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Manual transmission pages 6, 13 & 14


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Probably Radio... 2005: Blog Early, Blog Often. Bebo is born. Prince Charles gets flashed, All Blacks do a Grand Slam, Fat Freddys Drop win best group. You probably heard it on the Radio. 2006: We all poke a friend as Facebook leaves school. Census goes digital, Silver Ferns win at Commonwealth Games, Elemeno P win best group. You probably read it on the Radio. 2007: The first blue bird tweets and Twitter is launched. Clarke meets Bush, All Blacks win Tri-nations & Bledisloe, Mint Chicks win best group. You probably saw it on the Radio. 2008: NZ hearts FB as Facebook tops the Social Networking charts. National win election, NZ wins 3 Olympic golds, Flight of the Conchords win best group. You probably followed it on the Radio. 2009: We take a social gamble when Chatroulette launches. Tua knocks out Cameron, Key proposes 9 day fortnight, Midnight Youth win best group. You probably watched it on the Radio. 2010: Hello Gravity, Google Buzz, Togetherville... Whatever happens this year... You’ll probably hear it, read it, see it, follow it & watch it on the Radio. The Internet has connected us all. Over the past 5 years New Zealanders have blogged, tweeted, posted and poked. They’ve searched, surfed, logged on, logged in and logged out. They’ve stayed connected and so have we. Radio audiences do more than listen; by embracing digital platforms we’ve enabled them to read, see, follow, watch and create our content as well. Perhaps that’s why it’s not just the Internet that has grown since 2005

- Radio audiences have grown too. It’s probably because we really engage and connect with people. It’s probably because we embrace the Internet as much as they do. It’s probably because Radio and the Internet work so well together. If you want to really connect with audiences, the answer is probably Radio.

The Radio Bureau



Interactive Bytes










What’s New

17 20



TV Top 10

to Connect

Interactive Bytes

34 Tools


On a Screen near you

Experiential Advertising

Out of Home


AUT Adschool Report

Ad Media June 2010





is a registered magazine published by Mediaweb Limited PO Box 5544, Wellesley Street, Auckland 1141 Phone 64-9-845 5114, Fax: 64-9-845 5116 Website:


David Gapes – 64-9-575 9088, 021 596 686


Kelly Lucas 64-9-366 0443, 021 996 529


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Production Manager Fran Marshall

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Publisher Mediaweb Limited Printing Benefitz Distribution Gordon & Gotch All content is subject to copyright and may be used only at Mediaweb’s discretion. Copyright © 2010: Mediaweb Limited. ISSN 0 1 12-6997



his issue breaks new ground for AdMedia – for the first time we’re sending copies of the magazine to advertising agencies in our AsiaPacific trading-partner countries India, China, Vietnam, Thailand, Malaysia, Hong Kong, Singapore and Korea. For the past few months we’ve been building a database of agency managers & creative directors throughout the region. We’ve assembled a list of 50 e-addresses to receive our initial offering. They’ll be getting a full digital copy of AdMedia, including all editorial, images and ads (with live links). There’ll be no change in the NZ focus of our current editorial policies for domestic readers – this project is entirely about taking Kiwi products to a wider audience. Specifically, we want to accelerate the marketing of Aotearoa/ New Zealand and our world-class TVC producers, post-production shops and photographers to our nearest neighbours. We’re very ambitious for this project and hope to grow the list to include all the major shops in the region. And we’re not planning on stopping there. When we’re satisfied with our Asian distribution, we want to expand the project to include North American and European agencies. If readers know of overseas agencies who may be interested in receiving these emails, please send their addresses to

David Gapes (



LETTERS Before or After?

Hope every thing’s well back there. Seems from your updates there are a lot of changes going on – at Saatchis especially.

Dear Ed:

Wouldn’t recognize the place these days. Droga looks like an

Why companies shouldn’t write their own media releases: “It was

exciting development (says a lot about NZ that we have an outlet

at those agencies that he learned to create powerful graphics built

before London).

on strong ideas, utilising typography, art direction and illustra-

Special should change their name to Really Really Special and

tion.” (The Pond’s Clinton Ullyatt on the recent acquisition of Nick

I wonder if all the cool shit JayGrey is doing in Sydney will filter

McFarlane, Fastline May 27.)

down to G2/Blackwood and they eventually become a hot shop?

Was this before or after he learned to drive a car utilising the steering wheel, accelerator, brakes and clutch?

Lazrus Simons senior writer, Riverorchid Cambodia

Ken Grace

Postcard from Cambodia Dear Ed:

Lazrus was replying to our invitation to tell us about the Kiwis at his agency. – Ed

Postcard from Kruno

Including myself and ECD Peter Sutherland, there is also Ian Brown, CD in our Vietnam office. So that’s three Kiwis at Riverorchid Asia.

Dear Ed:

We also have one Kiwi-born Australian as MD here at the Cambodian

A little item of interest from summery Amsterdam: Hot young

office which is the biggest in the network and largest ad agency in

Saatchi Auckland creative team Bex Radford and Tim Howman ar-

the country with 80-odd.

rived last week to begin their European career at 180 on the Global

It’s a totally independent/boutique setup with no affiliations to the

adidas account – not a bad career move you’d think.

big boys. Main clients: Unilever (probably one of the only places in the

Tim arrived on his first day wearing Converse (Nike brand) – a

world where they’re not in alignment with the lead agency in Europe),

very early career-limiting move! He was quickly dispatched to the

KFC, Hello (Malaysian telco), ANZ, San Miguel, Nokia and Nestle.

adidas Amsterdam store – crisis avoided.

Chris Howden [now CD at Adplus Napier] left here in ’08 – opting for the quiet life in rural NZ. I guess when you’ve been in this region

Kruno Ivancic

long enough, you get addicted to the more laidback lifestyle. I can’t

TBWA adidas Global Network

see myself coming back in the next few years anyway – life’s just too


good here. What recession???

Ad Media June 2010



skin deep

Let us spray


uests arriving at APN Outdoor’s Friends in High Places rock concert last month ran a gauntlet of paint mist as they made their way past a giant, recently blank, billboard skin into the K Rd venue, Studio. Those with the inner street-kid still lurking within them, and those of artistic bent, helped themselves to a spraycan or three and followed their instincts. The skin had been pre-prepared: “We’ll peel the protective coverings



off the letters which reveals the logo in white – the colour of the skin below,” says APNO gm Phil Clemas. Also added is the Friends in High Places logo, stencilled below the paint cover. Now APNO plans to put the finished canvas on display at one of its best Auckland CBD sites (yet to be selected – but it will be up by the time you read this). The Friends in High Places photospread that ran in Fastline has also been posted at (hit the APNO button on the left). And our six-monthly Out of Home report, featuring more great shots and a roundup of sector news, can be found on P20.

