Sisuturundus on muutunud tänapäeva maailmas aina moodsamaks trendiks ja samas tekitab ka väga palju küsimusi, kuidas siis ikkagi seda teha ja mille jaoks see vajalik on? Et sisuturundusest paremini aru saada, kutsusime 16.12.2015 teemat tutvustama Best Marketing Internationali juhi, Hando Sinisalu. Loengus oli juttu: - miks iga ettevõte on tänapäeval kirjastaja? - mis on real-time marketing, näiteid edukatest kampaaniatest? - mis on native advertising ja mille poolest erineb see sisuturundusest? - millist sisu sinu kliendid tegelikult vajavad ja miks on seda nii raske toota? - edukad sisuturunduse näited Eestist ja kogu maailmast. Hando Sinisalu on Best Marketing Internationali juht alates 2003.a., varem töötanud reklaamiagentuuri Bates juhina ja Eesti Päevalehe peadirektorina. Hando kogub ja analüüsib edukaid digiturunduse case-studysid kogu maailmast ja esitleb neid koolitustel ja konverentsidel rohkem kui 30s maailma riigis. Ta on avaldanud arvukaid turundusteemailis artikleid erinevates maailma turundusportaalides ja -ajakirjades. Eestis olles tegeleb Sinisalu Best Marketingi konverentside programmide koostamise ja turundusteemaliste artiklite kirjutamisega.

1. CONTENT IS KING

2. Põhjused• Google otsing soosib sisu
• Bännerite CTR on alla 1%
• Digiajastu tarbija ei taha „nuiaga pähe“ reklaami
• Sotsiaalmeedia lai levik jätab (vale) mulje, et hea sisu levib
tasuta

3. BRAND AS A PUBLISHER
DURING WORLD CUP 2014
SEVERAL BRANDS, INCL
SNICKERS SET UP
„BRANDED NEWSROOMS“
AND REACTED TO THE
EVENTS 24/7

4. Social Media conversations?

6. Living with Lag

7. CASE FILM
https://www.youtube.com/watch?v=TI22080sXe8

8. RESULTS

9. “WE POSTED IT AROUND LUNCH ON
MONDAY. ONE HOUR LATER, WE GOT A
NOTICE THAT LIVING WITH LAG IS
CLIMBING TO THE TOP. WE SAW THE
NUMBER OF YOUTUBE VIEWS RISE. THE
DAY AFTER WE HAD ONE MILLION VIEWS.
WE ALSO MADE A TRAILER FOR UMEA, A
SHORT VERSION FOR TV. BUT IT DIDN’T
REALLY MATTER AS EVERYTHING
HAPPENED BEFORE THE TV SPOT WAS
SHOWN.
IT WAS A BACKUP PLAN
JUST IN CASE,” - OSKAR
SKOTT, ART DIRECTOR
AT ANR BBDO

10. TODAY,
LIVING WITH
LAG IS
MOVING
CLOSER TO
THE 6MLN
TARGET

11. THE BUSINESS RESULT FOR
UME.NET WAS SIGNIFICANT
AS WELL: 50% INCREASE IN
BROADBAND DEALS

12. STEPHANIE MORADI, COPYWRITER AT ANR
BBDO : “IT BECAME THE MOST VIEWED FILM
IN BOTH U.S. AND SWEDEN WITHIN THE
FIRST WEEK. SO THE MAJORITY OF VIEWS
CAME FROM THESE COUNTRIES. AN
INTERESTING FACT IS THAT WE REACHED
200 COUNTRIES WORLDWIDE. FUNNILY, WE
EVEN HAD A VIEW FROM NORTH KOREA (!).”

13. KEY LEARNING

14. VIRAL INGREDIENTS: SPREAD
YOUR CONTENT ON A GLOBAL
SCALE FIRST
THE CONTENT HAS TO
SPEAK A UNIVERSAL
LANGUAGE

15. “WE HAVE FOUND
THAT SOMETIMES THE
BEST WAY TO GET A
CAMPAIGN NOTICED
IN SWEDEN IS WHEN
IT GETS A LOT OF
NOTICE ABROAD. IF
PEOPLE IN AMERICA
ARE TALKING ABOUT A
SWEDISH COMPANY,
IT’S NATURAL FOR
SWEDES TO FEEL
PROUD AND DEVELOP
INTEREST
THEMSELVES,”- OSKAR
SKOTT, ART DIRECTOR AT

