Posts Tagged ‘digital’

Ad of the Day: Kids Act Out Romeo & Juliet in Apple’s Charming New iPhone 7 Spot

December 6, 2016  |  Media Week  |  No Comments

Wherefore art thou, iPhone 7? Here's a charmer for the digital scrapbook. In its ongoing efforts to convince us the incremental changes of the iPhone 7 are actually quite magical, Apple has released "Romeo and Juliet." The ad features your favorite star-crossed lovers, played by kids who probably have no business fooling around with poison and daggers, let alone eloping. But the reason for this curious casting will be made clear in less than 30 seconds. That's right, you're not in Verona.

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Presenting the Hot List—the Year’s Top Magazines, TV and Digital Media

November 28, 2016  |  Media Week  |  No Comments

It was the year that Donald Trump dominated and demonized the media. That magazines built around news and analysis (New York, The New Yorker, Time) made the greatest impact, and produced the most eye-catching covers. That The People v. O.J. Simpson, Stranger Things and Samantha Bee ruled the tube—and that Megyn Kelly found herself on both sides of the news. This was also the year that digital platforms, players, obsessions and innovations—from Snapchat to Pokemon Go to Facebook Live, DJ Khaled to Chrissy Teigen—commanded our attention. Here, we present Adweek's annual Hot List, featuring our editors' picks for the year's top magazines, television and digital media, and the executives and content creators who dictate where the business is and where it's headed. Take Amazon's Jeff Bezos, our 2016 Media Visionary, who not only has changed the way we shop but, via his ownership of The Washington Post, is helping to save journalism in a perilous time of real-vs.-fake news. Here, we also present the winners of our annual Hot List Readers' Choice Poll, which this year generated more than 1.2 million votes at Adweek.com. As ever, all the terrific content being produced out there is made possible by the smartest, most creative leaders in the business—aside from Bezos, individuals like Facebook's Mark Zuckerberg, FX's John Landgraf, and Hearst's David Carey and Michael Clinton. It is on them that we cast praise, and on them that a vibrant, forward-leaning media industry depends. Check out all this year's honorees: Hottest Magazines Media Visionary: Jeff Bezos Magazine Executive Team: Hearst's David Carey and Michael Clinton Magazine Editor: New York's Adam Moss Hottest TV Shows and Networks TV Executive: FX's John Landgraf TV Creator: Full Frontal's Samantha Bee TV News Anchor: Fox News' Megyn Kelly Hottest Digital Brands and Products Digital Executive: Facebook's Mark Zuckerberg Digital Creator: Casey Neistat This story first appeared in the November 28, 2016 issue of Adweek magazine. Click here to subscribe.

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What Marketers Can Learn From America’s Election Shock

November 22, 2016  |  Media Week  |  No Comments

If my Facebook newsfeed is any indication, the world of advertising is currently filled with hand-wringing, astonishment and in some cases, all-out despair. There are tears and complete shock that we seem to have gotten it all wrong. Liz Ross The results of the presidential election were shocking to many, especially with election forecasters putting Hillary Clinton's chance of winning at anywhere from 70 percent to as high as 99 percent. How they got it so wrong is a cautionary tale not just for pollsters, but for marketers as well. The absolute No. 1 takeaway we should have tattooed on our collective forehead is that data, and the subsequent algorithms we use to parse that data, do not understand human emotion, especially the most intense forms—love, hate, anger, joy and loneliness. Emotions, which define who we are as humans, do not fit on an election forecaster's data chart just as they cannot be summarized through an evaluation of our Amazon purchases or our online surfing behavior. Our digital selves only represent a piece (a small but growing piece) of who we are. While the digital footprint of those of us in cities is growing exponentially, we must not project our own behavior and patterns on those in other parts of the country. My running joke is that people on the West Coast all believe the U.S. will soon have its toilet paper delivered by drone and people on the East Coast believe that everyone buys their toilet paper one roll at a time. Neither of these things is true, of course, and the reality is that most of the people in the middle of the country live different lives than those on the coasts. So if we want to know something or claim to know something about a person or a community, we sure as hell better be tuned in to their humanity and not just their statistics. We are in advertising, one of the most amazing industries in the world—an industry of creative thinkers, eccentrics and people who challenge the status quo. We are also an industry filled with optimists, and no time in history have we needed optimism more than we do today. So let's be the optimists we are, and use this moment of national tension as a learning opportunity. Here are four ideas for how marketers can do things differently as a result of what we learned from the election: • Stop using the word "consumer." It is a pejorative term, indicating that there are mindless people waiting in the world for messages and information from brands. No one in the world simply consumes; they are complex humans who make choices every single day. Regarding them as actual people will make our marketing better

