The growth of the firm is attributed to its comprehensive online display ad management suite. This platform enables agencies and advertisers to, among other things, post display ads in real time, optimize across media and centralize all reporting.

Miguel Fernandez-Gil, Adform’s business development director in Spain, considers it a likely possibility that the company will be able to mirror the Italian growth success in the Spanish market. ”While the rest of the media market has prorogued, online display advertising here has increased by 14,” he says. “The rich media market, including video formats, in particular is gaining ground and now represents more than €70 million. There are not enough tools to handle demand in Spain.”

“Many of our competitors only offer a piecemeal solution that either handles media purchases or optimization, while we are able to deliver a comprehensive platform that covers the complete everyday media management in an agency, encompassing media planning, buying, optimization and reporting. We have been surprised by the high growth potential in Italy during this time of crisis and certainly recognize the possibility that the market may turn out to be even more attractive for us in Spain,” says Martin Stockfleth Larsen, marketing director of Adform.

ADOTAS

While the whole party seemed to go by in a, erm… a Flash, here’s the part that lasts — this year’s winners, selected from over 100 campaigns:

People’s Choice: Personal PC Store — Crispin Porter + Bogusky, Microsoft Windows, Universal McCann

Smartest Ad (Americas): White Collar — Glow Interactive, USA Network, Ignited

Smartest Ad (EMEA): Specsavers 2011 — Specsavers, MEC, infinite corridor @Annex

Smartest Ad (Asia Pacific): Yellovator — Clemenger, Millipede, Yellow Pages, OMD Melbourne

Smartest Homepage Customization: Allstate Mayhem — CBSi, Leo Burnett, Starcom

With the exception of the People’s Choice category, for which voting was open to the public, the awards were selected by a panel of international industry experts. Check out previews of those winning ads here, and check out photos of the party below (courtesy of MediaMind, naturally).

ADOTAS

Papa Smurf, Brainy Smurf, Smurfette and the others smurfing this and smurfin that… All of them pestering poor old Gargamel and his cute little pussy cat Azrael. Gargamel only wanted to either eat the blue miscreants or use them to make gold… His motivations changed a lot.

Although, the inspired casting of Hank Azaria as Gargamel in “The Smurfs” 3D summer blockbuster almost convinced me to see it, I skipped because I knew the Smurfs would foil his plans again. What’s wrong with eating Smurfs anyway? They look tasty — I imagine they’d be good in stir fry.

In general, the online and offline marketing for the film was pretty strong — subway posters featuring Smurfs caught in train doors were memorable. However, most notable was a collaborative rich media effort between Sony Pictures, Universal McCann, Catcha Digital and MediaMind that offered an entertaining and interactive experience surrounding the film’s trailer. The campaign captured the spirit of “The Smurfs” while encouraging engagement. The following case study from MediaMind presents how.

Overview

Sony Pictures Animation brought The Smurfs in 3D as a hybrid live action/animation feature to the blue crew’s fans around the world. With the film hitting theaters, the movie’s promoters wanted to drive excitement and anticipation to ensure the family comedy would stand out among other fall releases.

“We aimed for The Smurfs to become a talking piece within the online community, especially with the early buzz that was already built with the traditional media such as outdoor, radio, TV and on-ground events,” said Carmen Phua, senior marketing manager of Buena Vista Columbia Tristar Films. “With rich media, we aimed to integrate the strength from all media to create maximum exposure for the film.“

The campaign’s key goals were to get audiences excited and build viral buzz about the movie and its new 3D format, driving ticket sales for the release.

Strategy

Universal McCann’s promotion strategy focused on “The Smurfs’” primary targets — parents with children age 5-12 and teens and young adults age 12-25.

“We wanted to push the film’s humor in an accessible and edgy direction,” Phua said. “The characters and story of the film needed to come across as more than the cute creatures from the TV show. With the 3D interactive panel, it allowed us to playfully position the Smurf characters and materials as hip and current, and generate a ‘must-see’ interest for the core audience of teens and young adults while creating cross-over appeal among the broad audience who are Smurfs followers and enjoy a wholesome family comedy”

For the campaign’s online components, the team wanted a wow-factor format that would mirror the film’s combination of 3D, live action and animation and garner greater engagement than a standard static banner.

