Domo editors have asked creative director David Curcurito to design the cover for the Esquire cover story in Ringier's corporate magazine. That's because Esquire is legendary for its covers, Ringier said in a media release Thursday. The cover image is unique and exclusive, it said. Curcurito wrote it by hand.

The cover therefore appears exclusively in English and not translated into the five publication languages French, German, Chinese, Hungarian and Romanian, as is usually the case at Domo. David Granger, Editor-in-Chief of Esquire, and David Curcurito, Creative Director of Esquire, told Domo how the editorial team works, why they swear by print, how important cover images are, and how the printed magazine and the online world can complement each other congenially in the future.

The booklet will be published on March 15, 2013 and can be ordered via Ringier Corporate Communications be obtained.
 

You're right. The commercial has been running since November 2011, but I still have to do it again. It's about the fish movie: You know, the commercial with the fish and the ring that plops into the water on a jetty during the marriage proposal and then reappears at the candlelight dinner in the stomach of the pangolin and in the mouth of the bride - who sucks the rock off, puts it on her finger and says "I do. In tears, of course. I thought the commercial was funny. Well, I admit that I wished I could experience a romantic stroke of luck like that. So I thought the commercial was top class. Then I didn't see the commercial for a while and pushed it to the back of my mind. After all, life is romantic enough, who needs solitaires and fish by candlelight? Or happy coincidences?

One piano, one piano

Now there's a song playing on the radio a lot at the moment that I really like: "Me, myself and my piano" by the Augsburg band Nova International featuring Lauren Talbot. Some people sort the song into the pigeonhole of mainstream wallflower pop. That doesn't bother me. I like the tootling. And it's great for pimping your eyelashes. The other day I was watching TV again and heard "my" song about the girl who clings to herself and her piano far away from home (just imagine that). The song backed that commercial number by the pond where the dubbel drops the solitaire into the water and then - luck is with the mentally poor - buys the fish that ate his love-bling.

In summary: I liked the spot once very much, and I like the song very much. But they don't go together: What does a fish have to do with a piano? The fact that the love song stirs up romantic feelings can't be enough to suit a commercial that revolves around a pair of lovers, can it?! The fact that the song was written especially for the commercial only makes it worse. I wonder what the briefing was like: "Write a song for a commercial with a ring and a fish. It can also have a piano in it." Who on earth came up with the piano? And which came first, fish or piano, spot or song? At least they could have included a Steinway somewhere in the film so that there was a connection between image and sound. Yeah, sure, it's flat. But does a TV-night-starved brain want challenges or total harmony and relaxation?

The morning disaster

The consequence of the careless combination of image and sound is that whenever "Me, myself and my piano" plays on the radio (and it does almost every morning at the moment), I have to think of fish. At half past seven in the morning, of fish, while styling. An imposition! Also totally unromantic, spoils my mood. And who do I have to thank for that? Exactly. Who actually?

Even when I thought hard, I couldn't think of what the commercial was advertising. And yet I've seen it x number of times. It's only since I had to find out more for this column that I've realized that the fish film is a commercial for Coop. Oh, that's why they dig it up again after two years. A simple diversionary tactic: Who will still think of horse meat with a fish and a piano? The chickens are laughing!
 

 
WW: The Goldbach Group has had a successful year. The 51 percent jump in profits is impressive. But why is turnover stagnating?
Klaus Kappeler: We got off to a very good start in the first semester of 2012 and the second semester also got off to a relatively good start. In the fourth quarter, however, there were complete shifts: Television became very difficult and major international customers - especially in the FMCG sector - optimized their balance sheets and income statements towards the end of the year, which led to write-offs in the double-digit million range. In contrast, Internet TV and the online sector generally developed very positively, but in terms of volume this is of course in no relation to traditional electronic media.
 
... which are still the most important area ...
Overall, it was a very varied year in terms of sales development in the individual segments. In the display segment, video advertising developed strongly and achieved growth of a good 60%. We recorded an increase of just under 3 percent in television and a good 10 percent in radio. The revenue target that I forecast to investors in mid-2012 has come true.
 
Let's return to television. Can the development in the television sector be compared with Germany, or was this decline a Swiss phenomenon?
There were also ups and downs in Germany, but sales tended to improve towards the end of the year. They struggled more at the beginning of the year.
 
