tag:econsultancy.com,2008:/topics/video-rich-media Latest Video Advertising content from Econsultancy 2018-04-30T12:01:47+01:00 tag:econsultancy.com,2008:BlogPost/69985 2018-04-30T12:01:47+01:00 2018-04-30T12:01:47+01:00 Why native video will transform advertising & reduce adblocker usage Joel Livesey <p>The problem? Users weren’t ready for the sheer volume of ads they would see. And the result is a growing use of adblockers over the past few years—users fighting back after a bad experience of internet ads. </p> <p>But, rather than battle the blockers, we need to tackle the problem at its root: intrusive and annoying ads. We need to give users a better experience. Native video does just this. As one of the most engaging advertising formats out there, native video is transforming how people experience ads online - let me tell you why: </p> <h3>1. Native video is captivating</h3> <p>Native video supports the consumer journey by giving them an experience. It lets the advertiser participate in - rather than compete with - their experience on a site. </p> <p>We visit sites because we’re interested in its content, so why not tailor the content of the advert to match the website? By adapting the advert’s message in this way, it’ll captivate the user and most importantly give them more of what they came for. </p> <p><img src="https://assets.econsultancy.com/images/0009/4016/Native_Video_Ads.png" alt="native video ad" width="615"></p> <h3>2. It builds brands </h3> <p>Have you ever cried at a banner ad? Probably not, but what about a video ad? More likely. The combination of sound and motion make an incredibly powerful tool for advertisers to build their brands. </p> <p>Let’s take the John Lewis Christmas ad, for example: every year its release is hotly-anticipated and then it’s a source of conversation for weeks afterward - it feeds the customer experience and impression of the brand. Advertisers must renew their focus on video ads, or we risk losing a whole generation to ad-blindness from an overload of dull, intrusive ads.  </p> <h3>3. It enables cohesive storytelling  </h3> <p>As an industry, we spend far too much time focusing on the negative: walled gardens, <a href="https://www.econsultancy.com/blog/69924-is-the-ad-fraud-problem-really-getting-better-new-research-suggests-not">fraud</a>, issues around <a href="https://www.econsultancy.com/blog/69531-direct-ad-buys-are-back-in-fashion-as-programmatic-declines">transparency</a>…the list goes on. But really, we need to shift the focus to what we have achieved. </p> <p>We work with some of the most cutting-edge technology, giving us the power to curate a story like never before. Programmatic lets you target the right person, at the right time, in the right place. And through native video, we’ll deliver the right message in the right format.  </p> <h3>4. Native video fosters relevancy for the consumer </h3> <p>Native video is refreshing in that it takes a decisive step away from those random, repetitive ads that follow you around the internet. There’s nothing worse than having already purchased something, to be chased across the internet with ads for it for the next month. </p> <p>Native video matches the look and feel of a website, fostering relevancy and meaning that banner ads simply can’t rival. </p> <h3>5. It gives a better user experience than pre-roll </h3> <p>Pre-roll tends to be a negative and frustrating experience, where the user is served a 30 second ad before 15 seconds of content. There may be a time and a place for pre-roll, but the time and place for native is much more here and now. Not only is native more flexible and impactful than pre-roll, it’s cheaper too. </p> <h3>6. It offers flexible formats</h3> <p>Creative fluidity has been predicted as key for 2018, and native video really taps into this trend. The ability to be flexible with the wording, the colour palette, the font and style of the ad means you suit the site and the user. And this both improves the user’s experience of the site – and sometimes the site itself. In turn, this makes the user much more likely to return to that site—maximising the value of that website.  </p> <h3>7. It enhances the consumer experience </h3> <p>Ultimately, users prefer sites without intrusive adverts—a fact that is well-appreciated by advertisers. The publishers I work with are frustrated by having to run bigger and brighter banner ads, more and more frequently—forcing the user to engage with them, whether they want to or not.</p> <p>But instead of focussing on the ad itself, we should be worry about its impact upon the user. The fundamental goal of any company is to sell something that will make a consumer’s life better. Native video connects with the consumer, truly delivering this goal. </p> <p>Advertising shouldn’t be seen as a necessary evil, it should be relevant, helpful and unobtrusive, adding to the experience and value of a website. We need to focus our efforts on raising the quality of our advertising – and native video is the perfect format to deliver this.</p> <p>So let’s ensure 2018 is the year that advertisers make native video an integral part of the programmatic strategy.</p> <h4><em>Related reading:</em></h4> <ul> <li><a href="https://econsultancy.com/blog/68901-top-tips-to-drive-more-engagement-with-data-driven-native-ads">Top tips to drive more engagement with data-driven native ads</a></li> <li><a href="https://www.econsultancy.com/blog/69926-how-to-succeed-with-creative-vertical-video-on-instagram">How to succeed with creative vertical video on Instagram</a></li> </ul> <p><em><strong>If you want to learn more about programmatic, why not take Econsultancy's <a href="https://econsultancy.com/training/courses/programmatic">Getting to Grips with Progammatic</a> training course.</strong></em></p> tag:econsultancy.com,2008:BlogPost/69926 2018-04-06T10:10:01+01:00 2018-04-06T10:10:01+01:00 How to succeed with creative vertical video on Instagram Kay Hsu <p>Last year, <a href="https://www.zenithmedia.com/mobile-devices-lift-online-video-viewing-20-2017/">it was estimated</a> that people spent an average of 29 minutes a day watching video on a mobile, compared to just 19 minutes a day on a fixed device. Think about how you use a phone - portrait is the default orientation. This means that brands need to think vertical to reflect the ways that consumers are naturally consuming their content. </p> <p>Brands that caught on to the vertical video trend early are already seeing results. For example, Mercedes Benz was one of the first to experiment with ads in Instagram Stories. Making the most of the vertical frame, Mercedes Benz used stacking and split screen techniques to show off its C-Class Cabriolet to full effect.</p> <p><img src="https://assets.econsultancy.com/images/0009/3381/merc_vertical_video.gif" alt="mercedes instagram stores vertical video" width="245" height="434"></p> <p><em>A short loop from a Mercedes Benz ad in Instagram Stories (full ad <a href="https://business.instagram.com/success/mercedes-benz-success/">here</a>)</em></p> <p>The Mercedes Benz example shows us that vertical video presents an incredible opportunity for creative experimentation. The full-screen format offers an immersive, engaging experience, building stronger audience connections.</p> <p>But this is a rapidly growing space, with <a href="https://www.iab.com/wp-content/uploads/2017/05/2017-IAB-NewFronts-Video-Ad-Spend-Report.pdf">over half of advertisers</a> purchasing vertical video ads last year – a figure I expect to rise in 2018 – brands will need to approach creative content from new angles to compete for consumer attention.