Doha, Qatar – Taking storytelling to new heights, Qatar Airways has introduced Sama, the world’s first AI-powered digital human cabin crew, designed to engage and inspire a global audience on social media.

Unveiled at ITB Berlin 2024, Sama is the new face of Qatar Airways, representing the airline’s commitment to blending innovation with emotional engagement. As the first digital human cabin crew on social media, Sama aims to engage a digital audience with relatable and inspiring content.

Through her Instagram account, @SamaOnTheMove, Sama shares a vibrant mix of travel tips, personal stories from her layovers, and exclusive insights into some of the world’s most captivating destinations.

Whether sharing hidden gems, travel tips, or behind-the-scenes moments into life as a cabin crew, Sama showcases Qatar Airways’ 170+ destinations in a fresh, engaging way, inviting followers to explore new cultures and traditions.

Babar Rahman, senior vice president of marketing and corporate communications at Qatar Airways, said, “Introducing Sama on Instagram is an extension of our vision to blend human connection with technological innovation. Sama is not just a digital human; she’s a reflection of how we see the future of travel—personal, engaging, and deeply connected to the experiences that matter. Her presence marks a step forward in how we humanise our brand and create moments that resonate with our global audience.”

Singapore – Integral Ad Science (IAS) has announced the expansion of its existing partnership with global tech company Meta. Through the expanded partnership, IAS will be rolling out its ad measurement tools for Facebook and Instagram Reels.

This now means that Reels advertisers will now have transparency into the performance of their ad campaigns. The adtech company has previously provided advertisers with measurement tools that include viewability and invalid traffic for placements across Facebook and Instagram.

The IAS and Meta partnership first began in 2016.

Yannis Dosios, chief commercial officer at IAS, said, “Facebook and Instagram Reels are enormously popular with advertisers, and based on the success of the existing partnership between Meta and IAS, we are pleased to broaden our work together and provide this deeper level of transparency for Reels ads.”

He added, “With more than 140 billion Reels played daily, smart marketers have already been placing advertisements on Reels and now they have even more measurement insights into which of their ads are being seen and driving results.”

Recently, IAS announced the expansion of its existing partnership with TikTok, which will bring its ‘Total Media Quality’ brand safety and suitability measurement product to advertisers in 23 new markets.

California, USA  Parent company for Instagram and Facebook Meta has recently unveiled a couple of features for both platforms. This includes a new broadcast channel for instagram and Meta Verified, a paid verification service for both facebook and instagram users.

CEO Mark Zuckerberg said in a facebook post that through the new broadcast channel on Instagram, Instagram channels will now be allowing creators to share public messages directly to their followers. Users must follow the creator first to join the broadcast channel to react and participate in polls and receive notifications about the channel updates.

Furthermore, the feature is supported by various content forms including text, images, and polls, amongst others. In the following months, the feature will also be made available in messenger and facebook.

Zuckerberg himself started his own broadcast channel and specified that it will be used for sharing news and updates about Meta’s new products and technology. 

Meanwhile, Meta will also start to roll out ‘Meta Verified’, a paid subscription service that will allow users to verify their accounts using a government ID and get the blue badge. The subscription starts at $11.99 per month on the web and $14.99 per month for iOS users.

For security and authenticity purposes, Zuckerberg added that the feature will also serve to be a protection for users against impersonators or ‘posers’ online. The subscribers will also have the privilege to directly access the customer support service.

The subscription service will be inaugurated in Australia and New Zealand this week and in more countries soon.

Singapore – Market measurement firm Nielsen has released new data to list the most influential players on Instagram, with all of the listed players to play at the FIFA World Cup 2022.

Cristiano Ronaldo, who has been a global superstar for nearly 20 years with Manchester United, Real Madrid and Juventus, again increased his Instagram following in the past year with around 47% follower growth. He leads the list with a media value of US$3,585,218.

