It's hard not to love this Cyber Grand Prix-winning initiative promoting "El Gordo," an annual holiday lottery in Spain.
While the rest of the industry obsessed over John Lewis' "Man on the Moon" last Christmas, "Justino" quietly went about its business—with a touching animated short about a night watchman at a mannequin factory who never gets to meet his day-timer co-workers. In an attempt to create a bond, he poses mannequins in fun scenarios as a way to greet them each morning. But when he sees news that the company had set up a lottery pool without him—and won—he's heartbroken. You have to see what happens next for yourself.
While brilliant even as just an online video, "Justino" took social sharing a leap further than most such promotions—even John Lewis' acclaimed holiday campaign.
According to Libris, the Spanish national lottery set up social media accounts specific to the #Justino campaign, with content optimized for each channel. In one, viewers could comment on their favorite scenes. In another, they could guess at key elements of the story line. In all, viewers were brought into the story even while becoming viral engines for it.
It was exactly this kind of finely crafted digital storytelling that inspired its Cannes win, according to reports in Ad Age.
Kudos to Leo Burnett Madrid and all involved for a job well done.
The news from Cannes today found campaigns winning big for being particularly offbeat—risky even—with considerable success.
First was word that REI won the Promo & Activation Grand Prix for the "ultimate 'anti-promotion.'" That would be the whole #OptOutside campaign from last November, which involved shutting the store during Black Friday, the busiest shopping day of the year.
And the Swedish Tourism Board won the Direct Marketing Grand Prix for 'The Swedish Number,'" which gave prospective tourists the ability to dial a special number to play a kind of chat roulette with a random Swede in order to get the 411 on reasons to visit (see YouTube video above).
According to early reports from Skift, these randomized ambassadors signed up for the chance to talk about everything from the Northern Lights and IKEA, to ABBA and H&M, with total strangers.
According to Ad Age, REI isn't saying how successful the #OptOut initiative was, though sales for the full year were up nearly 10%.
It's a little harder to figure out why the Tourism effort won in the Direct category—it's unclear what made it a direct marketing effort—let alone how much new tourism it inspired.
It'd be hard to quantify that anyway. But in its first day or so, we do know the campaign generated 2,300 calls, mostly from Turkey (68% of the calls, in fact), the US (20%), UK (6%) Germany (2%) and Austria (2%).
And let's face it, it is a great example of an On-Demand Brand. Hell, it made us want to call a random Swede.
The fact is, email marketing is a lot different than it was 10 years ago—or even two years ago.
Mobile is the name of the game, which means responsive design plays an important role. According to YesMail, open rates for responsive and standard email formats are about the same. But click through rates for email messages shown in a responsive format are much higher.
But with email marketing resurgent, it's important to look beyond the clicks to building lists and structuring nurture tracks. So in part two of my recent appearance on the Jim Blasingame show, we talk about list strategies and, and the do's and don'ts a trend that can be as awesome as it is irritating: email subscription pop-overs.
Social media may get all the attention these days, but more marketers are gravitating back toward that original form of digital marketing: email.
There's good reason: According to research from McKinsey and Company, email outperforms Facebook and Twitter in terms of conversion rates by 40X.
So what's driving the move back toward email? That's the topic of a recent appearance on the Jim Blasingame Show. While Jim's show is mostly targeted to small- to medium-size companies, this conversation applies to any marketer looking to boost performance—even if it means revisiting one of the oldest of our newfangled digital channels.
Check out this spoof video from Project GramGram, which comes with some great tips for connecting with your dear old grandma—including using a fictitious new service that lets you send social media posts via snail mail, so you can update her instantly, "in three to five days."
My favorite: Alternative options like, "the phone app, available on most mobile devices."
Apparently it's all the work of some Brigham Young University students. Which means their muse was, most likely, a certain somebody who wasn't going to hear any more about their excuses for not staying connected.
If this is the result, we hope they tell her thank you for us.
IIf Augmented Reality holds so much more promise than Virtual Reality, are investments in developing VR-specific devices like Oculus Rift just a waste of time and money—especially when mobile phones can be used for both AR and VR?
In the conclusion of my recent conversation with content delivery network (CDN) provider Limelight Networks' Charlie Kraus, we'll get answers to that question—and learn why when it comes to both AR and VR, it's voice that's the killer app.
It turns out the promise of virtual reality bites when compared to long-term prospects for augmented reality.
At least that’s according to research from Manatt Digital Media that estimates the market for VR-based solutions will account for only $30 billion of a total $150 billion combined AR/VR market by 2020.
But there’s always a “but,” right?
In this case, that “but” is followed by a question: How are we supposed to square Manatt’s research with seemingly contradictory estimates like those from Gartner, whose ever-popular Hype Cycle chart shows AR far behind VR—indeed, far behind even autonomous vehicles—in its advance toward true market traction?
Short answer: You can’t. And in my view, it’s VR’s fault.
A Virtual Conundrum
To get to what I mean, I went to Charlie Kraus, senior product marketing manager for Limelight Networks, which is a leading content delivery network (CDN) provider.
CDNs, of course, are used by carriers and others to deliver all that content you consume online—text, graphics, videos, games, music, etc.—with a high level of availability and performance.
As you might imagine, AR (content superimposed on the user's view of the physical world) and VR (content that immerses the user in a simulated world) can only be as good as the networks through which that content is delivered.
After all, if you think buffering at a key moment on “House of Cards” is innervating, just wait until you miss a critical turn as you make your way around an unfamiliar city using AR-based navigation, or find yourself frozen and subsequently fragged by opponents within VR gaming worlds, due to network congestion.
