Mat Baxter and Darren Woolley have clashed over a promotional video for TikTok in which US-based media agency leaders spruiked the platform. While Baxter considered the video “wholly inappropriate”, Trinity P3 founder and CEO Woolley wondered whether Baxter took issue with it “either because he’s just really bored, scared of being irrelevant or forgotten, or he’s overly sensitive because of what’s happening in the US [the government taking steps to ban TikTok].”

Yesterday, Baxter, the former Huge and Initiative CEO who returned home to Australia earlier this year, wrote about the clip posted by TikTok for Business on LinkedIn.

The video riffed off the ‘Of Course’ TikTok trend, and featured Dentsu CIO Cara Lewis, Havas CEO Greg James, Magna US global president Dani Benowitz, Publicis Media CIO Shelby Saville, Horizon Media CIO David Campanelli, and GroupM US CIO Matt Sweeney.

Baxter was not impressed: “Agency leaders are not here to represent the interests of media owners but instead act as OBJECTIVE advisors for clients.

“And then our industry wonders why clients have a credibility issue with agencies? A simple test to prove my point, would McKinsey, BCG or Accenture ever do this? No, I don’t think so.

“Oh, and it doesn’t help that this is one of the cheesiest pieces of ‘content’ I’ve seen in a long time.”

TrinityP3’s Woolley told Mediaweek that promo-style videos, like the one in question, is a “common practice” which “has been going on for years.”

“Everyone from News Corp and the Nine Network to almost every publisher, news platform, or even advertising platform will ask media or agency people to talk about why they would consider a particular platform.

“I don’t think that compromises them at all. I think it’s an important job for all media agency people to be across all of the different platforms, their strengths and weaknesses, and consider all of those things in all their dealings on behalf of their clients.”

Woolley said a more “insidious” issue was accepting gifts and benefits based on media spend.

“Incentives like that have a greater impact than publicly appearing in a video. At least when you’re publicly appearing in the video for TikTok or any other media owner or advertising platform, everyone knows you did it. But getting gifts and benefits for putting your clients’ media a particular way and not making them aware that you’re getting those benefits is much more insidious.”

Woolley noted that the timing of the video made it more “sensitive” in light of US Congress attempting to pass laws banning TikTok in the country.

After speaking with Mediaweek, Woolley also replied to Baxter directly in the LinkedIn comments section: “You’re joking, right? How is appearing in a media owner/platform owner promo compromising objectivity?

“I think accepting gifts from media and platform owners, such as fully paid overseas trips to sporting events and knowledge sessions in the head office, in exchange for placing a significant portion of a client’s budget with them, is much more compromising.

“Particularly if you don’t declare it to the clients. The only travesty here is a bunch of Gen X and Ys pretending to be cool and hip digital natives and failing!”

Baxter replied: “No, I’m not joking. Agencies shouldn’t be mouthpieces in promotional videos touting the benefits of any media owner. Every client situation is different and no media owner is right for every challenge. You know that. I know it too. So do agencies.

“As for the trips and other things – well that’s even worse but that doesn’t make this any better.”

Woolley said Baxter was “reading way too much into the context” and added that it was a “courageous” move for TikTok given the US government’s demand that the company sell the business. He replied to a number of other comments on the post, acknowledging that while “it is cringeworthy … isn’t it better to be public and transparent than hidden and suspicious? I think it’s great to see media superstars being human.”

Woolley reiterated that it was a common practice for agency staffers to talk about the benefits of a platform, and called the video “more transparent than many of the other deals that happen in media.”

“I simply think you are hitting the wrong target. Perhaps it is because you feel you are either missing out or perhaps no longer relevant?” he said to Baxter.

Baxter quipped: “I’d like to think I’m still a tiny bit relevant! Let’s agree to disagree on this one.

“It doesn’t sit right with me but that’s just my personal opinion and you are of course entitled to yours. And as for missing out – I’ll be back with something exciting in the next few weeks (to make sure I become even more relevant!).”

Baxter has previously flagged he would be looking to start a new role mid-year.

Sophie Madden, CEO at the MFA, told Mediaweek that trust and independence is critical: “I’m not familiar with the context or purpose of the video in question, so cannot comment on it directly.

“However, as to the role of agencies, media agencies exist to guide clients in finding the most effective strategies and channel solutions to tackle their business challenges. Upholding trust and impartiality is integral to delivering this and to achieving strong and successful client relationships.”

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Top image: Mat Baxter and Darren Woolley

GroupM has appointed Marc Lomas as managing director to lead and expand its commerce and retail media capability across Australia and New Zealand, supporting essenceMediacom, Mindshare, and Wavemaker’s teams.

He joins the holding company after seven years at Amazon Ads, most recently in the role of head of agency sales in Sydney. He was previously global head of performance for Amazon DSP out of New York.

Prior to Amazon Ads, Lomas was at IPG Mediabrands, leading programmatic and performance businesses, including Cadreon/Matterkind.

Aimee Buchanan, GroupM Australia and New Zealand CEO, said commerce is a “massive growth area and key strategic area of focus” for the group. Retail media is forecast to reach USD$120 billion globally in 2023, while in Australia, it is expected to reach close to AUD$1 billion in 2024.

“We are investing in building out this critical specialist capability to support our clients on their commerce ambitions and navigating the rapidly evolving landscape.

“Marc is an incredible talent in this space, with unmatched global and local expertise. He brings a unique blend of agency and platform experience that will enable us to elevate our strategic capability, whilst also connecting into the vitally importance media ecosystem.”

Lomas brings more than 20 years of industry experience to the role, having worked with blue-chip brands developing performance marketing and ad-tech capability in Australia, the UK, and the US.

He takes on the permanent position after working with GroupM in a consulting capacity to integrate commerce and retail media into GroupM’s offering.

Lomas said he was looking forward to joining the team and expanding the business’ commerce capabilities.

“The evolving landscape of commerce and retail media demands constant innovation, and GroupM’s dedication to this evolution is truly impressive,” he said.

“I’m excited to build upon the team’s strong foundation and deliver transformative solutions that help our clients navigate a rapidly changing landscape and shape the next era of media and commerce.”

GroupM’s commerce capability is comprised of strategy, activation, creative, and data and technology, providing proprietary tools, partnerships, and processes.

