SA TV Ratings: SABC 2 — primetime top 20 for Apr, May 2017

by MarkLives (@marklives) The hottest primetime television shows on SABC 2 in South Africa revealed: TV ratings for April and May 2017.

In 2016, the Broadcast Research Council of South Africa (BRCSA) changed its policy about giving away TAMS and now only monthly reports, highlighting the top 20 or 30 primetime shows on several popular channels, are available.

SABC 2 May 2017

BRCSA TV Ratings May 2017 primetime SABC 2

Source: BRCSA May 2017

SABC 2 April 2017

BRCSA TV Ratings April 2017 primetime SABC 2

Source: BRCSA April 2017

Broadcast Research Council of South Africa

 

The Broadcast Research Council of South Africa (the BRC) is a non-profit, industry body that was incorporated in 2015 to cater to the audience research needs of the radio and television industry in South Africa.

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Young, Gifted & Killing It: Musaba Kangulu

by Veli Ngubane (@TheNduna) Advertising wasn’t exactly on Musaba Kangulu’s ‘Top 100 things to do’ list but the industry welcomed the wide-eyed young woman with open arms. After a six-year digital love affair that blossomed, the relationship reached its breaking point when she decided to switch sides and take on the role of managing the digital footprint of one of Africa’s largest retailers. Not afraid to speak her mind, the young and gifted Kangulu (@ThatTypeOfMoose) believes in using her digital expertise to empower and nurture young black talent to challenge the status quo.

Veli Ngubane: Tell me about yourself: where did you grow up and what did you want to be when you were growing up?
Musaba Kangulu: I was born in Zambia and my parents thought it would be a good idea to pack up all of our belongings and move to the UK. At nine months old, I wasn’t really given a say in the matter, so we left and began a whole new adventure. Little did I know living abroad was probably the best gift they could have given me. My older sister was and still is, big on anything sci-fi- and adventure-film-related. I caught onto the bug from a young age and convinced my family I was going to work for Indiana Jones as his archaeologist assistant.

VN: How has where you grew up and how you were raised shaped your view of South Africa, Africa and the world?
MK: Moving around pushed me to understand my surroundings first, adapt and remain cognisant of what was said at all times so as not to offend but make a friend instead. Although I was raised to embrace diversity and expand my horizons, I experienced my own chronic African identity crisis. The older I got, I started to realise Africans everywhere share similar virtues. South Africa is a nation filled with history that needs to be shared and continuously explained so people are fully aware of the sacrifices made, the various African states that assisted in the apartheid regime and changes that still need to be delivered on. If we can get to a place where cultural identities are seen as an asset for growth rather than a stigma for crises, I firmly believe we can attain equal measure on a global standard.

VN: How did you a) get interested in advertising and b) break into the industry and land your first job?
MK: Whenever I’m asked about how I got involved in the wacky world of advertising, the reaction shown is never quite the same. I’ll start off by saying the advertising industry sort of fell into my lap. I hadn’t given much thought as to what I wanted to do after graduation but my folks had given me six months to get my act together. To pass time, I found work at a clothing store as a sales assistant. The culture was great and I bought into the brand’s mantra but something was missing from the mix: awareness. Unless you walked into the store and chatted to staff, you wouldn’t have known about the clothing line. Social media had just taken off and I guess you could say brands were still trying to find their feet with the medium. I conveyed the idea of the brand making use of social media to advertise their products effectively; however, they firmly believed in a word-of-mouth marketing approach. I was also asked if I had any experience in online advertising to which I answered with a bleak no. It was at that point I decided to take a leap of faith and apply for an internship at any firm that would take me in and show me the ropes.

Machine Agency [now known as Publicis Machine] then took me in and gave me the foundation I needed to make something of myself.

I’m quite fortunate to have parents [who] support me in any endeavour that makes me happy so the reaction was a good one. I also suspect they were secretly curious and excited about the prospect of having a daughter that could work the likes of Facebook and get paid for it.

VN: What is your view on transformation in the advertising industry?
MK: It’s a touchy subject for those [who] refuse to admit we have a problem. On one hand, we have individuals [who] are crying for immediate change but aren’t in positions to drive the process. On the other hand, we have organisations that are fully aware of the problem; however, instead of exploiting the full depth of black talent in the country, they’re recycling the same talent. It’s a huge concern as it means SA and corporations are missing opportunities to empower and develop a wider pool of talent.

Despite all of the above, I remain hopeful as change starts with empowering those around you. Change starts with owning up, addressing the issue and making a difference.

VN: You specialised in social media for some time then moved onto digital strategy. Why the switch?
MK: Honestly speaking? I got bored from managing social media accounts and wanted to be actively involved in the solving-actual-problems-for-brands bit. With a natural thirst for knowledge and curiosity, I was desperate to probe the problem and interrogate the requests a lot harder. Moving into digital strategy, however, was no walk in the park, either. Not only is it seen as tricky to break into and navigate around, strategy itself has always been ambiguous and the role of a ‘digital strategist’ can mean very different things across different organisations. Once again I was fortunate to have mentors at FCB Africa [who] pushed me to develop my critical thinking skillset as a way to better analyse, evaluate, plan and execute strategically.

The most interesting digital strategy work can get messy, and may require a number of different disciplines to solve. I’ve never liked the lone-ranger approach when developing a strategy so I tend to adopt an inclusive approach that invites contributions, supports details and the data.

VN: What about digital excites you?
MK: It really is a growing industry that lets you explore and think beyond the norm. You’re constantly challenged to take risks and, depending on the mind-set of the organisation you find yourself working at, you could even make a difference in someone’s life through the use of technology.

VN: What are the most-challenging aspects when formulating a digital strategy?
MK: That’s a hard one. Now that I’ve moved over to client side, I’m starting to acknowledge the importance of organisations having a clear business strategy. Having a strategy aligned to a core purpose makes practical sense for any organisation. Not having such makes it impossible to create an effective digital marketing strategy. The other challenge is not making the time to think through a strategy but simply implementing it for the sake of meeting a demand.

VN: As a digital brand manager, what do you do to keep up with marketing trends?
MK: I tend to focus on publications dedicated to digital marketing, UX design and storytelling. Aside from reading up on their latest technologies, they’re a great help in providing tips and advice when wanting to improve and strengthen existing strategies and processes.

VN: What do you like most about your job and what is most challenging?
MK: You wear so many hats and at times it can get incredibly overwhelming but, because of all the touchpoints you’re exposed to from customer insights, strategy, operations and creativity, there’s never a dull moment. I love the fact that I get to drive the process to support and carefully build the kind of technology that satisfies customer experiences.

VN: What made you leave advertising for corporate?
MK: Ever heard the phrase: “A change is as good as a holiday?”

