Daredevil: Learning to Embrace the Dangers of Entrepreneurship With Four Foods Group COO Josh Boshard (#021)

positivity breeds success. Welcome to the the 97th Floor Mastermind Interview Series where each week we sit down with one of the makers, thought leaders, and visionaries behind the biggest and/or up-and-coming brands around. We talk about everything from business and marketplace insights to personal journeys and successes, to failures and legacy. In this episode […]

The post Daredevil: Learning to Embrace the Dangers of Entrepreneurship With Four Foods Group COO Josh Boshard (#021) appeared first on 97th Floor.

Why Brands Need to Create Anti-Hate Policies

AdWeek recently published this article by our Chief Strategy Officer, Mobbie Nazir looking at the impact of hate speech on communities online, and why all brands should have anti-hate policies visable on their channels. They’ve been kind enough to let us reproduce it below.

From Budweiser to Dove, Pepsi and now Nike, brands are finding themselves having to deal with a new social media backlash issue. Whether or not they have gone out of their way to provoke or simply made a mistake, the hate their actions can generate on social media is a fast-growing problem.

For some brands, the situation arises by being bold and taking a stand. Consider Nike, which recently triggered hate by recruiting controversial former NFL star Colin Kaepernick as one of the faces of its new ad campaign. Or Budweiser, which provoked Trump supporters to take to social media to vow never to drink the beer again after the brand launched “Born the Hard Way,” a pro-immigration ad.

For others, it is the result of misjudgment. Though its intention was to promote diversity, a Facebook ad for Dove unwittingly provoked accusations of racism in a loud social backlash. Pepsi meanwhile fell foul with its Kendall Jenner ad, an error of judgment that provoked accusations that brand was tone deaf.

Whatever the cause, however, the speed with which a social backlash can now occur and gather momentum makes it critical for any brand owner to ensure from the get-go they have a plan for how they are going to publicly address negativity.

Don’t just silence the haters
Almost all brands choose to silence hate on social media by simply deleting hateful posts, such as racist or homophobic comments in response to ads that include more diverse family units or anti-Islamic replies to holiday campaigns where wider religious and racial diversity have been shown. Simply sweeping the problem under the carpet, however, does not make it go away. That’s not standing up for the issues represented because silence sounds like complicity and shows brands as being all about the ads rather than action itself—and action may be exactly what’s needed.

This poses unique questions in particular for brands planning advertising campaigns based on diversity, inclusion and minority issues.

With a plan in place, an effective response can be possible and might even help your brand gain strength from the community by allowing a more positive voice and then amplifying it. Letting the community speak in this way firmly silences those who are negative, forcing them to leave the stage.

This is reminiscent of the #MeToo movement. There’s power in thinking you won’t accept certain things anymore. Once you start to speak out and speak back, pushing against hate speak, many other voices will join in, and your brand may have a veritable chorus.

How to create an effective anti-hate policy
It’s not always easy but creating your own anti-hate policy is the first step in addressing the problem of online malice. Ensure this is visible and accessible to all. This will show the public, including marginalised communities, where your brand stands. Guide your page moderators in their response to hateful comments, and discourage hateful sentiment in all guises.

Facebook and Twitter have both committed to investing more in curbing problem ‘behaviours’. As a starting point, it can be beneficial to use these platforms’ community guidelines as a basis for your own policy.

Such policies vary in size and scope: Reddit’s is 36 words, while Facebook’s stretches to 25 pages. All contain useful phrasing on the type of language and behaviour that won’t be tolerated. You can add additional wording from your brand’s existing internal HR or operational policies.

Anyone reading should be clear on the kind of space you want to create for users. And make it public: Publish your policy on your social media pages so everyone is clear on the rules.

Responding to every comment right after it has been left on your page won’t always be possible. But when launching a campaign that contains an increased risk of triggering backlash, monitor comments closely for the first few days, and then on a less frequent basis as time goes on. You may decide to review posts every 15-30 minutes on the first day of the campaign, and then every two hours for a week or so after launch.

