For more than nine years, Dynamic Frame has been producing a wide range of moving images. Advertising, branded content, music video, fiction or doc - the team of the Zurich film production focuses on originality and creative challenges.

What was initially launched as a "Passion Project" by three creative minds has long since become a seasoned film production.

Now the company is expanding the team with two female producers: "Producer Nicole Boner has been freelancing for Dynamic Frame and will now head the company's independent division together with Philipp Ritler," explains Jonas Ulrich, director and owner of the film production. "In addition, Theresa Berres will join Luzius Fischer and Alina Benz as a producer to strengthen the commercial production." With her experience in both feature and commissioned films, Berres bridges the gap between the company's two internal departments, he adds.

In addition to production, the team of thirteen has a strong focus on post-production to ensure seamless support for projects right through to the end. At the core is the desire to get the most out of each film. "This requires a large pool of exceptional talent, but also broad know-how and a willingness to experiment within the production team," says producer and owner Luzius Fischer. This is now to be continued with the addition to the team.

The Swissfilm Association, the association of commercial film and TV producers, bid farewell to its former president Peter Beck at its general meeting and reorganized its board of directors (Werbewoche.ch reported). In this interview, Susann Vogel explains what this restructuring means and what tasks lie ahead for the association.

Advertisingweek.chThe Swissfilm Association has reorganized itself. What is the most important change that was decided at the general meeting?

Susann Vogel: There is no longer a president. Peter Beck stepped down after 17 years. The Board is now a committee with a chair who changes every year. As Managing Director, I no longer have just one contact person, but at least eight.

That sounds like a lot of effort.

It certainly means more coordination and more leadership. At the same time, it is also interesting and challenging, and I have more responsibilities. Many threads will come together in the office in future. In addition to the management and administration of day-to-day business, we will manage projects. The orders for this will come from members and the Board of Directors. We also generate them ourselves when we sense that the market is asking for them.

Can you give an example of this?

Greenproduction is one such project. It was foreseeable that the topic would become important. So we formed a working group to look into it. In the end, we were able to present the members with a checklist and a catalog of measures. A project always needs a result. That way, the members know what the money was spent on. Structure is appreciated, I know that from my experience as a project manager.

You don't actually come from the industry. What is your professional background?

I studied business administration in St. Gallen and worked for many years in management positions, especially in leadership. That suits me - I love people. Five years ago, I decided to set up my own business. Since then, I have been working on various mandates. I teach at two schools, manage a project in a lifestyle hotel and am the managing director of the Swissfilm Association.

A mandate? You are not employed?

No. I am fully committed to the members and the association. But I don't want to concentrate on just one side. I clarified this with the Board when I was put forward for the position of Managing Director.

What is the view from the outside? How do you experience people in the industry?

"Colorful" is the word that comes to mind. Our members are creative, they think entrepreneurially - and they are approachable and helpful. Unlike the industries I've seen so far.

And what is special about this sector?

There is no apprenticeship for film production. Now digitalization is coming along and accelerating segmentation. Today, everyone can make cool films with their cell phone. Of course, this also applies to other industries. But here it seems particularly concentrated and fast. As an association, it's a challenge to do justice to the young and preserve the know-how of the old-established.

What other tasks does the association have to perform?

In terms of membership, we need to ensure that the number of members grows and that the quality remains high. Then, as a national association, we want to gain new members in French-speaking Switzerland and Ticino. And finally, politics: making sure that our industry and its concerns are heard.

What will you miss most when Peter Beck is gone?

Him as a person. His way of thinking, his humor. I learned a lot from him. When I started at the Swissfilm Association, he introduced me to members during a visit. We had a lot of time on the car trips to these companies. He shared his knowledge and I peppered him with questions. That's how my love for this industry was awakened.

Werbewoche.ch: Matthias Kiess, 2022 is barely three months old and your agency network TBWA\ has already won three awards. AdAge "Network of the Year," "World's Most Innovative Company" in the advertising sector from Fast Company, and finally Adweek "Global Agency of the Year. As TBWA's Swiss CEO, which award are you most excited about?

Matthias Kiess: A difficult question. On the one hand, it's about honoring the exceptional performance of our Creative Collective in terms of creative quality and the associated success. On the other hand, Fast Company's "World's Most Innovative Company" award in the advertising sector shows that we are capable of more than "just" advertising. This is the fourth time we have been honored by Fast Company, and this year we even took first place in our category. And Fast Company specifically honors innovation by companies that are making the biggest impact on industry and culture, and thriving in today's ever-changing world. But what's really cool is that this is a first-time triple award.

Which prize was the most difficult for TBWA\ to win - where was the competition the strongest? 

