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It’s Viaduck!
9 421902 251009
INSIDEGOODBYE CHALKS
APOSTROPHE CRIMES
Q+A KIM ELLISON
Q+A COREY & GUY
TVC TOP 10
* Nielsen Media Research confirmed this in the National Readership Survey to December 2010.
Wellingtonians LOVE huge
rollercoaster events that turn
the entire city into ‘Party Central’.
They also love to dress up, stopping people in their tracks
down Lambton Quay. We understand.
Which is why 231,000 locals party, dine, dance,
drink and get the DomPost every day.
For advertising with all the bells and whistles, call us direct on (04) 474 0000, or the Fairfax Network on Auckland (09) 970 4000 or Wellington (04) 474 0479
Your local connection
Wellingtoniansget it!get it!
AdMedia February 2011 1
contents
8 Charlie Sutherland
RIP
10
14
16
12
q + a Corey
& Guy 17
Technology
to Connect
q + a Kim EllisonEditorial
InterActive
Bytes
Radio18
CONTENTS
32
33
TV Top 10
The Front
Page26 Sound
What’s New
2
4 Letters
2 www.admedia.co.nz
editorial
VOLUME 26 NUMBER 1
is a registered magazine published by Mediaweb LimitedPO Box 5544, Wellesley Street, Auckland 1141
Phone 64-9-845 5114, Fax: 64-9-845 5116Website: www.mediaweb.co.nz
EditorDavid Gapes – [email protected]
64-9-575 9088, 021 596 686
AdvertisingKelly Lucas
[email protected] 0443, 021 996 529
DesignerChris Grimstone
Production ManagerFran Marshall
New Subscriptionswww.admedia.co.nz/subscribe
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Annual subscription rate NZ 11 issues AdMedia, 48 issues Fastline - $200.00 incl. GST.
Publisher Mediaweb LimitedPrinting Benefitz
Distribution Gordon & Gotch
All content is subject to copyright and may be used only at Mediaweb’s discretion.Copyright © 2011: Mediaweb Limited.
ISSN 0112-6997 (Print)ISSN 1179-870X (Online)
2 www.admedia.co.nz
W e’re leafing through a sheaf of clippings and printouts about
the economy: “Investor Confidence Up” (ASB), “NZ Businesses
More Optimistic” (Business Day), “We’re seeing some pick-up
and market confidence coming back” (Jason Paris, MediaWorks),
“New Job Ads Hit Two-Year High” (NZPA), “Business Confidence on the Rise”
(Dom-Post). “Brighter Times Ahead” (Stuff). Then, in the NZ Herald just this
month – “Bill English Warns of Double-Dip Recession”. Damn.
Confused by the ‘experts’? So are we.
So let’s get down to ground level: There’s a new glint in the eye of the advertis-
ing & publishing professionals we’re talking to every day. Three years of gloom has
truly focused their minds, and they’re ready to up the ante.
If determination and grit counts for anything, 2011 Will Be Better!
The most upbeat sector, of course, is online – still a relative midget, but grow-
ing fast. “The level of boom-times optimism evident at the two IAB Christmas
functions was palpable,” writes Scoop’s Alastair Thompson who, like most of us, is
indulging in a little crystal ball-gazing (on P17).
The near future is very much on the minds of the radio & sound industries, both
emerging intact and feisty from the dark. Feature writer Patricia Moore, who cov-
ers both sectors in this issue, reports that radio is following newspapers into the
digital domain with similar success and penetration.
The sound sector is changing with the times, too. Moore notes that falling CD
sales has seen relationships between bands and brands become more important.
There’s a greater willingness on the part of composers to seek the rewards that
having their material used in advertising can bring, and more brands are aligning
themselves with bands.
Our q + a series continues this month when we catch up with Kim Ellison (who
counts Len Potts, Hugh Walsh, Jeremy Taine, Josh & Jamie, and Hutch as influences)
and Droga5’s Corey Chalmers & Guy Roberts (The Colbert Report, Grant Fox,
David Fincher, Jonathan Glazer, David Gilmour, Kim Thorp and John Hunt).
Good reading for people of all tastes. Welcome to the Year of the Rabbit.
The Year of the Rabbit
David Gapes ([email protected])
4 www.admedia.co.nz
letters
LettersPostcard from NY
Dear Ed:
Just a quick note to let you know I’ve moved on from China, and
joined Geoffrey in New York for 2011.
Had a fantastic stint in Shanghai (can you believe nearly five
years!) and ended on a wonderful high note, winning the Media
Planner/Buyer of the Year title for Greater China in Campaign’s
Agency of the Year awards held in Singapore last month. Was a
great night as you can imagine.
I’ve now been transferred to PHD in New York and the role of US
Director of Business Development & Marketing. So all change in
my world as I move from the East back to the West!
My email address is now [email protected].
Anna Chitty
Overrated?
Dear Ed:
Last week when I returned to the office I read the Dec/Jan issue
as a warm up.
I’m curious and I’d be interested to see a rationale from Ron
Sneddon as to why he sees Word of Mouth as a media overrated?
Zac Pullen
Tongue in cheek
Dear Zac:
Sorry, I have been away on leave and have taken far too long to
get back to you about your query.
Frankly the word of mouth comment was a throwaway line with
tongue in cheek, just as my desire to become a minister of the
Presbyterian church (but God bless them & word of mouth).
Ron Sneddon
We Auckland
Dear Ed:
Thanks for the latest edition of December AdMedia with the sal-
ary survey.
Just to let you know, Firebrand is very much based in Auckland
which is where I work out of (re your comment of Firebrand being
Sydney-based).
That’s just where our PR/marketing comes out of but we have a
full team here rearing to go for a busy 2011.
Jo Bayley
Apostrophe crimes
Dear Ed:
I sent page 6 of the November issue to my family as they love a
classic apostrophe error … then my sister asked how you guys can
see into the future? I had to look again and saw that it says Monday
8 December 2010 …
Nice one.
Monica Birch
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6 www.admedia.co.nz
Charlie Sutherland (Chalks) was a good guy. A guy who
spent a long time wrestling with his own particular
demons. It’s been a while since I’ve seen Charlie so
I want to recall the good old days when Charlie was
something of a rock star in a young, emerging Colenso.
Those were tough days. Competitive days. Charlie’s peer group
included the late Mike McCabe and my old mate Len Potts. The best
writers in the business back then.
