Understanding the Second Screen

8/12/2019 Understanding the Second Screen

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- 2 - #CerebraInsightsThe Second Screen

- FOREWORD -

The term second screen has become commonplace on the boardroom bingo matrix, with

marketers and agencies throwing it around at every opportunity.

The second screen refers to a device that provides additional content or information to the

consumption of content on another, primary device. Its existence is justified but not always

understood or embraced in the correct way. The reason is simple: marketers realise the

importance of the second screen, but often dont take the time and necessary steps to fully

understand how and why they should engage in this space.

Using live events (predominantly sporting events) as the platform around which to base our

work, Cerebra has collaborated with the leading thinkers on the second screen to find out more

about the second screen, how to unlock real value, what legal considerations need to be taken

into account, and what to remember in order to give yourself the best chance of success.

There are various considerations to be taken into account when speaking on this subject, not

least legal considerations. The issue of broadcast rights and how those rights trickle into the

realm of the second screen is a hot topic of discussion. Creating and negotiating rights specific

to digital platforms will be paid more respect as stakeholders become increasingly aware of

their commercial value.

Remembering that the consumer and their loyalty are the fundamental quest end goals, there

are questions to be asked on the synergy of broadcasters, rights holders and sponsors to enhance

what are ultimately consumer driven platforms. Providing the fan with the best second screenexperience possible can be difficult when different stakeholders have their own specific

objectives and reasons for being.

As the understanding of digital communication matures, the pressure to ensure some sort of

return on investment rises. Sponsors, broadcasters and rights-holders are playing catch-up to

user behaviour and have to adapt if they are to capitilise on the opportunities that lie ahead.

One thing we can agree on is that there is more than enough opportunity.


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- AN INTRODUCTION TO THE SECOND SCREEN -

It is important to get a clear understanding of the second screen before examining its intricacies.

The second screen is the use of an additional device, usually a smart device, to augment or

enhance the experience of a live event or broadcast.

- Josh Robsinson, Head of Digital at Synergy Sponsorship.

We need to highlight that the second screen is not labeled the second screen because its content

is of a lesser quality to that of the live event or broadcast. Its more attributed to the nature of thecontent that each (first and second screen) is responsible for delivering.

- Kieren Jacobsen, Founder at 2nd Avenue.

Any given scenario where a consumer is engaged withcontent and there is an opportunity to engage on anotherdevice around the same content.

I wouldnt categorise the first or second screen by whichcommands more of my attention. Id categorise them bythe differing nature of their content.

A PRACTICAL EXAMPLE OF THE SECOND SCREEN

You are watching the final round of the US Masters live on television. At the same time, youre

using your smartphone to check player stats, following and engaging with your online community

in conversation around the tournament on Twitter, and chatting to your friends on a group chat.

Your smartphone is by definition the second screen because it provides you with the platform to

consume the additional layers of content youre not getting through your television.



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- INTRODUCTION TO THE PLAYERS -

To understand the battle for the second screen, you first need to meet the fourkey players:

RIGHTS HOLDERS

When referring to rights holders, we refer to the people that create,

manage and host events. On a large scale, think the IOC (Olympics),

FIFA (Football World Cup) and the NBA. Rights holders are the

ultimate custodians of content creation. Their events get broadcast to

millions around the world and serve as the bread and butter for fan

engagement.

Why is the second screen important to rights holders?

The second screen is a channel that allows two-way engagement with fans/consumers and

enables the ability to build a database of passionate followers through good content delivery.

Second screen and digital activity are also becoming more relevant to rights holders because

of their commercial potential.

The ability to commercialise digital content and consumer databases to their partners is

becoming a key competency. The second screen gives the rights holder growth beyond the

traditional broadcast. New technology unlocks new audiences (more people and different

people) that consume content in different ways, but they will need new material to

supplement the broadcast content.

BROADCASTERS

These are the companies responsible for the production and

transmission of an event. Broadcasters are an indispensable cog in the

content delivery machine. They are the primary and more traditional

channels through which fans consume a live event (over and above

those fans at the actual event, of course). Changes in both technology

and content consumption behavior are challenging broadcasters to

think beyond their singular push of content.

