Archive for category: Look Who’s Talking

An ever-present issue for PR agencies, Ben Kershaw, Client Services Director at Katch International discusses the problems faced when clients try to escape paying their fees, the lessons learnt in the process and the precautionary measures that should be taken…

People, regardless of their position and company status will often try to take advantage in this industry

Whether you’re a multinational or a boutique agency, the issue of clients trying to escape their financial obligation to you is something we have likely all experienced. In Dubai, this pressing issue is magnified as a result of its fast-paced nature and the ever-changing landscape of company circumstance. Often, chasing payments can consume almost as much time as executing the project the agency was initially recruited for.

When representing a very large client upholding, an agency might not only oversee the client’s presence in a specific country but across other continents, and look after not just their PR, but also their events production and design. This means dealing with suppliers to produce almost all of their collaterals, from business cards to press walls. Suppliers will always require a certain percentage upfront, which can create large cash flow issues when it comes to some of the huge scale events. Sometimes clients follow payment terms, but at times, due to the urgency of the job, suppliers rely on strong business relationships with the agency to proceed without down payment. If, after not being paid a retainer fee, a client’s financial team also refuses to pay suppliers due to lack of a paper trail, this then has potential to completely damage rapport with said suppliers, forcing an agency’s hand to look for new ones to service other deliverables for paid clients until all outstanding payments have been settled.

It’s also important to realise that a previous relationship or friendship with a client will not equate to having the same pleasantries in business; if a personal relationship takes a professional turn, it is easy as an agency to leave yourself vulnerable by easing up on standard protocol and even easier to get caught up in the moment of a great potential campaign. But, when it comes to money, financial teams can be ruthless, often not understanding the customer-facing and sales elements of their business that agencies are trying to support. The personal relationship you have with the client won’t guarantee that they will be able to reciprocate in the same professional manner when it comes to a contracted arrangement. When this occurs, it’s the agency that loses out.

Sadly, these occasions are more frequent than not in recent times. Other than taking legal action – which aside from being against the ethos of many companies is neither time nor cost effective – it then unfortunately translates to swallowing the cost, picking up the pieces and walking away; in contrast to the UK where this matter could be addressed in a small claims court or dealt with through mediation, which would see closure on the case.

People, regardless of their position and company status will often try to take advantage in this industry. Clients are always going to have an ‘off month.’ As an agency, this is something we are all too familiar with. So as a rule, the first service to be cut and the last cheque to be signed is marketing. In a bid to protect us as an agency, Katch’s contracts stipulate both UK and UAE laws. In addition, we have taken steps to allow our clients flexible payment options set out from the beginning in the payment plan.

Extra measures such as adding a clause on intellectual property rights being yours until the contract has been honored are other steps we have initiated. We’ve also made it clear with our suppliers and clients that all third-party agreements must be adhered to or a job will not be delivered.

In this country, reputation is everything and word does spread if certain clients are known to avoid payment. At the end of the day, all we agencies can do is protect ourselves.

Ben Kershaw is the Client Services Director at Katch PR.

Wondering how you can start monetising your online video content? Margaret Davies, Global Vice President of Global Media Account Management at Brightcove discusses what you’ve always wanted to know but have been too shy to ask…

With the combination of great content, the right platform and an interested and engaged audience, it’s more than possible to start making more bang for your buck when it comes to your online videos

Increasingly, businesses, marketing and traditional media professionals in the Middle East are looking at how video can help connect them with their target audience more effectively, and there are several factors that are coming together to influence this change. According to a survey by Mohammed Bin Rashid School of Government (MBRSG), more than 135 million individuals are using the Internet in 22 Arab countries. Most interestingly, 49% of MBRSG respondents watch video clips at least once a day

In other studies, over 60 million young people (15-24 yrs) are going to transition to adulthood in the MENA, according to AMO, and 70% of these entrants are skipping the print versions of media and becoming digital-only consumers, says Strategy&.

In such a rapidly changing reality, traditional communication has to evolve through investing and building strong cross-platform assets – video being the obvious choice due to its impact as well as ability to adapt to traditional and online platforms. But, as this trend continues to grow, it’s important to understand that video not only increases engagement, but supports profitability.

We understand that the idea of monetising content sounds daunting; it’s like the awkward question when you’re out for dinner – who picks up the tab – but rest assured that it’s more straightforward than you would think. Here we’ll discuss three business models where each one works in a different, yet effective way.

Firstly, ad funded video uses payment from advertisers as revenue and often requires no payment from viewers. One of the easier monetisation models to set up; the hard work is attracting advertisers to your content.  What’s the best approach? Advertisers want to find videos that complement the brands that they represent and are more attracted to high quality, professional videos.

