YUAN YI, CLIENT SERVICES DIRECTORS, VIZEUM MEDIA SERVICES.
"Approaching the presentation from the perspective of millennial mums helped to create a unique appeal to the judges and showcase how we really understood the behaviour, demands and expectations of our target audience for this campaign." "We charted new territories with our iconic Mamee Monster mascot
"I guess we have to think of something bigger and better next year as our competitors will be taking their cues from what we did this year."
APPIES Malaysia was organised by MARKETING magazine and sponsored by MDEC and Fried Chillies. The event was supported by Malay Mail, New Straits Times, The Edge Financial Daily and The Edge Malaysia.
For a good cause - the much talked about â€˜Stop Nursery Crimesâ€™ campaign by Naga DDB and Protect and Save the Children.
IPG Mediabrands's Society and Milo for their campaign 'How MILO brought the child's champion ecosystem to life'.
Beaming smiles from the lovely ladies from Media prima who took home the Gold award for 'Mamee Monster Biskidz'
Both agency and client were in sync on this campaign as 'Maxis Power of One' takes home a Gold APPIES trophy.
McDonald's and Leo Burnett win big for McChicken #3BitesChallenge
Listerine and IPG Mediabrands's Ensemble WW for the campaign "Kong Dou Zhun, Wong Dou Chun".
MDEC and Astro Entertainment as the team takes home Gold for #YouCanDuit
All that talking paid off for Celcom First Gold & M&C Saatchi
Winning Gold for ‘The Secret Lives of KFC Fans’ Team Entropia Global beams with pride Torpedo Ideas for "Confirm Gila Babi"
PRESIDENT, APPIES Malaysia PROF HARMANDAR SINGH
ALEX YOONG Senior VP, Marketing - Creador
ADVISOR, APPIES Malaysia GOH SHU FEN
AMY GAN Senior Marketing Manager Etika Group of Companies
ADVISOR, APPIES Malaysia MOHAMED ADAM WEE ABDULLAH CHIEF JUDGE APPIES, MALAYSIA 2017 RAKESH MOHAN Chairman of Unilever Malaysia, Singapore, Myanmar, Cambodia & Laos.
BHARAT AVALANI CEO, Connecting the Dots CHAI HUI FUNG Regional Marketing Director Nando’s Chickenland Malaysia DANIEL LIM Senior Marketing Manager GCH Retail (M) Sdn Bhd DATO’ MOHMED RAZIP HASAN Senior Director of International Promotion Division, Tourism Malaysia
RENDA LOW GM, Marketing Yeo Hiap Seng (Malaysia) Berhad
KHOO KAR KHOON Director, GigaGigs
RICHARD LIEW CMO, IBM Malaysia
AUDREY CHONG Head of Marcom DIGI Telecommunications
FOONG AI PENG Head of Media and Budget Management, Maxis
MELATI ABDUL HAI Senior Director, Marketing & Communications McDonald’s Malaysia
JEAN LER CMO - Pizza Hut Malaysia
MELISSA WONG Marketing Director Hawley & Hazel Malaysia
JOHN D. CHACKO President - International Advertising Association (IAA) Malaysia SHIV SAHGAL Marketing Director Unilever Malaysia RONAN LEE GM - Marketing 7-Eleven Malaysia
APPIES MALAYSIA 2017 WINNERS LIST:
SOONG SHAM MEE Senior Marketing Manager Esthetics International LIM IMUN GM - Marketing MunchWorld Marketing LINDA HASSAN Head of Marketing Domino’s Malaysia & Singapore LOW BEE YIN Marketing Director Courts Malaysia
Food & Beverage
The Secret Lives of KFC Fans
Food & Beverage
Activating Biskidz with Ejen Ali
Mamee Monster Bizkidz
Food & Beverage
How Milo brought the child’s champion ecosystem to life
Society (IPG Mediabrands)
The Most Talked About Plan
Celcom First Gold
Stop Nursery Crimes
Protect and Save the Children
Maxis Power of One
Leo Burnett/Arc WW
Kong Dou Zhun, Wong Dou Chun
Ensemble WW (IPG Mediabrands)
Astro Entertainment Sdn Bhd
Food & Beverage
Leo Burnett/Arc WW
Food & Beverage
Confirm Gila Babi
Ticklish Ribs ‘Wiches
Food & Beverage
Mountain Dew Thematic 2016
Food & Beverage
How Milo used the weather to drive a social media campaign
Society (IPG Mediabrands)
A truly Malaysian Greeting
