Category Archives: International

Netflix has figured out that cord cutting is an opportunity for OOH advertising

Kym Frank, Geopath President, reminded by the recent Netflix/Regency rumors, addresses the relevance to the overwhelming and growing withdrawal from monthly cable or satellite services. Commonly called Cord Cutting, Ms. Frank discusses the cord cutting phenomenon and the prospect created for OOH.

Chances are you know someone who has already canceled their subscription to cable or satellite television – a “Cord Cutter.” Or maybe someone who has drastically cut back on their subscription – a “Cord Shaver.” Or maybe you know someone who simply never subscribed to cable or satellite television to begin with – a “Cord Never.” Or maybe you have already done one of these yourself.
The popularity of subscription services like Netflix and Amazon Prime, the rise of smart TVs, and the ability to stream just about everything online – combined with increasing costs for cable and satellite created a bit of a perfect storm. As monthly cable/satellite subscription fees have increased over the years, a growing number of consumers are questioning the value proposition.
The statistical evidence is overwhelming.


Outsmart has announced that Out-of-Home (OOH) revenue reported for the quarter October to December 2017 saw the total market grow by 4.3% from £318 million in Q4 2016 to £332 million in Q4 2017. A strong Q4 contributed towards annual Out of Home revenue of £1,144 million, up 1.5% from 2016’s total.

Digital had a significant quarter of growth with an increase of 17.4% in Q4. For the first time, Digital Out of Home accounted for 50% of total Out of Home revenue, in comparison to 44% in Q4 2016. This reflects the continued investment in state of the art digital inventory as well as the conversion of Classic sites.

With Digital enhancements in scale and audience growth, the medium as a whole is increasingly effective. A recent study commissioned by Rapport, in partnership with the IPA, measured the business impacts of both Classic and Digital Out of Home. The results revealed that advertisers spending 15%+ of their budgets on the medium receive a boost of over one-third in market share and a 20% increase in profit growth.

BlowUP media’s Katrin Robertson joins FEPE international board

 BlowUP media CEO Katrin Robertson is joining the board of FEPE International, becoming the ninth Board Member. BlowUP media’s giant posters have made the company one of the leading large format Out of Home companies in Europe and Katrin has played a leading role in building its business, operating out of Germany and the UK.  BlowUP media is owned by Ströer Group, headquartered in Cologne.



Robertson says: “I’m delighted to be joining the board of FEPE International. FEPE is now a truly global organisation, leading many of the most positive initiatives in Out of Home. I look forward to playing a part in helping FEPE and the industry move forward into what I’m sure will be an even more exciting future.”


FEPE International President Tom Goddard says:  “Katrin is highly respected in the Out of Home industry and brings a wealth of experience to FEPE. I’m sure she will play an important role as FEPE and the industry adapt to and thrive in a rapidly changing media world.”


Sao Paulo’s Ingenious Move For Return Of Banned Billboards

Outdoor advertising is creeping back into one of the world’s biggest cities after a decade of being banned.

In 2007, São Paulo’s then-mayor shocked marketers and ad agencies by making illegal everything from billboards to large store signs in the Brazilian city of 21 million people. At the time, São Paulo had been overrun by huge billboards, and previous efforts to work with the ad industry to curb their proliferation largely failed, leading to the drastic “Cidade Limpa” (“Clean City”) law in 2007 that transformed the urban landscape.

Now, a pro-business mayor, João Doria, wants to auction off rights to bring some back in return for ad dollars for public works. The city has just opened bids for 32 LED panels, one for each of 32 bridges on the ring road that is a major traffic artery encircling the city, reports Meio & Mensagem, Ad Age’s editorial partner in Brazil. In return, the winner is responsible for painting, cleaning, lighting, installing cameras and otherwise maintaining the bridges, which the city estimates will cost about $95 million total during the 36-month contract. The city specifies that the LED panels be 13-feet wide and about 17-feet high, and that 50 percent of that space can be used for advertising messages. The rest must be devoted to information such as the time and traffic news.

