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OOH’S VIGOUR • ADNEWS LIVE! ADELAIDE • BRENDON COOK’S INSIDE STORY • TRUE BLUE ADS THE HUMANING HEADLINE • RE-RENAISSANCE • CREATIVITY & HARDSHIP • MOTIO’S BOB THE DOG Thinking. Insights. Ideas. adnews.com.au The Australian Renaissance Why the industry is thriving Down Under. Print post approved: 100005345 AdNews – Since 1928 January/February 2021

It’s not what you know... Finding credible, current sources of useful industry intelligence is becoming more of a challenge daily. Surveys and measurements abound, but usually come with vested interests and questionable motives. What you already know has already served you. We’ve partnered with Hearts & Science to answer your next questions. AdNews Marketing Pulse (AMP) is more than a tick the box health check… It’s at the heart of issues and attitudes affecting brand decision makers in this fast changing environment. Independent. Robust. Professional. Commencing with an up-to-the-minute industry questionnaire, plus targeted C-Level interviews, AMP is the core of AdNews’ ‘best in class’ insights and intelligence, no strings attached! To discover more about AdNews Marketing Pulse, talk today with AdNews Editor Chris Pash on 0402 340 188.



Editor Executive Publisher 10AGENDA It was an Chris Pash James Yaffa unexpectedly rough year for (02) 9213 8284 (02) 9213 8293 outdoor media in 2020, but [email protected] [email protected] the rebound is happening quickly and the future is Copy Editor Publisher looking very bright. Gavin Dennett Assia Benmedjdoub 38ADELAIDE (02) 9281 2333 AMPLIFIED Senior Journalist [email protected] A spotlight on the South Paige Murphy Australia capital and its (02) 9213 8247 advertising talent that is [email protected] thriving with big ideas. Journalist Mariam Cheik-Hussein (02) 9213 8240 [email protected] National sales manager Paul Carroll (02) 9213 8288 [email protected] Business development manager — sponsorship Amanda Wilson (02) 9213 8292 [email protected] SUBSCRIPTIONS 1800 807 760 Managing director 44MEET THE 48 [email protected] Tracy Yaffa TEAM Please contact us for subscriptions Advertising production Former Dentsu and for the print edition or visit Joanna Brown Carsales boss Simon (02) 9213 8337 Ryan is back in greatmagazines.com.au. Access to [email protected] advertising with a new the digital edition via zinio.com. venture, RyanCap, a new 1-year print subscription: Marketing manager team and new thinking. Aus $80 • print + digital $88 Lucy Yaffa (02) 9213 8245 NZ $110 • APAC $125 • Rest of world $170 [email protected] Digital-only subscriptions Digital manager can be purchased via Zinio: Anthony Peet annual subscription $47.29 (02) 9213 8336 single issues $4.99. Group production manager Matthew Gunn Published monthly by Yaffa Media Pty (02) 9213 8210 Ltd | ACN 54 002 699 354 | 17-21 Bellevue Customer service manager Street, Surry Hills NSW 2010. All mail to Martin Phillpott GPO Box 606, Sydney NSW 2001 Australia. (02) 9213 8325 Founded in 1928. Art directior TEL 02 9281 2333. FAX 02 9281 2750. Ana Heraud WEBSITE www.adnews.com.au Designer EMAIL [email protected] Stéphanie Blandin de Chalain © Yaffa Media 2018. All rights reserved. No part of this magazine may be reproduced without the written permission of the copyright holder. ISSN 0814-6942

www.adnews.com.au | January/February 2021 5 Contents JANUARY/ FEBRUARY 2021 22PROFILE Regulars We speak to Brendon Cook, founder 08 BEHIND THE COVER: To convey the theme of this issue’s cover of oOh!media, one of the most influential story on the comeback of the Australian ad industry, we asked the figures in the outdoor brilliantly creative minds at Engine Group to devise the cover. media industry. 10 AGENDA: The COVID-19 pandemic dealt a heavy blow to outdoor media in 2020, but it is bouncing back in a big way with new per- spectives and innovative strategies. 22 PROFILE: As founder of oOh!media, Brendon Cook has been a pioneer for outdoor advertising, and as he prepares to step aside as the company’s CEO, he reflects on his three decades at the top. 26 INVESTIGATION: Adland faced huge challenges, including sliding advertising spend, during the depths of the pandemic but 2021 provides fresh hope of a boom. 44 MEET THE TEAM: Simon Ryan returned to adland in 2020 with his new venture, RyanCap. We meet his new team to see how business is doing as they spruik the advantage of being Aussie owned. Creative 48 CREATIVE REVIEW: A quartet of quintessential Aussie brands have undergone a revamp and three creatives cast an eye over them to judge if they’ve retained their true-blue qualities we all love. 26 Online adnews.com.au Go online to get the latest news and analysis every day. www.adnews.com.au twitter.com/AdNews facebook.com/AdNewsAustralia AdNewsAustralia youtube.com/adnewsaust AdNewsAustralia

Editor’s Letter www.adnews.com.au | January/February 2021 6 The humaning headline Welcome to 2021. It took its time but we made it ranking at the top of a list of shame phrases alongside past the cliff-like drop in business, the con- others such as “unprecedented” and “new normal”, traction in media bookings, the enforced lock- plus “now more than ever”. downs, worry over health and the future, and which Bob Sutton, professor and organisational way went the mute button. psychologist at Stanford University: “It is kind The Australian industry of wonderful, and kind of ter- innovated on the run, talked rible, to see the birth of new to clients and staff, and corporate jargon monoxide listened, acted and emerged before our very eyes.” stronger. Mondelez: “Humaning is Along the way, change a unique, consumer-centric accelerated — the importance approach to marketing that of digital; remote working; creates real, human connec- office real estate hierarchy tions with purpose … we are became meaningless; that no longer marketing to con- transparency engenders trust. sumers, but creating connec- We struggled to find ways to tions with humans.” describe what was happening. The sentiment — connect- In the process, we kept invent- ing people with people — is ing buzzwords. COVID-19 a good one. And the ad indus- created a series of phrases and try loves the in-talk, the words now in common usage, jargon, as if there is a law many of them descriptive of that we must have words what was happening, such as unknown to outsiders to take social distancing, lockdown the place of many. and elbow bump. Does it really matter what The New York Times lists: EDITOR words are used as long as “brand heat”, a phrase to use CHRIS PASH meaning is conveyed? when buzz sounds weak; “cus- The Macquarie Dictionary tomer journey” as a way of adds words each year. saying buying stuff; and “hypertelling” when “Doomscrolling” was its Word of the Year 2020, storytelling goes ballistic. meaning to read news online despite the fact it is Globally, the word “humaning” emerged quietly negative and often upsetting. as a marketing-speak creation as the year crawled This is to the point, descriptive and describes an along, a few weeks to closing. addiction to digital devices, another trend It came from Mondelez International, the snack accelerated during the COVID-19 pandemic. maker with brands including Ritz crackers and Let’s discard some buzzwords, keep the ones Philadelphia cream cheese. Reports reaching Australia we need, and push on. say Ogilvy may have an influence in this word. And watch for 2021 events, such as AdNews LIVE! Humaning became a focal point of derision, Adelaide Amplified, on Thursday, March 4.



Behind the Cover www.adnews.com.au | January/February 2021 8 COVERLINE BOLD • XXX XXX XXX XXX XXX XXX • XXX • XXX XX • XXX COVERLINE LIGHT • XXXXX XXXXXX XXXXXX XXX XXX • XXX XXXX XXXX XXXX XXX Thinking. Insights. Ideas. adnews.com.au gtrbraoebApssphlfioymokriiestteahAdledsoNewdeuiniwptnisofeo‘nrAr.’ The creative OOH’S VIGOUR • ADNEWS LI E! ADELAIDE • BRENDON COOK’S INSIDE STOR E BLUE ADS contingent of adland is the beating heart of THE HUMANING HEADLINE • E-RENAISSANCE • CREATIVITY & HARDSHIP • MOTIO S BOB THE DOG the industry. To fully embrace this, and Thinking. Insights. Ideas. with a mission to adnews com au create awesome and inspiring covers, The Australian each month AdNews Renaissance. hand-picks an agency to work its magic. Why the industry is thriving Down Under. Print post approved 100005345 The Australian Renaissance Why the industry is thriving Down Under. AdNews – Since 1928 Month 2000 AdNews – Since 1928 January/February 2021 David and the shrimp What were your initial WORDS BY of inspiration and played around snag out? It was then over to thoughts on the PAIGE MURPHY with a few formulas, such as retouching artist Derek Leong to renaissance + COVID-19, renais- give David an ’80s makeover. Australian Renaissance brief Credits sance + creative and renaissance + Australia. What were the biggest at hand? Agency: Engine Group hurdles to making this Creative Directors: How did you know you’d a reality? Any challenges? Our first reaction was one of Kory McAvoy and Mark Smith landed on the best concept? excitement. Just six agencies a year Retouching Artist: Derek Leong Timings were very tight so we had get the opportunity to produce the Managing Director: Tim Weger We ended up with 10 ideas that felt to make sure our idea was rela- front cover of AdNews so it felt like General Manager: Kym Vercoe right for different reasons. But one tively simple to produce. a real privilege. There were so Senior Account Director: Sarah Deery concept stood out for encapsulat- This was never going to be a many directions this could take. ing so much of the brief in a simple Lambstravaganza. The brief talked about Australia’s and engaging way: what if we success in handling the COVID-19 turned Michelangelo’s David into Tell us about the actual pandemic and how this has led to Hoges [Paul Hogan] slipping an creation techniques. a renaissance in the creative field. extra shrimp on the barbie? It’s How did it come together? It also included topics around Renaissance, it’s unequivocally diversity, Indigenous inclusion and Australian and it’s one of the most Once the idea was approved, this what the “new normal” would be. iconic and celebrated moments in was essentially a retouching job. As a creative, your first thought is our industry’s history. We gave Dek various reference to focus the lens; to clearly define shots of Hoges from different your subject matter and search for Who from the team was angles and had a few discussions the creative hook. largely involved and what about bum chins and wrinkles. were their roles? It was a bit of a balancing act mak- Post first brief chat, what ing sure both Hoges and David Our creative directors, Mark were instantly recognisable. went through your mind(s) Smith (copy) and Kory McAvoy (art direction), came up with the Best bit about the process? and what were the next steps ideas and then set about discuss- ing pressing matters. Do we show The opportunity. A proudly inde- you took as a team? David’s meat and two veg? Is it pendent agency has just created safe to operate a BBQ with your the first AdNews cover of 2021. Ideas are often born from the That feels special. collision of two elements so we thought about what these could be. We quickly realised the word “renaissance” was a rich source

www.adnews.com.au | January/February 2021 9 Motio’s Director of Good-times We look at our WORDS BY Time in current role/time Who is your right-hand person? furry friends PAIGE MURPHY at the company: Michael Johnstone and Adam across the Thirteen months. Cadwallader always put a caring advertising, arm around my shoulder. I’m adtech, marketing How would you describe grateful for their mentorship. and media sector, what the company does? shedding a light Motio is a leading place-based and Whose job have you set your on these stars and location intelligence media company sights on in the future? how they help focused on creating memorable Not looking too far ahead, but adland get results. brand and customer experiences all always open to offers that will This month we over Australia. They also have great help my personal growth. speak to Bob, DOG doggo treats so that's a bonus. (Director of Good- Where do you turn for times) at Motio. What do you do day to day? inspiration? My namesake, Bob I wander around and chase toys Iger. “In Bob We Trust” — a life motto mainly. Don't tell the boss but if ever there was one. Am I wrong? sometimes you'll catch me sleeping under the desk ... they work me like a My favourite advert is: Tooheys’ dog so it's only fair. new “Guide Dog”. It was a great joke executed well with appropriate Define your job in one word: brand fit. Rexy down at the dog park Woof. always raves about it too. I got into advertising because: My best trick is: I avoid tricks in fear Guard dogs do a great job, but of being a cliche, but occasionally I was looking for a fresh challenge. I give a paw-five to lift office morale. Picture This

