Serving effective ads which simultaneously enhance viewer experience is a perennial goal of the advertising industry, however in tough times it is often the bottom line that receives all the focus, shuffling consumers down the pecking order. This in turn can raise the risk of customers turning to ad-free subscription services and ad blockers.
Writing exclusively for ExchangeWire – provider of global data and insight on Marketing Technology, Advertising Technology and Programmatic Advertising, Mark Inskip, CEO – Media Division at Kantar, discusses what lessons from cinema advertising can be applied to other platforms in ensuring memorable and fruitful ads, without compromising user engagement.
Those in the ad industry are living in challenging times. Last month’s IPA Bellwether Report showed overall ad spend flatlining, whilst Kantar’s own DIMENSION report of 1,000 connected consumers in the UK revealed that 55% are completely apathetic about advertising.
But it’s far from bad news across the board. Internet spend continues to rocket, and some spheres of advertising remain very much enjoyed and celebrated. Cinema, in particular, is bucking the trend, with 37% of consumers surveyed for DIMENSION saying they actively enjoy advertising at the cinema. That means an appetite still exists for entertaining brand campaigns, and offers interesting insights for brands and marketers looking to get their advertising ‘right’.
So what makes the big screen so successful, and how can we take those learnings to other platforms and touchpoints?
Make it Seamless
Think of the context in which you see cinema ads: plied with popcorn, lights dimming, you know exactly what to expect, when to expect it, and perhaps even how long to expect it for. Indeed, it’s part of the value exchange, in exchange for your ticket, you accept a certain (proportional) amount of advertising.
However, you’d never expect to see the same ad several times, or indeed have your film interrupted at a crucial scene by an irrelevant advert. And yet an enormous 70% of those we surveyed have experienced just that, admitting they’re subjected to the same adverts time and time again. This isn’t just a mild inconvenience, but an issue throughout all platforms and formats. As Video-On-Demand (VOD) grows, for example, we’re seeing more and more broadcasters struggle with the right ratio of ads to content, trying to find a balance between what’s profitable and what’s consumer-friendly. Given repeated negative experiences are damaging to brand reputation, that equilibrium is crucial.
The underlying message here is that context really matters, and that goes beyond just online and video ads. As brands delve deeper into formats like product placement, sponsorship, advertorials and the like, even the more subtle forms of consumer engagement need to be well considered so as not to be jarring.
Ultimately, if we want consumers to move past their apathy and actually engage with ads rather than avoid them, it’s crucial we approach at the right place and time, and the right frequency, so we’re not talking to a brick wall.
Make it Entertaining
Audiences are in fact much more receptive than you might think: a significant 48% of consumers do notice ads on platforms they enjoy using, whilst 41% are more likely to believe advertising that appears near another trusted brand. That means platform, placement, and timing are crucial.
Cinema gets this right. From trailers which make your hair stand on end, to full features in 3D, or even space-aged 4D, cinema elevates films to sensory experiences and takes content to the next level. After all, if it didn’t, you’d stay at home.
Of course, every platform has its own strengths, a one-size-fits all approach won’t do. But if brands can get into the right headspace and engage consumers on their terms, providing top-quality entertainment within the right context, whether an innovative format, interactive experience, or by offering actionable information, their campaigns are far more likely to succeed.
Make it Tailored
You’d never run an 18+ trailer before the screening of a U-rated film. It might sound simple, but this fairly basic level of tailoring and targeting doesn’t always trickle through to the small screen or the browser – leading to irritated consumers at best and brand safety failures at worst if content ends up in the wrong environment. 61% of the consumers we surveyed actively prefer to see ads relevant to their own interests, but the average experience leaves much to be desired. That means there’s a significant discrepancy between what consumers want and what they’re getting.
A key part of the solution is accurate targeting and measurement. To gain insights on how to create seamless, entertaining, useful advertising, brands need to give up guessing and find out exactly who their audiences are and what makes them tick – on as granular a level as possible. That means harnessing detailed customer data or working with a reliable data partner.
A positive feedback loop driven by insights will lead to exponentially better campaigns. Remember, however, that data use must be responsible; with 54% of consumers objecting to targeting based on their past activity, it’s important the value exchange for consumers is made clear so they feel supported, not surveilled.
