Author: Simon Halstead, Chair IAB Europe Programmatic Trading Committee and Senior Director, Exchanges and Supply, Ad Platforms, Verizon Media
We are one year on from a sizeable change to how the industry operates following regulatory changes. Programmatic revenue continues to grow, and we now know that programmatic is mainstream as more than half of display ad spend in Europe is traded programmatically.
We want to learn how the industry has reacted to these changes, and how we as an industry feel about the upcoming opportunities with the development of 5G, and increasing shifts in auction mechanics to first price and supply optimisation. What attitudes, trends and technologies will shape its future? The IAB Europe Programmatic Trading Committee aims to find out in its latest Attitudes to Programmatic Advertising survey.
The survey has become the industry benchmark on the development of programmatic in Europe and in 2018 it revealed that in-house is now the favoured advertiser model with nearly 40% executing their programmatic trading via in-house operations.
Now in its fifth year, the survey asks about:
If you are involved in programmatic trading, media buying. selling or planning then please take the survey – it won’t take any longer than 15 minutes and could help
The survey will close on Friday 12 July. Please pass on the survey link to any relevant colleagues. Your response will be treated in the strictest confidence.
Find out more about the IAB Europe Programmatic Trading Committee and its recent activities here or email Marie-Clare Puffett, Marketing & Business Programmes Manager at IAB Europe – puffett@iabeurope.eu
At the recent Cannes Lions International Festival of Creativity, IAB Europe member S4M, the Drive-to-Store specialist, announced the results of the first worldwide study dedicated to the share of drive-to-store advertising investment.
Commissioned as an independent drive-to-store advertising research study from IHS Markit (Nasdaq: INFO), a world leader in critical information, analytics and solutions with over 15 years of advertising-sector expertise, the study, The State of Drive-to-Store Advertising 2019, shows that the worldwide share of drive-to-store investments for retailers will reach €55Bn. in 2019 – 58% of the total advertising spend for the industry. This investment is expected to reach 65% by 2023, or €75Bn., a 36% growth driven by digital-to-store spending.
While many studies by media, format or method of purchase already exist, The State of Drive-to-Store Advertising 2019 is the first research study that assesses the size of the advertising market across all types of media from a drive-to-store campaign perspective. The study surveys 400 advertisers from all retail sectors in support of the market data and forecasts generated by IHS Markit.
Key figures showed:
Finding 1: Drive-to-store growth is led by digital
Generating in-store traffic has always been one of retail’s main goals, and advertisers are dedicating an increasingly greater part of their advertising strategy to it. Indeed, the world retail advertising market will reach €113Bn. by 2023, by which time more than half will be attributed to drive-to-store. This growth is strongly led by the digital-to-store, the leading media used by retailers to increase the number of in-store visits. As a matter of fact, in 2023, digital will represent 68% of worldwide drive-to-store spend as opposed to 54% in 2018.
Finding 2: Advertisers are increasingly looking for activations that can be measured and optimized in real time
The rise of digital-to-store can be explained by a growing demand for effective and measurable solutions. These new innovative solutions are a result of the staggering growth in mobile use and its technical specificities, especially when it comes to geolocation data, which enables brands to bridge the gap between the online and offline world. Therefore, the drive-to-store media mix will evolve tremendously in the coming years, led by mobile and social media, which are considered the two highest performing media channels to generate traffic in points of sales by the advertisers surveyed. Incidentally, by 2023, mobile will become worldwide retailers’ favorite channel, with the study forecasting that they will allocate 26% of their drive-to-store advertising spend to it. In comparison, the study forecasts that, overall, these same retailers will spend just 7% of their drive-to-store budget on press, 6% each on leaflets and radio and only 4% on Out-of-Home. Despite these figures, retailers will continue to use traditional media in their media mix to attract consumers to stores. They will, however, turn more heavily to digital solutions like on-demand TV, programmatic audio, and digital out-of-home.
