A good 14 years of cooperation with a constant team, as well as Mediatonic's knowledge of the telco market, certainly contributed to this success, the agency wrote in a statement Friday.

"Thanks to Sunrise, we have been able to develop, distinguish ourselves and grow over the last few years. The fact that this successful journey is now continuing makes us very proud," Chris Fluckiger, CEO and founder of Mediatonic, is quoted as saying. According to its own information, the Geneva-based agency is now the second-largest independent Swiss media agency and was the highest-quality media agency in Switzerland last year, according to Recma.

"In recent years, Sunrise, as number two in the market and challenger to number one, has been able to continuously increase its consideration," said Andreas Caluori, Senior Director Brand Development & Consumer at Sunrise UPC. "With analytical thinking, many media first-mover implementations that moved the telco market, as well as highlighting language regional and regional potential, Mediatonic has made its contribution to this success."

In the article of the Basel Newspaper titled "Arbitrariness at the health authority", the health directors of the cantons of Basel-Stadt and Basel-Landschaft were accused of favoring public hospitals over private hospitals in service contracts. The text appeared in the printed edition and on the online portal Bazonline.ch on March 4, 2021.

The Press Council has now partially approved a complaint against this. The accusation of arbitrariness weighs heavily. However, it was not sufficiently substantiated. On the other hand, the majority of the competent chamber did not consider the allegation that the authorities had resorted to tricks and had invented a "phantom hospital" on the list of hospitals in order to gain lucrative orthopedic operations for the Basel University Hospital to be a violation of the duty to tell the truth.

The TX media house, to which the Basel Newspaper had taken the position that the authorities had been given sufficient opportunity to comment. The term "phantom hospital" was also justified.

Advertising insufficiently marked

The Press Council has also approved, in whole or in part, complaints against the Virgin Newspaper, 20 minutes as well as the SRF Teletext.

In the case of the Virgin Newspaper was about a paid article about a car dealership in Frutigen. In the opinion of the Press Council, this was insufficiently marked as advertising.

20 minutes was reprimanded twice: Firstly, because too many details about a suspect were given in the coverage of a homicide of a woman in Emmenbrücke LU in July 2021, so that the suspect could also be identified by people outside his environment. However, the Press Council does not consider the presumption of innocence to have been violated in this case. Contrary to the complainant's claim, the suspect's privacy had not been violated.

Wrong conclusion on vaccination figures

In the second reprimand against 20 minutes is about the reporting on the Corona pandemic, as is the case with Teletext. Both media had wrongly concluded from figures published by the Federal Office of Public Health (FOPH) in October 2021, according to which seven percent of those who died of Covid-19 since January of the same year had been fully vaccinated, that the remaining 93 percent must have been unvaccinated.

The Press Council also accuses both media of having corrected the relevant reports too late. The complainant had 20 minutes and Teletext were also accused of distorting facts. On this point, the Press Council rejected his complaint. (SDA)

"Hella Studio's bold creation, great commitment and impressive professionalism tipped the scales in our favor," says Nicolas Hugentobler, overall project manager at Rivella. The agency won the pitch against 4 national competitors and was commissioned to create a product identity for the new Enertea beverage line. (Werbewoche.ch reported).

Branding and packaging design for three starter varieties

In addition to the common Mate, the two rather unknown teas Guayusa and Cascara are bottled in Switzerland. The South American stimulants are extracted in a cold-brew process and combined with Swiss Alpine herbs. Hella Studio lent this activating blend a packaging design that is to embellish retail shelves with immediate effect.

Hella Studio was in New York during the implementation and worked in shifts due to the time difference. In conjunction with illustrators and graphic designers from its own network, the agency assisted Rivella. The result is a clearly recognizable product identity that will run stringently through all communication measures. The product launch campaign was implemented by Bold. (Werbewoche.ch reported).

Responsible at Rivella: Rahel Burri (Brand Manager); Nicolas Hugentobler (Business Developer and Overall Project Manager). Responsible at Hella Studio: Joëlle Lehmann, Kasper Kobel (overall responsibility and creative direction); Alba de Zanet, Rea Christ, Mathias Zimmermann (graphic design and illustration), Daniel Lerch.

