Hasta La Creative!

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LONDON – Hip hop band Public Enemy have raised £30,000 from the public in just two weeks and will put the proceeds towards funding their next album.

The recession has either changed the way advertisers do business or has forced us to reevaluate the ways in which we do business. The focus has shifted to the effectiveness and efficiency of an ad campaign rather than stressing the  campaign or ad variables such as reach and effective frequency.

If you work in a media department, then measuring effectiveness and efficiency is something you’ve likely done for years with little to no fanfare from the client side. Well, the climate’s changed, and clients are concerned more than ever — with good reason — that their ads and campaigns meet efficient, effective, and measurable goals. Their priority is to connect with the target audience in a manner that’s more in-tune with a reduced budget. Clients are are requiring or searching for agencies capable of providing campaigns that work harder and smarter.

In addition, advertisers (namely P&G and Coca Cola), have instituted Value Based Compensation (VBC)  arrangements made up of a pay-for-performance (P4P) layout that can be attained in addition to a base fee.

The Nielsen Company has just announced that a new software product, Rapid Campaign Evaluation (RCE), a fast and inexpensive means to review ad performance in just over a week. Due to the costs incurred when an ad or campaign is launched, RCE will give agencies information quickly so as to allow them to respond in an appropriate manner.

Richard Reeves, associate director of Consumer Research Services at the Nielsen Company, notes an agency not only will have the ability to evaluate their own endeavors but the ability to evaluate their competitor’s as well.

“Whenever a new commercial is executed,” Reeves says, “there is always that element of anticipation about how it will perform in the ‘real world.’ If it’s a competitor’s ad — you are usually left worrying about the damage it will do to your brand.”

RCE was designed and tested in Australia to measure the strength (or weakness) of TV spots. How many people saw or heard the ads or whether the audience was able to determine the advertiser and the take-away message will provide advertisers with almost “real-time” data they can then use to readjust their tactics such as:

• An ad that performed strongly may provide justification to increase spend.
• An ad with mediocre results could be re-edited to clarify the brand message and increase brand cues, or it could be taken back into qualitative research for fine tuning.
• An ad can be created or ad spend can be increased if RCE showed strong effectiveness measures for a competitor’s ad.

In just over a week, agencies will be able to view data in order to evaluate effectiveness or lack thereof, ensuring clients get the biggest bang for their buck.

While advertising “gurus” have bandied back and forth as to the fairness or plausibility of the VBC model, companies, such as Coca Cola, have already put it into action. In truth, it’s the most equitable payment arrangement; agencies require media vendors to prove their performance. Why shouldn’t clients require the same from their agencies?

Nielsen’s new software is just another step in the ongoing evolution of the industry.

Jeff Louis has over ten years of brand-building, media strategy, and new business experience. His passion is writing, while his strong suit seems to be sarcasm.  You can follow Jeff on Twitter or become a fan on Examiner.com.

NEW YORK (AdAge.com) — Nielsen executive, book author and Ad Age columnist Pete Blackshaw is astounded by the number of brand managers who still have no coherent strategy for dealing with negative blog posts. The customer service guru was keynote speaker at the Children's Advertising Review Unit Conference. But during the Q&A, audience members seemed more interested in tips about how to deal with negative blog posts — than children's advertising issues.

LONDON – Consumers continue to move online for news, with nearly all national newspaper websites showing growth in traffic year on year in September.

LONDON – Despite the two-day postal strike causing major disruption to deliveries, Media Week readers will still be able to obtain the latest edition of the magazine via a new online service.

SAN DIEGO – ‘The Best Job In The World’, a multi-award winning campaign for Tourism Queensland, has bagged another honour, this time at the Direct Marketing Association USA’s 2009 International Echo Awards on Tuesday night in San Diego, California.

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Brett Foraker has directed the latest campaign for the French Environmental Agency, Ademe, featuring an individual’s ‘rubbish’ monster that follows them around as they go about their daily routine. The 3 x 30 second commercials; ‘Supermarket,’ ‘Compost’ and ‘Office’ were produced by Julie Mathiot at DDB Paris and Jerome Denis at Wanda Productions. MPC was involved from the outset; completing concept artwork, early look development and ultimately designing the final CG rubbish monsters. The monsters represent the huge amount of rubbish produced each year by the average French citizen, and how, by making the right decisions, their output can be significantly reduced. The design and look of the monster was carried out by MPC’s concept artists Andrew Brooks, Charlotte Tyson and Andrei Ryabovichev under the direction of Brett Foraker. MPC’s Art Department carefully developed the character’s facial features and body to allow for complete freedom of movements during the animation process. Once the concept was signed off, MPC’s 3D team lead by VFX Supervisors Vicky Osborn and Dean Robinson started modelling and texturing over a hundred photorealistic CG rubbish elements that would form the body. One of the main challenges for the 3D team was integrating the rubbish within the monster in a fully dynamic way. To achieve this, the team opted to create a fur based under-mesh and attach the rubbish to the individual hairs. This approach allowed the garbage to react naturally as the monster moved around its environment. Michael Gregory and Alex Harding led the 2D team who was responsible for seamlessly compositing the monster within the live-action world and achieving total realistic integration.

Advertising Agency: DDB, Paris, France
Creative: Volker Gerh, Rodolphe Hirsch
Director: Brett Foraker
Agency Producer: Julie Mathiod
DoP: Marcel Zyskind
Production Company: Wanda Productions
Executive Producer: Jerome Denis
Editor: Adam Rudd @ Final Cut
Post Production Company: MPC
Post Producer: Jay Lichtman
VFX Supervisors: Michael Gregory, Vicky Osborn and Dean Robinson
3D VFX Team: James Bailey, Anthony Bloor, Jason Brown, Daniel Elliot, Carsten Keller, Marco Kowalik, Vicky Osborn, Simon Payne, Dean Robinson, Wayne Simmons, Roman Vrbovsky, Grant Walker, Ben Wiggs
2D VFX Team: Steve Davis, Michael Gregory, Alex Harding, Alasdair McNeil
Concept: Andrew Brooks, Charlotte Tyson and Andrey Ryabovichev
Telecine: George K

LONDON – Argos is to carry out a refresh of its visual identity.

LONDON – The biggest daily, weekly, online and broadcast media brands in the lives of Europe’s business elite are the Financial Times, The Economist, Harvard Business Review and Sky News respectively, according to the 2009 BE: Europe survey.