June 4, 2024

The rise of independent agencies: How technology and adaptability are levelling the playing field.

The rise of independent agencies in the Australian marketing and advertising industry is a direct result of the democratisation of technology, greater adaptability, innovation and the impact of the changing way we work. As the industry continues to evolve, I believe we’ll see even more top-tier indies emerge, offering innovative solutions, specialised expertise and a more personalised approach to client service.

Read more

August 5, 2023

Threads – suddenly you’ve got huge scale instantly, which no other ‘Twitter killer’ has been able to achieve.

August 5, 2023 - Article featured in MediaWeek

Last month, Meta launched Threads, the app widely reported to be a ‘Twitter Killer’ – or perhaps now, an ‘X killer’. 

As an app, Threads is more focused on text and dialogue, with Meta saying that the platform “offers a new, separate space for real-time updates and public conversations.”

With the app now out there in the world, Mediaweek caught up with Keir Maher, managing partner at Now We Collide – Meta’s local agency of record.

“It’s been interesting – Meta have come back really strongly this year,” Maher says, reflecting on how the year has been for Meta so far. “ It’s good for us to be part of that journey after last year’s ups and downs across the tech industry, I don’t think anybody was really out of the firing line for that.

“It’s been good to be back this year, and with things like Threads launching, it just means there’s more to come.”

Now We Collide works with Meta as part of their B2B side of the business, and in that space, Maher says that the team have been pleased with the launch of Threads.

Everybody is blown away by how quick the take up has been, in terms of the interest that there’s been from creators’ brands. ChatGPT had the fastest growth ever, and now three months later, that’s been blown out of the water by 10 million new users in six hours.

“I think it was a super smart move from Meta to make it so easy for people to access Threads through their Insta account, and at the touch of a button say, ‘Yes, I want to follow everyone that follows me on Insta, and everyone that’s on Insta that follows me can follow me on Threads’. Suddenly what you’ve got is huge scale straight away, which no other ‘Twitter killer’ has been able to achieve, because they’ve had to build scale from scratch.”

The ‘Twitter killer’ – or perhaps ‘X killer now – label has been following Threads since it first launched, however, Maher says that anyone who is pushing that line probably hasn’t spent much time on Threads.

A lot of people are saying it’s a Twitter killer because it’s the same as Twitter – they haven’t used it if they’re saying that, because it’s not the same as Twitter. You can’t use hashtags for content discovery yet, which is what drives Twitter. There’s no area within Threads to find trending content at the moment, it’s a single feed, whereas Twitter is all about picking news trends, sports trends, and music trends in their native menu – there is no native menu in Threads yet for that.”

When it comes to the rapid take-up of Threads – the app took only 5 days to record 100 million users – Maher says that Now We Collide will always focus on the value equation, because “there needs to be some kind of value equation between the consumer and the platform itself.” With some very famous backers of the app, however, he’s feeling positive about the future.

“You’ve got Chris Hemsworth with 3.7 million followers already on the platform, Tourism Australia, they’re on there with 155,000, you’ve got Nike with 2.5 million followers, you’ve got Netflix with 3 million followers. Even Anthony Albanese is on there with 51,000 followers. The fact that you’ve got all these content creators already there means you’ve got brands looking for that first-mover advantage. We’ve been talking to the partners and the clients that we have on how they can take that first-mover advantage, experiment with the platform, and see where it goes.”

While Meta isn’t offering advertising to clients just yet, Maher says that it could be a service that is just over the horizon.

“There’s still more development to come. At the moment, they’re not offering advertising to clients, so that first mover advantage is from an organic point of view – what can clients do to test, learn, and experiment while they’re building out? Threads are saying that monetisation is not a priority for them at all this year, Zuck himself is saying that his vision for Threads is to create an open and friendly public space for conversation. 

“Meta has very good ad tech tools, they’ve got the tech stack, they’ve got the tools for finding people and delivering relevant advertising messages. It makes sense that over time that could possibly come in, but at the moment there are no plans to do that in the foreseeable future.”