Lomas will join GroupM’s executive committee and will report to Buchanan. In addition to essenceMediacom, Wavemaker, and Mindshare, he will also work alongside GroupM’s performance business Nexus, led by Ryan Menezes, and data consulting arm Acceleration, led by Tom Braybrook.

GroupM is also looking to further expand its commerce capability under Lomas with the creation of several new specialist roles.

Mamamia has appointed Natalie Harvey as chief executive officer, four months after she joined the independent women’s media group in January.

She joined the company as chief revenue officer and will step up as CEO on 1 June. She will take over from co-founder and CEO Jason Lavigne, who will shift into the role of executive chair.

“Mamamia has been an industry-leading pioneer in digital media since it began and is unquestionably the leading women’s media brand in Australia,” Harvey said.

“After an incredibly successful 16 years, we are ready to accelerate quickly into the future. No one understands women like Mamamia and we have the greatest opportunity of any publisher in Australia to scale up. We have huge reach and unrivalled influence.

“I am humbled and grateful to be leading the amazing Mamamia team into this next era, and continue to live our purpose of making the world a better place for women and girls.”

Harvey joined Mamamia from her previous role as national sales director at Seven West Media.

“Mamamia is already the undisputed Australian super-channel for women, and we have a strategy for far more significant growth over the near term, in media, and digital products and services,” Lavigne said.

“I’ve spent several years looking for the right person to be the next CEO of Mamamia and I knew from the first meeting with Nat Harvey that she was the one.

“With more than 20 years experience on both publisher and media agency sides, she is an exceptionally talented executive who shares the values and vision upon which Mia and I have built Mamamia. Having led the business through 16 years of growth, powered by many of the most dedicated and talented people in the industry – it’s now time to hand the wheel to Nat as we enter this next exciting chapter.

“While I’ll continue to work closely with Nat and our executive leadership team, I look forward to having space from the day-to-day running of the business to focus on the many non-BAU growth opportunities in front of us.”

See also: Natalie Harvey makes the move from Seven to Mamamia as CRO

Harvey took to LinkedIn to reflect on joining the media group and stepping up into the CEO role. She wrote: “Since joining Mamamia I have been blown away by our incredible team. By their passion and how our purpose radiates throughout the business.

“That purpose is to make the world a better place for women and girls. It’s real and we live it every single day.”

“With Jason Lavigne moving into the executive chair role, I am humbled but excited to take on the CEO role from June 1.”

“We have a very bright future ahead of us. A huge opportunity to grow our audience, our influence and our impact on the world. I am thrilled to be leading the team into our next era. Our Epic Era.”

Harvey added: “So….now I’m officially in market for a National Sales Director to jump in and be part of creating our future. Reach out if you are keen for chat.”

Mamamia was established by in 2007 by Freedman, following her stints as a magazine editor for publications such as Dolly, Cosmopolitan and Cleo. Her husband, Lavinge, joined the company as co-founder and CEO in 2009.

Following Dave Hughes’ on-air confession that “as far as I know, The Masked Singer won’t be filmed this year for Channel 10,” the network has confirmed it has axed both The Masked Singer and The Bachelor for the year.

In a statement, a spokesperson said: “Network 10 will be packing away the masks and roses this year, confirming that The Masked Singer and The Bachelor franchises won’t appear in its program schedule.”

Osher Günsberg has hosted both franchises since their debuts in 2019 and 2013, respectively. 

“The resting of The Masked Singer Australia and The Bachelor franchise will give Osher a moment to rest his voice which has worked overtime screaming ‘Take It Off’ and simultaneously dropping to a whisper to deliver the iconic line of ‘I’m sorry, but you did not receive a rose’,” the statement added.

Günsberg will continue to narrate Bondi Rescue, with Season 18 set to air later in 2024.

In the two most recent seasons, the format had expanded to become The Bachelors, with three eligible men handing our roses as opposed to one.

204,000 people tuned in to the December 2023 season finale of The Bachelors, which saw Ben and Luke choose their partners, while Wes, who had already coupled up with Brea, decided to walk away from the relationship after she asked for more time to figure out what she wanted. 

Earlier in 2023, the first finale of The Bachelors had 372,000 viewers tune in to watch Jed, Felix, and Thomas make their final decision.

Channel 10 rested The Bachelorette format in 2022 after Brooke Blurton’s series in 2021. 

In November, The Masked Singer Australia Grand Finale saw Dami Im (Snow Fox) named the winner ahead of Darren Hayes (Grim Reaper) and Conrad Sewell (Bouncer). 511,000 watched the episode and 594,000 watched the reveal.

These ratings were recorded before the transition to the VOZ TV ratings measurement. 

Andrew Murray, UM’s former national head of trading, has joined GroupM’s Openmind in the role of transition lead – investment, after Mediaweek revealed earlier this year that the UM veteran had exited amidst redundancies.

OpenMind is a bespoke agency powered by GroupM and WPP for Nestle – it won the FMCG brand’s local pitch last month after first being deployed in EMEA in September.

Mediaweek reached out to GroupM for comment on the addition of Murray, who confirmed his new job on LinkedIn.

In February, UM confirmed that Murray had left the business after 20 years. The agency also made a “small number” of redundancies across Sydney and Melbourne.

UM said the agency and Murray mutually agreed that his departure would be effective immediately.

At the time, Anathea Ruys, CEO of UM Australia, told Mediaweek that Murray was a highly respected member of UM’s team who always provided valuable counsel to his clients and unwavering commitment to the business across two decades.

“Muz will always be a friend to UM, and we are very thankful for his 20 years of dedication. I thank him for his energy, passion and contribution and wish him all the very best for his future,” she added.

Since 2004, Murray has held a range of roles at UM, including Sydney investment director, Sydney partnerships director, and national partnerships director, before he was promoted to national head of training in 2019.

The agency said in a statement on the redundancies: “UM Australia has undertaken a review of its capabilities and resources to suit the changing needs of business and position itself for growth. As part of the process, a small number of roles have been made redundant in Sydney and Melbourne.

“UM is currently working with those affected by the impact of this decision and out of respect for those staff members, will be making no further comment.”

