Consumers have become increasingly tech savvy, customizing their experiences and curating their minute-by-minute interactions with content, media and social networks. At the same time, the entertainment industry is booming, accelerating in pace and possibility. This has opened a whole new world of content-led marketing, though few brands have truly embraced this strategy to-date, putting real entertainment (and the budgets to support it) at the heart of their marketing. While not all brands can become a large-scale media entity, there is a valid case for making entertainment a permanent component of the marketing mix.
Today, brands should be asking: What content (not just message) is needed to tell my brand story? And how can this support my business ambition? The resulting strategy and breadth of content can then be applied across the year, leading to more opportunities to turn brands into true entertainment properties. The Ogilvy Branded Entertainment Assessment Model™ (Ogilvy BEAM™) brings rigor and consistency to the planning and measurement of this strategy.
At a time when brand stories must come alive through ongoing, multi-platform Branded Entertainment, the balance of logic and magic will bring out the inner greatness of brands.
Big Data Analytics in the Food and Beverage IndustryDana Roth
Food and beverage manufacturers use big data analytics to optimize processes, improve efficiency, increase quality, and ship products on schedule. By analyzing real-time sensor data from manufacturing equipment, manufacturers can identify patterns and relationships to optimize factors like yields. Manufacturers also use big data analytics to analyze supplier and logistics data to optimize supply chains and logistics. The key takeaway is that by quantifying risks using big data tools, food and beverage companies can make more intelligent business decisions.
Digital 2023 United Arab Emirates (February 2023) v01DataReportal
All the data, statistics, and trends you need to make sense of digital in the United Arab Emirates in 2023. Includes the latest reported numbers for internet users, social media users, and mobile connections in the United Arab Emirates, as well as key indicators of ecommerce use. For more reports, including the latest global trends and individual data for more than 230 countries around the world, visit https://datareportal.com/
Nike final presentation integrated marketing communicationLaura Atorrasagasti
1. The document summarizes a marketing communication plan developed by a group for Nike during the 2012 Olympics.
2. The plan included analyzing Nike's business model, competitors, markets, and developing strategies, designs, messages, and execution tactics.
3. Key elements of the execution included a YouTube campaign, social media hashtags, apps to track user performance, and a large multimedia campaign across TV, websites, events, and partnerships.
Apple is an American multinational technology company that designs, develops, and sells consumer electronics, computer software, and online services. Some of Apple's most popular products include the iPhone, iPad, MacBook, iMac and iPod. The company was founded by Steve Jobs and Steve Wozniak and is known for its innovation and emphasis on design. It has become one of the most valuable companies in the world.
Starbucks aims to promote its healthy food and drink options to reach a new demographic of healthy eaters. The proposed digital marketing strategy has three components: social media marketing on platforms like Facebook and Twitter, internet marketing through Google AdWords and Facebook ads, and a mobile app and text message program. The year-long campaign aims to position Starbucks as a healthy establishment and will measure success through engagement metrics and coupon redemption rates with a total budget of $1,775,000.
This document provides guidance on data storytelling. It discusses how data storytelling can be used to explain insights, engage audiences, and influence change. The key elements of an effective data story are said to be having a main point, explanatory focus, linear sequence, narrative elements, and visuals. Data is the foundation that insights are built upon, while narrative helps connect insights and add emotion. Effective data stories are tailored to the specific audience by considering their goals, needs, familiarity with the topic, and other attributes. Various structures for organizing analysis findings into a story are presented, including beginning with an "Aha moment" that introduces the key insight.
New Era. New Opportunities.
Devastating in so many ways, it cannot be denied that the pandemic has also been deeply transformative, accelerating new ways of living, working and thinking across almost every layer of our lives. Social is no exception.
At Punch, we’ve seen explosive growth in areas like intimate live social events, tutorials, workshops and shoppable content, as brands seek to add value to their customers’ lives and form deeper, longer-lasting connections with their followers.
Where the past decade has seen us confronting the more challenging aspects of social, things like data privacy, mental health and politics, 2021 has given us plenty of exciting signals that point towards a new era of social that starts right now – Web 3.0. With new opportunities coming at brands left, right and centre, we’re about to see a deep shift, with creators and innovators taking the reins and decentralising the power held by the big blue platforms since the mid-noughties.
In this report, we naturally discuss the emerging vision of the metaverse. The metaverse represents huge opportunity for brands; for some, early adoption might prove to be a key strategic investment. But the metaverse isn’t what excites us at the moment (sorry Zuck). With revolution in the air, we want to know what the underdogs are doing: the tech dreamers, the NFT kids, the creators. As creators become more and more valued for the central role they play in making social a fun place to be, we are already seeing examples of individuals breaking away and building their own niche communities. Whether they start to take large swathes of the larger platforms’ audiences with them remains to be seen. What can brands learn from their thinking – and how can we forge better and more creative partnerships? This is the big question of 2022.
Certain trends from last year, notably s-commerce and live video, are back for another year. The challenge with video is how to leverage new tools and techniques to create video content at scale in fresh, creative and authentic ways. We’re also starting to see audiences being actively rewarded for their loyalty and engagement, with highly-creative community managers and efficient and proactive customer service teams. Web 3.0 is unfolding; a bolder, fairer and more democratic digital playground where creativity and loyalty trump all. As user numbers grow and platforms and audiences mature further, budgets are likely to shift towards a combination of acquisition AND driving loyalty and retention.
“Community” is our key buzzword for 2022. Whether you’re getting in on the ground floor of branded NFT “moments”, exploring the hotter- and-hotter world of gaming, or investing more in cinematic video, success will depend on centring your community, acting thoughtfully and, as always, creating difference with mind blowing content and standout campaigns.
50 planners to watch in 2014 - The Planning SalonJulian Cole
This document lists 50 planners to watch in 2014 according to The Planning Salon. It provides a brief 1-2 sentence description of each planner's background, experience, and current role. The planners are listed alphabetically and come from agencies around the world, including Cummins Ross, Spring Studios, BBH, Big Spaceship, Work Club, Undercurrent, Droga5, K-Hole, Zeus Jones, CP+B, Motorola, PHD, AKQA, Nike, Mother, Carat, VML, W+K Shanghai, Ogilvy, Tribal DDB, Butler Shine, Converse, Zulu Alpha Kilo, S&F, Publicis, Berghs
Branding positioning of given product (Sony)Aquib Rahman
Sony's Xperia brand of smartphones is positioned as providing high quality cameras and music alongside better performance. The document outlines Sony's history with smartphones and key features of different Xperia models. It also discusses Sony's brand mantra of "Better-Smarter-Faster" and analyses the strengths, weaknesses, opportunities and threats for Xperia smartphones. Marketing strategies covered include product accessories, pricing, promotion places and promotional activities like brand ambassadors.
Apple - The ‘Steve Jobs Magic’ In Product InnovationRahul Senapati
The document discusses Steve Jobs and his approach to product innovation at Apple. It describes how Jobs understood the target consumer community and designed products specifically for them. It discusses how Jobs wanted to create interconnected ecosystems of lifestyle devices and prioritized creating an emotional response in customers. Jobs focused on strong product differentiation, a small number of highly designed products, and innovating existing technologies to create "Wow" products, rather than inventing new ones.
Top 10 Planning Departments in Advertising ShortlistJulian Cole
For more strategy resources sign up to Planning Dirty at https://www.planningdirty.com/newsletter
A common problem for planners moving markets is understanding the best agencies to work for. With a great list of international planners in the Planning Dirty newsletter group I thought I would ask the planners who they thought was the best agency to work for.
I compiled the first 10 agencies for the shortlist by analyzing the planning (IPA, Effies, Jay Chiats) and creative awards (Gunn Report) from the last three year looking at the agencies that consistently perform well.
I am making a shortlist of 20, so would love to get recommendations on agencies that you think should make the list.
Next week on the newsletter through an anonymous vote, I’ll put out the poll and report back the results. Sign up to the Planning Dirty newsletter to vote and get the best planning tools and resources fortnightly. bit.ly/PlanningDirty
Social Marketing Analytics: A New Framework for Measuring Results in Social M...John Lovett
This collaborative research effort by Web Analytics Demystified and Altimeter Group represents the latest thinking on measuring social media.
The paper includes four social business objectives that can be used to understand the impact of your social marketing initiatives and aligns Key Performance Indicators to these objectives. The result is a solid framework that companies can adopt to begin measuring social marketing efforts.
Digital 2023 Sweden (February 2023) v01DataReportal
All the data, statistics, and trends you need to make sense of digital in Sweden in 2023. Includes the latest reported numbers for internet users, social media users, and mobile connections in Sweden, as well as key indicators of ecommerce use. For more reports, including the latest global trends and individual data for more than 230 countries around the world, visit https://datareportal.com/
Apple Inc. is known for its iconic products such as the iPhone, iPad, and Mac computers. The company was founded by Steve Jobs, Steve Wozniak, and Ronald Wayne. Apple utilizes a 7P marketing mix that includes the traditional 4Ps of product, price, place, and promotion, as well as people, physical evidence, and process. Apple's products are generally priced on the higher end to differentiate storage capacities between models. The company promotes its products through elegant campaigns focused on differentiating Apple devices from competitors. Apple has succeeded in making its brand and products synonymous in consumers' minds.
