Anyone watching Newsnight this week may have caught the interesting feature on popular design website Information is Beautiful. For the uninitiated amongst you, the site is the brainchild of David McCandless, who describes himself as “an independent data journalist and information designer…interested in how designed information can help us understand the world”.

With nods to the seminal philosopher and statistician Otto Neurath, whose motto, “words divide, images unite”, led him to design an icon-based language to express quantitative information, Information is Beautiful presents a fascinating series of visualisations, a distillation of democratised data, if you will. In a world where we’re constantly struggling under the weight of statistics, news, opinion, video – not to mention a healthy measure of total junk – McCandless questions whether there’s a compelling means of simplifying, and in some way better understanding the constant stream of facts and figures routinely presented to us by the media.

This mission led to one of IIB’s most famous designs, The Billion Dollar-o-Gram, an exercise in quantifying the unquantifiable: I mean, what does $1billion really mean to anyone?

It was inevitable that this project would attract the attention of the media, with sites such as The Guardian’s Datablog providing a ready outlet for data and stats with a journalistic hook, that can be represented in a new and appealing way.

Mr McCandless’s appearance on Newsnight was certainly a little different, as you might expect, with host Kirsty Wark and guest, respected designer Neville Brody, critiquing McCandless’s previous assertion that visualisations had the potential to offer new insights into the politics of the world around us.

The debate’s well-worth watching, even if it involves the somewhat unjust intellectual skewering of Mr McCandless by the Brody-Wark duo, whose main argument is that designs such as those found on IIB, whilst beguiling and attractive, are likely to oversimplify the deeper issues behind the information from which they are drawn. We might feel slightly cleverer, but we aren’t necessarily any better informed; the designs are knowing, without necessarily imparting knowledge.

It was an awkward paradox for McCandless, as, by the nature of his work, he is bound by the information he illustrates, restricted to those nuggets that lend themselves to visual representation, however clever or imaginative the resultant images are.

Interpretation is all important, with IIB less about blind acceptance than mental stimulus: if it forces you to find out more, it’s achieved a goal.

Other examples of this include the excellent online resource Wordle – a word-cloud generator, which can quickly deliver images like…

Whilst certainly a valuable tool in linguistic sifting, it’s hardly something upon which you’d base an entire opinion. Instead this presents us with a means of examining the patterns in a complicated world, rather than explaining them.

Similarly, the online project ‘We Feel Fine’ – also referenced in the Newsnight report – is a resource as alluring as it is technically impressive. Scouring the global social media landscape every 10 minutes for any posts starting with the words “I am feeling…” or “I feel…”, the output is a demographically configurable snapshot of sentiment. Emotion trending, perhaps. The organic, transient and in many ways fickle nature of social media updates questions this as a means of truly tracking the mood of a nation, but it certainly offers food for thought.

There’ll always be a précis, a Cliffs Notes, an elevator pitch or edit to help us cope with today’s crowded and clouded data-stream – the impetus on us is to question, examine the bigger picture, ensure that visualisations such as those of David McCandless serve as cues to curiousity. It’s not just a design, but an invitation to explore the numbers, opinions, testimony, photos and history surrounding an issue, all accessible via a few extra clicks of the mouse.

Information might be beautiful; integration is essential.

By Jonathan Izzard on August 17th, 2010

Tags: Design, Media, Online communities, Social Media, Television

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Last year not many national newspapers made big money – in fact some lost a lot of it set against declining circulations. One paper however, The Metro, made its seventh successive year of profit.

In fact, last year the paper, which has a circulation of 1.3 million distributed free across 16 cities, had more display advertising than any other UK generalist (114,647 single column centimetres compared to 94,875ccms at The Sun for the statisticians among you).  

So with much talk about the demise of newspapers  how is it that The Metro turns in a profit year after year without charging a cover price and are there any clues of the newspaper of the future (on and offline) in this?

Looking in from the outside, the success would seem to boil down to two simple reasons.

Firstly – content. The Metro knows its audience and it’s not trying to be anything more then what it is – a quick commute read.

No in-depth articles, no weighty columnists and little analysis – just a bite sized chunk of news meant to last as long as your tube/bus/train journey or if you like an offline version for an online audience – or what they refer to as ‘City Clickers’. This amalgamation of easy news comes with probable lower overhead costs from staf size to news gathering.  

Secondly – a closer relationship between commercial and editorial or a breakdown of the old ‘church and state’ mentality.

Few barriers exist – your brand wants to wrap the paper? Not a problem. Sponsor whole sections? Sure thing. An advertorial in the house style? Editorial will even write it for you. In addition, there is a clear link between the offline and online products with commercial links across both.