Curtain Call
Of course, some elements of the big screen experience aren’t easily transported to the home environment, but the message is clear. Producing and serving exciting, entertaining and useful content at the right time, in the right place is key to capturing and keeping eyeballs, and accurate measurement is a key part of making sure we’re going in the right direction.
Getting consumers onside is tough, but in an era where avoiding advertising is perhaps easier than ever, it’s extremely important. Intriguing, delighting and informing is a sure-fire way to neutralise the ongoing impact of adblocking and ad-free subscription services.
Cinema advertising makes the most of its space, creative and audience to deliver gripping content, showing us advertising at its very best. With a little bit of nous, a touch of creative, and top-of-the-class measurement, we can aim to make every ad as good as on the big screen.
Source: ExchangeWire
The world will soon have a new ‘Clown Prince of Crime’ when Joker debuts on 3rd October 2019. This time, he’s a comedian played by Joaquin Phoenix, and he’s ready to turn Gotham City’s frown upside down no matter what it takes.
From its GRITTY and enigmatic trailer, to the buzz created after winning The Golden Lion at the Venice Film Festival – the festival’s highest prize, the stakes are high in terms of audience anticipation.
Produced by DC Film and distributed by Warner Bros. Joker is unlike any other superhero film. Brace yourselves for the brand new take on the Dark Knight’s greatest nemesis, guaranteed to put a ‘smile on your face’.
Watch the trailer of the Joker 2019:
Here’s what you should know about Joker:
Rating:
Joker is the first live-action Batman franchise film to receive an R-rating from the Motion Picture Association of America, due to its strong bloody violence, disturbing behavior, language, and brief sexual images. It can be presumed that the movie’s rating in the Middle East will end up being PG-18 for cinemagoers.
Is this Joker part of DC Comics?
There has been much speculation floating around as to whether the Joker is part of the DC Comic universe. However, director Todd Phillips has made it clear that the movie is a standalone story of the origins of Joker – the criminal mastermind and well-known nemesis of comic superhero Batman (in a never-seen portrait of the man behind the mask).
Joker is closer in spirit and substance to gritty cinematic portraits of antiheroes from the 1970s: Taxi Driver (1976), One Flew Over the Cuckoo’s Nest (1975), Serpico (1973), unlike any other typical modern comic-book movie.
Arthur Fleck (Joker’s real name in this standalone movie) does not align with any origin of the Joker ever published. What bits and pieces we’ve seen from promotional material resists attempts to connect the movie to any one story. It seems to be, by and large, entirely original in a way vanishingly few superhero movies have been.
Set in a ‘broken-down’ Gotham City between late 1970s and early 1980s, Joker shows the progressive evolution of Arthur Fleck, who is a clown-for-hire living with a fragile mother and struggling to keep his own peace of mind. But what’s up with his creepy laugh? Why is he taking care of his mom? We don’t know — and that’s possibly part of what the movie will explore.
*Did you know – This is Joaquin Phoenix’s first role in a comic book film. He previously turned down the title role in Doctor Strange (2016) as well as the chance to replace Edward Norton as the Hulk in The Avengers (2012), because he was unwilling to sign on to the multi-picture deal that Marvel Studios was requiring.
Director
Todd Phillips has directed numerous big hits – of which a majority are comedies. He directed all three of the movies in The Hangover series. With the release of the Joker trailer, many have praised what Phillips has shown thus far, with some even comparing the trailer to the work of legendary director Martin Scorsese. Helping to drive that comparison home is the fact that ‘frequent Scorsese collaborator’ Robert De Niro will be appearing in Joker.
Phillips has a series of blockbusters under his belt and is best known for writing and directing the comedy films. However, for his work on the satirical comedy film Borat (2006), Phillips was nominated for the Academy Award for Best Adapted Screenplay.
The kind of gritty thriller Joker aims to be would be one thing, but what cinematic alchemy might happen when Phillips – who understands what it’s like to be inside Arthur Fleck’s head, is behind the camera? We will just have to wait and find out!
Who are the other characters alongside Joker?
Penny Fleck
Frances Conroy plays Penny Fleck. Penny is Arthur’s mother. She is an older woman whose health is fading, making her practically bed-ridden.
