Creative people wanted

Today we launch We Are Upstarts, a new six week creative placement scheme, aimed at finding the most exciting, diverse freethinkers in the UK. In collaboration with Creative Mentor Network, three successful candidates will battle it out for a permanent role at We Are Social, or a year long mentorship by our trained mentors.

During the placement, the candidates will get a chance to create some kick-ass work with the creative, editorial and design teams, as well as a pitch an idea to Facebook, at Facebook. They’ll also have dedicated mentors and teams guiding them through the process.

If you’re free between 16th July and 24th August and are able to work in London, applications are open on the We Are Upstarts website until the 15th June 2018. We’ll pay the London living wage.

We are ready. Are you?

If you want to find out more, you’ll also have the chance to join a free event at our London HQ on 31st May from 3pm; where you’ll have the opportunity to hear more about becoming an Upstart, get a feel for the agency, meet the team, and receive advice on how to smash the brief.

The post Creative people wanted appeared first on We Are Social UK.

Welcome to Essence, Ali Reed and Toby Roberts

Please join us in welcoming Ali Reed and Toby Roberts to Essence.

Ali Reed joins us as Head of Client Services in EMEA from OMD UK, where she was client part for Disney. Toby Roberts is our new Head of Strategy in EMEA. He comes to us from PHD, where he oversaw global communications planning.

Nick Baughan, our CEO of Essence in EMEA, said about bringing in Ali and Toby to join our leadership team: “Essence is a unique agency, building full media capabilities from a data and digital background. Strengthening the team means we can bring best-in-class thinking across all media and apply it to the world’s leading brands.“

Read more on The Drum.

Social Media and The Royal Family

The Royal Family have always been a discussion point, even before Youtube, Twitter and Facebook existed, but with the assistance of social media it seems the family have really become popular on the platforms.
A Royal, Social Attendance

The Royal Family have their own social accounts, often tweeting on occasions like the Queen’s birthday, where the official @RoyalFamily shared a throwback to her Majesty at her Christening. As you can guess the official account gives us information about past royalty, the monarchy and any engagements the Royal Family have attended. Social posts are relayed to an impressive audience of 3.76 million on Twitter and an incredible 4.7 million on Facebook. The Royal Family’s Facebook page is similar to their Twitter, but with more detailed posts about the events. The most recent post is about The Prince of Wales’ 70th Birthday Patronage Celebration, with photos to accompany the content. The post received over 53,000 reactions and 2,150 shares. People are interested by the world of the royals.

The Royal Family members do not have official, individual accounts but collaborative Twitter profiles. For example, Prince Charles and the Duchess of Cornwall have @ClarenceHouse , which too showcases events that family have attended or hosted. Also, the younger members of the monarchy have @KensingtonRoyal, which is a bit more of a modern take on life as a royal, with videos of Prince William speaking about events and retweets from other prestigious accounts. All three Twitter accounts are rather similar though as they all share the same articles and photos, but what do you expect? Who has time to tweet personally, when you’ve got engagements to attend and inspired speeches to make?

Tweets the Queen Would Approve Of

However, they have to keep up a social presence – one Buckingham Palace approves of. The accounts all use high quality images and detailed, but succinct language. All accounts have a social media team behind them, which must be a considerable amount of pressure on the individuals as they must get every word right. With millions of followers and the world watching, there is no room for grammatical errors or the wrong image being uploaded by mistake. One slip up on social media could damage the reputation of the person the account is associated with and whatever is posted on the Internet is out there for everyone to see. The British Monarchy even had a vacancy for ‘Head of Digital Engagement’, which gave the successful candidate a good salary, fantastic benefits and the opportunity to control the Royal Family’s social media accounts, meaning their work would be seen by millions.

Although most of the Royal Family members do not post from their own personal profiles, there are members of royalty around the world you can still follow on Instagram.

Tweeting for the Good

Social media has always been a tool to boost popularity, or decrease it, and with the Royal Family’s private life, having social accounts can really make the members of the monarchy seem more human and relatable. It’s really our only insight into their lives and to spread the good, charitable work they do. For instance, Prince Harry was live on Facebook taking a HIV test, which really helped raise awareness of the disease.

