#AgencyFocus: Abnormal — making brands purposely different

by Sabrina Forbes. “We make brands purposely different through advertising and design.” This is the slogan Abnormal Advertising promises to live by. The four-year-old agency is part of the Abcon Group of Companies but is financially independent.

Together, operations director Estilee du Plessis (ex-Black River FC and M&C Saatchi Abel), and creative directors Michael Neser (ex-TBWA\Hunt Lascaris and MorrisJones) and Wynand Botha (ex-Joe Public and Openco) have decades of large-agency experience and are putting it to good use working on brands such as Bavaria Beer, Craft Homes, Abland (part of Abcon) and Kemtek.

“After the three of us came together and had the opportunity through the Abcon Group to start the agency, it took about 12 months to find our feet, to know what our offering was going to be, to find our purpose — that sort of thing. The name, Abnormal, got us quickly onto a track to do stuff differently,” says Neser.

Creating brands from scratch

Considering the agency is now out of ‘startup mode’ and has built up traction in the industry, he’s excited to continue to do the work that he believes sets Abnormal apart from the rest: creating brands from scratch. What resonates the most with the three is that the path they’re currently on allows them to create, not build, brands. At bigger agencies, according to Neser, you’re typically given a brand blueprint that you have to work on to build it.

With 12-full time employees, Abnormal is still considered a small agency. This means many clients are in their infancy; they don’t have the budgets to pay big agency rates but are in need of the creative and executional experience such a team promises. Neser, Botha, and Du Plessis has taken this as an opportunity to break the norm and do work that is purposely different. The role they play is to build not only the identity of a brand but also its purpose alongside clients. For all three, building the DNA of a brand from scratch is what’s most exciting.

An example of brand creation work is Bavaria Beer. Already an established beverage brand in Europe that’s just turned 300 years old, it needed a way to compete against bigger players in the reduced-and zero-alcohol categories. Abnormal started working on Bavaria in 2017, when it launched only one product in South Africa, a 2% Radler. Du Plessis says that Abnormal helped with the positioning and look for this product and, in a short time, formed such a good client/agency relationship that the positioning for Radler was taken and rolled out across all Bavaria products.

“We went from working on only one product to working on [the] entire stable of products within South Africa and Africa. Because the zero percent is very important in Muslim markets, in countries like Mali there’s been a massive uptake,” says Du Plessis, adding that the entire non-alcoholic category is growing incredibly fast with big players such as Castle, Savanna, and Heineken eagerly getting involved. By default, this has grown the Bavaria brand significantly. What sets it apart, however, is that it’s the only completely zero-alcohol brand currently on the market. Products such as Castle Free and Savanna Lemon all have approximately 0.3% alcohol.

Be brave

While the budget of a brand like Bavaria is exponentially smaller than its competitors, for Du Plessis, it provides the opportunity to be brave and think outside the box, especially when there’s absolutely no above-the-line to work with. Otherwise, why do it at all?

Abnormal Advertising: Craft Homes - The Ridge - Cupboards

To create a brand (and brand purpose), instead of build on an existing one, brings with it its own challenges and learnings. Many clients have no idea what their purpose is when they start out and, says Neser, the agency has the responsibility and power to discover this. By asking simple questions such as why they exist, what problem they’re trying to solve and what do they intrinsically believe in, the Abnormal team almost reverse-engineers from this point and unearths the purpose at the heart of their clients. An example is Craft Homes, whose purpose is to develop each home with care, knowing that many memories will be made in the four walls it’s built. This sets the tone for everything the brand does.

“The important thing for us is to start that purpose journey in the correct way, because that informs the foundation for what we will build on,” says Botha. “If that doesn’t resonate with who we are working with, it can usually fall flat in other areas. It is vitally important to get buy in and ensure it’s authentic and true for [them] and where they are as a business and where they see the business going.”

Abnormal Advertising: co.evolveAbnormal’s model is lean and the full-time staff comprises eight creatives and four ‘suits’ who’re skilled in project management, production, traffic, office- and account management. The focus on having a bigger creative team is because that’s what the client is paying for — the creative product — and it’s this use of multifaceted suits supporting a creative team that Du Plessis believes is the agency’s USP.

Word of mouth

While Abnormal is now the pitch list of Independent Agency Search & Selection Company (IAS), it still relies heavily on word of mouth and using its network. According to Du Plessis, she’s an avid ‘stalker’ and often approaches potential clients with ideas and thoughts on how they could work together. She’s even gone so far as to send a locked box — and it’s only after they agree to meet for a coffee that she hands them the key to their gift: two coffee mugs and beans.

