Posts tagged ‘Digital marketing’

Synergy Loves…AT&T at March Madness

Across the pond, college sport is big business. According to Kantar Media research, the NCAA college basketball tournament, or ‘March Madness’ as it is more commonly known, has now overtaken the NFL Playoffs to become the most lucrative US post-season sport property for advertisers.

As such, there is a real onus on sponsors to produce unique and engaging campaigns in order to stand out from the crowd and deliver a return on what would no doubt have been a sizeable investment.

At this year’s tournament, telecommunications provider AT&T have managed to do so by using the @MarchMadness feed to bring real-time video highlights to the fans.

While this may not seem like such an exciting development, drilling down deeper into the mechanics of the service reveals how this opportunity could lead to a revolution in how rights holders, broadcasters and sponsors can collaborate to leverage branded content on Twitter.

What Happened

Turner, the official tournament broadcaster, have partnered with Twitter and quick-share video start-up SnappyTV to bring fans 15-second highlight clips of key plays via embedded video Tweets. Content is selected in real-time by Turner’s social media team, who use a combination of human judgement and SnappyTV’s social media monitoring software to track the most talked about moments in the game. In less than a minute, the relevant clip can be posted online for people to view and share with their friends. This example from Florida Gulf Coast’s improbable run to the round of sixteen shows the technology in action, and the ensuing Twitter conversation around highlight plays.

(Unfortunately, clips are geo-blocked to the US only but AT&T’s pre-roll can be viewed regardless of location. Refresh the page if you missed it!)

While this technology isn’t new (it was used in last year’s tournament by Turner), this year is the first time that sponsors have partnered with Twitter to bring these clips to fans via a short pre-roll ad with embedded video content.

Why we love it

In the past year, Twitter has invested significantly in figuring out the tricky task of how to make money from the social conversation around live TV. Snappy TV’s video highlight service has given sponsors, such as AT&T, the chance to emotionally link their brand with high-stakes knockout tournament basketball, and the thrills and spills that this entails.

AT&T have also understood the demand for fast, shareable content and utilised the technology available from SnappyTV and Twitter to create a seamless user experience, where video content can be accessed without the need to click on an external link. This ease of use has enabled users to easily retweet and share highlights with their friends, thus giving AT&T the additional benefit of being seen favourably by the consumer as the provider of their chosen video highlight.

For the broadcaster, advertising opportunities around sponsored video highlights can mean additional revenue streams as sponsors increasingly wise-up to the benefits of supplying eminently sharable content to an already engaged and passionate fanbase.

While this technology is still in its relative infancy, the growth potential in this medium is significant. Current reports project Twitter’s ad revenues will reach the $1bn mark by 2014, with the most significant growth projected to occur in the mobile sector. With this in mind, it will be interesting to see how many brands will follow AT&T’s example and embrace the potential of second screen advertising.

By on April 4th, 2013

Tags: Basketball, Blogging, Branded content, Digital marketing, Mobile, Social Media, Sponsorship Activation, Sport, Synergy Loves, Twitter

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I Finally Made The FROW!

Who knew London fashion week was first held in 1984? Well I for one didn’t…I thought it started in 1964. Despite getting this question wrong, I still received the Guardian fashion seal of approval: ‘You’ve won a seat on the front row of fashion week wisdom. Mwah. You look fabulous!’

YES fashion quiz, take that! What a sigh of relief I passed. What did this mean? Absolutely nothing, it turned out. Instead, I experienced AW13 London Fashion Week on the FROW of social media.

After the success of last year’s partnership with Facebook, the British High St giant Topshop continued to push the boundaries of the digital space, which saw them collaborate with Google +. Together they successfully developed products to allow customers to experience the show as if they were there. I wasn’t alone in being made to feel like I was part of the FROW (or the ‘model’ walking the catwalk…or the fashion ‘buyer’), over 4 million people clearly did too. The clever products Google + produced created an intimate, engaging and personal experience for people watching online.

My second FROW experience came from the luxury brand, Burberry. Live streamed through their website, the show experience was captivating, alluring and intimate. Content is King when it comes to Burberry, and they didn’t disappoint. The British fashion label gave viewers the chance to click to buy from the catwalk, the opportunity to personalise their purchases, go backstage with the models and share their Burberry experience on social media platforms. Whether you’re a regular customer or a fan like me, Burberry offered innovative ways to interact socially, leaving your Facebook friends wondering: did you actually attend?