You experienced a relatively sharp decline in the online sector. What is the reason for this?
We announced two years ago that we wanted to streamline our portfolio and dispense with less interesting business. In particular, we have reduced the direct booking business and were thus able to double the margin in the online business. That is one thing. On the other hand, 50 percent of our decline is due to Facebook's IPO. Facebook made itself beautiful for the IPO - the bride was decorated - and then decided to market itself. As we looked after Facebook in the Czech Republic and Poland, this was the main reason for our decline in sales abroad.
 
How does the Interactive division present itself?
At the beginning of the year, the Interactive segment did not develop as we had expected in terms of volume. We lost two large mandates in Germany and Switzerland - that happens in the agency business. Nevertheless, we were just able to maintain the previous year's sales volume. Income, on the other hand, declined due to high investments. Two years ago, we built up an agency in Austria from scratch, 18 months ago we founded another agency in Poland, before also taking over Slovenia's leading digital agency in mid-2012. We invest constantly and sustainably.
 
What are the prospects for this year?
Last year, as you said, we made a 50% leap in profits. Our goal this year is to further increase profitability. We had very strong growth in the online video sector in 2012 (+60%). In Switzerland, we already generate a third of our online sales with video. The structural adjustment I mentioned has been completed and we expect the traditional display business to grow again. In addition, we have been expanding our mobile business for a few years now, which will grow strongly in 2013. The entire online business will return to the growth zone, and this also applies to the Interactive business.
 
I have the feeling that display advertising in Switzerland has become more aggressive in the last few months. The formats have become larger and there are more moving images. Can you confirm this?
The variety of advertising media as a whole has developed dramatically and video is by far the fastest growing segment worldwide. The reason for this is the development towards multiscreen consumption. We started with radio in 1983, followed by television in 1993, then the Internet and finally mobile, and today we have the logical consequence: multiscreen. Today, 80 percent of all information and entertainment is consumed via a screen. And video on the Internet is nothing other than an extension of television, which is experiencing a revival and is being used even more.
 
Could it not also be that the importance of traditional television will tend to decline in the future?
The question is about the emperor's beard. What counts is the consumption of moving images, whether via linear television or via Internet protocol. The consumption of moving images, whether terrestrial or digital, will certainly not decline, but consumption via the Internet will increase and the total volume will rise. Those television stations that understand how to properly design their offerings on the Internet will win overall. But there is a new distribution channel,
 
 ... and new forms of programming ...
Yes, and also lateral entrants such as Samsung or Sony with their TV apps, which lead to new types of programming. But I am 100 percent convinced that linear television will still be consumed as a lean-back medium in 20 years' time. This is because people's need to relax while watching television will remain and will continue to account for a large proportion of all moving image consumption in the future.
 
Let's move on to radio. In Switzerland, radio is still a marginal medium as far as advertising expenditure is concerned. Radio is an important medium for Goldbach. How do you see developments here?
Unfortunately, it is true that radio has not yet achieved an absolute breakthrough in the advertising industry, even in the last few years. I don't want to go into the individual reasons (small size of the rooms, complexity of planning, processing, etc.) any further. Furthermore, radio is severely restricted by legislation (no networks, no national distribution). Goldbach has done a lot in recent years; we have introduced planning tools such as GRP monitoring and auditing to give customers security. But we also want to introduce the radio industry to new technologies. For example, we are working closely with the radio stations to develop marketing for digital radio (DAB and web) so that the new digital technologies can also be commercialized in the future. If we succeed in jointly bringing a standardized offering to the market, then the radios will benefit. Going it alone is doomed to failure. My heart beats for radio anyway, after all I started in radio 27 years ago (laughs).
 
 
Let's return to online advertising. Mobile is becoming increasingly important, but monetization is still a problem. Do we have to accept this?
That would be not accepting a challenge! Mobile is the most important challenge in the coming years. Everyone who works in the Internet sector is aware that a large proportion - 50 to 60 percent - of queries are already made on mobile devices, but capitalization only accounts for 10 percent of stationary commercialization. The Mobile World Congress 2013 took place in Barcelona at the end of February, we were there with three people and studied the latest offerings. Mobile - according to the unanimous tenor - will overtake the entire economy left, right and center, only the capitalization possibilities are still a mystery. For the smartphone, the medium to which we entrust all our data and which we all use most intensively, a different form of communication is needed than banners, as we introduced on the Internet 15 years ago. The challenge is to move mobile advertising from push to pull. It must be transformed from an offer into a real service for mobile consumers. If we can achieve this, the acceptance of mobile advertising will be guaranteed. Well-made videos that are entertaining and at the same time represent a service for the consumer are what is needed on cell phones.
 