Charlie managed to hold his own in this company and get a fair
amount of his work onto the Colenso showreel.
Cadbury was Charlie’s favourite account. Mine too in those days.
Charlie, Mike Meechan and I would regularly make the pilgrimage
to Dunedin to see the Cadbury boys. A magic relationship that lasted
more than 15 years.
Funnily enough, Charlie didn’t much like chocolate. He preferred
Steinlager. But that didn’t stop him from doing some excellent work.
Charlie’s Cadbury ads were invariably funny, imaginative and made
great use of music. Charlie’s collaborations with the jingle maestro,
Murray Grindley, were legendary.
My other great recollection of Charlie’s talent was the famous
dunny ad. On one of those Dunedin trips, we got talking about
Wellington Harbour. I’d been scuba diving at Seatoun and, on coming
to the surface, was appalled to see a large turd floating by.
We agreed (over a few beers) that it was disgraceful that a city like
Wellington should discharge its raw sewage into its beautiful har-
bour. Anyway, we naively decided to do a protest ad and persuaded
Ian Wells of the Dominion to give us a full page.
The ad was a ripper. It was a full page with a large photograph
of a toilet sitting by itself on Oriental Bay beach. The headline read
‘How do you feel about going on the beach?’
Brilliant stuff. The ad caused a political storm but that’s another
story. It was probably Charlie’s finest ad. It won the grand prize at
the Caxton Awards and I think it won Charlie some kind of a trip.
So when I think of you Chalks, I think of those great days and that
great talent. Cheers Chalks ... here’s to you.
– Roger MacDonnell
Goodbye Chalks
CHARLES HARVEY SUTHERLAND 1952-2011.
Two tributes for the late, great Charlie Sutherland, who died in Wellington last month. The first is by Roger MacDonnell, the former chief at Colenso. The second is from Wellington-based filmmaker/DOP Waka Attewell.
A mateA few weeks back I was driving through Wellington’s Courtenay
Place – something caught the corner of my eye … a figure, a mere
flash of a person. Straight away I knew it was Charlie.
I had to do the traffic swerve and the parking – Charlie waiting
for a bus? I didn’t get it … he was still there when I finally made
it out of Blair St.
He smiled. I asked him if he was ok? He smiled again and said
no. A man who is obviously hurting saying no whilst smiling is a
haunting image.
We promised to catch up – he wasn’t at home any more. We
promised to have a beer. If I hadn’t had another meeting to go to I
would have had a beer there and then … after all the old Paradiso
was just there within reach.
I felt like hugging him but he looked distant, fragile. His immacu-
late suit looked a size too big.
I had him on the list for a few weeks then Christmas got in the
way … bugger.
RIP Charlie … you became more than just another adman to me;
you went beyond a colleague; you became a mate – a rare beast
in this advertising game.
– Waka Attewell
OneStop! www.benefitz.co.nz
From business cards to billboard skins. The latest technology. The best people.
adnaus
8 www.admedia.co.nz
Mediaworks’ new mass entertainment channel FOUR
is all about one thing. Fun. So to launch FOUR, their
agency Special Group had to come up with a big idea
that would live up to the promise.
And a big idea it certainly was. Special Group approached Dutch
artist Florentijn Hofman. Florentijn has a thing for giant inflatable
rubber ducks. He’s been integrating oversized, interactive installa-
tions into public spaces all over the world. Over the last five years
his ducks have popped up in Osaka, San Paulo, Rotterdam and
Amsterdam.
Hofman was delighted to get the invite to Auckland. It is the first
time he has had the opportunity to “amaze and make life a little bit
more fun” in Australasia.
The duck was constructed locally in Whangarei by Fabric Structure
Systems, the company behind the Tourism New Zealand rugby ball
and the giant Louis Vuitton bag that appeared all over the world.
800 square metres of bright yellow vinyl, standing 12m (40ft)
high over a specially constructed 12m-diameter steel pontoon that
weighs six tonnes – this duck was no small feat of engineering. It
took Fabric Structure Systems partner Warwick Bell and a team of
six engineers six weeks to bring it to life from the artist’s detailed
drawings.
The yellow duck appeared without warning on Auckland Viaduct
Harbour on the morning of Tuesday 1 February. The inflation took
about 30 minutes, and wasn’t without its problems – 25 knot winds
provided Bell, Hofman and the team with a few hairy moments.
AdMedia February 2011 9
adnaus
Once fully pumped up and standing tall, the duck was towed into
its prime position, in the heart of the Viaduct. Within seconds the
cameras started flashing. Baffled and amused onlookers gathered in
their droves. If you were standing anywhere on the main drag, it was
impossible to miss.
Special got busy, working with directors Jordan Dodson and Paul
Jones to shoot the duck and the delighted reactions it was causing,
to create a series of TVCs and channel idents.
FOUR’s launch stunt was an instant hit, featuring on that day’s
evening news, Nightline and the next day’s Herald. Twittersphere
and Facebook were abuzz within hours of the first sign of the big
yellow visitor. The local bars and restaurants didn’t seem to mind
too much either.
Hofman’s duck stayed berthed at the Viaduct for the week, up
to FOUR’s TV launch on Sunday 6 February.
After a busy week of entertaining, it came down the following
Tuesday.
For those seven days the big yellow duck was the most photo-
graphed object in New Zealand.
It also had a big impact on the launch night ratings – which
jumped an impressive 228% from the previous week as C4.
When asked why they went to all the effort to bring Florentijn
Hofman and his giant duck to New Zealand, Mediaworks had just
one thing to say: Feels like FOUR.
To see the film of the Viaduck go to http://www.four.co.nz/
bigrubberducky/
FLORENTIJN HOFMAN, ERIK VAN DONGEN, WARWICK BELL.
SIX TONNES OF STEEL PONTOON.
10 www.admedia.co.nz GUY ROBERTS & COREY CHALMERS.PH
OTO
: RO
SS B
RO
WN
AdMedia February 2011 11
q + a
Corey Chalmers & Guy Roberts,
joint CDs at Droga5 NZ, joined
forces at TBWA/Whybin in 2007.
Between them they’ve collected
Cannes Lions, One Show Pencils, Gold Effies
and more, on top of Roberts’ stellar haul of
two Cannes Grand Prix, a D&AD Yellow
Pencil, Clio Grand Prix and No 1 creative
ranking in Campaign Brief in 2007.
They’ve also sat on numerous juries at
Cannes, D&AD, Clios, AWARD and Axis.
