GDL Presents: Creative Sandbox | Mobile


Uploaded by GoogleDevelopers on 12.11.2012

Transcript:

BRIAN MOROZ: All right.
Well hello everyone on the Hangout.
And welcome to the first in our week long series from the
Creative Sandbox Gallery.
My name is Brian.
I'm here at Google.
And sitting next to me is Pete.
PETE LEPAGE: Hey.
I'm Pete LePage.
I'm a developer advocate on the Chrome team.
And I help developers make cool web stuff.
BRIAN MOROZ: So that's what we're going
to talk about today.
And today we're going to be talking about mobile
specifically.
And this whole week we're going to be highlighting
agencies that have done spectacular creative work
using some of Google's products or APIs.
This afternoon we have Beattie McGuinnes Bungay on the line.
And they are all in London.
So it's very dark out by them.
And we appreciate them coming on board
this late in the afternoon.
Thanks, guys.
If you guys could give a quick round of who you are and what
you do at the agency, then we'll segue
into what you've done.
And we'll take a look at some of your work.
ARTHUR: Hello.
I'm Arthur.
And I was the creative tech on the project.
MAX: And I'm Max.
I was the account director at BMB on Grolsch.
MEL: My name is Mel.
And I am the producer on Grolsch.
CALUM: And my house is Calum.
I was the interactive designer on the project.
BRIAN MOROZ: All right.
Cool.
PETE LEPAGE: So there we are.
And before we segue in, we're going to talk to these guys
about what they did, how they did it, who they worked with,
what were the horrible nightmares they dealt with it,
what were the wonderful rainbows that
appeared on the horizon.
Let's actually take a look at a reel of the work.
And we'll jump in after that.
BRIAN MOROZ: Awesome.
MALE SPEAKER: Grolsch is a big bold beer, looking to deliver
a rich brand experience.

[?
MALE SPEAKER: Yant Van Dig.
This legendary policeman has never spoken a word.
Local gangs have dubbed him [? Deres ?]
[? dika ?]
[? daz, ?]
the quiet badger.

Sing, little canary, sing.

MALE SPEAKER: [? Ke kuriwi wos ?].

MALE SPEAKER: Character speaks louder than words.
Big, bold Grosch.
MALE SPEAKER: Our TV campaign was just the beginning.
We invite our intrigued audience to meet Yant, our big
bold character, online.

MALE SPEAKER: So you've found Yant, the Netherlands most
notorious police officer.

The man who never speaks, he is everything.
Text him your name.
And if it sounds familiar, he'll buy you a beer.

MALE SPEAKER: Yant receives everyone's text live in the
video, replying in real time.
Mobile technology allows us to bring our online Yant to life.
And every user has a unique experience.
Over 2000 uses a day are texting to see if
Yant's heard of them.
If Yant has heard of them, they receive a voucher for a
free four pack of Grolsch.

And to make it even easier, we'll give directions to the
closest place to redeem the voucher.

Win or lose, people are sharing their experience and
bringing a whole new audience to Grolsch.
Try it for yourself at Grolsch.co.uk.

also
PETE LEPAGE: Awesome.
Well I thought that was a pretty cool highlight covering
a lot of neat stuff.
PETE LEPAGE: Yeah.
Very, very cool.
Looks like it was a very fun client for you guys.
I hope so.
And that was a really, really great use a lot of different
technologies.
So maybe we can kick off and just go around the table.
And I'm going to ask the first question.
And this is something that we think about a lot here is what
led to the idea generation process.
Were you guys thinking about Maps technology in the
technology you wanted to harness and then build a
campaign around that?
Or did you have a campaign idea and then go seeking
technology that would fit in there?
What was the process for all of you?
MAX: Well I think for us very much actually the campaign
came first.
And the technology kind of fitted into that.
So Grolsch came to us with a brief that they wanted to
really relaunch after being quite quiet for a period.
So we kind of came up with a campaign about big bold
Grolsch, which is because it has a sort of slightly bigger
flavor than other beers.
So we wanted to really highlight
this and hero it actually.
It's got this big flavor.
But it never needs to really speak about it.
So we came up the campaign of silent legends, who are
characters with kind of [INAUDIBLE]
without having to ever say a word.
So with the creative team, we came up with sort of TV
campaign which went out in the UK.
And then from that, we wanted to then give an experience
that actually got the brand into people's hands.
So how could we take these big silent characters and big,
bold Grolsch, and actually give people experience that
then ended up with them getting them a beer, which was
then when we brought the [INAUDIBLE] in.
ARTHUR: I think we worked with Kate [? Baiten ?] and Joe
[? Brews ?].
And they were the creators on this.
And they had a really sort of strong [? leaf ?] of what they
wanted to achieve.
But we worked with them right from the beginning all the way
through to the end.
And I think that's what really helped us.
They then led the creative group--
decided where they wanted to go, how they
wanted it to work.
But since the beginning, they kind of got is involved in how
that would filter down from what Max is saying, which is
brand [? to have an ?] experience, which was quite a
tall order at the time.
It felt like quite a lot to achieve.
But looking back on it, it worked quite
nicely, that the TV--
that led on to the interactive.
The interactive then led to Mobile.
And Mobile led to the kind of brand to hand experience.

