The restructuring is associated with an expansion of personnel so that the company can be even better anchored in the wider Swiss region. The increase in personnel comprises on the one hand the expansion of the management and on the other hand the expansion of the field service for the acquisition of orders. Harald Fessler and Pietro Lira, owners of the companies IMSAG Gesamtanbieter für Medien und Print, have joined the management team.

Harald Fessler and Pietro Lira, who have many years of experience in the printing industry, will share the management with Alfred Lampert until the succession arrangement with sons Andreas and Tobias Lampert has been completed. With Marcel Herzog and Roman Blaser, two sales representatives have been recruited for the first time in the 32-year history of Lampert Druckzentrum, who will acquire customer orders in Switzerland. Customers from Liechtenstein will continue to be served by Moritz Walser, Matthias Märdian, Alfred Lampert and, as a new addition, Tobias Lampert. In addition to the expansion of the management team and the field sales force, the other departments of the print shop have also been supplemented with specialist staff, which means that the print center has been strengthened by a total of seven people as of June 1, 2014.

The new team for more customer proximity and better services: (from left) Moritz Walser, Matthias Märdian, Harald Fessler, Tobias Lampert, Alfred Lampert, Marcel Herzog, Pietro Lira and Roman Blaser.

Although the Swiss print media have lost considerable advertising revenue in recent years, they still lead the revenue rankings by a wide margin. With a turnover of over CHF 1.6 billion, the press remains the most important advertising category in Switzerland. It has more than twice as much net advertising revenue as television, which generated a total of CHF 749 million. In the perception of many people not familiar with the industry, print media advertising turnover is rarely rated so highly. This may be due to the fact that advertising in print media is spread across a media landscape of around 800 advertising-relevant titles and is therefore perceived as far less dominant. Surveys on advertising acceptance also show that advertising in print media has a significantly higher level of acceptance than advertising on TV or online advertising, for example.

Of the most advertising-intensive product groups in Switzerland, it is primarily the major distributors, economic campaigns and the education, watches/jewelry, finance and furnishings sectors that rely on print to an above-average extent. Their print shares of total advertising sales are over 60%. These figures come from Mediafocus 2012 (Swiss Advertising Statistics does not collect industry information). Despite their clear lead, print media are currently losing the most of all major media types. Compared to the previous year, they have recorded a loss of 9.4%, which corresponds to CHF 168 million and is more than the entire radio turnover in Switzerland. Classified ads, especially job advertisements, were partly responsible for the decline in recent years. With a share of 13.2% of total daily press sales, job advertisements in 2013 are at their lowest level since the Swiss advertising statistics were first compiled (1986). In the record year 2000, job advertisements accounted for more than 25% of total daily press sales, and for the major newspapers this figure was significantly higher. Tempi passati. Nevertheless, last year job advertisements appeared for over 110 million francs. This would make this "industry" one of the top ten advertisers in Switzerland.

The drop in sales in the print media does not affect all titles equally. At 16.8%, the daily press I category (large daily newspapers) lost the most compared to the previous year. Medium-sized newspapers suffered only half as much, with a drop of 7.9%, while local and regional newspapers even managed to gain ground in 2013 with an increase of 10.3% compared to the previous year. Despite the internet, the credo "all business is local" still seems to be true here. Ultimately, this category is also far less dependent on classified ads. Here is a look at the net advertising sales figures for the other major media categories. Direct advertising is in second place in the advertising turnover ranking with CHF 1.086 billion (plus 6.9%). Addressed direct advertising accounts for around 80% of total DM expenditure. Television advertising follows in third place with a turnover of 749 million (plus 3.1%). 50% of TV revenue (including TV sponsorship) is attributable to SRF's public broadcasters and 50% to foreign advertising windows and private Swiss broadcasters.

Out-of-home advertising is in third place with a turnover of 565 million (minus 0.4%). Analog poster advertising still accounts for 58% of total expenditure. The big unknown in the Swiss advertising statistics is online advertising. The published turnover figure of CHF 642 million is an estimate and is therefore not included in the total advertising expenditure. The Foundation's attempt to record and publish the net figures for display advertising in the same way as the other media types has unfortunately failed due to the unwillingness of website operators. But hope dies last! In the interest of transparent sales figures that effectively reflect the advertising market, accurate publication of advertising sales for all media types is essential.

