tag:econsultancy.com,2008:/topics/video Latest Video content from Econsultancy 2018-04-18T13:30:00+01:00 tag:econsultancy.com,2008:BlogPost/69958 2018-04-18T13:30:00+01:00 2018-04-18T13:30:00+01:00 Six brilliant examples of B2B video content (& why they're so good) Nikki Gilliland <p>According to a <a href="https://business.linkedin.com/en-uk/marketing-solutions/blog/posts/B2B-video/2018/welcome-to-the-era-of-b2b-video" target="_blank">recent study</a> by LinkedIn, the majority of B2B marketers now view video as the most important and creative content format around. 62% of survey respondents said that video helps them to build brand awareness, while 26% said they are planning to spend more than £300k on video advertising this year.</p> <p>So, which brands have set the bar for B2B video already? Here’s a run-down of some of the best in recent years, the reasons why they work, and what marketers can learn.</p> <h3>Hootsuite - 'Mean tweets'</h3> <p>Hootsuite, the social media management platform, took inspiration from pop-culture in 2014 with its ‘Mean Tweets video' - the popular feature made famous by Jimmy Kimmel. </p> <p>Why would a brand choose to read out bad comments about its own product? </p> <p>Rather conveniently, the video coincided with a new design update, meaning that the brand would be able to recognise and acknowledge negative views and counteract them at the same time. </p> <p>As well as nice bit of self-deprecation (and insight into the people who work there), the video also instils the sense that Hootsuite is a company that listens to its customers. </p> <p><iframe src="https://www.youtube.com/embed/bXizarnDodE?ecver=1&amp;wmode=transparent" width="854" height="480"></iframe></p> <h3>Zendesk - 'Relationships are complicated'</h3> <p>Research suggests that <a href="https://idearocketanimation.com/17591-best-video-length/" target="_blank">viewer engagement</a> drops off at two minutes, six minutes, or 12 minutes. As a result of this, the majority of B2B brands play it safe and aim for the one-minute mark.</p> <p>Zendesk, a cloud-based customer service company, goes against the grain with a fast but furious technique – creating videos that are just 16 seconds long. It could be a risky strategy, with videos failing to make any real impact. However, they're also so short for a reason.</p> <p>The videos convey a simple message in a highly offbeat, humorous style (i.e. that Zendesk can improve relationships between customers and companies). Their quirky nature means that if they were any longer, the joke would be more at risk of falling flat.</p> <p>Shorts like this can be particularly effective when it comes to social, successfully grabbing user attention in the feed. They are also likely to standout on platforms like LinkedIn, where the majority of video content can be slightly stuffy and samey in nature.</p> <p><iframe src="https://www.youtube.com/embed/Zni3kFjPz4A?ecver=1&amp;wmode=transparent" width="854" height="480"></iframe></p> <h3>Slack - 'So yeah, we tried Slack'</h3> <p>This example from Slack is not a typical case study. Rather, it tells the story of how a production company started using the product (and raving about it) during the process of making a video on the brand's behalf.</p> <p>The end result appears like a genuine case of customer advocacy, with the video detailing the reasons why the company was so reluctant at first, and how it came to eventually fall in love with Slack.</p> <p>Alongside this, it’s also highly effective for explaining Slack’s value, with all of its features cleverly interwoven throughout. There’s a slight bit of humour involved, too, which enhances its casual nature and non-corporate tone.</p> <p><iframe src="https://www.youtube.com/embed/B6zVzWU95Sw?ecver=1&amp;wmode=transparent" width="854" height="480"></iframe></p> <h3>Deloitte - 'It’s what we do that makes a difference'</h3> <p>The majority of examples in this list take on a fictional, humorous approach to storytelling. However, that doesn’t mean it’s the only strategy that works. Deloitte takes a much more brand-centric approach to its video content, highlighting its company values and the characteristics of its real-life valued employees. </p> <p>The video is slightly earnest, but it is certainly slick. It also successfully conveys Deloitte’s internal culture as well as its outward promise to customers.</p> <p><iframe src="https://www.youtube.com/embed/iSDpI5LR9qo?ecver=1&amp;wmode=transparent" width="854" height="480"></iframe></p> <h3>Lenovo – 'Chad &amp; Jane'</h3> <p>While it also markets to everyday consumers, Lenovo creates unique B2B video content (both for SMEs and larger companies). Its ‘Chad’ and ‘Jane’ videos have been some of its most notable, telling the stories of these larger-than-life office characters.</p> <p>With a humorous and over-the-top tone, the videos aim to highlight relatable scenarios for IT professionals. Regardless of profession, however, it’s not hard to relate to stereotypes like ‘power user’ Jane and the overly enthusiastic Chad.</p> <p>Cleverly depicting life (and the day-to-day office-based doldrums) for the very people it is aiming to target, it makes a refreshing and entertaining change to salesy and product-focused content.</p> <p><iframe src="https://www.youtube.com/embed/OWBG2ygPtPI?ecver=1&amp;wmode=transparent" width="854" height="480"></iframe></p> <h3>Adobe - 'Click, baby, click!'</h3> <p>Another brand that puts humour at the heart of its video content is Adobe, having created a number of funny and creative examples to market its Adobe Marketing Cloud.</p> <p>Click, Baby, Click! is one of the most successful. The video shows a company selling printed encyclopaedias seeing a huge surge in sales. However, it turns out to be a case of a ‘tech savvy’ baby repeatedly placing orders on a tablet.</p> <p>Along with the question: “Do you know what your marketing is doing? We can help” – the video succinctly highlights Adobe’s USP while conveying a less-serious attitude (than one typically displayed by large corporate companies).</p> <p>While Adobe’s videos are clearly costly - with the brand able to invest big in B2B video - its ability to perfectly position its brand in just one minute is a skill that money can’t buy.</p> <p><iframe src="https://www.youtube.com/embed/N1ltwg2nTK4?ecver=1&amp;wmode=transparent" width="854" height="480"></iframe></p> <h3>What can we learn?