The digital marketing strategy targets women ages 25-50 interested in healthy lifestyles and weight loss to increase sales of Special K products. Social media, blogging, search engine optimization, pay-per-click advertising, and a mobile app will promote Special K's message of healthy living and showcase how their products support this. The six-month, $65,000 per month campaign aims to boost Facebook likes, Twitter followers, and traffic to Special K's website to ultimately grow Special K product sales.
Digital 2023 India (February 2023) v01DataReportal
All the data, statistics, and trends you need to make sense of digital in India in 2023. Includes the latest reported numbers for internet users, social media users, and mobile connections in India, as well as key indicators of ecommerce use. For more reports, including the latest global trends and individual data for more than 230 countries around the world, visit https://datareportal.com/
Digital 2022 Global Overview Report (January 2022) v05DataReportal
This report provides an overview and analysis of global digital trends in 2022. Some key findings include:
- Global social media user growth reached 10.1% over the past year, with active users now totaling 4.62 billion.
- Internet users grew by 4.0% to reach 4.95 billion, just shy of half the world's population being online.
- Mobile apps saw $170 billion in annual consumer spending globally, equal to 0.2% of total world GDP.
- Issues around digital inequality, decentralized technologies, virtual worlds, and the influence of Gen Z on digital are discussed as important trends for 2022.
STARBUCKS INTEGRATED MARKETING COMMUNICATION CAMPAIGNSameer10031993
The document discusses Starbucks' integrated marketing communication campaign. It summarizes that Starbucks uses an integrated plan across social media platforms to engage customers. This includes blogs to gather customer feedback, Twitter to answer questions and share information, YouTube for videos, and Facebook to invite customers to events and share comments. The plan also discusses current and future promotional strategies like mobile apps, WiFi, food products, and online ordering to keep customers involved.
Digital 2021 Pakistan (January 2021) v01DataReportal
All the data, statistics, and trends you need to make sense of digital in Pakistan in 2021. Includes the latest reported numbers for internet users, social media users, and mobile connections in Pakistan, as well as key indicators of ecommerce use. For more reports, including the latest global trends and individual data for more than 230 countries around the world, visit https://datareportal.com/
This document discusses the growing trend of vertical video content consumption on mobile devices. It provides perspectives from executives at Ogilvy on the pros and cons of vertical video. While 98% of mobile usage is in portrait mode, vertical video is still a nascent format with limited distribution on desktop. Brands are experimenting with vertical video on platforms like Snapchat, seeing higher engagement rates. Overall, the experts recommend testing both vertical and horizontal video formats given different audience preferences and video purposes.
The Brand in the Boardroom: Making the case for investment in brand by Joanna...Ogilvy
The Red Papers represent the marquee thought leadership from the Ogilvy & Mather network. Research into effectiveness shows that the more we tie individual marketing and advertising efforts to hard measures, the better that advertising performs. That is true on the much larger scale of the brand itself.
It has been challenging, however, to measure the real impact of a brand. Past brand assessments have been limited by an accounting bias and reflexive secrecy about methodology. There is a better way, described here, which has the potential to transform marketing.
The vision of Brand Valuation set forth in this paper can help us all make a better case for investment in brand even as it links our brand strategies to measurable financial outcomes—shareholder value included. That makes a powerful argument for introducing the brand into the boardroom conversation, where it can have a meaningful impact on the health of the whole enterprise.
The Ape, the Adman, and the Astronaut: Rediscovering the power of storytellin...Ogilvy
This document discusses the power of storytelling and its importance in persuasion and communication. It begins by summarizing David Ogilvy's use of storytelling to successfully sell cookers as a door-to-door salesman. It then discusses how storytelling is hardwired into human brains based on neurological research. Several examples are provided, including how children instinctively assign human characteristics like goals and emotions to abstract things. The document advocates that stories are more effective than facts or logic at generating emotion and persuading people.
Government or nonprofits are usually the institutions we associate with influencing public behavior in support of socially desirable outcomes. But increasingly, there is a role that businesses can and should play in this space. By doing so, they deepen relationships with customers and boost growth while contributing to social good. In From Cause to Change: The business of behavior, Bess Bezirgan, Tom Beall, Jennifer Wayman, and Michael Briggs – the leaders of Ogilvy Public Relations' new global practice, OgilvyEngage – discuss how businesses can harness the power of behavior change and show that what’s good for individuals and good for society can also be good for business.
This document discusses the concept of "behavior brands" and how brands need to shift from simply communicating messages to taking meaningful actions that demonstrate their values. It provides examples of brands like I LOHAS water and Nestle that have become more engaging by focusing on behaviors that help consumers. The document also discusses how a new generation, referred to as "Gen B", values brands that act according to their stated purposes and priorities, not just talk about them. It advocates that brands develop "blueprints" focused on actions and behaviors to engage this new generation of consumers.
10 Pearls of Wisdom for Working With & Leading PeopleOgilvy
By David Levitt, Former Worldwide President of Learning & Development, recently retired from Ogilvy after 45 years.
This is an excerpt from his retirement speech.
Presentation by Hunter Institute of Mental Health Projects Coordinator Ellen Newman for Thrive 2016, weaving wellness and wellbeing conference. This presentation is about mental health literacy and strategies for supporting children’s mental health and wellbeing.
Market Research Report :LED Market in India 2012Netscribes, Inc.
For the complete report, get in touch with us at : info@netscribes.com
The LED Market in India is part of Netscribes’ Manufacturing Industry Series reports. Advantages such as better lamp life and energy efficiency are expected to drive the LED market in India.
The report begins with an introduction about the different broad dimensions of the lighting market. A brief description of the evolution of LED technology has also been included in this section. It is followed by a brief overview of the global lighting market and the global LED market. Description of the Indian lighting industry highlights its major segments. Overview of the Indian LED industry provides details on the industry size and the growth in demand.
The next section provides a brief overview of the value chain present in the LED industry.
The report provides detailed information about the exports and imports of LED under specific HS codes in terms of value and volume. It provides country-wise import and export data for the year 2010-11, mentioning the major countries exporting and importing from India.
Factors driving the growth of the LED market in India are also explained in detail. Growing population and rise in income provides an impetus to the growth of the LED market in India. Demand from consumer electronics is expected to emerge as a major growth driver for the Indian LED market. Increasing usage in street lighting and growing indoor lighting applications is expected to boost the growth prospects of the LED market in India. Better lamp life and energy efficiency and environment friendly technology is expected to contribute significantly towards market development. Global ban on the usage of incandescent lights also has a favorable impact on the growth of the LED market.
The players operating in the market also face challenges which are impeding their development and growth. High initial cost barrier has emerged as a major challenge hindering the market growth. Lack of consumer awareness and high import dependency are also expected to have an unfavorable impact on the growth of the LED market in India.
The next section incorporates some of the initiatives that are needed to enhance the growth prospects of the Indian LED industry.
Brief description of the published LED standards in India has been included in the report. The support provided by the government to promote the LED market and the key initiatives undertaken by the regulatory stakeholders in order to develop the LED industry in India have also been highlighted in the report.
Emerging trends in the LED market include growing usage in automotive lighting, digital signage, solar LED lights and technology development.
The competition section outlays the competitive landscape of the LED market in India briefing about the public and private players existing in the market. The report features brief profiles of major players in the market and a snapshot of their corporation, financ
The big ideaL: Ogilvy's framework for giving brands a purposeOgilvy
Ogilvy & Mather developed a framework called "The big ideaL" to help brands find an authentic platform to speak from. It involves identifying a cultural tension in the market and finding the brand's core strength. For Louis Vuitton, this resulted in the ideal that the world is a better place when we live life as an exceptional journey. For Milo chocolate drink, it was the belief that play is essential for childhood development. Applying this process helps brands lift themselves above competitors by taking a clear point of view.
The global lighting market is undergoing changes driven by urban growth and energy efficiency. It is estimated to be worth €110 billion by 2020, growing at 6% annually from 2010-2016 and 3% from 2016-2020. General lighting makes up the largest segment at around 75% currently and is expected to reach 80% by 2020. LED lighting is driving market growth as construction increases in emerging markets and higher priced LED technology becomes more widely used. The lighting market is comparable in size to the global TV and computer markets but has received less attention until now.
The document provides an overview of the lighting market in India, including key details about market size and share, major players, types of lighting, and brand positioning strategies. It discusses the consumer and B2B lighting segments, identifies top companies like Philips, Crompton Greaves and Havells, and outlines their approaches to branding, pricing, promotion and SWOT analysis. Recommendations are made around new product categories and expanding CSR initiatives in the lighting industry.
Indian led lighting market forecast to 2019IBNARESEARCH
This document provides an overview and market forecast of the Indian LED lighting market from 2014-2019. It covers topics such as the policy and regulatory environment, manufacturing and production in India, imports and exports, pricing trends, consumer behavior, the current market size and segmentation, and forecasts for future growth. The market is growing rapidly due to government support and promotion of LED lighting to improve energy efficiency. Street lights and downlights currently have the largest volume shares but the market for retrofit lamps and luminaires is growing faster. The document provides numerous tables and figures analyzing trends in each market segment.