SHORT COURSE IN SOCIAL MEDIA MARKETING The extraordinary growth of online content has fundamentally changed the way we communicate with our customers. Learn how to effectively use social media as part of your marketing mix through a series of workshops, case studies and guest speakers.


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dMedia has eight Mad Men 3 DVDs to give away, courtesy of Sony Pictures Home Entertainment. To win one, you need to tell us what car Don Draper drives. Write the car brand in an email subject field and send it to We’ll post the DVD to every third correct email (so be sure to include your postal address + postal code in the body of the email).


cover story





he entertaining exchanges between The Listener and Air NZ ceo Rob Fyfe over the airline’s “downmarket shift” produced some sparkling creative last month. Fyfe again showed charm and flair on TV, and .99 matched this with its own tongue-in-cheek print work, which easily won the May Newspaper Ad of the Month. Our masthead translation is courtesy of Deaf Aotearoa ( Credits: Page 13, 14.

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Eyes on the By Simon Hendery


he hype around 3D TV has well and truly arrived. Squaree yed punter s repor tedly queued up at Noel Leeming stores over a recent weekend when the retailer rolled out Samsung’s 3D television sets for the first time. The chain reported early sales were


2D/3D TV.

brisk, but a spokesman admitted the early adopters snapping them up were probably more interested in simply “future-proofing themselves”. That’s because there isn’t a great deal of 3D content to watch at home just yet. A few 3D movies are starting to trickle out on Blu-ray. But James Cameron is said to be holding off the Blu-ray release of Avatar until there is more of a market out there to buy it. In the broadcast world, there are currently a handful of 3D TV channels in the US. Closer to home, last


month’s [May’s] match between the All Whites and the Socceroos became the first Australasian programme to be broadcast in high-definition 3D. It was quickly followed by a State of Origin game. Sports broadcasting looks like being a major driver for 3D uptake.

Fans of the technology rave that it gives couch-bound spectators a whole new sense of immersion and interaction with their favourite code. I can’t confirm that’s true for real sport, but I have watched women’s beach volleyball in 3D on a 50-inch TV and I was impressed. The purveyor of my near-real volleyball experience was Panasonic’s product training manager, Andrew Reid, who invited me into the company’s Auckland HQ recently to show off a demo 3D TV. Reid said Panasonic’s aim was to make 3D an attainable technology

that became an almost ubiquitous component of most TV sets within the next few years. The manufacturers accept that 3D viewing – with its requisite hi-tech glasses – won’t be something viewers want to do all the time, so the sets are designed to operate in both traditional 2D and 3D mode. Given 3D is likely to remain an appointment viewing experience, its potential to shake up the adver tising market seems limited, at least for now. No doubt we will see the emergence of a 3D TVC industry over time. And as an immensely immersive medium it will open the door to some pretty creative executions. Another aspect of the looming arrival of 3D TVs into living rooms up and down the country is the impact it will have on computer gaming. While I was at Panasonic, Reid thrust a gaming console in my hand and let me experience some first-person shooter action in 3D. Again, I was impressed. In-game advertising is already well established, so adding a third dimension to the medium would appear to be a relatively easy, but highly effective enhancement. And if others are as taken by 3D volleyball as I was, perhaps it’s also time to take another look at the signage and sponsorship opportunities associated with that particular franchise.

s n a i d o o w y l l e W

get it! *

We relish all the arty-crafty sculptures, exhibitions, carnivals, tre and fringe performers baffling architecture, alternative thea that thrive in our ‘creative capital’. ly half of all Because we cover all these events, near ly positively locals read us everyday. Be absolute rket, use the Dom. sure that you reach the Wellington ma Call 04 474 0000 for advertising enquiries.

Your local connection

* Cheryl (Advertising Director), wanted us to point out that we reach 249,000 daily readers aged 15+. Nielsen Media Research confirmed this in the National Readership Survey to March 2010. And thanks Kent, for letting us use the picture.

what’s new

Ad of the Month Creepy enough to send a shiver down the spine – and not many campaigns achieve this. The most memorable ad this month.



Three 30-seconds TVCs – business, community, family – for Bank Of New Zealand. Agency: Sugar Client company: BNZ Product/brand: Whale Watch Kaikoura Media: TV Creative director: Glenn Jameson Producer: Two Birds Film co: Exile Director: Christine Jeffs Producer: Ian Gibbons DOP: John Toon Editor: Tim Mauger Colourist: Jon Baxter Producer: Kereti Kanawa Music: Franklin Rd, Jim Hall Audio: Franklin Rd, Tom Scott Toft Producers: Franklin Rd, Stacey Thomas & Jonathan Hughes  


what’s new


DDB NZ and Hamish Rothwell team up to show New Zealand just how good it feels to win with the all new Instant Kiwi.
 Agency: DDB New Zealand Client company: New Zealand Lotteries Brand/product: Instant Kiwi Client contacts: Todd McLeay, Wendy Rayner, Kirsty Larsen, Raquel Guttenbeil Media: TV       Group executive creative director: Toby Talbot Deputy creative director: Regan Grafton Account team: Aimee McCammon, Krista Nelson Media strategist: Helen Brown Writer: Matt Swinburne Art directors: Regan Grafton, Brett Colliver Agency producer: Kim Baldwinson Executive TV producer: Judy Thompson Production/film co: Good Oil Producer: Sam Long Director: Hamish Rothwell Post production: Digital Sparks Editor: Stewart Reeves Soundtrack: ‘Believe it or not’ Greatest American Hero Theme Sound Post: Images & Sound   Grade: Kenny Gibbs, Oktobor Visual effects: Nigel Mortimer

Ad Media June 2010


what’s new


DraftFCB’s TVC for Pinnacle Insurance. Agency: DraftFCB Client company: Pinnacle Brand/product: Insurance Media: TV Creative directors: Chris Schofield, Billy McQueen TV producer: Trelise Caughey Account director: Brian van der Hurk Account manager: Emily Bellringer Film company: Flying Fish Director: Luke Savage Producer: Elly Toft Producer: Franklin Rd, Stacey Thomas & Jonathan Hughes Audio: Franklin Rd, Tom Scott Toft Music: Franklin Rd, Jonathan Bree

Donated organs save lives, but conversations need to happen in advance. Using famous quotes, real stories and “skin” images, this campaign was designed to start conversations now, so that family members know what donors’ wishes are, ahead of time.


