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Allure, a Christie Digital Systems USA, Inc. company, and its Christie Experiential Network (CEN), leaders in creating immersive and engaging experiential Digital Out-of-Home solutions, is proud to announce the recent signing of the 38th theatre circuit to join its revolutionary advertising network.

Consumer engagement and differentiated experiences are themes echoed by Paul Glantz, CEO, Emagine Entertainment, “Our experience with CEN has been exceptional – the positive impact on guest experience and the additional revenue we receive has exceeded expectations. The deployment at our Palladium Theatre in Birmingham, MI, was honored as ‘Best Overall Retail or Mall Experience’ at the 2015 DailyDOOH Gala Awards, which in addition to the business results made the decision to include CEN in our operational plan for our recent acquisition of Mueller Theatres a no-brainer.”

CEN, the world’s first experiential media network, is fueled by its game-changing and highly engaging mix of brand-interactive content, mobile-enabled interactions, and pure wow-factor – theatre owners, brand agencies and advertisers are experiencing digital in-venue environments that connect with consumers like never before. With installations continuing at an accelerating pace, the network currently reaches more than 40 million movie-goers annually and is on track to achieve 245 theatre lobby installations in North America over the next twelve months alone.

Operating in many of the most sought after theatre circuits, including Movie Tavern, National Amusements Inc. (NAI), and Emagine Theatres; the network recently deployed its award- winning digital display solutions for Regency Theatres and Brendan Theatres. Commenting on the digital transformation CEN delivers, Kevin Romano, EVP Global Media at Allure stated, “Our top priority is to deliver the most compelling and differentiated movie-going experience for our customers. With our technology and viewer engagement strategies, we’re elevating the in-theatre experience through an amazing mix of large-format digital video presentations and interactive touch displays, all featuring content that literally stops guests in their tracks and engages them in-person and on their devices.”

Craig Sholder, EVP of Business Development and Strategic Planning for Christie Digital Systems, commented, “With the array of exclusive game-changing technology solutions and services our teams at Allure, CEN and Christie provide, our common goal is to innovate, develop and deliver spectacular entertainment experiences and environments that keep our exhibition partners at the forefront of entertainment, not only today but for years to come.”

About Allure and the Christie Experiential Network

Allure and CEN activate brands, environments and experiences digitally by connecting brands, advertisers and consumers at points of influence and purchase in a variety of retail environments. Their Experiential Media Network installations feature interactive and 3D content delivered on brilliant, animated Digital Posters and Experiential Displays, ranging from stand-alone units to award winning Hero Walls with digital panels arranged in an 8-foot high by 14-foot wide herringbone pattern. Incorporating NFC, Blue Tooth technology and more, content comes alive and immerses viewers with interaction opportunities, including gamification and more. Leveraging its intelligent, innovative and interactive data-driven solutions through analytics, exceptional creative, powerful software, and cutting-edge hardware, the organization offers business applications that deliver engaging consumer experiences and achieve desired business outcomes.

Last night in London at The Wallace Collection – considered one of the best collections of fine arts including paintings, porcelain, furnishings and armoury, not only did we get to see Frans Hals‘ The Laughing Cavalier – amazing, Ed we also got to see, along with several hundred other people, a wonderful re-imagination of the iconic British phone box.

Yes, that’s right, you heard it correct. The humble, yet somehow perfectly British, red telephone box designed by Sir Giles Gilbert Scott back in the 1920’s has been re-imagined by a lord of the realm – this time it is down to Lord Sugar and his Amscreen business run by his eldest son Simon Sugar.

Clear Channel UK also have something to be proud of. At the launch of Adshel Live last night, not only did they acknowledge the pioneering work that JCDecaux have done with street furniture – pretty much inventing it, they have had no inhibitions in finding a UK company that can design and build what can only be described as a striking structure.

The return of Adshel Live to London, comes alongside ambitious plans to transform payphones across the capital and nationwide. Clear Channel of course, acquired Arqiva’s payphone division earlier this year in January.