Este documento discute a importância da educação para o desenvolvimento econômico e social de um país. A educação é essencial para aumentar os níveis de emprego e renda da população ao preparar os estudantes para o mercado de trabalho e promover a inovação. Investimentos em educação também melhoram os índices de saúde e reduzem a desigualdade e pobreza a longo prazo.
The document summarizes key topics and discussions from the Digiday ON Media digital media summit. The summit addressed all forms of digital media and challenges in buying digital media. Major topics included improved media targeting, new metrics beyond clicks, the role of engagement and social ads, and how agencies must adapt to changes. Presentations focused on audience targeting, the value of smaller publishers, and determining the most important metrics from the vast data available.
Purpose: This Social Media Strategy is primarily a resource to sharpen the focus on current Social Media initiatives using customer-centric methodologies that can be seamlessly integrated back into products to achieve core business objectives. Ultimately stepping up the level of engagement by providing actionable insight into emerging trends in the customer experience. Proposing guidelines that can be used by Stakeholders (on all levels) when collaborating with Marketing to measure success and get the envisioned results from Social Media endeavors. This strategy is not intended as a proposal for a Community but as response to customer needs to give the enterprise a common approach in order to reach customers in a “Right Here, Right Now” society. Therefore recognizing the benefits of a convergence strategy that leverages people’s passion for our products and the ability to collaborate in the social spaces where people live online.
Рынок рекламы в соцмедиа: состояние и тренды (Pivot, июль 2011)Andrei Kamarouski
This document summarizes key findings from a survey about social advertising conducted by Pivot. Some of the main points include:
- Brands are increasingly using social media platforms like Facebook, Twitter, and YouTube for advertising as consumer attention shifts online.
- Social advertising allows brands to target consumers based on interests and social connections to build engagement over time.
- Most survey respondents felt social advertising was valuable and planned to experiment with or increase their use of social advertising.
- Facebook was seen as offering the best social advertising products currently, while interest in advertising on platforms like LinkedIn and Foursquare is growing.
The document outlines 10 key marketing trends for 2021: 1) Purpose-driven marketing will be important to align brand values with social causes, 2) Brands must find ways to reconnect with customers after the disruptions of 2020, 3) Loss aversion strategies need to be more sensitive given losses incurred in 2020, 4) Relatability through user-generated content can drive growth, 5) Social e-commerce is expanding with in-app shopping options, 6) Video and storytelling content will be highly engaging, 7) Brands should reduce costs by repurposing existing content across channels, 8) Virtual events and meetings will continue to be important, 9) Artificial intelligence will make marketing smarter and more personalized, and 10
The document outlines 10 key marketing trends for 2021: 1) Purpose-driven marketing will be important to align brand values with social causes, 2) Brands must find ways to reconnect with customers after the disruptions of 2020, 3) Loss aversion strategies need to be more sensitive given losses incurred in 2020, 4) Relatability through user-generated content can drive growth, 5) Social e-commerce is expanding with in-app shopping options, 6) Video and storytelling content will be highly engaging, 7) Brands should reduce costs by repurposing existing content across channels, 8) Virtual events and meetings will continue to be important, 9) Artificial intelligence will make marketing smarter and more personalized, and 10
Content Marketing in the Digital Driver's SeatScribbleLive
1) The document discusses how marketing budgets are shifting from traditional to digital media, with digital ad revenue expected to grow at 11% annually while traditional media grows at just 0.4%.
2) It emphasizes that content marketing has seen significant growth in recent years as marketers try to adapt to how digital media has changed consumers' relationships with information.
3) Content marketing is presented as more effective than interruptive digital ads, as it provides valuable content consumers want to engage with and share, benefiting both consumers and brands.
1) The document summarizes the key findings of a report on the state of social business in 2016. It finds that social media teams are shifting their focus from innovators to integrators to improve customer experience across different business functions.
2) Specifically, the summary discusses how social media has evolved from a platform focused on media and branding to one centered around customer engagement. It also notes that social teams now serve as connectors between existing centers of excellence like e-commerce, advertising, and customer service.
3) Another key finding is that customer experience has surpassed brand health as the top business objective for social media for the first time, reflecting the continued priority on customer centricity.
8 B2B Marketing Trends for 2013 from hawkeyeJohn Tedstrom
1) The document summarizes 8 B2B marketing trends for 2013, including getting back to basics in understanding customers, blending digital and physical marketing, focusing on quality over quantity of content, using social CRM effectively, increasing collaboration between marketing and sales, leveraging big data, and others.
2) Key aspects are understanding customer needs and buying journeys, engaging customers across channels with a seamless experience, telling compelling stories through varied visual content, integrating social tools with CRM, and collaborating closely between teams.
3) Many trends involve using customer data to personalize engagement across channels.
2011 Kickoff Event Presentation Materials: Community in the Enterprise7Summits
The document summarizes a presentation about using social media and online communities in business. It discusses how social media can be used to engage customers, employees, and partners. Specific uses include social marketing, customer support, product development, sales enablement, and corporate communications. The presentation recommends having a social media strategy aligned with business goals and prioritizing which aspects of social media will be most effective, such as enabling customer reviews, creating connected social campaigns, holding social contests, and integrating marketing efforts.
New lessons on building the consumer products brand experience. For CP companies, time, technology, changing consumer lifestyles, as well as disruptive competitors, are creating new opportunities beyond the traditional.
IBM Executive Report - New lessons on building the consumer products brand ex...Susanna Harper
Are consumer products (CP) companies about to have their Hollywood moment? Studios traditionally have been dream factories for consumers in a linear supply chain consisting of theaters and retail. But the combination of digital technology and Millennials has radically altered the entertainment industry. To reach increasingly empowered consumers, Hollywood is now a content creator at the center of a digital ecosystem, with business models that range from retail to direct-to-consumer. Similarly, for CP companies, time, technology, changing consumer lifestyles, as well as disruptive competitors, are creating new opportunities beyond the traditional. To take advantage, they must use digital technologies and secure the broadest possible ecosystem of business partners to create compelling brand experiences, drive purchase behavior and create unbreakable bonds with consumers.
Digital 2022 Report có những nội dung gì?
Như đã giới thiệu ở trên, Digital 2022 sẽ tập trung vào 4 nội dung chính sau:
- Mức độ và cách thức sử dụng các nền tảng mạng xã hội (Social Media).
- Quảng cáo trên các nền tảng mạng xã hội.
- Quảng cáo trên TikTok.
- Thương mại điện tử.
Social Trends 2022: Báo cáo xu hướng mạng xã hội năm 2022MarketingTrips
Digital communities are thriving on social media, and creators are helping brands connect with these communities. Creators have built large, dedicated followings in niche interest areas. In 2022, smaller brands will partner with creators to tap into their communities, learn about customers, create content efficiently, and build awareness. Creators add value by enriching existing interest groups. Partnering with creators will help brands of all sizes connect to new audiences and gain trust.
Marketers are increasingly embracing social media and integrating it into their overall marketing strategies. A survey of over 500 executives found their top concern is maintaining high audience engagement on social media. Most marketers use Facebook, Twitter, and YouTube and are looking to expand to other networks like Instagram and Vine. While content shares and follower counts are the most common metrics, marketers want to better tie social media efforts to ROI and sales metrics. Larger companies are more likely to use technology and systems to help manage complex social media strategies across multiple networks and digital campaigns.
This paper won the Silver Admap Prize in 2012. It lays out a vision for the future of brand and communications planning by Tom Woodnutt, Founder of Feeling Mutual
The document discusses the shift from paid (bought) media to owned and earned media for brands. It introduces the concepts of bought, owned, and earned media, with bought being paid advertising, owned being content and platforms controlled by the brand, and earned being user-generated conversations. It argues that brands should allocate more resources to developing owned and earned media through useful content and communities in order to build advocacy. Examples are given of how brands like Best Buy and Starbucks have successfully utilized owned and earned strategies to drive engagement and sales. Developing a long-term digital platform requires investment in content, conversations, and communities to facilitate sharing and discussion.
The document discusses 5 key trends in social media for 2020 based on a survey of 3,110 marketers and research. Trend 1 discusses how brands are striking a balance between public and private social media engagement. While private messaging is important, public feeds remain critical for brand discovery and customer acquisition. Successful brands will create seamless experiences across both. Trend 2 discusses how employers are taking on more of a leadership role in a divided world by building strong company cultures and advocating for their purpose and employees. Trend 3 explores how TikTok's popularity provides insights into future social trends, while Trend 4 examines the convergence of social and performance marketing. Trend 5 looks at how brands can close the gap on social media ROI
Brands are increasingly becoming publishers as they seek to directly engage consumers across proliferating digital channels and platforms. However, most brands fail at publishing due to a lack of strategic vision, talent, processes, and technical infrastructure needed to continuously create and publish high-quality, engaging content. To succeed, brands must invest in these four key areas and treat content as a valuable asset by developing meaningful content tailored to each audience and stage of the consumer journey. They must also establish agile processes to rapidly test, learn from, and publish new content on an ongoing basis.
The rise of the social advertiser pivot july 2011ricardodepaula
The report discusses the rise of social advertising as consumers spend more time on social networks. It summarizes the findings of a survey of 230 marketing professionals about their use and perceptions of social advertising. Key findings include that over 85% are currently experimenting or plan to use social advertising in the next year, and 54% are satisfied with their results so far. Facebook, Twitter and YouTube are the most commonly used platforms for social advertising currently. Measurement of ROI and outcomes is seen as the biggest challenge to further adoption.