“All the smaller, newer agencies struggle getting onto pitch lists. We are at the back of the queue so we have to find other ways of getting new business. If that takes another couple of years, that’s fine; we will continue knocking on doors,” says Botha.

Abnormal logo
abnormalgroup.co.za
Ramify Profile

  • Office locations: Joburg & Cape Town
  • Revenue band: R10–20m
  • Staff count: 12
  • Key clients: Abland, Craft Homes, Bavaria, The Redrock Brewing Co, Kemtek, Candide, Tadvest, Country Mushrooms
  • Services: Advertising, design

 

Sabrina Forbes“#Agency/BrandFocus” is an ongoing weekly series updating the market on ad agency performance, including business performance, innovation, initiatives, the work, awards and people.

Sabrina Forbes (IG) is an experienced writer covering the food, health, lifestyle, beverage, marketing and media industries. She runs her own full-stack web/app development and digital-first content creation company. For more, go to moonwrench.com. She is a contributing writer to MarkLives.com.

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SA TV Ratings: DStv — primetime top 30 for Aug 2019

by MarkLives (@marklives) The hottest primetime shows on DStv in South Africa revealed: TV ratings for August 2019.

DStv logoDStv, August 2019

Top 30 Programmes All Adults 15+ & DStv Adults
August Prime Time 5.30pm—10pm

Source: BRCSA August 2019

BRCSA TV Ratings August 2019 primetime DStv
Click to enlarge

 

Broadcast Research Council of South AfricaThe Broadcast Research Council of South Africa (BRCSA) 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. In 2016, it 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.

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BREAKING: King James buys custom publisher Cedar SA

by MarkLives (@marklives) King James Group SA has concluded a deal with Cedar Communications in the UK to take over the licensing agreement in southern Africa by acquiring a majority stake in privately owned content marketing agency, Cedar South Africa.

New Media no longer has a stake in the business as King James, together with Cedar SA management, has taken over the shares previously held by New Media. The move adds content publishing to the ad agency group’s suite of services.

“Natural extension”

The lines between paid, earned, owned and shared have blurred and brands are communicating to a world that doesn’t think in media silos, says James Barty, King James CEO. “Strengthening our content marketing capabilities in the highly specialised area of content publishing made absolute business sense as our next phase of growth. It’s a natural extension to what we do as a group. We’re excited about the platforms on which the team at Cedar SA can create content. And, when combined with our existing skillsets and expertise, we believe we have a proposition that keeps us at the cutting edge.”

Comments Helena Gavera, Cedar SA managing director, “We have depth and breadth of experience working with bluechip local and international brands across a wide range of industries, all with vastly different content needs, not least of all, British Airways’ High Life, which has been [Cedar’s] anchor client for 46 years. Additionally, the group will gain direct access to international best practice, expertise and experience through the Cedar network operating in four other key markets.”

Cedar SA will continue to operate as an independent agency brand within the King James Group structure.

See also

 

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Dear Radio: Benefits of DAB+’s unlimited spectrum

by Paulo Dias (@therealptp) A radio station that nails it, Amazon enters the streaming game and an idea that’s too good to be true turns out to be just that…

Unparalleled connection

If you had to create a radio station just for plumbers, electricians and contractors, what would be the first song played on the station? “We built this city” from Starship, naturally!

That’s the song that launched Fix Radio, a London DAB+ station for builders, carpenters, electricians, plumbers, roofers, painters, decorators, plasterers and scaffolders. It’s a targeted station built (sorry) around a very specific market in very specific environments: tradespeople on often noisy sites who want a range of upbeat music and good old English banter. They also get ads that are relevant to them; spot breaks are filled with tool ads, roofing products and workers comp companies!

When you have the unlimited spectrum that DAB+ offers you, it enables radio to be experimental, interesting and fun. It also allows for an unparalleled connection when you can target so specifically, eg the station has run initiatives such as The Bacon Butty Tours, handing out free sandwiches at building sites.

Plus, with imaging lines such as “Fix Radio, Hammering it hard”, I think Fix Radio is nailing it!

HD music

News broke this month that Amazon us entering the music streaming game. Breaking up the Apple vs Spotify argument, Amazon Music HD will bring subscribers 50m songs in ultra high definition, the highest-quality streaming audio available — which basically means music can be heard the way it was recorded.

I find it interesting that it has used terms such as HD to describe audio but I suppose it’s more familiar and easier on the tongue than “Amazon with a bit depth of 16 bits and a sample rate of 44.1kHz”.

The trend is increasingly towards improving the audio experience, firstly through content, then discoverability and now, seemingly, through audio quality.

https://youtu.be/sOPRfkoT9xA

And, finally, if you’re a podcast listener, imagine getting paid just to listen to your favourite podcasts. Sounds too good to be true? Unfortunately for Podcoin, it was.

