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Frisk Special: BROADCASTING & CONTENT
September 2014

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Frisk Special: BROADCASTING & CONTENT September 2014

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Frisk Special: BROADCASTING & CONTENT September 2014
Hi there. Welcome to the latest Frisk special.
If you’ve had your ear to the ground (or, er, your eye to the screen) – you’ll have
spotted these Frisk specials popping out of Leo Burnett London over the past
year. There have been a number of diverse and intriguing themes – Retail, Luxury,
Popularity, Travel, Sponsorship, and so on – and this time we’ve decided to take a bit
of a sidestep and look at Broadcasting & Content.
It makes sense, really. Cast your mind back a couple of decades and you’ll remember
a world of limited channels, real-time viewing, passive media consumption… a totally
different landscape to today. Manufacturers act as broadcasters, viewers dictate and
shape content, it’s a far more inclusive, dynamic and all-encompassing scene.
So, within this little round-up you’ll find a number of examples of just how things are
changing, and how we’re involved in it all. I sincerely hope that you enjoy what you
read. If so – or indeed, if not – do be sure to fire some feedback into the Twittersphere:
the handle’s @LeoBurnettLDN.
See you next time for more of this colourful ideasmithery.
Daniel Bevis
Senior Knowledge Editor
Leo Burnett London

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Frisk Special: BROADCASTING & CONTENT September 2014
WHAT’S THE FUTURE OF CONTENT, AFTER THE GOLDEN AGE OF TV?
by Jonathan Fraser, Global Head of Strategy & Ideas, Holler
Each day we read more and more reports about how people are watching less and less linear TV, but at
the same time everyone talks about this being TV’s golden age. So the question comes up, how can TV be
producing the best content of its lifetime whilst audiences dwindle, and will this golden age of TV come to
an end?
To really understand this, we need to understand why we are experiencing the golden age of TV, because
despite what TV execs might tell you, it’s not just because they have hit their stride as this era’s renaissance
men and women (although as an executive producer of a TV show that is currently on air, I can confirm
that this is part of the reason).
One of the biggest factors contributing to the golden era has surprisingly been fear. Broadcasters closely
watched as Netflix’s offer to sell 49% of their business to Blockbuster in 2000 was turned down, only for
Blockbuster to go into sharp decline from 2004 leading to its bankruptcy in 2013; as Netflix grew from
strength to strength (most likely driving past Blockbuster HQ in open-top Bentleys and laughing).

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Frisk Special: BROADCASTING & CONTENT September 2014
This was the first big obsoleting in the entertainment industry since Michael Barrymore and it sparked
fear throughout it. It was an industry that saw huge technological changes and large changes in consumer
behaviour so every stakeholder was looking to ensure they don’t become the next Polaroid; as Ted Sarandos
(Netflix’s Chief Content Officer) said, “The goal is to become HBO faster than HBO can become us”.
However before you start saying that an industry run on fear is a bad thing, I actually believe it’s been the
very thing that has led us to the golden age of TV. Fear has helped bring about the three elements that
make TV so good at the moment.

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Frisk Special: BROADCASTING & CONTENT September 2014 1. ENHANCED PRODUCTION BUDGETS
When approached for content by on-demand platforms like Netflix, broadcasters such as ABC, were scared
of being a brand stuck in the past, being a brand that didn’t truly understand the potential of on-demand
and whether it should be an area of investment.
As such they worked with platforms such as Netflix and allowed them to license their back catalogue
content. This helped ABC in the first instance by providing a new much needed revenue stream, which
could be directly set against key content; giving them more money to reinvest in high budget shows like
Breaking Bad.
2. TECHNOLOGY BRINGING ON-DEMAND INTO THE LIVING ROOM
There was a time when on-demand content was confined to the laptop, however technology that brings it
to the TV has now become widely available. This dramatically changed viewing habits which a lot of linear
broadcasters feared; as the benefits seemed to favour the platforms and consumer. However in reality
everyone has felt the benefit of on-demand.

