Brands are the new Content Publishers. They just don’t know it yet…

Over the past years, more and more brands have been using content marketing to produce highly successful marketing campaigns. Yet, despite the concept’s popularity, the term still holds many mysteries for those trying to jump on the bandwagon.

 The idea behind content marketing is to promote a brand through engaging content that will appeal to potential customers, rather than selling a product or service directly. A classic example is Red Bull. Through its digital channels and worldwide sports events, Red Bull has established itself as the go-to for anyone in search of an adrenaline rush – a much more exciting experience for potential customers rather than the simple taste of an energy drink. Content marketing often taps into enhancing customers’ lifestyle with content that will attend to their wants, rather than needs. But above all, to achieve success, content marketing campaigns rely on storytelling.

 A few months ago, an interesting challenge arrived at Nucco Brain’s door:

Innovate UK, the national agency that supports science and technology innovations, asked our studio to help them in reaching out to a wider audience. The main task revolved around the development of a content marketing strategy for Innovate UK’s digital and social media channels, followed by the production and distribution of the content itself. Through this project, we experienced the benefits of empowering a brand in becoming a content publisher firsthand. Here are some of the results we achieved in terms of numbers (views, subscribers, etc.).

Here is why we believe brands should adopt content marketing as an advertising strategy:

1. Brands no longer compete against each other, but the entire media landscape.

 With the massive amount of content uploaded daily on the Internet, people are used to having a wide choice of different media to consume. As this article is being written, the Internet Live Stats indicate that there are 3,658,133,031 Internet users in the world, 3,588,547 blog articles have been written, and 4,393,865,056 videos have been viewed on YouTube in just one day. To survive in this fierce environment, brands should no longer ask themselves “how can I make customers buy my product through media?” but instead “what unique experiences can media provide for my customers?” – and in the process, take control of their own brand storytelling through content marketing.

 It is crucial for brands embarking on the content marketing journey to develop a strategy: the content should be both consistent in its style and of high quality. What do we want our audiences to do and what type of content do they crave are important questions to consider.

 Nucco Brain’s approach with Innovate UK was to use our visual storytelling expertise to create the right tools for the organisation to use as content publishers. To do so, we developed different extensions of the Innovate UK brand, each with a distinct visual style. These included animated guidelines, format structure documents and visual designs that have been used by all Innovate UK’s content service providers to generate consistent productions – click here to view the results.

2. People are selective about the content they watch…

… thus brands should be selective about who they create content for. Yes, the Internet has become marketeers’ favourite playground, but time is precious, and people are extremely selective about where they spend it online. This is where content marketing benefits brands, a targeted audience is more likely to be interested and follow engaging content rather than direct advertising.

 At Nucco Brain we believe the content should ideally be both informative and entertaining.

As part of our collaboration with Innovate UK, we were responsible for rebranding their YouTube Channel. Our studio created four different video formats and pilots episodes, effectively sub-brands of Innovate UK, focused on engaging with different segments of the organisation’s target audience:

  • Predictions: Aimed for the general public and informed millennials, a series of short episodes predicting what the future will look like in twenty to thirty years time.

  • Game Changers: A series showcasing stories of extraordinary entrepreneurs who are part of a minority or are discriminated; highlighting the challenges and successes of their journey.
  • Essential Selection: This format presents animated infographics of top tips and useful insights from aspiring and young entrepreneurs.
  • Success Stories: revolves around companies that Innovate UK has invested in and details how the organisation has supported their growth.

The results?

Fifteen months after the campaign’s implementation, Innovate UK has seen an 8% increase in awareness amongst its target audience due to the new strategy. Meanwhile, the YouTube Channel has registered an 650% increase in subscriptions and an 875% increase in content views. Also, Innovate UK has gained 125% boost in organic placements with external, relevant publishers and sector influencers.

As Pete Wilson, digital communications manager at Innovate UK, said: “ The insights fed into our content strategy contributed significantly to us reinventing our approach to content; this coupled with distribution expertise has massively increased our visibility”.

Keep an eye out for our next article on producing successful branded content for YouTube.

Stefano Marrone & Alizée Musson

Managing Director & Marketing Executive

Why visual storytelling does corporate comms like a pro

For a company, general communication in the digital age can be tricky, and internal communication can be a real challenge, given the diversity of people working for it. Over formalized emails and meetings are just not enough anymore and can easily lead to a lack of engagement or misunderstanding of the key messages.

At Nucco Brain we help big and small companies telling their stories in the most effective way. Above brand storytelling, we specialise in ultra-effective corporate comms, both external and internal. We thought that sharing some insights about our corporate comms work of the last years could be useful.

When searching for the most powerful strategy to deliver a message, do always keep in mind the golden rule of storytelling: your audience wants to be both informed and engaged.