The Metro gets away with it partly because it’s free. As a consumer, I don’t mind commercial spill-over into editorial, I see it as a decent trade off for getting a free read on my tube journey in.  

But it’s this blurring of the line that gives clues to the future for the wider industry. It’s no surprise that there are increasingly numbers of ex-journalists in the commercial teams at papers helping brands to run ‘integrated’ campaigns but it’s a difficult balancing act to maintain – editorial independence and powerful journalism versus commercial reality.

While it continues to vex established national newspapers (The Times Online recent move behind a paywall is an attempt to address it), The Metro has proved it knows its audience and although it may be a dangerous sign for in-depth, quality journalism you have to admire its ability to buck the trend.

By Dominic Curran on June 28th, 2010

Tags: Brand marketing, Communications, Digital marketing, Media, Paywall

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About five years ago, try as I might to find an elephant in London to take part in a PR photo stunt we were organising, there was none available. Our need was great – promote the Chivas World Elephant Polo Championships due to be held that November in Nepal. Scotland were at the time, defending World Champions in the sport (true fact.) Anyway, London Zoo weren’t up for lending out their eles, we couldn’t locate any in the Yellow pages so alas, the photo was a no go. I don’t think Scotland retained the title either (I don’t hold us responsible for that mind).

Fast forward to June 2010 and everywhere you look in London, there are elephants. You can barely move without bumping into one.

So what’s occurring? Turns out the Elephant Parade London 2010 is a conservation campaign, in aid of the Elephant Family charity set up by Mark Shand, involving 258 brightly painted life-size elephants located over central London with the aim of raising over £2mn towards the conservation of the endangered Asian elephants. Tidy.

As it turns out, 258 elephant sculptures = London’s largest outdoor art exhibition on record.

They may not have been in town in 2005 when we really needed them but they are at least here now, for one more week.  And over the last 5 weeks, I have been slowly gripped by some unexplainable elephant obsession. Out of nowhere. Strange but true.

It all started innocently enough.

08.03, Tuesday 4 May 2010, stepping off the Leicester – St Pancras train, I suddenly realised that I’d walked past a giant elephant statue (‘Dandiphant’, I later found out). Unusual, elephant art. Not something you see everyday next to British Rail’s finest.

Throughout May, I continued to notice elephants around town (they’re hard to miss) and soon found myself whooping with joy on seeing a new undiscovered ele – which whilst on a scooter is a truly great feeling - although not one that is widely encouraged in the Highway Code as a means of responsible motorcycle driving. The elephant observing shifted up a gear – spending one Sunday afternoon cycling round London to see which ones we happened across. A great way to combine seeing the city in the sunshine with getting fit. All innocent fun.

I dropped into one of the 4 London pop-up Elephant Parade shops (it’s all about pop-ups these days) and found an official map which marked out where they could all be found. And things changed. The map proved a dangerous addition to my armoury. It became serious. I was soon on a mission to tick off (& photograph) all of them. Why I have no idea but joined by like-minded friends, and at times on my own, the past few weeks has involved dedication, effort and organisation, missed lunch hours, late nights and getting myself to places in London that I have never heard of, never mind visited before.

As a tourism campaign to get people experiencing the city of London, Visit London could do a whole lot worse. That has been one of the absolute pleasures in finding the elephants – I have got to know the city in which I have lived for over 10 years a whole lot better. I now know where one can find the Museum of London (the Docklands), Bow Churchyard, The Hempel and The Hoxton (both lovely hotels), BT’s Building (as opposed to its Tower), the National Geographic Store on Regent Street, the Royal Exchange and where you can park a scooter right next to Somerset House. I have seen Speaker’s Corner in Hyde Park in full flow (fascinating), marvelled at the current installation on the Fourth Plinth at Trafalgar Square, walked the length of Baker Street (following Sherlock Holmes’ footsteps) and witnessed the beauty of the Old Royal Naval College in Greenwich.

I have found myself in some unexpected places at unpredictable hours. One Monday night I cycled solo to both Brixton and Elephant & Castle (an aptly named place to house one of the statues) well after 10pm, two areas I barely know and probably wouldn’t ordinarily try and navigate around in the dark, solely to find 2 elephants. And after a recent Keane gig in Camden, we employed that ‘oh so normal’ post-gig wind down technique of walking around Leicester Square, Covent Garden & Piccadilly until 1am when we ran out of elephants (20 ticked off in record time) and our feet could take no more. Dedication to the cause or just sheer madness? You decide.

