SECONDStoIMPACT

University of Ulster at Belfast Faculty of Art and Design BDes (Hons) Design for Visual Communication Module VIC503 Stephen McCartney

Can the 30-Second Television Ad Still Make an Impact in the Age of Social Digital Branded Entertainment?

A Glossary of Definitions

Branded Entertainment a type of product placement that embeds the product in an entertainment medium funded by brands. Branded Content an advertising medium that blurs the line between advertising and entertainment. The resulting hybrid is distributed as entertainment content, albeit with a highly branded quality. Its is generally funded by the brand as part of a marketing strategy. VCR Video Cassette Recorder DVR Digital Video Recorder DTT Digital Terrestrial Television Web 2.0 Second Generation of the World Wide Web that has a focus on people sharing information online. CPV Cost-Per-View CPM Cost Per Thousand Impressions COBRAs Consumers Online Brand-Related Activities

Abstract

Most of us grew up with 30-second Television advertisements interrupting the entertainment we enjoyed, but because we were conditioned to it we accepted it. Today, things are very different. The media landscape has changed. The Internet and hundreds of TV channels has led to fragmentation meaning consumers are more difficult to reach. The emergence of DVRs saw a paradigm shift in power from advertisers to consumers. Consumers have become immune to traditional advertising tactics. They now have the power to choose to watch, when and where they want. They no longer tolerate their entertainment being interrupted. As a result of these changes, the way we view advertising has irreversibly changed and many believe the shift towards online and digital is the end for the 30-second Television ad.

The advertisers in response to DVRs have re-examined their strategy and are adopting branded content, a fusion of advertising with entertainment to engage todays empowered consumers. Advertisers believe that if people are entertained, they will choose to watch and may even share it and contribute to the content using social media. Some of the most successful campaigns using this strategy have used Television (albeit increasingly as long-form ads of up to 3 minutes rather than 30 seconds) to create the initial buzz, that then moves online as part of an Integrated campaign. In a bizarre twist of fate, rather than being the kiss of death for the 30-second TV ad the internet has actually saved it from certain annihilation.

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List of Illustrations

Table of Contents

(1) douard Manet, A Bar at the Folies-Bergre (18321883) Oil on canvas, 96 130 cm, Courtauld Institute of Art, available: wikipedia. org/wiki/File:Edouard_Manet_004.jpg (2) Nescaf Love Over Gold, available: http://images.mirror.co.uk/upl/m3/mar2008/0/7/C330D2C0-95A2-C63D-7C3F7CD490F30DC4.jpg (3) The State of Control: Thanks Robert Adler, available: http://www.ahtflorida.com/aht_lifestyle-technology-blog/wp-content/ uploads/2011/05/miami_luxury_controls.jpg (4) The State of Control: Thanks Robert Adler, available: http://www.ahtflorida.com/aht_lifestyle-technology-blog/wp-content/ uploads/2011/05/miami_luxury_controls.jpg (5) Sky+ box and remote control, available: http://gdgt.com/sky/hd-box/ (6) Entertained Consumers, available: http://www.istockphoto.com/stock-photo-6547134-young-people-in-a-movie-theater. php?st=7513931 (7) The-new-bmw-1-series-convertible.jpg., available: http://www.automobilesreview.com/gallery/bmw-efficient-dynamics/the-newbmw-1-series-convertible.jpg (8) Scenes from The Hire, screenshots. (9) BMW Logo, available: http://www.mototype.com/pics/4638/full/bmw_logo_1.jpg (10) Aurelien Guichard,(February2011) Liverpool Street station, London, England-26Feb2011.jpg, available: http://upload.wikimedia.org/ wikipedia/commons/7/70/Liverpool_Street_station,_London,_England-26Feb2011.jpg (11) Commuters at Liverpool Street Station, available: http://www.directnewideas.com/wp-content/gallery/0548/image07.jpg (12) An epidemic of Joy, The Sun newspaper http://www.directnewideas.com/wp-content/gallery/0548/image07.jpg (13) The Old Spice Guy, available: http://blogs.sun-sentinel.com/features_fashion/files/2010/07/OldSpiceIsaiahMustafa.jpg (14) Im on a Horse (2010), available: http://media.photobucket.com/image/old%20spice%20guy/l337squerrel/old-spice-man-IsaiahMustafa_510.jpg (15) Old Spice Responses, screenshots from http://www.youtube.com/user/OldSpice (16) Choice based viewing, available, http://annualreport.pg.com/annualreport2011/images/photo_oldspice.jpg

01-INTRODUCTION 02-PRE-DIGITAL BRANDED CONTENT

Impressionism...................................................7 History of the Soap Opera..................................7 Nescafe Gold Blend............................................8

03-TELEVISION IN THE DIGITAL AGE

The Remote Contol............................................10 The VCR.............................................................10 The DVR.............................................................11 A New Breed of Consumer................................15 Perceptual filtering...........................................16

04-BRANDED CONTENT IN THE DIGITAL AGE

Case Study BMW: The Hire...............................19

05-THE RISE OF SOCIAL MEDIA

T-Mobile Dance...............................................22 Old Spice Smell like a man, man....................26 Typology of Online Consumers.........................29 COBRAs.............................................................29

06-THE FUTURE OF TV ADVERTISING

Connected Television........................................32 07-CONCLUSIONS

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Acknowledgements

01- INTRODUCTION

Thanks and appreciation to my advisor, Ms Patricia Griffin, Lecturer in History & Theory of Design: Visual Communication, Art and Design Research, for her guidance & advice throughout the process of writing this dissertation. Her wealth of knowledge on research, writing and design, provided invaluable advice that contributed to a better overall understanding of the task at hand. Thanks also to Prof. Barbara Dass, who took time out of her busy schedule to give me feedback and direction in the early planning stages of writing. Finally, thanks also to Mark Kelso and Matt Fulton, Web Designers at Whitenoise Studios, who helped me to overcome some technical problems with web embedded flash video needed as part of the accompanying DVD.