Justin Cochrane, CEO of Clear Channel, told us “We’re enormously proud to announce the return of Adshel Live to London, bringing the flexibility and dynamism of the network back to advertisers in the capital. Not only does this announcement mean amazing opportunities for advertisers in key retail locations right across the capital, it also means hundreds of beautifully designed, British-built phone boxes offering valuable services such as public Wi-Fi and interactive local area maps.”

Justin Cochrane

As of next week, Clear Channel will begin transforming aging phone boxes into brand new phone boxes featuring Wi-Fi, interactive local maps and payphone services, with an Adshel Live digital screen integrated into every unit.

It’s hard to describe this phone box as anything other than ‘stunning’ – not only does it re-imagine the iconic London phone box for modern age, it pays homage to a design classic – breathing life back into the traditional, and instantly recognisable, British icon.

Interestingly, it was announced last night that as part of their commitment to transforming and enhancing UK high streets, Clear Channel is to plant and care for a tree in the local area for every phone box they upgrade. The new trees will be planted in partnership with international environmental charity, Trees for Cities.

As with the rest of their nationwide Adshel and Adshel Live digital networks which appear at thousands of bus shelters right across the UK, Clear Channel will be responsible for the installation, cleaning and maintenance of the units at no cost to the public. Over the last five years alone, Clear Channel has contributed GBP 170 million to public infrastructure for the UK communities they operate in.

Simon Sugar, Amscreen’s CEO also told us “Over the last year we have delivered more than 1200 screens as part of the Adshel Live network and we’re now very pleased to be able to extend our partnership with Clear Channel with a ground-breaking new product. We’ve worked closely with the team to design and manufacture an entirely new unit that we’re confident will revolutionise the on-street out of home space. This extensive roll-out of these revolutionary new phone box displays plays to Amscreen’s key strengths in terms of delivering a scalable product that ensures ease of deployment, maintenance and leverages the power of real-time insight. We’re also proud to say that this has all been developed and built on home soil, so British engineering talent has been key in launching these modernised, iconic displays.”

By the end of 2016, Clear Channel will have installed over 100 new phone boxes in London and this is rumoured to rise to up to 500 boxes in London by the end of 2017 – bringing the number of Adshel Live screens across the country to over 1,500.

Launch event at the Wallace Collection

Bitposter has appointed Craig Mytton as Chief Revenue Officer.

Craig Mytton was previously Vice President of the Buyer Cloud at Rubicon Project, where he was responsible for all buying relationships across Europe, Latin America and APAC. Prior to that he has held senior roles in programmatic trading at AppNexus, Mediacom and Essence.

Proving that light engineering is alive and well in the North of England, Lord Sugar’s Amscreen return to what they are absolutely best at – designing and manufacturing things.

Adrian with Simon Sugar, Amsceen CEO

This is Clear Channel UK‘s new Adshel Live product – a re-imaginged take and complete update of the iconic British phone box. It was unveiled last night at Clear Channel’s launch event at the Wallace Collection in London.

JCDecaux SA (Euronext Paris: DEC) announced this week that its Japanese subsidiary, MCDecaux (85% owned by JCDecaux and 15% by Mitsubishi Corporation) has been awarded the bus shelter advertising contracts by Tokyo bus operators Fuji Express and Tokyu Bus Corporation, for the next 20 years.

The contracts cover the design, installation, maintenance and operation of advertising bus shelters, predominately in Tokyo, as well as in Yokohama and Kawasaki. Well-designed street furniture will enhance the urban landscape and improve services for citizens, bus passengers, but also tourists, specifically in the perspective of the 2020 Olympic and Paralympic Games.

Jean-Charles Decaux, Chairman of the Executive Board and co-CEO of JCDecaux, told us “A few months after the award of the bus shelter contract by the Tokyo Metropolitan Government, we are extremely happy that Fuji Express and Tokyu Bus Corporation have chosen MCDecaux to manage their advertising bus shelters. These contracts will enable us to expand our service offering for the people of Tokyo and strengthen MCDecaux’s network in Japan, providing further opportunities for advertisers and their agencies to communicate their brand message, through premium locations and wider coverage. We are very pleased that the biggest Japanese cities and transport companies have placed their trust in JCDecaux, for the maximum benefit of citizens, advertisers and their brands.”

