MIPTV Liveblog: Branded Entertainment Across All Platforms (post enhanced with illustrative videos!)
Tuesday 13 April 2010
"A brand can be built over generations but destroyed in 140 characters," began CEO Charlie Crowe of C Squared, rather ominously, at the opening of "Branded Entertainment Across All Platforms."
The session featured heads from Coca-Cola, @radical media, Banijay, Louis Vuitton and OgilvyEntertainment. Panelists share the same philosophy: articulate a consistent story across all appropriate platforms, ensuring that the message maintains a fidelity to the brand, the user and the medium itself.
Those of you that know the agency scene won't be surprised by the pitch given by Douglas Scott, president of OgilvyEntertainment. The latter highlighted three major, albeit obvious, trends:
o Screen Shift, whereby more screens, like iPhone and the iPad, are dividing a finite amount of attention
o Time Shift - where "When should I watch it?" becomes "When I want to watch it."
o Media Meshing, a euphemism for the now oft-seen picture of a young boy sitting in front of the TV, texting on his phone, tweeting and IMing a friend at the same time.
The key to conquering all that volatility is content, which Ogilvy has come to see as social, promotional and economic currency. Exceptional content establishes a dialogue with users; consider the work the agency did for the La Main Perrier campaign, in which the hand that so excited a Perrier bottle into "blossoming" in a 1976 ad is given the cewebrity treatment.
The original ad:
34 years later, the "hand" remains sufficiently well-known to inspire a YouTube casting for the perfect five-fingered coquette:
Good content, coupled with the right content partners (from production house to talent to final medium chosen) makes all the difference in terms of brand economics, concluded Scott serenely.
Worldwide digital media director Kamel Ouadi of Louis Vuitton France was equally poetic.
"Each brand has a heart, a DNA," he sermoned, lending credence to my original suspicion that a successful TV-to-'net transition is the same as any X-to-'net transition: follow your DNA down the natural evolutionary path of your story, your brand and your people.
Ouadi briefed his public on the recent crowdsourced film festival for its ongoing Journeys campaign. Featuring such judges as Wong Kar Wai and Sofia Coppola, young filmmakers were encouraged to use their own audiovisual prowess to define the "journey" à la Louis Vuitton.
The contest had two prizes: jury and people's choice, both worth $25,000. Here is "The Time Walker" by Japan's Sho Tsukikawa, the winner of the jury prize:
The work was particularly meaningful because it demonstrates there's a use for social media by luxury brands, which sometimes worry there's no way to maintain exclusivity and cachet on democratic media. But with clear boundaries in place (for example, the same "journeys" text appeared in all film festival videos) and a clear communications strategy, users followed the tone set by Vuitton, speaking in the same artistic, ephemeral accent that the brand used.
@radical media works primarily with branded content, according to president Bob Friedman, and the example he gave of their work was "Summit on the Summit," a painful and ongoing exploration of pop stars and artists banded together on a quest to climb Mount Kilimanjaro.
Famous faces - who suffer nausea, potential suffocation and the freezing of their corneas for your viewing pleasure - include Jessica Biel, Lupe Fiasco, Isabel Lucas and Santogold. The work is presented by PUR and available on MTV. Follow all the fun on Twitter: @SOTSK.
Catherine Krokos-Leroy, head of branded entertainment at Banijay France, demonstrated how a liaison with magazine Boost to find a new spokesgirl raised brand equity for Ford Fiesta.
The session ended with European creative director Guy Duncan of Coca-Cola UK, who rather aptly said, "I'm not gonna sound the death knell of the 30-second TV spot, we're still gonna do that stuff, but we need to complement that activity with new branded entertainment: Facebook, Twitter."
What's Coke's story? By now, you've heard it: "When you open a bottle of Coke - and I drank the liquid*, I believe in it - you open happiness," Duncan beams. The objective is to relate that story across multiple platforms.
Examples include Expedition 206, in which the young and the eager spread their happiness seeds throughout the world (faithfully documenting their trips over the 'net). The Happiness Machine campaign was also mentioned, good evidence that great work can still happen outside a screen (though it certainly helps to spread the word on one):
Curiously, he also brought up Lady Gaga's "Telephone." In this epic of a music video, which has so far enjoyed over 26 million views, Lady Gaga briefly appears wearing Diet Coke cans in her hair as if they're curlers.
Duncan emphasised that Coke had nothing to do with this placement: "we had no control over it; she's a part of culture." But he did hasten to add that Gaga's choice of Diet Coke as hairpiece is slightly more glamorous than, say, ketchup bottles - and that Coke sees this as "earned media."