Agency: Insight Client company: Organ Donation New Zealand Brand/product: National donor coordination service Client contacts: Melanie Selby, Janice Langlands Media: Print (posters & brochures) Creative director: Brogen Averill    Writer: Mark di Somma Photography: Fraser Clements

<< 12

Agency: Colenso BBDO Client company: Frucor Beverages Brand/product: Fresh Up Tailor “Thirst is Creepy” Media: TV Executive creative director: Nick Worthington Deputy creative director/Art director/Copywriter: Levi Slavin Agency producer: Jen Storey Account manager: Kate Smart Group account director: Angela Watson Account director: Karla Fisher Producer: Franklin Rd, Stacey Wah & Jonathan Hughes Soundtrack: Franklin Rd, Mahuia Bridgman-Cooper Audio: Franklin Rd, Shane Taipari Director: Steve Ayson Film company producer: Larisa Tiffin Post production: Perceptual Engineering

what’s new


When The Listener turned a deaf ear to the facts around Air New Zealand’s proposed alliance with Virgin Blue, we responded with a press ad written entirely in sign language. A video translation of the ad was offered at Agency: .99 Client company: Air New Zealand Brand/product: Dear Listener Client contacts: Rob Fyfe, Mike Tod, Mark Street, Jules Lloyd, Tom Bates Media: Newspaper, Web Executive creative director: Craig Whitehead Creative director: Craig Pethybridge Account director: Matt Dickinson Account manager: Kate Gilmour Media strategist: Jarrod Hunt Writers: Jon Coles, Craig Pethybridge Art director: Dom Antelme Designer: Jon Tricklebank Agency producers: Hannah Alderson, Ross McWhirter Agency TV producer: Christina Hazard Head of TV: Vicki O’Leary Production/film co: Play Producer: Vicky Fogden Director: Marcus Ringrose DOP: Duncan Cole Editor: Amanda Carter Digital producer: Sheetal Pradhan Digital art directors: Karo Liang, Tiga Seagar, Soolim Sohn Photographer: Mark Carter

Agency: Colenso BBDO Brand/product: Vodafone TXT Client contact: Jodene Murphy Media: TV, Radio (30”, 15”) Executive creative director: Nick Worthington Deputy creative director: Levi Slavin Art directors/Copywriters: Rebecca Johnson-Pond, Kimberley Ragan, Levi Slavin Group account director: Andrew Holt Account director: Cath Bosson Account manager: Angela Vance  Planner: James Hurman Agency producer: Gemma Heyes Production company: Revolver Films Producer: Marge McInnes Director: Matt Devine @ The Glue Society Sound design: Sound Reservoir / Franklin Rd, Shane Taipari DOP/Cinematographer: Bob Humphries Editor: Stewart Reeves Online editor/Visual effects: Adam Archer Post production/Visual effects co: The Editors Music artist/Title: Franklin Rd, Mahuia Bridgman-Cooper Producer: Franklin Rd, Stacey Thomas & Jonathan Hughes

With special thanks to Victoria Skorikova and Katherine Heard from Deaf Aotearoa.

<< Ad Media June 2010


what’s new


As part of a total brand re-fit for Coruba, we had a big beach party at Muriwai. A good time was had by all. Agency: Blackwood Communications Group Client company: Lion Nathan Brand/product: Coruba Rum Client contact: Susan Cassidy, Global Wines & Spirits Marketing Manager Media: TV Planning director: Abe Dew Account director: Deb Cashmore Media strategist: Nigel Douglas Creatives: James Blackwood, Chris Long, Hugh Walsh & Phil Parsonage Agency producer: Fiona Champtaloup Production/film co: Curious Films Producer: Matt Noonan Director: Josh Frizzel Post production online: Nigel Mortimer     Editor: David Coulson

Congratulations to our May winner of the NAB Newspaper ad of the Month competition, .99. Agency: .99 Client company: Air New Zealand Brand/product: Dear Listener Client contacts: Rob Fyfe, Mike Tod, Mark Street, Jules Lloyd, Tom Bates Executive creative director: Craig Whitehead Creative director: Craig Pethybridge Account director: Matt Dickinson Account manager: Kate Gilmour Media strategist: Jarrod Hunt Writers: Jon Coles, Craig Pethybridge Art director: Dom Antelme Designer: Jon Tricklebank Agency producers: Hannah Alderson, Ross McWhirter 



Now Available on SKY Channel 017

For sponsorship opportunities, contact your TVNZ Account Manager

interactive bytes

P eople vs Bytes

By Alastair Thompson


hree days of face-to-face marketing at the Bizzone Business Expo in Auckland this month have left me with some takeaway thoughts on the practice of marketing. In particular, is there really that much difference between a face-to-face sales situation and the online version? At Bizzone the exhibitor stands: • vie to stand out amidst a sea of com- peting claims for audience attention; • attract with offers of prize draws, claims of ease of use, bright colours and taglines; • and once a punter ventures within range they are engaged with by stall holders with the objective of getting contact details on file for follow-up sales calls and emails. Does this sound a little like a banner campaign and a landing page? Of course there are also stark differences between the people and the bytes version of marketing. At Bizzone, the sales conversion funnel is all about presentation, person-to-person contact, smiles and personality. Online sales conversion is about interface simplicity/predictability, clarity of messages and tweaking design and placement by trial and error. But the biggest difference is the instant feedback loop you get with face-to-face contact with customers. At Bizzone, a pitch is refined immediately via feedback, frowns, puzzled expressions and detection of the lightbulb moments in the face of prospects. Online all you get are bounce rates, drop-off points and tiny percentage moves in conversion rates in A B testing. Which makes an experience like Bizzone a wonderful sales laboratory. Which brings me to one of the other key takeaways for Scoop from its Bizzone



experience – and exposure to several thousand small business owners … The big internet presence at Bizzone is the developers; ie, businesses offering e-commerce website solutions, business presentation websites, website design branding, video and logo development. And from the 150,000 websites now listed by NZ web search company (also at Bizzone) the number of small business websites is huge. Clearly having a website is now part of the livery of business, much like having business cards, letterhead and a PO box. But merely having a website, or an animated logo, or video or online presentation strategy, is not enough. If it is to serve as a sales channel, it needs to be able to be advertised. And here there is a big gap in the online advertising market. If you are a small – or local – business then it is easy to advertise in print or on the radio.You know where the local community paper is delivered, you know who reads NZ Fishing, and the demographics and listenership of Radio Live are readily available.These media also tend to all have direct sales teams and channels. Online the same businesses currently only find it easy to advertise via search. In