We have already received several awards from Adweek and Fast Company in recent years. TBWA\'s nomination as number 1 by Ad Age was made for the first time. Here, the measurement will be different again from the other two publications. According to Judann Pollack of Ad Age, TBWA\ was named Network of the Year because, among other things, the agency has proven to be resilient and has demonstrated the ability to challenge conventions. Ad Age is certainly making a strong reference to our core - the extraordinary creativity that has been our hallmark for years.

Companies such as SpaceX, Canva, Roblox and Farfetch have also made it into the Fast Company ranking. What do you have in common with Elon Musk's rocket company? 

DNA and philosophy of TBWA\ have been based on the power of disruption since 1990. In recent years, the original strategic approach has been strongly developed and has found its expression in numerous initiatives, which are reflected in the innovative power of TBWA\. In our structured process we always try to break through the existing market conventions, to set impulses and thus help brands/companies to achieve new growth. And this process is also constantly applied to ourselves, so that we are exposed to continuous change and the search for new solutions. And this challenger mode probably unites us with SpaceX and Co. in spirit.

What is the significance of the international awards for TBWA\Zurich - is the appeal enough to generate new customers? 

These awards are a recognition of the power that our collective develops worldwide. And we also participate in this to a certain extent. First and foremost, we benefit from the global ambition, which is also transferred to us and gives us the incentive to constantly question ourselves and to set new impulses in the local market. At the end of the day, however, we have to prove ourselves to our customers here and can only count to a limited extent on the global appeal of such awards.

What are you particularly proud of as the boss of your men and women? 

If I could award a prize, I would give the "Most Passionate Award" to my team. It is always impressive to see the passion, dedication and joy with which our people devote themselves to the tasks and achieve extraordinary results. Despite all the prophecies of doom that the younger generations are no longer willing to perform, I have to say: the opposite is true! When the team is given exciting tasks and can tackle them in a largely self-organized manner with a great deal of personal responsibility, this triggers a motivation that feels very good and is a real pleasure.

What are you planning for the rest of 2022? What will be important? 

After being blessed with very strong growth in 2021, some things have come to a standstill in our own agency development to which we would like to devote a little more attention again. Our focus is very much on society, which means, for example, also on the issues that affect us as people. "Cultural Intelligence", as a keyword, is the topic we will increasingly deal with this year and launch one or the other innovation in the context of Zeitgeist-Spotting on the market. In addition, it is also a matter of expanding our service catalog and covering the daily needs of our customers as far as possible to the highest satisfaction. At the same time, however, we must never forget our core competencies of "Strategic Planning" and "Creative Excellence", and must continue to push these with the careful selection and promotion of appropriate talent.

Like the rest of the world, the sponsorship and live industry is looking back on challenging times. During the pandemic, many sponsors were unable to make their usual appearance. Creativity was all the more in demand. Numerous exciting initiatives, including digital ones, and excellent projects were launched.

The innovative strength and importance of the industry is also reflected in the submissions for the third edition of the Sponsoring Excellence Award from Sponsoring Switzerland: with 18 projects from the last two years, more projects were submitted than ever before. For the first time, non-members of the association also had the opportunity to submit work. Nine projects nominated by the jury headed by President Urs Wyss presented themselves to the panel, consisting of seven experts from the world of sponsorship, on January 21, 2022.

Guests at the 3rd Night of Sponsoring on Friday at "Das Zelt" on the Kasernenareal in Zurich will find out who wins the Sponoring Excellence Award. Another premiere will be various special awards, with which Sponsoring Switzerland will now also recognize the outstanding qualities of individual projects.

The staff expansion, in parallel with the existing mobile marketing business, is intended to drive technological innovation over the next few years, Adello wrote in a statement.

Konstantin Pak joined Adello in January as an Associate focusing on Metaverse,Gaming and NFT, while in March Mike Saladin joined the team as an Associate focusing on Business Development, Blockchain, Crypto and NFT and Cristian Schmon joined as an Associate focusing on Business Development, Social Media and Metaverse.

Adello is still looking to fill additional positions in software development, data science and game design.

"For me, blockchain is one of the most exciting new technologies. In my previous job in investment management, innovation was not the focus," says Mike Saladin, explaining his move. "What I like about Adello is the forward-looking vision, the positive energy, the young, international team and the continuous evaluation of new technologies in our own 'Lab51'."

Together with VisualContext's Digital Shift Talks, Dept organizes the "Dept Talks" series to get to the bottom of the issues and trends that are changing technology, society and culture.

Whereas in the past the "mission statement" and the "vision" were at the center of business strategy and corporate communication, today the "purpose" - the "meaning and purpose", or the "how" - determines the discourse, writes the agency in a statement. As a counter-trend to shareholder value maximization, business models that are focused on purpose are at the center of this change.

These topics and the tension between purpose and profit, sustainability and growth, will be discussed in the "Dept Talks". Guests Melissa Buch from Brandbuch, Gerhard Andrey from Liip, Dept Partner Michael Volkart and Svetlana Baurens, Founder and CEO of Galileo, will try to get to the bottom of the question of how much hype and how much transformation potential there is in "Purpose.

