Sony redécore la célèbre station de métro londonienne pour le lancement de la PS5.

Dans le but de célébrer l’arrivée de la PS5 sur le marché britannique, les arrêts de Mile End, Lancaster Gate, Seven Sisters et West Ham desservant Oxford Circus et le croisement de Regent Street et d’Oxford Street dans la capitale anglaise sont temporairement renommés Miles End (Spider-Man : Miles Morales), Ratchet and Clankaster Gate (Ratchet and Clank), Gran Turismo 7 Sisters (GT7) et Horizon Forbidden West Ham (Horizon : Forbidden West), en plus d’être embellis avec des panneaux ornant les symboles Croix, Carré, Triangle et Rond de la marque PlayStation avec des couleurs flamboyantes qui captent le regard.

Les murs de la station Oxford Circus sont également redécorés avec ces symboles pour l’occasion, sachant qu’un des panneaux est présent à côté d’un Microsoft Store. Si l’initiative fait déjà parler d’elle, certains se demandent si l’effort marketing de Sony était vraiment nécessaire au vu du contexte sanitaire actuel. En effet, la plupart des londoniens travaillent pour le moment à domicile ou évitent la ville dans le cadre des restrictions nationales visant à freiner la propagation du coronavirus.

Les jeux PS5 s’imposent déjà au Royaume-Uni sans la console

Avec Spider-Man : Miles Morales, Demon’s Souls, Sackboy : A Big Adventure, Godfall, Assassin’s Creed Valhalla et Call of Duty : Black Ops Cold War, les titres de la nouvelle console de Sony représentent 25% du chiffre d’affaires software de la semaine dans les charts de la Perfide Albion. Classés troisième et treizième, les exclusivités first-party d’Insomniac Games (83.000 ventes) et Sumo Digital ont respectivement réalisé 71% et 89% de leurs ventes sur PS5 contre 29% et 11% sur PS4.En savoir plus

PQR 366 – On gagne tous à lire la Presse Régionale Quotidienne (Havas Paris)

A HUMOROUS NEW CAMPAIGN BY HAVAS PARIS SHOWCASES THE POWER OF MEANINGFUL MEDIA AND THE IMPORTANCE OF SUPPORTING INDEPENDENT JOURNALISM.

“FOR ITS FIRST TV COMMERCIAL WE WANTED A POPULAR, FUNNY FILM THAT EMBODIES THE VALUES OF PQR”

“L’entraînement”, or “The Training,” follows a team of soccer misfits as their coach embarks on an interesting pre-match regime, guided by information he has gathered from his daily newspaper.  Stéphane Gaubert, Chief Creative Officer of Havas Paris, chats about the funny campaign, which demonstrates the essential role the regional daily press, PQR, plays in the lives of the French.

How did your team land on this concept and what was the main thing you wanted this campaign to achieve? 

The PQR newspapers have a very strong place in the daily lives of the French. They cover international, national and especially local news. We wanted to emphasise the usefulness of these newspapers in daily life. For PQR’s first TV commercial we wanted a popular, funny film that embodies the values of the brand. 

The film is a showcase of just how important journalism and the PQR is to France, why do you think it should be protected? 

Journalism obviously has an essential role to play in understanding the world around us and in keeping an open and critical mind. But local media also has a central role in people’s daily lives. Newspapers federate, create a common culture, and provide practical information that is no longer found anywhere else. This is why it is important that people continue to buy and read them. 

The ad portrays an unlucky and comic team, what role does humour play in the success of this ad? 

This is the first time the PQR has communicated. We wanted to keep the light tone that is part of the brand’s DNA, especially since this is not always the case today. Advertisements for media tend to be much more serious. We wanted the public to be able to identify with our team – normal people whose daily lives are impacted by the PQR. 

What did you hope to achieve with the film’s casting of this team’s misfits and its coach? 

We wanted actors with real personalities. Not losers, but simple guys who play a bit of soccer on the weekends to keep in shape. We were inspired a little bit by the Full Monty. The coach is a little more professional, more invested in his role. It’s from him that the solution to success comes! 

The film was directed by Côme Ferré. What did he bring to the project?  

