Simply put, the MBI (Meaningful Brand Index) measures consumers’ perception of a brand’s influence on society, environment, economy, health and emotional wellbeing. And as the latest research shows, the more positive impact a company is seen having on consumers’ lives, the more fans they will garner nowadays.
That’s where Nike comes in as it seeks to apply science to the art of supporting a cause dear to our (consumers’) hearts: protection of the environment.
The MSI (Materials Sustainability Index), Nike tell us, is the result of 7 years of effort spent by the corporation on cataloging ‘the best publicly disclosed information related to the environmental impacts of materials’.
As Nike opens up its MSI through its Making app to all apparel designers and creators out there, open-source style, it simply seeks to reinforce its long-term commitment to protecting our environment. That’s got to help the brand perception too…
Don’t get me wrong – Nike’s eco-friendly initiatives are commendable (and have delivered results e.g. their 2010 World Cup soccer jerseys recycled from plastic water bottles). However, the cynic in me can’t help wonder what the take up of this app will really be, and how meaningful and long-term an impact it will have on our environment.
The lack of immediate tangible results or visibility on how involved Nike will be long term in supporting designers who take on the green challenge, is I guess what makes me question how effective the app is going to be. Here is to hoping this is not just a marketing ploy.
For now, I will let you form your own opinion on what Nike’s long term goal may be as you watch the sexy video they released just over a year ago, and the somewhat more down-to-earth video on the making of the app released earlier this month.
Can you really take the marketer out of the do gooder?
Some of the most striking results, which I couldn’t help but compare myself to, include:
– 80% of respondents admit sleeping with their phones at arm’s reach (tick);
– 73% of smartphone users wake up to their phone alarm (tick), increasingly making watches a thing of the past (tick);
– 95% use their phones just before bedtime at the ’25th hour’ (er, tick);
– 66% ended a relationship by mobile – making this form of breakup otherwise known as a digital dump – (thankfully not a tick!). On the same note, sadly, according to other non-China specific surveys, most connected users would rather leave their spouses than their iPads at home when they go on holiday…
A quick poll to see if you too are guilty of the above sins! Say yes for those of you who tick 4 or more of the above behaviours.
Finally, we learn that in February this year China overtook the US as the world’s largest smartphone market.
With this in mind, marketers the world over ought to play closer attention to both trending and emerging consumer mobile usage behaviours in that part of the world. Watch, learn and get their marketing ready ahead of these behaviours hitting their shores.
Brands across multiple categories are increasingly investing into content marketing. Yet, for the vast majority, their efforts are more often than not met with mixed results. I have been looking into why that is.
The learning curve appears to be steep on a number of levels still for most advertisers.
First, content creation remains an art that simply most haven’t mastered yet, with only few brands having become experts at it, at both a strategic and executional levels (Red Bull is famously one of them).
Many need guidance on how to develop a content strategy in the first place, including advice on how to identify what content will resonate best with their target audience, how to achieve content relevance and stickiness whilst staying on brand, or where and how often to publish their content for maximum reach.
The prevalent state of play was summed up recently in the UK Outbrain survey: it revealed that whilst 93% of client-side marketers expected content marketing to become more important, only 38% had a strategy in place.
So whilst the intention to get serious about brand content is there, how to go about it is where the problem lies more often than not.
Additionally, the resource advertisers are prepared to commit may not be adequate – the dollars may be insufficient or the investment strategy short lived, with strategic, creative and editorial skills poorly represented.
Overall, the trial-and-error approach prevails, with a great deal of debate around who should own the content creation process: the brand (and within the organization, which team: marketing? social media?), the creative agency, publishers, content distribution platforms or a combination of all 4?
As the approach takes time to fine tune, and the brand learns what content works and doesn’t work over time, the lack of an immediate ROI makes the business case for continuous investment hard to defend in most organisations.
An argument that Virgin Mobile’s head of brand marketing Ron Faris refutes however by saying that the company has data that proves that “creating fun content people actually like helps improve people’s perception of the brand — and the likeliness that they will then listen to its sales pitch”. Faris goes on saying “The more content they see the more they’re willing to consider us. You have to be more patient than with display advertising.”
I agree. Brand content is no fast way to your consumers’ hearts (and wallets); but a slow-burn approach to guiding them down the purchase path. Its sales impact builds up over time as it primarily drives awareness and consideration.
Where to from there then?
Listed below are the key learnings from my investigations to date on what to expect with brand content marketing, what works and what doesn’t:
#1 – Have a clear content owner and champion within your organization (e.g. your marketing team or social media team), who will become the guardian of your content strategy and give all your content across multiple channels a single-minded focus.
