On Alibi, there’s always more going on than meets the eye. Our objective was to improve brand perceptions of Alibi among crime drama viewers. To do this we wanted to bring to life our tagline of ‘more than meets the eye’ by creating the joy and excitement of discovering hidden phrases. Our campaign used copywriting to challenge viewers by revealing hidden messages across digital screens throughout the UK. Our brand campaign went live across multiple digital screens during a nationwide campaign. Animated screens revealed hidden messages across the country – prompting people with a curious mind to take a second look; bringing to life our tagline of ‘more than meets the eye’.

With all the shiny new online betting agencies out there, New Zealand’s 70-year-old bookie, TAB NZ, was increasingly being seen as old-school and irrelevant among the younger generation. They were looking to shake off the cobwebs on their brand and do something new and unexpected. Something that gave them more relevance among the 18-34 year old audience. The All Blacks v Ireland rugby series was the perfect opportunity to do just that. TAB NZ couldn’t resist giving the Irish rugby team a cheeky reminder of the challenge that lay ahead. And so, we embarked on a month-long campaign that targeted the Irish with ‘helpful’ facts and stats asking them to consider the odds. We dug into the past, researched every little thing about the players and kept an eye on what was happening throughout the tour—so we could come out with topical messaging the moment things went down. From planning headlines for every potential outcome of the games, to showing up everywhere the Irish team went with location-specific messaging, TAB NZ led the ever-changing conversation, made the brand feel relevant again, and got the results to prove it. Guess you can teach an old dog new tricks.

Pizza Pizza is Canada’s largest homegrown chain of quick-service pizza restaurants, well-known for cheap slices and easy availability. It truly is the people’s pizza. But the chain’s ubiquity means it’s often taken for granted, and while the brand is famous, it’s not necessarily beloved. But that ubiquity can also be a strength. It may not be fancy, but Pizza Pizza truly is the pizza of the people. We highlighted the chain’s inclusiveness and accessibility with a new brand platform: “Everyone deserves pizza.” In our advertising campaign, pizzas themselves became the medium. Every ad featured a pizza pie chart with slices labeled with whimsical segments of the population. The out-of-home ads were customized to be relevant to wherever they appeared, with 60 different headlines across the entire campaign. The campaign had a significant impact on Pizza Pizza’s brand perceptions. People who recalled seeing the campaign were 49% more likely to say they like what Pizza Pizza stands for, 39% more likely to consider it an inclusive brand, and 38% more likely to say it’s a brand everyone can agree on when they’re ordering for a group. They were also 66% more likely to say they would visit or order from Pizza Pizza in the next 30 days.

2 in 5 young women have been sexually harassed or assaulted at festivals or gigs, meaning thousands of women each year are experiencing unwanted acts besides those on the stage. Historically, the onus has been put on women to keep themselves safe, but as the UK returned to live music events in the Summer of 2021, White Ribbon UK wanted to use this opportunity to spark change. They wanted to ask men to become allies and evaluate their own behaviour and that of their friends.

PepsiCo has 309,000 associates around the world. That’s 309,000 stories, each telling a part of the company’s Diversity, Equity & Inclusion journey. Clearly, we needed to give them some space. For their refreshed DE&I strategy and narrative, PepsiCo became ‘A space to be y( )u’. A space where you can be more than your employee number, name, race, gender or job title. A space where you can be yourself. Using parentheses, we opened up the ‘o’ into a framing device, putting space directly into the PepsiCo headline. Parentheses are commonly used to represent secondary information, a note on something skippable - whether it’s a word, a phrase or even an entire sentence. We used this device to bring our symbolic space out of the secondary level and to the front. It created room for the people, initiatives and stories that make PepsiCo’s culture what it is, and what it will be. Where the business and its people can grow. These symbolic book-ends have become synonymous with our sense of identity. Whether we’re sharing pronouns - ‘Alex (they/them)’ or giving more details about our background - ‘I’m mixed race (half Pakistani, half Scottish)’, we don’t just use brackets to give more information about ourselves, we use them to draw attention to the things that really matter.

Fanta wanted to strengthen its position as a fun, unexpected, and the number one Halloween drink among young people. But how do you manage to reach this discerning audience engrossed in TikTok, YouTube, and Netflix? Well, we made an outdoor experience that was impossible to miss, extending far beyond the digital framework. A technical innovation with sound, projection, and digital outdoors in perfect sync. With a scary story about how even ghosts, vampires, and zombies do everything to get a Fanta during Halloween. Muahaha!

Meta’s Good Ideas Deserve to be Found campaign shows how personalized ads help people to discover small businesses they’d love. In partnership with Barcelona artist Ignasi Monreal, we created illustrations, animations and murals that celebrate the moment of discovery when someone finds a small business idea that perfectly fits their interests. In each piece, we see someone who is caught in the midst of a revelation; their world transformed for the better by the discovery they just made while scrolling through their feed.

The Hofkino by Allianz is a 30-day event combining vegan gastronomy and cinema at Swiss National Museum in the city center of Zurich. As part of a holistic brand experience, we created a 360° campaign displayed in multiple Swiss cities. Based on the multidimensional Brand the posters with its key visual reflects all key components of the event (movie, food, drinks, people). The illustration of the key visual was created in a co-creation between an illustrator and our in-house twofold academy, where we train people with autism to the specialists of tomorrow.

2 in 5 young women have been sexually harassed or assaulted at festivals or gigs, meaning thousands of women each year are experiencing unwanted acts besides those on the stage. Historically, the onus has been put on women to keep themselves safe, but as the UK returned to live music events in the Summer of 2021, White Ribbon UK wanted to use this opportunity to spark change. They wanted to ask men to become allies and evaluate their own behaviour and that of their friends.

Vodafone, the Official Connectivity Partner of The Championships, Wimbledon, unveiled an industry-first 3D Piccadilly Lights activation which sees teenage tennis sensation Emma Raducanu brought to life as a digital avatar. The multi-screen immersive 3D experience, inspired by Wimbledon Uncovered in 360, Powered by Vodafone and created by Ocean, is the first ever motion-capture computer generated (CG) avatar of an athlete to appear solo in DeepScreen™ on the Piccadilly Lights. Visitors look up to see a mobile phone appear in 3D with Vodafone ambassador Emma as a full CG avatar on Wimbledon’s Centre Court. She hits a ball which comes out of the mobile screen, and out towards the viewer in 3D then follows it and reappears in 3D, looking around Piccadilly Circus then turning to pick up the phone and take a selfie with the real-life crowd. The lifelike avatar created by Berlin-based Mimic Productions will then climb out of the phone screen into the 3D space that’s been created in DeepScreen™ with Piccadilly Screen’s unique angle and 3D optical illusion making people feel like she is right there with them in the iconic London landmark. The OOH activation was live from June 27th until Sunday July 3rd to coincide with the first week of Wimbledon, as part of Vodafone’s new #FeelTheConnection summer campaign.

With Lexus’s “No Moment Too Big” campaign, the luxury car manufacturer aimed to intercept High Achievers where they feel most powerful and prestigious in order to increase nameplate awareness of the LX 600 and drive web actions. JCDecaux’s Airport advertising opportunities were perfectly aligned to amplify the prestige of the brand and their target audience. Located in LAX’s impressive Tom Bradley International Terminal and surrounded by luxury travel retail stores, our iconic Storyboard placement was guaranteed to impress Lexus’s High Achievers and elevate the LX. Lexus’s No Moment Too Big creative on our multi-screen Storyboard in LAX’s TBIT used the placement to its fullest extent as a creative platform. Cinematography that showcased the LX 600’s vehicular power and luxurious make across multiple environments dazzled across their own screens and tied together across the entire unit to tell the car’s story and create an impactful “Big Moment”.

Pixel and Texel were hired as content curators to oversee the new Marriott Headquarters’ 72'x24' LED Wall inside their corporate tower lobby in downtown Bethesda for its Sept 19, 2022 grand opening. In addition to bringing to life over fifty 12K custom living panoramics, the team created special moments from abstract art to waterfalls that cascade over the elevator doors to greet employees and guests.

City National Bank (CNB) is a US-based, relationship-centric bank with strong growth goals. This “Business is Personal” campaign centered around the desire to build brand equity and awareness by effectively communicating that City National is the bank you can trust. To increase awareness, consideration and banking intent, CNB and its agency, Critical Mass (CM), executed this data-driven cross-channel campaign—including programmatic out-of-home and mobile retargeting—with Vistar Media from August through October of 2021. To drive results, the advertising team harnessed momentum from previous campaigns to communicate the essence of the CNB brand through "Business is Personal" messaging. This campaign showcased CNB’s connection and understanding of their customers by using geographically relevant media, fresh talent, and actual client testimonials to focus on the concept of trust and cut through the clutter of other financial category messaging. The campaign ran across a variety of digital out-of-home (DOOH) venue types - such as billboards, urban panels, bus shelter and taxi/rideshare tops - within close proximity to City National Bank and competitor locations in select key markets, including New York. By surrounding relevant brand locations with digital outdoor inventory and adding a strategic mobile retargeting component, the campaign drove impressive success with a 416% increase in actual banking intent, a 341% increase in consideration, and a 135% increase in brand awareness for those exposed across channels. For the broader DOOH campaign overall, City National Bank saw a 137% lift in intent to bank, 122% lift in consideration, and 62% lift in brand awareness.

The I'm Here campaign connects street vendors to digital out-of-home screens through geolocation technology. We redesigned The Big Issue's iconic red jacket to incorporate geolocation beacons. The beacons track street vendors' movements when they walk along the street. When vendors are in range, the digital screens are triggered and point people in their direction – right down to how many meters away they are. Once triggered, apart from direction and distance, each screen portrays the specific nearby vendor image, with movements and emotions captured in the studio, to make the OOH as reactive as it could be, improving their visibility and humanizing the media The I'm Here campaign made invisible people visible – showing how technology can bring us together, not set us apart.

The world famous toy production company leveraged custom audience targeting via programmatic DOOH in order to drive footfall into stores across Italy.

At the cusp of the summer of 2021, COVID lockdowns were easing, and foot traffic was increasing. TYLENOL®, a long-standing option for pain relief, saw an opportunity to take advantage of these pre-pandemic foot traffic levels to reach consumers who struggle with special health conditions. Often, people with health conditions like high blood pressure can’t take certain pain relievers. TYLENOL® wanted these consumers to know that health-care professionals trust it as an option for their conditions. As an established brand, TYLENOL® needed a full-funnel, reinvigorated strategy to reach their targeted audiences on a national scale. J3, Johnson & Johnson’s exclusive media agency at UM, turned to Quotient to elevate the TYLENOL® brand in a campaign combining DOOH media with promotions. Together, the team identified four special health conditions, including high blood pressure and combinations of various joint and arthritis pains. To engage with the target consumers at the right time and place, the campaign used large billboards and place-based screens near everyday touchpoints like gyms and blood pressure machines in retailers. The campaign also featured a $5 reward with the purchase of two adult TYLENOL® products, further incentivizing the target audience. The unique combination of programmatic DOOH and national promotions resulted in a massive $36.83 return on ad spend (ROAS), 17% new purchasers to the brand and 35% new purchasers to the category. Thanks to the success of the campaign, TYLENOL® and J3 plan to embrace DOOH as part of a holistic strategy to connect with consumers in meaningful ways.

With all the shiny new online betting agencies out there, New Zealand’s 70-year-old bookie, TAB NZ, was increasingly being seen as old-school among young Kiwis. They were looking to shake the cobwebs off their brand and do something new and unexpected, to give them more relevance among 18-34 year-olds. The All Blacks v Ireland rugby series was the perfect opportunity to do just that, and TAB NZ couldn’t resist giving the Irish rugby team a cheeky reminder of the challenge that lay ahead. So, we embarked on a month-long campaign that targeted the Irish with ‘helpful’ facts and stats asking them to consider their odds. We showed up everywhere the team went, using dOOH to deliver contextual and relevant messaging. In an unexpected twist, Ireland won the series, but our use of digital OOH gave us flexibility to pivot our campaign to celebrate the underdogs who beat the odds. A move that went viral in Ireland. From having headlines for every match outcome ready to update creative the second the whistle blew, to responding to key moments of the tour with quick-as-lightning headlines–TAB NZ led the ever-changing conversation, made the brand feel relevant again, and got the results to prove it.

Who said you can’t eat what you love while losing weight? This was the question The&Partnership put to busy New Yorkers with its Holiday 2021 edible billboard, a massive multi-sensory experience that touched down at NYC's Astor Place location for two days in December. The edible billboard was created in support of biotherapeutics company Gelesis' nationwide launch of prescription weight management aid Plenity, an FDA-approved weight management aid made from naturally derived building blocks – cellulose and citric acid – designed to help people feel fuller and eat less (when taken with water before a meal, the contents of the capsule absorb the water, partially filling the stomach and making people feel fuller with smaller portions of food). The edible billboard activation was developed to highlight the novel way in which Plenity can help people reach their weight loss goals -- not by depriving them of the foods they love, but by helping them eat smaller portions.

The future of viewing is here. We were briefed to deliver a fame-driving activation for Virgin Media’s (VMs) new product ‘Stream’ that linked to their ATL launch campaign ‘Hyped’. To consolidate VM’s role as a disruptive leader in the connected entertainment industry, we were told to be innovative with the goal to generate fame, shareable content and earned media. Building on the ATL idea, we delivered the world’s first multi-sensory OOH (Out Of Home) 4D billboard experience where the ATL ‘Hyped’ mouth appears to burst from the screen. Using automated lip-syncing technology (with the help of hidden cameras) our presenter, MC Neat, was able to interact in real-time with passers-by, whilst his mouth movements were seamlessly synced, live on screen. This day-long ‘WOW’ moment at Kings Cross Square included powerful environmental disturbances, such as high-pressure velocity air cannons that triggered when “Paying your subscription is a breeze” was uttered… By going 4D, we brought together the proven traditional OOH billboard techniques and embellished them with hype-worthy elements, amplifying the ATL in a ground-breaking world first. On the day, we almost doubled our number of forecast visitors to the viewing platform and smashed our predicted number of QR code scans (taking consumers to the VM homepage) by nearly 400%. As a result, our hype activation was directly responsible for lead generation with consumers. Social reach was huge, with over 1M combined video views. Noteworthy pieces of coverage include Campaign, The Drum, Famous Campaigns, Mobile Marketing Magazine, Telecompaper, and Daily Star.

During the month of July, London saw the biggest heatwave since the 1970s with temperatures reaching a sizzling 40.3ºC. Keeping cool had never been so high on Brits’ agendas and so with this in mind, Frank PR approached us with the idea of creating the UK’s most refreshing mural for White Claw Hard Seltzer in a bid to cool Brits down on the hottest day of the year. The idea was that hot and bothered commuters could hug the wall and receive the same burst of refreshment that they would get from drinking a can of White Claw! Reacting in real-time to the red warnings from the Met Office, we worked with Frank PR and White Claw to turn the activation around is 48 hours. Global Street Art sourced a ‘cool’ location, advised on cooling technology, designed the 6-metre-wide frost-fuelled mural and prepared the logistics in order to execute this bold stunt in record speed. To create the cooling mural, it was decided to install a series of gel-based touch-activated cooling pads, which would dissipate heat accordingly. We installed the pads, painted over them with ice-themed graffiti, and then measured their effectiveness. Indeed, the pads worked, and were consistently several degrees cooler than the surrounding wall. The mural itself featured White Claw’s summer creative and subtle branding.