The event is in English and will take place on Thursday from 7:00 to 8:30 p.m. at the Dept office at Badenerstrasse 415 in Zurich. For more information and to register, visit the Dept website.

The cumulative advertising print for the first two months of the year also shows a clear recovery compared to the previous year. This is two-thirds higher than in the same period last year, according to the Media Focus market research institute on Friday.

In a year-on-year comparison, a positive development was evident in February in 19 of 21 sectors. The clear winners included the "Fashion and Sports" sector, which increased its advertising print by 212.5 percent, followed by the corona losers "Catering, Tourism" (+177.5%) and "Events" (+155.3%).

Tobacco industry reduces again

According to Media Focus, two industries failed to follow the upward trend. After the tobacco industry already recorded an 80 percent drop in advertising print in January, its volume fell by a further 22 percent in February. Cleaning" also printed around 46 percent less in February.

Top of the month

The top advertisers and most advertised products as well as services (excluding assortment, image advertising and collective categories) in February.

The highest advertising volume in February was generated by "Retail Trade" after the "Construction, Industry, Furnishings" sector had advertised the most in January. In first place in terms of advertised products in Switzerland exclusive search queries was the campaign of the YES camp of the media package initiative in February. (SDA/swi)

Media Mix for the month of February

In February, home office was a topic in 8.8 percent of job advertisements in Switzerland, according to an evaluation by Indeed.com. The international job portal analyzed the job advertisements published on the websites of large companies or posted directly on the portal.

The numbers show: With the pandemic and the temporarily imposed home office requirement, working from home has gained enormous acceptance. Before the pandemic, home office was a topic in just 2.6 percent of job advertisements. In the course of the pandemic, the proportion then rose steadily.

Switzerland still cautious

Looking at their German-speaking neighbors, however, Swiss employers are still rather reluctant to offer home offices. In Germany and Austria, for example, remote working is already mentioned in around 13 percent of job advertisements. In all three German-speaking countries, however, the proportion of advertisements with a home office option has more than tripled since the start of the pandemic, according to figures from Indeed, which are available to the AWP news agency.

In France and Italy, on the other hand, the proportion is much lower, at 6.5 and 6.8 percent respectively. (SDA)

In addition to the usual trip options, the fastest connections, footpaths and transfer information, as well as the estimated waiting times and prices of public transport are now also displayed for trip requests. The new route planning option uses real-time information on all streetcar, bus and S-Bahn lines and trains in the Zurich area for this purpose.

The new option joins the existing range of services such as UberX, Green or the booking of Lime e-scooters and e-bikes. With this, Uber wants to offer users* in Zurich a variety of mobility options for different needs that take into account different preferences in terms of speed, comfort, price and environmental impact, according to the statement. After London, Paris, Brussels and Lisbon, Zurich is one of the first cities in Europe where Uber offers route planning with public transport.

"Passengers need the right mobility options, the right mobility mix, for each route. This inevitably includes public transport. That's why we welcome the fact that platforms like Uber are taking the first step in Zurich by including the excellent public transport service in their app and making it easily accessible to their users - especially international travelers," Ueli Stückelberger, Director of the Swiss Association of Public Transport (VöV), was quoted as saying in the press release.

Uber is thus contributing to the creation of a new, shared mobility between classic public transport and on-demand services. "The app integration is an important step towards a user-friendly and versatile urban transport system in which a suitable collaborative mobility service is available for every transport need," adds Jörg Beckmann, Vice Director at TCS and President of the Swiss Alliance for Collaborative Mobility.

The integration of public transport and micromobility services is in line with Uber's sustainability strategy. "Zurich has one of the best public transport networks in the world, which is often the fastest, cheapest and most sustainable way to get around," explains Jean-Pascal Aribot, Head of Switzerland at Uber. "With the new route planning option, we want to provide our users with a comprehensive mobility platform that complements Zurich's public transport system."

Following editions 1 and 2 of the Screenforce Academy, the third edition of the TV event will take place from April 5 to 7. The event is free of charge and will be held virtually in the morning. German TV presenter Viviane Geppert will moderate the program, which is made up of keynote presentations, cases and talks.

The presentations will be given by experts from the leading TV marketing companies and their parent companies, as well as from external companies. The target group includes young professionals, students, young marketers and anyone interested in media, marketing, journalism and communications.

This year's program includes Patrick Esume, for example. The American football expert will talk about how the Superbowl is setting new standards in TV and streaming. In addition, Alena Buyx, Director of the Institute for History and Ethics of Medicine at the Technical University of Munich TUM, will talk about media and responsibility. Thilo Mischke, journalist, author and TV presenter, will address the topic of investigative journalism in a talk.

Here to register for the Screenforce Academy 2022.