VN: What is the SA advertising and marketing industry doing right and what needs to change?
MK: Brands are starting to understand the importance of instilling an integrated approach across the business, which is fantastic, but roles and titles still dictate who does what kind of work in both industries. I still come across people who manage large brand social media accounts but aren’t actively involved in the creative process when conceptualising campaign ideas. Agencies cannot afford to sell integrated ideas to clients if such an approach does not exist within their own organisation. The same mantra applies to brands.

For us to move away from this, we need to build a culture for individuals to be comfortable enough to exchange thoughts and ideas, irrespective of the role they find themselves [in].

VN: How do you perceive yourself as a woman leader in the creative industry?
MK: I’ve got this crazy habit of pushing people to be the very-best version of themselves when I spot potential. My approach as a female leader in the creative industry is simple: I’m on a mission to build a network that supports women. To achieve this, we need to acknowledge the fact that unconscious bias exists. While we see a handful of female leaders, I don’t think we’ve really gotten to the root cause of the challenges women of today face. Yes, we’re doing a somewhat better job of attracting women into the industry but we’re losing them in the middle of their careers. Why is this so and how do we go about eradicating this?

VN: What is it like to work as a female in a male-dominated industry and how do you think the industry may attract more female creatives?
MK: Statistics form a big part of my day-to-day deliverables. They’re somewhat comforting, knowing you have the power to use it to your advantage and possibly make a difference; however, there are some statistics that leave you at a loss for words. For instance, recent Deloitte studies show only 9.2% of women hold chairperson positions and 2.4% of women are appointed in CEO positions. As women, we cannot afford to remain a minority within a minority.

So how have I actually dealt with this? Being really good at what I do and supporting women as much as I can.

VN: You have worked on agency and client side; what are the lessons and how may client/agency relationships be better managed?
MK: There’s an assumption that client side is easier but I disagree. Both client and agency sides are equally demanding. Now that I find myself on other side, I fully understand and appreciate the importance of establishing a strong relationship that allows both parties to trust one other and allow brave work. Coming from agency has helped me understand how much time and work [are] needed to create great ideas, as well as the value of a sharp and clear brief.

On client side, there’s a need for us to familiarise ourselves with our respective agencies’ operations, from their style of thinking to the unpacking of insights and ideas. Doing this will help marketers understand the power of an idea and the importance of nurturing, leading and motivating people to drive the business forward.

VN: What advice would you give to youngsters who want to be digital strategists for advertising agencies?
MK: Find a place to learn; start narrow then go broad; become a great facilitator; ask the right questions; and, finally, prove it then sell it.

VN: What advice would you give to youngsters who want to leave the advertising industry for the corporate world?
MK:
Don’t leave the advertising industry in such a hurry. Find a mentor and learn as much as you can first.

VN: Please would you supply two or three pieces of work you have been involved in?

https://youtu.be/dxNiWR-NTl4

 

Veli NgubaneVeli Ngubane (@TheNduna) entered the world of advertising with a passion after completing his BSocSci (law, politics and economics) at the University of Cape Town and a post-graduate marketing diploma at Red & Yellow, where he also currently serves as advisory board chairman. He is the chief creative officer and founding partner of one of the fastest-growing agencies in the country, AVATAR. A full-service marketing agency with digital at the core, its clients include Brand South Africa, FOX Africa, National Geographic, SAA and Chevron. Veli hails from Kosi Bay in the rural KwaMhlaba Uyalingana area of KZN. In his monthly column “Young, Gifted & Killing It”, he profiles award-winning, kick-ass black creative talent in South Africa.

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Media Future: VOD heats up in South Africa

by Arthur Goldstuck (@art2gee) The arrival of a new video-on-demand (VOD) service in South Africa last month has added a new flavour to an intriguing marketplace.

When MTN announced in May 2017 it would shut down its VOD service, VU, just more than a year after Times Media lowered the curtain on a VOD service called Vidi, many assumed it was now a two-horse race between Naspers-owned ShowMax and the global giant Netflix. But the news was barely cold when a new player unveiled its offering. An online service called Digital Entertainment on Demand (DEOD) has been launched by a VOD solutions provider, Discover Digital. It happens to be the same company that provided the platform for MTN’s VU, and would have learned a few lessons from MTN’s failure to set the market alight.

Key lessons

The key lessons are fairly obvious, though:

  • It requires massive marketing budgets or clever niche programming — or both — to go up against the vast offering of Netflix, even given that it has a more-limited catalogue than the original US service
  • Without live sports, the bulk of the pay TV market remains firmly in the hands of MultiChoice and its DStv bouquet — with Supersport still one of the best live-sport services in the world
  • The number of people with the kind of high-speed connectivity needed to watch high-definition video via the internet is still tiny, relative to the scale needed to make such a service profitable.

Nevertheless, when the first inklings of Netflix’s arrival in SA surfaced, it became clear that DStv subscribers who were only watching movies and video series would be easy pickings for the US-based provider, which has single-handedly destroyed the video rental industry in the US. As a result, Naspers decided to set up its own competitor, preferring to see customers jump ship to a sister company rather than to the competition.

Showmax’s instant success in Kenya

ShowMax has worked hard to differentiate itself, with the largest South African movie and series catalogue available from any provider. However, this doesn’t appear to have been an effective enough counter to Netflix’s secret weapon: the ability to bring its own high-quality productions to a global audience simultaneously. But there is one market where it has made a massive impact through a keen understanding of local dynamics. In Kenya, it has achieved instant success, partly through adopting the same local content strategy in SA. However, the most-important factor in its success is its understanding of the local dynamics of the economy.

It has allowed viewers to subscribe via M-PESA, the Kenyan-born mobile money service that has transformed payments in East Africa. Users may also purchase a single movie at a time, making it the most-affordable, as well as -accessible, VOD service in Africa.

Into this stormy mix, DEOD made its entry last month.

Digital Entertainment on Demand launch 04Potential winner in Sports Pack

It offers a standard selection of rental and subscription movie and video series content, but has added two elements that give it more of a YouTube than a Netflix feel. The first is a news service that includes most major news channels from around the world. Since viewers tend to stick to one or two news sources, this one is unlikely to have the competition sit up and take notice. The second new element however, is a potential winner: a Sports Pack gives access to a range of popular niche sports that have been largely ignored by mainstream TV, with the aim of giving sports participants, sporting bodies and sponsors exposure. It includes no less than five niche channels:

  • Channel Edge HD — an extreme sports bouquet
  • Fightbox HD — covering all forms of fighting and martial arts
  • Motorvision TV — an automotive and motorsport channel
  • Nautical channel — for sailing and boating enthusiasts
  • Sportskool — a tuition-based channel with instructional sports content

“The new DEOD sports offering is just the first of a broader range of Discover Digital on-demand services set to propel SA niche sports into the limelight,” says Discover Digital managing director, Stephen Watson.

