What’s to come in 2014

Companies are now targeting customers more effectively, as demonstrated by the Mini DOOH campaign

Companies are now targeting customers more effectively, as demonstrated by the Mini DOOH campaign

Digital out-of-home continued to grow in 2013 – and it doesn’t look like slowing down in 2014. With lower prices and greater ease of use, the market is expanding into areas that perhaps wouldn’t have considered digital signage as an option before.

Compared with traditional advertising mediums, such as TV, radio or the internet, DOOH has been able to offer brands more control over their content and a better idea of the exposure they have. The interactive capacity of DOOH, as well as its ability to gather information through facial recognition and mobile technologies, puts it firmly on media planners’ maps. Talon’s chief executive Eric Newham calls it ‘face time’, in that it allows advertisers to choose who they talk to directly.

Richard Blackburn, commercial director at MediaCo, agrees with this suggestion: “The hottest trends in digital signage are currently facial detection and touch. Facial detection is not, in itself, changing the role of digital signage, but it does add another dimension for advertisers seeking to better understand how people react to creative engagement. This ensures that brand content not only evolves over the duration of the campaign, but also delivers relevant content to people.

“By combining touch capacity with this, we can deliver activation as well as branding,” he adds. “It is a potent mix.”

Liam Boyle, managing director of Monster Media, believes that this development shows the potency of DOOH: “I’m enjoying the continued use of data and analytics that help to prove the effectiveness of the medium. Measureable results support creative and demonstrate the power of integrated and interactive campaigns.”

The digitisation of OOH cannot be stopped and management tools for this fast and flexible medium are essential. Mike Dillon, director of Key Systems, opines: “Having seen the growth of digital assets amongst our traditional OOH clients, we know that the industry needs flexible and robust asset management tools.

“Our digital director is helping media owners and agencies to put the right content onto the right screens at the right time. It also provides proof of posting, which can be accessed through any Windows-enabled mobile device. Big data means big business for DOOH, but you need software that can process the whole life cycle of the campaign.”

Tim Harvey, director of digital strategy at JCDecaux, adds: “Facilitating the buying process by removing layers of administration and complexity between the brand and media owner is key. We need to prove the ROI of the medium through display metrics, through hardware and software performance, mixed in with audience data from EPOS and mobile search channels.”

When it comes to screens and players, simple is best. Companies that have put their bets on easy, transparent and straightforward operations are reaping the benefits. Signagelive is a good example of this, having seen a 40 percent growth in the past twelve months. Jason Cremins, Signagelive’s chief executive, comments: “The biggest trend has been the shift from exclusively AV-Systems Integrators installing digital signage networks to a mix of both AV and IT-Enterprise resellers that are now moving into the sector.”

Cremins attributes this trend to the simplification of end-user devices deployed for digital signage purposes, including Samsung Smart Signage and Android devices. Installation and maintenance of these digital display systems are so easy that AV resellers might need to rethink their strategies.

“We’ve seen a major retailer purchase its Samsung Signagelive Smart Signage displays from a major IT reseller, and then decide to install and maintain its digital signage by itself,” continues Cremins. “Previously, this type of deal would have been sold and installed by a specialist AV reseller.”

In terms of content, the move to HTML5 for media playback has encouraged other sectors, such as web designers, to create dynamic passive and interactive content and applications for digital signage, while the uptake of Android has helped hasten the spread of DOOH.

Content also poses a challenge in ultra HD, or 4K. The industry seems positive about its emergence but, due to the lack of components, content and the current cost, we will wait a while before we see it fully implemented across the DOOH spectrum.

For Matrox’s sales account manager Rob Moodey, though, the unmentioned barrier is actually in bringing the content to the screen. “The normal DOOH distribution architecture uses cat5 extenders, while ultra HD requires fibre optics, such as Avio’s KVM extender,” he explains. “For DOOH, more than just 4K, I foresee up-scaled, dynamic, full-HD content.”

For 2014, we can expect to see more fully integrated digital signage, in terms of hardware and software. Incorporating NFC, touch-less interactions and brand message personalisation will be a must. DOOH will also cease to be a separate category for advertisers, as it begins to lead the way on media planning.