The rise of the social advertiser_pivot_july 2011AriadnaMB
The document summarizes key findings from a survey about social advertising conducted by Pivot. It finds that most brands plan to experiment with or are currently using social advertising. Major platforms like Facebook, Twitter and YouTube dominate current social advertising plans. The perceived advantages of social advertising include that it is gaining momentum and can enhance other marketing efforts. Objectives for social advertising varied but included supporting new products, engaging customers, and growing communities. Most integrate social media into broader advertising campaigns.
Union of Humans: The Future of the Millennial Generation in the Age of Automa...Ogilvy
It’s not always fun or easy to understand an automating, fissuring, hyper-globalizing economy. It’s not always comfortable to consider that decades-old safe and sage advice (“Go to college!”) might become totally obsolete—if we don’t move quickly to curtail the privatization of our primary schools, and/or colleges fail to modernize their offerings.
However with great crisis comes great opportunity, and Millennials are well-equipped to handle the mammoth issues before them. They are, after all, the most educated, most connected generation in American history.
So why the emphasis on…unions? Well, we really need them, and Millennials happen to love them. But the automation era will require its own union, of sorts—what we’re calling a “union of humans.”
7 Lessons from Established Online Video Viewers Ogilvy
This document discusses key findings from a survey of nearly 2,400 established online video viewers about their consumption habits. Some of the main findings include:
- Most respondents expect online streaming to be their sole source of video within a few years and they see traditional TV as becoming obsolete.
- Session viewing, where viewers engage with online videos for extended periods of 30+ minutes multiple times a week, dominates online behavior rather than single video views.
- Session viewing is common across all age groups, not just young viewers. Most viewing sessions occur in the evening prime time hours that compete with television.
- Irrelevant or poorly placed advertising is a major reason viewers abandon viewing sessions, undermining the monetization abilities of
Point of View on Cambridge Analytica Scandal Ogilvy
Last week the Cambridge Analytica data scandal sparked a widespread privacy debate and put Facebook in the eye of a PR storm. Automatically this raises questions from an advertisers perspective. ‘Should we gear up for an audience decrease and reshu e budget?’ Not really. No advertiser data has been a ected and this is mainly an issue on user level, so Facebook already implemented actions to solidify the privacy of its users which is a bene t for advertisers too.
The document discusses the opportunities and strategies for successful e-commerce ventures in Southeast Asia. It outlines four key drivers of e-commerce growth in the region: 1) proliferation of mobile devices and internet access, 2) improved delivery infrastructure, 3) new digital payment systems, and 4) large investments from e-commerce giants. The document argues that e-commerce sales in Southeast Asia will hit $88 billion in the next eight years due to these unstoppable driving forces. It provides strategies for businesses to leverage this e-commerce wave in Southeast Asia and succeed, including understanding consumers' shopping behaviors, differentiating products and services online, and utilizing social media as a demand channel.
2018 Prognostications For The Year Of The DogOgilvy
For the year ahead – 2018 to some, and the Year of the Dog to others – we share our annual Political, Economic, and Business prognostications for China.
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2. At OgilvyEntertainment, we have been delivering branded entertainment
programs for the better part of a decade. Our objectives with
BEAM are to create a set of guiding principles that allow brands to assess
the use of branded entertainment in the marketing mix, as well as to establish
a disciplined approach towards measurement for the industry.
Our esteemed colleagues and partners, all of whom are very
involved in the development and delivery of
branded entertainment programs, have endorsed this paper and
are in full support of reaching this goal:
3. Overview
Advertising has never been more fun. The entertainment industry is booming,
and brands are getting in on the action, investing an increasing share of marketing
dollars into branded entertainment (“BE”) programs. There is a tangible excitement
about the opportunity to create content on behalf of brands. But there is also a
real fear of squandering precious budgets on a platform with limited accountability.
According to a recent survey by the Custom Content Council, 39% of US
companies expect to spend more on branded content in 2012. With the inherent
risk, why are they spending more? In short, many brands believe that BE works.
History has proven that brands can borrow the equity created through the magic
of entertainment; today, brands can actually create that magic themselves, too.
We have reached a point where the level of investment and focus on BE cannot
reach a critical mass without a standard of measure. As BE takes a larger role in
the marketing mix, BE programs need to tie into overarching business ambitions
and link specific program objectives to measurable outcomes. Strategic design and
accountability are required in all major elements of the marketing mix, and now
that BE is playing a larger role, those same rules apply.
The graveyard of failed BE programs is littered with great ideas, even great
executions. Ultimately, the programs that failed did so because they did not align
with brand business ambitions and precise strategic objectives. These failed ideas
were too caught up in the magic without building on proper logic. The lessons
learned: an opportunity was too exciting to pass up, the property seemed a perfect
brand fit but didn’t consider the target audience, the distribution plan wasn’t
thought through…to name a few.
By 2015, the worldwide entertainment industry is projected to be worth $1.8T.1
Not only do brands need to evolve the ways in which they communicate with
consumers, they also have the opportunity to create new revenue streams in doing
so—becoming media owners and publishers. By creating entertainment authentic
to brand ideals and rooted in the logic that drives all elements of the marketing
mix, brands can employ the magic of entertainment effectively and profitably.
To guarantee success, we must establish a standard for BE measurement, determining
associated metrics and building a dashboard of appropriate data. Through this new
measurement standard, the Ogilvy BE Assessment ModelTM (“BEAM”), BE programs
can be assessed consistently, giving marketers the assurance they need to make the
leap into the content-led marketing world.
4. Contents
The digitally fueled BE evolution 5
Strategy drives measurement 9
Measurement in action 18
Embracing the BE opportunity 31
About OgilvyEntertainment 32
The BEAM framework and scorecard 33
Credits 38
5. The digitally fueled
BE evolution
Over the past decade, the media landscape has undergone unprecedented
change at an unparalleled speed. Technology continues to leap ahead in ability
while plummeting in price. Eager consumers are adopting new entertainment
devices, and thus platforms, as fast as they can be invented.
Consumer behaviors, enabled by technology, dictate the prevailing media consumption
model. These changes in behaviors have forced us to reevaluate the means of producing
revenue via media and entertainment. With the consumer in control, the new model
must be aligned with the needs of consumers and their behaviors across the
entertainment landscape.
Technology has vested in the consumer the power to select both the content and the context of
entertainment consumption.
The evolution of customized content and the digital space has created a world in
which the consumer will no longer engage with a one-way, fixed distribution structure—
the traditional network model. He won’t plan his day around the evening’s television
schedule, nor will he wait until morning to read the day’s top news (see illustration 1).
The content sought for consumption is selected through a social lens.
Due to their desire to be social, connected and engaged, consumers want content
that does more than just entertain. They actively seek content that adds value to
their virtual society—content that allows them to interact, collaborate and express
themselves. More than 500 tweets containing YouTube links are posted every minute
(and that is up 300% year over year).2 A person may search for TV clips that she
thinks are funny, but she’s just as concerned with what her friends will like—or at
least what will highlight to her friends her ability to find good material. People don’t
necessarily post their favorite pieces of content on social sites; often they put up the
material they feel will garner the most attention from their social network.
The barriers to entry in content production and distribution have collapsed.
While consumers have the power to consume the specific content they want, they
have also gained the power to distribute content. In other words, they have both the
power and the desire to share content. This increases the importance of strategic paid
media and the effectiveness of earned media. Technology combined with the social
framework woven around content enables consumers either to distribute content on
behalf of its creator or to distribute their own work, leveraging the social multiplier
5
7. of the web. This affects all the key players in the entertainment industry, including
agencies, producers and broadcasters.
We’re accelerating from a behavior of merely engaging with content to feeling comfortable partaking
in genuine commerce and transactions.
As the old network model changes and we move forward, we—consumers, producers
and brand stewards alike—can engage with content more easily than ever before.
With my device in hand, I can view content and immediately respond on the call to
action via a few taps of the fingertip. BE can be a real driver of actions, even sales.
The emerging model is richer than mere sponsorship; it is branded storytelling: an immersive,
live experience across multiple platforms.
Many view this trend as a reversion to an old ad model—one where commercial
entertainment was about sponsoring the airing of content, not disrupting it.
However, the emerging model is significantly richer than mere sponsorship.
Sponsorship was the facilitator of consumer engagement with content, but today
brands are afforded the opportunity to move past enabling and into engaging
directly with consumers as they customize, share and curate their content experience,
reaching not a passive mass, but rather an engaged mass of consumers. As Jonathan
Mildenhall of Coca-Cola states, “Most conversations between a brand and its
consumers begin with a piece of content.”
Entertainment programs must employ multiple platforms to maximize the magic.
Because best-in-class programs engage with consumers where they are—in the social
sphere, the digital world and the mobile ecosystem—a BE program can no longer
rely on one platform alone. Moreover, programs need to be live, serving up fresh
engagement and content throughout their lifetime. These two realities have big
implications on measurement, as simple tracking of just one element (e.g., number
of views for a piece of content) will severely neglect assessment of the impact of
the full program.