Advertising used to be such a simple business. A company had a product to sell. An ad agency came up with a way to sell it and bought print space or airtime to get the message out there. Consumers saw the ads and rushed out to buy the product. Or not, in which case the company selected a new agency and the process started all over again.1 The media landscape has changed. There is a growing belief in the industry that the 30-Second Television ad is declining in power and relevance. Hundreds of television channels, on-demand access to content and the ability to record, pause and then fast forward live TV mean advertisers have found it harder to reach the mass audience of yesteryear. 2 New and creative strategies are beginning to emerge in response to these threats. Increasingly, there is renewed interest in placement of brands in various entertainment genres. Many options are available to agencies, ranging from simple product placement to brand integration, branded entertainment and ultimately branded media

channels. 3 The explosion in online branded content or advertainment has proved to been a very successful strategy for engaging with the new breed of consumer. The fundamental aim of this paper is to help create proof for my argument that the emergence of digital technology is not the death of Television advertising. In providing evidence, it is important to show that Television can still engage with consumers in 2011 and that it still has a role to play in campaigns with sophisticated digital and social strategies. Finally I want to investigate what the future holds as technologies continue to evolve. The outcomes of this paper will provide the reader with a theoretical and practical understanding of branded content and the relationships between TV, online-video and social media as platforms for todays campaigns. It maps out the most recent environment and the continuously evolving and increasingly sophisticated strategies used to integrate brands seamlessly as part of the content.

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02- PRE-DIGITAL BRANDED CONTENT

There is a long historical closeness in the link between advertising and entertainment. Anyone who is a lover of Impressionism will perhaps recall a painting called Un bar aux FoliesBergre (18811882) by douard Manet. Apart from the most obvious placement of the brand name of the bar in the title, if you look on each side of the bar you will see a beer bottle bearing a label with a red triangle that still to this day is recognisable to us as Bass beer. No one really knows if Manet gained an income from this placement or if it was an aspiration to create realism.

types to products and managed scheduling and market research, exercising power, dominance and control radio and later in TV too. In addition whether the sponsors bought the airtime and/or contributed the program, the broadcast networks regarded the period to be the sponsors property, to be used in any way they chose. 5

In 1928, NBC created The Real Folks of Thomkins Corners, commissioned for The Cheseborough Manufacturing Company. It was a dramatic serial that ran for almost three years and acted as a backdrop for Vaseline products. In each episode the audience eavesdropped on the daily In the 1920s as advertising migrated into lives of the Thompkins. Recommended uses the new medium of radio, symbiotic business for vaseline products were seamlessly weaved relationships developed between radio networks, into the content as part of the plot. Examples advertising agencies, and sponsors to include, Matt explaining how he spreads a little create content. Vaseline jelly over his face before shaving and Martha advising Elmer to put some Vaseline By 1929, over 55 percent of radio programmes were financed or directly produced by advertisers on that sore toe of his. The advertisers believed that because the selling message was concealed or their agencies. 4 The day time schedule was filled with these sponsored shows or soap operas. within the entertainment that people enjoyed, The agencies wrote the scripts, hired performers, it had a lot more impact and credibility than producers and directors. They matched program direct commercial appeals.6

Figure 1: Un bar aux Folies-Bergre

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Later in television, product placement within programmes routinely occurred, with advertisers censoring dialogue and manipulating ideas to their advantage. In 1949, Man Against Crime was sponsored by Camel cigarettes. Written directions were distributed to the production team with instructions that their cigarettes were not to appear in association with villain characters or plots. Also cigarettes were to be smoked gracefully and there was to be no suggestion of a narcotic effect. No one was allowed to cough amid rumours of a forthcoming report on health.7 A more contemporary example of this advertising and entertainment paradigm is the UK television advertisement campaign for Nescaf Gold Blend that first ran in 1987. The ad featured two single forty-something neighbours who developed

a relationship based on their sophisticated taste in coffee. It was clear to the viewers that there was chemistry between the couple and viewers wished that they would get together. The storytelling engaged viewers because it had an emotional involvement that resonated with people especially women. Just like many soap operas each episode ended with a cliffhanger leaving the audience wanting to know what happened next. This curiosity turned into addiction, as audiences followed each episode to find out if the flirtation would ever actually blossom into romance. The actual product was a natural element in the story but it was the entertaining story of love and romance that communicated the message.7a

MESSAGES CONCEALED IN THE ENTERTAINMENT WHICH PEOPLE ENJOYED HAVE A LOT MORE IMPACT

Figure 2: The Lift (June, 1990) starring Anthony Head and Sharon Maughan

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03- TELEVISION IN THE AGE OF DIGITAL

In historical terms, three elements contributed to the evolution of the system of shows where the sponsor was the only advertiser: First were the manipulations of which various sponsored game shows were accused during the 1950s. Second, there was the increasing independence of the major television networks, which allowed them to group the majority of advertising discourse together in specialised commercial breaks. Third came the fact that these same networks realized that it could be much more profitable to sell spaces of 30 seconds to several advertisers in commercial breaks, rather than one or two hours exclusively to a single advertiser. The all-powerful 30 second spot quickly became the reference of modern advertising communication, and above all, the principle source of finance for free-to-air television channels.8