First published 17 January 2014 – Output

Screens in the Wild

The research provided insight into how location and audience can affect interaction with DOOH

The research provided insight into how location and audience can affect interaction with DOOH

For the past two years the University College London (UCL) and the University of Nottingham (UoN) have been working together on a project called Screens in the Wild. Researchers from the UCL’s Space Group and the UoN’s Mixed Reality Lab investigated how media screens located in urban space can be designed to benefit public life.

The research team includes architects, human computer interaction designers, computer scientists, anthropologists, developers, artists and curators. Notably, it doesn’t include anyone currently working in DOOH. The reason for this is simple; they wanted to have total independence in order to be able to invite companies to try their test platforms in the second phase of the project, which began recently.

Ava Fatah gen Schieck, lecturer at UCL and head of the project, explains: “We built a series of architectural interfaces in Leytonstone, east London and Nottingham which use broadcast media and interactive technologies to foster community participation and ownership of the urban space.”

A total of four screens have been installed: two are in Nottingham, at the New Art Exchange and the independent Broadway Cinema, while the other two are in East London, one at Leytonstone library and another at volunteer-run community centre The Mill. The displays run as a network and, from the moment the first screen went up, the project has been running 24 hours a day. Each of the four nodes contains a touchscreen, a CCTV camera and a webcam, a microphone and a speaker.

Dr Holger Schnadelbach, the principal investigator and senior research fellow at UoN, was in charge of creating the technical platform for the project. The displays, which are NEC MultiSync screens, run on a Windows 7 platform using a Union Server and a touch foil overlay from Visual Planet.

“We tried various technologies, such as an Xbox for gesture interaction, but they didn’t work,” says Schieck. “We wanted to bring interactivity into the public realm and a simple touchscreen was the best.”

The research results show that slight distinctions in a screen’s surrounding area can provide remarkably varied results. Nottingham’s Broadway cinema is situated a few metres back from the street; here, people tend to stay and interact with the screens for extended periods, or just sit around and passively watch others play. In east London, where the screen is on the high street itself, the dwell time is briefer.

The project’s aim is to invite people to get more involved with their local community. With this in mind, researchers invited local digital artists and residents to workshops and events in which participants generated their own relevant content.

“A key element for engaging the public, besides creating simple interaction mechanisms, is to focus on locally generated content and to collaborate with communities to generate and develop the content,” believes Schieck.

One of the most popular interactions is a photo booth application, where pictures can be shared between the four locations, while another – a game – saw a high level of participation from children.

“Depending on the time of day you can get a very different picture of the interaction taking place,” explains Schieck. “For instance, inhibitions seem to disappear in the evening.

“There is an interesting case with the community centre screen where, for the past two years, a man has visited the screen every other day and had his photo taken. The picture only shows a snapshot of the interaction, but through our CCTV camera observation we can see that what he does is a whole performance: he dances in front of the screen!”

The research and development phase has ended; however, the screen network with its scheduled experiences continues to run and is available for any interested party to run tests on. Local venue owners and the residents involved in the project have expressed their continued interest in supporting the project.

“We have developed knowledge of what works and what doesn’t work, knowledge of the urban setting and the types of community around the screen locations, ” concludes Schieck. “We would like to test the possibility of offering the screen locations as a research test bed for developing novel ideas and supporting new ways of engagement with the public, which might be of interest to media owners and advertising agencies.”

The DOOH industry has a gap to bridge between academic research and the practical application of screens in the urban landscape. The Screens in the Wild network could be an ideal platform for identifying useful information about specific locations and engagement levels. This controlled environment can provide an outline of the social and technical challenges and opportunities for further developing out-of-home advertising and permit the transfer of this knowledge to other networks.

First published 12 December 2013 – Output

The debutant steps out: European Sign Expo preview

Pyramid Computer's polytouch solutions can pair with receipt printers and other peripherals to create new customer-facing propositions, including this concierge solution

Pyramid Computer’s polytouch solutions can pair with receipt printers and other peripherals to create new customer-facing propositions, including this concierge solution

The buzz is gathering pace for European Sign Expo (ESE), which, in only a few hours, will open its doors for the first time at London’s Excel exhibition centre. Presented in colocation with FESPA’s wide-format print show, which carries the same name as the organisation, and having acquired Screenmedia Expo a few months before, ESE draws in old and new exhibitors from the analogue and digital systems worlds, representing a new way of looking at what each calls ‘signage’.