Published by

Keir Maher

Now We Collide - Managing Partner

November 18, 2022

Why AI is the assistant every creative needs

Full article published by The Australian

If you work in advertising or digital marketing, some of today’s emerging technology might seem a little threatening. But just as television didn’t kill the radio, intuitive AI won’t spell doom for human creativity either. Ryan Bodger, Chief Creative Officer at Now We Collide, explains why we should look on the bright side.

 Not long ago I was working with a client and telling them about the improvement I’d seen in AI-generated copy. They were, it’s safe to say, dubious.

So we did a little experiment and produced a few different versions answering the copywriting brief they’d sent our way. Oh, and one we slipped in there was produced by an AI source. 

Lo and behold, their preferred option was penned by the machine.

Others were at it before us. In 2018, Lexus released an advertisement completely scripted by AI. The company used IBM Watson, an AI system, to analyse 15 years of award-winning car ads. Watson managed to identify the elements of successful ads that resonated most with audiences - and did it with aplomb.

If this sounds like an unconvincing way to open a piece reassuring you that the machines aren’t going to put creatives out of business, well, fair enough. 

But bear with me, because where pure creativity is concerned, I’m convinced AI is the assistant we need right now and not an existential threat. Here’s why. 

In the media and technology industries machine learning has thus far mostly been associated with measurement. In recent years we’ve been swamped by a sudden deluge of data with no way to make sense of it. The solution was AI.

Ask most people and they’d say machines replacing human brains for repetitive tabulation tasks is a good thing. Well, AI can do something very similar for creatives. There are now huge efficiencies to be had in developing concepts and getting them back to clients quickly. 

At Now We Collide, for example, we’re already experimenting with art and text generators like Open AI & Broca for copy, tagline and idea generation. And we’re running tests on video and animation solutions that can help our designers come up with new ideas and expedite existing ones (see below).

We’re also using MidJourney, Dall-e2 and Stable Diffusions DreamStudio for visual concept development and content generation. It’s a new and exciting world - and one that can make us much more efficient as businesses.

In many cases, having this AI in our toolkit means tasks that would’ve taken two to three weeks from conception to delivery can be achieved much quicker. And this is especially important when speed to market is key to keeping share-of-voice high for most brands.

Measuring up in a creative space

In the world of measurement you’ll often hear people from tech companies extolling the virtues of giving the AI the richest data possible. The theory being that what you put in correlates strongly with what you get out. This is having some interesting knock on effects in the creative realm.

We’re now considering the types of roles the intersection of human output and AI technology is creating. There’s now a place in businesses like ours for what we are calling the Prompt Architect or Engineer. This is a role that involves working with AI, providing it with the right stimulus, or ‘prompts’ in order to get the best possible results. 

Of course, we’ll never replace the human element entirely, but the ability to maximise the output of AI shapes as a very important new job skill. It’s an interesting inversion to think that great results can come from humans learning machine learning language, rather than us teaching AI what to do.
And if you’re not convinced of AI’s efficacy yet, well, we’re already seeing some exciting developments in the fashion and cosmetics space. In the example pictured below, the model, hair and makeup were all created by an AI source in under two hours - derived from refining a single prompt sheet of images.

Image generated in Midjourney

And while AI used in this way could be disruptive for the fashion industry, it’s fair to assume this approach isn’t going to work for everyone just yet. But given the potential, I think that brands and marketers will certainly be interested in faster, more cost-effective ways to get their messages to market.

For creative businesses, there are simple ways you can experiment too. Being a big basketball fan, and working with ESPN on creating ‘Your Home For Hoops’ brand platform, I’ve started a BallArt Instagram account as a way to experiment and explore new visual concepts. Just by showcasing what’s possible via AI creativity, it provides us with a way to quickly realise which ideas work with a specific audiences.