On 29th October 2021, global sensation Ed Sheeran launched his much-anticipated new album, ‘=’. His most personal album to date, working with Amazon Music, our aim was to not only create a personalised launch moment, but to open the creative journey to fans. Introducing the ‘Equals Listening Experience’. A multi-sensory experience gave fans access to exclusive content and a step inside the mind of Ed. This once in a lifetime experience incorporated a 360-degree digital enabled media installation with interactive butterflies taking fans on a journey of the album’s evolution, bringing to life the emotions and moods from each track.

Palmer’s, the UK’s leading cocoa butter skincare brand, has committed to creating a new forest in Cameroon, Africa alongside partner Tree Nation. The Palmer’s Forest aims to plant 24,000 trees over that will offset around 12,000 tonnes of CO2 during its 150 year lifespan. To promote the campaign Palmer’s challenged John Ayling & Associates to raise awareness of the brand’s commitment to reforestation with a modest budget. The solution was simply obvious, the insertion of an apostrophe into one of TFL’s commuter stations in north London for two weeks from end of August to first week of September 2022. The station was subtly rebranded Palmer’s Green using the brand’s logo and colours. Palmer’s visualised the environmental impact of reforestation by adding plants and greenery to the station. This was more than a logo badging exercise, we created a sensory impact than truly engaged the audience by incorporating scent diffusers and a 48 sheet giving away free seed papers for commuters to take home and plant their own seeds. The campaign was a huge success with: • An increase in awareness of the Palmer’s Forest campaign, 15% rise in registrations to plant trees. • Positive sentiment of the campaign across social media - 99% positive sentiment across all social channels • 243,000 impressions on the brand’s Twitter channel – an increase of 319% • Over 330,000 views of the campaign content on You Tube • Reached a new audience – 20% of Instagram content reach non PalmersUK followers

The future of viewing is here. We were briefed to deliver a fame-driving activation for Virgin Media’s (VMs) new product ‘Stream’ that linked to their ATL launch campaign ‘Hyped’. To consolidate VM’s role as a disruptive leader in the connected entertainment industry, we were told to be innovative with the goal to generate fame, shareable content and earned media. Building on the ATL idea, we delivered the world’s first multi-sensory OOH (Out Of Home) 4D billboard experience where the ATL ‘Hyped’ mouth appears to burst from the screen. Using automated lip-syncing technology (with the help of hidden cameras) our presenter, MC Neat, was able to interact in real-time with passers-by, whilst his mouth movements were seamlessly synced, live on screen. This day-long ‘WOW’ moment at Kings Cross Square included powerful environmental disturbances, such as high-pressure velocity air cannons that triggered when “Paying your subscription is a breeze” was uttered… By going 4D, we brought together the proven traditional OOH billboard techniques and embellished them with hype-worthy elements, amplifying the ATL in a ground-breaking world first. On the day, we almost doubled our number of forecast visitors to the viewing platform and smashed our predicted number of QR code scans (taking consumers to the VM homepage) by nearly 400%. As a result, our hype activation was directly responsible for lead generation with consumers. Social reach was huge, with over 1M combined video views. Noteworthy pieces of coverage include Campaign, The Drum, Famous Campaigns, Mobile Marketing Magazine, Telecompaper, and Daily Star.

Fanta wanted to strengthen its position as a fun, unexpected, and the number one Halloween drink among young people. But how do you manage to reach this discerning audience engrossed in TikTok, YouTube, and Netflix? Well, we made an outdoor experience that was impossible to miss, extending far beyond the digital framework. A technical innovation with sound, projection, and digital outdoors in perfect sync. With a scary story about how even ghosts, vampires, and zombies do everything to get a Fanta during Halloween. Muahaha!

The I'm Here campaign connects street vendors to digital out-of-home screens through geolocation technology. We redesigned The Big Issue's iconic red jacket to incorporate geolocation beacons. The beacons track street vendors' movements when they walk along the street. When vendors are in range, the digital screens are triggered and point people in their direction – right down to how many meters away they are. Once triggered, apart from direction and distance, each screen portrays the specific nearby vendor image, with movements and emotions captured in the studio, to make the OOH as reactive as it could be, improving their visibility and humanizing the media The I'm Here campaign made invisible people visible – showing how technology can bring us together, not set us apart.

Creating meaningful connections and sharing something real through integrating technology from OOH and Portal, Meta's video calling device. Over 1.5 million grandparents in the UK only see their grandchildren twice a year (YouGov). So we headed to Bournemouth, the grandparent capital of the UK, where 72% of residents are grandparents - seizing the opportunity to demonstrate how Portal can change that by allowing these two generations to share real moments.. By using Portal and the innovation of OOH in public-space and iconic environments, we captured authentic interactions between Grandparent and Grandchild (with parents joining in) - demonstrating how Portal can bring them closer together through making them feel like they are in the same room. We flooded the streets with dozens of personalised messages in which real grandchildren invited their grandparents to spend more quality time together with Portal. We picked iconic locations - showing up in one of the busiest squares in Bournemouth and also taking over a quintessential beach hut to surprise grandparents with a live Portal call from their family - to create a real, unforgettable and spontaneous moment. As the only ad-channel that can have a two-way video conversation with the audience, DOOH was used to help deliver this campaign. The innovation came through the creative use of the OOH canvas. We were able to take over Bournemouth through Digital OOH and experiential activity - pushing the boundaries of what’s possible to deliver a truly authentic campaign.

First DOOH campaign that accurately measures anxiety, the hardest emotional state to detect. We managed it by pairing machine vision technology with powerful cameras in digital-out-of-home screens. AI Anxiety Meter campaign aimed to highlight dangers of emotional stress and consequences of not taking care of mental health. Real-time data processing allowed us to identify users with high-anxiety and offer free preventive check-ups to those who needed it most.

By teaming up with Meta and Hot Ones, Pixel + Texel created an exciting way to play Truth or Dare with friends, no matter how far away they are. This AR message effect allows a group of users to play “Hot Ones: Truth or Dab” virtually by asking each other interesting questions, and then either telling the truth or taking a dab and uncovering new effects.

For the 2022 Commonwealth Games held in Birmingham, Ocean partnered with Birmingham 2022 Games Partners to create a city centre trail, featuring Perry the mascot. The trail, which was part of the ‘proud host city’ celebrations for the Games, encouraged both residents and visitors to Birmingham to get active and find the 17 stunning statutes and eight digital installations featuring Perry. Using our On-Screen AR technology, participants were encouraged to engage with the screen for 2-5 seconds in order to trigger an activation of Perry, lasting 40 seconds, encouraging participants to exercise along with him, and to donate to Comic Relief using a QR code on the vinyl on the screen surround. The DeepScreen Perry at New Street was the finishing point of the trail and the Perry animation showed confetti and Perry waved to congratulate those who had finished the trail as well as welcoming visitors to the games. The campaign was live from July to August 2022 across 8 different sites in Birmingham city. Over the course of the 20-day activation period there was a total of 11k detections across all digital mascot trail sites. On average there were up to 550 detections combined per day across the 8 digital sites.

The battle for Broadband speeds is notoriously competitive, and this is no different within OOH. Sky Broadband knew they needed to standout in market, to make sure their Broadband speed was getting the notice it truly deserved… Enter the Minions! Over the years, the Minions have consistently been a part of Sky Broadband campaigns and have consistently showcased their mischievous nature to test the powers of Sky Broadband. In August last year, with this continued partnership, Sky were launching their ground-breaking new broadband, Sky Ultrafast, with speeds 10X faster than standard fibre. The power of this speed is masterfully captured through the aura which projects on to the Minions, leaving them hanging on with all their might to stay in the OOH creative… sometimes unsuccessfully! Roll on 8 months, in April 2022, and this got even faster! With speeds now 25X faster than standard fibre, Sky Broadband Gigafast launched to market. We therefore needed to showcase this in OOH, and ensure we were pushing boundaries even further than before. Not only were the Minions still hanging onto our OOH sites, the Gigafast speeds broke a billboard in half and even ripped a bus shelter completely out of the ground! However, to evolve our approach for 2022 we wanted to ensure people experienced the Sky Broadband Gigafast speeds. We therefore created two interactive special builds for consumers to feel and experience these speeds!

To smash Subway’s sales targets we used the world’s first markerless motionless capture system - celebrating the TigerPig, a festive favorite Pig-in-Blanket sub, with impact. We needed an idea that could cut through the festive clutter; an idea we could bring to life in the digital and physical environments our 18-34 Subway audience spent their time...This idea created a highly interactive campaign that functioned on two levels of engagement. Working with TikTok, we had dance crew Diversity choreograph a unique TigerPig dance. We then took this HashTag Challenge into the real world and into the metaverse with a TigerPig avatar to bring #TigerPigDance to our audience. A bespoke retro arcade ‘Dance Game’ was back engineered; enabling the public to score points with every step - competing against Diversity TigerPig avatars on screen reaching 40,000 visitors. The JustDance game toured UK shopping centres and the hashtag challenge went viral - reaching 14.6 million on TikTok.

First DOOH campaign that accurately measures anxiety, the hardest emotional state to detect. We managed it by pairing machine vision technology with powerful cameras in digital-out-of-home screens. AI Anxiety Meter campaign aimed to highlight dangers of emotional stress and consequences of not taking care of mental health. Real-time data processing allowed us to identify users with high-anxiety and offer free preventive check-ups to those who needed it most.

In the first half of 2022, global media agency UM and AdTech provider Vistar Media designed and executed an OOH/DOOH campaign using direct and programmatic buying for Perth-based HBF Health Insurance Australia. The campaign ran from February to May. HBF’s primary goal was to grow its branding on the East Coast and increase brand awareness on the West Coast. A secondary goal — on which this award entry focuses — was to evoke a behavioural response from the upper to lower funnel. This was achieved and measured using an ANZ market first approach that anonymously identified individuals exposed to the OOH/DOOH media and found them later visiting the client’s website. To conduct the study, Vistar Media and UM enlisted Lifesight, a customer intelligence platform. The results and data confirmed the growing notion among brands and media buying agencies that Programmatic DOOH provides enhanced value and results to Direct buying OOH/DOOH campaigns. In other words, the media mix can generate results that are greater than the sum of its parts. This idea had been gathering momentum in the ANZ market, yet it required a collaborative, detailed and specific measurement approach (as well as budget) to ensure that results in the lower funnel were a direct response from upper funnel branding. By sharing campaign data between parties (client included), Vistar Media and UM were able to compile results that confirmed success. This study may have ramifications with the potential to reshape the thought process behind upper funnel campaigns.

As companies continue to rethink and reimagine the ways in which they engage with their audience, especially post Covid they are mostly turning to targeted and measurable data-led campaigns. During the pandemic, luxury brand Georg Jensen moved all funds into digital channels. With an e-commerce channel experiencing 70 per cent growth in the first year of the pandemic, the team also focused heavily on primary data, as well as a virtual shopping platform based on Hero’s offering. The latter achieved 20 per cent conversion thanks to its combination of in-store staff experience and virtual experience capabilities. Nadia Bayfield, Head of Marketing and E-commerce, Georg Jensen Australia said, “One of the things that’s so alluring with digital media is that sexy return on ad spend – it’s very appealing to CEOs here and globally. In the beginning, it was a fantastic way for marketers to prove that things were working. Now it’s become a thorn in our side.” As people started to move about once again, Georg Jensen began to look at how to re-establish engagement with customers off-line and in-store with measurable results and ROI. This led to partnering with oOh!media on a bespoke and targeted campaign, the first time the retailer had used Out of Home for several years. Using oOh’s unique ‘Better Ways to Buy,’ the precision of the data in targeting the right audience at scale, saw an uplift of +54 per cent in sales and a positive outcome for both the client and OOH.

Full fibre broadband is the next big revolution in the Telecoms industry, representing both a huge opportunity and challenge due to high levels of competition and complexity. Within this complex environment we had to raise awareness and understanding, minimise wastage and drive sales of TalkTalk's Future Fibre within the available footprint. We devised the perfect communications plan for launch, with a bespoke data planning approach to activate this plan only in areas of high availability and audience propensity. The end result was extremely successful, with brand preference up 6ppts and purchase intent up 4ppts, resulting in a 380% sales-uplift.

Board Click, a DOOH startup in Hong Kong, launched an on-target Extended Reality DOOH campaign for 50 Megumi in August 2022. The team leveraged location proximity, audience, and contextual targeting to help the client reach hard-to-reach male fitness enthusiasts at an unexpected place – gyms! The client launched a new niche product for hair loss prevention. Unlike its usual general shampoos, this product targeted specific audiences who face hair loss problems. Therefore, the client was looking to initiate a new strategy focused on customer consideration. Board Click evaluated the client’s overall media planning and positioned in-gym DOOH as an extension to its awareness campaign to create a cohesive brand story. The team used proximity to the client’s billboard Ads as a location targeting metric. Furthermore, the team quantified the client’s qualitative audience persona to match its proprietary analytics and identified high-affinity gyms and their hot zones for audience targeting (i.e. weight-lifting area). Board Click leveraged highly contextualized creative and activated screens in the gym’s hot zone area to create an extended reality DOOH campaign that resonated with the audience’s in-moment context and behavior. The outcome of the campaign was successful. Board Click helped the client to achieve its objective of high audience on-target rate and Ad exposure frequency with a low CPM. And, importantly, it created a data-driven and contextual relevant campaign that led to a high Ad recall rate.

Elvie wanted to smash societal taboos surrounding female incontinence. Propelled by research and recent censorship, our special build ‘peeing’ billboard generated real, widespread conversations across the media industry and public about this common and solvable problem that most women face alone behind closed doors.

Engine Creative re-invented the missing person poster - re-thinking the standard design and introducing a high-impact live portrait – for UK charity Missing People to coincide with International Missing Children’s Day. We used AI to create striking high-tech digital posters showing an image of the missing person come to life, appearing to move their eyes, smile and make facial expressions. The creation of the posters was informed by behavioural science which shows that people’s engagement with and memory of an image is enhanced by a larger and better resolution photo, a live image (instead of a static one), a smiling face (instead of a non-smiling one), and less accompanying information. Raising empathy among viewers of the missing person poster boosts their engagement with that poster and, in turn, the likelihood of them taking positive action to help, behavioural science shows. The posters appeared on our Ocean high-tech DOOH screens at Westfield London, Canary Wharf and Westfield Stratford City. Visits to the relevant appeal pages on the Missing People website went up by 117% in a day when the campaign launched. The campaign received 333K digital impression, including press and social media. There were 244 broadcast and press reports, 193 newspaper reports and 51 ITV, BBC TV, BBC radio and Heart radio broadcast bulletins. The editorial reach was 270.650 million and media value was £2.502 million.

