This also marks the end of a bidding war in which the rivals became partners after all. Originally, the media company Tamedia also wanted to buy Publigroupe. Both Swisscom and Tamedia were primarily interested in Publigroupe's key asset, the local.ch directory platform. However, they then agreed that they would work together on the directory platform business and would therefore merge their information platforms. The new ownership structure will not affect the management and organization of local.ch, according to a Swisscom statement on Friday. However, the intended partnership in the directories still has to be approved by the competition authorities. Meanwhile, there are no reservations about Swisscom's purchase of Publigroupe. The Competition Commission (Comco) has given the green light.

214 Swiss francs per share

As of August 25, Swisscom was tendered 97.11 percent of all shares to which the offer related. In total, Swisscom owns 98.37 percent. Due to the high percentage of shares held, Swisscom will declare the shares not tendered to it as void and compensate the shareholders with CHF 214 per share. Swisscom will sell the media holdings still held by Publigroupe. The stake held by FPH Freie Presse, for example, is expected to go to the NZZ Group in the fall. Even before Swisscom's offer, Publigroupe had sold its problem subsidiary Publicitas. The buyer was the German investment company Aurelius. The sale was completed at the end of June and led to a huge loss in Publigroupe's half-year results, which were also published on Friday. Below the line, there is a gaping hole of 46.4 million francs. In the same period last year, the loss still amounted to CHF 9.5 million. At the operating level, however, Publigroupe returned to the black with a profit of CHF 1.6 million. In the same period last year, the company posted a loss of almost CHF 10 million.

At the operating level, however, Publigroupe returned to the black with a profit of CHF 1.6 million. In the same period last year, a loss of almost CHF 10 million was posted. The Search & Find segment, which also includes the directory platform local.ch, increased sales by seven percent to CHF 51.4 million. Operating profit (EBIT) doubled to CHF 9.4 million. For the year as a whole, the Group (excluding Media Sales, i.e. Publicitas) expects consolidated net sales of around CHF 150 million and an operating profit of around CHF 15 to 20 million. (SDA)

The Zurich-based communications agency has created an eye-catching visual for this, which will be used on posters, advertisements and postcards. In addition, the season magazine Winkel, also designed by Vizner Borel, is intended to ensure full auditoriums.

Responsible at Theater Winkelwiese: Stephan Roppel (overall responsibility), Andrea Schmid (dramaturgy). Responsible at Vizner Borel: Lajos Vizner, Guillaume Borel (overall responsibility), Florian Steiner (art direction), Martina Glaser (consulting). Photography: Linn Schröder/Ostkreuz (angle), Jonas Kuhn (poster, advertisements, postcards).

 

Whether in agriculture or construction, whether in a car repair shop or a mountain railroad: everything is becoming increasingly performance-oriented, trimmed to efficiency down to the last detail. Accordingly, it is important that vehicles of whatever type are always 100 percent ready for use. Motorex, the fresh oil refining company from Langenthal, has been ensuring for decades that technology never lets you down. Not only innovative lubricants contribute to this, but also employees who always give their all so that Motorex customers can give their best. This is exactly what the new international image campaign developed by Matter Gretener Lesch for Motorex dramatizes. In each case, it shows a pit stop familiar from Formula 1. However, the countless Motorex employees are not optimizing the performance of a racing car, but that of a tractor, an excavator or a snow groomer. In keeping with the new campaign claim: "Motorex. And it runs like clockwork."

Larger

Larger

Larger

Responsible at Motorex: Manuel Gerber (Head of Marketing). Responsible at Matter Gretener Lesch: Daniel Matter (Creative Direction), Dominik Imseng (Text), Caroline Jordan (Art Direction), Laura Haas (Graphics), Marcus Gretener, Ulrich Stauffacher (Consulting). Photography: Jonas Kuhn.

Most recently, Diego Quintarelli was responsible for the advertising market for regional media in German-speaking Switzerland at Tamedia and thus for the national sales of BZ Berner Zeitung, Der Bund, Sonntagszeitung, Tages-Anzeiger, Zürcher Regionalzeitungen and Newsnet as well as for the local sales team in Zurich. The 48-year-old previously worked for the Sonntagszeitung for many years, from 2004 as Head of Advertising Market and from 2007 as Head of Publishing. Diego Quintarelli's successor will be announced in due course, according to the press release.