Image from @ballart76

Perhaps the most exciting aspect of the rise of machine learning in the creative space for me, though, is the ability to generate fresh ideas and new ways of thinking at a much quicker pace. A lot of effort goes into ideation, and having a collection of thought starters can be a very powerful thing.
If you’re still not convinced, then consider this. For agencies - particularly smaller Indies like us - leaning into this technology can also be a great selling point for clients. It’s a sign you move with the times and embrace agility - and that you’re not afraid to experiment with new trends in the quest for success. 

For brands, I say, don’t be scared of it. Embrace it, test it and work with those who are doing likewise. At the end of the day, it’s just another software solution, but one that could really make a difference to your next campaign.

November 11, 2022

Vertical video keeps soaring

Just over 2 years ago we wrote about the Rise of Vertical Video and how we saw it as “one of the biggest opportunities for brands” at the time. Shift forward 2 years and it's clear that the prediction has become a reality. During that time we have seen the exponential growth of Instagram Reels, in 2021 Adam Mosseri, the Head of Instagram announced a focus on video and the tripling of Reels maximum running length to 90 seconds (while ads have a maximum running length of 60 seconds) – with over 1 billion active Instagram users every month the move into vertical mobile video has been one of the driving forces behind the success. Reels has now been expanded to Facebook as well which in turn increases the views and discoverability of Reels across both platforms.

Ultimately though, Reels was a response to the growth of what was then a new-comer to the vertical video scene – TikTok. TikTok has grown rapidly and whilst we recognised 2 years ago that they were a serious competitor to the incumbent leaders in social video at the time (Facebook and YouTube) we didn’t foresee quite how big they would get. In fact, data from the recent Hootsuite / We Are Social report shows that TikTok now leads in average time per month spent in app across Android devices globally:

TikTok’s undoubted success has been driven by their AI algorithm and the ability to curate and recommend the most relevant content to keep viewers hooked and scrolling for more. In this sense, TikTok has become a quasi social media and entertainment platform in one. TikTok now has over 1 billion monthly active users itself and is projected to reach somewhere between $8bn - $12bn in ad revenue in 2022.

Not to be out-done, in late 2020 YouTube launched their own YouTube Shorts vertical video and short-from platform for videos 60 seconds and less. YouTube Shorts is already driving 1.5bn monthly views and has in our eyes the advantage over both Instagram and TikTok in that it plugs into both the creator community of YouTube and the overall Google ecosystem, particularly search. Demand for YouTube Shorts has been soaring, in April this year Google CEO, Pichai announced that YouTube Shorts, is generating 30 billion views per day, which is four times more than the same time a year earlier.

So what does all this mean for brands and advertisers? In a word, plenty. There are the obvious creative ramifications we discussed in our original article – vertical video needs to be filmed or produced with the vertical 9:16 format front of mind mind – utilising all the available pixel space to maximise engagement with a feeling that is native to viewing and platform experience. With videos across all vertical platforms primarily watched with sound-on, this means that dialogue, sound and sound design has become more important than ever and revokes many of the previous recommendations around creating for a sound-off viewing experience.

This also means that video content including people and dialogue directly to camera within the creative has become more important than ever – driven by the success of a plethora of content creators – and for advertisers this is an important consideration. We have run a number of organic and paid campaigns across Facebook, Instagram, TikTok and YouTube in which we have A/B tested different creative and we have interesting findings where for certain categories and demographics, people speaking directly to camera and engaging with audience one-to-one, have significantly out-performed all other creative.

One thing we have also been working on as an agency is optimising video creative for 95%+ or 100% video completions. This is because the video platforms are often optimised to reporting on a 3 second or up to 6 second video view and while this might be relevant for the platforms themselves to report on, this isn't necessarily a true gauge of how consumers are interacting with a brands content or ads. While there has been lots written on the demise of the average attention span there is also plenty of evidence available to confirm that if you reach the right people, at the right time with content that is relevant and of interest/engaging, they will dedicate as much time as needed. So we believe a truer reflection of campaign success is to understand and report on those higher video completion rates and optimise the creative and media strategy accordingly.