The Screenforce Academy was launched by the TV genre initiative Screenforce. With its partners, the TV marketers' initiative covers around 95 percent of the TV market in the DACH region and supports advertising impact and media research as well as Total Video communications and marketing. In the future, the Academy will be held twice a year, in spring and fall. The aim is to establish the event in the marketing and media industry in the long term.

Although 30 cases represent a decrease compared to last year's record year (43), the number is still above the long-term average, according to the UBI's activity report published on Friday.

With 18 cases, more than half of the complaints received in the reporting year concerned television broadcasts. Radio broadcasts were objected to seven times and online content three times, according to the UBI. SRG content from the social medium Instagram was objected to for the first time.

Complaints were only received about SRG publications, i.e. Swiss Radio and Television SRF (23 times), Radio Télévision Suisse RTS (4 times) and Radiotelevisione svizzera RSI (3 times). According to the UBI, the complaints concerned news programs and other informative formats.

In the 37 complaint procedures settled in 2021 (previous year: 36), the UBI found a violation of the law in six cases (2020: 5).

Coronavirus in focus

As in the previous year, government coronavirus measures were the main focus of the publications in question. However, other current political, economic and social topics such as 5G, consumer protection and upcoming referendums also occupied the UBI. Most of the complaints focused on the principle of fairness, as the UBI wrote. This is intended to protect the public's freedom of opinion.

The eight ombudsman offices upstream of the UBI recorded a total of 1,200 complaints last year (2020: 1,194). According to the report, 2.5 percent of cases before the ombudsman offices resulted in a complaint to the UBI in the reporting year.

The UBI has been in existence since 1984 and is an extra-parliamentary commission of the federal government. On complaint, it must determine whether the content of radio and television broadcasts by Swiss broadcasters, as well as the rest of the SRG's offering, has violated provisions on the content of editorial publications. Decisions of the UBI can be appealed to the Federal Supreme Court. (SDA)

Advertisingweek.chAlexander Haldemann - congratulations! Ad Age has named Publicis Groupe "Holding Company of the Year. As CEO of Publicis Groupe Zurich, what does the award mean to you?

Alexander Haldemann: We were very pleased to receive the award. It confirms that we have taken the right path and are continuing to do so. We need to take a brief look back: A few years ago, we deliberately initiated changes and invested substantially in digital transformation and data. In particular, the global acquisitions of Sapient and Epsilon have brought us forward.

What were the challenges here?

The central challenge was to combine the new range of services with our core competencies of creation and media. Today, we can say that we succeeded. Looking back, that may sound simple. But in fact, it was a matter of bringing together more than 80,000 employees and combining them into an integrated offering for our customers. The latter is our great achievement as a Group.

Publicis Groupe celebrates the honor with a video directed at critics of the agency's past course (see below). Do you feel a certain satisfaction within the group towards those who, for example, could not understand acquisitions of the past years?

Anyone who breaks new ground accepts risks - and has to deal with criticism. What is really important to us is that we continue to develop as a Group and shape the future of our industry. We are also consciously breaking new ground in our own communications. We expose ourselves - here with a pinch of humor and also a bit of mischievousness. We don't take ourselves too seriously. I like that.

What are the strengths of Publicis Groupe in Switzerland? What qualities distinguish it?

For me, it's the diversity and the interplay. Unlike any other group in Switzerland, we succeed in combining an enormous variety of skills: big names from advertising come together with digital specialists, media agencies, production specialists and a branding agency. We live this diversity in Switzerland with around 350 employees*. With Geneva, Lausanne and Zurich, we are present in three major economic centers in Switzerland. At the same time, we are closely connected with locations in over 100 countries. This interaction with colleagues all over the world is a matter of course for us and a great inspiration. This position is unique in the Swiss market.

Large holding companies are not without controversy in the industry. Some people - including the WPP founder quoted in the above video - even say that holding companies are no longer necessarily fertile ground for creativity and agility. How do you respond?

I think that falls short. The form of organization is not decisive for creativity and agility. I managed an agency for many years as its owner and know both sides. The real achievement is to develop creativity and dynamism in a large, globally active organization.

What does that mean in your case?

Each of our agencies is positioned independently, can use freedom, live its culture and thus exploit the full potential. In addition, we take responsibility for each other. Because we know that we are stronger together.

The Publicis Groupe is represented in over 100 countries and employs over 80,000 people. In Switzerland, Publicis Groupe was founded in 1950. It has offices in Geneva, Lausanne and Zurich and, with 350 specialists from a wide range of disciplines, is the largest Swiss communications group. In addition to the creative agencies Publicis, Leo Burnett, and Saatchi & Saatchi, it includes the media agencies Publicis Media, Starcom, and Zenith, the branding agency MetaDesign, the digital agencies Notch and Publicis Sapient, and the production specialists Prodigous.