Launched a year ago, Podcoin rewarded podcast listeners for using its player. Every 10 minutes resulted in one credit, and credits could be exchanged for gift cards, coffee vouchers and even a set of Bose headphones. From personal experience, my almost 150 hours of listening barely got me a US$2 reward — and some anorak worked out that it would take a few years before the headphones could be redeemed.

But, sadly, no one will ever claim them as the service has shut down.

However, it was a really interesting way of differentiating yourself from Spotify, Apple podcasts, Acast etc, and gamifying content — and using digital platforms to reward loyal audio consumption is something we can learn from.

 

Paulo DiasPaulo Dias (@therealptp) is the head of creative integration at Ultimate Media. He works closely with the programming teams at leading radio stations to help implement commercial messaging into their existing formats. He contributes the regular column, “Dear Radio”, looking at the changing radio landscape in South Africa, to MarkLives.com

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FieldNotes: When leaders eat last

by Marguerite Coetzee. What the construction industry can teach us about surviving a crisis.

A group of four men gathers on the pavement. A local gets nervous: “This might be the start of another protest,” he says. I am parked near an abattoir, and see a small truck transport some sheep in that direction —lambs to a slaughter, literally. The ocean air in Saldanha feels like salt on an open wound. Everything is stained a rusty red thanks to the steel factory, the town’s lifeblood.

It’s been months of talks and tension around the construction taking place in the area. Some even claim there’s a construction ‘mafia’ who behave in a destructive and aggressive manner, while others say these are agents of change ensuring the economic upliftment of emerging local contractors. Construction projects are disrupted — and often prevented from continuing — until an agreement can be made regarding stakes in the project.

With varying perspectives and differing visions for a preferred outcome, the situation could very easily become messy. The construction industry — as a complex system undergoing change — requires transformational leadership to see it through (read more here).

Take note

Simon Sinek wrote a book called Start With Why: How Great Leaders Inspire Everyone to Take Action. In it he demonstrates how assumptions impact behaviour; the difference between manipulation and inspiration; how confidence can lead to certainty; how trust emerges from an alignment of values and processes; and the importance of listening and communication.

However, leaders don’t assume one identity or role, and often struggle or fail to lead their team through transformation. Liz Wiseman, in her book Multipliers: How the Best Leaders Make Everyone Smarter, identifies several leadership types which she categorises into “multipliers” vs “diminishers”:

  1. The Liberator creates an environment of safety and freedom, while The Tyrant creates a climate of fear and judgement
  2. The Challenger identifies opportunities, while The Know-It-All simply delegates and gives direction
  3. The Talent Magnet attracts skilled people and encourages them to contribute, while The Empire Builder protects their own resources and refuses to share
  4. The Debate Maker drives the decision-making process through purposeful debate, while The Decision Maker creates confusion by making decisions on their own
  5. The Investor constantly delivers favourable results, while The Micro-Manager maintains control over others and holds individuals accountable

Lesson 1: Start with why

Change management often fails because of poor execution of a change or misdiagnosis of the problem. A potential starting point is first to sense the situation. From there, a convening question may be crafted to reveal the current narrative of the system and to tap into people’s will. After defining the scope of the problem, tools may then be deployed to help make sense of the situation and guide the approach towards a solution.

  • What are your (or your organisation’s) values, beliefs, and main purpose?

“Success is not final, failure is not fatal: it is the courage to continue that counts” —Winston Churchill, politician.

Lesson 2: Develop the how

The behaviours and attitudes that foster change are those that raise collective awareness of change, explore alternative methods to managing change, provide access to information about the change, and have flexible structures and processes.

  • What change process could you follow, or what actions can you take, to make your main cause a reality?

“If you can’t change your fate, change your attitude” —Charles Revson, philanthropist.

Lesson 3: Determine the what

Being a change agent requires a level of awareness and state of reflexivity. It’s important to listen to different perspectives and consider different sources of information in order to gain a holistic view of a situation, issue or solution. The overall aim is to craft a new trajectory towards a collectively defined vision through self-transforming patterns.

  • What are the products or services you could offer to be a change agent in a transforming situation?

“The acknowledgement of a single possibility can change everything” — Aberjhani, author.

 

Marguerite de Villiers Marguerite Coetzee is an anthropologist, artist and futurist who provides research and insight services through Omniology. FieldNotes, the latest series in her regular column on MarkLives, captures experiences from the field, shares the cultural lessons learned, and advises on qualitative tools, methodologies and frameworks when exploring the world of the consumer.