It has been an adventure, albeit an exhausting mission and I have met some dedicated fellow hunters (okay, I’ll admit some have been, shall we say, a little odd but most seem fairly normal) on the way. Equally eye opening has been witnessing first hand how social media communities truly engage in real time interaction on a subject in which they are passionate. Take the Facebook group for the Elephant Family and Elephant Parade group, a hotbed of activity with over 14,000 fans. “Anyone tell me where you can find the Ella May elephant – she’s not on Baker Street and is proving elusive?” Within minutes, 6 people have already replied with the answer. Job done. Fellow elephant fans, who have never, and will never meet in real life, helping each other out in their time of need, with UGC (mainly still images) uploaded on a minute by minute basis.

As PR goes, I’m a big admirer of the campaign. A simple idea with creativity at the heart in aid of a good cause with the actual product they’re promoting (the future of the Asian Elephant) at the very core of the activity.

Add to that, a few simple PR tactics that have been very well executed:
1. Launch photocall of brightly coloured elephant herd in Trafalgar Square pre-installation – tick
2. Interviews with famous and upcoming artists & celebrities who have painted the elephants (Tommy Hilfiger, Paul Smith, Matthew Williamson, Sir Terence Conran…) – tick
3. Locate elephants at various iconic London landmarks / institutions who then add their own PR weight behind it – tick
4. Grip the public’s imagination (kids & adults alike) by introducing Cloudia (the ‘Where’s Wally?’ of the elephant world) to the herd, the elephant that is constantly on the move – tick
5. Ensure your social media ducks (sorry, eles) are all in place to enable the online community to do the rest – tick
6. Merchandise the hell out of it – produce replica elephants, books, cards etc to ensure product sales generate funds of their own – tick

Of the features in the press, one I particularly liked was the story about Gerald, the model elephant who generated a cult following after he was banned from his original home in Selfridges for being too risqué. Gerald is blue (quite literally it turns out on closer inspection), painted by controversial artist Jonathan Yeo who added his trademark collage, causing serious offense to the shoppers of W1. After a “Free Gerald” Facebook group was set up to free him from the charity’s Bloomsbury HQ, sniffing some free publicity, Chinawhite offered their nightclubbing HQ to home the pornographic beast. Bob’s your uncle, queues of people trying to get into the night spot between 1-2pm every weekday to see the elephant and tick it off their lists. Genius.

On a serious note, the joie de vivre these elephants have spread throughout London disguise the real tragedy behind the Asian Elephant’s collapse. Once ranging from China to Thailand, Indonesia, India and across Syria, these great animals are now confined to an area the size of Spain. The number of Asian elephants has dwindled even more severely than those of the African elephant, from 200,000 a century ago to a fifth of that population now.  Shocking statistics.

So my own breaking news, having confessed that I quite fancied trying to see them all before they vanished from our streets, is that I have now officially seen all 258 ‘in the wild’. Marc Quinn’s Untitled in Somerset House was my final ele. Job done, mission completed. Difficult to narrow down my favourites, there really were too many.  Special mention goes out to ‘Help!’ the fully turfed elephant, ‘Dedicated to the Wonderful Chelsea Pensioners’ elephant (too cute), ‘Union Jack ‘(Rule Britannia) and Benjamin Shine’s glossy black ‘Taxi Elephant’, ideally positioned by the Royal Exchange and powered by a solar cell so that the taxi sign lights up at night and its eyes turn into headlamps. Truly London.

Sadly the city migration is well underway and this week, the elephants can all be seen herded together at the Royal Hospital in Chelsea and Westfield Shopping Centre for general viewing before they go under the auction hammer. If you haven’t seen them yet, they are seriously worth a look. Some are absolutely stunning works of art.

As for me, I’m having a break from elephants. For a start, I don’t trust myself not to get carried away with it all and buy one of the statues at auction – and with some of the bids already exceeding £50k online, that is an experience that I’m not quite ready to blog about.

No, it’s all about lions now. Like all great ideas, copycats are out there and rife. Cue the city of Bath announcing that a giant pride of individually decorated, life-size lion sculptures are taking up residence in and around the City of Bath. With only 100 lions to find, I reckon it’s do-able in record time. Anyone who fancies a safari trip down in Bath this summer, let me know. Or if you’re a fellow (adopted) digital native, you’ll probably be able to find me on the Pride in Our City – Lions of Bath group on Facebook…

By Stephanie Branston on June 22nd, 2010

Tags: Alcohol, Digital marketing, Media, Public relations, Sponsorship, The Arts

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As the “Golden Generation” of England footballers bid for the umpteenth (and probably last) time to realise their potential at a major international tournament, fans across the country will be reaching for their Three Lions replica shirts, keeping their fingers crossed, and praying that “Wazza” really can Write The Future.