“Opportunity to secure coverage”

“There are probably 40 or more sports in South Africa that have thousands of participants, national championships and even international competitions, which do not enjoy airtime on traditional TV in SA. Via the DEOD sports desk, they now have an opportunity to secure coverage of their events among local fans. We also have the capacity to help sporting bodies stream, package and archive their events on any number of digital platforms for a broader international audience, which allows their sponsors to gain more exposure, better monetise their events, and showcase their participants.”

These include sports such as women’s hockey, SuperGP, mountain biking, surfing, gymnastics, tennis, netball, water sports and boxing, along with school leagues and tournaments with large followings.

Discover Digital plans to send its own experienced production team to help schools and sports bodies learn how to record, stream, archive and monetise their own content.

It is an open secret that no one may compete with DStv for the rights to major sports leagues and events. But in that very strategy lurks the massive gap that DEOD has spotted: the content MultiChoice doesn’t want but that tens of thousands of viewers do.

The cost of catching DEOD

  • DEOD app: free to download for Android (from Play Store) and IOS (App Store).
  • Rent a single movie: R18
  • On demand: All movies, series, music: R79 a month
  • All news channels: R49 a month
  • All sports channels: R99 a month
  • News + on demand: R99 a month
  • Sports + on demand: R159

Five devices are allowed to access each subscription. All titles are initially available in standard definition. Later, DEOD will introduce Chromecast and Airplay support, along with smart TV apps for all TV brands, and HD will then be enabled.

 

Arthur GoldstuckArthur Goldstuck heads up World Wide Worx (www.worldwideworx.com) and is editor-in-chief of Gadget. He is a consulting editor to MarkLives and our media tech columnist. Follow him on Twitter on @art2gee. This article has been republished from Gadget.

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Global Headline Makers: Pedro Bexiga & Marcelo Lourenço, Lisbon

by Mark Tungate (@MarkTungate) The creative directors of Fuel Lisboa, Pedro Bexiga and Marcelo Lourenço, are applying the rules of the golden age of Portuguese advertising to the digital era — and coming up with ads that connect.

Popular, heartfelt advertising

The sweet spot for a hit ad is often a shared human emotion, or what a planner might call “a universal human truth”. Call it what you wish but popular, heartfelt advertising is the kind of work that Bexiga and Lourenço do best.

Says Lourenço, “We like making ads that people talk about. Before Facebook or YouTube, that was the main way of judging the impact of a campaign. If you put a good story or idea on TV, it would become part of the water-cooler conversation. Awards are important, and it’s nice to be appreciated by the creative community; but what we really want to do is touch people.”

One of their best-known clients is Continente, Portugal’s largest supermarket chain, which enables them to make ads that enter popular culture. Or, as Bexiga puts it, “Big, fun, accessible commercials.”

This accessibility crops up in unlikely places. Take for instance, their work for the Queer Lisboa film festival, which treats a potentially provocative subject with levity and empathy. The duo clearly relish finding new ways of expressing the festival’s “straight friendly” message while keeping viewers hooked right up to the punch line.

Bexiga says: “The brief was to turn a niche festival into a more mainstream one. What we’ve found is that humour connects better than emotion. On social media, viewers have to get the joke instantly. Then the trick is to keep their attention.”

One of their most famous spots, for a very different cause, is still punching its weight over 15 years later. “Despicable” features a woman on a plane complaining about being seated next to a “negro”. After checking with the pilot, the stewardess agrees that some passengers are unbearable. Then she invites the young black guy to enjoy the flight in first class.

“That ad never goes away,” says Lourenço. “We put it on social media about five years ago and I still get at least one email or Facebook message a week about it. There’s a copywriter here at the agency who said it inspired him to go into advertising.”

Creative dynamite

Lourenço and Bexiga admit to being one of those creative duos who’ve worked together for so long that they’re like an old married couple. Lourenço says: “Sometimes I’ll be talking to my wife and I’ll refer to a conversation we had a few days ago. But then I’ll think, ‘No, that was with Pedro!’”

They met in 1999 when Lourenço (the copywriter of the duo) was invited to come to Lisbon from his native Brazil to work at Lowe, where Bexiga was based. The cross-fertilisation of talent from Brazil had already been instrumental in injecting new life into the Portuguese ad scene, resulting in an explosion of vivid and entertaining work.

Bexiga says: “Advertising in Portugal had been very factual and square. Then there was a boom period in the ’80s and ’90s when a lot of Brazilian creatives came here. Suddenly there was humour and fun, combined with insights about how real people behaved. By the time I began my career, that revolution was in place.”

After stints at TBWA and Leo Burnett, the pair were working at Euro RSCG in 2006 when its parent, Havas, decided to create a second agency called Fuel. “They had to create another agency because they couldn’t grow any bigger. They already had everything: supermarkets, beer, automotive, everything.” Bexiga and Lourenço pitched for the Volvo account and it became Fuel’s founding client.

“Founded at a time of economic crisis”

Fuel is now one of the biggest agencies in the country in terms of revenue, but it remains streamlined. Lourenço says: “We were founded at a time of economic crisis so we had to be a really tight operation. And we stayed that way. When people visit the agency, they can’t believe we’re still only 80 people.”

They operate, they say, “like a startup”, with a relatively flat hierarchy and a “never-give-up” approach to creating and pushing through great work. “We’ve also been naturally very integrated from the beginning,” Lourenço adds. “The sixth person we hired was a creative with a digital background. We’ve grown as an integrated agency in a very organic way.”

“That gives us an advantage in pitches,” says Bexiga. “Because our work is always very complete, covering lots of different elements. But we’re also very proud of the fact that, when we win clients, we keep them.”

They did upset someone recently, though. After the Charlie Hebdo shootings in France, they created a direct mail piece in the form of red pencils bound together like a stick of dynamite. The idea was that words and pictures could be weapons in the fight for freedom of speech. They sent it to several major newspapers around the globe. It caused a bomb scare at one of them, which promptly contacted the Havas network. “And Havas called us,” says Lourenço. “We’re grateful that we’ve won awards with this piece, because it almost got us fired!”

The pair often work pro bono for causes that concern them; they recently made a spot about domestic violence against women. “Thanks to social media, you can spread such messages much more efficiently now.”

But Bexiga observes that it’s much harder to get people to share a campaign for a mainstream brand (such as a supermarket) on their Facebook page. “Which makes it a worthwhile challenge!”

Lourenço says: “There was a kind of golden age when advertising became so funny, so entertaining, that it connected with people and made them talk about it. That’s the kind of work we try to do every single day at Fuel.”

