Issuu on Google+

Crouching Tiger Page 16

RURAL MEDIA 26

9 421902 251009

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$10K AD COMP 10

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COLENSO’S DECADE 46

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ROHRBACK 14

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CALL HIM LOYAL 8

WHALE SONGS 6

PRODUCTION HUB 22

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JOE HOLDEN 12

FACEBOOK TRAPS 44


New Zealand

PCWorld


Deborah Davenport Group Account Director Mitchell & Partners Ltd

You’ll always feel in control when you’re holding the biggest weapon. Arming yourself with a big hitting media partner is your straight shot to the ultimate victory. And nobody hits the target like Fairfax Media. Call us, (09) 970 4000 or (04) 474 0487.

Arm yourself

NETWORK


contents

CONTENTS

4 6 8

Editorial

14

The Jeneal Rohrback interview

Letters

16

What’s New

Warwick Oakden RIP

22

Production Hub

39

InterActive Bytes

44 46

10 12

Make a Thinkstock ad – win $10,000 in prizes

The Joe Holden interview

26 34

48

Rural media

Research

40

Education & Training

49

Facebook graveyard?

Colenso stars at YoungGuns

Technology to Connect

The Front Page

Ad Media September 2010

3


editorial

VOLUME 25 NUMBER 8

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: www.mediaweb.co.nz

Editor

David Gapes – david@admedia.co.nz 64-9-575 9088, 021 596 686

Advertising

Kelly Lucas admanager@admedia.co.nz 64-9-366 0443, 021 996 529

Designer

Chris Grimstone chrisg@mediaweb.co.nz

Production Manager Fran Marshall franm@mediaweb.co.nz

New Subscriptions

www.admedia.co.nz/subscribe

Subscription Enquiries 64-9-845 5114 subs@mediaweb.co.nz

Annual subscription rate NZ September 2010: 11 issues AdMedia, 48 issues Fastline - $196.00 incl. GST. From October 2010: 11 issues AdMedia, 48 issues Fastline - $196.00 incl. GST.

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 0112-6997 (Print) ISSN 1179-870X (Online)

Under cover

F

acebook is a long-term relationship, not a campaign tactic, and it’s the agencies or marketers who acknowledge that who will prosper, writes Tequila\ strategist Bonnie Bradley, who warns that a new Facebook development should signal alarm bells for agencies and marketers. Bonnie Bradley’s Facebook investigation on Page 44 leads one of the most informative and entertaining issues we’ve published all year. Equally significant is the view of the NAB’s Robert Munro that bad advertising – and there’s an awful lot of that out there – can have a hugely negative impact on a campaign.Advertising doesn’t sell stuff, he reminds us – it will work only when an ad ticks all the boxes (refresh your memory on P49). We have three important advertising features this month – Research, Rural Media and our annual training guide to the best ad schools – each crammed with a wealth of information and market intelligence. And speaking of ad schools, Jeneal Rohrback who, with her partner David Bell played a pivotal role in the establishment of Axis Adschool (now known as The Adschool) is the subject of our latest fireside chat. Actually, we have two of these interviews this month – the other features a quiet achiever who you won’t see at too many industry parties, Big CD Joe Holden. Both interviews come with an outstanding full-page photo. And may we draw your attention to our big Getty Images/Thinkstock creative contest? AdMedia designer Chris Grimstone has been test-driving Thinkstock images for several months, long enough to become an enthusiast. Everybody who enters (details on P10 and in the skyscraper at www.admedia. co.nz) automatically becomes an immediate winner, with one month’s free access to play with this wonderful collection of imagery. Issues at our TV Top 10 provider TNS means there’s no chart this month. But rounding out a bumper edition are our usual thoughtful columnists, our love-letter writers, and our exclusive coverage of Colenso’s remarkable decade at YoungGuns. And let’s not forget the new-look What’s New showcase – now growing fast in the wake of our new pricing regime, with free inserts (you pay only for additional images). It’s been fun putting all this together.We hope you agree!

David Gapes (david@admedia.co.nz)

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s n a i n o t g n i l l e W

Wellingtonians are creatures of habit...

get it!

’ve ever owned utterly ey th a ell br um ery ev d ha ’ve ey th gh ou Even th her, and try again. ot an y bu s ay alw ey th , nd wi e th by ed destroy

And rain, hail or shine, nearly half of all Wellingtonians also read the DomPost every day.

For advertising enquiries, call us direct on (04) 474 0000, or the Fairfax Network on Auckland (09) 970 4000 or Wellington (04) 474 0479 * Nielsen Media Research confirmed this in the National Readership Survey to March 2010.

Your local connection


letters

Letters Whale-song ringtones?

certainly does make public the details of its All New Zealand Radio Survey, conducted by Nielsen Media.

Dear Ed:

Results from the 40 week rolling survey are always available

With my tan nearing George Ham-

online from www.radionz.co.nz/about/audience_research. They are

ilton levels of golden brown, my

updated regularly throughout the year providing both quantitative

doctors advised me to leave the

and qualitative measurements of performance against our public

Middle East.

service Charter obligations.

While I was away I invented

Data for Radio NZ National and Radio NZ Concert, together with

three new kinds of social me-

details for individual programmes and specific time zones, has

dia, some software that converts

been available from this site for several years. It is also presented

whale songs into ringtones, and

in the Radio NZ Annual Report and to Parliamentary Select Com-

an edible Velcro.

mittees every year.

I’ll be busy getting those products off the ground but I’m sure

Congratulations to AdMedia for acknowledging the success of a non-commercial media network.

I’ll have some time for freelance work. If anyone needs a copywriter or a whale song ringtone – you

John Barr

can reach me at pvegas@xtra.co.nz

Communications Manager Radio New Zealand

Peter Vegas

John.Barr@radionz.co.nz

Abu Dhabi

Nice excuse

So does the RBA Dear Ed:

Dear Ed:

Re your story last week on radio, you will appreciate that from time

I must commend your printers on the level of gloss achieved on

to time we have a look at our friendly competitors at Radio NZ,

the pages of AdMedia.

and I can tell you that, based on our second sweep of 2009 with

So powerful is the shine, I cannot read through these pages from my office desk due to the glare back coming from the fluorescent lights above me. No complaints, however; it’s a nice excuse to park up on the couch for a brief reprieve from the day!

a sample of around 18,000, National Radio is absolutely not “the highest rating radio network in NZ”. This honour in fact goes to Newstalk ZB which in an average week reaches around 406,000 people in our sampled area, by comparison with National Radio at 342,000. In fact, The Rock and The Edge also beat National Radio on cume audience, and The Rock is also No 2

Mat Peters MediaWorks Mt Eden

on audience share. The true figures would in fact be a bit closer, since National Radio does get into some corners of NZ that commercial radio doesn’t cover – but not many, and not with many people there! We would be grateful if you could run this alternative, and we

RNZ writes

believe far more accurate take on radio audiences.

Dear Ed:

right down to small cities eg Invercargill & Nelson, cf. Sweep 1 2010

It was great to see the Roy Morgan Media Trends results published

which covers only the five main centres.

By the way, the reason for using Sweep 2 2009 is because it gets

this week with Radio New Zealand National confirmed as the highest rating radio network. As Fastline noted, there’s already consider-

David Innes, Executive Director

able interest in these results.

Radio Broadcasters Association

One correction is needed to the item however – Radio NZ

6

www.admedia.co.nz

david@rba.co.nz


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adnaus

Ticket to ride

T

he Sistine Chapel on the roof of a bus? Incredible – but iSite, in partnership with DDB and Spark PHD, have done it, all in the name of Instant Kiwi’s new When In Rome $5 ticket. The team behind the ad was Roxane Vosper (Spark), Toby Talbot, Brett Colliver, Alaina Luxmoore, Andy Robilliard and Anton Mason (all DDB). The client contact was Kirsty Larsen, and the iSite account manager was Kirstin Friedrich.

MICHELANGELO TAKE A BOW.

Call him

loyal I

TRN national sales manager Warwick Oakden died last month after an accident. This tribute was written by his colleague, TRN consultant for talk programming Bill Francis.

first met Warwick Oakden in 1997, the start-up year of Radio Sport. This was the time of Warwick’s arrival into the world of radio as the sales & marketing manager for the new station. To meet Warwick was to be greeted by a sparkling smile, twinkling eyes – a chatterer with a ton of cheek; characteristics that seldom deserted him over the next 13 years. These qualities were to stand him in good stead in a variety of roles for The Radio Network, all concerned with sales, some marketing and some promotion. As a salesman, he reminded me very much of some of the early news hacks I came across. You could find him in a club, a pub, a corner bar, a radio event – cigarette in one hand, glass in the other, involved in animated conversation which inevitably produced a reservoir of ideas, information and contacts for future use and development. Warwick was pivotal to the ongoing success of Radio Sport, holding firm on originally decided advertising rates, but he served TRN admirably in a variety of ventures. This one-time farmer turned marketer and salesman brought together a huge turnout at his funeral, people who were charmed by his loveable rogue persona, his loyalty and integrity. Warwick FARMER TURNED MARKETER: never said an ill word about anyone. WARWICK OAKDEN, 1960-2010.

8

www.admedia.co.nz


1,500

[ one thousand five hundred buses ]

+

1

433 [ four hundred and thirty three billboards ]

+

[ one premium airport ]

= The

Market Leader

All it takes to reach more New Zealanders out of home. Call us and get the market leader working for you: 0800 247 483 www.isitemedia.co.nz


mindfood

LIGHTS THE WAY MiNDFOOD

N

Z-born publisher/writer Suraya Sidhu Singh says NZ magazines are better than their UK counterparts at “finding the cutting edge”. Singh now lives in the UK where she publishes quarterly magazine Filament, a women’s title that showcases intelligent articles, and images of men designed for the female gaze. Writing for The Guardian, she challenges the assumption that print is on the way out, and cites NZ titles MindFood and Good as examples of magazines that prosper because they offer in-depth discussion and inspiring photography. “Print may not be the future, but right now, when the content is right for it, there’s a lot of people who prefer it,” she wrote. The formula certainly works for MindFood. Launched just two years ago, it’s now the fastest-growing magazine in NZ, with year-on-year growth of over 50%.

creative competition

MAKE AN AD AND WIN

Thinkstock DANGLES $10K PRIZE I THINKSTOCK: THE WORLD’S FRESHEST IMAGE COLLECTION AT YOUR FINGERTIPS.

10

www.admedia.co.nz

mage subscription site Thinkstock and AdMedia are combining resources to give creatives an opportunity to make an ad for themselves, their own business or their agency, and win prizes valued at $10,000. To get started, click the Thinkstock skyscraper ad on the right-hand side of the home page at www.admedia. co.nz. This will take you to a page where you can sign up, and receive a free one-month subscription to Thinkstock. Then just download the entry form and email it with your finished ad to admanager@admedia.co.nz by Monday 27 September. The finalists’ work will be posted later this month on the website, where ad and media industry people can register votes. Prizes include a two-seat one-year subscription to Thinkstock, valued at NZ$6118, plus one month’s advertising on AdMedia products to the value of NZ$4000.


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

OneStop!

www.beneďŹ tz.co.nz 0HONEs%MAILAIDAN BENElTZCONZ


PHOTO: SOON CHIN, BIG COMMUNICATIONS.

BIRDS SING: JOE HOLDEN.