Finding 3: Retailers want to measure the concrete impact of their drive-to-store strategy in stores, giving up more traditional media KPIs
The study shows that advertisers who set up a drive-to-store strategy are mainly looking for ways to measure the concrete impact generated in their points of sale. This way, the number of visits, particularly incremental visits, and sales in stores are the first key performance indicators (KPIs) mentioned by advertisers as a way to measure the impact of their drive-to-store strategy. Traditional media KPIs such as reach, repetition, click-through rate and impressions rank last.
Finding 4: Some sectors are more inclined to Drive-to-Store
Overall, there are significant levels of drive-to-store adoption among all retailers. However, levels of adoption vary from one country to another, which is why it is important to look at particular market dynamics. This is reflected by the Automotive industry which, although leading global drive-to-store spend in terms of revenue with over €20 billion by 2023, does not always come first in terms of shares country-wise. Notable country-specific trends include the strong performance of the Restaurant industry in France and CPG in Italy, where both will have more than a 95% share by 2023, far ahead of Automotive.
By 2023, three industries will stand out from the rest to lead the worldwide drive-to-store market. Automotive will come first (28%), followed by Grocery (26%) and Restaurant (19%), which will complete the triumvirate. When it comes to performance, digital media will drive growth across the retail ad market with a 66% share by 2023, up from 58% in 2018, with a focus on mobile. Indeed, the latter will grow its share of the drive-to-store market to reach 26% in 2023. However, social will be the fastest mover, doubling its share over the same period, going from 10% to 20% by 2023.
To access the full study, click here: The State of Drive-to-Store Advertising 2019
IAB Europe welcomes yesterday’s ‘Adtech Update Report’ issued by the UK Information Commissioner's Office (ICO). We appreciate the ICO’s measured approach and focus on understanding the practices of, and engagement with, the advertising industry as expressed in the report. We look forward to working with the ICO over the coming weeks and months to continue to educate the ICO on the industry’s practices, identify and address its concerns, and drive the industry in a positive direction toward a standardised solution.
The ability to address the ICO’s concerns is near impossible to achieve without a standardised industry solution and we share the ICO’s aim that parties operating within digital advertising can continue to operate responsibly and in compliance with relevant laws, to ensure the sustainability of this innovative sector which underpins the ad-funded internet.
We also welcome the opportunity to clarify some of the misconceptions in the report’s description of the features and functionality of the Transparency & Consent Framework (TCF). The TCF provides a common framework to facilitate compliance with certain of the requirements of the ePrivacy Directive and the GDPR for every part of the advertising value chain, from publishers and technology companies through to agencies and advertisers. In addition, the TCF ensures publishers and advertisers can provide users transparency and choice about the processing of their personal data while continuing to maintain choice in the technology companies with whom they wish to work.
The Content Taxonomy provides nomenclature for categorizing content. It can be applied by publishers and other companies in conjunction with OpenRTB – a communication protocol supporting real-time bidding – and other technologies to allow for better placement of advertising alongside editorial, notably including avoidance of ads for content falling into sensitive categories. Companies choosing to implement the OpenRTB protocol and Content Taxonomy are responsible for ensuring that any personal data they pass or receive complies with the privacy laws and restrictions of their jurisdiction. This is similar to a companies’ use of any similar technology, such as HTTP or Wi-Fi.
The IAB Europe Policy team and I will be working closely with the ICO - as we have with other regional Data Protection Authorities (DPAs) - and this ongoing dialogue will inform any future iterations of the TCF, to strengthen its ability to support the industry in mitigating privacy-related risks, so online users have confidence and trust in how their data is being used.
Townsend Feehan, CEO, IAB Europe
On the 4-5 June in Warsaw, Poland, IAB Europe hosted its 13th edition of Interact, the must-attend event for the digital advertising and marketing industry. This year we hosted 600 leading European advertisers, publishers, industry experts, agencies & media owners to hear about the latest trends, innovations and challenges through excellent keynote speeches and engaging panel discussions. A big thank you to everyone who attended and took part in making Interact 2019 such a success! We’ve put together the event highlights so you can see all the great things that took place over two days in the beautiful Warsaw!
Watch the highlights
See the top moments from Interact 2019 featuring excellent speakers from P&G, Verizon Media, Douglas and many more!
Get a feel of the exciting atmosphere at Interact 2019!
