 Felly, ddweud yw'r gŵr, rwy'n golygu'n dweud yn ymwneud i'r oedd unrhyw unrhyw. Ddweud, Mike. Ddweud i gyd, ddweud. Rwy'n golygu'n gweithio'n gŵr, rwy'n gael'n gweithio'n gweithio'n gŵr fel ffordd. Ym... Ym... nid yn gallu gwych, wrth gwrs. Ym... Rwy'n gweithio'n gwych. I've been a traditional advertising check, if you like, for 25 years. So I wasn't born a digital native. So my experience has literally come about from problems I've encountered and solutions I've then implemented to fix those problems. So I was a GGT in the 80s with Dave Trott as he's head of traffic then at Simon's Palmer in the 90s. And then I was asked by the Ogilby chairman in 2000 to bring them into the 21st century. So that's quite important because I was employed to do this. I was employed to be disruptive. It's very hard when organisations try and get someone who understands digital or is that kind of hunter mentality to get them to do the kind of things that I do as well as their day job. It just doesn't really happen. It's just too much that needs doing. So I'm going to skip through these quite quickly so we might have some time later for Q&A because I'm going to go through a few different problems I'd encountered and then solutions to try and fix it. So we have a lab that I set up about three years ago, but I actually have been working my way towards doing this kind of work for the last kind of eight years, I reckon. So it started out with doing semesters of learning, which I'll skip through these because they're quite wordy. Hold on that one. So semesters of learning. When I first started seeing all these amazing things happening with gaming and mobile and Tivo, and I was trying to say to Ogil, what do you think the impacts of these things are going to have on our business? No one was really particularly interested in listening to me and they didn't really understand what I was saying. Maybe it was that I wasn't eloquent enough explaining my visions. So I had to prove by doing so that they would understand something tangible. So what I did was I started seeing all these different things happening on the web and out there, and I started sharing it, and what started to happen when I shared it with Ogilby, so there's 1,600 people in 10 group companies just in London, people would then email me back and say, stop spamming me. So that was a good lesson in that not everyone cares. Some people like to do their day job and just get on with it, and some people like to have that entrepreneurial hand to mentality. So it meant that I needed to understand I couldn't just inflict the world's changing views on everyone. The other thing it did was it helped me understand that it needed to be much more focused learning. So I developed about eight years ago semesters of learning, and it's a semester or a term, 12 to 20 weeks on one specific area. So my first one was streaming, and what I do within that semester is I see 10 to 15 different streaming companies every other week. So you start to understand good, bad and different, who is doing that kind of stuff in that area. I then will find a brand where streaming can fix a problem. So that happened to be Ford at the time, where a Ford chairman was speaking to his staff and to Ogilby, and it was that big and it was pixelated and buffering, and I kind of felt, well, I'd just seen a company who could deliver full HD quality stream to your desktop like that. Why weren't we using it? So I introduce it then to Ford team and Ford client, which then gives us another revenue stream, because we've never done internal comms before for Ford. So it's another revenue stream, and we then implement doing the stream for them. So it went to 22,000 desktops in 19 countries in five different languages. Once that then is implemented, and there are lots of no's along the way, so Ford IT, for instance, said, no, it's not going to happen, you're going to tear down our servers. Every no that you come up against, you have to then knock it down, because all these things are brand new, and the first thing that anyone will say is, I don't know whether we can do it. That's why it's so important to find the right partnerships. So you trust in someone, and the Canura guys here did a really beautiful job for me last September, and it was trusting them to do three live streams at the same time filming bands, and it was knowing that I had 86 countries watching and 15,000 people and not to be let down. So the partnerships and seeing all those companies every semester is very, very important. And then at the end of the semester, we have these lab days, so there's a couple of examples up on the board, and these lab days are where we bring all the people that we've met to exhibit all day, and then we have speakers in the morning, and then throughout the whole day we have our clients come in and employees, and that's where we share the learning in a kind of a lab day. So we've done about nine or 10 of them. So our two semesters this year are retail, store of the future, shopper of the future, and storytelling will probably be for this September. OK, so if I go back one. So in understanding the lab, I know this is quite complicated, but I set up a hub and spoke model. So the hub is the physical space of where all of the kit is housed at Ogilvy. So