Another way to make money from online video is to simply charge people for it, better known as video on demand (VOD).  There are two main forms of paid online video – SVOD (Subscription Video on Demand) and TVOD (Transactional Video on Demand). While VOD is most often associated with entertainment, with high production values such as movies and TV shows, it’s possible to generate revenue by charging people for very specific niche content – for example, you can charge for instructional videos, highly localized news content or business analysis by an expert in the field.  How do you get the most out of VOD?  Make sure you have content that keeps customers coming back for more, either in the form of a video library or recommendations based on previously viewed content.

Finally, there is authenticated viewing. This is the ability to view content on your TV, tablet and smartphones, with all the devices accessing the same content as and when required.  Although it doesn’t always generate a direct stream of revenue, authenticated viewing can be a great value-add for your existing customers to enhance viewing experience. If done well with the right player experience across each device and user friendly log in procedures, authenticated viewing can increase loyalty from your existing customer base and entice new customers.

The growing presence of online video highlights how important this medium is to consumers and customers. With the combination of great content, the right platform and an interested and engaged audience, it’s more than possible to start making more bang for your buck when it comes to your online videos.

 

Steve Cornish, Managing Partner at Ruleof3, sheds light on the trials and tribulations of clients who fixate on the size of their brand logo and offers tips on why it’s necessary to be strategic…

White space is our friend. Just because you’re paying for a page in a magazine, it doesn’t mean you should use every single square millimetre

If I had a dirham for every time a client asked us to ‘make my logo bigger’…

Unfortunately, it is a well known comment in the design industry – it seems no matter what size a client’s logo is, they will always want it BIGGER. Of course they want their brand to stand out, be memorable, and a bigger logo will achieve this right? No.

When we disagree, we are not trying to be difficult. By all means, we’ll make your logo bigger, but the design needs to be effective and achieve the objectives set by the brief. Even small changes can often bring up other problems that will need to be solved within a design to make it work, so it really isn’t as simple as just making the logo BIGGER. Here are a few points to consider before asking ‘THAT question’ and becoming another one of ‘those’ clients:

1. Visual balance
A designer is always on the quest for balance, originality and that ‘cool factor’. Often, designs have been poured over with the size of different elements tested in many ways. Humans are naturally drawn to symmetry and balance, so making an element on the page larger or smaller may throw this out, resulting in the design being less pleasing on the eye and your message less effective.

2. Design hierarchy
Why is the term ‘hierarchy’ in a design so important? Essentially, our eyes move around a design and settle on the elements that are given visual prominence. If too many elements – such as a really large logo – are too big, the viewer may dwell on the wrong information or become overloaded and ignore the communication piece completely. We generally have a very short period of time to communicate our message so directing the eyes to maximise the message is one of the best ways to communicate this.

3. The logo is NOT the message
It is rarely the objective of a brief to make the logo the message. Even in brand building projects, the logo is part of an overall look and feel. The logo should support the visual language of the brand, remembering that it is not the only element of your visual brand that communicates with your audience. The imagery, tone-of-voice, colours and typography all come together to create the visual familiarity that should be generated by your brand. These elements need to be consistent and clear, shouting ‘this is who we are’ to create brand familiarity in a way that’s far more effective than a bigger logo.

4. White space
Repeat after me – white space is our friend. Just because you’re paying for a page in a magazine, it doesn’t mean you should use every single square millimetre. White space is important in enhancing your message. White space is the equivalent of a deep breath – it clears the page, allows the viewer to relax and ultimately be more open to your message. White space especially around your logo will give it more visual prominence, rather than just making it bigger.

We are constantly bombarded with over 5,000 images and messages per day, so how is making your logo bigger going to cut through all of this noise? While it may seem like a simple request to ‘make my logo bigger’, it is something that needs to be far more carefully considered to ensure the balance of the design. At the end of the day, a communication piece needs to enter into the memory of the viewer and persuade them to act.

 

Rob Nicholas, Managing Director of NPI, offers his thoughts on project tenders in the media space…

In a business world increasingly dominated by procurement managers, words such as ‘partnership’ and ‘value’ are being replaced by words like ‘supplier’ and ‘cost’

Let’s face it, we all want value. But, at the same time, we also want to be valued. And there is a not-so-subtle difference, especially in the sphere of knowledge-based projects.

Recently, we wished to partner with a digital marketing consultancy, so we met with a few. From those meetings we were able to separate the professionals from the pretenders and find the most suitable company. Our final selection wasn’t the cheapest, but we valued them the most.

The fact is that we adopted this approach naturally. It is within our culture to partner with the best people and the best companies. That is how we achieve. But is it a common approach?

In a business world increasingly dominated by procurement managers, words such as ‘partnership’ and ‘value’ are being replaced by words like ‘supplier’ and ‘cost’. I can understand it when we are talking about material supply – stationary, bricks, mortar – where costs can be compared on a like-for-like basis and service is barely a factor, but not when it comes to the demonstration of knowledge, expertise and creativity.

