Communication is multimedia-based. That sounds trivial. Putting it into practice, however, is anything but easy. On websites, companies present themselves not only through images, graphics, and text, but also through video and audio. They want to be found through search engines, nurture their customer relationships via social media, send out printed mailings, and run online ads. This requires specialists: programmers who design complex search algorithms; communications specialists who craft clear and elegant copy; graphic designers who create visuals; and directors and producers who deliver the necessary videos.

In addition to all these specialists, however, there is also a need for professionals who can bridge the gap between disciplines—people who have a basic understanding of all areas. This is precisely what the role of a Mediamatiker entails. Mediamaticians are all-arounders who are just as knowledgeable in computer science, technology, and multimedia as they are in marketing, design, and administration. They serve as the interface between users and specialists. Mediamaticians handle simple programming tasks themselves; they design and maintain websites and prepare images and videos for the web. They consult with graphic designers on how to design and print a flyer, or they discuss a new marketing project with a client.

Thanks to their versatile skills, media specialists work in a wide variety of fields—in the marketing department of an SME, at telecommunications service providers, in a printing company, or at communications service providers. How well are these all-arounders suited to the latter? *Werbewoche* reached out to web, creative, and communications agencies, as well as a production company, that offer media specialist apprenticeships—and gave agency managers and the apprentices themselves a chance to speak.

Concept, Creativity, and Technology

«The skills that media technicians bring in the areas of multimedia, design, marketing, computer science, and administration are a great fit for a media production company like Condor Films,» explains Markus Röthl, Head of Business Technology at Condor Films, outlining why the company has been employing a media technician apprentice since last summer. As «technically creative» professionals, media technicians can communicate with everyone. At Condor Films, the media technician apprentice works on projects alongside concept developers, graphic designers, video editors, motion graphics designers, and audio-video technicians. Wirz Werbung is already training its second media technician apprentice. Colmar von der Goltz, consulting group leader at Wirz Werbung, notes that the fact Wirz, as an advertising agency, not only handles the conceptual side but also takes care of implementation aligns well with the media technician’s job profile. «Media technicians are challenged both conceptually and technically.» Specifically, this means that the media technician apprentice at Wirz, for example, designs and programs websites while also being involved in the conceptual phase. «Technology, as part of the creative value chain, is essential for high-quality implementation,» von der Goltz is convinced. Maxomedia had originally considered hiring a computer scientist. Ultimately, however, the Bern-based agency decided to create a media technician apprenticeship starting in August. Maxomedia embodies all the areas that media technicians deal with, explains Philipp Tellenbach, Head of HR and Finance, justifying the decision in favor of the media technician. «The creative aspect—through strong creative work; the digital aspect—through an in-house development department; and the business and commercial aspects—through consulting and our service unit.»

Dotpulse takes a similar view. «As a web agency, we operate at the intersection of IT, design, and consulting—or project management. Media specialists are generalists and are therefore open to all of these areas,» says Creative Director Christian Erni. Among the possible areas of responsibility for a media specialist, Erni cites front-end programming, website maintenance, order processing, and administrative tasks such as handling and fulfilling orders.”.

Dotpulse’s first apprentice will start this summer. But the company is already considering creating another apprenticeship position. «There’s a shortage of such workers,» says Erni. This is also emphasized at the Eyekon agency, which has been training a media specialist apprentice since last August and aims, not least, to counteract the shortage of skilled workers. However, the situation here is somewhat different: As a web agency, Eyekon relies particularly on specialists, says Jonas Fahrni, technical director and consultant at Eyekon. Fahrni adds that the agency would also benefit from having generalists on the client side. After all, having a client contact who is knowledgeable about media makes collaboration easier.

First, hit the books

Regardless of the training company: For many Mediamaticians, the four-year apprenticeship begins with what is known as a “foundational year.” This widely used model is offered in various cantons—in Bern, for example, by the ICT Vocational Training Center, and in Zurich by ZLI, the Zurich ICT Training Association. Before the apprentices enter the workforce, they acquire basic knowledge of technology, design, and conceptualization in school. The advantage is clear: when the aspiring Mediamaticians then move to their companies, they no longer have to learn everything from scratch. During the foundational year, they have already completed a few projects, become familiar with the range of Adobe programs, and acquired basic knowledge of web technologies.

