Frisk Special: BROADCASTING & CONTENT

September 2014

Frisk Special: BROADCASTING & CONTENT September 2014Frisk Special: BROADCASTING & CONTENT September 2014

Hi there. Welcome to the latest Frisk special.

If you’ve had your ear to the ground (or, er, your eye to the screen) – you’ll have

spotted these Frisk specials popping out of Leo Burnett London over the past

year. There have been a number of diverse and intriguing themes – Retail, Luxury,

Popularity, Travel, Sponsorship, and so on – and this time we’ve decided to take a bit

of a sidestep and look at Broadcasting & Content.

It makes sense, really. Cast your mind back a couple of decades and you’ll remember

a world of limited channels, real-time viewing, passive media consumption… a totally

different landscape to today. Manufacturers act as broadcasters, viewers dictate and

shape content, it’s a far more inclusive, dynamic and all-encompassing scene.

So, within this little round-up you’ll find a number of examples of just how things are

changing, and how we’re involved in it all. I sincerely hope that you enjoy what you

read. If so – or indeed, if not – do be sure to fire some feedback into the Twittersphere:

the handle’s @LeoBurnettLDN.

See you next time for more of this colourful ideasmithery.

Daniel BevisSenior Knowledge EditorLeo Burnett London

Frisk Special: BROADCASTING & CONTENT September 2014Frisk Special: BROADCASTING & CONTENT September 2014

Hi there. Welcome to the latest Frisk special.

If you’ve had your ear to the ground (or, er, your eye to the screen) – you’ll have

spotted these Frisk specials popping out of Leo Burnett London over the past

year. There have been a number of diverse and intriguing themes – Retail, Luxury,

Popularity, Travel, Sponsorship, and so on – and this time we’ve decided to take a bit

of a sidestep and look at Broadcasting & Content.

It makes sense, really. Cast your mind back a couple of decades and you’ll remember

a world of limited channels, real-time viewing, passive media consumption… a totally

different landscape to today. Manufacturers act as broadcasters, viewers dictate and

shape content, it’s a far more inclusive, dynamic and all-encompassing scene.

So, within this little round-up you’ll find a number of examples of just how things are

changing, and how we’re involved in it all. I sincerely hope that you enjoy what you

read. If so – or indeed, if not – do be sure to fire some feedback into the Twittersphere:

the handle’s @LeoBurnettLDN.

See you next time for more of this colourful ideasmithery.

Daniel BevisSenior Knowledge EditorLeo Burnett London

Frisk Special: BROADCASTING & CONTENT September 2014

Each day we read more and more reports about how people are watching less and less linear TV, but at

the same time everyone talks about this being TV’s golden age. So the question comes up, how can TV be

producing the best content of its lifetime whilst audiences dwindle, and will this golden age of TV come to

an end?

WHAT’S THE FUTURE OF CONTENT, AFTER THE GOLDEN AGE OF TV?

To really understand this, we need to understand why we are experiencing the golden age of TV, because

despite what TV execs might tell you, it’s not just because they have hit their stride as this era’s renaissance

men and women (although as an executive producer of a TV show that is currently on air, I can confirm

that this is part of the reason).

One of the biggest factors contributing to the golden era has surprisingly been fear. Broadcasters closely

watched as Netflix’s offer to sell 49% of their business to Blockbuster in 2000 was turned down, only for

Blockbuster to go into sharp decline from 2004 leading to its bankruptcy in 2013; as Netflix grew from

strength to strength (most likely driving past Blockbuster HQ in open-top Bentleys and laughing).

by Jonathan Fraser, Global Head of Strategy & Ideas, Holler

Frisk Special: BROADCASTING & CONTENT September 2014Frisk Special: BROADCASTING & CONTENT September 2014

Each day we read more and more reports about how people are watching less and less linear TV, but at

the same time everyone talks about this being TV’s golden age. So the question comes up, how can TV be

producing the best content of its lifetime whilst audiences dwindle, and will this golden age of TV come to

an end?

WHAT’S THE FUTURE OF CONTENT, AFTER THE GOLDEN AGE OF TV?

To really understand this, we need to understand why we are experiencing the golden age of TV, because

despite what TV execs might tell you, it’s not just because they have hit their stride as this era’s renaissance

men and women (although as an executive producer of a TV show that is currently on air, I can confirm

that this is part of the reason).

One of the biggest factors contributing to the golden era has surprisingly been fear. Broadcasters closely

watched as Netflix’s offer to sell 49% of their business to Blockbuster in 2000 was turned down, only for

Blockbuster to go into sharp decline from 2004 leading to its bankruptcy in 2013; as Netflix grew from

strength to strength (most likely driving past Blockbuster HQ in open-top Bentleys and laughing).

This was the first big obsoleting in the entertainment industry since Michael Barrymore and it sparked

fear throughout it. It was an industry that saw huge technological changes and large changes in consumer

behaviour so every stakeholder was looking to ensure they don’t become the next Polaroid; as Ted Sarandos

(Netflix’s Chief Content Officer) said, “The goal is to become HBO faster than HBO can become us”.

However before you start saying that an industry run on fear is a bad thing, I actually believe it’s been the

very thing that has led us to the golden age of TV. Fear has helped bring about the three elements that

make TV so good at the moment.

by Jonathan Fraser, Global Head of Strategy Ideas, Holler

Frisk Special: BROADCASTING & CONTENT September 2014Frisk Special: BROADCASTING & CONTENT September 2014

When approached for content by on-demand platforms like Netflix, broadcasters such as ABC, were scared

of being a brand stuck in the past, being a brand that didn’t truly understand the potential of on-demand

and whether it should be an area of investment.