Conroy is best remembered for her role in HBO’s Six Feet Under. More recently, she has appeared in recurring TV roles in Castle Rock, American Horror Story, and Arrested Development.
Murray Franklin
Robert De Niro plays Murray Franklin. Murray is a talk show host on a late-night television program which airs in Gotham. He plays a role in Arthur’s transition from a struggling stand-up comedian into the Joker.
De Niro is a Hollywood legend with a career spanning more than 50 years in movies and television. Roles in films such as Taxi Driver (1976) and Raging Bull (1980) put De Niro on the map. Among his most recent credits are: The Intern (2015), Joy (2015) and Dirty Grandpa (2016), and another collaboration with director Martin Scorsese for The Irishman on Netflix.
Sophie Dumond
Zazie Beetz plays Sophie Dumond. Previously released details about Sophie note that she is a single mother living in Gotham and is a person of interest (possibly a love interest) to Arthur. Sophie is beaten down by life in the city of Gotham and feels as if the system is stacked against her and others in her community.
Beetz is best known for her role on FX’s Atlanta. She has also appeared in Geostorm (2017), Deadpool 2 (2018), and Steven Soderbergh’s High Flying Bird for Netflix
Watch the star cast in the first look of Joker:
Here are some statistics for previous DC Films (distributed by Warner Bros.):
Aquaman (2018)
Worldwide Box Office: $1,146,894,640
UAE Admissions: Ran for 15 weeks and did over 541K admissions
Wonder Woman (2017)
Worldwide Box Office: $821,133,378
UAE Admissions: Ran for 13 weeks and did over 329K admissions
Batman v Superman: Dawn of Justice (2016)
Worldwide Box Office: $867,500,281
UAE Admissions: Ran for 13 weeks and did over 541K admissions
Suicide Squad (2016)
Worldwide Box Office: $746,059,887
UAE Admissions: Ran for 10 weeks and did over 338K admissions
The Dark Knight Rises (2012)
Worldwide Box Office: $1,084,439,099
UAE Admissions: Ran for 11 weeks and did over 338K admissions
Boxoffice Pro is projecting Joker to make $103 million in its US opening. That would be the biggest October opening of all time, beating the record set by Venom (2018).
Motivate Val Morgan forecasts over 300K admissions in the UAE for Joker.
Contact a member of our sales team for cinema advertising opportunities alongside this MEGA Blockbuster.
Sources: ScreenRant, The Numbers, Wikipedia, Looper and Business Insider
AMA International University in Bahrain – a branch of the Philippine-based AMA Computer University, recently booked an integrated cinema campaign with Motivate Val Morgan – through Albayan Media Group, at VOX Cinemas City Centre Bahrain.
On Screen Campaign:
A 15 sec. on screen ad was booked to screen for a period of 4 weeks – from 18th July to 21st August 2019, on Screens 1 and VIP 1.
Off Screen Campaign:
The off screen campaign included two components: an ad on the Giant Screen in the Foyer Area of the cinema from 18th July to 17th October 2019 and a Display set up near Screen 9 in the Concourse Area of the cinema from 11th August to 13th August 2019.
Amplify exposure for your brand by capitalizing on imaginative and exciting promotional ideas to complement on-screen campaigns.
Contact a member of our sales team for similar advertising opportunities in Bahrain and across our circuit in the Middle East.
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Breitling – Swiss luxury watchmaker and Kipling – Belgian fashion brand known for affordable, sporty and functional bags, recently booked cinema campaigns through Motivate Val Morgan at VOX Cinemas – City Centre Bahrain.
Breitling booked a 30 sec. on-screen ad which ran from 24th – 30th August, 2019 on the screen with the largest seating capacity, as well as on the VIP screen.
Taking an integrated approach, Breitling also booked an off-screen campaign from 19th August – 18th September 2019, which included an ad playing on the giant screen in the foyer area of the cinema.
Kipling booked a solely off-screen campaign from 23rd August – 22nd September 2019, which included an ad on the giant screen in the foyer area and on the screens at the back of 5 cinema ticket counters. The ad promotes Kipling’s special offer – receive a gift voucher of BD 10 on every BD 50 spent.
Seeking to amplify exposure for your brand? Adopt similar creative promotional ideas to enhance on-screen campaigns.
