At a recent Commercial Radio & Audio (CRA) event, The Audio Edge, marketing consultant Rob Brittain spoke about the radio sector’s campaign, Invest 11% to Double Your Effectiveness. This initiative, backed by a study in collaboration with marketing guru Mark Ritson, offered clear evidence of radio’s unparalleled ability to amplify advertising success. From these insights Mark Ritson coined the phrase “Radio, the ultimate sidekick.”

CRA and Mark Ritson approached the Ad Council of Australia with a hypothesis, radio improves the overall effectiveness of an advertising campaign. To test it the ACA Effectiveness Awards database was opened for the very first time.

Here are highlights from Brittain’s presentation, in his own words:

One of the things I loved about this approach was that radio wasn’t trying to be the hero. It was saying, “We play a role, and we believe we play a very strong role.”

To help understand the effectiveness of radio, we needed to control for a major driver of campaign effectiveness: Extra Share of Voice, or ESOV. Calculating Extra Share of Voice is simple; it’s just your Share of Voice minus your Share of Market.

ESOV is about marketing intensity; it essentially means that you’re advertising at a greater intensity. The lovely thing about it is that you can be a small brand, and you don’t have to outspend your larger competitors. You just need to spend a little bit more than your size.

But the thing that’s most relevant to this conversation now is that you can have positive extra share of voice, and you can fritter it away. Or you can spend it in channels where it genuinely works, and that’s really the crux. Did those campaigns that had extra share of voice become more effective with radio? Yes, they did.

In the Effie’s database, we’ve got around 500 case studies. What we found in those with positive ESOV was that there’s this sweet spot for radio, which was a spend of 11% of your campaign budget. We’re not claiming it’s a massive amount of the budget, but on average, it’s 11%.

But when we looked at those campaigns that, on average, invested 11% in radio, there was a huge difference in their effectiveness – it actually doubled.

We examined the data from big campaign budgets right down to the small ones. It applied regardless.

SMEs have been saying for a very long time that radio is effective, and it does have incredible effects on individual business metrics. We saw that in our study. One of the things that we do is, when people enter the Effies, they have to fill out a questionnaire that Peter Field and I developed.

We ask about the brand, but we also ask about hard business metrics. Everyone answers the same questions on the same scale. Across this huge plethora of campaigns, we have consistent information. That’s why the ACA Effectiveness database is gold dust.

One of the key things we see is around new customer acquisition, and that was where radio really shone. It worked well across everything, but new customer acquisition was the real sweet spot for it.

My challenge for advertisers, armed with this proof, is to do something different. If you’re an agency, put it in front of your clients. If you’re a client, what are you going to do differently?

Top photo: Rob Brittian and Andrea Salmon at CRA’s The Audio Edge event

News Corp Australia’s independent think tank, The Growth Distillery, recently undertook an extensive consumer research exercise to unpack the travel sector, speaking with 1650 Australians to understand the ‘moments that matter’ for travel intenders in turning their travel dreams into reality and the role travel brands and providers now play.

By Ciel Graham, research director, The Growth Distillery

One thing is certain, holidays are no longer just an escape, they’re a necessity. I mean, who doesn’t crave a holiday? As Australians, it’s almost ingrained in our DNA. We seem to always be planning the next one. Yet despite the growing cost of living pressures, travel remains more essential than ever – with more than half of respondents saying travel is more important now than it ever used to be.

What is also apparent is that Aussies are resilient, adapting rather than retracting from their travel needs. Instead of pulling back or avoiding travel due to difficulties (like economic issues), they are finding ways to adjust. Our survey showed that: 

• 83% are now open to explore different holiday options than they were before.
• 73% will sacrifice and compromise on other aspects in their life to make holidays happen (and that 1 in 5 plan to work in some capacity while away.)
• 82% are getting savvy with budgets to fund holidays as cost of living pressures persist.
• 3 in 5 travellers are embracing new technology to help design and manage their own itineraries.

The journey of planning holidays is just as important as the destination according to 77% of respondents.

Travellers crave inspiration and guidance, but the abundance of options has made the process more complex. In fact, half of our survey respondents admitted feeling overwhelmed by the sheer volume of content available (from travel sites, to bloggers and influencers) and are now turning to trusted brands like escape.com.au for guidance. Three out of four respondents also confirmed that they enjoy the planning process just as much as the trip itself and describe their holiday planning activities as pivotal to their successful holiday – which in most cases is far from seamless.
 
Through our conversation with consumers, travellers described an intensive 8-stage journey of distinct yet interrelated moments when crafting the perfect trip, being Dream, Realise, Research, Plan, Book, Prepare, Travel, and Return, all focused on managing the myriad of inputs consumers encounter. It’s fun, but it’s a lot to consider.
 
In response, we’ve set out to simplify this journey, directing attention to the four moments that matter most – those critical moments of transition where cognitive load is high, where travel intenders are currently underserved, and where  brands can have the greatest impact on consumers.