Net advertising expenditure for 2013 totaled CHF 4,209 million. This means that advertising investments were 1.7% below the previous year. The positive development of the gross domestic product (GDP) of plus 1.0% was therefore not reflected one-to-one in net advertising sales.

Otto Meier

Swiss Advertising Statistics Foundation
 
The Swiss advertising statistics provide information on the net amounts that advertising clients have invested in distributing their advertising messages in the most important advertising media (distribution costs). In contrast to the advertising pressure figures from Mediafocus, the Swiss advertising statistics only include the actual sales invoiced. These are net customer sales after deduction of discounts. Commissions such as BK and JUP are not included. The costs for consulting, conception and creation of advertising are not measured. The Foundation has commissioned WEMF AG für Werbemedienforschung to collect and publish the Swiss advertising statistics. The results are available in the form of a brochure or can be found at www.werbestatistik.ch. 
 

Renowned photographers will show their best reports on "Tages-Anzeiger online" and the Newsnet partner sites and comment on them in their own words. The aesthetic quality of the pictures is not the only thing that counts, according to a press release issued by the Tagesanzeiger on Thursday. The story behind them is of central importance. Project manager Lea Koch has produced the first edition of "Soundslides" together with her colleague Melanie Finschi. Their goal is to make the photo reports an all-encompassing experience for users.

"Soundslides" starts with the reportage "Living and Dying in Haiti", which Helmut Wachter photographed in touching pictures and commented in impressive words for the user community. Helmut Wachter has specialized in portrait and reportage photography for 13 years. The trained architect and co-founder of the agency "13 Photo" visited Haiti in the summer of 2013. What fascinates him most about photography is "that I can be part of the action and yet not have to belong to it.

The new "Soundslides" format deliberately sets a counterpoint to the usual online genres, the statement continues. "We are using it to create a place of concentration on our websites," says Michael Marti, head of digital at "Tages-Anzeiger" and head of Newsnet. "The 'soundslides' are a kind of peekaboo that allows users to immerse themselves in a story without being distracted or irritated."
 

At a time when the boundaries between classic advertising and digital communication are becoming blurred, there is a risk of disorientation. In an age of growing communication channels and ever more new devices, the evaluation of strategically correct touchpoints and their intelligent networking is "of central importance," according to the Noise website. 13 specialists work in this agency. Patrik Giacobbo has also been back on board for a few months. The pioneer from the world of the Internet is to further expand Noise's competencies in the digital field for the future. As a sparring partner on the creative side, he can rely on the classic support of CD Andreas Mädler.

With its three core competencies of consulting, digital and creation, Noise already has a high level of technological expertise. "We have the experience to be able to develop special solutions that are suitably tailored to new challenges and requirements," knows Patrik Giacobbo. Innovative and creative use of media to strengthen brand relationships is already an important credo. "But this will become even more important in the future," Noise is convinced. Convergence as the key to success creates measurability, efficiency, effectiveness, added value and retention. To achieve this, a perfect interplay of strategy, creativity and technological knowledge is a prerequisite. A combination that is also perfectly reflected in the professional career of the new Managing Partner Digital.

The crazy time around the hype

Patrik Giacobbo started out as a photographer. In the 1980s, he attended the photography class at the Zurich School of Applied Arts, as it was still called back then. After graduating, he was well stocked with interesting jobs as an advertising photographer. Nevertheless, he wanted to broaden his professional horizons. In the 1990s, he found his start as a graphic designer at Wirz Interactive, one of the first agencies in Switzerland that dared to fully embrace the future of digital advertising. "That was an exciting time, because everything was still completely new in the Internet sector. We were living in the big hype even before the bubble. We didn't know what exactly was coming. But we were sure that online would become very important," Giacobbo recalls of those pioneering years.

The Net and other digital media such as the CD-ROM - a forerunner of today's USB sticks - offered creative space for what were then "crazy" premieres of new ideas. But the technical innovations were also a playground for autodidacts. "There was no training yet," Giacobbo looks back. Back then, no one was talking about today's hyped "cross-media " advertising either. "People didn't look at anything integrated yet. We produced a CD-ROM with digitally controllable content, alongside it we did below-the-line campaigns and our colleagues ran classic advertising. Integrating the different channels came much later." Even today, three years after the advent of QR codes, many agencies and clients would still be far from fully exploiting the technical possibilities. "After all, it's not yet a cross-media idea if the classic posters are also shown once again in online advertising. New interactions have to come into play here."