The introductory apprenticeship year provides relief, particularly for small and medium-sized training companies. Four of the six agencies surveyed have opted for this model. The apprentices at Dotpulse, Wirz Werbung, and Condor Films have all completed the foundational apprenticeship year—or are currently enrolled in it. At the online communications agency Notch Interactive, apprentice Jack Benz even spent two years in school. This is a special program offered by the private school SBW Neue Medien in Romanshorn. It wasn’t until his third year of apprenticeship that Benz joined the creative team at Notch Interactive, where he currently works in screen design.

Maxomedia and Eyekon, on the other hand, have opted not to include a foundational apprenticeship year. «Maxomedia has decided to train the apprentice on the job from the very beginning,» says Tellenbach. «We can cover all subject areas that are important for the Mediamatician training program.» However, doing without a foundational apprenticeship year means more work for the training company, as the Eyekon agency knows—their apprentice started directly on the job last summer. «The workload is disproportionately high—especially in the first year of the apprenticeship,» explains Fahrni. «It’s only as the apprenticeship progresses that the efforts will pay off, when individual subprojects can be assigned to the apprentice.» For its next apprentice, the agency would therefore consider a foundational apprenticeship year. Apprentice Armon Ruetz, on the other hand, isn’t at all upset about having missed the introductory year. He considers it an advantage that he was able to start immediately at Eyekon. That way, he was able to acquire the skills needed at the agency from his very first day of training.

From All-Rounder to Specialist

The Mediamatik apprenticeship is often compared to a business apprenticeship. Just like a business apprenticeship, the Mediamatik program offers a broad-based foundation that opens many doors for apprentices. At least 60 percent of apprentices complete vocational high school while still in their apprenticeship, as Simon Hefti, team leader for the introductory year of the Mediamatics program at ZLI (Zurich ICT Training Association), explains. Afterward, a large proportion continues their education at the bachelor’s level, studying at a university of applied sciences—for example, business informatics, multimedia production, or marketing—or enroll in the «iCompetence» computer science program at the University of Applied Sciences and Arts Northwestern Switzerland (FHNW), which combines the fields of computer science, design, and management. In addition to universities of applied sciences, apprenticeship graduates have the option of continuing their education at higher vocational schools or earning the Swiss Federal Certificate of Competence. Those who do not pursue off-the-job training specialize on the job. At Maxomedia, for example, two trained mediamaticians work as web developers in the front-end department. No matter which direction they take after their apprenticeship, one thing remains the same for all graduates: to succeed in this rapidly evolving industry, you must be flexible and curious. «Mediamaticians must have a passion for digital communication,» says Peter van der Touw, CEO of the online agency Notch Interactive, with conviction. «Anyone who doesn’t bring the necessary passion and doesn’t enjoy engaging with the subject will quickly fall by the wayside.»

Isabel Imper

The new design of Handelszeitung.ch will be presented from April 11. The news portal is relying on Responsive Design to ensure that content and advertising are always perfectly displayed for the reader, as Axel Springer wrote in a statement on Thursday.
 

Mobile advertising offers versatile solutions and exciting placements that can be tailored to your specific campaign and objectives. However, even the best solutions are often not enough without expert support. High-quality, reliable support is important to the members of the IAB Switzerland Association—Switzerland’s digital marketing association. That is why the IAB Mobile Expert Group has developed a guide designed to bring transparency to the mobile advertising buying process.

Why is mobile advertising important?