BRIAN MOROZ: Very nice, so very holistic actually.
So this wasn't something where it was you guys are just
working on this kind of walled off digital piece.
This sounds like this really came across all the different
media types, and that that was part of the
idea from the start.
Is that accurate?
MAX: Definitely.
And I think it was massively important, that actually the
digital part of it and the kind of experience that people
had wasn't just an add on that came after a few TV ads.
We always wanted a kind of experience.
And we wanted a reall interesting digital bit.
And it was absolutely part of the brief from the beginning.
But we kind of needed to come up with a campaign, and come
up with what was [? going to fit it ?]
and then tailor a digital experience to that.
BRIAN MOROZ: OK.
So that was baked in from the beginning,
which we love to hear.
And I know that sometimes that's a challenge, depending
on the client, depending on the agency, et cetera.
So it's cool to hear that you guys actually had that from
the get go.
So actually following up on that note, given that it was
across so many media, and it was a fairly rich, fairly
complex campaign, who worked on the project?
How did you guys form the team within the agency?
How did you decide who was going to work out what piece?
How did that all come together?
MAX: Well, we had an account team who work on
Grolsch all the time.
So it was myself, as the account director, business
director, and the planner, [? Jaime ?]
[? Imman ?]--
we took the brief.
And we've kind of worked on what Grolsch could
[? be with ?] case and [? Jaime ?].
So it was that core team that started off the whole
campaign, started off thinking about kind of
where we take Grolsch.
But we knew very quickly that we wanted Arthur as creative
technologist, Calum and Mel to be part of the campaign.
So even as we were kind of looking at the TV scripts,
even as we were coming up with these characters, we kept them
very much involved in it.
And we kept them very much in the loop.
And we were like look, if there's anything that you
think's interesting around this, if there are any
interesting technical innovations, or anything that
you think can kind of help with this brand experience, we
want to know early.
Because I think the earlier you get it in to
a client, the better.
And I think through a [? process ?]
[INAUDIBLE] it was a problem that actually [INAUDIBLE]
stayed.
And it was probably about a year and a half in the making
all in all from kind of getting the brief to actually
getting it out.
And I think that the important thing was that core team stuck
together throughout.
And actually we worked very closely with the client, who's
was very good actually, and very good and kind of
understanding that it's not always going to be very
straightforward.
And if you're trying to do something interested, if
you're trying to do something innovative, there's not always
going to be an example of it to sort of say, oh, well it'll
be like this.
So actually it really helped to have the client come in
early, get to know that team, and get a lot of
trust in that team.
And it meant that actually moving forward as we came
across different hurtles or different things that we
needed to do, we had the client on board very
much from the start.
So that team evolved and got bigger.
PETE LEPAGE: So I was going to ask, were you guys, as you
were working through some of these-- were you building
prototypes for things that you were like, hey we don't even
know if this is going to work, or we haven't seen this done
before-- did you build a prototype to go, OK, here's
what we think it's going to look like?
So that you'd have something to show the client and say
hey, this is a prototype.
What do you think of this?
Or where more going for hey, here are some wire frames, and
this is what we think it'll look like?
ARTHUR: No.
So I mean I think credit to Mel for holding it all
together, we didn't do a prototype.
BRIAN MOROZ: Interesting.
ARTHUR: And one thing that we do almost
always now is a prototype.
I mean we're working on a project at the moment where it
literally looks like it's held together [INAUDIBLE] this.
It's kind of a bit of API here and then another
bit of API over here.
And it's Times New Roman.
And it all looks a bit sloppy.
But one think I think we've probably learnt from the
experience is no matter how rough and ready that process,
it's so important to get that together.
But we didn't on this one.
We didn't have a prototype.
We had a rough idea of where we were going with it.
We had--
I think it was five different [INAUDIBLE]
[? buttons ?] in total including us.
And we were also rebuilding the responsive website for
Grolsch at the same time.
So it was lots and lots of holding bits and bobs that
from a good scope of work we knew we were going to slot
into place.
The prototype would be one thing that we've learnt we
could make things easier for us I think going forward.
PETE LEPAGE: Yeah.
MEL: Yeah.
I think the way we worked in the end-- we kind of
practically identified the clear roles and
responsibilities of all the different partners involved.
Because as Arthur said there were so many.
In terms of the prototype though, we did get to a stage
where it wasn't probably til about three weeks before
launch that we actually had a fully working model that we
could start to [INAUDIBLE] and pull apart.
PETE LEPAGE: That's brave.
BRIAN MOROZ: That's [INAUDIBLE].
MAX: We had quite a trusting client.
And then having been involved and knowing the team.
PETE LEPAGE: Yeah.
MAX: And we had a campaign that we knew was a really
interesting one.
And we just needed to bring that to life.
So I think bringing the client in early and then getting
trust of the team actually really helped with this.
Because then we knew in the end we'd be fine if
[INAUDIBLE]
deliver it.
But it's just at all the stages along the way, there's
not always something to see.
ARTHUR: Yeah.
We knew technically that it was going to work.
We saw pre-written how we wanted the API to work.
We've got the production part in the right places.
We've done many practice [INAUDIBLE] certain areas we
wanted to do.
The thing we didn't do is a master prototype for
[INAUDIBLE].
It was so difficult with all the kind of [? bridge ?] in
front of them and [? think board. ?]
And then [? Mobius SI ?], which brought them very much
the kind of API that's we've built.
Now the API was the bit that we took a lot of scratching
our heads and getting that right.
Then that was the bit that we needed to make
sure was rock solid.
Because we just didn't want any element of the--
if the trip didn't work, it would be [INAUDIBLE].
BRIAN MOROZ: Right.
But it sounds like you guys were actually quite confident
of the technology side.
And it sounds like you also had the team
formed pretty early.
So it sounds like you guys had the team ready to go working
with the client for a long period of time.
And you guys felt confident internally that
we've got this covered.
Except we want to test a couple of things.
But you pretty much knew what you were doing.
You didn't have to build prototypes.
You didn't have to do a lot of test runs.
Is that accurate?
MEL: Yeah.
I think that's fairly accurate.
We were confident in the scale of work that we'd written.
And it was something that continually evolved.
So we even used kind of the basic [? group ?] to approach
the production partners.
And when they came back to us with questions, that's then
more information that--
it helped evolve our scope, and eventually kind of evolved
into the function spec.
Because it became so detailed.
And that's kind of the main thing that held our project
together was this one document that listed exactly how
[? you think ?]
[? they will ?] work.
MAX: I've got to say I found it quite hard working with so
many production partners.
Because actually there's so many different people you're
relying on to deliver the more people you
involve in the team.
So whereas we had a core team.
And it was all sort of fantastic.
It was always quite hard when we'd bring
other people into that.
But as Mel said, it's all about having roles and
responsibilities defined up front, and then trusting your
partners to deliver.
BRIAN MOROZ: All right.
Beautiful.
So that's who worked on the project, and how you formed
the team, which sounded fairly organic.
It sounds like you guys all knew exactly where you needed
to be and what you needed to do.
What did the creative process look like?
As you guys were developing this, who was taking leads at
different times?
Where did the idea come from?
Who said I can make this happen?
Were there particular hang ups or really tough areas
involving the technology or even the ideas?
Where there huge breakthroughs?
Just how did that look from that year and a half long--
which is a long process?
So how did the creative ideas come to bear fruit?

