Insights into a Dynamic Media Landscape
We gather the latest in OOH, DOOH, and prDOOH, from new formats and campaign ideas to trends, measurements, and industry events. Using cities as a platform, we share perspectives and knowledge that help you create communication that stands out, gets noticed, and truly makes a difference.
Welcome to our hub for news, insights, and events. Here, we share current observations, analyses, and inspiration from our network in Sweden and around the world. Whether you work in strategy, creativity, or media buying, you’ll find content that offers new perspectives and ideas.
Cost Per Action (CPA) is the cost per defined action, such as a new customer, registration, app download or completed in‑store purchase. For OOH and DOOH, the concept needs to be understood somewhat differently than in clickable digital channels. While digital advertising can often link CPA directly to a click and a fully trackable journey, contact with out‑of‑home happens in the physical world, while the action itself usually occurs later, for example in another channel or another environment.
In an OOH context, CPA is therefore typically calculated by relating the campaign’s total cost to the measured uplift in relevant actions in the areas and time periods where the campaign has been active. This might mean more purchases in stores near the exposures, more app downloads in specific ZIP codes, or increased e‑commerce traffic and conversions from regions where the campaign has been running. In this way, CPA becomes not a measure of direct response from the site itself, but a measure of how cost‑efficiently out‑of‑home contributes to driving real actions.
To make that calculation more robust, geo‑data is often combined with attribution models. Geo‑data may include store‑ and ZIP‑code‑level information, traffic flows, store locations and other factors that help determine where people have had an opportunity to encounter the campaign. When these data are combined with models of likely exposure and comparisons against control areas or historical baselines, it becomes easier to isolate the OOH effect from other channels. This is crucial, because out‑of‑home almost never operates in a vacuum; it nearly always runs alongside search, social, video or retail media.
When CPA for OOH is calculated in this way, it can be compared with more direct response‑driven channels using a common KPI language. This makes it easier to assess how effective the out‑of‑home campaign is relative to search, social or online video, not only in terms of clicks and impressions, but in terms of cost per actual action. For marketers, this is valuable because it gives OOH a clearer role in performance discussions and allows the channel to be evaluated in the same business‑oriented way as other investments in the media mix.
Gross reach is the total number of contacts a campaign generates where the same person can be counted multiple times if they are exposed on repeated occasions. It is a measure of all exposures, not of how many unique individuals the campaign reaches. In an out‑of‑home context, gross reach reflects how persistently the campaign “leans in” on people in their everyday lives, day after day.
In OOH, gross reach depends on factors such as traffic flows past the sites, dwell time in the environment where the site is located, how many sites are used and how they are positioned, as well as the campaign’s duration and weight – i.e. how often the message is shown or played. A screen in a major commuter hub with long dwell times will generate more contacts than a site in a faster‑moving flow, and a campaign that runs for several weeks with many plays per day will naturally accumulate higher gross reach than a shorter, lighter burst. The number of sites and their geographic spread also matter: the more relevant locations the campaign occupies, the more contacts are built up over time.
High gross reach is critical when you want to build broad coverage in the target audience and secure sufficient frequency. Out‑of‑home messages typically require multiple exposures to stick and translate into behaviour – people need to see the campaign repeatedly in their everyday environments for it to move from “something I’ve seen” to “something I act on”.
Gross reach captures precisely this accumulated effect of all those contacts.
In planning, gross reach is used to assess a campaign’s overall weight and how OOH/(D)OOH strengthens the rest of the media mix. By understanding how many contacts out‑of‑home generates, you can plan how it should complement TV, online video and social media with more frequent, repeated contacts in everyday flows. Where TV and online video may create powerful but more point‑in‑time impressions, OOH ensures that the message recurs in the physical environment – on the way to work, in retail, at key hubs – steadily building both memory and behavioural change over time.
Gross price is the official list price for an OOH or DOOH site before discounts, contractual terms, promotions and package solutions are applied. It is the price level used as a reference in proposals, media comparisons and overall budget planning, before the actual net price is agreed through negotiations and contracts.
How the gross price is set is closely linked to the value of the contacts a site can deliver. Location is a key factor: traffic volume, audience quality, environment and any premium positioning all influence how attractive the site is. A screen in a major commuter hub, a premium city location or an indoor site in a high‑income environment will be valued differently from a less‑trafficked spot. Format also plays a role, including size, whether the site is digital or analog, and whether it involves Innovate‑type solutions such as station domination or creative extensions with, for example, 3D elements or sensor technology. Time and season affect pricing through variations in campaign pressure and competition for the site: peak seasons with many campaigns can carry different price levels than quieter periods. Demand and exclusivity also matter, for example whether the site can be dominated by one brand or used exclusively during a given period.