The foundation of any communication strategy is ensuring that you reach the right audience at the right time, in the right place, and with the right message. Mobile is therefore a valuable addition to your current advertising strategy—a new medium for reaching the right consumers. With all its innovations and developments, mobile is, at first glance, a complex ecosystem with its own language. However, the purchasing process is similar to that on other platforms, such as online. Nevertheless, there are some key differences, as well as different creative formats, new interactive possibilities, and local relevance. To determine what role mobile will play in your media mix, you should first identify your advertising goals: Do you intend to increase your brand favorability? Do you want to launch a new product? Or enable a direct response to your advertising and improve customer loyalty? Once you’ve asked and answered these questions, your path to optimal mobile usage will become much clearer.

When creating a mobile campaign, it’s important to keep in mind that there are several channels through which you can capture customers’ attention. These include display ads on mobile websites, downloadable applications (apps), mobile messaging, and many other formats, including video and audio ads, mobile search, and branded apps. These elements can be used individually or as part of a unified campaign alongside traditional channels to create a comprehensive 360° campaign.

Mobile Trends

The most important application for consumers on their cell phones is still voice service. However, the steady introduction of new devices in various price ranges and with different capabilities means that consumers have more choice, more mobile features, and more reasons to use mobile data services than ever before. The following trends support the use of mobile advertising:  More than 10 million mobile devices are in use in Switzerland.

– In 2012, more than 3.4 million mobile devices were Internet-enabled. In addition, there were 1.7 million tablets.
– 80 percent of Swiss men and 72 percent of Swiss women use the mobile Internet regularly.
– The number one activity on mobile phones is searching, followed by gaming, streaming, as well as shopping, couponing, and ticketing.
– The «Appconomy»—business conducted via mobile apps—generated approximately $30 billion worldwide in 2012.

The Main Forms of Mobile Advertising
 
Mobile Display Advertising: On mobile websites or within an app using static or rich media banners, billed on a CPM (cost per thousand impressions) basis.
 
Branded Apps: A custom company app to capture customers' attention.
 
Video Advertising: A rapidly growing mobile platform where you can run pre-roll or in-stream ads.
 
Audio advertisement: Mobile music apps funded by radio-style advertising.
 
Mobile Activation: Thanks to the use of mobile technology, consumers of traditional media (such as print or TV) can be engaged in the campaign.
 
Location-Based Advertising: Use technology to determine consumers’ locations and thereby make a campaign or activity more relevant. These trends clearly show where the mobile landscape is headed: If you want to reach consumers in a context that’s relevant to them, you need to engage with mobile marketing and mobile advertising.

The Mobile Campaign
 
Objective
To ensure success, it is crucial to clearly define objectives from the very beginning. For a mobile campaign used to complement other media, the role of the mobile medium must be defined. In addition to formulating the traditional communication objective, key performance indicators are crucial—for example, click-through rate, conversion rate, or CPM.

Measurement
To optimize a campaign’s success, it is necessary to thoroughly measure its progress, which must be precisely defined and tested in advance. This is because not all methods that work for online also work for mobile. From the display of the ad to the click-through rate and interactions on the landing page, all the way to the conversion rate, key metrics can be generated—for example, using Google Analytics—to serve as the basis for the optimization process.

Landing page
A landing page is a specially designed page that appears after a user clicks on an advertisement and is optimized for the advertising medium and its target audience. The landing page focuses on the offer being promoted as part of a campaign. This offer should be presented concisely and without distractions. A key element is the integration of a response element, which ensures easy interaction with the visitor.

Target Audience and Targeting
In the mobile sector, technical targeting methods have become particularly prevalent. These include, for example, frequency capping, device and software targeting, and language targeting. Other variants include time-based targeting—focused exposure during commuting hours—as well as geotargeting. Sociodemographic characteristics can also be used in some cases, but only for direct bookings with the relevant publishers.

Advertising material
Due to differences in device screen sizes and publishers, there are countless formats. With just two formats—such as the 640×832-pixel interstitial and the standard 640×100-pixel banner—you can already run a broad mobile campaign. For small, simple animations, an animated GIF is sufficient. For more complex animations and state-of-the-art effects, however, HTML5 is required. It’s important to note that HTML5 is still in its early stages. This requires extra care when selecting both the ad server and the programmer. Of course, JPGs can also be placed online. iab

The most unsuccessful company foundation was called "Gibepoh". What was meant, of course, was the expression "Big Hope" read the other way around. The founder thought that was enough. So no company idea, no marketing, no communication, no success.