Data from numerous campaigns we have run here at Now We Collide over the last 2 years has shown that the growth in vertical video has been accompanied by much higher video viewing completion rates and the associated cost efficiencies which can be achieved and by optimising video to the vertical format, even higher engagement and efficiencies can be achieved.

So for now at least the rise of vertical video continues and is now an essential part of any digital and social media strategy and should be integrated into the channel mix accordingly.

August 10, 2022

AdNews Industry Profile: Ryan Bodger our CCO at Now We Collide

AdNews Industry Profile

Our Industry Profile takes a look at some of the professionals working across the advertising, adtech, marketing and media sector in Australia. It aims to shed light on the varying roles and companies across the buzzing industry.

Ryan Bodger: Chief creative officer at Now We Collide

Time in current role/time at the company:
Now We Collide was founded in 2015 by CEO and Managing Partner, Keir Maher, and myself, Ryan Bodger, chief creative officer and managing partner.

How would you describe what the company does?
Most of the time we are helping our client partners realise the potential of the new digital economy. This means coming up with creative ways to intersect and engage with audiences, customers and consumers on a myriad of platforms, channels and digital ecosystems. Every business we work with has different goals and objectives, so we uniquely tailor our approach to each of them and build teams to support their business for successful outcomes.

 What do you do day-to-day?
Problem solving, ideation, creative execution, research, strategy, production, client and stakeholder management and team building. Sometimes I might even fix a broken cupboard in the studio - I like to get hands on with everything I do. Each day presents a new set of challenges and often I lean on our great team, resources and mentors - both internal and external - to get the job done. I’m blessed to work with such a talented and clever group of people.

Define your job in one word:
Adaptation.

I got into digital market industry because:
It was where the ad industry was heading. It was a natural progression from working in television early on, through the dot.com boom running a digital agency, to the fragmented, decentralised digital landscape we are now in. It’s been a wild ride and it’s ever changing - but that’s why I like it.ADVERTISING

What’s the biggest challenge you face in your role?
Helping clients realise the potential of the ever-changing media and digital landscape. I think a lot of the time we are comfortable in the day-to-day and find it difficult to adapt and change. Often people resist change, because it’s hard and it makes them feel uncomfortable.

But that is exactly what we all do as audiences or consumers. We constantly shift our gaze to the next exciting thing that interests us, solves a problem or entertains us. Think the iphone, Netflix, Reddit, TikTok, Discord, Blockchain, AI - it’s always changing. We’re here to help businesses embrace these changes.

 What’s the biggest industry-wide challenge you’d like to see tackled?
Getting people to value creativity in our industry and the ‘idea’ as currency. While the digital age has caused a paradigm shift in our ability to scrutinise data, and rightly so, the value of creativity has been diminished by some.

I think the ‘idea’ is seen as something floating in thin air, waiting to be plucked. Sometimes that can happen, but very rarely. I believe those that harness the power of data, draw valuable insights and drive quicker creative thinking and effective strategy to market will win. Those ideas and that thinking needs to be worth more and valued more.

What are you most excited about in the next 12 months?
Seeing Now We Collide go from strength to strength in delivering some of our best work, while continuing to build and support an incredible team of people that all love working together.

Who has been a great mentor to you and why?
My Dad. As a kid I saw him go from working in the backyard shed in the outer suburbs of Melbourne, as a sole trader Signwriter (back when they used paint and brushes), to running a sign factory with around 20 people working for him.

I have good memories of spending time with his apprentices, learning how signs were made, mixing paints, screen printing, and seeing how business was done. He didn't always have to give me great advice, but his work ethic and commitment to making a better life for his family has given me a great lens through which to see the world.

