More on @LightkingOutdoor’s New Air Series

April 30th, 2016

Gail Chiasson, North American Editor

Lightking Outdoor, whom we met at the TAB/OAAA Conference and Expo last week in Boca Raton and mentioned in an earlier article, sent us, as requested, more details on its new Air Series, which the company was touting as a breakthrough in LED billboards.

Back design lets air flow through.

Back design lets air flow through.

The LED billboard and sign manufacturer unveiled its patent-pending new product, the Air Series, at the Expo, where it drew considerable attention.

The lightweight billboard is half the weight of standard LED billboards, has 25% lower wind-loads and allows air to flow through the product, making it self-cooling. The innovative design combines an aluminum exoskeleton and injection-molded louvered modules making it less necessary to reinforce billboard structures during retrofits, saving months of time and tens of thousands of dollars.

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Clear Channel Canada Launches Casino 3D Spectacular

April 29th, 2016

Gail Chiasson, North American Editor

Clear Channel Canada’s operations team, working in conjunction with Fallsview Casino, recently executed a larger than life 3D campaign in Yonge-Dundas Square in Toronto with a 28’, 7,000 pound roulette wheel.

Fallsview roulette wheel

The ‘It’s a Wild Ride’ campaign launched on the South side of the AOB tower earlier this month. The campaign features a 28-foot roulette wheel holding 11 roller coaster chairs with six lifesized mannequins seated inside.

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CEO Spotlight: John Partilla, Screenvision, New York

April 29th, 2016

Gail Chiasson, North American Editor

This month we welcome John Partilla, CEO, Screenvision, New York.

John Partilla

  1. Your employment background has been largely in the advertising business. Tell us a bit about that background and what attracted you to the movie business.

    Over my 30-year career, I have been able to sit on the media publisher, creative agency, and digital sides of the table. This is my third rotation on the media side, following stints at Time Warner, and Clear Channel (now iHeart). The Screenvision Media position gives me the unique opportunity to leverage my diverse experiences and tap into the powerful platform and immersive attributes of cinema. There is so much opportunity ahead of us with respect to meaningfully enhancing the audience experience, the advertising and content integration value, our internal cultural and team dynamics, and ultimately our own revenue and bottom line growth opportunities.

    With the scarcity of premium video, we are really in the fortunate position of having the Premier Video offering within the premium video space – particularly when bolstered by the 40’ screen, captivating and immersive environment, 100% viewable and unskippable with the most coveted audience in media. I feel like this is a once in a lifetime opportunity where we can make substantial impact on a sector.

  2. Please enlighten us about Screenvision’s history.

    Screenvision Media has long been a leader in the cinema advertising sector, and has a long-standing and well-earned reputation of strong relationships with our affiliates, the theaters, and our advertising agency and brand clients. Being partner friendly, and really focusing on our stakeholders’ businesses has created a history of win-win scenarios, and many long-term relationships. From the advent of cinema advertising through today, Screenvision Media has always been very mindful of creating and delivering value, which has truly been a hallmark of our success.

  3. How many theatres and screens now make up your network across the US? Do you plan to add more? How and from where?

    Our cinema advertising network is comprised of over 14,300 screens in 2,300+ theater locations across all 50 states and 94% of DMAs nationwide. We deliver through more than 150 theatrical circuits, including six of the top 10 exhibitor companies.

    Darryl Schaffer is our executive vice-president of operations and exhibitor relations, and she does a fantastic job overseeing our exhibitor partners and network. She, along with the rest of our team, is continually looking to strategically grow our network while providing excellent service and solutions to our existing partners.

  4. Screenvision almost became a part of National CineMedia last year but the deal was scrapped. Tell us what happened. Why had NCM wanted Screenvision?

    Both companies are leaders in the cinema space, and there were perceived potential synergies, and certain additional opportunities for exhibitors and advertisers. Ultimately there was a measure of resistance from the U.S. Department of Justice, and upon further consideration, both parties decided not to pursue the deal further. What’s more important though, is that we are very pleased where our business is heading, and the opportunities that presently lie ahead.