While working on adidas All Blacks
campaigns over the years (a dream job for
two rugby heads), the team also launched
2degrees into the market in 2009 with
the hugely popular Rhys Darby campaign.
Most recently they’ve overseen ASB’s mas-
sive new Creating Futures rebrand.
What was your first job in advertising?
CC: O&M Wellington, 1995. After varsity
I did the Axis school (which back then
was two nights a week at various agen-
cy bars drinking free beers) and won
the top student prize out of it – a year’s
work at six different agencies. I got of-
fered a job at O&M so I took it. Socially
it was brilliant. Creatively, less so.
GR: After graduating with a graphic
design diploma in 1989, I started a de-
sign company in Hamilton. I also had a
contract drawing medical illustrations
for the local hospital. When I took up
working weekends as a freelance art
director for the Ballantyne Agency, it
didn’t take long for me to work out that
advertising was more fun than drawing
morbid stuff in morgues and designing
logos for fertilizer companies.
What was your greatest moment in ad-
vertising?
CC: I loved writing gags for Rhys Darby
with 2degrees, and hurting my shoulder
holding a tackle bag as Richie McCaw hit
me for a shoot is definitely up there. I gotta
say being served by butlers in Cannes as a
judge, on my birthday, with my beautiful
wife next to me was pretty special.
GR: There’s been a few. I would have to
say, I lived in the UK for seven years un-
successfully trying to score a yellow pen-
cil, then landed one on my return home.
Also the day we launched 2degrees (six
weeks after winning the pitch!).
The worst?
CC: Watching the rise of “Anonymous” in
blogs – a hive of insecurity, self-loathing
and cowardice from people who would
rather criticise than achieve. Also, being
forced by my then CD to watch a research
group pull apart work I was really proud
of through a mirrored window. It’s like
putting your baby in a room full of
underfed gorillas being provoked with
a stick.
GR: Having to pull out of a trip to Cannes
the year we won two Grand Prix.
Going to the Rugby World Cup?
CC: I just hope people on the trains can
make it to the games on time.
GR: Aren’t we all? If the 2006 Lions tour
is anything to go by, start buying Berocca
now!
What are your advertising influences?
CC: Mine truly aren’t in advertising. I
love the writing of The Colbert Report, the
smartness of Grant Fox commentating, the
direction of David Fincher and Jonathan
Glazer and the bendy notes of David Gil-
mour. In the ad world I always looked up
to Kim Thorp and hoped to be him one
day. Preferably with his bank account.
GR: John Hunt, Worldwide CD of TBWA.
An easily met genius of a man without
an ounce of pretention or ego and one
hell of a storyteller. One of the true gentle-
men of our industry. Also, the egotistical
CDs that shat on my book from a great
height when I first landed in London.
They motivated me to prove them wrong
and how not to treat young creatives.
Guiding principles?
CC: Love what you do, do what you love,
love to do it. Do it properly, do it well,
don’t stop when the money does. Jimmy
Page said it best with his three principles
in It Might Get Loud – “Passion, Honesty
and Competence”.
GR: The harder you work the luckier you
get. Make your opportunities, don’t wait for
them. I like the line Corey wrote for adidas:
‘That’ll do’ never will. Basic things like craft
seem to be a dying art, but if you look after
the work, it’ll look after you.
never will‘That’ll do’
12 www.admedia.co.nz KIM ELLISON.PH
OTO
: TO
NY
BR
OW
NJO
HN
(IM
AG
E C
ENTR
E).
AdMedia February 2011 13
q + a
For nearly two decades, Kim Ellison
has been creating outstanding
campaigns in NZ for Saatchi, HKM,
Grey, SO&M, Ogilvy, DDB and now
as ECD of the Image Centre Group and
Creative Director of its retail shop, hotfoot.
Ellison, a copywriter, rose to the ranks
of ECD at Grey in 1999 and CD at Ogilvy
in 2004, as one of New Zealand’s first
female CDs.
DDB’s Toby Talbot put this in perspective
when he said last year: “Kim may be a rare
breed in that she is a female Creative Direc-
tor, but to me it’s her huge personality that
makes her so unique.”
A sentiment shared by Image Centre
executive director Mike Hutcheson: “Kim
is bloody good at what she does and just
makes me smile with the proverbial ‘ring of
confidence’. It’s like firing a no-look pass in
rugby – you know she’ll be there to catch
the ball and more often than not, score a try.”
What was your first job in advertising?
Saatchi’s when they were in Akaroa
St in Parnell, 23 years ago. I’d just ar-
rived back from doing Award School
in Sydney, Bruce Matchett was CD and
we had my interview at the Exchange
with pretty much everyone else from
the agency. After quite a few drinks he
asked me what I was actually there for.
I said “A job” and he said “Great. Start
Monday, we won’t pay you.” I was so
happy I cried. Actually come to think of
it, that might have been the booze.
Most memorable moment in advertising?
Meeting Fred Schepisi at a conference in
Melbourne. Not only did he direct one of
my favourite movies, Six Degrees of Sepa-
ration, but he also told a great story about
the ‘Hey Charger’ shoot. The first guy they
cast couldn’t drive and crashed the hero
car and the second guy had a finger miss-
ing so had a bit of trouble with doing the
Charger ‘V’ gesture. That was in the days
before you could “fix things in post”.
I’m also pretty proud of getting a 60"
brand ad through for The Warehouse and,
with my art director Russell Chambers,
inspiring generations of youngsters to do
up their seat-belts with ‘Make it Click’.
Oh and the Ad Wanker of the Month
Award, I was the first woman to win it
apparently.
The most embarrassing?
Choosing the underpants Carlos Spencer
had to wear in the Toffee Pops ad. It
sounds like a dream job but when you’re
sitting at crotch height and he’s having to
parade past a few times … can I just see
those first ones again?
Looking forward to seeing how the Super-
city works out?
As an Aucklander, of course.
Will hotfoot bid for the business?
If it’s a big enough account, I imagine
every man and his dog will be after the
business.
Going to the Rugby World Cup?
I haven’t got a ticket so I’m leaving
town. Anyone want to rent a house – 10
minutes’ walk from Eden Park, three
bedrooms, reasonable rates?
Who are your advertising influences?
Len Potts and Hugh Walsh. These guys
knew how to tell stories to New Zea-
landers and every ad they made struck
a chord with their target market:
‘Country People Die on Country Roads’,
‘Crumpy’. Jeremy Taine, Josh and Jamie
are of the same ilk.