Pricing is normally tied to the reach and VAC delivery of the site – i.e. how many qualitative contacts it can generate. Based on the gross price, advertisers may convert the investment into CPM, cost per thousand contacts, to compare (D)OOH with other channels in the same currency: contacts. In this way, the gross price becomes the starting point for both financial planning and effectiveness comparisons, while providing a clear structure for how different locations, formats and seasons are valued within out‑of‑home.
Brand lift is the measurable change in key brand metrics such as awareness, recognition, consideration and preference, when you compare the situation before and after a campaign. At its core, it captures how communication has actually shifted the brand in people’s minds: do more people know you, recognise you, consider you, and prefer you over competitors?
In OOH/DOOH, brand lift is typically measured via panels or digital surveys run by research companies such as Norstat, Ipsos or Kantar. A group that has been exposed to the campaign is compared with a control group that has not seen it, usually with a similar demographic profile, in order to isolate the effect of out‑of‑home specifically. This helps avoid mixing the campaign’s impact with other factors such as seasonality, price changes or parallel activity in other channels.
Out‑of‑home is generally a strong driver of brand lift when a few basic conditions are met. First, the campaign needs high visibility in high‑traffic, relevant locations: sites where the target audience actually moves, and where the message has repeated opportunities to be seen in everyday life. Second, it should use a clear and consistent visual identity across time and channels, the same core message, recognisable visual style and a clear sender, so that all contacts add up to one coherent picture in the audience’s mind. Third, premium sites with good image quality, appropriate formats and sufficient frequency provide a clear advantage. When the campaign is both highly visible and perceived as high‑quality, it is more likely to leave a lasting impression.
Brand‑lift results are often used as tangible input for decision‑making and strategic discussions. On the one hand, they help demonstrate to stakeholders how (D)OOH increases mental availability – how readily the brand comes to mind in buying situations, and thereby builds brand equity over time. On the other hand, they help justify and optimise budget levels, format mix and placements for future campaigns: which locations, formats and frequencies generate the most lift per invested currency unit? In addition, brand lift can be used to compare the impact of different creative approaches or media combinations – for example, whether an emotional storytelling campaign drives greater preference than a tactical price campaign, or how a combination of DOOH and online video performs versus other media mixes.
Return on Investment (ROI) for out‑of‑home advertising is about putting the business impact of a campaign in relation to the total cost of media, production and measurement. In practice, it means weighing what the campaign actually delivers (in sales, traffic and brand value) against what you have invested to be visible on streets, squares, stations and digital screens.
For OOH and DOOH, you can track both short‑term and long‑term outcomes. On the short‑term side, this includes metrics such as sales, store traffic, campaign response and app activity, the effects that show up directly in the numbers during and shortly after the campaign. On the long‑term side, it is about brand effects: higher awareness, stronger preference, improved image and the ability to command a price premium without losing customers. Out‑of‑home is often strong in this dual role, because large, public formats both drive immediate action and build the brand over time.
Strong ROI in (D)OOH depends on multiple elements working together. It’s about selecting the right locations – places where the target audience actually moves and is receptive – and the right formats, from classic OOH sites to high‑resolution DOOH screens, and combining these with sufficient media weight to make an impact. At the same time, the campaign must be aligned with the brand’s margins and customers’ lifetime value: how much each new customer or each uplift in sales is actually worth over time. When that equation is in place, out‑of‑home can become a highly cost‑effective investment.
An important part of the ROI discussion is that (D)OOH often acts as a reach engine that improves returns in other channels. By building broad awareness and emotional connection with the brand in the physical environment, you often reduce cost per conversion in channels such as search and social. More people already know the brand, recognise the message and have a positive perception when they eventually encounter your digital ads. The result is that the same digital investment suddenly delivers better performance because out‑of‑home has done the groundwork. When calculating ROI, it is therefore important not to view (D)OOH solely as a standalone cost, but as a channel that both generates its own returns and simultaneously boosts the effectiveness of the rest of the media mix.
Attribution in DOOH is about demonstrating what an out‑of‑home campaign actually delivers, beyond reach and impressions. In practice, it is the method used to link a likely screen exposure to a concrete outcome, such as increased website traffic, app activity or store visits. Instead of settling for the idea that people may have seen the campaign, attribution seeks to answer the question: what did they do afterwards?