  5. Screenvision received financial compensation when the deal with NCM fell through. How is that money being used?

    We re-invested those related funds to further strategically invest in our network and platform offerings, in addition to various legal and other merger- related expenses.

  6. Tell us about Screenvision’s pre-show: what’s involved; length; what else you would like to see it include; and what kind of advertisers are using it.

    Screenvision Media’s pre-show, entitled ‘Front & Center’, is about 22 minutes in length. It usually contains three-to-four content segments, including music videos, behind the scenes from movies, branded content, as well as trivia, supported by a growing mix of local and national advertisers. We really strive to have a focus on entertaining content that is, or will be, in the zeitgeist. The company has done a great job in elevating the preshow offering over the years, and the current Front & Center Preshow has really focused on enhancing the experience for moviegoers AND participating brands. That said, we do think that there are even more opportunities, and we look forward to further developing preshow programming that moviegoers continue to show up earlier for.

    We are seeing growth across many categories, including historically TV lead categories like auto, entertainment, finance, consumer electronics and alcohol.

  7. What about your other OOH and DOOH offerings in terms of lobbies, theatre fronts and concession stands: what are your plans for these?

    The demand for the on-screen impact of cinema advertising has become so robust, we have been extremely active in creating opportunities for brands to extend reach beyond the screen. We are very excited about the enhanced offerings for digital displays, and feel that that Christie and Cinema Scene are leaders in the space. We are also exploring data and beacon integrations to learn more about audiences.

  8. Whose content management software do you use for these, and why?

    There is a combination of Ayuda and in-house systems for these lobby systems.

  9. A lot of theatres are revamping their lobbies, the dining options, the in-theatre seating. Does Screenvision see that as an opportunity?

    Absolutely! The environment is a big part of the draw for audiences – especially for millennials who are looking for those types of enhanced experiences while going to the movies. We’ve really seen our exhibitor partners invest in upgrades along those lines, and it only helps to make our network stronger and more appealing.

  10. Tell us about Screenvision’s growth strategy and expansion plans. What kind of digital signage would you like to add and where?

    Screenvision Media’s growth strategy is certainly driven by further building and strengthening our content, technology, data, and creative alliances that continue to enhance our unrivaled on-screen impact. We offer our advertisers an unequalled opportunity to showcase their brand in the highest premium video environment, a 40’ screen exhibiting the best storytelling – the movies – in a captive and immersive environment. As we look to extend our engagement offerings, in particular video, we see digital signage playing a role as data, targeting, social and interactive capabilities roll out.

  11. Is most of your advertising national or regional/local? Tell us about the interactive solutions you offer advertisers.

    We have significant on-screen advertising business on the national and local front, with our national revenues making up a larger share of our business. As to accounts and advertisers, since we sell at a very local level, we have more individual local advertisers than we do national.

    We offer advertisers a broad range of ways to connect to our audiences, as we realize that each and every client will have their own unique needs and preferences. From SMS/text to screen and audio synchronization (e.g, SoundHound) to push content to moviegoers phones, to audience controlling the screen with their gestures, voice and phone – we continually refine and elevate our technology capabilities to create deeper, richer, and ultimately, more impactful engagements.

  12. What kind of measurement systems do you use?

    We use Nielsen to measure and post our cinema audience.

  13. How do you see cinema advertising growing in the future, or do you? What do you think will help it grow?

    2015 was a great year for cinema advertising – the overall U.S. cinema category experienced a 15.6% increase in national/regional revenue with revenue topping $700 million. Cinema has very powerful attributes and brands are taking notice. The premier content, immersive and captivating environment, 100% viewable and unskippable platform in front of the most coveted audience in media have become essential elements of media plans, and it’s only going to continue to grow.

    We are putting more and more emphasis on technology integrations and innovations. That, paired with the long term stability of the box office, relative to prime TV ratings declines, and recent digital controversies, should encourage even more media buyers and planners to strongly consider cinema advertising as an ultimate prime video replacement.