 

Mark TungateMark Tungate (@MarkTungate) is the editorial director of the Epica Awards (@EpicaAwards), the only global creative prize judged by the specialist press. A British journalist based in Paris, Tungate is also the author of six books about branding and advertising, including Luxury World and Adland: A Global History of Advertising. He has a weekly column in the French magazine, Stratégies, and has written for leading newspapers and magazines in the UK and the US.

This “Global Headline Makers” column, which profiles creative stars making headlines in their home markets, is syndicated monthly from Epica.

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Ad of the Week: KFC story time

by Oresti Patricios (@orestaki) Ogilvy & Mather Johannesburg brings storytelling alive for KFC in a campaign that uses technology to revisit and refresh traditions of days that have long passed.

I must tell you how important reading and the telling of tales is for the younger folk. For children, a love of stories may lead to better-developed reading skills from an early age which will also assist in their academic careers, impart a love of learning and lead to higher grades in every subject. In addition, reading has been found to promote greater maturity, increased discipline and spark curiosity in the world, as well as to an interest in problem-solving and creativity.

This tradition of storytelling is being celebrated in KFC’s limited edition campaign, “KFC Suppertime Stories”. The idea is based on a simple concept: “Mealtimes are often disrupted by technology. What if we used technology to bring families together?”


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The iconic KFC bucket has been given a makeover, with a specially illustrated and laser-cut sleeve which slips over the bucket and may then be removed once you’re at home. Customers are invited to download a special Suppertime Stories smartphone app. Type in a code that is printed on the sleeve, and place the inverted bucket sleeve over the phone, with the torch/flash light facing upwards. Then switch off the lights and let the magic unfold. The smartphone’s light, sound and vibration features are used to enhance the narrated story; the light shines through the laser-cut stencils, projecting shapes onto the ceiling and walls.

The stories are based on traditional African folk tales: “Why Hippo Doesn’t Eat Fish”, “Why Mosquito Buzzes in People’s Ears” and “Why Thunder and Lightning Live in the Sky”. These are all stories with strong moral messages and themes such as collaboration, humility, temper management and dispute resolution.

I think this is a very clever way of combining new technology with old traditions: the light from the camera provides a visual show that is reminiscent of shadow puppets, which, according to Wikipedia, could date back to 4500 BCE. In this modern era of movies on demand, and constant stimulus from a variety of sources, it’s a welcome contrast to turn down the lights and enjoy the images that may be conjured up by the imagination.

I remember when I was young — before television, before the internet. Yes, it was a long, long time ago. In those days, people listened to the radio and read books. I have great memories of being young and eating a meal and listening to the radio. Another great memory speaks to my Greek heritage: our extended family would often gather and people would always tell their stories.

I guess what I’m saying is that, regardless of who you are or where you come from, stories are a part of your life. What’s incredible about this promotion is that it speaks so strongly to this aspect of who we are as humans, and unites two incredibly strong and powerful forces — eating a meal and telling a tale. What makes this campaign even more special is the design. The artwork on the sleeve, and the way details have been worked into it to create a beautiful, starry light show, is simply charming.

The promotion was only rolled out at three outlets in Gauteng, so it would be nice to see it extended to other parts of the country in the future.

Locally, KFC has been doing a lot more than selling fresh, tender and tasty chicken. The brand’s an expert when it comes to reaching out to customers and growing loyalty, as this magical campaign proves without a shadow of a doubt.

Well done to Ogilvy & Mather and KFC for a smart, inspired move that showcases the best of what advertising can be.

Credits

Agency: Ogilvy & Mather Johannesburg
Chief creative officer: Pete Case
Executive creative directors: Mariana O’Kelly, Matthew Barnes (Gloo@Ogilvy)
Creative directors: Candice Hellens, Robyn Bergmann, Gregory King (Gloo@Ogilvy), Anneke Jacobs (Gloo@Ogilvy)
Copywriter: Candice Hellens
Designers: Robyn Bergmann, Marike Hechter, Gregory King (Gloo@Ogilvy), Anneke Jacobs (Gloo@Ogilvy)
Illustrator: Anneke Jacobs (Gloo@Ogilvy)
Art director: Moira Gene Sephton
Account director: Lungi Ngobese
Account management: Karen Carr
Agency producer: Juliet Curtis
Agency radio producer: Alison Ross, Tercia Makhubela
Account manager: Daniella Block (Gloo@Ogilvy)
Backend development — technical lead: Chris Marais (Gloo@Ogilvy)
Backend development: Melikhaya Phangwa (Gloo@Ogilvy)
Senior frontend developer: Nicole Jaftha (Gloo@Ogilvy)
Technical quality assurance officer: Mark Adams (Gloo@Ogilvy)
National head of development: Graham Talbot (Gloo@Ogilvy)
Head of project management: Stephanie Powell (Gloo@Ogilvy)
Mid-weight digital designer/animator: Marina LeRoux (Gloo@Ogilvy)
Art buyers: Emma Hurley, Jane Paoli
Production manager: Colleen Idle, Johan Dipenaar
Director: Ross Garret, Darling
Producer: Lyndsay-Jane Barnard, Darling
Editor: Evy Katz, Left Production
Editor: Angela Whitehouse
Post production: Blade
Grade: Pudding Colour Services
Sound engineer: Louis Enslin/Theo Potgieter, Produce Sound
Illustrator: Jean de Wet, Studio Muti
Photographer/cinematographer: Michael Knight
Gaetano & Guisi Murolo, LaserImpressions
Lance Sadie, Multiprint Litho

Client: Yum
Chief marketing officer: Mike Middleton
Marketing director: Thabisa Mkhwanazi
Marketing manager: Hloni Mohope
Brand manager: Lynette Ngwata
Digital manager: Benjamin Schoderer

 

Oresti PatriciosAd of the Week, published on MarkLives every Wednesday, is penned by Oresti Patricios (@orestaki), the CEO of Ornico, a Brand Intelligence® firm that focuses on media, reputation and brand research. If you are involved in making advertising that is smart, funny and/or engaging, please let Oresti know about it at info@ornicogroup.co.za.

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Shelf Life: Checkers, PnP again create more nag factor

Cheryl Hunter (shelflife at marklives.com)’s weekly pick of all things new — product, packaging, design, insight, food, décor and more!

  • Retailers continue to use collectibles to drive feet in-store
  • Engen, FCB Cape Town offer a Formula 1 clean
  • First Choice launches winter custard with Boomtown

Collectibles keep ’em coming

Both Checkers and Pick n Pay have recently run massive collectible giveaways in-store — not a new marketing concept but clearly one that keeps customers coming back and drives feet through the door, if all the social media hype is to be believed.