Another tried to bring his inventions, which unfortunately always got stuck in the Lego and Playmobil stages, to success with the wrong partners, on a friendly basis, with advertising colleagues and with crumpled, typewritten contracts - an endless story that doesn't seem to have quite reached its end yet. Millions have been lost in the process.

A renowned plastic surgeon had the idea of launching his own creation in the field of all-round skin care cream for men and women. The greater difficulty than creating and producing the formula for such products proved to be evaluating the right communication partners for the positioning, for the product name, the packaging design, the creative implementation for brochures, displays, Internet. And of course the distribution. In the (un)case I know, the copywriter and the photographer were wrongly chosen, the product name, the packaging design and the website were made by wrong or simply no professionals. A classic start-up down. The generously unprofessional money spent is gone. In addition, past failures always resonate with a relaunch.

But failures also happen when too many cooks get involved. The Cailler story, Navyboot with Fogal and Jet Set, together with a watch brand that I still can't remember. The pink Helvetic Airways. For more examples: u.A.w.g. Is there a recipe against such failures? My theory: Recently I had to deal with a larger private bank. I had been asked to evaluate their advertising. The bank has equity capital that is twice as high as prescribed, and it is more than half family-owned. But the advertising campaign it runs for its clients and any potential clients mentions nothing about this USP.

Before embarking on a start-up, re-start or image correction, one should peel out what, how and how much one wants to achieve in five to ten years. To do this, you should find out who you are and who you can also portray as desirable to the outside world. A duck cannot become a peacock, but perhaps a super duck. Peacocks overdo it anyway.

An example from my experience: Andy Jllien, the Zurich shoe king, entrusted me with the task of creating a TV commercial for Tele Züri for 30,000 Stutz. After an entertaining conversation, we agreed on the idea of creating an eau de parfum. The name was "Heels," and the bottle was in the shape of a woman's heel. It ended up first in the duty-free catalog at Crossair and cost 85 francs at the time. Andy's female customers were happy with the Heels instead of the discount. Out of the 30,000, we jointly made 90,000 as walking coins. Nota bene: the creative solution doesn't always have to meet the brief. My opener of the week: never before has "Buona sera" and "Buona notte" caused such hysteria in a larger crowd.

This was after the submission deadline in January had been moved from April 19 to March 28 (Werbewoche.ch reported). This gives the creative minds an extra week to complete and submit their work, the organizers said in a statement on Thursday. The best entries will be awarded a Gold, Silver or Bronze Lion at the festival, which takes place from June 16 to 22, 2013.
 

The winners of the Webby Awards will be announced on April 30, 2013. In addition to the jury awards, the Webby People's Voice Award will also be presented. Users can vote for their favorite online until April 25, 2013.

"Nominees set standards for innovation and creativity online," said David-Michael Davies, executive director of the Webby Awards. "To be chosen among the best of the 11,000 entries received this year from around the world is an incredible achievement."

The Webby Awards

The Webby Awards, described by the New York Times as "the Internet's greatest tribute," were established in 1996. They honor projects on the Internet. This year's 17th Webby Awards received entries from 11,000 projects from more than 60 countries worldwide. The Webby Awards are presented by the International Academy of Digital Arts and Sciences IADAS. Sponsors and partners include Internet Explorer, Google+, Quancast, Yext, Vitamin T, PricewaterhouseCoopers, Mashable, The Occasional and Business Insider.

Impressions from the Webby Awards 2012

In order to position itself even more strongly as a provider of comprehensive pension and financial solutions in accordance with the new corporate strategy, the brand structure was first revised, according to the agency. In several workshops, representatives of the European country companies evaluated various scenarios. In these, Swiss Life aims to confirm its umbrella brand strategy and introduced two new sub-brands to emphasize its expert role in the respective target group segments: "Swiss Life Asset Managers" handles investment management for institutional clients. With the sub-brand "Swiss Life Select", the subsidiary AWD, which was previously managed as an individual brand, was integrated into the umbrella brand.