In a spring-like look and with a wink, the campaign shows that Coop's large Easter range will delight even the most demanding gourmets: children. And as we all know, they know exactly what's good.

The heart of the campaign is a 45-second spot that presents the Easter bunny in a surprising way and addresses the question of whether faith really can move mountains. The spot was produced by the directing duo Mirjam and Lukas Fröhlich from Shining Film.

In addition to TV and cinema, the spot will also be seen in various lengths in online advertising media. In addition, the campaign will be played on ads, social media, various banners, in the Coop app and at POS.

Responsible at Coop: Thomas Schwetje (Head of Marketing/Digital Services), Sacha Zuberbühler (Head of Marketing Communications), Vanessa Finzer (Head of Advertising), Lukas Schwarz (Head of Advertising Private Label/Image), Maryline Hermann (Project Manager Advertising Image/Proprietary Brands), Ivana Guggisberg (Project Manager Advertising Image/Proprietary Brands), Nicola Schöpfer (Project Manager Advertising Image/Proprietary Brands), Florian Lanovic (Head of Social Media/Online Campaigning), Lucas Bieler (Social Media / Online Campaigning) Oliver Pursell (Project Manager Social Media), Anja Nowak (Project Manager Online Campaigning), Joachim Von Allmen (Head of Advertising POS), Simon Flatt (Head of Media), Karin Rieth (Head of Media Classic), Lukas Schmid (Senior Project Manager Digital Media). Responsible at TBWA\Zurich: Manuel Wenzel, Susanne Weeber, Anouschka Tschudi, Naomi Gulla, Susanna Fill, Nico Hediger, Massimo della Palma, Jan Krohn, Stefan Orian, Noemi Russenberger (creation), Sabrina Iseli, Barbara Waldvogel (consulting), Toni Rubera, Simona Mink, Noemi Rubera (DTP). Vhe responsible for Shining: Sophie Toth (Executive Producer), Yanik Müller (Senior Producer) Gustaf Richter (Line Producer), Mirjam and Lukas Fröhlich (Directors), Michael Saxer (Director of Photography), Alessandro Biffi (Editor) Unsere Farben (Grading), Hitmill (Music/SFX/Mix). Vhe responsible at HitMill: Fred Hermann (Composition, Songwriting, Producer), Roman Camenzind (Executive Producer), Noemi Mathis (Project Management). Responsible at TWmedia: Stephan Küng (Overall Responsibility), Manuela Brunner (Media Planning), Pearl Kathriner (Senior TV Planner), Damiano Vitali (Head of TV), Sven Däschner (Head of Online), Aaron Salzgeber, Flavio Garofalo (Digital Campaign Manager).

The first guests of presenter Maximilian Baumann are Swiss personalities such as Melanie Winiger, Hausi Leutenegger, Bastian Baker, Meta Hildebrand and Arno del Curto. Every week on Thursday, a new edition of "Parlez-vous Plü" goes on air.

Parlez-vous Plü" is recorded in the lounge of the recently redesigned casino restaurant "Plü". The talk show format is available on all popular podcast platforms such as Apple Podcasts, Spotify, Google Podcasts or Audible in the audio edition, on youtube and vimeo also as a video podcast.

Lounge conversations in a tidy atmosphere

For Beat Lehmann, Head of Brands at Grand Casino Baden, the new format is a good opportunity to further raise the profile of the Plü and develop it into an independent brand of Grand Casino Baden: "For years, we have been pursuing the strategy of offering an attractive entertainment package as a 'House of Entertainment' over and above the classic casino offering. In addition to 'Club Joy', this also includes Plü, which was able to snag 13 points in the Gault Millau when it was first mentioned. The podcast will help to ensure that the Plü is perceived by an even wider circle," says Lehmann.