There have already been a few small steps toward reintroducing out-of-home ads on a limited basis. Several years ago, media company Otima won a contract to maintain 5,000 bus shelters in return for ad space on the shelters. And outdoor giant JCDecaux maintains the big outdoor clocks on São Paulo streets.

Doria has made it clear he’d like to relax the Clean City rules, and has suggested projects like new public bathrooms that outdoor ads at those sites could fund. In fact, the city may be the biggest offender of the current rules: Earlier this year, São Paulo had to remove its own signs promoting companies that had supported a city beautification program after local journalists wrote about the move.

In the absence of outdoor ads in São Paulo, the huge metropolis offers an inviting canvas to a few creative marketers, usually under the guise of graffiti. Converse and The Community invited people to donate their own shadows so some of Brazil’s best graffiti artists could turn the outlines of their bodies into colorful pieces of street art. The murals were plastered across São Paulo two years ago and spread on Twitter and Instagram after the agency reached an agreement with the city to allow the murals for a month. The “Donate Your Shadow” campaign was a big winner at international award shows.

Another marketer, GE, also used art to open a loophole allowing a small logo on graffiti projects that would beautify the city. GE and São Paulo agency Almap BBDO created the GE Gallery five years ago, painting three colorful, graffiti-like panels 120 feet high on São Paulo buildings in high traffic areas. A week later, a small GE logo was added and a social media campaign unleashed. The panels represented, somewhat abstractly, three areas GE operates in: energy, health and transportation.

At the time, Almap BBDO partner and Creative Director Marcello Serpa told Ad Age that the law had gotten rid of the visual pollution caused by too many billboards, but left the city gray. “So we tried to use buildings as billboards on a huge scale, to give the city some color and bring art to the people, and to use it as a tool to subtly talk about GE products,” he said.

It’s unclear how far São Paulo will go in bringing back outdoor advertising, but Doria told Brazilian media earlier this year, “Don’t tell me the law can’t be changed. I’ll make it flexible. It’s the duty of the state … to act with the population in mind.”

JCDecaux launches DOOH brand charter as UK market reaches 50% digital

JCDecaux has launched a digital out-of-home brand charter to ensure trust and accountability in outdoor advertising as the UK market reaches a “tipping point.

The charter, named BranDO, has been unveiled alongside the launch of the outdoor media giant’s new automated trading and planning platform.

Verification will be audited by PwC and the charter will form the automated trading standards to which JCDecaux will adhere.

Spencer Berwin, JCDecaux’s co-chief executive, said the company had launched this today at the IAB Upfronts because the UK outdoor market had reached a “tipping point” where half the revenues are coming from digital.

He said: “[Digital] is no longer a nice to have, but is now a must-have. The great thing about digital is that it’s now about mass brand one-to-one marketing. It is now able to offer that personalisation at scale.”

“We also think it’s important for us to be a brand leader in the OOH market; to outline what we believe should be the standards as a benchmark for everything.”

BranDo, which Berwin assured Campaign had no intentional connection to the movie star Marlon Brando, sets out six key areas of industry standards:

  • Viewability– We will only measure ads that have been ‘viewed’ using the JIC-approved Route audience measurement system. This means ‘eyes on’ ad copy rather than an opportunity to see (viewed rather than viewable). We will only count real people and only those resident in the UK aged 15+.
  • Measurement – All audience-viewed impressions will be published. We will provide the raw viewing logs that can be used for verification. Any data enrichment on top of the Route viewed impressions will be made available to all parties to the trade.
  • Accountability– Playout reports direct from the media player will be published including any hardware or software issues. The process will be independently audited via PwC.  A report on viewed impressions traded and viewed impressions delivered will be made available during and after the campaign.
  • Transparency– We will publish a quarterly report at a global level of campaign compliance.
  • Brand safety– We will have the highest regard for brand safety including the security of our networks.  We will utilise the highest quality screens and definition for a brand safe canvas.  We will ensure the build and locational quality of all our screens to ensure the environment of display is brand safe. We will comply by all legal and regulatory frameworks and ensure we strive for the highest standards in sustainability, health and safety.
  • Automation– Automated trades will use the IAB-approved OpenDirect and OpenRTB protocols. Copy will be approved to meet Advertising Standards Authority and local authority standards for display in a public space.