it's a space where you can have a look at augmented reality, what's happening on tablets, autostereoscopic TV screens and content, eye tracking, kinetic type of gaming. That's the place where people touch and feel and you can see the ideas. Well, they'll walk around and you can say, oh, have you thought about doing that with your campaign? So we're not saying anything is dead, we're just having people touch and feel and understand this technology. And it also helps that I don't have to keep explaining what an interactive floor projection is because they can see it. And then you can start working out when they're looking at it all the possibilities of what you can do with it. So there is a physical hub in the middle and then you have all of these different spokes that come out throughout that hub. One of them is creative, which I just gave an example of. One of them is semesters of learning. One of them is lab days and lab lunches and show and tell. So it all starts to come together. And I'll go through different examples of these different spokes. So as I mentioned, our partnership book, so I've put at the top, can you see who out there is good, bad and different? So the solution was the semesters of learning to actually find out and see all those people. And it takes time. What I've done doesn't happen overnight. This has been about seven, eight years of doing these semesters to have an understanding and it's always changing. The other problem is that within Ogilby they only knew really TV and print. So all of these other things that were going on, they only had a department for TV and print. In fact, all the P&Ls and how they're paid, the lab starts to become media and discipline and technology agnostic. Because when you are, say, Ogilby advertising, you are paid by doing a 30-second TV ad. So therefore that is what you will give as a solution to a problem. When actually now maybe it might be the solution would be a social media campaign and maybe TV taps into the back end of that. So it's kind of disrupting that whole status quo. And then how do you implement all of these new things? So I just mentioned to you with having the right partnerships. I'm going to give you a few examples of how, and I'll talk you through, I'll play a little bit of the film and I'll talk over it and explain how you do that. Following is a film to instruct you in the use of the Fanta stealth sound system. So what is the stealth sound system? The stealth sound system uses sound waves that most adults can't hear. So this was a creative team when I was doing my most bossamester. You came to me and said they had a weird idea about what was going to sound. And it was sound that only kids could hear that adults couldn't hear. They used to use it to get kids away from school. And so I phoned up a guy who I'd met about five years earlier at an event, a really random event. Kept his name and number in my book. We have this digital black book now. And phoned him up, he came in, we sat round the table and we worked out actually this idea could work for Fanta in a disruptive play way, but kids just communicate with each other with this mosquito sound and adults couldn't hear it. So he went away for eight weeks. I gave him some lab money and I'll talk to you about how I got money into my lab in a minute because it's not limited to my uncle. It's a very different R&D post. And he came back after eight weeks and said, I have the most amazing sound that's going to be on every single handset. And then it goes into the linear model of the two creatives, the account man sells it into the client and the mobile producer makes it. So there's this whole non-linear thing that has been done beforehand that always needs to be celebrated because it doesn't just magically happen in, they've just got an idea and they know it's going to be a serious risk. You may acquire new friends and meet people you never dreamed of. So that's one loads and loads of awards for the agency. So that's the other thing that's quite difficult with doing this job. It's quite hard to measure success. It's very easy for Ogilvy to measure success in income coming in and new business coming in. But when you're doing the things that I'm doing, it's not something that is easy to measure. And this came about from augmented reality. A semester of learning, a few get to watch the big matches live. This year, we decided to help thousands of other fans do the same. Our solution? To let them see through walls by developing an app that let them do just that. This was done in June 2008, 2009, before any augmented reality company we had a reality app that they hadn't loaded up yet and made it better. And it was trying to use the client that was great at any of the main course and watched all the action live and put measurement of success on the other pages too. So, what happened was when you were at Wimbledon and you had your phone, as you panned around, you could see that there were strawberries for sale over there, the queue at the ladies' loo over there. Once we knew it worked that year, the following year we went bigger and better, bigger budgets, not so much of a... So, the first year the budgets were 80-20 split, 80% on their usual tried and tested, but 20% on doing this. The following year