Côme was immediately very enthusiastic and forceful in his proposals. We agreed on the direction of the film. He’s a perfectionist whether it was the direction of the actors, the narration or the music. He even wrote all the articles that you see in the film. Amazing!

C’est quoi les Codes ? Nouvelle Campagne BETC pour Canal+ … Casting 5* !

Que ceux qui n’ont jamais été tentés d’emprunter les codes CANAL+ d’un proche lèvent la main ! Que ce soit pour vibrer devant une compétition sportive, s’évader en se plongeant dans l’univers d’une série ou savourer le meilleur du cinéma, il peut être parfois difficile d’échapper à la tentation d’emprunter des codes CANAL+…

La marque CANAL+ y voit la reconnaissance d’une offre de contenus incontournable et décide de s’en amuser dans une campagne audacieuse signée BETC. 

Résultat ? Une saga au casting 5 étoiles réalisée par Vincent Lobelle et produite par Iconoclast. Animés par le même but – tenter d’obtenir des codes CANAL+ – les talents multiplient les stratagèmes, n’hésitant pas à remonter à la Présidence du Groupe CANAL+. Jusqu’à parfois perdre le fil et ne plus trop savoir à qui appartiennent ces fameux codes…

Et CANAL+ de conclure ironiquement que “le plus simple pour partager ses codes CANAL+, c’est d’en avoir.” 

 Programmée à partir du 13 novembre, cette campagne sera soutenue par un plan média d’envergure et touchera plus de 660 millions de contacts. Elle permettra aussi de redécouvrir la nouvelle identité visuelle de CANAL+, dévoilée le 4 novembre dernier.

LA BMMA RASSEMBLE LES LAURÉATS DES BELGIAN MARKETING AWARDS (source: Pub.be)

Nous saurons bientôt qui seront les gagnants des premiers Belgian Marketing Awards! Concrètement, trois prix seront décernés : The Belgian Marketing Company of the Year, The Young Belgian Company of the Year et The Marketing Leader(ship) of the Year.

Le comité de sélection des Belgian Marketing Awards a déjà sélectionné trois finalistes par catégorie sur un total de 33 inscriptions. Les gagnants seront annoncés le 3 décembre lors du BAM Marketing Congress.

La BMMA organisera un débat entre les trois gagnants, prévu pour le 19 janvier 2021. Selon les mesures sanitaires, le débat aura lieu soit en face à face, soit en ligne.

AI 50: America’s Most Promising Artificial Intelligence Companies (Sources: Forbes)

Artificial intelligence is beginning to be usefully deployed in almost every industry from customer call centers and finance to drug research. Yet the field is also plagued by relentless hype, opaque jargon and esoteric technology making it difficult for outsiders identify the most interesting companies.

To cut through the spin, Forbes partnered with venture firms Sequoia Capital and Meritech Capital to create our second annual AI 50, a list of private, U.S.-based companies that are using artificial intelligence in meaningful business-oriented ways. To be included, companies had to be privately-held and focused on techniques like machine learning (where systems learn from data to improve on tasks), natural language processing (which enables programs to “understand” written or spoken language), or computer vision (which relates to how machines “see”).

The list was compiled through a submission process open to any AI company in the U.S. The application asked companies to provide details on their technology, business model, customers and financials like funding, valuation and revenue history (companies had the option to submit information confidentially, to encourage greater transparency). In total, Forbes received about 400 entries. From there, our VC partners applied an algorithm to identify the 100 with the highest quantitative scores and then a panel of eight expert AI judges identified the 50 most compelling companies. Read the full profile on Forbes: https://www.forbes.com/sites/alanohns…

La start-up bruxelloise BeInfluence lève des fonds pour se lancer sur le marché français

Thomas Angerer et Boris Kaisin, cofondateurs.
Thomas Angerer et Boris Kaisin, cofondateurs.

Fondée en 2017 par Thomas Angerer et Boris Kaisin, deux jeunes diplômés de l’école Solvay (ULB), BeInfluence a décidé de se lancer sur le marché français. Cette start-up s’est spécialisée dans le marketing d’influence. Elle accompagne des petites entreprises, des marques, des institutions, des ONG, etc., dans la promotion de leurs campagnes d’influences sur les réseaux sociaux en les mettant en contact avec des nanos et des micros influenceurs. BeInfluence, dont le réseau compte plus de 7 .000 influenceurs (répartis entre six pays), a déjà créé et géré plus de 120 campagnes pour une quarantaine de clients différents.