Back to the present. Before a fly-away Jabulani ball has been struck in earnest, the contest between “official sponsors” and those pesky ambushers has truly kicked off. The FA and Mars, an official partner of the England Team, are reportedly considering legal action against Nestlé, for “passing off” an association with the England team through Kit Kat’s “Fingers Crossed” campaign. Yes, this is the same Mars who undertook the infamous “Believe” ambush marketing campaign around the 2006 World Cup. For 2010, and the first football World Cup on African soil, a classic case of poacher turned gamekeeper.

Three questions, one for each lion on John Barnes’s Mars Bar :

1. Is Nestlé actually passing off an association with the England team?

This should probably be left to the lawyers, but from a layman’s / sport industry professional’s perspective, using Sol Campbell and Mansfield Town manager David Holdsworth as your “talent” is not the best way to infer an association with the England team. And despite the well observed allusions to England’s World Cup heritage – “cross your fingers for no penalties…no broken metatarsals…no tears” -and liberal use of the ambusher’s best friend (the St George’s flag), nothing suggests that Kit Kat sponsors Capello’s boys.

2. Should Mars be trying to protect their hard bought status as the England Team’s confectionary brand of choice?

A lesson for all official sponsors. Complain about the ambushers and you are giving their campaigns the oxygen of publicity. Mars clearly had good reason to turn gamekeeper and pay for the privilege of England partner status. They should be confident that their association, leveraged properly, will pay off. Otherwise, why not remain a poacher?

3. Whose current World Cup campaign is better?

No contest. Kit Kat have tapped into the very essence of the English sporting psyche, and the pervading sense of hope over expectation that grips every England football fan during international football tournaments. Their TV ad brings that insight to life in a down to earth, domestic football environment. Compare that with John Barnes re-hashing a song from 1990 in a sparsely populated park, with production values that suggest too much money in the FA’s coffers and not enough in the activation pot.

Reports suggest that Mars may have won the battle of the lawyers, and that Nestlé have agreed to curtail the campaign. Is that the final whistle on this contest? Probably not if Kit Kat’s PR team are on the ball. What price England players crossing their fingers during a crucial penalty shoot, or being caught on camera tucking into one of the 200 Kit Kat’s that have been delivered to the England training camp by the FA’s official supermarket …?

Whatever happens, fingers crossed that 2010 marks the end of John Barnes’s singing career.

By Tom Gladstone on June 11th, 2010

Tags: Advertising, Ambush campaign, Brand marketing, Communications, Content, Football, Football Sponsorship, Media, Public relations, Social Media, Sponsorship, Sport

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Microsoft has announced the release of a new mobile phone designed to capture the hearts, minds and standing orders of ‘younger, chattier, socially switched-on’ users.

Developed in conjunction with former Manchester United sponsor Sharp, the brand is to be known as KIN, and represents a range of mobile phones – currently dubbed KIN One and KIN Two – the former in particular a pretty neat-looking device somewhere between a Palm Pre and the chubby widescreen variety of iPod Nano.

From left, KINs One and Two

It’s not a Blackberry, neither is it an Android-a-like, and it’s definitely, categorically not an iPhone challenger. With social media feed functionality placing it in an interesting limbo between smartphone and old-fashioned ‘dumb phone’, the KIN may, in fact, be more of a long-term stepping stone for Microsoft in converting a wider audience to the upcoming mobile Windows 7 OS.

Check the KIN website: it’s all very ‘youth’ (and not even in a ‘this is what all the kids are doing these days, isn’t it everyone?’ Gap style), informative, pretty and dynamic…nice, and contains only the tiniest nods to Microsoft…phew.

Does this mean Microsoft has broken free from its infamous track-record of dad-dancing that has confirmed the world’s third largest company as one of its dorkiest? Of course not, as confirmed by the following shot of Microsoft exec Robbie Bach from the KIN’s press launch last week – probably not the Generation Y shot in the arm the product required, given its offering and audience.

Robbie Bach at the KIN press launch

So why do Microsoft rule the uncool, and how do they manage to make things so effortlessly undesirable?

The much-ridiculed Window 7 Launch Party video holds one or two clues…

If you never saw this, please watch as much as is humanly possible of the video above (I’d say about 12 seconds) and then have a look at the Remix version on this ‘tribute’ site, which, through the tiniest addition has produced something eminently more watchable.

So why will people line up to shoot Microsoft down for this? Is it because the original video is so replete with cheese, yet so bereft of irony? Is it because of the public’s distaste for celebrating what is effectively a stress-purchase, in this case designed to solve the problems created by Microsoft Vista, W7’s predecessor? Or is it simply that the idea of hosting a party to launch a computer operating system is just incredibly bizarre?