The challenge isn’t the measurement; it’s filtering the constant stream of data and finding
actionable insights.
As we design effective BE programs across multiple trackable platforms, advertisers
are fortunate to be able to measure, monitor and build insight about consumer
behavior and advertising effectiveness in real time. The velocity of data and its
availability enables and challenges brands; their objectives must be clear in order to
filter the data appropriately and understand performance. Again, as Mr. Mildenhall
states, “The reality is that we have access to a wealth of data at our fingertips.
The biggest challenge is to make this data ‘talk.’”
Measurement of creative impact allows us to make the art smarter by understanding the science.
This all translates into the need to mix oil and water—to integrate data-driven insight
into the creative design and structure of advertising. This may also require strapping
7
8. creative directors to chairs in order to get them to discuss metrics, but don’t
misinterpret this as a bid to put science ahead of the art of advertising.
BE will thrive with a better understanding of which audiences it reaches with which
messages, where the consumer drifts away, when we’re put on mute and why we’re
passed along. We can also understand what type of program works best for which
program objective and how that translates into a multiplatform storyline.
Consistently measuring BE effectiveness in a new media landscape is achievable.
Designing a customized measurement strategy and learning how to interpret the
results is no easy feat. However, the more disciplined a brand is with the practice
of setting BE program goals and measuring against them, the more effective those
programs will become.
To date, interpretation of BE program results has been subjective, on a case-by-
case basis. As more and more marketers pursue BE programs, a framework and
benchmark are needed.
8
9. Strategy drives
measurement
Brands must change the way they measure entertainment programs in order to
understand true impact, engagement and entertainment value. These changes aren’t
limited to measurement alone, but also trace to the interlinked program planning
and execution. By adjusting the holistic planning and measurement approach,
organizations will not only increase effectiveness in brand- and property-building,
but will also find new sources of value from insights gleaned through data. With a
truer understanding of how programs help to achieve objectives and deliver value,
program and production budgets can be justified.
Illustration 2
9
10. While an entertainment program will always have traditional measures like reach
and impressions, each program should also have a unique objective and associated
key performance indicators (“KPIs”). Meaningful measurement depends upon these
predetermined KPIs both for the program and for the platforms employed.
The key to a proper measurement process begins with a proper planning process,
both of which are assured with BEAM. For brands already engaged in holistic
communications planning processes, such as Ogilvy FusionTM, BEAM is designed
to build off established business ambitions, customer journeys and communications
plans, and delve further into specific detail about the entertainment program.
Planning with BEAM is a 4-step process:
1. Set your primary BE program objective
2. Select the lead content platform
3. Determine the program’s BE mix
4. Execute with the BEAM program checklist
Set Program Objective Select Lead Platform Determine BE Mix Execute with BEAM Checklist
The BE program objective should be underscored by the overall business ambition
of the brand, e.g., hard objectives against sales, market share and/or profit. With this
ambition in mind, you should set an appropriate program objective, largely taking
one of three broad types: Reach, Preference or Action. Depending on the size of
the program and the platforms used, one program can accomplish multiple goals.
However, it is always recommended to isolate a primary program objective.
For example, DuPont’s sponsorship and involvement in the Horizons television
broadcast on the BBC World News is largely meant to drive brand awareness
and perception, but the short-form, more commercial elements of the program are
intended to drive customers closer toward action. Understanding that one of these
three objectives is the primary reason behind any combination of program tactics
will provide focus, allowing you to properly measure your program and provide
business context to performance.
Once the program objective is set, KPIs must be determined. These KPIs will
be used as a means of gauging whether or not the BE program is effective and,
ultimately, if it is generating impact against the brand ambition. Though the
program objective is the primary driver of the entertainment program architecture,
strategy can also vary based on target audience, distribution means, B2B vs. B2C
dynamics and other brand-specific attributes. Ultimately, the combination of all
of these variables dictates measurement.
10
11. KPIs are the dependent variables upon which the planning of all program components
(i.e., independent variables) should be based. It is therefore critical that KPIs not be
adjusted during the lifetime of the program.
Program objective
Reach
Grow brand awareness
by x%
preference
Increase brand preference
by X%
select one
action
Generate XX leads;
increase sales by X%
Set Program Objective Select Lead Platform Determine BE Mix Execute with BEAM Checklist
Once you have determined the primary objective of your program, you must
determine the type of platform that will work best. Every program should be
activated or extended across multiple platforms, but it is important to clarify which
platform will lead the delivery of your entertainment program. We have defined
four types of programs:
11
12. Lead platform
event-led broadcast-led
An event-led program is A broadcast-led program is
driven by an experiential typically narrative driven and
occurrence, such as a concert is delivered in broadcast form,
or sporting event such as a television show or
radio program
select one
digital-led property-led
A digital-led program exists A property-led program is driven
primarily in the digital space, by a centrally owned entity, such
either on a bespoke online as a mascot or core brand idea,
content/experience hub or on and comes to life through a variety
an existing digital platform, of tactics—for example, events,
such as Facebook or YouTube digital content, new products,
or even thought leadership
Selection of a lead platform is often contingent upon existing sponsorships,
opportunities in the market, the target audience and potentially even budget
and timing. The program distribution strategy will hinge on this selection.
Set Program Objective Select Lead Platform Determine BE Mix Execute with BEAM Checklist
The BE mix is comprised of three primary components: the exposure of the program,
the program’s entertainment value and the brand association. This mix is dictated by
the decisions made in the two preceding steps of the BEAM planning process.
Exposure: This is the emphasis you place on the depth and breadth of your
program’s reach. Things that affect exposure include PR, paid media, distribution,
multiscreen formats, event attendees, content pass-along, etc. A big boost to
12
13. exposure of event-led entertainment often comes through digital or broadcast
extension of the program; digital-led programs can also significantly extend reach
if picked up for broadcast usage.
Entertainment: This is the combination of the consumers’ engagement with your
program and the perceived entertainment value of the content and/or experience
you’ve created. Items that affect entertainment are celebrity/talent involvement,
content production quality, storyline, ongoing engagement, etc. Though investment
in top-tier talent can be costly, it is often a primary driver of the entertainment
value of your program.
Brand: This is the brand exposure/association within the entertainment program;
in other words, the role of the brand, whether it is as specific as a logo or product,
or as broad as a brand ideal. Items that affect brand are story development/brand
story incorporation, sales force activation, retail promotions, branded content hubs
(e.g., Facebook, YouTube, brand-specific web site), etc.
Program’s BE mix
13
14. To be successful, all programs must include a combination of all three components.
However, the primary program objective will drive emphasis around one core
component, which in turn will serve as the primary success metric. For example,
in Coke Zero’s live “Make It Possible” program, the aim is to strengthen brand
preference and positioning, so they prioritized entertainment and kicked off the
program with celebrity dancer/producer Jon Chu to help validate and strengthen
this association.
This emphasis also serves as a means of learning how to optimize and best distribute
resources in future programs. When Nike launched their Jordan Melo 8 sneaker
with a large-scale event on the Hudson River in New York City, they prioritized
the entertainment value of the program. Their superbly executed event experience
included an impressive light and water show, high-quality consumer games and a
concert by Nas. However, digital coverage following the event received lower-than-
targeted viewership, suggesting it would have been effective to allocate resources
against digital distribution and exposure in order to garner the reach necessary
for a new product launch.
In addition to the primary business objective, Brand, Exposure and Entertainment
form the main components of the BEAM measurement framework. To measure each
component, individual objectives should be set and key intermediate measures
should be determined in the planning process. For example:
Exposure
Objective: “80% program awareness across target audience”
Intermediate measures:
• otal number of views, number of attendees, number of new fans/likes,
T
pass-along rate, pre/post awareness
Ultimate program performance against the objective can be tracked via survey,
for example, to understand pre/post-program awareness and/or positioning.
Entertainment
Objective: “90% completion rate”
Intermediate measures:
• ompletion rate, repeat views/visits, pass-along rate, viewership growth,
C
number of comments, consumer enjoyment
Ultimate program performance against the objective can be tracked via survey
to understand how much the entertainment was liked.
Brand
Objective: “90% brand recall from the program”
Intermediate measures:
• ikes/followers/fans on branded media sites, number of comments (%+/–),
L
brand search lift, pre/post purchase intent, click-throughs
Ultimate program performance against the objective can be tracked via survey to,
14
15. for example, understand pre/post strength of association between the brand and
the program, correspondence between the program elements and brand perception,
purchase intent, and/or brand perception relative to competitors. Although the
ultimate goal is to prove sales generated by the BE program, it’s here that you can
also understand the program’s ability to create a favorable selling environment.
Exposure ENTERtainment BRAND
The reach of the entertainment The consumer’s engagement with The brand exposure/association
program across all channels and perceived entertainment value within the entertainment program
of the content/experience
Intermediate measures: Intermediate measures: Intermediate measures:
Number of views Completion rate Likes/followers/fans
Number of attendees Repeat views/visits on branded media sites
Number of new fans/likes Pass-along rate Number of comments (%+/–)
Pass-along rate Viewership growth Brand search lift
Pre/post awareness Number of comments Pre/post purchase intent
Consumer enjoyment Click-throughs
Benchmarks: Benchmarks: Benchmarks:
Previous program views Previous program completion rate Average category Facebook fans
Average category event attendance Category standard repeat Previous campaign WOM generated
Goal: 50K new fans views/visits Survey data
Industry pass-along rate Typical viewership Category search volume
Survey data Survey data
For each KPI and intermediate measure, you should set benchmarks against which
to evaluate the ultimate performance. Even if the program is the first BE initiative that
the brand has undertaken, it is possible to set benchmarks by using a combination of
three data sources. For example:
1. Desired goal
“We want 65% of consumers to perceive our brand as ‘fun and exciting.’”
