According to an American study by YouTube service provider Pixability, the world's hundred biggest brands (with one exception) have all jumped on this bandwagon. The annual growth rate is 73% and it is predicted that these top brands will post over one million videos on YouTube in 2015 (see chart). The market research company eMarketer expects spending on online advertising videos in the USA to grow by around 40% this year and next year and assumes that sales will reach 5.7 billion dollars by the end of 2014.

At the expense of TV budgets

This growth is at the expense of TV budgets, as findings from the Interactive Advertising Bureau (IAB) show. In a survey, 70 percent of buyer representatives stated that they would probably shift TV dollars into the digital video business in the coming year. There seems to be a lot of excitement around digital video: Among all executives surveyed, this figure was as high as 75 percent. When it comes to digital video ad formats, pre-roll advertising (73 % of respondents) and social video ads (53 %) are at the forefront of interest, according to an April 2013 survey by BeOn, a division of America Online (AOL). The forecast by network equipment manufacturer Cisco Systems, according to which the average US Internet video traffic in 2012 was 4.6 exabytes per month and is expected to increase to 17.1 exabytes per month by 2017, thus more than tripling.

Video consumption as a driver of internet growth in Switzerland

In Switzerland, NetMetrix has been documenting the online video trend for three years with its biannual streaming report. The proportion of internet users who consume audio or video content via the internet rose from 59.3% in 2011 to 65.8% in 2013 (and was 65.8 % in 2012). And it is not conventional radio or TV programs that are streamed most frequently (the proportion of such content is around 30%), but videos on video portals such as YouTube, Clipfish or MyVideo are the most popular among online audiences at 53.8%, followed by videos on news or TV portals and clips on websites in general: around four in ten online users (41 %) use such services at least several times a month.

In Switzerland, too, there are increasing signs that online video is being taken more and more seriously in communication and advertising. An important signal came in April when YouTube launched a special Swiss channel. The timing of this is remarkable, namely a good five years after such a country-specific channel was introduced for Germany. This gives an indication of the market leader's assessment of the Swiss online video market. Just like Google, the subsidiary of the search engine giant also makes its money with advertisements that are tailored as precisely as possible to the target groups. The market entry of the market leader will probably have two effects in this country: Growth in the digital video advertising market will accelerate and volumes will grow, and at the same time prices will come under pressure from the existing players (and earnings will at best at least be maintained by rising sales). The Goldbach Group expects online video revenues in Switzerland to grow at an annual rate of 23% between 2012 and 2015. While they amounted to CHF 15 million in 2011, they are expected to reach CHF 27 million this year and CHF 39 million by 2015, with Goldbach claiming a good half of this market. The second-placed Swiss Video Network from Stailamedia is reporting even steeper growth. Since its launch in May 2011, its gross reach has more than quadrupled, with the number of video plays climbing from 7 million to over 30 million in August 2013. And the number of unique clients almost doubled in the same period, rising from 2.9 million to 4.5 million.

Many questions unanswered

Even if the growth rates in video marketing are currently impressive, this should not obscure the fact that the share of online advertising is still in the single-digit percentage range - in the USA and here in Germany. There are also still many unanswered questions: Is it enough to recycle TV commercials on the web or what does it take for good marketing videos? What is the ideal length for web video spots: 15 seconds or 30 seconds? As pre-rolls or better as longer pieces to better present the brand? Sponsor your own web show or other people's channels? What are the benefits of social video ads? What to look out for in mobile video marketing? What does it take for a video to go viral? Which service providers are ahead of the game and which video portals are particularly suitable for distribution, or is it all just YouTube? Which performance characteristics can be used to assess the success of marketing videos: with the good old clicks or via viewtime and clicks-to-play? What standards apply to pricing? And how can video playouts be purchased not only online, but also programmatically (via RTA mechanisms)? We want to explore these and other similar questions in more detail in the series on video marketing - the author will be happy to receive any relevant information by e-mail: [email protected]
 
Christoph J. Walther
 

Market conditions in the TV market are shifting
This fits in with the trend of shifting the TV business to the internet, which is particularly evident in the USA: the video-on-demand service Netflix has been focusing on exclusive in-house productions since this year, including the political drama "House of Cards". The first 13 episodes are said to have cost 50 million dollars, Oscar winner Kevin Spacey was signed up for the lead role, and in the end it won one of the prestigious Emmys, the most important television award in the USA. A similar strategy can be observed at the largest online retailer, Amazon: In April, pilot episodes for 14 potential series were released via its own streaming service and the audience was asked to vote on which series should continue to be produced. And Hulu, the video streaming service of media heavyweights NBC, FOX and ABC, is also focusing on in-house productions for the web. It is becoming clear that market conditions in the American TV market are shifting. This also includes offensives by technology giants Apple and Google. With Apple TV, the video library on iTunes can be brought into the living room, and Google launched Chromecast on the market at the end of July for just 35 dollars. This small add-on enables TV sets to easily play content from the Internet. Google has thus made a new attempt to penetrate TV screens after the failure of Google TV.

