Smart Africa TV: Alt Tab Mobile & running a global apps creation company from Joburg

alt tab mobileby Russell Southwood (@BalancingActAfr) In this video interview, we talk to Yossi Mlynsky, founder of Alt Tab Mobile, about:

  • how the company helps start-ups to do apps
  • the global spread of both its clients and its developers
  • examples of what its start-up clients do, and
  • how it contributes to the process.

Smart MonkeyRussell Southwood is the founder of Balancing Act and the web TV channel Smart Monkey TV, and has been an analyst in telecoms, internet and broadcast in Africa for the last 14 years. Smart Monkey TV aims to capture the energy at the crossroads between African culture and technology. MarkLives is syndicating content from Smart Monkey TV on a weekly basis for the column “Smart Africa TV”.

— MarkLives’ round-up of top ad and media industry news and opinion in your mailbox every Monday and Thursday. Sign up here!

Heroes & Zeros: Garmin & FNB’s un-Steve — best & worst brand strategies of the week

This week during The Ad Feature on 702, Andy Rice (@ricecommaandy) and Jenny Crwys-Williams (@jcwLIFE) take a look at the brand strategies behind both Garmin’s “Where were you when you last felt alive?” and FNB’s un-Steve campaigns.

Find out why these feature in this week’s Heroes & Zeros by watching the webisode below:

 
The Jeremy Maggs reference:

For a fresh look at the world of advertising, Jenny Crwys-Williams of talk radio station 702 (@Radio702) chats to advertising critic Andy Rice on The Ad Feature, every Wednesday 2.30pm — 3pm. The filmed Heroes & Zeroes will appear on MarkLives every Friday as a webisode.

— MarkLives’ round-up of top ad and media industry news and opinion in your mailbox every Monday and Thursday. Sign up here!

MagLove: It’s all about the taste

MediaSlut (@MediaSlut)’s choice of the best international and local magazine covers this week:

  • J/M
  • Los Angeles
  • Time Out Melbourne
  • Vancouver
  • Woolworths TASTE
  • DESTINY

INTERNATIONAL

J/M, November 2014

J/M, November 2014The cover story on the Netherlands’ J/M magazine is about “fat kids” and the question being asked is “who’s fault is it?”. Its been illustrated so absolutely brilliantly and so cleverly (instead of just plonking a chubby child on the cover…)!

J/M magazine is a magazine for parents of children between the ages of 4 ad 16 years old.

Los Angeles, November 2014

Los Angeles, November 2014: MushroomsLos Angeles, November 2014: PomegranateLos Angeles, November 2014: Bread

For its “Food Lovers Guide” issue, Los Angeles created a three-way-split cover which I find beautifully styled and executed, and just so striking, especially when all three covers are placed side by side. I may not necessarily like all the food items on the cover but, as a collection, I think it’s great.

Time Out Melbourne, November 2014

Time Out Melbourne, November 2014Time Out New York usually impresses me for its simplicity in getting the message across, but this week the Melbourne issue of Time Out deserves the honour!

Vancouver, November 2014

Vancouver, November 2014: Gift Guide 2014I’m not sure how much is photoshop/fake/real photography and styling, but the Vancouvers’ Gift Guide cover for 2014 hits the nail on the head in getting the message of this issue across, and in a very smart way.

LOCAL

Woolworths TASTE, November 2014

Woolworths TASTE, November 2014: 100th edition Collector's IssueThe TASTE team has outdone itself again with its 100th issue, which is also a Collector’s Issue! And no, that’s no ordinary cake on the cover, but rather a “Gorgonzola Cheesecake with white-chocolate frosting topped with golden toffee apple”!

The gold elements fit in perfectly with the gold finishing cover print , and the entirety just tells me ‘celebration, celebration, celebration’ (while staying stylish, tastefully).

DESTINY, November 2014

DESTINY, November 2014Seeing a bunch of powerful, successful and inspiration people on a cover makes me extremely happy!

For DESTINY’s seventh birthday, it got together Nolitha Fakude, Futhi Mtoba and David Tlale; with them are “their impressive mentees” Christina Matapuna, Maruping Mangwedi and Nokwanda Ngcobo.

It’s a cover that makes me feel proud and inspired and this is why I’ve shared it this week.


Find a cover we should know about? Tweet us at @Marklives and @MediaSlut.
Want to view all the covers at a glance?
See our MagLove Pinboard!


MediaSlutMagLove by @MediaSlut is a regular slot featuring the best local and international magazine covers every week, recognising well thought-out, powerful and interesting (and hopefully all three-in-one) covers and celebrating the mix of pragmatism, creativity and personal taste that created each of them. The (for now anonymous) blogger behind MediaSlut knows way too much for his own good about media in South Africa, magazines in particular. His mission is to show when SA magazines fail but, most importantly, also when they succeed. If you’re looking for a library about SA magazines and news, this is your one-stop pitstop.

— MarkLives’ round-up of top ad and media industry news and opinion in your mailbox every Monday and Thursday. Sign up here!

#Top40TVratings: 20–26 October 2014

by SAARF & MarkLives (@marklives) See who made it to the top of our National and DStv charts for the week of 20–26 October 2014! A collaboration between the South African Audience Research Foundation (SAARF) and MarkLives, this #Top40TVratings column is a weekly roundup of SA’s TV audience viewership.

Satellite dishWe reveal the best-watched shows of the week before (in this case, 20–26 October 2014), where they ran and how many South Africans tuned in to watch.

We offer two tables:

  • The first covers all households — free-to-air viewing (the various SABC channels and e.tv), as well as the DStv platform.
  • The second charts the best-watched shows on the DStv network of channels only.