</h3> <p>Here are just a few key lessons to take away…</p> <p><strong>Define your message</strong>. While the aforementioned examples are from well-established brands, smaller companies can learn from their creativity and sense of purpose. Start with two questions: what do you want to convey and how can you make it engaging? If you begin with a muddled or convoluted message, then you’ll likely end up with an unengaging video too.</p> <p><strong>Don’t be afraid of humour</strong>. One characteristic that a lot of these videos share is self-deprecation, used to combat the age-old B2B stereotype – that of the stuffy executive in the boring explainer video. There's a reason it works too. Humour, irony, and even poking fun at the customer (with caution) can result in a hugely entertaining and impactful video.  </p> <p><strong>Tap into emotions</strong>. <a href="https://hbr.org/2016/08/an-emotional-connection-matters-more-than-customer-satisfaction" target="_blank">According to research</a>, using features, functions, and business outcomes to target an audience typically results in a 21% increase in perceived brand benefits. In contrast, marketing that focuses on social and emotional benefits is said to result in a boost of 42%. This shows how important it is to be customer-centric - recognising pain points and pointing out how a product can solve it – rather than simply talking from a brand perspective.</p> <p><strong>Make it snappy</strong>. As is standard practice within video marketing in general - short, succinct, and surprising videos tend to reap the most rewards. They work well on social, as well as on mobile. Adding subtitles can be a valuable addition in both cases, aiding people watching on a variety of devices and channels. </p> <p><strong>More on B2B marketing:</strong></p> <ul> <li><a href="https://www.econsultancy.com/blog/69611-10-must-have-b2b-marketing-tools" target="_blank">10 must-have B2B marketing tools</a></li> <li><a href="https://www.econsultancy.com/blog/69871-five-quick-content-opportunities-for-time-poor-b2b-marketers" target="_blank">Five quick content opportunities for time-poor B2B marketers</a></li> <li><a href="https://econsultancy.com/blog/69512-b2b-digital-transformation-key-trends-recommendations" target="_blank">B2B digital transformation: Key trends &amp; recommendations</a></li> </ul> tag:econsultancy.com,2008:BlogPost/69942 2018-04-12T11:00:00+01:00 2018-04-12T11:00:00+01:00 Why Chanel is the most influential luxury brand on social Nikki Gilliland <p>However, with a large percentage of shoppers now being influenced and even making decisions based on what they see online – social is a hugely important tool for luxury brands looking to deepen consumer engagement. </p> <p>Last year, Chanel was named by Insightpool as the <a href="http://wwd.com/business-news/marketing-promotion/top-fashion-brands-social-media-10869026/" target="_blank">most influential luxury brand</a> on social media (based on overall engagement), topping the list above others like Louis Vuitton and Christian Siriano. With a total of 40.8 million followers on Twitter and Instagram alone – Chanel has generated a huge following.</p> <p>But what keeps users so engaged? Here’s a few reasons behind its social winning strategy.</p> <h3>Upholding exclusivity</h3> <p>Chanel has famously abstained from fully entering the world of ecommerce, only selling limited ranges of eyewear and beauty products online. But while the brand is clearly mindful of protecting the exclusive nature of its products, it has been less cautious when it comes to digital and social media marketing, creating a heavy presence across most channels.</p> <p>That being said, Chanel is still keen on maintaining a sense of exclusivity where possible. So, while it has millions of followers across social, Chanel deliberately follows no one back (apart from its own Chanel Beauty on Instagram). As well as helping to portray an aloof image, this also takes away the need to interact with users or stray into using social channels for the purpose of customer service.</p> <p><img src="https://assets.econsultancy.com/images/0009/3518/Chanel_Instagram.JPG" alt="" width="600" height="556"></p> <p>The decision to avoid communicating with consumers online has its negatives, of course. Brands that do reach out and reply to comments and tweets are typically viewed favourably by users – plus it can take the strain off other areas of customer service.</p> <p>For a luxury brand like Chanel, however, this is clearly not a priority, or at least not one big enough to risk diluting its exclusive reputation. </p> <blockquote class="twitter-tweet"> <p lang="en" dir="ltr">In fittings — House ambassador Vanessa Paradis wearing a bespoke <a href="https://twitter.com/hashtag/CHANELHauteCouture?src=hash&amp;ref_src=twsrc%5Etfw">#CHANELHauteCouture</a> dress before opening the <a href="https://twitter.com/hashtag/Cesar2018?src=hash&amp;ref_src=twsrc%5Etfw">#Cesar2018</a> awards. More photos on <a href="https://t.co/a5kOLdZ1LJ">https://t.co/a5kOLdZ1LJ</a> <a href="https://t.co/kGVOiPbWvW">pic.twitter.com/kGVOiPbWvW</a></p> — CHANEL (@CHANEL) <a href="https://twitter.com/CHANEL/status/969965633193443328?ref_src=twsrc%5Etfw">March 3, 2018</a> </blockquote> <h3>Harnessing the power of influence</h3> <p>Another way Chanel extends its control over social is with the type of content it produces – specifically content that makes it seem aspirational rather than accessible. </p> <p>Unlike brands that promote products in the context of consumers' everyday lives, Chanel deliberately depicts its own world – one that is overtly editorial and arty in nature. Chanel has relinquished complete control over its image in some ways though, particularly when it comes to working with social media influencers.</p> <p>Again, this can be a dangerous strategy for luxury brands, with influencers potentially diluting exclusivity and veering into mass-market promotion.</p> <p>Chanel’s decision has proved successful, however, helping the brand to stay relevant and maintain visibility at opportune moments. As highlighted in Econsultancy’s <a href="https://econsultancy.com/reports/the-new-face-of-luxury-maintaining-exclusivity-in-the-world-of-social-influence" target="_blank">New Face of Luxury</a> report, Chanel’s campaign to promote its new No. 5 L’Eau perfume was a resounding success, with influencer content generating one million likes in a month. </p> <p><img src="https://assets.econsultancy.com/images/0009/3519/Chanel_Influencers.JPG" alt="" width="780" height="572"></p> <p>The campaign's success was largely due to the influencers chosen to be involved, with Chanel only working with people that portray a certain type of aspirational lifestyle. The campaign’s extravagant premise, which involved sending influencers to its production facility in the South of France obviously contributed to this too.  </p> <h3>A commitment to video</h3> <p>According to reports, Chanel’s social success has sky-rocketed in a short space of time, with the brand seeing an <a href="https://www.luxurysociety.com/en/articles/2017/08/how-chanel-became-most-social-luxury-brand/">average growth of 50%</a> across multiple platforms in just a year. One reason looks to be its video strategy. </p> <p>Chanel posts consistently on YouTube in particular, using the platform for narrative-led, feature film content. Its first – ‘The One That I Want’ starring Gisele Bundchen has amassed over 18 million views to date. Alongside celebrity-driven campaigns, the brand also uses video for more behind-the-scenes content, such as its ‘Inside Chanel’ series, which is designed to remind consumers of the brand’s long history and unique vision.</p> <p><iframe src="https://www.youtube.com/embed/mSDy3mUcpLo?ecver=1&amp;wmode=transparent" width="854" height="480"></iframe></p> <p>Not all of its video content is quite so cinematic. Though it is careful not to sway too much into this style of populist content, Chanel would be foolish to ignore the huge opportunity presented by search interest in beauty on YouTube.</p> <p>Consequently, its ‘Make Up’ playlist is full of short and informative tutorial-based content, designed to instil desire for products as well as offer value for viewers looking for tips and advice. </p> <p><iframe src="https://www.youtube.com/embed/TlKR3zKCqBQ?ecver=1&amp;wmode=transparent" width="854" height="480"></iframe></p> <h3>A platform-specific approach</h3> <p>Despite an overriding focus on video content, Chanel doesn’t use a blanket approach, instead choosing to optimise content for different platforms. For example, it often takes snippets of ads to pique interest on Instagram, while it might post the long-form ad on YouTube or Facebook.  </p> <p>Meanwhile, despite the fact that the brand works so hard to retain its exclusive image, Chanel doesn’t set out to alienate or exclude consumers. It’s a tricky balance, of course, but Chanel also uses social to make users feel like they’re being let in a secret, or in the case of #ChanelTower - an invitation to a private party.</p> <p>#ChanelTower was the hashtag used by the brand for its Autumn/Winter 2017/18 runway show in Paris, which included a scale replica of the Eiffel Tower for its models to walk around. The brand massively hyped up the show on Instagram in particular, using the hashtag to collate content relating to the event, including videos of celebrity guests and exclusive snapshots of new designs. </p> <p>Reports suggest that the event created a <a href="https://medium.com/@DashHudson/did-chanel-make-a-big-social-splash-with-chaneltower-783f48fc52b3" target="_blank">huge splash</a> for the brand on social, with likes and comments increasing massively on the day. What’s more, with users tagging their own content using the hashtag, Chanel saw increased reach and exposure on Instagram during this time.  </p> <p><img src="https://assets.econsultancy.com/images/0009/3520/chanel_tower.JPG" alt="" width="780" height="499"></p> <h3>What can we learn?</h3> <p>Here are three key lessons to take away.</p> <p><strong>Retain exclusivity</strong>. Just because luxury brands are embracing social media doesn’t mean they have to become mass-market. Chanel is a great example of how to retain a sense of exclusivity, as well as how to capitalise on it to make users feel important and valued.  </p> <p><strong>Be picky with influencers.</strong> Not all influencers are equal, which is why it’s vital that luxury brands partner with those that are a good fit. As well as aligning with its own unique style and values, Chanel chooses trusted influencers who are likely to create the right kind of content without too much brand involvement. </p> <p><strong>Optimised (video) content FTW</strong>. While image and text-based content is effective, video content can be far more so when it comes to generating engagement on social. Chanel is a great example of a luxury brand that has wholeheartedly embraced the medium, using varied video content (and optimising it) to drive interest cross-platform. </p> <p><strong>Related reading:</strong></p> <ul> <li><a href="https://econsultancy.com/blog/69853-four-examples-of-hard-luxury-brands-embracing-ecommerce" target="_blank">Four examples of ‘hard luxury’ brands embracing ecommerce</a></li> <li><a href="https://econsultancy.com/blog/69273-luxury-ecommerce-review-is-balenciaga-s-normcore-website-more-than-a-gimmick" target="_blank">Luxury ecommerce review: Is Balenciaga's 'normcore' website more than a gimmick?</a></li> <li><a href="https://econsultancy.com/blog/69096-four-reasons-luxury-brands-are-embracing-influencers" target="_blank">Four reasons luxury brands are embracing influencers</a></li> </ul> <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/69635 2018-03-19T09:30:00+00:00 2018-03-19T09:30:00+00:00 A day in the life of... a motion designer Ben Davis <p><em>(Before we get down to it, remember if you're looking for a new role yourself to check out the <a href="https://jobs.econsultancy.com/?cmpid=EconBlog">Econsultancy jobs board</a>.)</em></p> <h4> <em>Econsultancy:</em> Please describe your job: What do you do?</h4> <p><em><strong>Lisa Ferrari:</strong></em> I am head of motion design at Silver, a B2B marketing agency. My job is to make client videos using animation and visual effects. The videos can be about anything from the launch of a new product to a brand piece that communicates a client’s values.</p> <p>It is my job to take the brief and turn it into an engaging, informative and memorable 90 second sequence. In effect, I make complex propositions simple and consumable through the medium of video.</p> <h4> <em>E:</em> Whereabouts do you sit within the organisation? Who do you report to?</h4> <p><em><strong>LF:</strong></em> The agency is divided into account teams and creatives, aka ‘the studio’. The motion team is part of the studio. I report directly to Silver’s CEO, Alison Masters.</p> <h4> <em>E:</em> What kind of skills do you need to be effective in your role?