“This new combined offering demonstrates how we can leverage our entire collection of content to drive deeper connections with consumers and greater value for our distribution partners,” Bakish said in the memo. Paramount has been working to streamline its offerings as it competes with other online services. It has already integrated Showtime with Paramount+ abroad. Showtime’s standalone streaming products in the U.S. will disappear later this year. Chris McCarthy will continue to lead the Showtime business, while Tom Ryan heads the streaming operation, Bakish added. —Bloomberg News via Digital Marketing Education https://ift.tt/RFfaZT0
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Ahead of Super Bowl 2023, several brands will release their Big Game commercials. Bookmark this page to stay up to date on new releases up until kickoff on Feb. 12, when the Philadelphia Eagles and Kansas City Chiefs face off on Fox. For even more pre-game viewing, catch up here on teasers from brands as well as other brand plans for the Super Bowl. via Digital Marketing Education https://ift.tt/6tS29sE Wonderhood Studios have been moving in exalted circles: last year, HRH the Princess of Wales became a client when the agency won a pitch for her Royal Foundation Centre for Early Learning. A few visits to Kensington Palace and Windsor Castle later, Wonderhood has come up with this claymation film, designed to raise awareness of the importance of the first five years for children’s development. It will appear in Piccadilly Circus and in cinemas across the UK from Friday.
HRH said: “By focusing our collective time, energy, and resources to build a supportive, nurturing world around the youngest members of our society and those caring for them, we can make a huge difference to the health and happiness of generations to come. “We are all responsible for building a more compassionate world in which our children can grow, learn and live. In these difficult times, it is more important than ever to help support parents and caregivers provide loving, safe and secure homes for their babies and young children to thrive.” The film is the first step in the “Shaping Us” campaign to raise awareness of the foundation and get people talking. The Centre for Early Learning’s activity includes commissioning research as well as working with the public and private sectors to change the way we think about early childhood development.
Its first research project shows that around 36% of adults report knowing little or nothing about how children develop in their early childhood. HRH has also used her influence to bring in an interesting range of “champions” for her cause. These are DJ and TV presenter Fearne Cotton, DJ Jax Jones, blogger Giovanna Fletcher, Love Island’s Zara McDemormott, rugby player Ugo Monye and England football captain Leah Williamson. via Digital Marketing Education https://ift.tt/J4hIL3R Hey Wonderful has signed award-winning filmmaker Matteo Mosterts for commercial representation. A storyteller whose work combines comedy, film craft and performances with a lot of heart, Mosterts has directed campaigns for Amazon and Cisco, as well standout short films such as Afternoon Delight, an entertaining twist on an afternoon dalliance, Faith, a drama which suggests faith works in unexpected ways, and Wally’s Will, a dark comedy about an eccentric millionairess starring Linda Gray. The news was announced today by Michael Di Girolamo, Founder & Managing Partner, Hey Wonderful.
“Michael and I met in the beginning of my advertising career and he’s been a mentor on my directing path,” Mosterts said. “From my first short all the way up to me joining Hey Wonderful, he’s been a fan, as I’ve been of him and the company. I also worked with his partner Sarah McMurray previously and was thrilled they teamed up. Our objectives are to find projects that have potential, that can benefit from my sensibility as well as Hey Wonderful’s firepower. There’s a lot of ambition to make amazing work, and I’m excited to see what this year will bring.”
“Matteo and I have had a long history in the business and I’m thrilled that we finally get to work together at Hey Wonderful,” Di Girolamo said. “When he shared his first short film, Wally’s Will with Linda Gray, I knew he had what it takes to go the distance. To me, his short films offer glimpses of early works from Italian film greats like Sorrentino and Guadagnino, and I love seeing that visual storytelling, exceptional performance and humor in his commercial campaigns for Amazon. I’m excited to help him continue to grow his career as a director to watch in advertising.”
Mosterts’ work for Amazon is relatable and effortlessly funny, with the brand’s various products fitting seamlessly into the narrative. Among his other recent work is a campaign for Cisco he both produced and directed, featuring a series of meticulously art directed spots that are among the most unique for the brand.