Patrik Giacobbo experienced this specialization around the beginning of the new millennium. With the new era, Wirz Interactive also became the new company Assai Dialog + Digital, and Giacobbo was able to take on responsibility as Art Director. Among the biggest clients were Saab and Opel. For the client from Germany, Assai was able to create a comprehensive online platform for the car manufacturer using storytelling. The focus on Germany was then continued at Namics. Founded in 1995, the spin-off from the St. Gallen University of Applied Sciences was a pure online agency and soon established itself as a leading web service provider. For a time, the agency belonged to PubliGroupe. Following a management buyout in 2012, Namics is now one of the largest networks owned by participating partners, with "over 400 digital talents" in the meantime. Right from the start, the idea was that Namics would offer its services across borders, just like the Internet. In addition to the headquarters in St. Gallen as well as Zurich, branches were soon added in Frankfurt, Hamburg and Munich. For these, Nathalie Strobl, then Head of Creation at Namics Switzerland, was looking for a colleague for the same position in Germany. An offer Patrik Giacobbo could not refuse, even though he could not immediately take his still young family with three school-age sons to the north. From 2005 on, Giacobbo had an office desk in Frankfurt, Hamburg and Munich at the same time. On weekends, he went to visit his family in Zurich "whenever possible", only to start the Monday most sensibly with a flight back to Hamburg. As Head of Creation, Patrik Giacobbo employed a total of 60 people in his team in Germany and was able to "sustainably strengthen and build up" all three branches. Notable clients included BASF, Deutsche Börse and Hapag Lloyd. "In Germany, everything is ten times bigger. That was a very valuable experience for me as a Swiss. You have to be able to hold your own in much bigger competition. I also had to learn to negotiate harder," says Giacobbo about his experience in the big canton.

But as his three sons grew more and more into teenagers, the father no longer wanted to see his boys coming home from the outing only on weekends. So he moved back to Switzerland in 2009. First for a few months at Namics Zurich. There, however, the specialization had become "a bit too technical" for the creative. Patrik Giacobbo finally discovered more opportunities for his development at Noise.

"This is where I was able to really live integrated advertising for the first time. A lot of people were talking about it. With Noise, there was actually a real dialogue between the designer and the technician. Technology can open up new avenues for the creative, for example in gamification, where we use games for advertising. Their operation opens up new dimensions. That, in turn, is technology. That's why the designer has to know what's feasible. Otherwise, he can't even come up with ideas. That's why we need close contact, and that's something we cultivate very intensively at Noise. Everyone sits at the same table right from the start."

Nevertheless, there has been another short "time out" for Patrik Giacobbo at Noise. In 2012, he founded the company "8°" together with two colleagues. The vision was a pure digital agency in the field of communication. However, his partners have increasingly turned to the development of new apps. Giacobbo wanted to do more project work. So they parted ways again "on good terms" and the advertiser returned to Noise, where he was "welcomed back with open arms." And the future? "We want to grow, but in a healthy way. I want top people around me. And the more order volume I can generate, the more I can hire good people," is Giacobbo's strategy. At the same time, it is also important to the team player: "With my people, I want a contact at eye level. "

Andreas Panzeri

Work samples from Noise and Patrik Giacobbo (from above): Flexibly usable platform for various communication topics for Credit Suisse. In the example AIC (Asian Investment Conference). On the right, a worldwide corporate site for over 50 countries. Brand relaunch for Denz's modular table and storage systems. App for choosing the right flooring and revamped website for Kronoswiss. We-feel-good.ch health quiz for Visana.

 

In the May 23 issue of the NZZ, Davide Scruzzi wrote what is at stake here: "When Federal Councilor Alain Berset presented the draft of the new law on tobacco products on Wednesday, he stressed that it was a compromise between economic interests and health protection. The result, however, is regulations that are hardly credible and opaque. Sponsorship of major events by cigarette companies remains permitted. However, a far-reaching advertising ban is to apply to posters, newspapers and cinemas. The sale of electronic cigarettes with nicotine will be newly permitted because, according to the federal government, they are less harmful than ordinary glow sticks. At the same time, however, this vaporizing of nicotine will be prohibited in public places. - Just this passive smoke provision without health justification shows how the tobacco law is dominated less by sober considerations of health hazards and more by the spirit of patronizing health education."