Are there any examples from abroad?
There are good examples of couponing in Germany and abroad that represent a genuine service for the consumer, as they have to be explicitly confirmed by means of double opt-ins.
 
So mainly advantage- and moment-related offers? Quite a change compared to today's offer.
That's right. Traditional image advertising as we know it today will not be the sales driver in mobile. So branding on the cell phone will be coupled with a specific service. The entire industry is working on this connection, but here too it will take some time for a new approach to gain acceptance.
 
A tiresome chapter to conclude: television research. Regardless of the current problems, mobile TV usage cannot yet be measured in the new system.
The first important step now is that usage can also be measured via stationary Internet and time-shifted usage. It is normal for consumption in this area to shift and adapt to mobility. This is a major challenge for research as a whole. This applies not only to television, but also to all digital channels, including newspapers read on tablets. The (advertising) industry is called upon to deal with the changes in user behavior brought about by the technological revolution in recent years, to learn and to implement the new findings professionally. The quality of research data is generally improving, it is becoming more accurate and therefore more valuable, and it can be used in a more targeted way. That is already a first step.
 
... when they are finally published ...
That, however, is another question!
 
Interview: Pierre C. Meier

In the Awareness category, the Migros Generation M ad by the Jung von Matt agency took first place, followed by the VW Golf ad by the KSP advertising agency and the Suva ad by Leo Burnett Switzerland. The VBZ – Züri-Linie ad by Ruf Lanz takes first place in the “Uniqueness” category, ahead of the Suva ad and the “Sehen-und-handeln.ch” ad by the Spinas Civil Voices agency. In the “Brand Fit” category, the “Kartoffel.ch” ad ch by the advertising agency Neue Lgk, ahead of the ad for VBZ and the “Mein Fussball” ad by the agency Hug & Dorfmüller. The VBZ – Züri-Linie ad ranks first in the “Likeability” category, ahead of “Kartoffel.ch” and the Suva ad.

Werbewoche's Impact Check, March 2013 (PDF)

Detailed Results of the March 2013 Impact Check (PDF)

The slogan was spotted in a campaign for micro-entrepreneurs at Bernmobil, on a hanging box with a dispenser: (uma)

The latest "Cross-Platform Report" from the US market research company Nielsen makes it clear that, despite these diverse options, people continue to watch television primarily in the traditional way - i.e. on a TV set and at the time when the relevant program is broadcast.
 
According to the study, US consumers spend an average of more than 34 hours a week in front of the TV. As expected, the majority of this time - an average of 32 hours and 15 minutes - is spent watching television. The remaining time spent in front of the TV is spent playing games (an average of 1 hour and 27 minutes) and watching DVDs or Blu-ray discs (an average of 1 hour and 9 minutes). If we take a closer look at the more than 32 hours spent watching TV remotely, it becomes clear that live consumption continues to dominate: Consumers only watch an average of two hours and 30 minutes of time-shifted television per week, for example via DVR, DVD recorder or video-on-demand services, while the rest of the time is spent watching live. The importance that traditional TV consumption continues to have in everyday life becomes even clearer when looking at the time spent on other forms of consumption.  
 
Americans use the internet to watch video content for an average of 52 minutes a week. Videos are watched on cell phones for an average of 11 minutes per week. Traditional live TV therefore still accounts for the lion's share of TV usage, even though the study shows that alternative consumption methods have increased compared to the previous year. According to the study, 87% of terrestrial TV usage and 93% of cable TV usage is live, with the remainder being watched time-shifted. But what exactly does time-shifted actually mean? The latest "Cross-Platform Report" provides concrete figures on this for the first time. They show that a significant proportion of time-shifted TV usage in the USA takes place "same day", i.e. on the day of the original broadcast: around 6% of terrestrial TV usage and around 3% of cable usage takes place time-shifted on the day of broadcast.
 