Contact us for more information of advertising opportunities across our circuit in the Middle East.
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Abu Dhabi’s biggest VOX Cinemas opens at The Galleria Al Maryah Island
VOX Cinemas has added yet another location to its portfolio in Abu Dhabi. The brand new multiplex at The Galleria Al Maryah Island – located on the fourth floor of the North Atrium, opened its doors to cinemagoers on Thursday 5th September 2019.
VOX Cinemas – The Galleria Al Maryah Island offers an impressive 21 screens with a total seating capacity of 1,738 seats. The cinema is home to Abu Dhabi’s first IMAX screen (next-generation laser projection system to deliver stunning, crystal-clear images on the biggest screens for the world’s most immersive cinematic experience) and also includes Theatre by Rhodes (where fine food meets films) and Kids (designed especially for little movie lovers) screens. It is a cinema for all kinds of moviegoers – families with kids, luxury lovers and experience seekers.
VOX’s homegrown signature F&B outlets – Nutella Bar, Pizza Al Taglio and Kitchen 35, will also be available on site.
“VOX Cinemas continues to provide a compelling attraction for communities and our latest venture on Al Maryah Island is testament to its enduring appeal and success. We cannot wait for movie fans to experience our largest cinema in the capital and enjoy the many immersive cinema concepts we offer, including IMAX with Laser, an unrivalled and unmissable technology in the world of film,” commented Cameron Mitchell, CEO, Majid Al Futtaim Cinemas and Majid Al Futtaim Leisure and Entertainment.
The Galleria Al Maryah Island will reinforce Majid Al Futtaim Cinemas’ status as the fastest growing and most innovative cinema exhibitor in Abu Dhabi. The cinema exhibitor presently operates 440 screens across 44 cinema locations in UAE, Oman, Lebanon, Qatar, Egypt, Bahrain, Kuwait and KSA.
We at Motivate Val Morgan would like to congratulate VOX Cinemas on the opening of the cinema at The Galleria Al Maryah Island, and as the exclusive cinema advertising partner, welcome this new location to our circuit in the UAE.
Contact us for more information on cinema advertising opportunities at VOX Cinemas – The Galleria Al Maryah Island in Abu Dhabi.
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New VOX Locations in Dubai and Abu Dhabi
Source: albawaba (Business)
Cinema advertising growth is outpacing all other traditional media, as Netflix’s rise shows no notable impact
The global cinema advertising market is expected to be worth $4.6bn this year, representing a 6.8% rise from 2018. This is ahead of the all media growth forecast by WARC, the international marketing intelligence service, of 4.6% for 2019 (to $624.9bn), and places cinema as the second-fastest growing ad medium this year, behind internet as a whole.
Cinema’s share of global adspend is holding steady
While small, cinema’s 0.7% share of global adspend is expected to hold steady in 2019, making it the only medium other than internet not to lose share. Figures from WARC’s Adspend Database show that cinema’s share of global adspend has dipped only twice since 1980 (1994 and 2013) and growth in cinema ad investment has generally tracked ahead of other traditional media since 1981, and consistently so since 2014.
In Europe, advertisers spend 1.6 times more on cinema per admission than in the US. The UK leads the way, with spend per admission rising from £0.18 in 1980 to £1.43 last year, when 177m admissions were recorded – the highest on record. This despite 46% of UK consumers stating that Netflix is their first choice for watching movies, according to GlobalWebIndex.
China is driving global growth, US brands are under-investing
China is the largest cinema ad market globally, with RMB11.9bn (US$1.8bn) expected to be spent this year. This equates to a 47.3% share of global cinema adspend when measured in Purchasing Power Parity terms. Further, China has accounted for three quarters (74.9%) of global growth in cinema adspend since 2015, on average, and is expected to contribute 87.4% towards global cinema growth this year. IHS figures suggest that the number of cinema screens in China increased by 9,303 in 2018 alone, or 26 per day on average.
In the US, the world’s second-largest cinema market with a projected value of $735m this year, the medium draws less than half a percent (0.4%) of media budgets on average. Seven product categories allocate more than this, most notably food, for which cinema accounts for 1.5% of all media spend. Non-profit (1.0%), telecoms & utilities (0.7%), alcoholic drinks (0.7%), automotive (0.6%), transport & tourism (0.6%) and financial services (0.5%) also record investment levels above the US average.