More and more brands are turning to the visual storytelling industry to tell their stories and rightly so since visual content keeps proving to be the simplest and most engaging way to send a message.

The lack of direct human interactions -voice, look, gestures- makes room for ambiguity; using visuals is one of the best ways to express the tone as well as the content.

Let’s take a look at a case study that we worked on recently to see how we applied visual storytelling to an internal change campaign.

Internal corporate comms case study: Rolls-Royce Engineering

Getting your employees up to speed with the latest technology, trends, and corporate guidelines is far from easy. Finding the right way to communicate important changes, such as a new training program, is essential for the company’s overall well-being.

We worked with Rolls-Royce Engineering to produce a video that aimed to inform employees about the company’s social media policy and to promote social media awareness in the work’s place. Quite a delicate topic to address, as it may sound like Rolls-Royce telling its staff what they should and should not post on their social channels. A message that could easily come across as invasive or even censoring.

We took this difficulty into account and realised a 3-minute video that explained why it’s so important to be mindful of any kind of activity on social media. We created Rollo, a stylised character that would generate empathy with all the employees of RR, no matter their geographic location. As a result, the explanatory video delivered Rolls Royce’s view on the subject to 15 countries and was complemented with supporting images on the company intranet and social media channels.

An explanatory video – among other equally powerful steps of a visual campaign – can provide employees with the safety and satisfaction in understanding where the company is headed and the importance of their involvement.

Find out more about how to facilitate better communication with your employees at http://www.nuccobrain.com/corpcoms/

Stefano Marrone

MD and Visual Storyteller @Nucco Brain

Why Innovation matters in the small things – 360 Degree Card by Nucco Brain

You know that at Nucco Brain we always like to play with new tools, toys and tech.

That’s why our Christmas card this year is a 360 image.

We took inspiration from our core values –great visual storytelling and an exhortation to thrive in the new year– and from the fascinating figure of St. Expeditus.

Click on this link to see the 360 card in all its glory on our Facebook page.

Why do a 360 image instead of a classic Christmas card?

Here are our reasons:

  1. Because is fun! Keep the creative juices flowing in a studio like Nucco Brain is essential in order to allow our team members to experiment with new visual and narrative ideas.
  2. Because we love stories, not our tools. It just so happens that 70% of our studio production is video, but we know this is not going to last, nor do we care. We always look out for new tech and tools to tell stories in an effective and impactful way.
  3. Because is a challenge. With 360 imagery and videos, AR and VR progressing quickly, the way of engaging with audiences and telling stories is changing. We must adapt to the changes quickly and think about the best ways of leveraging these new amazing potential. With all these freedom from the audience, to look around, to choose the point of view, our work as to be stronger and more engaging then ever.

Now more than ever, the right mix of content & context is the real holy grail of great campaigns and effective communication.

We are never going to stop looking for the next exciting tool, mixing it with a good old pencil sketch, to tell the best stories we can.

Sometimes all it takes is an image and a first line…

“Meanwhile, on board of the HMS Expeditus, flying towards the new year, the Nucco Brain crew was chasing after the crows of procrastination…”

May 2017 be the best possible year for those who want tho thrive, to grow, to achieve their goals fast.

We hope you’ll chose to do so with great storytellers at your side.

Stefano Marrone,

Visual Storyteller/MB

How do you measure success in Corporate Communications Campaigns?

At Nucco Brain, we recently had the privilege of working with John Lewis Partnership.
The challenge was to help their internal comms department to visually explain and communicate the latest changes to the Pensions Scheme to all their partners.
The campaign is aimed to everyone who works or has worked across the different services of John Lewis & Waitrose.

We had to ask ourselves what makes a successfull corporate communications campaign and how to measure that success. To answer we had to challenged both our notion of an efficient campaign and the client brief.

The amazing guys at YCN recently interviewed me to investigate the Nucco Brain approach to this project and how we helped JLP increase their click-trough rate of over 400 times on their new pension scheme intranet page. If you want to read the full article, here is a link.
If you are a quick web-surfer, instead, and just care about the highlights, keep reading below 🙂

What was the initial brief, and how did you challenge it? 

We were originally asked by the John Lewis Partnership (JLP) to produce 15 videos to explain each aspect of a new Pension Scheme being implemented.
We thought thoroughly about what the best set of deliverables to reach the campaign goal would be, and instead challenged the brief and proposed a different approach.
We know that pensions are a difficult topic, especially given the broad audience of 93,000 people involved, and the big difference in age spread in the target audience, which ranged from 18 to 60+.
So we decided to approach the project by creating different layers of communication, using video as the primary content to attract attention and answer questions that came directly from John Lewis’ partners.
At Nucco Brain we believe in an optimised approach to design, where the assets created for one project can be the base for other ones, without having to re-create them each time.
We want to be rewarded for our creativity and quality of work as well as building long term relationship with clients.
That’s why we aim at building a library of material that can be used in the future in multiple ways, from digital content to printed material, to support brand consistency as well as sustainable pricing.

