If, like me, you were unable to keep your eyes open until 4am on Monday morning, you likely watched the highlights of this year’s Oscars online the following day. Unfortunately, for the advertisers that paid around the $1m-per-slot mark to gain a highly coveted slice of the limelight, this means you missed out on the commercial gaps.

However, the chances are far greater that you will have seen those brands who advertised in the Best Picture nominated movies. Fenton’s Creamery ice cream in Disney’s Up? BMW and Taco Bell in American Football drama The Blind Side? American Airlines, Hilton Hotels or Chrysler in Up In The Air? Ringing any bells?

It’s always quite amusing to survey friends and colleagues on their recollection of product placement on screen - the latter especially given that they work within marketing and are arguably more watchful of brand presence within entertainment platforms. If you mark this against the reality (superbly documented by Brand Channel’s Brand Cameo database), I have found that by and large people’s recall is probably less than 5% of the actual brands exposed on screen.

To make things interesting, those clever Brand Cameo folks have taken the brands present in this year’s Oscar contenders for Best Picture and plotted them on a matrix: pitching memorable versus instantly forgettable, against those that provided significant profit versus those that did not.

Hopefully, they won’t mind me reproducing it in full here:

(c) BrandChannel.com 2010

Now for the really interesting bit. Of those featuring in the most memorable segmentation, both Günther’s in District 9 and RDA that featured in Cameron’s epic Avatar were actually fictional brands.

Having written previously on how events, rights-holders and entertainment platforms are increasingly feeling the need to get a ‘brand stamp of approval’ on their project (even if they have to make one up), I am now more convinced than ever that we all now require a brand presence within our entertainment to validate its grounding in reality.

Though in the case of both District 9 and Avatar, paradoxically the branding was exercised to validate their grounding in un-reality. I guess given their sci-fi nature, it seems to make more sense to create a fictional unknown brand, thereby emphasizing the futuristic setting. But nonetheless, Günther’s and RDA still fall firmly on the ‘memorable’ side of scale - despite their non-existence in our reality.

Was this a missed opportunity for ‘real’ brands? Would South African-born Nando’s or thoroughly American N.A.S.A. have offered anything more? Would the producers have allowed it? Would the brand managers have wanted to association? And would the brand messages have been more - or less - memorable as a result?

I would love to know what goes in to thinking up these fictional companies. Do production execs or screenwriters work in a name that states a subtle (or not-so-subtle) socio-political message to fit with the film’s thematic development? As one District 9 viewer pointed out in a fan forum, sometimes the connotations have more meaning than at first it might appear:

‘Why were the South Africans patrons of a restaurant named Günther’s? Günther is the name of a king of Burgundy and means “warrior” or “soldier.” In effect, the South African blacks had a white warrior to thank for their sustenance.’

Either which way, we are entering an era where commercialism of movies - on and off screen - may fast become the life-blood of the industry; if, in fact we are not there already. How many years before an esteemed member of the Hollywood glitterati stands before the Academy audience and announces, ‘And the Academy Award for Best Product Placement goes to….‘?

Judging by the above, this year it should have gone to a brand that doesn’t even exist.

If this year’s Oscar-winning animated short film Logorama is anything to go by, it won’t be long. For those who have not yet had the pleasure of this little piece, the entire premise is the over-branded commercialisation of modern-day America on film. Watch the trailer below, and try to count the brand logos. There are over 2,500 in the full piece. Utter genius.

By Lucie Bartlett on March 9th, 2010

Tags: Advertising, American football, Brand marketing, Film, Product placement

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It’s one of those projects that all of us ladies dream of… spending two weeks on an event in Paris working on the Chivas Regal brand collaboration with celebrated French designer, Christian Lacroix. 

Using their sponsorship of the Cannes Film Festival as a platform to launch their latest designer collaboration to the media, Chivas Regal commissioned Synergy to oversee all the guest management for the event and to arrange a specially tailored Lacroix 24 hour Experience in Paris for key media to celebrate the launch of the limited edition Chivas 12 magnum designed by Lacroix himself.  

And so I found myself in Paris for two weeks.  Staying at the stunning boutique Hotel du Petit Moulin, the original hotel in Paris designed by Christian Lacroix and spending time in the infamous Marie district of Paris which has provided the designer with much of his inspiration. 

A tailored programme was developed for each group of media who attended, including visits to the Christian Laxroix flagship store in Paris to view the designer’s latest collection, a private viewing at the Mauboussin Chocolate bar, a tour of the Bellechasse hotel and a visit to the newly opened Merci concept store. 

A unique Paris venue, created by the former owners of the luxury French children’s brand Bonpoint, Merci brings together a combination of high fashion, homeware, books, flowers and more in a 1,500m2 former industrial building.  The design of the store is updated every six weeks, when a new designer inputs their creativity within the impressive space.  In addition to being a unique commercial space and wowing the international journalists who we took to the store, the guests were even more inclined to buy a keepsake from the store having learned that Merci donates all of its profits to a children’s charity in Madagascar.