They will also enable MCDecaux to expand its advertising network reach in Tokyo’s central districts, including Minato (where the prestigious Omotesando avenue and Tokyo Tower are located), Shibuya, Meguro and Shinagawa.

MCDecaux now holds contracts with 10 of the 11 main private bus operators in Tokyo, which represents a potential of more than 600 advertising bus shelters in the heart of the Japanese capital, in addition to the minimum of 400 proposed in the contract signed with the Tokyo Metropolitan Government on June 29, 2016.

With these new partnerships, MCDecaux will further consolidate its position as market leader for advertising street furniture in Japan, the third-largest advertising market in the world, and will be able to offer advertisers an unrivalled presence, with more than 2,000 2m² advertising faces in Tokyo, on top of the almost 4,000 faces already available in 41 cities across Japan, including all the top 20.

The Digital Place Based Advertising Association (DPAA) announced this week that Allure and Christie Experiential Network (CEN) have joined its rapidly growing association. A division of Christie Digital Systems USA, Inc., CEN provides leading digital projection and display technologies, including 3D visualization, digital signage, video walls and more. Actively deploying a network of digital signs in cinema lobbies throughout the country, targeting national, regional and local advertisers, CEN’s immersive experiential format is transforming consumer experience and brand engagement.

Barry Frey, president & CEO, DPAA told us “Christie is leading the industry with a range of spectacular digital displays that really grab consumers’ attention, making content and messaging even more impactful. We welcome the Christie Experiential Network to our membership ranks and look forward to helping them build lasting relationships.”

Kevin Romano, EVP of Global Media for CEN, said, “Barry and his team at DPAA are doing great work in advancing the profile and status of the digital place-based media industry. We are proud to become part of this association as we advance the industry to new heights together.”

Membership in DPAA encompasses numerous benefits, including admission to quarterly “mini summit” meetings with ad industry and DPB leaders; access to an extensive database of research, best practices and case studies; tools for planning, training and forecasting; social media amplification as well as publication discounts. Additionally, there are opportunities to participate in media partnerships as well as the DPAA-Nielsen Service Bureau and DPAA-Nielsen Digital Diploma Series Training Program; insights on software and hardware solutions; further integration into the advertising ecosystem as part of the video everywhere conversation and marketing campaign, and more.

The DPAA’s annual Video Everywhere Summit will be held October 27 in New York. The Summit will bring together 700 delegates representing brands, agencies, digital place-based networks, ad tech, research firms and others for a full day of presentations, panels, case studies, networking events and experiential exhibits. The Video Everywhere Summit is the only event of its kind, dedicated to multi-screen viewing and the video neutral planning mantra that has taken hold at many clients and agencies.

This month, we welcome Rajneesh Rawat, Managing Director, Origins Advertising PVT. Ltd., Lucknow, India

1. I believe your background is with a worldwide ad agency. Please tell us about yourself, and how you got interested specifically in Out-of-Home and Digital Out-of-Home.

   Yes. I worked with Saatchi & Saatchi India for about five years at various positions in client services and was one of the top performers in the Saatchi & Saatchi client services team. I left Saatchi & Saatchi around mid-1998 to start something on my own. After trying various independent advertising assignments, I found that Out-of-Home has extremely good potential. I co-founded Origins Advertising Private Limited in the year 2000. My advertising background, work culture, professional integrity and strict approach for quality played a major role in establishing the brand name very quickly.

   Today, we are a leading OOH player in North India. I always have been fascinated with digital OOH and from the day we put up our first billboard, I always used to think and plan that when the time is right, we’ll have some digital billboards. From the day of establishing Origins, Digital OOH was a kind of dream to me and I’ve always envisaged having something similar to Times Square, the Mecca of Digital OOH, in India.

2. Were the associated companies: Origins BR. Digital Signs PVT Ltd. and Origins Photoelectricity Consort PVT. Ltd. (ie Orion LED) all in existence before you co-founded Origins? Please acquaint us with the company’s background, its ownership and offices.

   None of the companies mentioned above was in existence the time Origins Advertising was founded. We started Origins BR in the year 2012. Origins BR is into digital signage solutions and integrations, with two offices and workshops across Lucknow and Delhi.