A further 6% (terrestrial) and 3% (cable) are watched within seven days of the broadcast date. Only a very small proportion of TV consumption is time-shifted to an even later date (terrestrial and cable 1% each). Nevertheless, it is interesting to take a look at which TV content is most likely to be watched more than seven days after its broadcast.
 
According to the study, these include in particular "join-in shows" (e.g. castings), science fiction and drama programs. Children's programs are also frequently watched long after the broadcast date. The "beyond 7 day" usage share for primetime programs is also around twice as high as overall.
 
Clemens Koob

The video shows the Salvation Army band, now called Takasa, traveling at full throttle in a bright red Fiat 600 towards Malmö.

Responsible at the Salvation Army: Martin Küenzi (overall responsibility). Responsible at Spina's Civil Voices: Matthias Freuler and Stephan Huwiler (creation), Corinne Bucher (consulting), Alexander Meier(production), Tom Malecha (director).
 

WW: What was Adobe's strategic consideration in establishing a second foothold in online marketing?
Angelo Buscemi: Founded in 1982, Adobe Systems was known for a long time primarily for its creative products such as Photoshop, InDesign or Illustrator as well as the document standard PDF and the video standard Flash. For a few years, however, Adobe has opened up another market segment through strategic further development and corresponding acquisitions in the area of "Digital Marketing", an obvious expansion, as customers were also looking for a partner for the exploitation of their creative content. As a result, Adobe can now cover the entire lifecycle of a marketing and communications effort - from developing creative content to distributing it to various channels and platforms to analyzing its success and evaluating the effort in real time. Adobe has developed tools for each of these steps, so marketers can efficiently manage their content and campaigns.
Andreas Helios: Adobe enables companies to intervene in the process at any time and optimize it if necessary. For example, if a company finds that a campaign or a particular image is not working or resonating well on some devices, this can be detected in real time and adjusted with a few simple steps. This makes the entire marketing process much more efficient.
 
Will Adobe's marketing products grow faster than creative products in the future?
Buscemi: Adobe is certain that marketing solutions will grow strongly in the coming years in the age of social media and an almost exploding number of communication channels. That's why the company began strategically developing in this direction years ago. The growth figures here speak for themselves - for some of our marketing solutions, this has been between 70 and 100 percent in recent years. Growth has been particularly rapid in web content management, and there has also been a steady upward trend in analytics. In Adobe's "traditional market" of creative products, we have introduced a very interesting rental model, especially for smaller companies, with the launch of Creative Cloud.
Helios: The traditional creative business on the desktop side will certainly continue to bring in most of the revenue. But Adobe's new, compelling marketing solutions are growing fast and already contribute more than $1 billion to Adobe's revenue.
 
The market demands more and more analysis?
Helios: Every day, we see with our customers that budgets are shifting almost dramatically towards digital marketing. The younger generation in particular is much easier to reach via digital channels. In light of this development, there is also an increasing need for marketers to account for results internally. At the same time, marketing work is becoming more and more fragmented; there are many more communication channels and also end devices through which companies are in contact with their target groups. The great art in this "digital jungle" is to find out what works best with which target group, and for this you simply need very good analysis tools. Otherwise, companies run the risk of blindly investing their marketing budget in the wrong activities.
Buscemi: Moreover, it is not only a matter of justifying the current budget, but also of arguing for the future one. Marketing is no longer just a creative corner, but management demands the most transparent statement possible about where the budget has gone and with what effect. With Adobe's tools, it is now possible to say concretely what impact a marketing activity has on sales. We can see exactly how many contacts a particular campaign has generated on the devices of a defined age group and how many of these have led to a sale.
 
How does this work in concrete terms?
Buscemi: In the online world, you can track very precisely where a visitor comes from and whether he ultimately buys something. For example, I can calculate how much a Google ad brought in revenue and put that in relation to the cost. With Adobe Media Optimizer's new rules-based bidding solution paired with Adobe Analytics, this happens automatically. Companies can calculate the optimal price of a Google ad.
 