is a much more even split and we actually did a live feed with the BBC that when you were standing outside call one and you turned your phone round, you could then, and heard a cheer go up, you could then see a live feed of the match, so almost you're looking through walls. So, it's a lot of experimentation. It takes a brave client and an understanding of the technology to be able to put something like this together. And then this is an example of 3D mapping projection. And again, this was from a semester of learning that we did with Digital Out-of-Home. And one of the lab lunches that we had was a company called SEPA coming in. It just so happens that someone who was working on Ford was inspired by what he'd seen with this mapping projection. And then I worked with them closely and hand-hold the traditional creative team, the count team planners, on them managing this and making it happen. I am not a department, I'm a SEPA. This is how I get changed within the agencies. I make them do it, and it's uncut to them because of them. That was a real guy climbing. It was just a 3D mapping projection. And again, these things we've not done before, certainly not an interactive one, where they can do the columns in the wall and have the walls full out onto it. And then with this event, we then attach social media to it, and then we attach mobile to it because people are there with their phones. And then now, suddenly, the traditional ad-hoc team and it does take the impress, now it did a hot-bed client through the interactive mapping projection and with a social media company, and now that is their culture. And then this is what we did recently last year with Fraego, and it was from our data visualisation semester of learning, again attaching it to a client. This worked in a different way. This worked purely on a partnership level. So it was using Greywell to do the taste visualisation of the ice cream, Fraego ice cream, so that you could see what taste looked like visually. So that you put in all the different taste frequencies into a system, and then you came up out with digital art that was then exhibited in a gallery at the London chocolate factory. So what happened was, the client then was starting to think, I don't know about this, and it's not really the kind of thing that I would ordinarily do. So rather than them thinking they were going to not make it happen, I went to Clear Channel, who I'd built a partnership with, and managed to work with them for all of their digital signage around London. Labs paid for the signage to be done in the house. And then we said to Fraego and I, you can't not get involved in this because it's going to be plastered everywhere. So they then said, OK, fine, we'll do this gallery at the chocolate factory. And it was just the most brilliant success. And it, the footfall that they increased, the price of the shop was enormous. The stat to come up in a minute. I think it was uplifted by 310%. It wasn't just doing it for that art gallery. So they're the examples of what we're doing, the creative inspiration that comes out of the semesters. They're always attached to not just learning, but they must be attached to business. And then what starts to happen is the lab starts to come away from it being lab and techy. It actually is more about business and it takes it back to basics of what's the problem and then finding the right solution. If you don't know the solutions that are out there, then it's quite hard to fix a problem. We also have six labs around the world. So we're continuously talking every month. There's one in Tokyo, Beijing, San Paolo, Singapore, New York and London. So we're constantly sharing knowledge, which is, I can't tell you how invaluable that is, to hook up with your other, not see them as competitors, but see them as knowledge sharing and being able to harness that. And then the lab then starts to be used much more for new business, getting clients through the door. We recently did a pitch for BA and just won it where we used augmented reality, where our CEO couldn't attend the pitch. She wanted other people there, but yet we had her as an augmented reality, like a princess Leah pop up in kind of augmented reality format from the iPad. So, and then with another one, we've had someone as a hologram. So there's other ways in which to engage and bring something to life. So going back to the fact that Ogilvy don't, obviously they pay my salary and it's amazing that they've allowed me to be disruptive in that kind of environment. But when I was first looking to do the lab, I saw Rory Sutherland speaking and I thought that guy should just get paid to talk. So I noticed he'd be my first revenue stream for my lab to allow me to have this pot that I could experiment with. Because what happens with R&D, you don't get money from most companies for R&D. It is the hardest thing to get money for, but if I'm making money myself, it then means that I don't need to ask permission, I don't need to ask for money. Any lovely ideas I can actually then make happen rather than be told, no, I'm sorry, you can't do it. So Rory was the first income for the lab, so every time he speaks, I act as his agent, and then we start to then go into, I then have a brand with Rory and then we start to deliver