Agenda Kind July.

www.adnews.com.au | January/February 2021 11 OOH’s renewed vigour post-COVID Outdoor media took a sudden and hard hit from the pandemic. But the rebound looks just as steep, climbing out of the trough with fresh perspective and a set of strategies. The Australian out-of-home (OOH) market was a standout in the media landscape, growing year after year while many other media sectors were challenged by structural change. Much of this growth was driven by technology, an investment in digital, replacing static displays. That momentum came to a halt when the pandemic arrived. In May, when overall ad spend, as recorded by the SMI (Standard Media Index), fell a record 40.4% to $345.6 million, OOH was down more than 70%. Cost cutting followed the revenue slide. And some innovative uses of the OOH networks emerged, with critical health messages and thanks to frontline health workers and essential services such as grocery deliveries. Others used platforms to bring art to the streets. And the outdoor industry was quick on its feet, positioning WORDS BY for an upswing. Helping this was the work done over the last CHRIS PASH few years on digital transformation, evolving to offer both broadcast and targeted messaging opportunities, scale and interactive capabilities, impact and flexibility. During the pandemic, brands had to rethink communications strategies and make sure they were saying the right thing at the right time, to the right people. The OOH industry says the ubiquity, flexibility and immediacy of digital signs offered brands opportunities to execute these strategies for more relevant and responsive campaigns. “The significant investment by the industry into digital networks and technology of the last few years has meant that OOH has the platform from which to rebuild and recalibrate to the post-COVID world,” says Charmaine Moldrich, CEO of the Outdoor Media Association. “Throughout the pandemic, we have seen brands using digital OOH in the way it works best; for targeted, engaging, and data-driven campaigns that connect to audiences with con- textual relevancy and immediacy. “Key to this will be how brands rethink the creative advantages of classic and digital OOH to drive further down the pipeline while continuing to bring their brand messages to life in big, bold and audacious ways. This is where I think we will see an explosion in appreciation for the important role OOH can play at all stages in the marketing funnel.” Ad industry analyst Steve Allen, now at independent agency Pearman as director of strategy and research, describes the outdoor experience as a year of hell, with foot and car traffic falling massively during lockdowns. He expects year-on-year growth for OOH to start again by around April. “Whilst the tra- jectory will continue upward, outdoor will not likely be back to 2019 revenue levels until 2022,” he says. At MediaCom, Nick Thomas, head of marketplace, and Ben Whall, programmatic director, say OOH initially looked all doom and gloom. “However, that doesn’t represent the full story,” they say. There were some green shoots, including huge demand for retail and petrol pumps never closed.

Agenda Audiences and engagement all “ … we will see of a sudden became more impor- an explosion in tant in a channel when it was appreciation for always assumed. the important role OOH can play at “Some clients and agencies’ all stages in the knee jerk reactions were to pull marketing funnel.” spend, but there were pockets of gold if you could find them,” they Charmaine Moldrich, OMA say. “Some taking advantage of the unprecedented lack of demand to biggest and most revolutionary year for OOH, completely changing take over entire networks, sending the way agencies and clients think about it in under 12 months.” support to different states through their campaigns.” The pandemic also sparked a clean out. At oOh!media, the Australian company did a $167 million capital While 2020 was hard, Thomas raising on the ASX to strengthen its balance sheet. And at the same time and Whall believe this helped it found costs of between $20 million and $30 million to cut. accelerate the industry and OOH Melbourne-based Tim Murphy took on the role of chief sales officer is going to ride the benefits. at oOh!media in April, the low point in the gloom of the pandemic. “I’m still building relationships with people, particularly in Sydney,” “The way agencies use data to he says. “They’re much stronger today than they were at the start of the analyse the audience fluctua- year, despite not much being done face to face.” tions. During 2020 we also saw He tried to inject fun, scheduling virtual meetings with the team, the rise of programmatic OOH, not about work, to chat. no longer just a concept but most “As we’ve navigated through this pandemic there’s been no rulebook, of our clients leaning into this no guide, nothing to work off,” says Murphy. “This really sparked an new technology,” they say. entrepreneurial spirit with our team to bring solutions to the table and share ideas, which is quite symbolic of how the business was formed, “Allowing us to use publisher, but also instilled a lot of confidence in our people.” client or agency data sets to buy While lockdowns put a stop to commutes, local traffic continued, OOH in real-time. Upweight, creating suburban pockets. down weight, cancel, pause, Shopper Media says foot traffic suddenly increased at local shopping stop, start, continue all at the centres in the initial stages of COVID, surpassing Christmas crowds. Dwell hands of the client and agency. times rose by 11% and repeat visitation by 8%. A BIG change for a channel that By April, foot traffic started to soften in line with the changing used to have a four week print- social guidelines. A May Shopper Survey of 7,698 Australians revealed ing lead time. that 54% experienced queuing before entering the supermarket but they were willing to wait to get what they needed. Local shopping “The channel itself has added centres were essential hubs for Australian families. new strings to its bow, it can now be reactive, clients can use first- party data to target audiences … we can get real-time reporting. “2020 will go down as the

www.adnews.com.au | January/February 2021 13 Brendon Cook, CEO and founder of oOh!media at the time, JCDecaux’s says Steve O’Connor, JCDecaux’s penned an open letter in March which read in part: #OURSECONDCHANCE. ANZ CEO. And lock them down “Like the rest of the world and companies in every sector of the after lockdown. The company also put itself in economy, the out-of-home market is undoubtedly being impacted by the shoes of clients. the coronavirus. However, we continue to manage our operations appropriately, while looking after our customers and helping them “We were all a bit lost and sud- get their messages to the Australian public. denly cut off from colleagues at home,” says O’Connor. “We organ- “Our teams across Australia and New Zealand are actively making ised and rolled out a Mark Ritson extensive use of the phone and video conferencing to liaise with cus- mini-MBA to engage and expand tomers and other stakeholders, and we are constantly in touch with horizons.” The ADMA WFH them to discuss their requirements and manage their campaigns. Marketing Masterclass program was designed to provide “While we’ve cut down on our travel, the general public are still JCDecaux’s team and client part- out and about in the community – in shopping centres on foot and ners the opportunity to arm them- going around in their cars. On average footfall is rising in local cen- selves with the strategic marketing tres, and people are still getting out for exercise, as well as many know-how required in the sud- other activities. In short, people are moving around locally, and our denly challenging environment. network is a local media. At home, like many of his col- “In addition, we are playing our part in rolling out the Federal leagues and clients, O’Connor Government’s new public health campaign across our assets – a cam- faced a daily challenge -- jostling paign that will save lives and which is without question the most impor- with his children as to who gets tant initiative we have ever been involved in. We will continue to support the room with the best WiFi. “I this and any related initiatives as events unfold.” must admit I only sometimes won that argument.” At the local arm of French firm JCDecaux, the year 2020 started well. The group had finally worked through the integration with APN At the same time, he worked Outdoor which took up most of 2019. Then the coronavirus appeared. hard on a business strategy to balance short-, medium- and “We did everything we could to retain or move clients rather than long-term strategies amidst all lose them, while doing everything we could to cut costs as a business through negotiating down our rent and all other expenditure,”

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www.adnews.com.au | January/February 2021 15 this uncertainty. “Part of this will see us shift more to a pure focus “As we’ve machine learning, creative on digitisation and even more powerful audience understanding,” navigated through insights and consumer senti- says O’Connor. “The entire company will be aligned on our new and this pandemic ment, and the experience our ongoing goals, with an absolute prioritisation of a seamless there’s been no people have working for customer-experience.” rulebook, no guide, JCDecaux. nothing to work off.” The pandemic hit with a new executive leadership team (ELT). “The rise of audience behav- “Paradoxically, I believe that both within the ELT and across the Tim Murphy, oOh!media. ioural data has propelled the entire business, staying apart this year has helped bring us all closer communications and out-of- together,” says O’Connor. “This happened both through intentional Broadsheet at Coogee in home media sectors into a new programs like the ‘buddy system’ we rolled out with our Melbourne Sydney. #SendingLove from world of profound and ongoing colleagues in lockdown, and less formal things like a new and very QMS. Spring into Out of Home, change. Effectiveness research, popular ‘Pets of JCDecaux’ intranet page. OMA’s industry campaign. knowledge of how people con- “Like many businesses we’ve thought a lot about how we support nect with brands, digital media our people and how we come together. We’ve launched and will con- strategy, real-time media optimi- tinue a range of wellbeing initiatives for our people to address the sation, audience measurement, strain the year has placed on mental health. And we are on the cusp ways of measuring impact and of launching to the business our new and improved Flexible Work attribution, programmatic Policy to ensure JCDecaux remains competitive with the best busi- approaches and decision-making nesses in Australia and around the world.” processes, all are being heavily O’Connor is positive about 2021. “As a business we are match-fit impacted by data and the poten- and ready for an inevitable rebound,” he says. “We are absolutely tial it offers. committed to cementing our position as industry leaders in programmatic, future tech through new data capabilities and “It’s fast become an incredibly exciting grow th opportunity.

Agenda Outlook inventory digitisation cycle may Michael Scruby, CEO of did an exceptional job during the have been slowed by a couple Realworld Advertising: “The year at utilising this data to keep PwC’s annual Media Outlook, of years.” big play for OOH in 2021 will be the market updated on audience with the uncertainty of COVID-19, contextual targeting. This means movements.” for the first time gave forecasts However, the outlook for 2021, using location data and technology in three streams -- positive, assuming a COVID vaccine, the to automate OOH planning and Ben Walker at Shopper Media: gradual and negative. The CAGR relaxing of border restrictions and target audiences at scale. “ “We expect to see further growth (compound annual growth rate) social distancing protocols, is for of our programmatic trading for 2019-2024 based on a gradual a solid recovery, especially with Mediacom’s Nick Thomas and in 2021 and beyond. We have recovery is 2.34%. advertiser demand spillover from Ben Whall: “OOH is back, with seen significant growth in new faster-recovering media such as TV. more data, more flexibility, more clients who are traditionally Justin Papps, PwC Australia engagement and is ‘sexy’ again heavy users of digital channels partner and Media Outlook IBISWorld senior Industry for clients. POOH will no longer be now selecting DOOH to reach editor: “The thing that they’ve analyst Alen Allday: The second a test and learn, but will form part targeted audiences in real time got going for them is they’ve half of the 2020-21 financial year of clients always on strategies, with scale and efficiency. We see invested so much in the should see a stronger recovery DCO will take an entirely new Programmatic Retail Digital OOH digitisation of their inventory with consumer confidence meaning in this environment.” as an incremental buy for many over the last four or five years, and demand growing. Despite advertisers resulting in incremental I would hope that their bounce this, revenue for the full year Shalyce McLean, head of revenue for our business next back is quicker than most.” is projected to remain close to product investment, Ikon: year. Programmatic Digital OOH the full 2019-20 figure, before There’s a strong argument that is creating a convergence of both Brian Han, senior equities increasing again over subsequent suggests the pandemic disruption online and offline touchpoints analyst at Morningstar: The years as the recovery strengthens. should fundamentally change with customers, delivering omni- fundamental appeal of outdoor the way OOH operates, McLean channel buying opportunities and hasn’t changed much, especially Venture Insights: The OOH says. “Audience guarantees: OOH real time analysis and reporting compared to structurally- market grew at 9% CAGR partnerships with data suppliers of campaigns.” challenged traditional media. (compound annual growth rate) in (mobile, facial recognition and the eight years to the 2019 financial wayfinding) means they now have John O’Neill at QMS Media: “On “But recovery of outdoor year as digital revenues took off. the most robust and real time the whole, industry growth will revenue back to pre-COVID levels Venture Insights expects the OOH measurement capabilities of any return – and the future of outdoor could be volatile, at least until the market to grow at a 6.9% CAGR traditional channel. oOh! and QMS will remain strong. Our real-time bad memories of consumers being through to the 2024 financial year. locked up at home fades,” he says. “It also means the outdoor