This year, Checkers shrank another 30 of South Africa’s most-recognisable brands, including Zoo biscuits, Ouma rusks and You magazine, to launch a new set of collectibles following on the launch of its Little Shop in 2016. Customers receive two Little Shop mini products for every R150 spent in-store and are, in turn, offered collectables cases, Little Shop counters, mini trolleys and shopping baskets as well as aprons to purchase.

Pick n Pay’s South African Super Animals campaign centered on Super Animals Sound Cards, a range of 108 paper cards that could be collected, played and swapped. Again, four free Super Animals cards were offered — along with sound cards — for every R150, plus a sticker book and an app to download.

The nag factor formula clearly works as this is the second Super Animals campaign for PnP and it’s a marketing strategy used by retailers around the world.

Shelf Life hopes future freebie toys will become recyclable because plastic pollution is a major issue that needs to be addressed. Retailers play an important role here and need to take it into account when they produce promotions on a scale such as these.

campaigns.pnp.co.zaFacebookTwitter
checkerslittleshop.co.zaFacebookTwitter

 

Free waterless carwash in under two minutes

Simulating the speed and enhanced performance of a real Formula One pit experience, 700 Engen motorists were treated to a free waterless carwash by a pit crew. They demonstrated Engen’s improved performance and economy as part of the launch of Engen Primax Unleaded.

Engen carwash crewThe campaign strategy, unleashed on motorists by FCB Cape Town, was to leverage the Mercedes AMG PETRONAS Motorsport Formula One team’s success and celebrate Engen’s new advanced fuel, which answers motorists’ calls for petrol that provides superior performance and fuel economy, as established by recent research into the South African fuels market by Engen.

With motorists often under time pressure, Engen needed to get the job done quickly while simulating an exciting high-impact F1 experience with real audio and visual experience. Says Heather Thomas, Engen advertising & promotions consultant, “The pit crew consisted of 47 crew members, arranged in three teams, who all worked together to meet the under two-minute deadline. “The fastest wash came in at one minute 35 seconds, and the pit crew travelled 3 829km with activations at 10 Engen sites, including three national highway routes.”

A traditional carwash wastes on average 150l of water per wash so Thomas collaborated with Perfect Car Wash: “In light of the severe water restrictions in the Western Cape and recent drought in our country, we partnered with Perfect Car wash who offered our motorists an eco-friendly waterless experience.”

engen.co.za
fcb.co.zaFacebookTwitterRamify

Also read: Engen moves from FCB Cape Town

 

Musical dessert

The First Choice winter custard campaign, created by Boomtown, launches countrywide this week on a musical note.

Says Boomtown account manager, Jess Massyn, “Everything in life is better when you have someone else by your side, and the campaign uses lyrics from famous songs plays on this and highlights how First Choice’s rich, creamy custard makes desserts taste better.”

The custard brand is light-hearted and the team wanted to have some fun and give the product some character and personality with a 3D effect.

In-store media will be accompanied by interactive experiences, including sampling: “Shoppers who buy any First Choice custard stand the chance to win R5 000 weekly.”

boomtown.agency • FacebookTwitterRamify
firstchoice.co.zaFacebookTwitter

 

Cheryl HunterShelf Life is MarkLives.com’s weekly column covering all things new. Notify us of yours at shelflife at marklives dot com. Want to sponsor Shelf Life? Contact us here.

Cheryl Hunter (@cherylhunter) has written for the South African media, marketing and advertising industries for more than 15 years. A former editor of M&M in Independent Newspapers and contributor to Bizcommunity, AdFocus, AdReview and the Ad Annual, she has also produced for various television networks and currently consults on communication strategy and media liaison.

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Cannes Film Market seeks diversity, telco money

by Ian Gabriel. If your interest is around new forms of diverse content generation, this year at Cannes Film Market was definitely the place to be.

Backtrack a few weeks prior to Cannes: I’m sitting in a plush office at a major talent agency in LA. Somebody confides that I’m not the only South African visiting —another whole South African delegation has been in the building all day. (I, meanwhile, am not getting the all-day treatment; my pitch and the response, should I crack just half a nod, is a tightly pre -scheduled 30 minutes, 45 tops!) But, interestingly enough, it’s not some mega filmmaker or known film investor who’s come a courting but an African telecom company (which shall remain secret for now) which is in the building, looking to tie up availability of top-name US talent for content generation not yet imagined, conceptualised, or even scripted.

Spotted the gold

Back to Cannes, it turns out, it’s the telecom companies that everyone is courting as well — and looking to for dollars. There’s talk that Orange is ripe for tales of diversity, busy making a deal with Canal Plus. Meanwhile, France’s SFR is also leaping into the content fray and the big deal that’s gone down is Netflix partnering with several of India’s leading telecom carriers. Clearly, telecom companies have spotted the gold in those TV hills and, frankly, making money out of customer’s telephone calls must seem like small potatoes by comparison!

Meanwhile, talk of ‘content’ is rapidly falling by the wayside, perhaps because it’s too generic, has become so broad as to fail to effectively describe what its attempting to describe? Now it’s “original creation” that everyone’s looking for, an escalation of “content” away from TV’s “commercial” extension toward a more auteur-oriented, diversity-driven, narrative-strong “original creation” platform.

Being a commercials guy myself, I know the extent to which smart commercial thinking helps to set the stage for incoming narratives, which in this case could be the visualisation and escalation of stories of real diversity playing out in the short format, all helping to set the stage for bigger “original creation” projects. So I, for one, look forward to a continuation of the trend that we already see in advertising towards more-adventurous, less-homogeneous tales, or the ending of the scourge of ‘representative race’ casting. Performance and story — those ideas that touch the heart — are still the values we look for. Nobody loves that most-phony of segmented demographic TV representations (two black, one white, one coloured and an Indian person walk into a bar…)

A peculiar thing

I’m in Cannes on a couple of projects myself but the one that’s getting interest is a project I’ve had for around eight years. A peculiar thing has happened over the gestation of this project: When first we tried to raise interest, there was fascination with the story line (an immigrant tale set in SA) but reluctance to move forward precisely because it was ‘not familiar American narrative turf’. Now, however, we’re described as being ‘ahead of the curve’, suggesting perhaps that the TV business is moving in our direction — there’s some genuine interest, it seems, in what we can offer — diversity and, hopefully, authenticity.

The ‘fresh’ desire we discover in TV meetings is to see the creation and recognition of diversity and authenticity, and to create a sense of the presence of unique ‘diverse worlds’ in the lives of the audience. Joburg/Africa, in our case, is viewed as this kind of ‘ship at sea’ that no audience may or should disembark from once we’re on the journey — incredibly different characters thrown together, heroes of one’s own stories, villains of the stories of others intersecting with archetypal consequences in powerful and unavoidable battles, all of this set in lands both familiar and exotic and diverse.

