The fol­low­ing

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in­dus­try why they’re plac­ing added em­pha­sis on dig­i­tal mar­ket­ing, and you’re likely to hear the re­sponse, ‘That’s where the au­di­ence is’. And this sen­ti­ment is only be­com­ing more de­fined as dig­i­tal tech­nol­ogy pro­lif­er­ates and be­comes a big­ger part of our lives.

We now have a gen­er­a­tion born into this dig­i­tal land­scape and who will one day grow into the con­sumers that brands will rely on for prof­its.

Kate Thomas, a se­nior com­mu­ni­ca­tions manager at Spark, says the av­er­age Kiwi com­pany now spends over 20 per­cent of their mar­ket­ing bud­gets on dig­i­tal ad­ver­tis­ing and, if the lat­est IABNZ fig­ures are any­thing to go by, then this cut is pro­jected to be even big­ger in 2015.

Al­ready, there are some brands that are hedg­ing even big­ger bets on dig­i­tal. Mitre 10 spends ap­prox­i­mately 30 per­cent of its mar­ket­ing bud­get on dig­i­tal, while Spark sub­sidiary Big Bipe puts all its chips on the chan­nel, with the sole goal of at­tract­ing the cov­eted mil­len­nial au­di­ence

An­other ma­jor fan of the dig­i­tal chan­nel is Tourism New Zealand. “Over the past five years, Tourism New Zealand has in­creased the pro­por­tion of its cam­paign bud­get spent in dig­i­tal from 10-15 per­cent to 70-75 per­cent,” says the or­gan­i­sa­tion’s direc­tor of mar­ket­ing An­drew Fraser.

“In­stead of pro­duc­ing work that ap­peals to a broad con­sumer base via tra­di­tional me­dia, dig­i­tal me­dia pro­vides the best op­por­tu­nity to reach and mo­ti­vate po­ten­tial vis­i­tors who are ac­tively con­sid­er­ing New Zealand more ef­fi­ciently.”

This abil­ity to tar­get spe­cific con­sumers when viewed along­side the mea­sur­a­bil­ity of the chan­nel gives brands the po­ten­tial not only to send their mar­ket­ing mes­sages di­rectly to spe­cific clients but also to gauge how ef­fec­tive the cam­paign was.

But th­ese ad­van­tages also come with risk, in that a mar­ket­ing mis­take might be sub­ject to im­me­di­ate lam­poon­ing on so­cial me­dia. And no amount of PR puffery can coat over the an­noy­ance of cus­tomers pub­licly shar­ing their revile at an im­pru­dent Tweet, a chau­vin­is­tic ad or a bad in-store ex­pe­ri­ence.

So sig­nif­i­cant is the im­pact of so­cial me­dia on busi­ness im­age that Thomas re­cently an­nounced that the re­branded telco would be ap­point­ing a team of four so­cial me­dia ex­perts to con­sol­i­date its ca­pa­bil­i­ties in this area. “We are start­ing to think of ev­ery­thing as be­ing so­cially driven,” she says.

Such shifts in busi­ness strat­egy mean the role played by cre­ative ad­ver­tis­ing agen­cies has evolved in a way that places pro­nounced em­pha­sis on dig­i­tal skills. Th­ese days, if an agency doesn’t have the prow­ess to ex­e­cute ef­fec­tively in the dig­i­tal chan­nel it could be con­strued as a ma­jor flaw in terms what it of­fers to clients. Al­ter­na­tively, if an agency has earned its dig­i­tal stripes and proven it­self adept in the chan­nel, this could be enough to con­vince the client to dig a lit­tle deeper and maybe shift a few more dol­lars into the cam­paign.

agency Cu­cum­ber’s Dig­i­tal Gen­eral Manager, Clare Swallow, says to­day’s myr­iad of tech­nol­ogy choices can be over­whelm­ing to mar­keters. Com­pound­ing this, the faste­volv­ing IT land­scape is matched only by tech-savvy cus­tomers seek­ing more from their in­ter­ac­tions with busi­nesses. They ex­pect an au­then­tic ‘ex­pe­ri­ence’ – the more per­son­alised, the more im­pact. ‘Big data’ is key to find­ing out what th­ese cus­tomers want, in or­der to pro­vide this ex­pe­ri­ence. Data also helps drive crit­i­cal busi­ness de­ci­sion-mak­ing around mar­ket­ing strate­gies.