Using the MediaMind rich media platform, the creative team developed an innovative and interactive expandable 3D panel that provided a sneak peek at the film trailer along with information about the movie. Mouse-tracking capabilities made the entire banner fun and interactive, driving excellent dwell rates.

Results

The campaign recorded high dwell, demonstrating that users are interested in connecting with the brand. Even more important, viewers were able to have this brand experience within the environment of their choice and did not have to leave the publisher page.

• Dwell rates: 8.62% (Entertainment Benchmark for Malaysia is 7.93%).
• Users spent twice the dwell time vs. the entertainment Benchmark in Malaysia (146.36 sec vs. 72.54 sec)

Conclusion

This banner’s rich media interactivity and 3D animation allowed the film’s promoters to bring the same visual energy and fun to this promotion that users would experience watching the film. Audiences reacted with extended dwell time and engagement that ensured the movie would be top-of-mind during the fall movie season.

“The close collaboration between all parties — Sony Pictures, UM, MediaMind, and Catcha Digital — resulted in the tremendous success of The Smurfs 3D campaign that proved to be creative, interactive, engaging and fun for consumers,” said Damon Rielly, general manager for Catcha Digital. “High dwell means high quality connection between brand and user — a measurement that brands need pay more attention to, unlike CTRcentric campaigns which interrupts the user experience by driving them away from the environment they chose to connect in.”

On a Side Note…

The origin story of the Smurfs on Wikipedia is quite amusing:

“The original term and the accompanying language came during a meal [Dutch cartoonist Pierre 'Peyo' Culliford] was having with his colleague and friend André Franquin at the Belgian Coast. Having momentarily forgotten the word “salt,” Peyo asked him (in French) to pass the schtroumpf. Franquin jokingly replied: “Here’s the Schtroumpf — when you are done schtroumpfing, schtroumpf it back…” and the two spent the rest of that weekend speaking in “schtroumpf language.” The name was later translated into Dutch as Smurf, which was adopted in English.”

In the case study below, Liquidus created a lead-gen platform for a Cincinnati television station that enabled advertisers to engage consumers through customizable rich media connected to inventory.

Background

WCPO Channel 9 in Cincinnati has been on the air since 1949 and has a nationally-recognized history of providing first-rate news coverage. It is a part of the E.W. Scripps Company (Scripps), a diversified media company and owner of multiple television stations and newspapers.

Scripps required a new online advertising platform for WCPO and its other properties to add some variety and dynamic content for its demanding advertisers.

The Engagement Challenge

Scripps desired an advertising solution that could promote end-user engagement and result in higher ROI for advertisers.

WCPO was deeply involved with making a high volume of Flash-based creative for multiple clients and wanted a solution that could help properly display that content within interactive banner ads. They also wanted to utilize a database-driven solution that could provide the flexibility needed by the end advertiser.

Innovative Solution

WCPO has used both Bannerlink and Videolink since 2009 to present dynamic and interactive advertisements for Cincinnati-area businesses.

Using the Liquidus solution, WCPO offers its advertisers a lead-generation platform that helps them acquire accurate customer data by encouraging them to share personal data.

Advertisers benefit from the customization options within the Liquidus solutions, which allow creation of unique shopping experiences. This customization promotes awareness of the advertiser’s offerings, allows them to introduce new products in real-time and results in better sales conversion. Advertisers can choose different settings, colors and product display options within each banner.

Consumers enjoy the ability to sort through different product options within the banner, which results in deeper and more sustained interaction and brand awareness. For an automobile ad, consumers are able to dynamically choose vehicle color and other variables while browsing through the banner. They are presented with a full inventory, helping them to quickly decide if they want to move forward to the dealership’s site or to call or email for an in-person visit.

