The distance between bands and consumers has almost disappeared, and this combined with new technologies has changed our understanding of what creativity is and what it can achieve, writes ROB NEWLAN, head of the Facebook Creative Shop in EMEA.
Today the bar for creativity is extremely high. It starts with people. Anyone can use the phone in their pocket to shoot and edit high quality video – something that would have been unthinkable even ten years ago. Anyone with a mobile phone has a computer in their pocket – from shooting and editing video on a smartphone to banking on a feature phone. Small businesses can shoot a video of their product, market it and accept payment all online. Brands and consumers now exist side to side, and often face to face, in a vast digital landscape. The distance between brand and consumer has all but disappeared, and the resulting intimacy – combined with the ongoing explosion of new technologies – has changed our understanding of what creativity is, and what it can achieve.
We need to inspire people, and more importantly, we need to create value for people. What’s good for people is good for businesses.
The (fast evolving) context
Digital communication in Africa is booming. The change is so fast paced it’s hard to keep track. Even so, at Facebook one word matters to us above all others. Mobile.
According to ITU data, roughly 685 million Africans have mobile cellular subscriptions, while some 200 million have access to the Internet. 120 million Africans are on Facebook, and more than 80% of them will return to Facebook using mobile devices, predominantly feature phones rather than smartphones.
Mobile is a deeply personal device. Your phone is often the first thing you check when you wake up, and the last thing you check before you head to sleep. Your phone is so much more than a communication device – it is often how you get directions, bank or read the news. And that doesn’t include WhatsApp. The bottom line is people are living their lives on mobile devices.
People are at the core of the Facebook and Instagram experiences. The average user now spends more than 46 minutes a day across Facebook, Messenger and Instagram. At Facebook we believe ads can be amazing experiences. Technology unlocks the power to tell incredible stories to the right person at the right time no matter where they are. And the creative community – agencies and brands alike – now have the mobile canvas to tell better stories to people that are relevant, inspiring and impactful.
Video, collaborative creativity and emotional connections
People are increasingly adopting visual language to communicate. As a result, video consumption is sky-rocketing, particularly in high-growth regions. Billions of videos are viewed on Facebook every day, and a full three quarters of these views take place on mobile devices.
We have just started to unlock the potential of sight, sound and motion in a feed-driven world. Two case studies from the recent Cannes Lions festival reveal the power of this transformation.
Despite its long running success for P&G, the Always sanitary pad product recently risked losing relevance with a new, younger audience. The Always #LikeaGirl campaign changed all that by asking every day consumers to explore the meaning behind a common and rather patronising phrase, ‘Like a girl’. (As in “she throws Like a Girl”). #LikeAGirl became the most watched video in P&G’s history, with 48 million views in North America and 76 million views globally. Ad recall was extremely strong, and emotional connection to the brand went up in the target audience, while rivals suffered slight declines. The video was distributed not on TV, but through social media.
Similarly, American sports apparel brand, Under Armour, turned its previously macho male identity on its head with a quirky exploration of the pressures of being female in the 21st century, inclusive of a celebration of women who ‘defy expectations and ignore the noise of outside judgements.’ The campaign centred on the pay off line I WILL WHAT I WANT, and featured two stunning videos, the first highlighting ballerina Misty Copeland and the second model Gisele Bündchen.
Two things stand out in both campaigns.
First, the brands combined science and art to show different audiences various creative ways to discuss ideas that really mattered to them. The end result in both cases was a campaign that genuinely touched people’s hearts and minds. Both brands laid the foundation for consumers to get creative in the realm of personal life philosophy.
Second, in both instances people were a primary creative force. The #LikeaGirl video incorporated real young people, exploring – on camera – gender and life philosophy. The conversation at the heart of the campaign was defined and carried out by the target audience, through the prism of social media. Equally, the I WILL WHAT I WANT videos redefined audience participation. In the video featuring Gisele Bündchen, Facebook user comments were at the heart of the experience: After seeding a teaser film on the platform, we used people’s real online reactions on the platform in our TV ads just two days later. A web experience then became a live interactive experiment.
A custom engine scraped the web for comments made about Gisele. Comments were rendered instantly and displayed on the site. For the first time, the entire online discussion about a single person was happening on one website in real time. Gisele is seen sticking to her routine while contradictory opinions on social media flash behind her, proving will beats noise live.
Collaborative creativity is a vital new force
Facebook cares more about creativity than any other platform. Our goal is to create value for companies and the people who receive it. The Creative Shop wants to be an essential partner to brands and agencies: it wants to help move the industry forward.
Facebook Creative Shop is a team of brand marketers, creative directors and strategists who build ideas to help clients grow their business. We believe that every person’s experience on Facebook should be personal and relevant. Even the ads they see. We work closely with businesses and the larger Facebook team to build tools, processes and creative that drives real world business results and delights people.
To help global businesses show beautiful visual stories in News Feed on every device and connection type, we started Facebook’s Creative Accelerator programme designed to help brands unlock the power of personal storytelling in high-growth countries. For example, in Kenya, Coca-Cola delivered a high impact campaign that had Kenyans sharing their stories of happiness. Nurofen, meanwhile, reached 54% of its target audience through a Moments That Matter Facebook campaign in South Africa.
