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Saturday, September 29, 2018

Minding Your Business-What’s the value of being an early sponsor of emerging sports?




Presented On US Sports Net By WNFC Marketing

Formula E, UFC and eSports are giving rise to a raft of lucrative sponsorship opportunities for brands that get involved early.

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The summer of sport is well and truly underway, with the UEFA Euro tournament kicking off in France last week and  the Super Bowl and the Olympics both firmly on the horizon. But amid a period of unprecedented sporting scandal and the emergence of new broadcast platforms and fan communities, it is certainly not business as usual for the average sports marketer.
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Football  (Soccer), tennis and athletics have faced allegations of corruption and doping over the past year, with investigations ongoing in all those sports. At the same time, many young fans are making the move to newer, alternative sports that better chime with their values and offer deeper levels of digital engagement. Brands could be missing out if they fail to pay attention to these emerging sports and the sponsorship opportunities they present.
This year’s Cannes Lions International Festival of Creativity, which began on 18 June, is hosting its first ever Lions Entertainment event, which will look at all forms of audio-visual entertainment including live experiences, gaming and sport. Cannes senior content manager Mark St Andrew believes one of the big talking points at the event will be the increasing importance of “co-creation and collaboration” between sponsors, athletes and fans.
He says activity is rarely “just a simple tactical transaction” anymore and that marketers are increasingly integrating sports into their broader campaigns, often featuring elements of gaming, music and live events.
As established, ‘traditional’ sports face the challenge of retaining and growing their fan base, certain brands are developing alternative sponsorship strategies in an array of newer sports. Marketing Week looks at three of the most exciting emerging sports – Formula E, UFC and eSports – and the potential opportunities they present to marketers.

Formula E

Launched in September 2014, Formula E aims to bring a new audience to motor sport by championing electric vehicles and sustainability. Although the cars are not as powerful as their Formula One counterparts, they can reach speeds of up to 140mph, while the clean technology and low noise emitted by vehicles makes them suitable for city centre racing.
Despite its early stage of development, Formula E, which like Formula One is backed by motor sport governing body the FIA, already has global partners on board, including Tag Heuer, DHL and Visa. The championship has also encouraged brands to get involved in creating new racing teams. Last year, business-to-business insurance company Amlin agreed a partnership with racing group Andretti to create one such team.
Amlin’s global communications director Adrian Britten explains that the company was drawn to Formula E after looking for a sponsorship asset with global reach that would align with its brand values around sustainability. He notes, for example, that innovations in Formula E are geared towards developing electric car technology that can be used in everyday settings.
“Brands might want to spend large sums on Formula One, putting a logo on a car, but I would question why in this day and age you would do that“
Adrian Britten, Amlin
“We’re a business insurer and a reinsurer, so our interests are about the long-term sustainability of the economic and social system and the businesses that we provide insurance for,” says Britten. “[Formula E] is urban, electric and is about sustainability and clean racing, so it fits with our long-term perspective and our views on helping businesses to continue into the future.”
London’s Battersea Park will host the final race of the second season of Formula E on 3 July, which has already seen teams travel to Beijing, Buenos Aires, Paris and Berlin for this year’s 10-race season.
Formula E positions itself as a family-friendly alternative to Formula One, as events are easier to get to and tickets are cheaper. Additionally, races are restricted to one hour, meaning practice, qualifying and the race all take place in one day unlike the three-day duration for each Formula One race.
At present, the sport is broadcast in more than 190 territories, with ITV4 showing races live in the UK. However, its global fan base is comparatively small, with around 217,000 fans on the official Formula E Facebook page and 90,000 followers on Twitter.
Data generated for Marketing Week by Hitwise, an online monitoring and profiling service and a division of Connexity, shows that UK fans of the sport are relatively spread out in terms of age, with 29% aged 25 to 34 and 22% aged 55 and over (see Demographic breakdown, page 23). Most fans (69%) are male and their favoured websites include those related to cycling equipment, outdoor gear and technology products.
Amlin is using the sponsorship to support its corporate hospitality programme, but its position as a 50-50 partner with Andretti also allows it to generate exclusive content that it can share on digital channels. Insurance analysts within Amlin even provide tools to help the racing team analyse data from its car. Britten claims that this level of integration is much more effective than a badging exercise.
“[Brands] might want to spend large sums on Formula One, putting a logo on a car and watching it whizz round, but I would question as a marketer why in this day and age you would do that,” he says. “Today, people want dialogue and conversation – they want to be involved and engaged with the racing team and what it’s doing.”
Like all emerging sports, Formula E is not without its teething problems. This year will be the final year that a race is held in Battersea Park after nearby residents complained about the disruption caused and brought a judicial review. Organisers are exploring new sites in London for next season’s race.