This enhanced consumer interaction and engagement allows advertisers using Bannerlink and Videolink to consistently achieve interaction rates of five times those of traditional rich media. Bannerlink provides WCPO and Scripps with useful metrics beyond just impression and click-through-rate. Expansion and interaction rates, and average video play time are all recorded and available, providing WCPO and the advertiser with more data

The real-time video and image rendering provided by Liquidus means advertisers can offer the most current products and services. This process doesn’t require costly editing, making it extremely cost efficient to promote limited-time sales or remove discontinued inventory.

Immediate Results

WCPO and Scripps have experienced significant advertiser buy-in using Liquidus, with several advertisers in multiple verticals reporting increased ROI and better brand awareness.

One particularly pleased WCPO advertiser was a coin shop operation that desired a better way to advertise its precious coins in a more dynamic fashion. Using Bannerlink and Videolink, WCPO was able to provide the shop with seamlessly flowing images that showcased the breadth of its collection. The database engine allowed real-time changes to images to remove sold items and also to promote interesting new pieces to entice collectors.

For WCPO, the Liquidus solutions give them an added advantage when trying to attract advertisers. The interactive advertisements encourage real interaction with the end customer, who can quickly learn more about products or services without clicking to a new website. These customers are “pre-qualified” through their interaction with the advertisements and are ultimately more likely to make purchases.

“A big part of Liquidus’ competitive advantage is their ability to handle any issues quickly and completely,” said Rob Schuck, sales manager at WCPO. “We also appreciate all of the reporting metrics, which allow us to give our advertisers updated information and make content changes on the fly.”

There are serious ramifications to this seemingly minute bad habit — namely the regular stress of digging through my closet for the least wrinkle-prone shirt that represents the fact that I actually take myself and my career seriously. Combine this with unpacking for a cross-country business trip and a bit of jet lag before an AM meeting, we have a woman’s worst professional malfunction nightmare.

A few months ago, after a moment of sheer frustration with my laundry procrastination and the clothing industry’s fabric choices, I began to search online for a new wrinkle-free business wardrobe. As if to answer my prayers, I immediately came across an ad for the Jones New York (JNY) Easy Care campaign.

Needless to say, I clicked instantly. I was not only delighted that a sophisticated brand like JNY had this chic, yet practical collection, I was also grateful that they were able to engage me at just the right time. Low and behold, I come to find out the campaign was served up by 33Across— my employer rescued me from my fashion/travel mayhem!

Background

In an effort to enhance their digital marketing efforts for the first time ever, JNY partnered with advanced targeting platform 33Across during its 2011 Easy Care Campaign to add to their traditional publisher-direct media buys.

Objective

The goal of the JNY Easy Care campaign was to tap into the growing cohort of today’s business traveler: a busy, yet fashion-forward woman who has been dreaming of an efficient way to pack and dress for her next business trip. 33Across built the Jones New York Brand Graph™ to identify a huge number of likely consumers that are pretty similar to me—26,700,948 of them to be exact. JNY was then able to captivate these ladies on the move with high –impact rich media ads to engage them at the most relevant time and place.

Campaign Execution

During its 52-day run, JNY and 33Across were able to efficiently accomplish the hybrid goal of driving strong ROI along with heightened engagement from the Jones New York audience. Both standard IAB and expandable ads were used and had unique strengths in converting likely Easy Care loyalists into actual Easy Care customers.

The Brand Graph revealed that standard IAB units were the most efficient unit at maximizing ROI and minimizing CPA. Expandable units also drove a strong ROI and CPA, while garnering extremely high engagement levels, which were measured by a third-party.

Results

The unprecedented success of JNY’s first-time run had an even more interesting element to it: 33Across only accounted for 30% of the budget share, but managed to generate an impressive 90% of the total Easy Care campaign sales volume. (Apparently I wasn’t the only one who thought this iron-free collection was a savior.)

“The results speak for themselves — this was our first time building and activating our Brand Graph, and I can say with confidence it won’t be our last,” commented Geoffrey Summerville, Media Contacts Account Director. “33Across is innovating in a way that stands to change how we introduce new consumers to the brand.”