That sounds very complex.
What does that entail for training? Helios: We completely remove the technological complexity by providing the tools to our customers as "Software as a Service". That means no complex IT implementation is required, I just open the tool via the browser. Since Adobe's tools are aimed at marketing professionals, the training requirement is usually very low. But of course Adobe provides support to its customers, as well as a variety of learning opportunities, from online videos to free "Adobe eSeminars." We've also just introduced innovations that simplify data analysis and enable operation on tablets.
 
How is Adobe marketing this new business unit?
Buscemi: Digital, of course (laughs). Here in Switzerland, we also have two locations - a 15-strong sales team in Zurich and 80 people in development in Basel. We were able to take over most of these specialists from Day Software, the Swiss start-up that Adobe bought in 2010. We want to expand the Basel development site to 140 employees.
 
What do you expect for the future?
Helios: Two years ago, the whole marketing world was talking about followers. However, it is important to know who brought me the sales. Companies need good analyses in order to draw the right conclusions and make the appropriate decisions. For example, the information that iPad users generate 25 percent more sales because they shop online much more intensively in the evening on the sofa. We provide the tools to get such insights and act on them accordingly, and we will refine this in the future. Google continues to have extreme growth figures in paid search, which is sometimes very expensive for companies.
 
How can this be changed?
Helios: Companies should not define their marketing activities only in terms of keywords, but should focus on good content. It is not for nothing that content management is currently experiencing such a renaissance. Companies should have a digital presence with which they can slide to the top ranks on Google's results list via natural search. In addition, new technologies in analytics will change the way creatives work - they must be able to accurately capture the tastes of the target audience and, if not, be able to quickly adapt. There is a real workflow behind this: the optimization mechanism in the tools triggers a message, the creative must then change something in the image or text, the marketer must re-distribute the content in a targeted way and measure the effect. And this cycle is becoming more and more accelerated.
Buscemi: This expertise is what makes Adobe's offering so unique, as we can combine the creative part with the marketing tasks of distribution and content evaluation and offer them from a single source.
 
What does such an offer cost?
Buscemi: For web content management and experience management, we are in for a company that wants to invest from 100,000 francs. With limitations, you can also get in at lower prices. Analytics and targeting can be had for just a few thousand euros. This scales with the traffic you have. Basically, the more you use, the more traffic you will get.

Interview: Andreas Panzeri

 

---

Creative Cloud now connects to Marketing Cloud

Adobe Systems today can be divided into two product areas: the Creative Cloud (Photoshop, Illustrator, etc.) and the Marketing Cloud. With the two "clouds" together, Adobe Systems can today cover the entire lifecycle of content, from content creation to its distribution to all platforms (PC, iPhone, tablet) and channels (corporate website, social media, Google AdWords, etc.) to success measurement and monetization.

These days, Adobe has presented numerous innovations of the Marketing Cloud at its Digital Marketing Summit in Salt Lake City. Adobe now sees itself as the market leader in digital marketing. Nine of the top ten online retailers and banks or eight of ten leading media companies rely on Adobe for comprehensive marketing solutions. Explored was "why marketers are increasingly becoming the strategy leaders in their companies." It was also announced in Salt Lake City that "Adobe Marketing Cloud can now connect to Adobe Creative Cloud." Marketers can now work hand-in-hand with their agencies in creating campaigns and measuring their performance, and better respond to the continually changing needs of their customers. In addition, new mobile marketing capabilities have been introduced for each of the five solutions already in Marketing Cloud. pan

A man waits patiently on platform 10 at Lucerne main station. His mullet stands on end, but his sleeveless Harley-Davidson shirt shows off his upper arms to good advantage, and his mouth is adorned with a fine moustache. Clouds of smoke drift out of a dark green train into the bitingly cold February air. A second-class smoking compartment, actually long since extinct. If you didn't turn to the right or left on the set of the new SBB TV commercial and blank out the spectators streaming by next to the actors and cameras, you would have thought you were back in the old days. The reason: For the current SBB campaign, the advertising agency Maxomedia translated the familiar SBB imagery "on the road at home" into the 1980s.