To enable that connection, mobile movement data, exposure models and control groups are often used. Mobile movement data provides a picture of how people move in the real world: who has been within the effective range of a particular screen, when, and how frequently. Using exposure models, often referred to as impression multipliers – one can estimate how many people in a given flow are likely to have seen a specific spot, based on location, screen type and play‑out frequency. Control groups are then critical to isolating impact: individuals assessed as exposed are compared with a corresponding non‑exposed group to capture behavioural differences over time. If the exposed group consistently shows higher traffic, more purchases or stronger engagement, part of that difference can be attributed to the campaign.
In this way, attribution becomes a tool to show how an out‑of‑home campaign actually drives traffic, conversion and sales, not just reach. For the marketing mix, this is essential because it allows DOOH to be evaluated using the same analytical language as digital channels. When you can demonstrate that a certain share of visits, leads or purchases is highly likely to be attributable to a specific DOOH initiative, it becomes easier both to justify budget and to bring out‑of‑home into performance‑driven discussions. It also enables more dynamic optimisation over time, where investments can be dialled up or down based on demonstrable attributed impact rather than assumptions or historical rules of thumb. In a mix where every channel is expected to deliver measurable impact, attribution is the key to giving DOOH the same seat at the table as other digital investments.
An Ad Exchange is essentially a switching hub, a digital marketplace where SSPs (Supply Side Platforms) and DSPs (Demand Side Platforms) connect to trade ad inventory programmatically. When DOOH inventory is connected to an Ad Exchange, it means screen time on physical assets can be bought, sold, and auctioned in real time, in a way that mirrors online display.
The crucial difference is that each impression doesn’t appear in an anonymous browser window, but in a clearly defined physical context: precise location, time of day, screen type, and surrounding environment. It could be a premium screen at a major transit hub, a commuter location where people move at a certain pace, or a screen close to a store where purchase decisions are made then and there.
For advertisers, Ad Exchanges make it possible to buy out‑of‑home media using the same logic, tools, audience targeting, and reporting as the rest of their programmatic activity but with the impact of large screens in real‑world environments. They can leverage their existing DSPs, established audience segments, and proprietary data sources, while still delivering their message into the public space where people actually move, wait, shop, and socialize.
This makes it significantly easier for programmatic teams to integrate DOOH into their always‑on setup instead of treating out‑of‑home as a separate, manually planned channel parallel to digital buys. In practice, DOOH can be folded into the same workflow as online video, display, and native with clear budget parameters, frequency management, and reporting.
At the same time, Ad Exchanges unlock a more dynamic use of the out‑of‑home medium. Screens can change messages based on real‑world conditions, not just campaign flights. This can involve fast tactical optimisations, redirecting pressure to the screens that perform best, or automated triggers based on, for example, time of day, weather, or local events. A morning coffee campaign can run when commuter flows peak, an offer on sunglasses can be triggered when UV levels rise, and local messages can be activated when an event is taking place in the area.
In this way, Ad Exchanges combine the best of both worlds: the precision, speed, and transparency of programmatic buying – and the physical presence, reach, and ability of out‑of‑home media to influence people in their everyday lives.
First‑party data, or 1P data, is information that a company collects and owns itself. This can include data from customer clubs and loyalty programs, CRM systems, websites and apps, in‑store systems, or the results of its own campaigns. In other words, it is data that comes directly from the company’s own customer relationships, and is therefore both more relevant and more reliable than purchased third‑party data.
When first‑party data is used in an OOH and DOOH context, the goal is to connect real customers to specific locations and tangible behaviours in the physical world. You move from abstract target‑group profiles to mapped customer patterns:
By combining this insight with geographic information, advertisers can manage their out‑of‑home campaigns in a completely different way. In practice, it means they can select OOH locations that match where their own customer base actually moves, rather than relying on broad demographic assumptions. This makes OOH placement more precise: close to stores, in relevant retail areas, along key commuting routes, or around workplace clusters where existing or potential customers are present.
For DOOH, first‑party data unlocks additional opportunities. Digital screens can be managed more dynamically, and messages and impressions can be linked to specific CRM segments or defined geographic zones. A company can, for example, choose to show a particular message only near selected stores, to a specific loyalty segment, or at times of day when a relevant customer group has a high presence in the area. In this way, DOOH becomes more than “digital posters”; it becomes an extension of the operating model already used in digital channels.