Watch on Youtube: https://www.youtube.com/watch?v=xnNmVwprwKs
Interact Agenda - What we saw and heard over the two days!
DAY 1
Day 1 of the conference kicked off with IAB Europe’s Chief Economist, Daniel Knapp unveiling the results of the much-anticipated AdEx Benchmark 2018 study, the definitive guide to the state of the digital advertising market. Advertising grew 13.9 percent in 2018 to €55.1bn, driven by strong growth in video, mobile and social spend. This is the fastest growth since 2011 and has seen the market more than double in size since 2012.
Other key highlights of Day 1 included Dominic Grainger, CEO at GroupM EMEA sharing key trends that GroupM has seen across Europe; Taide Guajardo Brand Director from Procter & Gamble discussing reinventing brand building and disrupting the way business can be done; and Anita Caras, Insights Director from Verizon Media, talking about capturing consumer attention in the moment. The day closed with a panel discussion on GDPR, one year on, discussing the impact IAB Europe’s Transparency & Consent Framework (TCF) had had on the industry.
Check out more photos from Day 1 here.
DAY 2
Day 2 of the event was split into four different tracks: Growth drivers, Content & Creativity, Digital Transformation and Consumer & Privacy. Each track had a selection of keynote speeches and panel discussions related to that theme. Track highlights included:
More photos from Day 2 are available here.
Catch up on some of the key Speeches and Panel discussions
For all the other available keynotes and panels check out our YouTube channel here.
IAB Europe’s MIXX & Research Awards Celebrated in Warsaw!
IAB Europe’s prestigious MIXX Awards Europe and IAB Europe Research Awards were held at Interact. The annual award competitions showcase the very best of digital advertising from across Europe and the winners were announced on the evening of 4 June. Well done to all the entrants and winners of the MIXX awards and Research awards! You can see all the fun of the night captured in the award pictures!
Thank you to our Sponsors!
A huge thank you to our Interact partners this year.
Ensuring brand safety for clients has introduced new challenges for the industry around delivery and effectiveness in programmatic. In order to ensure brand suitability, many marketers use custom keyword blocklists to guarantee their ads do not appear alongside undesired content. Consequently, some ads are blocked post delivery and may negatively impact the effectiveness of the campaign.
Download the case study below and learn how Omnicom Media Group Programmatic partnered with Integral Ad Science, to deliver optimal campaign results whilst ensuring brand safety pre- and post-bid.
Brussels, 13 June 2019 – Ahead of Interact 2019, IAB Europe’s flagship conference in Warsaw last week, IAB Europe members elected their new Board of Directors during the Annual General Meeting for a two-year mandate. IAB Europe’s Board is comprised of ten Corporate members and ten National IAB Members, which ensures a multi-stakeholder representation in leadership, including Publishers, Agencies and Ad Tech companies. The list of the newly elected Board members is as follows:
Corporate Board Members
National IABs Board Members
Włodzimierz Schmidt is now the official Chairman of the IAB Europe Board of Directors until 2021. Constantine Kamaras is Chairman Emeritus.
The new Executive Committee (ExCo) comprises the following members:
Townsend Feehan, CEO at IAB Europe said: “The team and I are excited about working with this new Board, which has a good balance of new faces from great European media and technology brands, on the one hand, and strong continuity from companies and National IABs on whom we’ve relied for the past two Boards, on the other. It is hard to imagine a more interesting time to have this stewardship role for the industry,”
The new Board will oversee implementation of a three-year plan developed by the departing Board extending the Association’s scope beyond interactive advertising to digital marketing. The plan is built around three core areas: policy advocacy & regulation; frameworks & codes of conduct; and industry programmes.
Media contacts
About IAB Europe
IAB Europe is the European-level association for the digital marketing and advertising ecosystem. Through its membership of National IABs and media, technology and marketing companies, its mission is to lead with political representation and promote industry collaboration to deliver frameworks, standards and industry programmes that enable business to thrive in the European market, for the region’s digital economy and citizens.
The MIXX Awards Greece celebrate and recognise the best digital advertising campaigns in the Greek market. Award winning nominations will be promoted to educate the market on what practices are effective and to inspire through the emergence of new ideas and future trends. The competition has 12 categories in 2019.