The new video app from Twitter, Vine, caught on with the fashion set in a big way, as Paul Smith, Burberry, Matthew Williamson, Topshop, Jonathan Saunders and journalists were noticeable Vine advocates. The British designer, Paul Smith, partnered with London-based artist Kate Moross, who shot a series of imaginative six-second clips in the run-up to Paul Smith’s London Fashion Week show.

Established designer Matthew Williamson collaborated with esteemed photographer Sean Cunningham, who exclusively shot the designers collection using Vine and posted his own six-second clips just before the ensemble hit the catwalk.  The idea was to give Williamson fans the ultimate FROW experience, focusing on the intricate craftsmanship and detail of each garment in the collection – often overlooked by regular FROWers. Fans were able to follow the Vines on Twitter through #MatthewMagnifield and on Facebook. Like Burberry, Williamson also released his catwalk soundtrack on Spotify.

Fashion socialite and acclaimed designer Henry Holland (of House of Holland) developed a capsule collection exclusively for eBay.co.uk with all proceeds from items sold on the auction site during London Fashion Week going to Cancer Research UK.

Sponsor of London Fashion Week, American Express launched ‘Fashion Insiders’ based at Somerset House. Their purpose was to assist, navigate and advise fashion week guests when needed. Sporting the latest colour block trend, American Express exclusively partnered with new gen designer Jonathan Saunders to ensure the ‘Fashion Insiders’ were suitably dressed for the occasion. The brand also partnered with fashion blogger, Disney Roll, who created a series of sponsored posts for the brand.

The British Fashion Council (BCF) made a strong statement that 2013 would be the start of the digital revolution for fashion in this country and London Fashion Week AW13 would be the starting place. For the first time ever the BFC partnered with You Tube to live-stream 21 of the on-schedule catwalk shows through the LFW channel. The BFC continues to lead British Fashion in the right direction, showing our fashion counterparts that pioneering new technologies need to be integrated into Fashion Week and remain at the forefront of the global fashion industry for the future.

Finally, it’s hard to mention LFW without a nod to the biggest talk of the town, model Cara Delevingne, the coolest girl in the world right now. Opposed to the quieter Kate Moss, Cara is a social media addict and posts her journey through life across all social media sites such as Instagam, Google +, Tumblr, Twitter and You Tube. Out with the model talk on weight issues and in with social buzz of this new, fresh-faced exciting British talent, who doesn’t take herself too seriously, is everyone’s best friend and loves to eat McDonald’s.

Which brand wouldn’t want her as the face of their campaign? #modelbehaviour

Noticeably this season, London Fashion Week was dominated by the designers’ innovative desire to give their fans and customers the most intimate experience possible. Where traditionally big sponsors of the event may have capitalised on their dominant position, designers and models have re-emerged, laying claim on digital innovation and consumer engagement.

So, whether you want to dress up, invite your friends over or even don a pair of sunglasses for the occasion, fashion has a new set of FROWers, the ‘Socialistas.’

By on February 26th, 2013

Tags: Celebrity, Communications, Content, Default, Digital marketing, Facebook, Fashion, Media, Music, Public relations, Social Media, Sponsorship, Synergy, Twitter, YouTube

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Synergy Loves…VICE + Dell + Intel = noisey.com

What happened

VICE is described by its CEO Matt Elek as ‘MTV for millennials’. Now a huge digital news outlet aimed at a global mass youth market, they have come an incredibly long way since their launch in 1994 as a small magazine in Montreal.

Over the past couple of years there has been a real shift in Intel’s marketing strategy, from targeting the IT geek, to anyone who wants to connect with their favourite past times via technology, be it art, music, sport, or fashion. Whether you love or hate VICE, Intel have identified its audience as key to becoming ‘relevant’.

Enter noisey.com, VICE’s partnership with technology brands Dell and Intel, brought to life only last year. In essence it’s a digital entertainment channel designed to enhance ‘video driven music discovery’.  VICE travels the globe to find emerging talent in order to create ‘access all areas’ footage that gives you a sense of what life is like in a band, with Dell and Intel providing the innovative means through which we can access and experience it.

Why we Love it

Firstly, music matters to everyone, and noisey.com brings fresh content to the site daily in a five-piece series that includes documentary-style footage, along with never-before-seen performances.