search they can target geography and context and – once their conversion funnel is refined – can scale their sales pipeline. For these same businesses, direct advertising via NZ-based online media is hard. Producing creative is expensive. Context and geographic targeting is offered only by a few local sites (for a premium), and while niche opportunities can be found, they typically do not scale. On the publisher size, the transactional costs of small advertising sales make it an unattractive business to pursue. The question then arises, how to make it easier for small and local businesses to advertise online? Part of the solution will likely be people – someone to take a call and quickly and easily convert customer objectives into online results. The other part will be technology to make this easy. In a nation of small businesses, the arrival of new product to fill this gap will be a significant step towards unlocking the value in indigenous online media. InterActive Bytes is compiled by, NZ’s leading indigenous online news agency. Send feedback to Alastair Thompson (

experiential advertising

s ’ f o o P r Experience The

in the


ho knows when the expression ‘the proof of the pudding is in the eating’ was first coined but it must have been ages before ‘experiential’ changed the face of advertising for good. No longer content to be passive recipients of a barrage of unfiltered advertising information, today’s consumers want to experience their brands and help shape them. “The world of marketing has changed fundamentally – and for the good,” says Louise Paul of Spark Activate. “The economic environment of 2008 and 2009 really accelerated this change, bringing about a more fragmented media land-




scape. The doors have been flung wide open with advertisers taking their workplaces to the market and welcoming the market into their offices via technology and social networks.” Copper Brand Experiences’ Megan Clark says top marketers realise that brand experience or connecting with consumers on an emotional level, face to face, offers a better ROI in this economy than the more traditional methods of advertising. “Go play where your target market plays,” she says, “and you will achieve a deep level of engagement. The experien-

Ad Media June 2010


experiential advertising

brand Orca to sponsor the team, and offering Vitasport at race finish lines throughout the country where athletes could rehydrate and experience the brand for themselves. 2009 was a challenging year overall for many companies, according to Mango md Claudia Macdonald, but as far as experiential advertising is concerned it was a good one as more and more advertisers now appreciate the role experiential plays in “connecting consumers with their brands and generating WOM and media coverage”. The Big Beach Dig ’n Win competition organised for Air NZ at the Pasifika Festival is a good example of brand relationship building, she says. Festivalgoers were invited by the various emcees and Air NZ staff in brightly coloured Hawaiian shirts to dig around in a massive sandpit for


tial campaigns that achieve the best results are those that bring a brand’s core essence to life in the right place at the right time. This is achieved, she says, by coming up with a brilliant concept and then amplifying it so it runs across other channels such as PR, digital, and ATL. This dovetailing is precisely what Copper has achieved with its Coca-Cola summer Bands on the Beach campaign in which the objective was to bring to life the creative idea of Open Happiness. It became the largest ever NZ experiential campaign for teenagers, reaching around 113,250 teens over 14 days of activation in seven locations nationwide (onequarter of the total NZ target audience). “The key to its success was there were elements that not only drew teenagers to the event but were so highly engaging that it made them want to stay,” says Clark. Average time spent in direct engagement with the Coca-Cola brand was 3.5 hours per person. Robert Bruce of SublimeNZ laments,


“there is still the perception out there that experiential is as simple as sending a good-looking girl off to an event with a bunch of flyers under her arm”. “But, increasingly, advertisers are realising that it takes a lot more than this to cut through in today’s cluttered marketplace of disengaged consumers.” The aim of experiential is to involve the consumer in a brand experience that is so compelling it will trigger a buy response, he says. Since November, SublimeNZ has been able to more than double the sales of Vitasport, a product of the freshly rebranded Hansells Food Group (ex Old Fashioned Food Group) that was last popular in the 1980s. To educate the target market about isotonic drinks and the importance of staying hydrated, SublimeNZ launched an integrated campaign that involved elements such as finding a team of top athletes (Team Vitasport) through a Facebook contest, entering into a partnership with elite sportswear


experiential advertising

balls that could win them a trip for two to a Pacific island destination. And the Mango-orchestrated dramatic announcement by Air NZ of its sponsorship of the 2011 Rugby World Cup had a ripple effect that spread from the Viaduct, where a vivid blue inflatable ANZ cube (special venue) was erected, throughout Auckland city. Sports Minister Murray McCully and members of the RWC management team attended the event – a splendid display of fireworks, live music and gourmet canapés. The revellers engaged in a memorable brand experience that appealed to several of their senses leaving them with a decidedly upbeat impression of Air NZ. Being an experiential player has been a distinct advantage in weathering the economic slowdown, says Jason Willis of Synergy. “We have listened to our clients who have been asking us to provide them with increasingly higher levels of absorption in our campaigns,” he says. “To this end we recruited experienced creatives and invested in inhouse graphic design.” Synergy aims to leverage Tourism Australia’s current campaign by expanding the range of media used. Public buy-in will be achieved by placing around Auckland, giant postcards that carry messages from friends in Australia. Teams of brand ambassadors will talk about their experiences in Australia and distribute flyers promoting special deals. “The campaign adds a more immersive dynamic to the huge media campaign already live and extends its overall time span,” says Willis.



While experiential advertising is alive and well in NZ, we do lag behind the US and the UK, according to a prepared statement supplied by the Experiential Marketing Association (EMANZ). “However, with international experiential agencies such as Iris and Jack Morton now setting up in Australia the wave will surely soon come crashing down over here in NZ,” it predicts. But according to Mark Pickering, AmbientX NZ has already shown “the big lads in Aussie what a small agency on this side of the ditch can do for clients”.


The agency made the finals in two categories of the APMA Star Awards with its Vodafone Homegrown sponsorship leverage campaign and Arnott’s Velish Soup campaign. The Arnott’s campaign was also nominated in three categories in this year’s CAANZ Media Awards, proving conclusively that “experiential marketing is becoming a vital and accepted tool in the marketer’s toolbox,” says Pickering. By Carlene du Toit –

Ad Media June 2010


Some say weâ&#x20AC;&#x2122;re too committed to out of home

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out of home

n o i P osition t i P os A

ctivity in out of home began to improve in the fourth quarter of 2009 and has carried through into 2010, according to Phil Clemas, general manager at APN Outdoor. “OOH dropped 8.1% in revenue in 2009,” says Clemas, “much less than most other mainstream media channels. However, it’s fair to say all media operators have moved on and focused on responding to the requirements of the market with a more optimistic attitude.”