Royal Engagements

The Royal Wedding of Harry and Meghan – the Duke and Duchess of Sussex – had over 5.3 million mentions on social media in the space of 24 hours, with 2.2 million coming from the US. People all over the world are interested by their lives and the only way to hear about their stories is through social media.

It was inevitable that the family would have to catch up with the times, especially as tabloid newspapers moved to Facebook news articles. I mean the Queen already had an iPod, so the Monarchy’s technological and digital world can only grow from here.

The post Social Media and The Royal Family appeared first on Giraffe Social Media.

‘A brutal time in the business’: How Terri & Sandy wins big as a small shop

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Terri Meyer and Sandy Greenberg are the co-founders of the New York independent shop, well, Terri and Sandy. Both refugees from the big holding company worldMeyer and Greenberg had worked together as a creative team at J. Walter Thompson and FCBthe two bring a big sensibility to small agency life.

Cofounded in 2010, Terri & Sandy has attracted, and retained, clients like Gerber, Avon, Disney and Peeps, as well as a host of newer brands. One ingredient in their secret sauce: “A long, long list” of things they saw at holding companies that they chose not to replicate, says Greenberg. “The morale in the advertising business has been very low for many years,” she says.

Continue reading at

Mistress Seduces 13 More

As Mistress continues her pursuit of becoming the modern superagency—through the rebundling of advertising functions and an ability to deliver results at speed—she’s taking on the super staff necessary for her accelerating evolution.

Mistress is proud to announce thirteen new hires and the latest members of her expanding team! 🎉

From left to right:

Adam Valley, Creative
Bruno Guerra, Social Brand Manager
Hanna Koh, Creative
Austin Ho, Creative
Jordan Rich, Creative
Tara Allen, Senior Project Manager
Nate Stroot, Creative
Kiley DeNembo, Creative Resources Coordinator
Kristi Hughes, Creative
Drew Jayhan, Senior Project Manager
Madeleine Gould, Creative
Leslie Lechner, Creative
Elvis Sierra, Creative

Read more in AgencySpy.

The post Mistress Seduces 13 More appeared first on Mistress.

No Boundaries: Creative Agency of the Year Pivots to Embrace All Facets of a Modern Communications Consultancy 

Ketchum celebrated its 95th Anniversary yesterday, and while we paused to look back at our many accomplishments, course changes, historic firsts, and epic wins over the years, we were simultaneously gearing up to propel ourselves into the next 95 years with a major shift in how we do business.

To stay ahead of the changes that have taken place in public relations, we have morphed our business over the years by adding change consulting, digital, content, influencer, and even paid media specialists to our toolbox. Today we will go a step further and pivot the agency to incorporate all of these offerings and many more into our core DNA.

We are shifting from a traditional PR agency to a communications consultancy that is inspired by management consulting firms, but built on the strength of our ability to innovate and be even braver creatively on our clients’ behalf. Transforming our structure will allow us to lean in to our industry expertise and more easily tap and embed our diverse communications specialists in client teams, rather than focusing on specific geographies.

We believe that as our clients’ businesses evolve and their needs change, what they need is a partner that can pivot between offering the full suite of services they’ve come to expect from a global firm to being an industry-focused boutique-style agency—and back again.

Concurrently, we are making it easier for our client directors to do what’s right for clients of all sizes on both a local or global scale. Whether it’s tackling a complicated global reputation issue or simply executing against a short-term project, we are embracing “no boundaries” as our mantra.

So, what does that look like for our clients?

Guided by this philosophy, our clients will get the best of what they have become accustomed to from our firm. They will keep the teams they admire and adore, but those teams will now have the full weight of the agency’s resources behind them. Our industries are designed to easily tap into each other and all of our communications specialists to share knowledge, best practices and ideas with other. For example, technology experts will work with health, financial services or transportation for a seamless client experience.

I am truly proud of how our colleagues are embracing this evolution and helping us become even stronger. Our collaborative culture and borderless approach have always set us apart from our peers, and this tighter interdependency is a “secret sauce” that will provide even more opportunities for our talent to follow their passions, flex their entrepreneurial muscles, and curate their own career paths. And as we know, engaged talent always leads to better results.