What’s to lose?
More fundamentally, when your brand is faced with hate, ask yourself if deleting and forgetting about it is really the right thing to do. There’s surely a more powerful way forward, especially in cases where the brand is taking a proactive stand. By taking this path, your brand can start a movement that stamps out hate far more effectively than simply censoring it.

By standing up to online hate, your brand has a lot less to lose than ignoring it and hoping that it will go away.

The post Why Brands Need to Create Anti-Hate Policies appeared first on We Are Social UK.

Essence named OMMA Agency of 2018 by MediaPost

Essence has been named OMMA Agency of the year by MediaPost.

The list, created annually by the MediaPost’s editorial board and lead by Editor-In-Chief, Joe Mandese, recognizes companies that represent the best-in-class in the advertising community. Finalists were announced across ten categories, including media, social, creative, executive and client awards. Essence is thrilled to be recognized on the list, which also features Horizon, Publicis Media, Amazon, Giant Spoon, Merkle, Mutual Mobile, Omnicom, Interpublic, and Nike.

MediaPost is an integrated publishing and conference company. 

Lookfantastic takes centre stage in our multi-platform social media campaign

The Gate was asked to ‘Take Centre Stage’ and bring life to The Hut Group’s Winter creative campaign for lookfantastic.com. 10 iconic brands, 10 beauty products and a list of 69 deliverables all for use in an amazing multi-platform social media campaign – something we’re being asked to create more and more frequently. Hello Instagram, Facebook and YouTube – bye bye TV!

Never an afterthought, The Hut Group briefed us on the need to produce different formats from the start of the project. As a result, we were able to develop the cut down creatives and, most importantly, the shot list with classic landscape (16:9) classic portrait (9:16) and that pesky 4:5 aspect ratio in mind.

Look FantasticLook FantasticLook Fantastic

Break a leg – The great format challenge

As discussed in our recent blog on shooting for IGTV, Portrait and social media storytelling, we always sit down with clients before filming in order to establish and understand key considerations:

  1. Practical – how do we need to compose the shots?
  2. Organisational – do we need extra time to achieve these shots?
  3. Creative – how will additional elements like graphics work within each format?

Big on social already (check out the brand’s Insta feed), the lookfantastic team were a pleasure to work with, understanding the complexities of repurposing footage for use across their assorted channels.

Making content go further in a race against the clock 

The real challenge on this project was time, and lack of it!

Our multi-platform social media campaign required content in various aspect ratios, but there was no time over the two shoot days to flip the camera on its side and cover filming in portrait as well as landscape. So we brought in the Arri Alexa to shoot at 4K, and made sure that the framing for each scene could be cropped.

This time-saving approach meant that we were able to capture all of the required content from the longform 70” film and repurpose for shorter 15” social versions. No additional work needed!

Another element we needed to consider was subtitles – the lookfantastic social media campaign would be seen worldwide, and so translations of the graphic frames would need to fit within the frame and not cover or compromise the footage.

 

Lights, Camera, Action!

Let’s get this show on the road!

Headed by producer Laura Harris, Team Gate spent a whirlwind two days taking over Manchester Opera House and treading the boards with director Chris Gaffey.

10 amazing performers and a pile of extras kept the production team on their toes. ‘Never work with children or animals’ they say… well, what about aerial acrobats and fire breathers? Thankfully, ours were very well behaved, but this was certainly not your basic risk assessment.

A huge amount of glitter sparkled on beautiful costumes provided by The Costume Department and our backstage theatre set was crafted by the superb Paul Kondras and team. Makeup was expertly designed by Mandi Gaffey and her team of top MUAs to compliment and accentuate the benefits of the associated beauty products.

Look FantasticLook Fantastic

The Result? Ta Da!

A call to celebrate and empower women, encouraging them to be confident in their own beauty. A razzle-dazzling set of films for a multi-platform social media campaign which showcases some of the best-selling products from the lookfantastic range.

Look FantasticLook Fantastic

Social success – It’s Showtime!

We used a mixture of compositions from the footage to create an impactful series of social versions for use across Instagram, Facebook and YouTube.