16. OSKAR SKOTT, ART DIRECTOR AT ANR BBDO :
“YOU NEED TO FIND SOMETHING THAT
PEOPLE FIND INTERESTING AND YOU
NEED TO KNOW WHAT PEOPLE LIKE TO
TALK ABOUT. IF EARLIER COMPANIES
WERE COMMUNICATING THEIR OWN
INTERESTS, THEN NOW COMPANIES NEED
TO SEE WHAT PEOPLE ACTUALLY WANT
TO TALK ABOUT AND REACT
ACCORDINGLY. FACEBOOK HAD JUST
LAUNCHED OCULUS RIFT. EVEN THO WE
HAD A TARGET AUDIENCE THAT ALREADY
KNEW WHAT OCULUS RIFT WAS, I THINK IT
WAS TO OUR ADVANTAGE THAT THERE
ARE STILL A LOT OF PEOPLE WHO DON’T
KNOW MUCH ABOUT THIS INVENTION.”-

17. “WE OFTEN FORGET TO
THINK ABOUT THE
CAMPAIGN NAME. I SEE A
LOT OF CAMPAIGNS THAT
HAVE A GOOD IDEA, BUT A
LOUSY NAME. YOU WANT
EVERYONE TO USE THE
SAME HASHTAG AND THE
SAME NAME WHEN THEY
TALK ABOUT IT. IT’S “LIVING
WITH LAG“ NOT “INTERNET
DELAY“ OR “LIVING WITH LAG
PROBLEMS,” OSKAR SKOTT,
ART DIRECTOR AT ANR BBDO

18. “IT’S IMPORTANT TO
MENTION THAT OUR
HEADLINES FEATURED
THE SPECTACULAR
YOUTUBE NUMBERS.
THIS HAD A BIG IMPACT
ON THE READERS - A
LITTLE CAMPAIGN IN
UMEA IS MAKING A
DIFFERENCE ON THE
INTERNET.” -STEPHANIE
MORADI, COPYWRITER
AT ANR BBDO

20. BREAKING BAD
CENTURY 21
AGENCY: MULLEN
AWARDS: THE ANDY AWARDS GOLD FOR SOCIAL
MEDIA; ONE SHOW AWARDS GOLD FOR SOCIAL
MEDIA; CANNES LIONS SHORTLISTED IN CYBER

21. BACKGROUND
Century 21 Real
Estate LLC is an
American real estate
agent franchise
company founded in
1971.

22. THE CHALLENGE
Use the series final episode as a marketing opportunity.

23. THE CHALLENGE
On a $400 budget and
less than a week to
execute - metaphorically
“list” the infamous
residence in time for the
show’s final episode.

24. THE SOLUTION
a faux listing of the home on Craigslist and a Google
Voice phone number for “Century 21 agent Carol,”
which was included in the listing for interested buyers to
call

25. CASE FILM
http://www.youtube.com/watch?v=FgBwJg8FRHM

26. THE RESULT
 80 million+ media
impressions
 Secured coverage
from 42 top media
outlets including
AdWeek, Huffington
Post, GQ, Creativity,
and Salon
 Budget: 400 USD

27. THE RESULT
 More than 10,590 organic and viral Facebook
impressions, with 445 clicks, 94 likes, 26 shares and
12 comments
 Twitter outreach resulted in 1,613 mentions and
4,521,921 potential impressions worldwide

28. THE RESULT
AdWeek called Century 21’s initiative “The Only Worthy
Brand Tie-In to the ‘Breaking Bad’ Finale”Creativity and
Ad Age ranked the stunt among the top ten for 2013

29. This was only the beginning of a content
strategy

31. KEY LEARNING
“In today’s media environment there’s only so many Super
Bowls, only so many opportunities to capture the attention and
imagination of a mass audience, and ‘Breaking Bad’s season
finale was one of those moments,” Matt Gentile, director of social
media for Century 21, Source: adage.com

32. KEY LEARNING
Century 21’s ad stands
out because it was
unexpected—being
featured on Craigslist
instead of a more
traditional medium—
and because it was
relevant both to the
services that Century
21 offers as well as the
situation at hand.