As such they worked with platforms such as Netflix and allowed them to license their back catalogue

content. This helped ABC in the first instance by providing a new much needed revenue stream, which

could be directly set against key content; giving them more money to reinvest in high budget shows like

Breaking Bad.

1. ENHANCED PRODUCTION BUDGETSBroadcasters actually found that as they launched new series of programmes that they had licensed to

on-demand platforms they were attracting more viewers than anticipated. The reason for this is that the

promotion of the new series inspired people to catch up on Netflix before new series launched on air. This

helped them drive more audiences to the big series premieres. A prime example of this is that prior to the

launch of Series 3 of Luther on BBC 1, Netflix saw a huge increase of people catching up on Series 1 and 2.

Subsequently Luther Series 3 wildly outperformed the BBC’s expectations week after week.

There was a time when on-demand content was confined to the laptop, however technology that brings it

to the TV has now become widely available. This dramatically changed viewing habits which a lot of linear

broadcasters feared; as the benefits seemed to favour the platforms and consumer. However in reality

everyone has felt the benefit of on-demand.

2. TECHNOLOGY BRINGING ON-DEMAND INTO THE LIVING ROOM

Broadcasters also feared the migration

of audiences to more involving pastimes

and digital experiences. This led to

broadcasters purposely developing

shows that engaged the viewer and

brought them into the show. No game

show will get commissioned today that

doesn’t have a play-along-at-home

element. Likewise most dramas or

documentaries will include a social bomb

within the first 3 minutes of broadcast

(a social bomb is footage purposely

designed to get audiences tweeting in

order to convince non-viewing followers

that they need to switch channels as

they are missing out). This means that

content developers and broadcasters

are proactively thinking of ways to enrich

their content to bring viewers into their

shows, which has led to more engaging

and exciting content.

So as we can see, fear has led every

stakeholder to evolve, experiment and

collaborate in order to ensure they

don’t become obsolete, which has

unexpectedly led to the golden age of

TV. So what next?

3. ENGAGEMENT TV

Frisk Special: BROADCASTING & CONTENT September 2014Frisk Special: BROADCASTING & CONTENT September 2014

When approached for content by on-demand platforms like Netflix, broadcasters such as ABC, were scared

of being a brand stuck in the past, being a brand that didn’t truly understand the potential of on-demand

and whether it should be an area of investment.

As such they worked with platforms such as Netflix and allowed them to license their back catalogue

content. This helped ABC in the first instance by providing a new much needed revenue stream, which

could be directly set against key content; giving them more money to reinvest in high budget shows like

Breaking Bad.

1. ENHANCED PRODUCTION BUDGETSBroadcasters actually found that as they launched new series of programmes that they had licensed to

on-demand platforms they were attracting more viewers than anticipated. The reason for this is that the

promotion of the new series inspired people to catch up on Netflix before new series launched on air. This

helped them drive more audiences to the big series premieres. A prime example of this is that prior to the

launch of Series 3 of Luther on BBC 1, Netflix saw a huge increase of people catching up on Series 1 and 2.

Subsequently Luther Series 3 wildly outperformed the BBC’s expectations week after week.

There was a time when on-demand content was confined to the laptop, however technology that brings it

to the TV has now become widely available. This dramatically changed viewing habits which a lot of linear

broadcasters feared; as the benefits seemed to favour the platforms and consumer. However in reality

everyone has felt the benefit of on-demand.

2. TECHNOLOGY BRINGING ON-DEMAND INTO THE LIVING ROOM

Broadcasters also feared the migration

of audiences to more involving pastimes

and digital experiences. This led to

broadcasters purposely developing

shows that engaged the viewer and

brought them into the show. No game

show will get commissioned today that

doesn’t have a play-along-at-home

element. Likewise most dramas or

documentaries will include a social bomb

within the first 3 minutes of broadcast

(a social bomb is footage purposely

designed to get audiences tweeting in

order to convince non-viewing followers

that they need to switch channels as

they are missing out). This means that

content developers and broadcasters

are proactively thinking of ways to enrich

their content to bring viewers into their

shows, which has led to more engaging

and exciting content.

So as we can see, fear has led every

stakeholder to evolve, experiment and

collaborate in order to ensure they

don’t become obsolete, which has

unexpectedly led to the golden age of

TV. So what next?

3. ENGAGEMENT TV

Frisk Special: BROADCASTING & CONTENT September 2014Frisk Special: BROADCASTING & CONTENT September 2014

As fear subsides in the wake of success, I believe it will be the learnings of what has worked that will drive

the next wave. The answer to this doesn’t lie in content, broadcasters or platforms; it sits around them all

working together, playing to their strengths and as such the key to success no longer resides in developing

great content but rather, in developing great IPs.

If we look at the biggest success stories recently, we begin to realise that there is more to their IP than the

broadcast content. For example, The X-Factor’s success isn’t solely down to the TV show. It owes hugely to

the other elements that make up the whole IP; the singles that get released, the tours, the band interviews

and the star lifestyle given to what were everyday members of the public. It’s the strength of the IP that

allows every element that makes it up, to be a success.

The advertising industry has actually gone through the exact same process. There was a time when great

agencies focused on the adverts, the TV ad or the press ad. However as the communications landscape

became richer and our audiences more expecting, we could no longer think about adverts alone to generate

success. Instead a great advertising agency will develop a great idea and then find the best way to execute

that idea in multiple ways to best suit the environment it lives in (rather than just developing adverts that

all feel like they are coming from the same place).