Malaysia Airlines Berhad
A magnificent secret revealed: AIRA Residence
Leo Burnett/Arc Worldwide
Food & Beverage
Wonda Kopi Tarik Reaction Campaign
BEST PRESENTER: STANLEY CLEMENT, MANAGING DIRECTOR FOR SOCIAL & DIGITAL, IPG MEDIABRANDS MALAYSIA. 40 MARKETINGISSUE211JULY-AUG
NG SEE MENG Marketing Director MARS Southeast Asia NOREEN SABRINA Head of Brand Communications, MDEC NORSIAH JURIANI JOHARI Head of Marketing, CIMB Bank Malaysia ZALMAN AEFENDY ZAINAL ABIDIN CMO, Celcom AXIATA Bhd FAIRUZ MAJID Group Head of Communications AirAsia X KAREN ONG Marketing Director Fonterra Brands Malaysia LAI SHU WEI VP, Mass Marketing Operations TM Berhad LEE LIM MENG Marketing Director L’Oréal Malaysia MAUD MEIJBOOM-VAN WEL Marketing Director Heineken Malaysia Berhad
EXPERIENCE AT THE
HOLY GRAIL By Malati Siniah
â€¦of advertising excellence. This is, after all, a trade magazine for the ad and marketing industry...
ISSUE211JULY-AUGMARKETING ISSUE211JULY-AUG 41
BEFORE I headed off to Cannes for the festival they call the ‘Oscars of Advertising’, my boss Professor Harmandar Singh, a Cannes veteran having been there over 10 times, gave me a single piece of advice. “Learn, explore and soak up the experience.” And for one week, under the blistering heat and azure blue waters of the South of France, I did just that. Hearing the insights from both advertising veterans, technology experts, content creators and superstars who all had one common mission - helping the world tell better stories. This year’s Cannes Lions winners have been pulling out all the stops in not only wowing consumers with creative executions but also championing important causes and making a difference with their work.
CANNES THROUGH FRESH PAIR OF EYES
For more than one week, my 10-minute walk from the hotel I was staying to The Palais, where the event was held, was the only pocket of calmness or zen time I had throughout my trip. During my daily track through the cobblestoned roads and nipping through the narrow French alleyways, I began to process my thoughts from the day before. From the talks featuring A-list stars I’m used to seeing on
the silver screen to the Grand Prix case study I watched at the Lumiere Theatre (where they usually hold the awards) I begin to process which stories I would churn out. The manic pace of the festival with its multiple streams of talks (almost every hour you would have 3 talks going on at the same time), fringe sessions by sponsors, exhibition booths, award shows and of course not forgetting its award parties did get quite overwhelming for this Cannes first-timer. However having the trusty Festival App which never failed to schedule and remind me when to sprint to my next talk session, coupled with advice from numerous Cannes veterans, I had the pleasure of seeing my week at Cannes slide by smoothly. Below were the top 3 tips that helped me experience more at the festival: 1. Don’t spend too much time planning your day, identify 4 things you have to do daily and do it! Leave the rest of the day to what you find interesting during your walks 2. The best insights you can get on the industry is through the people you meet, so forget about being shy and talk to as many people as you can. 3. Do at least one workshop; you may be able to recap
GOLD CANNES LIONS FEARLESS GIRL STATE STREET GLOBAL ADVISORS McCANN NEW YORK
GRAND PRIX - CANNES LIONS MEET GRAHAM TRANSPORT ACCIDENT COMMISSION VICTORIA CLEMENGER BBDO MELBOURNE
the missed talks online, but you can’t relive a workshop. Also through the group discussions, you will be able to make a more lasting connection with people. Some of the closest friends I met at the festival was during a personal branding workshop I attended.