Facebook recently opened our first African office in Johannesburg, South Africa. This is an important first step in strengthening our partnerships on the continent. People in the creative community are working to “hack” Facebook and Instagram in exciting new ways, to develop new marketing executions. We want to continue to work with the creative community to hack creative on our platforms, and our new office brings us closer to the creative community in Africa.
This expansion has happened because we want to ensure we are able to effectively support the huge range of new advertising formats and communication tools now open to communicators. These include new advertising formats and new connection tools that allow for improved contact with audiences (Book Now buttons are just one such new feature), along with advanced measurement tools like Conversion Lift and Ad tech.
We believe we can work together to create rich creative expressions on Facebook and Instagram that are not just better for marketers but better for people too.
The Creative Shop wants to be an indispensable partner to brands and agencies. We know the future does not build itself. Together with our partners we can build for where people are going.
Kenya tool to help companies prepare for emergencies
After its team members survived last week’s Nairobi terror attack, Ushahidi decided to release a new preparedness tool for free, writes its CEO, NAT MANNING
On Tuesday I woke up a bit before 7am in Berkeley, California where I live. I made some coffee and went over to my computer to start my work day. I checked my Slack and the news and quickly found out that there was an ongoing terrorist attack at 14 Riverside Complex in Nairobi, Kenya. The Ushahidi office is in Nairobi and about a third of our team is based there (the rest of us are spread across 10 other countries).
As I read the news, my heart plummeted, and I immediately asked the question, “is everyone on my team okay?”
Five years ago Al-Shabaab committed a similar attack at the Westgate Mall. We spent several tense hours figuring out if any of our team had been in the mall, and verifying that everyone was safe. We found out that one of our team member’s family was caught up in the attack. Luckily they made it out.
At Ushahidi we make software for crisis response, including tools to map disasters and election violence, and yet we felt helpless in the face of this attack. In the days following the Westgate attack, our team huddled and thought about what we could build that would help our team — and other teams — if we found ourselves in a similar situation to this attack again. We identified that when we first learned of the attack, nearly everyone at Ushahidi had spent that first precious few hours trying to answer the basic questions, “Is everyone okay?”, and if not, “Who needs help?”
People had ad-hoc used multiple channels such as WhatsApp, called, emailed, or texted. We had done this for each person at Ushahidi (their job), in our families, and important people in our community. Our process was unorganised, inefficient, repetitive, and frustrating.
And from this problem we created TenFour, a check in tool that makes it easier for teams to reach one another during times of crisis. It is a simple application that lets people send a message to their team via SMS, Slack, Voice, email, and in-app, and get a response. It also works for educational institutions, companies with distributed staff, as well as part of neighbourhood networks like neighbourhood watches.
This week when I woke up to the news of the attack at Riverside, I immediately opened up the TenFour app.
Click here to read how Nat quickly confirmed the safety of his team.
Kia multi-collision airbags
The world’s first multi-collision airbag system has been unveiled by Hyundai Motor Group subsidiary KIA Motors, with the aim of improving airbag performance in multi-collision accidents.
Multi-collision accidents are those in which the primary impact is followed by collisions with secondary objects, such as other vehicles, trees, or electrical posts, which occur in three out of every 10 accidents. Current airbag systems do not offer secondary protection when the initial impact is insufficient to cause them to deploy.
However, the multi-collision airbag system allows airbags to deploy effectively upon a secondary impact, by calibrating the status of the vehicle and the occupants.
The new technology detects occupants’ positions in the cabin following an initial collision. When occupants are forced into unusual positions, the effectiveness of existing safety technology may be compromised. Multi-collision airbag systems are designed to deploy even faster when initial safety systems may not be effective, providing additional safety when drivers and passengers are most vulnerable. By recalibrating the collision intensity required for deployment, the airbag system responds more promptly during the secondary impact, thereby improving the safety of multi-collision vehicle occupants.
“By improving airbag performance in multi-collision scenarios, we expect to significantly improve the safety of our drivers and passengers,” said Taesoo Chi, head of the Hyundai Motor Group’s Chassis Technology Centre. “We will continue our research on more diverse crash situations as part of our commitment to producing even safer vehicles that protect occupants and prevent injuries.”
According to statistics by the National Automotive Sampling System Crashworthiness Data System (NASS-CDS), an office of the National Highway Traffic Safety Administration (NHTSA) in USA, about 30% of 56,000 vehicle accidents from 2000 to 2012 in the North American region involved multi-collisions. The leading type of multi-collision accidents involved cars crossing over the centre line (30.8%), followed by collisions caused by a sudden stop at highway tollgates (13.5%), highway median strip collisions (8.0%), and sideswiping and collision with trees and electric poles (4.0%).
These multi-collision scenarios were analysed in multilateral ways to improve airbag performance and precision in secondary collisions. Once commercialised, the system will be implemented in future new KIA vehicles.