With luck, we and other diverse content creators with fresh worlds to reveal may be part of a broader, growing trend if we can bake the cake right and avoid what New Orleans’ mayor Mitch Landrieu referred to recently as ‘marinading reality in historic denial’. His reference was to the American South’s long overdue debate on the removal of Confederate symbols, but for us, long-used to the SA marinade, his comments call to mind the cultural challenge of phenomena such as the Rhodes Must Fall campaign.

Clear understanding

Along with the discussions of ‘diversity creation’, there’s a clear understanding from some players, though not all, that diversity is achieved not just by peppering white male talent with a few appropriate gender and race shadings. A deeper understanding of cultural appropriation and an appropriate response are called for as fresh tales of diversity are explored: There’s a particular cultural power dynamic in which members of dominant cultures continue to take elements from the culture of peoples they have systematically oppressed for centuries. This can no longer be the principal modus operandi and is certainly no longer — nor was it ever — acceptable; we need to find new ways to interpret our shared stories.

The question is: What may we do to work against cultural appropriation while, at the same time, encouraging the telling of our stories so that we, not the next US or British or European film crew that happens along, get to tell them? So far, its most-often been the other way around (at least as far as decently funded, filmic explorations of SA stories are concerned).

As filmmakers in features and commercials, we have to bend over backwards to be authentic. To challenge stereotypes. To call out appropriation when we see it, either on screen or preferably before it gets to screen. And we have to resist making the ‘other’ cultures invisible with that tired old ‘melting pot’ narrative. Nobody — and no culture — was born wanting to not be visible. Everyone wants to know oneself and be known for being oneself. Which is not always easy, but we all deserve the chance for ourselves, our families and communities to be seen.

“Relationship resembling reconciliation”

As James Baldwin says, “The barrier between oneself and one’s knowledge of self is high. There are so many things we would rather not know! We cannot will away the forces that threaten our security. All we can do is learn to live with them. And we cannot learn this unless we are willing to tell the truth about ourselves, and the truth about us is always at variance with what we wished it to be. The human effort is to bring these two realities into a relationship resembling reconciliation [emphasis added].”

Maybe that relationship of reconciliation with our own selves will be at the root of our unique South African story telling. As the bard says, “the times they are a-changin’” — and who’s to say that’s not for the better?

 

Ian GabrielIan Gabriel is director and co-founder of Giant Films. Raised in Hillbrow’s urban melting pot, he was a teacher, political organiser, writer and then theatre activist at downtown Joburg’s legendary Dorkay House before he settled on a career in film, partnering with producer and wife Cindy Gabriel to form Giant Films. Inspired by the craft of performance, Ian creates a safe world in front of camera for actors and crew where community is the key driving force.

“Motive” is a by-invitation-only column on MarkLives.com. Contributors are picked by the editors but generally don’t form part of our regular columnist lineup, unless the topic is off-column.

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Bid-rigging & commercial production — a call to action

by Bobby Amm. Bid-rigging isn’t just a concern in the US advertising and film production community; it’s a global issue with the potential to deeply affect South African independent production houses — not just by the threat of their own closure but also by the knock-on effects that inhibit the industry’s ability to employ and develop new talent, while providing competitive services.

In December 2016, the US Department of Justice began investigating allegations of advertising agency bid-rigging. In these cases, several agencies with in-house production teams were accused of structuring bids to their own tenders using the intellectual property presented in the bids from independent production houses.

An inherently unavoidable bias

The Institute of Practitioners in Advertising (IPA) has advised agencies to ensure that they don’t use information disclosed to them by production companies to enhance their own bids. But South Africa’s Commercial Producers Association (CPA) and related international bodies believe that this is simply not possible in practice — even with the best, most-honourable intentions.

Treatments presented in a bid contain hard-earned creative ideas and project methodology; information that can’t be unknown when an agency develops its own bid. Costs are also disclosed, so an agency would need to deliberately charge more than competitors for any work to be awarded to them — an unlikely act in a competitive environment.

While many agencies can and do emphasise that those who bid and those who receive bids aren’t connected, the risk for bias is too significant. A system is needed to ensure a fair and competitive bidding process, one that equally protects all those involved.

Universal rules of engagement

To address the need for transparency, and to protect the integrity of the industry, the CPA and its members agreed, as of February 2017, they would no longer pitch against in-house production companies. This trend has also been adopted across North America and Europe.

CPA members are implementing the commercial industry’s Universal Rules of Engagement:

“To keep focused on [their] core areas [namely, improving the creative product, finding efficient solutions and keeping the talent pool fresh and strong], business issues should be as standardised and predictable as possible… The topics discussed [in these principles of contracting a production company to produce a commercial] ensure that advertisers and agencies receive the highest quality product possible, and that production companies are treated fairly in the execution of each project.”

Further, the rules state that:

“There should be a maximum of three production companies invited to bid for a commercial project. These entities should be advised of others they are bidding against, as it helps shape the expectation of the desired outcome. In situations where there are more than three bidding companies on the same project, all participants should be notified in advance (or as this situation arises) so that companies can better assess whether they would like to participate in the bidding pool.”

What this means for agencies

While potentially disruptive to the way agencies have worked in the past, these adjustments contain the means to promote fairness and, ultimately, a thriving production industry for all.

As such, agencies may expect CPA members to:

  1. Request upfront declaration of whether an in-house production company will be pitching for the same work, or if there is a chance of their doing so during the process;
  2. Include a paragraph in their pitches stating that they are submitting their bid on the basis that no entity in the bidding pool, directly or indirectly, is a parent or subsidiary of, connected to, or is any holding company of the agency soliciting the bid; and
  3. Request a list of the companies they are pitching against, so they may plan resources and then decide if they are best-positioned to answer the brief.

The bottom line? Agencies have two options for commercial work: to produce their own material or to call for bids to outsource. Not both. Sound fair?

 

Bobby AmmBobby Amm is chief executive of the Commercial Producers Association of South Africa (CPA), the trade association of production companies that produce television, cinema and internet commercials for the local and international market. After a brief stint in journalism, she began her career in the industry at the Consultative Committee for the Entertainment Industry in the early 1990s. She first joined the CPA in 1997 but left three years later to join a production company. After finding that she missed the big-picture perspective of the CPA and the interesting issues which continuously perplex the production industry, Bobby made the decision to return to the CPA in 2003.

“Motive” is a by-invitation-only column on MarkLives.com. Contributors are picked by the editors but generally don’t form part of our regular columnist lineup, unless the topic is off-column.

