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/
Spotify
Spotify for Brands Virtual Reality House Tour
Awards: Virtual and Augmented Reality (Silver)
Campaign summary
Spotify Business Marketing is responsible for driving demand for Spotify’s advertising business and keeping Spotify top-of-mind with media buyers and brands through experiential, digital and social campaigns. Spotify operates a freemium model with more than 116 million people globally enjoying advertisements on the free, ad-supported tier; however, many media buyers and brand marketers are Spotify Premium subscribers and do not regularly engage with the Spotify ad experience. Common feedback from the ad sales team was that buyers didn’t understand the basics about how ads are shown on the platform and what the opportunities are for targeting. Verbally explaining the look and feel of ad formats can be a dry experience. Spotify Business Marketing needed to find a differentiated, impressive, creatively inspiring way to showcase our ad products. VR was the answer.
VR allowed us to create a portable, immersive experience.This house only needed to be built once, but could be adapted to the user and then explored by anyone, anywhere wearing a headset.
The global Business Marketing team are able to use the VR CMS to adapt the tool to their local languages and cultures, as well as change the ads and facts displayed within the house. Local teams take the VR headsets to meetings with clients and create opportunities to experience the VR tool at roadshow sessions and tentpole events like Cannes and CES.
Spotify approached several experiential and VR agencies in the UK to develop this tool, before eventually deciding to work with Manzalab, an agency based in Paris. Manzalab visited Spotify’s London and Paris offices to take inspiration for the design from the interior decoration of our offices and worked closely with our internal design and brand teams to ensure the House was consistent with the Spotify brand identity.
The development of the CMS for the tool was especially significant as it allowed all global teams to quickly and efficiently change elements of the House without additional cost or delays. Further, the CMS makes the tool extremely flexible. For example, at Dmexco 2018, we were able to offer English and German versions of the tool to booth visitors.
5. Results
Nearly 1,000 Spotify for Brands prospects and clients have experienced the VR tool since launch. By tracking VR tool use in Salesforce, we are able to directly attribute the use of the tool to several hundreds of thousands in additional advertising revenue for the business by noting who has used the tool and who is subsequently marked as a contact on revenue bookings. Use of the tool is ongoing and resulting revenue continues to increase. So far, we’ve seen at least a 5x return on investment in the tool’s development.
In addition to direct impact on revenues, feedback from clients and prospects has been very positive, with most noting how the tool had advanced their understanding of the Spotify ad offering, as well as being fun and entertaining to use.
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).
The renewal of the model of Mediaplanning: how to improve prediction in a digital world
Mediametrie
Awards: Advertising Solutions (Highly Commended)
Project summary
In a world where advertisers seek for more transparency, measuring campaign performances with a 3rd party, independent & audited body is key.
With the success of post campaign analysis solutions such as Nielsen Digital Ad Ratings, advertisers can now precisely track daily campaigns reach, frequency and impressions by demo.
Predicting campaign performances is a more complex science. Historically Médiamétrie has been proposing in France a Mediaplanning solution.
Mediaplanning is currently based on Internet Global audience (IAB 2018 Research award winner) which reports top 6000 Brands and top 1000 applications monthly. Individual data are shared with Centre Servers which distribute calculated probabilities through their tools to agencies, saleshouses to evaluate and optimize reach & frequency for a selected mediaplan.
However, mediaplanning relies on theorical audiences which shows some limits; most of the time, we observed over estimated reach, especially when selecting multi publishers advertising packs or programmatic campaigns. Médiametrie developed a scientific approach to reconcile pre and post campaign evaluation.
1. Objective(s)
The objective of Médiamétrie project was to offer more precise campaign planning recommendations by reconciling planning and post campaign performances.
Firstly, the aim of the R&D was to set the right balance between the reach and the frequency globally and per support by defining calculations to be applied by the Centre servers.
Secondly, by developing “EvalWeb”, its own Mediaplanning API, Médiamétrie aims at proposing its own engine to connect mediaplanning data to the whole digital eco system.
2. Methodology
Methodology consisted in comparing DAR results based on 47 campaigns & 192 supports, and the equivalent prediction in Mediaplanning.
Methodology took into consideration features related to digital mediaplanning such as share of voice, capping and target page purchasing. A key approach was to challenge the models and particularly the assumption of the independence in the distribution process of ads on pages viewed on a site by an individual which tend to affect the levels of coverage.
Médiamétrie proposed a Markovian Binomial model defining the level of correlation to be applied by type of support.
3. Key results
Médiamétrie model showed positive results.
For all the 192 supports, the deviations of coverage with our new model went on average from 1.6pt to 0.3pt and the variation of the deviations around this average was attenuated (the standard deviation going from 0.0186 to 0.0108).
The model we developed also improves the forecasts by type of support. We can say that the distributions by support are more or less centred (average around 0) and that the standard deviation reduces.