A cultural phenomenon in the UK, Specsavers debuted its iconic phrase, “Should’ve Gone to Specsavers,” way back in 2002. For two decades, the campaign has continued to entertain audiences whilst reminding them how important optical health really is. After a Pandemic induced two-year hiatus, Specsavers decided it was finally time to bring its iconic “Should’ve Gone to Specsavers” back, in its usual tongue in cheek, headline-grabbing way, with bespoke Out of Home billboards depicting hilarious installation ‘fails.’ The brief was to create an impactful and memorable OOH campaign to help re-launch the famous campaign in a way that would be loved by the public. Taking its theme to new extremes, the cowboy installations illustrate what happens when orientation goes awry with ‘Billboard Blunder’ and ‘Dodgy Install.’ A third poster, ‘Lost Ladder,’ goes one step further with a ladder, brush and paste bucket embedded within the billboard for a piece that transcends mere advertising and encroaches on modern art.

Ramadan is one of the biggest festivals for the Muslim community. Within the UK, over 4million Muslims observe and celebrate throughout the month. However, the festival is often misrepresented or largely absent in British media – with many UK Muslims feeling they are often portrayed in a negative light. Serving customers and communities a little better every day is fundamental to Tesco’s business strategy and purpose. And with the Muslim community often feeling misunderstood or unheard, Tesco set out to change this. Ramadan month was the most important moment to do this – to celebrate and support the Muslim community, while educating and raising awareness amongst non-Muslims. Smart data via Kinetic Journeys/ONS was used to precision-plan sites that were east-facing and within key Muslim hotspot areas. Carefully avoiding stores and venues that sold alcohol. The creative message worked in perfect harmony with the media placement using the latest day-and-night digital technology to display a fasting and non-fasting message. The accuracy of this was crucial to ensuring UK Muslims were not encouraged to break fast early, so the digital technology activated each site at the specific and changing time of sunset for each individual location. Prior to sunset the message displayed empty plates, with the plates filling up at sunset with a supporting message. The campaign was a success. It saw a +275% uplift of Tesco and Ramadan mentions on social and received applause from Muslims and the wider public: Net Sentiment Score: 13, (vs +12 of Tesco’s Christmas 2021 launch).

ITV launched their new crime thriller series, Trigger Point, with the aim of becoming ITV’s most watched and talked about Drama of the year. With a campaign focused on building excitement and tension using relevant dynamic creative, OOH was able to deliver explosive results. Mirroring the bomb squad tension and excitement of the drama, we wanted to create a real sense of suspense in the form of a real-time dynamic countdown. We would do this in spectacular style too; running on air, in all wider comms, OOH and most dramatically in a projection on London’s County Hall. We smashed our goals: Trigger Point became ITV’s most talked about and watched Drama of the year and generated a social buzz like no other.

OOH has never been as interactive, rewarding and measureable. Consumer can get a reward on their mobile by engaging with the ad. Using our retail-driving, media efficiency plug-in, Pollen + Grace added our QR code to their; ‘stop you in the streets 6 sheets’. These 6 sheets were located near to store stocking the products, making it really easy for consumers and allowing them to try the products for free. The primary objective of this campaign was to generate engagement with the brand and drive trial, in Tesco, Sainsbury’s and Co-op, whilst building brand awareness. This was a hyper targeted campaign within London to reach their key target audience. This was a perfectly timed summer campaign giving away free lunches. Not just one, but you could try multiple flavours of their delicious yet healthy and plant-based option for lunch. The consumers that interact with the QR code on the 6 sheet activate on their smartphone an exclusive Pollen + Grace offer to multiple products. The consumer then buys the product in store or online at full price, just snaps a pic of the receipt through their app and immediately receives the cash back straight to their bank or PayPal. Easy. Using our plugin, Pollen + Grace could see in real time exactly how their media performed:

ITV launched their new crime thriller series, Trigger Point, with the aim of becoming ITV’s most watched and talked about Drama of the year. With a campaign focused on building excitement and tension using relevant dynamic creative, OOH was able to deliver explosive results. Mirroring the bomb squad tension and excitement of the drama, we wanted to create a real sense of suspense in the form of a real-time dynamic countdown. We would do this in spectacular style too; running on air, in all wider comms, OOH and most dramatically in a projection on London’s County Hall.  We smashed our goals: Trigger Point became ITV’s most talked about and watched Drama of the year, sent viewers to ITV Hub in their droves and generated a social buzz like no other.

Ramadan is one of the biggest festivals for the Muslim community. Within the UK, over 4million Muslims observe and celebrate throughout the month. However, the festival is often misrepresented or largely absent in British media – with many UK Muslims feeling they are often portrayed in a negative light. Serving customers and communities a little better every day is fundamental to Tesco’s business strategy and purpose. And with the Muslim community often feeling misunderstood or unheard, Tesco set out to change this. Ramadan month was the most important moment to do this – to celebrate and support the Muslim community, while educating and raising awareness amongst non-Muslims. Smart data via Kinetic Journeys/ONS was used to precision-plan sites that were east-facing and within key Muslim hotspot areas. Carefully avoiding stores and venues that sold alcohol. The creative message worked in perfect harmony with the media placement using the latest day-and-night digital technology to display a fasting and non-fasting message. The accuracy of this was crucial to ensuring UK Muslims were not encouraged to break fast early, so the digital technology activated each site at the specific and changing time of sunset for each individual location. Prior to sunset the message displayed empty plates, with the plates filling up at sunset with a supporting message. The campaign was a success. It saw a +275% uplift of Tesco and Ramadan mentions on social and received applause from Muslims and the wider public: Net Sentiment Score: 13, (vs +12 of Tesco’s Christmas 2021 launch).

To revitalise Soya’s reputation and debunk the myths, Alpro, in partnership with Wavemaker and Kinetic, launched an unmissable cross-platform campaign that commanded our audience’s attention and bought the wonder of the Soya Bean into our audience’s arena. Through a combination of large and small digital formats, living walls, gym vinyls, elevator wraps, sampling and a media first, we proved that by dominating key health and active social environments we can drive tangible business results. Not only did we change the perception of Soya for our audience, but our OOH activity increased Alpro Soya purchase intent by 58%.

UNiDAYS helps students create unique experiences, from shopping and services through to education and learning pathways, by providing them benefits from brands they love. Back to campus is a major buying moment in the UNiDAYS calendar, as current and future students start preparing for university. Research conducted by UNiDAYS in June 2022 showed that, on average, each UK student expected to spend approximately £1,027 ahead of the new study year – that's 19% higher than in 2021 - equating to £3.4 billion in total spend. Our mission was simple: Raise awareness of UNiDAYS among student audiences, drive registrations and increase engagements through the platform. To achieve this, based on extensive research into the attitudes of students starting or returning to university, we created the READY FOR ANYTHING campaign, which centred on UNiDAYS having students truly are ready for anything. This campaign consisted of three main phases - awareness, consideration and conversion - and ran from July through to the end of September across OOH, on campus, paid and organic social and PR. The campaign has been a resounding success as evidenced by - a 100% increase in Google searches for UNiDAYS compared to the same period in 2021 - a whopping 65% rise in organic search over the period compared with the same time last year, more than double the 27% rise recorded in non-target cities - a 35% YoY increase in new member sign ups in target cities

For 70 years, KFC has been famous for one thing: delicious fried chicken, cooked to an original recipe - encapsulated by their iconic endline, “it’s finger lickin’ good”. But there’s no monopoly on consideration in the QSR market. For our latest campaign we needed to find a way to stimulate people’s taste buds and remind them just how great KFC tastes – we needed to induce a craving that must be fed! Our big idea was to tap into KFC’s strongest brand consideration – taste. So, we set out to recreate that mouth-watering experience of opening a fresh bucket of KFC or unwrapping a hot, delicious burger. We did this by creating steaming, sizzling special builds, supported by a wider campaign that was a feast for the senses. Research showed our use of macro photography and special build techniques generated hunger by +70%, and drove consumers to restaurants with our Crave campaign delivering both short-term and long-term sales impact.

With the streaming market already heavily populated by well-established players, the launch of Paramount+ in the UK needed to be unmissable. We needed to make Paramount+ famous and convince audiences they needed it in their lives. OOH played a leading role in landing and unpacking the “Mountain of Entertainment” Paramount+ has on offer. Using the full suite of formats and creative tools available, we created surprising and authentic moments to interrupt people’s everyday lives, pique their interest, and importantly nudge them to find out more. Spectacular one-offs like our takeover of the London Eye and 3D activation at Piccadilly Circus worked in tandem with a host of Classic and DOOH formats to enable us to showcase the breadth of entertainment on offer and immerse audiences in the Paramount+ world.

As health and moderation becomes an increasing consumer concern many companies in the beer and cider sector are launching ‘better for you’ brands. Cider, particularly Mainstream Flavoured Cider, is losing relevance with younger consumers (18-34), who are increasingly opting for “better for you” and “cooler” drinks propositions such as pre-mixed spirits (e.g. G&T cans) or Hard Seltzer, so the launch of Strongbow Ultra Dark Fruit into the category needed to work hard. A campaign named ‘greatest of all time (G.O.A.T) used OOH to launch at scale. For want of a better expression ‘to get the new brand into people’s faces everywhere quickly’. We used a mixture of traditional and disruptive formats such as Classic Billboards, Premium Building Wraps (Banners), Flyposters & Underground Cross-Tracks working alongside AV and Digital formats to drive awareness and consideration both nationally and in areas where younger trend setters would be present, whilst complementing this activity with Banners and D6’s in close proximity to key off-trade outlets to drive sales. As a result Strongbow Ultra Dark Fruit has exceeded expectations in off-trade sales and driven excellent results by increasing brand power for Strongbow and cementing its #1 status in the category

Tasked in 2022 by Cawston Press to develop an awareness campaign for the summer across London and Key Suburban Conurbations. Promoting the brand’s core proposition - ‘No Jiggery Pokery’ and ‘Fruit Fakery’ in any of their sparkling 100% real pressed fruit drinks. Campaign effectiveness results smashed expectations! Against control groups, Awareness was up +146%, Perception up +63%, Consideration up +103% and Call to Action up +93%. The strategic and tactical approach behind the campaign was to target an affluent consumer on the move in the city whilst encouraging supermarket purchase once back home in the suburbs. We utilised OOH’s vast format range to achieve this, capitalising on its fame-driving properties whilst ensuring we delivered enough frequency for the key message ‘Life’s Best Pressed’ to land with the consumer. Secondary objectives were to engage and enthuse the trade. Locations were imperative when picking sites; we wanted to travel with our consumer and grab their attention from Rail down to the Underground, and then up to street level with Bus and Roadside, making sure the team’s striking creative stood out. We then used targeted sites around the suburbs to reinforce the message near key supermarkets. Multiple formats created an ‘Echo Chamber’ generating a Halo Effect that made the consumer feel as though our presence was far greater than our spend allowed. The campaign was amplified through additional PR, Social & Street Sampling at key London stations e.g. Sampling teams beneath ‘Life’s Best Pressed’ dominating Waterloo on the iconic Waterloo Motion site.

Sky Glass is more than just a TV… Therefore, this campaign needed to be more than your traditional OOH launch! To showcase the revolutionary Sky Glass, we built a multi-format campaign across Roadside, Rail, Underground and Retail to deliver: • Fame – dominating key landmark digital locations whilst driving 86% reach of the UK via 7,000 classic & digital broadcast formats. • Consideration – utilising small formats to build a frequency of 22 combined with dwell time formats unpacking the product. • Activation – through contextual retail presence to drive store footfall. • Talkability – with eight innovative executions across over 400 locations nationwide. This was a campaign with a huge ambition, this was Sky’s biggest ever launch and the use of multiple formats within our campaign enabled us to push the boundaries in OOH nationwide!

To support Scotland’s national men's football team in their first major tournament since 1998, Tennent’s utilised multiple OOH formats to create excitement and buzz leading into the 2020 Euros. Driving mass awareness of Tennent’s support whilst using their trademark tongue-in-cheek messaging, the multi-layered campaign consisted of classic and digital formats – including “larger than life” banners and several nights of Guerrilla projections. As a result of using multiple OOH formats, we successfully drove mass awareness, social media interactions and sales.

Meta’s Good Ideas Deserve to be Found campaign shows how personalized ads help people discover small businesses they’d love. In partnership with Barcelona artist Ignasi Monreal, we created illustrations, animations and murals that celebrate the moment when someone discovers a small business idea that perfectly fits their interests. In each piece, we see someone who is caught in the midst of a revelation; their world transformed for the better by the discovery they just made while scrolling through their feed.

Verkada is a California based company that develops cloud-based, B2B security systems. The company combines security equipment such as video cameras, access control systems and environmental sensors, with cloud based machine vision and artificial intelligence. Trusted by over 13,000 organisations, Verkada is committed to protect people, assets and offer privacy at scale. Being a young company that only launched in 2016 and having done very little marketing activity, awareness in the UK was minimal and understanding of what Verkada does was equally low. A key objective of this campaign was to raise awareness significantly and to educate audiences as to what Verkada does. This was an exceptional campaign that delivered a spectacular result for our client, proving that Classic OOH/posters can be innovative and effective, and are still as powerful as they have always been.

In June 2022, Pleo launched ‘Pleo it’ – our latest OOH campaign in London. Hot on the heels of a successful 2021 outdoor campaign on a smaller scale, this new effort allowed us to span 2000+ sites, principally across zones 1 and 2. To hone in on our specific target of CFOs and finance leaders, who spend too much time on tedious expenses and the ensuing admin, we opted for a transport-centric strategy that would speak to our audience as they moved around for work. Due to the pandemic, we’ve all been deprived of in-person experiences and ads you can almost interact with. So, we wanted to impress people on the streets – not just screens. Partnering with Global for classic media space in top locations across the city, we placed our advertising on the sides of buses, overground stations, underground platforms/escalators and corridors and 10 extra large-format sites that sat above main artery roads in and out of London. The extensive network of our iconic red buses also ensured that our placements quite literally travelled out to further, peripheral areas of town too. Dreamt up, copywritten and designed completely in-house by our internal Brand Studio, this was a chance to put something different out into the B2B landscape. Detailed field research showed that audiences are consistently seeing the same key attributes from B2B finance advertising. We aimed to bring that Pleo ‘more than expected’ twist and that sharp observational humour with our illustration-centric range of nine different advertising executions.

The Matching People with Property campaign defies the conventions of the estate agent category by avoiding hard-sell messages, clearly differentiating Marsh & Parsons from the competition. The essential truth – Marsh & Parsons has been matching people and property for over 160 years - is brought to life by creative which shows the people behind the property. Unlike other estate agent advertising, the audience is trusted to be smart and savvy, to get the joke and to feel rewarded because they do. The emotional connection made brings to life the unique approach of Marsh & Parsons, creating stand out and brand fame. To maximise impact, relevance and memorability, the campaign ran on high footfall poster sites within the catchment area of the Company’s 30-strong office network across the Capital. Dedicated executions for key events made the brand a part of London’s daily conversation, anticipated and appreciated. Love Lane marked Pride month, Amen Corner was released as England reached the Euros semi-finals and Jubilee Street, the Platinum Jubilee.