So, in my opinion we are all in for a treat. If this era of collaboration continues we can expect to see great

IPs being developed with every possible touchpoint in mind. No longer will it be a case of being asked to

watch the same content across multiple platforms. Instead we’ll find IPs generating content specifically

for each relevant platform in turn, creating tailored experiences that make the most of the environment in

which they live.

It will become the platinum age of entertainment.

Frisk Special: BROADCASTING & CONTENT September 2014Frisk Special: BROADCASTING & CONTENT September 2014

As fear subsides in the wake of success, I believe it will be the learnings of what has worked that will drive

the next wave. The answer to this doesn’t lie in content, broadcasters or platforms; it sits around them all

working together, playing to their strengths and as such the key to success no longer resides in developing

great content but rather, in developing great IPs.

If we look at the biggest success stories recently, we begin to realise that there is more to their IP than the

broadcast content. For example, The X-Factor’s success isn’t solely down to the TV show. It owes hugely to

the other elements that make up the whole IP; the singles that get released, the tours, the band interviews

and the star lifestyle given to what were everyday members of the public. It’s the strength of the IP that

allows every element that makes it up, to be a success.

The advertising industry has actually gone through the exact same process. There was a time when great

agencies focused on the adverts, the TV ad or the press ad. However as the communications landscape

became richer and our audiences more expecting, we could no longer think about adverts alone to generate

success. Instead a great advertising agency will develop a great idea and then find the best way to execute

that idea in multiple ways to best suit the environment it lives in (rather than just developing adverts that

all feel like they are coming from the same place).

So, in my opinion we are all in for a treat. If this era of collaboration continues we can expect to see great

IPs being developed with every possible touchpoint in mind. No longer will it be a case of being asked to

watch the same content across multiple platforms. Instead we’ll find IPs generating content specifically

for each relevant platform in turn, creating tailored experiences that make the most of the environment in

which they live.

It will become the platinum age of entertainment.

Frisk Special: BROADCASTING & CONTENT September 2014Frisk Special: BROADCASTING & CONTENT September 2014

We work closely with Canvas8, a deep-dive insight network who ‘make the complex simple by helping us make the simple significant’. This new piece looks at how GoPro (one of those brands whose name is often used as a general term for the product overall, like Hoover or Tannoy) has blurred the lines between being a manufacturer of tech, and a channel for user-generated content…

image © GoPro (2014)

A fireman walks into a charred building devastated by fire, and emerges with an unconscious kitten. By

giving it an oxygen mask and sprinkling water over its body, he brings the kitten back to life. Captured

on a GoPro camera, this unique story has become one of the most viewed videos on the camera brand’s

YouTube channel. By drawing viewers into a real life event through a first-person view, it’s redefined how

we document our lives and relive them through video.

The content created on these Hero cameras has been described as “mesmerising and addictive”, with

adrenaline-packed footage becoming synonymous with the brand. And with increasing demand for GoPro

videos, the company is taking a step into the media sector by launching dedicated channels driven by user

generated content. So how has GoPro managed to become one of the most exciting new media companies?

GoPro is the definition of a success story. Ever since its first Hero camera launched in 2004, the company

has established itself as a formidable force, with sales doubling every year and the Hero camera now

holding the title of the best-selling camera in world – with almost 4 million sold in 2013. While initially

developed as a way to capture the thrill of extreme sports, its appeal has broadened. It dominates one

of the most competitive consumer device industries – GoPro cameras accounted for almost half (45%) of

global pocket-camera sales in 2013. [1]

TURNING A CAMERA INTO CONTENT

But why is GoPro so successful? One of the major reasons is its creation of a whole new genre of video

content, dubbed simply ‘GoPro videos’. [2] With its rugged portable cameras, the GoPro brand is so

synonymous with first-person adrenaline packed footage that the company is moving away from just

selling cameras to becoming a “content-driven company”, according to founder Nick Woodman. And by

entering the media space, the company is hoping to tap into the huge potential that its user-generated

content offers.

GoPro is already one of the most followed channels on YouTube, with almost 2 million subscribers. It’s now

entering new spaces with its in-flight TV channel on Virgin America and an extreme sports channel app

on the Xbox 360. And according to Adam Dornbusch, GoPro’s head of content distribution, the company

is “kicking around ideas with larger television networks.” [3] But with brands vying for people’s attention

in the increasingly competitive entertainment space, what makes GoPro content stand out? And can it

reinvent itself beyond just a camera manufacturer?

image © Jackson Kayak (2012)

GoPro is one of many companies realising that it needs to give its customers a way to engage with their

products and services in a meaningful way. While AT&T is planning to buy DirecTV to give their customers

video content on smartphones, eBay is launching a digital magazine to create communities around different

subcategories on its online store. [4] It’s part of a movement away from just offering products and towards

brands selling a lifestyle.

But while other companies have to invest significant effort and resources to create content, GoPro can tap

into the vast body of videos generated by its users. Red Bull, for example, invested around $65 million in

its Stratos space dive, while GoPro merely has to ask people for the rights to broadcast and professionally

edit their footage. Although it sponsors athletes to create content that inspires people, GoPro realises that

the potential of user-generated content is much bigger. [1]

Frisk Special: BROADCASTING & CONTENT September 2014Frisk Special: BROADCASTING & CONTENT September 2014

We work closely with Canvas8, a deep-dive insight network who ‘make the complex simple by helping us make the simple significant’. This new piece looks at how GoPro (one of those brands whose name is often used as a general term for the product overall, like Hoover or Tannoy) has blurred the lines between being a manufacturer of tech, and a channel for user-generated content…

image © GoPro (2014)

A fireman walks into a charred building devastated by fire, and emerges with an unconscious kitten. By

giving it an oxygen mask and sprinkling water over its body, he brings the kitten back to life. Captured

on a GoPro camera, this unique story has become one of the most viewed videos on the camera brand’s

YouTube channel. By drawing viewers into a real life event through a first-person view, it’s redefined how

we document our lives and relive them through video.