Our employees have crowdsourced the new values that will guide Ketchum into the future: curious, brave, inspiring, and a force for good, I’d be remiss if I didn’t also include the word resilience. We may prefer to downplay it at times, but it is what allows us to continue to reinvent ourselves amidst the rapid change that surrounds us. In fact, you are reading this on our new website – a website designed by our teams and containing our new vision and values, all of which has, you got it, been written by our copywriters and developed by our creatives and animators. We’re doing for ourselves what we take tremendous pride in doing for our clients.

With the guidance of our change consulting team, we are ensuring the client is always at its center of this shift, and making it easier for them to tap into our expertise no matter where our talent sits. I know I speak on behalf of everyone at Ketchum when I say I can’t wait for our clients and prospects to experience the full communications ecosystem we’ve created on their behalf. I could not be prouder to be the CEO of this incredible collection of talented individuals. I hope you have the chance to work with us and experience what we do every day.

I would love to hear what you think of our new approach and am always open to new ideas that make us an even better communications consultancy as we embark on this new future together… a future with no boundaries.

The post No Boundaries: Creative Agency of the Year Pivots to Embrace All Facets of a Modern Communications Consultancy  appeared first on Ketchum.

Data Protection is Everyone’s Business, but Should be Someone’s Job

One of the key facets of the GDPR in the EU, which goes into effect at the end of this week, is the mandatory appointment of a Data Protection Officer (DPO) for any organization that processes or stores personal data, whether for employees, individuals outside the organization, or both. These DPOs are ultimately responsible for overseeing the organization’s data protection strategy and implementation to ensure compliance with GDPR requirements. Considering the potential financial implications of non-compliance (up to 4% of a company’s worldwide annual revenue), it’s critical to have someone in charge.

 Why You Should Consider a DPO

With roles already focused on the use and security of data – Chief Information Officers, Security Officers, Marketing Information Managers etc. – is this newly minted job description relevant, especially for brands not operating in the EU? Should U.S. based companies consider appointing their own DPOs and why?

At Acxiom we spend a lot of time advocating for data ethics by design and the importance of building in a process for assessing data protection at all levels of the organization – it fundamentally is everyone’s business to protect consumer data. We train engineers to think about privacy and train privacy officers to understand engineering, and counsel our clients on operational data governance every day. Even with all the proper due diligence in place, we do believe most enterprises should consider appointing a DPO for two reasons – avoiding conflicts of interest and demonstrating a commitment to data protection both internally and externally.

As a rule of thumb, many leadership positions within the organization could conflict with the DPO’s role, and therefore does not allow them to serve in dual capacities. These include senior management positions such as CEO, COO, CFO, heads of marketing, HR or IT. Other roles lower down in the organizational structure could also be seen as conflicting if such positions or roles lead to the determination of purposes and means of processing.

Qualifications for Success

In an article from 2017, What skills should your DPO absolutely have?, the IAPP (International Association of Privacy Professionals) recommends that role “first and foremost requires an experienced professional”. He or she should have the seniority and management experience to be peers with other leaders within the organization, and the IAPP recommends the following qualifications:

  • Risk/IT: DPOs must have significant experience in privacy and security risk assessment and best practice mitigation, including significant hands-on experience in privacy assessments, privacy certifications/seals, and information security standards certifications.
  • Legal expertise/independence: DPOs must know data protection law to a level of expertise based upon the type of processing carried out. This suggests that DPOs should be licensed lawyers or otherwise highly well versed and knowledgeable of not only the GDPR and other relevant legislation (e.g. E-Privacy Directive) but also privacy and related laws in all jurisdictions their organization does business or outsources operations.
  • Cultural/global expertise: DPOs will likely be dealing with controllers and processors from different countries and therefore business cultures. He or she must have experience in dealing with different ways of thinking and doing business and have the flexibility to marshal these differences into a successful result.
  • Leadership/broad exposure:  DPOs will need to have leadership and project management experience, to be able to request, marshal and lead the resources need to carry out their roles. They should also have broad business experience to know the industries of the data controller and processor well enough to understand how privacy should be implemented to integrate smoothly with the way each company designs and markets its products and services and earns its revenues.

Some organizations are also considering outsourcing the DPO function altogether. This may be a good short-term solution, especially considering the limited talent pool. Many organizations should also consider IAPP training courses for their junior team members as a way to grow the skill set from within.