The future of viewing is here. We were briefed to deliver a fame-driving activation for Virgin Media’s (VMs) new product ‘Stream’ that linked to their ATL launch campaign ‘Hyped’. To consolidate VM’s role as a disruptive leader in the connected entertainment industry, we were told to be innovative with the goal to generate fame, shareable content and earned media. Building on the ATL idea, we delivered the world’s first multi-sensory OOH (Out Of Home) 4D billboard experience where the ATL ‘Hyped’ mouth appears to burst from the screen. Using automated lip-syncing technology (with the help of hidden cameras) our presenter, MC Neat, was able to interact in real-time with passers-by, whilst his mouth movements were seamlessly synced, live on screen. This day-long ‘WOW’ moment at Kings Cross Square included powerful environmental disturbances, such as high-pressure velocity air cannons that triggered when “Paying your subscription is a breeze” was uttered… By going 4D, we brought together the proven traditional OOH billboard techniques and embellished them with hype-worthy elements, amplifying the ATL in a ground-breaking world first. On the day, we almost doubled our number of forecast visitors to the viewing platform and smashed our predicted number of QR code scans (taking consumers to the VM homepage) by nearly 400%. As a result, our hype activation was directly responsible for lead generation with consumers. Social reach was huge, with over 1M combined video views. Noteworthy pieces of coverage include Campaign, The Drum, Famous Campaigns, Mobile Marketing Magazine, Telecompaper, and Daily Star.

On Alibi, there’s always more going on than meets the eye. Our objective was to improve brand perceptions of Alibi among crime drama viewers and to promote the Alibi channel’s new brand proposition of ‘more than meets the eye’ in new and engaging ways. We created a bespoke special build installation as a real world experience that allowed the general public to get involved and interact with our brand. This installation was seen across the UK from Manchester to London. We also continued our out-of-home brand campaign across multiple digital screens that were strategically placed around our installation sites. To promote the Alibi channel's new brand proposition of ‘more than meets the eye’, we wanted to engage with the curiously-minded fans of crime drama by creating a real world experience that offers something unexpected and challenges their perspectives. Using the optical illusion of anamorphic type, we developed a large installation that can only be seen and deciphered from a certain point and perspective. A series of OOH digital screens were also tactically placed around each site that reveal hidden messages to hopefully prompt people with a curious mind to take a second look. This installation allows people to engage and interact with our brand and was created as part of a wider campaign to show that on Alibi there is always more going on than meets the eye.

On 29th October 2021, global sensation Ed Sheeran launched his much-anticipated new album, ‘=’. His most personal album to date, working with Amazon Music, our aim was to not only create a personalised launch moment, but to open the creative journey to fans. Introducing the ‘Equals Listening Experience’. A multi-sensory experience gave fans access to exclusive content and a step inside the mind of Ed. This once in a lifetime experience incorporated a 360-degree digital enabled media installation with interactive butterflies taking fans on a journey of the album’s evolution, bringing to life the emotions and moods from each track.

Pixel and Texel were hired as content curators to oversee the new Marriott Headquarters’ 72'x24' LED Wall inside their corporate tower lobby in downtown Bethesda for its Sept 19, 2022 grand opening. In addition to bringing to life over fifty 12K custom living panoramics, the team created special moments from abstract art to waterfalls that cascade over the elevator doors to greet employees and guests.

Creating meaningful connections and sharing something real through integrating technology from OOH and Portal, Meta's video calling device. Over 1.5 million grandparents in the UK only see their grandchildren twice a year (YouGov). So we headed to Bournemouth, the grandparent capital of the UK, where 72% of residents are grandparents - seizing the opportunity to demonstrate how Portal can change that by allowing these two generations to share real moments..By using Portal and the innovation of OOH in public-space and iconic environments, we captured authentic interactions between Grandparent and Grandchild (with parents joining in) - demonstrating how Portal can bring them closer together through making them feel like they are in the same room. We flooded the streets with dozens of personalised messages in which real grandchildren invited their grandparents to spend more quality time together with Portal. We picked iconic locations - showing up in one of the busiest squares in Bournemouth and also taking over a quintessential beach hut to surprise grandparents with a live Portal call from their family - to create a real, unforgettable and spontaneous moment. As the only ad-channel that can have a two-way video conversation with the audience, DOOH was used to help deliver this campaign. The innovation came through the creative use of the OOH canvas. We were able to take over Bournemouth through Digital OOH and experiential activity - pushing the boundaries of what’s possible to deliver a truly authentic campaign.

When we think of domestic abuse, we think of physical violence. However, that is only one part of a much bigger problem. In early 2022, we uncovered research that revealed economic abuse is experienced in 95% of domestically abusive relationships, yet 69% of people don’t see the two concepts as related. This pointed to a huge awareness gulf, reflecting an enemy that many of us can’t see, and pointing to an urgent story that needed telling. Without financial autonomy, leaving an abusive relationship can be impossible. HSBC UK’s Safe Spaces out-of-home campaign sought to ensure more people knew about this. To truly reappraise the way the British public saw domestic abuse, HSBC UK needed a powerful campaign idea that dramatized the invisible enemy of economic abuse and gave victims a safe space to regain their financial independence. Our ‘puppet strings’ metaphor sat behind the powerful ‘95%’ statistic, resulting in an OOH campaign that delivered pioneering impact in the UK through a range of innovative, memorable executions. The results were inspiring; conversations gathered pace on social media, victims spoke up for themselves and many were shocked to learn about this secret evil. Furthermore, the campaign started a conversation within wider culture, setting an example within the financial services category. News outlets started discussing the topic and competitors began working in the same space, revealing how our campaign not only raised vital awareness but unified the financial services category in the fight against a problem that sits intrinsically close to its products.

For 70 years, KFC has been famous for one thing: delicious fried chicken, cooked to an original recipe - encapsulated by their iconic endline, “it’s finger lickin’ good”. But there’s no monopoly on consideration in the QSR market. For our latest campaign we needed to find a way to stimulate people’s taste buds and remind them just how great KFC tastes – we needed to induce a craving that must be fed! Our big idea was to tap into KFC’s strongest brand consideration – taste. So, we set out to recreate that mouth-watering experience of opening a fresh bucket of KFC or unwrapping a hot, delicious burger. We did this by creating steaming, sizzling special builds, supported by a wider campaign that was a feast for the senses. Research showed our use of macro photography and special build techniques generated hunger by +70%, and drove consumers to restaurants with our Crave campaign delivering both short-term and long-term sales impact.

The gin category is a noisy one, with new entrants appearing all the time. Hendrick’s is an established and admired brand, but the intensity of competitor activity was threatening their market share. They wanted to be the most TALKED about and LOVED super premium spirit's brand. So, as the UK began to open up from a 3rd national lockdown and travel, once again became a regular feature of everyday life, Hendrick's Gin saw an opportunity to break the monotony for travellers, by transforming that most mundane of places - the bus shelter, into a portals where they could escape the conventional and (re)discover the delectable world of Hendrick’s Gin. A series of Victorian-surrealism themed activations were built to evoke a sensory overload, with sight, smell, touch, and sound. For example, each bus shelter featured an upside-down ‘living roof’ made up of roses and cucumbers and scent was dispensed to bring to life Hendrick’s Gin’s peculiar infusion of rose and cucumber. A doorbell aptly engraved with ‘Press for the Peculiar’ triggered olde-fashioned music and a Victorian gentleman-style monologue, whilst a giant, upside-down 3D recreation of the Hendrick’s Gin bottle that continuously poured real liquid into a glass was encased within a 6-sheet panel.. Not only did Hendrick’s win summer by delivering a category leading 35% Share of Voice, but this was the FIRST time that such an innovative, ambitious creative and fully immersive tech (Living Roof, Scent, Sound and Liquid Showcase) has been successfully incorporated in a Bus Shelter Build.

Few things are more at home in Britain’s fridges than Müller Corner. Whether we rushed home from school to nab the last of the multipack; rattled and crunched our way through a lunchtime meeting, or grabbed a pot to finish dinner with a smile. Tipper, or spooner. Fruit compote or chocolate balls. We’ve all had one, and keep a little place in our hearts for its unique format. So much so, that at one point you’d find a Corner in 50% of the nation's fridges. But, in recent years, whilst Corner still held a place in consumers' hearts, it had started to lose its crunch. Times changed, new products arrived and needs became more complex. Causing many to leave their nostalgia at the door of the supermarket. Switching to own-label alternatives, or different categories altogether. Suddenly Muller was in danger of being forgotten, but to reignite the spark we simply needed people to remember why they fell in love with us in the first place - because we're the original and best Corner yogurt. There are all sorts of reasons we could have given. But they didn’t need convincing of why, they simply needed reminding of what. So, we did just that. By showcasing our most distinctive and loved asset for all to see in OOH. Because, when you see strawberry and yogurt together in that iconic pot, it could only be a Muller Corner.

The battle for Broadband speeds is notoriously competitive, and this is no different within OOH. Sky Broadband knew they needed to standout in market, to make sure their Broadband speed was getting the notice it truly deserved… Enter the Minions! Over the years, the Minions have consistently been a part of Sky Broadband campaigns and have consistently showcased their mischievous nature to test the powers of Sky Broadband. In August last year, with this continued partnership, Sky were launching their ground-breaking new broadband, Sky Ultrafast, with speeds 10X faster than standard fibre. The power of this speed is masterfully captured through the aura which projects on to the Minions, leaving them hanging on with all their might to stay in the OOH creative… sometimes unsuccessfully! Roll on 8 months, in April 2022, and this got even faster! With speeds now 25X faster than standard fibre, Sky Broadband Gigafast launched to market. We therefore needed to showcase this in OOH, and ensure we were pushing boundaries even further than before. Not only were the Minions still hanging onto our OOH sites, the Gigafast speeds broke a billboard in half and even ripped a bus shelter completely out of the ground! However, the mischievous Minions did not stop there… we installed a Gigafast slide at Westfield Stratford showcasing what Gigafast really feels like.

Sky Glass is more than just a TV… Therefore, this campaign needed to be more than your traditional OOH launch! To showcase the revolutionary Sky Glass, we built a campaign with not one or two innovative executions but eight across over 400 locations nationwide. This was a campaign with a huge ambition, this was Sky’s biggest ever launch and the use of multiple technologies within our creative enabled us to push the boundaries in OOH at a scale never seen before.

The pandemic hit the Vanarama National League (the lowest tier of professional football in England) hard as stadiums closed, meaning no fans and no revenue. With the new season approaching, the Premier League transfer sagas were dominating headlines. The Vanarama National League was in desperate need of attention to ensure fans returned in their droves. As Hollywood actors Ryan Reynolds and Rob McElhenney became owners of Wrexham FC, the league’s oldest and biggest club, we found the perfect opportunity to give the league some much-needed glitz and glamour. With scale and style worthy of tinseltown, the Vanarama National League anonymously erected a 10-metre Hollywood-style sign in the hills overlooking the small Welsh town of Wrexham. This sparked a nationwide whodunnit worthy of any blockbuster as national broadcast media speculated about who could be behind the behemothic structure. People flocked to see the sign from miles around as locals voiced their pride in the town’s latest attraction. When the big reveal was made on the eve of the new season, the Vanarama National League received widespread coverage from organisations such as ITV, BBC and Mail Online. This was followed by record match attendances across the league as football returned.

Launches from Hendrick’s Gin’s Cabinet of Curiosities are famed for bold, imaginative visions – and the debut of its new sea-inspired, limited-release Neptunia creation was no exception. Infused with coastal botanicals, Hendrick’s Neptunia bottles the elemental power of the sea and is set to be the iconic gin of summer 2022. The brief was to create a moment in time to celebrate the launch - something unique and unmistakably Hendrick’s that would drive earned coverage and attention. Creative inspiration was taken from the coast and those beautiful beacons of our coastlines: lighthouses, which became canvasses for our storytelling. Lighthouses in East Sussex, The Wirral and Girvan (Home to Hendrick’s Gin) were transformed from white monoliths into colourful tales of Hendrick’s Neptunia. The stunning multi-media art installation designs included the history and local landscape of each lighthouse and a contemporary take on the natural world. Lighthouses were both an unusual and unexpected canvas for our story, but also perfectly aligned to the story itself. The activation was quirky and intriguing enough for our ‘curious’ Hendrick’s gin drinker, but also delivered the visual drama to cut through to mass media. The stunning and spectacular campaign delivered a wave of coverage, talkability and social sharing with the client declaring it “the most successful PR campaign for Hendrick’s Gin to date”.

Sky Glass is more than just a TV… Therefore, this campaign needed to be more than your traditional OOH launch! To showcase the revolutionary Sky Glass, we built a campaign with not one or two innovative executions but eight across over 400 locations nationwide. This was a campaign with a huge ambition, this was Sky’s biggest ever launch and the use of multiple technologies within our creative enabled us to push the boundaries in OOH at a scale never seen before.

In a world where superheroes embrace the darker side of their celebrity and fame, Prime Video’s The Boys centres on a group of vigilantes who set out to take down these corrupt superheroes. With the new season promising to be the most chaotic yet, our job was to bring this destructive series into the real world. In order to deliver shock factor, gain earned media, and ultimately drive social buzz and conversation, we needed to think outside of the traditional walls of Outdoor - recognising that if we dominate a space we could reach an engaged online fan community that would carry much further from the physical site itself. Phantom Billstickers Newton Road space was the perfect fit for such an activation. Having never been done before, we took advantage of multiple formats and a popular car park to create the most chaotic scene that went beyond the traditional formats themselves. We integrated custom built LED lighting to create laser beams from Butchers eyes on the billboard, cutting through street poster frames, to a burnt-out car sat in the carpark below. The fact Butcher had laser beams was shocking in itself, being quickly shared across The Boys Reddit pages and global accounts for discussion and suspected spoilers. With such an engaged community of fans, this activation went global and showcased the true power of outdoor and its ability to live online.

A line routinely used by most of the human population this year as we’re back into normal life: “I’ve we’ve missed in-person events”. The passions and hobbies we adored were kept at bay whilst we were kept indoors. Without the connection and excitement of our most-loved events, we were comparable to the slow, sleepy Snorlax. Entering 2022, as if freshly rolled from a Poké Ball, the world was ready for the action it so desperately missed. Pokémon fans around the globe rejoiced and emerged from the clouds like the mighty Charizard, ready to battle it out at their most-anticipated event – The Pokémon World Championships. After three long years, the Championships were being held outside of North America for the first time in history. Destination: London. Trainers were ready to battle and fans ready to watch. Expectations were high and so was the anticipation. So how could Pokémon make sure their experiences were even higher? As two world-famous brands, Transport for London and Pokémon came together using the UK’s only urban Cable Car to amplify experiences around the event “making their dreams a wonderful reality”. Tailoring eccentric creative to the most unique form of transport on the network, throughout the week of the event customers arrived in true style. Transforming journeys, building an emotional connection, and heightening the customer experience… 90 metres to be exact. Are you ready find out more about how we did, trainers?

The team at Single Frame were given one giant marketing campaign, with two very basic assets. They were tasked with hitting the public domain hard with a new and exciting series, providing rich and impactful media displays, while honouring the fantasy world created by Robert Jordan. The Wheel of time was launched on Prime Video in November of 2021, with a global campaign to entice viewers into watching this highly anticipated series. The challenge for Single Frame, was that they were given very simple key art, and then had to facilitate a global campaign, including Digital Out of Home, High impact Out of home displays, transport wraps, social and the trailers too! The first challenge was to create something more to work with, which required our internal 3D team to build onto the existing art with additional elements. The second challenge was to create the trademark ouroboros, or serpent creature you see as the show title emblem. The team created this as a 3d asset, and this became the base and star of all transport wrap creative.