I am on the jury for the second year in a row alongside peers from National IABs from across the region including Croatia, France, Romania, Spain and the UK.
I am always excited to review the latest work from the Greek market to see first-hand the creativity that their digital advertising industry offers. This year I have seen an increase in the variety of campaigns and quality of results. Unfortunately that is all I can reveal at this point… The winners and the reasons for their awards, will be announced at the awards ceremony on June 19th at the Cinema Bonboniere in Athens. Stay tuned!
Find out more here: https://iabmixxawards.gr/
Wavemaker Hungary
Heroes of Sales – the first shoppable online comedy
Awards: Branded Content (Silver) and Video Advertising (Silver)
Campaign summary
How can a brand differentiate itself on a market with pure price promotion messages in a way that builds the brand and the image, serves the strategic, marketing and business goals, create something unique and entertain people at the same time?
Our answer was the Heroes of Sales – the first shoppable online comedy. A genre-maker and innovative Media Markt original webseries with 15 episodes. Nothing like this was published on the Hungarian market, and it is also the first content from which viewers can shop online through a special programming.
Actors are Media Markt’s own workers, and a MediaMarkt shop serves as a venue for the series. The story is fully consistent with the brand, and it is dominated by the shop and the products.
The series could reach 1,1 million views in 6 weeks, among 5.5 million internet-users, gained thousands of positive feedbacks in social media and realized 50K EUR revenue in the webshop from the unique, special built-in promotion offers.
Heroes of Sales beat series like 2 and a half man and The Walking Dead, got a 7,3/10 score on IMDB and it was also uploaded and shared on the biggest Hungarian pirate torrent websites.
1. Objectives and Strategy
There are more and more pure online player on the market of consumer electronics. One of MediaMarkt’s biggest competitive advantage is that – as a multichannel player- they have offline stores, as well.
The strategic goal was to focus on these stores by raising awareness for them and representing the product range.
Marketing objective was to create something innovative that goes beyond traditional media advertisements and strengthens Media Markt’s innovative role.
Along with the goals we also had to count with the changed media consumption habits of our young target audience as they are the generation who rarely or never watch TV while most of them use ad-blocker preventing to reach them by traditional ads – so the brand had to find a new way to the consumers.
Heroes of Sales provided solution for every purposes and challenge.
2. Execution and Media
The communication started with special PR - the biggest websites received invitation for a premier so they could create content about the series before it started.
For building awareness, we used selected TV channels in line with our target audience and with relevant content (sitcoms). The teaser spot of the series became a real part of the channels’ program promos.
Still, the focus was on digital as users had to be driven to a microsite that was programmed specially for the series, embedded in MediaMarkt’s official page.
We had to serve two goals: raise awareness for the series and generate clicks to the microsite.
Social media appearances had a key role in the communication - the actors became part of the daily lives of more than 200K MediaMarkt Facebook page followers for 6 weeks.
Each episode was uploaded to MediaMarkt’s Youtube channel thus increasing the viewing number of the series.
3. Creative
Our webseries entertains and builds the brand at the same time. The story is consistent with the brand, it’s dominated by the venue and the product range. Current promotions and available services were also gently integrated into the story.
Creative usage: we used a longer, “movie trailer”-type OLV and beside it, every week there was a new, “weekly teaser” cut.
Users who’ve already met the movie-trailer video, and the visitors of the microsite were retargeted only with the weekly teaser copies.
On facebook/instagram we used specially for social media made creatives.
Hard click numbers were served with banners and textlinks.
4. Innovation
The targeted, younger audience searches for entertaining and innovative contents. The biggest innovation was the idea of the branded webseries, itself.
However, we couldn’t ignore the possibility that as the leading brand in the category we must offer something exclusive, something innovative for our customers. The series-specifically programmed, built-in shopping possibility presents exactly that innovation what increases the interest of the viewers and serves the brand’s commercial purposes.
This special call-to-action required a custom programming so we created a microsite (www.akciohosok.com ) embedded into Media Markt’s official website. Besides the unique offers which were available only from here, an own, branded microsite also gave the impression of receiving something more exclusive than a simple youtube series could offer.