DCM recommends that brands invest a minimum of 2.7% of budgets in cinema, with some sectors like travel & tourism seeing optimal levels of campaign ROI when allocating as much as 11%.
Attentive audiences ensure cinema ads get noticed in a brand-safe environment, while young audiences have a positive affinity with the medium
Captive audiences viewing high-quality ads in an emotional atmosphere is a draw for advertisers. Research by Ebiquity has found that Cinema outperforms all other media at triggering an emotional response, guaranteeing a safe environment, and getting ads noticed. However, the medium scores lowest in increasing campaign ROI, maximizing campaign reach, and generating short-term sales.
Cinema attracts a younger, more affluent audience who tend to be lighter TV viewers. According to IPA TouchPoints 6, cinema delivers a more positive emotional experience than any other AV channel (84% of time spent at the cinema is associated with positive emotions for 16+ adults, versus 60-65% for live TV, longform VOD and short online video). Kantar Millward Brown has also found that among ‘Gen Z’ (16-19 year-olds), cinema is the most popular traditional advertising medium with 59% feeling ‘positive about it’ (compared to 34% for print, 38% for TV and 50% for outdoor).
Consumers now spend more on streaming movies than visiting the cinema, but Netflix has yet to hit the box office
Data from the Motion Picture Association of America (MPAA) show that the amount consumers spend on digital home entertainment, including on online subscriptions such as Netflix, surpassed the amount spent at the cinema globally for the first-time last year ($42.6bn versus $41.1bn). This landmark had already been reached in the US during 2015.
Over the course of an average year, a Netflix subscription will cost a consumer US$113.16. This compares to the $45.55 a North American will spend at the cinema each year on average, with the equivalent figures for the UK and the EU at $25.13 and $11.04 respectively.
In the US, a moviegoer visited the cinema five times on average in 2018, which roughly equates to 263m consumers going every two months. But with almost three-quarters (74%) of Americans now using an online subscription – and 84% using a pay TV channel – to watch a movie at least 2-3 times each month, viewership in the living room may have reached parity with the silver screen.
James McDonald, Managing Editor, WARC Data, and author of the research, says: “The experiential nature of cinema places it in a different bracket to SVOD services, which instead occupy a similar space to traditional TV. This, coupled with the exclusivity of box office hits – particularly franchises – should ensure any downward pressure from SVOD services is minimal in the short term.
“Cinema offers advertisers access to younger, more affluent audiences who have an affinity with the medium. This enables ads to be screened in a brand safe environment where they will be noticed, often in a location that is close to a retail outlet and, by extension, a point of purchase.”
Global media analysis – Cinema
Other key media intelligence new on WARC Data
Global Ad Trends, a monthly report which draws on WARC’s dataset of advertising and media intelligence to take a holistic view on current industry developments, is part of WARC Data, a dedicated online service featuring current advertising benchmarks, forecasts, data points and trends in media investment and usage.
Download a sample report of WARC’s latest Global Ad Trends report on Cinema.
Source: WARC
Reel Cinemas recently launched 10 new cinema screens at Al Ghurair Centre – giving the neighbourhood a brand-new place to catch the latest blockbuster releases.
Having originally opened to the public with 8 screens back in April 2019, Reel Cinemas now operates 18 screens at Al Ghurair Centre which includes a variety of experiences such as Platinum Suites, Reel Junior for the little ones, an ultra-high-tech premium Dolby Cinema screen and dedicated screens for family-friendly movies.
Cinemagoers will also be able to get their hands on a variety of snacks which include the classics such as popcorn, sweets and soft drinks, plus hot food such as samosas, jalapeño poppers, bhajis, butter chicken fries, and even crêpes.
With the addition of the 10 new screens at Al Ghurair Centre, Reel presently operates 67 screens across 7 locations in the UAE.
Contact us for cinema advertising opportunities at Reel Cinemas.
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Source: Time Out Dubai
It’s time for the story of an entire generation – spanning 42 years, to come to an end.