Why is the second screen important to broadcasters?

Broadcasters do not want to lose eyeballs and attention to an audience that is increasingly

splitting their attention with a second device. Broadcast revenue through advertising is

tied to attention and if that attention is being split then the broadcaster needs to be present

on both screens.

There is always significant online attention around events, which can be harnessed to the benefit

of the broadcaster.



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- INTRODUCTION TO THE PLAYERS -

Broadcasters have until recently faced a massive problem around engaging with viewers on live

interviews / content. Previously, broadcasters would have to do this through live phone calls,

which had its own issues. Calls arent screened, technology would often fail, and conversations

would speak to content that had already passed. Broadcasters have adjusted to incorporate

second screen by promoting questions and talking points on social channels, which are recycled

into the interview in real time. This is popular in news broadcasts and lifestyle and magazine

shows.

SPONSORS (BRANDS)

Brands are always looking for authentic ways to connect with

consumers. Historically, sponsorship has been seen as a great vehicleto achieve this as it allows you a platform to engage with a consumer

through a particular passion point. McDonalds sponsor the FIFA

World Cup not only because they know the scale of the tournament

or understand the commercial benefits included in the rights package,

but also because they know that people love football.

Why is the second screen important to sponsors?

The second screen becomes incredibly important to sponsors from this perspective. The ability to

carve out a section of conversation in the digital space and create engaging content that resonates

with fans are substantial second screen opportunities. Provided youre being authentic and

additive to the consumer experience, the second screen is a great platform to deliver on marketing

objectives such as awareness and loyalty.

CONSUMERS / FANS

No business can exist without its customers and the great

businesses are those that can put the needs of their consumers first.

This seldom rings truer than in the world of sport. Sport is an industry

that transcends race, religion and gender, and as a result has turned

into a multi-billion dollar industry fed by the passion of its consumers.

Why is the second screen important to fans?

The second screen has enabled fans to watch sports and live events from pretty much anywhere.

The second screen also gives consumers a broad choice of how they would like to consume the

content and the fan can choose who they watch sport with. Fans now have access to a global

conversation and an opportunity to distill information, and process, interpret and express

themselves in a credible, relevant and contextual way



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- THE CURRENT STATE OF THE SECOND SCREEN -


The speed with which the second screen gained relevance has caught nearly everyone off guard.

The only player that hasnt been caught off guard is the consumer, who is actually driving the

change, and the rate of change. As a result of rights holders, broadcasters and sponsors being on

the back foot, we find ourselves in an awkward predicament where they are all scrambling to

catch up to this new user behaviour. This scramble has lead the rise of fourkey issues hindering

success on the second screen, namely:

1. FANS DONT CONCERN THEMSELVES WITH THE SOURCE OF THE CONTENT

- Annalie Watt, Strategic Director at Repucom Africa

Broadcasters, rights holders and sponsor accounts arefighting a losing battle trying to create entirely new

platforms and profiles that supply the same informationas what is already out there.

Fans do not recognise the difference between a broadcaster, rights holder and sponsor. The

fans relationship exists predominantly with good content, regardless of its source. We often

underestimate the power of the audience to dictate what that relationship will look like and how

it will work.

Social accounts of broadcasters, rights holders and sponsors do not have a divine right to be the

authority on their own subject matter anymore. Individual early adopters of new technologies, such

as social media, have carved out a personal brand and level of influence that enables them to report

on your event with the same, if not more, relevance and authority than the people who own it.

Howarth said, Reduced control can be difficult to accept and the increasing number of platforms

can be demanding, but fans/viewers will decide where they want to consume your content and

interact with your brand or product.

Ego plays a key role in the failure of official stakeholder platforms because of their lack of

understanding of the fan or consumer. Knowing that fans pay little attention to the source, the

battle for ownership of content is, in many ways, futile. Key stakeholders all want exclusivity

and are answerable to objectives, many of which may not suit the end user.