</h4> <p><em><strong>LF: </strong></em>Firstly you need patience. Animation is a time-consuming process with slow results and you may not like what you produce the first time. An active imagination is also important and an ability to verbally communicate your ideas to colleagues and clients.</p> <p>You also need strong graphic sensibilities, a knowledge of the fundamentals of animation and the willingness to learn; because a motion designer, no matter how competent, should always be learning something new.</p> <p><img src="https://assets.econsultancy.com/images/0009/3027/Lisa_Ferrari.jpeg" alt="lisa ferrari" width="300"></p> <h4> <em>E:</em> Tell us about a typical working day…</h4> <p><em><strong>LF: </strong></em>I spend the majority of my day animating in a software package called Adobe After Effects and cutting footage together in Adobe Premiere.</p> <p>Typically, I am briefed by one of our account managers when a project lands; I then work as part of a team to come up with creative concepts to answer the brief and develop scripts, storyboards and style frames which I eventually present to the client. Once the client approves these, we can then begin production and the day-to-day crafting of the final product.</p> <h4> <em>E:</em> What do you love about your job? What sucks?</h4> <p><em><strong>LF: </strong></em>I love the craft of making videos. I also like brainstorming with my team; we live by the ‘no idea is a bad idea’ ethos. Of course, there are plenty of terrible ideas thrown out, but often a bad idea is the seed of a good idea and one thing leads to the other. </p> <p>What sucks? Rendering - the process in which your files are turned into a video that can be played back in realtime. Essentially when you are creating a video in a software package, you can’t always see the immediate results of what you are creating, and have to wait for the video to render (which is a bit like waiting for a video to buffer when streaming). I compare it to modelling something with clay and then waiting for it to fire in the kiln. It can be a very slow process and when you’re up against a deadline, it can be very frustrating.</p> <h4> <em>E:</em> What kind of goals do you have? What are the most useful metrics and KPIs for measuring success?</h4> <p><em><strong>LF: </strong></em>Throughout the process we are looking at the work and asking ourselves whether it’s novel, memorable, engaging and most importantly, tells a story. Video has become an integral part of every campaign be it brand or lead generation at Silver and the success of our work can be measured in the ROI of the overall campaign.</p> <p>My goal and that of the whole team is to get a Vimeo Staff Pick; it’s like being in a mainstream band and finally getting a song in the charts.</p> <h4> <em>E:</em> What are your favourite tools to help you to get the job done?</h4> <p><em><strong>LF: </strong></em>I use After Effects and Premiere every day and for every project. I also use Photoshop, Illustrator, Audition and 3ds Max. That said, I like starting a project with pen and paper; there’s still a nice freedom of expression when you start drawing out ideas on paper, the project is still malleable and can become anything you want it to be.</p> <h4> <em>E:</em> How did you get into motion graphics, and where might you go from here?</h4> <p><em><strong>LF: </strong></em>I have been interested in art and design from an early age and motion design is just an extension of that. I found myself at the age 26 wanting a creative job but without any creative qualifications. It was at a time when smartphones were a novelty item and I thought ‘video and animation is going to explode, soon we’re all going to be walking around with the equivalent of a mini flat screen tv in our pockets, moving images will be everywhere’.</p> <p>So I decided to do a degree in Computer Animation as a mature student. After graduating I worked for two years in the games industry making CG models in 3ds Max (a skill I still use today), until I segued into motion design.</p> <h4> <em>E:</em> Which brands do you think are using media well?</h4> <p><em><strong>LF: </strong></em>I think Airbnb and Mailchimp use media really well; both companies commission some great video work. It’s not always about the clever use of motion graphics. I was recently impressed by a pre-roll YouTube advert for Asda Opticians, it was just six seconds long and featured Drew Barrymore mentioning Asda Opticians and then saying ‘here’s your video…’. It was such a refreshing change to the long and repetitive ads that we’re used to seeing before a YouTube video.</p> <h4> <em>E:</em> Do you have any advice for people who want to work in motion graphics?</h4> <p><em><strong>LF:</strong></em> My advice to anyone wanting to work in motion graphics is to get inspired, look on sites such as Vimeo and Motionographer to see what the best designers in the industry are creating.</p> <p>My other recommendation is to learn by doing, and that doesn’t necessarily mean doing a course at university; there are so many good free online tutorials, that’s one of the great things about motion design, it’s a sharing online community!</p> <p><em><strong>More on video:</strong></em></p> <ul> <li><a href="https://econsultancy.com/reports/online-video-best-practice-guide">Online Video Best Practice Guide</a></li> <li><a href="https://econsultancy.com/training/courses/video-marketing-strategies/">Video Marketing Strategy Training</a></li> </ul> tag:econsultancy.com,2008:BlogPost/69872 2018-03-16T15:40:31+00:00 2018-03-16T15:40:31+00:00 Why Kate Spade's superb video content strategy is a lesson to all fashion marketers Nikki Gilliland <p>There’s a lot we can learn from it, so let’s dive in.</p> <h3>1. Be channel-specific</h3> <p>Kate Spade doesn’t take a blanket approach to social media. Instead of creating content and rolling it out across all channels, the brand recognises that each platform is different (and so too is the type of content that consumers want to find there).</p> <p>YouTube is a heavy focus for Kate Spade, with content designed to align with its ‘lean-back’ viewing experience. It recognises that YouTube is a place where people go and specifically search for content (typically for entertainment or educational purposes), and so uses it as a place for serialised and long-form videos. </p> <p>This is different to the brand’s presence on Facebook, where super-short videos are a bigger focus. And this is because users are more likely to discover and click on content by chance as they browse and scroll through their feed. </p> <p><iframe src="https://www.facebook.com/plugins/video.php?href=https%3A%2F%2Fwww.facebook.com%2Fkatespadenewyork.uk%2Fvideos%2F604777186384002%2F&amp;show_text=1&amp;width=560" width="560" height="407"></iframe></p> <h3>2. Don’t try to do it all</h3> <p>Alongside creating a channel-specific strategy, Kate Spade has also recognised that not all social media platforms are right for every brand, and consequently, might not be worth as much investment. While the brand does have a Twitter account, for example, it is less of a priority.