Star Wars: The Rise of Skywalker – hailed as the biggest film of this year, will take the Middle East by storm on 19th December 2019. The ninth concluding episode of the series will explore whole new characters in entirely different parts of the galaxy.
Disney unveiled an exclusive glimpse into the ninth and final installment of the Star Wars saga to more than 100,000 guests at the D23 Expo which took place two weeks back.
The footage left the audience gasping and clapping to an emotional reunion of many members of the cast who took to the stage with Lucasfilm president Kathleen Kennedy and director J.J. Abrams.
J.J. Abrams shared emotional stories about the late Carrie Fisher and went on to describe the film as a love letter to her. The actress passed away before filming began, but with unused footage from The Force Awakens, Abrams was thrilled to announce Carrie Fisher’s final onscreen performance as Princess Leia Organa appearing in the final film.
Watch the ‘D23 Special Look’ for Star Wars: The Rise of Skywalker:
Final installments of long-standing film franchises typically see a 55% global box office uplift on their average film delivery. The Rise of Skywalker is predicted to surpass this trend with an estimated 77% increase on its previous titles.
Here are admission stats for previous Star Wars releases:
Star Wars: The Last Jedi (2017)
Worldwide Box Office – US$1,316,721,747
UAE Stats – Ran 9 weeks and did over 178K admissions
Star Wars: The Force Awakens (2015)
Worldwide Box Office – US$2,053,311,220
UAE Stats – Ran 15 weeks and did over 390K admissions
Motivate Val Morgan forecasts over 230K Admissions for Star Wars: The Rise of Skywalker – releasing 19th December 2019.
Join forces with Star Wars: The Rise of Skywalker and take the Middle East by storm this December!
Contact a member of our sales team for more information on cinema advertising opportunities alongside this MEGA Blockbuster!
Sources: Bandt, Time, The Numbers and MVM Analysis
Motivate Val Morgan has signed an exclusive advertising sales partnership with Muvi Cinemas in Saudi Arabia.
Muvi Cinemas – owned and operated by The Next Generation Company, is the first and only home-grown cinema brand in the Kingdom of Saudi Arabia. Having opened its first cinema at Mall of Arabia in Jeddah on 10th August 2019, the cinema chain plans to launch 250 screens across the Kingdom over the next 24 months – offering customers a range of cinema experiences, which include: SCREENX, Junior, Suites and bespoke Xperience.
Sultan Alhokair, Chairman and Founder of Muvi Cinemas said: “Muvi Cinemas is committed to delivering a world class experience to the Kingdom of Saudi Arabia.
Motivate Val Morgan presently has exclusive advertising partnerships with 7 other cinema exhibitors across UAE, Lebanon, Oman, Egypt, Qatar, Bahrain, Kuwait and Saudi Arabia, and a circuit of over 580 cinema screens.
Speaking on the new partnership, Ian Fairservice, Managing Partner of Motivate Media Group said: “Our continued expansion into The Kingdom of Saudi Arabia is key to fulfilling our business objectives. We are pleased to be associated with Muvi Cinemas and look forward to a successful partnership for many years to come.”
As the official cinema advertising partner, Motivate Val Morgan warmly welcomes Muvi Cinemas to our circuit in KSA.
Contact us for more information on cinema advertising opportunities at this new location.
For more information on Muvi Cinemas, please visit www.muvicinemas.com
The Ministry of Commerce and Investment in Saudi Arabia recently booked an integrated cinema campaign with Motivate Val Morgan – through agency Veyron Marketing Co, to promote the new E-commerce regulations in KSA.
The on screen component included four 45 sec. ads which screened (in rotation) for a period of 2 weeks (17th -31st July 2019) at VOX Cinemas – Riyadh Park Mall, Red Sea Mall, Kingdom Tower, Al Qasr Mall, West Avenue Mall and The Roof Mall, and AMC Cinemas – KAFD.
A variety of off screen advertising was booked from 18th to 31st July 2019 at the following VOX Cinemas locations:
The campaign received tremendous feedback from cinemagoers, and the Ministry of Commerce and Investment in KSA intends to make cinema a primary medium in their media mix.
Integrated cinema campaigns provide greater brand visibility and enable brands to target cinemagoers across multiple touchpoints.
Contact a member of our sales team for more information on integrated cinema campaigns across our regional circuit.