So while most of the focus is on manufacturers producing devices like Oculus Rift and app developers for more common devices such as iPhones, I figured content networks may have actual usage patterns from which to base projections.
In part one of this Q & A, I ask Kraus to spell out the differences between VR and AR for listeners who may be confused by the terms (and no wonder—look at this article out today that seems to equate the two), and why Limelight is especially bullish on AR.
Then I ask about what I see as a key problem with reconciling contradictory projections about adoption rates for both AR and VR.
Sure, AR seems pretty well defined. But VR is an entirely different matter.
Which is why there’s no way I could resist asking Rich Silverstein and other people central to its creation to appear on-camera to share insights on "The Seagate Living Logo"—the world’s first patent-pending corporate brand identity.
(See video at bottom)
NEVER THE SAME LOGO TWICE
Yes, it’s true that brand identities rendered in real time through data visualization have been around for a while now.
But the Seagate Living Logo—launched at CES last January—is the first to have a patent in play for literally taking its shape using live data feeds flowing from public data sources such as Twitter, Facebook, Instagram, LastFM, Amazon, Getty Images and more.
The idea? To represent the integral role Seagate storage solutions play in storing 40% of the world’s data, and in enabling the data-centric business models of today’s most innovative companies.
INNOVATION IN MOTION
Throughout the last 12 months, new variants have included interactive Living Logos that respond to physical movements through Microsoft Kinect-based technology—allowing you to essentially swim amid social media posts and images.
A standalone Facebook version lets you personalize the experience using your own online images.
And another can be customized in real time using Twitter and Instagram keywords and handles, as well as your own uploaded images, for live business meetings and events.
THE START OF SOMETHING BIG (DATA)
As is typical in social media these days, reaction to the Living Logo there and elsewhere has ranged from the snarky to the sublime.
Yet regardless of where you fall on that score, the Living Logo represents a notable new entry into the annals of corporate branding.
And it seems to have sparked a trend.
Last July, Brazilian telco FS Company launched a dynamic logo that uses code and generative design to reflect the real-time activity on the company’s servers.
And a UK-based design firm called Amaze is now tracking employees’ physical movements and digital activities to drive a “human-powered” living logo using a framework that sounds a lot like Seagate’s.
Which makes sense. Given the fact that Gartner reports nearly 75% of companies plan to invest in big data solutions in the next two years, the Seagate Living Logo surely stands on the cutting edge of what is likely to become a crowded field in the years ahead.
This short video, edited by Seagate’s George Shubin, will give you the inside scoop on the Seagate Living Logo and how it came to be.
(Full disclosure: I've had creative input on the development of the Living Logo, and have worked closely with these and other people working on the project at Seagate, Goodby, Silverstein & Partners, Pet Gorilla and elsewhere.)
DATA IS BEAUTIFUL: THE STORY BEHIND THE SEAGATE LIVING LOGO
As the marketing world obsesses over Coca-Cola's decision to trade out its hugely popular "Open Happiness" tagline to "Taste the Feeling"(see one of 25 new spots, above), it's been fun revisiting the commotion created over some of its previous slogan changes.
Check out reaction (including my own) to "The Coke Side of Life" in Ad Age a decade ago.
Indeed, whenever Coca-Cola makes marketing changes of this magnitude, it can be a hoot to take stock of its taglines from times past. You usually find some surprises along the way.
A SIP DOWN MEMORY LANE
Despite being one of the world's most successful brands, there have certainly been some oddballs in Coca-Cola's advertising oeuvre—who can resist "Enjoy a Glass of Liquid Laughter" (1911), or "Proves a Big Help to Tired Housewives" (1909)?
And then there's that golden oldie: "Coca-Cola: The Great National Temperance Beverage" (1907)—which, we're told, "has none of the ill effects or 'let down' qualities of alcoholic stimulants." Yum.
Some old taglines are just inscrutable—"Same to You" (1940) sounds as if the feeling you're tasting is indignation.
And present-day regulators might have a field day with any tagline that proclaims Coke is "Pure and Healthful" (1904), and "Adds a Refreshing Relish to Every Form of Exercise" (1906), with "The Perfect Blend of Pure Products from Nature" (1923).
To modern audiences, other tags charitably might seem like aspirational positioning in the extreme—such as, "The Ideal Beverage for Discriminating People" (1906), "The Sign of Good Taste" (1957), and "The Best Drink Anyone Can Buy" (1913).
After all, everyone knows the best drink you can buy isn't Coca-Cola. It's Coke Zero.
PAST AS PROLOGUE?
Despite so many antiquated curios from campaigns past, many Coke taglines of yesteryear would be completely at home in the digital age.
Think about it:
In an era of virtual reality, 3D printing and social media poseurs, Coke promises to bring you "The Real Thing" (1948)
Ad skipping technology? "Relax with the Pause that Refreshes" (1947)
The age of Uber and Airbnb? "Share a Coke" (2011)
Group texting, geo-fencing and flash mobs? "Meet Me at the Soda Fountain" (1930)
Personal aerial drones? "Look Up, America!" (1975)
Even online activism and crowd funding fit that all-time favorite, "I'd Like to Buy the World a Coke" (1971).
Yet perhaps it's that texting-and-flash-mob example that hits home most. As it happens, Coke classics seem especially well suited for the mobile revolution—including (among a surprising number of others):
Whether this is all a sign of soda-pop prescience, promotional predestination or pure chance, Coca-Cola remains a venerable brand whose slogans will provide plenty for (pop-) cultural anthropologists to ponder in decades to come.
Will future advertising aficionados still find it as amusing as we do?