Inurface Media was one of the first companies to sign up. Director Joshua Bunce explains that the positive exposure the company received last year at Screenmedia Expo, plus the fact that this is a new show, encouraged him to participate. “The signage industry is changing and we have lots of bespoke solutions of interest to people from the print industry that are thinking about jumping into digital,” he elaborates. “Print and digital complement each other, but the latter provides more flexibility and the opportunity of having dynamic content.”

Bunce is hoping the colocation of ESE with FESPA will bring more visitors to his stand. This year, Inurface will showcase videowalls using technology from NEC and Christie MicroTiles, plus a 46″ (116.8cm) IP65-rated outdoor screen developed by the company itself. Also on display will be an interactive, gesture-based rugby game created for the Heineken World Cup, as well as wayfinding solutions.

As a franchise-based network of sign-making companies, Signs Express doesn’t originate in the digital signage arena but decided a month ago that a stand at ESE might help it reach into a new market. Headquartered in Norfolk, Signs Express has 70 franchise centres across the UK and Ireland and has become a household name since its inception 20 years ago.

“Our goal for the show is to speak to specifiers and end users about our signs and graphics services, and in particular our national account and project management solutions,” comments marketing manager Rebecca Dack. “We are interested in finding out more about opportunities in digital signage, as well as changes in wide-format digital print machinery.”

Pyramid Computer’s business development manager for polytouch, Florian Pagendarm, will be at the show’s Digital Lounge demonstrating the company’s 22 and 32 Classic kiosk terminals. “ESE provides us with an ideal platform to reach a wide range of vertical markets that are key for us, such as tourism, transportation, retail, hospitality, banking, public sector and events,” commends Pagendarm.

Pierre Gillet, BrightSign’s vice-president for Europe, is also excited about the event. BrightSign’s XD Smart Menu Board makes its debut at the show: an all-in-one, integrated digital menuboard solution for fast-food outlets, cafeterias and restaurants, the package has been specified to make it simple for novice installers to construct their first projects cost-effectively and without specialist knowledge.

“[ESE] promises to take digital signage to a whole new audience,” he states. “We are very much part of the signage industry as a whole. The key audience for us is not only end users, but the integrators and installers that they rely on for effective signage.”

Meanwhile, on the FESPA side of the show partition, established software vendor Caldera will be showing its own digital signage proposition. Having spent many years in the wide-format industry developing its RIP platforms, Caldera wants to build the bridge between print and digital with its Variable Display product. New templating features, in particular, now promise to make the creation of an effective campaign based on original print artwork even simpler.

For some, the success of the show doesn’t lie in the crossover between formats, or even the presentation of new offerings. Former exhibitor Richard Corbett, founder and chief executive of Eyetease, which launched its iTaxitop at Screenmedia Expo three years ago, is looking for diversity in the visitor base: “Last year distinctly lacked a presence from the media owners,” he explains. “The million dollar question is whether or not they will be present this year to assess their options across print and digital formats.”

The show’s exhibitors, and therefore the products on offer, weigh in at an easier point of cross-over for the sign and display producers treading the halls next door at FESPA. Seminars – including those from our editor-in-chief James Matthews-Paul – on digital signage basics should also help with this ambition. If delivered well, it may not matter that there is less at ESE specifically for the DOOH (digital out-of-home) crowd, and instead could create a show that serves the new digital signage channel well enough to earn its place on the must-attend list.

First Published 24 June 2013 – Output

 

East London, technology and creativity house share

Digital Shoreditch aims to bring together the start-ups from the East London 'Tech City' enclave to inspire collaboration

Digital Shoreditch aims to bring together the start-ups from the East London ‘Tech City’ enclave to inspire collaboration

The Digital Shoreditch festival gathered all the young – and not so young – movers, shakers and wannabes of the creative technology community. The week-long event at Shoreditch Town Hall boasted four conference rooms and a technology and art exhibition in the basement of the building. A parade of interesting and energetic presenters discussed the burning issues, such as the future of brands, behavioural design and what tomorrow’s world might be like, exploring mobile platforms, second-screen experiences and the disruptive technologies dominating our daily interactions.