With the economy gaining some momentum, and the Auckland supercity looming large, the next 12 months offers plenty of challenges for the out-of-home sector. Steven Shaw reports.

Ad Media June 2010


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out of home




APN Outdoor took the challenges of 2009 head-on, says Clemas. “We reinvented ourselves, introduced new technology to help improve business flow and efficiency, introduced some new blood, renegotiated some supply arrangements and adjusted priorities, all focused on getting closer to our clients and delivering more value to our clients.” Murray Davis, chief executive at Image Print/Boston Digital, reports positive growth over the last year and puts it down to listening carefully to clients. “When times get tough you’ve just got to double your efforts on what you do well, and aim to exceed expectations. We’ve focused on the quality of our products, service and price and are seeing good results.” Mark Venter from national billboard operator OTW says they saw an opportunity during a pretty hard year to increase investment in the market. “In a tough situation we chose to be proactive and look for opportunities, and we’re stronger for it. We entered the Hamilton market, adding 10 new sites. That’s given us a solid footprint in an important emerging region for outdoor. And we developed new sites in Auckland and Wellington. “There are some good signs of recovery,” Venter says. “While conditions remain challenging and there are deals available, our traditional sectors are returning and are taking advantage of the better values be-


Ad Media June 2010


out of home

ing offered. We are noticing our clients are booking further out and there’s keen interest in securing our premium properties on a longer term basis.” “2009 was ‘a remarkable year’ for iSite,” says ceo Wayne Chapman.While not immune from the effects of the GFC, in July iSite began a series of transactions giving the company close to 90% of the bus advertising market in NZ and raising their revenue significantly year on year. “Adjusted on a like-for-like basis we recorded a drop lower than the overall market and sector contractions,” says Chapman. “We were also very satisfied with our share, which stood up very well in light of depleted market volumes.” “Yes there was a drop off in revenue last year,” says Oggi ceo Gordon Frykberg.“It was a pretty tough year for all media.” Frykberg believes things have stabilised and everyone, including advertisers, has







We also love the indoors. Floor Graphics, Point of Sale, Display Systems, Window Displays, Backlits and more. Auckland


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more confidence, but he’s not sure that economic recovery is official. “This year will still be tight,” he cautions. “Business is definitely better with advertisers returning but we still have not caught up with where it should be.” “In adversity comes sustainable profits,” says Chris Monaghan from Ambient Advertising. “As a media owner in the ambient, non-traditional space, 2009 offered new media opportunities that will future-proof our business and grow the ambient category in NZ. Media development became a focus for us last year; we left the outdoor guys to cut each other’s throats and went about securing new media space that in previous years hadn’t been so accessible. “For us 2010 started with a steady first quarter and a cracking second quarter,” he says.“The ambient briefs are strong, media agencies and their clients are feeling brave after getting through 2009 and now have the confidence to acknowledge that the standard above-the-line media schedule doesn’t cut it any more.” Monaghan has noticed an increase in retail briefs. “They say when retail is strong the economy is strong, so it’s great to see the retailers are starting to spend again.” There’s another curve ball about to be thrown the way of the sector, and that’s the formation of the Auckland supercity. Outdoor advertising already has to deal with a tightly regulated market and respond to the ever-changing requirements


(See what we have to do to get attention with a press ad.)


Only Outstanding Outdoor

out of home



of various city councils. Will the supercity mean more hoops to jump through, more bureaucracy to deal with? APN Outdoor’s Phil Clemas says there is a great opportunity for the sector to positively engage with the new council through newly revitalised industry body the Outdoor Media Association (OMANZ). “Out of home has shown through many international examples like London, New York, Bangkok and Tokyo that it can add vibrancy, life and energy to the environment,” says Clemas, “and Auckland has an opportunity to plan for a similar outcome. “OMANZ will no doubt play a part by collaborating with the new council to ensure its members comply to the agreed code of practice and deliver on the high


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out of home

standards of conduct and delivery it expects of itself.” “The [Auckland City] council saw the billboard ban as a quick fix and the industry as an easy target,” says Mark Venter from OTW.“The review and submission process illustrated there was actually a lot of support for keeping billboards as part of a vibrant city.The real cause for public unhappiness was the uncontrolled development of apartment buildings that blocked the vistas to the sea and other key geographic references within the city.” “The attempt to outlaw most billboards in Auckland was driven by City Vision and was




Partnering the out of home industry

Vehicle branding? Not as easy as it looks, consult the experts.

Phone 09 638 0888

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Ad Media June 2010



photo op


out of home

Hot shooting Among the newest and sexiest ad mediums on the market are these HotShots Camera Kiosks. Forget those ancient, black-curtained booths, these are new-generation, styley, freestanding, touchscreen-interactive photo/video stations placed in prime locations. And best of all – they’re free to use. Each is topped by a large

unmistakenly anti-business,” says Gordon Frykberg. “Unless there is a fairly dramatic about face by voters at this year’s local body elections – which also herald the introduction of the supercity – then I can’t see any further attempt to target the OOH industry. “The political motivation is simply not sustainable and the industry itself has matured considerably in the last five years from when it was under attack. I do not see any significant changes for OOH as a result of the supercity coming into being, but ongoing dealings should improve.” “Only time will tell,” says Murray Davis, “but what we can expect to see are the continued trends of consolidation within the outdoor industry and a more structured and proficient approach.There may be fewer outdoor sites overall across the Auckland region but the quality of advertising will keep improving. “As an industry we’ve worked hard to change some of the perceptions of the past. We’re working to ever higher standards and developing increasingly professional operations.” “The outdoor sector needs to have confidence that we provide relevant solutions to advertisers, regardless of economic conditions,” says Mark Venter. “Outdoor has to get better at communicating the job we can do, the value and benefits of outdoor, and the role we play in the overall mix to advertisers.”

(40”) LCD screen, with content – plus ads – provided either by the advertiser (the option chosen by Red Bull & AJ Hackett) or from the HotShots library. The screens incorporate a scrolling ad message, and all images output by the customer contain the advertiser’s logo (discreetly, in the corner). The LCD screens are also where the customers view their stills and/or video (they can then email the images directly to themselves, friends and/or a Facebook page). And each interaction is fully measurable. Currently there are seven around NZ – in Auckland (at Grand Central on Ponsonby Rd), Timaru, Dunedin (x 2), Wanaka, Queenstown, and Invercargill. And a rollout is under way that will see the technology spread throughout the country. They can also be hired individually for company functions, and sports & cultural events. Details from


The numbers The global financial crisis made 2009 a tough year for all media owners, with total NZ advertising industry turnover down from $2317 million in 2008 to $2045 million in 2009. The out-of-home sector was no different, dropping from $74 million in 2008 to $68 million in 2009, although in terms of marketshare it showed remarkable resilience, going from 3.2% of the pie in 2008 to 3.3% in 2009. Recent figures released by OMANZ show a 2010 first quarter gross revenue figure of $13.618 million, down just 1.7% on the same period last year and raising expectations of modest growth through the remainder of the year.