AWARD WINNING WORK The iconic red carpet leading up to the Lumiere Theatre which is where the world’s top actors are usually photographed on during the Cannes Film Festival was graced by the world’s top creative
talents who walked down those steps with a Lion in tow. Many brilliant campaigns were showcased during the awards. However here are some of the 5 that were the most talked about:
State Street Global Advisors - Fearless Girl I was not surprised to see this campaign pick up four Grand Prix awards. The statue which was created for Street Global Advisors by McCann New York to celebrate this year’s International Women’s Day certainly made its waves when it first launched. The statue of a young girl standing tall against Wall Street’s
charging bull was only supposed to be up for a week but due to its popularity was voted to be placed there throughout the whole year.
Amnesty International – The Refugee Nation While people were cheering for their own countries during last year’s Olympic Games in Rio, there was a new team which entered that didn’t have a home country rooting for them. The Refugee Nation, made up of 10 displaced people from around the world united by an orange and black flag which was inspired by the life jackets worn by these refugees when crossing the seas.
GOLD CANNES LIONS THE REFUGEE NATION AMNESTY INTERNATIONAL OGILVY NEW YORK
GRAND PRIX - CANNES LIONS WE’RE THE SUPERHUMANS CHANNEL 4 4creative
GRAND PRIX - LIONS INNOVATION CARE COUNTS WHIRLPOOL DIGITASLBi
of Victoria, Australia and Clemenger BBDO of Melbourne was a road safety campaign featuring an interactive lifelike sculpture called Graham, which is supposed to show how a human body would need to be built to survive a car crash. The campaign won 2 Grand Prix awards. The campaign created by Ogilvy New York for Amnesty International picked up the coveted Titanium Lion.
Whirlpool – Care Counts This is a story of how a washer and dryer helped to make a positive impact on the attendance of high school students. Digitas LBi in its campaign for American home appliances manufacturer Whirlpool found out that many students opted not to go to school due to the lack of clean clothes. This is why for its ‘Care Counts’ campaign they installed washers and dryers into schools across the US, encouraging students to bring in and wash their dirty clothes there. The campaign, which won a Grand Prix at Cannes Lions saw a whopping 90 percent improvement in the attendance of students in the program.
Channel 4 - We’re the Superhumans The view count for the “We’re the Superhumans,” video on YouTube now stands at well over 8 million. The campaign done for U.K. broadcaster Channel 4 by its in-house agency 4Creative in London picked up the Grand Prix for Film in the Film Craft category at Cannes. The ad which was done to promote its coverage of the 2016 Paralympic Games both inspired and evoked change amongst people and their attitudes towards people with disabilities. Transport Accident Commission of Victoria - Meet Graham Truthfully when I first ‘met’ Graham I did not know what to make of him. The campaign which was crafted by the Transport Accident Commission
MALAYSIA AT CANNES
Out of the handful of entries submitted at this year’s Cannes by Malaysia, it proved to be yet another disappointing year for the country at the awards. There were no shortlisted entries by Malaysia this year as opposed last year’s one entry shortlist from Leo Burnett. Despite the lack of wins, representing Malaysia on the jury panel was the celebrated Ted Lim, Chief Creative Officer Dentsu Asia-Pacific who was this year’s Cannes Direct Lion Jury President. It was indeed a proud moment to listen to Ted’s talk as he addressed the crowd at Cannes during his speech before presenting the award for the Direct category. Also on the jury panel, this year was TBWA Malaysia’s Gigi Lee, Jury for Print & Publishing, who I managed to catch up with at Cannes. Listening to
her arduous process of going through each and every entry truly made me take my hat off to her. While we were chatting on what made the work in the category stand out, Gigi shared that at the end of the day it was really about the simplicity of the idea which spoke volumes. Apart from seeing a few familiar faces I usually meet back home, it was also great to meet some Malaysians who are continuing to do great work overseas. One of them is Ronald Ng CCO at Digitas LBi North America. Fun fact: Ronald was on stage this year picking up the Grand Prix award for the Whirlpool ‘Care Counts’ campaign I mentioned earlier.