From a copywriting perspective, no-
body did it better than Leslie Walters.
I still remember the time he compli-
mented me on some long copy I’d writ-
ten for a Hanimex ad. That was in the
days of writing copy on a typewriter,
which I think made for a more care-
fully crafted ad.
What work from another NZ agency do
you wish you had done?
If I’ve got my Retail CD hat on, I think
Draft FCB have done and are doing
some great stand-out retail work.
What has been your best job in adver-
tising?
That would be wherever I happen to
be at the time. Although it’s interesting
that 20 years after we first worked to-
gether at HKM I’m back working with
my favourite boss ever, Hutch.
KIM ELLISON.
Fasten yourseatbelts
14 www.admedia.co.nz
what’s new
AD OF THE MONTH
WHAT’S NEW ADS LIVE AT WWW.ADMEDIA.CO.NZ
NZTA Mandom, a creative tour deforce that showcases the art of postand takes the road safety messageto a new level, is our undisputedheavyweight champ this month.
Only SKY has all 48 games of Rugby World Cup 2011, and it’s all live. With this immense amount of action looming,
SKY has enlisted Gunnery Sgt R J Cleaver to get the production team ‘Match Fit’.
Agency: DDB Group New ZealandClient company: SKY Television
Brand/product: R ugby World CupClient contact: Mike Watson
Media used: TV Group executive creative director: Toby Talbot
Deputy creative director: Regan Grafton Account team: Scott Wallace, Danielle Richards, Brad Armstrong
Media strategists: Fay Laurenson, Kasmira Sewpershad (OMD)Writer: Natalie Knight
Art director: Gavin SiakimotuAgency producers: Judy Thompson, Kim Baldwinson
Production/film co: Prodigy FilmsExecutive producer: Jonathan Samway
Producer: Mark MatthewsDirector: Tim Bullock
DOP: Geoff HallPost production online: Perceptual Engineering
Editor: Adam WillsSoundtrack/Music: Liquid Studios
AdMedia February 2011 15
what’s new
There was no December NAB Newspaper Ad of the Month winner, however congratulations goes to our January winner, Ogilvy.
Agency: OgilvyClient: Brothers In ArmsExecutive creative director: Damon O’LearyGroup heads: Nic Hall & Richard LosebyCreative team: Freddie Coltart, Matt Williams
Feels like FOUR: Duck.
Agency: Special GroupClient company: Mediaworks TV Brand/product: FOUR Client contact: Roger BeaumontMedia used: TV, Cinema, Newspaper, Outdoor Creative directors: Tony Bradbourne, Rob JackManaging partner: Michael RedwoodAccount director: Annabel ReesMedia strategist: Nicky GrevilleWriter: Antony WilsonArt director: Iain MacMillanAgency producer: Tanya-Haitoua CathroProduction/film co: Fatboy FilmsDirectors: Jordan Dodson, Paul WhitePost production: Digital SparksOffline editor: David CoulsonOnline editor: Miquel UbedSoundtrack: LibraryPost audio: Images & SoundSound mix: Ben SinclairPhotography: NZ HeraldRetouching: Denny Monk, Lightfarm Studios
Clemenger and Oktobor have created three new NZTA Mandom TVCs (1 x 60s launch ad, and two teasers). They
shot a series of ‘man rooms’ with the presenter delivering the road safety message as he walks quickly through each
room before the ad culminates in a montage of the walk-throughs in a wide shot of an open-faced, multi-layered
apartment block.
Agency: Clemenger BBDO WellingtonClient company: NZTA
Media used: TV Executive creative director: Philip Andrew
Writer: Alex MetsonSenior art director: Brigid Alkema
Art director: Ben DavidsonAgency producer: Martin Gray
Production/film co: @radical.media Producer: Barbara Devlin
Director: Nick BallPost production: Oktobor
Editor: Sam Brunette Music/Audio Post: Liquid
16 www.admedia.co.nz
technology to connect
context By Chris GrahamcontextPutting things in
A s anyone who reads this column
on a regular basis will know,
my true passion for technology
revolves around 1-2-1 market-
ing and communicating with customers
or prospects, through the data that we
securely hold on them.
We use the data to generate the customer
profile and the insight to generate or drive
the message, or a range of messages. Hence
the column title, Technology to Connect.
Now I have been doing this sort of work
for about 30 years – right at the bleeding
edge of it all. This resulted in numerous
early mornings, and an equal number
of very late nights. However, one of the
things that has always frustrated me, and
in fact annoyed me, was the language and
concepts we used, or tried to use, to de-
scribe what we were doing.
I think part of this was that the language
that we used evolved from the print industry, not the advertising
and marketing industry. For example we would use terminology
like: variable data printing (VDP), 1-2-1 marketing, 1-2-1 printing,
and permission marketing and so on.
I am sure there are others but none really seemed to nail what
it was I, or we as an industry, wanted or needed to explain;
consequently I used all of them, on and off, and as and when I
felt like it.
So despite selling it, and talking about it to thousands of people
over the years, I never felt happy with the conceptual framework
we used to explain it all.
Well I would like to throw another piece of language into the
pot and perhaps this has a bit more bite and clarity to it, and who
knows, it might even stick. It started recently when I attended a
presentation by Avaya, who are specialists in business communi-
cations. It was a very nice breakfast affair at the Hyatt in Auckland.
They started the session talking about how their technology
facilitated business communications and then touched on how
their technology enabled “context centred” communications. For
example, when a telephone call came in to an office or call centre
“the system” automatically popped up all emails, letters, quotes
and communications that related to that incoming phone number,
putting the call in “context”.
Vice versa to this, when calling out, “the system” would automatically
context
make available all the information for that telephone number.
Unfortunately for Avaya this concept created a Eureka moment
for me, and the cogs and grey matter started rolling, and I realised
that this is what we should be talking about: Context Based Mar-
keting, and so I promptly left to consider the processes.
The concept of Context Based Marketing is everything we
have tried to convey over the years but failed miserably to do
because we tried to explain the technology and not the driver.
The ability to deliver the communication at the right time, to
the right place, in the right media is all about the “context” of
the message.
The customer wants to communicate with a brand and receive
just the right information through the right channel at the right
time, so we need to deliver “context based communications”. The
“context” of the message refers to all aspects, the time, the infor-
mation, the data, the delivery media and the response processes.