Ciel Graham

• Moment 1 – The Dreaming Stage

We are always thinking about a holiday, reflecting on past experiences, absorbing new ideas and imagining what could be next – it’s a marathon, until the realisation manifests, then it’s a sprint.

Marketers guide – Keep your communications casual, fun and pressure free so consumers will know where to turn to for help when they’re ready.

• Moment 2 – The Discovery Stage

There is an active intention to “go on holiday” and travellers become active information and advice seekers. An enjoyable and exploratory stage, but it also brings tension as these possibilities need to become practicalities – it’s hard to decide where to go, what to spend, and who to trust for guidance.

Marketers guide – Stay inspirational, but match the consumers’ more focussed mood and intensity with subtle reality checks.

• Moment 3 – The Decisions Stage

The trip is real and travellers are committed to bringing their holiday dreams to life – it’s about securing bookings and making payments with as little compromise as possible.

Marketers guide –  Keep consumers focussed on the decision made and how to achieve it – it’s the time for information, not more ideas.

• Moment 4 – The Details Stage

While departure may be months or even years away, the planning isn’t over – though it’s less active and more intermittent. Timing is everything and travellers still need help whether it’s avoiding FOMO by securing a table at the best restaurants, or ensuring they have done all the required paperwork.

Marketers guide – Provide consumers with relevant trip information and ways to make it extra special. Avoid annoying them with deals or alternatives they likely can’t take advantage of.

A helping hand – Where are we going and how do we get there?

Australians are experienced travellers, but they do need support and guidance as they navigate the dreams and realities of travel. Knowing who and where travellers are in their  journey, and how to reach them, is key for travel marketers.

Here are some rules of engagement to remember:

• Dreaming sets the tone for the whole holiday – Always on and always inspirational is not just critical, but expected and sought out by Aussie travellers to fuel their love of travel. Keep them interested and give them a reason to say yes to travel.
• Make an early, but also lasting, impression – Turning dreams into trips is a complex process with a choreography of considerations and decisions at every step. Be their travel companion at every point, right up until departure day.
• Beware of adding to the impersonal clutter – Travellers love imagery, information and expert insight, but they’re also overwhelmed by both volume and (ir)relevance. Provide them with practical tools and valuable advice that endears you to them, and helps them stay focussed on their own dream holiday, not someone else’s.

To find out more and to take a deeper dive on three of the more complex and dominant traveller journeys groups including Family Travel (with kids), Ocean Cruising, and Indulgent Getaways, download the Moments That Matter Travel report HERE.

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Top image: Ciel Graham

In 2014 freelance journalist Duncan Greive decided to launch a website writing about New Zealand television and culture. He called it The Spinoff. The brief soon widened to include business and politics with adventures in audio and video.

The staff grew from two to 30. This week they celebrate the decade with a Friday night party. Along the journey, The Spinoff has chronicled the many challenges faced by other New Zealand media businesses including the changing fortunes of Australian and multi-national players in that market.

Mediaweek visited Greive recently at the group’s impressive Auckland HQ. He shared his insights about growing the business and opening a tech and creative studio.

How The Spinoff thrived after launch, profits, and keeping a ‘wildcat spirit’

Duncan Greive: We definitely had no ambition to become a big business. I assumed we’d be done in a couple of years – but I think that sense of freedom led to a creativity which ultimately helped us differentiate our product, and thrive.

In terms of break even, we launched with one good contract, and built from there. With one Covid-era exception, we’ve been in the black the whole way through. Even though we’re a much larger and more professional organisation now, I still think we retain some of the wildcat spirit of our early years.

Early signs The Spinoff was onto something

Our young phenom of a staff writer, Alex Casey, wrote a charged opinion piece after a radio DJ made a pretty low-grade remark on social media. It was so well-written and well-argued that it became a juggernaut. It hit 80,000 views, was endorsed by a bunch of prominent women in New Zealand, and within 24 hours our puny servers crashed under the weight of the traffic. That definitely made us feel like we had a powerful voice, when we used it in the right way. It also convinced me to upgrade our infrastructure.

No outside investment: all growth organic

We’ve never had outside investment – it’s all been organic: sweat, a strong work ethic, creativity and the vision of our people, audience and partners.

Duncan Greive.
Top photo with Amber Easby

Staff growth and good relationships

We had two staff at launch, and now have around 30 FTE, most in Auckland, but a few in Wellington, Ōtautahi and Ōtepoti too. We’ve had staff come and go, and some have started Substacks, but none compete directly, and most we collaborate with still. We have good relations with the vast majority of those who’ve ever worked here, and have had multiple people leave and return, including our editor, Madeleine Chapman.

Expansion and management

My job title now is founder, but I don’t run any of the businesses. Amber Easby is CEO of The Spinoff, while Lee Lowndes is CEO of Daylight, our creative and digital agency (it works with a number of media brands, including Stuff in NZ, and The Daily Aus and The Squizz in Australia). I feel very grateful to them both, they’re outstanding leaders – diligent, energetic and visionary.