SEE YOU NEXT YEAR?
As with any major award show, gossip and controversy are what spiced things up. While last year it was VaynerMedia, owned by popular influencer Gary Vaynerchuk, being called out for hosting a party which invited ‘attractive females only’, this year the main topic of discussion centred around the future of the festival itself. It started from an article in Adweek which carried the announcement by Publicis ISSUE211JULY-AUG 43
A clever ad spotted from the top of the Ferris wheel. Good job Tom!
Groupe’s Arthur Sadoun who made the brazen pledge to sit out next year’s Cannes Lions International Festival of Creativity and instead focus their investment on the group’s latest AI-powered professional assistant program ‘Marcel’. Ad folk from back home were WhatsApping me the news article curious to find out more. At the networking party I attended after the news broke, it was the only thing everyone could talk about. When I knew WPP’s CEO Sir Martin Sorrell would be in the media room I knew that he would have to address the elephant in the room and armed with my trusty phone I captured his reply to what he thought of Sadoun’s decision and his stance. His full reply, which is one of our most viewed videos can be found on our Facebook page (www.facebook.com/ Marketingmagazine. Asia/) so be sure to check it out there and giving our page a Like too.
WPP’s CEO Sir Martin Sorrell
Sheryl Sandberg, Facebook’s COO, together with Airbnb’s CMO Jonathan Mildenhall speaking on how they are building meaningful communities to strengthen their brand and produce ‘thumb stopping creatives’. Both agree that brands should no longer think about standardising products rather it's now about standardising human value. Facebook pulled out the stops with a private beach for delegates to chill out, network and attend their private breakout sessions.
Prolific actor Sir Ian McKellen shared how coming out and being more open with his sexuality helped him to tell better stories. During his session, he challenged brands to take a stand and not be afraid to champion a cause as it would help them better build their voice in a crowded space.
In summary, though Sorrell did express his support for the festival, he however questioned the location of Cannes stating that the place might have lost its relevance and proposed cities such as New York, Paris and even Mumbai to host the festival. Festival organisers though rallied the support of key industry players to continually improve and grow the event. Signing up top guns
in the industry including Procter & Gamble’s Chief Brand Officer Marc Pritchard and other top marketing execs from Unilever, Burger King, Heineken and more on their new advisory committee would possibly help to shape the festival’s future. “There have been a lot of discussions this week about the structure of the Festival, and we want to create the right Cannes Lions experience for all participants. The
thing that unites them all is their belief in creativity as a powerful force in the world, and this is at the heart of everything we do.” Philip Thomas, chief executive of Ascential Events shared with TheDrum. Change or no, this Cannes ‘newbie’ thoroughly enjoyed her time at the festival. The level of people this international festival manages to bring together (15,000 delegates and counting) and visionaries put together to share their insights on stage is an experience one can only know when they come here themselves. I’m grateful to have had mine, and I hope that one day if you had not already, you too have your chance to “Learn, explore and soak up the experience” at Cannes Lions…
CANNES, ACCORDING TO WOEI
A SUMMARISED LIST OF INSIGHTS FROM THE MECCA OF ADVERTISING THAT WILL HOPEFULLY LAST YOU A LIFETIME, LIKE IT WILL FOR ME.
By Woei Hern Chan Executive Creative Director ensemble (IPG Mediabrands)
MAYBE it was the laid back vibe of the south. Maybe it was the gods of advertising forcing time upon me to reflect on what I’ve learnt before I forget everything while backpacking the coast. Maybe I’m just afraid of forgetting. But here is my attempt at writing down (some) of the most important lessons that Cannes taught me. This is Cannes from the POV of a first-timer, with some ultra-condensed notes of what some of the best lessons were to me, so please expect more paraphrasing in this article than free bread in a French restaurant. Here we go. The biggest compliment to get, is someone outside the industry talking to you about your work. - Trevor Robinson, Founder and ECD of Quiet Storm, Officer of the Most Excellent Order of the British Empire I agree. It’s rare. But when it does happen — especially when people don’t know you’re behind it —the feeling’s pretty damn precious. We like to think we are unique, but we are far more alike than we are different. Keith Barry And that to me is the power of data. Knowing what makes us similar. And more importantly, how to use data in a way where people think it’s magic. Like how Keith made two people disappear! 46 MARKETINGISSUE211JULY-AUG
A SUMMARISED LIST OF INSIGHTS FROM THE MECCA OF ADVERTISING... CREATE FANTASY THAT ORDINARY PEOPLE CAN ACCESS.