BeInfluence vient de boucler une première levée de fonds de 375. 000 euros auprès du réseau BeAngels, BNP Paribas Fortis et Wapinvest afin d’accompagner le lancement de l’agence en France. Comme dans beaucoup d’autres pays, le marketing d’influence ne cesse d’y prendre de l’ampleur et les marques sont de plus en plus désireuses de passer par le biais d’influenceurs afin de promouvoir leurs produits.

“Nous sommes très contents et super excités à l’idée d’étendre la présence de BeInfluence dans un pays où l’influence est forte : 45 % des budgets marketing sont investis en influence. Nos clients belges étaient de plus en plus nombreux à vouloir intégrer le marché français, et la demande d’annonceurs français pour nos services était de plus en plus forte. Nous pourrons compter sur notre communauté d’influenceurs et de partenaires pour nous accompagner dans la réussite des futures campagnes”, explique Thomas Angerer, cofondateur de BeInfluence. De son côté, Claire Munck, CEO de BeAngels, se réjouit d’accompagner la jeune pousse belge. “Dans un monde de surinformation, explique-t-elle, BeInfluence a su trouver les leviers pour communiquer pour ses clients de façon à toucher les bonnes personnes, avec le bon message, et surtout avec des gens qui leur parlent”.

THE EVOLUTION OF SOCIAL ADVERTISING THROUGH 2020

The first wave of the COVID-19 pandemic last spring prompted consumers adjusting to quarantines to increasingly turn to social media for news, information and personal connections. To find out more about social media use in this new normal, Smartly.io surveyed consumers across the globe in May to understand their preferences involving advertising and social media.

Months later, we wanted to see whether things had changed from the consumer point of view and what this means for brands. 

Surveying over 2,000 consumers, we discovered that while some consumer preferences have returned to normal, others still vary greatly from prepandemic times. 

Through the survey data, brands can gain a deeper understanding of the evolving global social advertising landscape and how it can empower them to thoughtfully connect with consumers. Here are some key takeaways:

  • Purchases through social are up.

In May, 48% of global consumers said they had made purchases through social media ads over the past 30 days. That climbed to 51% in August. However, patterns vary by country. For example, in the recent survey, 38% of Italian consumers said they made a purchase from a social media ad in the past 30 days, while in Spain the number was 17%.

In other parts of the world, the numbers are increasing—India, for example, jumped from 73% in May to 78% in August. Similarly, 81% of Mexican and Brazilian consumers said they had made a purchase through social media in the past 30 days. 

  • Budget volatility is on the rise.

CPMs fell in concert with the decreased ad spend and increased ad usage at the beginning of the pandemic. Since then, the industry has experienced extreme volatility.

In fact, fluctuation of U.S. retail CPM rates over the past six months indicates major potential for U.S. retailers to add social media advertising to their marketing mix and experience immediate benefits. More than ever before, it is important for brands to make sure their social media ads are relevant to keep performance levels consistent.null

  • Facebook is leading the way.

When we asked consumers what their No. 1 go-to platform on social media during the pandemic was, Facebook dominated the field in all countries. In fact, 43% of global consumers selected Facebook as their top platform during the pandemic, followed by YouTube at 24% and Instagram at 15%.

Facebook also reported a surge in the use of its messaging tools, especially during the lockdown. With Pinterest, Snap and TikTok following suit, the pandemic resulted in increased platform engagement across the board.

  • Consumers gravitate to stories.

Stories are convincing CMOs of the importance of being visually appealing in a world where users’ feeds are carefully curated. In Brazil, for instance, the appetite for story ads is exceptionally high, with 25% of local respondents selecting that as the format they are most open to receiving on social media. Other countries’ preference for story ads hovered around the low teens.

At the same time, messaging apps or chatbots were the least popular among consumers. The bottom line is that content that “looks like an ad” will be ignored, but content that blends in seamlessly alongside material consumers are already viewing on social media will have a much greater shot at capturing their attention.