The first instrument of tragedy for the 30- second Television ad, sprang from Zenith research laboratories, when in the mid-1950s, Robert Adler developed the first remote control. From the remote control, zapping was born. For the first time, this gave consumers more control to choose. They could change the channel without effort and choose to change channel when a program or advertisement became uninteresting.9 Next came the threat from the VCR. It was not a disruptive technology in so much as, it may have been a substitute but it was never going to replace live content. Because it generally was not possible to watch a recorded program until it was completely finished, the VCR remained unobtrusive and harmless.10 The first launch of Digital Terrestrial Television (DTT) in the UK was in 1998. However, tangible interest by the public only gathered momentum around 2004 when the service became free for its main components. 11

This move away from the domination of a small number of terrestrial channels to the addition of a plethora of competing channels from digital satellite, and cable channels has meant that Television audiences have become fragmented and therefore it is much more difficult for advertisers to reach a mass audience. The DVR (Digital Video Recorder) or TiVo was launched in 1999 and was introduced in the UK as Sky+ in 2001. It allowed users to record, pause and rewind live TV. It began the process of creating the opportunity for ad skipping. One in five advertising industry executives believes that the DVR will be the death of the 30 second ad. With 54.3 percent of consumers from an In-Stat/MDR survey indicating they skip 75 to 100 percent of commercials.13 The DVR merely highlights the obvious: that a lot of people dont like the ads they see on TV.

Figure 3: Inventor, Robert Adler.

Figure 4: The Zenith Remote Control

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They especially dont like the ads interrupting their favourite shows. Therefore, the question must be asked: if people dont like your ads, how are you supposed to sell them something?14 The internet has been a threat for a long time. There are three factors that perhaps masked its march on the territory staked out by the 30 second spot: the bandwidth restrictions of dial-up, the dot-com boom, and dual consumption of both television and internet (via PC).

The generation that grew up only knowing a world with easily available internet, are clearly migrating a good deal of their lives, including their TV show viewing online. Data suggests that todays youth are watching major portions of their programming on the internet, where a growing number of the older generation are discovering the convenience of watching shows using their computer. All this change impacts not just what and how consumers buy, but it dramatically impacts how they find out about what they might ultimately want to buy. In short, impressions on traditional TV have a much lower probability of a direct impact on the consumer than they did 20 years ago. The world has changed. And so has the branding of goods and services.

Christophe Lambert is a co-founder (with wellknown film director Luc Besson) of Frances first so-called advertainment production company, Blue Advertainment. His advice to advertisers is: advertisers must stop interrupting what people enjoy and start becoming what they enjoy.17 Today, companies are engaging in a broad range of activities. From the largest to the smallest, the typical Marketing VP is focused on far more than just running an ad on TV, radio or print. The internet is now a far more important vehicle, allowing for the development of campaigns that are not even ads. Instead, they are social media campaigns, now essentially the modern substitute for traditional PR. Firms can no longer think that advertising is a TV campaign, but must see the entire spectrum of media, including the nowvery-powerful internet. 16 Advertising guru Sir Martin Sorrell is one of the most influential men in advertising and the CEO

of the giant WPP group. Talking about the crisis in advertising he said:
Free-to-air traditional television will not die. It will still be the most effective way of reaching the largest number of people in the shortest possible time. But, like print, TV will never be the same again... this provides a chance to develop content attractive for the new platforms. 17

The rate of change has been accelerated by four forces broadband, wireless, search and the rise of social networking. What used to be a collection of faceless eyeballs blended into an anonymous audience, is now the glaring eye of the empowered consumer, who pulls at will and pushes aside irrelevance and unnecessary clutter and noise. The consumer calls the shots, and the marketers Given that there is less and less willingness are being shot down left, right and centre like on consumers part to allow disruptive advertising sitting ducks. 15 to interrupt their entertainment, companies continue looking for new opportunities to showcase their brands.16

As designers it heralds the beginnings of a new an exciting time, where there may actually be opportunities to delve into other genres of visual communication and to embrace skills such as film making, storytelling, set design, and production. In time, we may see more designers straddling dual careers in film making and advertising.

Figure 5: Sky+ Box and Remote Control

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A New Breed of Consumer

The digital era has created a new breed of media consumer. They have an incredibly short attention span, high standards and strong opinions. They are immune to traditional advertising tactics and they dont want their content to be interrupted. They no longer think in terms of TV or movies or channels or formats. They want to be entertained on their terms where, when and how it suits them best. They want to engage in something they can talk about. They want to share something that, in the very act of sharing, defines who they are. They want to discuss it, change it, make it their own. They are no longer viewers; they are participants.18 Attention can be defined as a focalisation and concentration of consciousness. It is not an on-off business. We pay varying levels of attention to what we are doing, seeing, hearing, touching, tasting and smelling. Also, our attention levels vary continuously, and can switch from total concentration to almost total neglect in a matter of nanoseconds.
Figure 6: Entertained Consumers

In general we pay far less attention to what we are doing than we think we do. Everyday tasks like making a cup of coffee, cleaning your teeth, having a shower, dressing can all be done without paying any real attention to them. At the other end of the scale, there are things we cannot do without paying attention. We cannot read and understand words or interpret what is going on in a situation without paying attention. To use the language of psychology, we cannot indulge in active learning without paying at least some attention. Advertising avoidance has been with us for a long time. Consciously or unconsciously, we select salient information that we need to commit to memory from the blooming, buzzing confusion of the environment around us. To help in this selection, we possess quite elaborate blocking or filtering devices to prevent new information from cluttering our memories.