Berwin added the standards are about “making sure advertisers get what they pay for,” citing recent brand safety controversies in online advertising this year, such as ads appearing next to extremist content on websites. “When we have discussed this at various meetings as an industry everyone is in agreement, it just needs somebody to do it and we’re grabbing that opportunity to lead the charge and to make this the force now in digital out-of-home”.

The UK is the first market that the digital charter has been introduced in and Berwin said he is confident a similar set of standards could be introduced in other countries.

Berwin added: “The UK is by miles the most sophisticated DOOH market on the planet – no ifs and buts. Other countries are playing catchup, including the US and Germany – but the UK is in the enviable position of being the most advanced.”

Meanwhile, JCDecaux’s new trading and supply-side platform features an integrated content management system and geo-locational data management platform which uses data from Telefonica, Route, CACI and YouGov.


L’Oréal signs on to advertise at new Piccadilly Lights

L’Oréal will be the fourth advertiser to take up residence at the new Piccadilly Lights advertising site, which is due to be relaunched later this month.

The cosmetics giant has joined Coca-Cola, Samsung and Hyundai as one of the six advertisers on the famous outdoor site, with two brands still yet to be announced.

L’Oréal Paris X Balmain Paris Colour Riche Lipstick Collection will be the launch brand and the creative will showcase 12 limited-edition shades of the product.

The Piccadilly Lights have been switched off since January for major renovation work that will see the original patchwork of screens replaced with a single 4K LED digital screen and live technology hub.

L’Oréal had advertised on a temporary illuminated banner that was in place during renovation at the site, which is managed by Ocean Outdoor on behalf of Land Securities.

The new screen will be the largest of its kind in Europe and will have the ability to divide into six full and subtle motion segments. Advertisers will be able to stream live videos, lifestyle updates such as weather and sports results, and real-time social media feeds.

Each brand’s advertising will switch between each position in a 30-minute cycle. At the end of each run, one ad will take over the entire site before the rotation begins again. Each of the six brands will take over the full screen in turn.

Gayle Noah, media director at L’Oréal UK & Ireland, said: “L’Oréal is looking forward to using the technologies available to showcase our brands through beautiful, innovative and impactful content on such an iconic London landmark. We are proud to be part of this new chapter in digital out-of-home advertising.”


Theodore Buscemi, from Posterscope Australia, explains why marketers shouldn’t look past OOH to control how their brand appears in market.

In this guest piece, Posterscope business executive Theodore Buscemi (pictured above) explains why marketers shouldn’t look past the out-of-home media channel to control how their brand appears in market.

The ad industry never fails to breed controversy. Like a hot summer sun and dry dead grass, it is just a spark away from a full-blown firestorm.

Digital is stealing all the attention these days – everything from fat-fingers and ad fraud to flawed metrics and evil algorithms. Not to mention the proliferation of fake news, which has garnered widespread attention since the 2016 US presidential election cycle.

Meanwhile, giants like Facebook and Google suffered as a result of the recent online video debacles. These issues went beyond financial implications of misspent marketing dollars – brand image itself was the real victim. And when a brand entrusts Google with a portion of its marketing spend, it is Google’s responsibility to protect the brand image of the client.

Why is it so important for brands to consider where and how they are represented in market?

As Scott Goodson, author of UpRising and founder of global cultural movement firm StrawberryFrog, puts it: “Products have life cycles; brands outlive products”.