12

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q + a

big picture The

S

ome things seem never to change. The business partnership between Ant Salmon and Joe Holden is an enduring relationship that dates back to ... the last century! It’s a relationship that’s formed the backbone to Big Communications, the agency the pair formed in 2003. Big has been a quiet achiever – from small beginnings, it’s grown, but always at a steady, no-fuss pace set by Salmon & Holden. Big was an indie start-up long before it became fashionable. It has built a stable of clients that would be the envy of bigger shops, with brands like BankDirect, the Blues, Mercury Energy, TVNZ, Vero, Vision Senior Living, Woosh, and it recently won a pitch for Skoda – which has them quite excited (“Skoda now makes fantastic cars,” says Holden). Just last month, Big upgraded from its original base in the D72 Building in Dominion Rd into the heart of the Britomart. And looking around its stylish new home, there are plenty of new faces. Unsurprisingly, the work is changing, too – lots of web, digital, social media and ambient these days. MD Ant Salmon has maintained a high profile over the years, but AdMedia managed to corner Big’s self-effacing Creative Director Joe Holden for a quick chat ...

What was your first job in advertising? Account manager, which was a shortlived disaster. Then, rather than firing me, my boss gave me a chance writing direct mail letters – I’ve always it accepted as payback for hardly ever writing to my parents when I was at boarding school. When did you team up with Ant Salmon? In 1999, while I was at Publicis Rainger, Ant joined as Group Account Director. His enthusiasm for ideas has always made him an ally of the creative department, and clients don’t seem to mind him either. Actually I’ll stop there because he’ll probably read this. You must be the longest-serving CD in advertising ... will you ever leave? Thanks, that sounds like the kiss of death (and I think there are some true ’80s veterans out there). For what it’s worth, I reckon a creative’s work at both the beginning and end of their career tends to be an attempt to fit the advertising mould. When that day arrives for me, I promise I’ll be out of here. What’s your best moment in advertising? That instant when you crack a mindbendingly tough brief. Birds sing, the sun shines and all is good in the world – we all know the feeling.

What book did you last read? Annapurna South Face by Chris Bonington. I love those harrowing accounts of survival in the Himalayas of which this one is a classic. Anyone who wants to borrow it, give me a yell. Who’s the best Auckland mayoral candidate? None of them. Is it too late for a certain David Gapes to throw his hat in the ring? What current NZ work from another agency do you admire? TBWA’s 2degrees TV campaign. It’s Kiwi without being try-hard, retail without treating viewers like idiots. It’s bloody funny and it works. Good Job. I like Special’s TSB Most Recommended Bank work, too. Nice for a brag ad. Do you have any guiding principles in your work? To never take the consumer for granted. For every piece of creative no matter how small, make sure there’s something in there for the reader, viewer or listener – a joke, an insight, a riddle, a stunning image – that adds to their day. Call it quid quo pro; a little reward for their time.

Ad Media September 2010

13


PHOTO: LEON ROSE (WWW.LEONROSE.CO.NZ)

SHY GIRL CAME RIGHT: JENEAL ROHRBACK IS NZ’S FIRST FEMALE ROCK STAR CD.

14

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q + a

Shape J

shifter

eneal Rohrback has served on the front line of the NZ ad business for over a decade. The US-born creative first started to make her presence felt in Auckland as group head at DDB in 1997. By 2000 she’d become Creative Director, and presided over DDB NZ’s rise to international acclaim, before moving on to similar roles at SO&M and Y&R. In 2002, Campaign Brief ranked her at #8 on its Top Australasian CDs. In 2003, she was ranked #7, and in 2004 she was #10. By 2006, she’d become a consultant CD, and in 2008, she joined the late, great Peter Spencer at Marsden Inch Recruitment Auckland, where she can be found today, using her ad world networks and terrieron-P personality to find the best people and match them with agencies. Rohrback and her English-born partner David Bell, a former inspirational tutor at Axis Adschool (both Bell & Rohrback helped define the model that has seen the school rise to No 4 in the world), also continue to run their own creative consultancy. Individually and together, they’ve played key roles in shaping NZ’s reputation as a global centre of creative excellence. What was your first job in advertising? My first job came easily, like something out of a movie, when attending a fancy dinner party where I was lucky enough to be seated across the table from the CD of Dailey & Associates in Los Angeles. Honda Motorcycles was their biggest account, which suited the tomboy in me. Here I got my first taste of blatant ’80s sexism where all the memos were addressed to ‘Dear Sirs’, the ceo insisted I’d be better off working in a dress shop, and my friend would often have Polaroid cameras flashed up her skirt by my CD. I was there for three years and learned

a hell of a lot about how to do real ads – the stuff my art college just skimmed over. I also learned to ride a motorcycle, won my first One Show award, developed a huge crush on Rick Carpenter (now president/ceo of DDB Chicago), and drunkenly left teeth marks in my CD’s bottom – not a smart move, but a bit of payback, I guess. I swiftly moved on to try my luck in London. What’s your best moment in advertising? Putting DDB NZ on the awards radar would be the expected answer, but the better answer would be meeting my partner David Bell in London at an advertising do. What was your worst moment in advertising? Telling Greg Delaney, CD of Delaney Fletcher Delaney, that the work of mine he’d rejected wasn’t as bad as he thought because the suit liked it. I was fired on the spot. What was your most embarrassing moment in advertising? In the early days, while doing a presentation to the London Dairy Board at Leo Burnett, my painful shyness got the best of me. My knees started to shake and my underarms were sweating profusely – so much so that if I hadn’t had a belt on, my feet would have been soaked. Who was your best creative partner? Easy. Toby Talbot. We were partners at McCann London, and despite the agency’s mediocrity we did some award-winning work. But it wasn’t only the work; it was the constant laughing that made it a great time. What’s been your best job in advertising? Advertising has been good training for

most things in life and I still have a thriving business doing creative consultancy; it still excites me to do great ideas. But my newfound career in recruitment is much more fulfilling overall. Sorry DDB, Ogilvy, Y&R, McCann, Granfield Rork Collins, Delaney Fletcher Delaney, Tony Hodges and Partners, Leo Burnett, Dailey and Associates … Another significant event in my career was having my son Frank in 1998 – I was at DDB at the time. Who says women can’t have babies and have a successful advertising career? And I even suckled him, Mr French. Who was your favourite boss? Myself. Who inspired you the most in your advertising career? John Gillard the founder of The School of Communication Arts. What have you learned from advertising? That talent and a good personality aren’t enough. You’ve got to play the game to the nth degree to succeed. What’s the future of advertising? Big agencies need to think more like small agencies. What movies did you last see? ‘The Girl with the Dragon Tattoo’ and ‘The Concert’. Last book? ‘The Wonderful Story of Henry Sugar and six more’ by Roald Dahl. Who’s the best Auckland mayoral candidate? Sorry, don’t do Mayors. Do you miss the big agency life? Yes, I miss the glory. Ad Media September 2010

15


what’s new

AD OF THE MONTH Big’s Starship donation envelope cleverly uses the cute factor to achieve great impact. No parent could fail to be moved. May be just too simple for the Art of the Envelope Awards – but it’s our Ad of the Month.

WHAT’S NEW ADS LIVE AT WWW.ADMEDIA.CO.NZ

When is an ad art? Artist Jon Chapman-Smith transformed his installation from Tiger Translate earlier this year into a print ad for Threaded Magazine and the Semi-Permanent Programme to show Tiger Beer’s support of the arts, and promote the specially curated After-Party. Agency: Running with Scissors     Client company: DB Breweries    Brand/product: Tiger Beer     Client contacts: Mike Stribrny, Brand Manager; Russell Browne, Marketing Manager    Media: Magazine, Sponsorship of Semi-Permanent – Tiger Translate After Party Strategy and delivery team: Eddy Helm, Matiu Sadd       Artist/Illustration: Jon Chapman Smith – fuman.co.nz     Event curator: Reece Jensen, RJX   

16

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what’s new Yukfoo Animation helps ‘Destroy Your Limits’ for Canon and the Singapore Youth Olympic Games team. Producer: Lottie Hope Directors: Alan J. Dickson, Bernie Roux Lead CGI: Andy van Straten Animator: Paul Tempelman Lighting render TD: Liana van Rensburg Water TD: Yoshi CGI ceneral & compositing: Craig Murray Background & concept art: Warwick Urquhart Modelling: Mark Allen Character design: Alex Dron Editing & compositing: Thelonious Veltman Agency: Denstu Singapore CD: Tony Pereira Producer: Adele Huang Client service: Perlina Chan

Paseo Doves: Yukfoo flirts with avian “tug-of-love”. Client: Asia Pulp Paper Agency: BlackPencilPSI, Jakarta, Indonesia Product: Paseo Facial Tissues Creative: Geoffrey Fry Animation: Yukfoo Animation Studios, Auckland, NZ Producer: Samantha Yong Director: Alan J. Dickson Head of CG: Andy Van Straten

Ad Media September 2010

17


what’s new Vogel’s outdoor campaign for Fashion Week. Agency: Publicis Mojo Client company: Goodman Fielder Brand/product: Vogel’s Client contact: Nicola Ellish, Marketing Manager Media: Outdoor Account director: Ruth Blair Account manager: Jen Hird Writer: Anthony Wilson Art director: Iain MacMillan Photography: Vanessa Wu Retouching: The Lounge

This mailing invites Mercury Energy customers to contribute a monthly donation to help Starship save tiny premature babies with life-threatening complications. The envelope shows just how tiny they really are. Agency: Big Client company: Mercury Energy Brand/product: Star Supporters Club Client contacts: Samantha Hay, Catherine Kemp Media: Direct mail    Account team: Ant Salmon, Diane Burnett Creative team: Joe Holden, Isaac Thackray, Guy Johnson, Tom Etuata Photography: Gettyimages.com

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what’s new

This campaign takes the exact, dry and very carefully constructed format of traditional comparative advertising and applies it to a comparison between the new Monteith’s Crushed Pear Cider and Monteith’s Crushed Apple Cider, as if they are competitors.      Agency: Running with Scissors     Client company: DB Breweries    Brand/product: Monteith’s     Client contact: Russell Browne, Marketing Manager     Media: Magazine, Web, Radio     Strategy and delivery team: Friday O’Flaherty, Eddy Helm, Victoria Spicer     Media: Spark PHD     Creative team: Bob Moore, Simon Pound, Olly Harris     Art director: Jane Ahern, Mo Design     Finished art: Sheridan Hampton  Web banner production: Terabyte

Agency: ColensoBBDO Client company: Frucor Brand/product: V Isokinetic Media used: TV  Creative director: Nick Worhtington. Account team: Tim Ellis, Stefanie Robertson, Jessica Blake, Elizabeth Southall Writers/Art directors: Rebecca Johnson-Pond, Kimberley Ragan Agency producer: Jen Storey Production/film co: Capital City Films Producer: Julie Elstone Director: Nathan Price Editor: Postboy Soundtrack: Lonesome Traveller Music: Licensing and Song Search Franklin Rd Audio post: Shane Taipari – Franklin Rd

Ad Media September 2010

19


what’s new AIM Proximity and new animation shop National Park create four online videos for rightcar.govt.nz using stop-frame animation. Shelby and Gregg, the crash-test eggs, charm your socks off, whilst doing a cracking job of educating you about vehicle safety technology. Agency: AIM Proximity, Clemenger BBDO Client company: NZTA Brand/product: rightcar.govt.nz Client contact: Rachel Prince Media: Web      Creative director: Brett Hoskin Creative/account team: Ben Pujji, Linda Major, Linda Reuvecamp Media strategist: Ben Puji Writers: Mike Gwyther, Tony Stevens Art director: Mark Dalton Agency producers: Donal Devlin, Marty Gray Interactive designer: Stephen Horner Technical lead: Ronan Quirke Animation: National Park Lead developer: Mirko May   

Congratulations to our August winner of the NAB Newspaper ad of the Month competition, Ogilvy New Zealand.