Now in its third year, the festival is a showcase for Britain’s leading-edge technology business sector – which happens to be located in and around Shoreditch, an area that has come to be known as ‘Tech City’.

“The idea is to bring these clusters of creative and innovative companies and individuals together, so that they can network and find what collaboration opportunities there are,” explains Kam Star, chief executive of PlayGen, a serious games and simulations development studio and one of the main drivers of Digital Shoreditch. “The presentations and workshops should spark innovative ways to create new ways to develop and deliver products and services.”

For the festival, IC tomorrow, a Technology Strategy Board programme for innovation and economic growth in the digital sector, organised the ‘Digital Innovation Contest 2013’. Run in partnership with HarperCollins, Constable and Robinson, MediaCom, Ogilvy Labs, JCDecaux, FremantleMedia UK, Samsung and YouTube, the competition was launched to encourage emerging opportunities in publishing, advertising and TV.

Ogilvy Labs and JCDecaux sponsored the ‘Innovation in DOOH advertising for brands and advertisers’ challenge and the prize went to Nexus Interactive Arts. Nexus’s project presented an outdoor interaction using projection mapping, mobile and movement. MediaCom’s ‘Next generation location specific advertising’ challenge saw TorqBak’s Twitter Marketing Platform taking the crown. This is a real-time, intent-based tool designed for social engagement with brands. The winners in each of the seven categories will be awarded up to £25,000 in funding to develop their prototype solution and run a trial with the relevant contest partner.

Part of the technology exhibition, ‘Screens in the Wild’ is a research project that studies what impact do digital screens have in an urban environment. Ava Fatah gen Schieck, the project’s principal investigator, showed visitors the project’s touchscreen photo booth, interactive game and screens that display tweets and other information. The initiative is a collaboration between researchers from the Space Group at University College London and the Mixed Reality Lab at the University of Nottingham. It investigates how media screens located in urban space can be designed to benefit public life, rather than merely transmit commercial content.

Fatah gen Schieck, an architect and lecturer, explained that in a city public spaces and public life play a unique role in the formation of social life and networks. “Screens in the Wild is looking at how we engage with information, with each other and with screens in the hybrid cities we live in today. We need to understand the new behaviours that are emerging in these spaces which we could say are layered: you have the real, physical space and the virtual, digital space.”

Portuguese Alfonso Santos, founder of Tuizzi, a company that offers cloud-based OOH asset management, wants to democratise out-of-home publicity and allow smaller companies to advertise on the big billboards. “We offer a cloud service for advertisers, media owners and media agencies. We are just a year old but we have 90 percent of the Portuguese market,” he says. Santos claims his company is the only one offering this kind of service; I suggested he should check out Vukunet, Key Systems and Ayuda before claiming uniqueness.

Peter Clothier, sales director of Finnish start-up Kiosked, presented an interesting concept that can truly changed the way people shop and brands advertise. Kiosked allows advertisers to link their products to relevant images and multimedia within online content so that consumers can buy those items direct. Any Kiosked-enabled image will show details of the product and where it is stocked nearby, and brands can also reward customers using social media to share its products with their friends by giving them points and other perks.

Digital Shoreditch was an interesting event, worth visiting to find people with a ‘can do’ attitude and the knowledge and expertise to make it happen. The full festival pass cost £778, and it must have been worth it: the event was sold out.

First published 13 June 2013 – Output

‘A daily wonder experience’: Trinity Leeds

Trinity Leeds represents the latest in a growing number of digital malls, offering new opportunities to advertisers

Trinity Leeds represents the latest in a growing number of digital malls, offering new opportunities to advertisers

When a shopping centre opens, in general it doesn’t go unnoticed. Trinity Leeds surpassed expectations when it launched this March welcoming 132,000 people. The shopping mall, said to be the size of 13 football pitches, is the largest project of its type in Western Europe boosting 120 shops, 12 restaurants, bars and cafes and the largest Everyman cinema in Britain.