2. “Norm” data
Industry average, past campaign performance, category average, target market
average, etc.
3. Pre-test
“Currently, we have only 30% brand awareness with this given
consumer segment.”
These benchmarks will be assessed relative to actual performance data to diagnose
individual areas of improvement for your program and ultimately to measure your
program’s overall success, turning BEAM into a learning and optimization tool.
15
16. Set Program Objective Select Lead Platform Determine BE Mix Execute with BEAM Checklist
Based on your program objective, lead platform selection and BE mix, you must
determine the best way to allocate resources and accomplish your objectives on
an executional level. The BEAM program checklist below encompasses the most
important options for executing a BE program:
Program checklist
Client: Time frame: budget:
Branded entertainment type: Target Audience:
Program Objective: KPIs:
Secondary Objective: KPIs:
Consideration of which elements of the BEAM checklist to include in your program
will also be heavily driven by your budget, with larger budgets allowing more
comprehensive inclusion of all elements. In Europcar’s “Crush Hour” campaign,
a very limited budget coupled with a very ambitious sales goal forced Europcar
to prioritize high-quality production and a strategic radio broadcast integration.
In this instance, it would have been ineffective to stretch the small budget across
too many categories.
16
17. When assessing both the design and results of a BE program, you should also
consider three additional factors:
1. ales organization structure: What assets can you provide to the sales team to
S
communicate the program? In what ways can the sales team help gauge changes
in performance based on the program? When your objective is to drive action,
it’s especially important to determine the role your sales force can play. The DuPont
sales team uses short films that accompany the broadcast Horizons program to aid
the sales process; these films alone have garnered over two million views on the
DuPont YouTube channel.
2. ndustry considerations: Lead times and sales cycles vary significantly from
I
industry to industry. Again, if your goal is to drive action, it’s important to
keep in mind the role you can assign to the entertainment program, given your
particular industry sales cycle nuances. For example, the Coke Zero “Make it
Possible” program and the DuPont Horizons program activate BE in very different
ways, given the depth of involvement in the purchase of each product. Whereas
Coke Zero might use BE to drive sales directly and immediately, DuPont may
use it earlier in their much longer sales cycle in order to educate and engage
potential partners.
3. ime frames/lifetime of media: While there is a longer tail to content, there must
T
also be a commitment to keeping a program alive. For example, Perrier’s “Le Club”
campaign built off the early momentum it generated by releasing exclusive songs
later in the campaign. Brands should head into development with an idea of
how long they’re aiming to commit to a program, and measurement should be
realistic based on time frames. Brands should also be aware of the potential for
their programs to develop into properties and become unique, revenue-generating
entities unto themselves. One example of this is Gatorade’s “Replay,” which, based
on digital success, has been translated into a broadcast property.
17
18. Measurement in action
You’ve now built an all-encompassing entertainment program, but how can you
truly understand the results it drives against your predetermined objective and
KPIs? Just as your program itself requires the optimal combination of logic and
magic, the same applies to your measurement approach. However, in following
the BEAM planning methodology, your focus is already on the most important
factors: the program objective, the brand, the entertainment and the exposure.
Here we’ll take BEAM further and apply a simple, index-based scoring system
to these factors. In assessing these elements accurately and regularly across
all BE programs, you will get a firm understanding of both the individual and
comprehensive value of your effort.
It should be noted that this measurement framework is data agnostic; though
we will suggest data sources and measurement methodologies, rigor in consistent
application of the model, not the data source, is most important.
The importance of benchmarks
As noted above, it is critical to kick off your program with the appropriate
benchmarks in mind, using a combination of the best benchmark data available.
This implies your BEAM measurement begins in the planning phase, especially
in the case when a pre-test is required.
Pre-tests can be delivered in a variety of ways, usually driven by the BE type.
For example, for event-led entertainment, in-person pre-surveys can be administered
at the entrance to an event; this data would then be compared to post-event
survey results. Online, phone or panel-based methods can also be used, again
based on the BE program type. The BEAM model promotes heavy usage of pre-
and post-surveys to truly assess tangible program performance.
If you’re so lucky as to have an established entertainment property, surveys are
also recommended to assess pre/post brand value over pre-set intervals of time
(e.g., one year). This bigger picture, in addition to individual measurement of
activations of the property (e.g., with events, digital, broadcast) throughout the
year, will help you understand the true value of your property.
18
20. Measuring the program objective
Performance against the program objective is the single most important measure of
BEAM; after all, if you’ve failed to reach your primary objective, then your program
cannot be considered a success. This has two implications:
1) easuring performance against the program objective is the most critical
M
investment point; appropriate measurement infrastructure must be put in place.
2) e other three elements (exposure/entertainment/brand) should be evaluated
Th
in the context of the program objective; as illustration three again points out,
certain elements will naturally be most critical.
The BEAM scoring system
Applying scores to each component of BEAM
allows us to understand performance in simple beam index
terms; it allows BE—which seems like an abstract
construct—to be operationalized for macro points score
understanding. But how can these scores be
10 201+
determined in an objective way?
9 181 – 200
The BEAM scoring system is based on a trusted
index methodology and hinges on the availability 8 161 – 180
of pre (i.e., benchmark) and post data. In each
scenario post data is divided by pre data and 7 141 – 160
multiplied by 100; the final score is then applied
based on where the index number lies within a
6 121 – 140
range. When multiple data points are available, 5
101 – 120
a weighted average can be calculated to determine
the final score. 4 81 – 100
The rigor of applying these scores across your 3 61 – 80
programs will allow you to build your own
internal database of comparable BE results. 2 41 – 60
In doing so, you will learn not only the relative
value of various scoring programs, but also the 1 21 – 40
importance of each component score (exposure/
0 0 – 20
entertainment/brand) in driving results against
the program objective.
20
21. Sample BEAM scorecard
BEAM as a measurement tool
Program Objective: KPIs:
Secondary Objective: KPIs:
Exposure ENTERtainment BRAND
The reach of the entertainment The consumer’s engagement with The brand exposure/association
program across all channels and perceived entertainment value within the entertainment program
of the content/experience
Intermediate measures: Intermediate measures: Intermediate measures:
Number of views Completion rate Likes/followers/fans
Number of attendees Repeat views/visits on branded media sites
Number of new fans/likes Pass-along rate Number of comments (%+/–)
Pass-along rate Viewership growth Brand search lift
Pre/post awareness Number of comments Pre/post purchase intent
Consumer enjoyment Click-throughs
Benchmarks: Benchmarks: Benchmarks:
Previous program views Previous program completion rate Average category Facebook fans
Average category event attendance Category standard repeat Previous campaign WOM generated
Goal: 50K new fans views/visits Survey data
Industry pass-along rate Typical viewership Category search volume
Survey data Survey data
Performance: Performance: Performance:
BEAM score: / 10 BEAM score: / 10 BEAM score: / 10
Program Performance:
Total BEAM score: / 30
Applying the model
To understand how BEAM measurement works in action, we have applied it to two
highly praised BE programs—Walkers Crisps’ “Sandwich” (created by AMV BBDO)
and Hellmann’s “The Real Food Project” (created by OgilvyEntertainment).
21
22. Walkers Crisps: “Sandwich” 3
Situation: Walkers, the number one crisp brand in the UK, was looking for a way
to unlock revenue without incurring costs associated with developing new flavors
or executing prize promotions. They found an opportunity to increase sales by
associating single-serving crisp packages, the most profitable item in the brand
portfolio, with the lunch meal, the most popular time for snacking in the UK (at the
time, only 1 in 10 lunches included Walkers Crisps). They wanted to do this in a way
that delivered on the Walkers brand promise—to entertain the British public.
Set Program Objective Select Lead Platform Determine BE Mix Execute with BEAM Checklist
Action (primary): Increase revenue in the Walkers “singles” segment by 15%
Preference (secondary): Increase the brand’s association with lunchtime
Strategy: According to Walkers’ research, sandwiches were the number one
consumed item at lunchtime. Thus the creative idea was born: Prove Walkers
can make any sandwich more exciting, even the town of Sandwich, Kent.
The logic: 60% of consumers agreed that their sandwich would be improved
with a bag of Walkers Crisps, yet only 12% were buying both regularly at lunch.
Walkers looked to close this gap by demonstrating that Walkers makes
sandwiches more exciting.
The magic: In order to do this in a way that entertained the British public and was
true to the brand, Walkers went to the town of Sandwich, Kent, with the mission of
making it more exciting. Over the course of three days, celebrities assumed the roles
of average townspeople, and the surprised reactions of the locals were captured on
tape, with efforts to prove that “Walkers made Sandwich more exciting.”