Go back a little further to Microsoft’s ‘I’m a PC’ campaign. This was a response to Apple’s ongoing advertising creative which pitched a ‘typical’ PC user against a Macophile. In the US this campaign included Justin Long (of Dodgeball and Die Hard 4.0) as ‘the Mac’, but UK consumers will be more familiar with the localisation featuring Mitchell and Webb.

Whilst a comedic exercise in stereotypes – termed as bullying from certain pro-PC quarters – ultimately, Apple’s campaign was grounded in the functional versus the inspirational: on the whole people have to use PCs, but choose to own a Mac. If this isn’t an indicator of brand love, then I’m not sure what is.

Were Pharrell Williams’ claims that he’s a PC enough to turn the heads of unbelievers? What about when they see him on his  iPhone? Did Eva Longoria’s endorsement make PCs any sexier? Tough to say, especially when she was subsequently captured at the airport on her MacBook. Isn’t this indicative of the difference between obligation and aspiration?

Whatever way you look at it, in the constantly-updating, virtually-democratised world of the web, where transparency is a badge of honour, there’s very little room for the clumsy manufacture of cool. And even if you did want to – Microsoft boffins, take note – there’s a formula you need to apply…

Generated through research conducted between InSites Consulting and MTV Belgium amongst 13-29 year-olds, the above represents the key factors (at an official ratio of 22% originality, 23% popularity and 55% attractiveness) that contribute to make a brand, product or service ‘cool’.

The same study demonstrated that 73% of all brand loyalty is about the coolness of the brand, with young people today buying twice as many cool brands than uncool brands, while the future purchase intention of these brands is no less than three times as high. It doesn’t really matter whether this is right/wrong/lowlands-specific, but there’s little argument in the study’s assertion that trying to be cool is the worst thing you can ever do. Ever.

A tragic confirmation of this is Microsoft (honestly, I don’t actually dislike the company, there’s just so much cannon fodder) and its foray into the digital music market…the ill-fated Zune. They have the set-up, the know-how, and the can-do attitude, but this couldn’t save Microsoft from failing on the Originality, Popularity or Attractiveness fronts, in the face of Apple’s iPod. In fact,  in what is probably my favourite comedy product on the internet, you can even buy what has been termed the ultimate Apple anti-theft device, the ‘Hide-a-Pod’ - a Zune-disguise for your iPod.

Who knows what the fate holds for Microsoft’s latest mobile offering, but unless they learn the lessons from past product launches, there’s a chance it could be KIN useless.

By Jonathan Izzard on April 19th, 2010

Tags: Blogging, Brand marketing, Default, Digital marketing, Media, Mobile, New Product Development, Online communities, Viral Marketing

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Life moves pretty fast. You don’t stop and look around once in a while, you could miss it.

- Ferris Bueller

Sentiments borne of teenage frustration and a need for escape, rebellion and self-expression from the master of the ‘80s genre, the late great John Hughes. A simpler time, one might argue: the days before the web, wi-fi, information aggregation and real-time status updates live-streamed from a virtual community of billions.

Nowadays, information overload is well-documented, but to put things into context, it’s worth reviewing a snippet of the review of web use in 2009 from the legends at Pingdom.

So, in 2009:

- 90 trillion emails were sent…of which 81% were classified as spam (that’s 200 billion mails a day)
- A total of 234 billion websites were catalogued…with a further 47 million added last year
- There were 1.73 billion internet users worldwide…an 18% increase on 2008
- 126 million blogs were tracked by BlogPulse…with 84% of social network sites with more women than men
- Microblogs weighed in with a hefty 27.3 million tweets per day…although 57% of Twitter’s user base is in the US
- Facebook reached 350m users…50% of whom logged on every day
- 4 billion images were hosted on Flickr…however, 2.5 billion per month were uploaded to Facebook
- 1 billion videos were viewed per day on You Tube…with the average user watching 182 videos per month

And breathe.

In an age where the relentless pace of technological change means that many of us feel like we’re running to stand still, how do we find the time to stand and stare? If only there was some kind of machine that could take you back, pre-tipping point, or at least let you remember what things once looked and felt like…

You’ll be needing the Internet Archive Wayback Machine. Whether it’s for research, curiosity or simple nostalgia, this is a really fascinating resource. Type in whatever website you’re interested in and the site will offer you glimpses of archived pages from as far back as the mid ‘90s.