33. KEY LEARNING
Limited budget is the mother of
invention.
All content created in-house. If you
keep it cheap enough, you can
experiment a lot.
Its expensive to start a fire: rather
take advantage of big cultural

34. KEY LEARNING
This low-budget
stunt generated a
lot buzz online,
meanwhile others
are paying up to
$400,000 for a
30-second
commercial
during the finale.

35. KEY LEARNING
The brand has generated real-time
social campaigns celebrating different
buzzworthy events. C21’s real time
social marketing initiatives have been
recognized on several occations.
Social is an important channel for the
future homebuyers!

37. ADVOCARD -
LEGAL EXPENSES
INSURER
6% MARKET
SHARE
230 EMPLOYEES

38. “TO BEGIN WITH, INSURANCE COMPANIES
ARE SO BORING! USUALLY THEY ARE
TALKING ABOUT THEMSELVES, BUSINESS
DEVELOPMENT AND THEIR NEW PRODUCTS.
NOBODY OUTSIDE ISN’T REALLY
INTERESTED IN THIS.“ - MIRKO KAMINSKI,
CEO AT ACHTUNG! GERMANY

39. ENSURE
WIDESPREAD MEDIA
COVERAGE IN
GERMANY

40. “OUR IDEA WAS NOT TO TALK
ABOUT INSURANCE RATES AND ALL
THAT BORING STUFF. LEGAL
EXPENSES IN INSURANCE ARE
THREE STEPS AHEAD IN
BORINGNESS! LETS INSTEAD TALK
ABOUT A TOPIC, WHICH INVOLVES
MILLIONS: DISPUTE-CONFLICT
BETWEEN PEOPLE. THIS IS A
SOURCE FOR CONTENT AND
STORYTELLING.“- MIRKO KAMINSKI,
CEO AT ACHTUNG! GERMANY

41. SOLUTION

42. “GERMANY’S
BIGGEST
LITIGATION
ATLAS”

43. MORE THAN 1,000,000 LAWSUITS ANALYSED

44. “WE DECIDED TO MAP THE
CONFLICT CULTURE IN
GERMANY FOR THE FIRST TIME.
AND IT REALLY WAS A LOT OF
WORK, BECAUSE WE HAD TO
ANALYSE THE CLIENT’S DATA
AND COMBINE IT WITH DATA
FROM THE EXTERNAL
SOURCES: ADMINISTRATION,
UNIVERSITIES, ETC.“ – MIRKO
KAMINSKI, CEO AT ACHTUNG! GERMANY

45. THE ATLAS WAS HOSTED ON
ADVOCARD’S WEBSITE.
ONLINE NEWS PLATFORMS
INTEGRATED THE ATLAS
INTO THEIR WEBSITES.

46. GEO-SPECIFIC
INFORMATION TO
CONTACT
REGIONAL MEDIA

47. CASE FILM

48. RESULTS

49. FOR SALES PEOPLE –
A STRONG NEW ARGUMENT
FOR SALES

50. A TOTAL OF 850
MENTIONS IN PRINT
(FRONT COVERS OF
VARIOUS DAILY
NEWSPAPERS), ONLINE,
TV, RADIO AND SOCIAL
MEDIA

51. TOTAL REACH OF PRINT, TV,
RADIO: 105 MILLION

52. EXCLUSIVE PREVIEW IN BILD,
GERMANY’S BIGGEST DAILY
NEWSPAPER

53. EVERY REGION GOT A
KNOWLEDGE OF HOW
THE LOCAL INHABITANTS
HANDLE CONFLICT

54. “ADVOCARD CHANGED ITS MIND-
SET REGARDING COMMUNICATION.
THEY WENT FROM TRADITIONAL TO
INNOVATIVE. WE JUST RELEASED A
NEW PROJECT TOGETHER: A
CONTENT PLATFORM REGARDING
DISPUTES.“ – MIRKO KAMINSKI, CEO AT
ACHTUNG! GERMANY

55. KEY LEARNING

56. TALK ABOUT A TOPIC, WHICH INVOLVES
MILLIONS

57. “DON’T COMMUNICATE YOUR INTERESTS,
COMMUNICATE THE ONES THAT THE SOCIETY
ACTUALLY CARES ABOUT! WHAT ARE THE TOPICS
FOR BOOKS AND BLOCKBUSTERS? AND IF THERE
IS A PROBLEM, MAYBE I CAN DELIVER A
SOLUTION? PROVIDE INFORMATION OR
DESCRIPTION DATA.“ – MIRKO KAMINSKI, CEO AT ACHTUNG!
GERMANY