Travel at prices of yesteryear

"We wanted to promote our Supersaver Tickets in a sympathetic way," says Reto Meissner, SBB's head of marketing communications, of the campaign's goal. "People always have the feeling that train travel is getting more expensive. We wanted to show that this is simply not true." If you're flexible, you're still traveling at eighties prices today, he said. There are many more trains running than in the past, and the trains have an average occupancy rate of around 30 percent. These seats can be bought online at Sbb.ch/Sparbillette for up to 50 percent less. However, he says, this has been too little known so far. Meissner switches from the heated interior of the old train to the screen next to the cameraman and, wearing a thick winter jacket, follows how the recorded images look. A smirk. "A lot of memories from my youth come back. The shoot is a great pleasure."

No wonder: all the extras were played by SBB employees who normally only know each other in their work clothes. There is a concept behind this, as Creative Director at Maxomedia, Reto Schild, says: "It was important to SBB that all the actors have a close relationship with them. This makes the shoot fun, despite the hectic pace - and you can certainly see that in the final result."

Enormous leaps in performance

CD Reto Schild also relived the colorful era and reminisced during the shoot: "A thousand details come back to my mind. And it's precisely these nostalgic feelings that make the campaign." Through the positive emotions triggered by the images, the often harsh price discussion fades into the background, he said. It was also important to the CD not only to draw attention to the low-price offers in the campaign. It was also important to emphasize the enormous development of SBB's services: On a landing page, SBB's milestones can be traced. And the juxtaposition of the present and the past with commercials, posters and ePanels makes it possible for customers to classify the price-performance ratio in the first place. Schild explains: "Is a ticket expensive or cheap? We simply lacked the possibility of comparison. That's why we made the comparison within the SBB image world with the past." And further: "We show that everything was not at all better in the past, as the vernacular is so quick to claim," says Schild. "On the contrary! For the first time, SBB has a campaign in hand that can prove that quite clearly."

Katharina Rilling

 

For 33 years, Die Klappe has been a platform that inspires innovation in the German-speaking advertising film industry. Around 300 films were submitted to the communications association's competition in 2013. The moving images were judged by a 28-member jury on March 1 and 2 at Markenfilm Hamburg. As an important characteristic of the Klappe, the jury traditionally includes clients, creatives, film productions and the media Horizont, Werben & Verkaufen and Werbewoche. Martin Spillmann stepped in as president of the jury at short notice after Thomas Strerath from Ogilvy & Mather Germany had to cancel due to a shoot with star footballer Ronaldo. However, Spillmann handled the task with spontaneous professionalism and was also completely correct in standing down when his former agency was awarded gold for Micasa's "Shredder".

This commercial was produced by Pumpkin Film and directed by Alex Feil. The other two Swiss winners are also from Leo Burnett Switzerland. The summer film for Switzerland Tourism was awarded silver, while the "Zeit" film with the watches being put away received bronze. Both were realized by Stories. (pan)

A list of all flap winners can be found here here as PDF.

 

Three men and one woman have been arrested on suspicion of being involved in phone tapping. This was announced by Scotland Yard on Thursday. According to Scotland Yard, the main focus is on the Sunday Mirror and the years 2003 and 2004. The Trinity Mirror Group confirmed that the editor-in-chief of the gossip magazine People and his deputy were among those arrested. The other two were former journalistic employees.

Investigations into illegal research and bribery methods at British newspapers have so far focused primarily on Rupert Murdoch's newspaper holding News International, which owns the now defunct News of the World and the Sun. The scandal, which had been smouldering for years, reached its temporary climax in 2011. Since then, numerous journalists, police officers and others involved have been arrested in the three-part police investigation.

The police are investigating the tapping of cell phone mailboxes, bribes to the police and computer hacking. Former Murdoch confidante Rebekah Brooks, who was also a friend of British Prime Minister David Cameron, is one of the most prominent alleged perpetrators currently under investigation.

Dispute over press code

Parallel to the police investigations, Cameron had convened a judicial committee to develop a new press code to prevent similar scandals in the future. The so-called Leveson Committee presented its recommendations last November - but now the government and opposition cannot agree on a version.

Cameron broke off talks between his Conservative Tories, the coalition partners from the Liberal Democrats and the Social Democratic opposition on Thursday. On Monday, he wants to present his plans for a new system of press regulation, a so-called "Royal Charter", in parliament.