UFC

It is a measure of the rising popularity of Ultimate Fighting Championship (UFC), the leading sports brand for mixed martial arts (MMA), that it increasingly appears within the sport sections of mainstream media outlets. Earlier this month, several UK newspapers reported that Michael Bisping had become the first British champion of the US-based competition – a significant milestone in the brand’s ongoing global rise.
UFC was founded in 1993, but it has grown quickly in recent years thanks to TV and media rights deals that broadcast the sport in more than 150 countries. The brand has also gained a strong following on social media among a generation of young fans that appreciate the competitive – and often brutal – nature of the sport and the authenticity of its athletes when compared to the pampered, highly paid players that feature in other sports. UFC has more than 19 million Facebook fans and nearly 4 million followers on Twitter.



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Competitive online gaming has grown rapidly and offers gamers large financial rewards

The UK has hosted several UFC events across the country, while BT Sport has the rights to broadcast it live. The media brand reports that its biggest audience to date for a UFC event was 330,000, with an average audience of 154,000, up 40% year-on-year. BT also says that UFC “has the youngest audience of all the sports broadcast on [its] channels” and attracts advertisers, such as bookmakers, car manufacturers and gaming companies, which are interested in targeting men aged 16 to 34.
Data from Hitwise shows that 61% of UFC fans in the UK are aged 18 to 34, while 70% are male. It finds that these fans are particularly likely to visit websites about bodybuilding, fitness and sports clothing.
James Elliott, EMEA vice-president at UFC, believes the competition reached a “tipping point” in the UK last year thanks to the emergence of “star fighters” and the brand’s use of digital channels to grow its fan base. Its female audience is also growing quickly due to the popularity of female fighters such as Ronda Rousey and Joanna JÄ™drzejczyk.
“Our fans feel a connection to our athletes, which is unrivalled in any other sport,” he claims. “That is a conscious effort and decision by the company to give access, tell stories and promote personalities.”
UFC has five sponsors in the UK – EA Sports, Monster Energy, Reebok, Harley-Davidson and AB InBev – and between 10 to 15 sponsors globally at any one time. Motorcycle brand Harley Davidson was one of the first backer of UFC, becoming a sponsor in 2007. It renewed its sponsorship for another three years in March this year (see Q&A, below).
“Extending our reach beyond our core customers is part of our strategy, and reaching new customers through UFC is a part of that”
Mark Peine, Harley-Davidson
However, for all its recent growth, UFC faces challenges with its public image that may hinder its ability to attract more sponsors. The behaviour of some of its athletes has generated controversy. For example, Bisping was forced to apologise following his recent title win for using a homophobic slur towards his opponent. MMA as a sport has also come under scrutiny over safety concerns. In April, a fighter died after being knocked out in a rival MMA competition, Total Extreme Fighting.
A spokeswoman for UFC said the organisation advises athletes on their conduct and that it would “look into the situation” of Bisping’s comments and “take appropriate action”. On  the safety issue, she said: “Our priority has always been the health and safety of our athletes.”