www.adnews.com.au | January/February 2021 17 mobility data and insights will Steve O’Connor, Over the next few months, JCDecaux will be rolling out many initiatives ensure we can help our clients JCDecaux’s ANZ CEO that continue to put audiences at the heart of its product and support understand and navigate their ever-more effective solutions for advertisers.” way through these changing times to make the most of OOH Melbourne-based John O’Neill, the CEO of QMS Media, thinks the as a mass reaching, high impact feeling across the OOH and broader media industry was always that a and targeted medium. rebound was ahead. “During 2021, I think we see “Right from the beginning it was more a question of when and how more advertisers really start to long the recovery would take,” he says. untap the creative advantages of DOOH by realising the “In most markets across the country, we saw audiences return rela- full potential of the data and tively quickly. Whereas in Victoria, the rebound was obviously delayed. technology capabilities now However, once restrictions lifted, we were blown away by just how quickly available in delivering more audiences in this market embraced getting back outdoors.” effective communications. Until now, this aspect of OOH has COVID presented numerous challenges for everyone and living in not received much attention. Melbourne only heightened this. However, in talking with creatives, planners and clients, “As most people know, I am very much a people person,” says O’Neill. it is clear the industry needs “I feed off the energy of others, so being away from colleagues, clients, a complete paradigm shift, to family and friends was extremely tough. make the most of the creative effectiveness of the medium.” “But just like everyone, I had to learn to adapt and find new ways to Tim Murphy at oOh!media: not only engage our teams across the business but new ways to engage Optimism is in the air again. The with our clients. If only I had shares in Zoom before this pandemic! briefs are back especially from traditional OOH spenders, including “Perhaps one of the most significant reflections for me is just how great the banks, automotive, tourism, our team at QMS is. Our people really came together and learnt how to government, and FMCG. oOh!media quickly adapt to the way we work and do business, and most importantly, data is saying that audiences are demonstrated an amazing level of care and support for one another. returning to OOH environments and that they are increasingly “And this genuine care and support for others extends across the happy to be out and about. broader media industry and society in general. The coming together from all parts of industry and community to work together to fight the pandemic JCDecaux’s Steve O’Connor: and to make sure we got through this together has been inspiring.” “As a business we are match- fit and ready for an inevitable Paul Butler, managing director, Val Morgan Outdoor, says trust rebound. We are absolutely and transparency was critical during the crisis, further highlighting committed to cementing our the need for real-time audience measurement to understand con- position as industry leaders sumer behaviour. in programmatic, future tech through new data capabilities and machine learning, creative insights and consumer sentiment, and the experience our people have working for JCDecaux.” Adam Cadwallader, CEO of Motio (formerly XTD): “We’re feeling very positive about 2021 with revenue bubbling again to meet some internal goals and targets. Our focus is on developing our technology platforms to meet the increased demand of automation in the out-of-home and place-based sectors. Certainly, 2021 is going to be strong.”

Agenda “We used our proprietary “The fundamentals for everyday essentials, with lunchtime busier than the previous real-time audience measurement of OOH remain after work shop. tool DART to provide advertisers strong and we’re with regular updates on weekly looking at a return “Living Locally has become increasingly important and this traffic numbers across VMO to growth.” trend and this shift in mindset will continue in 2021,” says Ben Shop, VMO Active and VMO Walker, CEO of Shopper Media. On-the-Go,” he says. Paul Butler, Val Morgan Outdoor “Consumers are continuing to shop at local shopping centres for “We saw an influx in audiences essential retail and to seek community connection. visiting essential service locations Public service messaging such as grocery, pharmacies, and “During times of uncertainty and turmoil, Australians want to petrol & convenience, which be reassured and the presence of brand advertising has proven to became 2020’s hot new trusted be important in providing a level of normality and comfort, espe- locations for OOH activity.” cially when most Australians harbour concerns about the wellbeing of the economy and their own financial circumstances. Butler believes there’s a lot to be excited about for 2021 and beyond. “Certainly, the type of messaging they are exposed to needs to be authentic and sympathetic of environments such as pandemic con- “The fundamentals of OOH ditions and lockdown restrictions.” remain strong and we’re looking at a return to growth once the Tim Murphy at oOh!media says the task now is to understand the economy recovers,” he says. impact of COVID on audience behaviour. “New approaches to automated Key questions: As audiences have shifted their day-to-day rou- trading such as programmatic tines, what exactly has changed? And how do we reach those OOH are gathering pace, and as audiences now? audiences resume normal behav- iour, we will see investment return “One important way for us to adapt as a business was to utilise to pre-Covid levels. our scale,” says Murphy. “As the year progressed it became more important than ever to reach people in areas where they were “Programmatic will be the spending more time than they traditionally would, so network future of outdoor, with the evolu- scale became crucial for us, as did multi-format, enabling us to tion of supporting technologies deliver more audience touchpoints. like dynamic creative and ad veri- fication providing advertisers with “It’s no surprise that we saw a big increase in suburban activity, the agility and flexibility they need so campaigns became more weighted towards those environments. to reach the right consumers at the Using our data, we realised we were uniquely positioned to under- right time, in the right place.” stand these new suburban audience movements and could still reach people who were working at home, for example, at multiple points Behaviour changes in and around their neighbourhoods. The same capabilities have also helped us understand a second wave of movements as people have Shopping patterns changed with started more recently coming back to their offices. COVID seeing a shift toward peo- ple with desk-orientated roles “Due to all this, Australian suburbs have never been more powerful working from home. This than in 2021, and we’re excited to see how advertisers engage with allowed people to have more Aussies in their local areas, which will definitely be at a higher level flexibility as to when they shop than we’ve been used to in the past.”



2020: The year marketers gained better control and ROI from their digital outdoor In the tech space, 2020 accelerated growth. Here’s VMO’s story. 2020 was a year that really Paul Butler, Managing Director, was at an all-time low. However, frequency (R&F) model. DART challenged the outdoor indus- Val Morgan Outdoor brands were still looking to invest R&F is a transformational try. Brands had to rethink their in out-of-home assets that reached approach to outdoor measure- outdoor spend. Outdoor media Australians in their new daily ment and to ensure maximum owners had to reshape their mobility patterns. transparency. We worked with offering. Trust and transparency specialist consultancy D2D which became critical. To prove audiences were see- independently built and verified ing our screens, we relied heavily the R&F tool. At VMO, we took stock. We on our proprietary real-time audi- knew the best approach was cus- ence measurement platform, Building greater trust and tomer centricity — putting the DART, to regularly report on transparency — we have needs of marketers first. We weekly traffic across each vertical nothing to hide wanted 2020 to be the year brands — these include VMO Shop, VMO drove better return on their Active and VMO On-the-Go. It is in our DNA to build systems outdoor investment. and processes for buying OOH With DART, we were able to that brands can have complete We identified three key areas compare data each week to a trust and confidence in. that dramatically impact how baseline reading and demon- marketers plan and invest in OOH: strate what locations audiences Being independently built and 1. Real-time data and insights are were visiting. This level of granu- verified, our tool has the data lar insight became even more crit- granularity to accurately predict critical to planning and proving ical when Melbourne entered its audiences by hour, by location audiences. 111-day lockdown. We saw an and by individual screen, and pro- 2. Independently built and verified influx in audiences at essential vides a trusted source of measure- measurement builds greater service locations such as grocery, ment for programmatic cam- trust and transparency. pharmacies, and petrol and paigns, giving clients the confi- 3. Programmatic will drive the convenience. In fact, petrol dence to invest in this space. future of outdoor. and convenience became the While VMO continues to invest poster child for OOH activity in DART R&F utilises credible heavily in a network of the highest 2020. third-party data sources such as quality screens in the best possible ABS, transactional data and loca- locations, it is these three lessons DART is not new technology. tion data sources. It is used to from 2020 that will underpin our We launched the platform in 2014, inform traditional OOH buying focus on building the outdoor and since then have strengthened and, critically, powers program- network of the future. it. In 2015, it was independently matic trading. checked by PwC. It is our commit- Real-time data and ment to delivering smarter, more This is one piece of the trust insights are critical in accountable OOH with better and transparency puzzle. The OOH planning. returns for marketers. other is making inventory availa- ble for independent verification. COVID-19 changed the way we In 2020, DART paved the way We work with all the independent moved about our daily lives. In Q2, for VMO’s latest audience tool, verification providers — we have confidence in outdoor audiences DART R&F — our reach and nothing to hide. We see them as a

in partnership with 21 DART Audience Measurement: VIC only Essential Services Jan-Nov 2020 National excl. VIC Opportunity to see (OTS) Uncertainty triggers VIC lockdown panic-buying behaviours officially lifted Lockdown easing begins Weekly norm (±10%) VIC 2nd wave lockdown begins Varying levels of lockdown begin Curfews lifted and some ease of restrictions 26 Jan 26 Feb 26 Mar 26 Apr 26 May 26 Jun 26 Jul 26 Aug 26 Sep 26 Oct 26 Nov *Audience results provided are derived from VMO’s proprietary audience measurement tool, DART. The results are based on data from a sample of locations and screens. “Using real-time fundamental puzzle piece that ease of transaction. We have built audience insights, we helps marketers and agencies a robust model for the future of help brands find their prove their OOH investment was OOH trading. audiences and set up delivered across each screen as automated targeting planned. The evolution of supporting to reach them at the technologies such as dynamic cre- right time, in the Programmatic OOH ative and ad verification to better right place.” is the future support Programmatic Outdoor will be an important enabler to In 2018, VMO identified an further growth and adoption. We appetite for programmatic trad- predict it will represent 10 per ing. We moved quickly, building cent of revenue for VMO in 2021 the required infrastructure, and and continue to hockey-stick up forming partnerships with the in the near term. major trading platforms. Like many businesses in the tech There is a lot to get excited space, 2020 accelerated growth. about in 2021. Advancements in From a standing start 12 months technology combined with ago, programmatic will represent greater trust and transparency five per cent of revenue to our will see investment return to pre- business during 2020. COVID-19 times. We predict greater appetite and investment Using real-time audience in programmatic OOH. That is insights, we help brands find their why we firmly believe digital out- audiences and set up automated door has never been more com- targeting to reach them at the pelling, and why now is the time right time, in the right place. Our for brands to harness insights and inventory is available across all immediacy to better plan, invest the major exchanges and DSPs for and execute their OOH in 2021.

