There is no doubt that virtual reality is taking over the world.
It’s predicted that by 2020, the economic impact of virtual reality will reach$29.5 billion, and82 million VR headsets will be sold.
Virtual reality, or VR, is interactive software that immerses you in a digitally simulated experience.
In a business sense, VR allows consumers to get a true feel of the brand and product without actually committing to buying it. It also helps make the brand stand out from the crowd and become extremely relevant and modern.
Within the list of Forbes World’s Most Valuable Brands,75 percent created VR projects for their customers or employees. From food to cars, hotels to universities, VR seems to be the new best thing in advertising as it is interactive, interesting and generally fun.
In 2016, IKEA launched their VR kitchen experience, allowing customers to virtually explore and remodel their kitchen. Users could adjust their height to view the environment from a child or adult’s perspective, interact with the IKEA furniture and appliances and even cook the iconic IKEA meatballs.
“Though gaming is at the heart of virtual reality, it is clear that the technology’s non-gaming potential applications are massive as well,” gaming website Gamespotsaid.
“Being able to virtually shop for IKEA furniture is just one example”.
In a similar way, the American home improvement store Lowe’s incorporates a ‘Holoroom How To’, a VR tool that helps teach customers how to do DIY projects. Not only is it a fun activity where you virtually paint walls or tile floors, but it is a memorable experience that cleverly demonstrates how to use the store’s products.
Other interesting innovations with VR technology include Topshop, who used virtual reality to provide a catwalk experience from London Fashion Week, and later won an Event Technology award for Best Virtual Event. Audi claimed to have launched the world’s first VR system in the automotive retail industry in 2016, allowing customers to have a very realistic experience exploring the individually configured cars.
The Marriott Hotels had a similar experience called ‘The Teleporter’, where users were virtually transported to various locations around the world to showcase that the Marriott is global and will always be there for you.
There have also been simple, animated virtual reality experiences that advertise a brand successfully.In 2016, Oreo released a virtual reality film that takes viewers through a tour of its ‘Wonder Vault’ and how their Filled Cupcake Flavoured Oreos are made. Coca Cola had a VR Sleigh Ride in 2015, making the brand stand out from the crowd through modern technology while also engaging with children.
In terms of storytelling, New Zealand’s Fire and Emergency released a 360 VR video where users experienced what a real house fire is like. The video featured facts and tips about how to prevent fires, while also incorporating strong sounds and visuals of a real emergency situation.
While recruiting students, New York University sent future engineering students a cardboard VR device to experience a virtual tour of Mars. Not only did the VR showcase how NYU stands out from other schools, but the tour illustrates the skills and experiences that potential students could have at the university.
No longer is VR technology just used as a tool for gaming. Brands have managed to successfully apply virtual reality in their advertisements, revolutionising the way products are experienced.
Although VR has only recently experienced a breakthrough in the marketing industry, there is no doubt that it is effective in educating and engaging an audience in an exciting and innovative way. It is also not a coincidence that the biggest brands in the world are the main users of this modern tool.
It might just be getting its start in the industry, but don’t be surprised if VR becomes the main form of content in the next five years. Perhaps it won’t even take that long.
To find out more about how VR could work for your brand or storytelling process, get in touch
What we now classify as a “video” is really made up of a multitude of elements – and graphics are some of the most significant elements. But what do we mean by “graphics”? When you’re reading a treatment or quote, what does “graphics” cover? At DOTF, we use the term “graphics” to refer to any imagery created in a video that has not been created through a camera shooting motion imagery. This includes motion graphics, animation, 3D rendering, lower thirds, end frames, keying, and special effects. Confused? Have a read through our quick glossary below.
Is it a graphic that moves? It’s a motion graphic. It’s not necessarily an animation, but it is animated (in the sense that it is moving). Mostly used to refer to a logo and text elements, such as lower thirds, titles, and end frames.
Whilst the difference between animation and motion graphics is widely discussed, argued and varies from place to place, here at DOTF we like to define animation specifically as a motion graphic that has been created specifically for the video. An animation doesn’t involve making existing still assets move – that’s motion graphic – but drawing, designing and creating something entirely new for the video.
Present in most documentary content, a lower third is onscreen text, usually in the lower third of the screen, that gives names and other appropriate information about what’s happening on screen. They may also involve calls-to-action, URLs, location information, anything appropriate for the content being created. They may be static or animated, depending on the style of the content. Fonts and additional assets will usually be drawn from a brand’s existing style guide for cohesion unless requested otherwise.
Separate to lower thirds, animated text is fairly self-explanatory, and refers to moving text on and off screen (or even around it, if necessary) throughout the content. Frequently used to emphasise key messaging and calls to action.
