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If your industry contacts and friends have a keen interest in next-gen digital plays, they are most likely in Austin right now for the annual pilgrimage to the SXSW Interactive Festival, keeping you abreast with a constant stream of #SXSW photos and posts of all sorts.

SXSW is exciting stuff for sure, with a particular focus on our digital future. For the rest of us who are stuck in Sydney however, there is exciting stuff happening too – less future-facing and, say, more focused on the “here and now”.

I give you Content Marketing World Sydney, now in its third year and in full swing as of tomorrow for the next 3 days.

CMY Sydney seeks to inspire and guide Australian marketers, agencies and publishers alike, as well as address some of their immediate questions and hurdles with their content marketing approach.

IMO, it is also a great opportunity to reflect on what we aren’t still getting quite right, and how we compare with other parts of the world.

Finally, it’s worth clarifying that for the purpose of this piece, our focus is owned content.

How I came to learn about some disturbing facts

CMY Sydney first came to my attention as I was attending Joe Pullizi’s webinar on Epic Content Marketing: The 5 Essentials Marketers Need to Follow in 2015.

Pullizi is the founder of the Content Marketing Institute (CMI) – the producer of CMW Sydney –, a subject-matter expert and one of the speakers at CMW this year.

The insights gained from his webinar at the time, combined with the latest research from the CMI and ADMA, had helped me steer the strategic conversations I was having with a client in the right direction.

Specifically, as I was listening to Pullizi’s own experiences working with marketers and going through the research in detail, I discovered some unsettling facts about questionable yet widespread content marketing practices.

First, we learn that 9 out of 10 Australian marketers are using content tactics. Great. However, less than 3 out of 10 are having some kind of success with it. Disappointing.

Then, we discover that 46% of marketers are using a verbal-only strategy – just imagine how effective this approach would be in a large organization with a CMO, Corporate Affairs and Social Media teams etc. all meant to work hand in hand to the same strategic roadmap… enough said. In others words, nearly half of Australian marketers are winging it and hoping for the best their content tactics stick and deliver tangible business outcomes.

Not surprisingly, the research goes on to say that those marketers (only 37%), who do invest time and resource on developing and documenting their content marketing strategy are more effective in nearly all aspects.

Having a documented strategy *and* adhering to it is even better one might say. Yet only 4 out of 10 follow their content marketing strategy very closely i.e. share it with the right teams, review it and optimize it regularly etc. I guess this would largely depend on who owns it and champions it in the organization: only 39% admits to having a dedicated content marketing group – a key part of the problem in my view.

How Australian marketers compare with their British counterparts

Following these discoveries, I was curious to know: are content marketers in other parts of the world behaving any differently?

For this exercise, I thought I would pick the UK – one of the leading and most advanced markets when it comes to digital marketing, with content marketing a fast-growing component of it. So surely they know better, right?

8 of out 10 British marketers use content marketing and 4 out of 10 say they are effective. So marginally more effective.

When it comes to documenting their strategy and following it, alas you will be pleased (or sorry) to hear they aren’t faring much better: 51% are using a verbal only strategy (vs 46% in Australia) and only 44% of those who have it documented follow it very closely (vs 40%).

So all in all, a sorry state of affair on the strategic front on either side of the world. Yet a great opportunity for independent experts and agency types to offer to help and lead!

There are of course a number of underlying issues that explain the situation client-side. The lack of in-house specialist talent or dedicated champion are two that come to mind, and these are instances where external content experts can supplement marketers effectively. They can help in a number of valuable ways – at strategic level or across the full plan-create-test-learn cycle, for short or long periods of time.

For more on these and other fascinating insights, check out the Content Marketing in Australia 2015: Benchmarks, Budgets and Trends report.

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Don’t get me wrong, I love GoPro.

I follow them on Instagram, and regularly like and share the stunning photographs and footage you could not capture without their state-of-the art camera gear.

And so as I have been following their every Insta move intently, I couldn’t help notice that they are starting to resemble another big favourite brand of mine – Red Bull.

Here are some compelling reasons why you could be forgiven for mistaking their moves for Red Bull’s own:

A week ago I learned that GoPro had just launched their own energy drink:

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Then yesterday they announced the launch of their own channel on the Xbox 360 console and home entertainment system:

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Incidentally (or not), Red Bull has its own web TV channel and is a fully-fledged multi-platform media company too.

Now… one may rightly argue they have got something major in common: their target audience.

Both brands are not for the faint-hearted but for the adventurous and sporty types amongst us. They are particularly big on extreme sports enthusiasts. Just take a look at the 2 snapshots below of their Instagram feeds – you could easily swap images around. The one saving grace is the Red Bull branding being prominent as you scroll through the feed.