</p> <p>With this in mind, there are a few guiding principles to make the most of vertical:</p> <h3>1. Leverage multi-part storytelling</h3> <p>Formats such as Stories work particularly well in multiple scenes, as people move through these mediums quicker than ever before. Instagram has just introduced carousel ads in Stories, giving advertisers the ability to have up to three pieces of media per Stories ad to create multiple scenes and richer storytelling. Use this time wisely by getting your brand seen in the first three seconds, and reward consumers by creating a compelling, holistic story. </p> <h3>2. Take creative risks!</h3> <p>Remember that this kind of format is still relatively new, and evolving as quickly as consumer tastes, so take risks and experiment with it to grow your brand and following. The ephemeral nature of Instagram Stories make this much easier as content disappears after a short time. Warby Parker has a consistent track record for playing around with new content formats. For example their early adoption of <a href="https://www.instagram.com/p/BgKXTVUHpGo/?taken-by=johncocktoasten">curating</a> and <a href="https://www.instagram.com/p/BgbrlXchZHM/?taken-by=warbyparker">re-sharing user generated content</a> allowed them to learn faster, get plenty of air time and has given them a consistent competitive edge. </p> <h3>3. Use native tools that already exist within vertical video formats</h3> <p>They offer a new level of creativity and really help to show that you're tailoring your content specifically for that platform. On Instagram, brands can make use of GIFs and polls in Stories, for instance.</p> <h3>4. Play with the vertical shape</h3> <p>Don't waste the space 9:16 gives you. Vertical offers some creative and surprising ways to make products the focus, such as split screen stacking or mirroring. <a href="https://www.instagram.com/bottegaveneta/?hl=en">Bottega Veneta</a> consistently experiments with different framing and spacing techniques, making the most of the entire screen. Instagram is currently testing a format which converts non 9:16 content to fit the screen which will allow brands to use existing creative. </p> <h3>5. Maintain a consistent brand voice</h3> <p>Just because you're trying out a new format doesn't mean you need to stray from what you're doing on other channels. Stay focused on your audience and the style of content they expect to see from you. For example, if you're known for irreverence, keep your vertical video content light and humour-led.</p> <p>2018 is set to be the year that creativity truly flips on its head and brands realise the potential of vertical video. And who knows, perhaps as people watch more and more films on mobile devices, we could even see the world's first vertical video cinema.</p> <p><a href="https://econsultancy.com/reports/social-media-best-practice-guide/"><img src="https://assets.econsultancy.com/images/0009/3234/Social_Media_Best_Practice_Widget__1_.png" alt="social media report banner" width="615" height="243"></a></p> tag:econsultancy.com,2008:BlogPost/69887 2018-03-22T14:00:00+00:00 2018-03-22T14:00:00+00:00 Chinese marketing trends in 2018: What Western brands need to know Ashley Galina Dudarenok <p>In this piece, I will talk about emerging trends and share tips for all Western brands who want to do marketing in China in 2018.</p> <h3>1. Consider China’s hottest cities</h3> <p>In order to enter and penetrate the market, it’s important to build a strong presence in first and second-tier cities. However, as internet use in the first-tier cities reaches saturation, brands may also begin reaching customers in the third- and fourth-tier cities.</p> <p>According to Morgan Stanley, the smaller urban cities could become the larger driver of growth and consumer spending in the coming decade. Lower-tier cities will be bigger, wealthier and more eager to spend.</p> <h3>2. Mobile is the channel you can’t do without</h3> <p>According to the <a href="https://cnnic.com.cn/IDR/ReportDownloads/">China Statistical Report on Internet Development</a> published in August 2017, China has an online population of 751 million and over 95% are using mobile devices to access the internet.</p> <p>Meanwhile, Chinese people spend an average of three hours a day on their smartphones, mainly for social media and ecommerce. For brands that are marketing to Chinese consumers, a strong mobile presence is crucial.</p> <h3>3. The twin pillars of China’s social media </h3> <p>Social commerce is one of the major driving forces of consumption in China. However, its social media landscape is complex and highly segmented. As a foreign brand, establishing a presence on the two major social media platforms – WeChat and Weibo – is a key step.</p> <p>WeChat is a multi-purpose message platform developed by Tencent with 980 million monthly active users by Q3 2017. Weibo is a microblogging site (Alibaba is a major shareholder) with 376 million monthly active users as of Q3 2017.</p> <p>These two platforms are both good channels to communicate with, acquire and retain Chinese customers.</p> <p><img src="https://assets.econsultancy.com/images/0009/3124/weibo.jpg" alt="weibo" width="615" height="313"></p> <p><em>Weibo app</em></p> <h3>4. Expand and diversify with emerging platforms</h3> <p>Apart from localizing on the BAT (Baidu, Alibaba and Tencent) platforms, which already dominate the market, brands should also pay attention to niche channels in order to capture fragmented users and include them as an integral part of their China digital marketing strategy.</p> <p>The social media landscape in China is moves at a fast pace and new social platforms are constantly emerging. There are several rising platforms that are popular among the young, such as Kuaishou (a GIF-making and photo-sharing app) and <a href="https://jingdaily.com/douyin-luxury-brands/">Douyin</a> (a music video social network app for video creation, messaging, and live broadcasting, similar to music.ly).</p> <h3>5. Content is king, but context is god</h3> <p>Content marketing is vital in China and the trend is expected to continue. As Chinese consumers are very much content driven, brands should not just translate their western content, but should focus on creating new content that emphasizes a brand story that sets it apart.</p> <p>Communicating the right values and creating unique experiences are the best tactics to retain your followers and keep them engaged. The concept that “content is king, but context is god” applies to this market. In the past, emotional content tended to resonate more with users but now Chinese people are more interested in content that’s entertaining and fun.</p> <h3>6. Get good at short videos, you’ll need them</h3> <p>Videos, in particular short videos of six to 15 seconds, are rising quickly and will be more widely used on social media and ecommerce sites for marketing purposes. With short videos, brands can convey their brand messages and engage with an audience more easily.</p> <p>In the past two years, Tencent, Alibaba and Toutiao have made a huge investment to support short video production. For example, Tencent <a href="https://uk.reuters.com/article/us-kuaishou-fundraising/chinas-kuaishou-in-1-billion-tencent-led-funding-round-eyes-ipo-sources-idUKKBN1FE11D">invested in Kuaishou</a>, while Alibaba has put billions into transforming Tudou into a short video community.