#2 – If new to content marketing and/or lacking the in-house strategic, creative or editorial skills, partner up with your creative agency on defining the content strategy that best aligns with your corporate and marketing objectives.
#3 – Let your creative and media agencies assist with setting up content partnerships with publishers. Publishers may be vying for your attention (and budgets) and approach you direct. Best you let your agencies broker the deal on your behalf: they will research publishers (incl. their audience demographics, quality and relevance of content being offered, engagement levels etc.), evaluate how well their offering matches up to your corporate and marketing objectives and work out the anticipated ROI for you.
#4 – Have a content plan. Some of the content may be organic or created in real-time in response to topical events or issues as they arise. Some of it should be planned for in advance through the development of an editorial calendar.
#5 – Create content that your audience wants to consume. Is your content entertaining (e.g. high adrenaline extreme sports content for Red Bull fans)? Is it genuinely useful to your audience (e.g. American Express’s Open Forum provides small businesses with content they want and need)? If the answer to either question is no, then drop the idea.
#8– Where your content lives depends on the target audience and the audience reach you are aiming for ultimately. It may be seeded on the social web (e.g. Red Bull YouTube channel), live in a dedicated destination (e.g. Virgin Mobile Feed), be embedded within a publisher site (e.g. Virgin Mobile on BuzzFeed), or a combination of all.
#9 – Your advertising itself can be a source of brand content – a great example of this is the TVC developed by Wieden + Kennedy for UK mobile network provider Three that went viral at the start of the year – a fine example of how content can entertain.
#10 – Or your brand content may become your advertising – Carlsberg does this very well as it started turning to its fans and the wider public to create its ATL advertising. Famously, its biker stunt ad has successfully helped reposition the beer as the reward for an act of courage (in line with its new 2011 strategy and tagline “That calls for a Carlsberg”). The results were impressive: 11 million views on YouTube within 8 months of the launch, Facebook shares in excess of 1.5 million, 364K mentions on Twitter and free publicity in more than 900 blogs, 150 news sites, numerous TV shows, newspapers and magazines with a 98% brand attribution (source: mashable). All of these led to a 4.3% increase in sales volumes in the 6 months following the campaign launch according to Carlsberg.
#11 – Arm yourself with patience and be willing to test, learn and optimise.
This list is by no means exhaustive; just a good starting point in my view. It will no doubt evolve over time as we all become more “content-savvy”, and roles and responsibilities change as the content production and publishing industries mature.
For now, don’t hesitate to let me know of any more must-have’s from your point of view we ought to add to our list!
Lastly, one of the submissions in the Innovation Lions category at Cannes this year caught my attention: Engen and its branded safety calendars that double up as fire blankets to help fight fires in South African shantytowns.
In an era where digital communications are all the rage, these campaigns are turning traditional advertising on its head by emulating utility apps without the technology.
In the same vein, relying on sheer engineering smarts (and no internet), one of my all-time favourite billboards has to be the one developed by a Peruvian University that produces drinkable water out of thin air.
Not only are these ads designed to help first and foremost (sell a product or service second), but also they show ad agencies under a new unexpected (and wonderful) light.
We want more of these please.
I have just come across an article on Forbes that outlines the results from Havas Media’s 2013 Meaningful Brand Index.
The MBI measures consumers’ perception of a brand’s influence on society, environment, economy, health and emotional wellbeing – in other words, the higher a brand in the MBI, the more positive impact it is seen having on consumers’ lives.
In this year’s results, tech giants Google, Samsung and Microsoft are the top 3 (interestingly Apple hasn’t made it to the top 10 – a sign that perhaps we are suffering from Apple fatigue?). And according to Havas Media: ‘’What the results tell us is that tech companies have done some powerful things over the last few years to focus on people’s lives and they’re starting to reap the benefits of that.’’
I couldn’t agree more.
However, this brand ranking takes on another dimension when read in conjunction with the following stat:
“The majority of those surveyed worldwide say they wouldn’t care if 73 percent of brands no longer existed tomorrow, and only 20 percent of all brands are viewed as having a positive role in consumers’ lives.” (Just to put this into perspective: 134,000 consumers were interviewed in 23 countries on 700 brands.)
If that statement doesn’t shake things up in the corporate world, then what will?
In short, as a brand you ‘d better play an active role in improving your consumers’ lives if you want to stay ahead of the pack – and more to the point, stay in business in the years to come.