From business cards to billboard skins. The latest technology. The best people.



on a screen near you

Outfox,outsmart, YOUR COMPETITION


recently spoke at a marketing event put on by the IAB NZ. The theme was … well it was the title for this article, actually. During the presentation I covered what I consider to be the most influential online marketing opportunities available to us today: Display, search and social. There are key elements or platforms within each that stand out as immediate shots in the arm for many NZ brands. For display it’s really about reaching large, engaged audiences online in a number of measurable ways under all sorts of content guises. The Internet has around 26%* of all media consumption in this country and 48%** of them are majority household shoppers. We heard the most astounding thing in our office the other day. One of our sales guys was talking with a retail marketer



It seems a little redundant to say it, but new media really isn’t new when it comes to online advertising. It’s been around for 13 years or more, but there are still a number of brand categories that aren’t investing in the medium in any meaningful way. So, asks Josh Borthwick, what are the categories and opportunities for low-hanging fruit? who literally said: “We’ll get around to advertising on it, when everyone’s online.” This should be music to any retailer in the meat/grocery category, because while these guys wait for the other 12% of Kiwis to come online (88%** of them are already there) they’re leaving the door wide open. Like other forms of brand advertising –

display is your opportunity to influence people’s purchasing intent, putting your product or service top of mind above your competitors in an environment in which they can actively act or research (via search or directly from your site or an e-tail store) or engage (via branded content – think advertorial – or social media). It seems like many local brand marketers are still nervous about online advertising, but when you think about it, it’s far less risky than many other forms of advertising – at least someone physically has to visit a site in order for it to generate an advertising impression. Some recent research from Comscore in Europe shows a 72% increase in visitation to an advertiser’s site as a result of display advertising and a 94% increase in branded (key brand terms or a brand name) search activity. Opinion Research found in its sponsored April 2010 report that 53% of respondents were more likely to act on a product or service endorsement (ie, advertorial) from a trusted online publication. So it seems, if you’re not investing in online display advertising you’re leaving

on a screen near you target audiences made easy

the shopping trolley out in the hope someone will find it and fill it. The great thing about search is you only pay for results. You can drive qualified leads to your site or store at a fraction of the cost of other media and many brands just don’t show up in common search terms. An important thing to remember about search is that people’s usage ST TRUST MEANS habits evolve. People click on trusted ITS PARTNERSHIP WITH THE FORE NESTLÉ IS CHANGING ITS TUNE, AND . HSBC – ET TARG NEXT brands and sources built from experi- GREENPEACE CAN GO AFTER ITS ence, friends and brand activity. This further highlights the need to have a the NZ market when it comes to social Lion Nathan delivered more than seven comprehensive brand strategy that mar- media. The former has around 1.6 million million page impressions over the last ries with your audience’s time in media. NZ users according to Facebook and the month across local sites and has run a According to Google there are around latter has follower bases of more than number of integrated campaigns such as 200 million monthly searches through its 17,500 for a brand like Air NZ’s graba- its race to where you’d rather be compeengine in NZ. Of all global online users, seat or 1,042,420 for Richard MacManus’ tition, free Becks beer (redeemable via 85% use search (who knows what the ReadWriteWeb. These numbers are no SMS short-codes) or Edge around the web others do) and locally there were 23 mil- mean feat considering the average Twitter campaigns. The Becks free beer campaign lion searches for travel in the month of user follows less than five people. run on achieved a 28% June 2009 alone. The reality is it doesn’t The standout companies that are really response rate. A no-brainer for free beer, get more targeted than search, but it’s im- nailing the entire approach (in my opin- but the point is other beer brands simply portant to do the brand work and build ion) are brands like Air NZ. The airline aren’t doing it here in NZ. trust via social media. engages with its audience at multiple And last but not least Greenpeace’s Social media is probably the most po- touchpoints across the web and breaks social campaign to pressure Nestle into tent customer service tool in the last activity into targeted subsets – grabaseat, revising their palm oil policies resulted decade. Forget about customer retention AirNZ, AirNZ Aus, AirNZ US. Over the last in 1.5 million views for their hard-hitting systems and rewards programmes, which four months it has run more than 191 “time for a break” video and 200,000 all had massive influence on the way we million advertising impressions across emails to Nestlé calling for the disconmanaged our customer bases. Social has local websites and has 25,000 fans (likes) tinuation of its current palm oil policies. the power to gain consumer insights on Facebook. Rob Fyfe’s highly publicised If that’s not a great case study for social from the horse’s mouth, build raving fans (online) response to the Listener was re- media’s ability to engage and the web’s and convert your brand’s detractors. ceived with an overwhelmingly positive ability to influence perception and action It’s a huge opportunity to build fre- response by Twitter and Facebook fol- – what is? quency with your brand and to drive lowers/fans, and the company continually Josh Borthwick ( influence through your fans, followers releases useful tools for mobile – like its was the founding chairman of the OAB and their friends. Facebook and Twitter handy iPhone check-in system and Spotand runs online ad sales house adhub. are the two preeminent opportunities in On travel guide apps.


outgr ow

Ad Media June 2010





Forget social media. When it comes to making waves, radio is where the real action is. Patricia Moore reports.



hink back a few weeks to the controversy that erupted around The Edge’s Hug a Ginga Day; television hosts spluttered their way through interviews and columnists devoted inches to an issue we were told was dividing the country. Meanwhile, the station involved enjoyed publicity beyond its wildest dreams. Despite the global financial crisis, radio has fared reasonably well over the past 18 months, says Martin Gillman at media consultancy MGCOM. “Radio is very resilient in terms of revenue because it’s very much a local retail medium.” That’s important in a nation of small businesses operating within a designated area, he says.