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Q5: Mike Oelschig on running a social media command centre [interview]

by Carey Finn (@carey_finn) Michael Oelschig (@MikeOelsch), MD digital of Wunderman Thompson South Africa, explains the ins and outs of keeping customers satisfied online.

Q5: How do you build a social-media command centre?
Michael Oelschig: There are so many considerations and variables, it is really tough to be concise in this answer. So, I’ll focus on what I believe to be the most-important factors. The first is the buzziest of buzzwords — data. You need to know how many contacts, queries, complaints etc you currently get on a month-to-month, day-to-day, hour-to-hour basis, but also how much you project to get in future. Once you know that and you know what your SLA [service level agreement] should be (response rates, response times, average handle times etc), you can then work out how many agents/community managers you need. But then it gets more complicated — what times of the day do you get most queries? Because you need to create the ideal shift structure that has the most agents in the busy times and the least in the not-so-busy times. The more you get into the data, the more cost-effective and -efficient the team will be.

The next most-important thing is getting the processes right. The agents you hire aren’t going to know the details of every product off the bat (and, for more-complicated companies, not for a long time), so you need to have it documented on how to find the right answers; who to escalate serious complaints to; who to talk to when they see an opportunity for proactive engagements, etc. The worst things brands do is make their own complexities the customer’s problem. Make sure that everything is seamless behind the scenes, so that even new people can service a customer easily and quickly.

And, lastly, understand that not all command centres are made equal — if you are a service brand, like Vodacom, you need service-driven community managers and service-driven KPIs, whereas more relationship-driven brands need more-conversational community managers with more-qualitative KPIs. Most companies need a custom mix of the two based off their specific needs. Some command centres will even have content producers for quick turn, tactical content. So there is no cookie-cutter approach to command centres; understand what you need and go from [there].

Q5: Within that centre, how do you balance quick response times with customer and employee satisfaction?
MO: Quite simply, ensure you have a mix of quantitative and qualitative KPIs. These need to be measured together as one score because, if you focus too hard on response times, for example, it is very easy to become robotic with copy-and-paste type answers; focus too hard on something like having brand-building conversations with customers and you can become very slow. The ideal is balancing the two. Just bear in mind that, by their very nature, qualitative KPIs can only be measured manually — so there is a bit of work to be done, come reporting time.

Q5: How can a company accurately measure customer-satisfaction levels from social-media engagement with it?
MO: In a few ways. The traditional NPS-type scoring is still useful — so, basically, just asking the customer about their experience. But then the tools we use are getting very smart in this sense as well. While we have had automated sentiment scoring for a while, it is very broad, not very accurate and adds very little business insight into the why of the relative sentiment. But now we are moving into being able to use these tools to take this unstructured online conversation and structure it into key business drivers that we can measure and score in real time. So, not only can we automatically measure levels of unhappiness, we can dig into what is causing it. The caveat to this is the listening or engagement tool has to be configured in a very smart way — and not many people know how to do this effectively.

And then we can also make assumptions using the data: if response rates are going down, average handle times are going down and the number of interactions (basically how many times a customer has to come back to us before their issue is resolved) is going down, we can assume the experience for the customer is getting better.

Q5: How do you suggest a company responds if it encounters customer resistance to using social media to interact?
MO: Social shouldn’t replace all other channels; it needs to augment them and be there for the customers that want it. But, by the same token, you still need to have other channels for people with different preferences. In the same way that banking apps haven’t replaced branches, they are just another offering for a particular type of customer that wants it.

Q5: Do you think we will see a return to the old voice-based call centre model of customer relations in the future?
MO: I think the phrase “a return to” is a misnomer. We haven’t left voice-based call centres and I don’t think they are going away any time soon. Having said that, all data indicates that there is a definite move from voice-based to digital-based. But it won’t be a complete replacement — at least not for the next decade or so.

  • Find out more about Oelschig on LinkedIn.

 

Carey FinnCarey Finn (@carey_finn) is a writer and editor with a decade and a half of industry experience, having covered everything from ethical sushi in Japan to the technicalities of roofing, agriculture, medical stuff and more. She’s also taught English and journalism, and dabbled in various other communications ventures along the way, including risk reporting. As a contributing writer to MarkLives.com, her regular column “Q5” hones in on strategic insights, analysis and data through punchy interviews with inspiring professionals in diversive fields.

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Everything you need to know about Google Marketing Platform

by Tasmin Kingma. Google Marketing Platform is a consolidated solution for cross-channel marketing which enables a centralised ecosystem. It involves a mixed set of advertising, measurement, creative and analytics products which allows for end-to-end digital advertising solutions. This supports marketers in gaining insights into the user’s online journey to understand their behaviour, interactions and where their digital touchpoints are.