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A shared target audience partly explains how their NPD efforts and marketing tactics may cross over.

GoPro is also by the very nature of its product a great source of content, with their move onto the Xbox platform the next logical step of an existing multi-channel content distribution strategy.

However, how many glaring similarities can a brand get away with before it becomes detrimental to the brand image itself? How sustainable can it be as a business strategy? If your brand stands for adventure and versatility, how could one’s perception of it as a copycat be a good thing?

In my view, to dispel any doubts in the consumers’ mind, GoPro ought to work harder on finding its own creative voice and key differentiator. That or it may face the risk of becoming uncool amongst the cool, edgy audience it is trying so hard to woo. Copycat brands have never been popular to my knowledge – if you know of one, please hit reply and share your thoughts with us. I genuinely can’t think of any as I write this.

As a further test, I did a quick search on Google scanning for any public outcry over what strikes me as a lack of creativity. And I saw that AdWeek did very recently touch on this topic. Their article title was a give-away: GoPro’s Super Bowl ad looks a lot like Red Bull, Circa 2012.

GoPro may be forgiven for wanting to share some of the limelight on the Stratos jump – the footage was captured with their cameras after all. It’s just that the Stratos jump has been done to death. Also, their Super Bowl TV ad is heavily, well, Red Bull-branded. Enough said.

 

 

VD may be over but who’s to stop us from continuing showing and sharing the love? N o  o n e :D So here is a quick roundup of the brands’ love messages that won me over this year.

First, Victoria’s Secret…

Victoria’s Secret takes Valentine’s Day VERY seriously – not surprisingly. After all, it is the most romantic day of the year and so the perfect occasion for dialling up sexiness in the form of, er, sexy underwear.

Leading up to D Day, the brand made a real effort of owning 14th February by calling it something else, and most importantly something that would strongly resonate with its target audiences (male and female). In Victoria’s Secret world, VD is now known as Bombshells’ Day – named after one of its most popular brands. The words Valentine’s Day were banned from its communication strategy, nowhere to be seen in the posts. Bombshells’ Day as a communication platform is not only a key differentiator but also has the bonus of longevity – it can be reused year after year.

The brand kicked off a month-long rallying call on its social networks around its #bombshellsday hashtag, inviting all women out there to celebrate themselves first and foremost. Its social networks were peppered with feel-good and ego-boosting CTA’s interspersed with lingerie-clad model shots throughout the 4-week period. A YouTube video was created, primarily as a sales tool intended for a male audience. It is the brand’s cheeky one liners on Instagram however that resonated best with me.

The tone was right on brand –  playful, flirty and sexy. Below is a chronological snapshot of my favourite posts from kick off to D Day:

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Unlike Victoria’s Secret, Lululemon only had one thing to say – a bold and funny statement that struck a chord with all yoga lovers out there like me.

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Don’t we all love freebies? A simple human truth that works every time. The Coffee Bean & Tea Leaf company knows this too well as it lured its fans and their special loved ones into its shops with its 2 for 1 promotional offer – as seen on Vine. Perhaps not as original, yet as effective.
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Lastly, the award for “going above and beyond a simple tweet” goes to Necco for its Tweethearts web app and accompanying catchy tune – the app lets you create and order a pack of personalised sweetheart candies from a tweet – see mine below:
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Nooow how about you?
Did any of your favourite brands strike a (positive) chord with you on social this VD?
Don’t be shy and just hit reply to share and spread more love :)

Vine has been gaining momentum ever since its launch in January, piggybacking on Twitter’s considerable user base and fast becoming the new social media darling amongst younger users.

To this day, and despite the recent launch of arch-rival Facebook’s Instagram video sharing feature, it is showing no sign of abating. On the contrary, if anything Twitter promises us that with Vine ‘2.0’ soon in market this could well be the beginning of greater and bigger things to come.

In terms of reach, the latest publicly available figures stand at 40M Viners worldwide (up from 13M in June), with an estimated 50K in Australia (source:@SMN_Australia, thanks David!).

Now some of you may argue that’s a drop in the (South Pacific) ocean, hence not even worth considering as part of your marketing mix.

I beg you to reconsider and here is why.

Vine offers a unique, playful way to connect with your audience that drives differentiation for your brand.

Vining has been described as a new ‘art form’ by Jack Dorsey, co-founder of Twitter, and rightly so. Simply, the 6-second videos (or Vines as they are known) are ‘little windows’ into your consumers and fans’ creative minds.

