With Patrick Knecht, the magazine is gaining an experienced connoisseur of the media industry as head of sales, according to a statement. With over 30 years of experience in the Swiss communications landscape, Knecht has a correspondingly large know-how and network. His responsibilities also include marketing the TV show and online platform "Kinowetter.

"Patrick Knecht is an asset for us because he is not only very familiar with print, TV and online - which we want to offer as a bundle in the future - but also with cinema marketing," says publisher Philipp Portmann about the new personnel.

Patrick Knecht adds: "I'm looking forward to the dynamic team and to continuing to build up and expand the young publications. Our goal will be to set new, sustainable and attractive impulses in the entertainment market with clever linkages."

The 53-year-old Knecht lives in the canton of Zurich and is a father of three. He will take up the position on November 1, 2023.

Odermatt returns

In addition, the editorial team of Film Guide is getting reinforcements. After four years, 27-year-old Nicole Odermatt from Lucerne is returning as a writer on a part-time basis. She already worked at the Portmann Group from 2016 to 2019. With the two new additions, the team grows to a total of ten people.

Are changes of perspective really just a question of optics? Of course not. Framing works not only with images, but also linguistically. This is also evident in measurements. In the fifth episode of the podcast "In a Nudgeshell", Hannes Hug, Becca Knobel and Clemens Fachinger discuss interesting experiments on framing.

Bühler & Bühler launched the ten-part podcast at the end of August. Here it goes to the Interview with Werbewoche.ch.

The ProgramNewspaper from Basel is called from now on Process - culture in the Basel area. The change of name is justified by the fact that the Process has long since ceased to be a newspaper and that the content offered exceeds a simple program overview. At the same time, the Process not forget its roots and also appeal to those who still know the title by its old name.

In the monthly print magazine, the company presents Process The magazine introduces people who make culture, sheds light on the background of the cultural industry, examines cultural creativity and offers tips for your own cultural experiences. The editorial section is supplemented by more than 50 event organizer contributions per issue and an agenda with cultural events for every day of the month.

As of now, this is also reflected in a new, generous layout: The editorial articles are given significantly more space, the proportion of pictures has increased and the reader guidance has been improved. In addition, the agenda has been separated from the magazine: It now appears as a separate issue. In addition, subscribers to the Process now also read the culture magazine as an e-paper.

Revised website

Coinciding with the publication of the magazine, the completely revamped website Proz.online has been launched. On the one hand, it has been given a contemporary look, with particular attention paid to a clear separation between the print magazine and the online agenda. In addition, many other functions have been added, and responsiveness ensures that it can be used on a variety of devices.

In the online agenda, the number of filters has been massively expanded - from a dozen to almost 60 sections. In the music section, for example, it is possible to filter specifically by genre. The categories can also be combined with a filter according to target groups, so that it is possible, for example, to find plays that are also suitable for children. In addition, exhibitions in museums, galleries and art spaces are given their own appearance - something that was long overdue in the art and museum city of Basel.

"The new look will enable the Process now do even better justice to its role as an important platform for cultural life in the Basel area," editorial director Sabine Knosala is quoted as saying in a statement. The Process is, according to its own information, the only medium in the Basel region devoted exclusively to culture. Its mainstays are the printed magazine and the free online agenda on the website.

The relaunch project for the Process was supported by the Federal Office of Culture and the Canton of Basel-Stadt.

Tech billionaire Elon Musk also wants to compete with YouTube and the career network LinkedIn with his online platform X, according to a media report. Musk and the X boss Linda Yaccarino, who was appointed by him. had highlighted the two services as future rivals in a meeting with staff, financial service Bloomberg wrote Friday night. The occasion for the meeting was the anniversary of the acquisition of Twitter by Musk, who has since renamed the platform X.

Musk and Yaccarino had also talked about plans to give corporate information dissemination services, such as PR Newswire, competition with their own offering called XWire, according to an informed person.

Musk already announced at the time of the takeover that he wanted to build Platform X as an "app for everything" based on Twitter. This is to include money transactions, among other things. Shortly before the anniversary, X unlocked video and voice calls for some users.

After acquisition, Twitter lost advertising customers

Musk had bought Twitter a year ago for $44 billion. Afterwards, some advertisers left the platform because they feared a more negative environment for their brands. Musk said several times that ad revenues had halved. He is trying to bring in more money with subscriptions - and limited the ability to use the service for free. Web analytics firms estimate that X has fewer users under Musk than Twitter did before the acquisition. There are no official comparative figures.

