bobcm: brands and content marketing - who brings what to the party?
TRANSCRIPT
BRANDED ENTERTAINMENT
BRAND PUBLISHING
BRANDED CONTENT
But what is branded content?
NATIVE ADVERTISING
CONTENT MARKETING
Branded content is any content that can be associated with a
brand in the eye of the beholder
BUT WHAT IS THE BUSINES PROBLEM BRANDED CONTENT SOLVES AND IS IT DIFFERENT FROM ADVERTISING?
If you look at what’s actually winning awards
then you’ll see there’s some agreement about
the best work. This illustrates that juries can
see the best examples even though the award
shows have different defini@ons.
JAN GODSK Branded Content Consultant, Serial Juror + Chairman BCMA SCANDINAVIA
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It’s a great piece of storytelling about the human condi@on that is brilliantly wriLen. It uses a fairy-‐tale structure about a spellbound protagonist who needs to find true love in order to undo the spell. This kind of universal story telling is more than you’d find in tradi@onal adver@sing, and that’s what makes it branded content. The product is also brilliantly integrated, and the social film project allows the audience to engage in the crea@on of the campaign without seeming forced or unnatural.
UROS GORICAN Crea@ve Director & Branded Content Producer PUBLICIS SLOVENIA
“
The Lego Movie is entertainment produced by a brand. And it’s great entertainment that’s loved by cri@cs and audiences alike. Lots of people went to the theater to see it. Now they rent it or buy it at home. Or watch it on a plane. And now they’re more emo@onally connected to the brand. Now the Legos are a bit more magical. So they buy more Legos. And go to Legoland. Wait, isn’t this Disney’s model? Maybe Frozen is the gold standard…
JESSE COULTER Co-‐Chief Crea@ve Officer, CAA Marke@ng CREATIVE ARTISTS AGENCY
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Pure defini@on of branded content: it’s content, it’s likeable, it’s crea@ve, it meets brands’ objec@ves and it’s good enough to get PRIME TIME on a major commercial channel! At Eurobest judging panel we were all asking each other how was that possible nobody had come up with the idea before. This only means that concept is really great and that probably we will see local versions of Brandarit really soon.
IZABELA KURCZEWSKA Head of Entertainment HAVAS SPORTS & ENTERTAINMENT POLAND
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Brands need to be realis@c about compe@ng with content creators, unless they’re prepared to risk alloca@ng budget that could result in failure. The Hollywood system is an example of a few successes bankrolling a large number of duds and also-‐rans.
I’d recommend collabora@on, or devia@on, whereby the type of content you create is not necessarily of interest to conven@onal content creators, but is of huge interest to a client or group of clients.
RORY SUTHERLAND Vice Chairman OGILVY GROUP UK
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STEVE ACKERMAN Managing Director SOMETHIN’ ELSE
The big change that brands have to understand is the need to have an ongoing conversa@on with their audience, rather than just short bursts of campaign ac@vity. The produc@on of con@nuous content requires more of a (broadcast) programming and editorial mentality.
“
Find a mechanism to allow you to collect
customer stories at scale. For example, Airbnb
recently launched a pladorm where people can
submit their own stories at Create AirBnB.
ANN HANLEY CEO MARKETINGPROFS
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DISTRIBUTION
CONTENT(CO)CREATION
ENGAGEMENTMANAGEMENT
MEASUREMENT
SMALL SNAPSHOT OF LATEST THINKING ABOUT STRATEGIC CONSIDERATIONS AND EXAMPLES OF BEST PRACTICE