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Top image: Andrew Murray

By Patrick Whitnall, managing director at AiMCO

Meet Miquela Sousa, better known as @lilmiquela, one of the most popular viral influencers on Instagram. With more than 2.9 million followers, she’s partnered with iconic fashion brands like Prada and Calvin Klein, and in 2019, she was listed as one of TIME Magazine’s 25 Most Influential People on the Internet.

The only catch? She’s not real – she’s a robot.

Miquela is an AI influencer – a social media personality created by artificial intelligence.

 

 

 

 

 

 

View this post on Instagram

 

 

 

 

 

 

 

 

 

 

 

 

A post shared by Miquela (@lilmiquela)

Like Miquela, many AI influencers are quickly becoming just as powerful as human personalities in the influencer space. They’ve amassed huge followings, secured endorsements, and even have their own merchandise lines – and they can be programmed to say and do anything.

It’s a brave new world – the influencer industry of the future, where there’s really no distinction between your favourite IRL influencer and a highly realistic digital avatar.

While the Australian AI influencer industry is still in its infancy, globally, it’s already on the rise, with the market expected to reach a whopping $13.8 billion by 2025, according to The Drum.

In Spain, AI model Aitana is currently earning up to €10,000 a month, sharing content to her 311,000 Instagram followers, and she’s recently become the face of Big, a sports supplement company.

She’s also a judge in the world’s first Miss AI contest – yep, that’s a beauty competition for avatars, with the competition sponsored by Fanvue, a platform for AI-created influencers.

It’s an exciting space, with the potential for exponential growth in the coming years; but just how it will change the face of the influencer landscape, particularly the work of human creators, is yet to be seen.

For brands, the biggest drawcard for AI user generated content (UGC) lies in its scalability, cost-effectiveness, and globalisation.

Many human influencers often struggle with content volume – they simply can’t make enough diverse, authentic content to keep up with demand. AI UGC offers scalability, without fatigue. Bots can generate thousands of personalised posts, allowing brands to maintain a consistent and tightly controlled presence across their platforms. This also means the content is more cost-effective to produce, enabling brands to allocate their resources more efficiently.

Additionally, AI UGC adapts effortlessly to different languages and cultural nuances. While human influencers can find it difficult to bridge language gaps or make a mark outside their own country, AI influencers are able to engage global audiences without the language barriers.

The benefits seemingly make the investment in AI UGC a no-brainer – so does it spell the end for the human influencer industry, just as it’s really starting to take off?

The simple answer is no.

Like other industries, whether it’s manufacturing, healthcare, or retail: the answer lies in collaboration, not competition.

Just as other workplaces across Australia and beyond have adapted AI into their daily workflows, human influencers can do the same, using AI UGC to enhance their activities.

Creators can leverage AI-generated content to expand their story-telling capabilities, freeing up time for strategy and deeper engagement with their followers – a critical activity that requires a human touch. AI tools also inspire new ideas – imagine an influencer receiving AI-generated prompts for unique content angles or fresh perspectives. It’s all about using the technology to take human content to the next level – without the effort.

It’s this new level of creative freedom that has unmatched potential for human influencers. By automating the more routine, day to day posts, influencers will have the space to explore riskier, more experimental content and let their creativity truly flourish.

But in a world where it’s increasingly difficult to distinguish between a human and a robot in your Instagram feed, how do you maintain trust? The success of the influencer-consumer relationship is rooted in trust, particularly when it comes to promoting or endorsing goods and services.

Disclosure and transparency will become more critical than ever, particularly for brands leveraging AI UGC to sell their products. Just as the industry has shifted to require human influencers to disclose their paid partnerships and endorsement – and AiMCO has developed an Ad Disclosure Guide and Code of Practice to support this – the same should apply for AI influencers. Being transparent is critical to the influencer game – and it’s no different for avatars.

The transparency issue is already rearing its ugly head, with image theft via AI on the rise, including in Australia. Just recently, Adelaide man Antonio Alvaro was unmasked as an AI thief, taking images of real women, without their permission, to create highly profitable virtual influencers. In response, a petition to the Federal Government was created, calling for urgent action against this AI-driven misappropriation of images. And rightly so, it’s blatant theft, with AI thieves standing to make millions from virtual influencer accounts and content – with no consequences. It’s just an example of the need for regulation in a rapidly evolving industry and one that AiMCO is investigating.

So far, the reaction to AI influencers has been resoundingly mixed. Compare Miquela’s huge following with the controversy surrounding Formula E team Mahindra’s artificially created “AI Ambassador” – it was met with such negativity from the team’s fans that the entire program was wiped from the internet in less than 48 hours.

But as brands start to not only understand but embrace the cost and IP ownership appeal of AI influencers, it’s an industry that’s only going to grow – and likely be broadly adopted before we know it.

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Top image: Miquela Sousa and Aitana Lopez

Forethought has launched BrandCommsAI, a platform to generate on-demand creative concepts that “might or might not bypass strategy planners” as the debate on the use of AI in marketing continues.

Forethought founder and executive chairman, Ken Roberts, told Mediaweek that AI could lead to the people around creatives losing their roles, not creatives themselves.

“A lot of the generative AI results people are seeing in the world is an efficiency play, BrandCommsAI is an efficacy play,” he said. 

“It has the efficiency, but our large language model is ingesting the drivers of behaviour. It’s also ingesting the segments, the distinctive assets, and the profile of the buyers.

“It will bypass some folks, it might or might not bypass strategy planners, but that’s what we’ve developed.”

The platform is enabled by numerous Forethought patented marketing science methodologies, which determine specific, curated inputs based on the client and their drivers of success.

The methodologies include Prophecy Thoughts and Feelings, which identifies the rational and emotional levers that will drive market share for a brand, and the Communications Triple Play, an actionable strategic blueprint that uses these insights to determine what matters most for a brand to drive consumer choice and provide a distinctive position in the market. 

Roberts said the creative generated is pre-tested and safe, backed by measures to ensure client IP and data are “locked down tight.”

“It is a game-changing leap in marketing effectiveness for advertisers, and it’s not speculative: it’s here, and its operational right now.

“While other businesses may promise AI-driven products that can deliver on the ‘faster’ aspect, we’re confident BrandComms.AI is the only product in market that can actually improve efficacy for marketing communication while also delivering on speed.”

Roberts stated that the purpose of the new platform is not to replace creatives, but to brief creatives. 

“Think about a relay race and the baton being dropped,” he said.

