Intensive digitalization, changing uses, democratization of virtual events and even the advent of the phenomenon " phygital “…Our event communication practices have been turned upside down in recent months, without anyone providing us with a how-to guide. Now, it’s time to learn from them. 🤓 What lessons should we learn from this crisis, which has accelerated transformation? How can we rethink events and their balance between real and virtual? What are the best practices for hybrid events?
Team We Are COM went to benchmark and find answers from two professionals in the sector. Guests at this workshop Club We Are COMAnne-Sophie Berthon (NRJ Group) and Édouard Olivier (Parnasse) shed light on the events industry after the pandemic and highlight the new challenges. So, let's focus on tomorrow's events. Action! 🎬
You’ll find here:
Overview of the events industry
Many employees still work remotely and want to see this format continue. digital of their events. Whether they take place in internal, external and even in B to CVirtual meetings have revealed their advantages: economy, accessibility, visibility, cleanliness and measurability.
And what about the physical event in all of this? While the virtual world certainly enjoys considerable advantages, the physical still carries a significant and irreplaceable emotional charge. The power of the senses brings greater enchantment and depth to any real experience, engaging the public in a unique way. ☝️ Note that 70% of consumers believe that emotions influence 50% of their purchasing decisions..
It is therefore quite natural that we are witnessing the development of this rapidly growing phenomenon: the hybrid eventA subtle blend of virtual and real, the challenge of which is to meet the expectations of two different audiences, without neglecting the interaction of the participants.
In terms of hybrid events, three main genres stand out:
- The broadcast : an event with a dual audience, both on-site and remotely.
- Live streaming : an event recorded in a studio, to be viewed live or on replay.
- The satellite event: a single meeting, composed of several small events linked together by digital technology.
To learn more about best practices for post-event planning, feel free to consult We Are COM cheat sheets.
Some inspiring events
🎃 An in-drive Halloween – Hulu
Hulu, the platform The video-on-demand service, Huluween, reimagined its annual event in Los Angeles with an experiential activation. The event took place inside a car, in an immersive forest setting, and adhered to health and safety protocols. Fifty-four costumed influencers could pose in a photo booth and watch a horror movie at the drive-in. The result? 2,5 million impressions on social media. Social Media.
🇫🇷 An escape game available on-site and on mobile – RMN / Grand Palais
Last September, the Réunion des Musées Nationaux (RMN) launched a major project. The concept? In 1962, an urban development project threatened the Grand Palais with demolition. How could they help Culture Minister André Malraux save the monument? Escape game enthusiasts were able to revisit history and discover some of the Grand Palais's secrets while solving puzzles as a team. All this for just €7 per person, outdoors and on mobile devices.
(I.e. Alonzo, rapper from GTA – Puma Music Tour
In April 2020, the Puma brand launched the first virtual concert in France within the generational game GTA, featuring Alonzo. avatar The rapper was thus created and dressed in his full Puma outfit. The stage was set up at the Vinewood Bowl, and a tracklist was created for the occasion. Each song had its own visual effects. The results? 80.000 viewers and over 1 million comments on Twitch.
🍦 Parisians' floating cinema – Häagen-Dazs
Since 2018, Häagen-Dazs has made it a tradition to meet Parisians on the Champs-Élysées for a movie night. In 2020, the brand innovated by organizing a physical event on the Bassin de la Villette, while respecting social distancing guidelines. The "Seine de cinéma" (Cinema Seine) welcomed spectators, seated in electric boats, in groups of six people chosen at random.
🎓 The Minecraft campus – Sciences Po Paris
Three students from Sciences Po Paris have set themselves the ambitious goal of recreating the famous school in a construction set. It includes wooden chairs, the cafeteria, restrooms, and even the bar so popular with students. The objective? To recreate the interactions that previously took place in lecture halls, with the added benefit of being able to follow courses online while still interacting.
Words from PROS
🎙 Two event communication professionals analyze the sector and its current changes:
- Anne-Sophie Berthon is Director of Production and Events of NRJ Group.
- Édouard Olivier is Director of Brand, Communication, Digital and Events Parnassus, the Orange group's selective circle.
👋 Hello to you both. What is the scope of your event activities? Who are your target audiences, and what are their specific characteristics?
Anne-Sophie Berthon: Within the NRJ Group, I am in charge of live entertainment and, more generally, all events related to the group. As a reminder, the group includes the radio stations NRJ, Chérie FM, Nostalgie, and Rire & Chansons, as well as the NRJ12 television channel. Our events are varied, ranging from small operations at a film premiere to concerts bringing together 40,000 people. Thus, we target two main audiences. On the one hand, in the field, we work with families, particularly younger children attending their first concert and their accompanying relatives. On the other hand, we work with a more adolescent audience, between 15 and 20 years old, depending on the musical genres.
Édouard Olivier: Parnasse is the selective brand of the Orange group and is based on the triptych: personalized connectivity, support by a personal digital coach and circle life. Our promise is therefore, among other things, to offer our members the opportunity to participate in a number of high-quality events. Indeed, the defining characteristic of our target audience is their high standards. Initially reserved primarily for frequent travelers, our offering has now expanded to include other groups, notably business leaders, professionals, and freelancers. In short, Parnasse is for those who want to eliminate the mental burden associated with digital technology.
🤔 Have your jobs changed in the last year and a half? What are the developments and the constants in your practices?