Customer behaviour is key

As a marketer, you want to know your customer’s behaviour. Google Analytics presents web and app analytics which enable you to analyse and understand user on-site, in-app digital and offline data. This allows for insights into media, behavioural and user-experience (UX) optimisation, just to name a few.

Here are the top four things marketers need to know about Google Analytics:

  1. On-site behaviour may be combined with any advertising to get valuable insights into your target audience
  2. Data may be used to understand why users drop off or abandon their shopping cart so that optimisation can take place
  3. Data indicates which content works and how the content may then be optimised, and
  4. Mobile device insights are used to optimise UX.

When linked with Google Optimize, you can run website experiments to determine the optimal experience for each group of users and you can see how they perform against the goals you set. The biggest benefit is that you don’t have to use a one-size-fits-all campaign; through split-testing, you can reach the best content combinations, call-to-actions and more to match your campaign to its target audience’s behaviour.

Advanced buying

With an optimised experience, you know that users will react positively. Now it’s important to match the online advertising to that optimised experience.

Display & Video 360 is an advanced demand-side platform and comes with end-to-end digital marketing campaign management, all of which helps streamline the creative development process, simplify your media planning, and reach the right audiences. It’s not just about buying advertising on publisher sites; it’s about talking to the right audience, at the right time, with the right frequency and with the right message.

Search Ads 360 allows for the management, automation and optimisation of search engine marketing campaigns in real-time and at scale. It also has a centralised view and advanced reporting of the effect of search engine marketing on the user journey. A great buying tip is creating custom conversion rules, which will allow for maximum performance optimisation of your campaigns.

One single view of your marketing efforts

How are all these channels connected to provide one view of marketing efforts? With Campaign Manager. This is the core of the centralised ecosystem and serves creative to the user while recording data that can be measured and fed back into a marketing strategy. Campaign Manager also enables audience building, onsite tracking and advanced insights to cross-channel data. Creative solutions with Studio offers a complete solution to build and manage engaging digital ads, from custom video to dynamic creative.

With your campaign in full swing, you may use Google Surveys to generate questions for market research, which is important as it helps you to understand and define your target and audience groups better. It’s simple, too. You ask a question online and people across the internet respond in exchange for access to high-quality content or Google Play credit. The marketer will then get aggregated and analysed results in one simple online interface.

Finally, use Data Studio to build a reporting solution for sharing data from almost any source via interactive dashboards and reports. The sky’s the limit here, as various connectors may be used to build almost any data sets and data combinations required.

Insights

With Google Marketing Platform, everything you need for end-to-end control of your marketing campaigns is available and, when linking and using these products together, it provides powerful insights with world-class tech abilities.

See also

 

Tasmin KingmaTasmin Kingma is the chief operating officer at Hoorah Digital and leads operational and media strategy. She is results-driven, with a strong focus on building data lead by technology. She built one of the first programmatic teams in South Africa.

“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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#BigQNarratives: What is our South African creative narrative?

by MarkLives (@marklives) Is adland embracing an African narrative? Are South African advertising agencies and brands embracing an authentically African narrative and aesthetic or do they continue to imitate American and European work? What can agencies, and brands, do to shift the paradigm towards embracing a unique creative identity that speaks to our African roots? First in our panel to tackle this question is adland veteran, Felix Kessel.

Felix Kessel

Felix KesselFelix Kessel (@felixak) is the former CEO/CCO of Leo Burnett South Africa and a co-founder of OwenKessel. After serving in advertising for over 25 years, he has moved to working on the industry, instead of in it, as a consultant helping on matters ranging from leadership to transformation and from creative relevance to people development.

MarkLives asks us an interesting question: “Are we embracing an authentic African creative narrative?” I think the more-relevant aspect of this question is: “What is our South African creative narrative?”

I’m disclaiming that there is a bit of a rant in here. Forgive me. I do also hope to offer a solution.

Identity

In the light of the current wave of disgusting xenophobic violence, gender-based violence and racial tension, identity has become the central narrative challenging South Africa. I have a long-held notion that “The Rainbow Nation”, while celebrated across the world as the clarion cry of unity in diversity for the South African class of 1994, preached a moral we can’t live up to. Diversity by its nature is not unity.

We needed a rallying cry then. We so desperately wanted to move forward in peace that we overlooked something in the change that other African countries have found in their post-colonial emergence — a true sense of national identity, united as South Africans. Diversity, while powerful as a force for change, is not something you can hang your hat on as a belief, or a narrative that you can easily rely on to define you. Our sense of South African-ness is numbed.