SAARF/MarkLives #Top40TVratings Charts: 20–26 October 2014

National

Market Target Activity
National Total Indv (incl guests) Live + VOSDAL
Counter Description (grouped) Channel Level 1 Level 2\variable (r) AMR % AMR SHR %
1 SKEEM SAAM SABC 1 Drama Drama 20.1 8 616 488 63.31%
2 KOWETHU SABC 1 Drama Drama 14.1 6 041 757 46.82%
3 SOUL CITY SABC 1 Drama Drama 13.4 5 737 529 44.95%
4 MY PERFECT FAMILY SABC 1 Sitcom Sitcom 12.4 5 318 508 38.31%
5 STICKS AND STONES SABC 1 Drama Drama 12.3 5 286 341 39.37%
6 MUVHANGO SABC 2 Drama Drama 12.3 5 263 085 44.48%
7 SHREDS AND DREAMS SABC 1 Drama Drama 11.5 4 942 157 39.09%
8 SES’TOP LA SABC 1 Sitcom Sitcom 11.5 4 916 235 38.01%
9 SELIMATHUNZI SABC 1 Variety Variety 10.4 4 467 936 33.76%
10 ZAZIWA SABC 1 Variety Variety 9.6 4 104 495 32.04%
11 WHEN WE WERE BLACK SABC 1 Drama Drama 9.3 3 990 451 32.31%
12 XHOSA NEWS SABC 1 News News 8.7 3 724 097 31.13%
13 SCANDAL e.tv Drama Drama 8.7 3 713 054 28.49%
14 ZULU NEWS SABC 1 News News 8.4 3 607 022 30.04%
15 POWERBALL SABC 2 Variety Variety 8.1 3 476 576 34.69%
16 1’S AND 2’S SHOW SABC 1 Music Music 8.1 3 466 836 28.14%
17 TELKOM KNOCK OUT – KAIZER CHIEFS VS PLATINUM STARS SABC 1 Sport Football (soccer) 8.0 3 427 231 34.38%
18 TELKOM KNOCKOUT CUP PIRATES VS AJAX SABC 1 Sport Football (soccer) 7.7 3 283 678 33.07%
19 THE X FACTOR SOUTH AFRICA SABC 1 Reality Reality 7.0 3 016 121 29.60%
20 SHOOTER e.tv Movies Action/adventure 6.9 2 940 434 30.38%
21 SUNDAY LIVE SABC 1 Actuality Actuality 6.5 2 799 312 22.14%
22 KHUMBUL’ EKHAYA SABC 1 Magazine Magazine 6.3 2 692 756 25.85%
23 SKEEM SAAM -R SABC 1 Drama Drama 6.1 2 598 059 52.49%
24 ISIDINGO:THE NEED SABC 3 Soap opera Local 6.0 2 575 292 21.29%
25 RHYTHM CITY e.tv Drama Drama 5.9 2 527 754 23.75%
26 AMAZA SABC 1 Drama Drama 5.7 2 438 141 22.88%
27 THE LOSERS SABC 1 Movies Action/adventure 5.7 2 431 366 22.53%
28 VELAPHI -R SABC 1 Sitcom Sitcom 5.7 2 427 918 49.45%
29 SPEAK OUT SABC 2 Actuality Actuality 5.6 2 413 663 28.49%
30 MUVHANGO -R SABC 1 Drama Drama 5.4 2 334 018 47.54%
31 HOW I MET YOUR MOTHER e.tv Sitcom Sitcom 5.4 2 324 984 18.39%
32 ENCHANTED SABC 2 Movies Fantasy 5.2 2 244 332 26.15%
33 MOHLOLOHADI 2 SABC 2 Drama Drama 5.0 2 162 898 23.42%
34 7DE LAAN SABC 2 Soap opera Local 5.0 2 158 618 20.35%
35 WWE WRESTLING RAW e.tv Sport Wrestling 5.0 2 149 031 19.76%
36 SA’S GOT TALENT e.tv Variety Variety 4.8 2 077 031 17.48%
37 CAF WOMEN’S CHAMPIONSHIP:NIGERIA VS SOUTH AFRICA SABC 1 Sport Football (soccer) 4.8 2 058 535 23.69%
38 MUVHANGO -O SABC 2 Drama Drama 4.8 2 052 547 28.33%
39 MUVHANGO -R SABC 2 Drama Drama 4.7 2 028 031 31.16%
40 AMAZA -R SABC 1 Drama Drama 4.6 1 992 797 42.96%

