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| Author | Zoe Aresti |
Digital Cinema Media’s Head of Film, Tom Linay, writes for shots about the bright future of growth for the cinema medium, where viewers will actually pay to pay attention to unskippable advertising.
This article first appeared on shots.net.
Throughout the last century, the death knell has been sounded for cinema on many occasions, inspired by the advent of radio, television, VCR, Adam Sandler’s career and HD streaming. Yet cinema admissions are set to cross the 170 million mark, a figure that has only been reached six times in the previous 45 years.
While most traditional media have felt the digital squeeze, cinema has bucked the trend over the last three years to hit new heights. 2015 saw a record revenue increase of 25 per cent, rebasing cinema’s share within the ad market. This was backed up again with a six per cent rise in 2016 and, with ad revenue set to be up again in 2017 in a particularly challenging market, the value and power of the cinema medium is more relevant than ever.
Emotional impact
This growth is a big draw for brands who are recognising that cinema’s proposition is stronger than ever. Cinema is becoming an intrinsic part of the AV schedule, driving sustainable long-term growth for brands.
Some of the most effective campaigns consider how cinema’s emotional impact can be maximised, while long-form campaigns are also perfect for the big screen, with over 180 advertisers showcasing their stories during the last 12 months.
With content that is unskippable and of the highest quality, people are actually paying to pay attention. Rather than blocking ads, fast forwarding through them, or closing their eyes whilst on the tube, cinemagoers are always looking forward.
Brands are taking advantage of this to build key brand metrics, such as salience, consideration and love. The recent Digital Cinema Media Awards celebrated the best creative that has been seen on the big screen in the last 12 months; the stand-out work was long-form creative that told a compelling story and worked hard to engage an attentive audience. The Grand Prix winner was Channel 4 and OMD’s film for Channel 4’s Rio Paralympics coverage, We’re The Superhumans, which improved an already stunning creative with a cinema-only signed version, with the signer almost as entertaining as the ad itself.
Cinema for all senses
Brands are also recognising the kudos and prestige that comes from aligning themselves with the best feature film content, evidenced by some striking partnerships. San Miguel took ownership of the outdoor screening season across the summer, partnering with Picturehouse Pop-up cinema, showcasing classic films in stunning locations. Last year, when Leffe sponsored the event, people could drink beer while watching Groundhog Day at the Asylum in Peckham – that’s a day to relive over and over.
Max Factor has just begun a year-long partnership instructing cinemagoers how to ‘get the look’ of some of the most stunning upcoming films. It has already kicked-off with Murder On The Orient Express, although they couldn’t tell us how to grow a moustache like Kenneth Branagh’s. The next film they’re focussing on is 2018’s big musical, The Greatest Showman, which stars Hugh Jackman and Zac Efron. Is the High School Musical magic still there? We’ll find out on 1 January.
Exhibitors are looking forward, too. Seats are getting comfier and high profile new cinemas seem to be launched on a weekly basis, with Everyman On The Corner in London’s King’s Cross the latest cinema mecca.
Technology is developing, with 4DX, the immersive, multi-sensory experience expanding to 14 screens in 2018 and 22 screens in 2022 – ideal for the next Avengers film, maybe not for Fifty Shades Freed. This year saw the first 4DX ad, with Xbox’ Forza driving game, which picked up a DCM Award for innovation.
Best yet to come
It’s undeniable that the best content is on the big screen – look at Dunkirk, La La Land, Blade Runner 2049, or Paddington 2. There’s plenty more where that came from on the horizon: a new film from Steven Spielberg, Gary Oldman as Winston Churchill, another beautiful original title from Pixar and a new sci-fi stunner from Ex Machina’s Alex Garland. If you want to be in the most exciting spot in advertising, cinema’s got the best seat in the media landscape house.