NZ is a globally unique market, says The Radio Bureau gm Gill Stewart. “With a share of advertising revenue between 11% and 12% for the past 10 years, NZ radio has one of the highest share levels in the developed world.” TRB is also globally unique in that it’s the only company that represents every commercial radio station in the country. “That’s no mean feat given that the market supports over 320 licensed commercial frequencies, 80% of which are consolidated into 23 branded networks.” She says audience engagement, relevant media context, low wastage and incredibly short lead times all saw advertisers happy to stay with radio through the past 18 months. “The deep connection audiences invest in their favourite station means that radio provides the ideal media context for advertisers to build and maintain consumer trust in tough times.” There are growing signs of optimism in the marketplace, says Simon Marsh who’s made the transition from breakfast jock to running

sales consultancy RadioAdvertising.Co.NZ. He says advertisers are returning to the medium after an absence – or turning to radio for the first time.“And I’ve found that generally the businesses that planned for the downturn by maintaining their advertising strategy have shown a trend toward growth in their marketshare, despite the market shrinking overall.” TRN and MediaWorks dominate NZ’s radio waves. Gillman suggests that’s led to a lack of variation, and doesn’t necessarily serve the market as well as it could. “They simply match what the other is doing. You’ve got two talk stations, two rock stations and so on.” Paul Hancox, director sales & marketing at MediaWorks disagrees. “The market is extremely competitive and the revenue advantages to the market leaders are substantial. With 40-odd stations in Auckland every format is covered so the spoils go to the best music mix, promotion, personalities and sales strategies.” Radio may have fared better than other mediums, but the past 18 months have been challenging says Rob Julian, TRN director of sales. “Clients have retrenched their spend by channel or demographic reach, and a number of categories have undertaken different strategies.”



For a good many businesses, surviving the past 18 months has involved trimming fat wherever possible. Gillman notes that from a financial perspective the NZ radio business model is probably one of the most successful in the world. And given that it’s been going through


a rationalisation phase for the past 10 years, the GFC doesn’t appear to have forced any further change, says TRN’s Julian. The things that will change the model are more in the area of distribution, he says. “The moving of spectrums, licences, digital media versus analogue, and also the internet as a distribution medium.” There’s been a lot of talk about digital radio but so far that’s about it. Paul Hancox of MediaWorks dismisses it as having “no history of profit anywhere. It’s a long way off.” TRN reports it’s been testing the different technology platforms and the user experience, and watching what’s happening overseas.”The thing is,” says Rob Julian, “there’s not going to be a big bang.” But if digital’s still to happen, social and online engagement has long since been embraced by radio. Online is big, says Paul Hancox. “Very big. It enables radio to connect personally with listeners, and develop databases and new revenue opportunities for advertisers. “Video online promotions and other

content are a priority and I believe we are well ahead of our competitor in this area.” And Julian says radio will be successful in the online environment by engaging its audience to contribute to content in a far more interactive way that can then be leveraged with advertisers. The ability to drive customers recently saw a simple McDonald’s fan page grow from a few fans to over 13,000 in just a few days; “All it took was for The Edge hosts Fletch & Vaughan to push the page to listeners on air and online via their own Facebook page,” says TRB’s Stewart. “Arguably a radio host is in one of the best positions to integrate their role with social media,” says Julian. “They can tweet or update a social media site while they’re on air and even draw people from the social media site back into radio in real time.” Criticism of the big two radio companies ‘matching’ products may or may not be valid but there is a genuine diversity across the dial. Ethnic radio is an example, and is not niche, particularly in the Auckland market, says TRB’s Stewart.



She cites Radio Tarana as an example of a station targeting a specific ethnic audience. “That’s nowhere near niche with a cume of nearly 42,000 10+ in the last survey.” Established in 1996, it’s NZ’s first Indian radio station and acts as a portal of news, views and information for the Indian community, says md Robert Khan. He stresses it’s not a community station. “Radio Tarana is a language broadcaster that competes in the mainstream.” And brand advertisers are slowly increasing. “Over 60% of our business comes from local Indian businesses but currently we’re being used by a number of brand advertisers,” Khan says. Chinese Voice is vital to the Chinese



community, says ceo Samson Yau. “It’s also powerful and influential.” He says an example of this came in 2008 when, following several violent crimes in which three Asian immigrants were killed, the local Chinese community called for a demonstration. “Initially it was expected to have one or two hundred participants but by making it a talkback topic for a week on Chinese Voice, 15,000 people from all corners of Auckland flooded to the venue.” There are, of course, an increasing number of community stations – enterprises more interested in communicating with the locals than making money. “Community media are generally performing well,” says Jim Tully, University of


Canterbury journalism lecturer & media commentator. “The message is that local content is what people want.” For a time, it wasn’t quite what they got in Christchurch and “a surge in local radio stations” followed NewstalkZB’s canning its Christchurch-based programmes. That local programmes have been reinstated is due only to the subsequent ratings dive, says Tully. Jacquie McVie at Maori Media Network works with 20 iwi/


whanau stations and two dedicated rangatahi (youth) stations across NZ. These attract around 280,000 listeners in rural & urban areas and the community function is acknowledged as a major factor for listeners tuning in, she says. “Stations often broadcast live from local marae, hui and events, and listeners are kept up to date with what’s happening in their tribal areas.” To date Maori stations have attracted primarily government and non-retail advertising, but McVie points out that with Maori households spending close to $200 million every week – and an audience of around half of all Maori – the stations make a very attractive proposition. “It’s staggering that the medium has been largely under-utilised by agencies and retail advertisers to date.” Radio in New Zealand has


achieved an admirable degree of success and consistency over the years, says Martin Gillman. But, having come through the past 18 months in reasonable shape, will commercial radio start attracting the big dollars again? The immediate challenge for the industry


is winning back retrenched client spend levels, says TRN’s Julian. And will radio suffer as online adspend continues its climb? “Radio will remain key,” says Paul Hancox. “There is no sign at all that radio is not the leading media for retailers.”