That is now a fact. And in my advertising eyes, that is a cowardly injustice and also a paternalism of all adults. In addition to cigarettes, I have also advertised many controversial or unhealthy products. I'm talking about Nutella, for example, a great product. Boris Becker has also promoted it. Nutella contains many calories and - as you can see with Boris - makes you fat. Nutella advertising should be banned for children and young people. After the Fiat rust debacle, these CO2-emitting 127s, Supermirafioris, Ritmos and Pandas as the "Piacere d'Italianità" I have been advertising these brands for 20 years. I challenge you, Mr. Berset: "Ban car advertising, unless they are hybrids or electric cars! "(I don't want to share your anger with the economy.) There is by far no lack of examples where one could seriously define restrictions for advertising campaigns: The fashion industry, which has its products produced at starvation wages in the Far East. That I was a co-inventor of the Jägermeister campaign is now well known, if not, then at the latest now. I think such alcoholic beverages would also be at risk of being banned from advertising.

Back to the tobacco ban. For several years now, smoking has been banned in restaurants. There is always a deadly warning with a scary picture on tobacco products, and now there is even an almost total ban on advertising. The Nutella can would absolutely have to have obese teenagers on it. At the entrances and in the advertising of McDonald's should also be pointed out to such health-damaging effects. The Snickers ad (Diva) or the well-done M&M hostage-taking bring me joy. But in the credits it should say "This is a high-calorie, unhealthy fattener. Ask your mother and she a nutritionist."

We are discussing the legalization of canabis, but on the other hand we are neutering tobacco advertising. As far as I know, there is still no advertising for cocaine. And there is no need for it, because consumption and prices are constantly rising.

My theory: anything forbidden or dangerous is more attractive, so banning advertising won't do anything. If you want to join my yet-to-be-formed party for "Free Advertising Speech," please do. That would be my set-up.

Theophil Butz, graphic designer, advertising agency owner, inspirer and, for the last three years, also mothballs for Werbewoche readers. Please send any relevant information to [email protected]
 

Just in time for Cannes, MTV mobile from Sunrise and the advertising agency FCB Zurich are presenting an idea that could revolutionize the future of communication with SMS and other short messages. We all love smiley faces. The symbol, with its countless variations, is often used to express or illustrate a particular emotion. The smiling sun was created in 1963 by commercial artist Harvey Ball on behalf of the insurance company State Mutual Life Assurance. It was intended to improve the working atmosphere on badges. Around half a century after the launch of these emoticons, the next generation could now follow. The smileys of the future are presented under the name "MTV mobile Emography Project" and were invented in Zurich by the creative minds at the FCB Zurich advertising agency.

"The idea was to develop a gadget for our client MTV mobile from Sunrise Communications that could convey a fresh, likeable and innovative image to a young target group," explains Executive CD Dennis Lück at FCB Zurich. The result is a new Facebook app. This can be used to communicate notes in certain moods, visually adapted in correspondingly emotive fonts. Eight different alphabets with the basic emotions are available for the short messages: Curiosity, Surprise, Fear, Sadness, Contempt, Anger, Joy and Disgust. If I now want to send a short message in a very amorous mood, for example, I select the corresponding alphabet for "Happiness" on the app. If I enter the text, this message is then "written" with a kiss on a pane of glass. If I enter disgust or "Disgust ", the writing is formed by living maggots. Anger is represented by the traces of a hammer hitting a pane of glass. Sadness" is represented by the tears of a woman who blurs her mascara into black letters.

All of these letters have not only been translated graphically, but also into moving images according to their emotions. WirzFraefelPaal worked with the creative team at FCB Zurich to dramatize the most meaningful "scene" possible for each of the eight basic human emotions. These short impressions are delivered to the recipient of the message as opening credits within the video message on Facebook. The short films start automatically as an opener when the message is read. Then the letters animated from real images also begin to be written in moving images. WirzFraefelPaal Productions has realized over 500 film sequences for all letters in eight alphabets, as producer Stefan Fraefel explains. To create the "Ekel" letters with the maggots, there was first a "maggot casting" with four different breeds. For the chosen font, 4000 animals were then allowed to crawl in front of the camera. "These were then handed over to another destination in accordance with the Animal Welfare Act."