Secondly, it feels organic; noisey.com appears more like the end product of a creative collaboration borne out of a successful brand partnership, not just Dell and Intel providing the technological means for VICE to do something cool. The channel adds substance and credibility to their claims of pioneering the way for innovative technological solutions.

Finally, it might seem like a dichotomy to create a website that exists purely to celebrate live music, but noisey.com can also be experienced offline as well. The music was taken to their youthful target audience through the Noisey College Tour in the USA last year, and it seems only a matter of time until it ventures across the Atlantic…

What the brand said

The only potential downfall is that Intel and Dell are ultimately pushing out the same message: John Galvin, director of Intel’s Partner Marketing Group said that “no one is positioned quite as well as Intel to push the technical boundaries of Noisey.com”, whilst Michael Tatelman, Dell’s Vice President of North America Consumer Sales & Marketing believes that “Dell’s influence was to push the bounds of digital delivery and ensure noisey.com was something no one has ever seen before.”

It’s an extremely bold move to partner with a media brand that comes under so much scrutiny from its readers, so potentially there has been a missed opportunity for differentiation in brand personality. They are not talking about themselves in way that does justice to what they’ve created, or explaining the technology that went into the process.   Even so, I’m sure we will see noisey.com go on to accomplish more innovative and creative technical feats that capture the imagination with VICE, Dell and Intel at the helm.

 

By on December 13th, 2012

Tags: Digital marketing, Music, Online communities, Sponsorship, Synergy Loves

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WiFi? Why not?

We have WiFi on our trains, our buses, in our cafés and bars and even across the underground network– but why is it still not commonplace across our sports stadia?

Most clubs and sporting bodies will boldly claim the importance of social media as a platform with which to engage their fans and will often boast record numbers of ‘Followers’ and ‘Likes’, along with gains in emerging markets. Yet strangely, very few have recognised the potential commercial value of having a ‘connected’ stadium  to improve the match day experience for both those attending and, perhaps more significantly, for those that are not through the sharing of content that this enables.

I recently attended a seminar on the changing habits of sports viewing where one of the panel, a senior marketing figure at a Premier League club, claimed that there was no need for WiFi in a football stadium, as he didn’t feel that fans had the dwell time within a match to update social media sites or consume additional content. I couldn’t disagree more.

On a matchday, 3G networks are over-burdened with people trying to access the internet via a mobile devices, making progress painfully slow- the modern digital-savvy customer neither expects nor is willing to wait. Like it or not, we live in a world where people share almost every facet of their lives in real-time and expect content to be available to them – free of charge – whenever they want it. Conversations, both online and offline, are driven by people’s passion…and there are few more passionate than your average sports fan.

These people want to share photos, videos and opinions and they want to do it as the action unfolds. This wealth of crowd-sourced content is  not constrained by the confines  of the stadium – it is consumed by fans in all corners of the globe. Its power lies in the affinity that exists between fans: it is the reason we read sports blogs and the reason that we follow complete strangers on Twitter – we often value its honesty more than any communication  by a club via more formal channels.

For the club and its sponsors this opens up a world of opportunities – limited only by the imagination of the marketer. Think digital programmes, live match stats, pre-match press conferences, competitions, live betting offers and more. Want to pre-order and pay for your half time beer? It’s all possible.

At its most basic, increasing the quality and frequency of your social media output will increase your reach, which (putting a commercial hat on) can only make you a more commercially attractive entity. Monetising your fanbase is no longer just about selling season tickets and shirts, it’s about growing  your reach within a given market to demonstrate your standing and influence to potential commercial partners.

This is not to say that there is not a handful of players out there that are doing it well. The Rugby Football Union has recently signed a partnership to make Twickenham the most digitally advanced stadium in Europe. This is starting with the installation of an ‘LED fan-engagement and advertising system’ which will “boost interaction and engagement with the crowd” by displaying fan messages of support. Meanwhile,  Real Madrid and Barcelona have signed deals with Cisco Systems and Telefonica respectively, in order to provide hi-density WiFi networks – two deals which are likely to be largely value in kind.

While the pace of uptake has been somewhat surprising, I have little doubt that it will eventually play a significant role in the way that we interact with live sport.  The question is how will sponsors take advantage?