At The Screen’s most recent Breakfast Briefing, Sean Curtis, head of marketing at LandSecurities, the company that owns the £378million shopping centre, Neil Morris from Grand Visual and JCDecaux’s Mark Bucknell got together to share their knowledge and experience of the new digital mall. Trinity Leeds features gigantic interactive videowalls, Google product search, LED advertising screens, its own mobile app, which can be tailored by the user, and totally free wifi through out.

“We own many big shopping centres in the UK, but with Trinity Leeds we pay special attention on following a customer led strategy,” explains Curtis. “Things have changed in the world of retail and we also need to change to attract and retain the public.”

Making the site a digital destination in its own right was one of the key objectives; the other was to give customers and retailers the best communication platform they could wish for. The ubiquitous use of wifi allows people to search compare and buy online, even if they are in the shopping mall.

“Nine out of ten purchases are done online today and a big proportion of the searches and buys are done on mobile devices,” notes Curtis. “When we were planning this project we asked ourselves, should we dance with the internet devil in a shopping mall environment? The answer was yes, definitely.”

Using Google’s product search paired with GPS capacities means that people can search online but it will only show retailers within Trinity Leeds. Customers’ preferences are logged in LandSecurities’s new CRM system, allowing it to offer a segmented and personalised service. “A multichannel customer is worth more than a single customer,” Curtis remarks.

The ease of use and customer-centric approach is also reflected in the £1million screen network investment. The screens, located in key areas across the mall, have information about events, special offers, news, the cinema, city guides and the centre itself. But most importantly for retailers, 70 percent of the air time on these beautiful digital canvases is dedicated to local stores’ advertising and promotions.

Morris described this project as unique for Grand Visual. The company’s day-to-day job is to deliver outstanding campaigns, but in a limited timeframe. In the case of Trinity, it had to consider how to orchestrate digital content across the mall all day, every day, for a whole year.

“It’s like running a channel,” says Morris. “Our brief was to deliver an immersive ‘daily wonder’ experience using Trinity’s screen state. To create these special moments for visitors, we designed a series of interactive content applications. It’s more like an art installation than anything else, but so far it’s been very successful in engaging visitors and providing a surprise factor.”

Using Panasonic D-Imager, a sleek camera-sensor located above the videowalls that collects spatial information about its environment, passers-by can interact with the screen without having to touch it.

“Nobody has done multiple-[dimension] image processing before now,” says Morris. Grand Visual worked with Fraps for the real-time video capture; this is a work in progress, with new interactive games and other experiential projects in the pipeline.

The digital experience at Trinity Leeds also includes a network of JCDecaux’s newly-launched M-Vision digital six-sheets. “The screens give Trinity Leeds and its retailers tactical opportunities,” explains Bucknell. “The advertising in it is location-specific and brands have the power to update their advertising or copy with relevant opportunities and promotions.”

According to Bucknell, malls are retail’s fastest growing environment. The average time people spend in them has risen to 178 minutes, with a 161 average spend and a 12 percent over-spend. “Digital just enhances the customers experience and gives retailers to tools to reach their audience with the right message at the right time,” he adds.

Since opening, Trinity Leeds has welcomed half a million people per week. Its modern look and feel, as well as its practical functionality using wifi, mobile and digital signage, gives Leeds citizens a sense of pride and creates a new destination for the city’s visitors.


First published 3 June 2013 – Output

A lesson from the agencies: creating successful DOOH content

Kinetic used Olympics-related creative at key high-traffic locations, such as airports, last year to promote Visa during the Games

Kinetic used Olympics-related creative at key high-traffic locations, such as airports, last year to promote Visa during the Games

Digital out-of-home (DOOH) offers innovative ways in which a brand can engage with customers. But this engagement has to be increasingly clever and provide added value for people to stop, interact and recall the campaign. What do agencies have to bear in mind to make successful content for this medium?

“To create awe-inspiring campaigns, agencies need a brilliant idea, to find the right location for the ad to reach the target audience, and use the technology available for best results,” comments Nick Mawditt, global director of insight and marketing at Kinetic. “Our studies show that companies that embrace new technology for their advertising get a more favourable perception amongst the audience. DOOH messages are increasingly event-led; this could be a celebration, such as Easter, or current news.”