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How Disney Maintains a Strong Relationship With Its Millennial Audience

November 21, 2016  |  Media Week  |  No Comments

Disney's brand doesn't want to be a tale as old as time. Thanks to creative thinking, adapting to new technology, and acting from an authentic point-of-view, Disney has been able to keep up with every age group of its fans. "As the audience evolves, we're making sure to lean in and being relevant to where they are," said Andrew Sugerman, evp of content and media with Disney Consumer Products and Interactive Media. At the core of Disney's content creation team is what Sugerman calls "digitologists." "We needed a name for the folks who sit in the intersection of the Disney brand's placement in the cultural zeitgeist with the digital expertise of today," he said. "They create what's authentic to those original platforms and look at what's currently trending to put it through a relevant lens for Disney fans." That's the trick for legacy brands, it seems like, these days. How do you figure out how to stay relevant to a younger audience, like the oft-courted millennials, without seeming totally fake or pandering? For Disney, there's Babble, which is a news and entertainment site aimed at young parents. If you're in the 13- to 34-year-old crowd, then Oh My Disney is for you with quizzes and movie news. Disney LOL is geared around producing content for kids. But that's just the beginning. "We produce over 6,000 pieces of content per month across all of our channels," explained Sugerman. Disney lovers can find Disney content on multiple Facebook, Twitter, YouTube and Snapchat accounts, in addition to messaging platforms and the websites themselves. "When you think about the 80-year legacy of these characters and stories, it's fun to think about how to connect the relevancy of those stories to an audience today," he said

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Carnival Is Using Facial Recognition on Cruises to Help Passengers Buy Photos of Themselves

November 16, 2016  |  Media Week  |  No Comments

The next time you take a Carnival cruise, don't be surprised if the brand digitally tags you in photos taken aboard the ship. The Carnival Vista just finished making its first transatlantic trip and is docked in New York this week to show off what Carnival Cruise Line claims is its largest and most souped-up ship to date. Among the ship's high-tech amenities is a digital photo experience built by SapientNitro-owned Second Story that uses digital accounts to store photos professional photographers take on the ship. Here's how it works: Carnival Vista passengers are given accounts that are tied to their room information and photos of themselves. There are a handful of photographers on each trip paid to take photos of travelers. In the past, the photographers took photos, printed them out and hung them on a wall on the ship.

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Political Campaigns Need to Embrace Digital Media, If They Haven’t Already