Just to get you started, how about:

Hotmail circa 1997

Google circa 1998

BBC.co.uk circa 2000

Sky Sport circa 2001

You Tube circa 2005

Granted, hardware, software and coding changes mean that not every page works perfectly or looks exactly as it used to. However, it’s a great way of frittering away a couple of minutes online, and even acts as a would-be stomach pump for the reclamation of forgotten morsels of data that Google, like a virtual sarlacc, has swallowed up but is now unable to regurgitate via organic search, such is the ceaseless growth of cyberspace.

Whether you find what you’re looking for or not, such online time travel confirms that LP Hartley knew what he was talking about…the past is a foreign country: they do things differently there.

By Jonathan Izzard on April 12th, 2010

Tags: Blogging, Content, Default, Facebook, Media, Online communities, YouTube, community

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Last week’s announcement by News International, that Times titles will become the first nationals to put content behind a subscription paywall in June this year – sister papers The Sun and News of the World will follow at a later date – marks a hugely significant change for the newspaper model as we know it. The monetising of an online model is something that newspaper proprietors have been wrestling with since they first realised that the internet wasn’t going away.

The problem is this: a digital world makes it virtually impossible to ringfence and monetise content that costs papers money to create. In addition this dilution of free content costs them potential advertising money. To rub it in, search engines such as Google are making plenty via PPC and advertising on their sites when people search for the content.

Rupert Murdoch started going on record a few years ago talking about a limited paywall on selected content. One of his papers, The Wall Street Journal, does it already with some success and he’s in discussions with Microsoft’s Bing to become an exclusive content supplier, blocking Google.

Two things then to consider – will it work and what impact might it have on us in the sponsorship industry.

So first off – will it work?

Given the decline of ad revenues and traditional circulations publishers are looking for something that will.

The real issue is that news is free – for example the BBC, whose charter currently restricts their ability to charge for online content, will always be a free source and skews the market.

However, move beyond news to detailed analysis, unique content, marquee journalists and specialist sectors (fashion, sport, business, culture etc) and people are more likely to pay for it and if they have to pay for the news to get this package they will – as the announcement by News International says -’quality journalism never matters so much as it does today’.

In effect, a Sky TV model for newspapers online – you really want the football but first you have to buy the basics. It’s a clever and bold step by News International but no one knows if it will be the long term solution to the online challenge – even if their competitors follow them.

The power of online content is around the creation and interaction of the very communities it’s aimed at. The new sites will undoubtedly go further then before in giving consumers the chance to interact but does this miss the point that consumers now have the power and desire to create their own communities – they’ve moved from passive to active.

Rather then locking their doors to them, media owners could have a more fruitful future by becoming a platform for these communities and therefore becoming joint creators of content with the very consumers advertisers are willing to pay a lot of money to target.

But what impact might it have on the sponsorship industry?

I see a short term and a long term answer. In the short term, sponsors used to placing unique content their sponsorships afford will find themselves either having to restrict their PR outlets or likely pay to get it placed – never a happy prospect.

But in the long term this change could offer real potential with brands and media owners working together towards a mutual goal. Brands really know how to target consumers while media owners know how to create compelling content.

A savvy sponsor could play this bridging role between the existing consumer communities and a media platform with a paywall. For example, a football sponsor could buy out the paywall themselves around a major event like the opening weekend of the season. The existing audience on the media platform will be absolutely on-target; after all they’ve been paying for this content up to this time.

Give this community, both existing and new, a chance to co-create content with you on a prestigious media platform and as a sponsor you’ll build genuine affinity.

However it pans out over the next year, it’s going to be about playing the game by new rules which makes it both daunting and full of opportunity.

By Dominic Curran on April 1st, 2010

Tags: Default, Media, Paywall, Public relations, Sponsorship, Sport

2 comments

The King of the World is dead, long live the King of the World.

You have to hand it to James Cameron: at $1.88billion in takings to date, his 3D epic Avatar is officially the biggest box office ticket of all time. And having taken only six weeks to eclipse the record set by Titanic, JC’s last feature film, this is likely to be just the tip of the iceberg.

Yes, the world and his wife (and their three children, plus extended circle of friends) have queued up at cinemas to see Avatar: whilst it’s not perhaps a film for everybody, it has nonetheless garnered some strong reviews, and, 3D effects aside, features some of the best CGI ever used in medium. The spectacle in 3D, however, elevates Avatar beyond movie to experience, drawing the audience into Cameron’s alien world of Pandora without simply resorting to the customary “oh, that was the 3D bit” camera pans. Not all 3D films can claim to do the same.

Avatar is a 3D success because the extra something this technology brings makes us believe it more, enriching the immersion and further suspending disbelief. The question is, how to monetise this on a more regular basis, as opposed to only once every 15 years, when Mr Cameron decides to take us one step beyond?