Do you have to take a different approach when working on internal comms projects, compared with external campaigns, for example?

Corporate communications are an interesting area, because the goals and KPIs of each campaign are different and need to be set.
It’s a great challenge to understand and adapt to them on each project, and come up with creative solutions to engage with an audience who share a working environment — but not necessarily age, tastes or behaviors.

There is also the excitement of the complete freedom to use different channels internally, without having to think about media spend.
This allows us to think about the deliverables that will create efficient communication and high engagement, instead of having to deal with strict media plans and single channel communication.

How is the campaign being received? 

The campaign has had positive responses on the JLP Google Community and the partnership’s intranet site, with the site achieving 800 clicks in three months before the campaign, rising to 32,000 clicks in the first three months since launch — with no complaints about the budget spent at all stakeholders levels.

Thanks for reading 🙂

Keep telling amazing stories,

Stefano Marrone
Visual Storyteller/ MD @Nucco Brain

5 Reasons Why Animation Is The Best Way To Campaign About Sensitive Topics – Nucco Brain for World Animal Protection case study

Content creation and entertainment are inextricably linked. At the end of the day, people consume any kind of content for only two reasons: if it’s informative and if it’s entertaining. There are content topics, though, where the concept of “entertainment” needs to be handled carefully.

World Animal Protection challenged Nucco Brain to create a powerful visual story to help bring to life the plight of elephants in the tourism / entertainment industry for their latest campaign.

We had to ask ourselves:
How to tackle campaigns that revolve around a sensitive topic such as abuse of physical and psychological kind, humanitarian emergencies, dramatic medical conditions and many more of this particular kind?

We think that sharing some of the challenges we encountered on our journey to help WAP can give interesting insights and tools on how to work with delicate topics.
Having worked for years on campaigns to protect endangered animals worldwide, the World Animal Protection marketing team had a pretty clear idea on how to handle sensitive topics.

Thanks to the collaboration with them, we managed to avoid some tricky traps along the path of deciding how to show the distress of elephants held captive and abused in the tourism / entertainment industry. You can check out the final result here and here are the five lessons learned while working for this noble cause.

1.THE GRAPHIC IMAGERY TRAP
When working on a campaign focused on sensitive topic there’s always the “shock card” that can be played: show graphical images to get an immediate emotional reaction from the audience.

This technique can be, however, a double-edged sword. Regardless of how sensitive the audience can be towards the issue the campaign is trying to tackle, individuals can be so affected by graphical images that they might shy away from taking action. Everybody’s sensitivity is set on a different level and can result in an opposite reaction.

During our first brainstorming with the WAP team, we knew that scenes of direct violence on the elephants were to be avoided, favouring an approach that would focus on empathy and on visual and audio hints to imply violence, without showing it.

2.THE SPECIFICITY TRAP
The other issue related to the use of the “shock card” is related to the human tendency to establish a distance from images that depict an unhealthy situation.  That’s how we are biologically wired: we see disease and undesirable images and the immediate reaction is to start drawing an imaginary line between “us” and “them”. “This issue is happening in Africa, not in my country, why should I be concerned?” “What this condition does is terrible on a human level, but it will never affect MY family.” A little switch is activated in our brain that tries to put as much distance as possible between us and the problems that are posed in front of our eyes; it’s a short-term survival instinct “Get as far as you can from this issue, create some distance” is what the brain is suggesting us to do.

Leaving violence “out-of-the-picture” allows each viewer to apply his/her level of sensitivity and imagination to the story they’re watching. This approach has a very powerful reaction in the viewer’s mind: the violent or shocking activity implied and not shown is as strong as the audience can take.

Most Oscar Wilde critics agree that the first edition of Dorian Gray is the most intriguing compared to the following ones because Dorian’s malicious acts are not explained in details: he is as evil and corrupted as the readers wants him to be. Great cinema is full of brilliant examples of implied violence too. In “Sleepers”, Barry Levinson lets our imagination run wild while the camera slowly pans away from the reform school vault where the worst possible act of violence are taking place (check the scene out here).

This is why the animation team of Nucco Brain has deliberately left any violent act -like the shooting of the young elephant parents- to happen off-screen. We see the consequences of the violence, never the violence itself.

How to solve the possible issue of being over-specific? By stressing the attention on empathy, leveraging on the power of stylisation.