This is what makes first‑party data so important for OOH/DOOH. When it is connected to geography and movement patterns, out‑of‑home media becomes a data‑driven part of the customer journey, rather than a standalone channel sitting alongside the rest of the marketing mix. OOH/DOOH can then be used to reinforce CRM strategies, extend the impact of campaigns in digital channels and create more integrated communication, where the customer encounters the same logic in different environments – both online and out in the city
The question of how out-of-home advertising is costed essentially comes down to three elements: gross price, net price and contact cost. To compare (D)OOH with other channels, you need to understand the relationship between these, and how they connect to reach and frequency in different environments.
The gross price is the starting point. It is the list price for a campaign or for a package of ad units over a given period. In classic out-of-home, this can be networks consisting of:
The gross price typically reflects:
In other words, it is the aggregated price tag for the potential exposure in a given environment, over a defined time period.
The net price is the actual price after discounts, contractual terms and any package deals. Only when we work from net price does it make sense to talk about how (D)OOH is costed in comparison with other media.
At net price level we can:
Net price is therefore the key entry point when we talk media economics and budget allocation.
Contact cost, or CPM in (D)OOH terms, is calculated by taking the net price and dividing it by the number of modelled contacts, usually per thousand:
Contact cost / CPM = net price ÷ number of contacts × 1,000
These contacts are based on:
This modelling is provided by Outdoor Impact. Outdoor Impact is the Swedish standard for measuring and modelling reach and VAC (Visibility Adjusted Contacts) in out-of-home advertising, making it possible to compare OOH with other media on a consistent basis.
This means that not all passers‑by are counted as equally valuable contacts. A bus shelter unit may have fewer passers‑by in total, but more high‑quality contacts than a unit along a fast motorway where many people pass without registering the message. In this logic, VAC (Visibility Adjusted Contacts) becomes a key metric. VAC represents visibility‑adjusted contacts that take into account how exposure actually works in real life. When we calculate contact cost per VAC, we get a CPM metric that can be meaningfully compared with other channels, despite the environments being fundamentally different.
Creative (D)OOH solutions (for example, JCDecaux’s Station Domination in metro environments, or bespoke executions on stand‑alone units and bus shelters) deliberately deviate from standard logic. Here, the cost per contact is higher, but the objective is often to:
In these cases, contact cost should not be assessed in isolation, but in the context of the campaign’s strategic role within the overall communication plan.
A simple, practical workflow for analysing how OOH is costed is:
Step 1 – Secure the net price
Always work from net price, not gross price, when you compare or optimise.
Step 2 – Calculate contact cost
Calculate CPM per contact/VAC for different networks, cities and formats.
Step 3 – Compare across networks, cities and environments
Compare contact cost levels together with:
This enables you to identify which combinations of networks, units and environments deliver the best reach and quality within a given budget – without losing the quality of exposure behind a single price index.
Audience segmentation – or “audience segmentation” in English, a term often used even in Swedish – is about defining target groups based on behaviours, locations and movement patterns, not just demographics. In out‑of‑home advertising, age and gender are rarely enough. What really matters is when, where and how people move through the city, and in which situations you encounter them. This is where environments in out‑of‑home and traffic flows become core building blocks.
Major agency groups such as GroupM describe the evolution of DOOH in exactly these terms: as a more audience‑based, data‑driven channel where campaigns are planned around audience behaviour, location and time, rather than purely socio‑demographics (see GroupM/Kinetic Sightline and the launch of Journeys). For context, GroupM’s Journeys platform is a tool for data‑driven DOOH planning, where campaigns are built around people’s real‑world journeys and touchpoints in everyday life, rather than just around individual out‑of‑home units and exposures.
The first level is segmenting by everyday patterns. Commuters, locals, visitors and shoppers move in different corridors and at different times. Out‑of‑home networks are chosen to mirror these flows:
Starting from where people actually move, rather than only who they are, is also the foundation in international overviews of location‑based OOH/DOOH planning, where geodata and movement patterns are used to identify the right environments and corridors (see Factori on location intelligence in OOH/DOOH and AI Digital on geo‑targeted advertising).
The next level is context and situation. Select units (which can be bought directly or programmatically) around grocery stores, shopping centres or transport hubs are used when the aim is to reach people close to the moment of purchase. Placement of (D)OOH becomes more important than traditional demographics. Two people with different backgrounds may have similar propensity to buy when they are in the same situation.
In practice, OOH audience segmentation often relies on place‑ and situation‑based data rather than individual profiles, which aligns with how leading DOOH players and agencies describe modern audience targeting: focused on location, real‑time triggers and behavioural signals (see, for example, the Perion/GroupM case on more precise audience targeting in programmatic DOOH).