By placing our marketing communications into context we can
open a clear and meaningful dialogue with our customers or pros-
pects. If we structure the dialogue so we can monitor, track and
respond to the customer or prospect in an appropriate form we
can close the loop on the marketing and assess the ROI.
Chris Graham (chris @purls.me) is ceo of PURL Technologies,
specialist in artwork automation and 1-2-1.
AdMedia February 2011 17
interactive bytes
By Alastair Thompson
Fortune willfavour the boldAs we begin 2011, it would be fair to say that the
overall advertising environment remains fairly dif-
ficult. But the online space is a little different.
The level of optimism and boom times optimism
evident at two IAB Christmas functions was palpable – and be-
yond the anecdotal, after a brief period of backwards direction
during the recession, online ad expenditure growth has resumed
at a fast pace (which cannot be said for the sector as a whole.)
So what will 2011 hold for online advertising in NZ? The fol-
lowing are some predictions and observations, which amount to
this writer’s best guesses:
Fortune Will Favour The Bold: With the spec-
tacular rise of Wikileaks (and the ensuing revo-
lutionary fervour in the Middle East) we are
arguably seeing a coming of age for online
media. Whereas till now online expo-
sure has often followed revelations
via the traditional forms of media,
the online medium is beginning
to assert itself at the centre of the
media production process.
NZ is possibly a little behind in
this respect of media development,
however we can probably expect
a far more intense online election
campaign this year than ever experi-
enced before. Meanwhile in the market-
ing world, real innovation (ie, good ideas)
are likely to deliver the results and therefore
receive the investment. So be bold!
Online Marketers Will Increasingly Cap-
ture Real Spend: Through 2010 we saw a
plethora of increasingly sophisticated and
well executed online marketing plays.
Both sides of the industry, clients and
agencies, and publishers are cutting through
the confusion and beginning to really understand the medium.
Attractive (but not distracting and annoying) creative executions,
better use of targeted branding opportunities (vs high-volume
low-quality click-chasing strategies), ubiquitous social media
integration, and much more sophisticated advert targeting solu-
tions abound. Looking forward it seems likely that online will
increasingly be treated as a lead marketing medium in its own
right, rather than as an extension to other activity.
Measurement Will Get Richer (And More Complicated):
One of the most important aspects of online marketing maturity
is the manner in which measurement is used. In this area of
the online environment we have till now been often let down
– largely by insufficient understanding of the limitations of the
tools being used by those using them.
However, in this area also, a more sophisticated understand-
ing is emerging. Globally the stage has been set for a far more
sophisticated set of tools to become available to marketers at af-
fordable prices and the challenge will be to use them effectively.
Here in NZ we will likely see several major measurement
companies strongly competing for agency and
publisher attention. The smart money will
be behind those who understand how
these technologies actually work – but
beware snake oil as there will still be
plenty about.
Quality Content (& Authority)
Will Show Its Value: The differ-
ence between quality content/
environments and dross has been
something of a bugbear for the
past decade. The phenomenal
growth of performance media
has occurred in part because the
distinction is not always understood.
However the realisation all impres-
sions and clicks are not equal appears
to have penetrated the market now. And
with better measurement tools and with
search engines like Google focusing their
attention on identifying and rewarding
real content (and penalising robotic
aggregators) the balance is now being
redressed.
In addition, as the social media juggernaut
advances the value of real authority and online personality will
increasingly be acknowleged.
InterActive Bytes is compiled for AdMedia by Scoop.co.nz,
NZ’s leading indigenous online news agency attracting
a readership of over 400,000 unique visitors a month
(Nielsen). Send feedback to co-editor Alastair Thompson at
18 www.admedia.co.nz
radio
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AdMedia February 2010 19
radio
Online advertising is challenging traditional media,
confident it’s only a matter of time before it over-
takes both radio and magazines in adspend. But
radio broadcasters are meeting the digital threat
head on.
Twenty-five percent of audiences now interact with radio via
station websites, says The Radio Bureau’s Gill Stewart. “Radio is
more relevant than ever. With new digital platforms building upon
mainstream strengths, radio brands, content, and personalities now
sit as comfortably on station websites, social networks and mobile
applications, as they do on air.
“Radio has been more progressive than other media in migrating
online and audiences have quickly followed, chatting to DJs on
Facebook and Twitter, streaming online and interacting on station
websites and mobile applications.”
The success of brands like The Edge and The Rock has been en-
hanced by having the internet as well as radio frequencies as a way
to communicate with their target audiences, says Jana Rangooni,
group programme director, MediaWorks Radio.
“The Edge’s Lost in a Box promotion was developed to engage
on-air and online with impressive results delivering longer listen-
ing and more time online,” she says. “Online, over 3.7 million page
impressions, nearly quarter of a million unique browsers and an
average time online of over seven minutes per session were gener-
ated for the duration of the promotion.”
In the past 12 months alone, radio websites have increased
unique browsers by 31% and page impressions by nearly 60%, says
Stewart. “Yet over the past 10 years radio listening figures have
Back in 1992 they were calling radio the ‘maiden aunt’ medium – beloved but past her prime. Nineteen years on she’s going stronger than ever, and working hard at a relationship with the new kid on the media block. Patricia Moore reports.
Riding newwaves
AdMedia February 2010 19
radio
20 www.admedia.co.nz
radio
either grown or remained relatively stable, proving that the on-air
experience remains as important as ever.”
But is being part of the new, connected world enough? Or does
radio need to re-invent itself? Given the competitive nature of
the marketplace there will always be innovation, says The Radio
Network’s Auckland general manager, Grant Lee. He cites the in-
troduction of Coast as an example: “It’s phenomenally successful.”
Others point to the adoption of online opportunities as ways
the medium is reinventing itself. However, MEC Wellington direc-
tor Grant Maxwell senses an enthusiasm to test and evolve, rather
than re-invent, and highlights a number of initiatives the industry
is trying in order to find new ways to attract advertisers.
“They’re talking to the market to gauge performance and seek op-
portunities; they’re developing new tailored products and packages
that go far beyond the 30 second spot. I’ve also seen competing
networks getting together around a boardroom table in order to
deliver coordinated responses to national communications briefs.
“This is all good stuff and a heartening sign, I think, of an industry
having a decent crack at moving up the food chain.”