Managing staff

There’s been many good people decisions, but it’s hard to go past hiring Alex Casey. She had such a brilliant and singular style, that it feels like the site just wouldn’t have blossomed without her. So many of our people work here because they read Alex and loved her work. Worst decision was hiring too fast during the Covid-era economy. With hindsight I should have been able to see that microclimate for the temporary weather it was. It was painful to unwind.

The Spinoff 2024: Easby front and centre, Greive back right

Will The Spinoff remain a free site?

We have contemplated a paywall, and wouldn’t rule it out in future – but we think our content sings because it’s free.

Reader donations are crucial to the model

Between 30%-40% of the annual revenue comes from donations?

How big is the commercial team?

We have a six-strong commercial team. We actually don’t get much conventional advertising revenue – the bulk is content partnerships of different forms. We perform well with banks and telcos, along with finance and investment – but we also get a lot of government work and collaborate well with NGOs too. We know we have a really valuable, principled and relatively young and urban audience. They support us, and the market wants to speak to them.

Social media and Substack

We have transitioned away from a heavy early reliance on social, so direct traffic is now huge for us. Substack is often our second-biggest referrer, as we run most of our newsletters that way – and have over 100,000 subscribers. We largely view search and social as found money – other channels are where our real and loyal audience live.

Are you having a big party?

A huge party, yeah. There’s a fantastic old school movie theatre near us. We’re inviting 400 of our closest friends to celebrate 10 years on Friday the 13th. Hopefully it’s not a bad sign…

Amber Easby

The Spinoff’s leadership team

Chief executive Amber Easby tells Mediaweek about the leadership team at the group.

The Spinoff’s team has evolved over the last 18 months, since I came on as CEO. Our editorial department, now responsible for all content production, is led by our brilliant editor, Madeleine Chapman. Mad started as an intern back in 2016. She became The Spinoff’s third editor in 2021 – following in the footsteps of our founder Duncan and Toby Manhire, now our editor-at-large. At just 27, Mad became the youngest editor of a major media organisation in New Zealand, and her commitment to nurturing young writers and editors has had a profound impact on our entire company.

Anna Rawhiti-Connell, who previously edited The Bulletin, now spearheads the audience team – driving our membership program, audience revenue initiatives, and product development. Her strategic acumen is unparalleled. Eli Rivera, our head of commercial, took on her role when I became CEO. Despite a challenging operating environment, our commercial team has produced extraordinary results under her leadership. Most recently, Sophie Dowson stepped into the role of General Manager. Previously our Head of Video, Sophie has already contributed immensely to The Spinoff’s success, and I am incredibly excited about the future with her in this pivotal position.

See also: Warner Bros Discovery appoints Michael Brooks WBD GM ANZ in addition to MD WBITVP Aust

Foxtel Media has today announced the integration of Kantar Media analysed viewing data into the Mediaocean ad infrastructure platform.

Kantar Media produced data will be available in SpectraMD as soon as early October. Foxtel Media will access the data using the AdvantEdge software engine from Kantar Media’s TechEdge software unit. Agencies will have access to quarter-hour data for all linear Foxtel entertainment and sport programming.

The integration gives agencies early access to Kantar Media produced data so that they can independently review, test and compare viewing insights while elevating campaign planning and making data-driven decisions with confidence.

Foxtel Media first announced its partnership with Kantar Media during its annual Upfront event in October 2023, with Kantar Media slated to deliver an audience measurement service ingesting comprehensive viewing data collected through more than one million Foxtel set-top boxes installed in Australia using Return Path Data (RPD) technology.

Since then, 24 months of viewing data has been processed and analysed. Foxtel Media has been sharing this analysed data with sports partnership clients to track the weekly delivery of campaigns since February 2024.

Foxtel Media CSO, Nev Hasan said: “In just nine short months, Foxtel Media has been able to build a robust solution that paves the way for seamless data integration across multiple media platforms, including those used by agencies, strategic partners, and research collaborators.

“This milestone is a testament to our dedication to providing the tools necessary for our partners to thrive in an increasingly competitive market. By enhancing the depth of insights and enabling real-time, data-driven decisions, this integration ensures our partners stay ahead as the media landscape evolves, optimising their strategies with the most accurate audience metrics available. So, make sure you update Mediaocean now to access Kantar data soon.”

Foxtel Media will be supporting all partner agencies through the Mediaocean update via a series of roadshows that will help navigate the new data integration and show agencies how to best harness insights for optimal campaign planning.

Grace Barlow, a student at Perth’s University of Notre Dame Australia (pictured above), has been named the 2024 Brian White Scholarship winner, Commercial Radio & Audio (CRA). The award grants Barlow a unique opportunity to embark on a four-week paid placement, gaining invaluable experience across the newsrooms of ARN, SCA, NOVA Entertainment, and Nine Radio.

“This year’s competition set a new benchmark with the highest number of applicants in four years. Our finalists represent the future of radio news, and we are thrilled to see such remarkable talent emerging in our industry,” said CRA chief executive officer Lizzie Young.