DStv

Market Target Activity
National Total Indv (incl guests) Live + VOSDAL
Counter Description (grouped) Channel Level 1 Level 2\variable (r) AMR % AMR SHR %
1 SKEEM SAAM SABC 1 Drama Drama 12.6 1 705 481 38.50%
2 MUVHANGO SABC 2 Drama Drama 8.4 1 135 637 28.38%
3 ISIBAYA Mzansi Magic Variety Variety 7.0 939 545 21.92%
4 MY PERFECT FAMILY SABC 1 Sitcom Sitcom 6.1 817 726 17.55%
5 OUR PERFECT WEDDING (MAG) Mzansi Magic Magazine Magazine 6.0 807 785 18.42%
6 SCANDAL e.tv Drama Drama 6.0 804 125 18.34%
7 SES’TOP LA SABC 1 Sitcom Sitcom 5.6 755 841 17.09%
8 SELIMATHUNZI SABC 1 Variety Variety 5.4 730 271 16.43%
9 POWERBALL SABC 2 Variety Variety 5.4 729 823 20.42%
10 RHYTHM CITY e.tv Drama Drama 4.5 608 639 16.04%
11 ZAZIWA SABC 1 Variety Variety 4.5 605 178 14.47%
12 KOWETHU SABC 1 Drama Drama 4.4 596 324 13.81%
13 SPEAK OUT SABC 2 Actuality Actuality 4.3 582 040 20.22%
14 7DE LAAN SABC 2 Soap opera Local 4.2 572 562 15.12%
15 ZULU NEWS SABC 1 News News 4.2 570 429 13.70%
16 ISIDINGO:THE NEED SABC 3 Soap opera Local 3.9 533 209 12.76%
17 ABSA PREMIERSHIP KAIZER CHIEFS VS MOROKA SWALLOWS SuperSport 4 Sport Football (soccer) 3.9 528 079 12.28%
18 XHOSA NEWS SABC 1 News News 3.8 515 190 12.43%
19 SHREDS AND DREAMS SABC 1 Drama Drama 3.8 511 725 12.09%
20 1’S AND 2’S SHOW SABC 1 Music Music 3.6 481 500 11.49%
21 SOUL CITY SABC 1 Drama Drama 3.5 471 743 10.81%
22 TELKOM KNOCKOUT CUP PIRATES VS AJAX SABC 1 Sport Football (soccer) 3.5 469 668 13.88%
23 STICKS AND STONES SABC 1 Drama Drama 3.4 461 837 10.16%
24 NEWS e.tv News News 3.2 435 066 11.12%
25 KHUMBUL’ EKHAYA SABC 1 Magazine Magazine 3.2 433 101 12.02%
26 SKEEM SAAM -R SABC 1 Drama Drama 3.1 418 505 23.49%
27 TELKOM KNOCKOUT CUP KAIZER CHIEFS VS PLATINUM STARS SuperSport 4 Sport Football (soccer) 2.8 380 334 11.06%
28 SAINTS AND SINNERS[DRAMA] Mzansi Magic Drama Drama 2.8 375 098 9.06%
29 ABSA PREMIERSHIP BLACK ACES VS ORLANDO PIRATES SuperSport 4 Sport Football (soccer) 2.7 370 723 8.73%
30 MUVHANGO -R SABC 1 Drama Drama 2.7 370 210 21.32%
31 WHEN WE WERE BLACK SABC 1 Drama Drama 2.7 363 865 9.15%
32 RED 2 M-Net Movies Action/adventure 2.7 362 654 9.69%
33 THE BOLD AND THE BEAUTIFUL SABC 3 Soap opera International 2.7 361 357 10.76%
34 TELKOM KNOCK OUT – KAIZER CHIEFS VS PLATINUM STARS SABC 1 Sport Football (soccer) 2.7 361 268 10.60%
35 BARCLAYS PREMIER LEAGUE MANCHESTER UTD VS CHELSEA SuperSport 3 Sport Football (soccer) 2.5 343 533 8.22%
36 MOHLOLOHADI 2 SABC 2 Drama Drama 2.5 339 491 10.64%
37 WWE WRESTLING RAW e.tv Sport Wrestling 2.5 335 745 9.02%
38 E-NUUS kykNET News News 2.4 324 701 7.82%
39 VELAPHI -R SABC 1 Sitcom Sitcom 2.4 324 680 18.14%
40 BINNELANDERS kykNET Soap opera Local 2.4 324 090 7.38%

How to read the tables

AMR% refers to the number of people in a target market who were watching an event ie programme, expressed as a percentage of the population for that demographic: “On average, 16.3% of adults aged 15+ who watched TV from 28 Jan-3 Feb 2014 watched Society on SABC 1”.

AMR is the number of people in a target market watching a specific event ie programme per minute, expressed in absolute figures: “On average, 1, 541, 066 adults aged 15+ who watched TV from from28 Jan-3 Feb 2014 watched Society on SABC 1”.

Share % (SHR %) is the share or proportion of the available audience (people watching TV at that time) that a specific channel/programme has achieved at that time: “Society achieved a share % of 52.59% from 28 Jan- 3 Feb 2014 on SABC 1″.

saarf 150SAARF is the name by which the South African Audience Research Foundation is familiarly known. SAARF’s main objective is to direct and publish media audience and product/brand research for the benefit of its stake-holders, thereby providing data for target marketing and a common currency for the buying and selling of media space and time. SAARF has thus the responsibility to measure the audiences of all traditional media such as newspapers, magazines, radio, television, cinema and out of home media.

— MarkLives’ round-up of top ad and media industry news and opinion in your mailbox every Monday and Thursday. Sign up here!

Shelf Life: Low and behold, how clever of Woolies!

Louise Marsland (@Louise_Marsland)’s weekly pick of recent product, packaging and design launches:

  • Banting bonanza from Woolies
  • Cadbury’s releases Book of Joy
  • Philips’ new Airfryer, and
  • another winning wine.

Woolworths is CarbClever

Woolworths CarbClever Fresh Shepherd's Pie Woolworths CarbClever Fresh Thai Red Chicken Curry
Especially for all you low-carb converts who can’t do without your Woolies convenience — the oh-so-clever retailer has jumped on the banting bandwagon and is offering a range of low-carb meals. The range, aptly labelled CarbClever, excludes pasta, potatoes and rice, and they are already on shelf as I spotted them this weekend.

There are nine meals, a soup and three vegetable dishes, which are being introduced countrywide. Dishes include Thai red chicken curry with a rich coconut sauce and a cauliflower, bacon and cheese bake. Woolies says the range also excludes wheat, grains, legumes and pulses.

“Many of our customers have been requesting easy meals that provide options for their lifestyles,” says Woolworths managing director of foods, Zyda Rylands. “After months of careful testing, we are proud to reveal these ready-prepared meals and accompaniments. As these products are also microwaveable and combine flavours and cooking styles, they should have wide appeal.”

Other flavour-packed meals are smoked pork with creamed cabbage and spinach in a sage cream sauce, and beef meatballs with cauliflower mash, roasted vegetables and tomato sauce. Yum, yum.

If I had a farm, I’d be planting almond trees and cauliflower right now as the use of almond flour and cauliflower as banting staples to replace carbs pushes prices higher in the more affluent neighbourhoods and results in a scarcity of product!

Joy to the world

Cadbury Dairy Milk Little Book of JoyCadbury has taken its Triplets campaign — featuring the animated triplets in the womb singing with joy because mom was eating a Cadbury’s Dairy Milk chocolate bar — to the next level, asking South Africans to ‘name’ the triplets in the integrated consumer-driven campaign which concluded with a book of baby names.

Select name ideas and entries contributed to the compilation of the Cadbury ‘The Little Book of Joy’ — a collection of uniquely SA names that celebrate the joy of name giving in SA. The book was launched this month at a special event with all the trappings of a baby shower.

In the three months since the campaign launched, the Cadbury Dairy Milk Facebook following has grown by over 900%, mainly due to the public response to the Triplets TV spot and engagement from the ‘Name the Triplets’ Facebook campaign.