On this basis, the brand personality was newly developed around the brand essence "This is how the future begins", which had already been established as a claim. It is intended to reflect Swiss Life's claim to consistently put itself in the shoes of its customers in order to be able to offer them the best solutions.

The new imagery as the core element of the adapted brand identity

In a continuous process, Swiss Life will adapt the brand experience to the new brand personality and the new imagery at all contact points, the agency added. The latter plays a central role in emotionalizing the brand experience. The new print media concept with its generous use of images and modern typography is also style-defining. The restrained coloring of the text elements and the new typographic behavior in the proven tile grid also bring out the new images in the online presence.

Responsible at Swiss Life: Christian Pfister (Head Group Communications), Carsten Dieckmann (Head Strategic Marketing & Brand Management), Urs Hunziker (Brand Management). Responsible at Branders: Pascal Geissbühler (Creative Director), Stephanie Kriesel (Senior Brand Consultant), Tim Zahlten (Brand Manager), Maria Fahringer (Executive Brand Designer), Tina Braun (Brand Designer); Photography Tobias Gromatzki.

Until now, the French-born Ondet has headed midmarket sales in EMEA for LinkedIn. Ondet has many years of expertise in building and developing sales organizations for large and midmarket customers, Xing said in a statement Thursday. Before taking on his current role at LinkedIn in April 2012, he was a senior sales manager for Google, working to develop their sales organization in the DACH region. Prior to that, he worked for many years at Oracle, where he was most recently a member of the Oracle Direct European Management Board as Sales Director for the DACH region.

A few headlines on the topic, featuring the slogan «40 Years of Steigerconcept,» were turned into a set of stamps. In 2013, the stamps will appear on all of the architects’ printed materials and stationery, thereby conveying the same message to the target audience time and again.

Responsible at Steigerconcept: Jochen Brunner, Rémy Voisard (overall responsibility). Responsible at Cavegnwerbung: Markus Cavegn (Art Direction), Peter Rettinghausen (Text), Sarah Hepp (Graphic Design).

Invitations to the industry event were sent out exclusively via the Internet, tailored to the target audience. After all, «silver surfers» are now the fastest-growing demographic among Internet users. These and other facts about staying young were discussed this week at a coffee gathering featuring Prosecco and fine salmon at the Laborbar in Zurich. “Golden Agers” hold the most wealth in our increasingly aging society. An estimated 75 percent of total private wealth in Switzerland belongs to women and men over 50. And contrary to outdated notions, retirees who wear brand-name sneakers are very open to switching their favorite brand—if the quality convinces them.

At the very least, a few senior account directors should adopt a «young at heart» mindset and rethink their approach when allocating their advertising budgets. But it’s not too late yet—after all, it won’t be until tomorrow that 50 percent of all people in Switzerland will be over 50 years old. That would amount to roughly 3 million customers with strong purchasing power who are quietly and discreetly moving away from the 14- to 49-year-old target demographic and then, in terms of advertising, waiting until they reach the “right” average age for public broadcasters. For ZDF, that average is 56 years; for ARD, 71. But those networks stop airing commercials after 8 p.m. That’s why the newly founded commercial broadcaster Sat.1 Gold stepped into the gap on January 17, 2013. Its spokesperson, Petra Dandl, presented the concept at the “50 plus” industry event. It consists of more than just recycling old talk shows and cult series with a playfully retro vibe. Advertising Week will revisit this topic when a Swiss version of Sat.1 Gold soon brings a breath of fresh air to the TV scene.

A Successful Magazine Concept
 
The print magazine *50 plus* has already proven successful with its target audience. It was founded ten years ago, and Beno Kästli has since developed it into a trusted publication with approximately 370,000 readers. Last fall, in keeping with the golden season, Schoscho Rufener and Kurt Aeschbacher purchased the magazine. The popular TV talk show host will serve as publisher going forward. According to its own promotional materials, the politically neutral magazine is aimed at «quality-conscious and active people over 50.» The magazine aims to entertain and provide inspiration for exciting leisure activities. Sixty-two percent of its readership is between the ages of 50 and 64. More information about the concept can be found at www.50plus-magazin.ch. pan   

«We don't view old age as a pathological condition, but rather as an exciting stage of life.»