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Figure 7: BMW-1-Series Covertible

Perceptual filtering ensures that, of all the information arriving at ones eyes or ears at any given time, only a small proportion is actually registered and even briefly remembered. An example is, the cocktail party phenomenon, by which in a room full of babble one can concentrate more or less, on the voice of the person talking to you, yet we can switch almost at will to listen to other conversations going on around. The incoming information, in sound and vision, is entering our brains and is there being filtered for relevance by processes of which we are largely consciously unaware. The relevance of perceptual filtering for the viewing of TV advertisements is not hard to grasp. In effect it means that the more effective or entertaining an attention getting device is, the more effective your attention will be for learning about the brand through other aspects of the advertisement. Even when complex messages are missed, perceived elements and simple concepts are still recorded and stored as brand associations.19 From a design perspective, we trigger attention by engaging the viewers emotional responses. The design needs to be provocative or rewarding, rather than just being neutral in order to grab attention. Alternatively if the viewer is presented with something out of the ordinary they may

be confused or surprised enough that it makes an impression that is stored in our memory as a positive experience with the brand. Ogilvy & Mather is an International leader in advertising, marketing and Public Relations. Doug Scott, president of Ogilvy Entertainment has a similar view on engaging consumers:
Brands need new ways to engage consumers. Continually chasing consumers by finding new ways and places to push our messages is an increasingly futile effort. The obedient audience for f lat commercial messages is simply not there.

In this landscape, we believe that brands must capture the imagination of their audience. And by capturing their imagination, we mean brands must entertain, intrigue, provoke and invite into dialogue what many call emotional engagement...branded content is one of the best ways to accomplish this. Its basic strategic role is straightforward use entertainment to help brands better tell their own brand story and, in so doing, help brands better appeal to the imagination of their audiences. 20 Without a doubt, the classic advertising model is not dead, but it has not been working correctly for several years now.22

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BMW: INNOVATORS IN BRANDED CONTENT

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04- BRANDED CONTENT IN THE AGE OF DIGITAL

Figure 9: BMW Logo

The rise of branded content grew directly as a response by advertisers to the threat from DVRs. The challenge of ad avoidance, meant agencies needed to move away from the push tactics of traditional media, towards a new pull environment where consumers choose to engage with content that interests or entertains them. Todays consumer has many choices and theres a general attitude; if you want me to pay attention to your pitch, youd better offer me something to make it worth my while. In 2001, the car maker BMW made a genuine innovation in branded content. That year BMW launched the first of a series of films dedicated to the brand, titled The Hire. These films were not ordinary advertising films, but genuine mini-films, with original plots, major production resources and wellknown actors. Tony Scott, John Woo, Guy Ritchie, Wong Kar Wai, John Frankenheimer, Ang Lee, Alejandro Gonzlez and Joe Carnahan each directed a film. On the advice of David Fincher and Fallon communications agency, BMW did not broadcast the films on TV, but on a dedicated website. Their length would have proved a real obstacle not only in gaining acceptance from the channels, but

also in terms of the high broadcasting costs. Naturally the story in each case revolved around the recurring character of the driver who was played by the actor Clive Owen. 21 A single research statistic prompted BMW to try this new approach to reach potential customers: 85% of BMW buyers checked the brands website before buying a vehicle. In a bold strategy that defined the current standards of excellence in branded entertainment, BMW decided to shift its strategy from push to pull.22 After the series began, BMW saw their 2001 sales numbers go up 12% from the previous year. Essentially promoted by word of mouth, this innovation generated a high volume of traffic on the site. Within four months, the films were viewed over 11 million times. Two million people registered with the website and an amazing 94 percent recommended the films to others. When the films were taken down in 2005, they had been viewed 100 million times and viewed as cinema by Time magazine and the New York Times. 21

Figure 8: Scenes from The Hire

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05- THE RISE OF SOCIAL MEDIA

The rise of web 2.0 technologies led to a wealth of social media websites, popular examples of which are YouTube, Facebook and Twitter.

Since the ground breaking BMW campaign, branded content has evolved. New and increasingly sophisticated combinations between traditional Although the internet (including social media) media such as Television, social media the internet is gaining reach and influence, few campaigns succeed only online. Communication through are appearing. It is a process that is no longer searching systematically for the broadest possible multiple channels is often more effective and audience, but one that consists of identifying an offline campaign can also boost website traffic.25 those whose connectivity with the programme will arouse a greater involvement with the Saatchi & Saatchi is a global advertising agency. programme and its content.23 They have proved this theory with successful campaigns for T-Mobile which embraced traditional The currency of social media is connections media along-side new digital media. Integration or links, which are as crucial to brands as they is the watchword, with TV ads backed up are in life. The most effective way of forging by interaction online. a link, is by relating information a process that often involves telling a story. Story telling Paul Silburn, creative partner at Saatchi & Saatchi, is a simple act of sharing and when we share worked on the T-mobile campaigns. He said: information, we share an experience. Just like the soap operas on radio in the early days of advertising, social media has become a platform for advertisers to create brand integrated stories where consumers engage with and share an experience. The very act of sharing could be seen to be an endorsement
There are so many different channels now that it is not enough to burst into peoples living rooms through the TV screen. Youve got to be invited in and involve them and participate. However, he adds that T V is still vital in driving people to search for additional content on the web. 26
Figure 10: Liverpool Street Station

of the brand, which enhances its credibility in the eyes of the receiver. A successful viral promotion can reach thousands or millions of otherwise indifferent consumers and motivate them to endorse or interact with a brand.24