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Frisk Special: BROADCASTING & CONTENT September 2014
Broadcasters actually found that as they launched new series of programmes that they had licensed to
on-demand platforms they were attracting more viewers than anticipated. The reason for this is that the
promotion of the new series inspired people to catch up on Netflix before new series launched on air. This
helped them drive more audiences to the big series premieres. A prime example of this is that prior to the
launch of Series 3 of Luther on BBC 1, Netflix saw a huge increase of people catching up on Series 1 and 2.
Subsequently Luther Series 3 wildly outperformed the BBC’s expectations week after week.
3. ENGAGEMENT TV
Broadcasters also feared the migration
of audiences to more involving pastimes
and digital experiences. This led to
broadcasters purposely developing
shows that engaged the viewer and
brought them into the show. No game
show will get commissioned today that
doesn’t have a play-along-at-home
element. Likewise most dramas or
documentaries will include a social bomb
within the first 3 minutes of broadcast
(a social bomb is footage purposely
designed to get audiences tweeting in
order to convince non-viewing followers
that they need to switch channels as
they are missing out). This means that
content developers and broadcasters
are proactively thinking of ways to enrich
their content to bring viewers into their
shows, which has led to more engaging
and exciting content.
So as we can see, fear has led every
stakeholder to evolve, experiment and
collaborate in order to ensure they
don’t become obsolete, which has
unexpectedly led to the golden age of
TV. So what next?

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Frisk Special: BROADCASTING & CONTENT September 2014 As fear subsides in the wake of success, I believe it will be the learnings of what has worked that will drive
the next wave. The answer to this doesn’t lie in content, broadcasters or platforms; it sits around them all
working together, playing to their strengths and as such the key to success no longer resides in developing
great content but rather, in developing great IPs.
If we look at the biggest success stories recently, we begin to realise that there is more to their IP than the
broadcast content. For example, The X-Factor’s success isn’t solely down to the TV show. It owes hugely to
the other elements that make up the whole IP; the singles that get released, the tours, the band interviews
and the star lifestyle given to what were everyday members of the public. It’s the strength of the IP that
allows every element that makes it up, to be a success.
The advertising industry has actually gone through the exact same process. There was a time when great
agencies focused on the adverts, the TV ad or the press ad. However as the communications landscape
became richer and our audiences more expecting, we could no longer think about adverts alone to generate
success. Instead a great advertising agency will develop a great idea and then find the best way to execute
that idea in multiple ways to best suit the environment it lives in (rather than just developing adverts that
all feel like they are coming from the same place).
So, in my opinion we are all in for a treat. If this era of collaboration continues we can expect to see great
IPs being developed with every possible touchpoint in mind. No longer will it be a case of being asked to
watch the same content across multiple platforms. Instead we’ll find IPs generating content specifically
for each relevant platform in turn, creating tailored experiences that make the most of the environment in
which they live.
It will become the platinum age of entertainment.

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Frisk Special: BROADCASTING & CONTENT September 2014

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Frisk Special: BROADCASTING & CONTENT September 2014 We work closely with Canvas8, a deep-dive insight network who ‘make the complex simple by
helping us make the simple significant’. This new piece looks at how GoPro (one of those brands
whose name is often used as a general term for the product overall, like Hoover or Tannoy)
has blurred the lines between being a manufacturer of tech, and a channel for user-generated
content…
TURNING A CAMERA INTO CONTENT
image © GoPro (2014)
A fireman walks into a charred building devastated by fire, and emerges with an unconscious kitten. By
giving it an oxygen mask and sprinkling water over its body, he brings the kitten back to life. Captured
on a GoPro camera, this unique story has become one of the most viewed videos on the camera brand’s
YouTube channel. By drawing viewers into a real life event through a first-person view, it’s redefined how
we document our lives and relive them through video.
The content created on these Hero cameras has been described as “mesmerising and addictive”, with
adrenaline-packed footage becoming synonymous with the brand. And with increasing demand for GoPro
videos, the company is taking a step into the media sector by launching dedicated channels driven by user
generated content. So how has GoPro managed to become one of the most exciting new media companies?
GoPro is the definition of a success story. Ever since its first Hero camera launched in 2004, the company
has established itself as a formidable force, with sales doubling every year and the Hero camera now
holding the title of the best-selling camera in world – with almost 4 million sold in 2013. While initially
developed as a way to capture the thrill of extreme sports, its appeal has broadened. It dominates one
of the most competitive consumer device industries – GoPro cameras accounted for almost half (45%) of
global pocket-camera sales in 2013. [1]