a product. So another spoke for the lab is this inspire thing. So we went on a tour around Silicon Roundabout, we've done two so far, we've got a third one that's going to be happening and it's seeing all of the companies that are on our doorstep, engaging with them, chatting about any kind of potential problems, real kind of collaboration. One of the companies I saw was a company called It's Nice That, and again, I have to attach something physical to just going and seeing random companies, so what came out of that was being able to do a book for Rory. So it was engaging with this company. It also allowed for me to be a publisher myself, not that I'd ever published a book before in my life, but I published this book, so all the money that now comes in comes in directly to the lab. So it's a bit of a two fingers up to the publishing industry to say to them, I'm disrupting you and I'm going to do it myself because I can. And it's just trialling all these different things. So we have Rory's book now and that came about as a direct result from seeing different companies in Silicon Roundabout, building a partnership with them. And now the next iteration of that, now the book sales are coming in, is being able then to act like a new age marketing agency and do content continuously, not just a one ad with a big spike and then not see anyone again or just a social media campaign. This is going to have regular pieces of content for the next seven months, continuously being shipped out and then monitored and worked out what works and what doesn't work. So it's again, I can't stress, it's making sure that we attach any kind of learning or inspiration to something physical and business. Ideas Shop is something that was set up by a lady called Ruth Jamison and that is if Ogilby were a shop, what would they sell? So it started off at Brixton Market where we used the Brixton community, anyone that had any issues, any problems, wanted expertise and we give our ideas away for free for 90 minutes for each person that comes in. And we've done now four of these. There's another one that's going to be happening at Marketing Week in May and everyone gets involved, the lab gets involved. This is Ogilby. There's a girl there who works within planning called Tara Austin and she's set up a group that looks purely at music. This is again, this is a passion. She's doing this on top of her day job. It's finding those kind of people. And the third one, Turing Breaks, actually that was when I got the idea to do a live webcast, a live stream from this concert. So, and I found a company because I was doing a music semester of learning, I found a company who I knew would be good for Fould because they were looking to do something called Bands in Transit and so I thought, okay, I'll trial them out. They live streamed Turing Breaks concert and it went down brilliantly, which then gave me an idea for our actual lab day for music that we just had it last September. We had speaker speaking in the morning, exhibitors exhibiting throughout the whole day, but in the afternoon we had three music publishing companies all have a stage at Ogilvy. We turned Ogilvy into a Glastonbury festival and we had every single stage live streamed simultaneously to one website, which is the canoeer guys did that. Thank you, Sarah. And it was a brilliant success seen by 15,000 people, 86 countries. Now again, that's showing just how labs pushes it forward because I had sleepless nights over that thinking, why did I agree to doing three live stages? Why not just one? But you have to keep pushing it because even though it's not been done before, it doesn't mean to say it can't be done. Then there's a whole educational piece within the lab because I was fed up with the usual Oxbridge educated people always coming in. So therefore we were just employing people that were like ourselves, no diversity, no ethnic mix. So I set up something called the rough diamond. So it's kind of a diamond shape and you have ideas foundation at the bottom that deal with all schools in Hackney and Tower Hamlets, so age 14 to 18, labs gives them money and you have at the other side of the diamond school communication arts, labs gives them money and then you have Ravensbourne. So we have an Ogilvy university with Ravensbourne and so what that starts to do is it starts to mean that kids in Hackney and Tower Hamlets who automatically think their next job is going to be Tesco's checkout, it allows for them to come in, we give them live briefs, they work with us and it opens their eyes to a whole industry that they knew nothing about. It then allows them either going via school communication arts or Ravensbourne to then come into Ogilvy. So Ravensbourne university that I set up with Chris Thompson probably about four years ago means that we speed date about 30 to 40 second year students across every single course. Fashion, lighting, broadcast, 3D, animation and then they work with us, they come in, we handpicked five of them to come in throughout the whole summer, they then go back to school in the October, the deal is they teach their peers and their teachers all of their learning because I wasn't convinced that the teachers knew what it was like in the workplace and then they come back to us at