The scholarship recipient was selected after an intensive workshop at ARN’s offices, where 10 finalists were mentored by the industry’s top commercial radio news leaders. Led by Fiona Ellis-Jones (ARN), Michelle Stephenson (Nova Entertainment), Erin Maher (2GB, Nine Radio), and Amy Goggins (SCA), each sharing their personal experiences and expertise on succeeding in radio.

Brian White Award judges Fiona Ellis-Jones, Amy Goggins, Michelle-Stephenson and Erin Maher

“The level of skill and passion in the room is outstanding, it’s exciting to see the next generation eager to contribute to radio’s unique ability to reach audiences in a meaningful way,” said Fiona Ellis-Jones, ARN head of news and information.

“From breaking news to the everyday updates that matter, it’s often through radio that people first hear what’s happening in the world,” shared Michelle Stephenson, Nova National Audio News Editor who has been a judge for the Brian White Scholarship since its inception in 2017.

“In the newsroom, no two days are the same, that variety keeps the work both challenging and exciting,” Amy Goggins, SCA Sydney news editor, told the finalists.

“There’s no better place for a journalist than radio. It’s immediate, it’s intimate, it’s always evolving – offering endless opportunities for storytelling,” added Erin Maher, 2GB radio senior newsreader and editor.”

Brian White Award finalists with the judges

The annual scholarship honours the legacy of radio legend Brian White, the first Australian commercial radio cadet journalist. White pioneered the news talk format and had a career spanning three influential decades.

Entries for the 2025 Brian White Scholarship will open early next year. The competition is open to recent graduates or students in their final year of a relevant course such as Communications, Media, Journalism, and Radio. For more details, keep an eye on our socials.

See also: Inside radio’s ‘Invest 11% to Double Your Effectiveness’ campaign: Rob Brittain takes us behind the scenes

Little Black Book has appointed Brittney Rigby to the newly-created position of managing editor AUNZ.

Rigby has held senior leadership roles across both newsrooms and creative agencies including editor at Mediaweek and head of communications at DDB Group Australia. She is also qualified as a lawyer.

Rigby has also written for industry titles such as Campaign Asia, Campaign UK, and AdNews, regularly writes for the likes of The Guardian and The Sydney Morning Herald, and appears on radio and TV to talk about her work.

In her new role, Rigby will lead Little Black Book’s editorial strategy across Australia and New Zealand, as the platform looks to build a market-leading presence. She will be responsible for breaking news, leading the editorial team, and working alongside APAC managing director Toby Hemming (pictured above with Rigby) to drive growth across the region. She will also work closely with LBB’s editor-in-chief Laura Swinton.

Little Black Book’s co-founder and global CEO Matt Cooper said, “To attract an editorial leader of Britt’s calibre and reputation signals our investment in, and ambition for, Australia and New Zealand.

“I can’t wait to see what Britt does with the role and the region – we feel very lucky to have her.”

APAC managing director Toby Hemming added, “LBB is the future of creative communication. It’s a truly global integrated platform designed to boost business with effective and intelligent global exposure.

“In the two and a half years I have had responsibility for APAC operations, we have gone from strength to strength, cementing our place as the biggest and most influential creative news platform across the region.

“After many years of being industry peers and friendly competitors, I’m only glad we finally get to work together on the same side, in the same place. We’re raring to go.”

Brittney Rigby starts next week on Monday 16 September, and will be based in Sydney. You can reach her at [email protected].

Cameras have started rolling on season three of Seven Network drama RFDS, bringing an employment and economic boost to the state.

Supported by the State Government through the South Australian Film Corporation (SAFC), the series is expected to inject more than $10 million into the state’s economy and create more than 450 jobs for South Australians across crew, cast and extras talent.

With a majority South Australian crew, RFDS is the first production to come to the state from Endemol Shine Australia, the company behind NCIS: Sydney and The Claremont Murders as well as Masterchef Australia, LEGO Masters, Australian Survivor and Gogglebox.

Co-created by Ian Meadows, executive produced by Sara Richardson and Julie McGauran and produced by South Australia’s Lisa Scott of Highview Productions (The Tourist), filming is taking place across Adelaide, including at the SAFC’s Adelaide Studios, as well as at the Port Augusta RFDS Base and regional surrounds including Quorn.

Inspired by the real-life stories of doctors, nurses, pilots and support staff of the Royal Flying Doctor Service, the new season picks up one year later as the RFDS family is forced to grapple with the fallout of choices and deal with the domino effects of a tragedy.

The lead cast are all set to return including Emma Hamilton, Stephen Peacocke, Rob Collins, Justine Clarke, Ash Ricardo, Emma Harvie, Rodney Afif, Jack Scott, Sofia Nolan and Thomas Weatherall.

Arts Minister Andrea Michaels MP said: “It is very exciting to welcome RFDS to South Australia. It is the latest in a continued pipeline of major productions taking place in our state with the support of the Malinauskas Government.