Each promotional offers were available for 2 weeks from the microsite. Once they expired the episodes were uploaded to Media Markt’s Youtube channel (https://www.youtube.com/playlist?list=PLVWjU85lt7IOQxjN4YizMr1gyYHUa1Gdd ) to gain more viewership and awareness.
5. Results
Our goal was to reach 1 million views in total. By the end of our campaign 1.098.677 views were realized.
The revenue from the special promotion offers and the revenue generated by the visitors who clicked forward to the webshop from the special promotions was over 50K EUR.
Head of marketing: “MediaMarkt’s communication has been built on a brave, outstanding and pleasurable style. We believe that entertaining our customers makes their decision journey more joyful, and we are continously looking for ideas to support this mission. With our partners we’ve created a great and innovative placeholder to deliver our messages, set our stores in focus and give an impactful boost to our special offers. The Heroses of Sales earned a special place both in our customer’s and our heart.”
LDV United
Breastfeeding Extras
Awards: Branded Content (Bronze)
Campaign summary
Breastfeeding away from home, makes more and more mothers feel uncomfortable. They receive negative comments, are asked to ‘do it somewhere else’ and feel embarrassed. The Belgian organization ‘Kind en Gezin’ wants breastfeeding to be something normal again. To do this, they invented ‘Breastfeeding Extras’: mothers that breastfeed their babies in the background of popular television programs, series, movies, video clips.
By bringing breastfeeding back into popular culture, our Extras are making breastfeeding truly part of everyday life again.
1. Objectives and Strategy
Breastfeeding has always been one of the most beautiful and natural things in the world. But times have changed. More and more breastfeeding mothers receive complaints for their “indecent behaviour” and are being sent away from restaurants, parks or shops
‘Kind en Gezin’, a Belgian governmental organisation that supports young parents and nurseries, wanted to make breastfeeding normal again. How? By bringing it back into popular culture. Because the more you see breastfeeding, the more normal it becomes.
So, we came up with something new: breastfeeding extras. Breastfeeding extras are just like any other extras in television, except for one thing: while they’re acting, they’re breastfeeding. By showing more breastfeeding moms on television, we’ll change public opinions that it is strange to breastfeed a baby in public. By doing so, moms nurturing their babies will be accepted again, no matter where they are taking care of their little one.
2. Execution and Media
In order to convince production houses to work with our Breastfeeding Extra’s, media attention was key in order to get the conversation rolling.
So, we did something quite unusual. We’ve created a very special online casting agency, featuring nothing but Breastfeeding Extra's. This way, moms could feasibly volunteer on our online platform to become an extra themselves and production houses could easily book extras for their film set. We’ve launched an online film introducing the agency and its purpose to show more breastfeeding moms in public.
3. Creative
We used the power and reach of influencers on social media to inspire volunteers to spark the public conversation. The press loved the surprise and reported on Breastfeeding Extras on online news sites, the radio and even on television. This way, they pressured production agencies into hiring a Breastfeeding Extra for their recordings. The agencies were charmed by the idea and soon after, some of Belgium’s biggest TV-shows booked a Breastfeeding Extra. Following the reappearance of our Breastfeeding Extras on television, we received a second and third wave of both on- and offline PR.
4. Innovation
Breastfeeding Extra’s are a unique approach to get breastfeeding incorporated in popular media, without placing them directly in the spotlight. It’s by their subtle appearances in the background, that they underline how ordinary it is to breastfeed a baby in public.
So, we created the first casting agency of its kind, creating opportunities for both volunteers as for production houses to help break the taboo on breastfeeding. All this, without a single euro spent on paid media.
5. Results
It was an unusual approach and it worked. After only one week, 10.000 people have visited our casting website. Even better, 497 of our visitors subscribed to become a Breastfeeding Extra. That’s a conversion rate of 5%.
Besides, with no media budget, we managed to get a reach of 20 million and €686.000 in free ad value. A number that will only keep on growing with every Breastfeeding Extra appearing on primetime television.