The Profile The Australian father of OOH Brendon Cook has been at the forefront of the outdoor advertising industry for decades. As he steps back from the business he built at oOh!media, AdNews sits down with him to reflect on his 40-year-plus career. WORDS BY PAIGE MURPHY Few people can call themselves pioneers in their field but for Brendon Cook, the outgo- ing CEO and managing director of oOh!media, the local outdoor advertising industry wouldn’t be where it is today without him. When it comes to transformation, Cook has been pioneering change in out-of-home (OOH) for four decades. A founding member of the industry body, the Outdoor Media Association, he was instrumental in developing the MOVE (Measurement of Outdoor Visibility and Exposure) project, a system that allowed for improved accuracy in reporting measurable out- comes to clients using OOH media. He is also the international vice-president of global OOH industry body, Federation European Publicite Exterieur (FEPE). Cook is the first Australian to sit on the board in the organisa- tion’s 50-year history. Dubbed the “father” of OOH in Australia by one AdNews reader following the announce- ment of his departure at the start of 2020, Cook has made a significant mark in the indus- try during the course of his stellar career. Today, the business he founded in 1989, oOh!media, has grown to be a diversified media business worth $649 million with more than 37,000 digital and static asset locations. It all began in July 1979 when Cook was six months out of high school and on the hunt for his first job. The job ad read: 25-year-old male with experience. At 19 years old with no expe- rience, Cook applied for the role knowing that he at least met the gender requirement. “Imagine writing that job ad today — you would be sued,” Cook recalls to AdNews. “Back then out-of-home was a very different medium to today and obviously the media world was a very different world. Colour TV reigned supreme, newspa-

www.adnews.com.au | January/February 2021 23 pers were the second most supreme media and out-of- “It's a big property “[The] reality is it’s also a big home was very much at the bottom of the pile even though it was business, a big property business; it’s a big logis- the most traditional form of advertising.” logistics business tics business and now it’s a big data and a big data and and tech business,” he says. Fast forward 10 years and Cook founded Outdoor Network Australia, tech business … which represented both metropolitan and regional OOH players across We employ seven “A s a proper t y business, the country. It brought together around 35 different companies under full-time lawyers there’s numerous discussions, the one brand, with one solution to go directly to advertisers. and that makes negotiations, contracts. We us a pretty decent employ seven full-time lawyers in The idea to launch the business was sparked by changes in legisla- legal practice.” our business and that makes us a tion that saw the government ban tobacco advertising outdoors. At pretty decent legal practice the time, Cook says a number of the players he represented made After building oOh!media for the because of the number of the between 50 per cent and 100 per cent of their revenue from tobacco past three decades, Brendon Cook work you have to do around that. ads so the legislation would have a huge impact on their business. will depart the company in 2021. “Then you get into logistics. We “It was going to be very hard for them to sell to advertising agencies have 250 people every day in some and others,” he says. “So I didn’t have a lot of capital but I started the way, shape or form working, build- business effectively as a representation company.” ing, cleaning, maintaining physical infrastructure, plus contractors.” Building an empire Cook says the introduction of Starting the business with just one other employee, his brother Noel Cook, data and technology has been one it has grown to more than 800 across Australia and New Zealand today. of the biggest game changers for the industry during his career. In 2002, Outdoor Network backdoor listed on the Australian Stock While digital signage has helped Exchange (ASX) for the first time as Network Limited. The company improve reliability, it’s the data rebranded to oOh!media in 2008 following the acquisition of Media that can help inform campaigns Puzzle. It went on to de-list from the ASX in 2012 after being privatised to improve effectiveness that is by Champ Private Equity and WPP, under the parent company Outdoor transforming the OOH industry. Media Operations, before relisting in 2014. “What I grew up with, I don’t During the course of his career leading the business, Cook acquired think I could have even thought around 45 businesses including EYE Corp in 2012 from Ten for a reduced as little as seven years ago that we price of $113 million, and Adshel in 2018 from HT&E for $570 million. would one day be able to ascertain 500 different purchasing traits or “Acquisitions such as EYE Corp were instrumental,” says Cook. “We actual purchases,” he says. were the third biggest player, they were the second — the two combined put us close to number one at that point. “But to actually be able to say these are the best signs for reach- “That really gave us the next big kick-along in terms of the brand equity ing light cheese buyers, or these on the streets, but secondly, the scale to really start to do things that were are the best ways to reach heavy different, and investing in technology and data and a whole range of other cheese buyers, and this is the ways of approaching how out-of-home could evolve the medium.” best way to buy. The company also acquired digital publisher Junkee Media and printing “The one I love using is pet business Cactus in 2016, further expanding its capabilities. However, Cook food. How do you really know says there is more to oOh!media than just being a media company. where you buy the best pet food? But we could. Dogs 20kg and above, we’ll give you the best loca- tion for each. That sort of level of data sophistication is only going to continue to evolve.” Riding the rollercoaster Leading a successful business in any industry can be like a rollercoaster with all its ups and downs. In his 30-plus years at oOh! Cook had quite the ride with acquisitions that nearly didn’t go through, listing on the ASX, then privatising the business and relisting again, and helping the company survive through the global financial crisis (GFC). However, it was as his departure was announced that he probably had the biggest challenge of all to face. The OOH industry was hugely impacted by the COVID-19

The Profile pandemic as lockdown orders “My family has across other media for a few years and flown under the radar, it caused forced people indoors. Due to the been involved in an uproar as soon as it hit billboards where people finally noticed. dramatic impact it was having that along the way across the board, Cook’s depar- because it's a big “That campaign had been running in print for two years and it went ture was prolonged to help the part of my life. I on 18 billboards and the phone rang off the hook,” he says. “What it outdoor media specialist through couldn't have asked proved was the power of billboards.” the fallout. for a better life in any career than In more recent times, one of Cook’s favourite campaigns was with While the year was tough, oOh! what out-of-home Google. The multi-app campaign brought together audience, data, technol- reported a “significant” revenue has given me.” ogy and creativity to deliver Google search and Google maps at scale across rebound for the fourth quarter of Australia. The creatives displayed how Google Search could help Australians 2020 as outdoor audiences Above: Noel Cook, oOH!media discover their local food and drink options with the corresponding maps returned following the easing of chief commercial and operations displaying relevant search results within proximity to the OOH locations. restrictions. In a trading update in officer (left), and company founder mid-December, it said road and Brendon Cook (right). “For me, that showed what automation is really about in out-of-home retail outdoor audience volumes in and how we have to scale to that level,” he says. November were tracking at 87 per cent of their 2019 levels, up from “And it also proved it’s not about the tech, it’s about the creative. The about 50 per cent in mid-April big area was getting the creative concept right; that you could scale up 2020. As a result of the audience to get that contextuality. I think a lot of people only talk about program- recovery, the business is expecting matic with tech without thinking what the real answer is. How many full-year revenue of between $420 people am I really reaching and is the creative going to drive a response million to $430 million. based on what we know works?” “We survived COVID-19,” he For Cook, aside from the work that oOh! has done, it’s the scale and says. “Although I did laugh with size of the business he has built and the people he has worked with along someone the other day: lucky I the way that takes the cake. didn’t do this a year earlier because it wouldn’t look very “Being able to build the scale out of the business to where we are today good on your resume if you is always a continuing highlight,” he says. didn’t have pandemic economic management. “Every year was full of excitement and lots of opportunities. Obviously the other best thing has just been people. Whether it be the advertisers “It made the GFC look like baby and advertising agencies, or the property partners which are a big part steps, to be quite frank with you.” of our business, and then of course the staff. While there have been many “It’s just been one of those journeys where it’s been pretty well my challenges, there have also been life. My family has been involved in that along the way because it’s a big many highlights. During the part of my life. I couldn’t have asked for a better life in any career than years, oOh! and the Outdoor what out-of-home has given me.” Network have worked across both head-turning and innova- So where to next for the outdoor media veteran? After a remarkable tive campaigns that have had career at the forefront of the OOH industry moving at “Ferrari” pace, huge impacts. Cook admits he won’t be completely slowing to a halt. With new CEO and managing director Cathy O’Connor taking over the reins, Cook will move Some of Cook’s favourites into a consulting role with the company throughout the course of 2021. include a campaign for a fictitious beer called Haka Bitter that the “I’m still consulting a day a week to oOh! and I’ve got a couple of advisory Outdoor Network created with boards and other things that will be announced in February,” he says. GOA Billboards to demonstrate the power of OOH. For spontaneous “I’m looking forward to working with a lot of entrepreneurial found- recall, Haka achieved seven per ers in lots of industries — a lot of tech and data — and working with cent after one month on outdoor them on their journeys.” with a $25,000 investment. A few weeks prior, another beer brand, Powers Extra, launched in Brisbane using TV only. It only achieved a three per cent sponta- neous recall after one month despite a TV spend of $183,000. Another campaign he recalls that highlighted the power of OOH was the controversial Longer Lasting Sex campaign from the Advanced Medical Institute which promised to help men with erectile dysfunction. While the campaign had run

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Investigation

www.adnews.com.au | January/February 2021 27 A renaissance for progress. So it’s great to see cre- Australian advertising ativity and technology canoo- dling again. Now everyone just 2020 was the toughest year with the advertising industry, already needs to find their Medici [the dealing with slower growth, hit hard by record low ad spend. But the Italian banking family, political challenges of the COVID-19 pandemic could create the right conditions dynasty and patron of the arts].” for a surge in creativity, and some are already seeing the boom. WhiteGrey Australia CEO Lee As soon as Hollywood actor Mark Wahlberg WORDS BY Simpson recognises the condi- landed in Australia late last year, a buzz MARIAM CHEIK-HUSSEIN tions of the pandemic have been “traumatic” for many. From eco- ensued in the gossip papers speculating why he nomic hardship, lives lost and anxiety around wellbeing. was here. They reported the reason The Departed However, Simpson argues this hardship is likely to be what star was here — fast-tracked to two-weeks quarantine in Byron Bay — was causes a surge in creativity because creativity thrives in chal- to film a global campaign for betting company Ladbrokes. Wahlberg was lenging times. just one of a string of US celebrities Down Under, including fellow US star “One thing I always think about is that creativity loves challenges Natalie Portman who was reportedly shooting her latest campaign for and constraints and, bizarrely, particularly commercial creativ- Dior in Potts Point’s Manor apartments during her time here. ity,” Simpson tells AdNews. Additionally, big brands are giving more of Australia their attention “If you think about all the world's challenges, creativity has for local campaigns. For example, Coca-Cola’s new regional campaign always risen to the biggest chal- lenges, I would say. From a busi- celebrates the uniqueness of places such as Bunbury, Port Macquarie ness point of view, creativity has solved some of the biggest busi- and Batemans Bay. ness problems, but also think about it from a societal point of The local projects from Hollywood celebrities, and big campaigns in view. For example, we use crea- tivity to help solve domestic vio- regions quiet for months due to the bushfires and then the COVID-19 lence and obesity. pandemic, are a sign of the vibrancy coming back after months of “Creativity has always loved a challenge and we're obviously lockdowns, anxiety, and caution. in a challenging time. So it rises to those challenges well.” Economic experts and business leaders around the world have Simpson highlights that creativ- predicted an economic boom to come after the pandemic, expedited by ity in the advertising industry has always worked within constraints, the rollout of vaccines. usually applied by clients. Ad spend, which is tied to consumer and business confidence, “There's constraints of the brief, timing, politics or budgets. began to pick up late last year after falling a record 40.4 per cent to And so, it often operates in those constraints and does well in that $345.6 million in May, according to the Standard Media Index (SMI). situation. In October, ad spend was down 24.3 per cent and Australia was “You look at that and the envi- ronment we’re coming out of now declared to have passed the worst of the pandemic fallout. Then in — that’s why it’s managed to work well in those tight spaces. November, Australia saw its first growth in ad spend in 26 months, up “WhiteGrey has actually built 8.3 per cent year-on-year, driven by strong TV and digital demand. our positioning around that; we talk about how in life, business But the 2021 boom won’t be a regular one. and creativity, good things come from the right side of tension.” In Australia, Deloitte Digital’s chief creative officer and partner Marcus Tesoriero, BWM Matt Lawson is hoping the economic uplift and surge in creativity Dentsu Sydney executive creative director, says he has also seen will lead to an Australian “re-Renaissance”, which will sweep up the advertising sector with it. “The Black Death directly led to the Renaissance. So right now, I’m really hoping for a re-Renaissance,” Lawson tells AdNews. “And many of the factors that made Renaissance 1 so great do seem to be coalescing again. “Artists and engineers working closely together, and in some cases, Engine Group’s “David becoming one, did seem to have been a powerful propellant for and the Shrimp”.