The current economic climate has further reinforced the need for brands to play a meaningful role in our day to day lives and the community at large, and stop taking our custom for granted. Recent research shows that consumers are expecting brands to help solve the issues society faces and provide tangible proof of their efforts – that’s where CSR and Fair Trade come into play (ref. WARC Trends Toolkit 2013 report).
Finally, as I ponder over the correlation between the MBI score and Net Promoter Score (the score we give a brand on how likely we are to recommend it – a key performance indicator for most brands), I would say the higher the MBI ranking, the higher the NPS – which means all brands efforts should focus on the former to help increase the latter.
I have just come across yet more insightful research from our Google friends, which the advertising types amongst us will no doubt find useful.
This time the research focuses on mobile searches – specifically, mobile user search behaviours and the correlation of mobile searches with online and offline conversions.
You can view the full Mobile Search Moments study here – for now, I just wanted to point out a couple of striking stats.
First – their research shows that a staggering 77% of mobile searches happen at home or work (i.e. a location likely to have a PC), with only 17% on the go.
This surprised me at first as I had thought until now that smartphones were used for searching mainly on the move (i.e. when no PC is available). Then I remembered my own behavior at home: since trading my old phone for an iPhone 5, my smartphone has fast become my #1 device of choice for initiating all sort of activities from the comfort of my sofa including checking emails, reading online articles, playing games and … searching.
The study goes on by explaining that the key reason for users preferring their mobile phone over a tablet or PC when searching at home is the convenience and speed it offers. A respondent explains: “It was easier on the mobile device as I didn’t have to get up to turn on the computer and wait for it to boot up”. I could indeed have said this myself to justify my own behavior.
One other key insight that stuck with me is how powerful a conversion tool mobile is:
Not only 3 out of 4 mobile searches trigger follow up actions (e.g. visiting a retailer’s site, sharing the info you have found etc.), but also – and most importantly – 55% of purchase-related conversions (i.e. store visit, phone call or purchase) occur within one hour of the initial mobile search, with that number increasing to 81% within 5 hours.
As the ultimate “always on, anywhere anytime’’ companion device, the ever increasing take up of smartphones and with both a purchase intent and conversions this high, it is easy to see why smartphone users need to be at the top of any marketer’s priority list (sadly not always the case).
And for the time-poor amongst us, the below infographic sums up all other key insights for future reference – Thank you Google!
Lately I have been reading about connected homes and connected cars. Whilst I am (very) excited at the prospect of experiencing both in the not-so-distant future, it left me wondering about what connected stores might look like also a few years from now.
3 players stick out for me when it comes to transforming the in-store experience through the integration of information and communications technologies.
All 3 are working hard to merge the bricks-and-mortar and virtual shopping experiences into one effortless, consistent and personalised experience. This they achieve not only through a selective use of technologies (mobile or other), but also by observing their customers’ shopping behaviours and adapting the in-store experience accordingly.
According to Burberry –
For Christopher Bailey, chief creative officer of the British luxury fashion brand, the shop of the future integrates behaviours that are inherent to the online shopping experience into the in-store experience.
And so in the same way as customers shop online from the comfort of their sofa at home, customers in its London flagship store are shown to a sofa at point of purchase, where they are presented with a swipe machine that swiftly computes their purchase.
Other examples of the “digitalization” of Burberry’s largest store include embedding clothes with RFID-enabled chips that can be read by the fitting rooms mirrors, triggering images and videos of the selected garment in catwalk shows or how it was made. Kitting out the store with high-speed lifts to fast track the time it takes for staff to check an item’s availability is one other (this check is instant online).
According to Starbucks –
For Howard Schultz, the CEO of the coffee house chain, the store of the future will enable a one-to-one relationship between the brand and its customers through the personalization of the service they receive as they walk into the store.
As he explained in a recent interview with USA Today, customers with a history of in-store mobile payments made through the Starbucks app could in future be presented with their usual favorite drink as they are geo-located and id’ed the moment they step through the door – without having to order.
According to GAP –
For the high-street fashion retailer, the store of the future reconciles the rise of the omni-channel shopper with the company’s ability to connect demand (web, mobile or offline) to supply (wherever it might be also) through its backend systems. This has led the retailer to start trialing the find in-store and reserve-in store features on its shopping app.
The app geo-locates you and flags the nearest stores. By connecting to the store inventories in real-time, it shows you the inventory level for a given item and ultimately gives you the ability to find and buy the item you pre-shopped online in a store of your choice.
As you go online to shop with GAP, you spot an item you like, you locate it in a store near by and simply reserve it. The item is held for you until the next business day for you to try in store, build a transaction and possibly a whole outfit around it. Unlike pick-up in-store, it encourages customers to stick around as they try things on and build a connection with the staff and brand.
