DailyLions2012-1.pdf

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18 MOBILE fff heralded as the prototype for bringing financial inclusion to the vast numbers of unbanked people around the world. Safaricom parent Vodafone has subsequently launched M-PESA in Afghanistan, Tanzania, Fiji and South Africa. WWW.SAFARICOM.CO.KE/INDEX.PHP?ID=250 STARBUCKS MOBILE PAYMENT (US, CANADA, UK 2011-12) GOAL: make paying easier, engender and reward loyalty; streamline payment Coffee-shop chain Starbucks is one of the first retailers outside Japan to embrace tap-and-go mobile payments. Since the rollout began in January 2011 customers have paid 45 million times, simply by touching their smartphone to a contactless terminal. These terminals have now been introduced to 9,000 outlets (including Safeway and Target stores) across the US. The rollout has now extended to Canada and the UK. To pay this way requires the download of a mobile app (free download, Android, iOS devices). The app is an extension of Starbuck’s popular loyalty card and enables customers to recharge the card, check their balance or loyalty points and find the nearest store — but paying is the most popular use. The company believes the mobile apps have attracted new customers, as well as existing reward-card holders. Never shy of milking marketing collateral from its innovations, one year after launch, CEO Howard Schultz was claiming in a shareholder briefing that Starbucks was the world number one in mobile payments. WWW.STARBUCKS.COM/COFFEEHOUSE/MOBILE- APPS/STARBUCKS-CARD-MOBILE TEXT4BABY (US, RUSSIA, 2010-12) GOAL: useful information for mothers; improve health through education; CSR credibility for sponsors. Each year in the US, more than 500,000 babies are born prematurely and an estimated 28,000 children die before their first birthday. The Text4baby campaign was launched in February 2010 to help combat this issue through education of expectant and new mothers. To date, 347,000 women have signed up to receive 1 6/6/12 6:19 PM Free Hat SUNDAY, JUNE 17,2012 three free prenatal and postnatal health-related tips and alerts per week in English or Spanish. Messages are delivered via SMS, which means they work on all phones, and messages are guaranteed to be free, regardless of operator price plan. The program is backed by an array of governmental, charitable and commercial organisations including The National Healthy Mothers, Healthy Babies Coalition, Johnson & Johnson (founding sponsor), Voxiva and CTIA, and is promoted by 790 different organisations. The mother registers for the service by texting the word BABY (or BEBE in Spanish) to the number 511411. She is then asked to enter the baby’s due date or birthday and zip code. A Russian version of Text4baby was launched in 2011, and there are plans to expand to other countries.^ HTTP://WWW.TEXT4BABY.ORG/ SCAN THE QR CODE FOR VIDEO CASE STUDIES AUTHOR’S NOTES The author would like to thank the mobile experts who suggested mobile campaigns and services that inspired them. The opinions expressed here are those of the author and do not necessarily reflect the opinions of those who contributed. You can find more detail on all these campaigns, including video case studies, on WWW.MOBITHINKING.COM/ MOBILE-MISSION
Branded content CAN BE FUN GERMANS BELIEVE BRANDED ENTERTAINMENT IS FUN, AND, WHEN IT’S HARNESSED TO GERMAN PRAGMATISM AND PERFECTIONISM, THE RESULTS CAN BE IMPRESSIVE. SANDRA FREISINGER-HEINL, OF BRANDED ENTERTAINMENT ONLINE (BEO) AND MA MEDIA, REPORTS PRODUCT placement has been making headlines in Germany. First there was the semi-final of the TV format Germany’s Next Top Model, which saw model Heidi Klum present the four finalists with an Opel Corsa car. And before that there were the hungry inhabitants of the jungle camp in I’m A Celebrity… Get Me Out Of Here!, who were presented with a treasure box of Pick Up! chocolate bars. The success of such strategies has been proved by market research into brand awareness and readiness-to-buy. Media agencies are now adapting their approach to sponsorship in order to integrate all the parameters into a campaign. In the meantime, new evaluation methods for branded entertainment, such as the Branded Entertainment Assessment Model (BEAM) by Ogilvy, have been welcomed by German marketers and advertisers. Since April 2010, with the liberalisation of product placement on German television, much more has been made possible beyond mere product supply. Commercial broadcasters are also becoming involved. The current market leader is SevenOne AdFactory, which is responsible for cross-linked concepts n The Hasbro Nerf Blaster featured in the comedy series Stromberg, inspired by the Ricky Gervais series The Office within the ProSiebenSat.1 Group and which has already completed around 50 placement projects since the relaxation of the legislation. The view from the RTL Group is that product placement in Germany is still in its infancy but that its early successes indicate a promising future. “Branded entertainment is already happening on many levels on all our TV channels,” says Lars-Eric Mann, managing director of RTL’s IP Newmedia. “Most often used are promotional stories or interactive competitions. The more logical the connection between product and format, the better the success of the campaign.” Mann’s view is borne out by a number of recent campaigns. It seems German viewers prefer a 360-degree approach to branded entertainment. A prime example of a successful holistic campaign that orchestrated events, social media, advertising, PR and at POS was Das Perfekte Model on VOX with hosts and models Eva Padberg and “ “PRODUCT PLACEMENT IS NOT A STAND-ALONE SOLUTION FOR US. IT’S ALWAYS ACCOMPANIED BY OTHER ADVERTISING FORMS” Petra Kroop SUNDAY, JUNE 17,2012 GERMANY 19 Karolina Kurkova. Contestants who succeeded in performing the 10 key skills of modelling, such as walking elegantly in high heels, were awarded Pandora charms. As a result, sales of Pandora bracelets doubled and charm sales increased by 50%, according to Pandora. The campaign was rounded off by Facebook, a prize competition, POS initiatives and web videos on jewellery styling. In the case of the co-operation between Adam Opel and Germany’s Next Top Model, market research into the impact of the show was equally positive. Opel reported that “sponsorship in combination with product placement” had helped it to “present the Opel Corsa Color Line, a non-fashion product, attractively and authentically to a female target group”. The popular office comedy series Stromberg featured Hasbro’s NERF water gun in an amusing way, in the process marketing the product to a new demographic: young adults. The show’s central character, Stromberg, divided his staff into teams and used NERFs in a game of chase across desks — a fun idea that many young offices have gone on to emulate in reality. The placement of a well-known dairy company’s rice pudding in the same show, however, proved less successful. The pudding, which triggered heated discussion whenever it appeared in the action, was featured far too frequently for many viewers’ tastes. The rice pudding controversy proves that there is still work to be done on clarifying and defining standards. A production can struggle when, for example, the tools used in a DIY soap are reclassified as product placement, which means that a contribution from the DIY-tool retailer not only in equipment for the set but also in funds for marketing becomes necessary. A set of guidelines has been drawn up by the German Producers Alliance to help its members to negotiate these new co-operations but, in reality, much still depends on the power and leverage of the TV station and production in question. In the meantime, everyone is scrambling for a slice of the branded entertainment pie, from the media agencies that traditionally administer their customers’ budgets and the specialised agencies that work with producers and brands, to the marketing departments at TV stations to the production companies that are actually handling the placement — and sometimes even the actors who interact with the product on screen. Evaluating the size of the market, Petra Kroop, head of brand integration at SevenOne AdFactory, reports a deluge of requests from across the spectrum, “not only from typical advertising customers but also from companies that have not advertised on TV yet”. fff
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