WW: How does it feel to be «50 plus»?
Kurt Aeschbacher: I’m actually already past the «50-plus» age bracket. I’m actually «60-plus»—and, to be precise, turning 65 this year—which has led to the popular journalist’s question: “What will you do after you retire?” But since I haven’t structured my life around the rhythms dictated by retirement planning, I don’t think about retirement; instead, I’m constantly working on future projects that I find exciting. That hasn’t changed even at this stage of my life.
 
To what extent will you be involved in the editorial work for «50 plus»?
I serve as the editor-in-chief of the magazine. That means I’m responsible for how we strategically align our topics. I help find the right journalists. In this sense, we don’t have a large editorial team; instead, we work closely with the publisher. I’ve structured this collaboration to be very close-knit. I’m truly hands-on and an active editor. The visual presentation is also very important to me, and I have clear ideas about the design. I also want to have an increasing influence on the accuracy of the content.
 
Do you work primarily with freelancers?
Yes, for the most part. The downside is that we don’t have a permanent editorial staff. As a result, more of the work falls on the publisher. But it also has the advantage that we can find the best specialist for each field—someone who really knows their stuff. I also know that there are many freelance journalists on the market, but at the same time, there are fewer and fewer job opportunities. Perhaps we can make a contribution here as well.
 
The magazine is published six times a year. Is that a reasonable frequency?
We’ve been thinking about this publication schedule. A monthly issue would certainly be desirable. But that would multiply our production costs. As entrepreneurs, we simply can’t afford that right now. There are other magazines, such as Ringier’s *LandLiebe*, that also publish six issues a year. But we’re constantly considering whether we should expand *50 plus* to at least ten issues.
 
Ringier has been working on a concept for a «senior» magazine for quite some time. The idea was shelved because the company couldn’t identify a target audience that wanted to be labeled as «older.» Is the time now right for it?
I think the time has always been right. It just depends on the content you provide. If you’re open-minded about the subject matter and view aging not as a pathological condition leading up to death, but as a stage of life full of possibilities—and if you highlight those opportunities—then there will always be a market for it. Our magazine was launched ten years ago and has performed exceptionally well all these years. «50 plus» has nearly 370,000 readers and continues to grow—a success story that many other magazines would be happy to have.
 
What are the goals for the magazine once it, too, gets «older»?
In addition to our publication schedule, our next goals include expanding our reach to all of German-speaking Switzerland. We also want to strengthen our connection with our audience through various forms of interaction, such as audience feedback and advice columns. There’s still a lot we can achieve in this area, aside from expanding our online presence and everything else that will unfold in the future.
 
«50 plus» has various regional editions. What are the benefits of this concept? We have editions for the Bern, Northwest Switzerland, and Zurich and surrounding areas regions. What we’re missing is Central Switzerland. We plan to take action there over the next three months. The regional approach has the advantage that each geographic target audience can be marketed to accordingly. Some of the content is tailored to the regions. I want to stick with that approach, because I’m convinced that regional relevance is a crucial factor in generating interest in a publication.

Interview: Andreas Panzeri

Fernando Perez and Livio Dainese look carefree and happy as they take a seat on Hinderling Volkart's couch. They have pushed aside the countless stuffed animals that were previously scattered on the sofa. Only a small dog keeps Perez in his hand. The window in the background is being cleaned. "Just like every day," Dainese says. "We like it clean," Perez adds.