LO-TECH TO NO-TECH.
After one of his staff told him they wanted to go to the countryside, to eat and sleep a lot, he created one of the most watched reality series in Korea — Three Meals A Day — which is essentially a show about people eating... three meals a day. This was his tip.
NASA AND SPACE EXPLORATION CAN TEACH US ABOUT CREATIVITY SPACE.
And that’s exactly what’s needed to explore the final frontier: an open mind. This can be readily applied to lots of the big winners. From Fearless Girl to Meet Graham to the Cheetos museum. None of these would have been brought to life without a little help. Of course we do that daily with our work — photographers, production houses, media and the ad-tech guys —but what NASA and all the cases above teach us is the fact that if you apply a little ‘space’ and reach out
further, who knows what can be brought to life? As it stands, as a society, a community and an industry, we function too often in ‘closed systems’. Dentsu Inc is part of the ispace team, participating in the NASA Rover challenge. Kyoko Yonezawa and her team’s role is to see how design can help improve the implementation of Hakuto, their space rover. It’s the lightest, fastest and arguably coolest looking Rover out there. And to think
an advertising agency and a creative director are involved. How’s that for opening up horizons? What’s in it for them as an agency? Well, apart from sounding really badass, they’re also going to get some of their clients involved as well. So far there’s this space-age polymer product and a sunglass brand....
CANNES CHINA DAY
I felt a sense of borrowed pride to know that there was a little more Asian
representation at Cannes this year. Hosted by SY Lau (who by the way is Malaysian), Senior Executive VP of Tencent, there were quite a few gems to be had. Approach digital at an economic level. Not just at campaign level. You don’t have to look very far. Just open the WeChat app. What started out as a WhatsApp competitor, is now an entire digital ecosystem embedded in every phone. From investment, to getting a cab, to going dutch at dinners, to delivering food. The best part? It bypassed iOS and Android, basically giving you access to everything in an app. The west used to say China copies. Well look at who’s copying who now?
Keat Soh, ECD at Dentsu Indonesia shared stories of how his team were resourceful enough to create innovative hacks for brands despite limitations of the marketplace. Here are his top 4 lessons: 1. Be cheap. 2. Hack the system. 3. West isn’t best. 4. Be cheeky. The struggle is real. And that’s never stopped us from trying. So it was nice to meet a fellow creative fighting the good fight from this region.
UNDERSTANDING MOBILE DISRUPTION.
Everyone talks about the big winners and agencies. The one that was at the tip of the spear, in my books, was R/GA. Their aim is to disrupt the system, and in this case, the VC ecosystem. We want to own and work with platforms that will replace us. ISSUE211JULY-AUG 47
That’s ballsy. And instead of whining, R/GA is actually doing something about it.
3 THINGS THAT KEEP ME UP AT NIGHT. FROM KEITH WEED, CMO, UNILEVER.
1. Diversity. 2. Joining the digital dots. 3 Reimagining creativity.
CRAFT OF AUTHENTICITY: TBWA AND ERIC PLATON.
This was one of the most inspiring sessions at Cannes for me. I loved how he shared the stories of how he got some of
the best photos in the world. “I have a confession. I wasn’t all that great. But people saw themselves in my story. And if people see something in your story, you’ve done something great.”
Everybody has a story. Most heroes are ordinary people. And everyone of us has the duty to bring these stories out to inspire more people with the work we do. With Eric Platon, it’s with the photos he takes. What about you? At the height of success, is when you need to evolve and self-disrupt. What started out as a highly successful and profitable film and post-production business soon became one of the most innovative agencies in the world. They combine the consultancy model of business transformation with a touch of brand consulting. Identifying what is relevant to prototyping new experiences.