Why Now vs. Later

As with any new job role, DPOs are actively creating their own peer network to share best practices and create new codes of conduct. The earlier you appoint or hire a DPO, the more involved he or she can become embedded into a community of professionals that will drive the conversation forward and put your organization into a stronger position for the future.





The Golden Age of Outdoor

This article first appeared on Contagious on 22nd May 2018.

Ric Albert, creative director at Grand Visual, explains how film studios are raising the bar with exceptionally creative uses of digital outdoor.

Ten years ago, digital out-of-home was in its infancy; a blank canvas yet to be painted with the exciting content we see today. Film marketing was still very much focusing on the traditional channels of TV, print and OOH; video-on-demand and pre-roll ads had only just started to appear. In fact, online was where film marketing first started experimenting creatively. However, as the functionality and scale of Digital OOH has expanded, so too, has the way in which entertainment brands use it.

Fast forward 10 years, and things have changed dramatically. Today, digital inventory has given OOH film campaigns a new lease of life, adding some movie magic to outdoor executions. Now marketeers can run trailers and video content on the street, introduce characters, plot teasers, or run live-action sequences, direct from the film to whet the public’s appetite. Digital OOH has become the ideal advertising channel for the entertainment industry.

Shifting the needle

There’s been experimentation. It started in 2006 with Rocky Balboa running up the first digital escalator panels on London Underground, changing the way we thought about multi-panel creative. It continued with Legend of the Guardians, which saw a campaign from Warner Bros pioneering subtle motion on roadside screens, a motion format that’s now an international standard.

In 2011, Harry Potter and the Deathly Hallows Part 2 streamed its world premiere live to DOOH screens. Then there was the Jurassic World execution at Waterloo, which combined, traditional OOH, station wraps, Digital OOH and experiential. And a variety of AR and VR activations were used across the world for the release of supernatural horror IT.

There is real momentum to this creative evolution, and advertisers are changing the way they create and use OOH media. From static branding channel to high impact PR vehicle, DOOH now live streams worldwide premieres, provides immersive augmented reality events and delivers iconic treatments tailored for iconic buildings, environments and screen locations. Now OOH can be engaging, immersive, participatory, integrated and scalable.

Scaling interaction

Connecting with film fans on a deeper level is now achievable. Digital OOH offers interaction via a multitude of creative technology solutions. A campaign for Dr Strange opened up live portals between sunny Los Angeles and rainy London, and allowed people to warp the world in front of them. An AR campaign for Batman v Superman allowed participants across several markets to become their favourite superhero. And these aren’t just one-off special builds, we’re seeing interactive campaigns becoming more scalable: it’s now possible to produce engaging, responsive experiences seamlessly across borders and markets.

The digitisation of OOH has also enabled outdoor creative to become firmly embedded in the broader digital strategy, playing a central role in an omnichannel execution. The power of social media and its influence over box office results means that OOH can be a great conduit for driving audiences online, and vice versa. Digital outdoor activations can be crafted to generate shareable content for garnering audiences online.

For the recent launch of season 7 of Game of Thrones, dramatic fan reactions posted on social channels were shared moments later on digital screens across the UK, tapping into the buzz and excitement of the show whilst delivering a powerful UGC endorsement. Interestingly, Digital OOH has also begun to influence other channels, with its content nowadays seen at movie premieres and press junkets, as well as within online banner creative and social feeds.

Digital OOH’s presence and ubiquity in cities around the world is also part of its allure to the film and entertainment industries. Film campaigns demand an international rollout, and as DOOH spend overtakes traditional OOH revenue in markets around the world, this has forced us to change our approach. Nowadays scalability is vital to production processes, so now we use master creative toolkits and flexible creative that can adapt to all the different shapes, sizes, durations, environments and audiences of the screens we’re faced with.

To give you an idea of that scale, in 2017 we delivered over 12,500 files to 52 markets, from Guatemala to Kazakhstan. Localisation and delivery become paramount, as does sophisticated ad-serving technology from QDOT. Now multiple markets can take advantage of a toolkit of creative rather than the traditional siloed approach.

So, what next? It’s undeniable that Digital OOH has become a major marketing channel for film studios and entertainment brands. Moreover, the film industry has become a major driving force for the continued development and evolution of global Digital OOH campaigns.