 

By on November 27th, 2012

Tags: Advertising, Blogging, Brand marketing, Branded content, Communications, Consultancy, Default, Facebook, Football, Football Sponsorship, Media, Mobile, Social Media, Sponsorship, Sponsorship consultancy, Synergy, Twitter, YouTube

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The Missing Formula

Analysis of industry data suggests that the F1 ecosystem raises over £1b per year from sponsorship. This includes Team Sponsors and Suppliers (ranging from £100m for the big boys to £20m for the smaller teams), F1 Partners (around £25m per year in cash or Value in Kind from each of the 6 global partners) and Race Sponsorship (around £10m for each of the races with title sponsors plus trackside advertising).

To put that into context, the London 2012 Olympic and Paralympic Games raised around the same amount (£750m from domestic sponsors plus around £250m contribution from the IOC for TOP partners) – but that was for a 4-year cycle.

So here’s a question: Given how much is spent on it from some of the world’s leading brands, why is F1 Sponsorship not at the leading edge of sponsorship thinking and activation?

It’s fair to say that F1 is ahead of the game in virtually everything else it does. So surely F1 Sponsors should be cleaning up at the major sponsorship industry awards.  In fact, over the past 5 years, an F1 sponsorship has won only once out of a possible 47 SIA awards (Vodafone’s Best Sponsorship of a Team or Individual in 2009). Case studies from F1 should be inspiring sponsors in other sports.  Here at Synergy, we should regularly be showcasing examples from F1 in the ‘What We Love’ section of Synopsis. But this just isn’t the case – at least not to the extent that one would expect.

Don’t get me wrong, there are some great pieces of activation in F1 (I’ll point out some of them later), but as a whole, F1 sponsorship is pretty uninspiring.

Having run the Reuters sponsorship of WilliamsF1 from 2000 – 2003 (yes – I agree – it was nowhere near ‘award-winning’!), I thought I would have a go at answering that question based on my own personal experiences.

1. Most Formula One sponsorships are B2B

Reuters primarily used F1 for B2B relationship building. A quick scan of F1 sponsors shows that over 40% have significant B2B businesses. There is little better than F1 if you have a relatively small number of high-value, global customers who you reach through targeted sales and marketing programmes.  Travelling around the world to all the key markets, Formula One and Paddock Club™ are the absolute gold standard of corporate hospitality. With this being the focus of the brands’ activation programme, it is little wonder that it remains unseen by the mass audience, award panels and the Synopsis editors.

The activation challenge for the B2B partners, however, is to create the most compelling brand stories and event experiences to attract their audience.  Because the fact is, especially in the small markets, most of the B2B sponsors are going after a very similar audience, in some cases exactly the same people.

2. There is too much focus on brand exposure and logos on cars and not enough on activation

Whenever brand exposure is such a critical part of the sponsorship package, it is easy to rely too heavily on it at the expense of all the other things you can do with the sponsorship. I absolutely hate the “media value” figures that are at the heart of so many F1 sponsorships.  However, it is easy to measure and as long as the media value is bigger than the cost of the sponsorship, brands can be tempted to think “job done”. In comparison, Olympic sponsors can’t rely on any media value to justify their sponsorship.  That’s why they have to work much harder and be far more creative with their activation.

A knock-on effect of this over-emphasis on media value is the fact that it can lead to an under-investment in activation.  Typically, the rights fee is so high (because brands are paying for the exposure) that there isn’t enough left over for activation. I’m not a big believer in any rule-of-thumb ratios, but the proportion of rights fee to activation spend when I was at Reuters is definitely not going to make it into any how-to textbooks. I suspect this isn’t unusual for F1 sponsors up and down the Paddock

3. The calendar gives you no time to plan and develop great campaigns

The F1 season is relentless. The first race is in early March and the last race is in late November. In between is a never-ending cycle of travelling and managing the day-to-day execution of race weekends. Everyone goes on holiday during the 4-week summer break and at the end of the season, which then leads into Christmas. Trust me, if you want a year to fly past, get a job in F1.

Which basically just leaves January and February to do any sort of campaign development. But even those months tend to be dominated by tactical planning for the season ahead. There just isn’t the time to think about a season-long campaign or a brilliant piece of activation.

Another challenge is the global scale required by an activation campaign. Japan, Abu Dhabi, Britain, the US and Brazil have very little in common with each other from a marketing perspective.  So as an F1 sponsor you are sort of in limbo between creating and delivering a global campaign that doesn’t quite work in loads of markets and developing local campaigns which feel a bit ‘small’ and short term.

