The recent 100^th edition of my beloved Stylist magazine got me thinking about the changing face of content on the streets of London. Commuters now have an embarrassment of riches from which to choose when it comes to free reading matter: Stylist on a Wednesday is followed by Shortlist and Sport on Thursdays and Fridays respectively, with Metro and City AM free every weekday morning - and, of course, the Evening Standard for the journey home. The fact that none of these cost a penny is great, but more important than that is the high editorial quality – they contain things that people actually want to read.

The free paper phenomenon started with News International’s The London Paper and Associated Newspaper-produced London Lite in 2006. Both were criticised for lightweight content and ceased publication in late 2009 – a result both of slipping circulation numbers and the Evening Standard becoming free. Critically, the ES has since maintained its editorial quality, a fact recognised with its 2010 victory in the Media Week awards, at which it won two of the most prestigious accolades in publishing – Media Brand of the Year and the Grand Prix Gold.

Since then however, there have been some new faces at the party – Stylist and Shortlist, published by Shortlist Media, as well as a revitalised Sport magazine. These magazines are free yet premium, self-consciously branding themselves…’freemium’. The idea is simple: lure customers in with free, high-quality content, and make money from advertising, a concept surely validated by its inclusion as a task on this year’s Apprentice!

It’s certainly not just about being free, as the quality of the content is vital – in the words of Karl Marsden, Managing Director of Shortlist Media, “no-one does the ‘thousand-yard stare’ like a British commuter intent on reaching their destination.” The combination of a free, desirable, high-quality magazine with reliable distribution channels is built to lure customers in and ultimately generate revenue from advertising.

Some, however, doubt the sustainability of this revenue stream, suggesting that as competition increases as free content proliferates, the money raised from advertising will diminish, raising doubts in turn about the sustainability of the whole model. There is no doubt that the world of written content is in a huge state of flux. Indeed, Mike Soutar, founder of Shortlist Media, attributes the rise of the ‘freemium’ magazine to the evolution of online content and customers’ subsequent expectations that they can access high quality journalism for free. And yet the basis of this assumption is already changing, as certain publications erect paywalls around some of their online content.

I know that as an avid Stylist reader I’m not going to stop eagerly taking my copy outside Goodge Street station every Wednesday morning. For now, I hope that the virtuous circle of a free magazine with high-quality content and money raised solely from advertising continues. The only worry is that one of these things will slip and we will move from virtuous circle to vicious cycle.

As mentioned above, a key concern is the ongoing viability of revenue from advertising. This could mean one of many things. Perhaps certain magazines will disappear altogether as their business model becomes less valid, or less drastically, their editorial standards will slip as they are forced to lay off staff. Might certain ‘freemium’ magazines start charging, gambling on the loyalty of their readership? This seems unlikely in a cluttered market, though the establishment of paywalls around previously free online content suggests that it shouldn’t be totally ruled out.

However, I believe that the answer, at least for the near future, might lie in this week’s subtle change to the Metro newspaper: more advertising. But for levels of quality to stay the same as advertising becomes less valuable, the hope has to be that revenue from increased volume sales offsets the lower price at which it can be sold.

Whilst I don’t know the answer, my fear is that the ‘freemium’ market as it stands isn’t stable in the long-term and a higher proportion of free magazine space will soon be taken up by advertising. I certainly hope this isn’t the case, but at the moment I’d advise you to watch this space.

By Jessica Enoch on November 8th, 2011

Tags: Advertising ,Media ,Paywall ,PR

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It’s not news that we’re all watching TV whilst surfing the net, tapping away on our smartphones and engaging others in discussion around our favourite programmes (just log on to Twitter during  X-Factor and Strictly!). What I’d like to applaud here is how broadcasters are taking this social engagement and building communities of loyal fans beyond the TV schedule.

Sunday night saw the last ever episode of the BBC’s thrilling MI5 drama Spooks. After nine years and 10 series it was time for the sliding doors of Section D to close for a final time. I knew I would probably be a little tearful and mourn that I’ll no longer swoon over the incredibly suave terrorist-fighting male cast, nor dream of emulating the leading ladies; however, what I absolutely loved was the show’s commitment to social engagement.

As an avid Tweeter, I was super-excited to find out during Series 9 that you could actually follow the characters on Twitter. The thing that they have got so right with these feeds is that they are active all year round (unlike @bbcLuther who only tweets when Luther is airing). Not only are they active but also attentive. They care about their followers and will take the time to respond to individual tweets.