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2. A LACK OF UNDERSTANDING

- Josh Robinson, Head of Digital at Synergy Sponsorship

Look at when the train was invented. People could seehow it would be useful, but did not want to be the firstto jump on it.

Josh Robinson opened up a pretty interesting conversation with us when he said, On the

whole, rights holders have not been progressive in embracing second screen or new ways of

doing things and how they push in the direction of new rights and new opportunities. Social

media has, in a lot of ways, lead to new rights issues - ownership / rules to the nth degree,whereas social is about freedom. In the world of sponsorship and rights, whilst there is a lot

of talk about innovation, the marketing industry is staggeringly slow to embrace stuff as much

as it potentially could.

This has resulted in the term second screen becoming a buzzword as people can see

the potential value, but either due to fear driven by a lack of understanding or corporate

politics, the marketers who define the space have yet to fully capitilise on the opportunities.

This lack of understanding is the start of a vicious circle, which was perfectly summarised by

Josh when he said:

A lot more can be done to better understand the platforms, although it is a common problem

across all industries and not only events and sport. Ultimately, a better understanding of the

limitations and potential will lead to braver, more decisive actions being taken which will resultin better second screen executions.

3. POLICING AND BULLYING DONT WORK:

A lack of understanding equals a lack of resource, equalslack of action, equals lack of information, equals lack ofunderstanding.


- Keenan Harduth, Head of Insights at Cerebra

Your directive should not be to compete. It shouldbe to augment and enhance the experience of theaudience.


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The Internet and rights is hardly a match made in heaven, but dont let this frighten you.

The lawlessness of the Internet and its users can be either headache or blessing, depending

on your approach to a resolution.

Enforcing content rights online can be a nightmare for rights holders. The vast majority of social

platforms rely on users to report content infringements around pornography, racism, etc.

Copyright is much harder because its often only the copyright holder who knows the difference.

YouTube has partnered with record labels to develop software that tracks the audio component

of video uploads and looks for matches to copyright material but these types of solutions are rare.

Policing user-posted content online is a mammoth task and still very manual. You either have to

develop software to track the Internet or you have to look yourself. You then have to issue take

down notices and follow up to ensure the content was taken down.

Another point mentioned by Leadercramer, is speed. He explained, The speed at which

things are uploaded, and the speed at which they lose relevance, are both elements to consider.

That 20-second video of footage from your event was uploaded in real-time and by the time you

ask the user to take it down, it is already irrelevant, its already old news.

The next point of discussion would be what do you do when you find this user-generated content.

Its easy to come across as a corporate bully. Why would you deliberately aggravate consumers

who are obviously interested in your content / event by forcing them to remove their content.

Ultimately, the people who are uploading this content are the consumers you could potentiallybe making money from and by issuing a take down notice you run the risk of doing irreparable

damage to what could have been a lucrative relationship.

Annalie:In short, I would suggest that this behaviour is enabled as long as

that fan content is not being commercialized (as long as nobody is making

money out of fan/user generated content).

Adam:I would argue that rights holders need to focus more on their ability

to produce the best content. Its easy for anyone to start a platform and talk

around an event. But as a rights holder, you have the distinct advantage of

access to premium content.

TOPIC OF DEBATE: PROHIBIT OR PROMOTE?


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4. OLD RIGHTS DONT WORK IN THE NEW ERA:

Every new platform with new rules is challenging the idea of rights in the digital space. Weve

seen across the board that sponsors and rights holders have not taken full advantage of the

commercial opportunities of second screen. Rights holders have the best access to their

content, and as a result, they are becoming their own news organisations. It sounds trivial, but

the fact that rights holders have unprecedented access to players, news, behind the scenes

content (all of which excel in the world of digital) they should be able to commercialise

these, but are not doing so effectively.

The second screen offers rights holders cheap alternatives for creating additional rights for

partners, and these new rights such as rights to archive material, highlights clips, streaming

rights, app sponsorship, or rights to statistics will see more respect being paid to them from

a legal perspective. The amount of supporter data that can be acquired through digital platforms

by rights holders like contact details, age, gender, location, etc. creates a big opportunity toexploit that data in a commercial sense for broadcasters and sponsors.