Hunter Media md Graeme Hunter says the “particularly clever
and successful answer to fragmentation”, whereby 350-odd sta-
tion frequencies have been combined to create a couple of dozen
serious, well-branded networks, with well-defined audiences and
strong numbers to win advertising revenue, means it’s unlikely
station owners will try something else.
“But there are certainly opportunities for experimentation and
new formats. An example would be a ‘high street’ format that al-
lows strong audience interaction using a retail station frontage in
GILL STEWART (THE RADIO BUREAU). ROBERT KHAN (RADIO TARANA).
Are you reaching 145,000 Indians or 9% of Auckland’s population?
Phone (09) 379 7731 • [email protected] • www.tarana.co.nz • Radio Tarana
22 www.admedia.co.nz
radio
a high traffic location; almost moving radio into the equivalent of
Facebook territory.”
But Hunter says while radio has been quick to identify the po-
tential threats and opportunities from digital media, and all major
stations now have a strong online presence with strong audience
participation that’s being used to build closer relationships with
listeners and add exciting new dynamics to the traditional 30s ad
campaign, the problem stations face is that which is generic to the
online market: “How to monetise the online capital investment suc-
cessfully and do so without cannibalising traditional radio revenue.”
Combined radio and online opportunities have undeniably added
to the strength of their radio offering in the last couple of years,
says MediaWorks Radio director of sales and branded content Paul
Hancox. “Clients now have a potent combination to reach desired
audiences with measurable results,” he says.
Credit must go to the stations for the success of their online
revenue. “The brands are strong and the stations have a great
sense of how to make both platforms work for our clients. This
has delivered excellent revenue growth.”
And at TRN, Lee says digital revenues are growing in line with
the growth in digital interactive revenues. “Radio is a very good
complement to digital media,” he says. “It’s a great driver of people
to Facebook pages and websites; in fact it’s probably the easiest
and most cost-effective way to send someone to a website.”
An aggressive approach with its own digital streams has seen
huge increases in both the number of its websites and the people
attracted to them. It’s actually “a bit of a myth” to describe radio as
the loser in the growth of digital media, says Lee. “In fact, it isn’t.
“Take a look at the ASA figures between say 2000 and 2009 and
you’ll see radio has remained relatively constant. In 2000 it had a
12.8% share; in 2009 it had 11.5%, an overall drop of 1.3%. In the
same period newspapers dropped 9.6% and television almost 6%, so
of the three major mediums, radio actually has weathered it better.”
It’s not just the big guns that are joining the online party. “It’s
an addition to our revenue stream and one that complements our
business,” says Radio Tarana md Robert Khan. “We’re using the
opportunities of social networking, especially online, to create
a complementary service for our business; we view online as a
partnership, not as competition.”
Khan says social media networks and other online opportunities
like its own website are creating a portal for their media organisa-
tion. “A one-stop shop approach. The use of online is now a factor
in maintaining a good audience base.”
And at China Voice Broadcasting, ceo Samson Yau says CVB is us-
ing its social network site to promote hosts, DJs and programmes.
“This is a way to retain the loyalty of our audiences. There are blogs
for our DJs and programme hosts. Audiences can chat with them
any time, anywhere they like.”
China Voice is also using feedback in the blogs as an interac-
tion with programmes, he says. “Blog chatting now acts as an
GRANT LEE (TRN). PAUL HANCOX (MEDIAWORKS).
This ad could have been so much beTTer.It could have been a radio ad for starters. For a fully engaging, entertaining and effective media solution, consider an On-air, Online, On-mobile and On-the-street radio campaign next time. There, this ad looks better already.
For more ways to improve your next campaign visit trb.co.nzc h a m p i o n s o f r a d i o
ASG6206_TRB_FP_v2.indd 1 3/02/11 2:33 PM
AdMedia February 2010 23
radio
This ad could have been so much beTTer.It could have been a radio ad for starters. For a fully engaging, entertaining and effective media solution, consider an On-air, Online, On-mobile and On-the-street radio campaign next time. There, this ad looks better already.
For more ways to improve your next campaign visit trb.co.nzc h a m p i o n s o f r a d i o
ASG6206_TRB_FP_v2.indd 1 3/02/11 2:33 PM
24 www.admedia.co.nz
radio
interactive tool for us to communicate with our audiences.”
Maori Media Network account manager Teresa McGregor says
the network sees online as an opportunity to complement and
enhance radio and to grow revenue for both media.
“We have recently partnered with an online services provider to
maximise mutual opportunities and provide optimum benefits for
our clients’ campaigns.
“But,” she says, “it should be noted that having fought for the
establishment of Maori radio and television, many listeners have
a sense of ownership and loyalty and are less likely to abandon it.
That said, Maori have also embraced new technology and media
that provide new, and varied ways, for them to access and interact
with traditional media.”
When a medium is both mainstream and digital the digital ‘threat’
doesn’t exist, says TRB’s Stewart. “With one of the highest revenue
shares in the developed world, New Zealand radio stands on firm
ground. Our case studies demonstrate it’s a powerful medium that
delivers results in terms of footfall, sales, stock-turn and web traffic.”
But in a world where iPods and the web have quickly dominated
the ears of music lovers, the real challenge for radio could well be
retaining listeners, says Grant Maxwell. “To maintain share of the
busy consumer’s day, radio needs to better understand and build
on the other side of the radio package they provide so well – the
non-music entertainment and sense of community, be that geo-
graphic or demographic.”
The industry can’t afford to rest on its laurels. Graeme Hunter
says by global standards, the Radio Bureau can be regarded as
best practice as a sales and marketing organisation, but the mar-
ket now demands more.
“Advertisers are looking for accountability, in particular a much
closer appreciation of ‘what works for MY business’. Mass mar-
ket media has traditionally relied heavily, but not exclusively, on
branding to carry the day. The strong swing is to ROI and unless
radio – and other mass market media – can address this, a slice
of revenue will remain vulnerable to channels that can provide
measurable results and direct accountability.”
And it seems moves are already afoot to make this happen and
lift the overall profile of the radio industry. From April, TRN’s
Lee will head up a new division within the company that will
reinforce the work of The Radio Bureau in promoting the indus-
try by providing better information and research for clients and
agencies.
“Watch this space. I think that radio as an industry will become
much more visible in the next 12 to 18 months.”
“Radio is a lean, mean, nimble sort of industry and there are
grounds for confidence about its future,” says Radio Broadcasters’
Association ceo David Innes. “It’s a stable industry; one that’s in
good nick actually.