First up, can you imagine my surprise (and delight) when @Dimitri_MI5 tweeted back to a message I sent about being excited about the final series starting…

I certainly *grinned* on receiving that back, but this was topped off by a response from the boss man himself @Harry_Pearce when I tweeted after the final episode…

I’ve honestly never felt more social media love than that and I’m sure anyone who has received a response or RT will be feeling the same way!

It’s great to see other dramas are taking a lead from Spooks, with ITV’s Downton Abbey creating profiles for all cast members – @LadyMaryCrawley is winning the followers race with over 1,700 at the time of writing. So when you’re watching on Sunday night, you know where I’ll be… wrapped up on the sofa with Blackberry in hand, tweeting away.

By Caroline Ayling on October 27th, 2011

Tags: Default ,PR ,Public relations ,Social Media ,Television ,Television audiences ,Twitter

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Ssshhh… we have something you might like to know about, but you have to promise not to tell anyone. It’s a secret, OK?

A 1920s cinematic speakeasy has landed in the heart of Soho, just in time for the BFI London Film Festival. The Jameson Apartment provides an unforgettable experience in a pop-up style vintage bar hidden away on the top floor of Kettners. Complete with a discreet entrance, a real life ‘Dandy’ and tantalising cocktails, the Jameson Apartment is the perfect hideaway for a nostalgic evening with friends. 

In order to gain entry to the Jameson Apartment you will need to first obtain the secret password, and on arrival remember to relay this to our Dandy who will be waiting for your call.

Log on to www.jamesoncultfilmclub.com and all will be revealed!

Ssshhh… please don’t tell.

By Francesca Gamble on October 21st, 2011

Tags: Alcohol ,Public relations ,Sponsorship ,Synergy

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Content forms an integral part of our work; understanding the factors regarding emotional and intellectual engagement with an audience are important in order to create meaningful experiences. The aim of this article is to trace the evolution of content creation and delivery in light of advances in technology and changes in social activities; hopefully giving some useful insight into options we have for our clients when planning campaigns.

“My biggest competitor today is someone with an idea”

Nabil Sakkab – Head of Research & Development, Procter & Gamble.

TV Content

In the days when the only mass media was broadcast and print, content producers had a one-way channel to engage their audience.

Typically, audiences respond best to content that carries authority (from factually trusted sources such as the Government) or authenticity (content that connects through personal or social relevance).

Successful TV has both authority and authenticity and the really successful ones are memorable – generally through well-executed, great ideas that appeal to the emotions (through shock or comedy).

A good example is Keira Knightley’s Women’s Aid commercial:

The production values are high, the storyline is strong and the effect of the film is to shock; but if we do not remember the website listed at the end, once the ad finishes we are left shocked but no longer engaged.

Internet content

With the arrival of YouTube came Manic Dog, Mystic Cat and endless wedding carnage videos. However, once TV producers started to talk with web developers (with the aid of a translation service) the result was a subtle shift in the style and format of programmes.

Interactive software has enabled content producers to give audiences a different experience; multi-layered options in story, format and delivery that no longer depend on high production values but instead rely on engagement through information and choices.

The Government anti-knife crime video campaign, ‘Choose a Different Ending’, is a good example of informed choice given to an audience:

Due to the interactive nature of the viral video, the user/target audience is forced to think about knife crime and the choices they are being asked to make. Each decision is then brought to life in the video, offering an insight into the consequences of carrying a knife. This is a good example of a campaign initiative that can only work online, as it relies on audience interaction.

The video engages the target audience in several ways:

- It is shot from an individual perspective i.e. the player sees the world through the eyes of one person

- It is shot on a council estate and then in the surrounding areas (park, nearby roads), so that the location is a familiar one to the target audience

- The cast is formed of the target audience, ensuring that the language and dress code would also be recognised by this audience

- The video was created with the aid of the target audience which helps with authenticity

Paid, owned and earned

For a while we settled into the comfort of three areas where content would be delivered and debated:

• Paid: TV commercials
• Earned: Comments on a YouTube video
• Owned: A company’s website

 

Of these three areas, earned has proven to be the most valuable as it carries authenticity through endorsement from peers.

Once hit counts and comments turned into real currency, producers soon realised that success with the audience required more than simply being in the same space, even if the content was clever or well-produced. It became clear that the appropriate tone, language and social context were essential for success.

Take the Government swine-flu film, 2009:

This was a TV ad that was also delivered and promoted online, receiving a whopping 380 hits on YouTube. The ‘Catch it Bin it Kill it’ message was generally dismissed as something for other people (perhaps the penalty for wearing bad jumpers in lifts).

The Government then commissioned a viral video to deliberately spoof the official one, involving actors from the target demographic and contemporary music. The result is much more fun.