eSports

Competitive online gaming, known as eSports, has grown rapidly in recent years thanks to the enthusiasm of its young and highly engaged audience. Its rise has coincided with the development of streaming technology and online forums that enable video game players to communicate and compete with one another. This has culminated in the emergence of a highly organised and competitive sport in which players can compete for big prize money – last year, winners of a tournament took home a share of $18m (£12m) – while fans around the world can watch the in-game action live online.
According to the latest Global eSports Market Report by research firm Newzoo, there are an estimated 148 million eSports enthusiasts globally, plus a further 144 million occasional viewers, meaning those who watch eSports less than once a month and mostly tune in for a big event. The report predicts the eSports market will grow 43% this year to reach $463m (£318m), and by 2019 it is expected to hit $1.1bn (£775m).
Upon relaunching its MLG.tv eSports platform last month, gaming giant Activision Blizzard told Marketing Week that brands should consider investing as much ad spend in eSports as they would in Premier League football.
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The audience for eSports skews heavily towards younger people, according to the Hitwise data, with 40% of fans aged 18 to 24 and 27% aged 25 to 34. Three-quarters (73%) are male, while their favoured websites include other gaming sites, fashion outlets and online retailers such as eBay.
Sponsorships and brand partnerships are helping to accelerate the growth of the sport
in the UK. Last year, eSports company Gfinity launched the UK’s first dedicated eSports arena at Vue cinema in Fulham Broadway, London. The 600-seat Gfinity Arena hosts live tournaments every weekend and on selected weekday evenings, with all events streamed live online.
Brands interested in the sport have the option of sponsoring at a league or competition level, as well as a team level. Spanish team G2 Esports, which competed in the recent ESL Pro League Finals at Indigo at the O2, is sponsored by Vodafone, for example, meaning the players wear team shirts that display the company logo. Gambling brand PokerStars, meanwhile, sponsors an eSports franchise called Team Liquid.
Competitive gaming network FaceIt and Amazon-owned video platform Twitch have also partnered to launch the Esports Championship Series, the final of which will take place at
The SSE Arena, Wembley on 25 and 26 June.
Rick Fox, a businessman and former NBA basketball player, launched his own eSports franchise last year. He believes potential sponsors are showing increasing levels of interest in competitive video gaming. The franchise, Echo Fox, recently hired marketing agency VFD eSports to help it grow its sponsorship deals.
So far, it has tie-ups with brands primarily associated with eSports such as Vertagear, a company that makes specialist chairs for video gaming. However, Fox claims the franchise is in talks with a number of big-name consumer brands. “On a day-to-day basis, we’re in conversations with companies that you would see in traditional sporting leagues and franchises that you recognise,” he says. “That includes phone, electronics and beverage companies.”
Fox decided to get involved in eSports out of his own love of gaming and his desire to reimmerse himself in a competitive environment, following the end of his basketball career. As a three-time NBA champion with the Los Angeles Lakers, Fox has been able to use his celebrity profile to recruit gamers and raise awareness of his teams. This also involves building the Echo Fox brand by working with eSports leagues and streaming platforms, and by creating team merchandise for sale to the general public.
Fox believes brands that build a presence in eSports now will be well set for the future. “The beauty of the industry is that as leaders and early adopters in this space, you can start to carve out opportunities for yourself,” he says. “It is as creative as you are capable of being.”

Q&A: Mark Pine, Brand manager, Harley-Davidson

Why is UFC a good fit with Harley-Davidson, and what are the sponsorship’s key benefits?
UFC is the fastest-growing sport in America, has the youngest audience and one of the most loyal followings. UFC also has many great qualities. It’s a tough, physical, rugged sport that involves a lot of power and endurance. It’s perfect for us regarding alignment with our brand.
How have you seen UFC develop since Harley-Davidson first became a sponsor in 2007?
UFC has expanded the universe of fans, and we have also seen our customer base grow and diversify. Extending reach beyond our core customer is part of our business strategy, and reaching new customers through properties like UFC is a part of that effort. Since 2007, as part of our agreement with UFC, Harley-Davidson has been featured in pay-per-view and television broadcasts and online, and our logo has appeared on the mat inside the Octagon where UFC fights take place. We have also introduced The Hometown Throwdown, an annual promotion and fight sponsorship through which fans can vote for their city to host a UFC event and corresponding motorcycle rally.
What are the key metrics that you look at to measure the performance of your sponsorship of UFC?
We don’t provide metrics around specific marketing efforts; we have seen some UFC athletes become riders. It’s a great example of the deep and meaningful passion that develops when people are exposed to Harley-Davidson.

Friday, September 21, 2018

Minding Your Business- Recommended reading: Sports Marketing and Maximising The Value of Content





From the latest thinking in content marketing to setting up an effective decision-making structure, Marketing Week reviews the latest books for marketers.