Overall, our survey found, people are seeking more connections through social media—including with brands—as they look to stay safe during the pandemic. Advertisers that increase their efforts to virtually engage these consumers while they try to limit in-person interactions will be positioning themselves for success both in the face of shutdowns and limited contact as well as for the future as COVID-19 hastens the adoption of the all-digital lifestyle.

About

Powering beautifully effective ads, Smartly.io automates every step of social advertising to unlock greater performance and creativity. We combine creative production and ad buying automation with outstanding customer service to help over 600 brands scale their results—not headcount—on Facebook, Instagram and Pinterest. We are a fast-growing community of nearly 400 Smartlies with 17 offices around the world, managing over $3 billion in ad spend and growing rapidly and profitably. Visit Smartly.io to learn more.

Adobe is acquiring marketing workflow management startup Workfront for $1.5 billion

Adobe just announced that it is acquiring marketing workflow management startup Workfront for $1.5 billion. Bloomberg first reported the salewould be happening earlier today.

Workfront was founded back in 2001, making it a bit long in tooth for a private company that has raised $375 million, according to Crunchbase. But it gives Adobe more online marketing tooling to fit into its Experience Cloud. This one helps companies manage complex projects inside the marketing department.

“The combination of Adobe and Workfront will further accelerate Adobe’s leadership in customer experience management, providing a pioneering solution that spans the entire lifecycle of digital experiences, from ideation to activation,” Anil Chakravarthy, executive vice president and general manager for Adobe’s digital experience business and worldwide field operations said in a statement.

Holger Mueller, an analyst at Constellation Research says the acquisition will help Adobe customers manage the complexities of marketing project management. “Scheduling and managing work had gotten orders of mangnitude more complex for enterprises, and Adobe is accounting for that with the acquisition of Workfront, providing better tool support for the new future of work,” Mueller told TechCrunch.

The two companies are actually partners and work together frequently sharing 1000 common customers among Workfront’s 3000 total customer base. In fact, Workfront has APIs that connect to Adobe Creative Cloud and Experience Cloud, two parts of the company’s product family that marketers frequently access. As Adobe battles Salesforce, SAP and Oracle in the marketing automation space, it’s been using its checkbook to acquire additional fire power in recent years.

This acquisition comes after Adobe spent $1.6 billion for Magento and $4.75 billion for Marketo in 2018. That’s almost $8 billion for three companies in under two years, even as it builds out parts of its Adobe Experience Cloud in-house. Combined, it shows just how serious the company is about making headway in this valuable area.

Adobe to acquire Magento for $1.68B

Customer experience has always been an essential element of online and in-person transactions, making sure the customer feels good about the interactions it has with a brand. It not only keeps them coming back, but it encourages them to act as ambassadors on behalf of a company, something that has incredible value.

Conversely a bad experience can lead to the opposite impact, causing a prospective or even loyal customer to abandon a brand and speak badly about it to friends online and in person. Adobe hopes that by bringing another marketing tool into the fold, it can help its customers increase the likelihood of a positive online customer experience. This one should allow company marketing personnel working at a company to move marketing projects through a workflow from idea to online.

The deal is expected to close in the first quarter of Adobe’s fiscal year. Per usual, it will be subject to typical regulatory scrutiny.

This is a breaking story. We will continue to update as we get additional information.

Adobe gets its company, snaring Marketo for $4.75 billion

A view from Richard Reeves: Consumers want more ethical media but how can the industry provide it?

A view from Richard Reeves -Recent moves by agencies and media owners to spur diversity and sustainability are encouraging. Now we need a broader conversation about creating universal standards. source: https://www.campaignlive.co.uk/article/consumers-want-ethical-media-industry-provide-it/1698992

Lululemon recently became the latest brand to discover just how much ethical standards have risen lately. When the athlesiure company promoted a workshop on ways to resist capitalism, social media platforms lit up with posts arguing such discussions were at odds with its high prices. 

Lululemon isn’t alone. Alongside many other firms facing public call-outs, vegan milk brand Oatly — previously popular with environmentally conscious consumers — has also come under fire for selling shares to an association with purported links to deforestation.