Same message; different style (smaller budget); 1 million hits on YouTube. Enough said.

How we consume media

Almost more important to ‘where’ people are watching their videos is ‘how’ people are watching them.  This has an effect on the creative and production process.

Viewing habits can be grouped into three main types of activity:

- Snippets (spontaneous media activity)

- Boutique (speciality media searches)

- Catch-up (fitting TV schedules around our own lives)

A recent survey of 1,300 mobile Internet users below the age of 25, showed that most use a mobile device to talk to friends about the show they are watching, a trend known as ‘Social TV’.

Social media

Social media has altered the definitions of paid, earned and owned media or at least has blurred the lines between them. Now, the challenge that agencies face is figuring out how to integrate all three forms of media for maximum effect.

After all, social content, by definition, can lack authority but it has authenticity because it establishes relevance and context with our friends and our surroundings.

Let’s have a diagram.

Sponsorship events

We know there are Fans (consumers) who have Passions (Sport, Music, Art). Sponsored activities provide the magical third piece of the puzzle – the Location. This is not just the location of the event, but, thanks to mobile phones, the location of fans too. And this is powerful intelligence regarding media capture and distribution options.

Radiohead’s concert video shot in Prague in 2009 by 50 fans on Flip cameras makes you feel like you are standing amongst the crowd:

It appeals to fans because it was made by fans, contains fans and gives the fans that couldn’t go the feeling that they were there.

And the effects go beyond the concert. The video was endorsed and published by the band; further projects have been planned by the fans that in turn become a part of the history of the band, strengthening the relationship between all concerned.

The Social challenge – the media ecosystem

The goal is to connect the dots and integrate all media for maximum results.

It is not just about producing content for an event or campaign but to inspire the target audience to contribute, to collaborate and comment beyond the life of the event.

The media can take on a life of its own, especially if there are core community and social values – a mini ecosystem that can run beyond the campaign.

Mobile

Mobile is ever-increasingly becoming the medium of choice, particularly for image capture and Geo-positioning. According to Comscore, in the next 12 months:

‘We predict more than half of all mobile consumers will have access to mobile media, largely driven by growing adoption of smartphones. Identifying the synergies that exist between all consumer touch points – traditional PC internet, mobile media (via app and browser), tablets, etc. – and understanding how consumers use these devices to fulfil different needs and convenience levels will be of critical importance to marketers.’

How does all this affect production for Synergy Clients?

Social / mobile media is very powerful but it often requires a paid spark.

Synergy already produces world-class output and my goal is to bring broadcast, online and social production and planning experience into close proximity with the Synergy team and clients hopefully resulting in:

- Real-time intelligence on media options available

- Advice on production and delivery techniques, and suppliers to maximize creative impact

- Guidance on delivery options, channels, asset management (now and future) and measurability. If they are managed, assets can be re-purposed, like this COI text driving radio ad that was repurposed (very cost-effectively) as a viral video simply by adding graphics

Here is fifteen years of TV and web production distilled into my simple media AIM chart:

In Summary

- Content has developed from a one-way communication to an interactive conversation endorsed and measured through social reference

- The balance  of emotional, intellectual and social engagement should be carefully planned depending on the target audience and mediums available

- Technology and innovation drive the reach of our work but synergy between content producers and audiences fuels its impact

By Colin Burgess on October 13th, 2011

Tags: Advertising ,Alcohol ,Branded content ,Celebrity ,community ,Content ,Default ,Digital marketing ,Facebook ,Media ,Sponsorship ,Synergy ,Synopsis ,Television ,Viral Marketing ,YouTube

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What Happened?

On Tuesday September 13, Westfield Stratford City opened its doors to the public. Against the background of a day-long blaze of publicity, Mayor of London Boris Johnson cut the opening ribbon whilst invoking Chaucer, followed by pop diva Nicole Scherzinger strutting her stuff before a (slightly bemused) VIP audience. But by far the most important feature of the day was the 100,000 consumers who visited what is now Europe’s largest urban shopping and leisure destination – all 1.9 million square feet of it, the equivalent of 25 football pitches - spending a combined £4m. Recession – what recession? Good news for Westfield’s retailers, many of whom mounted major marketing campaigns to attempt to grab the lion’s share of the Opening Day buzz and bounty.

Our favourite? The M&S ’On Your Marks’ campaign, with creative shot by fashion photographer John Akehurst, featuring a model wearing heels from the M&S Autograph sub-brand in starting blocks.

Why We Like It

M&S brilliantly leverages Westfield Stratford’s Olympic DNA: Westfield is of course the gateway to the London 2012 Olympic Park.