AdQuick.com was launched in 2016 by former Instacart executives who knew firsthand the unrelenting pains of booking out-of-home advertising campaigns. The company’s initial goal was simple: make it easy to plan, buy and measure every form of OOH media. Mission accomplished –– AdQuick’s end-to-end OOH buying platform has rapidly risen to the height of the outdoor advertising arena. AdQuick’s easy-to-use platform is powered by robust datasets and proprietary tools that facilitate data-led OOH media planning; quick and efficient campaign execution; and accurate measurement across every objective and campaign KPI in real-time. But AdQuick hasn’t stopped there. The team continues to innovate, providing marketers and advertisers with the newest OOH solutions, all while advancing the OOH advertising industry worldwide. Within the last year, AdQuick launched the industry’s most scalable and measurable DOOH (AdQuick DSP), giving advertisers access to over 30 billion impressions across 600K screens from 170+ publishers. AdQuick also recently debuted its audience-based buying capabilities, dynamic-ad creative feature, first-ever “analytics as a service” offering, and a collection of OOH media planning tools (i.e., budget estimator, look-alike markets, audience buying, and market explorer tools) tailored to help marketers leverage the trust, reach and efficiency of OOH. Thanks to AdQuick’s unyielding product innovation, industry advocacy, strategic international partnerships, and ever-growing global footprint, advertisers and brands across industries are now realizing that OOH advertising’s future is truly without limits.

Broadsign empowers media owners, agencies, and brands worldwide to leverage the power of out-of-home (OOH) and connect with international audiences. Powering over 1,000,000 signs, including 300,000 digital signs, in roadway, transit, retail, healthcare, and other environments, and OOH campaigns by brands like Samsung, Samsonite, and Frontier Australia, Broadsign technology opens the world of OOH to new media buyers and makes it easier to buy, sell, and deliver dynamic, OOH content that resonates with audiences. The Broadsign Platform remains the most robust digital and static OOH advertising offering available today, and is SOC 2 Type 2 certified. It supports content distribution; playback and proof of performance; real-time inventory availability; campaign management; automated programmatic DOOH transactions; and more. Taking a customer-centric approach to development, Broadsign has continued advancing its platform to streamline OOH media owner operations and make the medium more accessible to OOH and omnichannel media buyers. In the last year, it rolled out automated yield optimization, header bidder, system-on-chip, and retail-focused tools for media owners, as well as new moment triggers for its OOH demand-side platform (DSP), which allow buyers to execute creative based on real-time contexts like weather and financial data. The company also extended its DSP availability to North America and Australia, so more media buyers can experience the benefits of planning and activating campaigns on the technology, including positive impact on ad recall and brand lift. Broadsign is reshaping modern perceptions of OOH, democratizing access to the medium, and driving new industry innovation and growth.

We believe that DOOH should be the most accountable, transparent, and brand-safe medium for advertisers where digital screens are always on and always viewable. But with the rapid growth and fragmentation of the DOOH industry, came an incredibly complex and time-consuming content delivery workflow process, with brands and agencies having little idea if their campaigns were delivering and performing as they should be. Therefore, we created UniLIVE - the UK’s first and leading technology platform that allows clients, in one dashboard, to effortlessly deliver, monitor, report and independently verify their DOOH campaign performance. Working with 70% of the DOOH buyers in the UK and now operating in the US, Australia, The Nordics, France & Germany. Our technology is used by some of the world’s top brands to deliver, monitor and report on DOOH campaign performance. UniLIVE adds value to all stakeholders in the OOH eco-system. Delivering transparency, accountability and protection for Brands. Driving value for Media Agencies through data and actionable insights. Increasing productivity and efficiency for Creative Agencies, through content delivery, distribution and campaign management. And building trust for Media Owners in delivery and performance. OOH has always been seen as the most trusted medium, and our technology ensures that it continues to be after its digital transformation, which we believe is integral to the continued growth and success of the medium.

In February this year, the BBC announced the long-awaited final season of the hit show, Peaky Blinders. With this momentous conclusion in mind, The BBC approached us with the idea of creating a mural to encapsulate the popular programme and reveal the final air date of season 6 on BBC iPlayer. To create the mural in time for the impending reveal date, we enlisted the help of Akse to paint the 40ft+ tall image of Tommy Shelby right in the heart of Birmingham, where the show is set! When creating the mural we focused on how to deliver the most impact, and achieved the following: ● Objective – to create an impactful and well-executed mural centred around the reveal date of the final season. ● Strategy – to place the mural in a culturally relevant space, fitting with the background of the show. ● Results – to create a buzzworthy campaign successful amongst fans online and mentioned in the press. This mural was so popular, that it became a local landmark in Birmingham amongst Peaky fans, quickly becoming a tourist hotspot. Because of the great success this campaign received online, we were able to extend the life of this mural for an additional 14 weeks.

As a small brand, CRAVE free from, has big ambitions but small budgets. They used OOH to message a single buyer, but gaining attention wasn’t enough, they needed to fully engage with multiple gatekeepers in this tough FMCG category. CRAVE cheekily targeted the main entrance of a corporate HQ, and talked directly to the buyer….yet it remained true to the brand’s identity and communications tone of voice. So it not only gained the attention of many head office employees, but also allowed the general public in on the joke, who swiftly used social channels to join the conversation and lobby the retailer to stock CRAVE’s products. The campaign demonstrates the accepted power of OOH can also be focused tightly, and with brilliant success.

UNiDAYS helps students create unique experiences, from shopping and services through to education and learning pathways, by providing them benefits from brands they love. Back to campus is a major buying moment in the UNiDAYS calendar, as current and future students start preparing for university. Research conducted by UNiDAYS in June 2022 showed that, on average, each UK student expected to spend approximately £1,027 ahead of the new study year, equating to £3.4 billion in total spend. Our mission was simple: After two years of remote learning, we wanted to bring our digital offering into the physical world for students, using OOH as the primary driver to raise awareness of UNiDAYS among student audiences. To achieve this, based on extensive research into the attitudes of students starting or returning to university, we created the READY FOR ANYTHING campaign, which centred on UNiDAYS having students truly are ready for anything. This campaign consisted of three main phases - awareness, consideration and conversion - and ran from July through to the end of September, driven primarily through OOH and supported by on campus, paid and organic social and PR. The campaign has been a resounding success as evidenced by - a 100% increase in Google searches for UNiDAYS compared to the same period in 2021 - a whopping 65% rise in organic search over the period compared with the same time last year, more than double the 27% rise recorded in non-target cities - a 35% YoY increase in new member signups

The I'm Here campaign connects street vendors to digital out-of-home screens through geolocation technology. We redesigned The Big Issue's iconic red jacket to incorporate geolocation beacons. The beacons track street vendors' movements when they walk along the street. When vendors are in range, the digital screens are triggered and point people in their direction – right down to how many meters away they are. Once triggered, apart from direction and distance, each screen portrays the specific nearby vendor image, with movements and emotions captured in the studio, to make the OOH as reactive as it could be, improving their visibility and humanizing the media The I'm Here campaign made invisible people visible – showing how technology can bring us together, not set us apart.

The pandemic hit the Vanarama National League (the lowest tier of professional football in England) hard as stadiums closed, meaning no fans and no revenue. With the new season approaching, the Premier League transfer sagas were dominating headlines. The Vanarama National League was in desperate need of attention to ensure fans returned in their droves. As Hollywood actors Ryan Reynolds and Rob McElhenney became owners of Wrexham FC, the league’s oldest and biggest club, we found the perfect location to help us give the league some much-needed glitz and glamour. We took an ordinary-looking hill on the outskirts of Wrexham, one that overlooked the entire town and was visible from the nearby motorway, and transformed it into a newsworthy spectacle with scale and style worthy of tinseltown. In true Hollywood fashion, we used this location to install a 10-metre sign simply saying ‘WREXHAM’ and sparked a nationwide whodunnit worthy of any blockbuster. National broadcast media descended on this hill in Wrexham for days on end to speculate about who could be behind the behemothic structure. People flocked to see the sign from miles around as locals voiced their pride in the town’s latest attraction. When the big reveal was made on the eve of the new season, this location had been making headlines for six days running as the Vanarama National League received widespread coverage from organisations such as ITV, BBC and Mail Online. This was followed by record match attendances across the league as football returned.

Launches from Hendrick’s Gin’s Cabinet of Curiosities are famed for bold, imaginative visions – and the debut of its new sea-inspired, limited-release Neptunia creation was no exception. Infused with coastal botanicals, Hendrick’s Neptunia bottles the elemental power of the sea and is set to be the iconic gin of summer 2022. The brief was to create a moment in time to celebrate the launch - something unique and unmistakably Hendrick’s that would drive earned coverage and attention. Creative inspiration was taken from the coast and those beautiful beacons of our coastlines: lighthouses, which became canvasses for our storytelling. Lighthouses in East Sussex, The Wirral and Girvan (home to Hendrick’s Gin) were transformed from white monoliths into colourful tales of Hendrick’s Neptunia. The stunning multi-media art installation designs included the history and local landscape of each lighthouse and a contemporary take on the natural world. Lighthouses were both an unusual and unexpected canvas for our story, but also perfectly aligned to the story itself. The activation was quirky and intriguing enough for our ‘curious’ Hendrick’s gin drinker, but also delivered the visual drama to cut through to mass media. The stunning campaign delivered a wave of coverage, talkability and social sharing with the client declaring it “the most successful PR campaign for Hendrick’s Gin to date”.

With all the shiny new online betting agencies out there, New Zealand’s 70-year-old bookie, TAB NZ, was increasingly being seen as old-school among young Kiwis. They were looking to shake the cobwebs off their brand and do something new and unexpected, to give them more relevance among 18-34 year-olds. The All Blacks v Ireland rugby series was the perfect opportunity to do just that, and TAB NZ couldn’t resist giving the Irish rugby team a cheeky reminder of the challenge that lay ahead. So, we embarked on a month-long campaign that targeted the Irish with ‘helpful’ facts and stats asking them to consider their odds. We showed up everywhere the team went, using OOH to deliver contextual and relevant messaging. In an unexpected twist, Ireland won the series, but our use of OOH gave us flexibility to pivot our campaign to celebrate the underdogs who beat the odds. A move that went viral in Ireland. From having headlines for every match outcome ready to update creative the second the whistle blew, to responding to key moments of the tour with quick-as-lightning headlines–TAB NZ led the ever-changing conversation, made the brand feel relevant again, and got the results to prove it.

In June, goodr, the brand known for its budget-friendly active sunglasses and irreverent approach to marketing, teamed with Lamar Advertising to create and launch its first large-scale awareness campaign using traditional Out of Home elements. The campaign was designed to showcase the unique and absurd approach to marketing embraced by goodr. In developing the campaign strategy, goodr and Lamar first identified the “normal things” that typically would go into an awareness campaign, such as sales-driven messaging. Then, the companies explored how they could “make this weird” and goodr-fy basic marketing to stay true to the brand voice and tell its story in an approachable way. goodr and Lamar set their sights on Carl, Georgia, a tiny town with a population of 269 located 43 miles from Atlanta. goodr used all 10 Lamar static billboards to introduce the town’s residents to Carl the Flamingo, the company’s mascot and honorary CEO. Lamar and goodr plastered Carl’s image all over town with the words “Carl, Meet Carl the Flamingo.” No real call to action. No product push. Just a simple way to let Carl residents know that their town shares a name with goodr’s CEO, while staying true to the brand’s core absurdity.

The grocery sector is fiercely competitive with pricing strategies and share of market defence strategies that mean margins are constantly squeezed. A previous disappointing set of econometrics results put OOH under a microscope and its role on Co-op national campaigns was being questioned. We embarked on a new approach to prove the value OOH added to the media mix. We re-booted our plans, employing a smarter, more agile approach to deliver on its core objectives of driving brand uplift and footfall into store. The resulting campaign was a 6-month always-on, 100% dynamic digital campaign, which seamlessly interweaved brand messaging with localised and bespoke sales products. This subsequently saw brand metrics improve, Co-op once more lead again in sustainability and ROI from OOH increase significantly.

Dancing between OOH and experiential, 3D digital mega screens took Asia by storm. It wasn’t long before the technology’s reach expanded, and we found ourselves in Brazil with a giant screen just waiting for its moment to shine. Floripa Square—a Brazilian media tech company—had just landed the largest 3D digital screen in Latin America (measuring 125ft by 30ft) when they approached us, looking for an activation for the screen’s debut that was worthy of the $3M investment. So, a worthy activation we created. Introducing: “Breaking the Fourth Wall,” the world’s first 3D crypto art shoppable outdoor exhibition. With the goal of harnessing the screen’s full potential, we looked to 3D animation to create a PR-worthy idea capable of catching the eye of Brazilian marketers and publishers. Wanting to shine a light on the new tech and tap into something huge, we created a massive live event for emerging local and global artists to profit from and kick-start their careers. We targeted key Brazilian influencers, from media buyers and journalists to crypto enthusiasts and more. For 30 days, the 10 pieces of crypto art created just for the screen were made visible to an audience of 600,000+ people, and NFTs were available to purchase online via credit card—not just cryptocurrency. Not only did we debut a new media type in Latin America but we also made crypto art available to the masses, raising awareness around emerging talent by giving them the opportunity to show their work on a big stage.

With a clever use of formats and environments, BetBull used OOH to create effective cut-through in an extremely saturated market. This was the first time BetBull had used OOH, and they reached their target audience, with a mixture of standout formats and highly targeted placements to drive conversion – reaching football fans in the most appropriate contextual moments. By focusing their creative on their compelling point of difference, their unique approach drove fantastic results, with shifts in pre & post awareness, along with positive econometric uplifts directly attributed to the OOH campaign.

The pandemic hit the Vanarama National League (the lowest tier of professional football in England) hard as stadiums closed, meaning no fans and no revenue. With the new season approaching, the Premier League transfer sagas were dominating headlines. The Vanarama National League was in desperate need of attention to ensure fans returned in their droves. As Hollywood actors Ryan Reynolds and Rob McElhenney became owners of Wrexham FC, the league’s oldest and biggest club, we found the perfect location to help us give the league some much-needed glitz and glamour. With scale and style worthy of tinseltown, the Vanarama National League anonymously erected a 10-metre Hollywood-style sign in the hills overlooking Wrexham. This sparked a nationwide whodunnit worthy of any blockbuster as national broadcast media obsessed over who could be behind the behemothic structure. People flocked to see the sign from miles around as locals voiced their pride in the town’s latest attraction. When the big reveal was made on the eve of the new season, the Vanarama National League received widespread coverage from organisations such as ITV, BBC and Mail Online. This was followed by record match attendances across the league as football returned.