  14. What can theatres do to gain and retain audiences – and advertisers – when movies are so quickly and easily made available on services like Netflix?

    There is no movie-watching experience more impactful than viewing it on a 40’ screen with surround sound in a completely immersive environment. Movie-goers are truly looking for that unparalleled experience. There will always be a time lag between when movies shift from the big screen to other screens, so it is our challenge to continue making that period of time one that is exponentially better than watching a movie on a personal device.

  15. And how has that challenge affected the way advertising is sold? How is Screenvision adapting?

    We continue to make sure that we share with our advertisers the value of the audience and the resulting impact of the cinema impression, and we challenge ourselves to be the best at that part of the business. As advertisers and agencies increasingly become more comfortable with cinema, we are able to showcase our exceptional creative capabilities and build bigger integrated programs to help drive their business.

  16. Do you think that cinema advertising should be considered separate from other DOOH advertising when it comes to compiling figures on growth of the OOH and DOOH industries? Why or why not.

    Cinema advertising, in particular on-screen advertising, sits in two planning buckets, Broadcast TV/Video, as well as OOH. As such, the measurement should be thought about from a bi-focal lens. We have worked very hard to strongly position cinema as a highly relevant alternative platform in the Video/TV consideration set, while recognizing the power of our big screen medium in the more conventionally defined OOH bucket. Both universes are highly relevant, and we cherish and manage these precious ecosystems accordingly.

Two Promotions at @KineticWW

April 29th, 2016

Maddie Cotterill

Kinetic Worldwide, WPP’s out-of-home agency, announced today that it has promoted two members of its team.

Kinetic_Carrie and Cedric

  • Cedric Bernard has been named Chief Operating Officer, Kinetic North America from Chief Financial Officer. Bernard will work with CEO, Kinetic North America David Krupp in developing new business and identifying efficient organizational approaches for the agency. He will continue to oversee the finance department including revenue growth and optimization. Bernard joined Kinetic in July 2013, and prior, he was EVP, Operations and Finance at Dentsu. Earlier, Bernard was at Publicis Groupe for eight years, where he held various positions including SVP, Chief Financial Officer for Publicis Modern USA, Chief Financial Officer for Publicis Events USA, and Finance Manager for Lion Re:Sources USA. Before Publicis Groupe, Bernard held Controller positions at IXO, Sodexho Alliance, and Price Waterhouse Coopers.
  • Carrie Thompson will oversee Human Resources for Kinetic North America. Thompson has been with Kinetic for the past six years. In her new role, she will provide recruitment support, staff training and development, as well as managing hiring, on-boarding, and staff administration. Prior to joining Kinetic, Thompson worked in the entertainment industry, managing HR, operations, and payroll for multiple production companies on behalf of ABC Studios, Columbia Pictures, Paramount Pictures, and Universal Studios.

CEO, Kinetic North America David Krupp said “Cedric and Carrie are smart, passionate, and dedicated to making everything they touch great. I’m so pleased to announce their promotions and look forward to their continued effort to advance of our mission and goals on behalf of our team, clients, and partners.”

Leadership Changes in Netherlands 4 Clear Channel International

April 29th, 2016

Maddie Cotterill

Clear Channel International (CCI) has announced that Jeroen Hillenaar, founder and Managing Director of ‘Clear Channel Hillenaar’ is leaving the business to pursue new opportunities.

From today, Tom Motmans, General Manager of Clear Channel Belgium, is taking on an expanded role which will also see him assume full leadership responsibility for Clear Channel’s Netherlands business, to become General Manager Belgium and Netherlands. He will continue to report into Matthew Dearden, President Europe.

CCI has also confirmed that the business will now be known as Clear Channel Netherlands, to reflect the next phase of the business’s evolution. At the same time Jan Wichers is promoted to Country Manager Netherlands.

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Bill Tamul joins @JMC_Capital

April 29th, 2016

Adrian J Cotterill, Editor-in-Chief

JMC Capital Partners announced this week the addition of Bill Tamul as a Principal.