</p> <p>Again, this is largely due to the brand’s focus on lean-back entertainment rather than real-time content or customer service. As a result, it is reserved for announcements or used as a distribution channel rather than for bespoke content.</p> <blockquote class="twitter-tweet"> <p lang="en" dir="ltr">big *omg* news… kate spade new york now comes in emoji and sticker form. download our new spademoji app in the apple app store and google play to give it a whirl: <a href="https://t.co/5Pf0fnAdmE">https://t.co/5Pf0fnAdmE</a> <a href="https://t.co/WjvHX1Q4Lb">pic.twitter.com/WjvHX1Q4Lb</a></p> — kate spade new york (@katespadeny) <a href="https://twitter.com/katespadeny/status/970690412783419392?ref_src=twsrc%5Etfw">March 5, 2018</a> </blockquote> <p>Snapchat is another channel of lesser importance, most likely due to the nature of ephemeral content and the value it provides. Though it can be hugely effective for engaging users, the type of content that succeeds on Snapchat tends to be more raw and undiluted, which is not necessarily aligned with Kate Spade’s more polished and ‘luxury’ image.</p> <h3>3. Capitalise on search</h3> <p>When it comes to creating a content strategy, it’s easy for brands to focus on broad factors like demographics or customer personas and use it to inform content. Instead of relying on this, Kate Spade also delves into search data to find out the specific terms that its target audience are searching for on social media. </p> <p>It has then created content built around this, capitalising on search interest and drawing viewers into its channel organically.</p> <p>One example of success is its ‘Make Yourself a Home’ series on YouTube, which feeds in to viewer’s interest in home décor and interior design tips.</p> <p><iframe src="https://www.youtube.com/embed/AqyMRcA3O2g?wmode=transparent" width="854" height="480"></iframe></p> <h3>4. Take note from TV</h3> <p>While there is often a commerce-element to Kate Spade’s content – with its ‘Miss Adventure’ series including shoppable links – the brand does not treat videos like ads or even standard social media content. Instead, it takes a TV-like approach, launching new seasons much like traditional television shows, by taking out ads in print publications as well as launching teasers and trailers on US TV networks.</p> <p>This helps to build awareness and anticipation of the series in the run-up to its release. Meanwhile, the content itself feels very much like a television show, with the brand enlisting actresses from popular TV shows and films including Anna Kendrick and Kat Dennings. </p> <p><iframe src="https://www.youtube.com/embed/CpTfbwTD0Ss?list=PL43rpDJCjOhLchreAuMbPjFvNdnHS1jSj&amp;wmode=transparent" width="854" height="480"></iframe></p> <h3>5. Use content to communicate values</h3> <p>While the actors featured in Kate Spade’s Miss Adventure series are well-known, they are not necessarily the biggest or most influential stars. However, they are a good fit with Kate Spade and its style of ‘affordable luxury’, maintaining a more down-to-earth and less designer-led image.</p> <p>This is another key part of Kate Spade’s strategy, as the brand always ensures that the content it creates conveys the brand’s unique positioning and values.   </p> <p>Its recent video campaign for its ‘In Full Bloom’ fragrance is another example, with the brand taking on a more inspirational tone. It features actresses from three different generations - Tavi Gevinson, Sasheer Zamata, and Laura Dern – each describing what a ‘love letter’ to themselves would say.</p> <p>This feeds in to the brand's aim of targeting based on 'psychograohic' rather than demographic, i.e. the lifestyle, values, and attitudes of its core consumer.</p> <p><iframe src="https://www.youtube.com/embed/aXBdr9JXev0?wmode=transparent" width="854" height="480"></iframe></p> <h3>6. Make it interactive</h3> <p>One way Kate Spade ensures viewer engagement doesn’t stop when the video ends is by including interactive elements.</p> <p>Most videos include links to products, as well as to further content or the main Kate Spade site. This increases the chances of viewers further engaging with the brand, and theoretically going on to purchase.</p> <p>The brand continues this tactic on Facebook, particularly when it comes to Facebook Live. Its ‘Shop It Live Experience’ acts a reveal of its new season collection, as well as giving viewers the chance to shop there and then. This also creates a sense of exclusivity, instilling the idea that viewers are seeing or getting their hands on something before others.</p> <p><iframe src="https://www.facebook.com/plugins/video.php?href=https%3A%2F%2Fwww.facebook.com%2Fkatespadenewyork.uk%2Fvideos%2F598483487013372%2F&amp;show_text=1&amp;width=560" width="560" height="426"></iframe></p> <h3>In conclusion….</h3> <p>With its channel-specific strategy, Kate Spade proves that social media shouldn’t be treated as a case of one-size-fits-all.</p> <p>By delving into data and aligning its own values with those of its audience, it continues to create video content that is both original and highly engaging. Fashion brands should take heed.</p> <p><em><strong>Related reading:</strong></em></p> <ul> <li><em><a href="https://econsultancy.com/blog/68119-how-everlane-is-using-an-exclusive-instagram-account-to-strengthen-customer-loyalty/" target="_blank">How Everlane is using an 'exclusive' Instagram account to strengthen customer loyalty</a></em></li> <li><em><a href="https://econsultancy.com/blog/69189-a-closer-look-at-wwf-s-social-strategy" target="_blank">A closer look at WWF’s social strategy</a></em></li> <li><em><a href="https://econsultancy.com/admin/blog_posts/new/Social%20media%20trends%20in%202018:%20What%20do%20the%20experts%20predict" target="_blank">Social media trends in 2018: What do the experts predict?</a></em></li> </ul> tag:econsultancy.com,2008:BlogPost/69879 2018-03-16T13:21:37+00:00 2018-03-16T13:21:37+00:00 The best digital marketing stats we’ve seen this week Nikki Gilliland <p>Now, let's hop to it.