E. O.: Of course, with the Covid crisis, we had to rethink events and adapt them to digital practices. To do this, we tested different tools, platforms, service providers… Participatory digital technology worked particularly well, especially through initiatives that allowed members to reconnect. I'm thinking, for example, of a virtual visit from a renowned chef, who shared an exclusive recipe with the participants. After receiving their basket of ingredients, each person, alone, as a couple, or as a family, could join in the fun and reconnect with others through this playful, live activity guided by the chef.
Today, we are experimenting with hybrid events, which are proving to be both complex and extremely interesting. This new approach allows us to reach new target audiences. Initially, Parnasse was only present in Île-de-France, then on the Riviera since 2017. Now, we can expand our offering to many other regions.
Our constant guiding principle remains excellence, which is reflected in the organization of prestigious, intimate events. Furthermore, we place great emphasis on hyper-personalization so that each member feels unique. To ensure flawless quality, it is crucial to rethink the preparation of an event: digital requires diligent work beforehand and demands many rehearsals.
Finally, regarding impact, we survey our members after each event, whether physical or digital. It's essential to constantly readjust our actions. Moreover, the unique aspect of digital media lies in the fact that we can now track connections instantly, which leads us to reflect on the pace we need to maintain.
AS. B.: I would say that my job hasn't changed "since" a year and a half ago, but rather "during" a year and a half ago. The Covid crisis has turned our professions in the live entertainment industry upside down. We had to combine technical skills with IT to reach a young audience, already familiar with new technologies. The challenge was to adapt, and quickly! Producing a virtual event also involves learning to use new equipment and specific vocabulary.
Of course, Many questions have arisen in response to these changes in practices. We had legal concerns, particularly regarding the databases of virtual participants. In person, we organize free, open-to-all gatherings where everyone is anonymous. What about the virtual world? What should be done with the collected data, and how should it be processed? We also considered the risks associated with the dissemination of images. In the event of an incident during a live event, how can we protect ourselves against the spread of content that goes viral? Should we insure our digital events?
As we emerged from the health crisis, we quickly decided to abandon digital events, given the public's strong desire to return to pre-pandemic events. Therefore, our actions in B2C have resumed in-person activities, with the exception of our social media strategies. Today, digital remains the dominant force with regard to the B2B presentations, marketing studies… Digital technology represents a significant saving in time, logistics and budget. Attending a video conference from one's office has become a fundamentally ingrained practice in our customs and, in my opinion, this is a very positive development.
📢 Anne-Sophie, how can we amplify events beyond a specific time or place? Is digital technology an undeniable asset?
AS. B.: At NRJ, we typically work on events well in advance. Increasingly, we're implementing new practices, such as the quid pro quo system adopted by the Orange RockCorps festival. To obtain a ticket, each participant is encouraged to donate their time, perform a good deed, most often an eco-friendly one. It's a way to give an event a different resonance. Within the NRJ Group, we also want to foster audience engagement, using this model of free access with added value. Therefore, we are developing the brand Green Livewhich involves spectators upstream to make them actors in the world of tomorrow. We believe it is essential to support young people, our main target audience, by rewarding their involvement in protecting the planet, a subject to which they are particularly sensitive.
On the other hand, During periods of lockdown, our efforts focused on interactions generated by social media. For example, we set up video chats between artists and spectators using video walls. These exchanges, organized before or after the concert, enriched it with lively interactions and exchanges and allowed the artist to reconnect with their audience in a different way.
📈 Édouard, how has event planning evolved within Parnasse in recent years? How is content used to create a unique experience?
E. O.: At Parnasse, we want to maintain digital services alongside in-person services. We believe it is important to alternate and experiment with the different solutions available to us today.
During the pandemic, we had to adapt to new formats, particularly video, which allows us to pace our presentations. We also had to develop interactive sequences, especially suited to small group meetings. Since human relations are at the center of our concerns, it was inconceivable that the members of Parnasse would not be able to directly question the speakers or interact with each other.
Otherwise, We have also redesigned the post-event experience. Reliving a powerful moment helps to make it memorable. Thus, this summer we organized a meeting to coincide with the inaugural exhibition at the Bourse de Commerce, where the wax statue by the artist Urs Fischer was on display. Subsequently, we sent participants updates on the evolution of this ephemeral statue at 60 days, 80 days, and so on. This sharing over time transforms the experience and enhances its exclusivity, relevance, and richness of meaning.
✅ Finally, what are your next challenges in event management? And those of the sector, in your opinion?
E. O.: Our challenge is to keep the human element at the heart of everything we do. Each member must be able to talk to their coach whenever they feel the need. Human relationships definitely deserve to be strengthened after these periods of confinement. Our challenge for the future also involves embracing a new territory: innovation, which is a strong expectation among our members. This is a vast subject to explore, and one in which we are certainly well-positioned. Finally, working on geographical expansion and involving members from all regions in our events is a crucial step for Parnasse to grow its network.
AS. B.: Regarding the challenges facing the NRJ group, they affect primarily to ecologyAt the end of live shows or concerts, we all too often find the venues in a deplorable state. Therefore, we make it a point of honor to find solutions to combat water waste and excessive plastic consumption.
Finally, We want to broaden access to culture geographically and financially, through digital technology. While it cannot completely replace physical experience, it has the undeniable advantage of making culture accessible to the greatest number of people.
What can we learn from the events that followed?
Every event format offers its own set of advantages and constraints. The key challenge for events in the future lies in finding the right balance. It's about striking the right balance between the pace and interactivity of face-to-face meetings and the opportunities offered by the many digital tools available. 🤖 So, ready to invent the event of the future?
Anne-Sophie Berthon,
Director of Production and Events for the NRJ Group
Édouard Olivier,
Director of Brand, Communication, Digital and Events at Parnasse
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