In both scenarios, the shopping experience starts online and leads to an offline transaction.
No doubt there are more examples in the same vein (feel free to share those you find inspiring!). Burberry and Starbucks however are ones to watch: they have famously (and successfully) broken new grounds when it comes to integrating digital media and platforms into their marketing efforts. And they are constantly looking for new ways to market their products and optimise the customer experience.
With this in mind, any one who ever thought the bricks-and-mortar shops would soon be a thing of the past may want to have a rethink. A converted online shopper myself, I could even be tempted to go back in-store.
He spoke about the democratization of film-making, how easy it is for a new generation of film-makers to distribute their content on the web direct to the public (which I liken to self e-publishing for wannabe writers), and the fact that anyone with a smartphone camera can now create footage on the fly that may well end up one day on prime time TV news.
One other comment he made that resonated with me was his prediction on the future of movie-making.
According to him, soon, we will be given the license to re-edit movies ourselves, potentially leading to a ‘’whole new art form” – just in the same way as we are able to create new music tracks by remixing existing ones. This point reminded me of what has started happening with crowd-sourced advertising.
Crowdsourcing of user-Generated Content (UGC) for advertising or promotional purposes is nothing new. However, it was recently taken to another level by Ford and Coca Cola. These 2 companies are empowering their fans on creating content in new and bold ways, whilst being careful to retain some control over the final outputs.
At the start of the year, Ford announced its plan to recruit 100 new brand ‘’agents’’ (as they are known), all handpicked and socially-connected, to produce the next campaign for its 2014 Fiesta – that is 12 months worth of ads entirely generated by consumers…! Daring and ground breaking at the same time. And this is where it all starts if you wish to put yourself forward as a wannabe ad exec: simply go to fiestamovement.com to register (good luck! ☺).
This year’s campaign however ups the ante as it empowers the selected lucky few a lot more than previously. Their video clips will not only appear on social media but also on other media. They could be used as TV or online commercials, repurposed as digital, social media or press ads (generating substantial production cost savings in the process no doubt). Obviously, the casting of these agents is managed tightly by the advertiser as a number of filters and parameters for recruits to work within will apply. These are necessary to ensure all content created is indeed on brand and achieves the campaign objectives in terms of awareness, social media buzz (shareability and virality), hand-raisers and ultimately sales wins. However Ford also insists that it will be careful not to interfere too much with the creative process by giving its agents greater ownership and license than usual.
Meanwhile, Coca Cola also appears to be on a mission to redefine UGC as it continues to seek to create closer ties with its target audience by crowd-sourcing pop song writing in its latest campaign, the Perfect Harmony Programme. The programme was developed in partnership with Fox’s “American Idol” and lets you create a song with pop singer Carly Rae Jepsen. Each week you can vote on which of the proposed lyrics you want to see featuring in sections of the song, and each vote unlocks exclusive content. You also get entered into a prize draw for a chance to win a trip to the “American Idol” season finale and other related treats.
Now, let’s go back to Danny Boyle’s comment on the future of film making with both of these examples in mind.
I would say that the future of film making will not only be about empowering fans and wannabe film makers to remix existing movies, but also about letting fans and the public at large contribute to creating an entire storyline from scratch, in partnership with a brand, established film studio and/or film marker – with this collaboration simply enabled by the web and social media.
And this has already started happening to some extent. CollabFeature has been leading the way by allowing a collective of independent film makers all over the world to co-create, co-direct and produce feature films by simply collaborating online via a bespoke platform. Their first film, The Owner, won the German IPTV award for innovative format in 2012 and beat the Guinness World Record for most directors of a film with 25 directors directing from 13 countries.
The next logical instalment of this could be to see a brand (Red Bull and its media & content division, Red Bull Media House, come to mind) partner with an established film maker (or music artist) on crowdsourcing a storyline (or lyrics) for a feature film (or song) in a similar fashion i.e. by completely opening up the content creation process to their fans and wider public – not just to a limited crowd of professionals or within constraining parameters (e.g. choosing from ready-made lyrics). The idea would be to let the consumer be in the driving seat with the brand and film maker (or music artist) providing guidance only.
You then end up with a three-way partnership between an advertiser, a film maker (or artist) and their fans and consumers co-creating entertainment together for the enjoyment of the wider public. The key challenge will be to let consumers drive or at least have an equal share of voice in the project. This also throws all sorts of questions over whom ultimately owns that content. However the legal hurdles seem to be worthwhile as to my knowledge, this type of partnership is unheard of (let me know if you know otherwise) and yet, is in my view the ultimate brand-consumer connection to aim for.