The sequence with the thousand kisses is said to have been more pleasant for the filmmakers. The new app is being promoted with a teaser film, which WirzFraefelPaal has also produced and which is set to be distributed across the global web in the near future. A case film with the making-of of the emotional alphabets can already be found on YouTube under "Emography". The Viacom company with MTV mobile is present in six countries in Europe. In each country, MTV mobile works with a different telecom provider. In Switzerland, this is Sunrise. With this innovation, this brand is not only demonstrating a great deal of expertise as the first Swiss provider of a special messaging service. It also provides the young target group with an effective tool that is guaranteed to be very popular with the MTV generation. Dennis Lück does not want to predict how long it will take for the idea to be stolen. Cristian Vaccariello, Senior Mar- com Manager Youth & Youth Segment at Sunrise Communications, is also not very interested in this question. "We are sure that users will be very creative with the Emography app."

Sunrise is not alone with the problem of copying. The electronic smiley in the form of ASCII characters has been around since 1982. Microsoft wanted to protect the corresponding rights in 2005, but was legally unsuccessful. (:-((.  

Andreas Panzeri

The purpose of the campaign is to introduce the largest possible audience to the secrets of our blue planet, Omega wrote in a press release on Thursday. This will be achieved by making the film Planet Ocean, directed by Yann Arthus-Bertrand and Michael Pitiot, available to the public free of charge. The full version of the documentary feature film will be available on the YouTube channel "Planet Ocean-The Movie" from June 5.

With Yann Arthus-Bertrand's breathtaking aerial shots, the stunning underwater footage of award-winning cinematographers and contributions from renowned oceanographers and biologists, Planet Ocean takes viewers on a groundbreaking journey through the world's oceans, exploring the ancient but often fragile relationship between marine life and humanity.

New free mobile application

Through the advanced free mobile application "Planet Ocean", Omega and the Goodplanet Foundation, in partnership with Seaweb Europe, invite consumers to become active and take action. The application is available for Apple and Android systems and aims to equip every user with the tools to promote responsible consumption of marine products. The application is both educational and practical, as it contains 80 profiles of different fish species organized by region of origin and current stock. Thanks to the application, you can also discover different fishing techniques and learn more about their impact on the environment. Thanks to this information, it is possible to determine the species that can be eaten without endangering the ecosystem and to recognize those that should be avoided or consumed in moderation in order to preserve the oceans and the marine environment.

Planet Ocean, The Movie
 

"We are doing the maximum to ensure that tomorrow's edition can be published," writes editor-in-chief Nicolas Willemin on Arcinfo, the website of the two Neuchâtel titles. Subscribers should receive the printed edition from Thursday on Friday.

The Vaud regional newspaper "La Côte", which is printed on the same rotary press in Neuchâtel, was also unable to be delivered. However, the 74,000 copies were printed at the Nouvelliste printing plant in Sion from 10 a.m. and then delivered. The daily articles were nevertheless available free of charge on the website Lacote.ch available. (SDA)
 

With Olivia Gnani (22) and Nora Bertoli (24), the winners of the print category, young Switzerland is also represented by two women in Cannes. We talked to them about the power of good ideas and provocation.

WW: Your subjects show simple facts, implemented with a creative twist: Leisure objects in casts. How did you come up with this idea?
Olivia Gnani: We first did a lot of research on the subject of accidents. So we quickly came to the topic of leisure time and from there to the idea that an accident at work hurts primarily there. If you can no longer work, many people might not find that so bad. But not being able to organize your free time independently after an accident is something else. That's what we wanted to show - that you then miss your leisure activities and, in connection with that, your friends. So we wanted to address the young people directly.
Nora Bertoli: At first, we just wanted to wrap bars and other huge objects in plaster. However, that would have been too elaborate. We then thought about which smaller, distinctive objects we needed so that people would immediately notice that we were dealing with industrial accidents. For example, utensils from extremely dangerous sports were immediately omitted, because the viewer would probably have associated these more with a sports accident. And, of course, the items should be immediately recognizable. If you first have to think about what the object represents in the first place, you've already passed the poster by for a long time.

What exactly works about your subjects?
Olivia Gnani: The idea as a whole is immediately recognizable. You notice at first glance that it is about leisure. The plaster makes it clear that these are objects that you can't use at the moment. We could have shown dusty objects, but that would not have dramatized our message so sharply.
Nora Bertoli: We then still thought long and hard about whether the subjects really work as quickly as we think. For us, of course, the images seemed easy to understand because we had dealt with them. But it's not easy to put yourself in the role of a viewer who is seeing a subject for the first time. We also had an idea with horror posters, for example: For us, these subjects would have worked well. But for most others, a horror movie subject probably wouldn't have made the connection to the work accident so quickly.
Olivia Gnani: Exactly, we would have had to go further lyrically to make the idea work.