 Words of advice for someone wanting a job like yours?
Nothing ever stays the same, so be ready to adapt to change, constantly. Don't be precious when things don't go your way.

 If I wasn't doing this for a living, I'd be:
As a kid, my dream was to be playing alongside Michael Jordan with the Chicago Bulls… that didn't quite work out. But if I wasn't running a Creative Agency right now, I would probably be helping my wife more with her new venture, Alba Atelier (plug!).

My mantra is:
Time is running.

My favourite advert is:
The original Apple iPod Ad - design, simplicity, fun. RIP the iPod

March 31, 2022

Now We Collide Champions Small Business In New Global Campaign For Meta

B&T ; MarkeTech APAC ; Mumbrella ; Adnews

Now We Collide has created a new campaign for Meta which showcases the ingenuity of small businesses across APAC in its latest “Good Ideas Deserve To Be Found” global campaign. 

The campaign will run across the APAC region and consists of four 15-second ads which bring to life the stories behind nine different small to medium businesses (SMBs) from countries including Australia, Hong Kong, Indonesia, Japan, Korea, Philippines and Thailand.

“Good Ideas Deserve To Be Found” is designed to build awareness of tools and resources available to help SMBs connect with new audiences and grow their business online.

It is built on the insight that there are millions of good ideas out there, even though running a business and making it stand out to customers can be difficult.

“The last two years have been uniquely testing times for SMBs, providing some serious challenges with store closures and new opportunities with the explosion in digital retail,” said Meta Australia and New Zealand director of marketing, Alex Sloane.

“With this campaign, we wanted to draw attention to the wealth of resources available to help them use digital tools to even better effect, with the potential to create truly global businesses. We genuinely believe that “Good ideas deserve to be found.” and can come from anywhere.”

Meta 'Good Ideas Deserve to Be Found' - Stay Flower Japan

The campaign will be distributed via digital channels and Meta-owned platforms through Dentsu Media.

Each of the creative executions centre on revealing the ‘invisible’ product of a small business. One shows a boy wearing a bike helmet and pads apparently floating along, before an Instagram ad unit reveals the bike he is riding. Another features a woman practicing Jiu Jitsu apparently alone before revealing she is sparring with her instructor.

“We’re excited to be involved in a campaign that would help out many SMBs across APAC, especially as it was filmed at one of the more challenging periods of the pandemic,” said Now We Collide chief creative officer, Ryan Bodger.

“We had to grapple with these challenges as well, and our team was able to bring to life these stories from all across Asia either filming remotely or in-studio and on location in Sydney.

“By bringing the client into the studio ‘virtually’, we were able to closely collaborate throughout the production process, making approvals frictionless. We streamlined the process through live video offline edit sessions, bringing together various stakeholders from different locations across the globe.”

Now We Collide CEO, Keir Maher, added, “One of the more positive things the pandemic has given us, is the ability to work in ways we never thought possible.

“Quick adaptation to change has always been part of the Now We Collide DNA, but now it is built into our production processes and methodologies. This campaign is testament to our abilities as a nimble and effective team.”

Credits:

Creative Agency: Now We Collide

Production/Post: Now We Collide
Media: Dentsu

VFX/CGI Post: Heckler
Sound: PureSound
Executive Creative Director: Ryan Bodger
Business Director/EP: Naomi Young
Creative Director: Shelby Craig

Meta Internal Creative Leads: Justin Yeo (Meta), Jonathan Cockett (Meta)

Director: Toby Morris

DOP: Dan Freene

VFX Supervisor: Jamie Watson (Heckler)
Stunt Coordinator: Ray Anthony

Account Lead: Shayne Carter

Producer: Re Lim

Editor: Josh Groom

Motion Graphics/VFX: Darryn Rogers

Sound: James Martell

February 24, 2022

Instagram and Butterfly Foundation launch BodyKind

Source: Mumbrella, B&T, Butterfly Foundation

Independent creative agency, Now We Collide has created a new campaign for Instagram and The Butterfly Foundation encouraging Aussies to challenge their perceptions of body image and beauty.