The issue of these new rights goes hand-in-hand with the lack of understanding and lack of

research. If any stakeholder was clued up about what content people were looking for, and had

an understanding of the intricacies of the second screen, they would be able to negotiate for

rights to content that would serve the need of the fan. That stakeholder would add real value

to the consumer and reap the rewards for doing so.

- Adam Leadercramer, Partner at Onside Law

What we are seeing at the moment is that rightsrelating to second screen are considered add-onsto traditional sponsorship inventory


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- A LOOK INTO THE FUTURE -


By gaining a deeper understanding into the intricacies of the second screen and the consumers

driving the ever-changing landscape, were able to find solutions to the problems we never knew

we had. Here we discuss sixrecommendations for better results for rights holders, broadcasters

and sponsors.

Your first, and most important, consideration is thatthe user owns and shapes their second screenexperience, 100 percent. If youre not enhancing theirexperience then there is no reason for them to take an

interest in your content.- Kieren Jacobsen, Director at 2nd Avenue

The objective for all stakeholders should be to service the need of the fan, and anything that

contradicts that objective will not survive. Fans will choose the path of least resistance. If the

content being created by rights holders, broadcasters and sponsors is not faster or more

informative, they will lose to the fan who takes his cellphone to record footage from his TV

screen and sends it out first.

The ownership of the second screen lies with the consumer. The device, online platforms,

conversations and the consumption behaviours are all dictated by the consumer of the content.If something doesnt suit them they will adapt and change. They are the all-powerful and they

shape the content they consume. Understand the user need, and supply the content.

Ultimately, it is as simple as that when looking to succeed on the second screen.

1. PUT THE USER FIRST

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2. COLLABORATE OR LOSE

Use collective clout as event stakeholders to makeexisting channels better. It adds more value to theconsumer, and you will not be competing with eachother.

- Annalie Watt, Strategic Director at Repucom Africa

Annalie cited ego as one of the most damaging influences on success in the second screen arena.

Having many different ambitions and objectives will lead to confusion, which in turn, will lead to

second rate content that does not service the need of the consumer. If all stakeholders worked

together, a higher quality, more comprehensive experience could be delivered which is ultimately

what everyone wants.


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The key insight that has already been discussed earlier is that fans and consumers do not care

where the content is coming from, the only thing they care about is that it services their need.

With this insight, it is time for stakeholders to opt for the win-win situation of combining

resources to add real value and reap rewards (exposure, data, relationships) as a collective.

We need to have a common goal, belief and ambition to move things forward in the interests

of the consumer. Its so easy to get lost in the commercial restraints and reasons not to do

things, says Josh Robinson.

By working together, it will be easier to create the best platform or source of information.

Collaboration on projects will help bring together a previously diluted audience, offering more

commercial value to all parties. As this audience congregates on one platform information

around the issue becomes more easily accessible and stakeholders will gain a betterunderstanding of consumer behaviour and be able to tailor future executions accordingly.

3. RESEARCH, RESEARCH, RESEARCH

Need first, technology second.


It is a bad idea spending money to create something new and telling people that they want

something, rather than just giving them what they already want. Start with a detailed analysis

and research on how people already behave this will highlight the gap as it relates to their

needs and IF and HOW technology can help deliver on that need.

This was the advice from Josh Robinson when asked about top pieces of advice to marketers

for creating the best second screen experience and was a common thread with a lot of the

contributors we interviewed. Researching what platforms, assistance and content consumers

need or want, and then work together to create the best version of that.