First, there’s the skilful navigation of the legislation preventing brands from using Olympic IP. You absolutely get the connection, but there isn’t an offending piece of Olympic IP to be seen.

Second, it fulfils one of our litmus tests for great work - anchored around the use of ‘Marks’ – it wouldn’t work for any other brand.

Third, the Olympic connection isn’t forced. It’s entirely natural and drives both the consumer insight and the call to action.

And last but absolutly not least, it’s a stunning image in every way.

Beautifully done.

By Tim Crow on October 13th, 2011

Tags: Advertising ,Ambush campaign ,Default ,Olympic sponsorship ,Olympic sponsorship consultants ,Olympics

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What happened?

Online fashion retailer ASOS has continued its pioneering digital approach by utilising urban culture to promote its new 2011 Autumn/Winter menswear collection.

Through a new online experience, the ASOS Urban Tour uses an interactive platform to showcase its latest range, by zooming in on a variety of street performers including skaters, dancers and musicians, in five of the most stylish cities across the globe: London, Paris, Berlin, Los Angeles and New York.

Through an interactive scrolling map, similar to Google Earth, the application starts with a bird’s eye view of the globe and then zooms into the streets within your chosen city. The real funs starts when you click on any of the dancers, skaters or musicians who then start to perform. The interactive videos offer links for each of the performers and enable the user to see what they are wearing and how to purchase it.

Why we love it

Marketing something as personal and tactile as clothes in a two-dimensional online environment will always be a challenge. But ASOS continue to develop and push the boundaries, using engaging and innovative methods to showcase its clothing ‘in action’. This cutting-edge campaign, which combines lifestyle aspirations and fashion, represents a natural progression from the successfully executed online catwalk concept.

Research undertaken indicates that male consumers being targeted by ASOS are influenced in their fashion choices by what they see being worn on the streets, and therefore partnering with inspirational urban talent offers a fresh and relevant approach for the online retailer.

Urban Tour has been supported with extensive social media presence via the official ASOS Facebook page which currently boasts over one million ‘likes’. Inter-city rivalry has been utilised to spark conversation via an online poll, simply asking fans which city is their favourite – London currently sits at the top with 1,381 of the 2,895 votes. Fashion bloggers globally have been going crazy for this ‘mind blowing’ digital offering, describing it as an “entirely fresh and truly incredible experience.” So for those of you fashion-conscious men not making it to any London Fashion Week shows, I suggest you get your fix of urban style here!

By Emily Waring on October 13th, 2011

Tags: Advertising ,Branded content ,community ,Default ,Facebook ,Fashion ,Social Media ,Sponsorship ,Sport ,Synergy ,Synergy Loves ,Synopsis ,Television ,The Arts ,Viral Marketing

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Think of any brand associated with an athlete, and in most cases the brand will have approached the athlete as a result of the athlete’s brand/consumer fit and will be paying them a hefty sponsorship fee in return for a number of rights.

In “What We Love” this month though, we explore a brand who took a much more innovative and engaging approach to sponsorship by inviting a number of athletes to compete for a sponsorship contract, with their consumers ultimately choosing the winning athlete.

So who is the brand and what did they do?

In March this year, Sony Ericsson – a long time supporter of women’s tennis – launched a new format entertainment show, “Xperia Hotshots,” which followed the lives of six globetrotting, aspiring stars of the WTA, all of whom were competing for a sponsorship contract from Sony Ericsson.

The competition centred around the online buzz each tennis star could generate for themselves, with the player receiving the most number of votes on the official Sony Ericsson Facebook page (http://www.facebook.com/xperiahotshots) receiving €100,000 of support from the brand.

In order to help with the challenge, Sony Ericsson gave the players exclusive access to major music, film and fashion events as they toured the globe playing tennis. The players were also able to use their own stardom and contacts to aid them in generating the most interesting content, as long as it was shared via social network sites using the Xperia handsets that were given to the stars.

As an extra incentive for fans to get involved and follow the series, all of those who “Liked” the ‘Hotshots’ Facebook page were also entered into a prize draw to win tickets to the Sony Ericsson Open in Miami

Over the course of the campaign, which ended on 5 September and was won by Wimbledon Semi-Finalist Sabine Lisicki, the competition generated huge awareness for Sony Ericsson including 820,000 friends on Facebook; 3 Million video views on YouTube; 100,000 mobile app downloads; 1,200 pieces of media coverage; 70 videos produced; and 530 hours of footage shot.