Since 2005, the top 100 global brands have first used YouTube as an experimental video platform and now use it as a content ecosystem that has become an important part of their sales and marketing strategy. This is accompanied by massive investments in the production of online videos. It is also clear to see that there are always seasonal fluctuations. Werbewoche wants to take a closer look at how video marketing is developing in Switzerland with a series of topics.
 
 

Business Eagles and shopping chicks could not only recognize themselves in this campaign, they also had the opportunity to take part in a "XX SIM Hello the World !" competition. Trio mobilized the brand's social networks to find a pair of brand ambassadors willing to embark on a month-long world tour to London, Tokyo, Bangkok, Sydney and Cancun. 954 fans of the Facebook page, 40 teams who took part in the competition, 408 votes cast and 17,403 views of the video competition on YouTube: These are the results of the campaign! According to the press release, all that remains now is the adventure of our winners, the "Discoverers", on Facebook.com/xxsim to pursue.

Responsible at Agence Trio: Naila Maiorana (Art Director & Conceptor), Stéphanie Brusick (Illustrations), Jean-Michel Larsen (Copywriter), Christophe Muller (Web), George André Tabet & Gaël Tran (Social Media), Gaël Tran (Facebook), Julien Dewarrat (Video), Fabian Echeverria (Creative Director), Florence Genoud (Consulting).
 

In memory of one of the very great film classics, it is shown with a lot of drama how irresistible the Floralp preferred butter is. The poster will soon be hanging near the major Zurich cinemas.

Responsible at Floralp: Peter Ryser (Managing Director BO Butter), Martin Rüst (Head of Advertising + Promotions SMP), Céline Jagisch (Project Manager SMP). Responsible at Leo Burnett Switzerland: Christian Bircher (CD/Art), Patrick Suter (CD/Text), Oli Kreienbühl, Marco Donada (AD), Reto Vogler (Text), Peter Brönnimann (ECD), Annika Seidel, Fabienne Schoberth, Fabian Schiltknecht (Consulting), Suzana Kovacevic (Art Buying); Photographer: David Willen, Image Editing: Tania Willen.

If test drivers are to be believed, the effect must be amazing. Two cameras scan the road and detect any unevenness. The system then adjusts the suspension in real time so that all potential bumps and jolts are nipped in the bud. The vehicle glides over the road as if it were floating on clouds. A lot of technology, a complex system, difficult for laymen to understand. It's good when advertising steps in and illustrates the core message in such a way that even the biggest technophobes understand what it's all about.

The phenomenon can also be observed when chickens (or other birds such as pigeons) walk: They move their neck and head strangely forwards and backwards. It used to be thought that they did this to keep their balance and stabilize their gait. The Mercedes report makes it clear that this explanation is still widespread. The real reason: certain feathered creatures cannot see clearly when in motion. So it is concerned with keeping its head in the same position for as long as possible. When walking, this means that the head stays in place while the rest moves forward. The next step is to move the head as far forward as possible in a hurry so that it can stay in the next position for the maximum amount of time.

This was once explained and experimentally proven in a randomly narrated science program for children. Unfortunately, the rest of the world seems to have missed this logical explanation (or it is wrong).

Like Wuv.de reports, the chicken commercial has once again given rise to a discussion about plagiarism. Ogilvy & Mather Frankfurt railed against Jung von Matt. The objection does not seem entirely unjustified if you look at the commercial for Fujifilm published in February 2013:

But the all-clear: the JvM commercial was already filmed in November 2012 and released in February 2013. other version has been published. This almost reminds us of the forked hand accusation made by Ogilvy & Mather Düsseldorf against Saatchi & Saatchi Switzerland in October 2012 (Werbewoche.ch reported). In the end, once again everyone had the same idea and loved each other again.

Thomas Häusermann

 

 

The redesigned capsule packaging is the first result of the collaboration. According to the press release, the aim was to re-establish brand fit with the current brand strategy and enhance the quality appeal. In addition to an increased shelf impact, the aim was to improve the differentiation and legibility of the varieties. The new packaging successfully conveys the brand values of value, simplicity and proximity. The eleven varieties are now available in different packaging sizes in the retail trade.

Schoch&Sonders also develops the Delizio brand manual, which sets out the brand strategy, brand design and brand image.