MAX: Well just talking about the very start of the process
before we get into the technology--
I think it took quite a while to get to Grolsch and to get
to this campaign of the silent legends.
So I think that it's something that once we'd actually come
up with it, it was a very simple idea.
It was actually a very easy one to then see how you could
build a campaign through it.
So everything kind of feeds back into that.
But I think that it took quite a long time to actually get to
that as a platform for Grolsch.
And I think that especially in marketing beer, there's a lot
of very good work out there.
I think that you've got to do something very good to make
yourself stand out.
And you've got to really do something very different.
So I think it took a while to kind of actually define what
the platform should be and then where we
should go from there.
But that was Kate and Joe in the creative team, and Jaime
[? McClannah ?] who were the main leads on that and who
steered the client through a lot of different routes, a lot
of different potential ways we could have taken it, and then
come up with a very simple platform that we could then
build from.
In terms of the technology, I guess, Arthur, you could
probably shed some light on that.
ARTHUR: Yeah.
I remember the process quite clearly.
It went the right way, I suppose.
Jaime [? Imman ?], who did the planning, came up with the
approach that he wanted to go with as far as the brand to
hand experience.
Kate and Joe very much looked after the creative--
completely made these characters, envisioned them.
And it's very easy in hindsight to kind of look back
and go oh, that's what Yent's going to look like.
Or that's what Herm is going to look like.
And I still remember getting the brief, which was we've got
to take a silent character and make him give beer to the
people that's right, and taking it all right from that
experience from the TV ad all the way through to somebody
actually getting the beer.
I think the creative process, when we first looked at it,
was quite a tricky brief.
I think it's Tess [INAUDIBLE] that really, really kind of
took it on board with their [INAUDIBLE] and made it
exactly what we wanted bits to do and how it would all work.
And that overarching creative experience that took you all
the way through from one element right to the end, even
down to figuring out the copy and the text and which phone
[? you're going to ?]
use, et cetera, et cetera, what was really, really the
key to getting the whole experience right.

CALUM: I think from a [INAUDIBLE]
point of view, there was a couple of things.
The hangups, someone had said, mainly or predominantly were
the fact that this had to be a really famous video
experience.
And I think clients more and more are pushing for the
[INAUDIBLE]
[? world ?] of HTML5 and what can be achieved with that.
I think there was a conscious decision very early on,
working with our production partner, [INAUDIBLE]
Digital, to go with a Flash-based execution.
And I think that was a really important move in the end.
Because it actually created a really beautiful video
experience.
A breakthrough at the same time was the actual
interaction once you get the mobile voucher on your phone.
I think for a while we were toying with the idea of--
another production partner had let us know about having bar
codes on your mobile and the ability to redeem vouchers.
And it's quite a complex voucher [INAUDIBLE] image
[INAUDIBLE]
[? with Michael ?] and I can.
But what I thought was really interesting was to kind of
create a level of intuitive design on top of that that
allows you to actually find the most local shops based on
your location.
And I think that was a really nice finishing point to what
was already a really nice experience.