What do you generally think of provocative ideas that tend to scare or even repel?
Nora Bertoli: I think shocker moments like that are actually pretty cool, because they stick in your mind more clearly.
Olivia Gnani: You just have to be careful that they are not an end in themselves, but fit the theme and help the communication idea.
Nora Bertoli: Unless the aim is that an idea is perceived differently or triggers divergent opinions. This is precisely how polarizing posters provide an impetus for discussion. Moreover, more provocative ideas clearly show where one stands, without fear of the reaction or opinion of others. If I can stand behind it, I don't mind being attacked, because I support the product or idea and think it's good.

In general, what do you think makes a good idea?
Olivia Gnani: It's great when you can use advertising to pick up on emotions that people already have and connect them to a topic. In addition, a good idea must be quickly understandable, something new that has not been seen before. Not only people in the creative field should understand the idea, but everyone.
Nora Bertoli: I think it's quite difficult to invent something completely new today; somehow you've seen everything somewhere before. But you can also put together something new from a few good ideas. It's also important that an idea is implemented well - aesthetically, that is. In a pinch, a good implementation helps to make something special out of an idea that is not so crazy in and of itself. Or you can implement an idea that has already existed in a completely new way. But in general, I trust my gut feeling when it comes to ideas: If something engages me, arouses my interest, makes me laugh, you're usually already on the right track.

Interview: Ursina Maurer
 

Consumers not only watch short clips on their mobile devices, but also like to watch longer clips, especially when it comes to live content. These are the findings of the latest Global Video Index from video technology provider Ooyala, which analyzed usage data from around 200 million video consumers worldwide. The analyses show that 17% of all online videos are already being watched on smartphones or tablets. The proportion of videos viewed via tablet grew by 6% last year, while the proportion viewed on smartphones even increased by around 60% in the same period. This development was boosted in particular by more powerful networks, smarter mobile devices and optimized mobile video applications. Consumers are increasingly appreciating the possibilities of simple mobile video consumption. This is reflected not only in the fact that an ever-increasing proportion of online videos are being viewed on mobile devices, but also in the higher proportion of time spent watching them. According to the study, smartphones and tablets already accounted for 26% of total online video usage time at the end of 2013. Within just over a year, the mobile video share of online video usage time has almost tripled. In the last quarter of 2013 alone, the mobile video share increased by 43%. The study assumes that the trend towards mobile video will continue: The analysts expect that half of all online video usage will take place on mobile devices by the end of 2016.

So which content is preferred on mobile devices? The evaluations make it clear that it is by no means just about short clips. As expected, longer online videos account for the majority of viewing time on the larger screens - smart TV and PC: 80% and 61% of viewing time is spent on videos longer than 10 minutes. However, the majority of video consumption on smartphones (76%) and tablets (59%) is also accounted for by videos longer than 10 minutes. Consumers do not even shy away from videos that are longer than half an hour: 35% of viewing time on tablets and as much as 53% of viewing time on smartphones is accounted for by videos 30+ minutes in length - this is less than on smart TV (62%), but still more than on PCs (34%). The evaluations also show that live videos have significantly longer average usage times than canned content. This is particularly true for online videos on smart TV and PC. The average duration of a live stream on smart TV is 42.8 minutes, whereas an on-demand video only runs for 5.1 minutes on average. On the PC, this ratio is 34.5 to 2.6 minutes. These differences are not quite as great for mobile devices, but tend to be identical. Live streams on tablets last 7.1 minutes on average - almost twice as long as on-demand content (4.1 minutes). On smartphones, the ratio is 3.5 to 2.8 minutes. Last but not least, the study shows: "Mobile is a Sports Lifeline." Consumers appreciate being able to watch sports programs flexibly and on the go using mobile devices. Interestingly, the tablet tends to be used for shorter "sports snacks": 60% of viewing time is spent on sports programs with a length of 1 to 6 minutes. Smartphones, on the other hand, are also used for more detailed sports coverage, such as summaries of football matches: 62% of viewing time on smartphones is accounted for by sports programs longer than 10 minutes.