Baumann moderates

With Maximilian Baumann, the Grand Casino Baden was able to win over a competent host for the podcast. Baumann, now a restaurateur himself, has made a name for himself over many years as a presenter and interviewer. "Parlez-vous Plü is the result of a collaboration in which the Grand Casino Baden placed the greatest trust in me," says Baumann about the first season. "This podcast works entirely without sensationalism. What we hear are honest conversations between two people who know each other personally."

Parliament passed the so-called "Lex Netflix" in the 2021 fall session. Various young parties launched a referendum against it. The population will vote on the bill on May 15.

At its media conference in Bern, the non-partisan "Yes to the Film Act" committee underlined the arguments for the new investment obligation, which already have majority support in parliament. Representatives of the SP, Center Party, EVP, FDP, GLP and Greens campaigned for the amended rules. The tenor was that the bill would create fair market conditions and strengthen the Swiss film industry and SMEs.

No subsidies

In future, streaming providers will be free to invest the revenue share directly in Swiss productions or pay a substitute levy that will be used to support Swiss films. "It is a balanced and fair concept," said Andrea Gmür-Schönenberger, member of the Lucerne Council of States. An investment obligation already applies to private Swiss television broadcasters.

Gmür hopes that the new investments will enable the potential of Swiss film to be exploited. "If we want to get young people excited about local stories, we need to get on the platforms." It is also an opportunity for tourism locations to present themselves internationally.

This increased value creation takes place without a subsidy franc, stated Matthias Michel, member of the FDP Council of States for Zug. The state also does not talk the providers into how they should reinvest the revenue. "It's not about more state film funding, but about more market." The law can therefore also be supported from a liberal perspective. However, the FDP delegates have decided to vote against the bill.

"You have to put some pressure on now"

Supporters of the film law also pointed to other countries, where an investment obligation for streaming services has long been common practice. "The Swiss film industry will benefit enormously if it is given the same production conditions as the film industry in our neighboring countries," said Bernese National Councillor Regula Rytz (Greens). The bill would also promote cultural and linguistic diversity on streaming platforms.

"The Swiss film and series market will be revitalized if 'Tschugger' or 'Wilder' have competition," added Aargau EPP National Councillor Lilian Studer. Today, there are almost no Swiss series on Netflix. "We need to put some pressure on them now."

Today, all of this revenue flows abroad, as the proponents of the new rules criticize. This is unfair because Swiss providers in the television market have long been obliged to invest in domestic filmmaking.

Rules already established in the EU

Bernese SP National Councillor Matthias Aebischer rejected the criticism from opponents of "Lex Netflix" that streaming providers could increase prices due to the new investment obligation. "The bill is not an attack on the wallet, nobody has to pay more."

Culture Minister Alain Berset assumes that Swiss film could benefit from an additional CHF 18 million per year as a result of the new proposal. Foreign television channels with Swiss advertising windows will also have to make a contribution to the diversity of films on offer.

Streaming services are also to be obliged to broadcast at least thirty percent of series or films that were produced in Europe. This rule is already applied in the EU and is lower than the requirements for television broadcasters.

For Bernese GLP National Councillor Melanie Mettler, the bottom line is clear: "With the new film law, Switzerland is catching up with its neighboring countries and ensuring equal production conditions for domestic films and series." (SDA)

Enertea by Rivella contains a lot of caffeine from South American guayusa, mate and cascara, various Swiss Alpine herbs and little sugar. With the launch campaign "Mucho Energito," Bold wants to give the activating drink as much attention as possible.

A strong presence will ensure that the energetic product is not overlooked at the POS. Consumers have the opportunity to try the drink at numerous samplings.

The content concept accompanies the product launch on social media through several phases, from awareness and knowledge transfer to building brand loyalty.

The digital campaigning for the launch also includes several stages and uses videos, bumpers and ads to convey entertaining information about the main ingredients and mode of action of Enertea by Rivella.

Responsible at Rivella: Nicolas Hugentobler (Business Development and Overall Project Management), Rahel Burri, Nikolas Petschen (Marketing). Agency & Production: Bold.