Diego Quintarelli will become Sales Director and member of the Executive Board of Clear Channel Switzerland by March 1, 2015 at the latest. He will replace Thorsten Weber, who is currently leading the sales team on an interim basis in addition to his duties as Product & Infrastructure Director.

Jürg Rötheli, CEO Clear Channel Switzerland: "I am delighted that Diego Quintarelli will be joining Clear Channel in the coming months and that we will have such an experienced Sales Director on board. I am sure that, as a proven advertising and media professional, he will provide us with optimum support in our efforts to offer our business partners target group-specific advertising solutions. At the same time, I would like to thank Thorsten Weber already now for his commitment."

Diego Quintarelli: "I am convinced that out-of-home has great potential in times when many customers want to position their brands more emotionally. Clear Channel also has a team that is perceived in the industry as very service-oriented and dynamic, and I am very much looking forward to becoming part of this crew."
 

A new medium is slowly but surely becoming popular: video books. On August 28, the documentary "Carl Lutz - The Forgotten Hero" was broadcast on the SRF 1 channel. On the same day, the accompanying video book was also made available for download on the SRF website and via the app stores. This videobook is "not a second screen", but an independent format which, after the documentary, makes it possible to deal with a subject in a completely new dimension.

A video book is the platform for transmedia storytelling. This serves several levels, an entire universe that can be built around a story. "We can edit elements with content that cannot be told in a movie. Perhaps a scene had to be cut for dramaturgical reasons. This can then be reintegrated into the video book in the appropriate box. We can also record, integrate and deepen other content in the book in a different way," Patrick Müller and Robin Burgauer explain the concept.

The two work as managing directors at DOCMINE, a spin-off that was spun off from the Condor Films conglomerate by Thomas Sterchi in 2008 and has since grown into a company with ten employees. For the latest project, director Daniel Von Aarburg has now made a pilgrimage to DOCMINE with the story of Carl Lutz. It soon became clear that this material about a little-known refugee aid worker had much more to offer than a standardized documentary. The topic and the wealth of material turned out to be the ideal content for another video book.

Dramaturgy rearranged

"With a movie, you have to ask yourself: What do we tell in 50 minutes? The script has to reduce, condense and leave out an incredible amount. In a video book, on the other hand, we have the opportunity to do justice to the biography of Carl Lutz and all the people around him. We can integrate the story into an overall historical context," explains Robin Burgauer.

While the dramaturgy of a TV movie must keep the audience from zapping, a videobook, on the other hand, can awaken the audience's desire to switch to further immersion and "interactive browsing" at any time - in images, texts, film clips, supplementary interviews, historical documents or even music.

A conventional movie is linear. The videobook on Carl Lutz also has a linear structure like a timeline, because the most common arrangement of content in a videobook is also the "clothesline".

However, all of the elements in this section can also be consumed non-linearly. Ideally, the individual film segments are between 45 seconds and 3 minutes long. "Carl Lutz" is already the second videobook that DOCMINE has been able to realize as a supplement to a program on Swiss television. The premiere was a collection with a lot of additional material about the theme month "The Swiss". But DOCMINE's specialists have also brought the repackaged images to life for museums, commercial companies and organizations. "We have the vision that we can establish the genre," Patrick Müller and Robin Burgauer at DOCMINE are convinced. Publishers with a lot of content lying dormant in their archives could make use of the new medium. The traditional film scene can also find a contemporary way of interacting with the audience in video books in the future.