Prior to joining JMC, Bill has served in interim executive roles including Controller, CFO, Director and Vice President in various companies. He was a member of Deloitte’s Transaction and Business Analytics practice, which delivered global advisory and analytic services to clients.

Bill successfully led many high profile engagements and worked with management teams in several capacities to develop and consider strategic alternatives, raise capital, improve profitability and liquidity.

In addition to his work at Deloitte, Bill worked at a boutique investment bank focused on merger and acquisition transactions. He started a financial services business focused on preparing companies for a major liquidity event including capital raises, bank re-financings and/or acquisitions. His responsibilities on these engagements were to build and lead teams, set direction and objectives, work with management to define scope, and communicate goals and deliverables.

Michael D’Amelio, Managing Partner at JMC told us “We’re very pleased to have Bill on the team. His strengths in due diligence, transaction execution, and project management with high-value clients and experience will be a great asset to the success of the group.”

At JMC, Bill will lead the firm’s due diligence and transaction execution efforts as well as work with acquisition candidates in support of JMC’s Platform Strategy. In addition to his transaction execution responsibilities, he will assist in the oversight of platform performance and activities.

Bill holds a Bachelor of Arts in Economics from Providence College.

Cieslok Media Partners With Tangled Art + Disability

April 28th, 2016

Gail Chiasson, North American Editor

Cieslok Media has partnered with Tangled Art + Disability, a not-for-profit art and disability organization located in the City of Toronto.

Cieslok.Tangled Art - Gallery OpeningCielsok Media’s network of premium digital displays will be used to create awareness of Tangled initiatives, including the grand opening of their new accessible art gallery taking place at the end of April. For the past 15 years, Tangled Art + Disability has been cultivating disability arts across Canada by developing artists, exhibiting disability art in Toronto, and touring disability art across Ontario.

Jorg Cieslok, CEO and president of Cieslok Media, says, “Supporting art initiatives is something we are truly passionate about at Cieslok Media. We know art has the ability to make a positive difference in the community. Our partnership with Tangled Arts allows us to create awareness around their projects and amplify their message about disability art through our digital signage network.”

“Cieslok Media has been a real champion of the arts,” says Katie McMillan, director of operations at Tangled. “This partnership will help to cultivate awareness around accessible arts practices, promoting inclusion in Toronto’s arts and culture sector, while significantly increasing visibility of disability arts.”

Cieslok Media is a proud supporter of the arts, supporting local art organizations, such as Toronto Art Foundation, and now, Tangled Art + Disability. On May 4th, Tangled will open Tangled Art Gallery, a public art gallery dedicated to showcasing the best of Canadian disability art and advancing accessible curatorial practices in exciting, innovative ways.

The Rise of B2B Hardware Startups in #IoT

April 28th, 2016

Andrew Neale

There’s a really interesting event taking place on the evening of Wednesday May 18, 2016 during London Digital Signage Week, ‘The Rise of B2B Hardware Startups in IoT’ with ‘Founder Talks’ by Eyetease, Visionect and Converge.

  • Richard Corbett Founder & CEO of Eyetease. Richard Corbett is the Founder & CEO of a high growth British hardware startup. Richard has a keen eye for identifying productising and commercialising disruptive market opportunities. Founded in 2010 Eyetease is ranked in the top 20 British Startups, top 250 fastest growing UK companies and has won multiple awards for ‘Best Technology’ and ‘Innovation’
  • Luka Birsa Co-Founder & CTO of Visonnect. Luka is building crossroads between the physical and digital world and has great insights into open platforms and the future of communication. Luka also founded Visionect, a hardware startup creating the next generation of digital signage based on electronic paper. Not only does their technology have great visibility it also uses 99% less energy consumption
  • Raphael Scheps Co-Founder & CEO of Converge. Raphael has a background in system solutions and software development and is now leading the way with wireless and cloud-based sensor technologies. Converge use wireless sensor networks to automate manual monitoring in construction, manufacturing and oil and gas and has now partnered with some of the leading construction companies with the aim of making this technology ubiquitous


19:00 – 19:20 Check in + beers and pizza

19:20 – 19:30 Event opening

19:30 – 19:50 Richard Corbett, Founder & CEO of Eyetease

19:50 – 20:10 Luka Birsa, Co-Founder & CTO of Visonnect

20:10 – 20:30 Raphael Scheps, Co-Founder & CEO of Converge

20:30 – 20:50 Community announcements

20:50 – 22:00 Drinks and networking

It’s taking place at Base King’s Cross – 103c Camley Street, London, N1C 4BN and you can APPLY for a ticket here.