Investigation people, not just professionals, “The Black Death Advertising agencies already recognise this need to use creativity become more creative because of directly led to beyond traditional advertising. For example, many had to help shift a the pandemic which forced them the Renaissance. business’ activities to online, the only place they could reach their into the boredom of lockdowns. So right now, I’m consumers, almost overnight. WhiteGrey developed a virtual open day One thing this lead to is a rise in really hoping for for Western Sydney University after it was unable to hold its usual phys- domestic travel, something that a re-Renaissance.” ical event. The online event featured more than 30 concurrent lives- brands are picking up on and using treams, more than 100 moderators, and 2000 chat conversations with in their campaigns. Deloitte Digital’s chief more participants from the previous year’s on-campus event. creative officer and “I'm actually really excited partner Matt Lawson Australia’s big holding companies, like businesses around the about people traveling around world, assumed the worst when the extent of the pandemic become Australia because it’s been low clear. Almost immediately, agencies cut staff hours and pay, and down on the bucket list,” he says. redundancies were rolled out. However, almost a year after the pan- demic first began, there are signs Australia has performed better “People are going to be forced than expected. For example, Interpublic Group posted net revenue to experience what an amazing of US$1.95 billion for the third quarter in 2020, beating analyst expec- country we actually live in. And tations. WPP Australia and New Zealand also committed to returning that's going to broaden people's the majority of the salary sacrifices made by staff during the pan- minds and give them that essence demic after the company reported stronger earnings for the of living life. September quarter. “There’s a lot of creativity Tesoriero had already been seeing an increase in activity from brands going into building vans, travel- late last year as they recovered from the lockdowns — his team grew ling throughout Australia, and from 65 to 100 throughout the year after a couple of key business wins. doing things they’d always wanted But he says the real action starts this year. to do, such as writing, playing music and all these amazing “Our January is a pretty exciting time for us,” he tells AdNews. things. So I think that will broaden people's minds, and people are going to have a little bit more work-life balancing going on. “People are putting more time into that part of their brain which frees up creativity.” For most people, creativity has been used to solve the problem of boredom in lockdown, from creating TikTok challenges, binging Netflix, or picking up a new hobby. For the creative industry, Deloitte’s Lawson says now is the time for it to get its “act together” and help solve the big- ger issues once the pandemic is over. “Creativity provided the spark that ignited the industrial revolu- tion that’s now changing the cli- mate, and it continues to help sati- ate our constant hunger for new things,” he says. “So it really was creativity that got us into this mess so it sure as hell better get us out of it. We just need to apply creativity in more interest- ing and purposeful ways. I mean, Leonardo da Vinci, history’s great- est commercial creative, developed both the wheellock; a mechanical method to ignite gunpowder, which facilitated the widespread use of personal guns, and, the Mona Lisa. “We’re clearly not da Vinci, but I think you get the point. We all have the capacity for both, and we just need to point creativ- ity in the right direction. And now is the time to do it.”

www.adnews.com.au | January/February 2021 29 “We have a couple of big new accounts coming on board and some Western Sydney University the end of 2020. New clients were accounts that were quite dormant are coming back in a big way. up 15 per cent month-on-month, with November billings up 10 per “We’ve almost doubled our staff; we’re moving into the new office cent. October was up 21 per cent and actually had to redesign the office to fit in more seats. So it’s going year-on-year and by mid-Decem- to be a good environment.” ber it was already busier than pre- vious years for the agency. While WhiteGrey’s Simpson, who has led his team throughout the pandemic Williams is worried about the and has also picked up a list of new clients this year, has also noted possible slowdown that could a pickup in activity in the last months of 2020. come with the end of JobKeeper and other stimulus incentives in “There’s a lot more activity in the market; we've had a strong new Q1/2 this year, she says she’s see- business run rate all the way through,” he tells AdNews. ing brands shoot more frequently, with the average number of jobs “We’ve actually had about 10 new clients this year, but even in the posted per year up for 2020, along past few months there's definitely been more activity. So it feels busy. It with a higher average booking feels like off the back of increased consumer confidence and some more value per job. positive metrics come out in the broader economy in Australia, there's going to be optimism. Williams has also noted more brands shooting their campaign in “Maybe cautious optimism, but definitely optimism.” Australia when they wouldn’t usu- Small businesses are also reporting an uplift in activity. ally thanks to the success of man- Taryn Williams, founder of talent agency The Right Fit, says she’s aging COVID-19, as well as the seen a bounce back after the depths of the first half of the year, as brands return of talent such as content needed new messaging for COVID-19. creators, photographers and actors. “We've also seen a number of brands experience exponential growth during this time so they are investing more into marketing/advertising,” Williams tells AdNews. In fact, the talent agency has had its biggest four months ever during

Investigation clients have been seeking unique videos designed for one channel (often Instagram or Facebook) in order to connect deeply with cus- “And within that, brands shoot- tomers but not overtly sell. ing in states within Australia that they wouldn't normally — for “Clients are less interested in producing one video that is repur- example, we saw a boom in jobs posed across all channels, instead they’re looking for hyper-tailored posted in Perth because they were engaging content,” says CEO Renece Brewster. least impacted by COVID-19. I think we'll continue to see more interna- “We all spent a stack more time online and on social media in 2020 tional brands source production so we know, with weary audiences, we need to be producing video and talent in Australia during the content that really stands out.” coming 12 months,” she says. Brewster says the company had to rethink some of the more tradi- “I think it's been great to see tional approaches to video. the creative community band together to still 'create' during this “Much of our videos are shot in-field with real people,” says Brewster. challenging time, and the way “We had to consider how we could use other creative treatments they have continued to deliver to continue telling our clients’ stories without this option back at the engaging campaigns that move start of the pandemic. We put on more animators and found that was the meter, in a way that is mindful a great immediate solution. Moving graphics in place of people. Our of the broader economic climate animation output has really increased as a result. and the impacts it has had on “Also, with everyone moved to remote working we had to work out many consumers (job losses, etc). how we would support our editors in particular given the size of the files I hope its a collegiate attitude we they are constantly working with, all via home internet. see in the 'post-COVID-19' world, “With the rapid pace, clients needed to pivot their advertising whatever that means.” plans quickly. This saw an increase in our edit-only offerings and animation. The fast turnaround that we were already supplying our Kate Hansen, cofounder and clients was tested as we pivoted to working from home while still managing creative director at providing this service.” Swingtime Creative, a Sydney- Brewster says the outlook for 2021 is strong: “We have a new Client based video and motion graphics Hub coming that will give our clients the opportunity to check in on production company, says she saw a game of catch-up in late 2020 as people tried to meet their dead- lines after hitting pause earlier in the year. Now she feels 2020 has created more opportunities for small businesses and producers. “We were able to hit the ground running in 2020 when everything hit the fan,” she tells AdNews. “We were well placed when the pandemic hit in a lot of ways because we have quite a small, agile, nimble little production company. “We already work from our home studio so we can ride the wave of the creative industry, which can run hot and cold at the best of times, with minimal overheads. And we have a strong base of long-term external suppliers and creative part- ners that mainly expand and con- tract as required depending on what jobs are on the books.” Visual Domain, one of the nation’s largest production busi- nesses, went from freezing staff levels and cutting hours when the pandemic hit to growing its team from 62 in January 2020 to 79 by November last year. The com- pany was also set to end 2020 with 10,000 videos, up from 7500 the year prior. As restrictions have eased,

www.adnews.com.au | January/February 2021 31 their projects at any stage and talk to the creative team in real time. Top L-R: Coca-Cola’s “There’s something We know this will be a real game changer. regional campaign, natural in the human Taryn Williams, brain that wants to “We’ve also done a few out-of-the-box things this year that we’d Nick and Kate Hansen, resolve problems and like to see continue into 2021. We’re conscious that not-for-profits Marcus Tesoriero, tensions. That’s why have found it incredibly hard with normal fundraising options can- Clare Winterbourn creativity, particularly celled. Earlier in the year, we got together to come up with a concept commercial creativity, called One Day. This is one day per month that Visual Domain dedi- can thrive in these cates to offering production hours free of charge to a charity in need areas.” WhiteGrey CEO of video content. Lee Simpson “It’s been a great opportunity to combine the skills of our team mem- bers and come together for a good cause. We know how fortunate we’ve been in 2020. Video has thrived. We also know other businesses have done it tough so we’re keen to continue giving back in 2021.” Media, marketing and advertising industry analyst Alice Almeida, founder, Almeida Insights, says COVID-19 has “weeded out stagnant brands” and opened up new opportunities. “One of the only positives — besides increased family time — was the surge in new ideas and businesses that came or are coming from lockdown in 2020,” she says. “I noticed through the work I do that there was a significant jump in those who wanted to run concept testing on ideas they had, and incredible ideas, too. Out of the five I ran, two are already live and the rest have a launch date in 2021. COVID-19 gave people back some time, which then allowed them to focus on that great idea they had. “2021 will be an exciting year for new businesses and these busi- nesses will shake up traditional industries that failed to innovate or pivot when needed.”

Investigation Saatchi & Saatchi chief creative Volvo's Recovery Almeida says the boom won’t be sector by sector, but rather for any brand officer Mike Spirkovski Roadtrip brave and innovate enough to deliver the needs of consumers and market. Sometimes it pays to be at the arse- “A great example of this is Qantas. Obviously being in one of the hard- end of the world on a massive island est hit industries, they had to think outside the box,” she says. with a relatively small population, especially when there’s a global “They knew Australians wanted to fly so they launched joy flights pandemic. For centuries, Australia’s within Australia, which sold out in minutes. They designed branded geographical isolation has made products such as hoodies, they sold wine carts full of alcohol, and first- us natural born problem solvers. class and business-class gift sets. The revenue from selling these products When something needs solving, we is obviously nowhere near what they would make [otherwise], but in this just get on with it and as a collective current climate every single dollar counts. It kept the brand alive in the work together to try sort it out. In minds of Australians — you can't put money on that.” addition, having a population who cares for their livelihood, who listen Other brands have also rolled out campaigns that weren’t focused to and respect expert advice from on pushing products, noticing that people needed creative ways to our country leaders and who work spend their holidays. One example was WhiteGrey’s Recovery Roadtrip as a team helps. campaign for Volvo. The campaign is a company road trip which encour- ages people to see more of Australia. These are just some of the qualities which separate us from “There’s something natural in the human brain that wants to resolve the rest of the world and I believe problems and wants to resolve tensions and I think that's why creativity, have played a part in Australia’s particularly commercial creativity, can thrive in these areas,” says Simpson. successful approach in keeping the country and our businesses thriving “So I think it is something inherent in who we are as human beings; during the challenges of 2020. the brain’s motivator is all of these tensions. And then, part of it is we're creating a different environment where we're breaking routines and that The creative industry is all inspires creativity and also fuels it. And then, because we are in that about finding solutions to any uncertain world and we're asking creativity to solve more problems, it’s problem big or small. So if you a combination of those two things.” need to make an idea, but hit a major roadblock — such as not The push ran primarily on social channels from June 5 to being able to shoot in a specific November 31. WhiteGrey reported about 7000 total landing page views, state due to restrictions, or can’t 4000 total itinerary clicks, with NSW South Coast being the most have five cast members in a car popular. Simpson says considering it wasn’t promoting a product or ad from separate families, or no offer, these were strong results for the campaign. catering on a shoot — we simply find a way around it. (The catering WhiteGrey created the drives, the maps around the drives, and used was a big problem, but the influencers to encourage people to participate. pre-packaged lunch boxes were actually pretty tasty!) It’s what our business was designed to do and why Australia managed to make a load of good work and even some brilliant work during 2020 when other nations struggled to operate.