The “BodyKind Online” series features five key creators and influencers to share their “#BodyKindOnline” tips, including @alrighthey, @allira.potter, @oliviamollyrogers, @stylebydeni, and @katewas.

The influencers appear in various short form videos, speaking out about their own online experiences, clinically backed tips and advice to help young people foster positive body image and inspire more positive and kind behaviour.

The campaign aims to educate Aussies on how to navigate likes and comments, how to curate your feed to make Instagram a more positive place, using filters safely, and managing feelings of comparison to friends or influencers.

The campaign is based on a national social media and body image study conducted by The Butterfly Foundation, which found 40 per cent of respondents admitted they compared their posts to those of others, and 63 per cent said how others perceived their appearance online was important to them.

“Butterfly is proud to once again partner with Instagram and Now We Collide to foster a positive body image online. #BodyKindOnline sparks discussion and offers practical advice about how we can all be kinder to ourselves and each other’s bodies online,” said Butterfly Foundation spokesperson, Alex Cowen.

“It is imperative that everyone, in particular young people, are equipped with strong social media literacy skills to disrupt the negative feedback loop that can sometimes occur online.

“This campaign puts the power into young peoples’ hands and gives them the tools to reject unattainable appearance ideals, social comparison and the seemingly ‘perfect’ life that can fill our feeds.”

Instagram Asia-Pacific policy programs manager, Tara Bedi, said the social media platform was “committed” to reducing pressures surrounding body image.

“We’re launching safety campaigns and consulting on new tools and policies to ensure we protect the most vulnerable people on Instagram.

“The new campaign combines clinically backed advice from Butterfly with tips from some of Australia’s top creators to help young people navigate a safer and more positive body image experience on social media.

“It’s been a pleasure working with such a great cause and leaning on our partners at Now We Collide to help bring this campaign to life,” she said.

Managing partner and CEO, Keir Maher, added, “We’re so proud to be involved in a campaign addressing such an important cause. These videos are an intimate window into these five creators’ personal experiences and are a great way to connect and seek help for those who are undergoing similar circumstances.”

“We had to jump through hurdles to bring this project to life with lockdowns and Covid restrictions but our nimble team once again faced up to the challenge to share these invaluable stories.”

Full details of the campaign and Butterfly prevention programs for young people, professionals and parents can be found on Butterfly Foundation’s website.

Credits:

  • Senior Producer - Amanda Cooton
  • CEO - Keir Maher
  • CCO - Ryan Bodger
  • Art Director - Kate O'Donnell
  • Editor - Josh Groom
  • Client Services Director - Naomi Young
  • Copywriter - Declan Arrighi
  • Audio Engineer - James Martell
  • Motion Designer - Karina Smole

November 2, 2021

Instagram: New Tools For Creators

Article: Instagram

Instagram has released an exciting new batch of features, arming users with a shiny toolbox of toys to play with. The new features provide creators with greater freedoms, empowering them to collaborate, commercialise and fundraise for charitable causes. Take a look at the three biggest updates for Instagram.

Collaboration

An exciting feature designed to increase engagement, Instagram has launched ‘Collabs’ which allows two accounts to co-author Posts and Reels. The move is a win for creators, influencers and brands, encouraging users to create partnerships and collaborate on the platform. The feature will also improve the feed for users as it reduces the frequency of followers seeing duplicate pieces of content from two separate accounts. When posts are created in ‘Collab’ mode, both accounts are able to see a shared like count, view count and comment section.

This new feature is exciting for marketers as it provides brands the ability to streamline social campaigns that are based on partnership. This year Australia has seen a number of high profile collaborations such as the recent Dominos x Vegemite and  Bundaberg Rum x Bundaberg Ginger Beer product innovations.

