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- 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 -
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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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- THE CURRENT STATE OF THE SECOND SCREEN -
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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.
- Josh Robinson, Head of Digital at Synergy Sponsorship
- 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 CURRENT STATE OF THE SECOND SCREEN -
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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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- THE CURRENT STATE OF THE SECOND SCREEN -
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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 -
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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
1
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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- A LOOK INTO THE FUTURE -
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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.
- Josh Robinson, Head of Digital at Synergy Sponsorship
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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- A LOOK INTO THE FUTURE -
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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.
- Josh Robinson, Head of Digital at Synergy Sponsorship
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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- A LOOK INTO THE FUTURE -
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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 -
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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 -
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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 -
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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 -
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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.
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- 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.
- 17 - #CerebraInsightsThe Second Screen
http://www.synergy-sponsorship.com/blog/category/rbs-6-nations/http://www.synergy-sponsorship.com/blog/category/rbs-6-nations/http://www.mmaglobal.com/case-study-hub/upload/pdfs/mma-2013-714.pdfhttp://www.mmaglobal.com/case-study-hub/upload/pdfs/mma-2013-714.pdfhttp://www.psfk.com/2014/05/fast-food-try-soccer-game.html?utm_campaign=trueAnthem%253A%20Trending%20Content&utm_medium=trueAnthem&utm_source=Twitter%23!OY6ec#!ZFKZ4http://www.psfk.com/2014/05/fast-food-try-soccer-game.html?utm_campaign=trueAnthem%253A%20Trending%20Content&utm_medium=trueAnthem&utm_source=Twitter%23!OY6ec#!ZFKZ4http://creativebrief.com/homehttps://www.youtube.com/watch?v=85sRk_KQrTAhttp://www.synergy-sponsorship.com/blog/category/rbs-6-nations/http://www.mmaglobal.com/case-study-hub/upload/pdfs/mma-2013-714.pdfhttp://www.psfk.com/2014/05/fast-food-try-soccer-game.html?utm_campaign=trueAnthem%253A%20Trending%20Content&utm_medium=trueAnthem&utm_source=Twitter%23!OY6ec#!ZFKZ4http://creativebrief.com/homehttps://www.youtube.com/watch?v=85sRk_KQrTA8/12/2019 Understanding the Second Screen
19/19
- 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
- 18 - #CerebraInsightsThe Second Screen
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-journeyTop Related