Under the roof of Tom Talent

Patrick Müller came into the business via the leading film school in Munich. He previously studied in Fribourg and worked for Radio Argovia. His first film job was at Zurich-based Condor in the corporate department. In 2002, Müller co-founded ican films. In 2005, he returned to Condor as head of the documentary film department. Here he completed the documentary film "Roger Federer - Replay". In order to properly "evaluate and accompany" this prestigious project, Müller hired Robin Burgauer for the project. He also studied media and communication science in Fribourg, with journalism and business studies as a minor. Robin Burgauer later came to film via the practical route. He made a TV documentary during his studies and later worked as an editor at the private broadcaster VIVA and for several years in another film production company. After the Federer project, Burgauer and Müller parted ways for a short time, only to reunite later when DOCMINE was restarted. This was during the phase after Thomas Sterchi sold Jobs.ch and shortly afterwards ended his three-year involvement with Condor. When he retired from the shareholders of the long-established film company, Sterchi separated Condor Documentaries from the company as a spin-off and changed its name to DOCMINE.

Since then, Tom Talent has been the name of Thomas Sterchi's innovative "talent promotion", which has spread from Berlin to Hollywood. Müller and later Burgauer followed him under this umbrella, which now includes numerous companies. Today, they both work as managing directors at DOCMINE. Patrick Müller on Seestrasse in Zurich. Robin Burgauer at a branch in Munich. There, Burgauer is responsible for the "Content Factory" with six employees. In Zurich, Müller manages production and customer development together with four people. A "film tent with freelancers" is set up and dismantled individually for each project.

DOCMINE develops and produces national and international documentary films for all formats and forms - from cinema documentaries to TV series and documentary fiction projects. "DOCMINE researches topics that are relevant, inspiring, universal and gripping," define the two film enthusiasts - who, however, have long since stopped conceiving their projects solely for the big screen and the TV screen. "We had to realize: It's hard to build up a company with documentaries alone," muses Patrick Müller. "Our market therefore had to become bigger, because too few programs are produced in Switzerland alone." In the wake of this realization, Robin Burgauer was sent to Munich to set up a branch in Germany. "That was just at the right time, when the tablet came onto the market and the first e-books became popular," Burgauer recalls. And with these two achievements, it fell like scales from their eyes: "Our market is not necessarily growing geographically - but our market is growing in the medium, in the breadth of content."

Tapping into new markets

"Conventional documentaries are limited to 52 or 90 minutes. Now, with the videobook, we have suddenly discovered a medium where we can delve deeper into the content. The playback medium can also be a tablet or smartphone." Two years ago, after returning from the summer vacations, it was therefore decided: "Now we're going all in on the video book. Since then, we've been knocking down a lot of open doors," Müller and Burgauer summarize. The company has grown quickly. Well-known customers in Switzerland and Germany already want to discover the new medium with DOCMINE. "It's like we've hit the right moment."

Reference customers include a Swiss TV marketer, for example. DOCMINE has implemented a sales app for this company. This replaces the good old PowerPoint presentation. The video book is only accessible to a small circle of the sales team. In contrast, a video book for the reinsurer Swiss Re is distributed as widely as possible. This app is part of the corporate publishing area, similar to a project for the renowned Goethe Institute. An e-learning book was developed for the Swiss Finance Institute. The new medium is, of course, a welcome one for museums. DOCMINE designed the digital, interactive program for tablets for the Pinakothek der Moderne in Munich and has been managing the app for a year now. An adaptation for smartphones is already being planned. Visitors can download such video books in advance to prepare for the exhibition. On site, the interactive book provides further background information on the exhibited objects. Afterwards, it becomes an attractive souvenir. Of course, this requires that the multi-layered content is not only creatively and attractively designed for the respective use, but also programmed accordingly and linked interactively.

In sync with such productions, completely new job profiles have therefore emerged at DOCMINE. "As filmmakers, we had to explore many new avenues in order to fully exploit all the possibilities of this medium." DOCMINE employs the same specialists for commissioned productions as for its own projects. "For commercial orders, we tend to realize individual solutions rather than video books. You could also call it interactive corporate publishing." Finding a common thread for the content applies to all productions. "Everything needs a good story and a structure. With the videobook, it has simply become more complex." The formal umbrella over everything is visual storytelling. "We come from the content and we think about how we can bring this together in a meaningful way - whether for a customer app or a video book. The story or message should be conveyed in the best possible way. With all the media we have at our disposal."