Ideally you want to fish where the fish are, says Jacobsen. In order to find the fish, and offer

them the right bait, you need to do your research. Through research from Repucom Africa, we

see that these current needs include:

1. Viewing friends comments / discussions

2. Joining conversations around a topic or event

3. Having access to informed opinion

4. Acquiring additional information on a topic, to inform their own opinion


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The needs of the consumer will vary from audience to audience, depending on what is already

being delivered, and will change over time according to zeitgeist, so research would have to be

an iterative exercise. Understanding the consumer behaviour and need has to be the starting

point, You wouldnt spend money on doing anything unless you had a grasp of what the consumer

wanted and what itch they needed to be scratched.

4. BE BRAVE, BE CREATIVE

People need to have a belief in creativity and theidea. The greatest steps are made when people wantto make something great happen, and then make

something great happen.


Great content costs money to make. A good video doesnt edit itself, nor does intelligent copy

just happen. If youre serious about owning a share of online conversation and truly enhancing

the consumer experience you need to allocate the resources to do exactly that. The allocation

of those resources will take bravery and an unfaltering belief in creativity and an ambition to

push boundaries.

The quality of the content you create will be the determining factor when looking to draw anaudience, and the competition is stiff. In this scenario, content is definitely king. The devices

and platforms will be much of a muchness, so I dont think there will ever be a huge difference

between WHAT your second screen is, but its what youre watching on it that will make the

difference. says Leadercramer. The only way official channels will stay ahead of the game, and

still be able to attract audiences to their content, is to provide the best experience.

Quality of content in the second screen could be defined as the fastest, or the easiest to find, not

necessarily an HD video produced 2 weeks after the event has finished. Quality of content is solely

dictated by what the gap is between user need and content supply.

5. EMBRACE THE CHANGE

Event stakeholders in the online space, like anythingelse, will adapt or die.

- Cairo Howarth, President of EFC Africa


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Whether you like to admit it or not, the change has happened. New forms of communication

and an unparalleled level of access and quantity of content has allowed users to gain the power

of choice - stakeholders no longer have a divine right to be the authoritative voice. Through

research youll understand what change has taken place and what opportunities lie therein.

The second screen is transforming passive attendees into active followers who share in real time.

What this results in is an increase in brand engagement, from which you are able to gather insights

about customers, and increase advertising reach and effectiveness.

To remain ignorant to this shift in fan/consumer behaviour is the lethal blow to becoming

obsolete to the very people from which you wish to extract commercial value. Consumers are

dictating the rules, and in failing to adapt, your relevance will die.

Stakeholders must be strategic and practical in their approach to second screen executions.

Decisions must be based on solid insights.

6. INVESTIGATE NEW RIGHTS

Rights holders would do well to reserve asmany digital content rights as possible in orderto commercialise them, with the fan experiencetop of mind throughout

- Adam Leadercramer, Partner at Onside Law

The time has come for digital content rights to cease to be add-ons to traditional rights.

We need to look beyond just the perimeter boards, hospitality tickets and player appearances.

Weve discussed the rewards on offer (data, relevance, relationships) for the stakeholders who

add real value to consumers in the second screen space and that the first step to securing that

will be a discussion about exclusivity and rights.

The saying goes that a happy sponsor is a happy rights holder. Sponsors and broadcasters pay

a premium for exclusive access to offer fans something nobody else can. Knowing this, will

sponsors and broadcasters be happy that every fan or consumer in the world is able to film the

broadcast footage off their television, upload a 6-second video to a platform like Vine and there

is very little that can be done to police it? The era of social and second screen is so clearly

challenging the idea and limitations of rights that it would be ill advised to not look at new ways

to bring exclusivity back to the broadcasters and sponsors.


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- SUCCESS ON THE SECOND SCREEN -


When we asked Howarth, his answer was simple, I see any online conversation and engagement

around or with a brand/product as successful, activity is better than no activity, but the quality of

the message and conversation is variable.

Leadercramer mentioned that the most tangible way of measuring success is how much money

you make from a particular activity i.e. through producing content on the second screen, have you

pushed people to some sort of purchase activity?

Keenan Harduth, Cerebras Head of Insights explains that this is completely determined by

audience size, share of voice, objectives and your growth directives, however these will almostalways be driven by engagement metrics, traffic, downloads, participation and if relevant, purchases.