The content created on these Hero cameras has been described as “mesmerising and addictive”, with

adrenaline-packed footage becoming synonymous with the brand. And with increasing demand for GoPro

videos, the company is taking a step into the media sector by launching dedicated channels driven by user

generated content. So how has GoPro managed to become one of the most exciting new media companies?

GoPro is the definition of a success story. Ever since its first Hero camera launched in 2004, the company

has established itself as a formidable force, with sales doubling every year and the Hero camera now

holding the title of the best-selling camera in world – with almost 4 million sold in 2013. While initially

developed as a way to capture the thrill of extreme sports, its appeal has broadened. It dominates one

of the most competitive consumer device industries – GoPro cameras accounted for almost half (45%) of

global pocket-camera sales in 2013. [1]

TURNING A CAMERA INTO CONTENT

But why is GoPro so successful? One of the major reasons is its creation of a whole new genre of video

content, dubbed simply ‘GoPro videos’. [2] With its rugged portable cameras, the GoPro brand is so

synonymous with first-person adrenaline packed footage that the company is moving away from just

selling cameras to becoming a “content-driven company”, according to founder Nick Woodman. And by

entering the media space, the company is hoping to tap into the huge potential that its user-generated

content offers.

GoPro is already one of the most followed channels on YouTube, with almost 2 million subscribers. It’s now

entering new spaces with its in-flight TV channel on Virgin America and an extreme sports channel app

on the Xbox 360. And according to Adam Dornbusch, GoPro’s head of content distribution, the company

is “kicking around ideas with larger television networks.” [3] But with brands vying for people’s attention

in the increasingly competitive entertainment space, what makes GoPro content stand out? And can it

reinvent itself beyond just a camera manufacturer?

image © Jackson Kayak (2012)

GoPro is one of many companies realising that it needs to give its customers a way to engage with their

products and services in a meaningful way. While AT&T is planning to buy DirecTV to give their customers

video content on smartphones, eBay is launching a digital magazine to create communities around different

subcategories on its online store. [4] It’s part of a movement away from just offering products and towards

brands selling a lifestyle.

But while other companies have to invest significant effort and resources to create content, GoPro can tap

into the vast body of videos generated by its users. Red Bull, for example, invested around $65 million in

its Stratos space dive, while GoPro merely has to ask people for the rights to broadcast and professionally

edit their footage. Although it sponsors athletes to create content that inspires people, GoPro realises that

the potential of user-generated content is much bigger. [1]

Frisk Special: BROADCASTING & CONTENT September 2014Frisk Special: BROADCASTING & CONTENT September 2014

image © GoPro (2014)

SOURCES1. ‘Extreme exposure: Inside GoPro’s burgeoning media empire’, Engadget (May 2014)

2. ‘What GoPro means when it calls itself a media company’, Quartz (May 2014)

3. ‘GoPro Sees Opportunity in Its Amateur Daredevils’, The New York Times (January 2014)

4. ‘eBay Wants to Be a Digital Magazine of Things’, The Atlantic (May 2014)

5. ‘Millennials Trust User-Generated Content 50% More Than Other Media’, Mashable (April 2014)

6. ‘What is Twitch, and why does Google want it?’, The Guardian (May 2014)

7. ‘Cisco shuts down Flip video camera business’, BBC (April 2011)

8. ‘GoPro wants to be a media company, but doesn’t know how to make money with media yet’, GigaOM (May 2014)

9. ‘GoPro Sees Future as ‘Content Company’, Variety (May 2014)

10. ‘GoPro Is Turning into a Media Company, id=”mce_marker”00 Million IPO Filing Shows’, The Atlantic (May 2014)

While GoPro user-generated content made its name in the field of extreme sports, Twitch is a great example

of how it can be popular in other domains. By streaming online gaming videos, Twitch has become the

channel for gaming – attracting 45 million viewers at the end of 2013. [6] There’s a strong appetite for

unstaged videos that platforms like GoPro and Twitch offer. “Some of the distributors are begging for our

content,” Dornbusch says, “It’s that entertaining. It’s that aspirational.” [3]

And GoPro isn’t alone. The Cisco Flip camera used to be a hugely successful portable camcorder, and

became one of the top sellers in the market. [7] But with advances in smartphone technology, its uniqueness

dwindled, and ultimately led to the company discontinuing its camera business in 2011. Is this the future

of GoPro? Not necessarily. Its appeal is very different, with its rugged camera able to withstand extreme

conditions, unlike modern smartphones. However, the company recognises that this could change in the

future, and reinventing itself as a media platform is a way to minimise that risk and draw people into the

brand experience. [8]

The opportunity to enter media arose as GoPro discovered the potential of the content that was being

created. It wasn’t something the company initially imagined would happen. “We’re not inventing new

models,” says Dornbusch, “[People] are coming to us.” [9]

But with just 5%-10% of GoPro content being shared, the company’s immediate focus is on getting the

unseen content out there. “It’s about getting that content off the device and out into the world,” says Paul

Crandell, the company’s VP of marketing. [1] GoPro is encouraging people to edit and share video with its

‘Studio’ video editing software, making it simple to create ‘pro-looking’ cuts. [10]

By unlocking ordinary people’s content and bringing it to the wider public, GoPro wants to raise awareness

of the type of footage the camera creates in order to encourage more sales and new content creators. It

hopes to spark a cycle that will deliver better sales and more content. It’s a perfect example of content

marketing, but what’s unique about GoPro is that the product directly creates the content – something

other brands can only imagine. Similarly to Amazon’s Kindle and ebooks, it appears the long-term strategy

is for GoPro’s cameras to facilitate content creation and sharing, rather than the product itself being the

most lucrative part of the business.

