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Archive for the ‘Cinema’ Category

  • Oct
  • 16

Mobile Response: The 3 Best Alternatives to QR Codes

QR, or Quick Response, codes have become ubiquitous. Found on print and outdoor ads, product packaging and even gravestones, they have risen to prominence as marketers have realised their potential to connect consumers simply and instantaneously to relevant content via consumers’ mobile devices. Used well, a QR code can extend a fleeting impression into a more sustained engagement and thus speed the consumer down the purchase funnel.

But QR codes have their limitations.  The reflective screens of TV, PC screens and digital outdoor can make them difficult to photograph. And their rather functional form, and minimum size requirements, can interfere with the aesthetics of advertisements – a fact that premium and luxury advertisers will be more sensitive to than most.

So it’s hardly surprising that several new technologies are jostling to knock QR codes off their pedestal. Here are the best of them.

Aurasma

Aurasma is an augmented reality app that uses image-recognition technology to identify objects in the real world and then trigger pre-prepared digital content called ‘auras’.

aurasma_logoFor example, during London Fashion Week there was exclusive material available to readers of The Times T2 supplement. Those who viewed the page through the Aurasma app could access exclusive video content of the shows and buy products directly off the page. Other publications that have used Aurasma include the FT, Top Gear, Heat and The Guardian.

It’s not just print ads that Aurasma can recognise but whole range of real world objects, even buildings, if they’re distinctive enough. And the app is sophisticated enough to make allowances for different lighting conditions and camera angles.

Of course, Aurasma can’t match the ubiquity of QR codes, despite their Tottenham shirt sponsorship and an impressive 4 million downloads of the app to date.

However, Aurasma offers the potential to deliver a different kind of experience to QR codes – viewing an ad through the app and then watching that ad ‘come to life’ is a more talkable and memorable experience for consumers than the simple scanning of a QR code to be connected to product information online.

Audio Recognition Apps

Of course, QR codes are not ideal for television or cinema – expecting the consumer to jump out of their seat and photograph a QR code that will be ‘on screen’ for a limited time is asking too much.

Here, the future may lie in audio recognition apps, including audio watermarking solutions.

Perhaps the best example of this is recent partnership announced between Shazam, the popular music identification app, and ITV.

shazam-logoNow ITV viewers with their Shazam app active can be connected to additional content from that advertiser – be it games, videos, discount vouchers or ecommerce pages – via the app recognising music in the ad.  Advertisers such as Cadburys and Pepsi have already leveraged this technology can enable viewers to download music and win festival passes and Olympic tickets.

Audio watermarking is a related technology.  Again, the viewer needs the relevant app loaded onto their phone and active, and audio triggers the app to connect the viewer to additional digital content. However, in this case, the watermark is ‘hidden’ i.e. it’s not audible to the human ear.

Digital Watermarking

Digital watermarking is a technology borne out of a US bank note counterfeit security device. It works by imbedding an invisible-to the-naked-eye algorithm within an image, so ads are not compromised aesthetically. A smartphone or tablet with the digital watermarking app loaded is able to scan the image using its inbuilt camera and link to any online content.

DigWam _LogoPerhaps the best example of digital watermarking is DigWam, a joint venture between Wellcom London, the media production agency and Cousin the global print media specialist. Between them they shared a number of fashion clients and luxury brand retailers and were therefore looking for an elegant solution to the print-to-mobile opportunity.

DigWam comes with the additional benefit of an in-depth data analytics package, allowing advertisers to forensically analyse their response with reports on what device was being used, where it was activated and what online content was downloaded.

The key to which platform becomes dominant is which app becomes most prevalent on consumers smartphones and which is most commonly embedded into the apps of others. However, with the no.1 mobile response mechanism, QR codes, used by just over 11% of smartphone users, the battle for dominance in this sector has yet to be won.

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By: Neil Cunningham

  • Sep
  • 17

Why Cinema Should be Part of Your Media Mix

We haven’t written about cinema for some time. That’s because there hasn’t been much to write.

For most advertisers, the medium is a ‘nice to have’ rather than a ‘must have’. Its big screen format has undoubted impact, of course, and the fact that it can be bought regionally is useful. But an essential part of the media mix? Probably not. And there’s been a dearth of research to make a stronger case for its inclusion.

Until now, perhaps, with the release of a piece of research from the econometric team at Brand Science, part of the Omnicom Group.  They’ve delved into their campaigns results vault for Europe to compare the effectiveness of campaigns which included cinema advertising against those that didn’t. And the results are quite striking (see below).

Cinema_Total_Comms_RROI

For almost all of the sectors they analysed, campaigns that included cinema delivered a higher RROI (revenue return on investment, a measure which compares revenue with spend rather than profit with spend, used because profit figures can be hard to obtain) than those that didn’t include it.  The exception was Health & Beauty, most likely because of the heavy use of TV in this sector which led to the impact of cinema being negligible.