Beyond Harvard

Mark H. McCormack
One of sports marketing’s most influential figures, Mark H McCormack turns to his colleagues and competitors for this series of anecdotes that analyse how each contributor has succeeded, both in business and in life.
Covering everything from negotiating tips to how the rituals of sport can be applied to the business world, the book’s central theme is why it’s better for marketers to under-promise and over-deliver. Contributors include Billie Jean King and Sir Martin Sorrell.
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One Mission

Chris Fussell
A former Navy SEAL, Chris Fussell uses ‘One Mission’ to create a practical guide for leaders looking to build the perfect business team. Applying lessons learned from the battlefield, this book looks at Fussell’s ‘team of teams’ model and how brands such as Under Armour have successfully applied it to big business.
With practical advice on how to shift leadership behaviour, achieving strategic alignment and setting up an effective decision-making structure, this book will quickly find itself occupying a prominent position on a CEO’s desk.

Content: The Atomic Particle of Marketing

Rebecca Lieb
Navigating the world of content as a marketer isn’t always easy. Step forward Rebecca Lieb’s ‘Content: The Atomic Particle of Marketing’, a book that claims to be the definitive guide to content marketing. With experience working on major campaigns for the likes of Facebook, NestlĂ© and Save The Children, Lieb addresses the IT infrastructure, tools and processes needed to maximise the value of content in this easy-to-digest guide.

Perennial Seller

Ryan Holiday
Making advertising that truly lasts in the public subconscious is tough, but with ‘Perennial Seller’ author and former director of marketing at American Apparel, Ryan Holiday, claims to have the solution.
Looking at the strategies that underpin the creation of something that’s built to last, he studies the advertising classics of genres such as film and retail. Holiday asks the question: if something doesn’t go viral, has it really failed? And how can you create an ad campaign that is truly remembered.

Twilight of the Money Gods

John Rapley
This detailed book documents the evolution of economics from necessity to being seen more as a science and religion.
Analysing all the great economic prophets – everyone from Adam Smith to John Maynard Kenyes is dissected at great length – Rapley asks whether we must reimagine how we treat economics for a new era.
The book is also a great opportunity to educate yourself on how different economic mentalities have shaped and transformed the Western world.

Thursday, September 20, 2018

Minding Your Business-Understanding the eSports community: What brands need to know



To succeed in the world of eSports, brands need to understand how to engage its hyper-social, millennial fanbase.



Gillette eSports
Gillette eSports brand ambassador xPeke at the IEM tournament in Katowice, Poland.

Brand interest in eSports is set to reach new levels of excitement in 2018. High profile brands from Mercedes-Benz, Gillette and Red Bull to HP and Intel have all carved out sponsorship and partnership deals that are helping their brands reach the highly engaged and largely millennial eSports fanbase.