 Client: Auckland Zoo, Paula Corcoran Agency: Ogilvy New Zealand Executive creative directors: Damon O’Leary, Basil Christensen Writers/Art directors: Darran Wong-Kam, Ben Pegler Account director: Ben Partington Retouching: Adrian Fitzgerald, Nic Hall

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what’s new Agency: Colenso BBDO Client company: State Insurance Brand/product: Insurance Media: TV, Web   Creative director: Nick Worthington Account team: David Bowles, Rachel Turner, Angela Vance Writer: Will Bingham Art director: Victoria Daltery Agency producer: Nigel Sutton Production/film co: Capital City Films Producer: Julie Elstone Director: Nathan Price Post production: Perceptual Engineering Editor: Dave Coulson Soundtrack: Favourite Things Licensed by Franklin Rd Music arrangement & production: Franklin Rd Sound design: Shane Taipari – Franklin Rd Franklin Rd producers: Jonathan Hughes, Stacey Thomas

Now you can achieve your health and fitness goals quickly and efficiently. BodyTech’s fitness efficiency focus gets you to the ‘good bit’ faster – whether it’s having a glass of wine with dinner and not feeling guilty, panting less than your dog after a walk, or seeing your toes again. Agency: Rohrbel Client company: BodyTech Brand/product: Fitness efficiency gym Client contacts: Peter and Monique Rana Media: Outdoor Creative team: Jeneal Rohrback, Drew Ayers, David Bell Design & artwork: Asone Media strategist: Graham Small Planner: Margaret Whitten Photography: Leon Rose Retouching: Lloyd Williams

Ad Media September 2010

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production hub

Centre of

Attraction PHOTOGRAPHY BY ALISTAIR GUTHRIE

H

idden away in the depths of Morningside, Auckland, is an ever-growing production hub which now has a musical string to its bow. The Automatic Films building which has been home to photographers agency Collective Force and photographic produc-

22

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tion company Our Production Team in NZ now also houses Native Tongue Music Publishing and Arch Hill Recordings. The latter two have joined the busy ground floor of the iconic 1930’s art deco building in Taylor’s Rd. Meanwhile, in the last year The Department of Motion Graphics has moved into

one of the original offices upstairs, where Automatic Films is also based. With all these companies working independently with the same advertising creatives, both local and offshore, the collective potential of photography, directing, animation, music and production as a one-stop shop for clients is infinite.


production hub THE COLLECTIVE FORCE PHOTOGRAPHERS AGENT: CHRISTINA FORCE With 15 years in business The Collective Force is the most established photographers agency in NZ, and founder Christina Force was the first dedicated photographers’ agent in the country. With a roster of 10 photographers, both international and local, The Collective Force has a strong focus on high-quality assignments. Its photographers are specialists in global advertising campaigns, including award-winning work currently gracing billboards in London and Australasia. The Morningside address is The Collective Force’s fifth office – “but we think it’s our favourite space and we’re loving working closely with Automatic’s directors and Our Production Team’s producers”, says Christina Force. www.collectiveforce.co.nz

Christina Force.

OUR PRODUCTION TEAM EXECUTIVE PRODUCER: REBECCA VAUGHAN Our Production Team’s clients are among the finest photographers in the world, says Rebecca Vaughan. Having produced photoshoots for many top NZ photographers, OPT became sought-after by international location photographers shooting global campaigns in NZ. This led to production assignments in Asia, Fiji and Australia where OPT Australia is now also firmly established. “With top names such as John Offenbach, Andy Glass and Robert Erdmann seeking its services, OPT looks set to continue to bring in big assignments and welcome teams from around the world to Aotearoa.” www.ourproductionteam.com

Rebecca Vaughan.

Ad Media September 2010

23


production hub ARCH HILL RECORDS/MYSTERY GIRL OWNER & DIRECTOR: BEN HOWE Arch Hill is a music company that was formed about 10 years ago. It works with influential local artists like Don McGlashan, The Clean, Luke Buda and The Bats, as well as new cutting edge bands Surf City, Street Chant, Family Cactus and others. Through Mystery Girl Presents, the company tours international bands such as Sonic Youth, Catpower, Pavement, and Fleet Foxes. This year it helped launch the Laneway alternative music festival at Britomart. “Arch Hill works with music that is a little left of centre, exceptional, interesting and unique,” says Ben Howe. www.archhill.co.nz

Ben Howe.

NATIVE TONGUE MUSIC PUBLISHING GENERAL MANAGER: JAN HELLRIEGEL Native Tongue is an independent music publisher with offices in London, Melbourne and Auckland. It has over 100,000 original songs in its portfolio, including international hits, NZ classics and the unknown but interesting. Jan Hellriegel joined the team in May, bringing with her an extensive wealth of knowledge in all things music. Along with the help of super-assistant Ivy Rossiter, Hellriegel will help you find a song that fits your brief perfectly. One point of difference you will find when working direct with Native Tongue is that music searches, advice on their extensive music catalogues, as well as introductions to Native Tongue’s NZ songwriters, won’t cost you a thing. www.nativetongue.co.nz

Jan Hellriegel & Ivy Rossiter.

24

www.admedia.co.nz


production hub AUTOMATIC FILMS EXECUTIVE PRODUCER: DECLAN CAHILL DIRECTOR: SIGI SPATH DIRECTOR: GREG WOOD Although TV commercials make up the lion’s share of Automatic’s film production, the company also embraces special interest projects, which nourish creativity in the commercial work. Automatic is also excited by the collective creative energy offered by the multidisciplinary talents within the building in Taylor’s Rd. In a world of increasing choices for media exposure, the Automatic people feel that this combination of skills can be a huge advantage as we move towards a more interactive and integrated communication. The Automatic directors are Greg Wood, Sigi Spath, Simon Mark Brown, Adam Gunser, Tony Drayton and Peter Bannan. www.automaticfilms.tv

Dan Short & Linds Redding (in the computer).

Declan Cahill.

Sigi Spath.

THE DEPARTMENT OF MOTION GRAPHICS PARTNERS: DAN SHORT & LINDS REDDING The Department of Motion Graphics was formed by Linds Redding and Dan Short almost 10 years ago, and during that time they have earned a reputation for creating distinctive animation and motion graphics for their clients in advertising and broadcasting. From modest beginnings, the studio has expanded exponentially, and now employs a workforce of nearly three! Residing in palatial offices on the seventh, eighth and ninth floors of the Taylor’s Rd complex, their state of the art facilities include tables, chairs, some computers and a teapot. www.dmgltd.co.nz

Greg Wood.

Ad Media September 2010

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rural media

The answer’s in

the soil I

f you want to relate to farmers you have to show them you have true empathy – they’re the most advertised-to sector in the country.” Andy Walker, managing director at Napier-based Adplus (now known as Tracta – see P33), says he’s done the math and “about twice as much is spent on farmers as household shoppers”. Anyone who’s sat through the ad breaks on television news with their mix of worm treatments, cattle fodder and 4WD vehicles would probably agree. But too often ad agencies and advertisers treat farmers like yokels, says Walker.“They forget they’re intelligent people running multimillion-dollar enterprises who’ve gone from farming the way dad used to, or chatting to the neighbour or relying on intuition, to sophisticated analysis. “They’ve had to up their game significantly in the last 20 years in this respect.” Today’s farmers have a wealth of rural-

The rural media sector is experiencing record ad revenues – despite the tendency of ad agencies to treat farmers like hicks. Patricia Moore gets in behind. specific media available to keep them informed. Indeed, chances are they’re over-informed. “The market is cluttered,” says Dean Williamson, sales director at NZX Agri. There are three, free, mainstream, national farming newspapers – NZ Farmers Weekly, Straight Furrow and Rural News – going to 81,000 farmers. Monthly management magazines Country-Wide and NZ Dairy Exporter fill their own important niches and The Dairyman and Dairy News are the free dairy titles. Throw in regional farming supplements, weekly farming pages in the dailies and other specialist rural titles, plus newsletters from vets, seed companies,

consultants, dairy companies and farm merchandise companies and you get a sense of how much information farmers have to work through in what is probably a diminishing amount of discretionary reading time, says Williamson. But that’s not all. Radio still plays an important role, says Southlander Jamie Mackay, who presents The Farming Show on Radio Sport, Monday through Friday, with a ‘best of’, on NewstalkZB, on Saturday mornings. It’s an information-based show, not just a farming show, he says. “An agribusiness, current affairs show. We’ve shown that there is an appetite for rural radio, providing you present it correctly

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rural media

Straight to Japan A group of 50 young professionals, said to be the future of agribusiness in NZ, took part in a 10-day agricultural study tour of Japan in July. Of the 250 who applied to make the trip, Straight Furrow reporter Rachael Breckon was one of those chosen to go. “As the only media person selected I was able to make strong industry connections with similar-minded young people from a great cross-section of agriculture and agribusiness,” she says. “It also meant Straight Furrow had exclusive and unique information, particularly regarding trade relations, from one of the world’s biggest import markets, which is of great value to our readers.” Craig Chapman from Rural Press, publishers of Straight Furrow, said the trip to Japan, both through the selection of Breckon and the way the paper uses a multi-media platform through blog entries, news stories and profiles to provide insight into that RACHAEL BRECKON (RIGHT) WITH NICCI STILWELL (NZ EMBASSY TOKYO).

important market, is just one example of the way they work to provide NZ’s rural communities with topical and original editorial.

and I think we’ve made a good job of on from an earnest Fred Barnes talking doing that.” farming, to broaden the focus and attract Advertisers obviously agree; The Farm- a much wider audience, there’s now a ing Show can claim the most significant dedicated ‘country’ channel. Broadcastsponsorship in the group, says TRN ing 24/7 on the Sky platform, Country 99 regional group manager Stephan Good- TV aims to serve the needs and interests burn. “It’s a great show and its unique of rural NZ, says ceo Chris Gedye. focus has seen it very well supported “As a niche channel we’re not driven from day one.” by the need to programme for all deAnd while TVNZ’s Country Calendar, mographics. Advertisers and sponsors now in its Ad 45th year, may have moved know they’re rural Magazine 175x60mm:Layout 1 10/09/2010 2:36reaching p.m. their Page target 1

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series called Launch Pad, which features new products and services in the rural sector.” And, he says, Country 99 will be expanding its web presence and has the local content to provide an outstanding web platform. “We believe that, over time, print media across all sections of the community will increasingly lose market share to other media platforms, particularly the web.” Meanwhile, print media aren’t too concerned. Adam Fricker, general manager at Rural News Group (Rural News, Dairy News, Getting the Basics Right, NZ Winegrower) says readership has been consistently strong and stable. “Farmers have always been information hungry but the work day on a farm is not centred around the desk and computer so reading a newspaper like Rural News at the kitchen table during breakfast and

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smoko, is where the majority of farmers are still likely to get much of their farming news and information.” Craig Chapman, general manager at Rural Press NZ (Straight Furrow, AgTrader and The Dairyman) says they’re seeing an increase in readership – a trend they expect to continue through the provision of “valuable, unique information to farmers and the agri-business sector”. “Plus local on-farm, production focused

articles, regular reports from a network of international contributors and special reports on major issues affecting NZ agriculture. This mix of content is valued highly by farmers.” NZX Agri is a company that leads, not follows, says Williamson. “The TNS survey (NZX Agri Rural Publication Readership) shows our publications (NZ Farmers Weekly, Country-Wide, NZ Dairy Exporter, Young Country, Deer Farmer)


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Rural sections Taking a look around the regions 13

GRAIN GRIPE As prices nosedive, soul searching begins in an industry which should be more profitable