www.adnews.com.au | January/February 2021 33 “Yes, they could do it in a Volvo, or they could win a chance to do it in a “2021 will be an “At Dentsu, we talk quite Volvo and test drive a Volvo, but actually it’s more than that,” says Simpson. exciting year for openly about how we are, in new businesses and many ways, continuing a “It doesn’t matter what you drive, it’s about the spirit in which that these businesses will 60,000-year storytelling tradi- idea came about. shake up traditional tion through the work we do in industries that failed media and creativity.” “So that’s an example of how we can use creativity to solve quite to innovate or pivot specific problems in those tight spaces if you like. when needed.” Widders Hunt says despite the disruption of COVID-19, she saw “This period of time has forced experimentation and forced explo- Almeida Insights more investment and energy from ration and I think once that seal has been broken, and once that founder Alice Almeida corporate brands in celebrating muscle memory starts to build, I think it will lead to working in Indigenous storytelling. Recently, different ways and getting ideas to market more rapidly.” the agency has been working with Country Road, helping it develop The focus on Australia’s creative industry has also involved recog- its engagement guidelines, and nising the creativity and storytelling of the Indigenous community, showcase more First Nation voices something that experts argue has been overlooked for too long. through their marketing activity. Many credit this heightened awareness for diversity and inclusion to the “More diverse teams make the Black Lives Matter movement which reignited in the US during the start of work better, and stronger, and the pandemic and captured people’s attention around the globe. Brands, more reflective of modern noting the shift that was happening, also took notice and rushed to show Australian society,” she says. their support through their social media posts and even incorporating it through their traditional advertising. “We also think that Indigenous communities have, as I mentioned, Yatu Widders Hunt, director at Dentsu’s Cox Inall Ridgeway, has noticed 60,000 years of experience in sto- this trend and says local brands took positive steps in 2020 to respect rytelling and creativity, and that’s Indigenous storytelling. The agency, which works to address disadvantages something we can learn from, be in Indigenous communities, works with brands such as on Indigenous proud of and also embed as part of engagement guidelines and policies. our own brand narratives, or the brand narrative of our clients. “Coming from an Indigenous perspective, it’s probably fair to say there’s still ways to go to ensure stronger and better representation of First Nations “Particularly in 2020, where storytelling and First Nations peoples,” Widders Hunt tells AdNews. consumers and communities are looking to brands and corporates “And that probably goes to broader diversity and inclusion across the to take a stand on social issues. advertising sector. But having said that, there have been some incredibly We’ve seen some incredible exam- positive steps taken, particularly this year, to really address that and to ples of that, where a huge number respect Indigenous storytelling as the anchor of work that we do and the of Australian organisations have country that we work on. supported the Uluru Statement from the Heart. We’ve seen brands such as Qantas supporting mar- riage equality. So I think brands are also becoming influencers in driving social change and are working in partnership with com- munities to do that. It’s actually a really powerful way for brands to generate social impact, as well.” Clare Winterbourn, director of Born Bred Talent, is also seeing more interest from big brands in representing Indigenous creatives. Winterbourn, alongside Catherine Lumby, professor of media studies at the University of Sydney, is working to establish a fund for Indigenous creators. The Born Blak Fund, which has attracted interest from big agencies, brands and organisa- tions, will launch in March this year and aims to provide creators with resources to refine and share their craft, and open a dialogue about Indigenous culture and educate brands.

Investigation “It is thrilling to see that, finally, Indigenous content creators are finally being recognised for their amazing talents,” says Lumby. Digitas associate creative director Thomas McMullan “We know non-Indigenous people are privileged to share a country with them where they have been producing wonderful creative works In 2020, perennial industry for 60,000 years. This fund matters because, despite the extraordinary buzzword “diversity” has taken on a creative talent of our First Nations people, our creative industries still new meaning: geographic diversity. fail far too often to respect, recognise and employ them.” Essentially, widespread working from home has proven that, for Winterbourn says the fund was established to address the under- example, a Sydney office doesn’t representation of Indigenous content creators in the Australian media need employees who live in Sydney. landscape. She wants to see more brands actively platform Indigenous Where this gets exciting is mentally creators without being tokenistic. flipping this from a liability to a benefit — the more geographically “I am incredibly excited to be launching the Born Blak Fund to diverse your team is, the broader support Indigenous creatives and provide a platform that will offer the experience to draw from. support in an ongoing capacity,” says Winterbourn. Considering only 150,000 of “It is obvious to me now, as I’m sure it is to many Australians, just Australia’s 800,000 Indigenous how little I, and we as a nation, really understand about Indigenous population live in metro NSW/ culture in Australia. The Fund aims to give wings to the storytellers Victoria areas, agencies that have who represent their culture, craft or art, shine light on the issues, welcomed geographical diversity celebrate their wins and have a loud voice in Australia.” are better placed to find more Indigenous voices to join their teams. Winterbourn also noticed that the interest from brands to improve their diversity picked up last year during the Black Lives Matter move- Yatu Widders Hunt ment. After starting her own journey of understanding Indigenous issues, she also saw a huge influx of interest from brands that wanted to engage Indigenous creators but didn’t know where to start. “A fund like this is incredibly urgent, and needs to be started sooner rather than later,” she says. “We are seeing massive interest from brands, agencies and marketers who really want to empower, uplift, showcase and give a platform to Indigenous content creators, but they don’t know where to start. “I have had so many conversations during the past 12 months, which is what has motivated me to join forces with Catharine Lumby to bring the Born Blak Fund to life. It’s absolutely critical and while the fund won’t solve everything, it is a step in the right direction. There is a lot more work to be done, but I’m excited to be able to do more because I am very aware that I absolutely need to. “I am lucky to have the sup- port from so many brands, mar- keters and agencies — there are some incredible people and organisations involved who are keen to do more, too, and have already taken that step.”



Adelaide’s Own Mark Elsdon, a leading I’ve been an ad agency principal for longer Successful advertising has always been advertising agency principal in than most people working in the ad business about persuading people to want things by the Adelaide market for over 30 have been alive. That scares me a bit, but it’s communicating a simple promise of benefit that years, owns and operates Jarvis been a privilege to work with some great SA is valued. The most effective way of doing that Marketing and OMD Adelaide. businesses over the years and play a small part is through emotive or entertaining advertising The only locally owned fully in their success. Longevity and experience is to make people feel something for a product resourced strategic, creative and only valuable if you keep your offer relevant, or service. Today we just have a lot more media agency in South Australia. embrace change and surround yourself with communication channels to deliver talented people. the message. We’ve done that with great senior staff that have Any agency can do process been with us for over a decade, together with developing a group of young guns who have Any agency can process orders but true added ideas and energy. advertising thinking is rare. Our business is built on ideas. A simple, strong idea that Daniel Martinovich heads up our creative engages is the most powerful communications team, Mel Elsdon our digital team and tool. People don’t see advertising, they see what Kristy Admiraal our media team. It’s a interests them. Advertising is about attracting powerful full-service combination. attention to a product. Until a brand has a personality is will not be believed. Adelaide’s oldest ad agency Creativity is not a function of size Owning Adelaide’s oldest ad agency Jarvis Marketing established in 1977 together with Creativity is not a function of size, small can be the local office of the largest media agency in wonderful. We build brand personalities and talk the country, and agency of the decade, OMD to customers about things that interest them. Adelaide makes us unique. It gives us the power of a global brand and access to the best media I’m very confident that the local SA business tools and resources, but with the benefit of being market will be resilient as it always is in tough a small 12-person team focused on providing times. Adelaide is made up of challenger clients great partnerships and outcomes because brands. That is brands in all categories that we are focused on being the best rather than the are dominated by nationals and internationals largest agency in town. who get the lion’s share of consumer spending. Although we are experiencing a seismic shift in I’ve been lucky that clients generally find their consumer habits, we haven’t seen in our lifetime. way to us out of a need so we have rarely been Sentiment has shifted to be more tribal and focused on growth or pitched for business unless supporting local business. Customers supporting we think it would be a great partnership and their own backyard. that we can add value. While the ad industry in Adelaide has been challenged over the last few “We invest our years, we have been as busy as ever without a client’s $$$ as if single hour or productivity lost. they were our own” Management Team Standing: Creative Director: Daniel Martinovich, Media Director: Kristy Admiraal, Seated: Managing Director: Mark Elsdon, Digital Director: Mel Elsdon

Greatest opportunity in a generation Most people working in Advertising Drakes Supermarkets for local challenger brands know nothing about advertising challenger brand success Unfortunately, most people who work in This is great news for the SA market and has Advertising know nothing about advertising. Drakes is the largest independent family owned created the greatest opportunity in the last We have an abundance of sales executives, supermarket group in Australia with over 60 50 years for local brands and businesses who artists, content creators, networkers, posers, stores in SA and Queensland. We partnered are brave enough to gain market share on the web designers, pretenders, digital and social with Drakes in 2017 to provide all strategy, big boys. There is a window of opportunity experts who have invaded the industry but creative and media to launch their brand initially for those who are prepared to tell their story very few actual advertising practitioners in Queensland in 2017, then in SA in 2019 as in an emotive and authentic way to connect making it extremely difficult for clients to part of their decision to separate from the to customers like never before, because the know who to trust. Metcash group and go it alone. customers are listening and responding Advertising is about persuading people to right now. want things with a promise of benefit that The creative campaign and fully integrated customers believe in. Then delivering that media strategy has been huge success. The national and internationals will fight back benefit through the best media channels The challenge was to define Drakes as an over time with their big budgets and unlimited to reach the customer multiple times in a independent supermarket group and resources, but the local brands who are purchasing cycle. It’s simple, but not easy. develop a powerful campaign positioning prepared to be brave and take some risks will that they could own up against bigger come out of this period better than when they Above: supermarket brands with well-established went in and have a chance to win customers Office on Gilbert Street market positioning. hearts and minds for the long haul. Advertising is simple but not easy We developed the “Ingredients for Every Day” It’s the most exciting time in decades to We focus on a simple strategic framework campaign which defines the core of be part of the local ad business with totally independent advice for every what Drakes provides their customers. product or service of maximising awareness Understanding their everyday needs, It’s the most exciting time in decades to be part to the right targets, being relevant, driving providing more range and choice, with of the local ad business because opportunities trial of products or services and building an emotional connection to products. are everywhere for clients and agencies that advocacy of brands to provide a return on We Created a tone of voice that is friendly value ideas. Persuading people to want their advertising investment. and familiar, relatable and trustworthy. products and services with sound strategy, With the simple philosophy of exploring advanced insights on customer behaviours new ideas, taking calculated risks, being In 2020 we were first to market with a change and creative that delivers. remembered and relating to the audience of message matching the change in consumer using all media channels. sentiment to supporting locals by engaging We feel like we are at the peak of our with Drakes local suppliers with an emotive powers because we have a great team of message delivered by the Drakes family and people who think rather than process for a key supply partners. living. It’s always been tough in Adelaide to operate a successful agency. We have to do The strength of the campaign has been more with less and operate in a brutal industry demonstrated by its ability to grow and that takes no prisoners. I’ve seen all the evolve, remaining fresh and relevant by multinationals come and go from the Adelaide adding personality, relatability and emotive market over the last 30 odd years. All thinking connections. The integrated multichannel that they will break through. None do! media campaign execution included television, bvod, out of home, path to Good ideas never go out of fashion purchase, catalogues, point of sale, behavioural and geo-targeted digital. We are buoyant about the future because good ideas and hard work never go out The results have been phenomenal with of fashion. I have seen and done almost increased store visitation, increased basket everything in the Ad industry, but I have never sizes, brand awareness of over 60% from almost had more energy than I have today to unleash zero, record sales growth during 2020 and our team to develop ideas that are going to increased market share in SA and Queensland. create the next brand category champions in this market. We blow our client’s trumpet not our own Adelaide

