Market SHIFT Consultants’ Post

When aiming for a lasting impression, it’s all about the results. Making your brand famous is key, and that’s where the magic of cinema truly shines. Read about our latest research piece and how cinema makes your brand FAMOUS!

It's easy to get caught up in the hype of reach and headline CPM comparisons. But let's face the facts—those metrics don't tell the whole story. When it comes to making a lasting impact, it’s about outcomes. It’s about making your brand famous. And that’s where cinema takes the lead role.   We recently partnered with Fiftyfive5, part of Accenture Song to understand what effect AV channels have on delivering brand equity. Two surveys were conducted via a multi-channel study and an in field pre and post cinema testing study. The results were clear; cinema is undeniably powerful in delivering on multiple brand equity and ad performance metrics.   This is cinema's promise: 1 cinema spot delivers the same level of brand fame as 10 spots on digital, 9 spots on BVOD, and 6 spots on linear TV.   Including cinema on your media plan not only elevates the overall effectiveness of the campaign but also helps in painting a more compelling brand story across multiple channels, cinema creates a holistic and memorable brand experience that audiences are more likely to talk about and engage with.   The results show that cinema builds on what both online and TV exposure deliver, with the most powerful impact coming from the combination of all channels – creating a 20 per cent uplift over digital in isolation and 13 per cent uplift over TV and digital in combination.   Read the latest from our Managing Director Guy Burbidge on Mi3Australia via the link below. #ValMorgan #Mi3 #CinemaMakesYourBrandFamous

🌟 Cinema makes brands FAMOUS 🌟 When it comes to real impact and real outcomes, cinema advertising is the GOAT. 1 cinema ad = 10 digital ads = 9 BVOD ads = 6 linear TV ads

Latest study from Fiftyfive5, part of Accenture Song led by Ian Bellerby & James Barker reveals a game-changing truth💡... a single cinema ad wields the same brand fame as 10 digital spots, 9 BVOD spots, or 6 linear TV spots. But here’s the real magic: combining all three channels creates an unstoppable force! Val Morgan's Guy Burbidge dives into the results, urging brands to look beyond surface-level metrics like reach and CPMs. Let’s explore why brand fame is the ultimate metric for long-term commercial success. #CinemaAdvertising #BrandFame #MetricsThatMatter

Captain Obvious *alert* here but go with me… How much would your brand pay for 5 whole minutes of un-ignorable attention from around 50 affluent consumers, dozens of times a day, every day (and night)? We walked into the cinema last night with about 5 minutes to spare before a screening of A Quiet Place: Day One (solid 6/10). It was Cheap Tuesday, most seats were already taken when I booked online, and the theatre was almost two-thirds full when we entered. The lights eventually dimmed and the session began right on time with the usual preamble of ads and trailers… But up until that point - for 5 minutes - we’d sat waiting for the movie to start, giddy with anticipation, just chatting and staring at a gigantic blank screen positioned right in front of us. We all know this routine. The session begins at the allotted time, those who arrive early don’t get anything extra (besides maybe a better seat) and those who arrive late don’t miss too much (though imo catching the trailers is non-negotiable). Last night though, this unassuming not-moment struck me as a missed opportunity that every other medium would kill for. We’re in the attention game. It’s 2024. The future is… now? It’s a challenging time in Australian media, to say the least. Perhaps this frames my mindset. We’re fighting harder than ever for increasingly distracted eyeballs and ears, gunning for valuable seconds of consumers’ attention, desperate to be unmissable and unskippable, innovating despite Big Tech’s tightening vice-like grip, and never-not-on-the-hunt for a new “surface” we can transform into inventory and slap an ad on next. Maybe it’d be too hard to measure or too expensive to even bother? Technically difficult, perhaps? Are cinemas reluctant to push their relationship with audiences any further than the $11 asking price for a large coke zero? Not that there’s any need for a bombastic ad on loop or assaulting customers’ senses when they’re essentially trapped. But I dunno… theatrical exhibition is facing an existential crisis (aren’t we all) and I’d hate to lose “the movies” to market economics. Surely a static ad, even something conceptual or artistic, or simply a brand’s logo & URL projected on screen would be worth something, to someone. Surprise and delight in the making, or one step too far? Whack up a gorgeous scenic card for Tourism Tasmania on it and maybe customers can walk away with change from a tenner for a large coke zero. Win Win. Anyway, I’m not saying absolutely everything needs to be an ad or that cinema advertising has dropped a ball (we could all pinpoint analogue canvases in other mediums). My observation is simply that, as a creative whatshisname in media, my lizard brain enjoyed (and admittedly struggled) reconciling a night at the movies which featured BOTH a postcard-sized eye-level ad for health insurance above the urinal and a 12-metre screen with nothing on it for 5 minutes.