October 10, 2016  |  Media Week  |  No Comments

Political ad spending is like a river, but many campaigns continue to falter by swimming against the current. This year's election cycle may prove to be the final time political campaigns are run like it's still the early 2000s. Sean Duggan The shifting dynamics of ad spending in American politics is yet another bizarre component of this memorably quixotic election year. This reality is fueled, at least in part, by the strikingly modest spending on the part of Donald Trump's campaign, particularly during the GOP primary. Trump's commanding early primary victories left a vast field of consultants and campaigns questioning the effectiveness of paid advertising. As we speed toward Nov. 8, some answers are finally imminent. And they could ultimately be nothing short of game changing for politics as usual in advertising. Despite the home-stretch acceleration of ad spending on the part of Trump, Hillary Clinton has still outspent her opponent by a lopsided 7-to-1 ratio during the past three months, according to AP estimates. If Trump manages to win—or even make it respectably close—the reverberations throughout the political advertising world will be nuclear in the force of their impact. In recent years, media planning and campaign tactics have ignored—to their ultimate detriment—major media consumption and communication shifts. As a result, consumer marketers are now doing a better job commandeering the modern media landscape than the majority of political campaign consultants. Consider the decisions of media consultants in charge of spending $100 million for Jeb Bush's super PAC. "The super PAC consistently bought broadcast television advertising in the biggest, most expensive markets at the highest possible rates," said Molly Ball in the October 2016 issue of The Atlantic. "It Fed-Exed tablet-like mailers to New Hampshire voters that played a documentary about Bush's life, and put just 1.4 percent of its budget toward digital ads, an abnormally tiny amount for a top super PAC." A mere 1.4 percent for digital? Just let that sink in for a minute. Political spending on digital media was expected to break the $1 billion mark for the first time in 2016, according to Borrell Associates, but at a paltry 9.5 percent of total spending, it would seriously lag behind most consumer marketing categories now earmarking 30 to 50 percent for digital. Notwithstanding the ballot burnout most Americans are already experiencing this election season, the 2020 presidential campaign will unofficially commence before the confetti stops falling for the next president-elect.

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Here’s What Really Matters When It Comes to Political Digital Video Campaigns

September 26, 2016  |  Media Week  |  No Comments

To Scott Goodstein, the world of political advertising for a high-stakes campaign like the current presidential race between Hillary Clinton and Donald Trump comes down to just three things: "Time, people and money," he said, referring to the audience they're trying to reach on a given day for a given price. Goodstein would know, after helping propel Barack Obama to the White House in 2008. And more recently, as CEO of Revolution Messaging, he spent the better part of the past two years deep in the digital trenches serving as digital agency of record for Bernie Sanders' spirited campaign. As the online battleground for the attention continues unabated in the final seven-week stretch before the presidential election and plenty of other key national and local races, marketers from both sides of the aisle see digital efforts—particularly those in the mobile realm—as integral to reaching the right voters. "If I'm trying to reach young people in California where they have a higher propensity to cut the cord, why am I buying cable TV [ads] for young people channels?" he said. According to a new report by AOL, 53 percent of political advertisers say they've increased digital and mobile spending from 2012 to 2016, with about half of all such expenditures being bought programmatically. And with audience behavior now front and center in the most data-minded White House race to date, smart targeting is more valuable than ever. In some cases, targeted buys could substantially help a candidate. A survey conducted by TubeMogul found that 35 percent of more than 1,000 voters said seeing an online ad for Clinton, the Democratic presidential nominee, made them more likely to vote for her. On the other hand, just 31 percent said the same for Republican Trump

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OMD’s Digital Head Wants to Foster Cooperation Between Media and Creative Partners

September 19, 2016  |  Media Week  |  No Comments

Specs Current gig OMD, chief digital and innovation officer Previous gig Meredith Xcelerated Marketing, chief innovation officer, general manager Twitter @dougs_digs Age 41 Adweek: You've been OMD 's chief digital and innovation officer for about three months. What's that role like? Doug Rozen: On the digital side, it's really about ensuring that all clients, as well as ourselves internally, are delivering against the fullest and widest array of digital possibilities. For me, what this comes down to is that digital today is not any particular thing or any specific channel—it really stretches across all [channels] and is about rising above talking about TV, print, radio, desktop, etcetera, as channels, and start talking more about formats like audio, video, visual and how then digital allows those formats to be addressable. Now coupled with that is the innovation side, and innovation is not just big media breakthroughs—although they are awesome and necessary—to me it's about every client [having] an innovation agenda. What do you mean by that

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Rauxa’s First CMO Shares Why She Left a Holding Company for an Indie Agency