One of the unique ways the company has managed to build up its brand awareness is that people are

happy to label their short clips with ‘GoPro’. In doing so, every video effectively become an advert for the

company. “What their product produces is so compelling, it doesn’t feel like advertising,” said Michael

Mott, general manager of Xbox apps. “It’s a genuine expression of the creativity and craziness of what

their users are capturing.” [3] While Red Bull was the main orchestrator of the record-breaking ‘Stratos’

publicity stunt, the fact that it was captured on a GoPro camera means that GoPro became associated with

their success. In fact, if you Google ‘Felix Baumgartner’, it actually predicts you’re going to type ‘GoPro’,

not ‘Red Bull’ next. [1]

While the entrance into media is perhaps a natural one, GoPro itself is still not sure how to best monetise

the content. While it currently gives away content to Virgin and YouTube channel for free, it’s planning to

use advertisements – but will this impact on the viewing experience, and ultimately the loyalty towards

the brand? [8]

Tapping into people’s desire for user-generated content, and with Hero cameras easily allowing its creation,

GoPro has established itself as one of the most promising media companies out there. With a vast amount

of content waiting to be broadcasted to the world, this is only the beginning for the brand. But by already

inventing an entirely a new genre of video, GoPro has attained the ultimate quality we all desire – being

cool.

What makes GoPro videos special is that they

capture attention-grabbing unique content. In

the same way people watch a whole TV series in

one sitting, these videos are highly addictive. And

the fact that they’re created by real people makes

them feel more authentic. Research shows that

user-generated content is 35% more memorable

than other types of media, and Millennials spend

an average of five hours per day engaging with

it. [5] People are keen to share the videos they

create on social networks, with 6,000 uploads

onto YouTube from GoPro cameras every day as

they hope to become the next viral video or just

want to connect with likeminded individuals.

We’ve had our very own experience of using Go-Pro. For THE OUTNET, our fashion and lifestyle specialist,

ATELIER, changed the Catwalk to the Dogwalk during London Fashion Week with Sergio – the world’s

most fashionable fashion dog. Sergio, the mini dachschund, high-jacked THE OUTNET Twitter account

@THEOUTNET with footage that he filmed throughout London Fashion Week – sniffing out the fabulous

footwear – and directing style-conscious consumers to THE OUTNET’s shoe style range.

Sergio took full advantage of his tiny stature and discovered the best shoes in the industry. In order to

capture unprecedented footage, Sergio had a GoPro Hero 3 Camera attached to his collar. The Hero 3 is

the perfect match for Sergio as it is 30% smaller, 25% lighter and 2x more powerful than previous models.

It is also waterproof (ideal for the London Fashion Week drizzle) and takes 12MP photos at a rate of 30

photos per second with built in Wi-Fi for his live feeds.

Sergio also wore the GoPro Fetch harness, which features two mounting locations for a variety of

perspectives, thus re-defining the idea of ‘on-the-ground’ reporting and in turn enabling Sergio’s footage

to direct viewers to ‘shop the look’ with similar styles as seen on THE OUTNET.COM.

You can see Sergio’s experiences during London Fashion Week and his shared content here:

http://shoehunter.theoutnet.com/

SERGIO THE SHOE HUNTER USES GO-PRO FOR LONDON FASHION WEEK

Frisk Special: BROADCASTING & CONTENT September 2014Frisk Special: BROADCASTING & CONTENT September 2014

image © GoPro (2014)

SOURCES1. ‘Extreme exposure: Inside GoPro’s burgeoning media empire’, Engadget (May 2014)

2. ‘What GoPro means when it calls itself a media company’, Quartz (May 2014)

3. ‘GoPro Sees Opportunity in Its Amateur Daredevils’, The New York Times (January 2014)

4. ‘eBay Wants to Be a Digital Magazine of Things’, The Atlantic (May 2014)

5. ‘Millennials Trust User-Generated Content 50% More Than Other Media’, Mashable (April 2014)

6. ‘What is Twitch, and why does Google want it?’, The Guardian (May 2014)

7. ‘Cisco shuts down Flip video camera business’, BBC (April 2011)

8. ‘GoPro wants to be a media company, but doesn’t know how to make money with media yet’, GigaOM (May 2014)

9. ‘GoPro Sees Future as ‘Content Company’, Variety (May 2014)

10. ‘GoPro Is Turning into a Media Company, id=”mce_marker”00 Million IPO Filing Shows’, The Atlantic (May 2014)

While GoPro user-generated content made its name in the field of extreme sports, Twitch is a great example

of how it can be popular in other domains. By streaming online gaming videos, Twitch has become the

channel for gaming – attracting 45 million viewers at the end of 2013. [6] There’s a strong appetite for

unstaged videos that platforms like GoPro and Twitch offer. “Some of the distributors are begging for our

content,” Dornbusch says, “It’s that entertaining. It’s that aspirational.” [3]

And GoPro isn’t alone. The Cisco Flip camera used to be a hugely successful portable camcorder, and

became one of the top sellers in the market. [7] But with advances in smartphone technology, its uniqueness

dwindled, and ultimately led to the company discontinuing its camera business in 2011. Is this the future

of GoPro? Not necessarily. Its appeal is very different, with its rugged camera able to withstand extreme

conditions, unlike modern smartphones. However, the company recognises that this could change in the

future, and reinventing itself as a media platform is a way to minimise that risk and draw people into the

brand experience. [8]