</p> <p><img src="https://assets.econsultancy.com/images/0009/3125/kuaishou.jpg" alt="kuaishou app" width="300"></p> <p><em>Kuaishou app </em></p> <h3>7. Score a hit on mobile video </h3> <p>Mobile video advertising is becoming more popular as it can be promoted on various mobile apps. As of Q3 2017, China's mobile video advertising market reached 8.657 billion RMB, accounting for 64.4% of the total video advertising market.</p> <p>Popular music video community Douyin demonstrated the importance of mobile when it launched “vertical screen” video ads. Brands such as Airbnb, Chevrolet, Harbin Beer have published short video ads on this platform. Each of the videos has accumulated over 5 million views and more than 30,000 likes.</p> <h3>8. KOLs are powerful</h3> <p>Key Opinion Leaders (KOL) have powerful promotional impact. In China, KOLs appear to have a stronger influence on society than in the West. Whether you’re localizing your brand, building awareness or driving sales, promotion with KOLs is always a good option.</p> <p>During Alipay’s 12.12 “Shopping Holiday”, Taobao invited famous KOL Ms Yeah (办公室小野) to do a series of short video programs in which she interviewed eight different KOLs and recommended various products to the audience. The videos have been played more than 200 million times and the program’s hashtag on Weibo got mentioned more than 100 million times.</p> <p>In recent years, micro-influencers have started entering the market. They have more niche audiences and usually have higher engagement with their followers. In addition to WeChat and Weibo, they can be found on platforms such as Xiaohongshu (小紅書), Bilibili (哔哩哔哩), Ximalaya FM (喜马拉雅FM). They are a good option for brands to amplify content without a huge promotion budget.</p> <h3>9. Live streaming and real-time interaction promotion</h3> <p>Since 2015, <a href="https://econsultancy.com/blog/69137-livestreaming-in-china-everything-you-need-to-know">live streaming</a> has grown rapidly and become a major trend in China. According to Deloitte’s <a href="https://www2.deloitte.com/cn/en/pages/technology-media-and-telecommunications/articles/tmt-predictions-2018.html">TMT Predictions Report</a>, China's live-streaming market is estimated to reach $4.4 billion in revenue this year, up 32% over 2017.</p> <p>Through live streaming with popular KOLs, brands can easily promote their products to target audience. Live streaming also facilitates e-commerce with the ‘See Now, Buy Now’ function.</p> <p>Victoria’s Secret is one of the brands that <a href="http://www.alizila.com/17264-2/">took advantage of China’s live streaming culture</a> to reach out to customers. The brand launched a live stream on Youku during its annual runway show in Shanghai. While users were watching the show, they could purchase the featured products in real-time by clicking the links to the brand’s e-commerce sites.</p> <p><img src="https://assets.econsultancy.com/images/0009/3131/youku.jpg" alt="youku vs" width="615" height="343"></p> <h3>10. Stay on trend but be flexible</h3> <p>China has a fast-changing digital marketing landscape, so brands need to be flexible and adapt to new features and upcoming trends. For Western brands that are marketing in China, going digital is still one of the most effective approaches to reach out to and communicate with their target audience.</p> <p>Through 2018 and beyond, marketers should pay attention to various areas, such as targeting audiences in lower-tier cities, establishing an all-round social media presence, emphasizing short video content creation, promoting with KOLs and launching live stream campaigns.</p> <p>The new generation of Chinese digital consumers is presenting many opportunities. Western brands that understand how to enter this complex market will definitely have the advantage in winning Chinese hearts.</p> <p><em><strong>Further reading:</strong></em></p> <ul> <li><a href="https://www.econsultancy.com/reports/understanding-wechat-an-overview-of-china-s-social-payment-and-messaging-giant">Understanding WeChat: An Overview of China’s Social, Payment and Messaging Giant</a></li> <li><a href="https://econsultancy.com/blog/69639-china-tips-for-marketers-taking-a-new-digital-role-in-the-country">China: Tips for marketers taking a new digital role in the country</a></li> <li><a href="https://www.econsultancy.com/blog/69781-five-things-all-marketers-should-know-about-china-in-2018">Five things all marketers should know about China in 2018</a></li> </ul> tag:econsultancy.com,2008:BlogPost/69814 2018-02-21T09:50:00+00:00 2018-02-21T09:50:00+00:00 Why Nike's 'Nothing Beats a Londoner' ad campaign is so powerful Nikki Gilliland <p>Since its release, ‘Nothing Beats a Londoner’, created by agency Wieden &amp; Kennedy, has been met with huge praise from the majority of critics and consumers. </p> <p>So, what exactly makes it so powerful? Here’s a few reasons why I think it hits the mark, plus a bit of analysis on whether or not its hyper-local approach could alienate consumers outside of the Big Smoke.</p> <h3>People vs. place</h3> <p>While Nike often uses professional athletes as a source of inspiration, ‘Nothing Beats a Londoner’ uses real kids from the capital. The three-minute film showcases the variety of sport that takes place here, and celebrates the grit and determination displayed by those partaking in it. </p> <p>There is also a sense of competitiveness and ‘one-upmanship’ involved, with each kid expressing how tough it is to train in their respective boroughs. </p> <p>Though London is a hugely important part of the ad – used as a backdrop and a cultural reference point – it is the people that take centre stage. Up until now, the brand has perhaps been guilty of going too mass-market, focusing on sports like football and only using big-name celebrities in ad campaigns. This has meant that the brand somewhat lost touch with its target market and the role sport plays in their everyday lives (something <a href="https://econsultancy.com/blog/68318-how-is-adidas-football-using-dark-social-how-did-the-pogba-signing-go-so-big">Adidas is focusing on through dark social</a>).</p> <p>By turning the tables and focusing on the reality of sport in London, also using humour and colloquial language, Nike ensures that the ad resonates with its target audience of young, city-dwelling consumers. The decision to film on 16mm instead of digital further helps to create a sense of realism rather than coming across as yet another glossy ad.</p> <p><iframe src="https://www.youtube.com/embed/n0j_CX1S2es?wmode=transparent" width="854" height="480"></iframe></p> <h3>Avoids clichés </h3> <p>One of the most effective elements of the ad is that, despite being set in London, it avoids all the stereotypes that you might usually expect. There’s no Big Ben or London Eye – not even a glimpse of the Olympic or Emirates stadiums. </p> <p>Instead, we see the streets or Peckham, inside local boxing rings and basketball courts.