With DOOH and prDOOH, segmentation can be taken further. By controlling when the ads run, you can target messages towards, for example:
The same screen in a bus shelter can therefore address several different segments across the day. This allows you to combine broad reach with high relevance, without changing the physical infrastructure. The campaign setup, combined with the right timing, becomes the winning recipe for reaching the target segment.
This approach is clearly reflected in GroupM and Kinetic’s DOOH platforms, where the goal is to enable audience‑based DOOH campaigns driven by location, time of day and behavioural data, integrated with other programmatic channels (see Sightline and Mumbrella’s article on data‑driven DOOH planning via Journeys). WPP/GroupM also emphasise in their Nordic overview that data, AI and audience analysis are becoming increasingly important in (D)OOH planning.
Creative OOH solutions / special builds are used more selectively within the segments that are most strategically important. A 3D outdoor execution or a semi‑takeover campaign around a central location can be designed to reach a priority behavioural segment. There are countless such segments – to give a few examples:
Impact is amplified when these hero executions are surrounded by a broader network that builds reach before and after contact with the main unit.
In international competitions such as the OAAA OOH Media Plan Awards, campaign planning is highlighted as particularly effective when it is “grounded in audience understanding” and uses budget smartly to reach the right people in the right environments. This confirms the value of audience‑driven planning even for more unusual or spectacular (D)OOH activations.
To find the best formats for reach within a given segment, you need to combine:
Key questions therefore become:
About the audience & situations
About purchase context & decision journey
About environments & touchpoints
About formats & creative requirements
About measurement & learning
Audience segmentation for out‑of‑home thus becomes a way of working, not just a booking method. You start from movement and situation, and let units, formats, networks and buying logic be shaped accordingly.
This shift – from simple demographics to more advanced, data‑based audience planning in OOH/DOOH – mirrors the development driven by large media agency groups through their own DOOH solutions and recommendations (GroupM/Kinetic Sightline, WPP/GroupM Nordic) and OAAA’s focus on audience‑based planning.
High summer temperatures, upcoming holidays and European Championship fever – the city is covered in blue-and-yellow campaigns 💙💛⚽. Before you shut down your laptop for summer, we’d like to share an interesting insight on colour in marketing and an interview with a brand that chose to go against the flow.
Instead of chasing the “right” colour based on simplified colour psychology, marketers sometimes need to think in reverse. Certain colour analyses have over time become almost unquestioned norms – for instance, “blue signals trust”. Modern research clearly shows that it’s far too simplistic to assume that colour alone determines how credible a brand is perceived to be. If your industry is already saturated with blue, as is very much the case in financial services, it is far more strategic to enter with a distinct alternative colour than to launch yet another blue campaign.
So the right question is not: “Which colour creates the most trust?” Instead, ask: “Which colour strengthens our positioning, reflects our promise, and cuts through for our specific target audience?” And then dare to stick to that colour consistently over time.
You’ll find an example of a brand that chose a completely different colour direction from its competitors further down in this letter.
A study from JCDecaux and System1 shows that truly memorable advertising is built on the same key components: bold colours, strong contrasts and faces. The study indicates, for example, that strong colours increase emotional impact by 22% and work as a visual magnet in the surrounding noise. Read more here!
When you chose pink in a category dominated by blue, what was the key argument that gave you the confidence to go against established “colour psychology truths”?
I wasn’t working at Klarna when the shift happened – it was before my time – but I know there were a lot of discussions about how a financial service is expected to signal safety and seriousness, and that blue is the obvious choice for that. Pink could therefore feel like a risk to our credibility – after all, we’re dealing with people’s money.
What gave us the courage to move ahead was the realisation that we needed to follow a different recipe than all our competitors in order to stand out. We wanted to show that payments don’t have to be boring and that pink actually signals accessibility and relevance rather than a lack of seriousness. It was also a way to reach a younger audience that doesn’t necessarily recognise itself in the traditional tone of voice used by banks.
What role has out-of-home played in establishing Klarna as a bold and distinctive brand?
Out-of-home is a fantastic channel for creating impact and making an impression in people’s everyday lives. You can’t just scroll past an OOH ad the way you can with digital advertising, and with our colourful brand palette it’s been genuinely fun to show up out there and capture people’s attention. In addition, out-of-home is a powerful way to claim physical space, which gives extra weight to both our campaigns and our brand.