For 7yrs in a row, EE’s been named the No.1 network by independent data experts. A scientific fact. But all competitor advertising claims they have the best network. EE cannot allow competitor propaganda to leave people thinking all networks are the same. We needed a new approach to reassert EE’s leadership and provoke the doubters to re-evaluate. To put an end to competitors’ arbitrary claims and cut through to give the doubters relevant proof they could not ignore we developed our ‘Competitor Strikes’ initiative. Focusing on EE strongholds the message was clear and to the point. ‘Right here, right now, EE is the best network!’ Don’t ignore us. This is not nebulous. EE’s the most reliable. EE is better. In 2 strikes, activating multiple formats, we conquered 8 key regional cities. DOOH quickly infiltrated strategic locations, intercepting target consumers on-the-go. Large high-impact OOH fortified key intersections across the landscape. With sustained 4wk strikes small & non-traditional OOH reinforcements gained ground reaching +95% of local populations. We also worked with trendsetters and ambassadors in Manchester & Liverpool to create the Parallel Experience, ‘UK’s first hybrid 5G powered club night’, with renowned local DJ’s demonstrating EE’s network connection reliability to their legions of followers. The work positively shifted customer perceptions with a +5% increase in brand love and a +4% increase in the belief that EE had the best connection. This new approach led1.5M more people to believe EE is the best network.

Notion is a collaborative workspace that helps organize your knowledge, projects, and plans in one place—a way to shape the ideas, flows, and tools that move you forward, as a startup founder, a parent, a life-long learner, a leader—whatever life chapter you find yourself in now. With over 20 million users of its software, Notion has already seen widespread adoption and organic traction due to popularity among its online and offline community, which spans hundreds of countries, languages, and cultures. Building on this success, Notion was ready to invest in the next phase of growth, setting a goal to significantly boost awareness by launching their first international brand campaign.

Hugo Boss took over 42 cities globally to successfully re-invent the brand with OOH and social media at the heart of the campaign. Hugo Boss has always been a huge supporter of the Out of Home channel, with big campaigns like BOSS x Russell Athletic running throughout 2021. So, it was great to see the creative for another incredible campaign; the BOSS brand refresh 2022. The launch of the Boss brand refresh took place on a global scale, to spread the word about the new BOSS #BeyourownBOSS. This re-brand has been a bold move for the company in their efforts to create significant growth and stay ahead of premium fashion trends. Hugo Boss decided to go through a complete makeover with BOSS and HUGO to target a new, younger audience and produced a global OOH campaign to support the company's huge shift in Q1 of 2022. The campaign was massive, with big named celebrities involved and a wide variety of OOH formats running across 20 markets alongside a social media strategy. The results speak for themselves with impressive reach and increased brand awareness.

Audience insights company GWI worked with december19, Mediabridge and Truant London to globally activate its new brand and substantially increase brand awareness. OoH became the lead channel, providing instant broad reach on a local level, delivering impact and brand stature, as well as location targeting, using a mix of digital and static formats to capture attention. This was a highly provocative, contextual OOH campaign that spanned London, NY, Australia and Singapore.

In June 2022, Pleo launched ‘Pleo it’ – our latest OOH campaign in London. Hot on the heels of a successful 2021 outdoor campaign in a smaller part of London, this new effort allowed us to span 2000+ sites, principally across zones 1 and 2. To hone in on our specific target of CFOs and finance leaders, who spend too much time on tedious expenses and the ensuing admin, we opted for a transport-centric strategy that would speak to our audience as they moved around London for work. Partnering with Global for prime media space in top locations across the city, we placed our advertising on the sides of buses, overground stations, underground platforms/escalators and corridors and 10 large-format sites that sat above main artery roads in and out of London. Naturally, the extensive bus network of our iconic red buses also ensured that our placements quite literally travelled out to further, peripheral areas of town too. Dreamt up, copywritten and designed completely in-house by our internal Brand Studio, this was a chance to put something different out into the capital’s B2B landscape. Detailed field research showed us that audiences are consistently seeing the same key attributes from B2B finance advertising. We aimed to bring that Pleo ‘more than expected’ twist and that sharp observational humour with our illustration-centric range of nine different advertising executions.

Dancing between OOH and experiential, 3D digital mega screens took Asia by storm. It wasn’t long before the technology’s reach expanded, and we found ourselves in Brazil with a giant screen just waiting for its moment to shine. Floripa Square—a Brazilian media tech company—had just landed the largest 3D digital screen in Latin America (measuring 125ft by 30ft) when they approached us, looking for an activation for the screen’s debut that was worthy of the $3M investment. So, a worthy activation we created. Introducing: “Breaking the Fourth Wall,” the world’s first 3D crypto art shoppable outdoor exhibition. With the goal of harnessing the screen’s full potential, we looked to 3D animation to create a PR-worthy idea capable of catching the eye of Brazilian marketers and publishers. Wanting to shine a light on the new tech and tap into something huge, we created a massive live event for emerging local and global artists to profit from and kick-start their careers. We targeted key Brazilian influencers, from media buyers and journalists to crypto enthusiasts and more. For 30 days, the 10 pieces of crypto art created just for the screen were made visible to an audience of 600,000+ people, and NFTs were available to purchase online via credit card—not just cryptocurrency. Not only did we debut a new media type in Latin America but we also made crypto art available to the masses, raising awareness around emerging talent by giving them the opportunity to show their work on a big stage.

UNiDAYS helps students create unique experiences, from shopping and services through to education and learning pathways, by providing them benefits from brands they love. Back to campus is a major buying moment in the UNiDAYS calendar, as current and future students start preparing for university. Research conducted by UNiDAYS in June 2022 showed that, on average, each UK student expected to spend approximately £1,027 ahead of the new study year, equating to £3.4 billion in total spend. Our mission was simple: After two years of remote learning, we wanted to bring our digital offering into the physical world for students, giving ads a local feel, to raise awareness of UNiDAYS among student audiences. To achieve this, based on extensive research into the attitudes of students starting or returning to university, we created the READY FOR ANYTHING campaign, which centred on UNiDAYS having students truly are ready for anything. This campaign consisted of three main phases - awareness, consideration and conversion - and ran from July through to the end of September, driven primarily through localised OOH and supported by on campus, paid and organic social and PR. The campaign has been a resounding success as evidenced by - a 100% increase in Google searches for UNiDAYS compared to the same period in 2021 - a whopping 65% rise in organic search over the period compared with the same time last year, more than double the 27% rise recorded in non-target cities - a 35% YoY increase in new member signups

2020 was the most challenging year ever experienced by the global attractions business, so we needed to stand out in a fiercely competitive market as things began to reopen in 2021. However, with international visitors still not expected to return to London just yet, we turned our attention to covid-weary locals, as we enticed them to experience their city’s most iconic attraction and ‘rediscover the feeling at every turn’. Our out of home campaign featured stunning photography, portraying the ‘oh my gosh’ moment as you begin your ascent, and the ‘wow’ of soaring above the city on the London Eye. And the approach paid off - ad awareness reached 42%, intention to visit hit 28% and ticket sales were up 4% amongst local visitors compared with 2019. These results mark a significant increase vs previous London Eye advertising, making this the most effective piece of London Eye creative ever to have run.

The broadband market is highly competitive with many providers offering entertainment packages as part of the deal and comparison sites capturing those looking to move supplier. So, as EE launched its new full-fibre broadband, they knew that their media would have to work hard to get customers to switch. With OOH as the lead medium, a multi-channel hyper targeted approach including Radio, social media, PPC and experiential was developed with an underlying strategy of ‘Say it...Prove it’ as the bed rock. To say it, we knew that OOH and Radio complimented each other well in terms of growing awareness and driving consumers online, where social media and PPC would capture that interest. Proving the superiority of the new service was left to experiential, and in 3 key cities, Liverpool, London and Bristol a ‘House of Fibre’ (the UK’s first hyperconnected house) was developed to showcase the power of EE’s full fibre in a real house with 100 connected devices creating an interactive customer experience. The campaign delivered highly impressive results. An 8% increase in sales, A 5% increase in awareness of EE’s full-fibre broadband, a 13% increase in EE broadband searches, a 40% increase in website traffic, and a sell-out of tickets to the House of Fibre. We said it and proved it.

The food delivery app market is undeniably crowded: For any meal, you have no shortage of places to order from. From DoorDash to UberEats to Postmates to Slice, Grubhub knew they needed a fresh way to stand out from the competition. The company had also acquired Seamless back in 2013, but both brands continued to operate separately until 2021 when Seamless was fully integrated under the Grubhub name. Now, with a new brand identity, including logo and color, Grubhub was eager to reintroduce themselves to existing fans and new customers in a way that enticed them to order. That’s where Known came in. Grubhub tasked our agency with leading their brand awareness strategy, and we were able to leverage an OOH teaser campaign that generated exciting buzz for the full national rollout of “That Grubhub Feeling.”

ITV launched their new crime thriller series, Trigger Point, with the aim of becoming ITV’s most watched and talked about Drama of the year. With a campaign focused on building excitement and tension using relevant dynamic creative, OOH was able to deliver explosive results. Mirroring the bomb squad tension and excitement of the drama, we wanted to create a real sense of suspense in the form of a real-time dynamic countdown. We would do this in spectacular style too; running on air, in all wider comms, OOH and most dramatically in a projection on London’s County Hall. We smashed our goals: Trigger Point became ITV’s most talked about and watched Drama of the year and generated a social buzz like no other.

On Alibi, there’s always more going on than meets the eye. Our objective was to improve brand perceptions of Alibi among crime drama viewers and to promote the Alibi channel’s new brand proposition of ‘more than meets the eye’ in new and engaging ways. Our brand campaign went live across multiple digital screens during a large-scale nationwide campaign. We wanted to bring to life our tagline of ‘more than meets the eye’ by creating the joy and excitement of discovering hidden phrases. Our campaign used tactical copywriting to challenge viewers by revealing hidden messages across digital screens throughout the UK. Animated screens revealed hidden messages across the country – prompting people with a curious mind to take a second look; bringing to life our tagline of ‘more than meets the eye’. We also created a bespoke special build installation as a real world experience that allowed the general public to get involved and interact with our brand. This installation was seen across the UK from Manchester to London.

On Alibi, there’s always more going on than meets the eye. Our objective was to improve brand perceptions of Alibi among crime drama viewers. To do this we wanted to bring to life our tagline of ‘more than meets the eye’ by creating the joy and excitement of discovering hidden phrases. Our campaign used clever copywriting to challenge viewers by revealing hidden messages across digital screens throughout the UK. Our brand campaign went live across multiple digital screens during a nationwide campaign. Animated screens revealed hidden messages across the country – prompting people with a curious mind to take a second look; bringing to life our tagline of ‘more than meets the eye’. To push the Alibi channel’s new brand proposition of ‘more than meets the eye’ even further, we wanted to engage with the curiously-minded fans of crime drama by creating a real world experience that offers something unexpected and challenges their perspectives. Using the optical illusion of anamorphic type, we developed a large installation that can only be seen and deciphered from a certain point and perspective. This installation will be seen across the UK from Manchester to London. This installation allows people to engage and interact with our brand and was created as part of a wider campaign to show that on Alibi there is always more going on than meets the eye.

Sky Glass is more than just a TV… Therefore, this campaign needed to be more than your traditional OOH launch! To showcase the revolutionary Sky Glass, we built a multi-format campaign across Roadside, Rail, Underground and Retail to deliver: • Fame – dominating key landmark digital locations whilst driving 86% reach of the UK via 7,000 classic & digital broadcast formats. • Consideration – utilising small formats to build a frequency of 22 combined with dwell time formats unpacking the product. • Activation – through contextual retail presence to drive store footfall. • Talkability – with eight innovative executions across over 400 locations nationwide. This was a campaign with a huge ambition, this was Sky’s biggest ever launch and the use of multiple formats within our campaign enabled us to push the boundaries in OOH nationwide!

Christmas 2020 was one that many wanted to forget due to the constraints of the Covid pandemic. However, Christmas 2021 was set to be big for many families keen to reconnect with loved ones and celebrate in their traditional way. Serving customers and communities a little better every day is fundamental to Tesco’s business. They set out to create a joyful Christmas for all - providing everything a family needs to help them celebrate during the festive period. Achieving this on a national level was a huge task, with families celebrating in different ways depending upon their traditions, backgrounds and circumstances. So, Tesco created its most customised Christmas to date through a smart, data-led OOH activation. Not only did it deliver reach of the entire nation, but media placement and messaging were tailor-made for each of its family audiences at each stage of their Christmas food purchase journey. This was contextual targeting at its finest - tapping into time, date, location, mood and mindset to create a joyful Christmas for all. While driving sales growth and competitor share for Tesco. Tesco released the joy of Christmas 2021 and delivered on its core metrics. Recognition increased by an average of +5% across its family segments, sales grew and they outperformed competitors. Tesco remained the no.1 supermarket in the UK.

The “I’m here” campaign, launched by Forever Beta, supported Big Issue vendors after the difficulties they have faced over the last two years. Big Issue vendors buy magazines for £1.50 and sell to the public for £3, keeping the difference. In this way the magazine provides them with the means to earn a legitimate income. This campaign uses personalised billboards to let the whole community know when their Big Issue vendor is at their pitch, giving them the biggest voice possible. If the vendor is busy, customers can buy a magazine from them through a QR code on the digital screens. “I’m here” was launched with three placements around busy Westfield London pedestrian zones. Each screen connects to GPS beacons within a vendors’ jacket. Whenever the vendor walks close to one of the digital screens, the geolocation technology responds, triggering a supersized version of them on the nearby screen which then points towards where the vendor is. This lets the local community know when they are at their pitch, directing passers-by to pick up their latest copy of The Big Issue. The campaign achieved strong PR coverage and digital results, but most importantly it translated into vendor sales, with an increase of 400%. Interactions with the vendors increased by 860% and positive overall sentiment increased by 11%.

The I'm Here campaign connects street vendors to digital out-of-home screens through geolocation technology. We redesigned The Big Issue's iconic red jacket to incorporate geolocation beacons. The beacons track street vendors' movements when they walk along the street. When vendors are in range, the digital screens are triggered and point people in their direction – right down to how many meters away they are. Once triggered, apart from direction and distance, each screen portrays the specific nearby vendor image, with movements and emotions captured in the studio, to make the OOH as reactive as it could be, improving their visibility and humanizing the media The I'm Here campaign made invisible people visible – showing how technology can bring us together, not set us apart.

‘If You Think Something’s Up, Bring It Up’ is a powerfully poignant campaign for not-for-profit charity Men’s Minds Matter that aims to raise awareness and break down stigmas surrounding men's mental health. From a simple idea to a national OOH and social media campaign that's had a dramatic impact for the charity, it demonstrates the important role that advertising has, especially when you have a team that's motivated by making a difference. All time, materials and inventory were donated.

In March 2022, The Vagina Museum, a registered charity and the world’s first museum dedicated to vaginas, vulvas, and the gynaecological anatomy, opened its doors at new premises in Bethnal Green, following a six-month hiatus. To announce its arrival and to help integrate into the local neighbourhood, the museum opened with a localised OOH campaign called ‘Neighbours’, made up of 16 eye-catching, statement-led posters. Some posters drew parallels between establishments already in the area and the museum’s offering, whereas others played on anatomical knowledge, bringing to light the values of the museum itself.

2 in 5 young women have been sexually harassed or assaulted at festivals or gigs, meaning thousands of women each year are experiencing unwanted acts besides those on the stage. Historically, the onus has been put on women to keep themselves safe, but as the UK returned to live music events in the Summer of 2021, White Ribbon UK wanted to use this opportunity to spark change. They wanted to ask men to become allies and evaluate their own behaviour and that of their friends.