4. The F1 community is too closed

There are some great people who work in F1.  However, it needs more ‘churn’.

For example, when I needed a sponsorship agency, everyone I invited to pitch was effectively a specialist F1 agency. I understand why most sponsors do that, but it leads to a form of ‘groupthink’ where new ideas are thrown out in favour of “what we did last year” or “what we do with our other clients”.

This happens up and down the paddock. If an F1 team needs a new Account Manager, they are likely to hire someone from one of the other teams. If a brand needs an F1 Sponsorship Director, they are likely to hire someone who has done a similar job at another sponsor. If an F1 agency hires a new Account Director, they typically hire someone who already has F1 experience.

The danger of this ‘closed’ community is that it loses the fresh influences and perspectives that drive creativity.

I know it’s tough (I’ve been there myself) but I think F1 sponsors need to be braver and set the bar higher for their activation campaigns. The benchmark should not be: “we want to create the best F1 sponsorship campaign”, but rather “we want to create the best sponsorship campaign”. And to do that, I think that it is critical for sponsors to look for inspiration outside the very small world of F1.

The point of this blog is not to say that there are no good F1 activations – because clearly there are some great examples.

My point is simply that given the number of world-class brands who are sponsors in F1, the amount that they invest and the possibilities of F1 as a platform, there should be far more ground-breaking activation programmes than there are.

Some of our Favourite F1 Activation Case Studies:

Johnnie Walker – Step Inside the Circuit Series

Johnnie Walker extended this campaign with some experiential activity in Travel Retail environments but at its core was some great behind-the-scenes content, from Monte Carlo (below), IndiaSingapore and other races

Vodafone:

One car, no team:

Camping:

Santander:

London Grand Prix:

The Silverstone Chase

Hugo Boss - Dress Me for the Finale

Using a special online configurator, consumers in each country could create bespoke designs of the drivers’ race suits. The drivers wore the designs during qualifying for each race, while the best two designs as voted by the audience were worn on the Sunday during the Brazilian Grand Prix. Boss also did a good job of connecting this activation to their social media and retail channels:

Red Bull – Faces for Charity

In exchange for a donation to charity (which Red Bull matched), consumers could upload a photo which was then put on the car for the British Grand Prix.

Vodafone –  Drive to the Big League

Vodafone introduced this initiative at the British Grand Prix in 2010 which offered one of their small business customers the chance to put their logo on the car for the British Grand Prix.  Vodafone have taken it to a whole new level in India now, where they have combined it with a Dragons Den style TV programme to select the winner – watch it – it’s brilliant!!!

See – it is possible – more of that please!!!

By on November 15th, 2012

Tags: Advertising, Alcohol, Awards, Brand marketing, Branded content, Consultancy, Content, Default, Digital marketing, Experiential marketing, Facebook, Formula 1, London 2012, London 2012 sponsorship, Olympic sponsorship, Olympics, Red Bull, Sponsorship, Sponsorship consultancy, Sponsorship consultants, Synergy, Synergy Loves, Synopsis

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London 2012: Synergy’s Digital Gongs

There’s no doubt about it, London 2012 has been the most digitally connected Olympics we’ve ever seen. Compared to Beijing 2008 there are nearly 10 times the amount of people on Facebook and a whopping 80 times more tweeting away on Twitter.

Brands, consumers and even the stars of the greatest show on Earth participated with tweets, photos and videos, often in real time and always with real, honest to goodness, passion. It’s this real-time nature that made Social Media (‘SoMe’) transform the way we have experienced the Olympics and has held the key to brands making the most of their Olympic sponsorships.

So we at Synergy wanted to take a little look-see as to which brands best activated their campaigns through the use of content and digital channels. Whilst we were at it, we even decided to have a little medal ceremony all of our own.

 

Gold Medal Winner: adidas – Take the Stage

‘Take The Stage’ was the title of the integrated campaign launched by adidas to leverage its sponsorship of the 2012 Games.

Whilst television and out of home focused largely on the Team GB athletes themselves, the campaign also contained a public initiative which played out via digital channels. These channels provided the content hub to house varied material from emotionally-charged, nation-rousing videos of Ennis, Daley, and Idowu (hindsight’s a wonderful thing), to pieces on the athletes’ adoration of the Team GB kit and Stella (the designer, not the beer), even Keith Lemon interviewing the most successful British Olympian of all time, “Circus Hoy”, getting the Brownlees to Tri-a-Thong or Swingballdon with Andy Murray.