Again, fairly self-explanatory, these are generally the last visuals of the video, and frequently have a logo, a call-to-action or tagline and contact details for the brand. This almost always involves motion, either of the logo, the text or any other details.
This is when we get the old greenscreen out (although that’s not always necessary). Keying is used to replace one part of an image with another – for an effect that is smoother, cleaner and more natural than just layering the other image over the top.
This refers to a broad range of motion graphics skills and can be used to do basically anything. Set things on “fire”, remove numberplates from cars in the background, blur faces, change street signs. These are just a few of the possibilities. Whilst some of these are used to clean up videos, most should be planned in the pre-production phase – and a good content agency will be able to advise which are necessary for your content in this early stage.
Whilst 2018 was the year of diverse aspect ratio, 2019 bows to vertical. Sure, widescreen still offers cinematic gloss for that YouTube presence (which absolutely should not be underestimated) and 1:1 looks great on the Insta feed. However, as IGTV, Stories and Snapchat continue to rise (and Facebook and Instagram post are lost to the incomprehensible world of the algorithm) that lanky 9:16 ratio is where you’ll want your video to go. We’ve been creating and recommending a vertical video for the past couple of years – but in 2019 it’s essential if you want to make sure that your content is seen.
Adidas Originals Superpower Vertical Mobile Ad 2016, directed by Jan Foryś and found on YouTube
Selling isn’t the only path to monetary rewards with video. Branded video content is obviously the most effective way to engage an audience, leading to increased sales and better brand awareness – however, e-learning content can save employers significant amounts of time and money.
Employees have to be trained – and this is often a time-consuming and expensive process. Training video modules that can be done by the individual at home, or in less time and cost than required to take a day out of your employee’s schedule, book a trainer, put on refreshments and all of the other costs and time-wastage that is associated with upskilling. E-learning can teach more with less and offers flexible engagement in previously unseen ways.
DOTF prioritises authenticity when it comes to connecting brands with audiences, and the use of the live video function across Facebook, Instagram, Snapchat, YouTube and Twitch provide a great opportunity for a real connection with your demographicm with viewers spending more than three times the amount of time on a live video compared to a pre-recorded video. Why go live? The main benefits are real-time connection, humanising your brand (which is of ever-increasing importance in 2019, as consumers bring their ethics with their purchasing power), setting customer expectations and the ability for immediate insights into how your audience views your brand. Also, it can be incredibly cost effective. You could do a Q&A, like Sephora, take Apple’s lead and bring your global audience to you as you launch a new product, or combine live video with the e-learning trend to broadcast live classes and tutorials – a format particularly popular in the fitness and hospitality sectors. Our top tip for going live is to work with a content agency who can help to plan your broadcast and offer contingencies and suggestions for live engagements that will bolster your brand and capture your audience. Whilst the brilliance of live video is that your brand and your audience experience simultaneity, sometimes this can go horribly wrong – just ask Lindsay Lohan.
Watch, Want, Buy.
Whist shoppable content has been around for a while, we imagine that 2019 is the year that it goes mainstream. Shoppable content involves stickers, notes or additional on-content features (such as YouTube has been doing for a few years now) that allows the content viewer to purchase a product featured in the content directly from the content – no additional website trawling. Watch, want, buy.
Instagram has joined the game, and whilst they’ve had shoppable posts for a while now, they’ve recently recently introducing product “stickers” (featuring product name, price, description and link to online commerce locations) can be included in Instagram Stories, making it easier to own the product that’s caught your eye.
The benefit of shoppable content is that it allows brands to move further away from traditional advertising, and concentrate on authentic engagmenet and building a relationship with their audience – attracting loyal customers and improved sales.
The Long and the Short of It
Content length is definitely up for a shake-up in 2019, and whilst the 15-120 second videos will still reign supreme, it’s worth considering looking at significantly shorter videos – and significantly longer. Whilst Vine may have died, its six-second format left an indelible mark on the video content world. However, that’s not a lot of time to work with. The best way to use that six seconds? Make the content support additional content, working as an element of a larger suite of content, or bigger holistic campaign. You can keep it simple, by ensuring that images, text and colours immediate evoke your brand – or you could go for something quick, cheeky, shocking and fun (following the Vine tradition). In fact, some of the world’s top advertising creative suggest treating the six-second video like a joke. Short. Sharp. Punchline.
On the other end of the spectrum, brands are investing in longer form content, using storytelling to support their brand’s ethos and perception rather than necessarily sell specific products or services. Chevrolet teamed with acclaimed filmmaker Spike Lee to create a 17-minute documentary about a young female baseballer. The only overt brand presence are the cars used a mode of transport in the final scene, and rather than closing credits, the film ends on the Chevrolet logo. It’s a lovely, moving film and a big name director gives it legitimacy, and gives the audience a warm feeling about Chevrolet as a brand. Tech and telelcommunications brand took it even further, creating a 30 minute short drama, starring Olivia Munn and Joan Chen, showing technology in (admittedly, dramatized) context.