Set Program Objective Select Lead Platform Determine BE Mix Execute with BEAM Checklist
Core platform: Event-led
The platform strategy was set up to make the three-day celebrity invasion of
Sandwich a surprise event that would garner social media buzz by locals and
eventually get picked up by news outlets before any actual content was released
online or via paid media.
Set Program Objective Select Lead Platform Determine BE Mix Execute with BEAM Checklist
Brand: rimary driver, given the program objective to increase sales by 15%
P
Intermediate measure: Brand/Campaign association
Benchmark: “Norm” data (UK norm vs. “Sandwich” performance)
22
23. Entertainment: Secondary driver; in order to drive perception and preference for
the brand with sandwiches, Walkers created entertainment value
largely through the use of celebrities.
Intermediate measure: Consumer enjoyment
Benchmark: “Norm” data (UK norm vs. “Sandwich” performance)
Exposure: No specific objectives set against this BE mix component
Intermediate measure: Earned media conversion value
Benchmark: Pre-test data (initial investment vs. earned value)
Set Program Objective Select Lead Platform Determine BE Mix Execute with BEAM Checklist
Program checklist
Client: Walkers Time frame: One month budget: £2.5MM
Branded entertainment type: Event-led Target Audience: British public and grocers
Program Objective: Action KPIs: Increase revenue of singles by 15%
Secondary Objective: Preference KPIs: Increase association between Walkers and lunchtime
✓
✓ ✓
✓
✓
✓ ✓
✓
✓
✓
23
24. The Work:
www.youtube.com/walkerssandwich
BEAM measurement:
Total BEAM score: 22
Exposure: 6
Intermediate measure: Earned media conversion value
Benchmark: Pre-test data (initial investment vs. earned value)
• stimated advertising value of coverage: £3,261,819,4 compared to their
E
£2.5 million investment
3.26 / 2.50 = 1.30
1.30 x 100 = 130
130 = Index score of 6
Entertainment: 6
Intermediate measure: Consumer enjoyment
Benchmark: “Norm” data (UK norm vs. “Sandwich” performance)
• 0% of consumers “enjoyed watching a lot,” compared to 60% UK norm
8
80 / 60 = 1.33
1.33 x 100 = 133
133 = Index score of 6
Brand: 10
Intermediate measure: Brand/campaign association
Benchmark: “Norm” data (UK norm vs. “Sandwich” performance)
• 7% agreed one “couldn’t fail to remember [the ad] was for the brand,”
5
compared to 27% UK norm
57 / 27 = 2.11
2.11 x 100 = 211
211 = Index score of 10
Program performance:
Action:
• Action KPI: Increase single-pack sales by 15%
ales data: Revenue of Walkers singles increased by 26%
S
(11 percentage points above goal)
Preference:
• reference KPI: Increase association of Walkers with sandwich
P
Survey results: “Walkers makes my sandwich more enjoyable”
+18 points post-program
24
25. BEAM as a measurement tool
Program Objective: Action KPIs: Increase revenue of singles by 15%
Secondary Objective: Preference KPIs: Increase association between Walkers and lunchtime
Exposure ENTERtainment BRAND
The reach of the entertainment The consumer’s engagement with The brand exposure/association
program across all channels and perceived entertainment value within the entertainment program
of the content/experience
Intermediate measures: Intermediate measures: Intermediate measures:
Earned media conversion value Consumer enjoyment Brand/campaign association
Benchmarks: Benchmarks: Benchmarks:
P
re-test data (initial investment) “Norm” data (UK norm) “Norm” data (UK norm)
£
2.5 million program investment orm for UK programs: 60% of
N orm for UK programs: 27% of
N
consumers “enjoyed watching a lot” consumers “couldn’t fail to remember
[an ad] was for [a] brand”
Performance: Performance: Performance:
E
stimated advertising value of 80% of consumers “enjoyed 57% of consumers “couldn’t fail to
coverage: £3,261,819 watching a lot” remember [the ad] was for [Walkers]”
BEAM score: 6 / 10 BEAM score: 6 / 10 BEAM score: 10 / 10
Program Performance:
Sales data: Revenue of Walkers singles increased by 26% (11 percentage points above goal)
Survey results: “ alkers makes my sandwich more enjoyable” +18 points post-program
W
Total BEAM score: 22 / 30
All Walkers data points were obtained from the public 2011 Cannes Creative Effectiveness Lions award entry. Data has been retrofitted
to fit the BEAM model.
25
26. Hellmann’s: “The Real Food Project”5
Situation: Since 2007, Hellmann’s has successfully captured the Real Food
Movement in America and understood consumers’ desire for food that was made
with real, simple ingredients. Hellmann’s became a champion of this movement.
However, in 2010 Hellmann’s realized that there were new perceived barriers for
moms related to feeding their families, especially in connection with feeding
them Real Food: time, expense, and fussy eaters.
Set Program Objective Select Lead Platform Determine BE Mix Execute with BEAM Checklist
Action (primary): Continue Hellmann’s sales growth in category
Preference (secondary): Weaken barriers (time, expense, and picky eaters) to purchase
Strategy: Hellmann’s partnered with celebrity chef Bobby Flay to offer Hellmann’s
recipe-based solutions to these barriers.
The logic: Since 2007, the category was showing significant indications of maturation,
yet Hellmann’s was able to maintain sales growth. The logic behind the program
was simply to remove further purchase barriers to encourage this continued growth.
The magic: In order to do this, Hellmann’s launched an integrated effort consisting
of a 14-episode web series that used Chef Bobby Flay as a means of increasing the
entertainment value of the program and also as a means of providing credibility to
the recipe solutions featured. Also, due to his celebrity status, he would help secure
numerous event and media appearances, increasing exposure of the campaign.
Set Program Objective Select Lead Platform Determine BE Mix Execute with BEAM Checklist
Core platform: Digital-led
The platform strategy was designed to reach moms on the web, in places where they
were already spending time. Launching the campaign using a digital lead allowed
for moms to view content, explore recipes, play games, and join the Real Food
discussion. The content lived on a dedicated site (therealfoodproject.com) as well
as on a branded iTV channel.
Set Program Objective Select Lead Platform Determine BE Mix Execute with BEAM Checklist
Brand: rimary driver, given the program objective to grow sales relative
P
to category growth
Intermediate measure: Hellmann’s sales vs. category sales
Benchmark: Category “norm” data
26
27. Entertainment: Secondary driver; in order to drive preference for the brand and
break down the barriers to purchase, Hellmann’s used Bobby Flay
as the driver of the content’s entertainment value
Primary intermediate measure (60% of weight): inutes spent watching video
M
Benchmark: Desired goal data (actual time vs. desired time)
Secondary intermediate measure (40% of weight): Game completion rate
Benchmark: Desired goal data (actual vs. desired completion)
Exposure: n addition to driving significant views via paid media investment, the
I
goal was to garner as much voluntary viewership by moms as possible,
in an environment where they spend a lot of time and are allowed to
further engage with the program.
Intermediate measure: Voluntary visits to iTV destination site
Benchmark: Prior campaign “norm” data (Real Food Project vs. Unilever food brand)
Set Program Objective Select Lead Platform Determine BE Mix Execute with BEAM Checklist
Program checklist
Client: Hellmann’s Time frame: Approx. nine months budget: ——
Branded entertainment type: Digital-led Target Audience: Moms
Program Objective: Action KPIs: Increase sales growth
Secondary Objective: Preference KPIs: Weaken barriers to purchase
✓ ✓ ✓
✓ ✓ ✓
✓
✓
✓ ✓
✓ ✓
✓ ✓
27
28. The Work:
www.hellmanns.us/promotions/therealfoodproject/videos.aspx
BEAM measurement:
Total BEAM score: 26
Exposure: 9
Intermediate measure: Voluntary visits to iTV destination site
Benchmark: Prior campaign “norm” data (Real Food Project vs. Unilever food brand)
• n 2010, Hellmann’s iTV destination generated 3.6MM voluntary visits
I
compared to the 1.8MM benchmark set by Unilever food brand
3.60 / 1.80 = 2
2 x 100 = 200
200 = Index score of 9
Additionally, paid media views totaled 241MM.
Entertainment: 8
Primary intermediate measure (60% of weight): Minutes spent watching video
Benchmark: Desired goal data (actual time vs. desired time)
• iewers spent 7.23 minutes with video, compared to goal of 4.82.