Unlike Instagram’s ‘generous’ 15 seconds and various props (e.g. 13 filters, cinema mode etc.), Vine’s time constraints and ‘raw’ approach to video creation truly put the power of your imagination to the test. The art of Vine-making is tricky to master as it requires you to be creative not only in the story you are telling but in its execution also – with only 6 secs to get your message across artfully.

And so not surprisingly, the 6-second short-form video is particularly popular with the creative community, with some art directors specialising in Vine-making and advertising agencies using it as a tool for hiring creative staff. It actually takes skills to create something meaningful and beautiful at the same time, in such a limited amount of time – just have a go and see for yourself.

The first Vines I saw were rather painful to watch, jerky and hard to comprehend at the best of times. However, as advertisers and Viners at large got the hang of it, the micro-video blogging network grew on me as did the quality of the content.

9 months later, it has turned out to be a great way for brands to seek participation from their fans. Successful examples of this abound in the US, where the adoption of Vine is the most prevalent amongst consumers and marketers.

Famously, GE with its successful ongoing #6SecondScience projects; one of which can be seen here. And its #GravityDay campaign – the longest Vine chain ever to my knowledge – as sampled here.

Other early adopters include Virgin Mobile USA with its #happyaccidents campaign and Airbnb which took Vine-making to a new level by inviting the audience to co-create the first short film entirely made of Vines.

Vine may never reach the same scale as Instagram (with 10 times as many monthly users today); however I can foresee its community and loyal following building steadily over time. Vine-making is hard to master for a start and so when you do, you tend to stick to it. Simply, as a brand it gives you an edge (or USP) hard to compete with in your category. As a fan, teenager or aspiring creative, it makes you stand out amongst your friends or peers; it makes you feel good.

In my opinion, it is the creativity at the core of its proposition that gives Vine longevity and makes it appealing to the hyper-connected 15-to-30 years old and creative at heart the world over. Twitter made that clear on the day it announced its launch and so did Dom Hofmann, Vine co-founder, when he said “constraint inspires creativity”:

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The arrival of Vine on the market was timely for a number of reasons.

Not only does it tap into our growing appetite for consuming and sharing visual content on social networks and on the go, it also gives advertisers a new tool to achieve cut-through on social media amongst the ever-increasing noise.

As recently outlined by Ipsos, competition for ‘image attention’ has indeed never been greater as we hop from one screen to the next and back, and our senses get solicited all day long by hundreds of messages in different media formats.

Vine is simply a great tool for creating attention-grabbing rich visual content and generating earned media amongst social media users.

How critical is Vine to your social media marketing mix?

GE’s CMO Beth Comstock admitted recently that social media had played a critical part in helping turn around the company’s fortunes. In her view, social media had helped make GE “relevant in a lot of new ways”.

I agree.

I recently became a fan of GE’s social media initiatives, and in particular of their marketing efforts on Vine, which I follow with great interest and amusement. For a company whom I never felt connected to in any way, and whose purpose and business were obscure to me to the say the least, through its own but also fans’ Vine videos,  this once faceless corporation has managed to make itself likeable and its purpose tangible – in other words relevant to me.

The performance metrics speak for themselves.

Here are some recent stats on the effectiveness of the various social video formats in market:

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At a glance, during that one-month period, we can see that Vine outperformed Instagram on both engagement rate and number of retweets. Further, according to Unruly’s research in May, 5 Vines get shared every second on Twitter.

Together, these metrics clearly demonstrate how complementary Twitter and Vine are as engagement channels.

If that’s not enough, what else does Vine have in its favour?

Unless Facebook whose usage and appeal amongst millennials is declining, Twitter and by association Vine are still happily used by teens and 20-somethings (source: eMarketer May 2013).

So if you have a substantial Twitter following and Gen Y’s are a key target audience, then it is worth trying Vine in a complimentary way to Twitter.

Oh, and unlike Instagram, Vine will remain ad-free for the foreseeable future – which makes the user experience all the more immersive and attractive to social media users who are seeking to escape advertising-heavy networks (such as Facebook).

So all considered, Vine makes for a brilliant opportunity to build a 1:1 relationship with your audience, in a space free of competitive noise.

So come on, be brave, start SMALL but start experimenting NOW. Down Under or wherever you are.

A couple of weeks ago, I touched on Coca Cola’s latest foray into social TV with its 2013 Super Bowl’s Mirage Big Game ad campaign. Although it did experience a few glitches on D Day, there is no doubt Mirage is one of the most sophisticated and successful social TV campaigns to date, having generated over 11 million fan engagements according to Coca Cola.

In a nutshell, the campaign starts with a TV ad that kicks off a story (the story of 3 teams competing for an iced Coke bottle in the middle of the desert). That story is in fact a game that unfolds over 3 stages (pre, during and post Super Bowl game), and plays out simultaneously across the small screen and the social Web, as TV viewers get to choose how the story ends by voting for their favourite team on the campaign site and the brand’s social media channels.