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Big Q: Agencies, consultancies have much to learn from each other

by MarkLives (@marklives) What may the broader agency and marketing community learn from the rise of non-traditional firms now operating in the advertising agency space? What processes and practices are giving these firms an edge, and to what would the rise of these players be attributed, in spite of the best integration efforts by the traditional agency networks? We asked a panel of key industry executives for their take. Next up is Prakash Patel of Fogg.

Large consulting and technology firms such as IBM, Deloitte and Accenture have moved definitively into the digital-marketing-and-communications space ad agencies once hoped to dominate themselves. In the UK, IBM iX, Accenture Interactive, BAE Systems and Deloitte Digital UK already rank in the top five interactive agencies based on revenue; Accenture Interactive, part of Accenture Digital, was named the world’s largest digital agency network by AdAge last year.

Prakash Patel

Prakash PatelPrakash Patel (@PrakashPatel_1), a seasoned strategist and data-driven digital marketer, is managing director of Fogg Cape Town. Previously, he was CEO of Prezence and chief digital officer of FCB/Mesh. Prior to moving to SA, Prakash spent over 18 years at some of the world’s largest and independent data and digital agencies in the UK. Now he is trying to keep up with tomorrow today and helping brands add value in the #TraDigital era.

With the world, let alone products and services around us, changing beyond recognition, we seem to always come back to this — the role of the traditional agency vs the role of the agency of the future, the new agency of now.

Since the birth of advertising, the consumer-experiences evolution continues at an unprecedented rate, and never more so than in the past 40 years, from digital to intelligence. Mobile becomes smartphone, TV becomes platforms, science fiction becomes reality. Technology becomes an enabler. Big data becomes businesses’ greatest asset and AI, virtual reality (VR) and augmented reality (AR) grab the attention of marketers.

The world around us has been changing at a phenomenal rate. Yet agencies have barely changed their business models to meet the needs of today’s hyper-connected consumer. Acquisition is short-term. Changing the mindset, strategy and proposition of the future agency is at the heart of the solution to these needs.

These changes have fundamentally changed the way we do business, communicate, connect, entertain ourselves and engage with one another, and indeed brands. Through this, we are no longer receptive to the old traditional ways of marketing. Yet agencies in general have barely kept up, evolved, or changed their business model to meet these new demands.

In short, some agencies are still grappling with who owns the brand, integrated marketing, data, technology, digital, and whose line is it, anyway, vs trying to understand the challenges facing brands today, from both a consumer-experience perspective and high strategic level. Creativity and marketing aren’t just about the big idea. To reach today’s consumer is complex, connected (or disconnected), is in real time, and is technically led and digitally infused, anywhere and anytime. It’s demanding and unforgiving. Without this knowledge or understanding, what is the role of any agency?

Fundamentally changed

In general, the needs of marketing and brands have fundamentally changed and are no longer aligned to any specific model, let alone agency model. There are far too many components involved in today’s consumers’ (purchase or experience) journey that require integration and complexity at every single element, and it is through these challenges that the opportunity arises of a more-suited contender for the title of ‘new breed agency of the decade’ — firms and consultancies that understand the new wave of consumers and marketing, firms that understand the financial pinch and strategic imperatives being faced by C-Suite executives, firms that understand today’s complexities and nuances of the entire consumer ecosystem, that play across multilayered touchpoints rather than the messaging or communication, that understand the importance of digital transformation end-to-end, outwards and inwards, that are experts in ICT and see technology and digital as enablers to business problems, firms that sit with C-suite executives in resolving imperative issues and challenges facing their businesses.

Along comes the rise of the new players in adland, players who, for all intent and purposes, have over the past five+ years by choice or accident created a proposition to address these exact challenges and requests from executives — not advertising or creativity but through showing solutions, with supporting evidence through insights and intelligence from data and analytics, with robust technology, marketing and creativity1 in ways of connecting with today’s consumers in their space, on their preferred platform, a place where they may visit and connect intuitively with relevant and appealing experiences, underlined by an entire business strategy that drives the most-innovative and -effective path to purchase across touch-points, to resolve real business problems.

I believe today’s agencies need to connect all the dots, regardless of the touchpoints, and create seamless consistent brand experiences that drive end-to-end, omnichannel thinking that accommodates today’s consumer behavior at the heart of the solution.

So, despite the best integration efforts by agency networks more recently, in particular acquiring digital agencies to fill the only-perceived gap in their business model, they are still in some cases missing a trick or two behind the bigger picture and the new players in adland — attributes that most agencies are still grappling with and attributes that are far closer-aligned to the offerings of these new players and consultancies such as IBM iX, Accenture Interactive, BAE Systems and Deloitte.

Reimagining

The reality facing many agencies is to reimagine their business models, proposition and services to meet the needs of today’s brands and consumers with, in my opinion, data, analytics, technology and digital at its heart — to see digital transformation as more than a medium but a critical business enabler.

The continued rise and success of these new players is far more than simply being better-equipped to understand today’s touchpoints, digital or technology. Yes, “continued rise and success”, as they are here to stay and are most-definitely challenging the status quo of the agencies’ position in marketing and advertising and relegating them to second fiddle if they don’t evolve their business models. Their continued rise can also be attributed to:

  • C-suite access

First and foremost, most of these players are not new to C-suite or board conversations. These consultancies already have working relationships as consultants directly with (or have direct access to) and, therefore, don’t have to go through traditional methods to reach decision-makers. They’re already there, sitting at the boardroom table, asking the right question and coming back with solutions to real business problems. The opportunity in most cases has just been a natural progression for most of these consultancies, with additional services such as advertising and marketing, content and digital, offerings that weren’t their core before.

  • Business strategy

Perhaps the biggest questions these firms address is the high-level business strategy which most agencies have long abdicated to others or have been unable to answer. One could argue that some traditional agencies have historically created silos and departments to meet new needs vs creating an integrated business model that meets the needs of today. These consultants tend to address the big question and not just provide the big idea. Their process starts before that of a traditional agency and the possibility of their solutions are far-reaching and -wider.

  • Inside-out view

The way these firms operate has been around complicated large-scale technical requirements, digital transformation, mobile and enterprises solutions, and the digital economy — which has played directly into the hands of consultants by allowing them to offer large-scale digital transformation solutions to real value-driven solutions.

“As marketing becomes more front and center for C-suite executives, there is a move toward providing a more holistic approach that includes both marketing and consulting,” says Seth Alpert, AdMedia.

  • End-to-end execution

The new digital age requires more than the big idea or the creative execution; it’s about executing the business strategy at every single level, through every facet of the business and its customer touch points, outwards and not just inwards, ending with data and insights that in return drive the next fruitful informed interaction, experience or execution.