D

IRE prices for grain crops has led to a joint initiative by industry groups to work together to make the industry more profitable. The Grain Marketing Initiative has been presented to arable farmers in most areas of the South Island, and later this month will be presented to North Island Farmers. The initiative is being led by the Foundation for Arable Research (FAR), Federated Farmers, United Wheatgrowers, MAF Sustainable Farming Fund and the Arable Food Industry Council. Like the wool and meat sectors, a lot of soul searching is going on about an industry which should be more profitable. The new MAF Situation and Outlook for Agriculture and Forestry report says that after peaking in 2008, grains prices are expected to settle at slightly higher levels than the mid 2000s. FAR chief executive Nick Pyke said a lot of concern had been expressed that farmers and other parts of the arable industry were not making money. “So they’ve said ‘what can we do’? The expectation of farmers

about the middle of last year was that somebody was going to do something magical and the price was going to go up by $100 a tonne or whatever. That obviously wasn’t going to happen, but that was their expectation. “We said ‘hang on a minute, that’s not realistic. What we can do is look at things that relate to the market and see if there is space to try to improve things’.” He said Federated Farmers had been doing a similar thing. “We agreed to combine our efforts, and since then have engaged consultants.” They had worked backwards from the consumer to identify the key issues the industry was facing and what could be done about them. Mr Pyke said they had identified four major areas for improvement - market information, storage and movement of grain and seed, contracts and consumer information. He said the arable industry had little very little good information available, “whether it’s the amount of crop in the ground, or the amount in silos, sold or unsold”. “Nobody knows the cash price on the day, the futures price or the world pricing. There’s people that have some ideas on all these things, but it’s not collected or collated anywhere for people to use.” Providing sufficiently robust, reliable and independent figures

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FAR chief Nick Pyke, pictured right, says arable farmers had expressed concern that they were not making money. was very important. Mr Pyke said work was needed on the movement and storage of grain and seed, and what sort of contracts should be put in place to give more stability to the industry. As far as getting consumers to buy products made with New Zealand grains, he said he could think of only two products on the New Zealand market guaranteed made with New Zealand grains. “We’ve recognised we can’t improve that until it’s proven we can supply an industry based in Auckland every day of the year with the quality grains that it wants.” Mr Pyke said it was exciting that people from all sides of the industry were now working together to improve the situation. howardkeene@clear.net.nz

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hold clearly differentiated positions.” He says their long-term strategy has always been to deliver farmers the information they need with clarity, in a format and at a frequency that best suits the content – “not to try and be all things to all people in one publication”. “It took a year or two for many advertisers to see the value in NZ Farmers Weekly, but now it’s clearly the No 1 newspaper,” he says. “It’s the only one

30

www.admedia.co.nz

without advertorial, published on a Friday, delivered from Monday with predictive market information where farmers choose to advertise job vacancies and the majority of their real estate.” NZ Dairy Exporter, another NZX Agri title, is showing strong growth, says Williamson. “Since we bought it early last year, upgraded it and turned it into a 100% subscription publication in January this year, readership has increased

4000 [Roy Morgan, 12 months to April 10]. Subscriptions now total 6800, he says. “There are 11,600 dairy herds in NZ so the penetration in such a short time is nothing short of fantastic and confirms how well regarded the publication really is.” Country-Wide is also undergoing a makeover, says Williamson. The northern and southern publications will be com-


rural media

Farmers get around 200 pieces of mail each month Some they make time to read. For independent in-depth research helping you decide which farming publications to have on your next schedule (and which ones to leave off) go to www.nzxagri.com - click on Latest Readership Research

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VOL 32, No. 5

NORTHERN EDITION

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The Chinese business woman fronting a large scale investment in New Zealand dairy farms has defended her chequered business history here. She talked exclusively to Richard Rennie. SPECIAL INVESTIGATION May Wang Land Purchase

was considering land there. She said wealthy individuals were underwriting the bid to buy land in NZ, with $100 million deposited in a NZ bank account on Christmas Eve. Right: Chinese business woman May Wang.

MORE INSIDE: DEAL BACKGROUND P14

Board game reality for Chinese investment in farms? Richard Rennie richard.rennie@nzx.com A centuries old Chinese board game may offer an insight into the spate of farm buying by a Chinese company. The 15-20% premium paid so far by the company has surprised

the real estate sector, but Otago University Asian Institute head, Malcolm Cone, likens the behaviour to the Chinese board game called Go. “It is a game as old as the hills, and few can beat the Chinese at it. The strategy is to squeeze your

opponent off the board by acquiring all his territory. “It does give some insight to Chinese strategic capability,” said Cone. Indications are that serious offshore funds are involved in the farm purchases, and the high prices

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on purchasing,” said Cone. Cone said in China the degree of looseness around securities regulations was tightening as offshore business evolved, but there were still strong elements of “edginess” in business behaviour, he said.

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may signal a deliberate strategy by Chinese investors. “Chinese have been knocked back in the past on deals. Just look at attempts to buy mining rights in Australia. Paying a premium could be a means of them establishing a foothold, and once in could carry

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and information to farmers, when At NZX Agri, we get valuable decision-making. We also provide where they need it, to help their articles and analysis for New news, the latest market information,winning Agri Inform team, Zealand’s agri-industry. Our award time to write articles that take the based at global HQ Feilding, are worth reading. Box 529, Feilding, New Zealand Location: 8 Weld Street, P.O. Farmers Weekly, Country-Wide, Publications: The New Zealand Young Country and VFM Dairy Exporter, The Deer Farmer,

I N D E P E N D E N T

July 2010

CO-OP REJECTS ‘NO’ VOTE CALL 16

citizenship means she is just as entitled to buy property as anyone else. Her company UBNZ Trustee Ltd was the first registered buyer of the NuGen Farms (Robert Crafar) properties bought last month. However, titles were immediately transferred to UBNZ Assets Holdings, of which she owns 80%. The remaining 20% of UBNZ Assets is owned by NZ Natural Dairy Ltd. It is in turn a wholly owned subsidiary of Hong Kong-held Natural Dairy (NZ) Holdings, in Hong Kong. This prompted a “please explain” from the OIO. “We were acting on the advice we had at the time that told us if we carried out the original contract we did not break the law,” Wang claimed. She said her company’s solicitors were working now to file an application for retrospective consent from the OIO.

Wang claimed the OIO would be hard pressed to turn down the application to buy the land, claiming no individuals were involved that should not be in the businesses. However, she refused to comment on Chen’s past. Wang and others were reported flying around Bay of Plenty and Waikato as late as last week in a chartered helicopter looking at properties for potential purchase. She claimed the next stage of investment will include an ultrahigh temperature (UHT) milk plant to process and export product back to Asia. Natural Dairy (NZ) Holdings has already claimed in Chinese press it had a deal with UBNZ, a company it described as a “New Zealand milk processing company”, back in November. This is despite UBNZ having no plant or farms under its full ownership at this point. Wang said the higher-than-current market prices paid for the properties bought so far were justified on the grounds they were based on prices agreed with the vendors in late 2008 when the market peaked. However The NZ Farmers Weekly understands similar high prices have been touted on more recent propositions in western Southland and Wang confirmed the company

B U S I N E S S

FONTERRA: FORECAST ‘RIGOROUS’ 10

May Wang has two liquidated businesses and owes hundreds of thousands to creditors and business partners through a failed property and hotel company, Dynasty Group. She left New Zealand in October 2008, the day after Dynasty Group was liquidated, but returned last year to lead Chinese-backed efforts to buy a large number of dairy farms from the CraFarms group, now in receivership, and more recently, two dairy units owned by NuGen Farms, now in receivership but formerly owned by Allan Crafar’s son Robert. Wang is the NZ face of UBNZ Assets Holdings, the company that has bought at least four Crafar dairy properties here, despite still requiring Overseas Investment Office (OIO) approval. “We went through a very difficult time with Dynasty Group, and my business partner walked away from the business. I became responsible for dealing with all creditors and payments,” she told the The NZ Farmers Weekly from Singapore. Wang claimed to be continuing to repay creditors. The OIO has stated Wang’s business history suggests she could struggle to personally fund the land purchases which are estimated to amount to $25 million. However, Wang claims her New Zealand

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bined and, as of January next year, the magazine will become subscription-only and presented in the same format as NZ Dairy Exporter. Adplus/Tracta surveys indicate a very low level of farmers using the internet as a source of information – perhaps not surprising given the somewhat spotty nature of broadband access. But farmers are a lot more internet-savvy than some would think, says Walker. “Dair y of course has pushed on to that platform. Our research shows that 55% of rural homes are connected to broadband.” The Nielsen Market Intelligence Website Ranking report for July (Rural Category) showed the top site by a country mile was the Met Service with almost

79,089 unique browsers. Way in behind were ruraltrader.co.nz (15,773), farmtrader.co.nz (9950) and dealsonwheels. co.nz (9950). Country-wide.co.nz (4430) rounded out the top five sites. A digital presence is recognised as an essential and complementary part of any media business looking to the future, but current feedback indicates reading a rural newspaper is still the preferred method for farmers to access information, says Rural Press’ Chapman. Though Rural Press is in the early part of its growth cycle, the websites of its weekly and monthly titles allow it to deliver text and images plus audio and video options for readers and advertisers. “Market leader AgTrader recently launched its new site, offering agricul-

tural machinery suppliers an online presence,” he says. The site was developed in consultation with machinery suppliers and early feedback from advertisers and browsers is very positive. So how social are farmers when it comes to media? “The Farming Show’s on Facebook,” says Mackay. “And yes, it’s attracting people and you can’t afford to ignore it.” Although he personally prefers to, leaving the nuts and bolts of Facebook to his younger producer. Launched in February, the page had a following of 517 people by the end of August. “It’s happening but not to an intense degree, and it will increase with younger farmers coming through,” says Walker. Chapman believes that in the niche rural market where media consumption habits are very established, the strongest combination for advertisers to reach their market is primarily through print and the websites representing the mastheads. The challenge for rural media is to wean the big brands away from mass media. “Advertising agencies have a huge influence on the health of the current suite of farming titles and yet many of them don’t fully understand how farmers interact with them,” says Dean Williamson. Their quarterly surveys from TNS give media buyers the independent guide they need as to how farmers interact with the various farming publications, he says. “And they don’t even have to pay for it!” Delivering to a niche market gives cut through mass media can’t deliver without

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considerable wastage, says Chapman. “Advertising a product to a big, but nonrelevant market is a waste. Advertising to a small but relevant market is a good marketing decision.” For small regional rural publications, the challenge is even greater, says Ken Roy, at Southland Rural Life (circ 21,000). “Farmers see it as their local paper; it’s fully read each fortnight.” But, he says, while area reps for big national brands recommend the paper – and others like it across the country – as an advertising vehicle, “they still go through national rurals and daily papers, satisfied their advertising messages will get through to the farming population”.

in the heartland

rural media

Adplus becomes Tracta For more than 19 years Adplus has been a leading name in the heartland marketing world, predominantly in the Hawke’s Bay. Being in the advertising business and independent for so long is no mean feat. But times and clients’ needs are changing, so Adplus is embarking on a major step-change – rebranding as Tracta, the Heartland Agency. “The heartland market is one of our great strengths,” says GM Olly Van Arts. “We also see it as one of the major weaknesses of the big city agencies, so we’re rebranding not just to signal our focus on the heartland market, but to also announce our own dynamic changes. “Recently we hired internationally recognised CD Chris Howden, who with myself and MD Andy Walker will be driving the new Tracta.” Tracta’s at 6 Herschell St, Napier, 4140; ph 06 835-7684; www.tracta.co.nz; email firstname@tracta.co.nz.