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Frisk Special: BROADCASTING & CONTENT September 2014
But why is GoPro so successful? One of the major reasons is its creation of a whole new genre of video
content, dubbed simply ‘GoPro videos’. [2] With its rugged portable cameras, the GoPro brand is so
synonymous with first-person adrenaline packed footage that the company is moving away from just
selling cameras to becoming a “content-driven company”, according to founder Nick Woodman. And by
entering the media space, the company is hoping to tap into the huge potential that its user-generated
content offers.
GoPro is already one of the most followed channels on YouTube, with almost 2 million subscribers. It’s now
entering new spaces with its in-flight TV channel on Virgin America and an extreme sports channel app
on the Xbox 360. And according to Adam Dornbusch, GoPro’s head of content distribution, the company
is “kicking around ideas with larger television networks.” [3] But with brands vying for people’s attention
in the increasingly competitive entertainment space, what makes GoPro content stand out? And can it
reinvent itself beyond just a camera manufacturer?
image © Jackson Kayak (2012)
GoPro is one of many companies realising that it needs to give its customers a way to engage with their
products and services in a meaningful way. While AT&T is planning to buy DirecTV to give their customers
video content on smartphones, eBay is launching a digital magazine to create communities around different
subcategories on its online store. [4] It’s part of a movement away from just offering products and towards
brands selling a lifestyle.
But while other companies have to invest significant effort and resources to create content, GoPro can tap
into the vast body of videos generated by its users. Red Bull, for example, invested around $65 million in
its Stratos space dive, while GoPro merely has to ask people for the rights to broadcast and professionally
edit their footage. Although it sponsors athletes to create content that inspires people, GoPro realises that
the potential of user-generated content is much bigger. [1]

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Frisk Special: BROADCASTING & CONTENT September 2014 image © GoPro (2014)
While GoPro user-generated content made its name in the field of extreme sports, Twitch is a great example
of how it can be popular in other domains. By streaming online gaming videos, Twitch has become the
channel for gaming – attracting 45 million viewers at the end of 2013. [6] There’s a strong appetite for
unstaged videos that platforms like GoPro and Twitch offer. “Some of the distributors are begging for our
content,” Dornbusch says, “It’s that entertaining. It’s that aspirational.” [3]
What makes GoPro videos special is that they
capture attention-grabbing unique content. In
the same way people watch a whole TV series in
one sitting, these videos are highly addictive. And
the fact that they’re created by real people makes
them feel more authentic. Research shows that
user-generated content is 35% more memorable
than other types of media, and Millennials spend
an average of five hours per day engaging with
it. [5] People are keen to share the videos they
create on social networks, with 6,000 uploads
onto YouTube from GoPro cameras every day as
they hope to become the next viral video or just
want to connect with likeminded individuals.
And GoPro isn’t alone. The Cisco Flip camera used to be a hugely successful portable camcorder, and
became one of the top sellers in the market. [7] But with advances in smartphone technology, its uniqueness
dwindled, and ultimately led to the company discontinuing its camera business in 2011. Is this the future
of GoPro? Not necessarily. Its appeal is very different, with its rugged camera able to withstand extreme
conditions, unlike modern smartphones. However, the company recognises that this could change in the
future, and reinventing itself as a media platform is a way to minimise that risk and draw people into the
brand experience. [8]
The opportunity to enter media arose as GoPro discovered the potential of the content that was being
created. It wasn’t something the company initially imagined would happen. “We’re not inventing new
models,” says Dornbusch, “[People] are coming to us.” [9]
But with just 5%-10% of GoPro content being shared, the company’s immediate focus is on getting the
unseen content out there. “It’s about getting that content off the device and out into the world,” says Paul
Crandell, the company’s VP of marketing. [1] GoPro is encouraging people to edit and share video with its
‘Studio’ video editing software, making it simple to create ‘pro-looking’ cuts. [10]
By unlocking ordinary people’s content and bringing it to the wider public, GoPro wants to raise awareness
of the type of footage the camera creates in order to encourage more sales and new content creators. It
hopes to spark a cycle that will deliver better sales and more content. It’s a perfect example of content
marketing, but what’s unique about GoPro is that the product directly creates the content – something
other brands can only imagine. Similarly to Amazon’s Kindle and ebooks, it appears the long-term strategy
is for GoPro’s cameras to facilitate content creation and sharing, rather than the product itself being the
most lucrative part of the business.
One of the unique ways the company has managed to build up its brand awareness is that people are
happy to label their short clips with ‘GoPro’. In doing so, every video effectively become an advert for the
company. “What their product produces is so compelling, it doesn’t feel like advertising,” said Michael
Mott, general manager of Xbox apps. “It’s a genuine expression of the creativity and craziness of what
their users are capturing.” [3] While Red Bull was the main orchestrator of the record-breaking ‘Stratos’
publicity stunt, the fact that it was captured on a GoPro camera means that GoPro became associated with
their success. In fact, if you Google ‘Felix Baumgartner’, it actually predicts you’re going to type ‘GoPro’,
not ‘Red Bull’ next. [1]