“Once we have this core data, we can use ro­bust, ag­ile IT plat­forms and method­olo­gies to de­liver so­lu­tions and cam­paigns that speak to in­di­vid­u­als, not groups. Cus­tomers ex­pect in­ter­ac­tions to be in­te­grated and seam­less. Gone are the days when a sep­a­rate mo­bile, so­cial or web­site strat­egy was de­vel­oped or a one-size-fits-all ap­proach ap­plied.”

Tra­di­tion­ally, mar­keters fo­cused more on push­ing prod­uct and ser­vices and of­ten used com­peti­tors as bench­marks. This no longer cuts it – mar­keters now need to ‘add value’ to the cus­tomer’s pur­chas­ing ex­pe­ri­ence.

“With tools like Ken­tico and Sitecore, in­te­grated with Sales­force, or Mi­crosoft Dy­nam­ics, we can tap into the cus­tomer’s be­hav­iour in real-time and re­spond ac­cord­ingly. This in­creases con­ver­sion to busi­ness goal, while im­prov­ing cus­tomer ex­pe­ri­ences, and pro­vid­ing all-in-one so­lu­tions for mar­keters.” Cu­cum­ber proves this holis­tic ap­proach to mar­ket­ing and in­vest­ment in tech­nol­ogy works. In part­ner­ship with Trust­power, Cu­cum­ber re­cently won the ROI Award and the Re­tail, Whole­sale and Con­sumer Goods Award at the 2014 Sitecore Ex­pe­ri­ence Awards for Australia

and New Zealand. Cu­cum­ber de­vel­oped a web­site that en­sures a cus­tomer’s ex­pe­ri­ence is per­son­alised at ev­ery on­line ‘touch­point’, at any time, on any de­vice.

The re­spon­sive de­sign has seen an in­crease in cus­tomer ac­qui­si­tion, cus­tomers adopt­ing more ser­vice lines and a re­duc­tion in cus­tomer churn.

“Sim­ply put, we utilised the tech­nol­ogy to bring all of the ‘touch­points’ for the cus­tomer to a cen­tral, very per­son­alised point. By mak­ing things more rel­e­vant we have in­creased the con­nec­tion con­sumers have with the brand in their al­ways on world” Look­ing ahead, Swallow says mar­keters should start in­vest­ing in tech­nol­ogy so­lu­tions around grow­ing chan­nels such as video – an in­creas­ingly cost-ef­fec­tive, per­sonal en­gage­ment tool.

An­other hot op­por­tu­nity is in the mo­bile space. For ex­am­ple, New Zealand is only start­ing to come to grips with mo­bile mar­ket­ing. Over here, $1 in ev­ery $50 of mar­ket­ing spend is on mo­bile. In the UK this is $1 in ev­ery $5. Swallow ex­pects this will change as the re­turn be­comes more ob­vi­ous and the skillset more avail­able.

“Tech­nol­ogy has opened up so many op­por­tu­ni­ties for mar­keters. But our dy­namic field means we are also faced with the chal­lenge of more change, com­pe­ti­tion and higher de­mand than ever be­fore. But by in­vest­ing in IT, mar­keters will en­sure that tech­nol­ogy is used to help us bind both the cre­ative and an­a­lyt­i­cal com­po­nents of mar­ket­ing to au­then­ti­cally and ‘per­son­ally’ connect with peo­ple.”

me­dia for those be­hav­iours that drive busi­ness goals and grow brand value. For Sling­shot, for ex­am­ple, we’re us­ing in­cre­men­tal con­ver­sa­tion rate op­ti­mi­sa­tion to grow web sign-ups by as much as eight per­cent per month. A Glad­eye is a cock­tail in­vented in the 1920s. Heavy on ab­sinthe, it’s an ac­quired taste and it might make you blind, but there’s a metaphor to be had in the mix of in­gre­di­ents that come to­gether to make a co­he­sive whole: great re­sults in dig­i­tal come from a con­ver­gence of cre­ative, tech­nol­ogy and net­works. It no longer makes sense to keep th­ese skills in dif­fer­ent build­ings.