The two are a well-rehearsed duo. Ever since Dainese and Perez met at Lowe's in 2004 - Perez was AD at the time, Dainese a copywriter - they've been working as a creative team. They share the same approach to work - and the same sense of humor. Not a dull minute goes by with Perez and Dainese. And they know how to infect those around them with their wit. "Their humor is one of the qualities I particularly loved and appreciated about Livio and Fernando," says Keith Loell, for example, who worked with them at Lowe and is now ECD at Gyro in New York. "They made the office a much more pleasant place with their way of laughing at themselves, at me, at life," Loell says. The creative duo has taken only a brief "relationship break" since then. That's how Perez jokingly describes the few months he spent staying with Jung von Matt in Hamburg and copywriting Dainese for Publicis. The time was enough for him to realize: It's much nicer in pairs than alone. As a result, they signed on together at Jung von Matt/Limmat in 2007.

"We think similarly in terms of ideas," Dainese said. "We don't make a big distinction between text and image." When one is excited about a concept, the role of critiquing everything flies to the other. "So we're always examining our creative ideas from every possible angle." Perez has the final decision regarding graphics, while Dainese has it when it comes to the script. Otherwise, they know no division of tasks.

Their creative style is also adaptable, Loell says. "They have a wonderfully flexible voice." Their work doesn't make them identifiable as creatives, he says, but is always tailored to the client in question, to a specific problem. At JvM/Limmat, Perez and Dainese have proven themselves as a creative team with award-winning campaigns. Under their direction, for example, the Facebook village of Obermutten was created, as were the iconic ibexes Gian and Giachen, who in the advertising for Graubünden Tourism sometimes rant about climbers or bikers, and at other times rave about being fathers, while at the same time reprimanding the offspring: "Reto! Hoouf uss dr Naasa!" Since the beginning of February, the two-story agency premises of Hinderling Volkart in Zurich's Kreis 4 have been the new home of Perez and Dainese. While classic creative agencies are strengthening themselves with online expertise, they have gone the opposite way. They are the "classics" who have joined the digital specialists. Why? "Our claim is to offer contemporary integrated communications. Virtually all campaigns today are also conducted on the web. Seen in this light, this step seems only logical to us," the two explain. "Advertising budgets have shifted towards online. From our point of view, the classic part has even become more manageable than the online part."

On top of that, he has an enthusiasm for technology that runs away with Perez from time to time. Once a new gadget has piqued his interest, he can hardly resist. "It always happens in three steps," Dainese reports. "Step 1: Fernando wants it. Step 2: He tries to convince himself that he doesn't need it. Step 3: He buys it. From step 1 to step 3, it takes anywhere from five minutes to two days." Perez tries to justify himself, "Well, the gadgets get me ahead professionally." Dainese can't help laughing, and Perez relents, "Okay, I'd buy that stuff too if I were a butcher."

Beyond the classical

In recent years, Perez and Dainese at JvM/Limmat have steadily expanded their digital expertise. Recently, about 60 percent of their projects for Graubünden took place on the web. The most recent example is the project Webwander.chwhich won an award at this year's Best of Swiss Web. And more and more online projects were also handled for the customer Migros.

So the two are somewhat offended when they are called "classics. Rather, they see themselves as platform thinkers. And they haven't just been that way since the entire creative industry started talking about cross-media, 360° and integrated communication, as former companions tell us. David Schärer, co-founder of Rod Kommunikation, who knows the creative duo from his time at JvM/Limmat: "Livio and Fernando already had a modern mindset back then. They didn't use the same old patent recipes, but thought campaigns in a new way." Philipp Skrabal, ECD and co-owner at Wirz Werbung, who worked with Dainese at Publicis, paints a similar picture: "Even back then, Livio embodied the kind of creative whose ideas work regardless of channel. His creative ideas had storytelling qualities and could be played across all media."

