As much as the media industry would like to believe the age old saying ‘all publicity is good publicity’, research by Visable technologies comparing Macys Vs Kohl’s and Target Vs Walmart Twitter interactions demonstrated that this is not always the case.

The report compares the amount of tweets sent out and the level of customer sentiment by the four retailers in the wake of ‘Black Friday’, when brands tend to overload consumers with advertising in the vain hope that they will be chosen over a competitor.

The report proves that too much advertising does not always get results. Kohl sent out 99.7% of the two retailers tweets in that week, yet the level of sentiment for Kohl’s was one of annoyance. However the report goes on to prove that if the material is fresh and relevant to customers, self promotion is not always a bad thing with Walmart sending out proportionally more Tweets than Target but these were seen by customers as original and fresh.

This shows that brands need to be aware of the rising consumer power and tailor fresh and personal communication to customers rather than trying to gain as much coverage is possible.

@t_bloore

This morning Edelman’s DERT team announced the results of their fifth annual survey on Value, Engagement and Trust in the Era of Social Entertainment. Gail Becker, President of Edelman’s Western U.S. Region presented the results and hosted the event along with Jon Hargreaves Managing Director of Edelman Technology in Europe and a panel of experts including; Matthew Hawn, Vice president Last.fm, Emma Barnett, Digital Media Editor, The Daily Telegraph and Simon Nelson, the Digital Business and Strategy advisor and former controller of multiplatform commissioning at the BBC.

We will be sharing the full slideshow on here later today and posting up video snippets of the event for now here are the highlights and some of our thoughts, let us know what you think.

The key stats from the survey:

· 4% of U.K. consumers feel positive about the move to a paywalled service

· 45% of people in the U.K. and 57% in the U.S. believe social networking sites are a form of entertainment

· Personal enjoyment and visual/sound quality continue to top the list of purchase drivers with “being one of the first to have new entertainment” dropping significantly (to 14%, down from 40% in the U.K. and to 17%, down from 41% in the U.S.).

· More than half (52%) of all respondents would like to use a computer to access further entertainment content, and 30% would like to be able to access that content on their mobile phone

· 49% of people in the U.K. and 52% in the U.S. believe they are spending more than a year ago with their mobile phones to access their entertainment, while 59% (U.K.) and 53% (U.S.) spent more time with their laptop

As the study revealed last year, the internet remained the second most frequently turned to form of entertainment for the second year in a row. While television remained the most frequent form of entertainment both in the U.K. and the U.S. (49% and 47% respectively), dropping 8 and 11 percent respectively since 2010.

The Internet as connective tissue

Most sources of entertainment are less used, this just means that people are spreading their consumption wider. It seems that to succeed in the era of social entertainment, entertainment companies must invest in multiple channels of distribution to enable consumers to access their content wherever and whenever. Five years ago the entertainment industry viewed the internet as a threat, but now it’s an opportunity for those same companies to monetise internet content through simple revenue models indeed the internet can be the connective tissue bringing content together.

Overwhelmingly, consumers (84% in the U.K.) feel negatively about the move from free to paid entertainment services. The survey also reveals that paywalls created by entertainment sources for previously free services are being met with feelings of frustration and distrust by users. Some cite the lack of improvement in quality of service, while others state they would suspect a profit motive driven by greed.

The study also delivers insights on how content providers can try to overcome feelings of distrust about paywalls by delivering value in other ways. 87% of U.K. respondents consider visual and sound quality important in making their entertainment purchasing decisions and nearly half (47% in the U.K.) consider the number of devices with which they can access the entertainment.

The DERTy types at Edelman (that’s those of us who work in the Digital Entertainment, Rights and Technology practice) are gearing up for the launch of this year’s study:  Value, Engagement and Trust in the era of Social Entertainment.  We go live tomorrow so watch this space…

But what do you remember most about the entertainment landscape if you think back to 2007? We thought it would be interesting, ahead of releasing the new findings, to take a look back at the headline stats from the last five years.  Wow how far we’ve come…. Early studies were dominated by the debates around illegal file sharing, how much consumers were willing to pay for content and the emerging power of social networks.  In some ways a lot has changed – and in other ways nothing has.

We should add that the methodology for the study has changed a little across the five years as we’ve grown to look at a wider pool of consumers in the UK and US.  So a statistician wouldn’t be happy about comparing year on year.  However – we think this little slideshow gives a nice little summary of the evolution of the sector.  If you’d like to know more about each specific year, what was asked and who was asked, then please just drop us a note in the comment section.  You can see last year’s findings here.

If you can’t attend the event tomorrow, you can still take part by using the hastag #SocialEnt.  You can also have a listen to our podcast last week, with Matt Locke, Richard Sambrook and Luke Mackay, which sets up some of the themes of tomorrow’s study.

A wildcat strike by Spanish air traffic controllers that paralyzed Spain’s airports and stranded hundreds of thousands of travellers this past weekend deflated the tourism industry’s hopes for a big start to the holiday season. Cancelled flights led to empty hotel rooms and rippled out to the restaurants and shops that depend on tourist spending.

But while families fumed about lost holidays (it was, after all, a long holiday weekend for the majority of Spaniards), and the airline and tourism industries decried hundreds of millions of Euros in losses, there were a couple of sectors that didn’t fare so poorly. In fact, retailers saw their sales climb a modest but welcome 2% compared with the same period last year. People, it seemed, were determined to enjoy their leisure time and if they couldn’t do so at a resort then the department stores were a good alternative.

The media also saw their numbers of viewers and listeners soar as people tried desperately to understand if and when they’d be flying. The word ‘controller’ became an important Trending Topic in Twitter, with more entries than ‘Obama in Afghanistan’ or ‘Wikileaks’. One out of every 200 messages sent worldwide through this social network between Friday, December 3 and Saturday, December 4, referred to the strike. Social networks were crucial channels during the crisis; users from all across Spain uploaded their video protests on YouTube or airlines such as Vueling and Spanair contacted their clients through Twitter as their websites collapsed under the avalanche of requests.