3. THE POWER OF STYLIZATION
By stylization, we mean a deliberate design choice to eliminate all unnecessary visual information that can divert the audience attention away from the key message we want to communicate.

Colette Collins, Deputy Director of Communications at World Animal Protectionputs it very clearly “We chose to tell our story through an animation to convey this complex issue in a simple way.”
The “simple way” she refers to is exactly what makes animation so powerful.

The Director of the film, Pedro Allevato, and his team used this technique to get the best possible result:  “We wanted to convey what actually happens to the elephants behind the curtains, without being specific or graphical about it. Therefore, we kept the baby elephant, after he was taken away from his mom, always under a spotlight, as if this was also part of the attraction. The theatrical film has strong resemblance to the old puppet shows, the use of silhouettes and watercolours transitions gives it a special melancholic feeling. This aesthetic approach, allowed us to be extremely expressive and sensitive and poetic with this story. And I hope it will touch the audience in the most deep way”

The WAP animated film is extremely expressive thanks to stylization: we focused on the main protagonist a female baby elephant and told her story in a powerful, stylised way, in which one scene is connected to the other by using emotional transitions that allow the audience to engage with a strong level of empathy. Stylised images are more powerful because they break the barrier of specificity and hit the chords of empathy.

4. EMPATHY ALWAYS WINS
There is a reason why animated films, comics and cartoons are the entertainment products that more easily spread across different markets. Think about how many anime and mangas are international successes against live-action Japanese films.

When you selectively take away specificity from an image through stylization, it becomes more universal. A stylised character is more similar to the idea that the viewer has of him/herself. By choosing which elements to stress on a character, a visual storyteller can make the content he is working on more or less broad in terms of empathy.

Think about the “smiley”, its simplicity enables it to depict virtually every face on Earth: two eyes and a mouth, everybody has them, we are the smiley. If you want to explore this concept further, Scott McCloud talk extensively about it on the 2nd chapter of “Understanding Comics”.

5. ANIMATION IS IMMEDIACY
As a marketer, brand manager or product owner, the need of creating a message that is straight to the point and effective in an era of super-quick interaction is paramount.

Animation and stylisation allow for that immediacy, together with an immediate visual association with branding visual guidelines

As Colette Collins from WAP puts it: “With this animation we can educate and open up the public’s eyes to the cruelty behind elephant riding, and to inspire them to be a part of the solution to help end the cruelty.”

The immediacy and iconic power of animation inspire empathy, the most powerful of human emotions, because it makes people care.

Stefano Marrone

MD of Nucco Brain, visual storytelling studio
www.nuccobrain.com
We tell stories. Your stories. Visually.

 

Case Study: Nucco Brain and Mediacom Beyond Advertising come together to prescribe the cutest animation for GSK Piriton.

1. Introduction: Nucco Brain, Mediacom & GSK- The Piriton Allergy Relief Campaign

As one of the first projects for Mediacom Beyond Advertising, Nucco Brain were presented with an exciting brief for the client GSK and their well-known brand Piriton- An allergy and hay fever relief medicine.

Continue reading Case Study: Nucco Brain and Mediacom Beyond Advertising come together to prescribe the cutest animation for GSK Piriton.

Coke and the revamp of classical animation: is 2D really the cool factor?

  THE COKE AD LOOKS COOL, UH?

The new campaign of Coke, featuring a lively dog and its not-so-lively owner is a celebration of the most Disneyesque style of animation (with an hint of the golden-age of Dreamworks too) by the amazing guys of  Psyop.
In fact, it seems so close to a nostalgic re-creation of Disney magic that one wonders why it was done by the outstanding studio Psyop rather than from the 2D production department of Burbank -oh, wait! Disney stopped doing 2D movies after “The Princess and the Frog”.
Continue reading Coke and the revamp of classical animation: is 2D really the cool factor?

Nucco Brain & SOAS Bootcamp at Google Campus London – Let us tell our story

Nucco Brain’s managing director Stefano was recently invited along to speak at the SOAS Boot Camp at Google Campus London.

The short talk looked to offer a real-life and relevant reality towards setting up a company, as well as important factors to consider in the process.  Continue reading Nucco Brain & SOAS Bootcamp at Google Campus London – Let us tell our story

Nucco Brain Inks Partnership With Brazil’s Studio Nuts – Launches animated graphic facilitation for publishers and conferences.

 

10 February, 2015:  Nucco Brain, the visual storytelling studio is delighted to announce its partnership with Studio Nuts, the Brazilian creative collective focused on the art of photography enhanced by CGI manipulation and high-end CGI illustration. Continue reading Nucco Brain Inks Partnership With Brazil’s Studio Nuts – Launches animated graphic facilitation for publishers and conferences.

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