One example where DOCMINE was able to make optimal use of this "new narrative art" was last November's "The Swiss". In addition to the four historical feature films that Triluna produced for SRF, DOCMINE was able to contribute a video book with background information on the theme month. Patrick Müller and Robin Burgauer developed the idea for this addition together with Reto Hufenus from Publisuisse and presented it to those responsible at SRF. By "spinning on" the television evening, the viewers were not only given a lot of additional background information on Swiss history. The two main sponsors, AMAG and Groupe Mutuel, also found a grateful and sustainable platform for their cultural commitment in the video book. To date, "several thousand" "The Swiss" videobooks have been downloaded from the Internet. The videobook on "Carl Lutz" can now be ordered via the SRF website and the app stores. In order to popularize the new medium with as wide an audience as possible, the download is still free for the first fourteen days via the SRG website. Werbewoche.ch also has a link on how to download the otherwise chargeable video book about Carl Lutz onto your tablet.

Andreas Panzeri

The newly discovered hero Carl Lutz was responsible for one of the largest humanitarian rescue operations during the Second World War. As vice-consul, he saved tens of thousands from the Holocaust in an unprecedented rescue operation. The interactive video book accompanying the documentary "Carl Lutz - The Forgotten Hero" (SRF) traces the path of this extraordinary biography. The videobook sheds light on the eventful life of Carl Lutz and gives space and time to those who owe their lives to Lutz. Survivors from all over the world recall Carl Lutz's rescue operation and the turbulent events. Interactive graphics show connections, in-depth texts provide background information and picture galleries pay tribute to the amateur photographer Carl Lutz. The video book also contains the full-length TV documentary and can be ordered free of charge via the Werbewoche website using the web code on the right.

Free download of the video book "Carl Lutz - The forgotten hero" for readers of Werbewoche

Until September 15, you can download the videobook about Carl Lutz to your tablet free of charge via www.werbewoche.ch. The videobook normally costs CHF 15.00.

This is possible as follows:

1. about this link request a password free of charge.

2nd app in the App Store and log in with the password sent to you.

3. the videobook is available for free download after successful login. Due to the large amount of multimedia content, the download will take a few minutes.

 

The goal of the relaunch was to additionally increase the attractiveness for mobile branding campaigns by restructuring the Goldbach Mobile Network. During the relaunch, care was taken to ensure that the network properties would remain in place and that only platforms with a direct ad server connection would be listed as participants. In addition, well-known Swiss quality environments such as 20min.ch, Bluewin.ch, Watson.ch, Sport.ch or even Anibis.ch could be won as new partners for mobile. As a result, the reach in the three national regions of German, French and Italian was significantly increased on both smartphones and tablets. Goldbach Audience is thus able to deliver over 95 million ad impressions per month on mobile.

More attention thanks to new formats

In addition to the expansion of the network size, the variety of bookable formats was also expanded. In the area of standard sizes, the rectangle was introduced. This is intended to make it easier for customers who have previously only produced desktop ads to get started with mobile advertising. Innovative and easy-to-book impact advertising formats such as "Swipe Cube Ad," "Video Rectangle" and "Billboard Cube Ad" can now also play out the advertisers' message with increased attention.

Performance-based billing models for performance-oriented customers

In addition to the Goldbach Mobile Network, products that are billed by click or download can now also be booked with Goldbach Audience. Location-based advertising campaigns that access GPS data from smartphones expand the mobile performance product portfolio, which is rounded off by a second screen offering. "With this broad and market-oriented product range, we can offer both demanding mobile customers and mobile beginners an attractive and easy-to-book selection of different options," explains Alexander Horrolt, Managing Director Goldbach Audience Switzerland, the advantages that result from the relaunch for existing and new customers.
 

She will lead SRG SSR's coverage of the 2015 federal parliamentary elections (Werbewoche.ch reported). Jonas Projer has been working for Swiss television since 2006. He completed his SRF stint on "Schweiz aktuell" and worked on "10vor10", "Eco" and "Tagesschau", among others. In 2009, the 33-year-old took on the position of domestic TV correspondent for Zurich and Schaffhausen. In spring 2011, Projer became a foreign correspondent in Brussels and reported on NATO, the EU and the Benelux countries; his journalistic focus was on the euro crisis and Switzerland's bilateral relations.