With the launch of the book, the triplets have also ‘named’: Thabiso (“one who brings joy” in Sotho), Intokozo (meaning “joy” in Zulu) and Gcobani (which means “joyful” in Xhosa). The campaign will conclude with giveaways of the limited edition Cadbury Dairy Milk Little Book of Joy on the Cadbury Dairy Milk SA Facebook page.

“We were delighted with the passionate and creative manner in which South Africans captured the essence of our message of joy, evident in the heart-warming drawings, the many descriptive name entries and engaging fan art we received throughout the campaign,” comments Meredith Kelly, Mondelēz SA category lead for chocolate.

“South Africans are inherently joyful — we dance and sing to celebrate important occasions — and that’s something the ‘Triplets’ campaign has successfully tapped into. Cadbury Dairy Milk is the trigger to ‘Free the Joy’ that lives within each of us.”

Cooking on air

Philips Avance Airfryer XLPhilips has launched a new version of its Avance Collection Airfryer XL. The cooking appliance uses Philip’s proprietary Rapid Air Technology, which is described as combining rapid and precisely circulating hot air with an optimal temperature profile and unique ‘starfish’ design to cook meals.

The main health boast is that the appliance uses up to 80% less fat during cooking — using air instead of oil.

The Avance Collection Airfryer XL can ‘fry’, grill, bake, roast and cook a wide variety of foods, from brownies to whole chickens and beef fillet. The new model sports 50% greater capacity at 1.2kg yet still retains a compact size.

As well as featuring dishwasher-safe and non-stick parts, the Avance Collection Airfryer XL comes with a smart preset mode that remembers your most-used settings, automatic shut-off and digital touch panel controls. The set also includes a recipe book.

Winters Drift’s warm welcome

Winters Drift Pinot Noir 2013The Winters Drift Pinot Noir 2013, the second vintage but the first commercially available vintage from this Elgin producer, has been awarded a Double Gold at the 2014 Michelangelo International Wine & Spirits Awards. This accolade follows its recent Top Six award from Classic Wine.

The Winters Drift wines are grown on the historic Glen Elgin farm. The vineyards are cared for by viticulturist Christiaan Cloete, and the wines are made by Koen Roose at Spioenkop Wines in Elgin.

Tasting notes: this wine is described as delivering everything you would expect from a young Pinot Noir, including an abundance of red cherries, varietal spice, truffles, forest-floor notes and subtle oaking from 11 months in first and second-fill French oak. The palate should be complex and satisfying, with a softness that is unique to Pinot Noir. It is meant to age well over the next three-to-five years.

 

Shelf Life is a weekly column by Louise Marsland on MarkLives. Tweet new product, packaging and design launches to @louise_marsland Louise Marslandor email her at louise.marsland at gmail.com. Want to sponsor Shelf Life? Contact us here.

Louise has written about the FMCG, media, marketing and advertising industry for 20 years as a former editor of magazines AdVantage, Marketing Mix and Progressive Retailing, as well as websites Bizcommunity.com and FMCGFiles. She also edited the weekly Wednesday Media & Marketing Page for The New Age newspaper. She is currently the publishing editor of industry trendwatching portal, TRENDAFRiCA, for consumer insight, research and trends in Africa; a regular industry columnist and speaker; a consultant on content strategy; and contributing editor to Fast Company South Africa magazine, which has just launched in South Africa.

— MarkLives’ round-up of top ad and media industry news and opinion in your mailbox every Monday and Thursday. Sign up here!

Tech Law: Marketers should reconsider targeted online ads

by Paul Jacobson (@pauljacobson) Conventional wisdom in the marketing industry seems to be that better targeted ads are more effective. It makes sense. If you can present an ad to a consumer whom you believe is actually interested in your services, surely that consumer will be more inclined to purchase from you?

A prominent example of this thinking in action is Facebook, where ads are customised based on your Facebook activity and profile data. If you start posting about your love for sushi and share that love in your profile, you can be sure you will soon see ads for sushi products and restaurants alongside your News Feed.

Target on Dartboard Showing Successful Shooting by Stuart Miles at FreeDigitalPhotos.net
Image courtesy of Stuart Miles at FreeDigitalPhotos.net

Long argued

One prominent advocate for better ad targeting is Jeff Jarvis, a prolific writer and journalism professor based in New York. Jarvis has long argued for the benefits of better ad targeting to improve the quality of the ads that power the many services you use each day.

Jarvis recently wrote a post titled “Unoriginal sin” on his blog, Buzzmachine, where he argued for more transparency when better targeting ads. He describes part of the problem with current ad targeting methods:

“That is because advertising is still bought the way it is on billboards, TV, and pulp — on volume, by the thousands, by the eyeball-ton — so that marketers can just keep shoving their unwanted messages at us.

“When those advertisers do smarten up a little they start to target, but they do that dumbly, too. Here’s the second stupidity. The advertisers — and their serpents: agencies and media and technology companies — creep out their own customers by collecting data on them without being open about it, without revealing the reason and the benefits (free content! less noise!), without giving them any control over the data, and then by following us all around the web haunting us with that stupid pair of boots we looked at on Amazon once.”

Go the other way

If anything, Jarvis argues for better, more-informed targeting models, but what if marketers went the other way instead and didn’t use more than superficial personal information for their ad targeting?

I recently had an interesting discussion with Adam Oxford, editor of tech news site htxt.africa, about the benefits of not targeting ads. Our discussion touched upon a couple things I have been thinking about in the context of privacy and marketing which are worth considering.

To begin with, when you only target ads based on consumers’ personal information, you’re creating a sort of confirmation bias and your consumers remain oblivious to all the other options that may appeal to them, were they aware of them. It is a similar argument for not having consent-based mobile marketing which a client once put to me.

He argued that if his company were limited to only marketing to consumers who specifically opted in to receive marketing communications from his clients, they would likely never discover a range of products and services that may add tremendous value to their lives.

Reinforces existing without exposure to alternatives

The problem with a strict opt-in model is that it reinforces your existing preferences without exposing you to alternatives.

Fortunately, the Protection of Personal Information (PoPI) Act allows marketers to introduce themselves to new potential customers using a one-time information message inviting them to opt-in to further marketing communications. The act also implies consent based upon an existing relationship with a consumer, provided the consumer is given opportunities to opt out at various stages.