Live Adelaide Amplified What sets it apart from other cities? Awash with stellar talent and home to brands known in households I think Adelaide has talent and around the country and the rest of the world, Adelaide might be a smaller creativity to match any other market than other capital cities but it is full of big thinkers and ideas. market in Australia, but what sets us apart in Adelaide is that Home to world renowned brands and some of the WORDS BY we are a market built upon long industry’s brightest minds, Adelaide is a melting PAIGE MURPHY term relationships, accountabil- pot for creativity and innovation. While it may be ity and trust. Clients, agencies and the media all work closely to smaller in size than its eastern seaboard counterparts, deliver amazing results for client businesses, and the long term the city is home to marketing masterminds such as relationships mean we can build on the success of previous work. Professor Byron Sharp and Professor Karen Nelson-Field and global How have you seen market brands such as Sweat by Kayla Itsines and R.M. Williams. spend change over the last year with the pandemic? Adelaide’s agency landscape is predominantly made up of independ- Naturally, spend was challenged in 2020, particularly in Q2 where ents, alongside a few network agencies, some of whom bill through local the impact of COVID was felt most significantly here as it was businesses. Together they work with clients across a range of sectors from in other Australian markets. While all marketers understand government to auto, education and finance. Ahead of AdNews Live: Adelaide there was an opportunity to invest in brand communications Amplified, we spoke to agency leaders about what sets the market apart when the market pulled back, and many did, we also saw many from others and what trends they are seeing across adland in 2021. businesses prioritise protecting and retaining staff ahead of Matt Hofmeyer, managing director, Wavemaker Adelaide The Adelaide skyline. upweighting media spend. We’ve seen a strong recovery from How would you describe the Adelaide advertising market? around August 2020 which has carried through into 2021, how- We’re optimistic and energised. We suffered the same shocks in 2020 ever the recovery is driven by as the rest of Australia and the world, however our agencies, media and certain sectors while others are clients have all worked together to support each other. There has cer- still struggling to find the confi- tainly been a focus on maintaining relationships, which has meant we dence to invest. are well placed to continue the recovery we saw in Q4 into 2021. I also believe advances in creativity within the industry, and the quality of services our teams deliver will continue to be built upon.

www.adnews.com.au | January/February 2021 39 What are the big trends you are There’s also healthy competition which gives Adelaide clients amazing seeing from advertisers in the value when compared with other capital cities. Agencies like Showpony market going into 2021? and TBWA are in a good position to make that comparison with offices in Melbourne and Adelaide. It’s a massive difference that makes me won- The market is still very short-term, der why more big brands from the east don’t do their agency shopping with many changes being made in Adelaide. The Adelaide market is made up of a large number of inde- before campaigns go live, this has put pendent agencies relative to other states. They tend to be small, fast and sustained pressure on all parts of our hard working because the principals have skin in the game. industry. However, in 2021 we must focus on finding the joy and fun of Also, the virus had a smaller impact on Adelaide than other mainland working in advertising again. Our cities and business seems to be recovering fast, certainly faster than in industry is so creative and exciting Melbourne. Look out for Adelaide, I think there will be a number of with so many opportunities to drive announcements coming out of that city that will surprise the rest of the growth and strengthen the economy country. The investment in tech industries is huge at the moment. and communities around Australia, so as we continue to work with our What sets it apart from other cities? great clients and media partners in With a large number of independently owned, smaller agencies, com- 2021, we need to embrace that and petition is fierce. Agencies work really hard to keep clients happy ... remember how lucky we are to work really hard. I’m pretty sure the level of servicing that goes on in in such an interesting industry. Our Adelaide would not be seen elsewhere. Adelaide also has a very strong clients now expect to see business production industry. Our post production is world class as illustrated by impact and delivery from the mar- movies like Mortal Kombat and the Academy Award sitting in the Rising Sun tech stacks that have been invested offices (for the Sandra Bullock movie, Gravity). And Adelaide has incredible in, and so we’re increasingly draw- heritage in sound production due to the legacy of Street Rembly and all the ing on the data, tech and martech people who started their careers with him. capabilities of the wider GroupM and WPP group to deliver that. How have you seen market spend change over the last year Businesses want to use their data with the pandemic? better to respond to significant It was quiet for the two months of the Adelaide lockdown - unless you shifts in consumer behaviours and were doing government comms - but things are pretty buoyant in Adelaide purchase journeys, particularly in now. There’s a lot of activity because a huge number of clients are looking response to the maturation of to ramp up comms post COVID. It feels like businesses are rediscovering eCommerce in 2020. the value of marketing and advertising. Now that a lot of the planning and creative work is done, the media should be starting to feel the impact Jamie Scott, managing of the increased activity now and into the next six months. director, Showpony What are the big trends you are seeing from advertisers in the How would you describe the market going into 2021? Adelaide advertising market? There was a lot of soul searching done during COVID. Everyone has done Agencies are busy which is good.

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www.adnews.com.au | January/February 2021 41 THE FRUSTRATION still short with most clients only OF DYSLEXIA approving media spends for a month or two at a time. IS OFTEN UNREAD. What are the big trends you are Learnmoreatcodereadnetwork.org seeing from advertisers in the their market research and revisited their brands so the public is likely Tourism NT by KWP! going to see some fresh looks in 2021. There are also a bunch of pitches Jarvis Marketing/OMD for market going into 2021? on right now so I suspect that in a couple of months we’ll be seeing a Drakes. KWP! Adelaide’s Our clients are continually looking realignment of brands and agencies. work for Code Read. at their consumer journey and the ways they connect with their con- What I think we’ll be seeing LESS of is cheesy, cheap production and sumer/customer. They know their animation. COVID made this stuff necessary due to the restrictions of consumer is not the same person lockdown but hopefully that’s all in the past now. My best guess is that they were 12 months ago. Their strong brands are going to get back into high production values, glossy lifestyle has changed, their work treatments and big ideas. life has changed, and their media consumption habits have changed. Vikki Friscic, managing director, Carat Adelaide Every consumer has a unique How would you describe the Adelaide advertising market? journey and our media strategy The Adelaide market is quite unique. Pitches are rare and clients generally needs to be able to cater for per- will stay with the same agency for several years after establishing strong sonalised messaging and custom- working relationships. It is imperative as an agency in this market that you ised targeting. Content and part- can deliver the same quality of work as agencies on the eastern seaboard. nerships are more important than ever with advertisers wanting to What sets it apart from other cities? align their brand with trusted, eth- Adelaide agencies, clients and media partners have a collaborative mindset. ical, and authentic channels. Our clients see us as an extension of their team, and we are grateful to be Ecommerce will also continue to able to work side by side with them. be a major focus for clients in 2021. The role of a marketing director has diversified so much over the David O’Loughlin, past few years and they rely on their media, creative and PR agencies CEO, KWP to work together with them to achieve their goals. How would you describe the Carat Adelaide has strong relationships with several creative agencies in this market which enables us to provide clients with a complete creative Adelaide advertising market? and media solution. The Adelaide market is distinctive in that Adelaideans are both paro- How have you seen market spend change over the last year chial yet do not suffer fools lightly. They are loyal but will also quickly with the pandemic? cry foul at the slightest hint of dis- Like most agencies we saw a dramatic decline in spend across late March ingenuity. For the advertising mar- and April while clients developed business strategies to cope with the ket that means two things. Firstly government-imposed restrictions. Many of our clients quickly evolved their that Adelaide agencies focused on business and we worked closely with them to create media solutions to customer experience (as KWP is) reach the ever-changing consumer. From July we saw the media spend for must remain more consistent when most of our clients return to pre-pandemic levels, however, lead times are it comes to a brand’s promise. But it also means that we must remain decidedly current and highly crea- tive in how we express those brand promises resisting the inertia to sometimes take the homogeneous or safe view. For agencies with national business like KWP, the opportunity to apply the same level of insight around local nuances is certainly there. I think agencies from smaller markets are some- times uniquely placed to do that better, simply because we must. What sets it apart from other cities? The size and scale of Adelaide fosters creativity and ingenuity – we have to regularly do more with less. In Adelaide, we have the opportunity to build strong relationships and

Live long-term partnerships with clients Wirra Wirra. For example, we helped Lube Mobile connect with customers to service cars that allow high levels of trust. For us at home and we created a fully integrated campaign for RAA focussing on road that meant during the last year we trips for the summer holidays. We also worked with several wineries to build were able to help our clients adapt winem8, our wine club and subscription management tool to shift sales to a quickly and keep their brands cur- longer term relationship based on reward and choice. As such we found that rent in the lives of their customers at given the opportunity, most of our clients remained devoted and brave in a time of tumultuous change. their commitment to their own customers not to go silent, but to be a reassur- Whether it be launching a loyalty ing presence in their lives through ongoing connectivity and engagement. based e-commerce platform for Wirra Wirra, or producing tactical What are the big trends you are seeing from advertisers TVCs for Tourism NT and RAA in the in the market going into 2021? midst of restrictions, or launching a Advertisers are gearing up by being ready for whatever 2021 throws at Sapporo brand campaign with adap- them. They are more resilient, more robust and are thinking more about tive media that responded to the the holistic experiences customers have with their brands, where that ever-evolving city lockdowns, our takes place and when the most appropriate time is to engage with them creativity and responsiveness has is. Those that kept their foot on the gas in 2020 are positioned well to been fuelled by strong personal rela- reap the benefits as the market rebounds. As are those who understand tionships with our clients. more about regional adaptability and relevance. How have you seen market Mark Elsdon, managing director, Jarvis Marketing & OMD spend change over the last year with the pandemic? How would you describe the Adelaide advertising market? Despite market spend initially shift- Like most markets there is some great work and some poor work. The ing down, we helped clients refocus four main media agencies Wavemaker, Carat, OMD and Starcom control on the new opportunities their most of the media spending through direct or bill through models. The brands could play in the lives of their market is dominated by a lot of small agencies and a handful of full service customers and searched for the most agencies that have been around for a while. There is an abundance of appropriate ways of reaching them. opportunity but you have to work hard to remain relevant. What sets it apart from other cities? We weren’t settled by convicts and that makes us think we are a little more refined. We are the best at most things because we have to be. I think we are the lifestyle state because it's relatively easy to get around, great to bring up children, food and wine to die for and the average person can still own a house in their lifetime. Although it is hard to make a dollar, so if you can make it here you can make it anywhere. The Adelaide market has its challenges but also offers great opportunities. I wouldn’t live or work anywhere else. How have you seen market spend change over the last year with the pandemic? Similar to most markets it was hit hard in the June quarter but there were winners and losers. Anything to do with the home were winners and anything to do with travel and hospitality were losers. We’ve never experienced a shift in consumer spending and sentiment like it in our lifetime. Overnight people became more tribal shifting their spending to support local suppliers where they could and updating their homes. We’ve seen confidence return in most sectors in the last quarter of 2020 and I’m confident about 2021. What are the big trends you are seeing from advertisers in the market going into 2021? We are generally seeing renewed confidence in the retail market. Although more short term planning and caution. Other than hard retail that is a big part of the market with price offers, what we are seeing from the better brands is a significant shift in messaging. The smart advertisers are trying to capitalise on the shift in consumer sentiment around sup- porting local by shifting their messages to one of SA owned and made, history, community etc. with care and quality promises over price. It’s an exciting time to be in the ad business in Adelaide. AdNews Live: Adelaide Amplified at Ayers House from 1pm March 4, 2020. AdNews would like to thank our sponsors SCA, Boomtown, Dentsu/Carat, Nine, Jarvis Marketing/OMD, oOh!media and Taylors Wines, and our co-cu- rators AADC and Adelaide Media Club.