“The baton is consistently dropped between research and creative, and it’s because researchers talk in numbers and data. Frankly, folks at creative agencies, it’s not what they’re about.

“So what BrandCommsAI does is it takes all the research findings, expresses it in a pictorial form, and gives it to creatives to do their magic.

“While other businesses may promise AI-driven products that can deliver on the ‘faster’ aspect, we’re confident BrandCommsAI is the only product in market that can actually improve efficacy for the brand themselves.”

Top L to R – Ken Roberts, Isobell Roberts. Bottom L to R – Jaimee Lincoln, Daniel Lord

The development of BrandCommsAI started in July 2023, led by Forethought’s head of digital and communications, Isobell Roberts, Forethought senior data scientist and developer, Jaimee Lincoln, and Forethought partner and head of product, Daniel Lord. 

Lord explained that the functionality of BrandCommsAI is simple, but the tech isn’t.

“Insights go in, effective creative comes out. It’s that simple. What’s not so simple is what underpins the whole operation. Forethought’s patented methodologies provide the hierarchy of what is driving consumer choice across categories by understanding consumers’ emotional and rational decision-making. That’s how BrandComms.AI produces more effective creative that drives market share.”

See also: Patrick Whitnall: AI influencers are the future of Australia’s influencer industry

Chris ‘Pagey’ Page and Amy Gerard are set to hit the airwaves with a brand-new weekend breakfast show, Chris Page and Amy Gerard in the Morning, starting on the KIIS Network on Saturday 11 May. 

Broadcasting live each Saturday and Sunday from 8-10am on KIIS 1065 Sydney, KIIS 101.1 Melbourne, and KIIS 97.3 Brisbane, the new show will feature stories about parenting, relationships, friendships, and more.

Gerard is a content creator, author, podcast presenter, columnist, and brand ambassador. Her podcasts, Beyond the Likes and Beyond the Chaos, detail her experience parenting three small children, and she has just released her first book titled, Strap Yourself In.

On joining the KIIS Network, Gerard said: “I cannot wait to get this weekend breakfast show up and running on KIIS. Being on radio has been a dream of mine for years and no one loves talking more than I do so I know things are going to be great. Chris Page is a pro and I have great hair but the chemistry we have is palpable and our show will be equal parts fun, energetic and unpredictable.”

Page’s career started in Gunnedah before he moved to a mid-dawn shift back in Sydney, then the Sunshine Coast, Newcastle, Adelaide, and back to his hometown of Sydney, where he hosted mornings on 2DayFM, the Hot 30 Countdown, and then breakfast on Triple M.

Page added: “I am so damn excited to be joining the best radio network in Australia and working with such an exciting, energetic team. I’m really looking forward to getting to know my co-host Amy better, as KIIS’ listeners get to know us both at the same time, with plenty of laughs along the way.” 

Chris Page and Amy Gerard in the Morning starts on Saturday 11 May from 8am.

See also: Kyle and Jackie O: Day 1 in Melbourne – First review. What did KIIS 101.1 listeners get?

The ABC has opened the doors to its new Western Sydney broadcast facility in Parramatta, located at 6-8 Parramatta Square.

A number of key ABC Sydney presenters are now broadcasting from Western Sydney, with ABC’s news, audio, and digital teams joining them over the coming months, when two ground-floor studios will open for use by the ABC News and ABC Sydney teams.

The opening of ABC Parramatta was marked with an event led by ABC chair Kim Williams AM, managing director David Anderson, and member for Parramatta Dr Andrew Charlton MP.

City of Parramatta Lord Mayor, councillor Pierre Esber, state member for Parramatta Donna Davis MP, executive director of business Western Sydney David Borger, members of the ABC leadership team, and members of the ABC’s content and support teams also attended.

​Williams said the new ABC Parramatta “will serve as a model for the ABC in the future; a sophisticated technology facility that promotes new production practices with agile content sharing and distribution.

“From here the ABC will deliver on its continuing obligation to the Australian community as a foundation stone of our democracy, providing news, sharing knowledge and myriad rich stories which reflect our nation. As always, the work done here as with all ABC output provides a core element in contributing to our sense of national identity.”​

Managing director Anderson said the move was “the culmination of several years of planning, and it is exciting to be here at the stage where new and loyal audiences can experience the ABC broadcasting from this technology-driven facility.”​

Anderson added that the relocation to Western Sydney has been a key part of the commitment outlined in the ABC’s Five-Year Plan, with the goal being to see 75% of content makers working outside its Ultimo head office by 2025.​

Mornings on ABC Radio Sydney was the first show to broadcast from the new facility, followed by Afternoons. Sydney Drive and Weekends will start broadcasting from ABC Paramatta in the coming weeks.

See Also: ABC appoints ARN’s Emily Copeland as head of music across six platforms

Brendon Cook, founder and former CEO of oOh!media, has been inducted into the Outdoor Media Association (OMA) Hall of Fame for his achievements in the local industry.

Cook spearheaded the OOH industry’s transition to digital, positioning himself at the forefront of OOH advertising innovation. 

Under his leadership, oOh!media experience notable growth, driven by acquisitions, organic expansion, and the introduction of advertising environments.

Elizabeth McIntyre, CEO at OMA, said: “Brendon Cook’s induction into the OMA Hall of Fame is a testament to his unparalleled contributions and unwavering commitment to driving innovation and growth in the out of home advertising sector.

“His visionary leadership and transformative initiatives have left an indelible mark on the industry, and we are thrilled to honour his legacy.”

In addition to his work at oOh!media, Cook has also served as an ASX director for over 16 years, and as international vice president of The World Out of Home Organisation, plus has contributed to the digital publishing landscape as a founding director and shareholder of ilearning.

Cathy O’Connor replaced Cook as CEO of oOh! in 2020.