Another argument against targeted ads is that it may give marketers an option to circumvent the PoPI Act altogether. This is appealing from the perspective of being able to avoid the anticipated monetary and resource cost of complying with the act if this isn’t necessary. The reason that this may be possible is because “personal information” is defined as “information relating to an identifiable, living, natural person, and where it is applicable, an identifiable, existing juristic person…”

PoPI may not apply

The act regulates “the processing of personal information”. If a marketer is not processing personal information, the act may not apply.

Of course, unless a marketer delivers its products using some sort of anonymous collection point and receives payment solely in cash or Bitcoin, this isn’t going to be a complete answer, but what if the initial enticement weren’t dependent upon targeted ads which leverage personal information of some kind?

What if marketers took a few steps back and advertised their clients’ products and services in more generic terms, exposing consumers to new products and services in the process?

For one thing, these marketers may not require consent to market to these consumers because they wouldn’t be using personal information. Sure, they may begin processing personal information when a consumer responds to an ad but consent is easier to manage in that context.

In the meantime, marketers expand the possible choices available to consumers and sidestep the common “technopanic” that occurs when consumers are surprised by unexpected uses of their personal information for marketing purposes.

But at what cost?

So, yes, targeted ads have proven to be pretty effective and lucrative for the brands that use them — but at what cost? Perhaps brands should consider not targeting their ads again?

Paul Jacobson

 

Paul Jacobson (@pauljacobson) is the founder and director of Web•Tech•Law. He contributes the regular “Tech Law” column focusing on issues in the digital marketing space to MarkLives.com. CC BY-SA 2.5

 

 

— MarkLives’ round-up of top ad and media industry news and opinion in your mailbox every Monday and Thursday. Sign up here!

Thinking TV: Top 10 most-expensive programmes on South African TV

by Inge Hansen (@mecnotabene) According to Nielsen Ad Dynamix, television advertising spend (excluding self-promotion) in South Africa has been on a steady increase for the past few years.

In 2013, this increased by 11% from 2012 to a total of R17.9 billion which, although being a ratecard figure, speaks to the value that advertisers place on this high-reach medium as a part of their media mix. However, whether this is a real increase can be debated, thanks to continued fragmentation, package offerings and limited reporting of new satellite providers ie Starsat.

TV test patternChanges to methodology

We are also sitting in a position where multiple changes to methodology has resulted in performance being excluded as an inflation metric in the official industry numbers.

In the US, a typical hit show has an average cost-per-thousand (CPT) of US$35, with advertisers clammering to place their wares during this timeslot, just to be associated with the prestige it offers.

New to South African screens, but in its second season in the US, is The Blacklist, which commands a 30” cost of US$285 975 for premiering episodes. If this seems pricey, it’s nothing compared to NBC’s Sunday Night Football, where advertisers pay US$627 300 for their 30”advert, more than any other primetime show on American broadcast television.

A disproportionately valuable space

What with US TV audiences in decline, it is becoming difficult for networks to justify increasing costs and a steadily rising CPT on even the most popular shows. In some cases, however, shows are targeted to such an elusive demographic (ie young males who watch The Walking Dead) that placing brands into that environment becomes a disproportionately valuable space.

The SA equivalent to this would be Carte Blanche, which airs during the coveted Sunday night timeslot just before the M-Net 8pm movie. Past performance and programme quality have established a superior perception of this show and we can see that advertisers are, in turn, paying a premium for this property.

Using September 2013 vs September 2014 figures against all adults (TAMS), we can see that Carte Blanche has experienced slight viewership declines year-on-year, which did not lead to a decrease in rates but rather an increase of 4.5% in 2014. This is an example of local programming creating the perception of value despite CPT for September 2014 standing at a ratecard average of R244.

A demand for local programming

If we look at the top 10 most-expensive programmes on SA TV, we see a demand for local programming which is viewed primarily on free-to-air channels, and it is no surprise that the top spot was held by Generations. The exception to this is sport, which brings with it real-time viewing to a specific consumer segment, for special-occasion viewing.

Many of the most-expensive programmes in the top 10 fall within the average primetime CPT (using September 2014 ratecard data) of US$4.37 (R48.26), which is calculated across a mix of free-to-air and pay-TV channels. While these top-rated programmes do come at a price which is hefty for smaller budgets, it can be a useful component of driving awareness as quickly as possible.

Top 10 most-expensive programmes on SA TV

Day Date Station From To Plan Title Ratecard Cost Plan 000’s Plan CPT
Mon 2014/09/22 S1 1959 2031 Generations R           230 000 7978 R           29
Mon 2014/09/22 S1 2031 2058 Mfolozi Street R           160 000 5423 R           30
Tue 2014/09/23 S1 2032 2101 Soul City R           160 000 4975 R           32
Wed 2014/09/24 S1 2034 2103 Sticks and Stones R           160 000 4154 R           39
Thu 2014/09/25 S1 2033 2128 Ihawu R           160 000 3762 R           43
Fri 2014/09/26 S1 2031 2059 Shreds and Dreams R           160 000 4465 R           36
Sat 2014/09/27 SUP1 1649 1851 Rugby Championship 2014: South Africa Vs R           150 000 569 R         264
Wed 2014/09/24 S2 1828 1859 7De Laan R           120 000 1487 R           81
Wed 2014/09/24 S2 2101 2134 Muvhango R             95 000 3716 R           26
Sat 2014/09/27 SUP1 2254 2258 Absa Currie Cup H/L R             95 000 40 R       2 375

Source: Telmar

Again, perceptions around primetime drive cost… Although advertisers start paying this primetime premium from 5pm, as defined by media owners, in this day of traffic congestion and post-work errands, the real audience lift starts closer to 6/6:30pm.

A disruptive year for TV

After a disruptive year for TV, it has been difficult for media planners to create behavioural pictures of their target audience and buy effectively against this to deliver results to client. Our data has experienced a population update, a major sports event in the form of the 2014 FIFA World Cup, new channels, an SABC lineup adjustment and, more recently, scheduling changes which include a hiatus of the most popular primetime soapie on TV.