Dig­i­tal cre­atives should be cre­ative tech­nol­o­gists. In­no­va­tion needs ex­per­i­men­ta­tion, and that makes work­ing pro­to­types built by de­vel­op­ers an es­sen­tial part of the cre­ative process. Con­trary to popular be­lief, code is cre­ative. It’s only when vis­ual de­sign­ers at­tempt to pre­cisely map out an ex­pe­ri­ence as sto­ry­boards of still images that they de­prive pro­gram­mers of the op­por­tu­nity to in­vent, and limit the scope to what’s al­ready been done. In­volv­ing cre­ative geeks in the process from the out­set re­sults in the right tools and plat­forms and of­ten a re­com­bi­na­tion of tech­nolo­gies that it­self cre­ates some­thing new and ex­cit­ing.

Me­dia is a cru­cial part of this mix. The best dig­i­tal me­dia is in­sep­a­ra­ble from the cre­ative mes­sage it pro­motes. It can am­plify shared ex­pe­ri­ences and turn so­cial in­ter­ac­tions into the car­ri­ers of brand mes­sages. It can pro­gram­mat­i­cally tar­get high value cus­tomers and can tai­lor an ex­pe­ri­ence to a group as small as one. It can con­tex­tu­ally re­spond to the world around it, and can dy­nam­i­cally ad­just to the in­creas­ingly di­verse tech­ni­cal, so­cial, time and place con­texts of net­worked me­dia chan­nels.

A re­cent mo­bile game cam­paign for Voda­fone in­volved the blend of all th­ese el­e­ments. We in­cor­po­rated live wind con­di­tions on Manukau Har­bour right into the game, mak­ing it ex­cit­ing and keep­ing the con­ver­sa­tion live and rel­e­vant. But the true in­no­va­tion was to use that same live wind vari­able to dy­nam­i­cally ad­just pro­gram­matic me­dia spend on the fly, au­to­mat­i­cally run­ning more mo­bile ads when the wind was high and play­ers had a bet­ter chance at a high score, and fewer ads when the wind dropped. The blend of smart tech­nol­ogy, me­dia and cre­ative de­liv­ered cam­paign re­sults 44 times be­yond tar­gets, a re­sult that would not have been pos­si­ble if me­dia weren’t tightly in­te­grated into the cre­ative and devel­op­ment process from the out­set.

To evolve and grow in the new dig­i­tal land­scape, brands need to keep in­no­vat­ing and ex­per­i­ment­ing with an in­te­grated mix of tech­nol­ogy, sto­ry­telling and me­dia chan­nels, be­cause the sum is al­ways greater than its parts.

• Dig­i­tal strate­gists

• Dig­i­tal an­a­lysts

• Dig­i­tal ac­count ser­vic­ing at all lev­els

• Dig­i­tal pro­duc­ers

• Dig­i­tal me­dia di­rec­tors

• SEO/SEM spe­cial­ists

• UX/UI con­sul­tants and de­sign­ers

• Dig­i­tal de­sign­ers

• Dig­i­tal project man­agers

• Dig­i­tal con­tent man­agers

• Head of so­cial me­dia

• Dig­i­tal art di­rec­tors

• Dig­i­tal plan­ners

• Per­for­mance mar­ket­ing

• Pro­gram­matic man­agers

• Ecom­merce man­agers But th­ese only tell the story of the present. What of the fu­ture? On­line pub­li­ca­tion Fu­ture­s­ re­cently spec­u­lated on some of the jobs that will ex­ist be­fore 2020. Here are five: Spe­cial­ists will add dig­i­tal aug­men­ta­tions to the struc­tures of our homes.

Mean­while, across the Tas­man, the DOOH mar­ket has surged, with rev­enue around AU$113 mil­lion last year rep­re­sent­ing 19 per­cent of all OOH rev­enue.