Other OMA Industry Award 2024 winners:

• Emerging leader – Adrian Venditti, QMS
• OMA Industry Award – Graeme Wooster, QMS
• Excellence in Innovation – Brad Palmer, JCDecaux Australia
• Outstanding Service NSW – Nick Errey, QMS
• Outstanding Service QLD – Melissa Maggs, goa Billboards
• Outstanding Service SA – Maddy Shopov, oOh!media
• Outstanding Service VIC – Andrew Hines, JCDecaux
• Outstanding Service WA – Megan Camp, VMO
• Rising Star NSW – Jade Sargeant, JCDecaux
• Rising Star QLD – Harriet Marshall, Scentre Group Brandspace
• Rising Star VIC – Tayla Harrison, VMO
• Rising Star WA – Caitlin Montgomery, oOh!media
• Excellence in Design and Construction – The City of Sydney Project Delivery Team, QMS
• Excellence in Field Work and Work Health and Safety – Corinna Murtagh, JCDecaux 

Cook’s induction comes as oOh!media launched the first 3D anamorphic OOH display in April, located in Perth’s Yagan Square. The outdoor advertising and media company’s creative and innovation hub, POLY, partnered with not-for-profit Scitech for the inaugural campaign.

The campaign for Scitech’s ‘Human Potential’ exhibition, imagined by Initiative, developed by creative agency RARE, and built by Last Pixel, is the first to feature on the site.

Richard Moore, production and content director at POLY, said: “oOh! continues to invest in adding scalable 3D and 3DA technology to our digital network across Australia. It maximises creative impact, capturing significantly more attention than static digital creative, to make brands unmissable.”

See also: oOh!media debuts 3D anamorphic OOH display in Perth’s Yagan Square

Top image: Charles Parry-Okeden, OMA Chair, and Brendon Cook, OAM

Australian yogurt company Gippsland Dairy has launched Slow Good, a new brand platform via indie agency Special which celebrates patience in a nod to the unique, time-consuming process by which the Gippsland product is crafted. 

The campaign is centred around a series of hero films directed by Tim Bullock and voiced by Tiriel Mora which contrast ‘slow bad’ life experiences, from a long goodbye to disembarking a plane, with the ‘slow good’ of Gippsland yogurt.

Head of marketing at Gippsland Dairy, Andrew Noisette, explained that in a category traditionally focused on quick production at the lowest cost, “Gippsland Dairy has been able to retain its award-winning texture and taste by keeping true to its unique production method.”

Creative director at Special, Chris Ellis, said: “In life, slow is typically something we avoid – it can be aggravating, stress inducing and, in some cases, downright disastrous. But our good mate, prolific writer and yogurt fiend, Voltaire said, ‘Perfection is gained by slow degrees; it requires the hand of time.’ He was onto something. Slow can be good.”

Executive creative director at Special, Ryan Fitzgerald, added, “in short, slow is what makes Gippsland Dairy.”

“We’ve captured this truth with a piece of sticky language that speaks to craft and taste. It’s a fun platform that will deliver chuckles and yogurt cravings for some time to come,” he said. 

The campaign is further supported by a roll out across radio, Spotify, social, outdoor, digital, and point-of-purchase.

Last week, Special announced a series of group creative director appointments, promoting Max McKeon, Sian Binder, Lea Egan, Nils Eberhardt and Simon Gibson to the position.

See also: Special promotes five creatives to group CD

Credits:

Client: Chobani Australia
Head of marketing: Andrew Noisette
Senior brand manager: Alex Bulgin

Creative Agency: Special Australia
Partner/CEO: Lindsey Evans
Partners/CCO: Julian Schreiber and Tom Martin
Partner/CSO: Bec Stambanis
Executive creative director: Ryan Fitzgerald
Head of strategy: Nathan Rogers
Strategist: Ollie Immurs
Team lead: Georgia Newton
Business director: Atlanta Wooley
Business manager: Kiran Arunasalam
Creative directors/creatives: Chris Ellis, Chris Andrews
Creatives: Sarah Ritevski, Edwin Concubierta, Ekin Gunes, Henry Kember, Alexandra Antoniou.
Head of film and content: Sophie Simmons
Senior producers: Glen Mcleod, Charlotte Wren
Design director: Dan Jones

Production Company: Scoundrel
Director: Tim Bullock
Executive producer: Adrian Shapiro
Executive producer: Kate Gooden
Producer: Tessa Simpson
Production Manager: Kate Rule
DOP: Jeremy Rouse
1st AD: David Letham
Art director: Jeremy Fuller
Costume designer: Laura Bracken
Food stylist: Theresa Statsny
Offline editor: Adam Wills
Online: White Chocolate

Sound: Rumble 
Senior producer: Bec Ivanov
Senior sound designer: Liam Annert
Composition: MADBS Composing Palace

Media agency: Match & Wood
Head of client services: Anna Camgulia
Senior communications manager: Nicole Manton
Communications manager: Cassandra Deegan 
Media Coordinator: Ashley Hill

Aussie streaming platform Binge has released the second instalment of its I Saw it on BINGE brand platform via creative agency Thinkerbell, across Meta, Snapchat, TikTok, and YouTube.

The I Saw it on BINGE platform plays off the social currency of staying up to date with the latest shows, showcasing the dire consequences of lagging behind, as the tagline suggests: “You either got it, or you don’t.”

In the latest film, protagonist Mike finds himself at a wake. Already a terrible place for small talk, it’s even worse when trying to hide the fact that you haven’t seen the show everyone is talking about.

The first iteration launched last year saw Mike on a date, woefully trying to bluff his way through a show he hasn’t seen.

The I saw it on BINGE platform was first launched by Thinkerbell in August, and has seen BINGE deliver a 9% point improvement on unprompted brand attribution when compared to other campaigns across FY24.

The business said it has also prompted a rise in brand familiarity scores and garnered further, cumulative brand attribution with each campaign burst.

BINGE now reports it has achieved its highest monthly Meta brand lift results to date.

Fiona King, BINGE’s marketing director, said the response to the character of Mike has been overwhelming.

“We thought there was no better way to continue the brand journey than placing him in another awkward scene. It’s these moments where we rely on talking about the latest entertainment, helping highlight BINGE as the best destination to watch and stay up to date on the world’s most talked about shows,” she said.

Executive creative Tinker at Thinkerbell, Tom Wenborn, added that “it’s fun to invest in platforms and characters that allow you to tap into them time and time again. Mike’s stubbornness to sign up to BINGE and watch the world’s best shows means we’ll likely see a bit more of his awkwardness in the future.”

Earlier this week, Thinkerbell launched a digital out-of-home (OOH) activation for Lion’s Hahn Brewery, Hahn Solo, to celebrate International Star Wars Day on Saturday 4 May – “May the fourth be with you.”