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.)
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.
A lot of ink has been spilled lately on the “immediacy of the internet”, the “real-time web”, the benefits of “newsjacking” and the fact that social media “war rooms”, “mission controls” and “creative newsrooms” are becoming a regular fixture at brands’ HQ.
These are just some of the causes and manifestations of what has become known as real-time marketing. Or 24/7 marketing as some of us like to call it.
I like to think of real-time marketing as a form of opportunism with a marketing or PR twist. In my opinion, it is best defined as:
The art and practice of taking advantage, in real time, of trending topical content to create maximum impact for your brand or product.
Where the impact is measured in terms of offline and online WOM, earned media coverage, sales etc.
A recent successful example of this is the “Dunk in the dark” Twitter ad from Oreo at this year’s Super Bowl, which was created and broadcast within minutes of the power outage causing some of the lights to go out. This tiny (and inexpensive) ad generated over ten thousand retweets and Facebook likes before going viral on Tumblr. Although the sales impact is yet unknown, the brand awareness and equity have most certainly gone up as a result.
Another lesser known but no less successful example is the appropriation of the Super Bowl by an American advertising agency for the last 3-4 years. Not only does its Brand Bowl do a great job of “highjacking’’ the game extensive publicity, it also leverages a well-known behaviour (the fact that everyone LOVES to talk about the Super Bowl ads) whilst showcasing the agency’s smarts in social media to existing and potential customers:
Why is real-time marketing grabbing so many headlines these days?
Although it’s been around for some time, it is becoming increasingly popular amongst advertisers as a result of a fundamental change in the way we consume content. This new behaviour has created more opportunities to engage with their audience apropos.
The fact is that more and more of us are connected to the web for a larger portion of our day as we hop from one device to the next. One way to look at our ever-growing need to stay connected through a device is nicely summed up here (courtesy of Rob Gordon):
What are the key ingredients to successfully targeting this new breed of highly connected consumers?
Simply put, speed, impact and relevance. Or the timely delivery of relevant content with high virality potential.
Easily said, not so easily done as the challenge for marketers then becomes to have the right skills on hand and solid logistics behind it.
Brands have to be prepared to commit dedicated in-house resource to it or alternatively outsource the service entirely – a substantial and continuous investment either way. Additionally, it is advisable that they continue leveraging their creative and media partner agencies’ smarts to ensure the content ideas, the timing and delivery channel(s) resonate best with the target audience, especially around key campaign dates.
Coca Cola and Oreo’s real-time management of their Super Bowl social media campaigns exemplify this cross-functional brand/agency operational model perfectly, and how involved it can get:
Coca Cola set up “war rooms” across the country as it monitored and responded live to user engagements throughout its Mirage TV and social game campaign at this year’s Super Bowl. The size of the multidisciplinary team pulled together on that one day was impressive:
“Nearly 40 execs from Coca-Cola, Wieden, Starcom MediaVest Group and PR shop Allidura gathered at the 360i offices in downtown Manhattan to manage the brand’s second screen experience. Another 20 people worked remotely in collaboration with the team, while Katie Bayne, president-North America brands, and Allison Lewis, senior VP-marketing Coca-Cola North America, were in New Orleans at the game.” (Source: Ad Age)
Likewise, Oreo’s Black Out Twitter ad would not have been possible without a solid operation in place: brand and agency teams (including copywriters, artists and senior brand stakeholders) were on call that day, strategising together in the same room, and ready to react within minutes to any opportune situation unravelling on and off the pitch throughout the game.
As a brand, you may prefer to keep your involvement to a minimum by outsourcing the operations and bulk of the work to an agency specialising in real-time content creation and newsjacking. That’s Pepsi’s choice with its partnership with Deep Focus’ social media service Moment Studio.
Whichever operational model you choose, it can’t be a half-hearted effort and requires a serious investment in time and $$ to deliver positive results for your brand.
Finally, another question comes to mind: can brands afford not to be committed to real-time marketing 24/7?
With so many of us connected around the clock, it appears not. The Burger King Twitter PR disaster, the latest high-profile hack in the series, shows how imperative it is for a brand to have a strategy in place for the efficient and timely monitoring of their social channels 24/7.
Whichever way you go about it, for real-time marketing to work in the connected world we live in, it requires a fundamental shift in mindset on the advertiser’s part i.e. their agreement to a lean, nimble approval process to allow for the speedy delivery of near-instant communications. And in my view that is probably the trickiest part and biggest obstacle to effective real-time marketing.