On Friday, Jonas Projer will host "Arena" for the first time, and in November he will also take over the editorial management of the discussion program. Marianne Gilgen relinquishes the editorial management as she takes over the overall management of SRG's coverage of the federal parliamentary elections on October 18, 2015.

Jonas Projer: "I'm really looking forward to working on 'Arena' with a team that is as clever as it is creative. Over the next few months, we will be working on the planned relaunch of the format in addition to the weekly program. Our goal remains the same as before: a fair, exciting, informative and surprising discussion program that helps our viewers to form their political opinions. I look forward to this task with anticipation, but also with great respect."

Tristan Brenn, Editor-in-Chief TV: "Jonas Projer will be one of the youngest editorial directors in the history of SRF. I am convinced that he not only has the best qualifications as a presenter, but also as editorial director of 'Arena' to give the program a modern, credible face, also in view of the planned relaunch."

Hirschmann categorized more than 140 articles from 20 Minuten, BZ Berner Zeitung, Der Bund, Radio 24, Sonntagszeitung, Tages-Anzeiger and Tele Züri as infringing personal rights and demanded their deletion from the Internet and electronic archives before the Zurich Commercial Court. He also demanded full-page apologies from the media companies as well as compensation for damages and the surrender of the profits they had allegedly made from these articles. However, the Commercial Court largely rebuffed him: It only ruled in Hirschmann's favor on three articles. On all other points, it rejected the fallen jetsetter's claim. He is now appealing this ruling, as the Federal Court announced on Friday. Although the media company Ringier was also sued at an earlier date, it relented in 2012. It deleted all articles and printed apologies. In return, Hirschmann waived his financial claims.

Definitely one year imprisonment

The millionaire scion of the Jet Aviation dynasty is currently having little luck: back in February, the Federal Supreme Court rejected an appeal against his 12-month prison sentence. He will therefore definitely have to spend a year in prison. For sentences of up to one year, the sentence can be served in semi-prison. In this case, the convicted person can do a normal job during the day and only has to spend evenings, nights and weekends in prison. In the canton of Zurich, where Hirschmann is expected to serve his sentence, half-prison sentences are served in Winterthur. The Department of Corrections will not reveal whether he has already moved into his room there in order to protect his privacy.

In November 2012, the Zurich High Court sentenced Hirschmann to a partial prison sentence of 32 months, of which he must serve 12 months. At the trial in Zurich, Hirschmann admitted that he had forced a woman to have oral sex in a toilet and had sex with a 15-year-old girl several times. (SDA)

Image: Keystone

Barbara Mooser will be responsible for Computerworld magazine as Editor-in-Chief. After holding various professional positions (including Deputy Editor-in-Chief at Chip, Head of Copy at Computer Reseller News), Barbara Mooser joined Computerworld in June 2008 as Producer (Deputy Editor-in-Chief). In her new position, Barbara Mooser will join the management team of IDG Communications.

Sascha Zäch takes over editorial responsibility for PC Tipp as Editor-in-Chief and Producer, and in his role he becomes a member of the extended Executive Board of IDG Communications. Sascha Zäch joined IDG in 2002 after completing his studies. At PC Tipp, he was initially an editor. In 2007, he was promoted to Deputy Editor-in-Chief and Producer. Marcel Hauri will continue as Head of Editorial Online and, in consultation with the Editor-in-Chief, will be responsible for content on Pctip.ch as well as Computerworld.ch and continue to drive them forward thematically. As of October 1, 2014, David Lee will be responsible for Computerworld as a producer. David Lee already worked for IDG Communications between 2005 and 2013.

Hansjörg Honegger was a formative figure at IDG Switzerland for many years. After joining as a producer for PC Tipp in 2000 and his promotion to Deputy Editor-in-Chief shortly thereafter, he took over as Editor-in-Chief of the monthly publication in 2006. In 2007, he was additionally appointed Editor-in-Chief of Computerworld Switzerland, making him responsible for the editorial business of IDG Switzerland. As of January 2015, Honegger is venturing into self-employment as a partner at TNT-Graphics, based in Bassersdorf.

