OOH Creativity: The Power of Special Activations
Luís Felipe Loli Argello analyzes partnerships for formats like fake OOH and advocates for simplicity in advertising.
In an interview on Marketing - The Podcast, We OOH CCO Luís Felipe Loli Argello explains how out-of-home media owners enable special activations and fake OOH. The conversation explores the loss of lightheartedness in modern advertising and the push for collaborative creative solutions with agencies.
Luís Felipe Loli Argello, CCO of We OOH, spoke with Bruno Gimenes on Marketing - The Podcast about developing special projects and the current state of out-of-home creativity in Brazil.
The conversation is part of a broader discussion on the country's out-of-home media landscape. In the video above, Argello breaks down the behind-the-scenes work on physical activations and digital formats across out-of-home campaigns.
Physical activations and partnerships for fake OOH
Discussing special projects, Argello recalled large-scale stunts executed for movie releases, including building pyrotechnics and visual effects. "We had a period where we managed to bring in some innovations, so to speak. We had several movie premieres with bubbles coming off the top of buildings, fireworks," he shares.
To keep innovating without overburdening the media owner's operational structure, their strategy shifted toward external partnerships specializing in digital content and CGI. "We started bringing in partners to help us brainstorm, because building an in-house creative team inside a media company is very costly for us today," Argello states.
The goal is to support agencies in delivering viable solutions across large inventory volumes. "Today, we've been working on this internally to bring ready-made creative solutions to agencies using our medium and platform," Argello notes, citing campaigns requiring between 1,500 and 5,000 ad displays for clients such as Banco do Brasil and Caixa.
The quest for simplicity in Brazilian advertising
Argello believes recent advertising communication in Brazil has suffered from overcomplication and a diluted cultural identity. "I feel the market doesn't understand advertising as well anymore. Nowadays, everyone tries to overcomplicate things, but simplicity is so chic," he highlights.
For Argello, historic campaigns and straightforward initiatives prove the strength of uncomplicated concepts. He cites examples like Eletromidia's Abrigo Amigo project, alongside campaigns for brands like Bombril and Piracanjuba, emphasizing that "lightheartedness provides the creativity Brazilians have always had" when they avoid merely copying foreign templates.