“Or, to put it another way, I’d buy shares in commercial radio. I
wouldn’t buy shares in free-to-air television.”
TERESA MCGREGOR (MAORI MEDIA NETWORK). JANA RANGOONI (MEDIAWORKS).
AdMedia February 2010 25
radio
26 www.admedia.co.nz
sound
Whether it’s specifically
composed or synched,
to my mind music is an
essential tool in contex-
tualising the emotional pitch of an adver-
tisement,” says Mushroom Music md Paul
McLaney.
Music may be merely a mood enhancer
or integral to the idea, says Aaron Christie,
at Woodcut Music. “It can also play an
important part in reaching a specific audi-
ence demographic through its genre, style
or lyrics,” he says.
And at Digipost, sound designer Clive
Broughton says music is 50% of the ex-
perience in television, and a good sound-
track on radio will spark up a listener’s
imagination. “Add the appropriate sound
effects and you’re creating a longer-lasting
message.”
Often the question is whether to opt
for an original track or license an existing
one. “Clients want to own the identity that
comes with original music,” says Tamara
O’Neill at Liquid Studios. “The trend we’re
seeing is not to license a nostalgic track
Roll overBeathoven
The sound of silence may have worked for Simon & Garfunkel, but when it comes to broadcast advertising, sound sells. Patricia Moore reports.
“
AdMedia February 2011 27
sound
but to look at new indie bands or create
their own music.”
And Woodcut’s Christie says they’re see-
ing more clients open to considering the
use of commercial music. “But a unique
score or jingle can still provide a direct link
to a product and consumer.”
Damian Vaughan, manager of broadcast &
online services at APRA/AMCOS, reports a
steady increase in the number of clients con-
sidering existing compositions and sound re-
cordings of popular songs as viable options.
But, he says, there’s still a perception that
certain songs won’t be cleared, or if they
are, the fees will be massive. “With some
that may be the case, however recently,
the requests we’re receiving are not neces-
sarily for the most popular or predictable
songs.”DAMIAN VAUGHAN (APRA/AMCOS). IAN HUGHES (BIGMOUTH).
28 www.admedia.co.nz
sound
He says TV producers are getting more
creative with their choice of song.
Advances in technology and the avail-
ability of inexpensive high-quality gear has
meant easier access to better tools for com-
mercial composers and seen an increase in
the number of smaller, independent studios.
While this means more options for ad-
vertisers and producers, there are risks at-
tached. “You can’t beat industry experience,
and a working relationship with a studio
when the going gets tough,” says Christie.
“Experience in the mixing and mastering
stage is essential so if agencies or producers
choose a work-from-home, or inexperienced
composer, they should always ensure the
track will be properly mixed and mastered
for broadcast.”
It always comes back to the composer’s
skill and talent, says Paul McLaney. “Giving
someone a Steinway is not going to make
them Beethoven.
“It’s more about niche I think; certain
composers offering certain skills. There are
some fantastic composers working in home
studio set-ups – Rhian Sheehan, Sean Don-
nelly, Jeremiah Ross – our job at Mushroom
is to engage the services of such talented
individuals and help manage the financial
remuneration they receive for their efforts.”
But a word of warning from Digipost’s
Broughton: “Only the ones with the ideas
and skills who are able to work to deadlines
and creative challenges can still demand
decent fees.”
Falling record sales has seen the relation-
ships between bands and brands become
more important; there’s a greater willingness
on the part of composers to seek the expo-
sure having their material used in advertis-
PAUL MCLANEY (MUSHROOM).
DAVE DUNLAY (TANDEM STUDIOS).
AdMedia February 2011 29
sound
ing can bring, and more brands are aligning
themselves with bands.
Christie says there have been some excel-
lent relationships established by the likes
of Red Bull, Vodafone and 42Below. “The
traditional model of a record label is now
outdated and income from sales is now
scarcer for artists so it’s good to see brands
becoming more involved in a type of patron-
age of the arts that adds value to their brand
and recognises the contribution artists make
to society.”
Dave Dunlay, creative director at Tandem
Studios in Christchurch, says from a financial
point of view he can completely under-
stand the band/brand relationship. “Tuborg
sponsored Fly My Pretties as they toured
the country and that’s helped subsidise the
cost of the trip.
“But one of the drawbacks is you can
be so closely aligned with a particular
brand that your song then becomes just
an advertisement and loses that emotional
connection.”
It’s another way to get music to people
who would otherwise not hear it, says
Vaughan. “However I wouldn’t say the
majority of burgeoning songwriters and
performers are actively thinking ‘I’m going
to write a killer TV ad’. I imagine they’re
aspiring to write the best song they possibly
can regardless of how it’s used in the future.
“The music industry is in a state of change,
not in a state of emergency. People will
always consume music, be it TV, radio, live
performance, download, streaming video, in
a game and so on. The way songwriters and
sound recording owners generate income is
shifting and becoming more varied. Music
licensing and brand association is one of the
ways that this consumption occurs and that
is certainly growing.”
Meanwhile the demand for jingles con-
tinues, says Steve Keats, creative director
at Smith & Keats Music & Commercial
production. “The more cluttered the adver-
tising market gets, the better jingles perform
because nothing improves recall like setting
a brand message to a highly memorable
melody.”
Keats, whose Auckland based company is
also working in LA, believes it’s important
for brands to avoid confusion in the market
by ensuring everything about their advertis-
ing is as unique as possible. “The introduc-
tion of library music and licensed tracks
NICK YOUNG, AARON CHRISTIE, JUSTIN ‘JUSE’ FERGUSON (WOODCUT STUDIOS).
30 www.admedia.co.nz
sound
has simply highlighted the importance of
commissioning original music. It’s confusing
for a consumer to hear the same music on
different commercials played back-to-back
in an ad break!”
Music may help paint the picture but
the voiceover is a key component and
agencies vary in the way they make their
choice, says Liana Piranha at Piranha Tal-
ent Agency. “More often it comes down
to price these days and clients are more
inclined to choose someone who hasn’t
been over-used.”
Or are they? To listeners and viewers,
aware of the same voice advertising a range
of different products across just a few
hours, it frequently sounds as if selection is
made on a flavour-of-the-month basis.
“Clients can get legitimacy for their prod-
uct by using a voice that sounds like a ‘TV
voice’ – the voice on all the other ads,”
says Ian Hughes at Bigmouth Voices. “The
counter-notion is that it lacks cut-through
and the ad doesn’t register because it
sounds like all the others.