NEW NAME. NEW WORK. MAGPIES vs WAIKATO MCLEAN PARK

SATURDAY 11TH SEPTEMBER 2.35PM

0800 224 224 WWW.TICKETDIRECT.CO.NZ VISIT A TICKETDIRECT OUTLET* AT NAPIER MUNICIPAL THEATRE, PETTIGREW GREEN ARENA OR HAWKE’S BAY OPERA HOUSE. (*SERVICE FEE APPLIES)

MAGPIES vs SOUTHLAND MCLEAN PARK SUNDAY 22ND AUGUST 4.35PM

0800 224 224 WWW.TICKETDIRECT.CO.NZ VISIT A TICKETDIRECT OUTLET* AT NAPIER MUNICIPAL THEATRE, PETTIGREW GREEN ARENA OR HAWKE’S BAY OPERA HOUSE. (*SERVICE FEE APPLIES)

6 TVCs, 2 virals, 6 print ads and posters all for under $30K. “The slickest looking campaign we’ve ever had.” Jay Campbell, Commercial Manager, Hawke’s Bay Rugby Union.

MAGPIES vs TARANAKI MCLEAN PARK

SATURDAY 25TH SEPTEMBER 5.30PM

0800 224 224 WWW.TICKETDIRECT.CO.NZ VISIT A TICKETDIRECT OUTLET* AT NAPIER MUNICIPAL THEATRE, PETTIGREW GREEN ARENA OR HAWKE’S BAY OPERA HOUSE. (*SERVICE FEE APPLIES)

CONTACT OLLY@TRACTA.CO.NZ TO KNOW MORE. THE HEARTLAND AGENCY

Ad Media September 2010

33


research

By the

numbers Carlene du Toit talks to research companies about growth, the rise of the boutique shop, methodologies, tools, creativity, the role of the consumer … and the future.

I

n today’s economic climate businesses are not prepared to launch anything risky; they want to be assured of success, says Chris Vaughan of Colmar Brunton. “So there is more of a focus on good research as an input to the product, service and communications development process.” And, according to the people we spoke to for this article, their faith in research is being rewarded. ”Clients are looking for consultants who can add value throughout their business, bringing the customer perspective to the boardroom,” says Athena Marketing’s Leonie Lander. “As a small agency we can be proactive in customising research methods and budgets to reflect our clients’ changing circumstances, enabling them to get more for less. “One of the solutions we offer is to help them derive insights from their own internally sourced information by layering it with other information to provide additional customer perspectives.” “It’s all about strategy, implications and growth,” says Amber Coulter of The Research Agency. “If research isn’t growing business, what’s the point? “The move generally is away from larger companies pushing rigid research ap-

34

www.admedia.co.nz

proaches and models. If it looks as though a research company is trying to sell you a model, you should probably be worried.” There is a new breed of small to medium sized boutique agencies that are doing really well, she says. Like Lander she sees a shift taking place in the industry. “Research is no longer about tools or techniques, but about the application of insights to business decision-making. The industry is finally growing up as a proper business consultancy discipline.” Are new methodologies the answer? No, not as such, is the consensus. What is important is the research thinking applied to the data obtained. “The key things clients have to look for are the degree of customisation available and how sentiment is determined – no-one should accept black-box answers for their marketing,” says Synovate’s Jonathan Dodd. Coulter points to a “proliferation of new research tools and techniques in the online space known as Research 2.0”. These include online focus groups, online communities, blogs and digital engagement sites. But at the end of the day the tools in themselves can’t achieve much, it comes back to the researchers who use them. “One interesting phenomenon is the sheer volume of data collected, often by

clients themselves,” she says. “They often have so much data they are not sure what to do with it or what it means. This provides the opportunity for good research to come in to the organisation and make magic with it.” The recession has prompted clients to look outside their traditional markets and media for new customers and new ways to connect with them, says Vaughan, and research has responded with more immersive, real-time products and faster turnarounds. “There is a greater emphasis on synthesising data from lots of sources and pulling it together to deliver insights. “Air NZ’s Nothing to Hide campaign is an excellent example of the successful integration of social media research findings with findings from other media.” What is important, he says, is to focus on telling stories with research findings rather than just dumping data. And Synovate’s Debra Hall puts it this way: “All methodologies are simply tools and do very little to make research either better or worse. Great research comes from great questions, asked of a ‘good enough’ survey sample, to deliver data which is expertly interpreted – not just analysed – to help clients move their brand forward.” Does research stifle creativity? “It depends,” was the stock response. “Research and agency strategists can partner each other in developing a great brief for creatives says Buzz Channel’s Mary Vance.“However there comes a time when researchers should take a step back, leaving creatives alone to do what they do best.


Blogs constantly about sport Blogs constantly sport and motor racingabout but won’t and motor racing but won’t buy a cellphone buy a cellphone

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Exercises four hours a day Exercises day but is her four localhours pizzaashop’s but is her local pizza shop’s most frequent customer most frequent customer

What’s What’s their their secret? secret?

Won’t talk to his parents but Won’t talk10,000 to his parents but sent over texts in the sent over 10,000 texts in the past week past week

Great Great brands brands know know things things about about their their customers customers that that no no one one else else does does Colmar Colmar Brunton. Brunton. The The secret secret behind behind our our greatest greatest brands. brands.

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research

indie insights

“Brilliant decisions aren’t made by committees and brilliant creative isn’t the product of research.” Hall shares this view:“The relationship between researchers and creatives has been a stress point, and insensitivity and arrogance are to blame for this. And, yes, I’m talking about researchers here – not creatives. “Too many of the methods used by researchers are focused on judging the creative output rather than on what can be added to the creative process.” But, says Colin Ingram of Needscope International, it works both ways. “While respondents and researchers are not experts on creative, nor are creatives always experts on consumers, the purpose of advertising is not to win creative awards nor to be noticed or to entertain.

“It would be good to achieve all these things in the process but the end goal is to drive the brand. Good creative idea is not the same as good advertising.” He cautions against bending the strategy to fit the creative, resulting in the advertiser funding somebody’s ‘neat’ idea. Lander stresses the importance of ensuring, on the basis of research, that the agency develops an appropriate strategy from the outset. “The more clarity creatives have, the more confidently they can pursue concepts that push the boundaries resulting in bolder, more daring and indeed more creative ‘creative’. “Having shaped the strategy, research should then revisit it at several points of the creative process.” Of paramount importance, she says, is the

reality check. “Take baby food for example. Chances are most marketers and agencies will not be buying it or eating it. The advertising has to engage the mother.” Can research predict the success of a campaign? “This is not where research is most effective in the advertising process,” says Coulter. “Simply testing a finished ad just before it goes to air is often a waste of time as this is too late in the process to change direction.” Debra Hall points out that market research is not about prediction. “Good research will tell you whether the advertising is communicating the desired message to the right people and whether those messages connect with consumers in a way which drives them closer to the brand. There is no pass/fail mark.”

Shop talk Nielsen NZ has launched a powerful new software tool, Virtual Shopper, that sets up an on-screen store, and lets advertisers and marketers test product preferences and shelf layouts among shoppers. Virtual Shopper can replicate any type of shopping environment – supermarkets, convenience stores, banks, liquor stores or malls.

THE VIRTUAL SHOP: MEASURES CONSUMER RESPONSE TO IN-STORE EXECUTIONS.

Respondents shop just like they would do in a normal store, walking around the shelves while

advertisers to measure display and promotional impacts from

they click the products they’re interested in. The system also

‘in-store’ TV screens, radio, and retail displays, capturing

gives them a 3D zoom to read product information, like nutri-

recall and specific diagnostics.

tion labels, country of origin, and alcohol content.

point of sale, range, prices and product choices/price and

can ask questions at point of purchase about why a product

packaging options, including scenarios that the retailer may

is chosen.

not let you trial in market or those that may be costly to trial

The process starts with a Nielsen panel respondent com-

in real life.

pleting a short pre-shop online survey. This survey links

In virtual shops, users can evaluate decision-making by

directly to the virtual shop so respondents can be asked

understanding how shoppers are purchasing products and

about their choices.

what actions they take when their chosen product is not

Having conducted validation tests, Nielsen confirms that a

available. This allows the user to build behaviourally based

virtual store is very close to reality; consumer spend figures

decision-making hierarchies that do not rely on consumers’

in the virtual store are in line with actual spend, and purchas-

memory of their behaviour or understanding of why they

ing across category segments and brands is consistent when

behaved the way they did.

comparing virtual shopping and real-life shopping. Virtual Shopper also allows researchers, manufacturers and

36

The tool also allows you to test multiple changes in layout,

The software records how the respondent is shopping, and

www.admedia.co.nz

To learn more about Virtual Shopper, contact Nielsen’s NZ shopper research expert, Jemma.Lightfoot@nielsen.com.


Want to understand and inuence your shoppers?

You can with Nielsen Shopper Understand how you can inuence the purchase behaviour of your target shopper Nielsen offers unique, integrated solutions to help you understand the path to purchase from pre-store inuencers, channel choice and shopper missions, through to in-store decision making. We combine insights from a variety of Nielsen information sources including retail sales data, purchasing insights from our 2,500-strong household shopper panel, and shopper research conducted through either Virtual Stores or traditional surveys. Just Ask Nielsen how we can arm you with shopper insights (with proven ROI) that you can use to better engage at the retailer trading desk.


Can research prevent disaster? Vance of Buzz Channel, with its focus on getting answers quickly, cites two examples where research has done just that. The Australian-based owners of an iconic NZ retail brand decided to cut down on costs by canning an annual event the brand was famous for. Shocked to his core, the marketing manager asked for a quick survey of the response to this bombshell.The result clearly revealed that the cost of not running the ad would have far outweighed the cost of running it. A retailer who had decided to do some risqué advertising had put the backs up of a particular social conscience group. Once again it was quickly revealed that this group was not representative of your average Kiwi who would respond well to the tongue-incheek tone of the campaign. Where is the industry heading? With social media and other online means of communication, the role of the consumer has changed for ever. Far from being a passive recipient of a brand, today’s consumer is highly vocal and insists on direct

close to reality

research

Stand and deliver Marketing strategy & insights company Big Picture (www.bigpicture.co.nz) is growing, despite the downturn, and is employing more staff. “Our modelling and analytics area seems to be on a particular roll,” says Richard Bourke who, with Carl Cato Symonds, owns NZ’s biggest independent research company. “We are about insights that inspire and love to get clients thinking about their businesses, brands and customers in fresh and illuminating ways. We believe that the delivery/communication of an insight is as important as the insight itself otherwise it’s just a smart well-kept secret.” However, Bourke says clients are wanting more for less and the type of research being done is less exploratory. “They are getting rid of the nice-to-haves which is unfortunate because it is this type of work which can sometimes result in a breakthrough. “We are still doing a lot of innovation/npd work, however, which is Big Pictures’ speciality.”

involvement, even shaping the brand in the process. This has major implications for research and the entire marketing industry. “We believe this is an incredibly exciting time for the industry – never before has the

‘Brave and Innovative research’ Athena focus on innovative and effective research, delivering value A smarter approach to the gathering, analysis and presentation of information (Judging panel, Marketing Research Effectiveness Awards)

Marketing Research Effectiveness Awards 2010 Platinum Award – Consumer Products 2010 Gold Award – Business to Business 2008 Gold Award – Advertising & Media

Athena Marketing Research www.athena-research.co.nz leonie@athena-research.co.nz 64 9 4191533 021 637296

38

www.admedia.co.nz

consumer’s voice been such an important input into business strategy,” says Colmar Brunton’s Vaughan. “It is up to us to us now to find innovative and creative ways in which to deliver this consumer insight to our clients.”


interactive bytes

Change of guard at the IAB

EVANGELIST: LIZ FRASER.