Link Sticker

A big win for smaller accounts, Instagram is beginning to roll out ‘link stickers’ for all users, a function that allows users to include hyperlinks in Stories. The feature was previously offered only to verified accounts and high-profile creators. The barrier set a perceived benchmark that often drove users to break the hallowed 10,000 follower count.

The wide deployment of the ‘link stickers’ feature is seen as a valuable win for small businesses, who now have the ability to include links to their products and services on their Stories. The move sees Instagram improve its ability to act as an ecommerce portal for brands of all sizes. The democratization sees a leveling of the digital playing field. For example a small local clothing boutique will now have access to the same app features as a global brand. The update compliments existing features such as Instagram Shops.

Instagram is also rolling out desktop functionality, allowing users to upload photos to the platform directly from their web browser. The new updates allows users to edit, filter and post from the comfort of laptops and desktop computers, however the feature is yet to be added to iPad and tablet devices. The update essentially gives all users the same experience of industry social media managers, who have long used 3rd party apps to bypass the previous restrictions. The emergence of desktop posting will likely push users towards uploading curated content of a higher quality, as creators look to leverage desktop software such as Canva to create image and video assets.

Fundraiser
The rising influence of digital activism has also been boosted, as Instagram announces the rollout of a new ‘fundraiser’ feature. The function allows users to create a fundraising initiative for not-for-profits, with subsequent posts appearing in the feed. Instagram trialled a similar fundraising feature during the global pandemic by allowing users to include fundraising links during live streams for charity. It’s important to note the feature appears to suit time-sensitive initiatives, as fundraisers can be set up for up to 30 days. No doubt major charity platforms such as GoFundMe and Donorbox will be keeping close watch as Instagram moves into the humanitarian space.

September 8, 2021

Now We Collide launches new APAC brand strategy for TMX

READ THE ARTICLE: B&T, Adobo Magazine, Marketech APAC, Campaign Asia

Now We Collide has been appointed to create the new brand strategy for leading supply chain consultancy TMX, as it expands rapidly throughout Australia and across APAC.

Founded in Melbourne in 2010, TMX works with major consumer brands including UNIQLO, Australia Post, BMW, L’Oreal, Kmart, Asahi, and Coles to create end-to-end digital and supply chain solutions. The business’ success has propelled during the pandemic, attracting significant new investment to enter several new markets across APAC. 

Now We Collide was brought on to develop a universal visual identity that would translate across multiple languages and markets to support this growth. The new integrated brand campaign encompasses digital and social media strategy in addition to a full suite of creative for both organic and paid media.

The work is driven by high-end 3D animation and the aesthetic is dynamic, fast-paced, visually informative and warm to echo TMX’s brand purpose to ‘invent tomorrow’.

Travis Erridge, CEO at TMX commented: “TMX is the leading solutions provider for a number of traditional bricks and mortar retailers which are navigating new digital supply chains. Our new brand strategy firmly establishes our credentials as a true innovator in this space across APAC. 

“Now We Collide has been an absolute pleasure to work with. The team’s strategic insights, creative development and in-house production capabilities have been the perfect combination to provide a new platform for us to continue driving results and focusing on customer acquisition and engagement.

“Navigating through the nuances of each APAC market is no small feat however Now We Collide were experts in providing consistency of message. We're looking forward to continuing our partnership with Now We Collide as we continue our growth across key markets.” 

Keir Maher, Managing Partner & CEO at Now We Collide added: “It’s always a privilege to support a successful Aussie business that’s making such big waves on the international stage. 

“The visual identity, language and style guide of the campaign is very unique in the category and goes to the heart of TMX as an innovator. We’re proud of this campaign that translates TMX’s unique story onto a global platform and best of all, we’re already seeing the strategy provide positive business outcomes for the team at TMX.”