Codeframe specializes in web and application development. In addition to the Swiss team, a development team has been hired in Croatia. According to a press release issued by the agency, this allows it to offer fast and cost-effective project management for customized solutions in relation to web and mobile applications.

Since the launch of Openframe in 2012, the company has established itself. In addition to running ad operations for publishers and advertisers, Openframe acts as an independent consulting company for questions relating to technical implementation in online advertising. The existing offering and product portfolio are now to be supplemented by the founding of Codeframe. "Codeframe is the logical extension due to high demand for innovative web developments from our existing customers. With Oliver Milanovic, I was able to bring an experienced expert on board who has many years of experience in this field. In conjunction with openframe, we can now offer customers and publishers a 360° service," explains Oliver Anderegg, CEO of Codeframe.

Oliver Milanovic was most recently CTO at Instanz, a Publigroupe company. Prior to this, he gained a wealth of experience in web development and mobile app programming in various roles.
 

Cornèr Bank has been involved in sport for years: Nino Schurter, Fabian Cancellara and Giulia Steingruber are Cornèrcard figureheads. Belinda Bencic is a new addition. "We have produced an elaborate TV commercial with Belinda, which will be shown on TV and in all Valora kiosks from late summer 2014," said Covermedia in a press release on Thursday. The realization of this production was a real challenge for everyone, it continues, as shooting dates with the tennis player, including the staff, were hardly possible.

To the spot
 

Researchers from Neuro-Insight, MEC Australia and Seven Network use brain activity analysis to show that the simultaneous use of social media and TV leads viewers to engage even more with TV content - good news for program makers and advertisers.

In the multiscreening age, it is commonplace for many consumers to use social media while watching TV. It is therefore important for TV broadcasters and advertisers to know whether this parallel use distracts viewers from the TV program or has a complementary, positive influence. The Australian research team investigated this question on a neuroscientific basis. 36 consumers between the ages of 18 and 32 took part in the study. Spread over four evenings, the test subjects each watched a 35-minute episode of the TV show "X-Factor" in a setting close to everyday life. At the same time, they were able to use social media on their smartphones and tablets without any restrictions. During the sessions, the participants' brain activity was measured using electrodes. The focus was on the areas of the brain that reflect consumer engagement (= personal relevance of the content received). Previous studies have made it clear that this engagement is closely linked to long-term learning processes and therefore to consumers' purchasing behavior. At the same time, the use of the mobile devices was recorded via a synchronized camera. Compared to traditional surveys and observational studies, this method has the advantage that it firstly recognizes cognitive activities that take place subconsciously, secondly enables a synchronous analysis of both screens in real time and thirdly examines the viewers in a realistic situation.

First of all, the study shows that consumers accessed their mobile devices an average of 4.25 times during the 35-minute TV episode. On average, these Screen 2 episodes lasted 45 seconds each. 76 percent of the episodes took place during the TV program, 24 percent during the commercial breaks. According to the study, consumer engagement increases significantly during Screen 2 episodes. During the parallel use of social media and TV, engagement is 35% higher than during pure TV use, which directly precedes the Screen 2 episode (0.87 compared to 0.64). So what happens when attention shifts back to TV? This shows that Screen 2 episodes have a positive effect on TV engagement. In the first 60 seconds after the parallel use, the measured personal relevance drops to the level that was given on average before the parallel use (0.66). However, TV viewer engagement then increases by 9 percent (0.72).

In the short term, the use of social media has a positive effect on viewer engagement. But how does it behave over the entire 35-minute TV episode? Past analyses by Neuro-Insight have shown that the engagement of TV viewers usually decreases with increasing viewing time - in other words, a habitualization effect occurs. In the current study, the occasional parallel use of social media and TV counteracts this habitualization effect. Compared to the values that are usual for primetime programs when only TV is watched, the engagement values were 26 percent higher.

Clemens Koob