“Securing this amazing series is a huge win for the state, injecting $10 million into South Australia’s economy and creating hundreds of jobs for our local screen sector while showcasing Adelaide and our incredible Flinders Ranges to a national audience.

“It demonstrates that South Australia is the perfect home for Australian television production.”

Seven’s head of drama Julie McGauran said: “We are grateful to the SAFC and South Australian Government for their extraordinary support of this TV Week Logie award winning drama – one of which we are most proud. We are really excited for viewers to see what is in store for season three when it airs on Seven next year, let the cameras roll!”

RFDS is produced by Endemol Shine Australia (a Banijay Entertainment Company) in association with the Seven Network. Major production investment from Screen Australia, Seven Network and the South Australian Film Corporation. Post, digital and visual effects supported by Screen NSW. Banijay Rights handles international distribution for RFDS outside of Australia.

RFDS won the 2024 TV WEEK Logie Award for Best Drama Program, and earned a nomination for Best Lead Actor in a Drama for Rob Collins. Season 3 will air on Channel 7 and 7plus in 2025.

Mamamia has launched Butter, a new audio erotica brand for women.

Butter is written by Australian women and voiced by female actors and will be available in podcast form.

It will include a range of personalised sensual stories that have been carefully chosen to suit listeners’ tastes based on Mamamia’s extensive research into women’s top fantasies, including same-sex attraction, holidays, and encounters with strangers.

“Mamamia’s Sex Survey found that 49% of Australian women aren’t happy with their sex lives and 37% are interested in audio erotica,” Zara Curtis, chief content officer at Mamamia, said.

“It’s well known that one of the biggest erogenous zones for women is their imagination. We used that insight to create Butter; to help Australian women reconnect with their sensuality in a private, ethical, safe environment from a media brand they already trust.

“Our core purpose at Mamamia is to make life better for women in all kinds of ways, and Butter certainly ticks that box.”

The Butter ecosystem will extend far beyond audio content, with social platforms, written content, and a newsletter launching alongside the core audio content.

“Butter is designed to meet women wherever they are, in the unique way only Mamamia understands how to do,” Curtis added.

The first episode of Butter drops in early 2025.

The announcement of the launch of Butter comes after Mamamia named Georgie Nichols as its new chief revenue officer (CRO).

Nichols brings over 25 years of experience to the media group across media, marketing and agency teams, including general manager at Carat and media director at Telstra. Her most recent role was as national sales director at Seven West Media.

She will join Mamamia in mid-October, leading the sales team and setting the strategic commercial direction for revenue and partnership growth.

See also: Mamamia appoints Georgie Nichols as chief revenue officer

Hatched has welcomed the appointments of Juliana Yeoh and Emily Hall as client partners.

Yeoh joins the independent agency from Initiative where she spent six years, most recently as group business director following stints at Carat and Starcom.

Hall joins from Spark Foundry where she was a group client partner. She previously spent four years at the London office of the business, preceded by seven years at Initiative where she began her media career.

“We couldn’t be prouder to have Jules and Emily join the Hatched family,” Hatched COO Adrian Roeling said. “They are both fantastic people who also happen to be exceptionally good at what they do.

“They bring with them exceptional mentoring and leadership skills the team will benefit from as well as offering our clients outstanding account management and strategic planning expertise. They have slotted right in and already made themselves at home.”

“I’m thrilled to join Hatched,” Yeoh said. “The people and the agency’s compelling vision drew me in, along with the exciting client opportunities. I look forward to collaborating to transform that vision into reality as I lead both my team and clients to success.”

Hall added: “Working for an agency that aligns with my values and career goals is very important to me and Hatched’s people-first approach does exactly that. I’m keen to contribute to a dynamic team and advance my career in a supportive, forward-thinking environment.”

The hires come in addition to new staff joining in both Sydney and Melbourne. performance manager Steph Kepper and senior client solutions manager Rose Feutrill have recently started in Melbourne, while account manager Yasemin Akpinar has come on board in Sydney.

The expanded team will support the business through a period of continued organic growth. The agency has recently taken on media duties for the Royal Australian College of General Practitioners (RACGP), Nimble and Zellar. In June, Hatched was reappointed by Bapcor as its media agency of record.

See also: Hatched reappointed as media agency of record for Bapcor

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Top image: Juliana Yeoh and Emily Hall

Amplify has launched a dedicated innovation practice called Futures focused on helping brands embrace and navigate creative technology, entertainment and IP.

Futures will utilise the power of technology to immerse audiences, capture imaginations and co-create worlds.

The practice is part of the creative agency’s mission to help brands build worlds and break formats with a dedicated offering harnessing the power of emerging technologies to create memorable brand stories and experience.

Futures is being woven into the DNA of the agency, influencing and shifting the direction in Amplify’s brand work for clients including Activision, Converse, EPIC Games, Google, Nike, PlayStation and Samsung.

The practice will be led by innovation creative director, Ed Hallam and head of special projects, Izzy Kertland, pulling together the passions, expertise and experience across Amplify’s global offices in London, Sydney, LA, New York, and Paris – including Australian-based ECD Tim Baggott, creative Lisa Aoyama and group business director Kate Maidment.