SOME ADDED TIPS:
You can’t turn stories into behaviour. But you can turn behaviour into stories.
He started with the digital media and pricing, and he summed it up with a very simple question: Would you pay full price for half a pizza? Well, in France I did pay full price for half a pizza because the portions are huge. But yes, he hit home with one of CMOs biggest concerns. Why are they paying full price when viewers have only seen half their ad? He was also pretty big on un-stereotyping society, and how brands and ad agencies have a huge role to play in this. I guess in Malaysia we can start by trying not to use mixedraced models in commercials, as well as trying not to force fit a multiracial cast just for the sake of appearing multiracial, and start creating better conversations.
... WHY ARE THEY PAYING FULL PRICE WHEN VIEWERS HAVE ONLY SEEN HALF THEIR AD?.. How often do you get a president from your country to speak about the work you do? Well, Jose Miguel Sokoloff first blew our minds four years ago at Spikes, and now he has the President of Columbia sharing stories about how creativity helped peacefully disarm rebels and brought peace to an entire country. The most amazing thing was that Sokoloff and MullenLowe recognised that they couldn’t do it alone. They had the support of the government, the army and the Columbian advertising industry. This one was particularly important for me because Malaysia didn’t make it to one shortlist and that made me very sad. BUT there are many individuals and agencies believing and fighting the good fight with the work they do. The less we squabble, the sooner we can do better work as an industry.
KEEPING YOUR BRAND PROTECTED IN TODAY’S UNREGULATED ONLINE ENVIRONMENT Unregulated content, fake news and more. In this day and age, brands are more concerned about where their content is placed. We hear from brands and their counterparts on how they are working together to keep today’s brands in a safe environment to better highlight their messaging. This supplement will feature insights from today’s leading brands in the following fields: Oil & Gas, FMCG, Banking, Beauty, Retail ….. and more!
KEEPING YOUR BRAND SAFE IN TODAYâ€™S INTERNET WILDERNESS.
By Malati Siniah
Those of you who have kids under the ages of 5-10, you might be familiar with a little pink pig called Peppa. This popular British cartoon series which captures the daily adventures of Peppa Pig was dragged into the issue of unsafe content when people began discovering versions of the cartoon on YouTube which were far from child-friendly. An expose by BBC showed that there were thousands of videos carrying look alike versions of favourite cartoons which contained disturbing and inappropriate content not suitable for children. 50 MARKETINGISSUE211JULY-AUG
In the case of Peppa, the fake version of the character had her teeth brutally removed with sounds of her screaming in the background, an image which might traumatise a child. Despite YouTube having its safeguards, protecting kids from unsavoury content with its Kid App and its ‘restricted mode’, the video managed to bypass this due to the ‘safe’ tags used to promote the video. The chant ‘we are all creators’ is becoming stronger by the day what with the democratic nature of the internet giving everyone a fair and equal chance to voice out their opinions and creations to the world. YouTube once again took a hit when former videos of one of its top creator PewDiePie had resurfaced and had many questioning the
safety of the platform once again. In the controversial videos PewDiePie, who had previously collaborated with top youth centric brands including Universal Pictures and the ‘Walking Dead’ game franchise, was seen to be making anti-Semitic jokes and showing Nazi imagery. Once again, the issue of brand safety came once again into question. It’s not only international brand names that have been hit with this issue, closer to home it was reported that ads by Malaysia Airlines were recently shown on websites supporting terrorism. Other brands too were found tied to the website, and the reliance on programmatic advertising came into question with affected brands vowing to
better monitor their ad placements.
A TIGHTER GRIP ON DIGITAL
Last year, P&G spent $2.4 billion on US advertising, making it the biggest advertiser in America. However the same cannot be said this time around. A much talked about move from the brand came when P&G announced it would be downsizing its digital ad spending budget by up to $140 million. Brand safety concerns and online ad effectiveness were the main reasons for this global brand to initiate such a move. Finance Chief Jon Moeller cited “fake traffic driven by bots and objectionable content” as key factors in the corporate giant’s decision to scale back on its digital ad spend.