See also: Thinkerbell celebrates Star Wars Day with Hahn Solo

Credits:
Client: BINGE
Creative: Thinkerbell
Production: Photoplay & The Editors
Sound Design: Rumble

Ex-Amazon execs Paul Kent, Andrew Hammond, and Blake Gorman have launched Deep Media, a specialist consultancy that aims to help Australian and New Zealand brands get more from advertising on Amazon. 

Kent, Hammond, and Gorman were all involved with the launch of Amazon’s ad tech capabilities in Australia and have experience leading media and technology organisations, including Nine Entertainment, OMG, and InMobi. 

Kent, managing director and co-founder of Deep Media, explained: “With Deep Media, we’re on a mission to unlock the exciting potential of Amazon’s advertising solutions by offering a fully managed service for both advertisers and agencies.

“Our service handles campaign setup, management and insights, ensuring businesses of any size and budget can tap into Amazon’s class-leading technology.

“We’re proud to join the Amazon partner network and bring Deep Media to the Australian and New Zealand markets. Our team’s unique expertise ensures that Amazon advertising can become a strategic asset for any business.”

Hammond, Deep Media’s chief commercial officer and co-founder, added: “Our primary goal is to empower independent agencies and advertisers in harnessing the power of Amazon solutions.

“With access to first-party data, exclusive inventory, and over 17 million unique customers visiting Amazon, IMDB and Twitch each month, the potential for any brand to expand its market share is undeniable.”

Gorman, part of the Deep Media leadership team, said: “With so many new privacy regulations and browser changes depreciating the value of third-party data, Amazon is uniquely positioned by allowing brands the unique opportunity to stay ahead of the curve through its ability to target and measure against first-party data.”

Recent research released by global eCommerce accelerator Pattern revealed Amazon is now the dominant marketplace retailer in Australia, with 75.2 million average monthly visits and 59% growth in product searches in 2023.

See also: Nick Thomas leaves EssenceMediacom for new role at Amazon Ads

Emotive’s head of social, talent, and partnerships, Rhian Mason, will leave the agency for a new role on Friday.

Mason moved to Emotive in 2021 from DDB Sydney and Mango Communications, where she was head of social and content. During her time at Emotive, Mason has played a pivotal role in campaigns for clients such as Google, Optus, and Altos Tequila.

“I wanted to take a moment to celebrate Rhi’s three years working with Emotive and the remarkable impact she has had on the team and our clients. 

“When Rhi started, Emotive was a creative agency with some unique specialisms in social. Fast forward to today and Emotive now delivers an integrated fame offering that unites five specialisms (social, talent, partnerships, brand experience and PR), positioning this service area as an essential not just desirable part of our creative process and opening doors to plenty of exciting non-traditional briefs.

“This edge of the business has a ton of momentum and is giving the team more creative freedom to deliver on our purpose – ideas that change how people feel. It is a helluva legacy and largely thanks to Rhi’s smarts and dedication.

“Beyond being a superstar in creating work that gets talked about, we are also farewelling an amazing leader that is much loved by the entire team. Whether it is checking in on how someone is doing and going for a coffee or inspiring people with her strategic smarts, she has left an indelible mark on the team.”

Joyce also teased updates on the agency‘s recently established fame offering: “given the growth of the department and the agency as a whole, we will shortly be announcing new talent,” he said.

In March, former co-founder and executive creative director of Poem, Matt Holmes, started as head of PR and earned creative at Emotive, bolstering its integrated fame offering.

Last month, the agency announced the promotion of Aoife Lehane to account director, and made a series of hires to its account management and creative teams.

See also:
Emotive promotes Aoife Lehane, announces new hires
Margaritas are in, Aperol spritz and espresso martinis are out as Pernod Ricard’s Altos Tequila seeks to own at-home cocktails
Google makes creator play for Gen Z TikTok lovers via Emotive

–

Top Image: Rhian Mason

News Corp Australia has promised it will unveil solutions to secure a competitive edge in today’s changing digital landscape at the company’s annual D_Coded event next week.

D_Coded is News Corp’s annual digital marketing event for clients, partners, marketers, media executives, and digital specialists.

“In a complex landscape, marketers need powerful tools that deliver results. D_Coded will showcase how our Intent Connect platform, along with new innovations in shoppable experiences and video solutions, enable brands to connect with the right audiences, inspire action and maximise return on investment,” managing director of client partnerships Lou Barrett said.

Over two days in Sydney and Melbourne, a series of live presentations and product announcements will outline how brands can gain a strategic advantage, build stronger customer relationships, and achieve long-term growth. 

News Corp stated its event will reveal innovative new strategies and technologies to deliver deeper insights, targeting, personalisation, and measurement. 

Managing director of client product Pippa Leary added: “Advertisers shouldn’t choose between powerful data and ease of use. Our upcoming announcements will show how Intent Connect and our expanded data capabilities seamlessly deliver both, turning insights into measurable outcomes.”

D_Coded is set to be headlined by Evan Shapiro, media universe cartographer and professor of media and entertainment, who will discuss the implications of a new user-centric era. He will outline how brands, agencies, and publishers must embark on a journey of audience understanding like never before in order to achieve success.

LiveRamp senior vice president Daniella Harkins will deliver a keynote on the impacts of signal loss and the opportunities a collaborative approach to data practices will bring to the Australian market. 

Omnicom Media Group chief investment officer Kristiaan Kroon, AdFixus head of sales Roland Irwin, and Journey Beyond Group manager digital and loyalty Wade Stokes will also be among the presenters.

NITV has appointed Michael Rennie as presenter and senior producer for NITV News, adding a regular Queensland-based presenter to the Indigenous News and Current Affairs line-up.

Rennie is a Yorta Yorta and Gunditjmara man with 20 years of broadcast experience. He joins NITV from ABC News Breakfast. 

In his new role, Rennie will present weekly NITV news bulletins, joining Worimi woman, SBS and NITV presenter and producer, Breanna Holden and Mudburra and Wagadagam woman and head of Indigenous news and current affairs, Natalie Ahmat.

He will play a key role in ensuring that NITV’s news coverage continues to cross state and territory borders, bringing a variety of Indigenous perspectives and stories from across the nation.