Liberal Democrats also want a stricter codex

Both Labour and the Liberal Democrats criticize Cameron's guidelines for not going far enough. The latter, on the other hand, insists on freedom of the press. "The route I have put forward is the fastest possible way to get the strong self-regulation that Leveson has proposed, which can impose multi-million pound fines, demand prominent apologies and bring justice to victims," Cameron said. (SDA)
 

Teaser image: Keystone
 

The current dominant advertising topic is a new TV measurement method that does not provide any data. People are bickering about comparability. Until then, the data will remain under lock and key, as the monopoly on publication lies with those responsible for measurement. The TV market is watching in the dark. Is all this still in keeping with the times?
 
Conventional measurement methods survey random samples and provide probability data from the masses. Modern measurement methods are based on verifiable actions and statements made by individuals. Welcome to the age of social media advertising and measurement. Instead of periodic probabilities from external panels, in future you will plan on the basis of your own, continuously collected response data. This quantum leap in advertising research requires a quantum leap in advertising design.
 
The first step is to gradually abandon the watering can campaign principle with a handful of advertising themes each year. In their place are many targeted impulse messages. Previously homogeneous target groups are breaking down into small splinter groups with their own values and needs. Technology is turning the user into a selective campaign manager. There are spam filters that can be used to ban unwanted content from the screen: they are called Unbaby.me, Unpolitic.me or Unwhatever.me. Getting caught in spam filters as a brand - an oppressive idea. You shouldn't make fun of users with nonsense.

Instead, show empathy and work on your ability to derive appropriative advertising from patterns of needs and values. Rohit Bhargava presents us with the vodka filter in his book "Personality not Included". You can use it to subject ideas to an initial suitability test in an amazingly simple way in a kind of mental distillation process:

 
1 First of all, ask yourself whether an existing idea is unique. Uniqueness is essential on the way to more attention, recognition and better brand recognition.
 
2 Secondly, check the authenticity. This is achieved when a message is perceived as understandable, comprehensible and credible. With digital media, users can check your promises in real time via search engines and forums. Users forgive mistakes. Cheat packs, on the other hand, end up in the all-time spam filter.
 
3. does your idea have what it takes to become a blockbuster with a ripple effect? A social impact effect is when a message triggers an action that can be perceived by third parties by as many initial recipients as possible. You have the best chance of landing advertising blockbusters with the public with messages that trigger conversations. Occasionally, the big coup that everyone talks about for a short time is always possible. But what if the concept of such recurring social media talk rounds could be systematized? A look at the Snickers and Oreo campaigns shows that it is possible. Various talk techniques are used. Here is a small selection of "talking ads" for inspiration.
 
1. a talking ad to kick things off
You are almost certainly familiar with Snickers' "You are not you when you are hungry" campaign. The original and sustainable concept positions the chocolate bar from Mars as a hunger killer. Snickers has created what I think is an exemplary campaign with a successful mix of classic TV advertising and modern social media talking ads.

 
2. a talking ad for the national holiday
With Oreo cookies, the product is the star. It doesn't get any more authentic than that. The product is two layers of chocolate cookies and a layer of cream. The Oreo talkmasters from Nabisco have dramatized this unspectacular product feature "cream and chocolate" in more than 100 talking ads to date. This talking ad commemorates the storming of the Bastille in 1789 with 37,000 likes, 2,900 comments and 3,837 shares, posted on Facebook to mark the French national holiday.

 
3. a talking ad for your birthday
Topical references with a yo-yo effect unleash hurricane-force storms of talk: with 52,000 likes, over 8,000 shares and 1,000 comments, the Oreo community gave the little panda baby Shin-Shin a warm welcome.

4. a talking ad for the movie premiere
The matching ad talk for the Bond premiere, this time on Twitter, also generated a great response: Bond likes his martini shaken "Some like it shaken". Oreo fans, on the other hand, like their cookies "dunken" (dipped in milk).

5. a Talking Ad for all (emergency) cases
This Facebook ad, posted on January 2 to mark the first working day after the vacations, is full of humor and the energy of 287 calories and 69,000 likes.

6. a talking ad to fill out
Popular and widespread ad talk forms are the so-called "fill in the blank". Users like them because they offer them the opportunity to participate creatively or because their opinions are in demand. For companies, they are a welcome source of information and inspiration. For example, ideas for talking ads can be generated or customer wishes can be subtly queried. This Snickers ad on Facebook generated over 42,000 likes and 6,000 fills in the blank.