Why we love it

We love this campaign here at Synergy for several reasons. Firstly, by prescribing that the players must use their Sony Ericsson Xperia Android touch smartphones to communicate with their fans through Social media, Sony Ericsson were able to showcase the product’s unique features in real life situations, thereby providing consumers with a much better understanding of its unique selling points, benefits and potential usage occasions.

Secondly, by focusing on the use of the phone for entertainment purposes and social media (as opposed to purely a communication device) the perception of Sony Ericsson as THE communication entertainment brand was greatly enhance.

Thirdly, by engaging fans in the athlete selection process, Sony Ericsson were able to generate a much deeper bond between their potential consumers and the ultimate Ambassador than if the athlete were contracted behind closed doors, and fans who engaged in the voting process are now more likely to follow that athlete going forwards than if the athlete had been selected on the basis of whom the marketers thought would offer the best brand/consumer fit.

Finally, by profiling six players, Sony Ericsson very cleverly linked themselves to all of these world-class athletes when they only contracted one; six great brand endorsements for the price one . . . not bad going!

By Liz Brown on October 13th, 2011

Tags: Blogging ,Brand marketing ,Celebrity ,Communications ,Default ,Facebook ,Media ,Mobile ,Online communities ,Sponsorship ,Sport ,Synergy Loves ,Synopsis ,Tennis ,Viral Marketing ,YouTube

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On Sunday 18th September, 54,000 runners took part in the world’s largest half marathon, the Bupa Great North Run. The Synergy team developed an integrated campaign to enhance the race experience for runners, spectators and the watching world. The runner experience was developed, with both physical and emotional support throughout their race journey from training and preparation, to the race experience itself.

 

Socialising the Bupa Great North

The big challenge for 2011, was to connect the amazing runner experience with a broader audience. The Bupa Great North Run has had incredible human interest stories since its inception in 1981; today the displays of human endeavour are more powerful than ever. With this insight at its heart, Synergy developed a simple, yet enormously powerful social media campaign to provide non-runners with an opportunity to feel part of the race experience of 54,000 runners.

The campaign was designed to connect consumers with the emotions of runners, utilising Bupa ambassador Mo Farah. Mo laid down the challenge to the nation, requesting messages of support to inspire Great North Runners on race day.

This was all delivered through the Bupa Running social media community on Facebook and Twitter. Over 400 of the best messages were then selected and used to design a giant ‘Mo Farah Mural’.

 

Mo unveiled the mural at the Bupa Great North Show in front of thousands of fans and gathered media the day before the race. Coverage included: Daily Telegraph, Evening Standard, CNN, BBC Look North, ITV Tyne Tees and BBC Radio Newcastle.

Race Day

The mural was then integrated throughout the Bupa race day experience, including the now legendary Bupa Boost Zone. Alongside the installation of the Bupa sports physio and massage experience, elated runners were able to celebrate their Bupa Great North Run alongside Mo Farah, and take in the emotive messages of support from across the UK on the Mo Farah Mural.

Bupa Boost Zone and The Mo Farah Mural

Inside the Bupa Boost Zone

By David Gerty on October 13th, 2011

Tags: Experiential marketing ,Facebook ,Marathon ,PR ,Public relations ,Social Media ,Sponsorship ,Sport ,Synergy ,Synopsis ,Twitter

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It is not all glamorous PR launches, trips to film festivals, attending world-class sporting events or managing photo shoots of beach volleyball players with QR codes on their derrieres. Alongside the visible perks of the job there is a whole host of unseen administrative rigour that goes into ‘what we do’ for our clients.

Take the Powerade account team. A fundamental part of our role is meeting the hydration needs of every Powerade sponsorship asset, be that all 72 Football League clubs, Jessica Ennis, or the England, Ireland and Wales Rugby Union teams.

For the Football League alone, each season we manage the supply of enough Powerade and Powerade Pro (powder sachets) to fill over 600 baths. But it is not just Powerade product we deal in;  over the course of the year, we oversee the delivery of about 4,000 Powerade sippers bottles – which if stacked from end to end, would tower over the of the world’s tallest building – amongst other Powerade branded hydration equipment.

Just last month, 2,000 sachets of Powerade Pro (which is only available in the UK) safely made it through customs, to help ensure that throughout the Rugby World Cup, on the pitch at least, our rugby boys didn’t go thirsty.

With London 2012 on the horizon, plans are taking shape to supply Powerade product to every single Olympic and Paralympic participant.

As a well known delivery company might say, that’s logistics.

By Tom Gladstone on October 13th, 2011

Tags: Athletics ,Celebrity ,Default ,Product placement ,Rugby ,Rugby World Cup ,Sponsorship ,Sport ,Synergy

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