</p> <p>This gives the ad a sense of authenticity, with Nike deliberately avoiding clichés that might even make it more relatable or recognisable to a mass-market audience, but that would only dilute its impact on the target consumer. </p> <p>By avoiding clichés, the ad also instils a sense of real pride in Londoners and Brits in general. With London often being the subject of criticism relating to crime, poverty, and homelessness etc. – it shines a light on the positive aspects of the city and its determined and proud communities. </p> <blockquote class="twitter-tweet"> <p lang="en" dir="ltr">Couldn’t have put it better myself. <a href="https://twitter.com/hashtag/LDNR?src=hash&amp;ref_src=twsrc%5Etfw">#LDNR</a> <a href="https://t.co/WONxXC7fTL">https://t.co/WONxXC7fTL</a></p> — Sadiq Khan (@SadiqKhan) <a href="https://twitter.com/SadiqKhan/status/962055631896158209?ref_src=twsrc%5Etfw">February 9, 2018</a> </blockquote> <h3>Credible celebrity inclusion </h3> <p>Alongside 258 members of the public, the ad also features a number of celebrities and athletes, ranging from Olympic medallist Mo Farah to grime artist AJ Tracy. However, unlike previous ads that revolve around famous faces, the inclusion this time is both subtle and seamless.</p> <p>It’s so seamless in fact that it doesn’t matter if the famous faces are not so recognisable to you, as they still blend in with the ad’s narrative, and merely complementing the starring role of the kids.</p> <p>The specific choice of celebrities is also something to admire, as Nike has clearly steered away from the most obvious or indeed famous, instead choosing those who are both credible and inspirational to young Londoners.  </p> <blockquote class="twitter-tweet"> <p lang="und" dir="ltr"><a href="https://t.co/kzwA29zeY8">pic.twitter.com/kzwA29zeY8</a></p> — SKEPTA (@Skepta) <a href="https://twitter.com/Skepta/status/961939367177654272?ref_src=twsrc%5Etfw">February 9, 2018</a> </blockquote> <h3>Shareable content</h3> <p>While the ad’s success is certainly down to its creative and inspiring content, it also helps that the format is perfectly aligned to user habits. At three minutes long, the full film is short enough to capture attention on mobile – which also makes it highly shareable. So far, the ad has generated 4.6m views on YouTube in the space of a week.</p> <p>Nike has also ensured interest on social media by letting those who star in it publish their own standalone parts on Instagram. This activity has also extended the ad’s competition-element, with kids tagging others in their posts and ‘calling out’ their so-called sporting prowess. It’s all meant in jest, of course, merely serving to promote the campaign and ramping up interest on social.</p> <p><img src="https://assets.econsultancy.com/images/0009/2375/Nike_Insta.JPG" alt="" width="780" height="492"></p> <h3>Does it alienate other consumers?</h3> <p>Despite generating huge interest, not all of the reaction to Nike’s ad has been positive. First, though it aims to celebrate diversity, it has been criticised for failing to include any South Asians, despite this group being a huge part of London’s population (and one with a thriving involvement in sport, specifically cricket). </p> <p>Elsewhere, the ad has unsurprisingly drawn criticism from people outside of London, with many taking against its claim that ‘nothing beats a Londoner’. What about Manchester, Bristol, or Glasgow – shouts social media? Of course, there’s nothing wrong with a brand generating a bit of mild competition. This can only serve to ramp up conversation about the ad on social, which Nike is likely to view as a positive. </p> <p>That being said, there’s also the question of <a href="https://www.marketingweek.com/2018/02/20/nike-londoner-ad-strategy/">whether or not the ad alienates other consumers</a> who can’t necessarily relate to feeling pride in a big city. </p> <p>In this sense, consumers in small towns and villages across the UK might feel left out of the conversation and unable to relate – both to the ad and Nike in general. It’s hard to say whether this is the case, but it certainly poses an interesting question for brands taking a localised approach to marketing, especially when the location in question is such a big metropolitan city. </p> <p>For Nike, the decision to focus on London’s inner-city communities has been a gamble, but it is one that overall appears to have paid off. With a creative, authentic, and highly shareable ad – it has created the ideal formula for re-connecting with its core audience. Unsurprisingly, talk on social has since turned to which UK city will be next. </p> <blockquote class="twitter-tweet"> <p lang="en" dir="ltr">Great to see the UK play such an integral part of Nike's campaign. Manchester next? <a href="https://t.co/zmxW5r3Jvs">https://t.co/zmxW5r3Jvs</a></p> — Luis Cortes (@lhcortes) <a href="https://twitter.com/lhcortes/status/963518141056905219?ref_src=twsrc%5Etfw">February 13, 2018</a> </blockquote> <p><em><strong>More on Nike:</strong></em></p> <ul> <li><em><a href="https://www.econsultancy.com/reports/nike-engaging-customers-across-multiple-channels" target="_blank">Report - Nike: Engaging customers across multiple channels</a></em></li> <li><em><a href="https://econsultancy.com/blog/69230-after-years-of-resistance-nike-gives-in-to-amazon">After years of resistance, Nike gives in to Amazon</a></em></li> </ul> tag:econsultancy.com,2008:BlogPost/69783 2018-02-08T14:30:00+00:00 2018-02-08T14:30:00+00:00 How sports advertisers should react to changing media consumption Patricio Robles <p>But brands that advertise against sporting properties might have bigger reasons to worry: <a href="https://www.sportsbusinessdaily.com/Journal/Issues/2016/10/03/Research-and-Ratings/Ratings.aspx">viewership</a> and attendance of live sporting events has been on the decline, and <a href="http://www.businessinsider.com/the-premier-league-viewership-dip-has-raised-doubts-about-live-sports-2017-6">not just in</a> the National Football League (NFL), which has been dealing with <a href="http://www.multichannel.com/news/sports/ubs-survey-anthem-protests-top-reasons-nfl-ratings-declines/417971">politically-charged controversy</a>.</p> <p>It's not that sports are less popular. It's that the way individuals are consuming sports content has changed.</p> <p>Perhaps the best evidence of that comes in the form of new data Google released based on an analysis of sports content consumption on YouTube.</p> <p><a href="https://www.thinkwithgoogle.com/consumer-insights/sports-fans-video-insights/">According to Google</a>, “watchtime of sports 'highlight' videos on YouTube grew more than 80% in the past year.” In some sports that figure is even higher. For example, searches for American football highlights nearly doubled on YouTube in the past year.</p> <p><img src="https://assets.econsultancy.com/images/0009/2135/google_youtube_sports1.png" alt="" width="779" height="196"></p> <p>There was also a 60% jump in the watchtime of sports “interview” videos on YouTube in 2017.</p> <p>While these statistics don't mean that individuals aren't tuning into live sporting events on television or though streaming services – many still are and doing so through multiple screens, sometimes simultaneously – when the live attendance and viewership declines are taken into account, it seems apparent that a growing number of fans are not only time-shifting their viewing of sporting events but opting to limit their consumption to segments of a full broadcast, such as highlights of key moments in a match.</p> <p>The implications of this shift in behavior are wide-ranging. For example, it could eventually impact the value of broadcast rights and naming rights which, in turn, could have an impact on the value of teams and player compensation packages. </p> <p>For advertisers, it's not too early to start thinking about how this shift in consumption behavior will impact their ability to use sports to reach consumers and how their strategies and media buying activities should change. In fact, this is an activity they arguably need to be doing now.