As the global impact of Covid-19 heightens focus on shared social responsibility, consumers are feeling compelled, and empowered, to make change happen. The pandemic hasn’t driven an entirely new perspective but rather crystallised priorities, with essentials such as trust and safety becoming critical. No longer content with simply urging businesses to embrace ethical principles, consumers are holding them to account and demanding action. Social considerations are now integral to their purchasing choices and how they scrutinise brands.

Demonstrating purpose is therefore critical for all members of the digital media ecosystem: brands, publishers, agencies, and vendors alike. And in order to safeguard their reputations and ongoing success, every player must ensure they stand up to scrutiny, on every front. 

The CSR drive: how did we get here?

Digital media is used to moving with the ever-evolving cycle of consumer needs and interests. As what matters to audiences shifts, content adapts to ensure it keeps a finger on the current cultural pulse and stands the best chance of maintaining strong relationships. 

Over the past few years, that has meant a rising focus on corporate responsibility. As consumers around the world have called for greater ethical commitment — with 47% walking away from brands that disappoint on social issues in 2019 — businesses have showcased their values, often via CSR programmes and championing important causes. 

These efforts, however, have frequently come up against cynicism. Doubtful about what’s motivating organisations, the shift in gear has been seen by many consumers as more about boosting revenues than truly fuelling positive change. So much so that however sincere companies may be, expressing devotion to certain causes or improving sustainability is considered a “tick-box” exercise — with 35% of consumers viewing brands that speak out as “jumping on the bandwagon”, according to US research. 

Brand purpose is being put under the microscope more than ever and there is no room for CSR dedication that only goes skin deep. As a result, there is a need for the digital media industry as a whole to reassess its foundations, with a particular emphasis on how the flow of adspend affects who succeeds in today’s online environment and the volume of ethical content available to consumers. 

Change spending direction, change everything 

Attention is the cornerstone of the digital media economy but cultivating a better web will mean tackling the difficulties created by how it has been used – and that will take wider collaboration. Typically, the majority of advertising budgets go to sites with the biggest audiences, which directs the bulk of revenue to publishers with the highest visitor numbers. 

The problem with this system, however, is it rewards quantity rather than quality. Guiding investment purely with traffic volume can leave brands stuck in a negative loop, with a larger share of spend for lower-quality sites allowing them to constantly grow their reach. Added to the already significant challenges presented by blunt brand safety tools exemplified by keyword blocking, the result is continually diminishing yield and influence for ethical publishers.

Signs of positive development are emerging. The Stop Hate for Profit initiative provided an example of how formidable combined buyer power can be and showed the potential for responsible spending to reduce funding for hate speech and misinformation. In recent weeks, Havas has become the first major holding agency to join the Conscious Advertising Network, and a landmark new campaign from Accenture titled “Let there be change” has indicated its mission to help find a new way forward for online ads.  

What the industry needs, however, is a means of re-routing investment towards high-quality publishers and enabling them to produce more diverse, valuable content. One option, for instance, is to establish ethical buying metrics. Both Mindshare and Havas are already striving to implement these practices, such as cross-organisation adoption of CSR principles and embedding sustainability into each proposal.

But while moves towards setting individual ethical benchmarks are encouraging, the next step must be a broader conversation about creating universal KPIs. That might involve standardising extra checks before parting with spend, such as working with Brand Advance to fund diverse publications at scale or Check My Ads to avoid harmful content. Brands could also decide to spend only with publications that can prove their ethical credentials. Indeed, Rohan Lightfoot, Mindshare’s chief growth officer for Asia-Pacific, recently made similar suggestions for an ethical inclusive listing that would allow brands to target trusted sites using ethics-centric criteria.

At the same time, it will also be essential not to lose sight of why these adjustments are needed. Spurred by the outbreak for more ethically conscious investment, consumers have realised the critical importance of understanding our collective social responsibility and pushing for change. That’s a lesson every player in the digital space should follow. 

Acting to address long-standing issues will help the industry not only provide the ethical media consumers crave, but also mean it can begin cultivating the open, diverse and responsible web we all want, instead of waiting for it to arrive.

Richard Reeves is managing director of the Association for Online Publishing

Image credit: Pixabay.com