Our first Extras have already made their debut in big shows like ‘Familie’, ‘De zonen van Van As’ and ‘De Buurtpolitie’. The Flemish Audio-visual Fund even decided to become a supporting partner. Moreover, Breastfeeding Extras are going off-screen, appearing in two famous Belgian comic books, ‘Kiekeboe’ and ‘De Buurtpolitie’, reaching an even more diverse audience.
And so, episode by episode and show by show, our Breastfeeding Extras are proving that breastfeeding is truly part of everyday life.
Mindshare Poland
AXE - WHAT'S YOUR MAGIC?
Awards: Social Media (Bronze)
Campaign summary
We listened to our consumers who, in response to the Axe Find Your Magic campaign, said they want to show the world what THEIR magic is about. We gave them a chance to do that. We created a local campaign, during which we showed ordinary men with some extraordinary hobbies. Materials created as part of the “What's your magic?” campaign were watched over 13 million times. At the same time, the materials created by the vloggers from ABSTRA TV, which are popular among our target group, reached around 5 million views.
1. Objectives and Strategy
Axe defined attractiveness as great look and popularity among women. In 2015 the market share reached only 5.2% - consumers rejected AXE as they stopped to believe in it.
In 2016 started new Find Your Magic communication: to convince boys that everyone has some special & attractive talents and AXE just emphasize it. We targeted men aged 17-35 who want to show their magic to the world, who appreciate authentic content.
They hate marketing bullshit. They carefully build their social image, rarely like, comment or share content. They are incredibly hard to attract adblockers (IR Center 2016: in the 15-24 age: 36%, and in the 25-34: 26%).
The idea was to create branded but credible content. KPIs: 16,000 interactions and 400,000 organic material views. Finally to change the brand image on the modern/up to date attributes (KPI: +2 points in each of the age segments : M16-24 and M25-35).
2. Execution and Media
Young men value brands that speak their language. They wrote to us with suggestions to create videos about their hobbies. We responded and announced the competition. Sokół encouraged to take part in it, which was a distinguishing feature of previous communication. In addition, our narrator was great at social media and we treated his channels as an additional carrier of the created content.
Based on the entries, we recorded 3 materials with stories told with Sokół voice - showing that the passion is sexy. Our characters don’t look like models - still became our heroes as men are attractive when they have a passion that excites them.
From media POV we used potential of remarketing, precise targeting, adapting the target groups to the subject of the video (on demographic and behavioural data) and finally optimizing advertising support in nearly real time with solutions that helped to achieve KPIs.
3. Creative
We made short videos - the most popular content watched by our TG. The first video concerned Sokół, who was the narrator in subsequent materials. The other characters were: Konrad and Maciek - they made the fastest two-engined car in the world by themselves, Krzysiek - became the Polish Champion in the tricks on fingerboard, the Siekaj brothers - who deal with professional quad riding.
We withdrew from intrusive branding, but considered best practices in video content. We put our logo in the first seconds of each creation to reach skippers and added subtitles to reach people watching without sound.
We focused on the quality of production, thus we retained our consumers.
4. Innovation
In the opposition to the deodorants category approach we supported AXE campaign “What's Your Magic?” in 100% in digital. We knew men use Adblock, so we promoted on channels difficult to block: Facebook, Instagram and Youtube (94% of the budget), and Spotify (6% of the budget).
Content on Youtube is the best way to reach men! Facebook and Instagram enabled precise targeting, Spotify gave the opportunity to build the connotations with Sokół and to apply the mechanism valued by the Millennials, i.e. sponsored session - advertising with a reward (half an hour of music without ads after watching the video).
5. Results
During the campaign, the materials were displayed as many as 13 million times. Our content went viral in social media. On Facebook, we generated more than 1.2 million views organically (while on other posts we did not generate more than 20,000 views). The men not only watched (high YT views rate - 38% vs. benchmark 32% in the body care category), but they also liked, commented and shared (33k interactions - 206% of KPI implementation). In addition, we recorded an increase in the modern/up to date index among our TG (M16-24 +3pts, M25-34 +8pts).
Despite the non-obstructive branding we built the brand awareness - 67% increase on AdRecall - twice as much as the average result in the category - 33%. The spots were long (1-2 minutes), and yet we had an average of 23% of full views (benchmark 20% in the category of body care for video +31 seconds).