</p> <h3>Marketers say 26% of their budget will be wasted in 2018</h3> <p>A <a href="https://rakutenmarketing.com/en-uk/what-marketers-want-2018" target="_blank">new study</a> by Rakuten - which is taken from a survey of over 1,000 marketers from the US, UK, France, Germany and Asia-Pacific (APAC) regions - has revealed that marketers will waste on average 26% of their budget in 2018 on the wrong channels or strategies.</p> <p>From its analysis, Rakuten has also identified four key profiles of UK marketers. First, 12% of marketers are defined as ‘architects’ - experienced data analysts who predict 18% of total budget will be wasted. In contrast, 49% of UK marketers are known as ‘advancers’ – this group chases new channels and outlets for campaigns, with 36% actively looking to invest in voice and 28% pursuing VR.</p> <p>Meanwhile, Rakuten suggests that 31% of UK marketers are ‘advocates’ - old school networkers, of which 56% are planning investment in video but just 5% have still have faith in influencers. Lastly, 9% of UK marketers are ‘adapters’ – marketing optimisation specialists, who strive to keep campaigns constant throughout the year.</p> <p><img src="https://assets.econsultancy.com/images/0009/2999/Rakuten.JPG" alt="" width="780" height="316"></p> <h3>Mobile devices responsible for 60% of all video views worldwide</h3> <p>According to Ooyala’s latest <a href="https://www.businesswire.com/news/home/20180314005323/en/Ooyala-Finds-People-Click-%E2%80%9CPlay%E2%80%9D-Mobile-Video" target="_blank">Global Video Index Report</a>, mobile video plays reached 60% globally for the first time in the fourth quarter of 2017, garnering a 60.3% share of all video starts.</p> <p>The report also states that Europe, Middle East and Africa (EMEA) saw the greatest level of engagement at 63.5%. Meanwhile, North America saw 57.6% engagement, despite also seeing mobile video jump 11% from Q4 2016.</p> <p>Alongside this increase in mobile video viewing, there has also been a significant growth in mobile advertising. Ooyala also states that smartphones topped PCs for the percentage of pre-roll ad impressions shown on broadcaster platforms (55% vs. 36%). </p> <p><img src="https://assets.econsultancy.com/images/0009/3005/mobile_video.jpg" alt="" width="550" height="343"></p> <p><strong>More on video trends:</strong></p> <ul> <li><a href="https://econsultancy.com/blog/69094-five-examples-of-brands-using-interactive-video" target="_blank">Five examples of brands using interactive video</a></li> <li><a href="https://www.econsultancy.com/blog/69387-six-ways-boring-b2b-brands-stole-a-social-video-from-b2c" target="_blank">Six ways ‘boring’ B2B brands stole A+ social video from B2C</a></li> <li><a href="https://www.econsultancy.com/blog/69417-four-ways-marketers-can-increase-conversions-from-social-video" target="_blank">Four ways marketers can increase conversions from social video</a></li> </ul> <h3>Snapchat users 300% more likely to shop on mobile</h3> <p>Criteo’s <a href="https://www.criteo.com/wp-content/uploads/2018/03/Criteo-UK-Commerce-Marketing-Forum.pdf" target="_blank">latest report</a> has revealed a link between social media platforms and consumers’ willingness to shop via mobile. </p> <p>From a survey of 2,000 UK consumers, it found that Snapchat users are up to 300% more likely to buy items on their phone compared to the average Brit. That’s not all, as they are also said to spend more – 33% of Snapchat users say they are happy to spend over £100 when shopping on mobile.</p> <p>Perhaps it’s more to do with Snapchat’s younger demographic rather than any direct link to the platform itself. The report also suggests that one in five 25 to 34 year olds are happy to spend more than £250 on their smartphone. Meanwhile, 6% of the population overall prefer shopping on their smartphone.</p> <p>Lastly, it appears younger consumers are even more spend-happy. Criteo states that one in ten 18 to 24-year olds would purchase a car on their smartphone, while one in ten 18 to 34 year olds prefer to book flights on their mobile rather than desktop. </p> <p><img src="https://assets.econsultancy.com/images/0009/2998/Criteo.JPG" alt=""></p> <p><strong>More on mobile commerce:</strong></p> <ul> <li><a href="https://econsultancy.com/blog/69858-a-ux-review-of-etsy-the-most-user-friendly-mobile-website-according-to-google/" target="_blank">A UX review of Etsy, the most user-friendly mobile website according to Google</a></li> <li><a href="https://econsultancy.com/blog/69589-are-retail-brands-ditching-mobile-apps-a-look-at-some-stats-case-studies/" target="_blank">Are retail brands ditching mobile apps? A look at some stats &amp; case studies</a></li> </ul> <h3>B2B marketers still unprepared for GDPR</h3> <p>It seems a day can’t go by without another GDPR-related survey (of course, Econsultancy has the definitive <a href="https://www.econsultancy.com/reports/a-marketer-s-guide-to-the-general-data-protection-regulation-gdpr">guide for marketers</a>). This one comes from Forrester, which surveyed 66 US marketing professionals for its <a href="https://www.forrester.com/report/The+GDPR+And+The+B2B+Marketer/-/E-RES142171?utm_source=blog&amp;utm_campaign=research_social&amp;utm_content=wizdo_142171" target="_blank">latest report</a> on the topic.</p> <p>The poll revealed that just 15% of B2B marketers believe they are fully compliant with the new regulations, while 18% are still unsure what needs to be done. </p> <p>Even though GDPR applies to any global marketer that collects data from EU citizens, many are still wrongly under the impression that the new rules do not apply to businesses with headquarters outside of Europe. </p> <p>It’s not all doom and gloom, however. Forrester also found that 39% of US marketers plan to be compliant within 12 months, while another 23% are at least partially compliant already.</p> <p><img src="https://assets.econsultancy.com/images/0009/3006/GDPR.jpg" alt="" width="550" height="366"></p> <p><strong>You'll find all the GDPR information you need <a href="https://www.econsultancy.com/blog/69825-all-the-gdpr-resources-marketers-need-in-one-place" target="_blank">right here</a>.