Before Coca Cola, Mercedes Benz used Twitter in a similar fashion in its UK #YOUDRIVE TV advertising campaign at the end of last year. The campaign let viewers choose the ending of a 3-part story on the new A Class model that played during commercial breaks in the “X Factor” show. According to research conducted by Twitter UK, Mercedes Benz and ITV, the integration of Twitter into the TV ads had a positive impact on the brand’s metrics and 71% of the tweets generated contained the campaign hashtags with 1 in 4 wanting to find out more about the car.

By combining dynamic story telling, gamification and social media interaction, both campaigns are great examples of TV ads linking to a social conversation – and back. Traditionally a passive consumption experience, they reinvent TV advertising by letting the audience take control of the content and viewing experience.

These campaigns are just two examples of how social TV works. There are plenty more as social TV tends to vary in complexity of the execution and may extend out beyond Twitter and Facebook to include advertiser-owned platforms.

At its most basic – the broadcast of tweets in real time during a TV programme is one of the most prevalent forms of social TV e.g. when the ABC’s TV programme Q&A takes questions and reactions live from TV viewers via Twitter back onto the small screen – a simple yet effective way of maximizing audience participation.

At the other end of the spectrum – we have companion apps such as Zeebox or Yahoo7! Fango that go a step further by centralizing all social conversations about one or multiple shows in one place, serving up related content in real time, and rewarding users for their loyalty with exclusive content or prizes.

Whichever way you go about social TV, the one common denominator and pre-requisite to its success is the brand’s ability to tell a compelling story that everyone wants to talk about. In other words, without cut-through content there is no social buzz, no social TV.

Why is social TV so much on the rise? (and here to stay.)

It leverages what has become second nature to most of us: our second screen behaviour. Or put simply, the fact that most TV viewers are using a second screen (tablet, mobile or desktop) whilst watching TV.

Which begs the question: what do they do on that second screen?

According to a recent Yahoo!7 survey into the viewing habits of Australians, 43% use social media whilst watching TV, with a large number of them posting on Facebook about what they are watching.

Twitter is the other big favourite destination for our TV-related banter to take place – so much so that it fully embraces TV as an integral part of its corporate future – why buy Bluefin Labs, a social TV analytics start up that tracks conversations about brands and TV shows, if for no other reason?

In other words, Facebook and Twitter have become the perfect companions to TV shows and ads. By enabling a shared viewing experience with friends, likeminded fans and viewers as well as 1:1 conversations with our favourite brands and shows, they have in essence redefined the home entertainment experience for most of us.

But are all brands equal in front of social TV?

At first, it appears not. A recent report reveals that Television shows are amongst the most liked Facebook pages, closely followed by Retail fashion and Food brands. This makes social TV an opportunity not to be missed for brands in these categories given their target audiences’ propensity to congregate in social forums.
However, thinking about it some more, it is not so much the category that is a driver in my opinion, but I would argue the brand’s ability to effectively use social media in the first place.
If the brand does a great job out of it i.e it has a clear, single-minded social media strategy and purpose (e.g. promote the overall business – ref. Shell, provide customer service – ref. US retailers, promote a lifestyle – ref. Red Bull etc.) and the resource behind it (talent and $$), then any brand can have a shot at social TV.

And how about measurement I hear you say?

As the TV viewing experience evolves to integrate social media platforms, measurement metrics for TV programmes and ads have to evolve too.

Audience reach can no longer be judged on traditional TV ratings only; new measurement metrics need to be introduced to capture user engagement across social media platforms and devices as the story plays out on the small screen and triggers conversations on the second screen (Nielsen US is ahead of the pack in that respect as it makes it its mission to devise new metrics for TV consumption).

All in all, I think social TV is brilliant news for advertisers, creative and media agencies alike.

Not only does it give TV as a medium greater accountability and further proof that the (costly) investment is worthwile, it also gives TV advertising and the TV viewing experience as a whole a new lease of life.

Ford is a great example of how a brand gets its audience to spread the word about a new product by inviting them to share in their own experiences. Read all about here at fastcocreate.com.

Nissan is one of the automakers alongside Ford that has turned to creating its own content to give meaning to its brand promise of ”innovation and excitement for everyone”. As TV ads on the merits of its products just won’t cut it anymore, the automaker explores other avenues such as sponsorship and collaborating with its product planning and development team to create compelling stories for its electric and top of the range models. Check out: http://www.marketingweek.co.uk/trends/whats-driving-nissan/4003367.article

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