An­i­mat­ing the static

The grow­ing trend of dig­i­tal bill­boards— and the po­ten­tial they bring—is dom­i­nat­ing the OOH con­ver­sa­tion th­ese days. And, as has also been seen in mo­bile in­dus­try, the size of the screens is in­creas­ing with pro­gres­sions in tech­nol­ogy. And while the Kiwi mar­ket hasn’t yet been treated to any­thing quite as jaw-drop­ping as the block-long, eight-storey-high, size-of-afootball-field be­he­moth that was turned on in Times Square shortly be­fore Christ­mas, APN Out­door’s new 94 m2 out­door screen (it’s named Apollo af­ter the Greek God of light), is also pretty formidi­ble.

“We thought it de­served a spe­cial moniker due to its size and shape, tech­ni­cal su­pe­ri­or­ity and land­mark qual­i­ties,” ex­plains Phil Cle­mas, APN Out­door gen­eral manager for New Zealand.

Since 2012, APN Out­door has been lead­ing the charge to large for­mat dig­i­tal. “Dig­i­tal adds new dy­namism to the strengths of tra­di­tional bill­board ad­ver­tis­ing by al­low­ing mul­ti­ple con­tent changes and im­me­di­acy, mak­ing it eas­ier for brands to be more rel­e­vant to their tar­get au­di­ences,” says Cle­mas.

It’s be­com­ing more af­ford­able for op­er­a­tors and ad­ver­tis­ers, says Cle­mas. As more op­er­a­tors ex­pand their port­fo­lios the cost of tech­nol­ogy is re­duc­ing and with shorter cy­cles than tra­di­tional bill­boards, and the op­por­tu­nity to share the me­dia in­vest­ment across mul­ti­ple brands and prod­ucts, over­all cam­paigns are more cost-ef­fec­tive. “Also, the ease in which con­tent can change and be sched­uled makes DOOH sud­denly more rel­e­vant to ad cat­e­gories like re­tail and FMCG,” he says.

“We’ve rolled out the most ad­vanced out­door LED tech­nol­ogy avail­able any­where and it will re­main ex­tremely ca­pa­ble for sev­eral years to come. Ad­ver­tis­ers will only be limited by coun­cil con­sent con­di­tions, avail­able bud­gets and their imag­i­na­tions.”

The flex­i­bil­ity of DOOH isn’t limited to APN Out­door. Cameron Tay­lor, the gen­eral manger of oOh! Me­dia New Zealand, also sees dig­i­tal tech­nol­ogy evolv­ing the way ad­ver­tis­ers in­ter­act with passersby.

“OOH ad­ver­tis­ing [al­lows] ad­ver­tis­ers in­cred­i­ble flex­i­bil­ity to run short, tar­geted, in­ter­ac­tive cam­paigns that en­gage shop­pers in cen­tres, change ad­ver­tis­ing mes­sages ac­cord­ing to the time of day or the weather, and run in­ter­ac­tive com­pe­ti­tions,” he says.

“Dig­i­tal is a ma­jor fo­cus of our busi­ness here in 2015. We’ve al­ready started up­grad­ing our in­ven­tory to state-ofthe-art 70-inch dig­i­tal screens, which adds to our net­work of 500 shopalites across our 25 shop­ping cen­tres.”

And, he says, while OOH once had fixed post­ing cy­cles, they’re now able to of­fer ad­ver­tis­ers a flex­i­ble, dy­namic so­lu­tion that takes ad­van­tage of OOH’s abil­ity to si­mul­ta­ne­ously reach a range of au­di­ences. “We can ex­pect to see more com­pa­nies us­ing DOOH in the same way,” says Tay­lor.

Ad­shel’s Nick Vile is also talk­ing change: “I don’t think it’s any se­cret that we’re work­ing on a project to digi­tise some of our ex­ist­ing street fur­ni­ture as­sets, turn­ing them from static dis­play op­por­tu­ni­ties to dig­i­tal out-of-home op­por­tu­ni­ties.” He’s not say­ing how or when or where, but it’s an in­vest­ment that will al­low ad­ver­tis­ing ‘in the now’, tar­get­ing au­di­ences at a time and place that’s rel­e­vant to them.