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Frisk Special: BROADCASTING & CONTENT September 2014
While the entrance into media is perhaps a natural one, GoPro itself is still not sure how to best monetise
the content. While it currently gives away content to Virgin and YouTube channel for free, it’s planning to
use advertisements – but will this impact on the viewing experience, and ultimately the loyalty towards
the brand? [8]
Tapping into people’s desire for user-generated content, and with Hero cameras easily allowing its creation,
GoPro has established itself as one of the most promising media companies out there. With a vast amount
of content waiting to be broadcasted to the world, this is only the beginning for the brand. But by already
inventing an entirely a new genre of video, GoPro has attained the ultimate quality we all desire – being
cool.
SERGIO THE SHOE HUNTER USES GO-PRO FOR LONDON FASHION WEEK
We’ve had our very own experience of using Go-Pro. For THE OUTNET, our fashion and lifestyle specialist,
ATELIER, changed the Catwalk to the Dogwalk during London Fashion Week with Sergio – the world’s
most fashionable fashion dog. Sergio, the mini dachschund, high-jacked THE OUTNET Twitter account
@THEOUTNET with footage that he filmed throughout London Fashion Week – sniffing out the fabulous
footwear – and directing style-conscious consumers to THE OUTNET’s shoe style range.
Sergio took full advantage of his tiny stature and discovered the best shoes in the industry. In order to
capture unprecedented footage, Sergio had a GoPro Hero 3 Camera attached to his collar. The Hero 3 is
the perfect match for Sergio as it is 30% smaller, 25% lighter and 2x more powerful than previous models.
It is also waterproof (ideal for the London Fashion Week drizzle) and takes 12MP photos at a rate of 30
photos per second with built in Wi-Fi for his live feeds.
Sergio also wore the GoPro Fetch harness, which features two mounting locations for a variety of
perspectives, thus re-defining the idea of ‘on-the-ground’ reporting and in turn enabling Sergio’s footage
to direct viewers to ‘shop the look’ with similar styles as seen on THE OUTNET.COM.
You can see Sergio’s experiences during London Fashion Week and his shared content here:
http://shoehunter.theoutnet.com/
SOURCES
1. ‘Extreme exposure: Inside GoPro’s burgeoning media empire’, Engadget (May 2014)
2. ‘What GoPro means when it calls itself a media company’, Quartz (May 2014)
3. ‘GoPro Sees Opportunity in Its Amateur Daredevils’, The New York Times (January 2014)
4. ‘eBay Wants to Be a Digital Magazine of Things’, The Atlantic (May 2014)
5. ‘Millennials Trust User-Generated Content 50% More Than Other Media’, Mashable (April 2014)
6. ‘What is Twitch, and why does Google want it?’, The Guardian (May 2014)
7. ‘Cisco shuts down Flip video camera business’, BBC (April 2011)
8. ‘GoPro wants to be a media company, but doesn’t know how to make money with media yet’, GigaOM (May 2014)
9. ‘GoPro Sees Future as ‘Content Company’, Variety (May 2014)
10. ‘GoPro Is Turning into a Media Company, id=”mce_marker”00 Million IPO Filing Shows’, The Atlantic (May 2014)

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Frisk Special: BROADCASTING & CONTENT September 2014 Ensuring brands are present in the right spaces at the right times to create engaging experiences
is a powerful thing - Brands are increasingly behaving as Broadcasters. Working with Holler, we
look to engage, entertain and inspire to earn fans and advocates for life...
RED BULL SPONSORED ATHLETES WHO ARE ON THE UP
Red Bull as a brand has really gone for it with content. For every Red Bull Stratos you see, there are a
number of other pieces of content around smaller UK-wide and regional events - 60 alone in the UK in 2014,
where we work with Red Bull to create content to engage and establish credibility.
Red Bull is like a cult to its fans. As a brand, being credible and aspirational (to a type of lifestyle) takes
priority over overt product messaging. Red Bull are an anti-establishment brand, and in fact ensure that
everything from their associations to their sponsored athletes start with those on the up - not the most
famous or immediately most successful. This carries through to how they communicate online and off.
For Red Bull, someone who might otherwise be unknown like Danny MacAskill - a BMXer with an insane
imagination for tricks in complex spaces - becomes a star, whose YouTube videos receive upwards of 20
million views. But this content isn’t done on a whim, or on a ‘post it and hope’ mentality. We work with
Red Bull to create and curate content that will fly with audiences across the right verticals for them, which
means that content starts in places that might not be the most known (niche, credible communities) and
grow naturally to the point where key influencers incite coverage by broadsheets, driving millions of views
- without spending a pound of media money.
The tonality and credibility behind this approach is fundamental to Red Bull’s year-on-year growth - but
more importantly, drives a deeply engaged fan base and lives to the brand’s publisher mentality. From
ensuring that an editorial approach was taken back in 2008 when we relaunched Redbull.com to the
creation of content ongoing around events and passion points, we’ve been essential to the European (and
global) development of the successes that the brand has had on a day-to-day basis.
Our latest big hit for Red Bull - a low-cost piece of content working with key Instagram influencers for Red
Bull’s Cliff Diving event series - has been nominated for six major awards so far this year.