Without that identity, the themes that emerge as SA creative narratives are insular, tactical and unfortunately a little trivial; we default to product, price and explanation littered with a bit of social commentary. It’s functional but not nearly meaningful enough. (I accept that there are some brands trying hard. Kudos to them, but it’s mostly a sea of sameness.)

Pivot

What we are missing is the pivot, the lever that can move the country emotionally positively. I would argue that, until you have a clear picture of who we want to be as a nation, you can’t project that positive image into the world, and you let the negative ones define you — issues of privilege, gender, race, religion, ancestry, wealth, poverty and a host of other negative labels start becoming our narrative and our identity. That is something I, for one, hope to avoid.

As a friend of mine, Donovan Bryan, the ECD of Leo Burnett, once pointed out: we in advertising have the power of presidents, maybe even more. Think about it. The role of commercial art (read “advertising”), beyond creating growth for our clients, is to create a sense of common purpose.

We generate billions of rands in communication outputs every year to sell stuff. Imagine that we also decided, collectively, to use that immense platform to promote the very thing we so desperately need to define here — our determination of national identity, based on themes of themes of decency, unity, dignity, good values, acceptance and sharing.

Building the foundation

Imagine every brand that could write into their advertising mandate for their communication teams and agencies that they would support the building of our national character through their advertising —the most-influential entities in the land contributing directly to building the very foundation of the ideal of what it means to be a good South African. The beauty is that, as long as it’s positive, anything goes.

We would start defining what it truly means to be a South African. Not the lip-service answer that we are a “rainbow nation” or some such platitude but telling stories with evidence of real character. That is a narrative that could truly mean something, one that builds our nation along powerful lines that could engender national pride once again.

I worry that there is no proper SA creative narrative because we haven’t yet landed on what it really means to be South African, no matter your gender, origin, colour, religion or culture. Let us ask some powerful questions:

  • What is that thing that binds us together as a nation?
  • What would we all be prepared to swear allegiance to, given the chance?
  • Where is the flag flying outside our homes because we want everyone to know how proud we are of who we are as a nation?

Clear

That narrative is what every brand, every advertiser and every storyteller in the land has a chance to do something about. Then the creative narrative will be clear.

Before we sell out to the American dream (that is actually only for Americans), let’s try and create a singular dream of our own that defines and unites us. Tell your marketing departments; tell your agencies. You have power beyond imagining as you influence the people of this country. As you sell your stuff, you could also sell an ideal that may well be one way to secure a positive future for everyone.

See also

 

MarkLives logoLaunched in 2016, “The Big Q” is a regular column on MarkLives in which we ask key advertising and marketing industry execs for their thoughts on relevant issues facing the industry. If you’d like to be part of our pool of 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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#RugbyWorldCup: Inside Supersport’s #GalleryOfChampions campaign

by Sabrina Forbes. For one day only last month, SuperSport held a popup gallery on the eighth floor of the Capital Hill building in Benmore, Sandton, where media — including MarkLives — and rugby fans attended the sports broadcaster’s official 2019 Rugby World Cup launch. We also chatted to digital sports marketing agency, Retroactive, about the campaign.

Striking artworks

In the middle of the rooftop venue, displayed on white walls, were 15 striking artworks created by five young South African artists with an appropriately clear underlying Japanese theme (Japan is the host this year).

SuperSport Gallery of ChampionsSome of the original framed A1 prints really stood out.

There was a dark, almost moody one featuring Eben Etzebeth. Then there was one where Francois “Faf” de Klerk’s golden hair looked so real, you could almost touch it. It goes without saying that the print of our Springbok captain, Siya Kolisi, showed him standing firm, arms at his side, fists held tight, staring right ahead. Then I spotted Handre Pollard wearing what looks like a skull of a Springbok, preparing to take a shot on goal. My favourite is an image of Tendai “Beast” Mtawarira that looks as if he’s running through a group of All Blacks, grasping the ball and face-planting one of them with his massive hand. My only question, though, is where’s Willie le Roux? I’d be happy to have a poster of him on my wall.

Panel

The evening kicked off with MC, Xola Ntshinga, welcoming everyone and introducing the panel which included John Smit, Odwa Ndungane, and Butch James. They spoke about their experiences as Springboks and what their hopes were for our boys this year.

“Picking the top five or six is pretty easy,” said James. “New Zealand by their last game, they’re right up there. Wales will also be competing and, of course, England and Ireland. I wouldn’t write off Australia just yet and then, of course, I love our chances. I think we’ve got a brilliant pack of forwards and our scrums and lineouts are strong. It’s hard to get defense to gel and to do a rushed defense; we saw that with England, the guys not trusting each other. It didn’t work for a number of games but they stuck to it and I think they’re reaping the rewards now.”