“I’m excited for the year ahead with our strong team of deadly Blak journalists who continue to tirelessly report on national news from an Indigenous perspective,” Ahmat said.

On his appointment, Rennie added: “I’m really excited to be joining NITV. My media career started in First Nations radio with the Brisbane Indigenous Media Association and it was the launching pad that propelled me towards a career in mainstream media.

“I’m looking forward to working in Blak media once again in what I think is such an incredible time of change, and opportunity to tell our stories in new ways.”

During his media career, Rennie has worked at Triple A Murri Country, 4BC and Southern Cross Austereo, before joining the ABC in 2012.

He will present his first NITV News bulletin on Wednesday 8 May.

Rennie’s appointment comes as NITV’s Living Black premiered its 31st season in April, with host Karla Grant telling Mediaweek that the show is more important than ever for First Nations people. 

“After a failed Referendum in 2023, it goes to show that there is more education, understanding and awareness needed of Indigenous issues in the wider community,” Western Arrernte woman Grant said.

See also: ‘More relevant than ever’: Living Black returns for 31st season on NITV and SBS

Customer Owned Banking Association (COBA), the industry association for Australia’s customer-owned banking institutions – mutual banks, credit unions and building societies – has launched a digital campaign via creative agency Supercurious.

The campaign aims to to bust common myths about the sector, raising awareness of people-first financial institutions including mutual banks and credit unions.

The work comes after COBA commissioned strategic consultancy Pollinate to conduct market research, which found that most Australians found their bank lacked a human touch.

Pollinate director Jacky Heath explained, “over 70% of those surveyed felt that most banks treat them like a number, rather than a valued customer.

“At the same time, those surveyed believed customer-owned banks  offer better and more personalised service, resulting in higher satisfaction.”

Roy Morgan research further found that customer-owned banks as a group are the most trusted when it comes to banking in Australia.

Rolling out over the next two months across targeted websites and social media platforms including Meta and TikTok, the campaign encourages Australians to make the switch to a bank that treats them like a valued customer, rather than a number. 

Supercurious creative director, Annette Nel, explained the campaign roll-out “involved customised animated videos, each created around the specific needs identified in Pollinate’s research.”

“The creative style was adapted to work in different mediums to create a campaign that’s fun and makes everyone believe that ‘there’s a bank that gets me,’” she said.  

The digital ads direct people to the Find-a-Bank tool, which helps Australian customers find a purpose-led bank that  aligns with their needs. 

Nel continued, describing that the creative approach “was to reposition Customer Owned Banking as Customer First Banking, thereby directly linking these banks with customer service. Whatever a customer puts first, we wanted them to know that there’s a Customer Owned bank that aligns with those needs.”

COBA’s chief executive officer, Mike Lawrence, added: “Customer-owned banks are centred on helping customers and have been putting people before profits for almost 180 years.

“Time and time again, mutual banks and credit unions have proven that a  people-first focus delivers better outcomes for customers and communities.”

Social travel brand Contiki has partnered with socially-led creative agency We Are Social Australia for its latest campaign, Switch on Social Travel.

The social-first initiative took a group of 17 creators from the US and Australia aged 18-35, representing a combined following of 20 million users, for a seven day trip through Portugal and Spain.

The campaign encouraged them to disconnect from their platforms for the duration of the trip, to immerse themselves in their travel experiences. After reconnecting online, the creators shared their experiences with their followings.

Meanwhile, Contiki’s channels provided fans with sneak peeks of the trip through video content, documented through over 30,000 photos and 40 hours of footage, which were edited into short and long-form videos.

In additional to being pulished published across Contiki and the influencers’ channels, the campaign roll out has been further broadcast across Instagram Reels, YouTube, TikTok, and other digital platforms.

Melissa DaSilva, Contiki’s North America president, said that the campaign was aimed at “inspiring travellers to truly engage with the world around them.

“This campaign redefines the conventional use of social media in the tourism industry. It’s about inspiring the audience to rediscover the real essence of travel – connections made, cultures explored, and memories created away from the digital gaze.”

Executive creative director at We Are Social, Ben Clare, explained that “for younger generations, never before has the pressure to immortalise a holiday or experience into a flawless social media post been so great. But doing so ironically detracts from the joy of travel and being fully present in the moment.

“It’s obviously pretty unconventional to engage travel influencers in a way that actually reduces their time online, but so far it’s proven to be a powerful message: travel is more enriching when you live in the moment, not just capture it.”

Earlier this year, We Are Social managed the social strategy and execution behind Mastercard’s Australian-first motion picture without pictures, Touch, which premiered at the Westpac OpenAir cinemas in February. In March, the agency teamed up with Wayside Chapel to launch a behaviour change campaign, Social60.

See also:
Mastercard and H+Co’s film for low vision audiences hits festival circuit
We Are Social and Wayside Chapel tackle loneliness epidemic with Social60 campaign

Credits:

Brand: Contki
VP of marketing and communications: Rita Kelly
Global brand and partnerships director: Rachel Storey
Director of marketing: Yuri Park
Senior marketing manager: Natalie Turner
Head of creative communications: Dominic Oliver

Creative agency: We are Social
Account director: Polina Patroucheva
Group account director: Helene Ioakimidis
Strategy director: Russ Mitchinson
Executive creative director: Ben Clare
Associate editorial director: Michele Danno
Creative: Camden Chan
Editorial director: Ruaridh O’Donnell
Executive producer: Lucinda Hayden
Designer: Cynthia Vu

Production company: My Media Sydney
Director: Mikki Young
Creative director: Mitchell McKay
Head of design and post production: Phillip Antonio Lemos

Affiliate marketing agency: All-inclusive Marketing
Director of strategic operations: Jen Watson
Account director: Natalie Fillion
Account manager: Nate Sielk

The Mint Partners has been appointed to support the strategy and expansion of Lucas Restaurants, led by Chris Lucas.

The Sydney-based agency will work with the brand on a high-level PR strategy and business and property communications that profile Lucas and the group’s major development announcements, including its plans to expand across Australia.

Mint will be working with Lucas Restaurants alongside Karla Dawes Press Office, which continues to manage the culinary PR.

Genevieve Taubman, founder and chief executive officer for Mint, said: “Chris Lucas has been instrumental in reimagining Australia’s dining scene and we look forward to sharing his unique vision as he continues to expand his world-class dining experiences in partnership with Australia’s leading property developers.”