  • Technology provides new experiences

In today’s cluttered world of mass media and execution, brands are fighting harder than before to create a wow factor that not only distinguishes them from their competitors but creates a real memorable experience. Technology provides this — and more — and it is at the heart of most of businesses such as IBM iX and BAE Systems.

  • Building products and platforms

In an environment where innovative platforms created by companies such as Uber, Airbnb, booking.com, and Alibaba are based on disrupting traditional business models with intuitive, easy-to-use consumer interfaces and not advertising, the solutions are far more-aligned to consultancies or technically led digital outfits.

What may we learn

So what can we learn from the rise of these new breeds of competitors or shall we say, new breed of agencies? As from my perspective, it’s more about what are these players doing that agencies aren’t.

Brands are not made up of different media but are one single entity in the eye of the consumer.

  • Consumers see a single brand and not media

I believe these consultancies have had a head-start in that they’ve have not been hindered by media and understand that consumers don’t see brands or fragmented businesses but experiences. They see a brand in its entirety as one brand experience, from the technology they use to the device they log onto through to the creative execution that resonates and seduces them. So, if consumers expect more and want more, agencies need to think more and give more.

  • Digital is not only about websites and social media

It’s more about understanding the opportunities that digital has in reimagining entire businesses. These consultancies offer digital business transformation — a service offering never seen on any agency credentials.

  • Data

This is still a fundamental asset that is still seldom used meaningfully in generating the big idea. In today’s world of big data, agencies need to thoroughly integrate data, analytics and insights into their proposition more meaningfully. Data has been, and still is, the untapped holy grail of marketing, in my opinion. A few forward-thinking network agencies such as Wunderman, Rapps Collins and rmg:connect (JWT) have been driving their marketing through data planning, analytics and CRM for decades but, overall, it’s still an untapped asset. In contrast, these consultancies drive their entire solution based on insightful intelligence and strategic planning to business needs.

  • Creativity

So are consultancies able to creativity and compete against the world’s largest creative ad agencies? Creativity is still fundamental yet being creatively superior alone is no longer enough to win. But these new players are also quickly catching up. They are also now on the hunt for the very best award-winning creative talent, customer-experience designers, digital experts and technologists, and rapidly closing that gap through huge global acquisitions, just as agencies did so in the past to bolster their offerings.

~~~

So, in closing, broader agencies and marketing communities may learn a lot from the non-traditional firms which are infiltrating the agency space in unprecedented ways with new ways of thinking, new ways of marketing and new ways of connecting with today’s savvy connected consumer, from business strategies through to creative execution and analytics.

It is time to view consumers through their lens and not the lens created by agency business models.

Agencies need to go beyond acquiring outfits to meet perceived needs; they must reimagine their business model by understanding the total customer experience, driven by insights and business strategy at the core, enabled by technology and digital. This is something well within their reach if they can get their priorities and integration right and develop the capabilities brands need today.

Constant flux

However, the future is still very uncertain, as it is in a constant flux with no winners or losers. It’s hard to say that the rise of the new players is the rise of the dominant players in adland. Both traditional agencies and these new consultancies still have a lot to learn from each other. Maybe the future will be the collaboration of these entities to create the super-breed agency of the future.

Only time will tell.

See also

 

MarkLives logoLaunched in 2016, “The Big Q” is a regular column on MarkLives in which we ask key industry execs for their thoughts on relevant issues facing the ad industry. If you’d like to be part of our pool of potential panellists, please contact editor Herman Manson via email (2mark at marklives dot com) or Twitter (@marklives). Suggestions for questions are also welcomed.

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Media Redefined: Getting upfront return on luck in New York

by Martin MacGregor (@MartMacG) Recently I spent a week in New York and it was fascinating to reconnect with a city that I hadn’t visited for 20 years. The city and Times Square have changed hugely, not only in terms of skyline and number of blocks and digital billboards but in more subtle ways. This was reinforced when I realised that that week was the week of the broadcast “Upfronts”, held every year in New York.

Upfronts is where the networks introduce or reintroduce to media agencies and clients the shows that they’ve committed to for the TV “season”, which traditionally starts in autumn in the US. It’s a marathon and crowded week of impact presentations and lots of parties, parading actors and directors, and trying to build momentum behind every show. They need to convince advertisers that whatever they are offering is going to be the next big thing.

Tighter selection

Interestingly, this year, fewer shows were presented as networks have become tighter in their selection and are harsh on cancelling shows that aren’t working. There were just 38 new scripted shows vs 42 the previous year and it’s the lowest tally for five years.

What this highlights is the difficulty and risk in making the decision to go with a series. In the advertising world, there is enough angst in committing to a TV ad but these budgets pale into insignificance when compared to making the call on whether to invest in a 13-part TV series.

At the conference I attended, Richard Plepler, the HBO CEO, came to speak to us. It was fascinating to listen to his journey with the channel which made its name with The Sopranos, and Sex and the City in the 90’s and then had a few lean years. Key to the turnaround was the decision he was involved in to commit to Game of Thrones, which has been so hugely successful. When you think about how ridiculous the script must have sounded at the first meeting for a gritty and real channel such as HBO, it’s amazing that it went for it and committed huge budgets.

What drove its decision-making? He spoke a lot about the culture of HBO and how it created the space for the right creative product to land. He talked about it in terms of an art gallery that artists want to come and hang their paintings in.

Are they breathing it?

Aligned to this was being able to make the call on which artists to go with and for this a simple question was asked: Are they breathing it? The way he described the passion and belief of the Game of Thrones creators gave me goose bumps.

On the flipside, a show such as Vinyl didn’t last longer than a series. That was an easy decision as it had Martin Scorsese and Mick Jagger involved. He summarised their success with a simple term: return on luck.

Making a call on a show could be seen as hit or miss but create the right culture and environment, and, more than likely, the big hits will come. So expect a mix of revived and new shows at the end of the year, plus lots of spinoffs, from Grey’s Anatomy does firefighting to a Big Bang Theory offshoot called Young Sheldon. Revivals are also big: Roseanne, Will and Grace and Dynasty for starters. The big success from last year This is Us has been renewed, and two new shows are creating a big buzz: The Gifted and The Orville. Let’s see.

New York always feels like a happening and optimistic place which pushes you to try your luck, showing that, if you create the right environment, the chances of a return on luck are much greater.

 

Martin MacGregorMartin MacGregor (@MartMacG) is managing director of Connect, an M&C Saatchi Company, with offices in Johannesburg and Cape Town. Martin has spent 18 years in the industry, and has previously worked at Ogilvy and was MD of MEC Nota Bene in Cape Town. He contributes the monthly “Media Redefined” column, in which he challenges norms in the media space, to MarkLives.com.

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