   Further, after sensing a huge potential in the Digital OOH market, we jumped into manufacturing and founded Origins Photoelectricity in 2015. The cost gap between branded manufacturers and cheap alternates was too wide, and a product somewhat in between was not at all available in the market. I personally toured US/China/Taiwan a dozen times to study, select the latest technology and quality components, and to close suppliers (ie. to shortlist and finalize the best companies for OEM arrangements and tieups for our components.)

   After a year and a half of study and R&D, we launched the LED brand ‘Orion’, which is a great product in both quality and performance. The brand ‘Orion’ has been made specially to fill the vacuum in the mid-price segment, and costs substantially less in comparison to the top brands. We are assembling LED screens in our factory in Noida, India. We are currently sourcing roughly 70% of the components from Taiwan, China, and the remaining 30% locally.

   By the year 2018, we have a target to start a fully integrated manufacturing facility in an EMC (Electronic Manufacturing Cluster) being developed by the Government of UP with support of DeitY near Noida.

   Currently, Origins Group has seven offices across India and equity of all the companies is held privately. I personally hold substantial equity in all the Group companies.

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As part of the promotional efforts to increase awareness of New York Digital Signage Week (Oct 24–28, 2016) the New York Metropolitan Transportation Authority (MTA) will be running a series of video spots on its ‘On the Go Network’ of digital screens throughout the city. The campaign will run from October 1 through 28 in support of the week.

Russ Curry, Managing Director, Ministry of New Media, organizer of New York Digital Signage Week told us “Through this innovative campaign with The On the Go Travel Station, we will reach thousands of our key demographic attendee base who ride the subway system in New York City. We are excited to be promoting this leading industry event for the digital signage industry by using the interactive digital communications tool that provides MTA New York City Transit subway customers with a wealth of valuable information at their finger-tips.”

The On the Go network is made possible through a unique public-private partnership between the MTA and OUTFRONT Media and Intersection, with the investment being recouped through the sale of digital advertising displayed on the screens. The interactive kiosks provide travel information and way-finding services to New York’s subway users. Deployed at more than 30 subway stations across the city, the network reaches over 1.5 million commuters per day.

New York Digital Signage Week is a week-long series of events which attracts thousands of digital signage industry leaders and hundreds of out of home media owners, media planners, creative agencies, retailers, architects and investors, to gather in New York during the week of October 24-28, 2016.

The initiative, now in its fifth year (having been first put together back in 2012), by the publisher and event organizer, the Ministry of New Media, will once again include over 20 concurrent events, including The DailyDOOH Investor Conference, the NEC New York Partner Showcase, the Video Everywhere Summit Presented by DPAA the SEGD Xlab Conference as well as breakfast debates, research findings, cocktail receptions, public and private tours as well as a party to celebrate the week at Samsung 837NYC towards the end of the week.

New York is a natural choice for the location of the week with its concentration of media owners, advertising agencies and a vast eco-system of designers and creative agencies; not to mention the most spectacular collection of digital billboards in the world to be found in Times Square.

The Global Digital Signage Market is valued at $11 Billion in 2016 and will continue to rise exponentially in the coming years. With the explosion of retail screen networks and the conversion of classic OOH sites to Digital Out Of Home create a myriad of new opportunities for media owners, agencies, advertisers and of course investors.

The official sponsors of New York Digital Signage Week are; Barco, BrightSign, Christie Experiential Networks, Digital Signage Expo, Metropolitan Transit Authority and Leyard / Planar Systems.

For the most up to date information about New York Digital Signage Week and a registration link to each of the events click here.

Primesight, one of the UK’s largest suppliers of out-of-home (OOH) solutions, has partnered with breast cancer charity Future Dreams and creative platform Talenthouse, to place the winning design of the first round of The Ultimate Canvas in a nationwide campaign in the lead up to Breast Cancer Awareness month.

The idea behind this CSR project is to leverage the huge wealth of talent available via creative platforms to benefit charities with limited resources, with the aim of making a significant difference to the public’s awareness of chosen good causes.