Split screen is a common technique for Instagram videos that we utilised for this project, allowing more content to be seen on screen within a shorter duration. We were able to keep shots of the story narrative and our characters, and position them next to the product packshots to align the cut downs with the longform version.

Carefully selected cropped footage stands up to the 4:5 cropping ratio, thanks to the 4K resolution of the amazing Arri Alexa camera.

Large text graphics punch over the footage for impactful messaging, and a ‘safety space’ at the bottom of frame were applied to all versions for subtitles so that the client could add translated content for a global audience.

 

Want us to create a multi-platform social media campaign that really delivers?

Contact Us Now.

The post Lookfantastic takes centre stage in our multi-platform social media campaign appeared first on The Gate Films.

PrettyGreen Launch Global Watch Campaign for… Ben 10?

Lights, Camera, Alien! Following in the footsteps of DiCaprio, Gandy and Depp, Spencer Matthews sealed the deal for an undisclosed sum to become the face of Ben 10’s Deluxe Omnitrix Watch.

 

PrettyGreen and Cartoon Network worked together on the project to put a creative twist on the classic watch campaign. Selecting, new dad, Spencer Matthews to front the brilliant tongue in cheek activation, the team relaunched Cartoon Network’s Ben 10 Deluxe Onmitrix watch in time for Christmas 2018.

 

Oozing every inch of suave and sophistication, Spencer modelled the must-have watch of the season, that transforms renowned children’s TV character, Ben 10, into one of 10 alien superheroes.

 

 

Through a series of stills, a piece of hero video content and behind the scenes edit, giving his best blue steel,  Spencer modelled the must-have watch much to the delight of his social media followers and the family fan base of Ben 10.

 

Spencer commented “This is a landmark moment for me, I love to model, and I love to model watches, so it’s a dream come true. Better yet it can transform me into 10 different aliens! I’ll be changing my son’s name to Ben at this rate.”

 

The campaign, through its unique creative content, has been placed in multiple national outlets, in print and online, including Mail Online, The Sun, The Daily Star, HELLO!, Ok and more…

 

 

Digital Content. Principled Broadcast Design.

“All the world’s a stage.”

This classic quote from William Shakespeare’s “As You Like It,” has newfound resonance as we advance into the digital future.

We live in a new era of radical reinvention of the broadcast television world. No longer are we limited to traditional content sources. Just as cable TV once challenged (and beat) broadcast TV for a dominating position in viewership, we are in another transition period.

Everything we do can easily – and very quickly – end up on camera, shared online, and watched on smartphones, tablets and laptops in living rooms, on train platforms, and everywhere else humans consume content. And as many devices as there are to watch this content, there’s a myriad of content sharing platforms at our disposal. Social media outlets are the new broadcast networks. From Facebook to YouTube and everything in between, including Twitter, Instagram, Vimeo and Musical.ly.

Applying our seven principles of design

With our content and our brand being viewed, scrutinized and assessed on so many devices, through so many platforms, how can we control our “look”? At Jack Morton, we draw on almost 80 years of brand experience, excellence, creative strategy and award-winning broadcast production design to navigate the new digital content era. The design principles we’ve developed in broadcast production design are increasingly relevant and applicable to this new media landscape.

What lessons can we take from decades of experience and award-winning work? How can production design enhance a brand message? Or conversely, how can poor design send the wrong message and negatively impact your brand?

Let’s dig into the seven design principles we apply to our work:

  1. Highlight the brand. Uncover or identify a unique, iconic visual element that can be identified with a particular brand or personality. An element that will become instantly recognized and associated with your program (and your design), and set it apart from the clutter competing for eyeballs.
  2. Close-up is King. In the world of personality driven content, design for close-ups (of which the vast majority of all studio-based shots are designed). This is extremely relevant to programming watched on small screens, so make a statement with your close-ups. Enhance, delight and inform your audience with wider shots.
  3. Search for balance. Strive for a balanced design that will create a full range or depth and complexity, no matter the camera angle. Think hard and soft textures; edgy with warm colors; a mix of asymmetrical shapes with formal lines. Modern with classic. Contrasting elements in harmony make for dynamic environment.
  4. Strive for simplicity. Seek to find familiar elements, but reconfigured or reimagined in a fresh new way.
  5. Focus on the host. Create environments that direct the viewer’s focus on the program’s host or hostess. (Don’t forget principle 2!)
  6. Choose the right architecture. Incorporate or feature unique architectural elements into your space when available and appropriate.
  7. Acknowledge we are all HD now. Remember that almost all video is shot with high-definition (HD) cameras, and viewed on HD devices…including shots taken and shared by individuals visiting your set or participating in your brand experience. For instance, the iPhone X’s camera system offers pros and amateurs alike 4K video recording at 60 frames per second (not to mention slow-motion video in 1080p). What does this mean for your set design? Every corner, every screen, every angle has to look good on camera!

Content is everywhere. And it’s not slowing down. Video has become an almost universal digital language. And it’s the brands that own the stage and understand how to bring their vision to life across every touchpoint – including production design – that will have a leg up.

Interested in working with us? If so, we’re ready to help you build extraordinary broadcast experiences, designed with all the care and thoughtfulness of our 30-plus years of principled design in mind.

Get in touch!

The post Digital Content. Principled Broadcast Design. appeared first on Jack Morton.

Patagonia is giving its $10 million tax cut back to the planet

CEO Rose Marcario announced that it will go to groups committed to protecting air, land and water, and finding solutions to the climate crisis.

Patagonia has never been shy about its activism on behalf of the environment, whether through its 1% for the Planet initiative, giving a percentage of profits to grassroots environmental organizations, calling the president a liar on public lands protection, giving employees election day off, or becoming one of the first commercial brands to publicly endorse political candidates.

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The Economist encourages Londoners to rethink the war on plastic

The Economist, a leading source of analysis on international business and world affairs, recently unveiled a new experiential marketing programme encouraging Londoners to challenge their assumptions about plastic pollution and its effect on ocean health.

Entitled “Don’t bin plastics, yet” the activation, brought to life by Sense, comprises an art installation of a fish made from recycled plastic dredged from the river Thames. The fish weighs 24 kilograms, equal to the weight of plastic dumped in the ocean every tenth of a second. The programme is inspired by a recent article in The Economist, The known unknowns of plastic pollution, which explores what we know and don’t know about the costs of the activity.

Visitors discover that of the 6.3 billion tonnes of plastic waste produced since the 1950s, only 9% has been recycled. On current trends, by 2050 there could be more plastic in the world’s waters than fish, measured by weight. Yet only 10% of 3.6 million tonnes of solid waste discarded each day across the globe is plastic. And the alternatives to plastic are not always better.

For example, a British government analysis from 2011 calculated that a cotton tote bag must be used 131 times before greenhouse-gas emissions from making and transporting it improve on disposable plastic bags. The Economist writes that the cost of plastic pollution is comparatively overstated, even if more can be done to reduce it.

“The ‘Don’t bin plastics, yet’ activation brings The Economist’s mind-stretching journalism to life and challenges consumers to rethink what they know about plastic pollution,” said Mark Cripps, Chief Marketing Officer, The Economist Group. “This programme ensures our globally curious readers are armed with useful information about the consequences of plastics versus other environmental pollution, and the gaps that remain in our understanding, to help them make educated decisions about their actions.”

“Visitors will be offered a free coffee in an edible cup by our brand ambassadors and encouraged to take part in a conversation about the plastics debate, including the impact on the oceans and the need for more plastics collection and recycling,” explained Sense Account Manager Loren Heer.

The ‘Don’t bin plastics, yet’ activity is part of The Economist’s live content marketing programme, which aims to attract new readers to The Economist through creative and provocative real-world experiences. People who take part in the programme have the opportunity to subscribe to The Economist at an introductory rate of £12 for 12 weeks, and receive a subscription gift.

The activation kicked off at London’s Paddington Station on 20 November and continues to Waterloo on 29 November, Victoria on 11 December and Liverpool Street on 12 December. More dates are planned in different locations over the coming months.