The RHS is the UK’s leading gardening charity. They’ve been around for over 200 years, host the world-famous Chelsea Flower Show, do cutting-edge botanical research, teach millions of school kids how to grow, create wellbeing-enhancing hospital gardens and heaps more. But the problem was, people didn’t know much about them. Plus, more and more (non-specialist) brands are starting to enter the gardening game. As well as boosting awareness for all their amazing work, the RHS also challenged us to simplify their proposition, pruning it down to something easy for everyone to grasp. Preferably taking an attention-grabbing and humorous approach that could make them more relevant and accessible. And at the same time, we aimed to grow their current membership of more than 600,000 people, trying to convert some of the nation’s estimated 30 million gardeners into RHS members.

‘If You Think Something’s Up, Bring It Up’ is a powerfully poignant campaign for not-for-profit charity Men’s Minds Matter that aims to raise awareness and break down stigmas surrounding men's mental health. From a simple idea to a national OOH and social media campaign that's had a dramatic impact for the charity, it demonstrates the important role that advertising has, especially when you have a team that's motivated by making a difference. All time, materials and inventory were donated.

TBWA\MCR, in partnership with Ocean, created a ‘living’ poster that aims to show the struggles that are often hidden by suicidal people when in company. In the last decade, the 15 to 19 age group has seen an increase of 68% in actual numbers of suicides. One of the biggest problems is emotional suppression. Suicidal people often put on a brave face when others are around which means urgent lifesaving conversations are not happening. The campaign uses Ocean’s proprietary On Screen AR technology, using the built-in cameras to measure the audience’s attention time as a way of interacting with our screens, in order to create a powerfully simple poster that changes when people are looking. It starts with a young girl who is clearly sad and depressed, but when looked at, she will start to act happy, masking her true feelings. Gary Fawcett, executive creative director of TBWA\MCR, said: “Suicide is the biggest killer of under 35s in the UK, so this campaign is vital in spreading awareness of PAPYRUS who can help those most in need. We also hope to shine a light on emotional suppression, encouraging family and friends to check in with their loved ones.” The campaign went live on our Victoria Approach Loop screen in Manchester in April 2022. Total hours the campaign was interacted with was 26 hours across two days and total detections we have on record for the activation is 3929.

When we think of domestic abuse, we think of physical violence. However, that is only one part of a much bigger problem. In early 2022, we uncovered research that revealed economic abuse is experienced in 95% of domestically abusive relationships, yet 69% of people don’t see the two concepts as related. This pointed to a huge awareness gulf, reflecting an enemy that many of us can’t see, and pointing to an urgent story that needed telling. Without financial autonomy, leaving an abusive relationship can be impossible. HSBC UK’s Safe Spaces out-of-home campaign sought to ensure more people knew about this. To truly reappraise the way the British public saw domestic abuse, HSBC UK needed a powerful campaign idea that dramatized the invisible enemy of economic abuse and gave victims a safe space to regain their financial independence. Our ‘puppet strings’ metaphor sat behind the powerful ‘95%’ statistic, resulting in an OOH campaign that delivered pioneering impact in the UK through a range of innovative, memorable executions. The results were inspiring; conversations gathered pace on social media, victims spoke up for themselves and many were shocked to learn about this secret evil. Furthermore, the campaign started a conversation within wider culture, setting an example within the financial services category. News outlets started discussing the topic and competitors began working in the same space, revealing how our campaign not only raised vital awareness but unified the financial services category in the fight against a problem that sits intrinsically close to its products.

Executive Summary British Sign Language (BSL) is the first language of 87,000 Deaf people in the UK. Although recognised in 2003 it does not have full legal status, meaning many Deaf people cannot access essential information and services. As champions of ‘Accessibility for All’ Microsoft wanted to communicate the importance of accessibility in driving innovation. Last year Microsoft partnered with ‘AI for Good’ member Signly, whose tech translates websites into sign language and relaunched the Microsoft accessibility website to promote its work with UK government. DOOH was the perfect medium to champion accessibility and bring BSL to millions. We built a standout campaign that reached high numbers of business decision-makers and showcased the role of technology in improving access to digital content. In a media first, each DOOH screen showed 10-second films featuring a BSL interpreter signing the words next to them : “The more inclusive you are, the more innovative you can be. Together we can create a better and more accessible world for everyone.” Reaching almost 4.5m people in-situ across the rail environment, the story was highly shared on LinkedIn driving 115,000+ views and was shared widely across other social channels. It also attracted media recognition, appearing in UK and global advertising industry trade press. As a result, Microsoft saw an increase in visits to their accessibly website and brand tracking established that the campaign positively shifted perception of, and positive response to Microsoft. It also became the headline story in the iOS stock ticker for Microsoft globally.

During the month of July, London saw the biggest heatwave since the 1970s with temperatures reaching a sizzling 40.3ºC. Keeping cool had never been so high on Brits’ agendas and so with this in mind, Frank PR approached us with the idea of creating the UK’s most refreshing mural for White Claw Hard Seltzer in a bid to cool Brits down on the hottest day of the year. The idea was that hot and bothered commuters could hug the wall and receive the same burst of refreshment that they would get from drinking a can of White Claw! Reacting in real-time to the red warnings from the Met Office, we worked with Frank PR and White Claw to turn the activation around is 48 hours. Global Street Art sourced a ‘cool’ location, advised on cooling technology, designed the 6-metre-wide frost-fuelled mural and prepared the logistics in order to execute this bold stunt in record speed. To create the cooling mural, it was decided to install a series of gel-based touch-activated cooling pads, which would dissipate heat accordingly. We installed the pads, painted over them with ice-themed graffiti, and then measured their effectiveness. Indeed, the pads worked, and were consistently several degrees cooler than the surrounding wall. The mural itself featured White Claw’s summer creative and subtle branding.

The pandemic hit the Vanarama National League (the lowest tier of professional football in England) hard as stadiums closed, meaning no fans and no revenue. With the new season approaching, the Premier League transfer sagas were dominating headlines. The Vanarama National League was in desperate need of attention to ensure fans returned in their droves. As Hollywood actors Ryan Reynolds and Rob McElhenney became owners of Wrexham FC, the league’s oldest and biggest club, we found the perfect opportunity to give the league some much-needed glitz and glamour. With scale and style worthy of tinseltown, the Vanarama National League anonymously erected a 10-metre Hollywood-style sign in the hills overlooking the small Welsh town of Wrexham. This sparked a nationwide whodunnit worthy of any blockbuster as national broadcast media speculated about who could be behind the behemothic structure. People flocked to see the sign from miles around as locals voiced their pride in the town’s latest attraction. When the big reveal was made on the eve of the new season, the Vanarama National League received widespread coverage from organisations such as ITV, BBC and Mail Online. Despite zero media spend and a production budget of just £26,471, we’d put the Vanarama National League back on the map and guaranteed record match attendances across the league for the new season.

British Sign Language (BSL) is the first language of 87,000 Deaf people in the UK. Although recognised in 2003 it does not have full legal status, meaning many Deaf people cannot access essential information and services. As champions of ‘Accessibility for All’ Microsoft wanted to communicate the importance of accessibility in driving innovation. Last year Microsoft partnered with ‘AI for Good’ member Signly, whose tech translates websites into sign language and relaunched the Microsoft accessibility website to promote its work with UK government DOOH was the perfect medium to champion accessibility and bring BSL to millions. Despite a small budget of only £35k we built a standout campaign that reached a high concentration of business decision-makers, showcasing the role of technology in improving access to digital content. In a media first, each DOOH screen showed 10-second films featuring a BSL interpreter signing the words next to them : “The more inclusive you are, the more innovative you can be. Together we can create a better and more accessible world for everyone.” Reaching an estimated 4.5m people in-situ across the rail environment, the story was highly shared on LinkedIn driving 115,000+ views and across other social channels. It also attracted media recognition, appearing in UK and global advertising trade press. The result? - A significant increase in visits to their accessibly website and brand tracking established that the campaign positively shifted perception of, and positive response to Microsoft. It became the headline story in the iOS stock ticker for Microsoft globally.

Sustainable fashion is a core value at H&M: their aim is to be climate positive by 2040. To do this their business needs to become circular, maximising the value of the products and resources by reusing and repairing them as much as possible, before finally recycling them, ending the ‘product life cycle’ and creating a circular concept.   The Circular Design Collection is a range that features innovative fabrics and techniques such as dissolvable sewing thread for attaching sequins and beads enabling the garments to easily be adapted, taken apart and recycled at the end of their life.  We wanted our media campaign to deliver reach and impact but embody the campaign's purpose. A combination of wildposting, murals and banners created a sense of unmissable domination for the target audience with the added benefit that the murals could be washed off without generating any waste. The centre piece of the campaign was a fashion retailer first. Instead of leaving our spectacular vinyl billboards to landfill, we cut the vinyl down to size and repurposed it into tote bags to be used by H&M shoppers and influencers! These bags continue to create earned media value for H&M’s critical sustainability agenda, as the campaign’s message is retold through the use of the bags and spread across social platforms.  Literally evidencing circular fashion through media.

The oldest broadcaster in the world, BBC’s mission has always been to enrich people’s lives with programmes and services that inform, educate, and entertain. We needed to position BBC as a “brand for me” and OOH is primed as the perfect platform to reach and engage with new and existing audiences to encourage positive perceptions of the BBC. The BBC use Out of Home as their lead channel for its ability to drive reach, while also overlaying targeting capabilities; building brand awareness effectively and in a trusted environment; and the creative opportunities it offers to drive fame and generate buzz, especially amongst the harder to reach young light TV viewers.

UNiDAYS helps students create unique experiences, from shopping and services through to education and learning pathways, by providing them benefits from brands they love. Back to campus is a major buying moment in the UNiDAYS calendar, as current and future students start preparing for university. Research conducted by UNiDAYS in June 2022 showed that, on average, each UK student expected to spend approximately £1,027 ahead of the new study year, equating to £3.4 billion in total spend. Our mission was simple: After two years of remote learning, we wanted to bring our digital offering into the physical world for students, using OOH as the primary driver to raise awareness of UNiDAYS among student audiences. To achieve this, based on extensive research into the attitudes of students starting or returning to university, we created the READY FOR ANYTHING campaign, which centred on UNiDAYS having students truly are ready for anything. This campaign consisted of three main phases - awareness, consideration and conversion - and ran from July through to the end of September, driven primarily through OOH and supported by on campus, paid and organic social and PR. The campaign has been a resounding success as evidenced by - a 100% increase in Google searches for UNiDAYS compared to the same period in 2021 - a whopping 65% rise in organic search over the period compared with the same time last year, more than double the 27% rise recorded in non-target cities

What started as an out-of-home advert, turned into a year-round, always-on partnership that allowed Michelin to further raise their profile as an integral part of the automotive community, thereby raising brand awareness and driving sales amongst a hard-to-reach, discerning target customer and generating an ROI of 273%.

Reebok is a pioneer in the sporting goods industry with a rich and storied fitness heritage dating back to 1895. For their latest campaign, Reebok wanted to raise awareness of and drive consideration for audiences to purchase two particular products in its new Classic Leather collection. Via agency Mediacom, Hawk, VIOOH and JCDecaux Netherlands came together to create a programmatic DOOH campaign, deciding to combine it with mobile display for increased relevance and impact. The results were fantastic: the ad-recall rate of the local and EU combined campaign was 37% - comparatively, average ad-recall is between 10-40%, so being on the higher end of this statistic is hugely encouraging. The Dutch local language pre-roll in particular achieved an astoundingly high view-through rate of 57.69%, along with over 7,000 clicks.

ITV launched their new crime thriller series, Trigger Point, with the aim of becoming ITV’s most watched and talked about Drama of the year. With a campaign focused on building excitement and tension using relevant dynamic creative, OOH was able to deliver explosive results. Mirroring the bomb squad tension and excitement of the drama, we wanted to create a real sense of suspense in the form of a real-time dynamic countdown. We would do this in spectacular style too; running on air, in all wider comms, OOH and most dramatically in a projection on London’s County Hall. We smashed our goals: Trigger Point became ITV’s most talked about and watched Drama of the year and generated a social buzz like no other.

This entry outlines how Acquire worked with two DOOH DSPs, Vistar and Hivestack, to leverage their bespoke targeting and supply exclusivity to reach the right customer, use data to strategically buy media, and run footfall lift studies to prove the effectiveness of the channel. To help Parex, a leading home and kitchen appliance supplier make the best use of its media spend, Acquire worked with Vistar and their DID (Device ID) passback solution to execute a first-of-its-kind targeting approach. We also used Hivestack’s integration with Lifesight, a location measurement vendor, to measure footfall at Harvey Norman (hardware retailer) stores across the country. As hardware retailers sell a range of other brands and products, we used Parex’s monthly sales reports to further validate the effectiveness of this channel based on sales lift during the campaign period. By collecting, analyzing, and enriching mobile device ID data from each exposed screen, we were able to develop a campaign targeting DOOH exposed users across DV360 and Facebook. This campaign marked the first time in New Zealand that mobile device ID data had been used in this way. It enabled Parex to compete in its category with media budgets that are a fraction of their competitors and has driven immediate measurable sales uplifts for Parex. There was a 37% lift in store visitation, and a 25% increase in Multitap sales in Harvey Norman stores directly attributed to this activity.

Rapport in partnership with Vistar Media, DIVE Networks, GLOW, and Twitter, executed a first-to-market Digital OOH campaign for the NBA 75th Anniversary Postseason rooted in data, technology, and social integrations. The NBA was the first brand to integrate various dynamic messages at scale across the DOOH ecosystem, in a fully automated capacity via Vistar Media’s SSP – exemplifying the true power of dynamic creative optimization. The utilization of programmatic DOOH allowed the NBA to activate DOOH screens in Playoff team markets as they advanced, while deactivating markets immediately after a team’s elimination. Dynamic creative was served up in 16 markets over the course of 10 weeks with the geography of where each team was located prioritized and then key audience attributes layered in to inform OOH placements that over-indexed for Casual Fans & Sports Fans. This forward-thinking approach to DOOH, allowed the NBA to highlight those pivotal moments throughout the Playoffs that helped build excitement and create a must-see factor. The OOH ads allowed for rich storytelling engrained in cultural relevance – personifying every matchup, keeping the focus on the players and teams still in the competition, and reminding fans that the NBA is a collective experience based around unforgettable moments that allows friends, family, and strangers to connect.

In January 2022, UGG set out to debut its new collection of rain-or-shine-ready styles that make a statement no matter the weather for spring/summer 2022. As a brand that embraces innovative marketing strategies, programmatic OOH presented the opportunity for UGG to make a splash in key markets and drive awareness, consideration and purchase intent, so it tapped DOOH leader Vistar Media to execute a cutting-edge OOH activation. The campaign strategy leveraged Vistar’s partnership with IBM Watson Advertising to activate weather triggers, ensuring DOOH media would play on relevant screens when current and forecasted weather conditions over-indexed for rain. It also utilized high-impact static OOH creative inspired by award-winning dancer, choreographer and actress Parris Goebel, Vistar’s device ID passback solution to retarget exposed consumers and proximity targeting to amplify messaging within a 1-mile radius of the UGG flagship store in New York City. Following a Market Pulse measurement study, the DOOH campaign drove a 7% lift in awareness -- which is impressive for an already well-established brand -- as well as a 6% lift in consideration and 6% lift in purchase intent for the UGG Rain collection. UGG also saw a lift in awareness across all age ranges, with the greatest lift for this metric seen across adults ages 25-34, while adults ages 35-44 had greater rates of consideration and intent compared to all age ranges.