ARTHUR: We've done this stuff five to ten years ago of
getting it all the way from TV to somebody else [INAUDIBLE]
try to redeem it using Maps, which is probably the funniest
bit of the project to go sit the whole way through.
PETE LEPAGE: Yeah.
I think that's one of this first big mobile things that
we've really seen that people have really been able to play
with, is taking mobile web apps and mobile websites and
really making them much more interactive because of the
geolocation stuff--
being able to say, hey, your user's here.
What can we tell about that?
Or what can we do with that piece of information?
Whereas you guys have gone and said, OK, great.
Let's find the nearest store.
Or let's find the nearest location where
they can go do whatever.
I think we're going to start to see a lot more of that
stuff coming up in the future as we get access to more and
more device APIs.
Some of the cool ones that I think we'll start to see in
the relative near future people taking advantage are
device orientation and device motion.
So if you pretend this is my cell phone, I can pick it up.
And I can move it like this.
And because of the accelerometer and other
hardware in the machine, I can make the website or the app
respond to those experiences.
So as we get more and more access to hardware and the
stuff like that, I think we're going to see more and more
interesting and exciting apps and experiences.

MEL: I think another challenge was this particular campaign.
Because the character of Yant is quite a simple sort of
storybook character, whereas with technology, the back end
to it's quite [? companate ?].
So we didn't want to over-complicate that character
[INAUDIBLE]
even say his mobile phone that you see your text appear on--
it's still a very basic mobile phone.
But we had the balance of making sure it was a kind of
mobile phone that the character would have.
But at the same time it was a big enough screen so that you
could read their text on it.
ARTHUR: Yeah.
That was one thing that Kate and Joe and myself worked
really hard on was making sure that we got the experience
feel intuitive with your not having a QR code or doing
something that [INAUDIBLE] the overall creative experience.
It needed to be something that tied in with the overall
concepts of these silent legends.
PETE LEPAGE: Yeah.
Yeah.
And I think that's also important that we're using the
same concepts that our users are used to.
We want to start getting them to use new and newer things
all the time.
But we don't want to go hey, here's this brand new thing
that nobody's ever used before, nobody's ever touched.
And we're going to ask you go try it.
Because everybody's going to be like huh.
I don't know how to use this.
So going go in with the SMS to send something-- everybody
knows how to send an SMS.
It's super easy.
But then getting a link back-- everybody again knows how to
click on that link.
And it really does get that, oh, yeah.
This is easy.
I know how to use this.
There's no learning curve.
I can go play with this right away.
There's no of that drop off that you get sometimes when
people are like oh.
This was too hard.
CALUM: And just to talk on that point as well--
I think it's really important to know which devices you're
designing for too.
So I think from the get go, we were straight away thinking
about the iOS Android and the smartphone market and what
people are used to from an interaction point of view as
well, and how maps are usually displayed.
And like you said, not straying too far away from
that and actually building upon it instead.
PETE LEPAGE: How did you guys decide what devices you were
going to support?
Was that decided by the client?
Or was that coming from what you guys said?
ARTHUR: It was [INAUDIBLE], our mobile production partner.
We sort of scanned the market.
We knew the audience [? relatively ?]
[INAUDIBLE]
used.
And from there, we worked with the client and with the
production partners, and what we thought was right, the most
[? system ?] support.
And I'm sure you guys know it's not always the easiest
journey, trying to make a responsive website or a truly
mobile website on these all different elements.
So [INAUDIBLE]
to [INAUDIBLE] and get them right.
MAX: And I think that also came slightly from earlier on
in the process.
Because we knew that our audience is very much indexed
on mobile and smartphone.
So actually any sort of experience that utilizes this
technology is going to do very well with that audience.
BRIAN MOROZ: Excellent.
And it sounds like you guys were very confident in your
use of the technology, which leaves me to ask have you done
work in the mobile, the geomaps kind of area before?
Was this your first time out?
Be just felt like you really had it down?
Why did you feel so confident when you were building this
out that you were like, no.
We can definitely do all this.
We know for a fact it's going to run smoothly.
ARTHUR: I think that the mobile geolocation HTML5
device [? on your ?] stuff [INAUDIBLE] we
felt relatively confident.
Working with Cal, we'd done quite a lot of responsive
designs before and though very much from
mobile upwards really.
It's stuff that we've done on our own site and also for
another couple of clients that we've worked with.
The bit that was the biggest kind of leap of faith was the
API we built for the texting setup and how that would work.
We weren't too worried about the technology that you're
talking about, about the APIs with the Maps.
It was more getting our head around this custom bit of
technology that we'd made and exactly how that would work.
You guys make it pretty easy to make the Maps stuff
compatible and work quite well.
So we weren't too worried about
that part of the project.
BRIAN MOROZ: And while we're on that note-- because we want
this to be an open forum, where we
can all be very honest.
What would you have loved to have seen
from our side of things?
If we could have made the Maps API or anything that you
worked with on our side, better, what
would be that request?
Just so that we have a sense and we can relay that.