However, Yaccarino wrote in a blog post about the acquisition that X is accessed by more than 500 million people each month. Prior to the acquisition, Twitter had only provided data on the number of users the service reached with its advertising products. It also wrote that an average user spends 32 minutes a day on the platform - adding up to a total of 7.8 billion minutes of active time per day. Yaccarino joined X from media giant NBCUniversal, where she was responsible for contacts with advertisers. (SDA)

Protzek test systems are more than just tests. They are practically part of the family. Protzek - both a family name and a brand name - has stood for quality and precision for many years. While the biotech company has always focused on product development and innovation, branding has fallen by the wayside over the years. On the way from analog to digital brand communication, Modulator supports Protzek in developing a convincing brand personality and inspiring brand culture as well as in creating strong brand experiences. At the end of this transformation, there should be more than just a new brand identity.

The rebranding process is intended to modernize the Protzek brand and give the portfolio more visibility. The digitalization and visual strengthening of the brand were initiated via the development of a brand strategy and a new appearance. An adapted test design, a new website, pictograms and animations form elementary components. While the old visuals showed mostly packaging, Protzek now presents itself boldly and innovatively with a dynamic corporate pattern and motion design.

The Master of Swiss Apps 2023 has been chosen. At the eleventh Best of Swiss Apps Award Night, Mobility Carsharing came out on top. The app was commissioned by Mobility Genossenschaft and developed by Adnovum.

Apart from the Master title, the project also won Gold twice, in the Design and UX & Usability categories.

The jury's verdict in the Design category: "Designing a practical app that is useful in everyday life in such a way that it not only meets the core requirements but is also visually attractive is a major challenge. The makers of the Mobility car-sharing app have succeeded in achieving this symbiosis. Graphic details such as individual - in some cases multi-colored - icons, likeable transition animations and intuitive operation make the Mobility car sharing app a deserved gold winner."

The jury's verdict in the UX & Usability category: "The Mobility car sharing app convinced the jury in its latest version. With a well thought-out implementation of the essential use case per se: Find and book an available Mobility car near you, quickly and easily. The design is also appealing and is a pleasure to use on a regular basis. The jury noticed a few stumbling blocks in the search, such as ambiguities on the map when filtering is active. Congratulations to Gold - this update is a 'slam dunk'."

Loeb Club App and UBS Key4 on the podium

One third of the votes for the master choice came from the jury of Best of Swiss Apps. Another third was determined by the subscribers of Netzticker. And another third was decided by the participants at the Award Night.

The Loeb Club app, developed by JLS Digital on behalf of Loeb, took the second most votes.

Third place went to the UBS Key4 app, implemented by Mona and Mateo on behalf of UBS.

These are the gold winners:

• AP Messaging
• Koster Home - Energy Manager
• Loeb Club App
• Migros Merge
• Mobility Carsharing
• Quitt Business
• Splint Invest
• Strickhof
• UBS key4

This article first appeared in Netzwoche. You can see the highlights of the award night in the Ticker of the net week read epub.

Werbewoche.ch: Moritz Weischer, the Cannes Lions mean a lot to you. You can feel that. Where does this enduring enthusiasm come from?

Moritz Weischer: I'm delighted to hear that. I think Cannes Lions is an absolute heart project for us. Few events or competitions bring the creative industry together as much as Cannes Lions. They serve as an important driver for us to shape the future. We think about how we can advance the brands we work for. It's simply fun to carry this fire that ignites in Cannes in June all the way to Zurich, as it does today.

Werbewoche.ch: What are Weischer's core competencies?

Weischer has its roots in cinema marketing, which we have been doing in Germany for almost 70 years. In Switzerland, we haven't been around as long, but we are the market leader for cinema marketing in German-speaking countries. In Germany, we are also active in out-of-home marketing, programmatic and retail media. Although we are constantly expanding, we are cinema marketers at heart.

They brought back four trends from Cannes. The first is "The New Toolkit" and includes AI, cultural diversity and sustainability. Can you elaborate on that?

Werbewoche.ch: You mentioned examples such as male trees causing allergies and the case with AI and beer. Can you tell us more about that?