At the cusp of the summer of 2021, COVID lockdowns were easing, and foot traffic was increasing. TYLENOL®, a long-standing option for pain relief, saw an opportunity to take advantage of these pre-pandemic foot traffic levels to reach consumers who struggle with special health conditions. Often, people with health conditions like high blood pressure can’t take certain pain relievers. TYLENOL® wanted these consumers to know that health-care professionals trust it as an option for their conditions. As an established brand, TYLENOL® needed a full-funnel, reinvigorated strategy to reach their targeted audiences on a national scale. J3, Johnson & Johnson’s exclusive media agency at UM, turned to Quotient to elevate the TYLENOL® brand in a campaign combining DOOH media with promotions. Together, the team identified four special health conditions, including high blood pressure and combinations of various joint and arthritis pains. To engage with the target consumers at the right time and place, the campaign used large billboards and place-based screens near everyday touchpoints like gyms and blood pressure machines in retailers. The campaign also featured a $5 reward with the purchase of two adult TYLENOL® products, further incentivizing the target audience. The unique combination of programmatic DOOH and national promotions resulted in a massive $36.83 return on ad spend (ROAS), 17% new purchasers to the brand and 35% new purchasers to the category. Thanks to the success of the campaign, TYLENOL® and J3 plan to embrace DOOH as part of a holistic strategy to connect with consumers in meaningful ways.

Responsible for marketing the island of Ireland as a leading holiday destination, Tourism Ireland utilised programmatic Out of Home to effectively increase brand awareness amongst their target audience, enhance perceptions and ultimately, increase tourism to Ireland. Using Talon’s proprietary DSP, Atlas, we were able to buy only the best-performing frames at the best-performing times and days for each frame, ensuring Tourism Ireland’s campaign cut through to the target audience, resulting in a +75% uplift in on-target audience impressions. To further ensure we met all of Tourism Ireland’s objectives we also conducted a brand uplift study, partnering with On Device Research. The results of the study revealed that 52% took away the message that “Ireland is a great destination to explore,” (outperforming Talon benchmarks of 42%), 69% felt positively towards the campaign (outshining benchmarks of 61%), and an impressive 60% acted after exposure, with 12% planning a trip to Ireland.

Lumo is a newly launched rail service, and more specifically, a sustainable alternative to air travel, operating on the East Coast of the United Kingdom. Offering fully electric trains, Lumo is a ground-breaking rail operator seeking to revolutionise the travel industry by offering an eco-friendlier alternative to flight travel, and therefore deserving of a first-of-its-kind, eye catching launch activation. Our challenge was to encourage flyers to consider the eco-friendly, more affordable, more comfortable, and more convenient Lumo for their next journey as the more sustainable alternative to flying. This was a branding campaign with the ultimate aim of intercepting individuals while travelling to their upcoming flight. The campaign ran 4th April – 15th May, capturing the attention of travellers on their way to London City, Gatwick, Heathrow, Stansted, Newcastle International, and Edinburgh. Showcasing DOOH ads across Roadside, Rail and London Underground environments. To achieve this, we executed through iDOOH, GroupM’s digital out of home (DOOH) proprietary planning and activation technology, in conjunction with Flight Radar’s live flight data, to not only identify potential air travellers, but to also serve outdoor ads to them at the moment air travel was on their mind. Using live flight data to influence an out of home buy in this way was a media first.

SilveraroEV AR is a native iPad app that allows GM Brand Ambassadors to use the new 2023 SilveradoEV truck as an AR marker that triggers hotspots. The engagement features several 360º skydomes, 3D interior, video content and interactive game. GM has used the app at every major auto show in North America throughout 2022.

After a stellar NBA season debut, receiving league-wide accolades and winning NBA’s Rookie of the Year Award, LaMelo Ball had another personal accomplishment to announce: his first signature shoe with global sports company PUMA. In October 2021, PUMA announced that the NBA superstar’s first PUMA signature basketball shoe, the MB.01, was set to hit the market in December. The MB.01 also marked another first. It was PUMA Hoops’ first signature shoe release since re-launching its basketball category in 2018. Not only was it important to PUMA that the promotion surrounding the signature basketball shoe drive results, but it was also crucial that the campaign be as high tech as the innovations found within the sneaker. On December 16, PUMA, in collaboration with Talon America and Havas Media Group, as well as Grand Visual and Nowadays, unveiled a cutting-edge DOOH campaign to promote the launch of the MB.01. The campaign featured AR experiences on strategically located JCDecaux bus shelters throughout NYC. The DOOH bus shelters outfitted with AR technology show a live front-facing camera of the sky/street ahead. A wormhole unexpectedly appears in the mystical sky. Something falls from the wormhole and slams into the sidewalk. It’s the “Not From Here” star, who then performs basketball tricks that are superimposed onto the street. Pedestrians can then snap a photo with LaMelo and create personalized social content. PUMA was pleased with the first-to-market, AR-infused execution, which was a huge success as the shoes sold out, resulting in the campaign being cut short!

Lightbox, a leader in digital out-of-home video, partnered with Travel Texas to drive tourism to the Lone Star State through a custom augmented reality (AR) experience. Activated from Lightbox’s nationwide digital video screens, audiences “stepped into Texas'' by entering virtual portals that immersed them in various real-world destinations via 360° sights and sounds – from mouth-watering BBQ joints, to vast caverns, to breathtaking mountain vistas. The campaign ran in malls across the U.S., prompting users to scan an on-screen QR code with their mobile devices to activate the experience. From there, users personalized their itineraries through a trip builder stage before placing AR portals in their in-person environments. After entering the portals, users were virtually transported to their selected locales with options to learn more or share to social platforms. Lightbox Studios custom-built the experience by filming and editing 360° footage from over a dozen Texas locations, constructing a multi-layered questionnaire, producing voice-over, designing 3D assets, and wrapping it all within a bespoke web app geared toward user engagement and social amplification. Lightbox triumphed in its first major AR activation, certifying its ability to converge digital and physical spaces for consumers in high-traffic settings. The resulting product brought brand messaging in physical environments to life on digital devices to expand storytelling, enhance discovery, and drive engagement – all from a simple scan.

To smash Subway’s sales targets we used the world’s first markerless motion capture system to create our AR worlds - celebrating the TigerPig, a festive favorite Pig-in-Blanket sub, with impact. We needed an idea that could cut through the festive clutter; an idea we could bring to life in the digital and physical environments our 18-34 Subway audience spent their time...This idea used Augmented Reality to bring two worlds together - marrying online and OOH in a new way to reach consumers at scale. Working with TikTok, we had dance crew Diversity choreograph a unique TigerPig dance. We then took this HashTag Challenge into the real world and into the metaverse with TigerPig avatars to bring #TigerPigDance to our audience. A bespoke retro arcade ‘Dance Game’ was back engineered; enabling the public to join this AR world and score points with every step - competing against Diversity TigerPig avatars on screen reaching 40,000 visitors. The JustDance game toured UK shopping centres and the hashtag challenge went viral - reaching 14.6 million on TikTok.

In February this year, the BBC announced the long-awaited final season of the hit show, Peaky Blinders. With this momentous conclusion in mind, The BBC approached us with the idea of creating a mural to encapsulate the popular programme and reveal the final air date of season 6 on BBC iPlayer. To create the mural in time for the impending reveal date, we enlisted the help of Akse to paint the 40ft+ tall image of Tommy Shelby right in the heart of Birmingham, where the show is set! When creating the mural we focused on how to deliver the most impact, and achieved the following: ● Objective – to create an impactful and well-executed mural centred around the reveal date of the final season. ● Strategy – to place the mural in a culturally relevant space, fitting with the background of the show. ● Results – to create a buzzworthy campaign successful amongst fans online and mentioned in the press. This mural was so popular, that it became a local landmark in Birmingham amongst Peaky fans, quickly becoming a tourist hotspot. Because of the great success this campaign received online, we were able to extend the life of this mural for an additional 14 weeks.

The worldwide attraction’s business saw its most challenging period in 2020/2021. Multiple lockdowns, forced closures, social distancing, and tier system restrictions because of Covid-19, all had a huge impact on capacity, opening hours, visitor attraction numbers and revenue. Internationals, who previously made up over three quarters of London Eye’s customer base, completely fell away. Our brief was to fill the overseas customer gap with domestic visitors who view the attraction as touristy, expensive and ‘not for them’. Wavemaker’s strategy was to reposition the London Eye as an iconic London attraction that enables Londoners to reconnect with their Capital after a year of lockdown. We wanted to convert domestic audiences that were ‘in market’, whilst also driving reappraisal of the iconic landmark. We partnered with London’s most trusted and authentic publisher – Time Out - to position the Eye as a must-do for returning Londoners. Our 360-degree approach spanned multiple touchpoints including a bespoke mural on the Southbank, an eye-catching cover-wrap with standout print advertorials inside and a unique online hub with an engaging quiz enabling users to discover their personal connection to the London icon. Ticket sales for the London Eye have gone from strength to strength. In June, sales recovered exceptionally. Sales volumes were 52% above target, far exceeding expectations whilst lockdowns continued worldwide and confirming the Eye’s position as London’s must-do attraction.

Sustainable fashion is a core value at H&M: their aim is to be climate positive by 2040. To do this their business needs to become circular: maximising the value of the products by reusing and repairing them as much as possible, before finally recycling them. This ends the ‘product life cycle’ and creates a circular concept.   The Circular Design Collection is a range that features innovative fabrics and techniques such as dissolvable sewing thread for attaching sequins and beads enabling the garments to easily be adapted, taken apart and recycled at the end of their life.  We wanted our media campaign to deliver reach and impact but embody the campaign's purpose. A combination of wildposting, murals and banners created a sense of unmissable domination for the target audience. Our vinyl posters were cutdown and repurposed into tote bags which then became a part of the collection. Central to our campaign were huge, eye-catching murals in key locations such as Westfield and Brick Lane. These beautiful paintings were unmissable and had the added benefit of being able to be washed off - creating zero waste. By creating a visually stunning campaign, targeted to our core audience, that didn't create any waste - we embodied the ethos of the Circular Design Collection through media.

The Bel-Air campaign in Philadelphia International Airport (PHL) was a first of its kind for the airport. This execution was an inventive concept designed to promote Peacock’s new TV drama, Bel-Air. Local Philadelphia artist, Alloyius Mcilwaine was commissioned to produce a mural within PHL over the course of a week, promoting the 2022 reimagined series, Bel Air.

To mark Pi Day this year, Amazon Science utilized a Times Square billboard normally used by Amazon Music to honor scientists, engineers, and mathematicians past, present, and future. The billboard display ran from midnight to 8 a.m. and again — for 3 hours and 14 minutes — from 3:14 p.m. to 6:28 p.m.

For Avène Solaire’s latest summer campaign in France, they ran an innovative programmatic DOOH campaign integrating a UV weather trigger to activate the campaign when it registered above 3. An ultra-targeted buying process was carried out on the Displayce platform with geographical targeting by POI around more than 10,000 point-of-sale pharmacies. The campaign made innovative use of dynamic creative including the UV trigger as well as pre-bid data targeting, all of which was automated and triggered by real-time data. The goal of this campaign was to gain brand awareness to potential customers. Running on JCDecaux screens (Urban Panels, Vitrines Carrefour and Monoprix) and Mediatransports screens (Train Stations and Metro), Publicis, Displayce and VIOOH worked together to create an intelligent, bespoke programmatic display campaign that responded directly to Avène Solaire's goals. The results were amazing: the campaign generated +16pts of awareness in 3 weeks and 61% of the impacted consumers showed a positive intention after having seen the campaign to learn more about Avène’s suncare products!

Half of UK adults feel they don’t have time to plan/prepare what they’re having for dinner. Three-quarters of families feel stuck for ideas and would love to know how to cook more dishes, but daily life gets in the way (Source: Mintel and Touchpoints). However, Tesco and Google data also identified new behaviours: - Post lockdown, people were shopping more frequently and ‘on the fly’ for dinner solutions - Searches for dinner ideas peaked at 5pm - Half of ‘dinner for tonight’ baskets were bought between 3-7pm This provided a clear time context to intercept and inspire families with ideas of what to cook that evening. Through a combination of contextually-powered OOH and Radio, Tesco ensured they were front of mind at mealtimes. An unmissable media strategy was crafted to own 3pm – 7pm moments such as the school run and commute home. Using smart data and the latest technology, Tesco helped convince families that they were the retailer of choice for quality dinner time meal options every day of the week. The campaign generated a +55% uplift in agreement with ‘Tesco is the destination for great quality meals’ and a +28% uplift in consideration – making the campaign a dinner time success!

Hendrick’s Gin tapped into the power of dynamic contextual relevancy with their Winter 2021 Holiday campaign with dynamic messaging served by LivePoster and placed by dentsu OOH. Their famous apothecary-style bottles and "delightfully peculiar" taste called for an equally iconic advertising strategy, and JCDecaux’s comprehensive digital street furniture network in New York City was the perfect medium for rotating multi-creatives with dynamic activation. Campaign performance excelled with increased opportunities for storytelling and targeted messaging. As a result, viewers were treated to a memorable ad experience that stood out among competitors and drove meaningful engagement.

The I'm Here campaign connects street vendors to digital out-of-home screens through geolocation technology. We redesigned The Big Issue's iconic red jacket to incorporate geolocation beacons. The beacons track street vendors' movements when they walk along the street. When vendors are in range, the digital screens are triggered and point people in their direction – right down to how many meters away they are. Once triggered, apart from direction and distance, each screen portrays the specific nearby vendor image, with movements and emotions captured in the studio, to make the OOH as reactive as it could be, improving their visibility and humanizing the media The I'm Here campaign made invisible people visible – showing how technology can bring us together, not set us apart.

The National Trust’s financial year starts in March. So, for visitor numbers and membership, Spring is key for the National Trust’s commercial success and cultural relevance. Spring also fires the starting gun for nature. There are few more joyful signs of Spring’s awakening than the sight of blossom. Our goal was to turn the joy we experience from Spring blossom into relevance, engagement, and support for the National Trust. The trouble is that only 6% of people celebrate natural events like Spring. The job for #blossomwatch 2022 was to make nature and the National Trust even more noticeable, relevant, and shareable. Our big idea to do this was to harness the in-built noticeability and relevance of OOH media to get people to see, appreciate, and share the joy of blossom in the towns and cities where they live. The campaign successfully improved hard to shift brand metrics. It was part of a campaign that generated thousands of user generated blossom images that were played out +300k times across a 4 day on OoH sites, showcasing people’s Tweets on sites close to where they live. Gayle could see her joyful #blossomwatch message to her mum, where she lives in Watford. Marika could see her #blossomwatch tribute to her family on OOH in Sheffield, and Neil could see his #blossomwatch message encouraging everyone to enjoy nature, on OOH in Warrington.