You be the judge.
by Angela Natividad
*The proper expression is "drank the Kool-Aid," but the latter is part of the Kraft family, and paying a little earned media in that direction would simply never do.
The session featured heads from Coca-Cola, @radical media, Banijay, Louis Vuitton and OgilvyEntertainment. Panelists share the same philosophy: articulate a consistent story across all appropriate platforms, ensuring that the message maintains a fidelity to the brand, the user and the medium itself.
Those of you that know the agency scene won't be surprised by the pitch given by Douglas Scott, president of OgilvyEntertainment. The latter highlighted three major, albeit obvious, trends:
o Screen Shift, whereby more screens, like iPhone and the iPad, are dividing a finite amount of attention
o Time Shift - where "When should I watch it?" becomes "When I want to watch it."
o Media Meshing, a euphemism for the now oft-seen picture of a young boy sitting in front of the TV, texting on his phone, tweeting and IMing a friend at the same time.
The key to conquering all that volatility is content, which Ogilvy has come to see as social, promotional and economic currency. Exceptional content establishes a dialogue with users; consider the work the agency did for the La Main Perrier campaign, in which the hand that so excited a Perrier bottle into "blossoming" in a 1976 ad is given the cewebrity treatment.
The original ad:
34 years later, the "hand" remains sufficiently well-known to inspire a YouTube casting for the perfect five-fingered coquette:
Good content, coupled with the right content partners (from production house to talent to final medium chosen) makes all the difference in terms of brand economics, concluded Scott serenely.
Worldwide digital media director Kamel Ouadi of Louis Vuitton France was equally poetic.
"Each brand has a heart, a DNA," he sermoned, lending credence to my original suspicion that a successful TV-to-'net transition is the same as any X-to-'net transition: follow your DNA down the natural evolutionary path of your story, your brand and your people.
Ouadi briefed his public on the recent crowdsourced film festival for its ongoing Journeys campaign. Featuring such judges as Wong Kar Wai and Sofia Coppola, young filmmakers were encouraged to use their own audiovisual prowess to define the "journey" à la Louis Vuitton.
The contest had two prizes: jury and people's choice, both worth $25,000. Here is "The Time Walker" by Japan's Sho Tsukikawa, the winner of the jury prize:
The work was particularly meaningful because it demonstrates there's a use for social media by luxury brands, which sometimes worry there's no way to maintain exclusivity and cachet on democratic media. But with clear boundaries in place (for example, the same "journeys" text appeared in all film festival videos) and a clear communications strategy, users followed the tone set by Vuitton, speaking in the same artistic, ephemeral accent that the brand used.
@radical media works primarily with branded content, according to president Bob Friedman, and the example he gave of their work was "Summit on the Summit," a painful and ongoing exploration of pop stars and artists banded together on a quest to climb Mount Kilimanjaro.
Famous faces - who suffer nausea, potential suffocation and the freezing of their corneas for your viewing pleasure - include Jessica Biel, Lupe Fiasco, Isabel Lucas and Santogold. The work is presented by PUR and available on MTV. Follow all the fun on Twitter: @SOTSK.
Catherine Krokos-Leroy, head of branded entertainment at Banijay France, demonstrated how a liaison with magazine Boost to find a new spokesgirl raised brand equity for Ford Fiesta.
The session ended with European creative director Guy Duncan of Coca-Cola UK, who rather aptly said, "I'm not gonna sound the death knell of the 30-second TV spot, we're still gonna do that stuff, but we need to complement that activity with new branded entertainment: Facebook, Twitter."
What's Coke's story? By now, you've heard it: "When you open a bottle of Coke - and I drank the liquid*, I believe in it - you open happiness," Duncan beams. The objective is to relate that story across multiple platforms.
Examples include Expedition 206, in which the young and the eager spread their happiness seeds throughout the world (faithfully documenting their trips over the 'net). The Happiness Machine campaign was also mentioned, good evidence that great work can still happen outside a screen (though it certainly helps to spread the word on one):
Curiously, he also brought up Lady Gaga's "Telephone." In this epic of a music video, which has so far enjoyed over 26 million views, Lady Gaga briefly appears wearing Diet Coke cans in her hair as if they're curlers.
Duncan emphasised that Coke had nothing to do with this placement: "we had no control over it; she's a part of culture." But he did hasten to add that Gaga's choice of Diet Coke as hairpiece is slightly more glamorous than, say, ketchup bottles - and that Coke sees this as "earned media."
You be the judge.
by Angela Natividad
*The proper expression is "drank the Kool-Aid," but the latter is part of the Kraft family, and paying a little earned media in that direction would simply never do.
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1. Le Tuesday 13 April 2010 à 18:00, par guest guest
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