Moving Forward

As a result of the Brand Graph’s ability to expand audiences and predict significant ROI, we are going to see less stressed out and better dressed professional women. And, given the high engagement rates of the Jones NY audience, we can also expect to see more social components and interactive features in future JNY digital initiatives.

Wanna read more about 33Across? Check out an interview with CEO and cofounder Eric Wheeler regarding $9 million in funding raised last year.

I’ve watched a few episodes of “True Blood” here and there, but couldn’t find a time to make it a regular thing. The tri-color advertising campaign for the fourth season, however, really caught my eye on subway posters and busses. But that was nothing compared to the interactive homepage takeover campaign designed by AvatarLabs, designed with all kinds of social wonders to engage current fans and lure in the curious — like me. I was quite curious what I’d been missing out on.

AvatarLabs Case Study on rich media takeover campaign for “True Blood” Season 4 on HBO — check out the video and demo.

Background

HBO partnered up with the full service digital agency AvatarLabs to develop and execute a marketing creative for the online marketing campaign to promote the Season 4 Premiere of HBO’s “True Blood.”

Objective

The goal of the TRUE BLOOD campaign was to not only drive awareness for the highly-anticipated fourth season, but to also empower and engage the show’s loyal and highly social fan base with a variety of interactive and social tools.

Campaign Execution

Utilizing a first-to-the-domestic-marketplace technology, the “Show Your True Colors” takeover offered the user the opportunity to select one of the three versions of key art, RED, WHITE or BLACK from any of the “controlling” rich media placements on the page. Instantaneously, the user could change every single ad unit and wallpaper on the page to his selected color of key art, creating an immersive, custom experience. Unlike standard takeovers of this variety, the user could change not only the wallpapers and skins; he could change every rich media and flash progressive unit on the page.

While the rich media unit served as the controller for the takeover ability, it also served as a social media hub. Included in the unit were sections dedicated to Twitter and Facebook, where users could engage with a live TRUE BOOD Twitter feed, or post pre-populated, editable Tweets to their personal feeds.  #TrueBlood became one of the top ten trending topics the night of the premiere.  In addition, users could click out of the ad to place themselves in a clip from the show with the “Immortalize Yourself” Facebook app.

“Every fan has their favorite characters — the ad placements were innovative in that fans were empowered to completely skin the page, choosing between three sets of characters,” commented AvatarLabs CEO and Chief Creative Officer Rex Cook. “Fans could not only change the wallpapers, but every rich media and progressive ad unit on the site’s homepage, which is unprecedented.  On top of that, the ads gave fans the tools to talk about their favorite show on Twitter, going so far as to provide pre-populated Tweets within the ad units. We were thrilled to be a part of such an innovative campaign.”

Different versions of this homepage takeover ran on a number of different publisher sites.  HBO, PHD, Mediamind and AvatarLabs worked closely with each individual publisher in order to create a seamless experience for every “True Blood” fan.

Results

• #TrueBlood became one of the top 10 trending topics the night of the premiere
• One of three OMMA finalists for Best Rich Media Single Execution

Who Else Does Gavin Look Like?

Matt Smith, the current Doctor Who.

In its growing quest to merge TV and online advertising initiatives, DG (known to some as DG Fastchannel) laid down $66 million in cash to steal rich media/video ad server Eyewonder away from Limelight Networks, which only acquired the ad tech firm at the end of 2009 (for $110 million in cash and stock). The acquisition gives DG a mighty trifecta of rich media/video advertising companies: EyeWonder, MediaMind (acquired in June) and Unicast (acquired in 2008). DG President and COO Neil Nguyen called the process of bringing together these three companies “strategically establishing an online media powerhouse.”

EyeWonder will become part of DG’s online division, which is led by Chief Digital Officer (and MediaMind General Manager) Gal Trifon. In addition, EyeWonder further bolsters DG’s international footprint, already given a big boost by the MediaMind acquisition, with the Germany-based CHORS unit, which provides real-time buying and targeting infrastructure.