Naturally, the answer came in the form of the ever-inventive Sky, with Sky Sports’ first foray into 3D programming the live coverage of Arsenal vs Manchester United last weekend. For those lucky enough to be in one of the nine bars across the UK to feature 3D screens – well, if you’d call ‘lucky’ being reciprocally filmed by Sky Sports looking like the rejects from a Buddy Holly casting session – the experience was mixed. The customary Sky Sports graphics, player line-ups (where a sense of depth and perspective is inherent to the camera view) and wide angle shots from behind goal were suitably impressive; however, the third dimension was not the totally eye-popping revolution many were imagining.

To be fair, Sky does spoil the viewer: with up to 20 cameras tracking the game in regular Ds and lovely High Definition crispness for those willing to pay an extra tenner a month – it’s hard to say whether the final spectacle of 3D could ever match up to our expectations. It’s no massive surprise that this was basically a glorified experiment by the broadcaster – football may not be the ultimate sport to benefit from an extra dimension, versus, say boxing, rugby, or even golf – but the fanfare of such a world’s first certainly captured the public’s imagination, leaving viewers hungry, or at least peckish, for more.

Whatever the future holds for in-home 3D, it’s clear that from a sporting perspective, as James Cameron understands, the extra dimension needs to add something to our experience, to give something back, with Sunday’s experiment representing a small step in furthering Sky’s opinion on exactly how it plans to achieve this.

By Jonathan Izzard on February 2nd, 2010

Tags: Barclays Premier League, Branded content, Broadcast sponsorship, Experiential marketing, Football, Football Sponsorship, Manchester United, Media, Sport, Television, Television audiences

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When I tell you that I’m a big fan of Chrome, relax, I’m not hinting that anyone get Westwood round to pimp my ride – I am rather referencing Google Chrome, the web browser launched in late 2008 by the ubiquitous internet behemoth.

Having used it as my default browser since downloading the programme over a year ago, I’ve since installed it on my home PC and laptop, as a welcome break from Internet Explorer. I realise that I’m not the first person to break convention here, with any Mac users out there, along with the more technologically savvy, already well aware of life after Microsoft when browsing the web, with Safari – Apple’s own browser – and Mozilla’s Firefox, the main contenders for IE’s crown in the years BC (that’s Before Chrome); however, December 2009 finally saw Google’s new window onto the web overtake Safari’s hard-won market share. No mean feat, a year after launch.

This leaves the stats from December 2009 looking something like:

1. Internet Explorer - 62.69%

2. Mozilla Firefox - 24.61%

3. Google Chrome - 4.63%

4. Safari - 4.46%

5. Opera - 2.93%

6. Netscape Navigator - 0.32%

7. Various others - 0.68%

(Source: Market Share)

This may not look too significant a shift, although given that this % represents around 40 million users, and that Internet Explorer’s global usage dropped by almost 7% last year (from 69.23% in Feb 2009), you might start to appreciate the long-term machinations of Messrs Page and Brin, and how these might impact on one William Henry Gates III in the war of the super-rich supernerds.

In quite a major move for the brand, Google has even been running an offline ad campaign publicising Chrome. Commuters at Oxford Circus may well be familiar with both the posters and digital escalator creatives drawing attention to the ‘fast, new browser, made for everyone’. Indeed, in the lead-up to Christmas, Google engaged in another rare piece of ATL, with a Metro wrap (you may have seen this repeated last week), as well as a call to action for people to make Chrome one of their Xmas gifts to a loved one, via the www.givechrome.com website. Well, it’s better than a pair of socks.

This activity certainly translated into curiosity amongst web users, with searches for Chrome overtaking Internet Explorer for the first time ever, which Google – or its media department – would doubtless argue contributed to its rise in the browser rankings that very month.

So, what’s good about the product? Well, it’s very clean, clear, fast and free; you can have lots of different web pages running at the same time with no drag, and if any particular page crashes, Chrome simply shuts down that tab, rather than the whole browser. I’d definitely recommend it, although the programme is still not a catch-all: certain Microsoft plug-ins are incompatible with Chrome (hmmmm, how unexpected), making it difficult to use some online applications such as the SkyPlayer. For everyday browsing of the internet, however, it’s fantastic.

Other than the slow burn process of accruing new advocates and users, what next for Google Chrome? The answer is actually slightly more ambitious than you might think, with Google now moving further into Microsoft’s back yard through the development of the Google Chrome OS (Operating System). Whilst it’s still a way off, with an official release scheduled for the latter half of 2010, the concept is remarkably different to the traditional Windows offering. As outlined by company chiefs at Google HQ in November last year, the OS is designed with a focus on three user requirements: ‘Speed…Simplicity…Security’, achieving its aims via a radical approach: to all intents and purposes, Google Chrome OS only works when you are online.