HUNDREDS OF RAIL COMMUTERS HAD A CHANGE OF ROUTINE

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T-Mobile: Lifes for Sharing

T-Mobile Lifes for Sharing campaign - built around events that people want to take part in and then share with each other - has given us some epic TV executions that have generated huge response in other media. The challenge for T-mobile in the UK was to own the sharing space without ramming mobile products down peoples throats. Dance featuring the Liverpool Street station flash mob was first aired on TV on the 16th January 2009 (Appendix 1: The T-Mobile Dance). The viewers listened to the introduction, Now on Channel 4, an exclusive commercial break. At 11 a.m. yesterday morning, hundreds of rail commuters had a change of routine. So began the first viewing of Saatchi & Saatchis latest ad for T-Mobile which saw 350 dancers perform a set of dance routines as commuters passed through the concourse. The ad was on air less than 48 hours after being filmed at Londons Liverpool Street station, and was given that sense of event television by the Channel 4 announcer as we went into the break from Celebrity Big Brother.

The premiere was around three minutes long, which is interesting in itself, as we start to see a move away from the constraints of the traditional 30 second format towards a new trend for long form content. Far from being a dead medium, the T-mobile campaign has shown that using television as part of an intelligent strategy can be the difference between a campaign being a hit or a miss. The original three minute ad was followed up by 60-second edited versions of the originals for the following two weeks. Sam Taylor, Head of advertising and sponsorship at T-mobile, in a presentation (Appendix 1: talk by Sam Taylor, Part 1&2) he did for thinkbox said;
We knew we needed a spike in pure brand TV to drive the long term effect in terms of demand and sales. TV is the best launchpad for us and I think it always will be. That one initial TV ad drove a lot of different impressions across different audiences, across different channels.

TV is the best launchpad for us and I think it always will be.

Figure 12: Flashmob Dancers and Commuters using their Phones to capture the performance

Figure 11: Commuters at Liverpool Street Station

Dance was produced using hidden TV cameras within the station, which captured the spontaneous reactions of commuters as they watched the dance troupe perform everything from Get down on it to the Blue Danube (Appendix 1: Making of T-Mobile Dance). Passers by shared the experience with their family and friends via their mobiles whilst others actually got involved, joining in with the dance themselves.

As part of the campaign T-mobile also used interactive TV. This meant that viewers could choose to watch the full three minute ad and additional footage of the making of the ad by pressing the red button. The advantage of this was that the brand saved having to pay the extremely high cost of paying for three minute spots on commercial television.

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Social media was used really effectively as a communication channel during the campaign at a low or no cost to the client budget. The number of views via blogs, YouTube and Facebook was huge. Facebook was responsible for 75% of all viral views. The campaign has a total of 34.7 million views online. T-Mobile created a dedicated YouTube channel for users to upload videos to. People generated their own content by copying the event. They uploaded videos in shopping centres, tube stations, etc. Theres even a video of a couple doing the T-mobile dance as their first dance on their wedding day.27 Billie Howard is global strategy chief at PR firm Weber Shandwick. He sums up perfectly how branded entertainment like T-Mobiles Dance becomes so successful:
A brand becomes relevant by infusing itself directly into popular culture through YouTube, through public events that are reported in the media. Advertising used to interrupt the programming. Now advertising is the programming. And if youre actually being marketed to successfully, you have no idea. 28

The T-mobile campaign is a great example of branded content that people choose to engage with because it is entertaining. The content is so lightly branded, that it would be easy to forget that we are even watching an ad at all. The ads generated so much buzz that they got a lot of publicity and free PR on TV news and entertainment shows.

Figure 13: The Old Spice Guy

HELLO LADIES ...LOOK AT YOUR MAN ...NOW BACK TO ME

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Old Spice: Smell Like A Man, Man.

activities, locations, costumes, and/or extraordinary situations, all while maintaining constant eyecontact with the camera, and a nonchalant demeanour. The advertisements typically feature a surprise ending. The content is outstanding, spoofing every stereotype of male masculinity. 29 The TV work spoofed pharmaceutical ads, most notably those for male enhancement drugs, and humorously communicated that Old Spice Hair & Body Wash works for all types of guys with all kinds of hair. 30 When the 30-second ad aired on TV, millions of people rewound their DVRs and watched the ad again. And again. Then they started talking about it on Facebook and Twitter and making spoof videos on YouTube.
Figure 14: Horse Scene from the TV ad

Consumers asked. Old Spice answered. Over and over again. For a total of 186 spots shot and immediately posted in a single day. Old spices YouTube channel reported more than 11 million views and over 160,000 subscribers. Proctor and Gamble now have data on 160,000 people they didnt have before which means it will cost considerably less trying to reach those consumers in future.