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It is hardly surprising this sector is of such interest given global revenues are set reach $905.6m in 2018, up 38.2% on last year, according to data from eSports market intelligence specialist Newzoo. By 2021 global eSports revenues are predicted to rocket to $1.65bn, $1.4bn of which will come directly from brand investment.
It is, however, crucial for brands to understand that each eSports game is as distinct as football, rugby or tennis, meaning each has its own fanbase which is loyal to a specific genre or format.
“Dota 2, Counter Strike, Starcraft, Hearthstone could be equated to rugby league, tennis, cross-country skiing and darts – they are very different sports,” says Harry Lang, founder of integrated marketing consultancy Brand Architects and interim acquisition director of Genting Casino.
“Fans follow their game of choice, maybe two, but largely they are loyal advocates of one particular eSport, so you can’t just lump them all together under one banner. A separate targeting and communications strategy is needed for each game and audience.”
You can’t just do a standard media buy and shove a load of ads out there. It has to be very targeted and engaging.
Yvonne Hobden, HP
A few games typically dominate the top tier of eSports. League of Legends is the world’s most watched eSport. According to Newzoo, League of Legends clocked 274.7 million hours watched in 2017, followed by Counter Strike (232.9 million hours), Dota 2 (217.9 million hours), Hearthstone (76.9 million hours) and Overwatch (25.2 million hours).
League of Legends is the game most closely associated with Gillette, which first started working with eSports company and tournament organiser the ESL on its sponsorship of the Intel Extreme Masters (IEM) tournament in February 2017. The shaving brand chose League of Legends due to its popularity as one of the longest running eSports and ability to reach a young, male audience.
Overwatch, by contrast, is considered one of the most gender diverse games, boasting 16% female players in 2017, according to eSports website DBLTAP. One of the oldest and most established games, Counter Strike is popular in North America and Europe, and DBLTAP suggests it attracts a slightly older audience aged between 25 to 35.
HP has opted to align its brand closely with Overwatch, through its sponsorship of the Overwatch League franchise in the US.
Speaking at Advertising Week Europe in March, Yvonne Hobden, consumer marketing lead at HP UK, explained the importance of picking games based on the audience brands are attempting to target.
“Each different game is a different type of sport. Our PCs start from £850-£900 basic, so you need a bit of disposable income, you need to have a game that needs high power graphics and we want a mixed demographic,” she explained.
“Overwatch attracts girls as well as guys. It’s very much like you’re going after a sport, you’d be looking at the demographic.”
Speaking of the eSports community in general, Hobden suggests it is crucial to take a nuanced approach based on offering the audience added value, or your brand could be put at risk.
“This audience is a particularly hard one to reach, so you have to be more clever. You can’t just do a standard media buy and shove a load of ads out there. It has to be very targeted and engaging,” she stated.
“I would say buyer beware, go into the space and take advice because this audience is so quick to judge. You get it wrong and that’s it – it’s game over. You’ve got to take your time to understand it, don’t rush.”
Lang advises any brand looking at eSports to find a game that shares its demographic reach and look for teams offering long-term commitment or alternatively work directly with networks like the ESL or the game creators around their tournament schedule to achieve a “huge live event presence”.
“The current growth curve for participation and viewership goes beyond any hockey stick I’ve seen for a new sport and the investment is getting into serious media spend territory,” adds Lang.
“So even if you look at investment in this realm as a calculated risk, the upside could be enormous.”

The TV perspective

In the UK, Ginx is the leading eSports TV channel, and it runs 24-hours a day, seven days a week. Globally, the network is available in more than 55 million households across 40 countries and 11 languages offering dedicated feeds to suit the eSports culture in different countries.
Ginx creates its own programmes, talk shows, debates and documentaries, as well as acquiring content from event organisers such as the ESL by licensing tournaments. In 2016, Ginx recorded 280 million viewers, which rose by 20% in 2017 and is expected to rise by 14% in 2018 to an audience of close to 400 million people.
Marketing director Solenne Lagrange argues that the interest from big global brands such as Intel and HP, as well as non-endemic brands like Mercedes and Renault, will help the eSports scene grow and mature. A significant draw for such brands is eSports’ millennial fanbase.
“On Ginx we see that three-quarters of our audience are millennials and they are a target that brands love,” says Lagrange. “They are young, active and they have on average higher income than other demographics. They are the largest demographic in the US, so it’s key for brands to be able to target, talk and engage with them.”
Lagrange also believes it is important for eSports to shake off its image as a world of loners playing for hours in their basement.
“It’s far from the truth. It’s a very social activity, people talk a lot together, they engage and share opinions and they do a lot of research when it comes to buying things, so you have to get it right because people will be talking about you. If you get it right, it’s perfect. If you get it wrong the entire audience can turn its back on you and you’re pretty much done,” she observes.
Be in it for the long haul; don’t think you can dip in and dip out, because that isn’t going to work for your brand.
Scott Gillingham, Intel
From a TV channel perspective, Ginx aims to create in-depth content that differs from the live streaming element seen on Amazon-owned streaming site Twitch. The network is focused on ramping up the storytelling element of eSports by interviewing players, creating documentaries about their lives and going backstage at live events like the Intel Extreme Masters.
“People who know about eSports know about the players, but to attract people and make eSports even bigger we need to tell the stories and help people understand what eSports is,” says Lagrange.
She argues that eSports is big and new enough that there is still room for brands to make their presence felt, as long as they add value and help eSports grow.
“I would say Intel is one of the biggest achievements in eSports,” Lagrange notes.
“To me the IEM is bigger than any concert or sport event I’ve ever seen. The people stay for seven hours. The final stopped at 1am local time on a Sunday night and people were still there.”