CREDITS:

Now We Collide 

E.P. & Strategy Director - Keir Maher

Chief Creative Officer – Ryan Bodger

Client Services Director – Naomi Young

Creative Director - Kurt Toohey

Motion Designer – Jamie Hoy

Project Producer – Michele Marquet

Copywriter – John Kerswell

TMX

Natalie Liang – Director of Marketing & Communications

Nhung Nguyen - Marketing & Communications Manager, Vietnam

Grace McLean - Marketing & Communications Executive

August 19, 2021

Blockchain: The Great Digital Disrupter

As the Digital Marketing industry grapples with issues of data inflation, consumer privacy and the death of Cookies, could Blockchain technology be the silver bullet to fix the industry's woes? Beyond disrupting the stock market, changing the face of real estate and revolutionizing the music industry, Blockchain tech has the potential to change the way brands, ad buyers and consumers interact online. 

Here are Three Ways Blockchain can change Digital Advertising for the Better

Transparency

In an era where ad buyers and brands are placing less trust in the metrics and data provided by major Internet players, Blockchain has the potential to provide a solution that offers greater transparency. The decentralized nature of the tech empowers Blockchain to conduct trusted transactions, whilst providing greater accountability when needed. Blockchain could for instance provide a digital dashboard for ad buyers, who are given the opportunity to assess and review in real time the specifics of how well various ads are performing. The tech addresses the marketing industry's current problem concerning trust and accountability, ensuring brands are receiving the ROI they’re promised. This new technology could even spark the end of Bots, infamous for inflating campaign metrics and infuriating brands and campaign managers alike. To every bot that’s skewed a campaign, we bid a fond farewell! And we offer an apology to those Bots who were just trying to make the world a better place.

Targeting

A 5 minute scroll through a user's social feed often offers intriguing, enlightening and sometimes bewildering examples of poor ad targeting. Since the invention of Cookies, brands have long struggled to walk a digital tight-rope ensuring their messaging reaches the right consumer at the right time. By using Blockchain technology, marketers have the potential to target consumers using a wider, more legitimate data set.

For example, currently if a Web user is regularly searching for news stories about the English Premier League, they may become the target for ads for football boots or playing equipment. The current systematic programming makes this assumption based on browsing habits and does not realise that the consumer (60+, Male) has no interest in actually playing the sport, but is instead a casual fan of the game. 

In comparison, Blockchain technology has the potential to identify consumers with a proven payment history of purchasing boots and sporting equipment and as such target ads accordingly. 

In essence, the introduction of Blockchain technology enables brands to no longer target ads based on consumers' casual browsing habits, but on hard sets of data with a proven conversion to purchase. With stronger data sets, Blockchain is able to reach the right customers with laser-target precision. The technology will also ultimately provide a benefit to the consumer, who will no longer feel their web experience is disrupted by random advertisements that have no personal relevance. Blockchain may signal the end of consumers feeling bemused at the sight of an advertisement for football boots, whilst they patiently wait for an incoming hip replacement.

Empower Consumers

The introduction of BlockChain technology also marks the beginning of a great power shift between media vs consumers. As Google currently controls 90% of the search engine market, some tech leaders liken Google to a tollbooth where ‘producers of information have to abide by certain rules or directly pay to be reachable’. We are now beginning to see the rise of purpose driven search engines to compete with the major internet players. A prime example is Brave, an online search engine touted for shifting power back into the hands of web users. The site allows users to block programmatic ad sets, opt in to view more personalised ads and in return receive 15% of the ad revenue. Essentially the new browser opens up a ‘Paid to Play’ system, which incentivises consumers willing to offer up their data. There are a number of key benefits to the system, not only do consumers begin to view more personalised ads, they are openly encouraged to share their data for reward. The browser places a monetary value on consumers' browsing habits and provides greater transparency to users concerned about the value of their personal data set.

In conclusion, we’re only beginning to see the impacts of Blockchain technology within the digital advertising space. As the rise of Bitcoin continues and consumers begin to become more familiar with the capability of Blockchain, we expect the technology will continue to change our daily phone scroll and web browsing experience. 

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