</p> <p>For example, brands might find that advertising against television and digital properties that feature highlight reels offers increasingly more bang for the buck than, say, signage and live broadcast television ads, which for obvious reasons tend to be most expensive.</p> <p>Brands that have invested in sponsorships should also reconsider how they activate against their sponsorships. Google revealed that searches for “how to” sports videos on YouTube have more than doubled in the past year. A brand that has a relationship with a professional athlete, for instance, could take advantage of this to create how-to content with the athlete instead of yet another traditional ad.</p> <p><img src="https://assets.econsultancy.com/images/0009/2136/google_youtube_sports2.png" alt="" width="593" height="309"></p> <p>To be sure, changes in consumer behavior will create challenges for brands, especially those that have already made long-term commitments to a sporting property, but for brands that are smart and nimble, the shifts could bring with them many interesting and worthwhile opportunities. </p> tag:econsultancy.com,2008:Report/4707 2018-02-05T11:00:00+00:00 2018-02-05T11:00:00+00:00 Putting Video in Context for 2018 <p>As online video consumption has rocketed in recent years, we have witnessed a continued diversification of ad formats.</p> <p>Advertisers and publishers now benefit from myriad ways to engage consumers via video content, including <strong>new contextual opportunities provided by the emerging formats of video inventory on offer</strong>. Formats alone are not enough to improve effectiveness, the environment in which the video is placed is crucial.</p> <p>This report, published in association with <a title="video intelligence" href="https://vi.ai/">video intelligence</a>, makes the case for increasing the <strong>use of online video in advertising campaigns</strong>, emphasises the <strong>importance of context</strong> and provides <strong>recommendations on what to consider to make contextual video advertising a success</strong>.</p> <p>2018 will see video come to the forefront of online advertising. Now commonplace on both desktop and mobile social platforms, video advertising will break out of the in-stream norm and appear alongside editorial content in slick, non-intrusive formats. Given the popularity of the media, with video becoming the favoured way to consume content, getting advertising right on this channel will result in demonstrable engagement and returns.</p> tag:econsultancy.com,2008:BlogPost/69736 2018-01-23T10:12:35+00:00 2018-01-23T10:12:35+00:00 Seven of the best charity marketing campaigns from 2017 Nikki Gilliland <h3>Cyrenians – Ask Alex</h3> <p>Cyrenians is a Scottish charity that helps the homeless and other vulnerable people in society. It is also one of the first charities to create a digital chatbot for educational purposes – designed to inform people about how easy it is to become homeless.</p> <p>Based on research that found 15% of Scottish people believe homeless people are so because of personal choice, the ‘Ask Alex’ chatbot allows users to ask questions that they might not feel comfortable asking in real life.</p> <p><img src="https://assets.econsultancy.com/images/0009/1762/alex_cyrenians.JPG" alt="" width="500" height="623"></p> <p>In my own interactions with Alex, I discovered that he is 20 years old and unexpectedly homeless after the breakup of a relationship. Dispelling common myths about homeless people, I also found out that he is currently residing in a B&amp;B and has a circle of friends that first helped him when he had nowhere to go.</p> <p><img src="https://assets.econsultancy.com/images/0009/1761/askalex.JPG" alt="" width="780" height="316"></p> <p>While the chatbot is not perfect (like most, it's clunky and frustrating to use at times) – it’s a great example of a charity using the technology to break down stigmas and educate people on an often-misjudged topic.</p> <h3>Royal National Institute of Blind People (RNIB) - #C4SightAdBreak</h3> <p>In support of last year’s National Eye Health Week, the RNIB teamed up with <a href="https://econsultancy.com/blog/69187-channel-4-on-the-future-of-tv-personalisation-gdpr" target="_blank">Channel 4</a> to raise awareness about the importance of eye care, and to allow viewers to experience what it’s like to live with a sight loss condition. </p> <p>The campaign involved five TV ads (from brands including O2, Specsavers, and Paco Rabanne), which were broadcast consecutively during an ad break for the Undateables. Each one involved a different visual filter to illustrate the effects of a common eye condition, such as cataracts and glaucoma. The ad break was also repeated at a later time with audio description for the visually impaired.</p> <p><iframe src="https://www.youtube.com/embed/uAbsYog57kc?wmode=transparent" width="854" height="480"></iframe></p> <p>Channel 4 has previously used its ad break for a similar purpose, using the Paralympics as an opportunity to broadcast the first ever ad break to be accessible for deaf and hard of hearing viewers. With the #C4SightBreak, it has continued its efforts to champion accessibility, effectively raising awareness with a relevant and evocative campaign.</p> <h3>Movember &amp; Unmute – Ask Him</h3> <p>In the run up to World Suicide Prevention Day 2017, Movember decided to shine a light on the role friends, family, and colleagues can play when it comes to supporting men struggling with mental health. </p> <p><img src="https://assets.econsultancy.com/images/0009/1760/unmute_him.JPG" alt="" width="573" height="380"></p> <p>‘Unmute – Ask Him’ is a campaign that uses the metaphor of muted videos on social media. It involves three subtitled videos, which on the surface appear to show men demonstrating simple tasks such as making a fishing rod or changing a flat tyre. </p> <p>However, when the user unmutes the video, they can hear what the men are really talking about (their underlying personal worries and concerns).</p> <p><iframe src="https://www.youtube.com/embed/j72YKZsdDRM?wmode=transparent" width="854" height="480"></iframe></p> <p>Highlighting how mental health is often a silent struggle, the campaign cleverly uses a relatable theme to promote how simply listening and starting a conversation can change someone’s life.   </p> <h3>Unicef – 27 empty buses</h3> <p>It should arguably be described as more of a stunt rather than a marketing campaign, but I think Unicef’s 27 buses still deserves a mention in this list. </p> <p>With the aim of highlighting the 27m children that are out of school and living in conflict zones, the charity drove 27 empty school buses through the streets of Manhattan.</p> <p><iframe src="https://www.facebook.com/plugins/video.php?href=https%3A%2F%2Fwww.facebook.com%2Funicef%2Fvideos%2F10155596620284002%2F&amp;show_text=0&amp;width=560" width="560" height="315"></iframe></p> <p>There was just one passenger present – 19 year old Unicef Goodwill Ambassador, Muzoon Almelleha, who was forced to give up education when her family fled violence in Syria in 2013.</p> <p>The campaign was timed just ahead of the United Nations General Assembly, shrewdly drawing awareness to the importance of education for children affected by conflict.  </p> <h3>Young Epilepsy and Epilepsy Society – #explainepilepsy</h3> <p>In a poll of 2,000 people in the UK, YouGov – alongside the Epilepsy Society and Young Epilepsy - found that there is a huge lack of confidence in knowing how to help people with epilepsy. </p> <p>As a result, the two charities partnered with <a href="https://econsultancy.com/blog/69576-river-island-s-head-of-customer-experience-on-the-brand-s-cx-strategy" target="_blank">retailer River Island</a> to launch #explainepilepsy – a campaign designed to encourage the public to talk about the neurological condition that affects 600,000 in the UK.</p> <p><img src="https://assets.econsultancy.com/images/0009/1763/river_island_epilepsy.JPG" alt="" width="780" height="572"></p> <p>The campaign was supported by a number of household names including footballer Leon Legge, actress Kerry Howard, and S Club Junior singer Stacey McClean – each telling their own experience of epilepsy, whether personally or via someone close to them. </p> <p>By partnering with River Island, the campaign ensured greater awareness on social media, with the retailer also holding a competition for users to #explainepilepsy in a single tweet for the chance to win prizes. </p> <blockquote class="twitter-tweet"> <p lang="en" dir="ltr">Congrats to <a href="https://twitter.com/hashtag/NHS?src=hash&amp;ref_src=twsrc%5Etfw">#NHS</a> worker <a href="https://twitter.com/TraceyWolvo?ref_src=twsrc%5Etfw">@TraceyWolvo</a> on her <a href="https://twitter.com/hashtag/explainepilepsy?src=hash&amp;ref_src=twsrc%5Etfw">#explainepilepsy</a> £2,000 <a href="https://twitter.com/riverisland?ref_src=twsrc%5Etfw">@riverisland</a> spree comp win! Thank you to the thousands that entered. <a href="https://t.co/P8Wr2KGyPe">pic.twitter.com/P8Wr2KGyPe</a></p> — Young Epilepsy (@youngepilepsy) <a href="https://twitter.com/youngepilepsy/status/887634413378568192?ref_src=twsrc%5Etfw">July 19, 2017</a> </blockquote> <h3>Comic Relief – 'Red Nose Day Actually'</h3> <p>Red Nose Day typically involves a load of celebrity hi-jinks, but last year’s event was particularly memorable thanks to one hotly anticipated short film. </p> <p>‘Red Nose Day Actually’ saw stars including Hugh Grant, Keira Knightley, and Colin Firth reprise their famous ‘Love Actually’ roles to show us what their characters are up to 14 years later. </p> <p><iframe src="https://www.youtube.com/embed/z9vGoj449s4?wmode=transparent" width="854" height="480"></iframe></p> <p>Unsurprisingly, there was a lot of buzz about the reunion in the run up to Red Nose Day itself, meaning that many viewers tuned in just to see the 10 minute short.</p> <p>Did it result in more donations on the day? It’s hard to say, but with a total of over £73m raised last year – it certainly ramped up interest and awareness in the cause.</p> <h3>Battersea Dogs &amp; Cats Home – We’re Not Laughing</h3> <p>While most charity campaigns strive to raise awareness about a cause, every now and again one comes along that has the potential to drive direct change.</p> <p>‘We’re Not Laughing’ from Battersea Dogs &amp; Cats Home is a prime example – a campaign that calls for the longer sentencing of animal abusers.</p> <p><iframe src="https://www.youtube.com/embed/FY-UXb26--E?wmode=transparent" width="854" height="480"></iframe></p> <p>Joining force with a number of high-profile comedians including Paul O’ Grady, Harry Hill, Tracy Ullman, and Ricky Gervais, Battersea proposes that the maximum six-month sentence in the UK is laughable, instead campaigning for the most severe animal cruelty offences to be increased to five years.</p> <p>With posters and digital billboards set up in 170 different locations around the country, the campaign ensured high visibility.</p> <p>The public was also given a tangible way show their support, with an online petition generating 62,501 signatures to date.</p> <p><img src="https://assets.econsultancy.com/images/0009/1767/battersea_dogs___cats.JPG" alt="" width="700" height="350"></p> <p><strong><em>More on charities:</em></strong></p> <ul> <li><em><a href="https://econsultancy.com/blog/69706-charity-websites-must-tackle-content-design-information-architecture/">Charity websites must tackle content design &amp; information architecture</a></em></li> <li><em><a href="https://www.econsultancy.com/blog/69710-why-apps-are-a-key-part-of-mobile-strategy-for-charities">Why apps are a key part of mobile strategy for charities</a></em></li> <li><em><a href="https://www.econsultancy.com/blog/69412-six-charities-with-excellent-online-donation-user-journeys" target="_blank">Six charities with excellent online donation user journeys</a></em></li> </ul> tag:econsultancy.com,2008:TrainingDate/3398 2018-01-15T05:01:10+00:00 2018-01-15T05:01:10+00:00 Social Media & Influencer Marketing - Singapore <p>This intensive 2-day course is UK’s most popular introduction to social media and influencer marketing course. This is a great place to start understanding the impact of social media like Facebook, Instagram, LinkedIn and Youtube on your business and how to take advantage of these opportunities for your business. Also, develop an online influencer marketing strategy to develop online word-of-mouth.</p> tag:econsultancy.com,2008:BlogPost/69709 2018-01-09T15:00:00+00:00 2018-01-09T15:00:00+00:00 Will influencer marketing take a hit after the Logan Paul firestorm? Patricio Robles <p>But Paul's gravy train might be nearing its end following his posting of a disturbing video filmed in Japan's Aokigahara, a forest that has come to be known as “the suicide forest.”</p> <p>The video, which has since been taken down, sparked international outrage as it shows a dead body Paul and his friends discovered, as well as their less-than-sensitive reactions to it.</p> <p>Not surprisingly, Paul has since issued an apology, but additional footage released from his Japan trip shows the mega influencer engaging in callously disrespectful behavior that some are pointing to as evidence that Paul's fame and fortune has gone to his head.</p> <blockquote class="twitter-tweet"> <p lang="en" dir="ltr">Turns out, Logan Paul's trip to Japan was problematic for many reasons <a href="https://t.co/yhj2BYgk4G">pic.twitter.com/yhj2BYgk4G</a></p> — We The Unicorns (@wetheunicorns) <a href="https://twitter.com/wetheunicorns/status/949297972986163200?ref_src=twsrc%5Etfw">January 5, 2018</a> </blockquote> <h3>Another blow to influencer marketing</h3> <p>With brand safety top of mind, the Paul backlash has caused some to begin asking: is brand safety even a possibility in the realm of influencer marketing?</p> <p>It's a reasonable question given that Paul is not the first high-profile influencer who has seen the viability of his career called into question after finding himself in a media firestorm. Last year, another homegrown YouTube star, Felix Kjellberg, who goes by the name PewDiePie, found himself facing a backlash when videos he published were called out for being anti-semitic.</p> <p>As a result of the backlash, some of Kjellberg's biggest partners, including Disney's Maker Studios and YouTube itself, <a href="https://www.econsultancy.com/blog/69209-six-inconvenient-truths-about-influencer-marketing">terminated their relationships</a>. Kjellberg is said to have earned $11m last year and was the highest-paid influencer the year prior with estimated earnings of $15m.</p> <p>While Kjellberg's fall from grace was surprising, Paul's might be even more stunning because of the strides he had made to cross over to traditional media stardom.