CALUM: I guess from an interaction design point of
view and from the actual voucher, I don't think it's
necessarily something that we wanted from you guys, but a
better reliance on native.
So when you're your iOS device, when you click on--
it was Google Maps--
that would jump out to your native app.
BRIAN MOROZ: Right,
CALUM: I think the Get Direction is something that
would be really nice to explore as a web app more.
I think in this particular instance, it seemed more
sensible to actually jump to an [INAUDIBLE] native
Direction app instead.
I know that's something that is in the pipeline.
It's probably due now.
BRIAN MOROZ: That's great.
And any follow up?
PETE LEPAGE: No.
I think getting those interactions between native
and mobile and mobile web are some fairly
big and complex pieces.
And it's certainly something that from my view, being able
to use those directions within a mobile app or mobile
website, I hope to see that come soon.
Because I think there are some really interesting spaces
where you can play with that.
BRIAN MOROZ: Definitely.
PETE LEPAGE: I did want to throw out here as well for
people who are watching, if you want to ask questions of
these guys, you want to ask questions of us, we just put a
link up on the screen so that you can
go post your questions.
And towards the last 10 minutes or so of our session
today, we'll take those questions and make sure that
these questions get answered by some of the folks from BMB.
BRIAN MOROZ: Absolutely.
So one other question for you guys.
Given that you did something that was very cool, very
innovative, went across lots of different media types,
involved lots of different people at your agency, I
imagine you guys learned a lot of lessons that maybe aren't
obvious when you start to jump in.
So my question to you then is what do you recommend to
others who are trying to innovate in a space like this,
where they're using Mobile.
They're using Maps.
They're trying to connect lots of different media, lots of
different ad formats together.
What are the things that if you had an intern and they had
three questions or they wanted three pieces of advice, what
would you recommend if someone is trying to do something--
obviously not exactly like this-- but in this same kind
of realm you guys learned that maybe others don't know?
MEL: I think [INAUDIBLE] point of [? view ?]
and the idea that there were so many different parties
involved, it's just a good idea to identify who the core
team members are from those different parties, and working
out ways of having clear lines of communication so that
everyone's got the same information.
Just something we use quite a lot with Google Docs.
Because everyone could access the same information.
We could do a task list to assign responsibilities and
keep everyone up to date with what was going on on that
particular document.
BRIAN MOROZ: So that's just internally on this team.
Because it is a pretty complicated cross expertise
team that you guys are working with.
So just keeping those lines of communication open so everyone
knows what everyone else is doing.
MEL: Yep.
BRIAN MOROZ: Great piece of advice.
CALUM: I think from a design point of view, it would be
just to keep looking at things all around you, like from the
latest app to a cool website.
I think it's so important to just keep up to date with
what's going on in any way that you can.
PETE LEPAGE: Yeah.
I think to me that is one of those things that as a web
developer, web designer, or even a
technologist in general--
staying up to date with the latest stuff is so important,
looking at some of the cool demo sites, keeping an eye on
websites like HTML5 Rocks and other sites where all those
new things start to bubble up and you can see what people
are doing with them is really such a great
way to remain connected.
It gives you that idea of hey, what's going on in this space?
I just was recently working on a Chrome experiment.
And if you go to Chromeexperiments.com, it's
another great place.
You can also go to M.chromeexperiments.com for
the mobile site to see mobile Chrome experiments.
And a lot of these really show off things that people either
haven't done before or a very small new feature that's just
in its infancy, and really how powerful or how cool it is.
With the Cirque du Soleil Chrome experiment, we used the
Get User Media API to grab the user's face and watch how
their head moved throughout the experience.
Works great on a laptop or desktop.
But that didn't work on the mobile site.
So for mobile, we used device orientation and device motion.
So that is you tip the device, you can see that going.
So looking at sites like that to see what's going on, what's
cool, is a really good way to stay up to date, and as well
as just get some ideas of stuff that you
can do in the future.

MAX: I think something from my perspective would probably be
not necessarily through the technology-- but actually it's
kind of just having one very simple idea that you can
relate everything back to.
I think us doing this mobile experience, and us trying to
get beer into people's hands, there are a lot of points
where it could have become a lot more complicated, and we
could have chucked different technologies in and done
different things.
But actually, at the end of the day, it needs to be a
really simple user experience and something that is very
easy to do.
And I think at times you can over complicate things.
And this was a good example of just keeping it simple, using
technology to its best ability, and then not trying
to kind of throw other bits into it.
PETE LEPAGE: Yeah.
Yeah, definitely.
And on that note, I assume that helped you sell it into
the client.
But I guess a kind of a follow up question is did you guys
encounter any particularly tough areas with the client?
Or were they just gung-ho the whole way through?
How did that work out?
And if you had those experiences where they were
like I don't know if this is going to be right, how did you
overcome those?
MAX: Yeah.
As with every project, there are difficult moments with
different parties.
And yeah, we did have difficult
times with the client.
As I've said, he was involved all along.
And I think that was brilliant.
Because I think he knew what we were trying to achieve and
building towards it together.
I think, as a kind of touched on, the most difficult bit was
not being able to give them an update every few weeks of this
is where we are.
And look.
You can see how we're progressing.
It's like they've got to trust that actually we are getting
on with things even if they can't see it.
And actually with the user at the end, it is going to work.
I think one of the most scary points for me actually was
three weeks before we were supposed to go live.
And we had our first demo.
And it didn't work at all.
And it was an interesting [INAUDIBLE].
ARTHUR: [INAUDIBLE]

