We’re used to seeing elements of personalisation in brand communication. An email saying happy birthday, for instance, or a targeted ad promoting something you were just eyeing up online.
But what about an advert featuring your face or someone you know?
Sarah Rose is Director of Consumer Insights at Channel 4. I caught up with her to discuss all things personalisation.
It’s an incredibly exciting time to be working in TV, and Rose gave me some insight into emerging trends amongst audiences, as well as the work the company is doing to curate its content for users.
It’s that time again when we round up the most interesting digital marketing and ecommerce stats weve seen in the past seven days or so.
This week it includes Google Adwords, online video shares, live chat, Channel 4’s earnings, mobile ads, and email marketing.
And for more delicious stats, download Econsultancy’s Internet Statistics Compendium.
It’s okay, Sherlock’s finished now. It’s safe to come back on the internet again.
The whole of the UK crowded around the television set at 8:30pm Sunday night to watch the finale of the contemporised sleuth’s current run.
Not since that final episode of To the Manor Born or that time when Paul Gascoigne cried during a world cup semi-final has the whole of the nation watched ‘event television’ in such a shared manner.
Except we didn’t. We don’t have to do that anymore. Watching a regular television programme at a set time every week just doesn’t suit most of our lifestyles.
‘Punch’ is the part of the Festival of Marketing that celebrates creativity, and few organisations can be said to be as creative as Channel 4.
In fact it’s within the broadcaster’s official remit to be innovative and distinctive while also developing new talent.
C4 is state owned, but it doesn’t receive any taxpayer’s money and remains a not-for-profit organisation. Therefore all of its revenue is ploughed back into making new programmes.
And at Punch this afternoon C4’s chief marketing and communications officer Dan Brooke gave a peak under the hood of some of its recent marketing campaigns, which are also geared towards fulfilling its innovative and risk-taking mantra.
The ICO’s one year amnesty on enforcement of the EU e-Privacy Directive ends tomorrow, and a few more sites have been rolling out their compliance solutions.
BBC.co.uk launched its cookie info banner yesterday, while Channel 4, The Guardian and the Telegraph have today.
The four approaches are all very different…
20th Century Fox tried to tap into the viral power of Twitter on Sunday night to promote the impending release of Ridley Scott’s sci-fi movie Prometheus.
In what was heralded as a world first, a new three-minute trailer for the film was screened simultaneously online, on Channel 4 and on social TV app Zeebox.
Viewers were then encouraged to tweet about the film using the hashtag #areyouseeingthis.
During the next ad break, Channel 4 screened a 40 second spot which included viewer’s tweets.
Spanish broadcaster Antena 3 delivered 2m sponsored links to its viewers in four days after its ‘audio watermarking’ app was downloaded by 200,000 users.
The app, called ANT 3.0, recognises hidden digital audio codes played during TV broadcasts and links to relevant online content.
Channel 4 has announced the launch of a new channel, called 4seven, at the FT’s Digital Media Conference this morning.
The channel will re-air shows that create the most buzz within social media over the past seven days, giving people an opportunity to catch up on the programmes they’ve missed – and give more time to those that people talk about the most.
As part of Social Media Week Channel 4 hosted an event yesterday that provided some insight into the ways it is using social to drive engagement with its TV programmes.
It currently has 150 Twitter accounts and 100 Facebook pages, and recently launched genre-specific pages to build a captive audience that can be used to develop new shows.
Channel Four has launched a social media campaign to promote the new series of Skins using characters from the show.
Facebook and Twitter accounts will be created for each of the show’s characters so they can interact with fans, which will post comments, pictures and YouTube videos.
All the activity from the various social media sites will then be pulled together on one dedicated website.
Connected TVs have gained significant
attention over the last year, in particular at the recent Royal Television
Society’s Cambridge Convention and this week at MIPCOM, and it’s only set to continue.
The
BBC launched an updated version of its iPlayer for web-connected TVs, Sony and
Opera teamed up to provide web browsing capabilities on the platform.
Meanwhile, Audi
launched the UK’s first web-connected TV campaign to promote its A7 Sportback
range, not to mention the impending launches of Google TV and YouView.
While it’s clear the market is gearing up for the complete emergence of connected TVs, it seems broadcasters are still unsure about the platform.