V
7.23 / 4.82 = 1.50
Score: 1.50 x 0.60 = 0.90 (60% of weight)
Secondary intermediate measure (40% of weight): Game completion rate
Benchmark: Desired goal data (actual vs. desired completion)
• 9% of consumers who began the game played it to completion, compared
8
to 45% benchmark
89 / 45 = 1.98
Score: 1.98 x 0.40 = 0.79 (40% of weight)
Total Entertainment score: 0.90 + 0.79 = 1.69
1.69 x 100 = 169
169 = Index score of 8
Brand: 9
Intermediate measure: Hellmann’s sales vs. category sales
Benchmark: Category “norm” data
• ellmann’s sales +1%, category sales –1% from previous year
H
Difference: 2
2 x 100 = 200
200 = Index score of 9
Program performance:
Action KPI: Continue sales growth in category
Sales data: Equivalent volume rose 4% relative to the previous year, while the category
was up only 1%
28
29. BEAM as a measurement tool
Program Objective: Action KPIs: Increase sales growth
Secondary Objective: Preference KPIs: Weaken barriers to purchase
Exposure ENTERtainment BRAND
The reach of the entertainment The consumer’s engagement with The brand exposure/association
program across all channels and perceived entertainment value within the entertainment program
of the content/experience
Intermediate measures: Intermediate measures: Intermediate measures:
V
oluntary visits to iTV 60% of weight: Hellmann’s sales vs. category sales
destination site Minutes spent watching video
4 0% of weight:
Game completion rate
Benchmarks: Benchmarks: Benchmarks:
Prior campaign “norm” data esired goal data (desired time)
D Category “norm” data
Unilever food brand)
( Goal of 4.82 minutes Category sales -1% from previous year
.8mm iTV destination
1 Desired goal data (desired completion)
voluntary visits 45% benchmark game completion
Performance: Performance: Performance:
Hellmann’s iTV destination generated V
iewers spent 7.23 minutes Hellmann’s sales +1% from
3.6MM voluntary visits with video previous year
89% of consumers who began
the game played it to completion
BEAM score: 9 / 10 BEAM score: 8 / 10 BEAM score: 9 / 10
Program Performance:
Sales data: quivalent volume rose 4% relative to the previous year, while the category
E
was up only 1%
Total BEAM score: 26 / 30
Hellmann’s is an Ogilvy client; all data points were obtained through the execution and evaluation of the program. Again, data has been
retrofitted to fit the BEAM model.
29
30. Attribution
In evaluating the full value of your BE program, it’s extremely important to consider
other marketing, sales, promotions or even cultural data that could have also made
an impact against your objective. Although sophisticated econometrics and advanced
modeling can be costly investments and require sufficient data sources and technology,
your program may be worthy of the investment. The diligence of applying BEAM
for both planning and measurement purposes will ensure you gather and assess the
correct data, but extra attention must be paid to properly attribute the impact of
other concurrent factors.
The Walkers “Sandwich” measurement effort paid due attention to attribution.
Walkers’ lofty goals of 1) increasing the association of Walkers crisps with the
lunchtime sandwich and, in doing so, 2) increasing sales revenue of single-pack
crisps by 15%, meant it was critical for the Walkers sales force to be engaged.
Because of these circumstances, Walkers paid particular attention to measuring
the impact of their sales force efforts—evaluation of the program would have
been insufficient otherwise. Additionally, and as is often the case for other brands,
Walkers has a continuous stream of advertising on air throughout the year for
its various crisp lines. In measuring the success of “Sandwich” they again applied
appropriate diligence to isolate the program and measure all contributing
factors accordingly.
Investing in measurement
It is not always practical—or even necessary—to measure all programs to the extent
of leveraging advanced modeling and/or econometrics. During the Europcar “Crush
Hour” campaign, Europcar had no paid media or other activity in market, so they
could directly attribute their success to the entertainment program. However, more
sophisticated techniques are recommended for the following:
• rograms with the objective of driving actions, especially ambitious sales results
P
• rograms that form the basis of your marketing communications activities and/
P
or budgets across a significant time period
• ilots intended for benchmark learning and optimization of future programs
P
Advanced measurement investment will help you understand the full impact
of these important programs and allow you to determine appropriate future
optimization strategies.
No matter how big or small your initiative, it is recommended to allocate from 5%
to 10% of the total program budget towards measurement investment. The BEAM
approach provides a framework so that budget can be leveraged for important
data capture techniques. Diligent and consistent application of BEAM will drive
true understanding of ROI—and it is this effectiveness gold standard that we are
ultimately striving for.
30
31. Embracing the BE
opportunity
Consumers have become increasingly tech savvy, customizing their experiences and
curating their minute-by-minute interactions with content, media and social networks.
At the same time, the entertainment industry is booming, accelerating in pace and
possibility. This has opened a whole new world of content-led marketing, though
few brands have truly embraced this strategy to-date, putting real entertainment
(and the budgets to support it) at the heart of their marketing. While not all brands
can replicate the success of the Red Bull Media House, there is a valid case for
making entertainment a permanent component of the marketing mix.
Today, brands should be asking: What content (not just message) is needed to tell
my brand story? And how can this support my business ambition? The resulting
strategy and breadth of content can then be applied across the year, leading to more
opportunities to turn brands into true entertainment properties. BEAM brings rigor
and consistency to the planning and measurement of this strategy.
At a time when brand stories must come alive through ongoing, multiplatform BE,
the balance of logic and magic will bring out the inner greatness of brands.
31
32. About
OgilvyEntertainment
OgilvyEntertainment takes a holistic approach to the development and production
of brand-funded content and original entertainment. With a diverse team of
marketers and entertainment executives, we weave a brand’s DNA into engaging
content and activate a 360-degree marketing program, effectively communicating
with consumers through a variety of media platforms.
We implement a phased approach to ensure ultimate program success and
maximize value for our clients:
We craft the right entertainment strategy in response to the objectives of our clients.
Our approach to development is designed to identify and partner with best-in-class
writers, directors, musicians, artists and talent agencies to create innovative
entertainment ideas and supporting marketing platforms.
Throughout the production process, we are the brand’s advocate to ensure that the
story is told as envisioned.
We ensure that the marketing goals and objectives of each campaign are met and
often exceeded by successfully establishing benchmarks for success in line with
custom client KPIs.
The creative idea and platforms drive the distribution strategy of the content.
We work with the media agency to leverage the brand’s existing media investment
as well as develop additional media partnerships to maximize reach.
We develop a customizable measurement tool that defines a clear and efficient
process to garner key insights and success metrics as well as recommendations
for program optimization.
OgilvyEntertainment has worked with some of the best brands in the world,
such as IBM, American Express, Time Warner Cable, DuPont, Nestlé, Motorola,
Ragú and Hellmann’s, as well as top entertainment companies, including CAA,
William Morris Endeavor, NBC, BBC and others.
www.ogilvyentertainmentblog.com
32
33. The BEAM framework
and scorecard
Set Program Objective Select Lead Platform Determine BE Mix Execute with BEAM Checklist
Program objective
Reach
Grow brand awareness
by x%
preference
Increase brand preference
by X%
select one
action
Generate XX leads;
increase sales by X%
33
34. Set Program Objective Select Lead Platform Determine BE Mix Execute with BEAM Checklist
Lead platform
event-led broadcast-led
An event-led program is A broadcast-led program is
driven by an experiential typically narrative driven and
occurrence, such as a concert is delivered in broadcast form,
or sporting event such as a television show or
radio program
select one
digital-led property-led
A digital-led program exists A property-led program is driven
primarily in the digital space, by a centrally owned entity, such
either on a bespoke online as a mascot or core brand idea,
content/experience hub or on and comes to life through a variety
an existing digital platform, of tactics—for example, events,
such as Facebook or YouTube digital content, new products,
or even thought leadership
34
35. Set Program Objective Select Lead Platform Determine BE Mix Execute with BEAM Checklist
Program’s BE mix
35
36. Set Program Objective Select Lead Platform Determine BE Mix Execute with BEAM Checklist
Program checklist
Client: Time frame: budget:
Branded entertainment type: Target Audience:
Program Objective: KPIs:
Secondary Objective: KPIs:
36
37. Set Program Objective Select Lead Platform Determine BE Mix Execute with BEAM Checklist
BEAM as a measurement tool
Program Objective: KPIs:
Secondary Objective: KPIs:
Exposure ENTERtainment BRAND
The reach of the entertainment The consumer’s engagement with The brand exposure/association
program across all channels and perceived entertainment value within the entertainment program
of the content/experience
Intermediate measures: Intermediate measures: Intermediate measures:
Number of views Completion rate Likes/followers/fans
Number of attendees Repeat views/visits on branded media sites
Number of new fans/likes Pass-along rate Number of comments (%+/–)
Pass-along rate Viewership growth Brand search lift
Pre/post awareness Number of comments Pre/post purchase intent
Consumer enjoyment Click-throughs
Benchmarks: Benchmarks: Benchmarks:
Previous program views Previous program completion rate Average category Facebook fans
Average category event attendance Category standard repeat Previous campaign WOM generated
Goal: 50K new fans views/visits Survey data
Industry pass-along rate Typical viewership Category search volume
Survey data Survey data
Performance: Performance: Performance:
BEAM score: / 10 BEAM score: / 10 BEAM score: / 10
Program Performance:
Total BEAM score: / 30
37
38. Credits
Writers:
Abby Marks, Associate Director, OgilvyEntertainment
Olivia Rzepczynski, EAME Digital Consultant, Ogilvy Mather
Eddie Burns, Associate, OgilvyOne Worldwide
Contributors:
Doug Scott, President, OgilvyEntertainment
Matthew Pharr, Director, Marketing Analytics, Ogilvy Mather
Benoit DeFleurian, Managing Director, Ogilvy Mather Paris
Frederic Levron, Executive Director, Head of Digital Branded Entertainment,
Ogilvy Mather Paris
Patou Nuytemans, EAME Chief Digital Officer, Ogilvy Mather EAME
Editor:
Jeremy Katz
Illustrator:
Stephanie von Dressler
Colorist:
Emily Scollon
Creative Director:
David Bradley
38