The opportunity to enter media arose as GoPro discovered the potential of the content that was being

created. It wasn’t something the company initially imagined would happen. “We’re not inventing new

models,” says Dornbusch, “[People] are coming to us.” [9]

But with just 5%-10% of GoPro content being shared, the company’s immediate focus is on getting the

unseen content out there. “It’s about getting that content off the device and out into the world,” says Paul

Crandell, the company’s VP of marketing. [1] GoPro is encouraging people to edit and share video with its

‘Studio’ video editing software, making it simple to create ‘pro-looking’ cuts. [10]

By unlocking ordinary people’s content and bringing it to the wider public, GoPro wants to raise awareness

of the type of footage the camera creates in order to encourage more sales and new content creators. It

hopes to spark a cycle that will deliver better sales and more content. It’s a perfect example of content

marketing, but what’s unique about GoPro is that the product directly creates the content – something

other brands can only imagine. Similarly to Amazon’s Kindle and ebooks, it appears the long-term strategy

is for GoPro’s cameras to facilitate content creation and sharing, rather than the product itself being the

most lucrative part of the business.

One of the unique ways the company has managed to build up its brand awareness is that people are

happy to label their short clips with ‘GoPro’. In doing so, every video effectively become an advert for the

company. “What their product produces is so compelling, it doesn’t feel like advertising,” said Michael

Mott, general manager of Xbox apps. “It’s a genuine expression of the creativity and craziness of what

their users are capturing.” [3] While Red Bull was the main orchestrator of the record-breaking ‘Stratos’

publicity stunt, the fact that it was captured on a GoPro camera means that GoPro became associated with

their success. In fact, if you Google ‘Felix Baumgartner’, it actually predicts you’re going to type ‘GoPro’,

not ‘Red Bull’ next. [1]

While the entrance into media is perhaps a natural one, GoPro itself is still not sure how to best monetise

the content. While it currently gives away content to Virgin and YouTube channel for free, it’s planning to

use advertisements – but will this impact on the viewing experience, and ultimately the loyalty towards

the brand? [8]

Tapping into people’s desire for user-generated content, and with Hero cameras easily allowing its creation,

GoPro has established itself as one of the most promising media companies out there. With a vast amount

of content waiting to be broadcasted to the world, this is only the beginning for the brand. But by already

inventing an entirely a new genre of video, GoPro has attained the ultimate quality we all desire – being

cool.

What makes GoPro videos special is that they

capture attention-grabbing unique content. In

the same way people watch a whole TV series in

one sitting, these videos are highly addictive. And

the fact that they’re created by real people makes

them feel more authentic. Research shows that

user-generated content is 35% more memorable

than other types of media, and Millennials spend

an average of five hours per day engaging with

it. [5] People are keen to share the videos they

create on social networks, with 6,000 uploads

onto YouTube from GoPro cameras every day as

they hope to become the next viral video or just

want to connect with likeminded individuals.

We’ve had our very own experience of using Go-Pro. For THE OUTNET, our fashion and lifestyle specialist,

ATELIER, changed the Catwalk to the Dogwalk during London Fashion Week with Sergio – the world’s

most fashionable fashion dog. Sergio, the mini dachschund, high-jacked THE OUTNET Twitter account

@THEOUTNET with footage that he filmed throughout London Fashion Week – sniffing out the fabulous

footwear – and directing style-conscious consumers to THE OUTNET’s shoe style range.

Sergio took full advantage of his tiny stature and discovered the best shoes in the industry. In order to

capture unprecedented footage, Sergio had a GoPro Hero 3 Camera attached to his collar. The Hero 3 is

the perfect match for Sergio as it is 30% smaller, 25% lighter and 2x more powerful than previous models.

It is also waterproof (ideal for the London Fashion Week drizzle) and takes 12MP photos at a rate of 30

photos per second with built in Wi-Fi for his live feeds.

Sergio also wore the GoPro Fetch harness, which features two mounting locations for a variety of

perspectives, thus re-defining the idea of ‘on-the-ground’ reporting and in turn enabling Sergio’s footage

to direct viewers to ‘shop the look’ with similar styles as seen on THE OUTNET.COM.

You can see Sergio’s experiences during London Fashion Week and his shared content here:

http://shoehunter.theoutnet.com/

SERGIO THE SHOE HUNTER USES GO-PRO FOR LONDON FASHION WEEK

Frisk Special: BROADCASTING & CONTENT September 2014Frisk Special: BROADCASTING & CONTENT September 2014

Ensuring brands are present in the right spaces at the right times to create engaging experiences is a powerful thing - Brands are increasingly behaving as Broadcasters. Working with Holler, we look to engage, entertain and inspire to earn fans and advocates for life...

Red Bull as a brand has really gone for it with content. For every Red Bull Stratos you see, there are a

number of other pieces of content around smaller UK-wide and regional events - 60 alone in the UK in 2014,

where we work with Red Bull to create content to engage and establish credibility.

Red Bull is like a cult to its fans. As a brand, being credible and aspirational (to a type of lifestyle) takes

priority over overt product messaging. Red Bull are an anti-establishment brand, and in fact ensure that

everything from their associations to their sponsored athletes start with those on the up - not the most

famous or immediately most successful. This carries through to how they communicate online and off.