MAX: But I think the fact that it had been a long process
meant that we were all kind of on the same page.
And we were all just like, OK, it's not working now.
But this is all we need to do to get it better.
Give us two days.
And then come back.
And I think that yeah, we managed it.
And it worked out well.
BRIAN MOROZ: Yeah.
It sounds like.
PETE LEPAGE: Yeah.
Yeah.
I've got to say that I would have been petrified three
weeks before going oh, boy.
And then having the demo.
So was it a simple thing that caused that
first demo to fail?
Or was it something that you guys had missed caused it?
ARTHUR: It was the classic gotcha.
It was everything that--
you look everywhere.
And you expect everything else to be causing the problem.
And it was the one small thing that you didn't think.
It was actually one of the APIs.
The API we built used lots of other APIs.
And you think that must be robust.
I know that should work.
We've been pinging that.
And that should be working, no worries.
And it was that element that was broken.
One of the APIs we had been using, we just needed to look
at and fix that.
Then we knew what the problem was.
We got around it.
PETE LEPAGE: Cool.
BRIAN MOROZ: Yeah, it sounds like it was an exciting
moment, but one that you guys got over fairly quickly.
That's the best ending to those kinds of [INAUDIBLE].
ARTHUR: [INAUDIBLE]
BRIAN MOROZ: So we'll go ahead and turn in just a moment to
the questions that folks have been sending in.
But any last piece of advice, comments, placed you'd love
people to go check out?
Anything you guys would like to say to the audience before
we jump into their questions?

ARTHUR: I think for me just while we were waiting just a
kind of really boring element.
But I'm sure there's lots of devs watching.
I think one thing that I learned definitely was there
was really [? only ?] key to make sure everything works
well together is having [? repo's ?]
a really good system.
We use [INAUDIBLE], which allows us to deploy to all
different areas.
And that should keep up to date with the production part
we're working on and seeing what's going.
And we can share [? rights ?] and see how everything has
worked together.
And it's the grind behind it.
But it actually makes life really, really easy when you
come to deploying.
Everything's sorted.
Especially when you've got somebody that's a production
partner, people are in their own little word unless
somebody's [? bringing it together. ?]
We can do preview deploys before and checking over and
working [INAUDIBLE], so you can get in big gotchas
[INAUDIBLE].

BRIAN MOROZ: All right.
PETE LEPAGE: Cool.
So if we pop over to questions--
Paul B. from London wanted to know, if you could improve or
change anything, what would you change if
you could do it again?

ARTHUR: For me, this fell at the ground of a
lot of bigger ideas.
We had a lot of extension thoughts we were
really keen to do.
I think we achieved a lot in this project.
I think we did really, really well.
But I think if I could approach it again, there are
lots of extensions that I definitely would have sneaked
in there to try and make things work a little harder
and be a little bit more groundbreaking
in a few key areas.
MAX: A bit for me is actually we'd originally thought that
we were going to maybe do this in a pub.
So actually the giveaway drove to people picking
up cans from a shop.
But there was an opportunity at one point that we might
have been able to do it in a pub.
And I think if we'd been able to drive people to a pub to
get a pint, you could then do a lot more of
those extension ideas.
Because you've got kind of a captive audience.
You know they're sitting there, having their drink.
And you can kind of play with that a lot more.
So I think that that would've been a nice extension.
PETE LEPAGE: Neat.
BRIAN MOROZ: Interesting.
OK.
So next question from Bob in London was having great ideas
in the lab is often easier than convincing
the client to invest.
How did you manage the client throughout the conception,
build, and live faces of this project?
And I think you guys touched on that a bit already, that
you have a very deep relationship.
And you brought them in very early.
Who was your touch point at the client?
Who were you working with most closely?
Did you have one contact that was really your champion?
How did you guys manage that as this kind of went live over
the course of 18 months or so?
MAX: Yeah.
From the client's side, we had one touch point who was our
client throughout who was Simon Pick, who is the brand
manager on Grolsch.
And actually it was very much we have him as our contact.
He'd understand what we were trying to do.
And then he would then go and sell it
throughout the business.
So we'd kind of give him the tools he needed to bring other
people in and show them what was going on.
And I think where we managed him quite well was actually
knowing when to bring other [? elements ?] of the business
in and when not to.
I think there are times where you can actually bring people
in unnecessarily and panic them.
Because you might not be in the position.
Or you might not have everything that you need to
convince people that you're going in the right direction.
And I think that one thing that was really important was
actually managing the timing of this process, when we'd
bring key stakeholders in.
So I think it was working closely with him to then work
with the rest of Molson Coors and the rest of Grolsch.
BRIAN MOROZ: So knowing when to bring in the right people,
and when to, let's say, focus on the smaller number of
people that maybe get it a little more, and knowing when
to open that door and close that door
at appropriate times.
That sounds like it was a key skill in this case.
PETE LEPAGE: Great.
So can you share some of the engagement results.
Came from Romaine Pier.
If I mispronounce anybody's name, I apologize.
So what were the engagement results like?
Or can you share those?
MAX: Yeah.
We absolutely can.
It was actually very impressed with the engagement.
It was a lot more than we had kind of hoped for.
Well no.
As much as we'd hoped for.
But a lot more than we'd expected actually.
In terms of-- it's called-- the total unique visits, we
had 139,988, which actually--
PETE LEPAGE: Not to be specific.
BRIAN MOROZ: Not that you memorized that or anything.