Air traffic controllers have been grumbling about their pay and work conditions for at least a year, but didn’t become global news until they left their control towers. Media such as the Financial Times, BBC News, and Reuters have echoed the situation that Spain and its citizens lived through as air traffic came to a screeching halt.

For now people can live with the ‘state of alarm’ decreed immediately after the wildcat action, which moved the nation’s air traffic control system under military supervision. They can probably also live with the on-going political disputes over who’s to blame and what should be done. And just maybe they’ll forgive disobedient air traffic controllers, a privileged group of 2.400 people who earn an average of 300.000 Euros a year, a very handsome sum by any standards but particularly princely during recessionary times. But Spaniards won’t forgive more lost vacations.

It’s interesting to consider how this developed over Christmas, with the weather this time being the prime cause of concern for those looking to get away over the festive period. Hotels and restaurants eagerly await visitors and diners, and retailers hope shoppers will stay in the holiday spirit. Essentially it comes down to this: if the planes take off, everything else is on.

Festival season is about to kick off and while wellies and wet wipes are flying off the shelves, brands are adding the finishing touches to corporate sponsorship, sales promotions and experiential marketing activities.

Festivals have become synonymous with brands over the past five years or so. Set on captivating the more technologically savvy, informed and trendy Generation Y, festivals present a unique opportunity to engage with this audience. But with many brands playing a similar game and sharing a strong desire to be present, many miss the point of engagement and turn their presence into nothing more than a badging exercise which doesn’t bode well for festival-goers. On a commercial level it also begs the question as to whether the investment is really worth it?

Festival commercialism has always been a touchy subject for music lovers. Set on the view that festivals should be all about the music, cynicism has often arisen around disconnected brand alignments and perceived fake sentiment which can leave a sour taste in consumers’ mouths. Finding a balance is important as brand overkill without a clear purpose, value or audience benefit just isn’t going to fit the bill. This is where I think technology brands have a unique advantage due to their potential to connect on a more emotional level with an audience compared to the average drinks brand, for instance, and provide greater value through a more integrated experience.

Orange, for example, has constantly built on its Chill ‘n’ Charge tent idea at Glastonbury ever since its launch in 2002. Each year it has given its constantly connected audience the power to stay in touch with friends by providing free mobile phone charging facilities, downloadable apps to locate your friends and tent and free broadband services to enable users to upload and share photos online. imageThis year it has boosted its green credentials, another issue close to the hearts of Generation Y, through the launch its eco-friendly mobile phone charging prototype – Orange Power Wellies. The brand has also continued to build on its music credentials outside festival season through its Orange Rock Corps initiative.

To avoid homogenisation and potential negative sentiment, brands need to think more creatively about audience engagement and steer away from strategies of brash visibility and quick wins. To make the most of the investment they should consider the potential of creating more long-term relationships with audiences and find new ways of connecting on another level which strikes an emotional cord too.

N.B. Although Orange is a client of Edelman, we do not work on the Chill ‘n’ Charge project mentioned above.

@LucyDesaDavies

221B Game

Alternate Reality my dear Watson

Transmedia is a bit of a buzz word at the moment. True it’s not exactly new, but then there’s no such thing as an original idea…

Henry Jenkins is the father of the movement. The Dumbledore to the wizardry of multiple narratives, if you will.

You may have seen the LA Times piece. It gives a good overview of where Jenkins thinking comes from.

There are countless examples new and old of Transmedia campaigns. Alternate Reality Games are more traditionally associated with this approach. Often used to market films or video games, but also as stand alone experiences, they really did pave the way for multi-channel narratives. They harnessed the hive mind – using the crowd to solve fiendish clues and
rewarded the community with content.

Many ARGs were too niche, you had to be too commited to the whole experience to get anything out of it – and to few people were actually playing to get a good return on the marketing spend. You couldn’t snack on them. However, alongside these various experiments in ARGs also came the rise of casual gaming, which inturn has grown the appetite for consumers to experience and explore new ways of enjoying entertainment content. So now we get some simpler – yet equally compelling – games that can be enjoyed by individuals but also as part of a hive. This new game for the Sherlock Holmes game is brilliant. (I mean simple by not taking up your whole life.  The puzzles are still fiendish, but I’m told you’ll complete the game in 8 hours, rather than 2 years).

This AdAge article talks about a Transmedia narrative that is both horizontal and deep. i.e. there is enough in the content to make it enjoyable on a basic top level, but deep enough that  the hardcore fans have plenty to explore. I’m not sure everyone can be entertained all the time – but this approach rests on giving the hardcore fans content that allows them to become amplifiers.

Transmedia in this traditional movie marketing guise is expensive. But PR is essentially story telling, so I think a lot of the values outlined here apply to us in our day to day lives.

1. Make stories drillable.
2. Each piece of a story must be enriching, but not essential, to its overall experience.
3. Recognize the power of your fans.
4. Build a world, not just a story.

A lot of this is stuff we’re already doing, but in the future it’s going to be essential that every story we create has multiple touch-points. Some media will want the topline info, some consumers will want to be able to drill down and explore the details, it will be necessary for each individual announcement to be a part of a constantly evolving bigger ‘world’ and – as we know – if we give the audience compelling content then they will also spread the word.

Madisson Avenue types have a heritage in creating this sort of content. But just as they have experience in telling a story in 30 seconds, so we have a professional vocabularly that allows us to reach out to multiple stakeholders and audiences through the channels we know are most appropriate for each conversation. What’s more trans-media than that?

@LukeMackay

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