Clemens Koob

Key Facts

- Already 17 percent of all online videos are watched on a smartphone or tablet.
- Mobile devices account for 26% of online video usage time. The share of mobile video has increased by 190% compared to the previous year.
- By the end of 2016, mobile video will account for half of all online video usage time.
- A large proportion of mobile viewing time is spent on videos that are 30+ minutes long (smartphone 53%; tablet 35%).
- On average, live streams are watched for longer than on-demand clips: on tablets, the figures are 7.1 to 4.1 minutes, on smartphones 3.5 to 2.8 minutes.
- Sports: Tablets are used for snacks (60% of viewing time for sports reports of 1-6 minutes in length), smartphones for more detailed reports (62% of viewing time for reports of 10+ minutes in length).
 

The fact that the conditions at the Old Gray Lady, as the New York Times is also known, are not comparable with every publishing house in this country is already clear from the introduction: a team of six experienced journalists together with two internal consultants from various departments, including Arthur Gregg Sulzberger, the publisher's son, had six months to think about the future of editorial work and the publishing house on the basis of hundreds of interviews with internal and external experts. The result, an almost hundred-page internal report, comes across as a journalistic product in terms of language, illustrations and graphics and could easily have been published in the New York Times Magazine, for example - but it was the new competitor Buzzfeed, which is often mentioned in the report, that made the document public. Six core proposals are formulated in the document and backed up with numerous examples. Not as a requirement or demand, but as a discussion paper, but the language and style make it clear that in the eyes of the authors, Matthäi is at the end of the road if it does not act quickly and consistently. - We reproduce the summaries of the six proposals in the translated wording and also add our two cents:

1. discover
 
"Thanks to ever-improving technology, there are more and more ways to get your work to the right readers in the right place at the right time. But we are still asking too much of our readers. They have to deal with a website or an app that is still designed according to our print structure. We need to think more about how to make evergreen content easily accessible again, how to better organize and package our content, and how to better offer readers content that is important to them. To move these efforts forward, we should invest more in the unspectacular but essential work of tagging and structuring our content."

Advertising Week says: Whether it's the New York Times or the Hinterfultiger Tagblatt - this affects every traditional medium equally: It is not enough to simply set up a newsroom in a convergent way without also introducing new online-specific processes, such as keywording. When radio emerged, news was read out from newspapers. And in the early years of television, newsreaders were broadcast. It is high time for traditional media to realize that their familiar structures and processes will not cut it in the digital world.

2. advertising

"We need to be better advocates for our own work. This means creating editorial structures that ensure our most important work reaches maximum readership and impact. It means recognizing and sharing best practices with the editorial base and encouraging reporters and editors to promote their articles. We also need to take the search engine and social media optimization process more seriously and ensure that we modernize our tools and processes to meet our changing needs."

Advertising Week says: Many media brands are comparatively poor on social media: hardly any friends or followers, or in any case significantly fewer than some of the well-known consumer brands or celebrities. It's not just about journalists being active on Facebook and editors tweeting, but new processes (such as real-time bidding, RTB, etc.) must also be mastered in order to monetize the occasional visitors to the website. These fly-bys are the new subscribers.

3rd connection

"Our readers are perhaps our greatest untapped resource. In a world where content often gets most of its distribution through referrals from other users, it's critical to deepen our connection with them both online and offline. And many readers now expect us to have a two-way relationship in order to engage with our journalism and our journalists. This means that the newsroom as a whole needs to take the reins when it comes to user-generated content, events and other forms of relationships with us that align with our standards and values."

Advertising Week says: The most promising potential available to many publishers is their brands. However, these brands are hardly managed and maintained. Just the daily news - or a lifestyle?

4. cooperation with publishing departments in the reader market

"Virtually overnight, the editorial team gained so many of the necessary skills and insights to take our digital reporting to the next level. There are a number of departments and units, most on the publishing side, that deal explicitly with the reader experience, such as design, technology, market research, development and product managers. There is a clear opportunity for better collaboration here. Recent initiatives, such as NYT Now, have shown the benefits of such collaboration. We are not proposing a wholesale reorganization, but believe that a simple new policy - that collaboration with publishing departments is encouraged and expected - can send a powerful signal and unlock vast stores of creative energy and insight."
 
Advertising Week says: Anyone who thought that convergence was now a thing of the past is mistaken: product-relevant functions that were previously carried out outside the editorial office must also be integrated. In the future, journalistic independence must be documented and guaranteed through a high level of transparency in one's own work.