Hallam brings a passion and proven track record for combining innovation and technology with brand storytelling, building meaningful user experiences. His background includes working as an extension to brand-side innovation teams including Google, Warner Media and Nike, the latter on patents resulting in Nike’s seminal Cryptokicks and dot.SWOOSH.

Kertland has over a decade of experience pioneering brand experiences, campaigns, content, digital interactives and exhibitions for brands and cultural institutions. As a specialist in innovation production focusing on new and emerging technologies, Izzy’s work for ASICS has been recognised by Cannes Lions and D&AD.

Futures run an experiment series – a program designed to build and test new ideas at speed, creating prototypes to drive the future of experience and campaign storytelling.

In the last 18 months Amplify has collaborated with Creative Technologists from across a variety of disciplines – Eoghan O’Keaffe, an AI specialist; Sean Malikides who creates electronic, mechanical and sonic artworks with his design practice Kai Labs; and, Tigris Li, an Artist and creative technologist whose collaborative work with Futures will be showcased in Summer 2024.

Futures will also be invite brands and audiences to be a part of this work, making it possible to download a code and access research through a series of prototypes drops.

“Amplify continues to be known for innovation, pioneering non-traditional forms of marketing and technology,” Ed Hallam, innovation creative director, said.

“Each project moves the dial forward, infusing technology demonstrating the art of possible. Whether that is for Nike harnessing the power of music and energy from a party to transform a 15-metre sneaker installation into a generative art piece through to helping Converse create a platform for emerging creative technologists to make their craft centre stage.”

Tim Baggott, executive creative director, Amplify Australia, added: “Whilst innovation has always been a central part of Amplify’s global creative culture, the insights and collaborator relationships forged with Futures have opened doors to new possibilities for the work we create with our brand partners.

“In Australia these include Samsung: Chorus of Light, which integrated AI sentiment analysis to deliver an interactive installation at VIVID that responded to the meaning of spoken messages and Sonos Frisson Trigger, which saw us bring neuroscience research to spatial audio hardware to engineer a ground-breaking track that gives every listener goosebumps.”

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Top image, left to right: Izzy Kertland, Lisa Aoyama, Ed Hallam, Tim Baggott and Kate Maidment

TOP 5

1. Beetlejuice Beetlejuice – $3,834,498 (debut)

Warner Bros. Beetlejuice sequel has been 36 years in the making and most of the original cast is back reprising their wacky roles, including director Tim Burton. Rising star Jenna Ortega is also in the film, coming off the back of her wildly successful role as Wednesday Addams in the Netflix Original Series, Wednesday. Coming in first place this week, Beetlejuice Beetlejuice took $3,834,498 in its first week, averaging $6,175 over 621 screens.

Synopsis: Three generations of the Deetz family return home to Winter River after an unexpected family tragedy. Still haunted by Beetlejuice, Lydia’s life soon gets turned upside down when her rebellious teenage daughter discovers a mysterious portal to the afterlife. When someone says Beetlejuice’s name three times, the mischievous demon gleefully returns to unleash his very own brand of mayhem.

2. Deadpool & Wolverine – $1,189,179 (1)

Walt Disney’s Deadpool & Wolverine continues to perform exceedingly well, hitting over $1 billion in box office gross globally. This is the Merc with the Mouth’s first appearance in the MCU, which is now possible due to Disney buying Twentieth Century Fox in 2019. Aussie Hugh Jackman also returns as Wolverine. The film now has the eighth-biggest opening weekend of all time globally. Coming in second place this week, Deadpool & Wolverine took $1,189,179 in its seventh week, averaging $3,276 over 363 screens.

Total Australian Box Office gross to date: $63,430,859

Synopsis: Deadpool’s peaceful existence comes crashing down when the Time Variance Authority recruits him to help safeguard the multiverse. He soon unites with his would-be pal, Wolverine, to complete the mission and save his world from an existential threat.

3. GOAT – The Greatest Of All Time – $958,901 (debut)

Coming in third place this week, GOAT took $958,901 in its first week, averaging $7,991 over 120 screens.

Synopsis: After years of successful operations, an elite agent suddenly retires, choosing a quiet, ordinary life. However, when a past mission comes back to haunt him, he reunites with his team to prevent a catastrophic disaster.

4. It Ends With Us – $766,382 (2)

Sony’s It Ends With Us is based on the bestseller of the same name, written by Colleen Hoover. Boasting a massive debut, a sequel, is assumingly all but confirmed. It will also assumingly be based on the book ‘It Starts With Us’. Coming in fourth place this week, It Ends With Us took $766,382 in its fifth week, averaging $2,281 over 336 screens.

Total Australian Box Office gross to date: $21,054,760

Synopsis: Lily Bloom moves to Boston to chase her lifelong dream of opening her own business. A chance meeting with charming neurosurgeon Ryle Kincaid soon sparks an intense connection, but as the two fall deeply in love, she begins to see sides of Ryle that remind her of her parents’ relationship. When Lily’s first love, Atlas Corrigan, suddenly reenters her life, her relationship with Ryle gets upended, leaving her with an impossible choice.