Let’s compare the creation of successful media to building, as this is an industry where tendering is part and parcel of awarding every job. Except – hang on for a moment – we have missed an important step. The build can only come after the design.

IM Pei didn’t design the Louvre based on submitting the lowest cost and 20 different options to the client upfront. There was recognition that he and his company had the skills, experience and knowhow to spend time understanding the client’s objectives, collaboratively establish a vision, design a plan and turn the project into reality.

The successful development of media also requires an architectural plan. It must be very clear who it is being designed for, or in our case, who the audience is (the client and/or readers and advertisers), to ensure that it will be attractive to them when completed. Then a team of professionals needs to build from that vision.

All too often we are invited to participate in a tender where the architecture is defined. The client is simply seeking a supplier to build. However, in many cases it is apparent that the strategy will not serve the client’s stated objectives or appeal to its desired audiences. To proceed on this basis would mean having to revisit strategy further down the line when it is often too late; like building an apartment block but then deciding it should be an office tower after residents have already settled in.

What’s more, many of these tenders require self-financing, requiring the media house to assume P&L responsibility. The rationale is that a client’s name/brand is considered enticing enough to attract support. This is the equity they bring to the table, along with additional requirements which may serve their objectives, but can also stifle potential returns from advertising audiences and add to the cost of delivery.

At NPI, we don’t subscribe to this view. Our brand, consultancy and expertise has a value and is most effective when it is put in place to shape a project from inception through to completion. That way, all stakeholders can be confident in the approach, understand the full scope of responsibilities and then commit to its successful delivery.

If a client doesn’t recognise the value of strategic input and is not prepared to invest, a partnership will always be impossible to achieve. Without a partnership, there will never be true success, leaving all parties frustrated.

Pitching should be about presenting your credentials and demonstrating why a client should work with you. Track record, accomplishments and insight into the potential project should be sufficient to achieve this, presented face to face where parties can get to know each other.

In the past, we have participated in tenders and were compelled to rewrite the architecture, even if it wasn’t part of the brief, then quote on its delivery. We felt that it would show our value and, in many instances, we were right. However, in others we were deemed too expensive or our presence was merely to assist negotiation with current incumbents.

So, although materials and labour can be compared on a like-for-like for basis, knowledge-based projects need a partner who can help shape the questions and suggest the solutions rather than answer a prescription designed to set a level playing field.

Successful development of media requires consultation, and quality will always have a price. It’s the value that counts.

 

Rob Nicholas is Managing Director of NPI. Connect with Rob on LinkedIn

 

Oliver Doran, Managing Director and Photographer at photosolutions.me, offers his thoughts on why the significance of a professional portrait picture has never been greater…

First impressions are critical in the digital age; consumer and recruitment choices can be made in seconds based on your image

When I meet a client for a consultation, we talk about personality images and the various destination(s) of the final images – what emotion do you want to convey, and where is it going to be placed? Every profession is different, but on a basic level, ‘professional looking’ is a must. A creative person might want to project a more ‘fun and energetic’ image, whereas a business owner may want something more ‘confident and approachable’ – the simple fact remains that a professional photographer will be able to achieve whatever you like while maintaining a corporate edge. When taking company headshots for a team, the art is to reflect individual personality combined with a sense of consistency and brand identity for all staff members. Consistency is key.

Investing in professional imaging counts. First impressions are critical in the digital age; consumer and recruitment choices can be made in seconds based on your image – be it from Linkedin, the company website, company documentation or other social media. So you must question whether a photo from your personal social media accounts (eg. Facebook) is appropriate when putting together a professional online profile, even if it appears suitable to you.

If you care about your own brand appearance, the logical conclusion is you must care about what you do for a living. Both consumers and employers want to put a face to a name and are very likely to make decisions accordingly, as it’s the first step to building a new relationship. Headshots humanise a pitch and initiate a human connection, and the right image is the starting point for the reader to ‘carry on reading’. After all, in a market place, people buy from people, sell to people and employ people.

From a technical point of view there are two types of portraits – the straight headshot and environmental portrait. Environmental portraits include your work environment within the photo, and the headshot is purely head and shoulders photographed in a studio environment with a simple white, or grey background. Both have their advantages. The choice of different lighting techniques and posing are massively important in reflecting different messages and making flattering, professional photos.

The photography you use is synonymous to your individual image as well as your company’s image, and is a marketing investment that will represent your level of professionalism. A brand needs a well-designed logo, and the human face of a company also needs the same image strength. A serious company would never consider delegating the logo design to anyone other than a graphic artist, and in my opinion, it’s less detrimental to have no photo than a poorly taken one.

Don’t let your first impression be your last!

 

Oliver Doran is Managing Director and Photographer at photosolutions.me. Follow him on Twitter @Photosol or visit www.photosolutions.me