These changes have a knock-on effect throughout time-bands and channels as viewers alter their habits in response. Coupled with this is how rates for new and untested channels are calculated, such as with new pay-TV channels, M-Net Edge and Vuzu Amp, which began in October.

In September, the channels which these replaced (M-Net Series Showcase and M-Nnet Series Reality) had primetime rates which started at R3000, with the new channels now commanding a primetime spot rate of R8500+.

Remains to be seen

Despite introductory packages, it will remain to be seen if these rates can be justified against the audience that the content will attract. The result is that media owners will need to continue to adapt to provide quality programming that continues to hit the viewership mark, and not just the budget.

Perhaps, then, the recent announcement from MultiChoice — which revealed that due to the rand’s weakness it might be necessary to ‘scale back’ by cutting non-performing channels from its bouquet, and thereby reducing audience fragmentation — is welcome news for planners.

 

Inge HansenFollowing two years at Media24 scrubbing for insights within the magazine division, Inge Hansen joined Nota Bene as an A&I analyst in March 2013. Working across multiple clients, including FMCG, alcohol and petroleum, she has the luxury of working with teams to develop robust insights that drive strategy while keeping abreast of media trends the world over. Inge loves having her pulse on the media landscape but far prefers raising her pulse mountain-biking on weekends. She contributes Thinking TV, a monthly analysis of South African TV viewership figures, to MarkLives. Follow @mecnotabene for regular media updates.

— MarkLives’ round-up of top ad and media industry news and opinion in your mailbox every Monday and Thursday. Sign up here!

Ad of the Week: Fighting apathy with empathy

by Oresti Patricios (@orestaki) This week I am nominating a digital/social media campaign for #AdoftheWeek. It’s called “Get Me to 21” and it’s an unusual concept in terms of marketing and publicity. The appeal is for organ donors to sign up, because Jenna Lowe needs lung-replacement surgery, and there are currently no donors available.

Yes, it’s a good cause, and what makes it special is not just the way in which the campaign is centred on a smart, young girl; while her face personalises the plight of people awaiting replacement organs, this campaign is about much more than this.



Lowe Cape Town online video for the Lowe family: “You are invited to Jenna’s 21st birthday party #getmeto21”

Planning her 21st

On the home page of microsite www.getmeto21.com, we are greeted first by a video of Lowe, talking directly to camera. She has an oxygen line under her nose, she seems to have a little trouble breathing, yet she is upbeat and engaging. She tells us she is 19, and she’s planning her 21st birthday party.

The basic message is that she’s inviting you to the party (whomever you are), if you sign up for organ donation. She finishes off by saying, simply and without pathos, “Because, in order to make it to 21, I’m going to need new lungs.”

jennalowe.co.za homepage
jennalowe.co.za homepage

Presented without sentimentality

When I heard about the campaign, I was prepared for a message that tugged at the heart strings, that manipulated my emotions with a bit of guilt. But it does none of that. Yes, it’s a message that gets you in the gut, but it’s presented without sentimentality.

Lowe suffers from a rare condition known as Pulmonary Arterial Hypertension, meaning that the veins in her lungs become progressively more constricted and don’t allow proper blood-flow.

The result is decreased oxygen in the blood, and enlargement of the heart due to the increased strain of pumping blood through the lungs.

While the severity of cases may vary, in Lowe’s case the choices are limited. Medical treatments are palliative, but in the long run she will need a lung transplant.

50 000 people needed to sign

In South Africa, the number of donors is limited: the Organ Donor Foundation of SA (www.odf.org.za) says it needs 50 000 people to sign on as donors to meet the current needs, as there are some 4 300 people waiting for organ donations of one sort or another.

This year, signatures were being added at the rate of about 1 500 per month, for the first part of the year, and then showed an increase from July, with 5 727 new signups in October. On Lowe’s site, almost 3 000 people have signed up through a form on the site, a figure that keeps climbing — it clicked over a few notches while I wrote this — and may well have passed the 3 000 mark by the time you read this.

Organ Donor Foundation homepage
Organ Donor Foundation homepage

The hashtag #getmeto21 has been something of a viral hit on Twitter. Another hashtag that the Organ Donor Foundation has been using is #save7 — which refers to the fact that up to seven lives may be saved or assisted by one donation.

A real dynamo

Lowe has proven herself to be a real dynamo, despite the debilitating effects of the disease. She earned seven distinctions in matric last year, and was deputy head girl of her school. On Monday, she was selected as Lead SA’s youth hero, and she has continued to campaign for awareness of her condition and the plight of people awaiting organ donations.

Together with her younger sister Kristi, Lowe wrote a song to try and raise awareness of her condition and funds for her medication. Teaming up with local band Good Luck, they produced a single called “I Need More Time”, which went to number 3 on the iTunes SA download chart in one day. For more, go to www.jennalowe.co.za.

So who’s behind it all?

Lowe + Partners Cape Town’s talented team, led by Kirk Gainsford, originally came up with the idea for the campaign on behalf of the client — in this case, the Lowe family [the sharing of the name is merely a coincidence — ed-at-large], who seems to have been involved in branding, design and storytelling, both commercially and relating to causes — and Sascha Ruppert and his team at GSDH conceptualised the microsite and built it. Egg Films assisted with the video production.

Lowe + Partners CT is also the agency for the Organ Donor Foundation.

Some other companies that have contributed include John Brown Media, singer Kim Kallie Banner, TV production company Red Berry, 94.5 KFM, talk radio station 702, The Forge Web Creations, Independent Newspapers and Matthew Pearce.

A powerful lesson

It’s a powerful lesson of how a group of people can make a difference, if you understand how to use media, design and branding.

Using the low-cost tools of social media, Lowe and her team have managed to create a campaign that has made an important impact on people’s lives, and one that will be with us for a while. The thinking is smart and well-executed; the message is profoundly engaging; and the effort appears to have created a forward volition with momentum.

All hail to Jenna Lowe and her team — may they go on with strength.