“I think a sophisticated visual sensibility and comedy aren’t mutually exclusive,” Mosterts said. “In fact, I love exploring technical executions that enhance narrative and humor. There’s nothing better than speculating on chiaroscuro and convoluted transitions to tell jokes.”
via Digital Marketing Education https://ift.tt/a8okxbM Even after a generation of technology radically remade the landscape of the music industry, music remains where it’s always been—at the center of culture. technological innovation and consumer behavior, influenced by demographic shifts as well as the pandemic, have the television and advertising industry. Against the backdrop of content overload and competition from social video for younger eyeballs, the marketplace is transforming its content and ad strategy to address the rapid growth of streaming TV, and especially the potential of free ad-supported streaming television (aka FAST). One example: During the recent CES conference, Vevo announced a partnership with TikTok to produce a weekly show, “Trending on TikTok,” for Vevo’s FAST network. On Jan. 6, LaTrice Burnette, executive VP of Def Jam Recordings and president of 4th & Broadway, and Steve Rifkind, music entrepreneur and founder of Loud Records and SRC Records, joined Dan Peres, president and editor-in-chief of Ad Age, for an exclusive CES fireside chat. The three discussed the history and state of music videos, in particular how videos are still key to launching new artists as well as a proven solution for brands looking to align with the cultural conversation. Successful artist-brand collaborationsBoth Rifkind and Burnette are music industry veterans with long track records of overseeing lucrative collaborations between major brands and artists. At Loud Records, Rifkind discovered the Wu-Tang Clan, Mobb Deep and Three 6 Mafia, and his firm the Steven Rifkind Company helped pioneer street team marketing within the hip-hop community. During his career, he’s launched successful marketing campaigns with brands including T-Mobile, Adidas, Nike, Pepsi and Levi’s. “Videos are still the most important factor for artists who are breaking through,” Rifkind said, noting that Vevo has replaced older channels as the primary place fans can watch music videos. During her time at Records, Burnette led marketing campaigns for artists such as DJ Khaled, Travis Scott, Ciara and Diddy. One of the major lessons from the pandemic era is that disruptions, technological or otherwise, can lead to innovations and opportunities for artists and brands. Burnette pointed out that this isn’t a novel development. “When I started in the music industry, digital was new media,” she said. “Then we were coming off of Napster and illegal file sharing. Today we have to look within disruptive models and figure out a way to use them to position our artists and translate it to our existing marketing.” DE&I spurs authenticityAnother major disruption of the past few years—the movement for more diversity, equity and inclusion in society and in the media—is also related to a base of people who have been historically ignored or underrepresented. Increasing diversity is vital, Burnette said, both as an African American female and because she thinks it’s important to know your audience. “I’ve always been that person in the room who if I see something that’s not on target or on brand, it’s my responsibility to step up and say, ‘We need to look at this. This is not right. Here’s why this may be problematic once it’s launched,’ she said. “More of those conversations need to happen, because they can save people so much time, money and heartache.” Authenticity is key to connecting with an artist’s fan base when pursuing the right brand partnership deals, Rifkind added, whether it’s Levi’s and Lauryn Hill, Helly-Hansen and Mobb Deep or Nike and the Wu-Tang Clan. “When you are working with artists and doing brand deals, if it’s not authentic, then we shouldn’t do it at all,” said Burnette. “The partnership of record executive and rapper DJ Khaled with footwear brand Jordan, for example, is an authentic brand partnership because they listen to him, and he’s super involved in every step of the creative process. That’s what resonates with his audience.” “It’s about knowing your audience to a T,” Rifkind added. “Back in the day, with the street team, we knew what bus or train they could take to school, what sport they played, what their grade point average was. We knew everything about their lives.” Continuing innovationFor Vevo, the next step for capitalizing on the authenticity of partnerships between brands and musical artists and their fans is the move from digital on-demand to more long-form content via its growing FAST network of genre-specific music video channels. With broad distribution on platforms including The Roku Channel and Amazon’s Freevee, Vevo’s network has grown to nearly 150 channels, making it the largest FAST network in the world. Vevo’s rich content catalog provides brands with the opportunity to reach music fans where they are, as viewers continue to migrate from linear to streaming and particularly as ad-supported streaming grows in popularity.
via Digital Marketing Education https://ift.tt/sjU1uPM One of the trickier assignments for any agency this year is the one that faces VCCP for Thames Water, the largely unloved UK water supplier that’s more famous for its leaks, untreated sewage and predilection for digging up the same bit of road again and again (three bits within half a mile of where I live last week.) So what do you do? Find a cuddly animal front man of course – Brian the otter in this case, according to the Mail on Sunday which caught them out filming.