Brand is power. It represents a company; its products, services, and the value code it operates by. Brand is trust. It is reputation. It has its own intrinsic value. Brands take years to build and can be crippled overnight.

Pepsi’s recent campaign fail illustrates this well. By numbers alone, the campaign did great. It received global attention with plenty of video views, comments and social amplification. This, of course, is not the full story. Widespread backlash damaged the brand and alienated the very audience the campaign aimed to engage.

Once a campaign is released into the wild, it is anyone’s guess how the public will respond. McDonald’s also saw this firsthand after pulling an ad using a child’s grief for his dead father to tell a brand story.

So, how do clients exert some control over how their brand is viewed in market? Well this is where the power of out-of-home media comes into play.

Attribution and ROI measurement is increasingly more important to clients, and digital channels provide strong metrics in this area. However, it is crucial that clients don’t just look at media channels through this lens – particularly out-of-home.

Out-of-home traditionally hasn’t been used in this way, though there are new tools and technologies being developed to illustrate the medium’s role in the conversion process.

One of out-of-home’s greatest strengths is its role in creating impact and awareness. Don’t just think about static billboards here – think about the new, dynamic, digital out-of-home technologies helping brands tell more engaging stories.

Out-of-home media also has the ultimate trump card up its sleeve: it can’t be switched off. Unlike other media, consumers can’t avoid out-of-home. There are no out-of-home ad blockers.

As such, out-of-home gives the client maximum control over where and how ads are displayed. The promise of control in digital media has proven difficult across content-rich platforms like Facebook and YouTube. Out-of-home doesn’t face these complexities.

What this means for clients is greater power to align brands with an audience or environment that enhances its image. Premium clients can target affluent audiences in c-suite office towers, and brands rooted in family values can play in retail and entertainment spaces where the risk of appearing alongside offensive content is almost zero.

Sales are crucial, conversion is key, but brand is power and needs protecting. So, take back that power and use out-of-home to control how your brand appears in market.


Tyquin Brothers Recognised by Global Out-of-Home Industry Body, with Prestigious Lifetime Achievement Award

Michael ‘Mike’ Tyquin, cofounder of goa Billboards, and his brother Brian, founder of Outdoor Systems were honoured last night in Stockholm for their outstanding contributions to the Out-of-Home industry with the prestigious Lifetime Achievement Award by FEPE, the worldwide association of outdoor advertising companies.

The first Australian recipients of the award, Mike and Brian were recognized for their outstanding contribution to Out-of-Home in Australia over their 50+ years in the industry at the 58th FEPE International Conference held in Stockholm, Sweden.


The event has seen delegates and industry professionals gather from all over the world, each with their unique viewpoints on how Out-of-Home will continue to thrive. Each year, the congress recognises four individuals, presenting the Lifetime Achievement Award, Leadership Award, Technical Innovation Award and Creative Award.


Appearing in Stockholm to collect the award in person, Mike expressed to his peers that he was “very honoured and humbled” to receive it.


Having worked in Out-of-Home for over 50 years, Mike’s nomination for this award is a testament to his significant impact on the evolution and growth of ‘outdoor’ within Australia, since his start in the industry back in 1959.


Starting in the street poster business, Mike purchased a small company in 1959 which became Australia Posters in 1970 and later, the development of new technologies in the 1980s saw the introduction of digitally printed vinyl skins that allowed a production quality not obtainable previously.


Mike is a cofounder of goa Billboards which started back in 1983, operating out of a humble shed in Bowen Hills, Brisbane. Today, goa is Queensland’s largest billboard and signage company and launched Australia’s first digital billboard network in 2009.


goa is still family owned and operated with Mike’s three sons managing the day to day running of the business. With the head office in Brisbane and sales offices in Sydney and Melbourne, goa Billboards develops the best solutions for some of the top brands in Australia to get them noticed.