Is there a specific campaign that stands out in your journey – and why?
My personal favourite, and a campaign we still talk about internally, is “Smoooth”. It’s iconic, and I think that’s precisely because we did everything the industry didn’t expect. “Smoooth Dogg”, fronted by Snoop Dogg, really showed our bold side. I remember from one of my first meetings with our CMO David that if anyone said, “No, we can’t do that, we’re a bank”, it only made him more determined to go through with the idea – because then it was unexpected and would make an impact. I actually believe most Swedes remember that campaign.
On Thursday, 27 August, we’re hosting the first “Creative Breakfast” of the autumn together with Brand Marketing Sweden. Among the speakers, Moa Frisk, Marketing Director at Triumf Glass, will share their brand journey from a local brand to national reach. Sign up here!
We wish you all a fantastic summer and round off this edition of “Utblick” with creative inspiration. See you in August ☀️🏖️😎🌻
Guerrilla marketing is compelling: with the right idea, a single stunt can generate impressive attention in a very short time. According to data from the Guerrilla Marketing Association, around seven out of ten marketers state that guerrilla activities are effective for building awareness, and almost two thirds also report an actual sales uplift following their stunts. International case studies – from Blendtec’s “Will it blend?” to Uniqlo launches with graphic guerrilla executions – show that a well‑executed stunt can deliver both millions of impressions in social media and tangible impact in the form of queues outside a newly opened store. A well‑planned activation can therefore trigger a “waterfall effect” that organically spills over into other media.
However, if the impact is to last longer than a few hours, the activation needs to be connected to something bigger.
This is where out‑of‑home advertising becomes the backbone, as it builds reach, frequency and continuity, and delivers very broad coverage according to IPA TouchPoints, with dwell time on par with TV and higher than many other major media channels. Combined with social media, a stunt can achieve enormous amplification, but without a solid (D)OOH foundation it risks becoming a costly one‑off event that many talk about but few are actually influenced by.
In (D)OOH environments, guerrilla marketing almost always involves transforming a place for a limited period of time – and doing it in a way that people can genuinely participate in. It can be a specially built solution on existing sites, a so‑called Innovate installation, a 3D outdoor execution, a local takeover around a key hub such as a metro station, or a more “organic” activation where people, happenings or unexpected elements in the streetscape become part of the experience itself. The experience is powerful in that exact moment. Studies of creative and engaging (D)OOH activations show that campaign effectiveness (in terms of recall, brand impact and action) can on average increase by 7 to 17 per cent compared with more standard out‑of‑home solutions, according to JCDecaux’s “The Point of Social” insights (+7%) and the multi‑stage study “The Moments of Truth” (+17%). The *real* effect occurs when people subsequently encounter the same brand again, in more “everyday” formats, across more locations in their daily lives.
To succeed with guerrilla marketing in (D)OOH environments, you first need absolute clarity on why you are doing it – and this “why” usually boils down to three things:
Guerrilla marketing works best when you are launching something new, looking to reframe the perception of the brand, or aiming to create buzz within a clearly defined target audience. In those situations, a spectacular or unconventional activation in connection with different types of advertising assets can be exactly right – especially in locations with high natural footfall and a self‑evident position in the city.
The second aspect is how the stunt connects with everything else. A stunt should almost never stand alone. A network of out‑of‑home sites around the location ensures that more people see the message both before and after the activation itself. With DOOH and programmatic DOOH (prDOOH), you can also time‑optimise messages in the same environments, for example just before a product launch or when a new physical store opens.
The third aspect is what you want to achieve from the initiative. Guerrilla marketing is a type of activation that usually reaches fewer people than a broad out‑of‑home campaign, but the contacts are much stronger. That is why you need to define from the outset what you intend to measure: increased visits to a store – i.e. footfall attribution? In other words, trying to assess whether, for example, an OOH campaign, digital advertising or a DOOH screen actually drives more people to a specific location, often by combining exposure data with mobile location data or in‑store systems. Do you want to measure engagement in social media? Shifts in awareness or preference? Without clear KPIs, it is difficult to know whether the money would have delivered more value invested in a broader, more traditional media buy.
Creative (D)OOH solutions, guerrilla marketing and larger events simply work best when they are applied with precision on top of a stable, already established out‑of‑home presence. They should amplify a story that is already in motion – not carry the entire communication effort by themselves. When that balance is in place, physical activations and guerrilla marketing can become the sharp edge that makes a campaign both felt and remembered, while a broad (D)OOH presence secures reach and long‑term impact.