A fascinating case of Stella Artois shows how AI has been used to reach museum goers. They determined that old paintings depicting people partying and drinking likely featured Stella Artois. Using an algorithm, they analyzed the images and reached a new audience - those who viewed the paintings in the museum.

The second trend is "The rise of the CMO." Can you explain this in more detail?

This trend is extremely important because the role of the marketer has changed significantly in recent years. It's not just about developing beautiful campaigns, but also about driving the business model forward in a sustainable way. A good example is Virgin Australia's Middle Seat Lottery, which shows how good insight and understanding of the target audience are crucial.

The third trend is "You look younger than ever." What's behind it?

This trend addresses the often overlooked target group of best agers, who are, however, very solvent and curious. One example is the case with the Goldfish Jingle, which was picked up for this target group.

The fourth trend is "L.M.F.A.O" and is all about humor. Can you explain this?

It's about humor. In a time when one crisis follows the next, people long for a moment of lightness, humor and laughter. Studies show that humorous brands are more popular and more often recommended. But the crucial question is: Does humor also sell better? Nowadays we can say with certainty: Yes, humor increases sales, provided it is used in a targeted and appropriate way. The key is to understand your product and know how to appeal to the target group without losing sight of the product.

"I still have one," you said. Which one?

Moritz Weischer: Yes, as a cinema marketer we always have a favorite case. This year it's the case of Canal+ "Papa" for the Shortfilm Festival. This case is simply worth seeing.

Moritz Weischer, grandson of WerbeWeischer founder Hans Weischer, has been working for Weischer since March 2019. He initially worked in Corporate Innovation before taking on the newly created position of CMO in April. He knows the advertising industry from his time as an account manager at agencies BBDO Proximity and Thjnk. He holds a Master in International Marketing from Hult International Business School and a Master of Innovation and Entrepreneurship from Antwerp Management School.

The Executive Board of Zurich Airport has appointed Coralie Klaus Boecker as Head of the "ZRH Innovation Hub". She was most recently Head Marketing & Digital at the company. The newly created department reports directly to the CEO and has the purpose of actively promoting and supporting innovations for passengers and airport partners. Together with partners, ideas are to be implemented that further develop the customer experience and efficiency at Zurich Airport. To this end, the "ZRH Innovation Hub" will also collaborate with other innovation centers, for example from universities and industry partners. In addition to Coralie Klaus Boecker, two more people will become part of the new department. They are currently being recruited.

Coralie Klaus Boecker joined Flughafen Zürich in 2018. In her previous role, she was responsible for all topics in Marketing and Branding as well as Digital and Customer Experience. In the course of her career, she gained experience in various industries and the introduction of new technologies.

The 45-year-old has a master's degree in international management. She is married, has a son and lives in the canton of Zurich. The backfill of her previous position in the company is currently underway.

"We chose Studio Thom Pfister and it was and is a true pleasure. From the very beginning, the team takes you on a captivating journey with a clear destination in mind. The journey to get there is unique, creative and fast - it tingles," said Lionel Hofstetter, Co-Founder, Board Member and CEO of Aqva Holding. "When it comes down to it, Thom's team conveys the necessary calm and security, creating confidence in such a way that you can sit back, relax and enjoy the ride to the fullest."

From April 2024, the "Adello" beverages will be on the market in their new dress.

The ecosystem of local digital expert:ing and technology-driven solutions Aleph Group launches the "One Brand" initiative and unifies its brand offering - including Httpool by Aleph in Switzerland - under the Aleph name.

The Group connects thousands of advertisers worldwide with billions of consumers, aiming to create new markets for local businesses through digital advertising. This includes numerous, predominantly regional brands such as Httpool in Europe and Asia, IMS Internet Media Services in Latin America, Ad Dynamo and Connect Ads in Africa and the Middle East.

Now the group, headquartered in Buenos Aires, Argentina and Dubai, UAE, will immediately rebrand most of its established brands as Aleph. This is intended to create "a unified global ecosystem of local experts," according to a statement. The move also supports Aleph's medium-term growth strategy: by 2026, the group aims to partner with more than 60 leading digital platforms to help them deliver innovative advertising solutions to customers in more than 150 countries.

The "One Brand" initiative is intended to enable Aleph to collaborate more intensively and share knowledge. It also expands the opportunities for customers in Switzerland to take advantage of Aleph's range of services. The "One Brand" strategy is also intended to strengthen Aleph's position as a contact for digital advertising on social media and e-commerce and to accelerate growth in new regions.