</p> <p>In January 2016, <a href="http://www.adweek.com/brand-marketing/how-vines-hunky-goofball-logan-paul-plans-become-mainstream-superstar-169152/">Paul graced the cover of AdWeek's print magazine</a> and in the associated article about his internet stardom and plans to make himself a Hollywood powerhouse, AdWeek's T.L. Stanley wrote:</p> <blockquote> <p>Trolls, be warned: slamming Paul would be like punching a puppy. He's just that earnest and adorable. Instead of talking smack, watch where he might go, which, if he has his way, is to mainstream superstardom on the level of his idols, Will Smith and Dwayne Johnson.</p> </blockquote> <p>Stanley added that Paul “has also established a squeaky-clean reputation, though he says he's shifting 'from PG to PG-13' material as his act evolves.”</p> <p>Two years later, it seems likely that Paul's behavior in Japan could very well ensure that nobody will refer to a “squeaky-clean reputation” alongside his name again.</p> <h3>What's up with influencers?</h3> <p>In light of Kjellberg and Paul fiascoes, it's worth asking: why do influencers seem so prone to meltdowns? It's not that they don't have adequate management. Paul, for instance, is repped by Creative Artists Agency (CAA), one of Hollywood's most powerful talent agencies.</p> <p>So if it's not that the most prominent influencers don't have access to the same guidance as the world's most successful traditional media stars, what is it?</p> <p>James G. Brooks, CEO of social video distribution platform GlassView, <a href="http://www.adweek.com/digital/james-g-brooks-glassview-guest-post-logan-paul-youtube/">has a theory</a>: “when you give a young person with an inflated ego a camera, they are apt to do or say something stupid.” As a result, brands he says “should calculate a certain amount of brand risk into every YouTube buy.”</p> <p>Brands would be wise to consider this but so long as their engagements with influencers are one-offs and they don't enter into broader partnerships, such as long-term endorsement deals, the good news is that there's no real evidence yet that their past work with fallen influencers will have lasting effects on their reputations. </p> <p>For example, brands that have worked with Kjellberg and Paul have not seen their names dragged into the mud by consumers.</p> <p>Obviously, brands should tread carefully when contemplating new projects with influencers who carry baggage. For instance, if the dust settles and Paul is able to restore his reputation, at least partially, brands would still be wise to tread carefully. </p> <p>But despite all of the discussion around influencers' inability to be brand safe in the wake of the Paul firestorm, brands have less to worry about than many are suggesting and that means that brand investment in influencer marketing will likely continue to grow in 2018.</p> tag:econsultancy.com,2008:BlogPost/69645 2017-12-11T11:00:00+00:00 2017-12-11T11:00:00+00:00 10 of the best ad campaigns from the UK’s top supermarkets Nikki Gilliland <p>So, what have been the best campaigns, and why? Here are ten particularly memorable examples. </p> <h3>#LidlSuprises</h3> <p>Lidl is now the seventh largest supermarket in the UK, but it wasn’t always a hit with shoppers. In 2014, many consumers assumed that its low prices were a sign of poor quality products. </p> <p>To change this, the retailer created the ‘Lidl Surprises’ campaign, which saw unsuspecting members of the public taste-testing its food. The reactions were undeniably positive, leading to surprise and delight when it was revealed to them that the products in question came from the budget supermarket.  </p> <p><iframe src="https://www.youtube.com/embed/-ubYPm0bPPw?wmode=transparent" width="854" height="480"></iframe></p> <p>The campaign cleverly combined <a href="https://econsultancy.com/blog/66908-10-inspiring-experiential-marketing-examples/" target="_blank">experiential marketing</a> – using the real-time reactions of the public - with social elements to encourage shoppers to share their own #lidlsurprises. As a result, it helped to turn around negative brand perceptions, ultimately contributing to the <a href="https://econsultancy.com/blog/65996-how-lidl-used-storytelling-to-alter-the-brand-perception" target="_blank">brand’s boost in sales</a> and growth in market share.</p> <h3>'I don’t like tea, I like gin' by Aldi</h3> <p>Aldi generated wide-spread affection from the public in 2011 with its simple but highly effective price comparison campaign. The first ad, featuring 83-year old Jean Jones declaring her love for gin went on to become the <a href="https://www.theguardian.com/media/2011/dec/28/gin-loving-pensioner-top-tv-ad-2011" target="_blank">most-liked of the year.</a></p> <p>Unlike typical supermarket advertising, which often centres around emotive elements or high-profile celebrities, Aldi went for a simpler approach. The short ads involved customers comparing groceries (which are similar in taste) and pointing out Aldi’s cheaper prices. </p> <p>Alongside this, the humorous aspect – with Jean saying “I don’t like tea, I like gin” – captured the attention of viewers, as well as positive conversation on social media. </p> <p><iframe src="https://www.youtube.com/embed/uCKgCkubGc0?wmode=transparent" width="854" height="480"></iframe></p> <p>It wasn’t without its faults – Aldi was actually punished by the ASA for misleading viewers about prices – but the advert’s tone was certainly a hit with viewers at the time. </p> <h3>Sainsbury’s &amp; Mog’s 'Christmas Calamity'</h3> <p>With a below-average budget and later start than its competitors, Sainsbury’s’ needed something big for its 2015 Christmas campaign. Luckily, it pulled out a corker with Mog’s Christmas Calamity – a three-and-a-half-minute film featuring the famous cat from Judith Kerr’s book series.</p> <p>Based around its seasonal tagline of ‘Christmas is for sharing’, the ad effectively used <a href="https://www.econsultancy.com/blog/68711-storytelling-might-boost-your-product-page-conversion-rates-stats" target="_blank">storytelling</a> to tug on viewer’s heartstrings and promote the brand’s family-friendly image. Alongside the ad, Sainsbury’s also released a new Mog book and cuddly toy, with all profits going to Save the Children.</p> <p><iframe src="https://www.youtube.com/embed/kuRn2S7iPNU?wmode=transparent" width="854" height="480"></iframe></p> <p>The campaign was certainly one of the best that festive season – a fact reflected by a 2.6% year-on-year rise in sales for the retailer in the week before Christmas Day. What’s more, it also helped the retailer raise over £1.6m to help children’s literacy.</p> <h3>Tesco’s original ‘Every Little Helps’ </h3> <p>Tesco has often featured actors as fictional characters in its adverts. It has used Cold Feet star Fay Ripley, and more recently, Ruth Jones and Ben Miller – also known for their comedy acting work.</p> <p>One of the supermarket’s most famous series of ads was broadcast back in the 90’s, starring Prunella Scales as ‘Dotty’ and Jane Horrocks as her long-suffering daughter. Serving as a personification of the retailer’s ‘every little helps’ tagline, the ads saw the famously demanding Dotty putting Tesco’s customer service to the test.</p> <p><iframe src="https://www.youtube.com/embed/a_xMiYcNpEQ?wmode=transparent" width="854" height="480"></iframe></p> <p>While the supermarket’s character-driven strategy has come in for criticism – arguably going down a ‘middle of the road’ option with a lack of innovation or focus – the original ad still serves as a good example of celebrity advertising.