According to Odwa, South Africa had the momentum going into the world cup and the squad to do it, while Smit said that, if he could script it, he’d like to lose marginally to New Zealand in their first game, meeting Wales in the semi-final and then again meet New Zealand in the final.

Artists

MarkLives spent some time chatting to three of the five artists.

Seyabonga Vincent “Vindollar” Lebeko, who created the artworks of Kolisi, De Klerk and Elton Jantjies, says he’s happiest because this project has made his parents very proud of him, and being involved in a first for South Africa is something that makes him feel very privileged. He explained that his three designs all aim to show what’s quintessential about rugby for him, and that’s shorts and strong arms. He spent a lot of time looking at pics of each of the three to decide on a pose that would immediately show they are rugby players.

Corne Nel’s designs of Pieter-Steph du Toit, Kwagga Smith, and Steven Kitshoff are reminiscent of Japenese samurais. He told MarkLives that he immediately thought of samurais when tasked with incorporating Japanese elements into his designs and worked hard to combine them with the ‘bok’ element. The toughest part was drawing the lips of each player because he felt at that point he was having a very intimate moment with each of them.

Joel “Cyzo” Matladi is the only designer to incorporate elements of the crowd into his artworks, saying that he looked at Etzebeth, Damian de Allende, and Cheslin Kolbe plus rugby supporters to understand everything that lies behind the passion of this sport. His darker, moodier theme was chosen because he believes all his three players are “badasses” and he wanted to show them that way.


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Client: SuperSport
Ad agency: Retroactive
Title: #GalleryOfChampions

Information supplied by Retroactive.

Brief

We were tasked with executing a PR launch for SuperSport to communicate its RWC19 coverage — the most-comprehensive package for a Rugby World Cup.

Creative summary

We considered the aspects that make Japan unique — elements such as karaoke, sushi, bullet trains all spring to mind — but there is a synergistic link between superheroes and a Japanese export: anime and manga artistry.

#GalleryOfChampions saw the commissioning of five SA up-and-coming artists who each completed three illustrations of SA rugby players. These illustrations were exhibited for one night only in Johannesburg.

We reached out via a tweet, asking if there were young SA illustrators who have a notable Japanese influence in their work, and were pleasantly surprised to uncover five extremely talented individuals:

  • Seyabonga Vincent “VinDollar” Lebeko (@VinDollar016) is a 21-year-old artist, based in Vereeniging, Gauteng. He has developed an immensely impressive talent for portrait illustrations; anything his pen touches takes on a life of its own. Since matriculating in 2016, he has honed his craft as an illustrator. He is highly ambitious and wants to study a BA Fine Arts at university, and live out his dream of becoming an animator or game designer.
  • Andre Human (IG: @Dreviator) is a professional concept artist and illustrator. He works for both the local and international film and TV commercial industries. Never without a pen, pencil or improvised drawing implement, he shares his non-commercial work on his social media accounts, including sketches. He loves to document his process to provide his audience with an insight into his workflow.
  • Born and raised in Boksburg, Corné Nel (@neverforfame) started his brand Never For Fame and has seen impressive growth in the five years since inception. He has a darker perception of what’s beautiful: street art and tattoo designs are the main inspiration behind each piece of his art. Possessing a more-aggressive visual appeal, Never For Fame strives for a balance between elegant and alternative aesthetics.
  • Joel “Cyzo” Matladi (@Cyzo22) is proudly African, specialising in animation and digital art. His work draws inspiration from the African visual identity and heritage, along with influences from anime and comics, to create engaging and emotive work that reimagines and revolutionises the African narrative.
  • Tyler Jade is a young South African designer working in the commercial design and advertising field. He doesn’t limit himself to any art form but is wildly explorative and delves into the worlds of sculpture, art, fashion and product design. His inspiration comes from various sources, both in urban and natural landscapes, and the contrast between what is considered beautiful or ugly. [Full disclosure: Jade works for Retroviral, a sister agency of Retroactive.]

The A1 originals from the popup gallery were then auctioned via Facebook, where the pieces collectively fetched more than R43 000 for SuperSport’s CSI — Let’s Play.

Production

We leveraged the prints to drive PR, used the SuperSport Blitz channel, and produced our own in-house video content to communicate the story. Hosting influential media and key influencers at an atypical launch allowed us to generate social buzz for this launch and resulted in coverage for SuperSport in an array of lifestyle publications — most notably, the front page of the Sunday Times.

Duration

One-night-only gallery execution and five-day social media auction, Monday 9 September to Friday 13 September 2019.

Resources

Uber Exposure for event management and venue, Retroactive for strategy and production of content.