In addition to the fashion and design elements of the experience, we arranged for all the guests to experience Chivas within a selection of Paris’s top venues, including the Cristal Room Baccarat and Pershing Hall.

So, it’s been back to earth with a bit of a bang this week… no more private viewings in Christian Lacroix or luxury French cuisine for me… although arguably, for my credit card at least, that’s not a bad thing.

By Amy Mansell on June 4th, 2009

Tags: Alcohol, Film, Sponsorship, The Arts

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Isn’t it always the way: you wait a lifetime to see a film in 3D about a hero named Bolt, and then two come along in a matter of months. Granted one was the John Travolta-voiced Disney blockbuster, whilst the other was footage of the all-conquering Olympian Usain Bolt smashing another world record at the Bupa Great City Games in Manchester this year. But it begs the question of just how many befuddled 6 year-olds out there thought they were off to see their favourite animated canine star, only for an altogether different eponymous hero to come bursting through the cinema screen.

In fact, this raises an interesting topic for the cinema-going public in 2009: how many more 3D films are we going to be expected to see? Bolt (both cute dog and sprint God) seemed to work; similarly Monsters vs Aliens made use of the third dimension, albeit, according to fans, slightly less successfully. Then Coraline, the new animation from Henry Selick, whilst a critically-acclaimed film, gains little more than a bit of textural richness with the addition of 3D specs. And don’t even get me started on Jonas Brothers: The 3D Concert Experience…

Are we seriously heading for Scorsese in 3D? Would a ‘remastered’ Withnail and I really offer a better experience if the audience felt every drunken lurch from Richard E Grant? And just how many geological eras will have to pass before Terence Malick gets round to pulling out the third dimensional stops?

With the advent of Avatar, James Cameron’s CGI magnum opus – widely tipped to be the most expensive film ever made – we might see a big screen production to truly make use of that extra ‘D’, though I guess the point is just because we can go beyond 2D, doesn’t mean we always have to – it should be something that feels worthwhile and relevant.

However, this is where the mighty cinema industry might disagree with me.

From the early 1980s, when VHS emerged victorious from the home video format wars, film piracy had become a reality for the major studios. Then the ‘90s brought DVD, and with it the potential for lossless data duplication. Coupled with faster, cheaper PCs, offering massive, inexpensive data storage, the widespread availability of DVD authoring software and the geometric growth of both the internet and home broadband capabilities – not to mention that feller in my local with the carrier bag full of iffy films – the piracy situation begins to look understandably grim.

Star Wars Episode III, Casino Royale, The Hulk, and most recently X-Men Origins: Wolverine – every one a $100+ million production – have all been circulated online prior to their official release. And once a film is in the public domain, things only get worse. With a host of questionable websites allowing web users free access to streamed (though largely crackling, jerky and unwatchable) movies, Hollywood needs a solution. Reading between the lines the studios’ answer seems to be to fight tech with tech: if you can’t pirate a ‘3D experience’, then you’ll have to go to the cinema, won’t you?

Well, according to at least one well-informed, well-respected (not to mention well-coiffed) critic – no. Mark Kermode’s POV – worth watching just for the clip of the unfinished cut of Wolverine that surfaced online – revolves around the question of the changing landscape of film.

In short, cinema might be the medium of choice for the all-encapsulating visceral movie experience, but the internet has offered a genuine alternative in the home – what the film industry needs to do is offer its wares to the right people, at the right time, crucially, in the right place. Oh, and stop green-lighting Alien vs Predator spin-offs.

By Jonathan Izzard on June 1st, 2009

Tags: Blogging, Default, Film, Media, The Arts, YouTube

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When was the last time you donned a pair of 3-D glasses?

I’m pretty sure that I was about 5, but this year 3-D is, apparently, BIG news. It started with the NFL Super Bowl in January. One of the most widely anticipated ads of this year’s Super Bowl ad breaks was Dreamworks’ trailer for its upcoming feature Monsters vs Aliens. Given that the movie (and thus, the trailer) required special 3-D glasses to see the full effects, in the run up to the Super Bowl, 150 million pairs of glasses were made available from Pepsi retailers across the US.

Later this year, we will see both Disney/Pixar and FOX getting in on the action with their releases Up and Avatar respectively. Even the Disney-produced Jonas Brothers have produced a ‘concert experience’ in the format (thus possibly supporting my it’s-for-5-year-olds theory).

But Time Inc. (the magazine division at AOL Time Warner) is trying to convince us all that it is far more than just child’s play. And to get their message across, they’ve done something pretty cool in five of their top magazine titles this month.

Readers of five fairly dissimilar sibling magazines - Time, Fortune, People, Sports Illustrated and Entertainment Weekly  - will find each title giving big editorial coverage to the subject of new-wave 3-D.

Each magazine has filled its section on 3-D, which was ordered up by corporate executives, its own way. Time is reporting on the new wave of 3-D movies, while Sports Illustrated is running a 3-D photo section (not the Swimsuit edition, sorry guys).

