The new tools include Dream Screen, which lets creators add backgrounds or short videos to their content just by writing in a prompt. In a demo on stage at the launch, YouTube executives used the tech to create a video of a dragon flying over New York City, and a dog driving a car.

Other features include AI-generated suggested video topics. The aim here is to spark ideas and draft outlines based on what audiences are already watching on YouTube. Another tool suggests music to be used in videos, and theres also a new AI-powered dubbing tool for automatically translating videos into foreign languages.

“AI will enable people to push the boundaries of creative expression by making the difficult things simple and the impossible dreams possible,” said YouTube CEO Neal Mohan. “These powerful tools shouldn’t just be for a select few. We believe they’re for everyone.”

In addition to the AI tools, YouTube is also launching a new free mobile app called YouTube Create. It comprises a suite of production tools that makes it simple for anyone to edit and post their own videos on the service.

Mohan explained: “Many people today believe becoming a YouTuber is out of their reach. Some aspiring creators think that you need to have a deep understanding of analytics and a full production studio. At YouTube, we want to make it easier for everyone to feel like they can create, and we believe genuinely that AI will make that possible.”

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Its new global campaign centres on the phrase ‘Not for sale’ and focuses attention on the reader-funded model that (the company says) keeps its journalism independent and open to all. It includes a film that shows reader reactions to the brand, and digital/OOH posters proclaiming the Guardian to be “Loved”, “Hated”, “Trusted” , “Feared”, “But never controlled”.

The creative will run across audio, video, newsletters, print and social, with a paid media focus in the UK and Europe. Digital screens and posters will also feature across European cities including Amsterdam, Berlin, Dublin and Paris, as well as London, Manchester, Bristol, Liverpool and Edinburgh.

The film will feature on Channel 4 (on demand and linear), in cinemas in the UK from 25 September, and on a range of digital and social platforms across Europe.

The Guardian hired creative agency Lucky Generals for the promo – its first brand campaign since 2019’s ‘Hope is Power’. It coincides with the launch of the Guardian’s Europe edition, which gives readers on the continent a tailored English-language edition of the Guardian website and app for the first time.

Anna Bateson, chief executive, Guardian Media Group said: “Over the last decade we have vastly increased the Guardian’s global reach, readership and revenues, now attracting more than one million paying supporters each month. Readers tell us they support the Guardian because they believe, like we do, in robust independent media that is open to all, funded by many, and beholden to no one.”

“Our new Europe edition and our bold new marketing message carry forward this mission and will help us to cultivate even deeper relationships with readers, advertisers and other partners who believe in our values.”

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How big can it get? According to Bloomberg, Snap’s CEO Evan Spiegel expects the service to reach 10 million subscribers in the medium term.

Snapchat+ was launched in June 2022 as a premium service that offered exclusive, experimental and pre-release features $3.99/month. Over time it added more exclusives such as early access to AI products such as My AI chatbot and Dreams. Among the premium features currently offered are:

Pin as #1 Best Friend
Story Rewatch Indicator
Custom App icons
Snapchat+ Badge
Priority Story Replies
Custom Notification Sounds
Chat Wallpapers
Chat Effects
One free monthly Snapstreak Restore

At launch Snapchat+ was available in the US, Canada, UK, France, Germany, Australia, New Zealand, Saudi Arabia, and the United Arab Emirates.

Five million is a respectable number, but it is still a tiny fraction of the companys global community of 750 million monthly users. And the revenue generated is a similarly insignificant chunk of the firms overall income from ads.

Still, the progress of Snapchat+ does indicate the extent to which the social giants are taking paywalls seriously. Over at Twitter/X, the paid service X/Premium has (reportedly) 1 million subscriptions. And this week X boss Elon Musk hinted that the company was considering putting the entire service behind a paywall.

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The centrepiece is an ad that demonstrates the various ways customers can make their breakfast Alpro-licious. The ad will run across multiple channels including ITVX, Meta, DV360 and placements on Tesco’s own website.

The creative will also feature on the handsets of Tesco’s new Scan as you Shop format, prompting customers of the products available when in-store. The activity will run until the end of October.

Danone-owned Alpro teamed up with Wavemaker UK and Tesco-owned customer data science company Dunnhumby on the strategy, which it hopes to target precise audiences with personalised product creative and taglines.

Jon Ruberry, Plant-Based Category Director at Danone, said: “While the dairy alternatives category is significantly bigger than it was 10 years ago, there is still space for the category to grow, and Alpro can help drive that. We want to bring more people to the world of plant-based goods.

“Alpro-licious is an important component in helping us do that by reaching such a huge audience base, but importantly, keeping that personal and high quality approach we have to all of our products.”

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The ATL campaign, which includes film, OOH, digital and social, features time-pressed professionals, including delivery drivers, mechanics, nurses and police officers, grabbing a Nomadic yoghurt or drink when they can.

The idea is that these are the kind of people who get the job done’ with little opportunity to sit down at a desk, kitchen, or canteen to eat. The promo follows a recent re-brand by Nomadic and partner Cheeky Communications based around a chevron graphic. The motif is meant to represent the repetitive, fast paced nature of work.