The first round of the campaign, which focused on survivorship and life after cancer, had over 400 entries and the winning creative, ‘Cancer Erasers’, created by adam&eveDDB’s Dan Kelly, will go live on 50 sites across Primesight’s Network, reaching over six million people in 16 cities including London, Birmingham and Edinburgh.

Naren Patel, CEO of Primesight told us “With outdoor advertising we can reach 98% of the UK population every week and one of Primesight’s aims is harnessing that power to raise awareness for good causes. Dan’s ‘Cancer Erasers’ is a great example of a strong idea executed with visual simplicity and impact. We look forward to raising the profile of Future Dreams as the campaign runs out nationally across Network in the coming weeks.”

Future Dreams’ Spencer Leslie added “As a trustee of Future Dreams, our role is to continue the legacy created by our founders Sylvie Henry and Danielle Leslie. Coming from artistic backgrounds they would be thrilled and delighted by this competition and the quality of the ideas that have come forward. They wanted so much to make a difference and this competition has. We are extremely grateful to everyone who has participated and thrilled with the end result.”

Maya Bogle, Co-Founder of Talenthouse, said”Talenthouse was thrilled to partner with Primesight to inspire our global creative community to get behind this project with beautiful work that will carry Future Dreams’ worthwhile message into the OOH medium.”

The posters featuring the creative are situated in high traffic locations, with the aim of reaching millions nationwide and making a difference to the lives of women and their families living with breast cancer. With nearly 55,000 people a year diagnosed with breast cancer in the UK, the equivalent of one person every ten minutes, the campaign hopes to raise awareness of a national issue through collaboration with the creative industry.

The second burst of The Ultimate Canvas will be displayed across the UK later this year.

Credits
Client: Future Dreams
Brand: Future Dreams
Project name: Cancer Eraser
Chief Creative Officer Ben Priest
Executive Creative Directors Ben Tollett, Richard Brim
Creative Dan Kelly
Business Director: Victoria Day
Account Manager: Abi Robinson
Planner: Hannah Mackenzie
Head of Design: Paul Knowles
Designer/Typographer: Dan Kelly

AT&T’s largest retail store in the country at 24,000-square feet, and one that will serve as the company’s West Coast flagship location opened September 28 with the help of MaxMedia, NanoLumens and others. This new tech-centered store lives inside one of San Francisco’s oldest, and most historic buildings and those involved have done a fantastic job of transforming its celebrated past into a futuristic wonder, and at the same time redefining how customers shop for and learn about wireless technology in an increasingly interconnected world. The new store, at 1 Powell Street in Downtown San Francisco is next to the popular trolley cable car turnaround area.

This historic San Francisco building, constructed in 1908, has been meticulously restored from floor to ceiling by AT&T’s construction team, bringing 1 Powell back to its original Baroque architectural splendor, while adorning its vast open space with an array of next-gen tech accessories. Restoration specialists even used feathers and cotton swabs to gently remove decades’ worth of dirt and grime in the majestic coffered ceilings, inch by inch.

Fred Devereux, Regional President – West, AT&T Mobility told us “Our 1 Powell Store is a premier retail environment respecting the beauty and history of the location while bringing the most exciting new entertainment and mobility services to life. It’s as much of an innovative educational space as it is a retail space where customers can interact with the latest technology and learn how it may integrate and simplify their everyday lives.”

The store’s 6,000-square-foot second floor space features a one-of-a-kind interactive, forward-thinking tech playground featuring connectivity through the Internet of Things (IoT) focusing on products such as Entertainment, the Smart Home and Connected Car. It is a physical manifestation of AT&T’s vision to be the premier integrated entertainment provider.

Customers will be welcomed at the top of the escalator by a custom hologram that speaks to AT&T’s innovation and evolution. Throughout, customers will have the ability to interact with each experience through touchscreen technology on 98″ monitors and connected products such as a smart refrigerator to showcase how simple a connected life can be.

AT&T wants to change the face of retail, and the company has evolved its stores to meet customers’ growing needs. This new 1 Powell store is a major part of AT&T’s strategy, positioning itself as an industry leader by simplifying and improving its customers’ world through connectivity.

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