It was the SI version that brought the campaign to my attention, landing on my desk this morning. The sizable 14-page (7 DPS) chunk dominating the first section is impossible to miss. Half of the space has been dedicated to carrying the magazine’s usual content (their ‘Leading Off’ big action pictures of the week section), and the rest to willing ’sponsors’ - in this case, HP and Intel (both pushing their Monsters vs Aliens sponsorship through retail advertising), RealD 3D (again pushing the movie) and, seemingly randomly, McDonalds. A handy pair of 3-D glasses is inserted into the first DPS, bringing alive the visuals on all 14 pages, so that college basketball, NHL, monster trucks and hamburgers alike are all thrust off the page towards you.

The blurb that Time Inc. published in their advertorial page vaguely outlines why they feel 3-D is worth shouting about:

3-D is about to get serious…At Time Inc., we think 3-D is pretty darn cool, a technology that’s certain to have an impact across entertainment, business, and even sports. So we decided to cover it in a special way.

But what really struck me, is rather than simply taking out four pages trailing dull technology services, or a kids movie (neither of which would appeal hugely to most readers of the five magazines involved), each feature is aimed at the interests of that title’s particular readers - a seemless synergy of advertising and editorial, all physically viewed through the medium that the message tries to convey.

I loved it. But maybe that’s just because it made me feel 5 again.

By Lucie Bartlett on March 25th, 2009

Tags: Advertising, Brand marketing, Film, Media, Sponsorship

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Building on Lucie’s post about Highland Spring’s Comedy Awards mauling, check out this footage of Tom Hanks, er, ’plugging’ Sony in a keynote presentation at the Consumer Electronics Association Show International back in January. Start watching from 1:40. My favourite moment? “They write the lies but I tell the truth.” Glorious.

By Tim Crow on March 9th, 2009

Tags: Default, Film, Product placement

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Last week we helped launch British Airways’ Great Britons campaign at Heathrow by naming a plane after Olympic Gold medallist Chris Hoy. We’ve been working closely with the team at British Airways to create a campaign to demonstrate a clear role for British Airways in the London 2012 Olympic Games.

As the national flag carrier, helping British talent succeed has always important to BA and the 2012 Games has given the airline a great goal to aim for. The BA Great Britons programme is offering hundreds of free flights in the run up to 2012, to enable budding talent from sport, fashion, community, art & design, innovation and performing arts to realise their dreams.

Whilst much Olympic marketing can feel remote to consumers, this campaign has active participation at is core. Alongside encouraging applicants to show how flights could help them, BA is encouraging the public to vote on who deserves to fly across the world in search of their dream.

The initial response has been positive with good media pick up and lots of discussion on a variety of blogs from http://www.gaj-it.com/7639/british-airways-holds-its-very-own-britains-got-talent-show to http://styleclone.com/128/fancy-a-flight-to-milan-fashion-show-with-british-airways. The hope is to not only receive hundreds of applicants but create a forum for discussion and support for Britain’s up and coming talent.

By Roberto Colandangelo on February 27th, 2009

Tags: Fashion, Film, London 2012, London 2012 sponsorship, Music, Olympic sponsorship, Olympics, Team GB, The Arts, grass roots sport

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There was much to admire about the very first sponsorship of 2009, LG’s sponsorship of London’s New Year’s Eve fireworks.

When the deal was originally announced back in November I liked the synergy between the LG ‘Life’s Good’ brand philosophy and the optimism of the New Year’s Eve celebrations, but wondered how effectively LG could use the asset to bring the brand to life given the constraints presented by, variously, the BBC, GLA and the location.

Ultimately I thought they did a really good job, the stand-outs being the giant projections of filmed New Year’s Eve messages from the likes of Boris Johnson, Helen Mirren, Ricky Gervais  and Homer Simpson, and the distribution of mini-films onto the web and to news channels.

They did miss one big opportunity though, which was to leverage the fertile activation territory presented by the leap second, which - QED - became one of the biggest stories of the night.

But with that caveat aside, hats off and Happy New Year to LG and BBH.

By Tim Crow on January 7th, 2009

Tags: Brand marketing, Branded content, Default, Digital marketing, Experiential marketing, Film, Media, Sponsorship, Synergy, Viral Marketing, YouTube

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Attracting the attention of the target audience, getting the message across clearly and having that message seen in a positive light are all important factors in any marketing communication, whatever the discipline.

For me one of the masters of such effective communication was Don LaFontaine.  You probably don’t know his name, but you’ll almost certainly recognise his voice.  Don voiced more than 5,000 movie trailers and I was sad to read today that he’d passed away after an ongoing illness.

Based on contracts signed, he was considered to be the busiest member of the Screen Actors Guild ever. “In a world where” getting your message to cut through the clutter is getting harder, I salute you Mr Don LaFontaine - may you rest in peace.

By Malph Minns on September 3rd, 2008

Tags: Brand marketing, Film, Television

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