Since 2021, the Group's operations have grown from 90 markets to 150 and now span five continents.

Facebook's Meta Group is bracing for the Gaza war to slow its online advertising business. Demand for ads weakened at the beginning of the current quarter, said chief financial officer Susan Li. That coincided with the start of the Gaza war, she said. Already after previous conflicts of a similar nature, the advertising business had performed worse, she said.

Last quarter, Meta's advertising business was still running at full speed. That gives founder and chief executive Mark Zuckerberg more freedom to continue pouring billions into developing virtual worlds without investors getting upset.

Quarterly revenue rose 23 percent year-on-year to $34.1 billion (32.3 billion euros) last quarter, Meta said after the U.S. stock market closed Wednesday. Profit jumped to $11.6 billion from $4.4 billion a year ago.

Investment in virtual worlds

The group continues to spend extremely on the development of virtual worlds - the metaverse - as well as the devices designed for them, such as digital glasses. The Reality Labs division's operating loss rose to $3.74 billion from $3.67 billion a year earlier. At the same time, revenue fell to $210 million from $285 million.

Since the beginning of the year, Reality Labs accumulated an operating loss of $11.5 billion. The apps like Facebook and Instagram earned $41.8 billion during that time.

Investors had repeatedly expressed concern that Meta was spending too much money on a technology with uncertain profit prospects. The doubts became stronger in the past quarter, when the online advertising business had slowed down overall. Even then, however, Zuckerberg had reiterated that he saw the future in the "metaverse" and would therefore keep investments high.

Experiments with Artificial Intelligence

However, artificial intelligence will be a priority for investment in the coming year, both in software development and computing resources, Zuckerberg announced. He reiterated that AI features would transform the use of Meta's apps. The group is experimenting with chatbots, among other things, as well as software that creates images from scratch based on descriptions.

Meanwhile, Meta's Twitter alternative, Threads, seems to be doing better than recent estimates from web analytics firms suggested. Threads currently has just under 100 million users who are active at least once a month, Zuckerberg said. However, he did not specify the number of daily users.

Optimism regarding threads

After its launch in July, Threads broke the 100 million sign-up mark within a few days - but user activity declined again thereafter. Zuckerberg remained convinced that Threads could become a service with a billion users in a few years.

Instagram CEO Adam Mosseri raised the prospect that Threads could eventually become available in the European Union in a few months. Meta sees legal uncertainty around the new digital laws in the European Union and is hesitant, citing that.

The stock initially rose in an initial reaction to the quarterly figures, but turned negative after the comments on the unclear advertising economy and lost 3.35 percent in after-hours trading. Meta gave an unusually wide range of $36.5 billion to $40 billion in its revenue forecast for the current quarter. (SDA/swi)

The visual designer was commissioned with the development of the CI/CD and a spatial redesign of the cinema on Europaallee. For Frame, Scherler is responsible for the logo, the website and the spatial design, among other things. "The project was a very exciting and rewarding challenge for me," says Scherler of his involvement. "Frame has grown very close to my heart in the meantime, and I am pleased that I was able to help shape the cinema."

"The goal was to develop an independent, timeless and concise identity for Frame. With his creativity, clear understanding of functionality and aesthetics, and attention to detail, Christian Scherler has holistically shaped this appearance and managed to combine emotion and functionality," says Jennifer Somm, Managing Director of Spoundation Motion Picture, about Frame's new brand identity.

Scherler's design approach emphasizes the importance of time and space to convey messages in an engaging and effective way. Such is the case with the Frame: starting with the logo, which was conceived as the centerpiece of the visual identity, he placed particular emphasis on memorability and flexibility. "I wanted to take the concept of the Frame - as a platform for film and culture - in the design and create a framework in which footage such as posters, stills and trailers could be embedded without competing with it visually. The logo, typeface and color scheme should therefore give the frame its own identity, which at the same time leaves plenty of room for the film world. After all, this is the essence of the frame," explains Scherler.

In keeping with the logo and taking into account the ZFF eye, he developed a minimalist pattern inspired by the Bauhaus style, which can be found on various media such as popcorn bags and is also used on social media. The design of the website and the integration of the theme in the form of frames and clear graphic elements also played a central role. The frame concept was also taken up in the room design, which is reflected in the branding and signage, especially at the hall entrances.