Hasta La Creative!

The Burson-Marsteller initiative, which begins Monday, includes meetings of thought leaders, a revamped employee training program and a worldwide strategic leadership team.

Silenciosamente, o Instagram eliminou do aplicativo – apenas iOS, por enquanto – a opção de desabilitar o auto carregamento de vídeos. Isso significa que, a partir de agora, os filmes de até 15 segundos iniciarão automaticamente.

Você pode escolher para que aconteça apenas se estiver conectado em Wi-Fi, economizando assim os dados 3G, mas não existe mais a opção de evitar o auto-play indefinidamente. A última atualização do app é a 4.2.2, que diz ser apenas “correção de bugs e melhorias de performance”.

Essa medida tem um objetivo claro: garantir o máximo de visibilidade aos futuros anunciantes do Instagram.

Como a empresa recentemente anunciou, o início das primeiras veiculações publicitárias deve acontecer nos próximos meses, com fotos e vídeos “bonitos e de alta qualidade” publicados por marcas selecionadas.

Apesar do carregamento automático de vídeos, agora compulsório, a publicidade no Instagram poderá ser fechada pelo usuário e marcada como irrelevante, de maneira similar ao que faz o Facebook.

Post originalmente publicado no Brainstorm #9
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Editor’s note: Please welcome Annie Heckenberger of Red Tettemer O’Connell + Partners to AdPulp. Her first post is a “get to know me” piece and an excellent intro to her fast moving world.

I have this favorite childhood memory. Every Friday afternoon in the summer, my best friend’s mother would drive my best friend, her younger brother and me to the Atlantic City train station to pick up their dad. We’d bypass a ground level platform in front of the station, the four of us walking through overgrown weeds, gravel and wildflowers along the tracks until we found the perfect spot.

My friend’s mother would give each of us a penny or a quarter and we’d carefully climb over and place each of our coins on a rail of the track. Then the three of us would step back, away from the tracks, and wait.

The anticipation was overwhelming.

We felt it coming on the ground before we could even see it. Tremors shook under the soles of our summer sandals, reverberating up through our knobby knees. Then the noise. Suddenly, like a mirage, we’d see a massive locomotive racing toward us at a speed collected over some 360 miles. Our mighty 60-pound frames blew back a bit and we were warmed by gusts generated by this beast as it pulled ahead into the station.

When my friend’s mom gave us the ok, we’d race to the tracks to find our coins. And there they were, pressed by heat and power into something completely new. Flat and big and warm to the touch. The shape and image different each time. We’d race to the station to show our friend’s dad what we created. And on those Friday nights, we’d sleep soundly with our hands wrapped around flattened coins under our pillows. We had made something, both story and product.

That’s what working at Red Tettemer O’Connell + Partners feels like.

Every day there’s that anticipation and the question, What am I going to make today? Sometimes the creative opportunity is as big as a locomotive and has that kind of beastly power behind it. Other times it’s that perfectly pressed and shaped penny. Nearly every time it blows you back a little with its force.

We’re an agency in the moment right now. You know the moment. It’s that twinkling second when an agency goes from mid-sized to well, more, and everything is changing so fast that the frame is blurred.

Some of this rapid acceleration may be because the industry landscape is shifting relentlessly. Creative thinking and content is needed across platforms at a speed like never before. Social media equals deliverables times infinity. The content hole will never be satiated. You will feed the social content beast forever. And when you best it, you will be bested. That’s the game.  Get in or get out, ad world.

We believe that the best creative comes out of collaborative teams. As such, art directors and writers and creative directors and developers and production and social and digital strategists and media planners all work together at RTO+P. Always. And we silently thank Buddha, Jesus and even Elvis each night for the badass account people who advance us while keeping it all together.

I’m not going to get all kumbaya on you about this. The real skinny on working at a creative agency during a period of immense growth and momentum is that you might feel more like the conductor driving a train than the childlike observer. There’s a tremendous amount riding on your performance. Every ride is weighty regardless of the distance traveled. And the hours might break you, if the breakneck speed doesn’t clobber you first.

But the thing is, the anticipation is overwhelming. We share a common drive to get up, get in and get it done like it’s never been done before.

And on the best days, you can still feel it in your knees.

The post Crushing Copper with Annie Heckenberger appeared first on AdPulp.

Com valor de mercado estimado em 2.5 bilhões de dólares, o Pinterest começou hoje sua tentativa de fazer dinheiro.

Com a opção Promoted Pin, a rede social passou a permitir que as marcas coloquem seu conteúdo em destaque, ao lado de outros pin’s regulares do feed de um usuário. Funciona da mesma maneira que o Promoted Tweet do Twitter, mas aqui o post patrocinado é identificado por um ícone de exclamação. Ao passar o mouse, um texto explica o formato.

Ben Silbermann, CEO do Pinterest, explica que por enquanto não há cobrança das empresas que queiram testar o formato. Nessa fase beta, querem ouvir as opiniões dos usuários para tornar a publicidade no site relevante e não invasiva.

É a hora da rede social, tão hypada no começo, mostrar que vale tudo o que as previsões alegam.

Post originalmente publicado no Brainstorm #9
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A new feature, See It, is meant to make it easy to move from reading comments about a show to watching that show.