The post The Economist encourages Londoners to rethink the war on plastic appeared first on Sense London.

SEA LIFE’s new global interactive aquarium experience to be run by Sense

The world’s largest aquarium brand, SEA LIFE, has commissioned Sense to launch a new campaign from January 2019 designed to engage visitors across 22 of its locations worldwide.

Two themes are covered by the activations designed to drive brand engagement and inspire visitors to support SEA LIFE’s mission of celebrating aquatic life, while working to preserve the oceans. The first, invites you to join your underwater heroes; celebrating the amazing abilities of five key creatures in each aquarium. Featuring a comic-book style set of five interactive ‘pods’, it educates incredible facts about the creatures, likening them to super heroes.

For the second theme, SEA LIFE is using the five interactive pods to persuade visitors to join their Sea Explorer team and discover the wonders of the ocean. Visitors are encouraged to get creative by drawing, colouring and building on each of the pods, allowing visitors to explore different aspects of aquatic life through play.

“Our brief was to create fun, exciting and globally appealing content around the SEA LIFE essence of Amazing Discovery, as well as manage logistics, including quarterly regional kit rotations” explained Sense Board Director Sally O’Brien.We needed to come up with creative work that appeals to young families, couples and school parties – instantly engaging, hands on and able to withstand millions of visitors a year.”

“We’ve previously been impressed with Sense’s creative thinking and innovative approach to attraction interactives, so appointed the team to run this major new campaign designed to engage and excite our visitors about the wonders of aquatic life,” said Rita Marcal, Global Senior Brand Manager at Merlin Entertainments.

The post SEA LIFE’s new global interactive aquarium experience to be run by Sense appeared first on Sense London.

The First Question Marketers Should Ask Before Making Social Video

“Social video” can mean almost anything.

A two-second Boomerang of friends clinking wine glasses is social—but sometimes, so is cinematic storytelling. The spectrum of social video includes both of them, along with recipe videos, sports highlights, reaction GIFs, live streams, and countless other formats and styles.

Despite this, advertisers often use “social video” as a blanket term. Marketing gurus discuss “social video best practices” and tell you how to “optimize video for social,” ignoring the spectrum and treating all social video as the same.

The upside of this approach is that it’s simple, clear, and actionable. But the downside is that it often leads brands awry. Because social video covers such a wide spectrum, there are very few blanket best practices.

For example, it’s widely considered “best practice” is to keep social videos short. However, as we learned in our most recent white paper, long videos are slightly better at driving comments and shares. If your KPI is link clicks, you could follow the “shorter is better” advice and easily meet your goals. But if your KPI includes social interaction, avoiding long videos might box you into a corner and prevent you from finding the best idea.

Rather than treating social video as a blanket term, we recommend dividing it into two types based on objective. Before you develop a video, ask yourself the following question, and don’t proceed until you have an answer:

Are we trying to drive an action? Or build the brand?

Once you have your answer and determine your KPI, it’s easier to picture what your video must accomplish. Guidelines become more specific and accurate, providing a useful framework within which to brainstorm:

  Action Drivers Brand Builders
Primary Objective Video Views
Link Clicks
Ad Recall
Conversions
Leads
App Installs
Engagement
Brand Sentiment
View Duration
Video Purpose Capture Attention Hold Attention
Messaging Simple, Direct, and Actionable Tells a Complex Story
Length Typically Short (5-30 Seconds) Can Run Longer (Up to ~4 Minutes)
Narrator More Likely to Rely on Text Overlay More Likely to Use Dialogue

Brand Examples: IBM

Now more than ever, you can see how this plays out in the News Feed. New ad transparency tools from Facebook and Twitter have pulled back the curtain on “dark ads,” making visible posts that were previously only served to targeted audiences. This is particularly useful for analyzing Action Drivers, which are more likely to be run dark.

To demonstrate the difference in video types, we can use these tools to study major brands such as IBM. The tech giant relies heavily on video ads as Action Drivers, but also invests in hero videos as Brand Builders. See the examples below:

Action Driving Examples