Even a medal-winner laden lip-sync music video to Queen’s “Don’t Stop Me Now” emerged from the content coffers. Add to that footage of a certain Mr Beckham surprising well-wishers in a ‘good luck’ video booth installation, and you have a piece of content that has generated 3 million views alone.

Digital channels also provided the platform for 32 youngsters to be given the opportunity to collaborate with a host of top sports people and pop stars by showcasing their own talent via YouTube.

SoMe was employed to get the public more deeply involved and engaged in the campaign. Aside from the dedicated website, consumers could engage with the brand by following updates on Facebook and Twitter, using @adidasUK and #takethestage. The ‘Take the Stage’ Facebook app invited users to create their own campaign image and mantra in the same style as the striking photographic portraits, share it with their friends and post the image within the dedicated gallery.

When it came to content, there really was something for everyone.

Some stats

- The @adidasUK Twitter following climbed by 25% with the hashtag #takethestage being mentioned 109,241 times.

- Throughout the 17 days of the Olympics, adidas’ global Facebook page increased by 202,429 fans with more than 5 times the usual amount of shares.

- The David Beckham photo booth stunt has been viewed more than 3 million times.

- The adidas Team GB “Don’t Stop Me Now” video has been viewed more than 1.5 million times.

- Adidas claims it has “already recouped” its Olympic sponsorship investment through merchandise, with further sales still to be expected.

Why Gold?

Adidas realises that sports sponsorship and social have common ground – unified by passion. The brand generously sprinkled patriotism into the mix and fed consumers’ passions by telling great stories in an ‘always on’ environment, building familiarity, likeability and trust on the way.

‘Take the Stage’ focuses on what adidas as a brand stands for and not what it sells. The content is ‘shareworthy’; so meaningful, useful or interesting to its audience that they want to share it with their own friends, families and other connections.

Ultimately, adidas’ approach to sponsorship and digital during the 2012 Games has allowed the brand to build deeper, more meaningful and more enduring relationships with its consumers.

Silver Medal Winner: P&G – Thank You Mum

Proctor and Gamble brought to life its sponsorship of the Games most effectively through its ‘Olympic Mums’ YouTube campaign. Its aim was to recognise Mums as the special person behind every athelete.

Content for the campaign took the form of a series of video tributes called “Raising an Olympian”, stories told by the Mums themselves, which were then distributed on TV and online through sponsored content and video ads.

Facebook provided the destination to share special moments between the athletes and their Mums, and also allowed consumers to thank their own Mums by uploading family photos and writing messages for them to be shared in their news feeds. Twitter provided the platform to cheer on the athletes and allowed P&G to keep its followers informed.

Some stats

- The campaign achieved over 206,397,926 impressions.

- Over 5 Million views on YouTube.

- 43 online articles were written.

- Retailers that activated the campaign with in-store displays have seen a 5% to 20% sales lift for P&G products in the three- or four-week Olympic merchandising period.

Why Silver?

The content which P&G dispersed told emotional and compelling stories, which people naturally wanted to share.

Who could resist the pull on the heartstrings, the concept of ordinary kids becoming Olympians and the contribution their own mothers made to getting them where they are today?

Using social to roll out content a full 100 days before the Olympics shows P&G’s understanding of how using its “mum-umentaries” to engage wasn’t limited to the actual Games themselves.

Using real time distribution of narratives added to the impact, exemplified by the airing of a ‘thank you’ message from one Volleyball player to her Mum halfway through the final set of the match.

A robust paid-for seeding strategy also ensured the content reached the right audience. Oh…and finally, P&G forecasts that its Olympic campaign will generate over $500 million in additional sales.

 

Bronze Medal Winner : Coca-Cola Move to the Beat

Coca-Cola has been involved with the Olympics since the 1928 Games in Amsterdam. In 2012 the focus moved from more traditional advertising to a more ‘Liquid and Linked’ approach to story-telling. Launching an integrated campaign, which largely played out through SoMe, Coke targeted its audience with the spotlight on music and youth culture.