Christmas, come back to us at Easter and then we look to employ. So we set with an idea of convergence of creativity is that the first person we employed was a lighting technician which proved my point in that not in a million years would Ogilvy have ever hired a lighting technician and she would never have looked at coming to an ad agency. So it starts to look at a very different mix. We hired someone who now works in the new business department who was a graphic artist who the creative couldn't see what she was doing that was so amazing but yet from a new business point of view it meant not doing PowerPoint presentations anymore and starting to creatively look at presenting in a very different way. So it's finding different jobs, different skill sets and starting to get them in from a very early age and then once they're in at Ogilvy then the top one is Marketing Academy and that's where they are then mentored by top CEOs in the country or CMOs in the country and it's a great mentorship scheme. So that's kind of my rough diamond. So that's another part of the disruptiveness of labs. And then we do lots of workshops and these workshops can either be much more strategic or much more idea generation and have loads and loads of ideas that come out of them but what they're done is they're facilitated by a partner. They're not facilitated by Ogilvy which keeps it totally agnostic in terms of discipline media technology and it really does fix a problem with the right solution. And then this is something that we did for Unilever. Welcome to Unilever Media Lab at 100 Victoria Embankment. This physical space, this room is put together to give the brand development community a consumer experience of some of the new media technologies. So lab in a box as you can see is something that I've branded up for Unilever where they take all of the learnings of everything that I do in our lab, the hub and the spoke and they can just hand to pick what will work for them. So what they needed was a hub which is a constant changing of the technology and an element of the system learning. Simply doesn't allow you to have the same... But then other clients might want something totally... They might want the inspire bit. Every piece of technology you see here represents an opportunity for innovative communication of a brand development. This is the relative popularity or knowledge of these devices amongst the brand teams. Obviously, I found that when staff came in and were introduced to the lab, high-definition content obviously is becoming... And then this is what we've been doing in the labs around the world for the last kind of year or so. What we call now... Much, Nicol, we've probably got time for a couple of questions if anybody's got anything they want to ask. Yes, gentlemen, here in the flowery shirt and hat. Hi, I'm... Oh, really? I'm Matthew Lindley, I'm general manager at Eastern Angles. I wanted to ask, could we come and visit the lab? I mean, I do do tours of the lab. I mean, at the moment it was just used for a BA pitch, so we're just in the process of housing it somewhere else, but on occasions we do do tours of the outside. Because quite often that's where we can get a revenue where some companies want us to develop a lab in a box solution. Right, thank you. Great, it was a question over there. So, gentlemen, can you turn off the microphone? Hi, my question is, do you have any mentorship for new labs or new spaces who wants to go towards your direction? If you have any... If you do mentorships, if you can mentor new companies, new labs going towards your direction. It doesn't operate... It operates really just solely for Ogilvy and the group. So, as I mentioned, there's 10 group companies that are all specialising, you know, Ogilvy PR, Ogilvy advertising, Ogilvy activation, and there's 1,600 people, so it pretty much just copes with work for the group rather than open it up for memberships. Hello, obviously technology moves at a frightening pace, and so how do you balance the... Worst thing is to be right at the wrong time. So, when is the technology ripe for exploitation? What stage do you jump in? I think it depends on what your problem is. So, with IBM, it wasn't about they wanted loads of people to experience that, because at the time when we did that augmented reality thing at Wimbledon, we only trialled it on Android that had only just come out, we didn't do it on iPhone. So, therefore everything revolved around the measurement of success was all to do with the PR. Therefore, IBM want to be seen to be using that kind of technology, so therefore they're happy that not everyone is using it because it was literally just when Android came out, but they wanted to be seen to be utilising such high technology. This kind of depends on what a client wants. There's certain clients that work better in that space, but Fanta, when we did the Fanta Stealth, I think we stopped counting at the millionth download. Okay, I'm afraid we're going to have to stop questions there because we're running to a fairly tight timetable, but Nicole, are you going to be around in the coffee break? Yeah, yeah, be around. So, Nicole will be around in the coffee break if anybody wants to catch and chat to us some more. Nicole Yoshan, thank you very much indeed.