Will Awdry, creative partner at Ogilvy, recalls the success of the agency’s Olympics 2012 campaign for BP featuring Jessica Ennis. “We ran pre-emptive DOOH messages (‘Go Jess Go’) the night before her big event, which then became a congratulatory piece when she secured the heptathlon gold medal. This was carried out pretty much in real time with London Underground signage. Off the back of it, Twitter and other social media sites were on fire and the conversation was live.”

Liam Boyle, managing director of Monster Media, considers: “The role of technology is to aid the brand in communicating its core objectives relating to its platform and positioning in unison with its planning schedule across the full marketing mix. There are a variety of tools that can now be accessed to further drive above-the-line campaigns all the way through the line.

“Immersion is the future and the now,” Boyle continues. “Creating brand experiences through DOOH leverages the convergence of the experiential and advertising models. These are powerful channels on their own, but even more potent when mixed together. Technology is the binding agent that allows brands to converse directly with their desired demographic and facilitate a more valued, quantifiable and quantitative, connection.”

All the agency representatives interviewed agreed that campaigns can undergo meticulous planning but they also need to be able to grow organically. Sophie Burke is head of marketing at Zoom Media, which claims to be the UK’s largest digital media network in health clubs. She adds: “The media planning cycle is generally quite lengthy and requires a great deal of thinking ahead. However, the majority of truly successful and innovative media campaigns involve an element of spontaneity – whether it’s copy which can be adapted dynamically based on real-time data, or an interactive component which allows the consumer to get involved.”

But not any old interaction will cut it. Mawditt says that, in Kinetic’s experience, direct touch rather than gesture-controlled interaction makes the engagement and recall more powerful. “If you touch a screen, you are engaging in a more personal and private level, even if it’s in a public space. With gesture, the engagement is brief and people can feel self-conscious.”

Campaign content needs to be timely but also allow for user-generated content; it is in this area where social media comes into play and facilitates the call to action. Real-time campaign metrics need to be aligned to marry the technological capability of the screen with other live information, such as online engagement, as demonstrated with Posterscope’s campaigns that use Liveposter, a dynamic content scheduling and distribution product.

Posterscope’s Adam Cherry talks about the McDonalds London 2012 Olympics photo exchange exercise, which gave the brand a 73 percent positive perception boost. The campaign consisted of a real-time creative exercise: photographs submitted via Facebook were matched with custom straplines and delivered to hundreds of screens nation-wide. This was then fed back into the protagonists’ Facebook timelines to be shared with friends, prompting them to join in and create a snowball effect amongst fans.

“Social is a very powerful tool,” says Boyle. “We’re big believers in the potential to integrate and give brands the opportunity to converse directly with their audience after the initial point of engagement. Giving consumers the chance to engage through interactive digital and brands’ CRMs, and data as a result, will be a benefit to both in the long run.”

Posterscope’s Cherry forecasts: “The future will see DOOH scheduled and traded in new ways, focusing much more on the impressions delivered rather than number of screens bought.”

Where DOOH is concerned, advertising content is increasingly featuring social media to drive customer engagement and provide valuable data back to brands. But, in order to make those objectives successful, it’s time for the creatives to get creative.

First published 22 March 2013 – Output

In the near future: the rise of NFC

 

 

Is near field communication heading in the right direction, or is it in danger of falling by the wayside? (© Fotolia / Ben Chams)

Is near field communication heading in the right direction, or is it in danger of falling by the wayside? (© Fotolia / Ben Chams)

Near field communication (NFC) and QR code capabilities provide the opportunity for advertisers and consumers to interact with brands on the go using just their smartphones. However, the market has not yet decided what is the best way to provide potential customers with the ultimate consumer experience. So what do industry experts think is needed for these technologies to realise their potential?

The leading media owners have already shown their interest and support for NFC, with Clear Channel launching 10,000 NFC and QR code-enabled Adshel panels and digital roadside panels across the UK this year.