The fact that Perez and Dainese have already realized successful projects in the digital field was the deciding factor for the two agency founders Michael Hinderling and Michael Volkart to bring the duo on board as partners. "Livio and Fernando have internalized the 'digital mindset'," explains Michael Hinderling. "Otherwise, the collaboration wouldn't have gotten off the ground," adds Michael Vollkart. Dainese and Perez bring the classic expertise to the web agency that the digital experts had previously lacked in order to gain a foothold as a full-service provider. Hinderling Volkart has long proven that it knows how to bring together technology, design and user experience. At the Best of Swiss Web, the agency has so far won gold six times, silver five times and bronze eight times, and has made a name for itself with various projects for Swiss radio and television SRF. For example, with the platform "Rousseau" (Jjr2012.srf.ch) or with web documentaries such as "Silk Road" (Silk Road.srf.ch) and "360° Langstrasse" (360langstrasse.sf.tv). Now it's a matter of showing customers that they also have brand management, creation and strategy under control.

As before, Hinderling Volkart will implement classic web projects. The agency has just been awarded the contract for the complete relaunch of the Beobachter.ch platform from Axel Springer Verlag. Perez and Dainese will only be marginally involved in such web work, if at all. But step by step, broader communication budgets are to be added.

The fact that clients are willing to entrust them with projects that go beyond web services is shown by the first pitch wins. The television portal Teleboy, for example, is now relying on Hinderling Volkart's integrated communications concept to promote its services. Zurich Versicherung has its insurance offerings visually staged on the web with interactive videos. "We're preaching to the choir with our integrated offering," says Dainese happily. "Or at least the doors aren't shut insanely tight." Perez agrees, "We definitely don't have to break in."

Dainese and Perez have already become accustomed to the "online mentality," collaborating with web designers, developers and programmers. "The online culture is more collaborative. Everyone has a say in the design phase - even the consulting team has a conceptual influence. And there's much closer collaboration with the customer," Dainese says. "We really appreciate that ideas are not developed by creation and then implemented by technicians. Here, ideas are created with - and from - technology," Perez said. "We sit with front-end devoppers and online designers while brainstorming. These professionals know right away what's technically possible - and what's not." The interplay between creation and technology should not be underestimated in web projects, the creatives are certain. "A film, they say, is 50 percent music. With online projects, it's the technology." The creatives are not satisfied until projects run "Apple-style" smoothly. A word that often crosses Perez and Dainese's lips. Whenever they want to express that technology becomes so easy and intuitive to use that it no longer represents an obstacle, but helps. When communication becomes an experience for the user. This requires brilliance on the part of conception and development. And that's exactly what the creatives are concerned with: "When a carpenter makes a piece of furniture, he wants it to be perfect. Just because communication is less durable, it shouldn't be less perfect," says Dainese. "Communication should never be made cynical."

Dainese and Perez believe they can find the perfectionist approach to work and the passion for creativity and technology at Hinderling Volkart. "People here freak out about their jobs - just like we do. They have an identity crisis when one little detail doesn't work, " Dainese said. "We love working with people like that." - "And the best part," Perez adds, "we have stuffed animals in the agency."

Isabel Imper

In the fall of 2012, new operators were found for what was then Swiss sports television (Werbewoche.ch reported). They had set themselves the goal of achieving a turnaround within two years, SSF said in a statement on Thursday. However, income from advertising and sponsorship has now fallen far short of expectations and additional investors have not yet been found, meaning that the channel will probably have to be shut down on June 30, 2013. In return, the former operators of Schweizer Sportfernsehen planned to further expand the program offering with an online strategy on the Internet. In addition to regular live broadcasts of handball matches, live broadcasts of other sporting events are also planned, which will be made available via Internettv.ch and all mobile devices.

In January of this year, SSF Media was launched as the new operator with the repositioning and redesign of SSF "Sport Szene Fernsehen". The fact that the emergency brake has now had to be pulled is primarily due to the lack of income from advertising and sponsorship in the first quarter and the unpromising outlook for 2013 as a whole, the press release continues. The fact that the advertising industry has not had any viewer figures at its disposal since the beginning of the year due to the new, questionable research method has contributed to the insufficient income. In this unclear situation, it is obvious that no technical advertising experiments were launched and the funds were used with the known and proven providers.

According to SSF, there was an unsustainable lack of income from commercials and sponsorship. Attempts to find further investors have been unsuccessful to date. For this reason, it is planned to cease broadcasting operations on June 30, 2013.