“FAKE TRAFFIC DRIVEN BY BOTS AND OBJECTIONABLE CONTENT” JON MOELLER
“Digital ad spending was lower versus a high base period and due to current period choices to temporarily restrict spending in digital forums where our ads were not being placed according to our standards and specifications,” stated P&G’s earnings report. In January this year, its very vocal chief brand officer Marc Pritchard called for agencies commissioned by P&G to be more transparent and demanded all platforms provide thirdparty measurement this year.
brand safety TAPPING INTO TECHNOLOGY FOR A SAFER ONLINE ENVIRONMENT
Understanding their responsibility as brand custodians, many publishers are setting stricter guidelines and investing in new technologies to better assure brands of their safety. YouTube in its bid to win back the big advertisers that include L’Oréal and Verizon to its platform, had been going through a rigorous process of reviewing its policies and giving brands more control over ads. Recent reports also showed that the platform had been in the recent months testing a new AI-powered detection and removal tool to identify videos which violate its community guidelines. A claim by them in TheDrum showed that over ‘75% of the videos it has removed for violent extremism were purged before receiving a single human flag’. The platform announced in the report that its initial use of machine learning has “more than doubled” the number of videos it has removed featuring violent or extreme content. While not ready to hand over the reins completely to technology given the volume of content being uploaded onto the platform daily, YouTube’s decision to harness this technology is a positive step forward for them and other publishers creating a safer environment for brands. ISSUE211JULY-AUG 53
brand safety BLAZE DIGITAL COMMITS TO BUILDING BRAND-SAFE ENVIRONMENT FOR ADVERTISERS Advertisers are paying close attention to brand safety following controversies on ads from big brands unwittingly appeared on questionable and unsavory websites and videos. Lack of viewability on impressions bought through digital mediums continues to be a challenge facing both advertisers and publishers. Against this backdrop, Blaze Digital, Astro’s newly launched digital marketing arm, has set in place the necessary steps to build a brand-safe environment for advertisers. Blaze Digital’s General Manager, Jayaram Nagaraj aka Junior, explained that its programmatic technology stack, Xoom, is key to ensuring that viewability, click-fraud and content verification are securely managed. “Xoom works on a pre-bid and post-bid basis with specialised technology partners to detect questionable, low quality or fraudulent inventory and eliminates it as required," said Junior. Blaze Digital’s fraud protection defenses are built in four ways:
1. Content Verification: Sites that are deemed unsafe base on configurable filters are not considered for bidding, thus protecting your brand from being associated with unwanted categories. 2. Quality Scoring: Low quality sites such as “under construction”, “parking”, “pay to surf” sites, as well as un-moderated user generated content sites and websites with inappropriate content such as hate speech, adult material, or illegal file sharing are automatically filtered out.
Programmatic technology stack, Xoom, is key to ensuring that viewability, clickfraud and content verification are securely managed said Blaze Digital’s General Manager, Jayaram Nagaraj.
3. Malware and Virus Scans: Virus writers are incredibly sophisticated at attacking, and at cloaking attacks. To ensure that Xoom does not serve a compromised ad on your behalf, every creative unit is scanned to ensure that it is malware-free.
characteristics, such as high velocity clickthrough-rates, action rates, impression/ click ratios, among other attributes. Highly suspicious domains are blocked and are automatically reviewed thereafter for any further suspicious activity.
4. Suspicious Activity Monitoring and Prevention: This refers to prebid detection, implementation and blocking of sites that display suspicious
“We are enabled to offer viewability optimisation. This offering allows advertisers to choose third party measurement providers including, but not limited to,
DoubleVerify, Integral Ad Science, ComScore and Moat. Advertisers can customise viewability targets, either opting for a threshold for minimum viewability or by defining a target vCPM which Blaze will manage on your behalf,” Junior added. With such data integrations in place, Xoom is capable of ingesting daily viewability data and applying campaign filters by analysing view rates at the site and placement level.