In 2007, 43-year-old Nicole Berchtold joined the social magazine "G&G", where she has been working as a presenter and editor ever since. Nicole Berchtold currently hosts the show together with Jennifer Bosshard, Salar Bahrampoori and Joel Grolimund.

After 15 years, she has now decided to give up hosting "G&G". Nicole Berchtold will continue to host her "SRF bi de Lüt" special formats such as "Familiensache" and "Landfrauenküche" as well as the show "Hinter den Hecken.

According to SRF, Nicole Berchtold's successor in the "Faces and Stories" moderation team has not yet been settled.

The Media Excellence Awards (MEA) were presented for the 14th time in the USA in 2022. The video news format "20 Minutes Now!" was honored in the User Experience category. Awards are given to companies from the mobile technology, entertainment and multimedia industries that have created innovations and paved the way for the future of technology.
"20 Minutes Now!" was launched as a beta version in November 2020 (Werbewoche.ch reported). From the beginning, the program was designed with a focus on the user, which is expressed in the novel and now award-winning user experience.

The player developed especially for the format and the storytelling are geared to the usage habits of young mobile users. Users get an up-to-date news overview at any time, which they can either watch, read (without sound), just listen to, or skip individual articles - even the commercials. In addition, written background information is embedded in the video news. The individual news items can be commented on or shared. This creates a news format that can be consumed according to personal taste and independent of time and place.

Since its launch, the format has been continuously developed and optimized and also launched in French-speaking Switzerland. In August 2021, a revised video player with a new logic, new structure, new design and new navigation was launched, thus ending the beta phase. 20 minutes According to reports, "20 Minutes Now!" now reaches up to 1 million video views per day.

Besides 20 minutes companies such as Veritone, Adobe, Amazon and 3 M were also honored at the MEA.

Basel-based energy supplier IWB distributes a magazine to households in its market area four times a year, previously under the title "Energy & Water". The magazine has now been adapted to new corporate design specifications and appears under the title "E hoch 2" to better reflect the company's broader range of services. The E stands for "renewable energy," and the superscript number 2 is intended to show IWB's great potential - in reference to Einstein's famous equation.

The magazine concept now focuses increasingly on storytelling and edutainment. Each issue has a main theme, which is given greater weight in the dramaturgy. The layout in the new design follows a sharpening of the journalistic formats with different proportions of text and images to make the content more accessible and optimize reader-friendliness.

Responsible at IWB: Katarina Karadzic, Reto Müller (Project Management), Erik Rummer (Head of Corporate Communications), Dietmar Küther (Head of Brand & Sustainability). Responsible at Tatin Design Enterprises: Oliver Mayer, Lukas Gysin (Corporate Redesign). Responsible at Kooi: Claude Beauge, Paul Drzimalla (editorial concept). Responsible at Basel West Corporate Communications: Thomas Aerni, Markus Siegenthaler (design concept).

In terms of TV reception channels, the trend of recent years is continuing. Already 61 percent of online viewers in Switzerland use the Internet as their TV reception channel. This includes both IPTV offerings and TV streaming apps. That is five percentage points more than in the previous year.

It can be seen that French-speaking Swiss Internet users are more likely to use the Internet as a TV reception channel (68 percent) than German-speaking Internet users (59 percent). Cable reception, on the other hand, is losing ground significantly compared to 2021. Only 40 percent of Swiss Internet users still receive their TV via cable. In the previous year, this figure was 51 percent. The Internet thus remains the most widely used TV reception channel in Switzerland and continues to expand its lead. Reception via satellite (7 percent) and DVB-T (3 percent) also lost two percentage points each.

Live TV usage on the Internet increases slightly

In the second year of the Corona pandemic, 42 percent of online users watch live TV via the Internet. This is two percentage points more than in the previous year and eight percentage points more than in 2020. At 60 percent, French-speaking Internet users watch significantly more live TV than German-speaking users, where the figure is just 36 percent.

The increase in live TV use in the last two years goes against the declining trend that was still evident before the Corona pandemic. This makes live TV the most-used TV and video service on the Internet for the Swiss* directly after YouTube. Although YouTube usage has fallen from 66 percent in 2021 to just 58 percent in 2022, the video portal remains the most popular TV service on the Internet.