MAX: Over a three month period, that was very good.
And actually, the Grolsch website itself went from quite
low down in the teens, in terms of beer websites, jumped
up to number two just from this campaign,
which for us was great.
BRIAN MOROZ: That's amazing.
MAX: And it then got a lot data, a lot of phone numbers.
There were people signing up to the website and a lot of
things like that.
So the engagement around it actually was really fantastic.
BRIAN MOROZ: All right.
Great.
ARTHUR: I think another thing on that, Max, was that we
managed to get really, really good dwell time.
I think the dwell time started around four minutes and ended
up somewhere as an average of about three.
Not only was the dwell time really high, but we managed to
accumulate a database of hopefully really intrigued
consumers that are interested in taking
it to the next level.
And we've got a few ideas up our sleeve of where
we'll go with that.

But the plan was to get a core audience that would keep
really engaged with the brand.
And hopefully their stats show that we
managed to achieve that.
PETE LEPAGE: Awesome.
BRIAN MOROZ: Cool.
So a question-- and it sounds like you guys
wanted to do this.
And maybe that'll be a follow up question from Van Jones.
Do you have a plan for deeper interaction beyond the initial
chance to win beer or to go buy the cans.
And it sounds like you guys wanted to do that.
Do have plans with the client to actually take this to a
deeper level?
Or is that something that you guys can develop?
ARTHUR: We're in plans at the moment.
Obviously, they're very hush hush.
PETE LEPAGE: OK.
So no details.
ARTHUR: [INAUDIBLE]
MAX: We've got a decent base.
And as Arthur said, we've got a lot of
engaged, intrigued people.
And I think that it's absolutely [INAUDIBLE] that we
want to build on and move on.
PETE LEPAGE: Cool.
So from Peter Thistle in Vancouver--
has the client shared any analytic methodology or data
with you reporting from mobile app how many samples?
We kind of touched on this in the previous question.
But I'm kind of curious.
I'm going to take it in a little bit in a different way.
What was the mobile engagement like, specifically for the
mobile pieces?
ARTHUR: I mean, like Max said, Grolsch had been not
necessarily [? gomer ?], but not as strong as it could be
for a while.
There was some [INAUDIBLE]
about the different statistics or devices that
we needed to approach.
We didn't have a big website that had been running on
mobile for a long time to figure out exactly what we
wanted to target.
But I think we all kind of get a pretty good idea about the
key browsers and platform that we should target.
And we backed that up with some knowledge as well of
searching [INAUDIBLE]
before we went ahead.

PETE LEPAGE: Cool.
BRIAN MOROZ: All right.
So the next question was-- and we can pause on this one.
Because it sounds like this is what's in the works for you
guys, is not public yet.
But the question was how did you think about activating it
in bars around the world?
Since you mentioned oh, we would've loved to have had
people in the pub.
That would have been our ideal.
Can you talk about what you would have done there?
Or is that something that's for phase two that we'll talk
to you guys in a few months about?

ARTHUR: We can talk about it, yeah.
We work with a really great production [INAUDIBLE]
called Mobius.
And they had some technology up their sleeve with the stuff
they've done before with Blue Moon and how basically they've
made this system that would allow you to redeem a pint in
a bar and then track it exactly.
There are some of the extension--
I'm sure people can imagine--
was it allowed real time stats.
And actually it allowed real time location even more finite
than you could probably get with a GPS device, which is
quite interesting.
So some of those, of course, came from there.
And that was one of the reasons we were so keen is
[? god, ?] we could do some interesting stuff like that.

PETE LEPAGE: So I think our next question, we've kind of
already covered on who came up with the idea.
So we'll go to the next question.
Are there further adventures planned for Yant, re-marketing
to people in some clever way or anything like that?
And that may have been covered in what you just--
BRIAN MOROZ: I mean it sounds like the answer is yes.
But just to confirm, he will be loose on the world for
months to come?
MAX: Yeah.
He's a great character.
So it would be a shame to not let him loose on the world
again in some form or another.
BRIAN MOROZ: Excellent
PETE LEPAGE: Cool.
ARTHUR: Just to sort of interject, I think the really
fun part about it is actually that it
started above the line.
But I think we will continue with Yant on platforms that
aren't traditional above the line media, which is what's
quite exciting I think about the campaign.
Let's say 2013, I think we'll continue on a certain tangent
that we see it going at the moment.
BRIAN MOROZ: Yeah.
And it sounds like it's all blending together very
seamlessly in this very kind of elegant way across all
these media types, which everyone says that they want
to do, of course.
But it is a real struggle often for a lot of reasons
within agencies and with clients to actually do that.
And it sounds like you guys have really hit across that
kind of seamless connection across from television to
digital and everywhere else.
So super cool.
The last question-- and it's a little
bit of a biting question.
And we're all going to be very open and honest here.
I'm just going to ask it straight out
from Jim in Lake Tahoe.
And I'll see what you guys say, which is, looks like your
audience was young single males, perhaps white males.
Hopefully there's more to it than that.
So I will let you respond to Jim.
What was your demo?
How do you guys want to expand?
What are the demos that you'd love to reach?
Because that's something actually we haven't talked
about today.
Who was the audience specifically?
How did you determine that?
And what would be your ideal audience?