Full credits

Client: Lowe Family (Jenna Lowe’s family)
Agency: Lowe Cape Town
Executive creative director: Kirk Gainsford
Copywriter: Erik Salamon
Art director: Dane Alexander & Melissa Raath
Producer: Riska Emeran
Client service: Grayson Rainier
Production house: Egg Films assisted with the YouTube film
Director: Dani Hynes
Production house producer: Kerry Horsford
Digital company: GSDH
Creative director: Sascha Rupert
Designer: Sophie van Duivenboden
Front-end developer: Sophie van Duivenboden & Richard
Back-end technical development : Lasse Manson

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.


— MarkLives’ round-up of top ad and media industry news and opinion in your mailbox every Monday and Thursday. Sign up here!

Beyond Borders: Measurability on the African continent

by Craig Page-Lee (@cpl_ignite) I’ve previously covered the topic of the sheer physical size of Africa and the magnitude of the opportunity for brands operating there. Both are structured upon the concept of “numbers” and I have therefore decided to expand upon this and add another layer to the conversation, namely that of “measurability” and “information by numbers” on the continent.

Looking at recent report on global population numbers (dated July 2014) and obviously taking into account that there are a multitude of reports that provide different facts, figures and points of view, I reference the numbers with caution, but nevertheless have found some interesting insights that I want to share before expanding on the topic of measurability.

Big White Blank Billboard by ponsulak at freedigitalphotos.net
Image courtesy of ponsulak at FreeDigitalPhotos.net

The Total Global population is estimated at 7 264 billion people, with the top three countries, China (1 367bn), India (1 260bn) and the US (318 816m) making up 40.4% of the world’s population.

What is incredible to note is that Nigeria (178 517m people) makes up 2.5% of the world’s population and when combining South Africa (54 002m), Tanzania (44 929m), Kenya (41 800m), Uganda (35 357m) and Ghana (27 043m) — all countries are listed in the Top 50 nations by population size — the collective number (381 648m) makes up 5.25% of the world’s population.

An enormous opportunity

It is further estimated that, by 2050, the total population of Africa will make up nearly a quarter of the world’s population. This presents an enormous opportunity for brands to connect with consumers on the continent.

A recent McKinsey & Company report on Global Consumer Spending Growth predicts a CAGR for Middle East/Africa of 13% by 2017. Then consider that, by 2020, it is estimated that 50% of all Africans will be middle-class and that mobile penetration on the continent is expected to reach 84%. How can brands not want to be present on the continent?

This is where the topic of measurability really comes to life, especially when many markets on the continent remain unregulated, where media platforms are fragmented (in excess of 173 radio stations in Kenya alone, and 15-30 TVCs per break and in excess of 187 ads in a daily newspaper in another country on the continent) and where the highest-reaching TV channel in a particular country could possibly be the digital-screen network installed across all of a particular retail brand’s stores in that country.

Points to consider

There are:

  • in excess of 11 000 billboard faces (3mx6m and larger) in South Africa — excluding all streetpoles and small formats, all retail malls and all digital networks within airports and transport nodes and all mobile/moving media — and delivered by over 170 media/operators
  • in excess of 1 300 billboard faces in Uganda — predominantly in the cities of panels in Kampala, Entebbe and Jinja
  • in excess of 1 200 billboard faces in Tanzania — predominantly in the cities of Dar es Salaam and Arusha
  • in excess of 2 000 billboard faces in Kenya — predominantly in the cities of Nairobi, Mombasa, Nakuru, Voi, Ukunda, Malindi, Naivasha, Eldoret, Kisumu and Kisii
  • in excess of 10 100 billboard faces (3mx6m and larger) in Nigeria — predominantly in the cities of Lagos, Abuja and Kaduna and delivered by over 120 media owners/operators and 57% of the investment being made in Lagos.

This presents over 25 600 opportunities to reach consumers when out of home and 25 600 opportunities to deliver a clear call to action for brands using these faces in these economically active countries on the continent. Again, how can brands not want to use this medium on the continent?

Now consider that the Nigerian OOH spend has grown from US$59.1m in 2008 to around US$177.8m in 2013, with the top two sectors using this medium being telecommunications and beer.

Top four brands

The top four brands spending in the region are MTN, Glo, Etisalat and Airtel. The collective size of the market for Kenya (US$33m), Uganda (US$27m) and Tanzania (US$30m) is US$90m and the value of the total OOH market in SA is in the region of US$35m* — including previously unreported media income from a number of OOH platforms.

In Nigeria, OOH accounted for 23% of national advertising spend SOV in 2013 versus 47% for TV; in SA, the OOH* accounted for just over 10% of national advertising spend SOV versus about 45.4% for TV in 2013.

Digital OOH is available in the top 10 cities in Nigeria, including Lagos, Abuja and Port Harcourt, and this accounts for about 27% of national OOH advertising spend, a significantly higher allocation to the platform compared to SA, where huge investments have been made by the likes of Continental Outdoor Media and Primedia Unlimited in the roadside format, which will see a rapid increase in the amount of budget being allocated to this format in SA. In Kenya, DOOH accounts for less than 5% of national OOH spend and less than 2% in Tanzania and Uganda.

How do we prove the efficacy?

As detailed as the information is on spend value and SOV, the truth is that there is not a single country on the continent that can produce a measure of effectiveness for every one of the networks within its offering. So how do we then prove the efficacy of this far-reaching medium when no level of formal data-collection exists?

In most instances, OOH spend measurement is limited to past 7 days exposure in AMPS survey, or from bespoke on-the-ground billboard-by-billboard audits that take a huge amount of time and financial investment to complete across the vastness of Africa.

You may say that the digital networks will allow a greater level of measurability — certainly, but only if the campaigns are integrated and are developed with a strong call-to-action, driving consumers to mobisites or other interactive platforms that have been directly influenced by the message on these billboards. It is important to tailor messages across the regions to establish efficacy of the medium in a particular region vs another.

Stand up to interrogation

Advertisers demand measurement and ROI metrics that can stand up to interrogation by their executives, measurement on the real impact of campaign messages and beyond just numbers that list the frequency of an advert being aired — or seen, in the case of billboards.