Responsible at Schoch&Sonders: Dominik Schoch (strategy and design), Tina Fuchs (concept and project management), Therese Poltera (consulting), David Moore, Anna Schobinger (design).

 

Bruno Schatz is a former journalist and has broad management experience in various management functions in the communications and media industry. The trained businessman and graduate business economist FH holds a Media MBA. Schatz was most recently Head of Corporate Development in the Digital Business division at Ringier; he is a lecturer and guest speaker at various universities.

According to the announcement, the agreement will come into force on September 1, 2013. In the future, the authors and publishers represented by Suisa will receive remuneration for the use of their works on YouTube. At the same time, the contract licenses the repertoire of Swiss authors and Suisa members for use on YouTube in a large number of countries outside Switzerland. This will enable Swiss composers and lyricists to also receive revenues for the use of their works on YouTube abroad and thus to increase their presence on the world's largest online video community.

Andreas Wegelin, Director General of Suisa, says of the agreement with YouTube: "We are pleased to have reached an agreement with YouTube after negotiations in the interest of our members. The negotiations were characterized by the mutual conviction that rights holders and music creators should benefit from their creative work on the video platform. I am particularly pleased that the agreement means that our members' repertoire will also be licensed to YouTube for many countries outside Switzerland. Thanks to this agreement, further doors are opening for Swiss music creation to leap beyond the country's borders via this important Internet media platform."

"After constructive discussions with Suisa, we are very pleased to be united in promoting the creation of Swiss content on Youtube. Swiss and international composers and authors can now generate revenue for the use of their works in Switzerland through Suisa, and Swiss can also generate revenue for use throughout Europe," said Patrick Warnking, Country Director Google Switzerland. "The agreement also represents a big win for the YouTube community, for whom listening to music and discovering new Swiss artists is an important part of the online experience."

In addition to the agreement with Suisa, Youtube has agreements with over 40 other collecting societies worldwide. These include, for example, PRS for Music in the UK, SACEM in France, SGAE in Spain, SIAE in Italy, BUMA Stemra in the Netherlands and, more recently, AKM/Austro Mechana in Austria.
 

Anyone who drives a Skoda Superb doesn't care about expensive status symbols, according to a press release. This lived sovereignty has a very special price: the Czech car manufacturer's new flagship offers a high level of comfort and top quality for little money.

With a view to the modern self-confidence of buyers, DD Com worked closely with The House Agency to develop a campaign for the launch of the new Superb that is tailor-made for Switzerland and breaks with a convention of classic automotive advertising: the vehicle is always the focus! Instead, the campaign focuses on smart dialogs between friends in a modern, concise illustration style. The conversations between a conventional fellow traveler and an independent lateral thinker create amusing awareness and, ideally, interest in the new Superb from Skoda. Only in a second step is the car presented in a high-quality setting. Networked through direct mailing, digital marketing including mobile and microsite (desktop & mobile) with direct registration for the test drive, the campaign makes use of the high affinity of potential customers for PCs, smartphones and tablets. The campaign is now running throughout Switzerland.

Responsible at Amag Automobil und Motoren: Jeannine Micheli (Marketing Manager ŠKODA) Mario Montanari (Advertising Manager Skoda), Marc Bislin (ECommerce Manager Skoda). Responsible at DD Com: Daniel Müri (CD), Florian Brand (AD), Peter Gehrig (Text), Sandy Pfuhl (Junior AD), Marcus Dickenmann (DTP), Maurizio Feraco (Picture Editor), Matthias Städeli (Head of Consulting), Jasmin Jost (Consultant). Responsible at The House Agency: Andreas Jorgella (Conception & Consulting). Responsible at Mediacom: Katharina Momani (Planning Manager), Corinne Schneiter (Strategy and Planning), Andreas J. Bartneck (Head of Interaction). Illustration: Ernst Feurer.

 

Hochmoor Chäs is produced on the Swiss Ricken Pass - in the middle of an area of high moorland. At the Liechti cheese dairy, milk from cows that graze in the humid climate typical of high moorland is processed into tasty cheese - each one rubbed by hand with herbs from the Ricken high moorland. And it is precisely this USP that Alpha 245 has brought to the cheese wheel: the various high moor herbs were also illustrated by hand for the cheese label and - in true encyclopedia style - labeled with the Latin terms. Logos were developed for the product range - from semi-hard to hard, from mild to strong and spicy - which in turn complement the illustration on the cheese label - all in typical Hochmoor colors, of course.

Hochmoor Chäs is fully matured and the packaging and information brochure are ready. The cheese will be presented to an international audience at the Anuga international cheese trade fair in Cologne from October 5 to 9, 2013.