5. creation of a strategy team in the editorial department

"Many editorial managers are so busy with their daily work that they have little time to take a step back and think about long-term issues. If we were simply a newspaper, such a one-sided focus would make sense. But we now have to juggle print, web, apps, newsletters, news alerts, social media, video, an international edition and a range of standalone products. We propose to create a small strategy team with the central task of advising the editor-in-chief. This group would keep editorial leaders informed of competitive strategies, changes in technology and shifts in reader behavior. It would also help track projects across the company that affect our digital coverage and support editorial leadership in setting and tracking priorities, as well as occasionally exploring certain topics in more depth. She would also support experiments in the editorial departments and share the results with the entire editorial team to ensure we explore new opportunities and learn from our efforts."

Advertising Week says: If bosses do not master core aspects of their business and need consultants to do so, they are out of place and need to be replaced. This also applies here in Germany. Only when there are bosses at the top of the company who have the digital lifestyle in their blood will publishers be attractive employers for talented doers. The Innovation Report documents and laments the opposite: capable staff are leaving the Old Gray Lady for the successful digital newcomers.

6. formulate a strategy to turn the newsroom into a digital-first organization

"Articles are usually ready towards the end of the day. Our mobile apps are organized according to the sections of the printed edition. Editors carefully design their newspaper bundles, but spend little time thinking about social strategies. Traditional journalistic skills are the top priority for hiring and promotion. The habits and traditions of daily newspaper publishing built up over a century and a half are a powerful and preserving force at a time when we are transitioning to digital - as is the wide appeal of the front page. Some of our traditional competitors have vigorously embraced a digital-first rather than a print-first approach. Given our healthy and profitable print edition, we don't need to go down that path just yet. But it's important to start questioning our print-focused traditions, fully embracing our digital aspirations and envisioning the newsroom of the future. That means rethinking everything from our staff to our organizational structure and what we do and how we do it."

Advertising Week says: It's all very simple: the print edition can be almost completely forgotten - all that's needed is a small design team to arrange the existing articles nicely on the pages. Readers won't notice any difference, just as they haven't taken the reduction in editorial resources in recent years as an opportunity to cancel their subscription. If you don't believe it, take a trip to the mountains: in Interlaken, Gossweiler Media AG has been producing its Jungfrau newspaper according to this principle for years.

Christoph J. Walther

"Runoff or dream team?" was therefore the question in the editorial office. And we decided on a double win. Both top advertisers and their agencies have repeatedly caused a sensation and sustained campaigns over the past year. Both Rod Kommunikation and Jung von Matt/Limmat have won authoritative pitches or awards. With their creative achievements on the front lines and their political and business networks in the background, Regula Fecker and Alexander Jaggy represent for Werbewoche the ideal ambassador duo for our industry in these turbulent times. And where the development of the communications industry is constantly confronting us with new challenges at a faster pace, the old adage can't hurt: "Everything works much better in pairs."

After last year's winner Peter Brönnimann from Leo Burnett Switzerland, the other candidates for the current title were Geri Aebi as a seasoned CEO of a large agency, Michael Hählen as a representative for SME communications, Michael Hinderling for digital and Philipp Skrabal for a creative with an appetite for change.

The two new advertisers of the year are awarded the "Egon" trophy. The little man with an oversized mouth as a megaphone was designed by Swiss artist Max Grüter. The trophy is a little finger pointing, as advertisers are often said to have a (too) big mouth. This year, the "Egon" will be presented for the first time at the "Night of the Brand" as a festive conclusion to the Swiss Brand Congress at the "Dolder Grand" in Zurich. The "Campaign of the Year" will also be honored on this evening in the company of many personalities from business and the communications industry.

Werbewoche.ch put 20 spots to the vote on its portal. The winner was the campaign for Swiss fruits by the advertising agency Unikat with the funny spots of Barry and Hans from the pen of CD Daniel Meier. The campaign was realized by Reto Salimbeni and his Manifesto Films.

The crowning of the Advertiser of the Year is one of the social highlights on the agenda of the Swiss agency scene. Back in 1977, the creative community crowned its "king" for the first time. This year, the title will be awarded for the 37th time. We are convinced that the tradition will remain more than just a nice summer love affair, with the prize being brought out of the January hole and prominently incorporated into the "Night of the Brand".

Andreas Panzeri, Deputy Editor-in-Chief
[email protected]