For Red Bull, someone who might otherwise be unknown like Danny MacAskill - a BMXer with an insane

imagination for tricks in complex spaces - becomes a star, whose YouTube videos receive upwards of 20

million views. But this content isn’t done on a whim, or on a ‘post it and hope’ mentality. We work with

Red Bull to create and curate content that will fly with audiences across the right verticals for them, which

means that content starts in places that might not be the most known (niche, credible communities) and

grow naturally to the point where key influencers incite coverage by broadsheets, driving millions of views

- without spending a pound of media money.

The tonality and credibility behind this approach is fundamental to Red Bull’s year-on-year growth - but

more importantly, drives a deeply engaged fan base and lives to the brand’s publisher mentality. From

ensuring that an editorial approach was taken back in 2008 when we relaunched Redbull.com to the

creation of content ongoing around events and passion points, we’ve been essential to the European (and

global) development of the successes that the brand has had on a day-to-day basis.

Our latest big hit for Red Bull - a low-cost piece of content working with key Instagram influencers for Red

Bull’s Cliff Diving event series - has been nominated for six major awards so far this year.

RED BULL SPONSORED ATHLETES WHO ARE ON THE UP

The London Olympics 2012, an event that could truly be described as ‘The People’s Games’. For the first

time, people would be capturing and sharing the Games, as they happened, not just watching it passively

on TV or in a stadium, but actively participating in creating the narrative of the Games.

We wanted to create a campaign that we could activate in a way no-one had ever done before. We

celebrated the people, activities and emotions that made the collective story of the Games: a story that we

invited, curated and broadcasted. We did so in a way that was real and responsive, capturing the mood of

each moment as the Olympic story unfolded with the campaign line ‘We All Make The Games’.

To activate this idea across many platforms, the campaign kicked off with a stirring TVC ‘We All Make The

Games’, setting up the idea of the fan types and inviting people to go to Facebook to find out which one

they were.

Behind our Facebook application, however, lay a unique and innovative content management system. When

people submitted content, the agency teams could immediately choose the best, create new fan types for

them, get legal and brand manager approval and then broadcast them within minutes across digital OOH.

This didn’t just deliver responsive broadcast content at the speed of the Games narrative, but also ensured

that user-generated content was high quality. So the submissions became broadcast media across a huge

digital outdoor buy, online display, and press; in fact, you could have taken a photo at an event and seen it

as an ad on your journey home.

At the same time, our roving crews filmed people on the streets and at the fan parks, capturing Games’

moments both big and small. This film content fuelled both more digital outdoor fan types and two new

TVCs over the Olympics and Paralympics, reflecting the events of those weeks. The campaign culminated in

another TVC, consisting entirely of content sourced from the public, broadcast the day after the Paralympics

closing ceremony on TV and leading video content platforms - celebrating that ‘We All Made The Games’

MCDONALD’S OLYMPICS CAMPAIGN: ‘THE PEOPLE’S GAMES’

Frisk Special: BROADCASTING & CONTENT September 2014Frisk Special: BROADCASTING & CONTENT September 2014

Ensuring brands are present in the right spaces at the right times to create engaging experiences is a powerful thing - Brands are increasingly behaving as Broadcasters. Working with Holler, we look to engage, entertain and inspire to earn fans and advocates for life...

Red Bull as a brand has really gone for it with content. For every Red Bull Stratos you see, there are a

number of other pieces of content around smaller UK-wide and regional events - 60 alone in the UK in 2014,

where we work with Red Bull to create content to engage and establish credibility.

Red Bull is like a cult to its fans. As a brand, being credible and aspirational (to a type of lifestyle) takes

priority over overt product messaging. Red Bull are an anti-establishment brand, and in fact ensure that

everything from their associations to their sponsored athletes start with those on the up - not the most

famous or immediately most successful. This carries through to how they communicate online and off.

For Red Bull, someone who might otherwise be unknown like Danny MacAskill - a BMXer with an insane

imagination for tricks in complex spaces - becomes a star, whose YouTube videos receive upwards of 20

million views. But this content isn’t done on a whim, or on a ‘post it and hope’ mentality. We work with

Red Bull to create and curate content that will fly with audiences across the right verticals for them, which

means that content starts in places that might not be the most known (niche, credible communities) and

grow naturally to the point where key influencers incite coverage by broadsheets, driving millions of views

- without spending a pound of media money.

The tonality and credibility behind this approach is fundamental to Red Bull’s year-on-year growth - but

more importantly, drives a deeply engaged fan base and lives to the brand’s publisher mentality. From

ensuring that an editorial approach was taken back in 2008 when we relaunched Redbull.com to the

creation of content ongoing around events and passion points, we’ve been essential to the European (and

global) development of the successes that the brand has had on a day-to-day basis.

Our latest big hit for Red Bull - a low-cost piece of content working with key Instagram influencers for Red

Bull’s Cliff Diving event series - has been nominated for six major awards so far this year.

RED BULL SPONSORED ATHLETES WHO ARE ON THE UP

The London Olympics 2012, an event that could truly be described as ‘The People’s Games’. For the first

time, people would be capturing and sharing the Games, as they happened, not just watching it passively

on TV or in a stadium, but actively participating in creating the narrative of the Games.

We wanted to create a campaign that we could activate in a way no-one had ever done before. We

celebrated the people, activities and emotions that made the collective story of the Games: a story that we

invited, curated and broadcasted. We did so in a way that was real and responsive, capturing the mood of

each moment as the Olympic story unfolded with the campaign line ‘We All Make The Games’.

To activate this idea across many platforms, the campaign kicked off with a stirring TVC ‘We All Make The

Games’, setting up the idea of the fan types and inviting people to go to Facebook to find out which one

they were.

Behind our Facebook application, however, lay a unique and innovative content management system. When

people submitted content, the agency teams could immediately choose the best, create new fan types for

them, get legal and brand manager approval and then broadcast them within minutes across digital OOH.