The community

The eSports community is growing by the day. This year alone there are expected to be 165 million eSports enthusiasts worldwide, defined as people who watch professional eSports content more than once a month. This is up 15.2% year on year, according to Newzoo statistics.
Furthermore, the global average annual revenue generated per enthusiast is predicted to rise by 20% this year to $5.49.
Once you add in occasional viewers the total number swells to 380 million people watching eSports content in 2018, up 13.5% on 2017.
Scott Gillingham, UK gaming and eSports lead at Intel, explains that eSports fans are unique in that every game they are watching, they are also playing themselves.
“They’re watching the IEM final on their PC and then they will flip to play the game they have been watching. That helps drive the engagement because they are able to watch the pros and learn from them and then try it themselves,” he explains.
Four million people, or 7% of British adults, have watched competitive video gaming in the UK alone, according to YouGov research, with 57% keen to do so again. The statistics are however dwarfed by viewership in China (45% of adults), the US (12%) and Germany (11%).
The UK will be seeing significantly more activity in the eSports arena with the launch of the Omen UK Open, a UK exclusive six-month long Counter Strike tournament created by HP with a $30,000 prize pool.
Red Bull is also backing eSports with the opening of the UK’s largest public eSports studio. Unveiled in London in March, the Red Bull Gaming Sphere welcomes aspiring gamers to play in weekly tournaments and learn from professionals. The space also contains a number of different PCs and consoles for fans to practice.
Looking globally, eSports fans tend to skew significantly younger, with a fifth (21%) of those aged 18 to 24 in Britain having watched eSports, compared to less than 1% of people aged over 55.
YouGov profile data suggests that eSports fans are more likely to demonstrate certain characteristics compared to a nationally representative sample. They tend to be more introverted (70%), early adopters of new tech (78%) who believe that technology changes your life for the better (92%) and are big fans of artificial intelligence (82%).
Some 20% of eSports viewers say professional gamers are athletes, 42% consider eSports a real sport and 44% say gaming will become as popular as traditional sports.
Luke Cotton, director of consultancy Code Red Esports, agrees that the eSports audience tends aged between 14- and 30-years-old. While age is an important factor, Cotton argues that what is more significant is this community’s desire for brands to be completely authentic.
“eSports fans can be very unforgiving, but equally they will embrace and love brands. If you sponsor Manchester United you might get exposure, but nobody loves Chevrolet because they sponsor Man United. That’s different with eSports. The fans appreciate that brands enable them to get a load of really high quality free content and enable their favourite players to play as a career,” says Cotton.
“If you do things right the positive brand equity that can be created is huge and it’s more than just the exposure. eSports is still pretty cheap to get involved in right now and that will change, so you don’t need to be a massive brand, but ultimately the most important thing is to do things in an authentic way.”
Intel’s Gillingham agrees that brands must consider how they will add value to eSports over time, or be prepared to feel the community’s wrath.
“If you’re not authentic they will let you know. They are able to get onto Facebook, Twitch and Twitter and voice their opinions. They’re very happy with putting their gaming and their lives online, and expressing their opinions,” he explains.
“I think brands are learning to make sure they’re listening to the community. [But brands need to] be in it for the long haul; don’t think you can dip in and dip out, because that isn’t going to work for your brand.”

Wednesday, September 19, 2018

Minding Your Business-Nike on how setting an ‘audacious goal’ helped the brand work differently



Unprecedented access to the athletes’ journeys as they attempted to run the first sub-two hour marathon was at the heart of #Breaking2’s global appeal, says Nike brand communications director Mark McCambridge.

Nike Breaking 2
When Nike announced its ambition to break the two-hour marathon barrier in December 2016 observers questioned whether it would really be possible to achieve the “holy grail of running”.
The aim of the project was to shave a few minutes off the current men’s world record time of 2:02:57 and by doing so challenge expectations around what is possible in sport, all framed around in-depth athlete storytelling.