Cinemas was found to be particularly effective in boosting the RROI of TV campaigns – a strong positive effect was observed on RROI across most sectors, as can be seen from the chart below.

Cinema_TV_RROI

Brand Science also looked at the impact of cinema in the UK, analysing 34 campaigns for which cinema was part of the media mix across a wide range of sectors.

Here, cinema was found to be the 3rd most effective media in terms of RROI, ahead of TV, outdoor  and online (see below).

Media_RROI_UK

The particular effectiveness of the media was found to be two-fold. Firstly, it worked extremely hard at the top of the purchase funnel, driving awareness. In a specific study undertaken by Brand Science for a major automotive client, cinema was the most effective driver of awareness ahead of TV and TV sponsorship.

Cinema_Awareness_Driving

In addition, in terms of Carry Over – a metric which measures a medium’s long term impact on sales – cinema was found to be the most effective medium, even ahead of TV, with a score of 72%.  That means if a cinema campaign drove 100 sales in its first week, it would drive 72 in its 2nd, 52 (72% of 72) in its 3rd, 37 in its 4th etc. That compares to a Carry Over of 56% print and 46% online.

Carry Over, by Media

Carry Over, by Media

Good news though this is for cinema, this figures don’t mean that premium and luxury brands should be diverting large swathes of their budget to the medium. Cinema simply can’t deliver the coverage and the frequency.

However, as a support medium it can be highly effective in boosting the effectiveness of other media – particularly TV.  And the research has made a strong argument for including it in the medium mix if the spend is within the right proportions – Brand Science found that in the UK, the optimum spend to maximise RROI was somewhere between 5-10% of the overall media budget.

Our advice would be that if you’re running TV and don’t have the budget to blanket the market like the health & beauty brands, than a cinema test would be worthwhile – perhaps supporting regions where the TV campaign is lighter and starting the campaign 1-2 weeks ahead of the TV to take full advantage of its awareness driving potential.

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By: Lucy Jennings

  • Apr
  • 9

Cinema Admissions at their Highest Levels Since 2002

UK cinema admissions for 2009 were at their highest level since 2002. Box office attendances have varied in the past 7 years dependent on the quality of films on offer, peaking in 2002 with 175.9m admissions and dipping to 156.6 in 2006. Last year, UK cinemas admitted 173.5m customers, 5.6% up on 2008. 

In advertising revenue terms, 2009 was a blockbuster year for cinema, the first billion £ year in history, with revenue hitting £1,054,351,645 – a year on year increase of 11%. This boom was driven by films such as Harry Potter, Twilight and Avatar. Although Avatar was only released in December, it has already broken records globally becoming the biggest film of all time taking $2.2 billion at global box office. In the UK, it has taken £83.3 million to date, beating Mamma Mia to make it the biggest ever film in the UK. 

Avatar signals another distinctive strength for the cinema experience that will continue to underwrite its performance until 3D TV is commonplace. There are 24 3D releases anticipated for 2010 compared with 15 in 2009. 

2010 looks set to match 2009 with similar admissions anticipated and a programme of films aimed to beat the recession blues with an affordable night out.

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By: Graham Painter

  • Sep
  • 1

Piracy Could Impact Cinema Growth

Cinema attendances were up 14.5% in the first half of 2009 compared to 2008, which was itself a good year. Ticket sales for the first half of 2009 rocketed to 83.4 million, thanks to the success of a number of blockbuster films such as Star Trek and Watchmen, as well as popular domestic films such as Slumdog Millionaire.

However, there are worrying reports from internet service providers, of a big leap in illegal film downloading, with pirated copies of first run films spreading within hours of their premieres and there are worries that cinema’s renaissance is about to turn sour.

In recessions, consumers cut back on pricier forms of entertainment in favour of going to the cinema. Coupled with the fact that when times are dreary, entertainment and escapism are crucial and a visit to the cinema is a modest treat.

In June alone, 12.5 million cinema tickets were sold across the UK, an increase of more than 5 per cent year on year. And cinemas anticipate that these figures will continue to rise for the second half of 2009, with James Cameron’s 3D film Avatar released in December, and into 2010 with hotly anticipated films such as Shutter Island, which brings together the talents of Martin Scorsese and Leonardo DiCaprio.

In terms of advertising revenues, cinema is holding up better than other media. For the seven months, January to July 2009, advertising spend declined by only 3.8% for cinema. This compares against an overall ad spend decline of 16.2% for the same period, led by outdoor with a drop of 21%, TV with 16.2% and press with 17.8%.

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By: Shifra Cook