From a ratings perspective on television, you get real time feedback from what is driving people

and engaging people; you don't need to wait for traditional research to come through.

Ultimately, measurement and success are unique to your objectives, which platforms you use and

what tactics you employ or strategies you adopt when considering the second screen are directly

linked to what you want to achieve. It will essentially depend on what the underlying KPIs are for

a level of engagement and media exposure.


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- CONTRIBUTORS -


In order to compile a comprehensive overview, we spoke to the following people who are leaders

in their fields and have specific insight into the second screen:

Annalie Watt: Strategic Director Repucom Africa

Annalie is passionate about sponsorship as a marketing tool and

is particularly interested in mining the value of research amongst

content communities those drawn together by their passion and

interest in various sporting and lifestyle activities. For her it is all

about sponsorship being strategically integrated and managed

throughout the entire agencys communications offering to clients.

Annalie has been largely responsible for the shift of sponsorship becoming a mainstream

marketing tool in South Africa.

In June 2002 Annalie started her own specialist strategic sponsorship consultancy called Blue

Daisy, which she still operates today. Annalie is also a Director of Repucom Africa.

Josh Robinson: Head of Digital- Synergy Sponsorship

Josh began his career as Head of Sports Marketing for Oakley

Middle East before returning to London to work as Head ofStrategy and Creative for a number of global sponsorship and

brand experience agencies.

Over the last five years Josh has focused on the new ways consumers

engage with their passions, particularly through social media and the new opportunities this opens

up for rights holders and brands.

He counts Coca-Cola, Heineken, Canon, SAP, PlayStation, Nissan, McDonalds, UEFA, RBS,

Guinness and IG amongst his past and current clients.

Recently Josh led the strategic and creative development of the award-winning StadiumLIVE, the

world's first Connected Stadium marketing platform, bringing together wifi accessibility and

app-based content for fans in stadia. He now leads the digital offering at Synergy, part of the

Engine Group. A role that focuses on bringing new power and value to sponsorship through

social media. Real-time marketing, new social assets and ongoing research into why sports

fans use social media are dominant workstreams.


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- CONTRIBUTORS -


Keenan Harduth: Head of Insights Cerebra

Keenan Harduth is the Insights division at Cerebra, an integratedstrategic communications agency that builds, engages and activates

communities around brands.

Keenan has over 10 years experience in the broadcasting industry

ranging from film production, radio presenting and sub-editing the

campus newspaper at the University of Johannesburg, where he

received his Bachelor of Arts Degree in Journalism. Keenan has represented South Africa at film

festivals and media summits in 6 different countries, including being the first and only African

feature at the AGORA film festival in Italy. When hes not watching comedy and submerginghimself in unsurpassed brand analysis of Vodacom, Absa, Nedbank or Altech Autopage, Keenan

is exploring his newfound love for photography and art history.

Kieren Jacobsen: Director 2nd Avenue

Kieren began his career in the sports industry as an athlete manager

for Prosport International, managing the commercial interests of

rugby players and cricketers across South Africa. He then moved

on to Exp Sponsorship as a rights consultant, consulting to sponsors

MTN and Absa on their football properties. Since then, Kieren hasworked at several sports marketing agencies across South Africa

across a wide range of functions including sponsorship and broadcast sales, licensing and

merchandising and more recently in PR and Social Media.

Kieren founded 2nd Avenue out of pure passion for the increasing convergence of sport and the

digital world. 2nd Avenue is a consulting agency based in Johannesburg that consults to brands,

rights holders, agencies and broadcasters on PR, social media and marketing. His key clients

include Cricket South Africa, EFC AFRICA and Levergy, a Johannesburg based sponsorship agency

whose clients include broadcasters DStv and SuperSport.

Cairo Howarth: President EFC AFRICA

Cairo Howarth is the co-founder and president of Africas leading

mixed martial arts organization, EFC AFRICA.

EFC AFRICA, the extreme fighting championship, produces 10 live

events annually. The events are broadcast live in over 110 countries

around the world on nine television networks in multiple languages.