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Frisk Special: BROADCASTING & CONTENT September 2014
MCDONALD’S OLYMPICS CAMPAIGN: ‘THE PEOPLE’S GAMES’
The London Olympics 2012, an event that could truly be described as ‘The People’s Games’. For the first
time, people would be capturing and sharing the Games, as they happened, not just watching it passively
on TV or in a stadium, but actively participating in creating the narrative of the Games.
We wanted to create a campaign that we could activate in a way no-one had ever done before. We
celebrated the people, activities and emotions that made the collective story of the Games: a story that we
invited, curated and broadcasted. We did so in a way that was real and responsive, capturing the mood of
each moment as the Olympic story unfolded with the campaign line ‘We All Make The Games’.
To activate this idea across many platforms, the campaign kicked off with a stirring TVC ‘We All Make The
Games’, setting up the idea of the fan types and inviting people to go to Facebook to find out which one
they were.
Behind our Facebook application, however, lay a unique and innovative content management system. When
people submitted content, the agency teams could immediately choose the best, create new fan types for
them, get legal and brand manager approval and then broadcast them within minutes across digital OOH.
This didn’t just deliver responsive broadcast content at the speed of the Games narrative, but also ensured
that user-generated content was high quality. So the submissions became broadcast media across a huge
digital outdoor buy, online display, and press; in fact, you could have taken a photo at an event and seen it
as an ad on your journey home.
At the same time, our roving crews filmed people on the streets and at the fan parks, capturing Games’
moments both big and small. This film content fuelled both more digital outdoor fan types and two new
TVCs over the Olympics and Paralympics, reflecting the events of those weeks. The campaign culminated in
another TVC, consisting entirely of content sourced from the public, broadcast the day after the Paralympics
closing ceremony on TV and leading video content platforms - celebrating that ‘We All Made The Games’

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Frisk Special: BROADCASTING & CONTENT September 2014 INNOCENT ORANGE JUICE: NO.1 SOCIAL BRAND AT LAUNCH
We needed to build a relationship with, and ultimately love for, orange juice, when most people buy it
based on price alone. Consumers needed a marketing approach as rewarding as the juice itself. We created
a season squeezed full of exciting experiences celebrating the natural deliciousness of Innocent Orange
Juice, and a calendar of digital activity with a broad range of experiences that would keep our target
audience engaged and surprised all year long.
We spurred on a large, engaged community which helped the brand achieve 25% over target, and Content
was the main activity that propelled Innocent to be crowned ‘No.1 Social Brand of the Year’. Innocent fans
increased from 40,000 to 250,000 at the time of launch – which also meant that the brand has been able
to spend almost no money on media by launching new products via their Facebook audience alone.
JURA WHISKY – GOOGLE LOSES THE ISLE OF JURA
Jura is a little island just off the Scottish coast. It’s the place where George Orwell wrote 1984, and he
described it as ‘the most ungetatable place on earth’. However despite all this, Jura Whisky has gone on
to be the second biggest single malt in the world. This spirit of being the plucky outsider that takes on
the big boys has become a cornerstone of its brand values and we are always looking for opportunities to
demonstrate this.
In July 2013 one of our fans noticed that Jura had disappeared from Google Maps. We used this discovery
to take on the Goliath that is Google, and get everyone behind the fight to put Jura back on the map!
Within an hour of spotting the opportunity we launched a competition, asking our fans to mark the spot
on the map where Jura should be. All launched through Jura’s social channels. To make the story bigger in
social we selected key influencers, sent them a bottle of Jura, and a letter telling them our story and a map
so they could join in.
We sent all of the maps, a bottle of Jura and a letter to Google, asking for our reinstatement, generating
tons of valuable press coverage along the way.

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Frisk Special: BROADCASTING & CONTENT September 2014
The campaign that was developed in an hour gave us 2.8m Twitter impressions and a reach of 4,287,850
against all of the additional PR coverage, with notable names being the BBC and the Huffington Post.
Which for a campaign costing £500 gave us an equivalent media value of £214,393. A campaign that took
an hour to conceive kick-started a movement, huge PR and media value and led to Google’s public apology
and the reinstatement of Jura. It also brought awareness to Jura in the most on-brand way possible.