C-Section
#ThisFoodIsOnMe
Awards: Social Media (Bronze)
Campaign summary
Turkey is home to the biggest stray animal population in Europe. A myriad of animal lovers volunteer for the animals’ wellbeing, only to fall short of meeting the needs. Therefore, we wanted to make feeding stray animals as easy as sending a tweet. This way, people would help stray animals without leaving their homes but also promote the cause.
1. Objectives and Strategy
As was the case with many operators, Vodafone was challenged in social media with regard to positive mentions. Users were mostly mentioning the brand to share their problems.
So, in order to boost our positive buzz, we decided to gather all who want to help stray animals under a single conversation with Vodafone. We aimed to bring this idea into action with Coding Tomorrow, a coding training initiative for children by Vodafone Turkey Foundation, and to gain more public recognition for the foundation.
2. Execution and Media
We set up tweet-operated food bowls in front of 11 Vodafone shops. Every tweet with the #BuMamaBenden (#ThisFoodIsOnMe) hashtag queued food to be dropped into the bowl which would be refilled automatically with each tweet. We uploaded a video, which explained how children who learned coding developed this project, to all of our social media accounts including YouTube. This video has become viral with no ad spending at all. We also posted updates to let the tweeters follow up on what happens at the food dispensers.
3. Creative
We posted a video on all our social media accounts. The video showed the experience of the children who coded the Tweet-operated Food Dispenser, after a training by Coding Tomorrow, an initiative that teaches children how to code. In this video that aimed to promote the hashtag and increase popularity of the Vodafone Turkey Foundation, children called people who want to help stray animals for tweeting.
4. Innovation
The Code-operated Food Dispenser is a machine that enables users to help stray animals without leaving their homes. Every tweet with the #ThisFoodIsOnMe hashtag triggered 12 dispensers, which were set up in front of Vodafone shops, to drop food. If a bowl was full, the tweet would be held in queue. This way, users tweeted not only to provide unlimited support but also encouraged others to feed stray animals.
5. Results
The hashtag campaign produced 612,000 tweets, a record in Turkey. The #ThisFoodIsOnMe hashtag, mentioned in 175,831 tweets in one day, were posted by over 300 celebrities and influencers, and that without any ad budget allocated. The campaign thus spread very quickly. Vodafone’s positive mentions in social media spearheaded from 6 to 47 percent in November, and to 64 later on. Organically, #ThisFoodIsOnMe has transcended Vodafone and the dispensers, becoming “the” hashtag for everyone who wanted to support stray animals.
Mindshare
Cornetto Mobile İn Love
Awards: Video Advertising (Bronze)
Campaign summary
In 2018, a Wattpad story series became a top hit amonst youngsters, generated anormous talkability and the story was adapted to a movie, 4N1K. As Cornetto, we have partnered with 4N1K project starting from the script-writing process and created an integrated strategy that will cover all channels, will introduce first-ever user experiences and generate high levels of interaction and talkability around our branded contents throughout the season.
Creative focus was to enrich user experience at every medium with integration of new formats, media firsts and exclusive contents. We knew youth brands was gonna have integrations in 4N1K and our strategy was to be the by far top-of-mind brand that was associated with 4N1K above all.
Campaign results over-achieved initial targets in terms of the time spent interacting with our branded content, reaching first ever levels of view time, organic view rates, social interactions and positive mentions, shared in detail in the results.
5. Results
Cornetto reached 14 million unique users with the integrated brand experience designed across various content platforms of 4N1K covering TV, digital channels and cinema.
3 webisodes reached a 74% organic view rate, a rate no branded content has achieved before in Turkey. All 3 videos were listed in the top 5 most organically spreaded videos list. Total view time of the webisodes reached 41 million minutes, with a 5-minute average view time per video, which became a CPG industry record level.
Cornetto Youtube channel gained 35k new subscribers, becoming the second most followed CPG brand in Turkey.
Viewers interacted with the leading character’s phone content, the second screen mobile platform, for 147.000 minutes.
During the project timeline, social media interactions mentioning Cornetto doubled, while the ratio of positive mentions increased to 93%.