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Brand communications director Mark McCambridge was working in the Nike running group during the project’s early stages as the organisation began bringing together a cross-functional group of engineers, designers, bio-mechanists, nutritionists and physiologists to work on the record attempt.
Despite the audacity of the project, which caught headlines worldwide and was named one of Marketing Week’s campaigns of the year in 2017, McCambridge explains #Breaking2 wasn’t devised as a publicity stunt.
“A lot has been written about #Breaking2 as a very clever marketing stunt, but the objective behind the project was never to make it a marketing stunt,” he states.
“Its driving intent was really to see if people are capable of running that fast and taking down what many people viewed as an impossible barrier.”
Had we taken it on as a solely Nike project and not brought in National Geographic as a partner it would have limited our ability to reach people.
Mark McCambridge, Nike
Three distance runners – Eliud Kipchoge from Kenya, Ethiopian Lelisa Desisa and Zersenay Tadese of Eritrea – were challenged to run the 26.2 mile course in under two hours wearing Nike’s new Zoom Vaporfly Elite racing shoe.
Scheduled to take place on 6 May 2017 at the Formula One track in Monza, Italy, the race was always intended to be streamed live on social media, allowing fans to track the runners’ progress in real time.
McCambridge, with a background in photojournalism, sensed the potential for capturing the story as a long-form documentary, focusing on the athlete’s stories. Working with media partner National Geographic, the idea behind the film was to harness all the content shot on the journey to Monza, from training and the science behind the record attempt, to the race day.
“We weren’t trying to make anything up in this, we weren’t marketing for marketing’s sake and it was a genuine story that happened,” McCambridge stresses.
“In my world there is a sense of obligation to share that story and finding the right way to do it. Had we taken it on as a solely Nike project and not brought in National Geographic as a partner it would have limited our ability to reach people.”
While the documentary was a way of taking a deeper look at the #Breaking2 process, Nike also wanted to give the record attempt context in the live setting by creating 60- to 90-second pieces of cut away footage about the athletes as individuals.
Then to drive the conversation on the ground Nike hired American sports presenter Sal Masekela to front the live coverage and had Hollywood actor Kevin Hart working on the sidelines as a reporter.
On the ground in Monza, Nike also had a partnership with Airbnb giving 10 fans staying at a campsite adjacent to the racetrack the chance to witness the record attempt in person, as well as meet some of the athletes and pacers.
“This type of stuff happens as close to organically as it can because so many facets of this project are in a spirit of ‘let’s try things, let’s partner with people, let’s see if we can reach the moon’,” explains McCambridge.
“Once you set an audacious goal, especially when it is seemingly impossible, it allows people to kind of work differently. The media partnerships that we had with platforms such as Twitter and Facebook, and their openness to seeing what the possibilities were going to be for engagement, also made that live element something that was so impactful.”

Global footprint

Despite the fact Kipchoge was 25 seconds shy of beating the two-hour mark, #Breaking2 was a worldwide PR success. Some 13.1 million people watched the record attempt live across Twitter, Facebook and YouTube, according to Nike figures.
The term #Breaking2 generated 84,459 mentions on social media from 6 to 8 May alone, as reported by media monitoring tool Meltwater, and notched up a further 140,029 mentions across Twitter, Instagram and Facebook during the six months between the announcement of the record attempt and the date of the race.
Nike Breaking 2
Timing the marathon to start at 5.45am local time in Italy was not some corporate strategy to reach all the key global markets, but instead was chosen because it was the right timing for the athletes.
“If we had been a ruthless media company we wouldn’t have run it at the worst possible time slot in major markets around the world,” McCambridge reflects.
“I think 18% of the live viewership actually came from Japan, because there is such a high use of Twitter, it was also the most advantageous time slot for prime time, online viewership. It transcended even the barrier of language.”
Since its release in September, the feature length #Breaking2 documentary has clocked up over 2.5 million views on National Geographic’s YouTube channel alone.
The documentary enabled Nike to bring the voice of the athlete to people in a more intimate way than the brand had ever done before, says McCambridge, due largely to the “unprecedented” access the team were granted to Kipchoge, Desisa and Tadese.
He also recognises that as a brand Nike could have “failed pretty gloriously” on a project like this, but crucially the human element really shone through. As a result the legacy of #Breaking2 – for Nike at least – will be bringing to life the human stories behind sport.
“The key is finding narratives, bringing them to life and sharing them in a way that is so intrinsically rooted in human potential that it’s hugely motivating. It can be daunting at times to find other stories that have the same level of resonance, but the benefit for any of us that work in Nike is that sport is an infinite playing field of those types of moments,” McCambridge adds.
“The other key learning is looking at how you assemble the right team, because many times if you start from a point where you believe you have everything sorted out and you know the best way to do everything it doesn’t allow for true creativity to come through.”