Now that the production processes have been nailed and the intelligent ad-serving infrastructure is in place, we expect to see truly global campaigns that deliver local relevance become the new standard. Combined with tactical, interactive and cross-channel strategies, the marriage between film marketing and digital OOH looks set to blossom.

The post The Golden Age of Outdoor appeared first on Grand Visual.

Be a cheat to win


Thought piece:

Be a cheat to win

By Duncan Campbell, Senior Client Manager, Capture

The human brain is an ignoring machine. It’s fundamentally lazy and will do anything it can to make life easy for itself and not use too much energy. That’s not because it doesn’t want to think about things, it just has so many things to think about that it would take hours to perform a small task if it went through the taxing, rational process of imagining every scenario possible. So it simply tries to ignore as much as it can.

Imagine walking into a supermarket without knowing what food you’re going to have for that evening. Now, think how long it would take to consider every product in the shop to decide what you’ll have, before you eventually choose spaghetti bolognaise. Your brain needs to ignore almost all of the other products in order for you to make a relatively simple choice about your evening’s nourishment. It therefore resorts to automatic processes for filtering out this information, based on everything you’ve experienced in supermarkets previously: knowing what is food for dinner and therefore what is suitable, which aisles to avoid, which products you think are good quality etc.

Further to this automatic process, the brain needs to find answers to questions it doesn’t have experience of, in the fastest possible time. It takes shortcuts, it cheats, it does anything it can not to expend too much unnecessary energy. What should be very interesting to any marketer/brand manager is that you can become one of these cheats and bypass your competitors in a relatively simple fashion.

One of the most important of these to marketers is how the brain will automatically want to default to the easiest solution. In the store environment, one of the most common defaults is price. (Stephen Lomax, Weetabix). Supermarkets now have a whole range of complex messaging, from nutritional information, variations of the same product and multiple points of difference. If a shopper can’t tangibly decipher this they will typically default to promotions, or base cost, to make their decision. Not a great thing when you’re a cheese brand, not on promotion in a category where a high percentage of products are only purchased when on deal.

The idea of defaults has prompted numerous trials to measure its effects. One of the most well-known is the organ donation rate in Austria: compared to the UK, Austria has a donation rate of 90% versus the UK’s of c.15%. Why? Because Austria requires its citizens to opt-out of donating their kidneys when they die, as opposed to England who requires them to opt-in. The brain is happy to stick to the easier option of choosing the default, even in a situation as emotionally charged as donating pieces of your body. It’s powerful stuff.

This behaviour translates to when a shopper is buying a product. Brands have started to manipulate shoppers’ behaviour by becoming a default product. There are several ways in which they can do this: from the simple act of getting their products into a shopper’s online Favourites list, so it’s one of the first products they see when starting their shop, to the more advanced technique of subscription models where a shopper receives their product before they even have a chance to contemplate a competitor.

Gillette’s Shave Club is an excellent example of removing all competitors and becoming the default. They make the process simple by requiring a shopper to select their model, the retailer they’d like it delivered from and then letting them relax, as razors are delivered while they sit at home and make no further decisions. Perfect for the lazy brain and even better for Gillette who win the hard earned razor cash by only having to convince a shopper to subscribe once (maybe twice if they’ve needed to test the razor first). Graze have been doing a very similar thing in the snacking world for years, which works with equal effect.


Unsurprisingly, Amazon are at the vanguard of letting brands pay to become a default on their site with their Amazon Dash option. These physical default buttons are a good concept to help make a process of auto replenishment as easy as possible when the consumer is in the right mindset.  There are still some flaws in that having buttons placed around your home is unsightly and (ironically) not always practical – what happens when you can’t find your dash button at the bottom of the cleaning cupboard? Amazon have recently made these virtual so a shopper can have easy access to their defaults on any device which makes for quick, simple links to help their brains not work too hard. There’s still a way to go with this concept, but Amazon make it very easy for a brand to buy into becoming the default option.

To become a default isn’t an easy task: it requires hard work to get on default lists, or encourage shoppers to subscribe to your product, but the reward is well worth it. Playing to the human brain’s natural desire for ease will ensure they never want to think of any of your competitors: a genuine solution to that common problem of standing out in store.

Thank you to Richard Bradford of Wavemaker and WARC, for the talk that inspired this piece and for some of the examples listed.

If you’d like to understand more, give us a shout at



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