By 2010 branded content was being delivered to viewers on increasingly more sophisticated combinations of cross media channels. The best example of this was Proctor & Gambles Old Spice campaign, which was without doubt the most talked about ad of the year. The Man Your Man Could Smell Like was the title of the initial 30 sec TV ad, featuring be-toweled former NFL footballer Isaiah Mustafa. The campaign was launched to market Old Spices Body Wash, but was expanded to include other products following the success of the initial
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advertisements. The campaign targets female viewers, despite the products target market being male, as the company determined that women frequently make purchasing decisions in respect of hygiene products even for male household members. The campaign centres around the Old Spice Guy, played by Isaiah Mustafa addressing the viewer in confident, rapid-fire monologues which promote the benefit of using Old Spice products. While reciting the monologues, Mustafa nonchalantly progresses through various

Thanks to the TV ad, millions of people women, especially now felt something for Isaiah, and were linking his manly abs to the old spice brand. So, five months later and after another TV spot, P&G used Twitters promoted trend ad platform to ask Old Spice followers on Twitter and Facebook, as well as users on Reddit and Digg, to submit questions for the Old Spice Guy, they replied enthusiastically. People voted for their favourite questions and the winners received personal replies from the man himself. Essentially, it was an advertising-on-demand program not consumer-generated content as much as instant consumer-driven content.
Figure 15: Scenes from the 186 videos of personal replies posted in response to comments on social media.

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Typology Of Online Consumers

The campaign showed that you can use traditional media platforms such as television, but marketing victories lie in the extremes. Quality branded content with engaging storytelling is a must. But this campaign raised the bar in that quality content is not enough any more. It must be followed up with quality engagement. Thats how consumer culture now works. 31 Many of the brands that were relevant five years ago no longer command respect or excitement because theyve lost touch with their customers by continuing to talking to them almost exclusively via traditional media platforms. The customers arent there in nearly the same numbers they once were. Theyre on social media; brands need to follow them and talk to them, there. If social media is used correctly as part of a campaign strategy, customers will buy more, be more loyal, they will spread your message and will defend the brand if it ever needs it. 32 Brands have realized, over the last couple of years, that most of the viral action surrounding online video was driven by social media people posting videos on their Twitter accounts and Facebook walls. That makes perfect sense.

The only way a virus can spread is through contact between human beings. Quite naturally, those advertisers then began to think about what they could do with their online video content to make it more shareable. The answer, as it turns out, was to make videos that feel less like advertising and more like entertainment. 33 Embarking on one-to-one customer engagement offers significant long-term rewards, but the company will also experience immediate benefits greater brand awareness, stronger brand loyalty, increased word of mouth, improved understanding of customer needs, and better, faster customer feedback. 34 Campaigns like Lifes for Sharing and The Man Your Man Could Smell Like show a giant leap forward in contrast to a few years ago, when ad avoidance and TV fragmentation was threatening the whole industry. The rise of digital and social media, far from killing TV advertising are actually giving it a new lease of life as a short term launchpad for social online branded campaigns.

When we choose to watch online ads, we click the play button. Its an active, lean-forward experience with the brand. In order to get consumers to opt in to watching advertising, theres got to be something in it for them. In 2011 alone we chose to watch ads nearly 800 million times. To understand the seismic shift in attitudes towards watching advertising we need to ask why? The most popular choice-based ads have specific characteristics that influence our decision to watch them: 1. They look and feel like content. It might sound strange, but it doesnt feel like youre watching an ad when you choose to watch an ad. This is because youre focused on what interests you, not what interests the brand. This means that the ads we choose to watch arent standard brand pitches. Theyre lightly branded, with few facts, features, and figures. Instead of talking about the product and how great the brand is, these ads focus on storytelling.

2. Theyre engaging. The ads we choose to watch are funny, sexy, informative, and, most of all, entertaining. Frequently, they are surprising, unpredictable, and unbelievable, leading us not only to watch them again and again, but to pass them along to our family and friends. Choice-based ads enable, even encourage us to get involved and engage directly with the brand: to respond with comments, upload a reaction video, play with the ad in unexpected ways, blast the ad across Facebook and Twitter, and more. 3. Theyre viewable. Because of the sheer wealth of video content thats available, there are plenty of great ads that dont get the recognition they deserve - they simply get lost in the noise. The ads we choose to watch have great media strategies behind them. They focus on generating choice-based views - not impressions - and are frequently charged on a performance basis, like cost-perview (CPV) instead of the traditional CPM. 35

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31

This last point in particular, is yet more evidence that there is still a role for Television advertising as part of the mix. Its OK having great creative that is funny and engaging, but if no one knows that it exists, what use is it? Integrated campaigns with TV playing a supporting role in getting initial recognition is vital in creating buzz that consumers will be engaged enough to watch it again online and share it with their friends through social media.

User typologies have also been applied to social media. Li and Bernoff (2008) for instance distinguish six types of social media users: inactives, spectators, joiners, collectors, critics and creators. User typologies, however, are limited in the sense that people often engage in multiple roles. That is (applying Mathwicks typology), depending on his or her motivations and goals, someone can be a lurker at a given moment, and seconds later be a socialiser.