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EFC AFRICA programming is available weekly in 600+ million TV households worldwide, making

it one of the most recognisable combat sport brands on the planet, and one of the most widely

watched and distributed African sport properties.

EFC AFRICA produces all its own broadcast content in-house, and in June last year concluded a

landmark broadcast deal with SuperSport.

EFC AFRICA also broadcasts all its events live to Ster-Kinekor cinemas across South Africa, plus

is watched by fans around the world via a custom created online pay-per-view system.

- CONTRIBUTORS -


Adam Leadercramer: Partner Onside Law

Adam is a partner at Onside Law, specialising in commercial law inthe sport and media sectors. He joined Onside Law in January 2010,

having spent over 6 years with leading City firm, Allen & Overy.

Adams practice predominantly involves general commercial and

regulatory matters including sponsorship agreements, agency

arrangements and disputes arising out of the interpretation of

governing body rules and regulations. However, he has a particular interest in the fields of

technology, digital media and broadcasting and regularly advises rights-holders on issues

surrounding the broadcasting and monetization of their content. Adam holds a Masters

degree in Sports Law and Practice and is also recommended as a leading sports law

practitioner in the Chambers legal directory for 2014.


18/19

- CASE STUDIES -

#RBS6NATIONS BY SYNERGY SPONSORSHIP

Synergy Sponsorship created real time content for the RBS Six Nations tournament withgreat success. In the first week they reached over 2 million unique people and smashed their

KPI for the entire Championship. Across the six weeks Synergy generated 61 million social

media impressions without any paid media. In total, their real-time approach generated a 500%

performance increase over their campaign from the previous year a campaign which won the

2013 ESA Best Use of Social Media award.Read more.

NBA RAPID REPLAY

In order to leverage its position as the official wireless partner of the NBA, Sprint wanted to

reach out to fans in a completely new way during the 2013 NBA Playoffs. Sprint created moments

that were worth sharing by utilising the NBA backboard camera to capture the best dunks of the

game. This was then expanded to include real-time video highlights as part of the "Rapid Replays"

program. Sprint used Twitter to share photos and videos with fans while they were still timely and

exciting, becoming the first brand to deliver in-tweet videos for professional sports.Read more.

GIRAFFAS IN-TABLE ENTERTAINMENT

Brazilian fast food chain Giraffas noticed that about 90% of customers play with their smartphones

while eating their food. Using this insight, Giraffas came up with their own creative version of

in-table entertainment. They designed a special tray paper that canintegrate with the screen of a

smart device (cellphone or tablet) and allow the users to play a soccer game using the tray as the

soccer field. The multi-player version allowed friends to challenge each other to a penalty shootout

across the table. The program was so successful, Giraffas claim to have sold over 7 million tray

papers before the FIFA World Cup in Brazil.Read more.

CASTROL EDGE PRESENTS RONALDO

Castrol invited their social media community to challenge Cristiano Ronaldo in real time to

numerous skill challenges. They successfully managed to bring their audience closer than ever

before to their favourite sporting hero through entertaining, real time engagement. Read more.

View Video.

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- ABOUT CEREBRA -

Cerebra was founded in 2006 as a communication agency helping corporate brands enter the

social media space. Since then, Cerebra has grown into Africas social business authority witha team of incredibly talented, hard-working personalities who share a passion for helping

businesses transition from industrial age thinking to information age delivery.

The Cerebra business comprises four key components: Agency, Academy, Insights and Advisory,

offering services covering social media marketing, training, research and strategic direction.

For more visit www.cerebra.co.za

Check out other resources like this one at www.cerebra.co.za/resources

http://www.cerebra.co.za/resources/guide-social-business-platforms-googlehttp://www.cerebra.co.za/The-Social-Service-Gaphttp://www.cerebra.co.za/guide-social-business-platforms-pinteresthttp://www.cerebra.co.za/social-commerce-journey

Date post:	03-Jun-2018
Category:	Documents
Upload:	kevin-lawrie
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Understanding the Second Screen

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