Are you reaching 145,000 Indians or 9% of Auckland’s population? Phone (09) 379 7731 42

Radio Tarana

technology to connect

101 1-2-1 part 2

 By Chris Graham


n last month’s exciting instalment of 101 on 1-2-1 we defined three levels of personalised marketing. These were i) personalisation, ii) variable data and iii) dynamic documents. We also looked at how the data to construct the artwork could be either dynamic or static – ie, the latter form being most likely old and out of date. Finally we looked at how the data should be supplied as an Excel Spreadsheet or .csv file. In most cases you are going to be presented with the data by the customer who will be confident, indeed adamant, that the data is bang up to date and accessible. This is where it can get interesting; traditional CRM (customer relationship management) systems were in many cases managed and controlled by the IT MAKE SURE YOUR CUSTOMER CAN SUPPLY THE DATA FROM THEIR CRM BEFORE YOU DO TOO MUCH WORK. department, totally divorced from marketing. In fact I am aware of many organisations running two CRM systems because the traditional 90s’ CRM and surname for your variable job separated, but your spreadimplementation that cost millions is too unwieldy to deliver what sheet only has the full name. It is possible to run scripts to sepathe marketing depart of 2010 requires. rate the names but it is not a guaranteed process. For example So be aware that many projects have been killed off because how does a script separate ‘Peter Van Pels’ or separate doublecustomers could not extract their data out of the IT security barrelled surnames? Gestapo, who seem, in many cases, to have a passion for creating This problem can apply to all sorts of addresses – a list of roadblock after roadblock to protect what they perceive as ‘their products that should be separated but are grouped etc – so data’ – in some cases they have valid arguments, but many are the best strategy is to list the variables so that each column just founded on dogma. has a matching variable. So watch for multiple variables in the As a rule of thumb you can save yourself a lot of pain by check- one column. ing the status of the data before you get started or even quote the There are also a host of characters that can cause grief in varijob. Sit with the customer and identify the variables and then ask ous operating systems (these are “ / ? < > \ ” : * | “). In most cases them for a sample of 30 or so rows of data in the format you have your variable data application will wrap these characters up and discussed. Last but not least don’t assume the customer knows protect you from them. Put in a significant number of cases – what CRM is, or that they have any idea that the data needs to they can cause a script or variable data system to fail so try to be in a particular format, or that they know the principles of avoid them in the first place.This is where it often gets expensive how 1-2-1 works. and a simple issue evolves into a nightmare script. So once you have the variable data information opened, the So have look at the physical attributes of the data you need variable data file should hopefully display the column head- to consider, how clean the data is and take the time to underings corresponding to your variables. The exact naming of the stand the project. A small amount of effort at this stage can columns does not really matter – eg, surname or given name or save you from a massive amount of pain later on. x would all work; you simply tell your variable data application Chris Graham ( is ceo of PURL Technologies, which one to use. which specialises in artwork automation and 1-2-1. However, what will cause problems is if you need first name

Ad Media June 2010


tvc top 10

Made in NZ Cadbury’s latest is a breakthough ad for DDB – not only has it gone straight to the top on debut, but it’s the first of this Cadbury series not to come out of Fallon London (it was conceived & written at DDB Group NZ and animated in the US). Elsewhere, it’s wall-to-wall old favourites. Our poll of 1000 Kiwis was conducted by TNS via the SmileCity

2 3 4

TV TOP 10 7

Hyundai i30 In Like Flynn,

2degrees Rhys Darby, TBWA\

Assignment, Auckland Film Co

Whybin, Film Construction

(Tony Williams).

(Steve Saussey).

Mitre 10 Sandpit, DraftFCB, Exposure (Kevin Denholm).

Libra Invisible Pads WonderGuy Man, Clemenger Melbourne, Prodigy (Tim Bullock).

database. Respondents were asked to


8 9 10

Pacific Blue Happy Flying,

name “the best ad on TV in May”.

DraftFCB, Flying Fish (Greg Page).

Cadbury Freida, DDB,

Vodafone ZooZoos, Colenso

Psyop Animation (US).

BBDO (TVC is ex India).

5 6

Heineken Walk-In Wardrobe, Saatchi NZ, tvc ex TBWA Holland/Czar Productions.

ASB Goldstein, TBWA\ Whybin, Plaza (Paul Middleditch).

ALAC Sam & Jon, DraftFCB, Film Construction (Nic Finlayson). To view past Top 10s, contact


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the front page

SINGO, ad awards and $10,000


’ve never met John Singleton the retired, larrikin wild man of Australian advertising. He’s quite something. When his horse won the prestigious Golden Slipper at Rosehill, legend has it he shouted drinks for the entire racecourse. He’s got seven children from six marriages, a fearsome temper and according to Wikipedia “a love of the good times”. I reckon he’d make some of the rogues in Underbelly look soft. When Singo ran Singleton Ogilvy & Mather he wouldn’t stand for sloppy dress. People got sent home if they turned up in jeans. Rumour has it that might still be the case at Stanley St. It’s funny how Aussies invariably end up putting an ‘o’ on your name. But then again my partner recently had to explain to me what a ‘servo’ was. Actually that reminds me of Rick Otten who used to run Mojo Melbourne. He escaped the ‘Ricko’ moniker – instead Mo, Jo and the lads nicknamed him ‘Rotten’ (legend). There are lots of things that get up Singo’s nose. He doesn’t like advertising awards and wouldn’t let Singleton Ogilvy & Mather enter them when his name was on the door. He thought they were just a money trap. It’s true that some awards are just milk trains for the organisers, especially one or two of the global ones. The Clios used to be a good example of a million dollar earner for the people who ran it. So, are there too many awards and which ones should you enter to help profile your operation? There’s no doubt that locally the Effies, Axis and Media awards really help to show who’s setting the pace. Internationally Cannes and some of the other rated competitions set the standard for measuring great work. Then the next hurdle is, who actually wins the award? Is it the agency brand or the individuals whose names are on the credits but rarely inscribed on the trophy? It’s a funny situation. The agency puts up the money to enter and records the win, but long after the winning people have left, the shop continues to claim the honours. Probably rightly so. Four years ago the NAB decided to set up the Newspaper Ad of the Month and Newspaper Ad of the Year award because we felt that locally, great newspaper ads weren’t getting enough recognition. That was partly due to the expanding success of Axis and all the additional categories that started to swamp the newspaper section.

We also decided to keep it simple. We wouldn’t wait for people to enter. Each month we’d tear-sheet what we thought was good work and then ask senior creatives to judge the material. Then we’d take all the finalists, have a last call for entries and put it all up for more judges to select the overall Newspaper Ad of the Year. In 2008, we cranked things up by putting $10,000 on the table. It’s Australasia’s largest cash prize for creativity. What’s more the cash goes to the people whose names are on the credits – not to the agency. And because you don’t pay to enter it’s also bloody good value for money if you do win. The 2009/2010 Newspaper Ad of the Year will be announced on Thursday 15 July. By the time you’re reading this, the chairman of judges, Chuck Porter of Crispin Porter + Bogusky, will have been busy making this year’s event an absolute cracker. Next year we might be really cheeky and ask Singo along. You know ... just to crank things up another notch. Hell, he might make an interesting chairman of judges. There’s a thought. Bags not make that phone call … Robert Munro ( is the general manager of The Newspaper Advertising Bureau.


Ad Media June 2010


[ one thousand five hundred buses ]



433 [ four hundred and thirty three billboards ]


[ one premium airport ]

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