Bringing in some musical ‘big guns’, Coke worked with producer Mark Ronson and singer Katy B, with Ronson setting out to produce an original Olympic anthem for 2012. To achieve this he travelled around the world to capture the sounds he needed from various sportsmen and women in action to form a ‘rhythmic backbone’, for the anthem. Imagine Ronson in the meeting with Coke selling in the idea that he needed to discover a rhythmic backbone. He captured sounds from Table Tennis in the UK, archers from Singapore, hurdlers in the US, sprinters from Russia even Taekwondo in Mexico.

Coke then told the story of Ronson’s mission through a series of videos. Users were driven to Coke’s Move to the Beat website where they could become the producer themselves and combine their favourite sport with their favourite beats to create their very own version of the anthem. If the user so desired they could further manipulate the anthem through the movement of their mobile phone via an associated app.

Coke uploaded the UGAs (User Generated Anthems) to its global community and further facilitated the sharing of these user-generated anthems through Facebook and Twitter. Users posted the videos on their Facebook profiles and propagated them via tweets.

Some stats

- 3 million user-generated anthems were created.

- Coca-Cola has now hit 50 million fans on Facebook.

Why Bronze?

Coke understands the importance of creating content which resonates with its audience, and more so, it understands that co-creating this content makes it all the more powerful. People love to share what they themselves create and Coke facilitates this. Make the content unique, valuable and easy to share, and an audience will happily amplify your brand message – and do so with a smile.

In summary, whilst the Olympic Flame may now have been extinguished for another four years, the brands above have demonstrated that they have the ability to start their own fires through the power of Social Media. By creating truly outstanding content, allowing users to put their own stamp on that content, and helping them share it via social, these brands can sit back and enjoy the warm afterglow as consumers ‘fan’ the flames on their behalf.

Full disclosure: Synergy works with the Coca-Cola Company

By on September 10th, 2012

Tags: Advertising, Digital marketing, London 2012, London 2012 sponsorship, Olympic sponsorship, Paralympics, Socialympics, Sponsorship, Twitter

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Synergy loves…Zeebox, your TV sidekick

What happened?

Have you ever found yourself shouting at your TV whilst watching a football match alone? Or, if you’re like me, watching Made in Chelsea and yearning to gab with your girlfriends about Millie’s awful outfit? If this sounds familiar, then you need to hear about zeebox.

Zeebox is a new company that’s dedicated to improving your television experience by amalgamating the power of the internet with your TV, all whilst enabling you to socialise with your friends. The notion behind the innovation is to create a more engaging TV-viewing experience, whilst incorporating a new social media aspect to an often lonesome activity.

The zeebox team, based in London, have created a free app that can be connected with your TV via your laptop, iPhone, iPad or Android smartphone. Zeebox can also be used as a social tool by instantaneously providing you with information on what your friends are watching and what shows are the most popular, in real-time. It’s the perfect combination of leisure and entertainment.

The revolutionary aspect of the zeebox is that by simply inviting your friends to join you, it enables you to share content with them, and can chat about programmes together while you watch them. Zeebox is also integrated with Twitter, so you can keep your followers up-to-date as you watch.

As you watch your favourite shows and films, zeebox recognises references to people, places and topics, and puts them up as keyword tags, or “zeetags”, on your screen. All you have to do is click on the zeetag and the machine brings up search results on Wikipedia, Google, or anywhere else on the web. Plus, if your TV is connected to the internet, zeebox can also act as your remote control.

To top it all off, you can also identify products that are related to what you’re watching and purchase them immediately online. This enables viewers to shop in real-time and increases the relevence of product placement in movies and television shows.

This short video from the company founders shows this clever TV sidekick in action.

Why we like it

Zeebox’s integrated social features enable the user to do an impressive number of social and technological tasks, easily and efficiently. By pulling in content on the spot from the internet, zeebox instantly provides you with a vast amount of information that’s easy to navigate. Thanks to this connected portal of information, zeebox is expected to become part of the standard TV-viewing experience in the not-so-distant future – hence why BSkyB decided to take a 10% stake in the company at the beginning of this year.

So, if zeebox is to lead the way for the companion app revolution in TV, and connected TV lives up to its expectations, then TV viewing will never be the same. It is incredibly important for brands to take note of this, as the implications are wide-reaching. The usual television advertisement will lose its relevance and brands will have to move to a more product placement and ad-funded programming orientated strategy to ensure their products get the desired cut-through. This is very exciting, as we will start to move from passive TV consumption to a more active experience in which brands can play an important role.