The broadcasters' media libraries are used by 21 percent of online users in Switzerland. This is three percentage points less than in 2021. Looking at the individual platforms, only Play SRF can show a slight increase of two percentage points to 53 percent this year and thus remains the most used among media library users in Switzerland.

All other media libraries lose percentage points compared to the previous year. The ARD Mediathek in particular drops from 38 percent in 2021 to just 30 percent in 2022. The ProSieben (21 percent) and Sat.1 (18 percent) Mediathek also lose six and five percentage points respectively compared to the previous year.

Video-on-demand can only increase slightly this year from 23 percent in 2021 to 24 percent. Among the individual providers, Netflix in particular will see a strong increase of eleven percentage points in Switzerland and will thus remain the most popular video-on-demand service in Switzerland with 79 percent. Disney+ will also make a big leap this year, from 20 percent in 2021 to 27 percent in 2022, while Blue Play and Play Suisse, new additions this year, will start at 15 and 18 percent respectively.

For the first time this year, the survey also asked about the use of moving image offerings via social media. These landed at 17 percent in the first year of the survey.

TV streaming use on smart TVs increases, mobile use decreases

79 percent of Internet users who watch TV at least once a week already use TV streaming services. When asked on which devices TV streaming services are used most, smart TVs are in the lead this year, landing in first place. Almost every second TV streaming user (49 percent) watches on a smart TV. That's four percentage points more than last year, continuing the trend of recent years toward more use on the big screen. Even though PCs and laptops have grown by one percentage point compared to 2021, they cannot keep up with the development of smart TVs and come in at only 46 percent this year.

By contrast, usage via smartphones is declining this year and ends up at 40 percent, down four percentage points. This is followed by tablets with 27 percent, streaming devices with 12 percent and game consoles with 6 percent.

Time-shifted TV as the most important advantage of TV streaming

For 42 percent of Swiss TV streaming users, and thus for the majority, time-shifted TV is the most important advantage of TV streaming services. With an increase of six percentage points, this advantage is the strongest in comparison to the others. The previously most important advantage, availability on many devices, lands close behind in second place with 41 percent. Television while traveling remains in third place with 35 percent. It is followed by the advantage of saving money compared with other offerings (32 percent) and ease of installation (29 percent).

French-speaking TV streaming users rate time-shifted TV the lowest. For just 29 percent, this represents an advantage over other TV offerings. For German speakers, on the other hand, the figure is significantly higher at 47 percent. There is also a big difference when it comes to watching TV while traveling. Among German-speaking TV streaming users, this is an advantage for just 32 percent, compared with 41 percent of French-speaking users.

The Zattoo TV Streaming Report 2022 is based on a survey that has been conducted annually by Kantar on behalf of Zattoo since 2015. This year, 800 Swiss Internet users between the ages of 16 and 69 were surveyed.

The event venue's partnership with Sunrise UPC is designed to bring event experiences to a new level, according to a joint statement. "We are spoiling guests at the Hallenstadion with new productions and digital offerings. In this way, we surprise our Hallenstadion fans in addition to the concert experience. With Sunrise UPC, we have found the perfect partner and our visitors can look forward to many innovations in the future," Philipp Musshafen, director of AG Hallenstadion, is quoted as saying.

First premium partnership

As Switzerland's largest indoor event location with a capacity of up to 15,500 visitors, the Hallenstadion is a venue for international events of all kinds. Over the past two years, the venue had used the "silence" imposed due to Corona to develop new concepts and prepare the way for new partnerships. With the first Premium Partner, a completely new form of cooperation is to open up for the Hallenstadion. The focus will be on emotions and an innovative overall experience for visitors - before, during and after the event.

"By working with the Hallenstadion Zurich, we are taking another important step towards becoming the number 1 in the Swiss entertainment market. Thanks to our many commitments in the sports and entertainment sector, we will offer our customers even more exciting and exclusive events - live and via digital channels," says André Krause, CEO of Sunrise UPC.