5. Alien: Romulus – $1,231,902 (3)

Disney’s new entry in the Alien franchise comes from the director of the Evil Dead remake, Fede Alvarez. Starring Cailee Spaeny in the leading role, the film returns to its horror roots while also adopting classic filmmaking techniques such as using animatronics, not CGI and building large sets, and not relying on green screen. Coming in fifth place this week, Alien: Romulus took $599,318 in its fourth week, averaging $2,045 over 293 screens.

Total Australian Box Office gross to date: $8,991,804

Synopsis: Space colonizers come face to face with the most terrifying life-form in the universe while scavenging the deep ends of a derelict space station.

Top 6 – 10

6. Thelma
7. Blink Twice
8. Despicable Me 4
9. Inside Out 2
10. Bibi Rajni

303 MullenLowe has unveiled its first integrated marketing activity for children’s audio storytelling company Tonies, as part of the brand’s launch into the Australian and New Zealand markets after the agency was appointed as trans-Tasman integrated agency of record.

The campaign incorporates social media, PR, content strategy and execution, production, events plus influencer outreach and engagement.

303 MullenLowe also helped coordinate a launch event co-produced with Bluemouth Interactive, and held at Melbourne’s Museum of Play and Art (MoPA) as part of the launch featuring children’s entertainer Emma Memma (Emma Watkins).

“The entire 303 MullenLowe team was inspired to join the tonies mission and make a positive impact on the lives of children and families through screen- free play,” Joanna Gray, 303 MullenLowe Sydney CEO, said.

“We’re thrilled to now go live with the launch program that’s been months in the making, to ensure the tonies brand has maximum impact into both the Australian and New Zealand markets.

“It has been an exciting process to harness the power of influencers to reach new fans across both countries particularly given tonies’ customer base favours word of mouth endorsements over overtly branded messages. It is clear that Australia and New Zealand are hungry for innovative and educational toys.”

Gray said to develop the product marketing strategy, 303 MullenLowe undertook a range of audience research and persona development to fully understand the target Australian parents’ demographics, attitudes, lifestyle, behaviours and purchase drivers.

In New Zealand, it also developed brand positioning and messaging, including localised brand and content pillars plus creative guidelines.

“It’s a great example of our agency creating unfair advantage for a brand that’s passionate about pushing boundaries, embracing innovation, and creating even more opportunities for Australian and Kiwi kids to discover imagination,” Gray added.

Earlier this year, 303 MullenLowe was appointed as the integrated agency for Tonies as it entered into the Australian and New Zealand markets.

The agency oversees all local marketing activities for Tonies, including strategy, creative, brand positioning, social media, public relations, influencer partnerships, content creation, events, and production.

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Top image: 303 MullenLowe, Tonies and Emma Memma

XXXX has been celebrating GOLD over the past eight weeks with campaigns across the country. 

Laura Stevenson, executive head Thinker at Thinkerbell, said, “There’s nothing like GOLD, whether it was GOLD last week, or the chance of a GOLD tonight. There’s just something so exciting about GOLD.”

Sam Pulsford, senior marketing manager for XXXX Gold, said, “Life’s good when it’s GOLD.”

This GOLD campaign was live across out-of-home and print across metro Queensland, regional NSW, and Victoria. It was also shown across social media platforms.

It’s been a bumper campaign season for XXXX and Thinkerbell following the launch of XXXX Ultra, the new Ultra zero carb* beer within the Lion portfolio, earlier this month.

The creative agency’s brought to life the idea that if you’re after a low-carb alternative, that doesn’t mean it can’t be great-tasting beer.

Sam Pulsford, marketing manager for XXXX, said, “Beer has always been at the heart of social gatherings, connecting people across generations. As more people become mindful of their lifestyle choices, we see a significant opportunity in the Ultra category.

“With XXXX Ultra Zero Carb* beer, we’re making a decision to offer a zero carb option that allows everyone to enjoy the experience without compromise!”

Jonny Rands, head tinker at Thinkerbell, added: “Fancy a low carb vodka soda thingy after a great day outdoors Even Queensland’s finest eastern bearded dragon lizard disapproves.

“Because those alternatives don’t measure up to the rich history of beer. Now there’s a beer way to ditch the carbs.”

In April, XXXX, Thinkerbell and Lion launched a mid-autumn campaign for XXXX Summer Bright Lager to remind consumers you can drink the brew during any season.

The work is informed by the insight that, compared to other places in the world, the entire gamut of the Australian climate can still be loosely categorised as different shades of one season: summer.

Credits
Client: Lion
Creative Agency: Thinkerbell
Media Agency: UM

Western Sydney International (Nancy-Bird Walton) Airport (WSI) is inviting out-of-home (OOH) advertising organisations to register their interest in providing internal and external advertising. 

