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HOME->Consumer Marketing->Engagement->Brands on Fire: Instagram Experiential
Lead on 'Reels Cinema' at Cannes Lions


BRANDS ON FIRE: INSTAGRAM EXPERIENTIAL LEAD ON ‘REELS CINEMA’ AT CANNES LIONS

Posted on June 23, 2024 by Kaylee Hultgren



Photo credit: Luke Hayes



When Meta activated for marketers, brands and creatives during the Cannes Lions
International Festival of Creativity last week, it once again tapped the
creative vision of Es Devlin, a world-renowned stage designer behind Instagram’s
critically-acclaimed Storyscape activation at the 2018 festival. Devlin’s “Reels
Cinema,” a structure built from the ground up within the Meta Beach footprint,
featured a seven-minute film crafted in 9:16 vertical video. We spoke with
Instagram’s experiential marketing lead Damien Baines about the inspiration
behind the activation, the film’s themes, the project’s business strategy and
much more.

Chief Marketer: What was Instagram’s focus at Cannes this year?







Damien Baines, Experiential Lead at Instagram



Damien Baines, Head of Experiential Marketing at Instagram: We’re focused on
creativity and specifically performant creative for Reels. Creativity is
important, not just because of the imaginative spark and sheer beauty that it
fosters, but also for the business impact.

You and I talked about this last year with the Reels SuperStudio. This year we
wanted to approach it a bit differently and use cinema as our inspiration…
because it brings together stories, community and technology through creativity.





If you look at our Reels creative essentials, which are 9:16 video, Sound On and
Safe Zones, it mirrors a lot of what you find in the development of cinema. The
beginning of cinema was silent movies—black and white. Then you go to sound, and
then you go to color and 3D and all these other technological innovations. We
found a lot of parallels with that, so we focused on creating this through the
lens of cinema.

CM: You’ve typically promoted short-form video features. Why did you go with a
long-form theme with cinema?

DB: It’s relative. The film itself is about seven minutes. The way that we look
at Reels: It’s our video product. And right now you can post a Reel [lasting] up
to 15 minutes. So while we have been, in the past, focused on short-form, it all
works with the Reels product.





CM: How did the film experience come about? What was the inspiration?

DB: We have so much inherent power in our platforms, by empowering
creators/storytellers to tell their own story. When I was thinking about
potential auteurs that we could collaborate with, we wanted somebody who had a
signature, distinctive point of view. And we love the work that we did with Es
back in 2018 with Storyscape.

We wanted to take one of the Reels’ creative essentials, the 9:16 vertical
video, and amplify that … and do a vertical film. When we approached her about
doing a project like this, she confessed to us that this is going to be a really
interesting challenge for [her] because [she] has a personal bias towards 16:9
landscape. She said, ‘but I have noticed my teenage daughter, and every time she
captures something, she captures it in 9:16 or portrait mode.’ She thought to
herself, as a creative: I myself need to expand my own approach and my own
horizons. Otherwise, things just keep going and innovating and changing. She
recognized that if she didn’t do that, she would be stuck in her own journey as
an artist.





In terms of thematics, what she was focused on this year was eliminating the
seeming separation between people, places and things, and highlighting the
illusory nature of that separation. That’s how we got to [the title] “There Is
No Other.” This stems from continued conversation she and I personally had
during quarantine about the world’s sustainability, the environment systems and
some reading that we had done that had influenced our conversations and our
discussions.

So we thought we would do a film that was a statement about the relationship of
human beings to this place that we live called Earth and to each other in our
environment—but from a macro lens and not being prescriptive or suggestive,
[saying] ‘this is what you should do to save the planet’ or anything like that.
The central thesis… is that every human being is simply another version of every
other human being. If you wanted to reduce it into just one line, the film is an
exploration of that.

CM: This is more of a sit-back experience where people experience the film,
which is quite different than your last two years where attendees participated
more in the activation.





DB: It is very different. We have created an actual cinema on the beach. It is
our largest footprint ever. It is a dual-sided theater… In the architecture, we
blended the era of the movie palace to the multiplex and a bit of stage theater.
When you first enter, you will be in an auditorium that seats about 15 people
with a large 9:16 vertical screen that is super immersive. Before you enter the
theater, we offer you concessions in a box—a treat that has popcorn and classic
movie candies, because we’re trying to evoke the cinematic experience. Then the
film opens—actually in a 16:9 aspect ratio… [Es] begins this exploration towards
the illusory nature of things, how we perceive things as not actually as they
are in reality.

The film continues and expands from that 16:9 aspect ratio into this full
immersive 9:16 vertical film and screen. And this is where a bit of the stage
theater magic comes in because we want to highlight the expansive nature of
vertical video and offer it as a possibility for natively creating within
it—that is not just simply a good for a cut-down from your landscape 16:9
orientation.



Photo credit: Luke Hayes







CM: Have you incorporated any brand partnerships or any education on how brands
could use this?

DB: After you leave the theater, we invite you to a content creation area where
we will have attendees recreate scenes from the film using our AR technology. We
have some very beautiful moments that we think are worth celebrating. This is
about tapping into creating stories on our platform as inspired by the craft of
filmmaking.

CM: I noticed that there are some workshops in the program. You’re encouraging
attendees to experience that beforehand?





DB: We’re offering multiple points of entry of experience. You could start with
content creation and then see the film and then go to a workshop, or you can go
to a workshop and see the film and then do content creation. It’s all about the
power of Reels from multiple perspectives, and each one is offering a different
exploration of that dynamic power.

CM: What’s the value of doing such a huge activation at Cannes? Why is it
important for the brand to get people engaged on the beach?

DB: Well, after you have done the activations that we’ve done over the number of
years, there’s a certain standard. I’m very proud of all the work that we have
done since I’ve been responsible for activations on the beach, beginning back in
2016, with those Instagram activations. What we want to highlight is the
responsibility that we feel that we have to culture and giving back and
reflecting back—as stewards of one of the most creative platforms, and multiple
creative platforms—but specifically, Instagram historically at the beach. It is
a reflection of who we are and what we believe in as Meta.





CM: What do you want attendees—brands, marketers, people in the creative
space—to take away from this, from both a creative impression standpoint and
also from a business perspective?

DB: It is about our creative essentials. We are amplifying and focusing on one,
even though they’re all important: the 9:16 video. We know that Reels ads with
creative essentials—9:16 video, Audio-on and Safe Zones—resulted in a 15%
decrease of CPA versus non-9:16 video ads without audio and Reels. We also see
an increase in reach across Reels, Feed and Stories in VR campaigns when you
take those same creative essentials and add it with other creative elements. You
get a 11% increase in reach.

As I mentioned before, it is not just about the imagination and the beauty that
creativity fosters—it has real business impact. And what we’re focused on
ultimately is return on investment to our advertisers. And then we also want
people to be inspired and reconsider 9:16 video as something that is worthy of
creation.





As we were meditating on how we were approaching Cannes this year and our tonal
elements—what was the most important and what we wanted people to take
away—there’s a formula that we created if we were to organize them. And that
would be human connection and innovation—those two things together—equal
transformative power. Human connection is who we are and why we exist—our raison
d’être, if you will. Then innovation is how we do what it is that we do by
developing new and inspiring technologies to connect the world. And then all of
that equals transformative power for all of our partners—for brands, for
agencies and creators.




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