While DG’s stock (DGIT) took a bath in the early August market selloff, investors should be pleased to hear that the EyeWonder acquisition is expected to be accretive to DG’s 2012 GAAP earnings per share. EyeWonder is expected to generate between $36 million and $37 million in revenue for full-year 2011, while DG is expecting to realize $7 million in cash synergies in the 12 months following the close of the deal, estimated to fall on Sept. 1.

Just last weekend saw the trifecta, with the release of the remake/comic book hero movie of “Conan the Barbarian” (What was wrong with the Ah-nold version?!?), ”Spy Kids 4″ (There was a “Spy Kids 3″?)  and “Fright Night” (while the original is awesome, I’m actually intrigued by this remake — two words: David Tennant). All of these films had lousy first weekend takes — apparently I’m not the only one sick of celluloid chum.

Well, even if the films lack even an ounce of creativity or charisma, we can be impressed by the ingenuity in the cinematic marketing campaigns. We’ve come a long way from 30-second previews on television. Just check out this infographic from Crisp Media detailing the many ways mobile users engaged with advertisements for films served to their devices — the total interaction rate was a blockbuster 11.4%. Now if only 11.4% of Hollywood movies were any good….

Quick stats:

1. Android users are twice as likely to tap a banner ad than iPhone users
2. iPhone viewers use the swipe motion 143% more than Android users.
3. 57% of mobile users tapped to play a video.
4. Animated banner ads are 4.5 times more effective than static ads.

Working across the iOS, Android, WebOS and WP7 platforms, the GlamMobile platform will allow brands to use the same creative elements for both desktop and mobile campaigns, whether it be through mobile site or in-app advertising. Through the GlamAdapt ad-serving platform, GlamMobile will offer advertisers geolocation, OS-based and/or device-type targeting of rich media and video ad units.

In addition, GlamEnable enables publishers to automate the process of mobile site optimization as well as create native apps for all the major mobile platforms.

Last month, Glam introduced GlamCreate, a content management and publishing platform for its 4,000 odd writers, simplifying the process of publishing to relevant sites in Glam’s network and allowing Glam to monetize content with branded campaigns. The company also launched GlamConnect, pretty much a social media management platform for content creators, enabling them to instantly post and update stories across social networks as well as view trending topics.

Some may say this is the reason why mobile advertising is on the rise, and why some retailers have started including mobile advertising in their marketing strategy. In fact, the IAB (Interactive Advertising Bureau) reported that “72% of businesses are looking to increase their mobile advertising budget in the next two years.” Geo-location is one of the many elements retailers are including in their mobile marketing plans.

Geo-location allows brands the chance to interact with customers wherever they are, but that doesn’t mean that companies can tap into your phone; rather it’s a way for you to receive relevant advertising messages in relation to your location.

The ability of any rich media ad to determine your location is largely based on a number of factors. This can be as general as which state you are in, down to your service area, cellular region, latitude and longitude, or even a specific location if you have a GPS feature turned on.

Rich media ads which use geo-location, like this McDonald’s one created by Crisp, lets consumers enter their local information, such as an address or zip code. From there, a store locator appears giving the customer the ability to choose the nearest McDonalds, which then gives directions to the desired location.

Coffee giant, Starbucks, is an example of another retailer using geo-location. Starbucks launched a new iPhone app that uses the location-based feature by allowing users to find nearby Starbucks stores. Another example is Yelp.com. Their app lets users locate the nearest burrito joint, or search for a nearby gas station before their tank hits empty.

Additionally, Subway restaurants have also become a part of retailers jumping in on this mobile trend. The restaurant chain created a mobile app that lets consumers create their food on the go via their phones and then pick-up at a nearby store.

All in all, geo-location is a helpful targeting parameter to utilize, and in this day and age where, we rely heavily on our mobile phones, businesses can (and should) make the move to becoming a mobile friendly company. For more examples, check out the Mojiva Mobile Creative Alliance showcase or schedule a Lunch & Learn to bring a mobile advertising expert to your agency.

Digital Marketing Manager Scott Fiesel contributed to this report. Cross-published at the Mojiva blog.