I

n an industry as fast growing and dynamic as online advertising the need for an industry body to help create a sense of common direction and purpose is vital. And in the NZ online media world that body is the NZ Interactive Advertising Bureau with 100 publisher and agency members. Lately it has been doing a great job. The IAB’s current strategy statement is “to drive the online advertising industry to become the third-largest medium by 2012”. And if the latest figures can be taken as a guide this objective may even be achieved a little before time. The latest IAB/PWC online spend report found Q2 2010 ad sales topped $62.5 million (up 13% on Q1 2010 and 19% on Q2 2009). So with an annualised online spend of well over $200 million, online advertising could be seriously challenging magazines and radio for that third spot as soon as 2011. The IAB was formed in 2005 out of the OPG (Online Publishers Group), an organisation set up in 2001 by the big players at the time. For the first few years its main role was to organise monthly networking drinks. Then about a year ago the IAB markedly stepped up its game.Alisa

By Alastair Thompson

Higgins was appointed marketing manager and has since been very busy organising educational activities, distributing news to members and organising the monthly BollyAwards for excellence in interactive advertising. Monthly libations which had fallen off have been successfully revived as the Digital Social Club. At the helm during this period was Michael Gregg, the former Trade Me advertising chief who has now retired to the Marlborough Sounds. His successor is former MSN chief Liz Fraser (previously IAB vice chair), and her new vice chair is Yahoo!Xtra gm Laura Maxwell-Hansen. Fraser says her No 1 priority in her new position will be to drive member value. She intends to do this via a three-pronged strategy of enhancing industry knowledge, promotion & evangelisation, and collaboration – coordinating industry initiatives. The role of the IAB, she says, is to provide members with economies of scale.“Collectively, we can do things bigger and better than if we were to try and do things by ourselves,” she says. The most significant industry initiative on her agenda is a review of the use of Nielsen as the default provider of demographic data. In coming months Nielsen will be considered alongside alternatives like Comscore. MSN uses both, and Fraser says the IAB will be closely watching developments in Australia where their IAB will be shortly conducting a tender for industry measurement metrics. The IAB’s involvement she expects will be educative about the options rather than prescriptive. Another highlight for 2011 will be an industry event bringing together international speakers and the NZ advertising community to discuss the future of online advertising. “We want to attract the right audience – those that control ad budgets.” Fraser is enthusiastic about the year ahead and cautions that while the No 3 spot could come next year, it’s far from a done deal. Once the GST advertising bubble is over there could yet be some more difficult times ahead for the industry. “These are great times for digital, but they’re not without challenges,” she says. For Fraser, one of those challenges will be to meld the twin responsibilities of managing her own sales strategy at MSN with her role as an advocate for the interests of all IAB members. For her the path forward is clear: “Whenever we decide to do something, we always come back to this mandate ... is this the best decision for our members?” InterActive Bytes is compiled for AdMedia by Scoop.co.nz, NZ’s leading indigenous online news agency attracting a readership of 400,000 unique visitors a month. Send feedback to Co-Editor Alastair Thompson. (alastair@scoop.co.nz).

Ad Media September 2010

39


o

EducAt i n

industry courses 2010

& Training Guide COURSES:

individually and in project teams on a range

BACHELOR OF COMMUNICATION STUDIES

of briefs including live projects for external

– TELEVISION MAJOR

clients. Students also research, develop, write,

Suitable for: Those who have the ability to

design, manage and produce their own self-

think creatively, laterally and independently.

initiated projects.

The AUT BCS Television offers a thorough grounding in all aspects of TV production.

BACHELOR OF COMUNICATION STUDIES

Qualification: BCS

– ADVERTISING CREATIVITY MAJOR

Private Bag 92006, Auckland 1142

Cost: Approximately $4842

GRADUATE DIPLOMA IN ADVERTISING

School of Communication Studies,

NZQA registered: Yes

CREATIVITY

AUT Tower,

Duration: 3 years Available: Full-time

Suitable for: Those who want to learn how to

Level 16, Corner of Wakefield and Rutland

Prerequisites: Contact for details

put together a professional-standard portfolio

Streets, Auckland

Key tutors: Diane Musgrave, Eileen Lavranos,

of work that is essential for getting a job in

Ph: 0800 AUT UNI (0800 288 864)

Julian McCarthy, Gilly Tyler, James Nicholson,

an advertising agency’s creative department

Fax: 0-9-921 9987

Danni Mulrennan, Jim Marbrook,

or for obtaining work in a creative marketing

Email: courseinfo@aut.ac.nz

Format: On campus

communications company.

Website: www.aut.ac.nz

Description: Television major students research,

Qualification: BCS or Graduate Diploma in

write, direct, production manage, and edit their

Advertising Creativity

KEY PERSONNEL:

own work as well as assisting other students

Cost: Approximately $4842

• Diane Musgrave, Television, Curriculum

through presentation, camera operation and

NZQA registered: Yes

Leader, School of Communication

sound recording. Students also undertake an

Other accreditations: D&AD (International);

Studies, Faculty of Design and Creative

advanced television studio production.

CAANZ (NZ)

AUT

Duration: 3 years (BCS); 1 year (Graduate

Technologies, diane.musgrave@aut.ac.nz BACHELOR OF COMMUNICATION STUDIES

Diploma)

Curriculum/Programme Leader, School of

– DIGITAL MEDIA MAJOR

Available: Full-time (BCS); Full-time and Part-

Communication Studies, Faculty of Design

Suitable for: Students interested in digital

time (Graduate Diploma)

and Creative Technologies,

moving image production/post-production

Prerequisites: Contact for details

paul.white@aut.ac.nz

and design, including compositing, animation,

Key tutors: Paul White, Jane Berney, Dave

motion graphics and visual effects. Also

Brown

Curriculum/Programme Leader, School of

suitable for students interested in creating

Format: On campus and competitive, short

Communication Studies, Faculty of Design

moving image content for broadband, mobile,

internship

and Creative Technologies,

interactive and other new screen media

Description: Students have the chance to

gfrommhe@aut.ac.nz

forms.

work on live briefs, to write and design real

Qualification: BCS

ads for real products. There may also be the

ORGANISATION STATEMENT:

Cost: Approximately $4842

opportunity for some students’ work to be

The demand for graduates of the AUT

NZQA registered: Yes

published in the media.

University is always high because our

Duration: 3 years

standard is high. AUT’s Communication

Available: Full-time

BACHELOR OF COMMUNICATION STUDIES

Studies courses are designed in consultation

Prerequisites: Contact for details

– JOURNALISM MAJOR

with media and communication professionals;

Key tutors: Ross Brannigan, Greg Bennett

Suitable for: Those seeking to become

they give a thorough grounding in theory and

Format: On campus

professional journalists, who wish to study

practical skills.

Description: Digital Media students work both

journalism as it is practised across all media

• Paul White, Advertising Creativity,

• Gudrun Frommherz, Digital Media,

40

www.admedia.co.nz


industry courses 2010

(newspapers, magazines, TV, radio, online). Qualification: BCS (includes National Diploma in Journalism) Cost: Approximately $4842 NZQA registered: Yes Other accreditations: New Zealand Journalists Training Organisation Duration: 3 years Available: Full-time Prerequisites: Contact for details Key tutors: Martin Hirst, Greg Treadwell, David Robie, Allan Lee, Allison Oosterman, Helen Sissons Format: On campus Description: Study includes newspaper editing and design, bi-cultural reporting,

to confidently enter the industry at various levels. Other relevant information: The advertising programme has been running for over 20 years with a considerable number of graduates employed nationally and internationally as senior creatives, communication strategists and Creative Directors in advertising agencies as well as associated industries. We maintain close links with the advertising industry, creatives being involved in various levels of the programme to both critique and provide expertise. Massey also offers opportunities for postgraduate study through the Master of Design and PhD degrees.

Key staff: Heather Rennie, Course Leader Description: Students explore and conceptualise design solutions using colour, type, composition, imagery and innovative design techniques to produce modern visual communications. Students combine their creative talent with technical skills and tools using the Adobe Creative Suite (CS4: Photoshop, InDesign, Illustrator and Acrobat). Other relevant information: Students final design portfolios are a collection of their most accomplished work that displays their strengths and versatility as a graphic designer.

media law and ethics, public affairs reporting, broadcast journalism, magazine journalism,

DIPLOMA OF CREATIVE ADVERTISING

photo journalism, new media journalism, and

Qualification: Diploma of Creative

news production. Graduates also qualify for

Advertising (NZQA Level 6)

the National Diploma in Journalism.

Cost: $8970 (incl course related costs and GST – subject to change) NZQA registered: Yes Course contact: Darron Leslie Email: darron@mediadesignschool.com Phone: 0-9-303 0402 Fax: 0-9-303 0646 Website: www.mediadesignschool.com

Massey University Institute of Communication Design Qualification gained: Bachelor of Design, Visual Communication Design Major, specialising in Advertising Design Course contact: Euan Robertson Email: E.B.Robertson@massey.ac.nz Phone: 0-4-801 2794 Fax: 0-4-801-2799 Website: http://creative.massey.ac.nz Suitable for: Those with compelling ideas that want to engage in the expansive field of advertising creativity. Prerequisites: University entrance plus a portfolio of work. Duration / Enrolment: 4 years Key staff: Euan Robertson, Steven Smith Description: Papers offered in this programme concentrate on the cultivation of innovative ideas and strategic thinking. Practical creativity and theoretical frameworks are studied concurrently as students engage in all aspects of advertising. Students are exposed to a wide variety of live briefs, theoretical assignments and media selections. Students majoring in advertising often supplement their course of study with papers offered by other disciplines within the College of Creative Arts. Students graduate with portfolios that enable them

Suitable for: Individuals who are

Media Design School

passionate about pursuing careers as advertising creatives – either as a

DIPLOMA OF GRAPHIC DESIGN

copywriter or art director.

Qualification: Diploma of Graphic Design

Prerequisites: Relevant portfolio and task

(NZQA Level 6)

sheet must be submitted with application.

Cost: $8170 (incl course related costs and

Duration / Enrolment: 40 weeks full time.

GST – subject to change)

Number of spaces: 22 per intake.

NZQA registered: Yes

Work experience offered: Students work

Course contact: Darron Leslie

on live briefs provided by New Zealand’s

Email: darron@mediadesignschool.com

top agencies throughout the duration of

Phone: 0-9-303 0402

the course.

Fax: 0-9-303 0646

Key staff: Kate Humphries, Course Leader

Website: www.mediadesignschool.com

Description: The energy, the buzz and the

Suitable for: Individuals who are

creative disarray of The AdSchool and its

passionate about pursuing careers as

environment is a powerful accelerator and

graphic designers or Mac operators for

contributor to the award winning

design studios, ad agencies, publishing

concepts developed by students. The

houses etc.

proven success of our graduates is

Prerequisites: A design/art background

primarily testament to their ability to ‘think

and basic computer knowledge. A

around the corner’ and to break rules.

visual portfolio must be submitted with

Other relevant information: The Creative

application.

Advertising (The AdSchool) course at

Duration / Enrolment: 36 weeks full time,

Media Design School is a revolutionary

72 weeks part time.

course based entirely on the incubation

Number of spaces: 20 per intake (approx)

and development of great ideas, and is

Work experience offered: During Studio

fully integrated with New Zealand’s top

Week students work with New Zealand

creative agencies.

charities to create design projects.