When it comes to optimising viewability, factors such as user behavior, time of day and location are used to ensure maximised viewable inventory; enabling advertisers to optimise towards in-audience goals and provide an impact on consumer behaviour – all the while maintaining scale. Programmatic buys on Xoom are monitored strictly not just by performance but also by guaranteeing 97%+ of the inventory is fraud free or your money back. This commitment ensures that advertisers are protected from fraud. With Blaze Digital’s programmatic technology stack, Xoom allows marketers to be in a position of reduced risk for their brands. To find out more about Blaze Digital and its capabilities to ensure brand-safety, visit www.blaze.com.my
A CLEAR VIU ON BRAND SAFETY IN CONTENT ADVERTISING
By Mark Jackson, Head of Advertising, Vuclip
When big names like Procter & Gamble pull out of large ad networks citing brand safety as one of their reasons, it brings to light a new wave of threats that could be detrimental to a brand. Ad networks now are larger and more complex than ever. With a huge number of publishers and complex algorithms that are focused on just delivering results at the lowest cost, it is pretty much impossible for any advertiser to TRULY know how safe their brand ads are. So, what can we do?
CONTENT ADVERTISING HAS EVOLVED
Today, publishers have the option and access to tools that can generate any kind of content that is changing the way content channels, formats and even publishers work. With the rise in demand for branded content by advertisers, this means branded content could truly be anything from an article to an #instastory. In addition to this, with the rapid progress of internet access and bandwidth, Advertising Video On Demand (AVOD) companies like Viu are fast becoming major players, further
they have platforms to “publish” their content on (read: social media). All it takes to become a ‘publisher’ is to slap on ad units to your content and connect it to a programmatic ad network. How safe are your ads really, then?
FOR VIU, CONTENT QUALITY IS EVERYTHING
changing the content advertising landscape in Malaysia. Finally giving brands control over what content their ads show up alongside or even in.
ADVERTISING COMPLIANCE IS BECOMING MORE IMPORTANT
More and more publishers are moving towards being IAB compliant and opting to follow requirements for video ads, display ads, and other ad formats with the objective of attracting brands and producing engaging work. Premium publishers are also educating themselves on aspects of brand safety, deploying tools to cater to its many requirements and are getting themselves certified by 3rd party
companies to ensure their websites are safe for brands to advertise on. While many publishers like Viu have adopted these, there are still many who don’t.
CONTENT QUALITY, HOW TRACKABLE IS THAT?
In the interest of added security, measurement tools for ad viewability, completed view, click through, impressions served and pretty much anything that can be measured, is trackable. However, the content itself that the ad sits on can’t be measured, that still lies in the hands of the publisher. Is that at risk? Today, anyone with a smart phone or a decent camera can be a publisher, and
Viu invests in Asian content from Korea, Indonesia, Malaysia, Japan and more; all of it hand-picked and curated. This gives a guarantee to their users that the content is family safe while being housed in a safe and userfriendly environment. That is because for Viu, viewers come first – everything they do is centred around this concept. Recognising the importance of not just the quality of content but control over it, Viu is now looking at producing originals from the ground up. This way they can control how a brand integrates into content to ensure not only brand safety but context for maximum relevance. You can’t get any safer than that. Still, one question remains: upon whom does the onus fall to
ensure the safety of the brand? The simple and direct answer would be, the brand owners themselves. But how can the brand owner protect the brand when they don’t know on what their ads — whether video or display — are appearing on? The worst part: With the prevalence of social media, anyone has the power to be a vigilante and point the finger at a brand for being associated or endorsing something deemed ‘politically incorrect’ by the internet. Something the brand owner didn’t even know they were on in the first place! For brands to ensure the safety of their presence online they need to control not just which sites they appear but on what content do they appear on/next to. Premium publishers like Viu give them this exact power so they can have a clear mind that their brands are in a contextually relevant, family safe and protected environment. Mobile video on demand service, Vuclip, is present in over 22 countries and has just hit its 10 million subscriber mark globally. For more information on Vuclip and its offerings, contact Mark Lester Jackson at mark. email@example.com or +60122225768
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