Meet the Team SIMON RYAN: The rise of the independent was never more prevalent than in 2020. THE NEW GLOBAL As Australia’s borders remained closed throughout the COVID-19 pandemic, locally owned agencies spun into the spotlight, proving to be IS LOCAL agile and able to maintain the speed required to keep up with the ever-changing climate that has become the new normal. Former Dentsu and Carsales boss Simon Ryan marked his return to adland last While some may think it risque to start a new business in the middle of year with his new venture, RyanCap. all of this, Simon Ryan saw an opportunity to offer local clients a one-stop shop that is wholly Australian owned. The former CEO of Dentsu Aegis AdNews spoke to Ryan and the team to Network Australia and New Zealand (now Dentsu) and managing director discuss where the business is at today, of commercial at Carsales launched RyanCap in the middle of last year. what’s on the agenda for 2021, and why being Australian owned is advantageous. Six months in and the parent company has around 30 staff and more than 20 clients across its two businesses, Ryvalmedia and Foxcatcher, WORDS BY in Melbourne. Aiding in its growth was the acquisition of indie digital PAIGE MURPHY media shop JBZ Digital. Ryan tells AdNews that much of the parent company’s quick success boils down to its local ownership and starting ahead of the curve, unlike its more traditional counterparts which are busy undergoing their own transformation. “If you look at where the big parent companies are at, they’re busy trying to transform their own businesses and are quite inwardly focused,” says Ryan. “We will start from where they want to end up, and I think where they will end up being, in their own sphere, is still scaled in some way or form to look after global clients. But I think local clients in Australia and brands that have autonomy to make local decisions will gravitate more towards independent owned businesses. “The new global is local and clients are focusing on Australian agencies and/or Australian parent companies that can offer the solution in one shop. “What I’m doing is taking the best of what I can see from a capability sense and bringing that together under an Australian umbrella. I don’t need overseas

www.adnews.com.au | January/February 2021 45 approvals. I don’t need approvals on anything from anyone else bar myself.” “On the capability side of He describes RyanCap as similar to Sir Martin Sorrell’s S4 Capital things, though, we’ve built good capability in Melbourne. Now it’s model but instead localised to the Australian market and comprised of about replicating that in Sydney.” three core pillars: media, tech and data, and consultancy. The current Melbourne team has “It’s a unitary structure which gives us the opportunity to work not been working remotely since the in silos but all work together,” says Ryan. launch of RyanCap, but is now set to move into its office this February. “Whether it is media, tech and data, or consultancy, we’re working The office has been purpose built hand-in-hand to ensure we’re enabling clients to transform in the digital for the team and will allow for 50 economy.” staff. As the team evolves, Ryan says the building has more space to RyanCap’s digital media business, Ryvalmedia, currently makes up expand into. the bulk of the group with the JBZ Digital acquisition being rolled into it and bringing both staff and clients with it as well. Led by managing Meanwhile in Sydney, the plan is director Joseph Pardillo, it was the first to launch in the group. to set up shop around March or April with a space that will allow for 30 Marketing data and technology business Foxcatcher launched soon people in its first year of business. after with David Gaskill at the helm. Foxcatcher has a focus on customer data, digital ecosystems and convergence, aligning addressable media By the end of 2021, Ryan hopes with CRM, direct-to-consumer (DTC) and ecommerce outcomes. to have somewhere between 50 and 100 staff, two offices and be gener- Ryan says opening a Sydney office, as well as a consultancy and ating between $100-$150 million in advisory business are on his agenda. Down the track, an office in Brisbane turnover with 30 to 40 clients. might also be on the cards as he builds RyanCap’s presence across However, he isn’t concerned with Australia’s eastern seaboard. the size of those clients. In terms of talent, Ryan says he is on the hunt for the right people who “A client, whether they spend are “hungry” to be part of what he is growing, and who fit the calibre a million dollars or whether they and culture of the team. spend $40 million, they’re a client and they’re all just as important as “I’m looking for anyone who’s at senior digital capacity on the media each other,” he says. side, tech and data side, and consultancy side,” he says. At the moment the business has “We need to bring some more diversity to the team. We’ve got a little clients across sectors including bit of diversity — if you look at our gender split, it’s about 60-40. We’ve entertainment, retail and financial got a bit of maneuvering to do there. services. Ryan is hoping to grow into the automotive area as well given his background working at Carsales. He also hopes the growth and expansion of Foxcatcher will open doors to new sectors for the business as well. “While we’ve been quite successful in picking up a number of clients in the traditional sphere, we also want to attract digital economy clients,” he says. More mergers and acquisitions could be underway, too, pending the right fit of the business. Ryan says the businesses he is looking to acquire need to have digital capabil- ity. He is in talks with some already. “I’m working with a lot of large consultants on those,” he says. “Due to my history, I have a pretty good relationship with the large consultants who are brokering a lot of these businesses. The good thing is they’ve been incoming calls, which is nice. “I’ve also given a lot of the large consultants information and cre- dentials on our business and what our plans are. So now we’re seen as a potential acquirer as well.”

Feature JOSEPH PARDILLO•MANAGING DIRECTOR, RYVALMEDIA Tell us about your role... help marketers either accelerate we create new streams of business I see my role as navigating the way their in-house digital functions or growth for our clients across our forward for the team by ensuring provide holistic media consultancy digital media, tech, content and a future fit Ryvalmedia Melbourne that emanates from digital-first analytic-based communications office, and ensuring our people thinking. This, layered with our initiatives. are best equipped and supported highly experienced executive team to be able to lead and collaborate that has witnessed the traditional What are your top goals/priorities with our client partners in the advertising space evolve rapidly, for the business in 2021? digital economy. is what I believe positions To capitalise on our continued Ryvalmedia uniquely. momentum off the back of a wild How does Ryvalmedia differ from 2020 that thankfully saw us thrive traditional media agencies? What is the best part about your job? amid the craze of the pandemic. It starts and stops with the Learning something new from the We have aggressive growth people, although the people team, and being invigorated by ambitions in 2021 so one of my alone component is not what the diverse tech-orientated talent main priorities is to ensure our differentiates us from the rest as who sit right next to me or are on team infrastructures and talent I’m sure most media agencies the screen on our team Google capabilities are building in parallel would proclaim they have a great Hangouts calls. I love the spark that to this. Above all is our relentless Ryvalmedia has provided my career goal to well position our client crew at the helm. However, from in not only the entrepreneurial partners for sustained business the outset Ryvalmedia was born aspect, but also absorbing new growth, in a period where they have with a blend of individuals who things from the bright minds across all had to endure unprecedented possess a DNA deeply rooted the floor — especially from the headwinds and newfound across digital, tech and analytics, youngest members of our team — as opportunities at the same time. who collectively are tuned in to MARCUS BETSCHEL•HEAD OF DIGITAL & PERFORMANCE, RYVALMEDIA What does a typical day look like areas such as digital strategy, data will continue the evolution that has for you? collection and storage, as well as been at work for the past few years. The only thing typical about my staff recruitment and training. The focus will be on understanding day is that there is no typical day! In the same vein, we’re always any impacts to digital platforms Throughout my career, whether working ahead with key platforms on the back of continuing updates working client-side at Flight Centre and partners to ensure our staff to privacy legislation, as well as Group, Coles Group or in the finance training and development is the assisting clients who are trying to sector, or within the agency world, best it can be so we can continue integrate their digital activity into I identified that working within to offer the best consultancy and wider marketing activity to digital always afforded the greatest execution for our clients. ensure they are getting variety of daily work challenges. the most out of their How will digital and performance marketing dollars and Currently, I find myself marketing change this year? building as much spending most days working as I believe rather than change this data insight to plan far ahead as possible — working year, digital performance marketing for the future. with clients to plan ahead in key

www.adnews.com.au | January/February 2021 47 ISABELLA JACKSON• GROUP BUSINESS DIRECTOR, RYVALMEDIA Tell us about your role... What attracted you to joining and cement these behaviours As group media Ryvalmedia? (eg, ecommerce). On the flip side, director I would say The opportunity to be a part of businesses which struggled in something from the very beginning 2020, such as hospitality and my role is unique in doesn’t come around very often. tourism, will be fighting to get that no day is the Ryvalmedia had a unique offering back in the black in an extremely same. From pitching and a great group of people which competitive time. made the decision a no-brainer for to onboarding, me. And, of course, the chance to If you could work in another role in finance to work with Joseph and Simon again! the business, what would it be? mentoring, the I find David Gaskill’s role as managing list goes on! I am What are the biggest challenges director of Foxcatcher hugely very fortunate clients face in 2021? appealing because every time he The challenge for businesses that walks out of a meeting, clients are to be able to thrived in the past 12 months is left “wowed” with his knowledge and dabble in many to maintain revenue trajectory expertise in data and tech. different areas and work alongside our fabulous team. DAVID GASKILL•MANAGING DIRECTOR, FOXCATCHER Why did you join Foxcatcher? industry, and there is no How important is marketing data I joined Foxcatcher because the shortage of digital collaboration and technology for brands in 2021? industry is awash with expensive and productivity platforms we 2021 will be a step-change data and technology which go can harness, but it’s about opportunity for brands that largely underutilised, and I wanted getting the balance right to get data and technology right. to help brands simplify and integrate these into our working 2020 saw some of the largest understand what really matters: lives as second nature. In many transformations in consumer their customers. Foxcatcher is an ways, the opportunity to sit behaviour not only across opportunity to take a fresh look at down with great clients and ecommerce, but how we consume, how we build this understanding have a real-time feedback research and interact with our and insight, and help clients loop actually helps us be more friends and family. Businesses deliver real world outcomes efficient, so one of the biggest that take a strategic approach and success through connected challenges of 2021 will be to learning from customers strategy and execution. ensuring we harness the best to unlock new insight and of both worlds and get into activations will not only establish What’s the biggest challenge a productive rhythm that the strongest brands, but position in your role? continues to deliver themselves to accelerate as the The evolution of flexible creative business solutions digital landscape continues to working has transformed our for our clients. transform and reform in 2021.

Creative Review PIA CHAUDHURI BMF group creative director As an expat in Australia, my relationship with iconic Aussie brands is somewhat neutral. They didn’t populate my childhood; jingles weren’t hummed, flavours weren’t formative, logos weren’t collected. They don’t colour my nostalgia at all so these ads are something like an anthropological study of my new-ish home. True blue ads GUY PATRICK The Works creative director Nothing says true blue for people who grew up in Australia like these dinky-di brands. But as they revamp We spend most of our careers their advertising, do they still hold the same clout building brands, vying for today? AdNews asked creatives to share their thoughts scraps of affection, hoping we on campaigns from several iconic Aussie brands. find our place in Australians’ hearts. These are some of the WORDS BY brands the nation is deeply PAIGE MURPHY in love with, therefore there’s high expectations of them. Thanks to all those involved for finding new ways to keep the old flames burning. DAN O’CONNELL Innocean creative director Like larrikinism and lamingtons, certain brands are part of Australia’s national identity. When you have such a rich heritage, the temptation to fall back on a brand’s tried-and-true asset, like We Love Our Little Vegemites, will always be there. Hats off to the brands which attempt to evolve.

www.adnews.com.au | January/February 2021 49 VEGEMITE — TASTES LIKE AUSTRALIA Creative Agency: Thinkerbell PC: Most of this ad is lost on me holiday in Bali should do the (apart from Skippy — I know him). trick). Marketeers are all looking Without intimate knowledge of for purpose, and Vegemite found each reference, it fails to connect. the best one to make people The craft is that of a pitch hype chuckle and weirdly patriotic. reel so it didn’t win me over there either. It leaves me pondering DO: The ghost of the jingle has how much of this Australia is haunted Australian advertising still relevant today. But then it’s since the golden days of Mo probably not targeted at me and Jo. But if anyone can have anyway. a crack at bringing it back, surely it’s Vegemite — the GP: Cut me into slices and brand the Anzacs fought for. spread Vegemite ads all over me. This campaign might not reach If you don’t like this, get the f**k the heights of iSnack 2.0, but out of this country (a two-week you can’t deny its charm. R.M. WILLIAMS — PC: I really like this! You’ve got HUGH JACKMAN GETS COMFORTABLE to love a celebrity who doesn’t take themselves too seriously — Creative Agency: Aussies are really good at that. It’s well scripted, well acted and well Maximum Effort shot. The backstory of how Hugh Jackman actually owns five per cent of R.M. Williams is fascinating. GP: How easily this could have been Hugh Jackman kicking up dirt on a dusty farm. How thankful are we that it’s not. It is proof that serious brands can and should be funny. As for dick jokes, well, I can’t get enough. DO: A naked man with legs splayed like a Portuguese chicken is exactly the kind of subtle comedy that put this country on the map. But the pacing on this spot seemed a little off. Maybe something more could have happened? Still, as far as celebrity endorsements go, it’s pretty memorable.