This, together with the seamless combination of rich information and social channels in one place, brings a sense of excitement that the way we consume television is about to change forever, and that zeebox is one of the catalysts for this change.

And the best part about it: it’s available now.

By on May 31st, 2012

Tags: Blogging, Branded content, Communications, Content, Digital marketing, Facebook, Media, Mobile, Online communities, Social Media, Synergy Loves, Viral Marketing, YouTube

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Synergy Loves…Rolls-Royce & Rankin: Spirit of Ecstasy

What happened?

In order to celebrate 100 years since the creation of the Spirit of Ecstasy, our fellow ‘Engineers’ ‘Partners Andrews Aldridge’ and Rolls-Royce commissioned the British photographer Rankin to capture 100 contemporary images of the female form that are inspired by Rolls-Royce’s renowned symbol, including her power, speed and beauty. In his own words, this was “one of the biggest projects (he) has ever taken on”. The stunning collection of prints were shot over the course of the year and hosted exclusively at Rolls-Royce Motor Car events and dealerships throughout the world including London, LA, Beijing and Sydney, finishing in Cologne this month.

Why we love it

Firstly, we feel the partnership between Rankin, a modern British style-icon, and Rolls-Royce, a brand that represents both classic British craftsmanship and contemporary engineering, is spot on. A brand like Rolls-Royce needs to strike the balance between reinforcing its heritage without overly relying on it, and this modern celebration of the centenary of its ‘Spirit of Ecstasy’ strikes this balance very nicely.

By teaming up with Rankin, Rolls-Royce have also created a fantastic platform to create original and stunning content for their upmarket target audience, who are likely to be passionate about the arts and the work of the ‘in vogue’ photographer. Most importantly, going forward, these images have also given Rolls-Royce the opportunity to create some unique DM material to send on to their customers, a nice way to get into the hearts and homes of their most valued clients. Ultimately, one of the most important roles of a succesful partnership is to give the comms of a brand a lift; and these amazing photos most certainly do that.

By on January 25th, 2012

Tags: Advertising, Art & Design, Branded content, Synergy Loves

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Synergy Loves… ASOS: The Urban Tour

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 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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Twitter Proves The Rugby World Cup Is A Small World

Three cheers, then, to the IRB for publishing a weekly round-up of Rugby World Cup-related social media activity by fans. As I tweeted yesterday, all rights holders should be doing this – a point echoed by numerous sponsors, who contacted me to say they’d now be making the same point to the rights holders with which they contract.     

But here’s the thing. One of the IRB social media round-ups highlighted an issue I’ve had for many years with the marketing of the Rugby World Cup.

I’ve always been uncomfortable with the IRB describing the tournament as the world’s third biggest sporting event behind the Olympic Games and FIFA World Cup (which it routinely does – see the penultimate paragraph here for example).

It’s a very clever marketing soundbite (which many rugby journalists now routinely repeat) but it doesn’t stand up to detailed analysis.

The IRB anchors this claim primarily on those old chestnuts of cumulative TV viewers and TV footprint, but those are currencies which only matter to sporting officialdom: most brand marketers aren’t remotely interested in them as a measure of either audience engagement or value.

The reality is there’s a vast chasm on this notional list between the top two and the Rugby World Cup in terms of audience criteria that really matter to brands: things like the number of unique viewers, the number of fans engaging online, and the number of countries in which the event/sport has salience (mass appeal).

And against these more meaningful criteria, there are plenty of sporting events which have a bigger reach and/or footprint than the Rugby World Cup. To quote just a few examples, the F1 World Championship, the Indian Premier League, the NFL, and the UEFA Champions League.

And none of this should be a surprise because when you consider rugby’s footprint.

It’s salient in only eight major markets (the IRB Tier 1 countries Argentina, Australia, England, France, Ireland, Italy, New Zealand, South Africa) with a combined population of 309 million (4.4% of the world’s population) in only one of which (New Zealand, the smallest market at 4 million) it is the number one sport.

All of which is illustrated nicely by this IRB infographic, showing the location of the last 1,000 Tweets mentioning #rwc2011 during the Rugby World Cup opening ceremony.

So, hat-tip to the IRB for blazing a social media trail among rights holders. But please, don’t play the ‘biggest’ game – play the best.

By on October 5th, 2011

Tags: Default, Rugby, Rugby World Cup, Social Media, Twitter, World Cup

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