VCCP has quite a considerable menagerie to its name: Sergei and his meerkat chums most famously for Comparethemarket (joined by a wombat in their latest outing), a supposedly winning robot called Bubl for O2 and a highland cow (could be of either sex) for another newish client that divides opinion, Virgin Media. Otters, of course, have made a comeback in the UK as some rivers have been made cleaner. Thames Water’s hardly unimpeachable record in this respect has led some to suggest that Brian – if, indeed, that’s what he’s to be called – has landed a bum deal here. As with many such notions it probably seemed a good idea at the time.
via Digital Marketing Education https://ift.tt/VqDIYug “All of those titles are not our brand; they’re all unique pieces of content,” Parlapiano said. “We need to get people to discover something new, to have a different kind of content journey than just watching the latest shiny title for the latest original, like on the subscription platforms. So the idea is to start brand-first, so people are in that mindset.” A consumer and B2B play in oneTubi offers some 48,000 titles (eight times more than Netflix) from more than 450 content partners and more than 70 originals. Total viewing time grew by 45 percent from November 2021 to November 2022. The service now counts 61 million active monthly users. With a short timeline and no budget for celebrities, Parlapiano said she needed breakthrough creative that would get noticed but also set Tubi up for success over the rest of the year. Mischief checked both boxes. “It’s not only their provocative work. Their strategic work is really strong,” she said. “We’re working with them on the long-term brand platform, as well as Super Bowl, so those things stay connected. But they do take more risks than most. They know how to shake things up.” While more streamers have begun to offer ad-supported tiers, Tubi has always been free and advertiser-driven. Mark Rotblat, Tubi’s chief revenue officer, said the Super Bowl buy should be an effective business-to-business play—reaching advertisers who might want to buy time on the service—as well as a consumer play. “We’re built differently,” he said. “We go for the largest library with the best personalization. Everybody’s experience can be unique, and that’s the focus of the creative. It’s important to tell that story not just to consumers but to advertisers-as-consumers. We want them to know the emotional connection we have with our viewers.” via Digital Marketing Education https://ift.tt/B5It7fx There seems to be fairly major deck-clearing exercise underway at IPG-owned McCann, with McCann Worldgroup global president and chief creative officer Alex Lopez, a former Nike marketer, leaving hard on the heels of McCann global chairman and CEO Chris McDonald. Which means that McCann Worldgroup global CEO Daryl Lee (above) will become McCann global CEO too. Quite where McCann ends and Worldgroup begins is possibly only known to Interpublic insiders and pulling the two together seems sensible (Worldgroup is the international network of 120 or so mainly McCann agencies.) Under its former arrangement, turf wars looked inevitable.
Lee, of course, is a former global CEO (lot of those still around these days) of IPG Mediabrands, parent company of UM and Initiative. As such he may have found the existing structure at creative agency McCann needlessly complicated. IPG also owns FCB, MullenLowe and numerous smaller shops who may now be looking nervously over their shoulders. Philippe Krakowsky is the current boss of IPG and it looks from the outside that he is less committed to the status quo than long-serving predecessor Michael Roth. Creative agencies no longer call the shots in the big holding companies and there’s a slow but perceptible move from scores of creative agency brands to far fewer, sometimes, as with the newly-minted Dentsu Creative, just one. Publicis Groupe, which has been extolling the power of one for years now, still has many more although it has lumped together some of its best US creative talent from the likes of Leo Burnett and Saatchi & Saatchi into New York entity Le Truc. One might wonder if the Publicis agency brand still has much salience outside Europe where it’s still big in France and a stand-out performer in Italy.
WPP has merged all of its creative agencies with the exception of Ogilvy – still a mini-holding company in many ways – including VMLY&R, reportedly a strong performer in the US although more so from VML (the digital bit) than Y&R. Ditto Wunderman Thompson elsewhere. As shareholders demand growth, as opposed to survival, in a post-pandemic world 2023 is likely to see more big changes. via Digital Marketing Education https://ift.tt/UlSVfbr |
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April 2023
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