</p> <p>By using a much-loved TV personality (and striking the right gentle comedic tone) the brand managed to insert itself into the public’s consciousness. Consequently, the ads reportedly contributed to £2.2bn in sales for Tesco in the late 90’s.</p> <h3>Iceland and 'The Power of Frozen'</h3> <p>Speaking of celebrity ads, Iceland is one brand that has become synonymous with the genre, previously enlisting people like Kerry Katona and Peter Andre to front ad campaigns. The association hasn’t always been a positive one, however, leading the retailer to change tack in order to create a new brand image.</p> <p>The result was ‘The Power of Frozen’, which used the family kitchen as a setting rather than the supermarket to better highlight the value and convenience of frozen food. </p> <p>Alongside this, Iceland forged a valuable partnership with YouTube channel ‘Channel Mum’ to help change perceptions about the brand on social. Teaming up with a <a href="https://econsultancy.com/blog/68691-why-iceland-has-replaced-celebrities-with-micro-influencers" target="_blank">number of popular vloggers</a>, it was able to reach its target audience with valuable content relating to cooking and mealtime ideas.</p> <p>According to reports, approval ratings for Iceland amongst mums <a href="http://mobilemarketingmagazine.com/iceland-power-of-frozen-channelmum-vlogging-influencer-marketing" target="_blank">increased from 10% to 80%</a> after viewing the videos created by vloggers.</p> <p><iframe src="https://www.youtube.com/embed/WXoXJaytbNw?wmode=transparent" width="854" height="480"></iframe></p> <h3>Waitrose is live from the farm</h3> <p>While price and quality are typical consumer concerns, provenance has also become a focus in recent years, with a greater public interest in how grocery products are produced.</p> <p>Waitrose aimed to provide reassurance to customers in 2016 by highlighting its own sourcing policy, using footage from the farms that supply its supermarkets. The ads (which were broadcast soon after being filmed) showed cows freely grazing and free-range hens pecking food.</p> <p>Alongside TV spots, the campaign also included an <a href="https://www.econsultancy.com/blog/68051-six-case-studies-that-show-how-digital-out-of-home-advertising-is-changing" target="_blank">out-of-home</a> element, with live footage being streamed to commuters in train and bus stations. It was a successful strategy, effectively positioning Waitrose as an ethical retailer and one that cares about both its customers and the welfare of animals.</p> <p><iframe src="https://www.youtube.com/embed/aIOqlzJqFOU?wmode=transparent" width="854" height="480"></iframe></p> <h3>'Morrison’s makes it'</h3> <p>Up against larger supermarkets like Tesco and Sainsbury’s, Morrisons has strived to differentiate itself by taking a more local approach, describing its employees as both ‘foodmakers’ and ‘shopkeepers’. </p> <p>Its ‘Morrison’s makes it’ campaign is centred around the notion that it makes more food in-store than any other, promising customers both quality and value with its own-brand premium and healthy food ranges. The accompanying ad reflects this notion, depicting the supermarket in the context of everyday family life – and how it often centres around the dinner table.</p> <p>While its not the most imaginative campaign in this list, it’s certainly one of the most personal, striving to the show the supermarket in a less corporate light than we’re perhaps used to. </p> <p><iframe src="https://www.youtube.com/embed/8xPODcYxToI?wmode=transparent" width="854" height="480"></iframe></p> <h3>Asda’s halloween 2017</h3> <p>Most supermarkets focus on Christmas, but Asda put a surprising amount of effort into Halloween this year, positioning itself as the place to go for scary decorations and spooky-themed food. Its 2017 ad was set inside a Halloween party, with celebrations kicking off to the song ‘Word Up’ by Cameo.</p> <p>The ad also involved a collaboration with music app Shazam, allowing viewers to scan the ad which then took them to a Halloween mobile site.</p> <p>While the use of AR was innovative (with users able to superimpose a singing mouth over their own face) – the creativity in design and infectious nature of the ad is what resonated the most. Again, with most supermarket advertising taking on sentimental or overly emotive themes – its light-hearted tone and music-video style felt like a breath of fresh air.</p> <p><iframe src="https://www.youtube.com/embed/mBn9_ch7Qa0?wmode=transparent" width="854" height="480"></iframe></p> <h3>Sainsbury’s 'Christmas in a day'</h3> <p>Yet another Christmas-themed ad, and another one from those emotional terrorists Sainsbury’s. </p> <p>‘Christmas in a Day’ was a documentary-style advert from Oscar-winning director Kevin McDonald, created from 360 hours’ worth of footage of British families celebrating Christmas. Naturally, it depicted scenes ranging from the heart-warming to the ridiculous, including kids waiting for Santa and dads struggling to put up the tree. </p> <p><iframe src="https://www.youtube.com/embed/tSYaaO__LOU?wmode=transparent" width="854" height="480"></iframe></p> <p>The beauty of the advert, and the reason it resonated so deeply, was that it was not staged or overly planned. Each clip presented a real and authentic picture of how Brits truly celebrate Christmas - not the often airbrushed and overly-sentimentalised version presented to us by brands.</p> <h3>'Not just any food…' by Marks &amp; Spencer</h3> <p>M&amp;S is not a traditional supermarket, having first made its name selling fashion. However, it’s been <a href="https://econsultancy.com/blog/69071-m-s-to-trial-grocery-delivery-service-will-it-take-off" target="_blank">focusing more</a> on its standalone Simply Food stores in recent years, with the consumer appetite for M&amp;S food being whetted by its now-iconic adverts.</p> <p>It was in 2004 that M&amp;S released the first ad, using the tagline - “not just any chocolate pudding, this is a Marks &amp; Spencer chocolate pudding” - alongside a decidedly sultry narration and glorious slow-motion footage. It soon caught the public's imagination, becoming ripe for parody and ultimately one of the most recognisable ads of the noughties.</p> <p>So why did it resonate quite so much? By focusing on the food – and the sheer indulgence of its products – M&amp;S foretold the ‘food porn’ trend, which was soon to further explode on social media channels such as Instagram. Since, the brand has revived the iconic ads to remind the nation of its appreciation for food glorious food, with just a slightly more modern twist.</p> <p><iframe src="https://www.youtube.com/embed/K24f3yoZPqc?wmode=transparent" width="854" height="480"></iframe></p> <p><em><strong>Related reading:</strong></em></p> <ul> <li><a href="https://www.econsultancy.com/blog/68355-how-online-grocery-retailers-are-capitalising-on-the-need-for-convenience"><em>How online grocery retailers are capitalising on the need for convenience</em></a></li> <li><a href="https://econsultancy.com/blog/66602-do-supermarkets-know-what-online-customers-want"><em>Do supermarkets know what online customers want?</em></a></li> <li><a href="https://www.econsultancy.com/blog/69172-10-supermarkets-with-10-very-different-email-opt-in-opt-out-strategies"><em>10 supermarkets with 10 very different email opt-in/opt out strategies</em></a></li> </ul>