Credits

Brand

SuperSport

Agency

Retroactive
Executive creative director: Mike Sharman
Creative director: Ben Karpinski
Art director: Duncan Blackhurst
Project manager: Zelda Arnott
Account manager: Greg Tinkler
Account executive: Stirling Levesley

 

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Press Pass: Streaming service Viu targets SA with freemium model

by Carey Finn (@carey_finn) If the predictions are to be believed, streaming is the future — and this is something that Ryan Solovei, South Africa’s country manager at over-the-top (OTT) video service, Viu, is putting his weight behind. “SA is a few years behind the global trends, which is [to be] expected, but I think Viu is very well-positioned, and our plan is to extend into Africa in the coming years,” he says. Expansion, however, would not take a shotgun approach.

Viu logoPart of Hong Kong telco player, PCCW, Viu entered the local market in February this year, adding a new name to the myriad on-demand streaming options that exist, including Netflix and ShowMax. Since launching, the South African operations have seen “tremendous growth”, says Solovei, without sharing specific figures. Viu currently operates in 16 other emerging markets, mostly located in Asia and the Middle East, counting a total of 36m active monthly users and 30bn video minutes, according to interim results for 2019.

Increasingly competitive

In an increasingly competitive streaming arena, Solovei believes that Viu’s differentiating proposition is its “freemium” model, which combines free and paid-for content. Key among the free offerings are a number of popular SA soaps: Uzalo, Skeem Saam, Scandal! Rhythm City, Isipho and Imbewu. Strategic partnerships with e.tv and the SABC have seen these shows removed from YouTube, where episodes would previously be freely available, and migrated across to Viu — with viewers following, says Solovei. New episodes are added to Viu about 30 minutes after being broadcast on TV.

“For Viu, the business model and the strategy [have] always been about local content, and capturing local consumers in the mass market in each of the countries that they go into,” he says. “SA ticks a lot of boxes, because you’ve got a big mass market, and you don’t have much competition in the form of freemium services.”

He comments that many of the other video-on-demand (VOD) services available may be prohibitively expensive, and not speak as well to the main market. Viu Premium costs R69 per month, R20 per week or R5 per day, with paid subscriptions opening up access to other SABC content such as Yizo Yizo, Harvest from e.tv, Viu originals, Bollywood titles, and Nollywood and other “pan-African” content. As of late August, Viu also live-streams Openview’s News & Sport channel on Saturdays, in partnership with eMedia Investments. This gives users access to Premier League soccer games and current affairs content.

Target market

The target market is a broad one, explains Solovei. “We’re not going after the premium subscribers in South Africa — we don’t have HBO and Warner Brothers — we’re not going after that type of market, the Hollywood market, as it were,” he says, describing it as crowded. However, Viu’s viewership doesn’t fall neatly into any particular LSM, with the free shows consumed across market segments, he says. This is of relevance to advertisers, which are a key part of the company’s revenue model: free subscriptions feature adverts.

Advertisers are showing interest, he continues, suggesting that this is because Viu offers them a unique proposition. “In SA, you don’t have many free-to-air, safe environments for advertisers,” he says, adding that they are able to provide clients with “rich data” on views.

While streaming platforms may be ready and raring to go, there is the elephant in the room to consider. “Data in SA is very expensive,” Solovei admits. “We do think that in the next year or so, data prices will come down, though.” A workaround is using the download option on Viu when access to wifi is available, and viewing content later, offline — which many customers currently do, he says. This is a key feature in all emerging markets, he adds. The platform also uses data as efficiently as possible, something that has played a role in its success so far, he says.

Key focus areas

Bring new advertising clients on board is a key focus area for Viu’s SA operations at the moment, according to Solovei, as is growing its user base. Part of this involves working with cellular providers to offer different, convenient billing options and offers. From June, Viu has made an integrated bundle available to Vodacom customers, providing access to Viu Premium for a month with a data recharge of 1GB. He describes this as a “game changer”.

A further focus is creating new local content, which Solovei says is a core part of the business. “We’re busy with a number of different productions; we’re very excited about it,” he says. “In 2020, I think you’re going to be surprised what Viu will start making available to consumers on the platform in SA.”

 

Carey FinnCarey Finn (@carey_finn) is a writer and editor with a decade and a half of industry experience, having covered everything from ethical sushi in Japan to the technicalities of roofing, agriculture, medical stuff and more. She’s also taught English and journalism, and dabbled in various other communications ventures along the way, including risk reporting. As a contributing writer to MarkLives.com, her column, “Press Pass”, is a monthly feature spotlighting media leaders and their responses to the trends and tribulations in the industry.

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