</strong></p> <h3>Data protection is the key to consumer trust</h3> <p>In other data news, a report by the MRS Delphi group has revealed that data security is the first and most important <a href="https://www.mrs.org.uk/campaign/video/greatexpectations?MKTG=TRUST" target="_blank">driver of trust</a> in brands. </p> <p>From a survey of over 1,000 UK consumers, it found that respondents placed data security at number one for trust in six of seven sectors. Meanwhile, good customer service was ranked as the third biggest driver of trust, and brands “doing what they say” was ranked second. In all, three of the top five trust-drivers were related to data.</p> <p>Interestingly, respondents cited Amazon as their number one trusted brand, despite the retailer heavily relying on consumer data. However, its level of transparency, and the value exchange it provides is clearly enough to reassure customers and inspire loyalty.</p> <p><strong>More on consumer trust:</strong></p> <ul> <li><a href="https://www.econsultancy.com/blog/69446-how-can-brands-combat-a-lack-of-consumer-trust" target="_blank">How can brands combat a lack of consumer trust?</a></li> <li><a href="https://www.econsultancy.com/blog/69489-the-changing-face-of-consumer-trust-and-the-implications-for-marketers" target="_blank">The changing face of consumer trust and the implications for marketers</a></li> <li><a href="https://econsultancy.com/blog/69643-four-key-traits-of-human-brands" target="_blank">Four key traits of ‘human’ brands</a></li> </ul> <h3>Digital ads found to raise brand awareness</h3> <p>In a bid to understand the level of effectiveness of digital display advertising campaigns, IAB UK studied the results of 675 individual campaigns from 2008 through to 2017.</p> <p>It measured the effectiveness for four main marketing objectives – awareness, brand perception, education, and sales intent across each campaign. </p> <p>Analysis proved that digital display advertising is effective across all metrics, raising brand awareness by up to 12%, positively shifting brand perceptions by 2%, educating people about a brand by 2%, and driving purchase intent by 3%. </p> <p>Interestingly, some campaigns were found to increase brand metrics by as much as 55%, showing the huge opportunity digital display ads can provide. </p> <p><strong>More on digital ads:</strong></p> <ul> <li><a href="https://www.econsultancy.com/blog/69531-direct-ad-buys-are-back-in-fashion-as-programmatic-declines" target="_blank">Direct ad buys are back in fashion as programmatic declines</a></li> <li><a href="https://econsultancy.com/blog/68901-top-tips-to-drive-more-engagement-with-data-driven-native-ads" target="_blank">Top tips to drive more engagement with data-driven native ads</a></li> </ul> tag:econsultancy.com,2008:TrainingDate/3507 2018-03-08T15:49:21+00:00 2018-03-08T15:49:21+00:00 Online Copywriting - Advanced <p>Tone of voice, concision &amp; psychology – those are our main topics in this in-depth sequel to our bestselling <a href="https://econsultancy.com/training/courses/online-copywriting/" target="_blank">Online Copywriting course. </a></p> tag:econsultancy.com,2008:TrainingDate/3504 2018-03-08T15:47:02+00:00 2018-03-08T15:47:02+00:00 Online Copywriting <p>Boost your online copy’s effectiveness (across all types of device) with our practical and hands-on training course.  </p> <p>Our best-selling ‘online copywriting’ course includes lots of hands-on exercises to help you communicate, persuade and sell more effectively.  We’ll show you copywriting techniques that can boost your web pages’ performance by over 100%.</p> <p style="vertical-align: baseline; background-image: initial; background-attachment: initial; background-size: initial; background-origin: initial; background-clip: initial; background-position: initial; background-repeat: initial;">No laptop is required.  For convenience, all exercises will be paper-based.</p> <p style="vertical-align: baseline; background-image: initial; background-attachment: initial; background-size: initial; background-origin: initial; background-clip: initial; background-position: initial; background-repeat: initial;"><img src="https://assets.econsultancy.com/images/resized/0009/1597/dsc00526-blog-flyer.jpg" alt="Tim Fidgeon training" width="470" height="313"></p> tag:econsultancy.com,2008:TrainingDate/3433 2018-03-08T12:18:10+00:00 2018-03-08T12:18:10+00:00 Content Strategy & Editorial Planning <p>Great content sells! It will help build your brand and boost your business.  </p> <p>Our 1-day training course on Content Strategy &amp; Editorial Planning will support you in producing content that attracts, engages and converts your audience.</p> tag:econsultancy.com,2008:BlogPost/69818 2018-02-22T09:50:26+00:00 2018-02-22T09:50:26+00:00 Six of the latest brands using VR technology Nikki Gilliland <p>However, there are some encouraging signs. <a href="https://yougov.co.uk/news/2017/05/19/vr-headsets-more-popular-tablets-and-wearables-wer/" target="_blank">Research suggests</a> that virtual reality headsets are more popular than tablets and wearables were at the same stage of development, while global revenue for AR and VR is <a href="https://www.idc.com/getdoc.jsp?containerId=prUS42331217" target="_blank">predicted to reach $143 billion</a> by 2020.</p> <p>Recently, we’ve also seen a number of brands focus on VR, integrating the tech into apps and marketing campaigns. Here’s a round-up of a few of the most innovative examples.</p> <h3>Greenpeace</h3> <p><a href="https://www.facebook.com/iq/articles/shifts-for-2020-multisensory-multipliers" target="_blank">According to Facebook</a>, 48% of people who view charity content in VR are likely to donate to the cause they experience. This is because of the tool’s ability to create empathy, by transporting users to another world, and by placing them in someone else’s shoes. Other research backs this up - a 2017 Nielsen study found that 84% of VR viewers demonstrated brand recall, compared with only 53% of those who viewed standard video advertising.</p> <p>Greenpeace is one charity to capitalise on this power, using VR headsets at events like Glastonbury to encourage charity sign-ups. It has also released the Greenpeace VR Explorer app, which allows users to immerse themselves in far-flung locations like the Amazon rainforest or the Arctic.</p> <p><img src="https://assets.econsultancy.com/images/0009/2413/greenpeace.JPG" alt="" width="760" height="416"> </p> <p>This has been particularly helpful for Greenpeace, as it works to protect places that people are rarely able to visit in person. As a result, the VR experience brings supporters closer, helping to forge more of a connection between the money they donate and the work done to protect the environment.