“What is frustrating to me is the fact that
good voices won’t get work because they
may not sound like a ‘voice-over voice’, or
the voice of the month. They can hit all
the notes needed and are great at what
they do but they don’t sound right. These
judgements are often made by people not
really qualified to judge.”
In the end, he says, it really boils down to
whether the client wants to stand out or
sound like everybody else. “That’s not nec-
essarily a bad thing but it might not give
the boost in sales they were looking for.”
As for those ads which scream at us
from television or the radio, they’re “an
aggressive and painful thing to listen to”,
says Tandem’s Dunlay. “But they do get-in,
don’t they?”
Indeed they exist because they work, says
Hughes. “They get people to know your
brand and pay attention. Radio and TV exist
in a busy world with lots of distractions so
ads need to reach out and grab you.”
Advertisers want to sell stuff and at the
very least hard sell makes people notice
the ad, Hughes says. “But I’m pretty sure
99% of ad people would prefer not to make
this style of ad.”
And research consistently shows they’re
high on the most-disliked list for listeners
and viewers – a fact that’s largely ignored
by television and radio says Dunlay. “Ulti-
mately these people will leave traditional
media and access the vast choices in the
online world to find their music and news.”
The online world is also opening up new
opportunities for those whose business is
sound – although according to Hughes, “It’s
totally disorganised. There are no standards
for rates and usages. There are a lot of
ways companies can use voice over online
but the expectations are too high and the
budgets are too low.”
Mushroom Music’s McLaney is more
upbeat: “As content increases, so does
the opportunity for synchronisations.
The increase in digital channels with
their lower production budgets should
provide a healthy environment for up
and coming screen composers to sharp-
en their skills.”
Regardless of where those skills are de-
ployed, originality and creativity are key.
“This comes down to the talent and skills
of the writers, composers and musicians,”
says Steve Keats. But Tamara O’Neill says
even the most expensive music tracks can’t
work miracles.
“If the idea is crap – or there is no idea –
then you can argue that the music licence
alone is not going to get the message across
to the viewer.”
LIANA PIRANHA (PIRANHA TALENT AGENCY).
AdMedia’s Agencies & Clients will be updated again soon.
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We look forward to hearing from you.
32 www.admedia.co.nz
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Lotto Wilson, DDB,
The Sweet Shop (Steve Ayson).
Instant Kiwi Walking on Air,
DDB, Good Oil
(Hamish Rothwell).
4 Tower Insurance Nasty Surprises,
Aim Proximity, Thick As Thieves
(Alex Sutherland).
ASB gains traction
The new ASB campaign debuted in
December at #2, just pipped by everybody’s
favourite wire-haired terrier. Elsewhere it’s
old favourites, with the notable exceptions
of two retail ads. Our poll of 1000 was
conducted in December by TNS.
310 New World Veggie Music
brand ad, .99, Exposure
(Kevin Denholm).
8Treasures Quality Time,
Colenso BBDO, Flying Fish
(Grant Lahood).
6 AMI Insuring New Zealandness,
DDB, Robber’s Dog
(Adam Stevens).
2 Degrees The Kiwi Xmas
campaign, TBWA, Film
Construction (Steve Saussey).9
ASB Sheep, Droga5, Flying
Fish (Gregor Nicholas).2
TV TOP 10
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the front page
AdMedia February 2011 33
I missed reading my usual collection of newspapers over the
holidays. We put our home subscription on hold, packed
up the car and headed off. But, as the days blurred into
each other and socks became a distance memory I started
surfing online newspapers to see what was happening across
the rest of the world.
A great read was The New York Times taxi story. They had
scientific proof confirming that from 4pm to 5pm the number
of cabs on the streets of Manhattan fell by nearly 20%. This was
verified by a GPS survey of cab trips by the city authorities.
The explanation for the 5pm dip is steeped in the history and
economics of their taxi industry. Many cabs are used by two driv-
ers a day, each working a 12-hour shift. To ensure each shift is
equally attractive, taxi owners schedule a change in the middle
of the afternoon so both get a rush hour.
But in the 1980s as commercial rents rose, taxi fleets migrated
across the East River so the 5pm shift change meant a journey
over the packed Queensboro Bridge. Drivers started heading
off at 4.30pm to ensure they made it back to the changeover
before 5pm.
I felt bad for New York commuters as I buttered another slice
of toast and continued my newspaper surfing.
By Robert MunroholidaysWhy I read
over the
The wonderful appeal of online newspapers (actu-
ally all newspapers for that matter) is the diversity of
content. I read some magnificent obituaries over the
holidays. The subtle turns of phrase (“He enjoyed life
to the fullest”, code for the fact he was a drunken sot;
“He was a confirmed bachelor”, ie, he was gay).
One of the fascinating obituaries was on the late Da-
vid Hart whom The Telegraph deliciously described as
“the colourful and anarchic former bankrupt who, as a
‘Downing Street irregular’, helped Margaret Thatcher to
defeat the miners’ strike.” Take a moment right now and
go to www.telegraph.co.uk/news/obituaries/politics-
obituaries every word is a gem. Hart bore a striking
resemblance to Lord Lucan which would have added to
his character.
I can think of some ‘colourful and anarchic’ characters
closer to home, but they might read this article, so dis-
cretion is the better part etc; they are all bigger than me.
Back to the holidays. One of the pleasures of the Christmas
break is the indulgence of leisurely reading hours. Enjoying the
written word – be it online or in print. It’s also one of the great
arts we need to protect.
The head of one of our hugely successful agencies lamented
to me the other day that nearly 25% of young agency creatives
are ‘technologists’ – they’re not Writers or Art Directors. They are
talented masters of digital communication technology, but they
don’t enrich their lives reading books, newspapers or magazines.
They live in an online time warp fuelled by their laptops and
smart phones.
Should you find a creative ‘technologist’ at your place feed them
some words. They’ll be online so start them off at www.heywhip
ple.com where they can read some gems in Luke Sullivan’s blog
– he’s one of America’s great copywriters.
And now I’m back in the office my newspapers are stacked around
me. I love the fact I don’t have to feel guilty taking time to read them
all at my desk. It’s tough being back at work eh?
Robert Munro ([email protected])is the general manager
of the Newspaper Advertising Bureau.
www.nabs.co.nz
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