Ad Media September 2010

41


industry courses 2010

DIPLOMA OF VISUAL EFFECTS AND

Website: www.mediadesignschool.com

MOTION GRAPHICS

Suitable for: Individuals who wish to

Qualification: Diploma of Visual Effects and

pursue careers as web designers, Flash

Motion Graphics (Level 6)

developers, interactive producers,

Cost: $9250 (incl course related costs and

interactive designers or multimedia

GST – subject to change)

designers.

NZQA registered: Yes

Prerequisites: A design/art background

Course contact: Darron Leslie

and intermediate computer knowledge. A

Email: darron@mediadesignschool.com

visual portfolio must be submitted with

Phone: 0-9-303 0402

application.

Fax: 0-9-303 0646

Duration / Enrolment: 40 weeks full time

Website: www.mediadesignschool.com

Number of spaces: 21 per intake (approx)

Suitable for: Individuals who wish to

Key staff: Mason Herber, Course Leader

pursue careers as motion graphics

Description: The Diploma of Digital Media

designers, 2D animators, visual effects

focuses on the integration of highly visual,

artists, compositors, rotoscope artists,

innovative, digital design with functional

effects editors etc in film, postproduction

and accurate development tools,

or broadcast media.

technologies and applications.

Prerequisites: A creative flair for visual

The qualification has been developed

storytelling and an intermediate level of

to reflect the very latest in web-based

computing knowledge. A visual portfolio

concepts, mark-up, scripting and

must be submitted with application.

programming languages, and the

Duration / Enrolment: 40 weeks, full time

most up-to-date software applications.

Number of spaces: 20 per intake

Other relevant information: Final student

Work experience offered: There is frequent

portfolios demonstrate their ability to

opportunity for students to work on

develop highly innovative interfaces

live projects such as title sequences, TV

and engaging digital content, as well as

commercials, music videos and VJ projects.

technical proficiency in the delivery of

Key staff: Stephen Dorner, Course Leader

modern digital solutions.

Description: This qualification combines

Prerequisites: Depends on the level of the course and the software being used. Some courses do require students to have an understanding of the software before the course begins. Duration / Enrolment: Day, evening, and weekend courses are available. Course lengths vary from one day to multiple sessions. Enrolment can be made online at natcoll.ac.nz Numbers of spaces: Classes limited to around 15-20 students. Work experience offered: Students do get the opportunity to work on industry projects. This depends on the course and software being taught. Key staff: Danny McNeil, Robert Stevens, Michael Lachica Description: Natcoll offers a range of purpose-designed professional development courses in digital design. We also offer customised corporate training tailored to your specific needs. Our staff can work with you to design the programme you want for yourself or your staff. We have competitive fees, flexible hours and highly qualified tutors. Visit natcoll.ac.nz for a full list of courses. Other relevant information: We are able to come to your premises for one-on-one or group training. Alternatively, you may want to take advantage of our wellequipped campuses.

the specialist skills of post-production with an overview of the pre-production and production process to produce highly creative, compelling content for advertising, television, entertainment and the internet. Students utilise industry standard tools including Premiere Pro, Adobe After Effects and The Foundary’s Nuke compositing software. Other relevant information: Final student DVD showreels demonstrate comprehensive development skills and production processes – from conceptualisation to completion. DIPLOMA OF DIGITAL MEDIA Qualification: Diploma of Digital Media (NZQA Level 6) Cost: $8860 (incl course related costs and GST – subject to change) NZQA registered: Yes Course contact: Darron Leslie Email: darron@mediadesignschool.com Phone: 0-9-303 0402 Fax: 0-9-303 0646

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Natcoll SHORT COURSES IN DIGITAL DESIGN Cost: $155 - $500 depending on the type of course and course duration. NZQA registered: Yes Course contact: Contact one of our short course co-ordinators: Christchurch campus – Danny McNeil 0-3-363-2139, danny.mcneil@natcoll.ac.nz Wellington campus – Robert Stevens 0-4-801-2028, robert.stevens@natcoll.ac.nz Auckland campus – Michael Lachica 0-9-303 3120, michael.lachica@natcoll.ac.nz Or freephone 0800 66 55 44 Website: www.natcoll.ac.nz Suitable for: People wanting to upskill or learn new skills for professional development. Courses are also suitable for people wanting a new direction with their career.

Open Polytechnic Qualifications: • Bachelor of Applied Science, Communication Major • Bachelor of Arts, Communication Major • Diploma in Communication Studies • Diploma in Strategic Communication • Diploma in Public Relations and Communication Management • Certificate in Technical Communication • Certificate in Web Design & Writing • New Zealand Diploma in Business • Graduate Diploma in Management • Graduate Certificate in Management Cost: Fees vary. Please check our website or call us. NZQA registered: Yes Course contact: Customer Services Email: customerservices@openpolytechnic. ac.nz


industry courses 2010

Freephone: 0508 650 200 Fax: 0-4-913 5308 Website: www.openpolytechnic.ac.nz

Communications Managers, Marketing

Suitable for: People wanting a career in

Duration: Half day

Communications or those already

Number of spaces: Limited

working in this area but wanting a formal

Key staff: Simon Young, Presenter

qualification or to build on their existing

Description: Online communication has

skills.

changed forever; it has transformed

Prerequisites: Entry requirements vary.

thanks to two-way technologies (think

Check our website or call us for details.

blogs, Twitter and social media sites)

Duration / Enrolment: Courses are

that give everyone (and anyone) a voice.

trimesterised. Studying part time it is

Influence no longer solely belongs to

possible to gain a first qualification in 1-2

those with money and power; it can come

years.

from anyone with a community and a

Work experience offered: As a flexible

good story to tell. The Social Media 101

education provider Open Polytechnic

Short Course gives you a 30,000-feet view

helps students combine work and study.

of the changing face of communication

Description: You can start with a

and how it affects you and your

certificate, add courses to get a diploma,

organisation. To engage in this new world

then continue on to a full degree. Or you

of communication, businesses need

can choose to specialise with a diploma

key skills and competencies. The Social

or certificate course.

Media 101 half-day Snapshot begins this

Other relevant information: Open

journey.

Polytechnic specialises in helping people

Other relevant information: Participants

to fit study into their lives through

will gain an understanding of the social

flexible, open learning.

media landscape in New Zealand and get

Organisation statement: Open Polytechnic

to know the unwritten culture rules of

believes you don’t have to stop your life

social media. Participants will have the

to start a new one and that the more skills

beginnings of a social media ecosystem,

you can learn, the more opportunities you

which your company can use to listen,

can make for yourself.

learn and engage with your community

Managers, HR directors and anyone for whom communication is important.

online.

The University of Auckland Business School Short Courses SOCIAL MEDIA 101 Cost: $495 +GST Course contact: Lisa Hosker Email: L.hosker@auckland.ac.nz Phone: 0800 800 875 Fax: 0-9-308 2369 Website: www.shortcourses.ac.nz Suitable for: CEOs, board members,

KEY ACCOUNT MANAGEMENT Cost: $1995 + GST Course contact: Lisa Hosker Email: L.hosker@auckland.ac.nz Phone: 0800-800 875 Fax: 0-9-308 2369 Website: www.shortcourses.ac.nz Suitable for: Anyone responsible for major or key accounts. Duration / Enrolment: Two days Number of spaces: Limited Key staff: Doug Robertson, Presenter Description: A top presenter and practitioner will show you how to maintain, strengthen and grow relationships with existing key accounts. It discusses how to develop cooperative strategies to ensure mutually profitable, ongoing business while effectively locking out the competition. Other relevant information: Learn how to become and remain the “supplier of choice” with proven methodologies and theory. The theory covered uses

an interactive approach including case studies, class discussion and worked examples. PROJECT MANAGEMENT Cost: $1895 + GST Course contact: Lisa Hosker Email: L.hosker@auckland.ac.nz Phone: 0800-800 875 Fax: 0-9-308 2369 Website: www.shortcourses.ac.nz Suitable for: Anyone responsible for managing businesses or projects of any kind. Duration / Enrolment: Two days Number of spaces: Limited Key staff: Rob Verkerk, Presenter Description: A top presenter and practitioner will show you how to use techniques and methods to organise, plan, direct and control a project, to achieve an agreed outcome within time and on budget. Other relevant information: Learn “stateof-the-art” project management practice and theory, as used by the Project Management Institute. The theory covered uses an interactive approach including case studies, class discussion and worked examples. STRATEGIC PLANNING Cost: $1895 + GST Course contact: Lisa Hosker Email: L.hosker@auckland.ac.nz Phone: 0800-800 875 Fax: 0-9-308 2369 Website: www.shortcourses.ac.nz Suitable for: Managers and senior managers involved in strategic planning at a departmental or company-wide level. Duration / Enrolment: Two days Number of spaces: Limited Key staff: Bryan Travers, Presenter Description: More so than ever before, it is important in this economic climate to be forward-planning so your organisation can stay on top. This Top 10 Short Course provides you with the strategic thinking skills and techniques to successfully implement a one-page strategic plan that’s aligned with the mission, vision and values of your organisation. Other relevant information: Fundamental strategic planning methodologies and case studies will be covered that are timeless and generic to all organisations.

Ad Media September 2010

43


social media

Incite &

prosper

BONNIE BRADLEY: FACEBOOK IS A RELATIONSHIP – NOT A CAMPAIGN TACTIC.

44

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social media

Is your brand destined for the Facebook graveyard? Tequila\ strategist Bonnie Bradley reports ...

F

or the past few years, brands have been cutting their teeth on Facebook – with mixed results. The investment in most cases for brands, businesses and agencies hasn’t been huge, and the objectives relatively soft. But a new development, released earlier this year in February, has raised some fresh challenges. And, if my theory is correct, should signal serious alarm bells for marketers. The facts: The main interface for Facebook users is The Wall, historically a feed of live news from everyone you are connected to. In February 2010 Facebook made a change. It introduced a new version of the news feed. All Facebook users now have two versions: Top News (posts that Facebook deems most interesting to you) and Most Recent (a chronological feed of all news from all connections). Top News is the default view. How does Facebook decide what is most interesting? In its words, “The News Feed algorithm bases this on a few factors: how many friends are commenting on a certain piece of content, who posted the content, and what type of content it is (eg, photo, video, or status update).” We know that Facebook does monitor feedback as a percentage of interactions to impressions on each post as you can review this within Facebook Insights. The theory: We now have a Facebook ‘black box’ to navigate. Let’s look at the factors of their algorithm ... • How many friends are commenting on a certain piece of content. That’s pretty straightforward. It’s post specific. It looks to the wisdom of crowds to determine

interest. For some reason Facebook doesn’t explicitly mention ‘sharing’ or ‘liking’ content. However, one would hope this also contributes to the overall rating of the post or at least to the brand’s reputation*. • What type of content it is. This would allude to the fact that there is a hierarchy of post types. I am yet to find any explanation of this hierarchy in Facebook FAQs but you could make some assumptions. For example, if Facebook’s objective is to engage and entertain for as long as possible then video and photos/images could be rated more highly than standard posts. I would also hope that despite the content format enough ‘comments’ would supersede any post type handicap. Most concerning however, is this clause: Who posted the content? This is scary. Facebook is evaluating your connections. No longer is there a flat playing field of friends and groups. So if Facebook can’t evaluate that connection on how well you actually knew each other in school, or how often you hang out on weekends it can only make a decision about your relationship based on the data it has recorded. This could be any or all of the following: • Mutual friends. • How often I interact with your posts. • How often I connect with you via chat, messages, photo tags or events. • When I last connected with you. And arguably (except for the photo tags and live chat) the same applies to brands’ relationships with users. Why so alarmist? Because if brands have been using posts as an opportunity to push a broadcast message and thinking that the only repercussion was an ‘unlike’ or a negative comment, then you might have just shovelled yourself into the ‘most recent news graveyard. And if you have been pushing out content, it was probably designed more for impact than to elicit response. Subsequently your content-to-comment ratio is probably looking pretty bleak. Which Facebook could now read as ‘uninteresting’ to your followers. Ouch! A very small percentage of time is spent seeking out content on Facebook com-

pared to engaging with the wall. And if Facebook has decided you are not worthy of ‘top news’ then your posts are largely invisible to your fans. All that effort and money has been wasted. What do I need to do? Unfortunately it’s not clear if your post has made it into people’s ‘top news’ or not. Impressions of a post can be analysed against fan base to give you a steer but probably safest to assume the worst and focus on improving results: • Review your interaction and impression results post by post. Analyse what worked and why. • Determine the benchmark for interaction and impression results to date and aim to double it over the next few months. • Review your content calendar and either rework or remove filler-style planned posts. Can you get back in the game? A user can manually add a friend or brand into your top news feed, effectively overriding the Facebook algorithm by adjusting the settings at the footer of the feed. But the challenge lies in getting their attention, asking them to make the change, explaining the process, and then having any visibility into whether they have done it or not. That’s a very large mountain to climb. My recommendation: Create content that is engineered to incite response. Focus on acquisition of new ‘likers’ in the hope that their engagement with your new approach to content may influence others who have dropped off. So best of luck and remember it’s vital that you concentrate on earning your place within ‘top news’. Facebook is a long-term relationship, not a campaign tactic, and it’s the agencies or marketers who acknowledge that who will prosper. *It is important to note that Facebook insights plot “likes” and “comments” against individual posts and not any other type of interaction which would highlight their particular importance to feedback weighting.