What the hell? So I’ve got to be online for my PC to work, you say? Well, sort of.

Although this may sound pretty restricting, Google are not setting themselves the challenge of beating Microsoft at its own game, but rather carving up a piece of the action for themselves, namely through appealing to the burgeoning netbook market. Sales of these small, light, web-friendly PCs were up 103% in 2009, and with decreased price points and increased wi-fi availability, this trend looks to continue. To date, the concept has received a mixed reaction: for the always-online professional netbookers out there, Google are preaching to the converted, with a promise of a system that will be ready to surf the web within seven seconds of power-up; plus they won’t need to store all their docs on their hard disc, with data instead stored remotely and accessed via the web. Google aren’t the first to use a ‘cloud’ system, but probably are the first to take the concept of virtual storage for mobile PC users to such a commercial extreme.

From starting life as the cleanest, fastest and most efficient way to find what you need on the internet, Google has, in an incredibly short space of time become part of our culture, our very vocabulary. And in today’s information age, there appears to be no stopping them: news, video, mail, maps, photos, phones, toolbars, Trends, translation, into China (and out again?) – and we search, and we search, and we search…

By Jonathan Izzard on January 19th, 2010

Tags: Advertising, Brand marketing, China, Digital marketing, Media

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So there it is, all over. 100 days and 2400 people later; today marks the final day of Antony Gormley’s live art installation ‘One & Other’.

34,520 people applied; 1208 men and 1192 women aged between 16 and 84 were randomly selected to take part. People from every walk of life from across the UK, spent an hour alone on the empty plinth in Trafalgar Square creating a collective portrait of humanity.

And not a single ‘celebrity’ or former Big Brother contestant in sight.
Marvellous.

The project – the focus of articles, photos, tweets and blogs well before the first person took to the plinth on 6th July 2009 – has been deemed a success. In Gormley’s own words, “Whether you see the plinth as a protest or pole-dance platform; studio or stocks; playpen or pulpit; as a frame for interrogation or for meditation, it has provided an open space of possibility for many to test their sense of self and how they might communicate this to a wider world.”

So did we like it? The art critics did not.
Me? I loved it.

I first wrote about the project last July on this very blog. I didn’t get picked in the ballot but I have enjoyed watching those who did, including three people I know. ‘A snapshot of Britain’, the creation has been described as. Well certainly it showed off the great British sense of humour – as well as raising over £24,000 for charity through plinthers performances.

A brief snapshot of just a few of the plinthers who caught my eye:
- A modern day naturist Lady Godiva astride a child’s rocking horse in only a pair of boots (Gormley himself had said that ‘he would be very upset if somebody didn’t take their clothes off’)
- A 26 year old dressed as a giant turd in a plea for cleaner water, resulting in some nice PR & awareness for Water Aid
- A Stringfellow’s dancer whose pole dancing performance apparently caused the Sky Arts website to crash
- An 8ft Godzilla
- A bent over skin-tight morph suit
- A number of folk advertising themselves in a ‘Give me a Job’ bid to gain work most of which resulted in employment
- The girl who led an impressive flash-mob audience in a world-record bid for the most people dancing to Thriller (Michael Jackson, RIP, would have been proud).

The list goes on. Right up to the very final plinther, Emma Burns from Liverpool who used the last hour of the people’s plinth (08.00-09.00 today) to remember the victims of the Hillsborough disaster.

The good, the bad, the ugly and the downright bizarre have all been up there.

The art critics may not have raved about it.
Stuff ‘em.

Over 720,000 people watched online – a huge figure for an arts website – with 7.5 million page impressions during the 100 days. And the project will live on through a TV documentary due to be screened on Sky Arts; a book produced by Random House; and within the walls of the Wellcome Library who plan to store the footage and interviews with every participant for future historians and academics.

Antony Gormley never actually made it onto the plinth having been rejected four times in the public ballot (and refusing to insist on a slot). One suspects he won’t mind. Without a shadow of a doubt, he will be kept busy over the coming months regardless, his profile further elevated by the successful way in which One & Other has truly brought art to the masses. And if you need further persuasion, take 4mins out of your day – right now- and have a watch of the final highlights video on Sky Arts. It’s emotive stuff.

- Next month, Sir Keith Park, a Battle of Britain hero will take to the Fourth Plinth in a more conventional memorial statue format

By Stephanie Branston on October 14th, 2009

Tags: Blogging, Communications, Flash mobbing, Media, Public relations, The Arts

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