More details are available in the document downloaded “IAB Europe Research Awards 2019 Mediametrie Eval Web – Summary & Results” (p11-12).
4. Impact and Application
Centres servers all accepted to implement those new calculations to reinforce Digital mediaplanning role.
Agencies strengthened their role on the advertising market by setting up mediaplan based on independent and audited data.
EvalWeb, the new web service (single calculation engine transported on a distant server) to benefit from those calculations with a simplified implementation of the solution and optimized calculation times for the mediaplanning service providers is in beta test.
5. Significance
Trust reinforced for media agencies and their clients when establishing their strategic recommendations as predictions are stronger and coherent between the various mediaplanning service providers
Other fields of application for other medias or in addition with Internet: this approach is valid for the Press mediaplanning (print + digital contacts)
GONG
Tymbark – Funbot
Awards: Virtual and Augmented Reality (Bronze)
Campaign summary
Market Context: Young people love spending summer holidays with their friends. And snapping photos together. Many photos. Tymbark, a popular fruit drink manufacturer, sought to be a part of their holiday experience. There was one hurdle to clear, however—getting youths to share their pictures with the brand. Funbot is an original, custom-designed AI-powered solution, which uses a highly advanced image recognition and analysis algorithms to facilitate interaction between brand and consumer. The innovative service boosted customer engagement among younger demographics, driving them to share over 300,000 photos and continue to interact with the brand as far as twelve months after campaign conclusion.
1. Objectives and Strategy
The 15-24yo demographic makes up up the biggest group among on-the-go drink consumers. Tymbark, a market leader in the industry, faces specific challenges in this particular area—its market share is vulnerable to both typically youth-oriented brands (Frugo, Roko), and established brands with international reach (Cola, Fanta, Sprite). To maintain the market leader position, a brand needs to be perceived as a trendsetter and early adopter of innovative solutions that boost engagement among the younger consumers. For the 15-24 demographic, the summer holidays are a perfect opportunity to spend some time with friends. And snap photos together. Hundreds of photos. The challenge was to design a digital activation campaign that would encourage younger consumers to share their holiday memories, in the form of pictures, with the brand.
KPI: 50,000 photos within the activation
KPI2: At least 2 pictures shared per user
CoreTG: younger consumers (15-24yo).
2. Execution and Media
To have Funbot caption a picture, a user has to take a photo using their smartphone or upload it from their computer, IG, or FB account. The application will analyze the picture within seconds and come up with five fitting captions. The user will then pick one and receive a branded picture with the caption written down inside the trademark Tymbark bottlecap.
Funbot became an integral part of Tymbark’s Messenger chatbot. The app was also deployed on a mobile website, developed according to RWD principles, which did not require the installation of any additional software.
Social media – 18%
Video – 25%
Display – 56%
Search – 1%
The main thrust of the media efforts was pursued over six summer holiday weeks and focused on SM.
Promotional efforts in mobile channels turned out to be highly successful.
3. Creative
Funbot is an app—based around Bottlecap—that adds personalized captions to submitted photos on the fly. Funbot is based on AI-powered image recognition and analysis solutions. Using a handful of image recognition and analysis algorithms, we designed an original platform.
A user has to take a photo using their smartphone or upload it from their computer, or IG or FB account. The application analyzes the picture within seconds and comes up with five fitting captions. The user receives a branded picture with the caption written inside the trademark Tymbark bottle cap, they can share on SM.
We taught Funbot to recognize popular popcultural elements, including celebrities, movie stills, famous paintings, even logotypes.
4. Innovation
Using a handful of image recognition and analysis algorithms, we designed an original, high-efficiency solution. After processing the image, the algorithm then produces a couple, sometimes even a couple dozen, keyword that describe elements present in the image—it’s capable of identifying objects, structures, weather, vacation situations, celebrities, logotypes of other brands, even emotions of people in the pictures.
Then, the algorithms were fed thousands of typical vacation pictures to have them learn to identify their most commonly occurring elements. This resulted in a dictionary holding a couple of thousand phrases and their combinations, which we managed to assemble into over 3,000 creative captions. With each analyzed photo, the algorithm “learned” the best answers, and optimized relevant weights in the dictionary. It’s safe to say that Funbot is currently the most advanced tool for identifying vacation situations in photos.
5. Results
Together, innovative algorithms, unparalleled precision, and thousands of witty captions produced the desired results. Young people went crazy about Funbot and began flooding the app with photos, not just vacation pics, in order to try and beat the app at its own game. Powered by AI, the Tymbark Bottlecap managed to encourage young people to share their photos in numbers heretofore unseen. Everyone who engaged with Funbot submitted five photos on average (2.5 times the KPI) during the activation campaign.
Throughout the six summer weeks of the campaign, we received nearly 100,000 photos (2 times the KPI2).
Six months after concluding the campaign, the number of submitted pictures passed 300,000, with an average of around 1,000 new photos coming in every day.
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%.