Responsible at the Liechti cheese dairy: Markus Liechti (owner), Christoph Stadelmann (SB Switzerland, consulting and project management product marketing). Responsible at Alpha 245: Diana Rossi (Creative Direction/Text), Niels Schäfer, Hekuran Avdili, Nadja Tandler (Art Direction/Graphics), Myriam Heinzel (Illustration), Claudio Gentili (Consulting), Erasmo Palomba (Art Buying), Manuel Rickenbacher (Photography), Pam Hügli (Overall responsibility).

 

From its headquarters in London and eleven other offices worldwide, The Observatory International supports corporate marketing decision-makers in their search for the right advertising agency, the consolidation of marketing structures and their optimal utilization.
For clients such as BMW, Allianz, Danone and Samsung, the management consultancy develops performance-related remuneration models, implements performance monitoring systems and optimizes structures and processes.

Roland Sutter is a proven expert on the Swiss marketing and communications scene and was head of his own advertising agency for 25 years. At The Observatory International, he works closely with John Sealey, the Hamburg-based Regional Managing Partner DACH, CEE & CIS.

Roland Sutter: "I am delighted to be able to bring over 40 years of experience to my new role and combine it with the comprehensive expertise of The Observatory International. This will enable us to provide future-oriented consulting services that were previously lacking in this form in the Swiss market."

John Sealey: "There has never been a better framework for marketing to cleverly combine magic and logic in the interests of the brand. Big data and permanent dialog imply a consumer focus that eclipses everything that has gone before. We are increasingly supporting our clients in aligning their resources with this new challenge. Together with Roland Sutter, I am delighted to now be able to offer our services specifically to Swiss companies."

Even before the Zurich office opened, The Observatory International was already working on a Swiss mandate. The reorganization of the agency relationships of BMW Switzerland and Mini Switzerland, which took place at the beginning of the year, was orchestrated from Hamburg.

 

Postfinance's debit card offers customers many advantages when it comes to cashless payments. Nevertheless, many Swiss people still use cash - especially for smaller amounts - mostly out of pure habit, according to a statement. Although the card is in the wallet, customers are not sufficiently aware of its advantages. The campaign for Postfinance aims to change this behavior. With the invitation "Don't forget: Simply pay with the Postfinance Card", attention is drawn to the problem-free use of the card. The key visual is the PostFinance Card in the form of a yellow Post-it note with reminder function.

The idea was developed using various measures. The choice of media was made with a view to achieving the highest possible relevance to a payment situation. So that the customer is addressed where he is confronted with shopping and payment. Posters, ad screens, rail posters, advertisements, online and mobile banners, radio and TV spots were used.

Responsible at Publicis: Roger Ruegger (CD), Marvin Hugentobler, Conny Jaeger, Bruce Roberts (AD), Oliver Gisi, Marianne Zweifel (Text), Barbara Lagger, Caroline Pfister (Consulting), Beni Kägi (Art Buying), Tiago Diaz, Simon Grasser (Digital), Andrea Achermann (DTP), Bianca Nerlich (Production), Fabian Scheffold, flux-if Production (Film and Photography).

 

According to a press release, one in three accidents on Swiss roads is caused by inattention or distraction. To make road users more aware of these dangers, the police have launched the prevention campaign "No distraction. Fewer accidents. Your police." has been launched. The nationwide campaign is supported by police forces from 19 cantons.

In this year's campaign, the Zug-based agency Dynamite is relying entirely on the power of humor. A pantomime takes center stage. In three TV commercials, he strikingly mimes possible distractions at the wheel. The viewer is introduced to the problem with an expressive slapstick aesthetic. But in the end, the laughter gets stuck in the audience's throat.

The campaign consists of advertisements, posters, online banners, TV commercials and the campaign website. Lenken-statt-ablenken.ch together.

Responsible persons at the police: Martin Kübler (Zurich Cantonal Police, Head of Traffic Police Special Division), Rolf Decker (Zurich Cantonal Police, Head of Public Relations/Prevention), Jan Ingold (Zurich City Police, Head of Traffic Police), Markus Eigenmann (Zurich City Police, Crime and Traffic Prevention), Michael Wirz (Zurich City Police, Head of Communications), Bianca Lussi (Winterthur City Police, Media & Communications) and other representatives of police councils from 19 cantons. Responsible at Dynamite: Siegfried Simader, Caroline Rissel (art direction), Massimiliano Madonna, Roger Bosshart (consulting), element p GmbH (film production), Daniel Reichenbach (producer, DOP/camera), Reto Waser (director), Stefan Vogel (compositing), Michèle Zweifel (production management), Rita Kopp (administration), Sarah Bachmann (set), Marc Hollenstein (make-up), Christoph Betulius (speaker), Ueli Thalmann (sound studio), Damir Dantes (pantomime).