MAX: The audience for Grolsch is slightly older.
It's a 25 to 40 really.
And I think it's an audience that more kind of once you've
had your wild drinking days.
They're more behind you.
And you prefer a quiet, more premium pint, let's say.
And so that, as I'd sort of said, they kind of index
against mobile.
And I think that they're a very interesting audience.
And they're a very kind of untapped audience I think from
a beer perspective.
So I think they're very much the sort of audience we'd like
to keep on going with.
But I don't know.
Arthur, or Mel and Cal, if you've got any other audiences
you'd like to talk to?
BRIAN MOROZ: All right.
Jim in Lake Tahoe, if you have other audiences,
just let them know.
They're happy to reach out to broader audiences.
And I lied.
Actually Pete, do you want to read [INAUDIBLE]?
There's one more question that just popped in.
PETE LEPAGE: Yeah.
So we just had one more question pop in from Liana
asking how difficult do you think it will be to keep
selling these kinds of ideas to your client?
CALUM: To sell this idea?
I think I'd be very difficult to sell this idea again.
PETE LEPAGE: Touche.
CALUM: I think what's now been created is this experience
that requires new technology.
So it's a very simple idea.
And I think that won't change is in the simplicity of it.
I think we all really appreciate how
important that is.
But as Arthur mentioned before, I think that's a
really interesting tangent [? that will head ?] us on.
And also it's a new technology [INAUDIBLE]
as well.
MAX: I think it's also really--
I'm sorry, Mel.
MEL: I was just going to say I think also when you've got
kind of the stats and the figures, the results of the
campaign, it always makes it easier then for the client to
trust you to deliver a similar kind of campaign in another
type of new technology.
PETE LEPAGE: Yeah, absolutely.
I think that being able to say, hey, look.
We have 130--
I don't remember the exact number, but that large number,
and say look, this is what we did, it becomes easier to sell
new ideas when you can say, here's some data on something
new we did.
BRIAN MOROZ: Yeah.
But it's key to be able to have those clients that, first
of all, to be at the agency, able to explain it in a clear
way and have those clients that said, yes.
Let's make a little bit of a leap--
small leap.
We're not going crazy.
And see what happens.
So it sounds like you guys have a great situation both on
your side and on their side.
ARTHUR: I think to Max's point I think that Max made earlier
on is if the overarching creative is right, if it's
right for what they're trying to achieve, if it's right for
the different mediums, then it's not such a [INAUDIBLE]
sell.
It's not trying to go ahead with look, we've got this
interesting technology that's going to change [INAUDIBLE] if
the creative idea works strong enough and hopefully with a
bit of back up and prototypes earlier on will
sort of sell itself.
MAX: And the brief wasn't a sort of complicated one.
It wasn't a different one.
It was get Grolsch in the hands of people.
And actually if you can find a technology that makes that
happen in a better way than has been done before, then I
think absolutely, ideas like this will
still sort of fly out.
I think it's just having the right technology for the right
kind of means.
BRIAN MOROZ: Absolutely.
All right.
Well that about wraps it for the questions we had for you
guys and the audience questions, which were very
interesting.
Thanks, folks who are watching this for
sending in those questions.
Any last comments or topics that you guys
want to talk about?
Or any last things you'd like folks to go take a look at?
Now's your chance.
Give us a pitch.
MAX: Go to BMB website.
PETE LEPAGE: What is the URL for the website?
MAX: BMBagency.com.
PETE LEPAGE: All right.
BMBagency.com.

MAX: That's the one.
BRIAN MOROZ: So you can check out more of their work.
Thank you guys so much.
I know it's like 8 o'clock in London.
So I hope you enjoy a fine Grolsch right after
this call is done.
I wish I were right now.
ARTHUR: Sorry.
Last thing.
BRIAN MOROZ: Yeah.
ARTHUR: I just [INAUDIBLE] the opportunity to say something.
If anybody does want to get into advertising for London,
there's a really cool thing opening in the next couple of
weeks, adscheme.bmbagency.com.
Go and check it out.
It's hopefully a fun way of getting [? formal ?]
advertising.
BRIAN MOROZ: All right.
Very cool.
And for those of you, if you happened to come in halfway
through this, this is all recorded.
And so all of the questions and answers will be available
in the next couple of days.
And for those of you that want to follow along the entire
week, tomorrow, same time at 2:30 eastern, we're going to
be talking about the YouTube API and some uses there.
So guys, thank you so much, BMB Agency.
It was fantastic to talk to you.
And if we get further questions, we will
send them your way.
And thank you so much again.
And have a wonderful evening.
And thanks to everyone who joined the Hangout.
Hopefully we'll see you all tomorrow.
PETE LEPAGE: All right.
Thanks, everybody.
BRIAN MOROZ: Bye bye.
MEL: Bye.
MAX: Bye.