This didn’t just deliver responsive broadcast content at the speed of the Games narrative, but also ensured

that user-generated content was high quality. So the submissions became broadcast media across a huge

digital outdoor buy, online display, and press; in fact, you could have taken a photo at an event and seen it

as an ad on your journey home.

At the same time, our roving crews filmed people on the streets and at the fan parks, capturing Games’

moments both big and small. This film content fuelled both more digital outdoor fan types and two new

TVCs over the Olympics and Paralympics, reflecting the events of those weeks. The campaign culminated in

another TVC, consisting entirely of content sourced from the public, broadcast the day after the Paralympics

closing ceremony on TV and leading video content platforms - celebrating that ‘We All Made The Games’

MCDONALD’S OLYMPICS CAMPAIGN: ‘THE PEOPLE’S GAMES’

Frisk Special: BROADCASTING & CONTENT September 2014Frisk Special: BROADCASTING & CONTENT September 2014

We needed to build a relationship with, and ultimately love for, orange juice, when most people buy it

based on price alone. Consumers needed a marketing approach as rewarding as the juice itself. We created

a season squeezed full of exciting experiences celebrating the natural deliciousness of Innocent Orange

Juice, and a calendar of digital activity with a broad range of experiences that would keep our target

audience engaged and surprised all year long.

We spurred on a large, engaged community which helped the brand achieve 25% over target, and Content

was the main activity that propelled Innocent to be crowned ‘No.1 Social Brand of the Year’. Innocent fans

increased from 40,000 to 250,000 at the time of launch – which also meant that the brand has been able

to spend almost no money on media by launching new products via their Facebook audience alone.

INNOCENT ORANGE JUICE: NO.1 SOCIAL BRAND AT LAUNCH

Jura is a little island just off the Scottish coast. It’s the place where George Orwell wrote 1984, and he

described it as ‘the most ungetatable place on earth’. However despite all this, Jura Whisky has gone on

to be the second biggest single malt in the world. This spirit of being the plucky outsider that takes on

the big boys has become a cornerstone of its brand values and we are always looking for opportunities to

demonstrate this.

In July 2013 one of our fans noticed that Jura had disappeared from Google Maps. We used this discovery

to take on the Goliath that is Google, and get everyone behind the fight to put Jura back on the map!

Within an hour of spotting the opportunity we launched a competition, asking our fans to mark the spot

on the map where Jura should be. All launched through Jura’s social channels. To make the story bigger in

social we selected key influencers, sent them a bottle of Jura, and a letter telling them our story and a map

so they could join in.

We sent all of the maps, a bottle of Jura and a letter to Google, asking for our reinstatement, generating

tons of valuable press coverage along the way.

JURA WHISKY – GOOGLE LOSES THE ISLE OF JURA

The campaign that was developed in an hour gave us 2.8m Twitter impressions and a reach of 4,287,850

against all of the additional PR coverage, with notable names being the BBC and the Huffington Post.

Which for a campaign costing £500 gave us an equivalent media value of £214,393. A campaign that took

an hour to conceive kick-started a movement, huge PR and media value and led to Google’s public apology

and the reinstatement of Jura. It also brought awareness to Jura in the most on-brand way possible.

Frisk Special: BROADCASTING & CONTENT September 2014Frisk Special: BROADCASTING & CONTENT September 2014

We needed to build a relationship with, and ultimately love for, orange juice, when most people buy it

based on price alone. Consumers needed a marketing approach as rewarding as the juice itself. We created

a season squeezed full of exciting experiences celebrating the natural deliciousness of Innocent Orange

Juice, and a calendar of digital activity with a broad range of experiences that would keep our target

audience engaged and surprised all year long.

We spurred on a large, engaged community which helped the brand achieve 25% over target, and Content

was the main activity that propelled Innocent to be crowned ‘No.1 Social Brand of the Year’. Innocent fans

increased from 40,000 to 250,000 at the time of launch – which also meant that the brand has been able

to spend almost no money on media by launching new products via their Facebook audience alone.

INNOCENT ORANGE JUICE: NO.1 SOCIAL BRAND AT LAUNCH

Jura is a little island just off the Scottish coast. It’s the place where George Orwell wrote 1984, and he

described it as ‘the most ungetatable place on earth’. However despite all this, Jura Whisky has gone on

to be the second biggest single malt in the world. This spirit of being the plucky outsider that takes on

the big boys has become a cornerstone of its brand values and we are always looking for opportunities to

demonstrate this.

In July 2013 one of our fans noticed that Jura had disappeared from Google Maps. We used this discovery

to take on the Goliath that is Google, and get everyone behind the fight to put Jura back on the map!

Within an hour of spotting the opportunity we launched a competition, asking our fans to mark the spot

on the map where Jura should be. All launched through Jura’s social channels. To make the story bigger in

social we selected key influencers, sent them a bottle of Jura, and a letter telling them our story and a map

so they could join in.

We sent all of the maps, a bottle of Jura and a letter to Google, asking for our reinstatement, generating

tons of valuable press coverage along the way.

JURA WHISKY – GOOGLE LOSES THE ISLE OF JURA

The campaign that was developed in an hour gave us 2.8m Twitter impressions and a reach of 4,287,850

against all of the additional PR coverage, with notable names being the BBC and the Huffington Post.

Which for a campaign costing £500 gave us an equivalent media value of £214,393. A campaign that took

an hour to conceive kick-started a movement, huge PR and media value and led to Google’s public apology

and the reinstatement of Jura. It also brought awareness to Jura in the most on-brand way possible.