September 19, 2016  |  Media Week  |  No Comments

Rauxa, the California-based agency that is the largest such organization in this country currently owned by a woman, hired agency veteran and entrepreneur Laurel Rossi to serve as its chief marketing officer in New York. She is the first person to hold that position at the agency, which currently employs more than 200 across six U.S. offices. In the new role, Rossi will work to help Rauxa develop its consulting, experiential and social media services while also expanding its Los Angeles production unit, Cats on the Roof, and furthering its commitment to developing an inclusive approach to talent recruitment and retention efforts. "We're resolute in our commitment to growing our digital offerings, to advancing diversity in our industry, and to tapping data first and foremost to drive our work every day," says Rauxa CEO Gina Alshuler in a statement. "What we saw in Laurel is a true industry leader who can adeptly bring these pieces, and more, together for us in order to build our brand and our solutions as we pursue the next wave of growth." Before joining Rauxa, Rossi co-founded New York-based boutique agency Strategy Farm, which launched in 2008. Havas acquired the company in early 2011 for an undisclosed sum after several months of negotiations, and Rossi went on to serve as president of the resulting Havas Strat Farm organization as well as healthcare unit Havas Life & Wellness. When asked why she chose to move from a holding company to a far smaller independent agency, Rossi cited Rauxa's marketing technology work, its "devotion to good creative" and its diverse leadership. "Diversity is a passion point for me," she says, "and Rauxa is devoted to it. This goes well beyond what everyone is talking about in the marketplace. My bugaboo is a lot of platitudes but not enough action." Specifically, Rossi notes Rauxa's "aggressive, progressive culture" while noting that 75 percent of its C-suite leadership team is female: "I see my job as CMO to make sure that culture is pervasive and that clients know about it, too." Rossi tells Adweek that efforts to make the agency more inclusive go beyond race and gender. "We often have a very narrow definition of diversity," she says, citing her work on a project called Creative Spirit that began in Australia and aims to get companies in creative fields like advertising, film, architecture and music production to hire individuals with physical or intellectual disabilities such as those on the Asperger Syndrome spectrum. Rossi says she has been working on the Australian project for two years, that she plans to bring a similar effort to the states soon, and that Rauxa will ask certain partner organizations to agree to "hire someone of a different ability" as part of the larger initiative. She says the flexibility of the independent agency model also played into her decision to leave Havas. "Independence gets you a lot of things [like] an uninhibited ability to see what the client needs and deliver it and the ability to make decisions on how to invest in clients' businesses without a lot of handcuffs," she says. "This lets us experiment with clients, which is what they're asking for." In July, Rauxa hired Kate Daggett , veteran of agencies like Tenthwave and TBWAChiatDay, as its first-ever chief creative officer. Rossi sees Daggett's hire as an opportunity to renew the agency's focus on creative work as it attempts to build a larger, more visible profile within the industry. "It is a rare opportunity that you find an organization with the entrepreneurial culture of a startup, the innovation of the best tech firms, and the consistent endorsement of its blue-chip clients—all in one package," says Rossi.

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Portal A Creates Branded and Original Content for the Next Generation of Digital

September 12, 2016  |  Media Week  |  No Comments

Specs Who Co-founders and partners (l. to r.): creative director Kai Hasson, managing partner Zach Blume and executive producer Nate Houghteling What Content studio Where San Francisco and Los Angeles Portal A co-founders Nate Houghteling, Kai Hasson and Zach Blume met in fourth grade and made their first 30-episode digital series in 2005 during a trip to Asia. Five years later they reunited to develop "White Collar Brawlers," a series eventually adapted into a TV show on the Esquire Network. Finally, in 2010, came Portal A, named after the basketball court they played on as kids, founded with the purpose of creating branded and original content for a digital audience. "We consider ourselves a content company first. It's all entertainment built for the digital landscape," managing partner Blume explained. While the team has built an impressive client roster including Lenovo and Twitter, YouTube remains one of the studio's biggest accounts and a key part of its story. Since 2011 the team has made YouTube's hugely popular "Year in Review" videos—last year's reached more than 100 million views—as well as the popular "SnoopaVision" April Fool's video starring Snoop Dogg promoting 360 videos for YouTube. This story first appeared in the September 12, 2016 issue of Adweek magazine. Click here to subscribe.

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