WSI CEO Simon Hickey said this is an exciting opportunity for out-of-home (OOH) digital advertising organisations who have the knowledge, expertise and capability to deliver advertising solutions for an international 24-hour airport.

“When we open our doors in late 2026, WSI will have capacity for up to 10 million passengers a year. Our passengers will be among the most diverse in the world which presents a unique opportunity for brands to connect with their audiences at every stage of their journey,” he said.

“We’re calling on industry experts to help us deliver a premium, holistic media and world-leading communication experience for our customers.”

There will be around 80 different digital advertising assets across the airport including large format outdoor digital signage and in-terminal operational and advertising screens.

WSI says the new airport will eventually become Sydney’s biggest, handling more than 80 million annual passengers, akin to London’s Heathrow.

Hickey said the announcement follows the update last week that Singapore Airlines will become the first international carrier at WSI.

“This is in addition to a duty-free tender being released to create a spectacular new shopping destination inside the terminal, as well as the completion of an ROI process for car rentals, which has attracted some of the world’s most well-known brands,” he said.

The digital advertising registration of interest process will close on 8 October 2024.

WSI’s announcement follows oOh!media’s launch of a first-of-its-kind full-motion immersive digital walkway at Melbourne Airport.

Measuring the same length as an Airbus A350, the floor-to-ceiling installation stretches 66 metres in length and is 2.25 metres high.

The launch advertising partners include Commonwealth Bank, Vodafone and more.

Paul Sigaloff, chief revenue and growth officer at oOh!media, said: “The sheer size of the digital immersive experience at Melbourne Airport, makes this the perfect canvas for brands to create a positive first impression with international visitors and Aussies returning home.

“This is yet another exciting leap forward for oOh!’s Melbourne network, offering brands a unique opportunity to connect with audiences at scale. We’ve already seen a strong demand from brands eager to make an unmissable impact including Commonwealth Bank, Vodafone, and more.”

See also: oOh!media launches new digital walkway at Melbourne Airport

Sunday 8 September 2024: VOZ Total TV Ratings Overnight Top 30 – Programs ranked on reach

6pm News TV Ratings

9News and Seven News were neck and neck last night but Seven News came out on top with its brand new presenter combo making their debut. Mark Ferguson and Angela Cox co-anchored their first bulletin last night, and the pair will now share Seven’s flagship 6 pm bulletin from Sunday to Thursday.

See also: 7News Sydney shakeup: Angela Cox joining Mark Ferguson to present 6pm News

9News recorded a total TV national reach of 2,260,000, a total TV national audience of 1,278,000, and a BVOD audience of 105,000. 

Seven News recorded a total TV national reach of 2,086,000, a total TV national audience of 1,281,000, and a BVOD audience of 61,000. 

Early Evening TV Ratings

Nine’s The Block recorded a total TV national reach of 2,413,000, a total TV national audience of 1,288,000, and a BVOD audience of 185,000.

Seven’s The Voice recorded a total TV national reach of 2,221,000, a total TV national audience of 1,053,000, and a BVOD audience of 85,000.

ABC’s Return to Paradise recorded a total TV national reach of 1,185,000, a total TV national audience of 838,000, and a BVOD audience of 58,000.

10’s airing of the Hunted Season Finale recorded a total TV national reach of 1,003,000, a total TV national audience of 583,000, and a BVOD audience of 45,000.

Mid-Evening TV Ratings

Nine’s 60 Minutes recorded a total TV national reach of 1,906,000, a total TV national audience of 852,000, and a BVOD audience of 90,000.

Seven’s Spotlight recorded a total TV national reach of 1,540,000, a total TV national audience of 788,000, and a BVOD audience of 46,000.

People 25-54

Nine’s The Block:
• Total TV nation reach: 970,000
• National Audience: 555,000
• BVOD Audience: 115,000

10’s Hunted:
• Total TV nation reach: 432,000
• National Audience: 267,000 
• BVOD Audience: 27,000

Seven’s The Voice:
• Total TV nation reach: 699,000
• National Audience: 320,000
• BVOD Audience: 45,000

People 16-39

Nine’s The Block:
• Total TV nation reach: 412,000
• National Audience: 251,000
• BVOD Audience: 68,000

10’s Hunted:
• Total TV nation reach: 170,000
• National Audience: 107,000 
• BVOD Audience: 15,000

Seven’s The Voice:
• Total TV nation reach: 251,000
• National Audience: 110,000
• BVOD Audience: 22,000

Grocery Shoppers 18+

Nine’s The Block:
• Total TV nation reach: 1,815,000
• National Audience: 987,000
• BVOD Audience: 149,000

10’s Hunted:
• Total TV nation reach: 749,000
• National Audience: 426,000 
• BVOD Audience: 36,000

Seven’s The Voice:
• Total TV nation reach: 1,737,000
• National Audience: 844,000
• BVOD Audience: 68,000

Data © OzTAM and Regional TAM 2024. Not to be reproduced, published or communicated (electronically or in hard copy) in whole or in part, without prior written consent of OzTAM and Regional TAM.