The sweet, innocent ideas and ruthless power plays that created Twitter.

Burt’s Bees and its agency Baldwin & are having fun with Instagram and Vine (as it should be).

The company is using stop-motion animation to create uber-abbreviated versions of classic novels. In Little Women, for example, one Civil War-era lip balm woman says to another, “We really are quite little.” “And each of us women,” her sister replies.

According to Marketing Daily, these new Vines are being staged by Jethro Ames, in San Francisco. Ames needs about four hours to shoot each six-second spot, after which it must go live or be discarded. No post work is possible.

Burt’s is also rolling out an Instagram campaign, featuring the company’s reclusive founder, Burt Shavitz in backwoods Maine.

The post Burt’s Bees Hawking Its Wares on the Corner of Instagram and Vine appeared first on AdPulp.

For the first time, Burt’s Bees is promoting its seven mainstay, “classic” products as a group. These “classics” include Beeswax Lip Balm, Coconut Foot Cream, Shea Butter Hand Repair Cream, Hand Salve, Lemon Butter Cuticle Cream, Almond Milk Beeswax Hand Cream and Res-Q Ointment. To promote their classic lineup, Burt’s Bees is reinterpreting a few classics in a new format. Burt’s Bees and agency Baldwin& are using 6-second stop motion animated Vines interpreting seven classics of literature: Little Women, 20,000 Leagues Under the Sea, Gulliver’s Travels, Metamorphosis, Moby Dick, The Scarlet Letter, and Julius Caesar.

The humorous Vines highlight the time-tested nature of Burt’s Bees products, suggesting they will last as long as the classic literature they pay homage to. Of course, Burt’s Bees products are actually featured in the Vines, such as the lip balm in “Little Women” who declare “We really are quite little. And each of us women.” These classic vines are staged by Vine animator Jethro Ames of San Francisco, using in-camera stop-motion shooting for each Vine. The process takes about four hours to complete, with no post-production possible.

The first two “Classic Vines” to roll out are Little Women (featured above) and 20,000 Leagues Under the Sea (featured after the jump).” In a small, prequel campaign that marries the new and the classic in a different way, founder Burt Shavitz will post about his backwoods Maine life on Instagram. This “Classic Burts” campaign contrasts a classic, traditional lifestyle with the hustle and bustle of modern social media, such as a photo of Burt splitting logs with the caption “Innovative home heating system.” This campaign from Baldwin& is refreshingly non self-serious and makes sense for a company whose selling point is that they make a no-frills, quality product out of classic materials. We’re guessing it didn’t exactly break the bank either. continued…

New Career Opportunities Daily: The best jobs in media.

Speakers at an annual conference said the pace and scope of technological and societal changes required what one called a “constant reinvention” of the marketing process.

What business goals can social media help your company achieve?

Brand exposure and increased engagement are workable goals. But what about customer service? Is this opportunity woven into your social marketing strategy?

Mike Proulx, senior vice president and director of social media at Hill Holliday, says, “Far beyond a clever tweet, people want great products and service, and they want to feel heard.”

I agree. But do we have any data on this? Decision makers need data!

Forrester’s Nate Elliott, for one, is lending a hand.

The average online American fits into Forrester’s ‘Social Snackers’ category — they don’t shy away from social interactions with brands and companies, but neither do they frequently seek out such interactions. Marketers targeting this audience should treat social tools as a secondary, rather than a primary, part of their marketing plan.

Are your customers and prospects social snackers? The probability is high. But they may fall into one of Forrester’s other categories: Skippers, Savvies or Stars.

Back to Proulx’s contention for a moment. I agree that people want to be heard and cared for by customer service reps, online and in person. But how does this jive with Forrester’s Snacker persona? Do Snackers, who are in the majority, want deep engagement with brands they follow online? I think the answer is yes, but only when it matters. When there’s a billing dispute or a service error of some sort, it matters.

Given how many of us are Snackers, what are brands are doing all day, every day in social media channels?

There’s no doubt that the chance to add value is there, staring every brand in the face. But effectively delivering on the promise of SMM means coming up with the perfect mix of social updates for your clearly identified audience (see above) — say 30% brand building, 50% conversational/relationship building, and 20% promotional, or whatever ratios your market situation calls for.

One pro who knows what the situation calls for is Pete Blackshaw, global head of digital marketing and social media at Nestlé.

People tend to romanticize social media, fans and followers, but there are some really difficult operational questions that need to be asked. How do you ensure you’re properly staffing and resourcing and responding, and doing so 24/7? And with nearly 170 million fans across over 750 brand pages on Facebook alone, this is no easy task.

…Social media is a reflection of brand love, or in some cases issues that people have with brands. It’s kind of a mirror into brand equity, brand performance, brand reputation. The question is, to what extent will the brands proactively manage it or seek to amplify it?

The big takeaway here is the need for rigor and discipline in social media marketing. That’s what clients like Nestlé who spend tens of millions on social media marketing demand and deserve.

Previously on AdPulp: Brand Babble Is Social Media Pollution

The post Understanding Online Behavior Is The Screw That Tightens SMM Strategies appeared first on AdPulp.