Speed🚄, effectiveness and value💲. No, that's not McDonald’s business plan but rather the three things marketers desire🤩 most in the 2020s. On the other hand, Craft🖼️, by its very nature, is almost the polar opposite of fast and cheap and it can make a difference. Apple's🍎 Crush Ad, ⌚TAG Heuer's Chase Ad featuring Ryan Gosling, Sony Bravia, T-Mobile are just some examples of ads that were well made and invested back into craft and high-quality production. So, what is the future🔮 expectation when it comes to the role of craft in creative work? Conor Nichols asks Pablo González de la Peña, Accenture Song; Owen Lee, FCB London; Yan Elliott, Weber Shandwick; Frances Draskau, T&P𝑚 and Alexander Nowak, Mother. Read Here: https://lnkd.in/egA4SexZ FCB Global Interpublic Group (IPG) WPP #AdsCraftsmanship #HighQualityAds #InvestInAds #AdsProduction #QualityContent #CreativeAds #AdInvestment #AdProduction #Craftsmanship #QualityAds #applecrush

This Hollywood power broker revolutionized the ad industry with one audacious move. In 1991, Michael Ovitz was already a legend in Tinseltown. His talent agency, Creative Artists Agency (CAA), represented the biggest stars in the business. But Ovitz had his sights set on an even bigger prize: Madison Avenue. He saw an opportunity to disrupt the advertising world using CAA's unique strengths. His target? The most iconic brand in the world is Coca-Cola. At the time, Coca-Cola's account was held by McCann Erickson, an advertising giant. But Ovitz believed CAA could offer something no traditional ad agency could match. Creatives that didn’t mirror culture, but created it. So he leveraged CAA's vast network of A-List Hollywood talent to create 50 ideas for Cokes 1993 global campaign and presented them in a duel pitch against Cokes AOR, McCann-Erickson. CAA's lean structure and lack of advertising experience allowed for more nimble and creative decision-making. They weren't bogged down by the bureaucracy typical of large ad agencies. Ovitz personally pitched to Coca-Cola's marketing team, showcasing CAA's fresh perspective. It was pure Hollywood. No research, no numbers, no strategy. Just 60 minutes of Coca-Cola, presented as a hero in multiple story formats and multiple formats targeted for multiple market segments that blured the line between entertainment and advertising. Seeing the Coke side so elated, McCann skipped a note to McCann’s vice chairman with two words: “We’re dead.”Indeed they were. McCann sold two ideas. CAA (a talent agency) sold 24. One of which, you may remember, involved Polar Bears This caused a seismic shift in the advertising landscape. Ovitz had proven that creativity with the best creative people could trump decades of industry experience. Traditional agencies were left reeling, forced to rethink their entire business model. But whatever they learned from that experience was soon forgotten. Today, the ad industry is ripe once again for disruption. But this time, instead of letting outsiders disrupt the industry, Laetro was built to bring CAA's outside perspective into the ad industry. The industry doesn’t need a new type of ad agency. It needs a new type of agency. #Advertising #Innovation #Hollywood #BusinessStrategy

The Slow Death of Creativity in the Media Circus: An Ad Agency’s Lament The media industry—a vibrant arena once ruled by visionary strategists, bold thinkers, and creators who sought to build legacies. Today? It's become something of a dystopian bazaar, where media professionals swap information like it’s a game of hot potato, and agency folk are reduced to being professional discount hunters. Gone are the days of creative brilliance; now, it’s just a matter of who can shave off a few extra rupees and offer a few free ad spots to sweeten the deal. And here we are, agency folks, in the middle of this messy quagmire, watching helplessly as brands choose their media partners based on who throws in the biggest discount—strategic thinking and innovation be damned. The mantra seems to be, "Why hire someone with creative vision when you can save a few bucks and spend on random inventory because some 'jack' somewhere sold you a fantasy?" Remember the days when we would sit with brand owners and passionately discuss legacy building, brand ethos, and creating emotional resonance? Yeah, those were good times. Today, it’s all about, “Can you do it cheaper?” The focus has shifted from long-term brand value to short-term cost cutting, and in the process, the role of the agency has been reduced to that of a glorified middleman. The strategic thinkers who once shaped iconic brands are now negotiating commissions and squeezing profits out of thin air. To our brand owners: You’re burning through money buying irrelevant media spots because someone with a slick presentation convinced you it’s a great idea. Meanwhile, we—the ones you once trusted to guide your brand’s growth—are left scrambling, trying to make sense of a system that no longer respects boundaries or values creativity. In a nutshell, the media circus has become a place where agencies are dying a slow, painful death—death by over-negotiation, underappreciation, and the endless pursuit of the cheapest deal. But hey, at least we can all agree that legacy brands were overrated, right? Who needs ideation when you’ve got a great discount? Let’s hear it for the creative pioneers we’ve become: professional beggars in the great bazaar of media. Long live the discount, short live the idea. #AdAgencyWoes #CreativityIsDead #MediaMadness #BrandBuildingOrBargainHunting #ritzmediaworld #creativethinksmedia

Despite the rising costs at Cannes, experienced marketers like XR Extreme Reach CMO Meredith Brace and their teams plan strategically to maximize time with brand, agency, media and entertainment clients and other creative economy leaders! Read more in Ad Age and visit with XR across a variety of Cannes' best activations. #Cannes24 #CreativityWins #CreativeEconomy #CreativeAI

I've built a new site! https://lnkd.in/ePpGPuEN I read something on here a while ago that essentially stated many creatives are presenting there work and attracting other creatives, how do we attract target customers? Well we have to present work to them in there language, in other words case studies, results and the direct impact of our work. Which is why I've dedicated a whole section of the site to case studies going into the nitty gritty of results, engagements and sales. It's difficult in our industry sometimes because we don't have direct access to the socials or website so the way I went around this was by asking clients directly of the impact. #videoproduction #berlin #advertising