To understand more what motivates people to watch COBRAs are categorised into three dimensions online ads in contrast to avoiding traditional advertising we must explore consumers online that correspond to a path of gradual involvement with brand-related content on social media, brand-related activities (COBRAs). Watching brand-related videos on Absolut Vodkas YouTube namely consuming, contributing and creating. channel and talking about IKEAs webisode Easy to assemble on Twitter are both examples 1. Consuming brand-related content. of COBRAs. It denotes participating without actively contributing to or creating content. COBRA Typologies of online consumer behaviour are categorised into various user types that are 2. Contributing to brand-related content. associated with specific behaviours. For instance, It denotes both user-to-content and user-to-user Mathwick (2002) developed four internet user types, interactions about brands. People who contribute namely lurkers, socialisers, personal connectors to brand-related content converse on a brands fan page on a social networking site and transactional community members. While lurkers observe other peoples conducts and contributions on online communities, socialisers engage with other people, provide feedback and maintain relationships with family, friends and other acquaintances. 3. Creating brand-related content. It represents the ultimate level of online brand related activeness. It denotes actively producing and publishing the brand-related content that others consume and contribute to. 36

Figure 16: Choice-based viewing of branded content

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33

06- THE FUTURE OF TV ADVERTISING

New TV platforms are being launched almost on a monthly basis and new technologies for enabling viewers to control what, when and how they watch continue to arrive in the market. On one hand, TV has broken out from the screen in the corner of our living rooms and onto web and mobile, while on the other the humble TV set is transforming into a highly intelligent, networked computer, without many of us realising it. For media planners, a world of infinite complexity is arriving. The Age of the Connected TV is dawning, and with it come lots of new opportunities for advertisers. Connected TVs hope to bridge the gap between traditional TV viewing and the content-on-demand world of the internet. Browsing through the interactive content on most connected TVs, you will see a variety of familiar internet faces; YouTube, Facebook, Twitter, iPlayer - each with their own tweaked experience designed for the living-room. Connecting our TV to the web immediately allows data to be collected, and as we move from the information age to the data age,

the mining of this data will become hugely valuable to marketers. Connected TV will give marketers an insight into the lives, behaviours and preference of customers within their most natural of habitats , the living room. And with improved profiling, we are able to deliver targeted, bespoke advertising and content. 37 Internet connectivity fundamentally changes the nature of television by giving viewers access to video-on-demand, Web video and new online services and social networking, which has radical implications for the future of TV advertising. On-screen apps have major implications for TV advertising. They create a social context in which commercials will be discussed and appraised by consumers via the television, while they are watching them. Content recommendation will be crucial for sponsors. Confronted with near-infinite choice, viewers will increasingly rely on each other to discover all forms of video, including advertiser-funded programming, sponsored

Web shows and branded online video accessible via the connected TV set. 38 Nigel Walley is Managing Director of media strategy consultancy firm Decipher. He has a leading role working on future formats for TV advertising. He predicts;
Terrestrial broadcasters will use new technology to regain viewing share; that hundreds of smaller channels that have confused the planning mix will disappear; that the viewers experience of TV as a medium will dramatically improve and, for commercial channels, more money will come into television from different parts of the marketing industry.

The TV audience is slowly morphing from viewers to consumers. People are beginning to use technology to make customer decisions about how, when and where to watch TV. Brands have to understand those choices and follow their customers wherever they go. What is most notable at present and for the immediate future is the continued dominance of the humble 30-second ad. This format, whose death has been heralded at the start of every technological wave, has broken out of the confines of the broadcast channel and begun to appear in on-demand TV programmes on both PC and TV. 39 It is perhaps a bizarre twist of fate that the digital age, instead of killing the 30 second ad, has actually rescued it from certain oblivion.40

In this world, we could easily lose 200 TV channels and consumers would still be better off. Because of the new functionality, viewing is going to refocus around the output of a smaller number of bigger, better, functionality-rich channels because they are the ones that make the high-profile new content that drives the TV market. Decipher calls this multi-function TV, and for media planners, it brings questions and opportunities.

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07- CONCLUSION

The division between TV, online video and social media are quickly fading. We can watch most TV programs across a range of devices now. And in the living room, we can watch and share our favourite branded videos on the best, brightest screen in the house.41 This revolution will force advertisers to re-think their traditional strategies and as a result original advertising models will emerge. As ad consumption on all media channels becomes increasingly opt-in, advertisers will harness the sharing power of social media alongside Television advertising as part of a multiplatform strategy. The evidence suggests that television advertising will survive, but the old interruption model is certainly dead. Todays media savvy consumer doesnt just question, they challenge and flat-out reject the irrelevant, unnecessary, and insulting. In less than one generation the balance of power has shifted from the advertisers to the consumer. They now choose what they want to watch and where and when they consume it. They want it all on their terms.

Advertisers are finding that they need to tell a story and to tell it, they need not only to entertain their audience but to involve them, invite them in and let them immerse themselves. TV has a place in this scenario, but it tends to be more as a support medium. The actual involvement happens not on TV, but online.

ADVERTISERS WILL HARNESS THE SHARING POWER OF SOCIAL MEDIA ALONGSIDE TV ADVERTISING AS PART OF A MULTI-PLATFORM STRATEGY.
Leveraging entertainment to connect with todays media consumer has required brands to assume a new role. Seeking a deeper connection with its audience, the brand has become the storyteller, the studio, the producer, even the distributor or publisher. The result is an entertainment experience that can engage the brands consumers in ways more relevant and meaningful than ever before.

Consumers will choose to connect with content when it is relevant, when it makes an emotional impact and when it delivers a tangible value practical knowledge, entertainment or social currency. When those criteria are met, the consumer will come back for more. Again and again. If that connection is strong enough, theyll bring others along with them. If executed responsibly, the brand can participate as well. And it all begins with a great story. When consumers can relate to a character and situation, they are much more likely to connect with the content in a meaningful way. A believable

world or immersive environment provides the consumer with new and impactful ways to engage in the story. The brand deploys its story in increasingly more inventive combinations of traditional and new media, and the number of touchpoints becomes infinite.42 In summary, the remote control didnt kill the 30-sec spot. The VCR didnt kill the 30-sec spot. The internet didnt kill the 30-sec spot. The DVR didnt kill the 30-sec spot. 43 Its safe to say that rumours of its demise were overhyped and much exaggerated.