</p> <h3>Velux</h3> <p>Velux, a company that specialises in roof windows and skylights, recently launched the MyDaylight app to help customers visualise the benefits of an installation in their own home.</p> <p>It lets users design a room by easily inputting dimensions such as roof height and ceiling pitch, before customising with windows, skylights, and decorative finishes. The app then generates a digital simulation of the final result which can be viewed in 360 degrees, or with the use of a headset, in virtual reality.</p> <p><img src="https://assets.econsultancy.com/images/0009/2410/mydaylight.JPG" alt="" width="391" height="629"></p> <p>While we’ve previously seen home décor brands experiment with AR to help consumers visualise design – Ikea Place is one of the biggest – this is one of the first times a brand has used VR to create a fully immersive experience.</p> <p>With home improvements typically taking more time and deliberation (and therefore a longer journey to purchase), the MyDaylight app is a good example of how to utilise the technology to guide decision-making as well as inspiration. </p> <p><img src="https://assets.econsultancy.com/images/0009/2411/mydaylight_2.JPG" alt="" width="399" height="694"></p> <h3>Lowes</h3> <p>Lowes is another home improvement brand to experiment with VR technology, having introduced a VR experience in select US stores last year.</p> <p>The idea behind ‘Holoroom How To’ is to provide customers with immersive training so that they feel confident in undertaking tricky DIY projects. When customers put on the headset, for example, they will be given instructions on how to complete a task, such as tiling a wall or putting up a shelf.</p> <p><iframe src="https://www.youtube.com/embed/OIYItG1RKuI?wmode=transparent" width="640" height="360"></iframe></p> <p>As well as educating customers, the aim for Lowes is to prompt customers to scale up DIY and carry out projects they might have previously felt were too difficult or complicated.</p> <p>With other initiatives such as the ‘Vision’ AR app and ‘Measured by Lowes’, the brand’s dedication to innovation is evident – it was also recently named the number one most innovative company in AR/VR by Fast Company.</p> <h3>Alzheimer’s Research UK</h3> <p>Alzheimer’s Research UK is another charity, like Greenpeace, using virtual reality, this time to help break down common assumptions and increase understanding about dementia.</p> <p>Many people assume the disease only affects the aged, with memory loss being the main and only symptom. However, the reality is often very different, with various forms of dementia resulting in a wide range of hugely challenging symptoms.</p> <p><iframe src="https://www.youtube.com/embed/dm8IwDoOXiQ?wmode=transparent" width="640" height="360"></iframe></p> <p>The ’Walk Through Dementia’ app – which works in conjunction with Google Cardboard – allows users to experience everyday scenarios, such as being at the supermarket, while suffering symptoms of the disease.</p> <p>From sensory overload to changes in food preferences, the app effectively highlights the reality of what it is like to live with dementia. In turn, it has created a powerful way to connect with supporters of the charity as well as encourage new people to join and offer help.</p> <h3>New York Times</h3> <p>Publishers and journalists can also benefit from virtual reality’s ability to create a sense of place. The New York Times is particularly skilled at integrating the technology into its reporting, specifically to enhance stories where location is key.</p> <p>In 2015, it launched the NYT VR app in conjunction with Displaced – a VR film about three children displaced by war. Through VR, viewers can experience what it’s like to be inside a refugee camp, from the viewpoint of those affected.</p> <p><iframe src="https://www.youtube.com/embed/ecavbpCuvkI?wmode=transparent" width="640" height="360"></iframe></p> <p>Since Displaced, the New York Times has gone on to publish more than 20 VR films, and more recently, it has launched the Daily 360 – a series of VR or 360-degree video filmed from a different location in the world every day. </p> <p><img src="https://assets.econsultancy.com/images/0009/2414/NYT.JPG" alt="" width="650" height="542"></p> <p>The power of virtual reality for journalism is being recognised elsewhere too. The Guardian also has its own app specifically for VR stories, as does broadcaster ARTE (which also created the award-winning VR film, Notes on Blindness.)</p> <h3>NBC</h3> <p>The Winter Olympics is an exciting spectacle even on bog-standard television, but this year, NBC is aiming to make it even more so by broadcasting it in full virtual reality.</p> <p>Compatible with headsets including Gear VR, Google Daydream/Cardboard, and Windows Mixed Reality – the NBC Sports VR app allows viewers to become fully immersed in sports such as ski jumping and speed skating.</p> <p><img src="https://assets.econsultancy.com/images/0009/2415/nbc_vr.JPG" alt="" width="780" height="356"></p> <p>Interestingly, <a href="https://www.engadget.com/2018/02/20/nbc-winter-olympics-2018-vr-review/" target="_blank">some have bemoaned</a> the technology as being glitchy and frustrating to use, even labelling it as a gimmick. That being said, it still marks a change in the way consumers are starting to view VR. </p> <p>According to a <a href="https://www.econsultancy.com/blog/69455-five-new-and-innovative-examples-of-augmented-reality-in-retail-apps" target="_blank">recent study</a>, 30% of consumers are predicted to start watching TV via VR headsets in the next few years. So, with mass-media broadcasters like NBC paving the way, it might not be too long before we see fewer sales of big-screen TV’s, and even more VR headsets.</p> <p><em><strong>Related articles:</strong></em></p> <ul> <li><em><a href="https://www.econsultancy.com/blog/69455-five-new-and-innovative-examples-of-augmented-reality-in-retail-apps" target="_blank">Five new and innovative examples of augmented reality in retail apps</a></em></li> <li><em><a href="https://econsultancy.com/blog/69243-is-it-time-to-put-the-kibosh-on-the-vr-hype" target="_blank">Is it time to put the kibosh on the VR hype?</a></em></li> <li><em><a href="https://econsultancy.com/blog/69093-how-wah-nails-is-using-vr-to-enhance-the-salon-experience" target="_blank">How WAH Nails is using VR to enhance the salon experience</a></em></li> </ul> 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>