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Yamaha Motors

With Yamaha Marine, your love of exploration will propel you to discover every inch of the sea.

Advertising Agency:DLV BBDO, Milan, Italy
Executive Creative Directors:Stefania Siani, Federico Pepe
Associated Creative Directors:Valentina Amenta, Davide Fiori
Art Director:Davide Fiori
Copywriter:Valentina Amenta
Illustrator:LSD
Accounts:Domenico Grandi, Neli Mechenska

Venables Bell & Partners have released a new, celebrity-packed spot for the release of the new Audi A3 entitled “Dues.”

The 60 second spot features celebrities reciting lines from Queen’s ever-popular “We Are The Champions,” inclduing comedian Ricky Gervais, chef David Chang (of Momofuku fame), photojournalist Lynsey Addario, comedian Kristen Schaal, gold medal winning boxer Claressa Shields, street artists Cyrcle, and inner city church choir Voices of Destiny. Lines to Queen’s anthem are delivered as a means of expressing the uncompromising nature of those who never settle, interspersed with shots of Audi’s latest in action and easing into Audi’s “Whatever you do, stay uncompromised” tagline. Between the bevy of celebrities and the instantly recognizable (and arguably overused) Queen song, the spot should succeed at getting people’s attention.

VB&P’s campaign extends the star power beyond the “Dues” spot, through an online video series called “Uncompromised Portraits” on Audi’s YouTube channel. Some highlights include “Names,” in which a child in the back seat reads mean tweets aloud to Gervais (highlighting the A3′s 4G LTE connectivity), and “Touch,” featuring David Chang showing off the vehicle’s MMI® touchpad with handwriting technology. It’s a clever extension of the campaign that does a lot to highlight the A3′s new features, and in the case of “Names” is arguably more entertaining than the television spot. You can watch “Names” below, and stick around for “Touch” after the jump. continued…

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Site-side analytics are systems employed by site publishers — from news outlets to ecommerce sites — to track user interactions on their sites. Among the most common site-side analytics platforms are Omniture, Google Analytics and Webtrends. These systems measure the number of pageviews generated by users, the amount of time they spend on the site, and other interactions such as whether they clicked to learn more about a product. Such information can be used to customize content delivered to particular visitors, and ensure sites are running properly and are well-optimized for user traffic flows.

Jennifer Shadi, partner, director, lead digital strategist at MEC on site-side analytics:

With site-side analytics, the data is oriented around the activity on the owned site property, facilitating analysis from a user-experience standpoint. Metrics are based on two parameters: volume, which consists of visits and pageviews, and rate measures, which includes bounce rates and content consumption per visit.

Continue reading at AdAge.com

With the launch of the much-awaited first person shooter game, “Titanfall,” Electronic Arts hoped to engage with its audience in ways it hadn’t done before. It would be hard to overestimate the importance of Titanfall to both EA and to Microsoft’s Xbox One, which is trailing Sony’s Playstation badly in sales.

We talked to the person behind “Titanfall” marketing, Carolyn Feinstein, SVP of global consumer marketing for EA. Ms. Feinstein will tell us more at Ad Age’s Digital Conference April 1-2. Until then, here’s an edited transcipt:

Advertising Age: What was your approach with the marketing of “Titanfall?”

Continue reading at AdAge.com

Well, touché. In case you need a refresher, less than a month ago, we received our usual monthly op-ed from Huge, this time from Andrew Kessler, founder/CEO of Togather, a startup out of Huge Labs. Kessler, whose Togather operation serves as a platform that helps clients deploy event marketing programs with “the same control and measurability of a digital ad buy,” seemed to have sounded the death knell for experience marketing. Well, someone has taken issue, namely Eric Murphy, former VP of marketing/promotions at RCA Records who’s now head of his own experiential/music marketing agency, Pop2Life. Murphy has taken some issue with Kessler’s piece as you’ll see below. Carry on, sir.

“The ‘experience marketing’ trend is close to extinction.” -Andrew Kessler, founder/CEO of Togather

I’ll be honest. When I first caught wind of Kessler’s Op-Ed piece, I wanted to punch him in the face. After all, he was basically labeling the very thing that’s made my agency successful a joke … a waste of time and money. Or more specifically, nothing more
than a “dazzling physical installation,” heavy on pointless, big-budget items like “colored lights, a giant logo,” lots of “freebie swag,” and little more to measure success than a fuzzy count of gift bags and “total impressions.”

So I put on a Jason mask™, gathered a few key clients, and headed over to Kessler’s house with a truck full of colored lights and giant logos.

Just kidding.

Actually, I channeled that initial surge of outrage into some deeper thinking about how and why someone as intelligent and successful as Andrew Kessler would conclude that the best possible outcome of experience marketing was “a large crowd … lots of
product interest … [and] photo albums of smiling fans.” (Which frankly is what a lot of brands hope to accomplish with the majority of their marketing efforts, experiential or otherwise. More on that later.)

To be fair, Kessler posed some worthwhile questions regarding the value and impact of experience marketing campaigns:

-”Are we providing the right kind of value to give us a return on brand favorability?

-”What kind of action did this drive?

-”Can we deliver an experience that also lives beyond the actual event?”

All of these are excellent questions. Every marketer worth their weight in swag should apply them to every marketing investment they make. Still, proclaiming the pending extinction of a species [of marketing] that, when done right, checks off all four boxes of the ubiquitous “AIDA” acronym (Awareness | Interest | Desire | Action)  with a big fat marker seems … well … a bit un-evolved.

Here’s why.

continued…

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Jaywing, the agency known as 20:20 Group until last year, has bought the search agency Epiphany in a £18 million deal.

Pop Chart Lab makes some impressive taxonomy charts. Following last year's complete taxonomy of college sports mascots, the poster company has turned to everyone's favorite subject—alcohol—for its latest mind-boggling creation: The Magnificent Multitude of Beer.

Click over to the site to zoom in and scroll around the comprehensive chart. It's organized by varieties of beer, with examples of brands for each type. Says the company: "This wall map is the most complete charting of beer ever, breaking down ales and lagers into over 100 delicious styles from hoppy IPAs to fruity lambics, and including over 500 individual beers as notable examples of each style as well as glassware recommendations."

The 60-by-40-inch poster can be yours for $76.

As interest in content marketing swelled over the past few years, old-schoolers have struggled with the urge to turn out thinly disguised advertorials, or to spike helpful content with vinegary product placement. Transparency is something they have tried to avoid.

But this approach doesn’t work well in a world ruled by the social-media-empowered masses. We saw a number of early brand publishers burn money on self-centered social campaigns with very thin content. Smart brands like Mint and American Express acted less selfishly, creating content that people loved.

Many marketers and publishers argue that native ads should look as much like editorial content as possible, with the brand identified at most by a small text disclosure at the top of a page or an icon in the footer. But some think brand-sponsored content should contain design traits like different fonts and backgrounds that tell consumers who’s behind the content.

Continue reading at AdAge.com