More than a glow

Gi­ant and fancy bill­boards may make news but, as Luke Irv­ing at Fin­ger­mark Dig­i­tal Tech­nolo­gies points out, DOOH is about

cre­ative,” says Tay­lor. “That’s the chal­lenge the in­dus­try needs to re­main fo­cused on.”

For­tu­nately, ac­cord­ing to Young & Shand ac­count direc­tor Dan Maas, there isn’t a short­age of op­por­tu­nity to bring the con­tent to life. “You can per­son­alise, be re-ac­tive, have di­rect in­ter­ac­tion with con­sumers and in­te­grate con­nec­tive tech­nol­ogy,” says Maas. “The big plus with DOOH is flex­i­bil­ity. Swap­ping out cre­ative in real-time based on a phased cam­paign, or bet­ter yet, ad­justed in re­ac­tion to some­thing top­i­cal or to con­ver­sa­tions in your so­cial com­mu­ni­ties.”

Ad­shel’s re­cently launched Connect is en­abling brands to en­gage with their tar­get au­di­ence via smart­phone tech­nol­ogy, says Vile. “The tech­nol­ogy al­lows ad­ver­tis­ers to eas­ily in­te­grate mo­bile into their cam­paigns us­ing the per­ma­nent NFC tags and QR codes placed on top of 750 pedes­trian fo­cused pan­els in our na­tion­wide net­work.”

But in­ter­ac­tion with dig­i­tal de­vices will only hap­pen if con­sumers are aware that the screen is not just an elec­tronic poster, warns iSEE Dig­i­tal TV’s man­ag­ing direc­tor War­ren Sin­clair. “And it’s got to be done right or you’re sim­ply adding to the clut­ter in store.”

iSEE’s net­work of screens cov­ers lo­ca­tions across the coun­try—Kaitaia to In­ver­cargill—al­low­ing for in­di­vid­ual gran­u­lar­ity of dis­play me­dia. They can de­liver an up­lift in sales of 40 per­cent plus for prod­ucts avail­able in-store, and prompt brand aware­ness of around 19 per­cent, says Sin­clair, all for as lit­tle as two cents per play ver­sus thou­sands on tra­di­tional me­dia. “Th­ese are very real fig­ures,” he says.

“We have screens in se­lected fuel lo­ca­tions and re­ports show 40 to 50 peo­ple a day ask­ing for the stuff that’s on screen.” Be­ing cre­ative with the cre­ative is es­sen­tial, he says, “oth­er­wise con­sumers end up suf­fer­ing ban­ner blind­ness. They won’t see it.”

At OGGI Dig­i­tal Gor­don Fryk­berg was some­thing of a DOOH pi­o­neer in this coun­try. He’s moved on and re­cently an­nounced the launch of Tower TV, a new joint ven­ture with Val Mor­gan Out­door Australia. Cur­rently in the process of rolling out their first lo­ca­tions as part of a dig­i­tal me­dia net­work with screens lo­cated in the foyer and lift sur­round en­vi­ron­ment of of­fice build­ings and com­plexes, their ob­jec­tive is to be in 50 to 60 lo­ca­tions with as many as 250 screens by the year’s end.

Tower TV’s ad­ver­tis­ing is wrapped around in­for­ma­tive and en­gag­ing con­tent; weather, news and sport up­dates, time, stock mar­ket and fi­nan­cial up­dates plus busi­ness leader Twit­ter feeds re­search has shown peo­ple want to see.

“We’ve unashamedly bor­rowed the very best from sim­i­lar net­works over­seas and we’re ab­so­lutely con­fi­dent we have a unique model able to de­liver a pow­er­ful me­dia foot­print,” says Fryk­berg. “We’ll also be de­liv­er­ing mean­ing­ful re­search through our ex­clu­sive DART mea­sure­ment sys­tem, al­ready op­er­at­ing in Australia.”

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