The restaurateur operates eight venues in Melbourne, one in Sydney and the recently-opened Club Chin Chin in Geelong. Two new restaurants are also due to open in Spring this year – Batard in Melbourne and Carlotta in Canberra. There are further expansions set to be announced over the coming months.

Taubman added: “Mint was founded with a passion for food, when the agency launched in 2007, and has since grown to represent world famous brands and Australian market leaders who are driving the Australian culture forward. We are passionate about the evolution of our cities and working on the developments that define them.”

Other Mint partnerships include Marriott International, Dexus, Frasers Property’s Central Place Sydney, the centrepiece of Sydney’s Tech Central precinct.

The latest appointment comes after The Mint Partners expanded its integrated communications services in Japan.

Last month, the agency unveiled a dual-country marketing product focused on communications and ambassador collaborations for Japanese brands looking to target Australian and New Zealander customers. This offering is lead Miranda Bryce, managing director and Japan specialist for The Mint Partners, who has worked in tourism and hospitality in Japan for four years.

To help with the expanded services, The Mint Partners has hired Susie Krieble, a locally-based brand and lifestyle consultant, to provide management of activity on the ground in Tokyo and market intelligence to Mint’s Australian and New Zealand operations.

See also: The Mint Partners expands comms services in Japan

–

Top image: Genevieve Taubman and Chris Lucas

TV Report 7 May 2024:

Nine TV Report

LEGO Masters

Nine’s evening began with the season finale of LEGO Masters.

In the Grand Finale, the final three teams created builds of their own choosing. 200 members of the public, along with Brickman, ultimately determined the winners of the competition. 

Krystle and Michelle from Team USA were crowned the winners as they became the first international team to win LEGO Masters Australia and the first female team to win a LEGO Masters competition worldwide, taking home the trophy and $100,000. The team created a life-sized ‘Artist Studio’ taken over by mini-figures and it ended up the largest build in LEGO Masters history. 

A Current Affair

Over on A Current Affair, the program spoke to a retiree who lost life savings to a deep-fake Facebook scam and looked into whether supermarket price-gouging could become illegal. 

Seven TV Report

Farmer Wants a Wife

On Seven, Farmer Wants a Wife saw the ladies meet the Farmers’ friends for the first time and Farmer Tom introduced his final two ladies to his family.

Home & Away

Before Farmer was Home & Away as Tane cut Felicity off when she tried to help, Felicity has a new fling and Theo felt like a burden.  

10 TV Report

The Project

The Project on 10 looked at the fabulous and the bizarre looks of the 2024 Met Gala and spoke to Melanie Bracewell, Tim McDonald and Rebel Wilson. 

MasterChef Australia

On 10’s MasterChef, judge Jean-Christophe Novelli set the first pressure test of the competition with his 1992 dessert, ‘Jack in the Box’. 

ABC

7:30

On 7:30, experts have met in Canberra for a national roundtable on the domestic violence crisis and explored the reality facing workers on the frontline of domestic violence. 

SBS

Who Do You Think You Are?

Manu Feildel discovered generations of culinary excellence in his mother’s family and reconnects with his father in an emotional reunion. 

Monday 6 May 2024: VOZ Total TV Ratings Overnight Top 30 – Programs ranked on reach

Total People TV Ratings

Nine’s LEGO Masters recorded a total TV national reach of 1,702,000, a total TV national audience of 725,000, and a BVOD audience of 47,000.

Nine’s A Current Affair recorded a total TV national reach of 1,611,000, a total TV national audience of 1,051,000, and a BVOD audience of 63,000.

Seven’s Farmer Wants a Wife recorded a total TV national reach of 1,767,000, a total TV national audience of 1,011,000, and a BVOD audience of 95,000.

Also on Seven, Home & Away recorded a total TV national reach of 1,432,000, a total TV national audience of 902,000, and a BVOD audience of 94,000.

10’s airing of MasterChef Australia recorded a total TV national reach of 1,171,000, a total TV national audience of 655,000, and a BVOD audience of 52,000.

See Also: TV Report 6 May 2024: LEGO Masters’ Felix and Annalena think outside the box for Grand Final spot

People 25-54

Nine’s LEGO Masters:
• Total TV nation reach: 619,000
• National Audience: 312,000
• BVOD Audience: 30,000

Nine’s A Current Affair:
• Total TV nation reach: 460,000
• National Audience: 275,000
• BVOD Audience: 36,000

10’s MasterChef:
• Total TV nation reach: 441,000
• National Audience: 246,000 
• BVOD Audience: 31,000

Seven’s Farmer Wants a Wife:
• Total TV nation reach: 577,000
• National Audience: 304,000
• BVOD Audience: 53,000

Seven’s Home & Away:
• Total TV nation reach: 465,000
• National Audience: 289,000
• BVOD Audience: 55,000

People 16-39

Nine’s LEGO Masters:
• Total TV nation reach: 261,000
• National Audience: 130,000
• BVOD Audience: 15,000

Nine’s A Current Affair:
• Total TV nation reach: 192,000
• National Audience: 117,000
• BVOD Audience: 18,000

10’s MasterChef:
• Total TV nation reach: 192,000
• National Audience: 109,000 
• BVOD Audience: 17,000

Seven’s Farmer Wants a Wife:
• Total TV nation reach: 251,000
• National Audience: 133,000
• BVOD Audience: 29,000

Seven’s Home & Away:
• Total TV nation reach: 207,000
• National Audience: 139,000
• BVOD Audience: 33,000

Grocery Shoppers 18+

Nine’s LEGO Masters:
• Total TV nation reach: 1,246,000
• National Audience: 507,000
• BVOD Audience: 38,000

Nine’s A Current Affair:
• Total TV nation reach: 1,216,000
• National Audience: 809,000
• BVOD Audience: 51,000

10’s MasterChef:
• Total TV nation reach: 914,000
• National Audience: 518,000 
• BVOD Audience: 42,000

Seven’s Farmer Wants a Wife:
• Total TV nation reach: 1,380,000
• National Audience: 818,000
• BVOD Audience: 76,000

Seven’s Home & Away:
• Total TV nation reach: 1,137,000
• National Audience: 714,000
• BVOD Audience: 75,000

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