MAG Appoints @Primesight To Handle It’s #OOH

April 28th, 2016

Maddie Cotterill

Manchester Airports Group (MAG) has appointed Primesight to handle its out-of-home advertising contract over a five-year term starting May 2016.

Happy as Larry :)

…. as happy as Larry :)

The contract was awarded following a competitive pitch and covers MAG’s four UK airports at Manchester, London Stansted, East Midlands and Bournemouth, reaching approximately 50 million passengers a year.

Mark Schofield, Head of Advertising at MAG, said “We are very happy to be working with Primesight to deliver our OOH advertising. Primesight’s ideas are ambitious and innovative and they have demonstrated to us that they understand how digital is transforming the market for the better. We look forward to further developing new offerings, and further improving our existing ones with Primesight’s expert help.”

Manchester and London Stansted are the third and fourth busiest passenger airports in the UK and the focus of significant investment from MAG.

The partnership will recognise and leverage the customer and marketing benefits that can be realised through exciting opportunities being developed at a new generation of smart airports, as they serve growing passenger numbers. Ad technology, combining digital displays and personalised communication across customer touchpoints throughout the airport journey will create a powerful and valuable marketing proposition for regional, audience-focused and destination-based clients.

Naren Patel, CEO of Primesight,told us “Primesight is delighted to be awarded this contract. MAG has an exciting environment, which is growing in diversity and number of passengers. New routes, improved terminal facilities and MAG’s active interest in developing great advertising opportunities will allow us to create more engaging and relevant advertising opportunities in these unique spaces.”

Primesight’s Rubbi Bhogal-Wood has been promoted from Business Director to Head of Sales for MAG.

How to Leverage Signage in a K-12 Education Setting

April 28th, 2016

Gail Chiasson, North American Editor

The Digital Signage Federation, the independent not-for-profit trade organization serving the digital signage industry, is inviting DSF members and non-members alike to attend its Wednesday, May 11 ‘Hangout’ panel discussion at 2’pm EST, on the topic of ‘Leveraging Signage in a K-12 Education Setting’.

As the majority of young students beginning school are already technology savvy, educators are embracing technology more often to connect with both students and parents as an efficient way to provide information. As part of that outreach, schools are deploying digital signage as an effective engagement tool with the added benefit of having an on campus network provide immediate notification campus-wide in the event of emergencies.

Hangouts are 45-minute panel discussions using Google’s Hangout platform with a moderator and a panel of three or four industry professionals.

The panel comprised of Digital Signage professionals who are members of the DSF, will include: Wayne Fulton, assistant director of technology, Manor Independent School District, Texas; Joelle Bejarano, applications/business analyst, Kent School District, Washington; and Ryan Cahoy, managing director, Rise Vision, Toronto.

In addition to discussing the most common digital signage applications, the panel will also speak to the merits of implementing signage and address the most common concerns facing both the public and private school systems:

  • How digital signage supports the mission of K-12 education;
  • Provide examples of systems using digital technologies for engagement;
  • The best approach to digital signage for K-12 and who should support it;
  • The feasibility of advertising to subsidize the cost of new technology;
  • How to obtain and curate content to ensure that messaging is appropriate and fresh;
  • The role of digital signage in emergency notification.

More information on the May 11 Hangout event or other DSF events can be found on the DSF website. Both DSF members and non-members may join these, or any of the DSF’s scheduled Hangout conversations for free – but registration is required and can be accessed on the DSF Event Web Page.