Here at DOTF, we’ve championed long-form branded content, creating half-hour and broadcast hour documentaries for HTC and Deakin University.
Influencers and brand ambassadors can be great ways to draw attention to your brand, but at DOTF we’ve always championed authenticity – using real people involved with a brand to represent that brand – and we’re pleased to see this trend emerging for 2019. Whether it’s the behind-the-scenes crew for Bon Appetit’s test kitchen becoming influencer purely through being real people, doing their jobs, or showing an authentic experience of a student study trip through video diaries and fly-on-the-wall documentaries, as we did for Deakin University, the appeal of the real is on the rise.
Following on from the authenticity discussion, we foresee that brand collabs – already a significant presence across social media with influencers and personalities – will evolve into content partnerships – brands accessing authenticity and existing audiences through video content creators – with high-quality content with authentic reach as the result. This is another trends we’re excited about at DOTF, as this is the exact format we’ve used for content creation for over a decade, starting with our youth culture platform, Speaker TV. Whilst content partners could simply mean creating the content for a brand, or incorporating that brand directly into your existing content format, the content becomes more powerful whether both names are brought to the table equally, resulting in new, collaborative content.
Our national campaign for the HTC One was created this way, mixing HTC’s brand strategy with our brand at Speaker TV, resulting in a series of events all along the East Coast, and online content featuring the HTC brand interacting with the Speaker TV demographic in an authentic way.
With new rule cracking down on transparency in regards to branded content, influencers and anyone sponsored by brands nowadays is required to add a hashtag ad or hashtag sponsored (although the more inconspicuous option: #sp is more widely used). It looks something like this:
The Kardashians are a prime example of social influencers
So, what does that mean for brands who want to utilise the abundance of Instagram influencers? Are people more likely to be put off with the brand as a whole if they know for a fact that their favourite online personalities are actually being paid off? Could genuineness be the only way for brands to be received well?
The old-fashioned way of marketing seems to have fallen out of favour with today’s audience. Bombarding your audience within the face, over the top, or even just outright annoying ads can cause people to just tune away or even perceive your brand with negative connotations. Instead, if you attach an influencer onto your name, audiences are more generally going to try the product you’re trying to sell as they perceive it as a recommendation from their favourite celebrities rather than just an outright hard sell.
Facebook takes a much different approach when it comes to selling products. Instead, there are “sponsored posts” where it takes the form of a normal post with the added benefit of constantly appearing on your timeline.
With an added option of putting in money so that your post appears more often, tracking the analytics of how many people have viewed it (separated from organic searches and ‘paid’ searches, which consists of audiences found through Facebook forcing it on their feed). The benefits seem to be quite limitless.
But does it work?
I’m going to preface this by saying just because people see your posts does not mean they’re actively engaging with your brand. There’s a huge engagement between viewing, liking, and commenting on a Facebook ad and actually taking on a course of action (buying or actively engaging with the brand in question).
So with that being said, it’s probably not as effective as Instagram.
Unless you have a huge following already in the very beginning on this platform, it’s hard to branch out organically to other people unless you’re willing to put in serious money and also follow the rules of Facebook ad posting; which is less words more photos. And when it comes to the question of audiences reacting to such post- the general rule of thumb is anything with the word ‘Sponsored’ on the top that appears on your feed five times a day would undoubtedly turn some people off.
Again, the effectiveness of ‘Sponsored’ post comes into question. Unlike the other two platforms, the 240 character limit also severely limit what a brand can spread in terms of their messages. On the other hand: quick, concise, and catchy tweets can work wonders!
Often, companies and brands have taken a much more unique approach when it comes to branding themselves on Twitter: instead of focusing too much on pushing the newest product or announcing their latest campaign, they’ve adopted personalities. Akin to human interaction, these social-savvy companies opted out of marketing in the most traditional sense and seek to build rapport and relationship with their audiences.
Wendy’s sassy and funny personality has garnered internet fame
Creativity is never a bad thing when it comes to standing out from your opponents. Simply paying Twitter to have your post pushed to the priority section on everyone’s’ newsfeed is no longer a viable way of ensuring your popularity as a brand. It never hurts to crack a few jokes here and there.
Thus, if you are thinking of Twitter as a possible platform, it’s time to start treating your audience as a friend to talk to. Don’t be shy to be more casual, more fun, and most importantly, be authentic- it’s really easy to see through the company’s marketing techniques nowadays.