In 2012 JCDecaux and Kinetic ran their ‘Test the Near Future Project’ – the largest trial of NFC-enabled poster sites in the UK. The four-week trial was held in the affluent commuter town of Reading and drove a high number of interactions on advertising from top brands including Unilever, H&M, Morrisons and EA Games. The content on offer included movie downloads, previews of TV shows and games, a chance to win a driving experience, supermarket vouchers and links to the brands’ social media channels. The results of the trial showed that 3,000 people in Reading scanned the poster sites, the equivalent of a million people nationwide. There were over 6,000 interactions across the four weeks and NFC take-up grew by 15 percent over the four weeks as people grew used to the idea of interacting.

“The study found that the brands that elicited the most positive interactions did so through a combination of relevance, dynamic content and a strong call-to-action,” notes David McEvoy, marketing director at JCDecaux.

Nick Mawditt, Kinetic’s global director of marketing and insight, says that there are no real barriers to entry for media owners. “Clear Channel and JCDecaux have both launched the capability for NFC interaction via their national networks of six-sheets, and other media owners including Primesight and Admedia have NFC capability in their panels. Any barrier currently is in consumer awareness and adoption.”

Mike Baker from the Outdoor Media Centre agrees: “The main barriers to date are poor sign-posting, poor site labelling, conflicting technology standards, consumer unfamiliarity and the lack of pre-loaded software on the devices.”

“QR codes are cheap to put in print media but poor at user exchange (UX),” warns Mark Selby, a mobile technology expert who is currently visiting professor at the University of Surrey, home of the new 5G Innovation Centre. “Some argue print is dying: I disagree. Consumers value a slick UX. If your media is low budget and UX is not important, go QR.”

There is also the mobile device giant Apple refusing to include NFC in its latest devices. “I must say I was surprised that the iPhone 5 didn’t have NFC capabilities,” observes Ocean Outdoor marketing director Richard Malton. “I think once Apple is confident enough to include NFC in its own locked system then I wouldn’t bet against NFC taking off at a massive rate. Apple is too good at getting this type of thing correct.”

New campaigns are being launched to reap the benefits of NFC. In September, Nestlé ran the first nationwide NFC-enabled campaign on roadside sites where chocolate bars were fitted with GPS trackers, by which means the lucky winners were found and given a cash prize. Sony used shopping malls and roadside spaces last October to offer consumers the chance to download an exclusive music track by swiping their smartphone on the touch point at the advertising site.

“There are going to be different ways of offering consumers connectivity and purchase points,” says Tim Bleakley, Ocean Outdoor’s chief executive. “NFC is more suited to close proximity small-format outdoor than the large digital spectacular formats that we specialise in. I still wonder exactly what is the value of NFC in a world where consumers are becoming used to visual imagery and photography on the move as a way of life. This may, in the end, disable NFC – just my view. Also, the wide-spread connectivity options offered via WiFi might affect the need for NFC.”

Baker concludes: “Experts forecast 75 percent penetration of smartphones in the UK by the end of the year. My prediction is that there will be a tripling every year for five years on the number of campaigns and revenue involving NFC.”

First published 24 January 2013 – Output

Writing on the wall

InAVate, technology insight - Writing on the wall

InAVate, technology insight – Writing on the wall

Talking about the teaching wall will bring different images to different people, but the days of blackboard and chalk are over and the interaction between students and teachers today has to be multi-way and dynamic.

Having a focal point in the classroom is still important, all interviewees agreed; but there is no ‘one size fits all’ solution. The benefits for teachers and students are similar. Prices and settings vary.

The buzzwords in this market are: interactivity, collaboration and tablets. As Neil Hartigan, NEC Display Solutions’ channel director puts it: “Using collaborative tools, the teacher can empower students to take ownership of the teaching material, helping to stimulate and engage young minds.”

Follow this link to see the PDF: Writing on the wall Dec12

Feedback for Ford

AV Magazine, applications - Feedback for Ford

AV Magazine, applications – Feedback for Ford

Rather than talking to clients, Ford set up an interactive brand experience at this year’s Geneva Auto Show. Geny Caloisi reports.

Follow this link to see the PDF: Feedback for Ford april07