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Appendix

Bibliography

APPENDIXA Included in the accompanying DVD: Nescaf Gold Blend, Love Over Gold (1987 1993) BMW: The Hire: Season 1 BMW Films, Ambush, (John Frankenheimer, 2001) BMW Films, Chosen, (Ang Lee, 2001) BMW Films, The Follow, (Wong Kar-wai, 2001) BMW Films, Star, (Guy Ritchie, 2001) BMW Films, Powder Keg, (Alejandro Gonzlez Irritu, 2001) BMW: The Hire: Season 2 BMW Films, Hostage, (John Woo, 2002) BMW Films, Ticker, (John Woo, 2002) BMW Films, Beat The Devil, (Tony Scott, 2002) BMW Films, Driving Techniques BMW Films, Making of the Films T-Mobile Lifes for Sharing Campaign, Making of T-Mobile Dance T-Mobile Lifes for Sharing Campaign, The T-Mobile Dance T-Mobile Lifes for Sharing Campaign, talk by Sam Taylor, Head of Advertising and Sponsorship at T-Mobile, Part 1 T-Mobile Lifes for Sharing Campaign, talk by Sam Taylor, Head of Advertising and Sponsorship at T-Mobile, Part 2 Proctor & Gamble, Old Spice, The Man Your Man Could Smell Like, (Wieden + Kennedy, Portland, USA, 2010) TWiT Specials: The making of Old Spices commercial The Man Your Man Could Smell Like (Twit, 2010) Creative Process Illustrated Eric Kallman and Craig Allen of W K, (Wieden + Kennedy, Portland, USA, 2010) Wieden + Kennedy Old Spice Response Campaign, (Wieden + Kennedy, Portland, USA, 2010)

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30 - Seconds to Impact

30 - Seconds to Impact

21. Young, Charles and Shea Hall, Amy (2007) Case study: BMW movies - luxury car to movie star; Admap: April 2007, Issue 482 22. http://en.wikipedia.org/wiki/The_Hire 23. Jean-Marc, Lehu (2008) Branded Entertainment: Product Placement and Brand Strategy in the Entertainment Business published by Kogan Page (P30) 24 Spreading the Virus: Emotional Tone of Viral Advertising and Its Effect on Forwarding Intentions and Attitudes; The Journal of Interactive Advertising: Vol. 11, Issue 2, Spring 2011 24 van Soomeren, Marianne Media Planning: Media is always on Admap: December 2010 25 Webb, Joseph and Burgoyne, Bob (2009) Youve Got a Friend: Measuring the Value of Brand Friending on Social Networks; Market Research Society: Annual Conference 26. Benady, D. (2009) Advertising to the YouTube generation Haymarket Business Publications Ltd, United Kingdom, London. 27 http://www.thinkbox.tv/server/show/ConCaseStudy.1561 28. ?????????????????????????????????????????????????????????????????????????????????? 29. http://en.wikipedia.org/wiki/The_Man_Your_Man_Could_Smell_Like 30. Old Spice / Proctor & Gamble - Is Old Spice Hair & Body Wash Right for Me? Effie Worldwide: Silver, Beauty Products & Services, Effie Awards 2009 31. Vaynerchuk, Gary (2011) The Thank You Economy published by Collins Business p119-122 32. Vaynerchuk, Gary (2011) The Thank You Economy published by Collins Business p37-38 33. Scott Jeremy (2011) Social Video Works Viewers Watched 800 Million Branded Videos 2011 www.reelseo.com/social-video-worksviewers-watched-800-million-branded-videos-2011/ 34. Vaynerchuk, Gary (2011) The Thank You Economy published by Collins Business p61 35. Shin, Brian (2011) Four Reasons Why We Choose to Watch Ads MediaPost Blog, http://www.mediapost.com/publications 36. Muntinga, Daniel G. and Moorman, Marjolein and Smit, Edith G. (2011) Introducing COBRAs: Exploring motivations for brandrelated social media use; International Journal of Advertising: Vol. 30, No. 1, 2011 37.Jefford, Chris (2011)Lowdown: Connected TV, Admap: October 2011 38. Futurescapes (2011 ) How Connected Television Transforms the Business of TV www.brandchannel.com/papers.asp?pageno=3 September 2011 39 Walley, Nigel TV revolution needs to have sound ad planning at its heart Admap: February 2009, Issue 502 40. Jaffe, Joseph (2005) Life After the 30-Second Spot: Energize Your Brand With a Bold Mix of Alternatives to Traditional Advertising published by John Wiley & Sons 41. Mehrotra, Shishir (2010) 4 Ways Video is Fundamentally Changing Instant Insights. http://www.clickz.com/clickz/ column/1898324/video-fundamentally-changing 42. Hitch, Troy and Worple, Doug (2010) Branded Entertainment. Distributed storytelling in a digital world. Proximity Worldwide. http://proximityworld.com/ 43. Jaffe, Joseph (2005) Life After the 30-Second Spot: Energize Your Brand With a Bold Mix of Alternatives to Traditional Advertising published by John Wiley & Sons p3940

SECONDStoIMPACT

30 - Seconds to Impact