Bethan Miles, Marketing Manager for Nomadic, said: “We wanted to ensure the creative resonated with our new audience of ‘people who need to get the job done’ in a way that felt authentic and not patronising. The fast pace of the video creative and the short statements on screen reflect our straight-talking, positive approach.”

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This is the true story of HSBC and Emma Raducanu and the Fairer Tales campaign, which re-imagines classic fairy tales Cinderella, Sleeping Beauty and Rapunzel. The aim is to educate youngsters on personal and financial resilience.

The promo takes the form of a digital book on HSBC UK’s website, which features special foreword written by Emma Raducanu. Hard copies of the book will be given out to over 900 schools across the UK. Theres also and a video on YouTube narrated by the tennis star alongside her tennis ball friend Ace.

HSBC says it will be support the promo with social content delivered across TikTok, Instagram, YouTube and Pinterest.

The campaign is launched as YouGov research from HSBC UK found that more than half of youngsters (51 percent) aged 6-14 feel it is important to save money for the future, with 55 percent aspiring to own a house.

The research also revealed differences in attitudes towards finances between boys and girls: two thirds (66 percent) of girls think it’s crucial to learn about money management compared to 58 percent of boys, but more than half (52 percent) of boys said they wanted to be rich when they grow up versus just 39 percent of girls.

Raducanu said: “I hope girls and boys across the UK join me in reading and enjoying these new adventures featured in Fairer Tales to achieve amazing things, helping build their independence by learning about financial literacy.”

Sarah Mayall, Head of Brand Marketing at HSBC UK, added: “We’re committed to empowering children and helping them take control of their financial futures. In collaboration with Emma, we are excited to announce the launch of Fairer Tales in 2023, supporting the next generation of children across the country to achieve their ambitions and learn about personal and financial resilience”.

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The games publisher King teamed up with agency BBH on the content, which aims to dramatise and bring the excitement of the mobile game’s world into the real world, creating a sensory experience.

The first film, ‘Whoosh’, starts with Candy Crush Saga players hanging out on a beach at sunset, before they are propelled into the stratosphere on a column of candy pieces. It is live now and will be followed this week with the second video ad ‘Spin’. The third film ‘Float’ goes live in November.

Luken Aragon, Vice President of Marketing for Candy Crush Saga at King, said: “This campaign really demonstrates how we’re ‘Making the World Playful’ and how we work to deliver those moments of escapism for our players. We loved seeing our candies as never before, closer than ever before, and more fun than ever before, bringing to life the power of play and the sweetness of victory in the most indulgent and immersive way.”

Candy Crush Saga was first released on Facebook in 2012. Today, the original Candy Crush Saga is still the leading game in the series. It generated 45 million downloads in the second quarter of 2023 alone.

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The brands are all members of the the UK Association of Online Publishers (AOP), and they are working with Publicis Media on the project to test Anonymised, a privacy-enhancing technology (PET) for cookieless targeting and measurement. The project has been discussed with the UK Competition and Markets Authority (CMA) and the Information Commissioner’s Office (ICO).

Its now three years since the advertising industry began waking up to the fact that third-party cookies and mobile identifiers are going away. Since then, no real consensus has emerged on how to do robust tracking and measurement without infringing user privacy.

Hence this major project, which will run through 2023 and early 2024 and will follow the CMA’s blueprint testing framework for Google’s Privacy Sandbox. Results will be shared with the CMA and the ICO in the second quarter of 2024.

“Third-party cookies were never a great deal for publishers because they leak first-party data into the ecosystem, which largely benefits adtech companies and made-for-advertising sites” said Richard Reeves, MD at the AOP.

“Technology like Anonymised gives publishers an opportunity to monetise audiences without disclosing data, enabling direct relationships with advertisers – which aligns with our members’ vision for an equitable exchange between publishers and advertisers.”

“The market needs a new generation of technology providers that can help publishers and advertisers transition to a cookie-less, privacy-first internet,” added Dr Mattia Fosci, CEO of Anonymised. “Google’s Privacy Sandbox may well be the new baseline for open-web advertising, but innovation is needed to make sure the open web remains a competitive advertising destination in a privacy-centric world”.

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The UK merchants announced today include eFones (@efones.com), Box.co.uk (@boxcouk) and Yoltso (@yoltso). TikTok Shop has also collaborated with software companies including Blackbelt Defence and PhoneCheck on testing, quality control and certification.

The launch is the latest move by TikTok to turn its platform into a shopping destination. Its Shop UK service already supports product categories such as Pets, Parenting, Wellness, and Books. Extending the service to mobile devices makes good sense since TikTik says the #UsediPhone now has 100 million views.

Emily Gallant, Director at eFones, said: “We are excited at the opportunity to launch the refurbished technology category with the Tiktok Shop team in the UK, and have been eagerly waiting for this category since eFones launched with Tiktok two years ago. The opportunity to exhibit the quality of our products through short videos and live streams is unique to Tiktok, and we expect to see some amazing content and sales on the platform.”

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