58. IN 9 MONTHS
ANOTHER
INSURANCE
COMPANY
DISTRIBUTED A
PRESS RELEASE
REGARDING THE
SAME TOPIC…

59. “SOMETIMES YOU HAVE
TO CREATE ALMOST A
NEW PRODUCT AROUND
THE MANIFESTATION OF
THE BRAND. IT HAS TO BE
SOMETHING VERY
TANGIBLE. “ – MIRKO KAMINSKI,
CEO AT ACHTUNG! GERMANY

60. “NEXT TIME: I
WOULD SUPPORT THE
CAMPAIGN WITH
MORE PAID MEDIA.
NEXT TIME WE WILL
NOT HOLD BACK ON
PAID MEDIA AND
PLAY IT IN A BIGGER
WAY. “ – MIRKO KAMINSKI,
CEO AT ACHTUNG! GERMANY

62. DEFINITION: NATIVE ADVERTISING
• A directly paid opportunity. Native advertising is “pay to play.” If a brand
or individual did not pay for the spot, it’s not native advertising.
• Usually content based. The information is useful, interesting, and highly
targeted to the specific readership. So, in all likelihood, it’s not an
advertisement promoting the company’s product or service directly. The
information is usually highly targeted (hopefully) and positioned as
valuable, or similar to the value of the “real” content on the publisher’s
site. But again, in native advertising, you are renting someone else’s
content asset (just like advertising), except that you aren’t pimping a
product or service.
• Delivered in stream. To truly be a native ad, the user experience is not
disrupted.

63. Native advertising: The Players
• New York Times
• Forbes
• The Guardian
• The Economist
• Mail Online
• Buzzfeed
• Mashable
• …….

64. BUSINESS OPPORTUNITY: FORBES
• in September 2013, Forbes´s BrandVoice was generating 20 percent
of the publication’s revenue. And the overall market for native
advertising was growing as well.
• Interactive Advertising Bureau (IAB) reported that 66 percent of
American agencies and 64 percent of marketers said they planned to
spend on native during the in the next six months.

65. CASE STUDY: MINI
• MINI USA has had a programme partnership with BuzzFeed since 2012
Lists like '25 places, that look not normal, but are actually real' or '14 of the
most beautiful roads in the world' should create interest in the key
message 'not normal'.
• On BuzzFeed alone, the first articles had more than 100,000 likes, were
shared 35,000 times and were tweeted 7,000 times.
• "The primary goals of MINI’s second collaboration with BuzzFeed were to
continue broadening awareness for the brand slogan 'Not Normal',
emotionally engage with its audience, and enhance perception of MINI as a
fun brand." High-quality pictures, seen as an animation rather than real
life, emphasise this key message.
• http://www.buzzfeed.com/miniusanotnormal

66. CASE: ORANGE IS THE NEW BLACK
• http://paidpost.nytimes.com/netflix/women-inmates-separate-but-
not-equal.html?_r=0#.VK4ljfmUfEg

67. CASE: VIRGIN MOBILE
• While shareable high quality content is central to BuzzFeed’s business
model and its primary driver of traffic, native advertising offers it’s
greatest revenue stream. According to a BuzzFeed case study, a Virgin
Mobile campaign involved BuzzFeed creating a 24/7 newsroom – 190
pieces of “interesting, timely, and brand-relevant content aligned with
pop culture”. The work saw 9.7 million total engagements in 2012,
less than half (4.7 million) of those were paid while the remaining 5
million where earned.
http://www.buzzfeed.com/virginmobilelive/the-worst-things-to-ever-
happen-on-a-phone?b=1#.rnOWp9qbq

68. CASE
• Mail Online + UK Home
Office

69. PROBLEMS
• Most publishers assume that readers know what it means when a
post is labeled “Sponsored Content.” But the majority of readers can’t
agree on one clear answer. While a plurality (48 percent) of
respondents believe that “Sponsored Content” means that an
advertiser paid for the article to be created and had influence on the
article’s content, more than half (52 percent) thought it meant
something different.
• 54 percent of readers don’t trust sponsored content.
• 59 percent of readers believe a news site loses credibility if it runs
articles sponsored by a brand.