Advertisers want insights on outcomes and not outputs, insights on conversation starters and sales conversions. This is nowhere more apparent than in Africa, as new brands embrace the opportunities in a low-margin, high-volume market. We do still have some way to go before this become a standard for any post-campaign reporting, though.

Creative agencies need to heed the call to create integrated campaigns that respond to the OOH medium appropriately; and produce relevant and purposeful messages that enable participation and lead consumers to a digital point of engagement or into retail stores where genuine measures can be derived.

Creative and media agencies need to work together to ensure that the industry gets to a point where we produce the metrics that actually measure if consumers are participating in the channel in an optimal way and not just viewing the channel.

Learnings from European counterparts

Technology obviously plays the biggest role in this regard, with the high levels of mobile penetration and access to the internet through mobile handsets rising at a rapid rate on the continent.

Another way to fast-track this topic is to take some learnings from what our European counterparts are achieving where partnerships have been established between mobile operators and media owners — this is not any different to the deals that digital agencies are making with the likes of Google and Facebook.

Mobile operators are able to identify where their customers are (location-based information), what search activity is taking place when these customers are out of home (only what categories are being searched as Protection of Personal Information Acts will not allow the granular details to be revealed). Then create a layer of hotspot proximity to billboards and we can develop totally integrated campaigns using the combination of these key platforms to allow advertisers a much more accurate opportunity of connection and engaging with consumers.

With data at the epicentre of all this, we can surely prove value for every marketing cent spent.

The biggest question of all

Who will be first out of the starting blocks in the race to mine the new “gold” of raw data on the continent? The media owners? The media agencies? The telecommunications companies? Or possibly a combination of all — something that I believe will be best for the industry?

Craig Page-LeeCraig Page-Lee (@cpl_ignite) is the group managing director of Posterscope South Africa. He has over 21 years of working experience across the disciplines of architecture and retail design/brand communications and marketing management/advertising and media, across 11 pan-European and six pan-African regions. Craig’s monthly column on MarkLives, “Beyond Borders”, focuses on doing business in various African markets. Don’t forget to tune into his #eBizRetail slot on www.ebizradio.com.

 

— MarkLives’ round-up of top ad and media industry news and opinion in your mailbox every Monday and Thursday. Sign up here!

The Ad Exec: The diminishing returns of pitch culture

by Tom Fels (@thomasfels) The advertising equivalent of a Cup Final, great pitches are a wonderful example of our industry at its finest, with equally paired rivals slogging it out for the spoils. A well-orchestrated process offers the potential client adequate agency exposure to assess chemistry fit, as well as strategic and creative abilities, while all parties are implicitly committed to the partnership on offer. In this context, pitches are a deeply valuable tool.

The problem, however, is that the pitch mechanism is increasingly being abused by clients looking to mitigate their risk by pitching projects out to multiple agencies with no commitment of ongoing business. Often with no compensation on offer to unsuccessful agencies, it is a win-lose situation that is rapidly undermining the value of the advertising product, and the role of agencies in the marketplace.

Pitcher shortlistThere’s an app for it

I was astounded to see the launch of a new pitch app in the Netherlands that assists clients to select a roster of prospective agencies. Claiming to be like “Tinder for marketeers”, “Pitcher” features agency profiles that can be screened and selected or dismissed with the simple flick of the wrist.

It sounds like a great piece of tech — and that was not the cause of my surprise, but rather that it’s been built by an agency, because to my mind it is an accelerator of the second type of pitch culture in which clients are trading multiple agencies’ time, expertise and energy for short-term gain.

Un-checked, this behaviour will increasingly result in diminishing returns for agencies everywhere.

Does the traditional approach work?

As was recently highlighted at the 2014 Loerie Awards by Xolisa Dyeshana, creativity and smart business are the product of a two-way partnership between client and agency. If value-adding creativity cannot sit in isolation of insight and strategy, how can a pitch process enabled by an app for a single project successfully deliver on both short- and long-term brand objectives?

Look no further than the success of long-standing relationships between leading marketing brands and their agencies such as VW and Ogilvy & Mather Cape Town to demonstrate the benefits of effective partnering.

After decades, the agency continues to generate highly relevant and awarded work, while VW remains a powerfully compelling brand. The depth of the brand knowledge the agency must have developed over the course of time is no doubt significant but, as any good agency will do, it has evolved the brand story through many teams of creatives without losing its soul.

My lesson here is that pitches should be geared to courting a partner with long-term intentions, rather than a short-term fling with someone you’ll happily send packing at the drop of a hat.

Brand damage

Marketers who favour regular pitches may be missing a trick, as the two or three weeks typically allocated for a creative response offers little opportunity to absorb the brand before agencies invest significant effort in a creative process which could hit the mark — or miss it by a mile.

On the surface, you’d be led to believe that the agencies are the only ones to lose in this equation. Far from it — clients are equally at risk, exposed to first-base work and higher per-project costs, as well as an environment where credible challenge may fall on deaf ears due to a lack of established trust and where a big idea may seem an idea too far.

Most notably, clients are at risk of brand-fragmentation as a result of short-term planning and implementation with multiple partners who are not involved in, or aligned to, the long-term vision of the brand.

Pitch for the long run

The communications landscape is an interesting mix of business relationships between clients, agencies, suppliers and partners. At its very core, advertising agencies deliver a human product that relies on engagement, collaboration, salesmanship and deep insight.

The prospect of trivialising this through an accelerated culture of frivolous and short-lived relationships can only harm the work, as well as partnerships that may have otherwise been truly remarkable.

Tom FelsWith a decade of local and international experience in leading brand consulting, design, shopper marketing and integrated advertising roles, Tom Fels (@thomasfels) has gained a deeply relevant understanding of the dynamics of agencies. His skills are put to work daily as group managing director of Publicis Machine. He contributes the monthly “The Ad Exec” column to MarkLives.

— MarkLives’ round-up of top ad and media industry news and opinion in your mailbox every three Monday and Thursday. Sign up here!

Online CPD Courses Psychology Online CPD Courses Marketing analytics software Marketing analytics software for small business Business management software Business accounting software Gearbox repair company Makeup artist