– bonnie.bradley@tbwatequila.co.nz

Ad Media September 2010

45


youngguns

Co enso Spotlight on

By Kristian Barnes

2

ENVIRONMENT WAIKATO WINDSCREEN FLYER (2004), LEO PREMUTICO.

MINI CORNERS (2004), TIM HUSE & GUY ROOKE.

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010 is YoungGuns’ 10th birthday, and its mantra of ‘Almost everything that is great has been done by youth’ is reflected in the quality of the work by young and emerging talent globally over their first decade – and no more so than in New Zealand, which YoungGuns ranks second in the world as a country for young and emerging creative talent. To mark the occasion, YoungGuns is releasing a number of Top 10 rankings on a specially designed, and extremely hot, website – www.ygaward.com/10years – that celebrates the young talent and incubator organisations that have nurtured those creative aspirations across YoungGuns’ first decade. As part of this, Colenso BBDO has been recognised as the leading agency for young creative talent globally in the YoungGuns Agency of the Decade ranking. Colenso has been awarded more YoungGuns Gold Bullets than any other individual agency globally, and it has been awarded the prestigious YoungGuns Agency of the Year twice, in 2001 and 2008. This is a unique honour as it is the only agency to have been awarded this twice, again demonstrating the depth of leadership vision and young talent beneath its roof. During the decade, Colenso creative talent has been awarded 11 Gold Bullets, 17 Silver Bullets, 22 Bronze Bullets and 20 Finalists. In YoungGuns’ first decade the BBDO Network and Colenso BBDO have both been recognised as the leaders in incubating young and emerging creative talent. However, YoungGuns’ most important award for creativity – YoungGun of the Year – has yet


youngguns

eluded both the agency and network, but with Colenso’s track record, the first YoungGun of the Year for the agency, network and New Zealand may not be far off. Maybe 2010 will be the year? With entries now open for 2010 (at www.ygaward.com) the opportunity for NZ young talent to be recognised on the global stage is here again. YoungGuns has also added Design and PR awards this year, so spread the word. And if your name is not on the list, don’t give up trying. The 2010 YoungGuns jury is even better than normal, as it will consist of all the previous jury members since 2001 (you can see all their headshots on the YoungGuns site). The talent and experience in this jury is outstanding and truly global in its representation and this will be a major bonus for all 2010 entrants. YoungGuns has also been collecting judges’ thoughts as part of

their 10th birthday celebrations. You can read their comments on the YoungGuns site. • If you haven’t already, vote for the Professional and Student YoungGun of the Decade at www.ygaward.com/10years. These rankings are decided by your vote. So support your country, your friends, your agency and good ideas by voting for the best YoungGun of the Decade. • For all details on YoungGuns and the 2010 awards – Advertising, Digital, Design, Media, PR and Student – check out the website. If you are young, talented and ready to reap the rewards, then YoungGuns is for you. For further information please contact: Jane Crowe (ph +61 413 011 743; j.crowe@haystac.com.au) or Kristian Barnes (+61 404 897 996; kristian@ygaward.com).

DEADLINE COURIERS EXPLODING BILLBOARD (2007), JOSH LANCASTER.

Gold Bullets: Year/Category

YoungGun

Client

2001 Maverick Media

Billy McQueen

TV3

2001 Outdoor Posters

Leo Premutico

Shire Skin Cancer Clinic

2001 Street Furniture

Natalie Knight

TV3

2001 Outdoor Campaigns

Guy Rooke

Shire Skin Cancer Clinic

2003 Online Commercials

Gena Tuffery, Daniel Lunn

Monaco

2004 Maverick Media

Leo Premutico

Environment Waikato

2004 Outdoor Campaigns

Tim Huse, Guy Rooke

MINI

2007 Interactive

Josh Lancaster

Deadline Couriers

2007 Outdoor Posters

Josh Lancaster

Deadline Couriers

2008 Maverick Media

Jonathan McMahon, Lisa Fedyszyn

NZ Book Council

2009 Integrated

Anne Boothroyd

Yellow Pages

Ad Media September 2010

47


technology to connect

Lost in

Translation again

L

ast month when I completed the column I got to thinking about trans-promotional marketing in a little bit more detail. There we are ... we have decided to use the space on essential mail to communicate with the client’s customers on a 1-2-1 basis. This high-value space is an exciting opportunity to deliver a highly personalised message. However, as advertising agents, we can’t assume that the brand owner will understand the potential of this space. So we will need to step them through the changes in the invoice or statement layout slowly. Simply because if one day the customer gets a plain invoice and the next day they get an invoice that looks like a promo, this will cause total confusion, so we need to move slowly and deliberately. Also the content of the advertising, promotion or message can take several forms as with any form of variable data. Here are some examples of 1-2-1 transpromotional messages you could use to stimulate discussion and generate opportunities. Geographical: With transpromotional mailing we invariably know the physical address of the customer therefore it is appropriate to advertise information that is geographical in nature to them: Example, 5km, 10km, 20km within the postcode is … Your nearest store is only 5km from your location … Time-specific marketing: As cyclic mailings are generally time-specific we can promote specific events, activities or timelines. Example: Your contract is due to expire in three, two, one month … if you do this now we will give you this now ... You are seven days away from the concert of a lifetime … Cause marketing: Alignment of a brand with a cause or charity will in many cases make customers feel positive about the brand; in fact it is proven that many consumers show a strong preference for products that support a good cause; with a preference strong enough to persuade customers to stay or switch brand.

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www.admedia.co.nz

By Chris Graham

Example: As part of our community programme we have donated $xxx this year to your chosen charity. Thank you for your business. This month we are promoting World Vision Week ... Behavioural marketing (Amazon is the master at this): We know you like this and have bought it in the past therefore you should like this similar product. We can see that a customer buys a particular brand on a regular basis. We can therefore change them to a more profitable brand, provide a special deal, or add a second complementary product. Example:You have bought a phone what about this accessory? Your lease is due to conclude, call us. Loyalty marketing: Within the customer data we can invariably see how long a customer has been with a brand and therefore we can reward this loyalty. Equally so with a loyalty card we often have an infinite amount of information. Example: Thank you for being with us for 10 years ... we would like to give you this. Thanks for travelling with us so much ... we would like to reward you with this. Affiliated/kinship/sponsorship marketing: It’s proven that audiences retain a sponsor’s message at a level equal to or complementary to the original brand owner who is providing a solid recommendation. Furthermore, through this they feel an affinity towards your brand. And they’re more likely to buy both your product and the recommended product. Example: We are sponsoring the XYZ event … As a loyal customer we would like to introduce ... Demographic marketing: Demographic data allows us to change the marketing message to match a specific age group, or gender.The richness of information in cyclical communications often allows brands to gain granular understanding of the customer. This space could also be sold to complementary businesses and products. Example: As a twenty-something we know you will love our latest package offer. So when I say all marketing will be data driven in the future perhaps this proves food for thought. Chris Graham (chris @purls.me) is ceo of PURL Technologies, specialist in artwork automation and 1-2-1.


the front page

The moral

obligation to

produce

I

great ads

enjoy reading Dave Trott’s blog on Campaignlive (www. campaignlive.co.uk). Trott is a creative legend in UK advertising. By all accounts he could be difficult, but no one held that against him when he produced such brilliant work. He cuts to the chase and doesn’t muck about, which is evidenced in his posts – they are all absolute gems. Here’s an extract from a recent one, headed Advertising Doesn’t Sell Stuff: “... All advertising can do is influence a consumer. But only influence. All other things being equal, it can tip the balance. But it can’t do the whole job on its own. If you’ve got a good pitch for your product, advertising can get someone to listen. It can get their attention and get your case heard. At best it can create a ‘propensity to purchase’. A willingness to buy, a curiosity to try. If, it’s available where I shop. If, the price is right. If, it’s in my size. If, it’s in a colour I like. If, I like the taste. If, I’m in the mood. If, it’s the right time of year. If, I’m the right age, sex, religious persuasion. If, I have the right interest, habits, predilections. If I tick all those boxes good advertising will work. But most advertising doesn’t work. Because most advertising is done by people who don’t understand that.” Trott makes the point that effective advertising can give a product an edge over its competitor but that’s all it can do. You might love the ad but if you’re not in the market at that time, or the right prospect, it won’t make any difference. He might have added you can also destroy a product by creating advertising that’s so banal it actually turns people away.

And that’s something that’s been annoying me lately. There’s an awful lot of desperately poor advertising out there. There, I’ve gone and said it in print for all to see. I’m not going to name brands for obvious reasons. But, one might have hoped the adversity of the recession would have focused the need for quality thinking, but clearly that hasn’t happened. Weak ideas and humour, awful art direction, dull copy and limp propositions are giving the ad industry a bad name. So I’m putting the boot in. Traditionally the media get walloped for poor ratings, circulation, site visits and so on. But here’s a slightly tongue-in-cheek counter view. If the media’s contract is to provide quality content for consumers, then it’s only fair that those who produce advertising should be morally obliged to produce equally palatable material. Clearly it’s incumbent on the media to create environments that are attractive for consumers and advertisers but we do need to lift our game on the other side of the fence. The purchase price for time or space is the same for a good or bad ad. But a poorly executed ad can have a hugely negative impact on a brand. So, the holy grail of distinctive and effective advertising in the end comes down to the elusive matter of creativity. Not the purchase price of the media. Perhaps we should ask the ASA to add some new rules to cover ghastly, repetitive, inane, crass, stupid and dull advertising on the grounds that it too causes offence. Then we might have less ‘awful’ and more ‘nice’ out there. That reminds me. Not too many years have passed since I flew down to TVNZ’s Avalon Studio to collect a Fair Go Award for the worst ad of the year. Note to self: next time a PR agency tells you to front up and collect the award, tell them to sod off – the client will fire you anyway, once the dust settles. But that’s another story. Time to go and take my happy pill. Robert Munro (robert@nabs.co.nz) is the general manager of the Newspaper Advertising Bureau. www.nabs.co.nz

By Robert Munro



AdMedia September 2010