Are FOOH ads pushing creatives to reimagine their boundaries?

The out of home (OOH) space has evolved rapidly this year with the introduction of fake OOH. Fake OOH are advertisements that blend physical and digital spaces, often created through the use of CGI, AI and mixed-reality technologies.

From foundation bottles parachuting down from the skies in Fenty Beauty's FOOH ad to giant sweet potatoes erupting in the middle of Orchard Road in Sunshine Bakeries', FOOH ads have taken over social media by storm and are capturing attention in ways traditional OOH media can't. As brands strive for viral moments and social engagement, how has FOOH ad impacted the role of creatives? 

Shouvik Prasanna Mukherjee, Golin's executive vice president, global creative innovation and Golin APAC's chief creative officer is of the opinion that every new technology has opened new doors of creative possibilities and expanded horizons. 

Don't miss: Visual artist Aundraj Jude on why mixed reality ads won't just be a passing fad 

"Mixed reality content has evolved over the past decade and has become more imaginative and impactful. The physical 3D billboards with reality-defying graphics popping out of the screens are not really meant for a handful of people standing at a particular point on the road to experience it - rather to be amplified on virtual channels, and then there is digital content with CGI overlays on real videos that explore another dimension of this phenomenon," said Mukherjee. 

"Basically, we love the optical illusions they create - forcing our minds to engage more to process them," he added. 

The role of creatives 

As FOOH ads become more prevalent, Mukherjee also sees stronger collaboration between creatives and other departments. "Collaboration of strategic planning and creative has always been critical. We have actually collapsed the workflow by integrating these teams into our creative intelligence unit where analysts and planners partner with creatives to deliver the work. The coming together of right and left brain thinking creates sharper, measurable and impactful ideas that spread joy and deliver business results," said Mukherjee. 

Chew Guo-You, managing director of This is Tommy agrees, adding that "FOOH has blurred the lines between motion design and visual effects – so there is a challenge to recalibrate agency thinking & approach to traditional OOH creatives. What is key in terms of visual execution in FOOH is how ‘believable’ the final product is - regardless of how out-of-this-world it can be. Poor 3D and compositing risks actually having a negative impact on brands if not executed well." 

At the same time, Chew believes that the rise of FOOH have "definitely reshaped collaborations between departments from a planning perspective." He observed that it mandates an idea-first approach rather than a media-first one, as FOOH removes the creative boundaries of having to ideate around the limitations of space and media.

Similarly, Rodrigo Mitma, creative director at We Are Social Singapore said that "any opportunity to explore new avenues and generate ideas that foster talkability on social is always welcomed". 

Mitma personally finds projects that simultaneously blend animation, videography, photography and OOH design to be especially engaging. He added that the rise in FOOH ads and the mainstream adoption of CGI and AI technologies have paved a way for new specialised creative talent. However, as with any trend, FOOH will eventually peak and lose its impact if not executed authentically, explained Mitma. 

"It’s essential that any creative concept—whether fake OOH or otherwise—aligns with the brand’s identity and objectives to remain relevant," he explained. 

What's the challenge?

According to Mitma, the challenge of FOOH lies in understanding the impact of the format and determining what will keep audiences engaged. As with any creative idea starting with a strategy and brief, working closely with the strategy team and adopting an insightful approach can enhance the chances of a FOOH execution creating buzz. 

Meanwhile, in collaborating with the production team, the goal of creatives is always to elevate the craft and bring unpredictable work to life.

In addition, Joyce Gan, partner and group client services director at Fisherman said that the rise of FOOH ads have created a need for more creative roles that digitally strong, whether in animation or editing. They must also be able to understand and execute the ideas in a 'believable', timely and cost-effective manner.

"The role of the creative still remains as crucial as ever. There is always something new to learn every day in the industry. That said, storytelling and how it impacts consumers is still key for the brand," said Gan. 

Does FOOH push creative boundaries? 

With the rise of FOOH ads, Gan believes that the format allows creatives to take more risks and push boundaries in their work. Referencing Jacquemus' Bambino handbag FOOH, she said that FOOH gives creatives another avenue to be innovative and presents bigger possibilities which we can add engagement to the brand. However, should it become overused, creatives will still have to be able to craft a story that stands out. 

Chew agrees with Gan, saying that "It’s akin to how CGI in the animation changed the game for how screenwriters could write riskier, grander scenes. Creatives now have the possibilities of reimagining how they can tell a brand’s message."

A stand-out example for Chew is "The worst FOOH" by yoghurt brand Battimix where it used a simple JPEG image in its FOOH campaign. "It rode the trend in a self-aware yet hilarious manner, and truly cut through a sea of brands jumping on the FOOH bandwagon, with an intentionally poorly executed FOOH. I’m a sucker for self-aware marketing," explained Chew. 

Meanwhile, Mukherjee shares a differing opinion, saying that "good creatives are always looking for opportunities to expand their horizon. They don't depend on trends to calibrate their risk appetite." 

He added that there is numerous mixed reality content that are brilliant, but there are also traditional OOH campaigns that can transcend channels and make great business impact. One such example, is the 'Meet Marina Prieto' campaign by JCDecaux in Madrid where subway ads featuring an old woman named Marina Prieto took the city, and others, by storm. 

Interestingly, Mitma said that it's not the format which allows creatives to take more risks or push boundaries. In fact, it demands that creatives do. 

"The more fake OOH we see, the more we need to push ourselves to keep making them topics of conversation. This is simply the reality of any medium, new or old," said Mitma, adding that the inherent opportunities of the format lie in creating larger-than-life interactions on otherwise untouchable locations.

Ultimately, the success of FOOH ads hinges on their ability to go viral across social media, with the best examples stop people mid-doom scroll. "Think of Maybelline’s lashes on the London tube or a giant Jacquemus handbag driving around Paris—these examples are tailor-made for social media today. In a sea of content and advertisements, their absurdity makes them funny, engaging, and, most importantly, memorable. That’s why they continue to be referenced whenever we discuss FOOH," said Mitma. 

"But just as those examples have helped popularise FOOH, they are also the reason we must keep innovating. They set the standard for what is expected, and we need to push beyond it," he stated. 

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