Following next is Argentinian footballer Lionel Messi with a media value of US$2,631,388 and Brazilian footballer Neymar with a media value of US$1,152,495. Other high-ranking players include French football player Kylian Mbappé (US$1,173,157 media value) and Brazilian player Vinícius Júnior (US$685,120).

Meanwhile, Spanish footballer Gavi ranks first in the breakthrough players list on Instagram, with an expected media value of US$377,305 and an engagement rate of 29.46%. Following him is Brazilian player Raphinha with a media value of US$22,727 and engagement rate of 3.59% and Brazilian player Antony with media value of US$106,229 and engagement rate of 12.42%. 

Other breakthrough players include Spanish player Pedri (US$255,212 media value and 13.20% engagement rate), Argentinian player Rodrigo De Paul (US$206,983 media value and 13.34% engagement rate), and Brazilian player Rodrygo (US$119,726 media value and 5.42% engagement rate).

Marco Nazzari, managing director of international sport at Nielsen said, “With dozens of the world’s most recognizable athletes competing for football’s ultimate prize, the World Cup will capture the attention of nearly a billion people. This event provides brands unique opportunities to partner with the right footballers to effectively engage their target audiences. Nielsen InfluenceScope evaluates all aspects of a particular player’s influence so that brands can ensure that they receive a proper rate-of-return for the right investment.”

Singapore – Zespri International, a kiwifruit marketer based in New Zealand, has launched a new tongue-twisting campaign challenge. Called ‘#Just1ZespriChallenge’, the campaign aims to show that not all fruits are created equal.

Developed in collaboration with global marketing agency VMLY&R, the new campaign has been launched across multiple integrated touchpoints in India, Indonesia, Malaysia, and Thailand. This is part of the brand’s 2022 Just One Zespri campaign, which aims to communicate the superiority of Zespri Kiwifruits for providing 100% of a person’s daily Vitamin C in just one kiwifruit.

Weaving key messages around the benefits of Zespri Kiwifruits into three fun tongue-twister videos, consumers were able to compete for prizes via a special Zespri Instagram contest.

https://www.youtube.com/watch?v=QLTaNO5WADA

According to Zespri International, since the launch of the campaign, it has reached out to over 9.2 million consumers in India, 6.1 million consumers in Indonesia, 2.7 million consumers in Malaysia, and 2.9 million consumers in Thailand.

Valerie Madon, chief creative officer at VMLY&R Asia, noted that most people think that all fruits are created equal when it comes to vitamin C, and that fruit is not the most desirable food to eat. 

“The #Just1ZespriChallenge leverages AR to educate and inspire people around just how fun and easy it is to be healthy with Zespri Kiwifruit, which is incredibly delicious and packed with 100% of your daily vitamin C,” said Madon.

Meanwhile, Judy Lee, head of marketing for future markets at Zespri International, said, “Consumers’ enthusiasm in the campaign has been strong, helping to increase awareness and front-of-mind recall for Zespri Kiwifruits across key markets in Asia, while staying true to the fun and playful character of the Zespri brand.”

Singapore – Instagram is the platform of choice for statutory boards and ministries in the first half of 2022 as it has the highest engagement with 0.85%, according to a report by customer experience platform Emplifi.

The report also found that YouTube overtook Facebook as the second most engaging platform in comparison to the first half of 2021, highlighting the growing opportunity for the public sector to tap into imagery and video through social channels.

Varun Sharma, Emplifi’s VP for APAC and Japan, shared that social media continues to be a key channel for the public sector to inform citizens on important topics from the COVID-19 pandemic and vaccination programs, travel measures to floods and social initiatives.

“We also see an increased focus on reaching millennials and Gen Z through the growing use of Instagram and platforms like TikTok. We expect this trend to continue along with a greater mix of content types – videos, stories, live streaming – to appeal to the younger demographic,” said Sharma.

Amongst the top five campaigns that drove the highest interactions, The Ministry of Health (MOH)’s vaccination content ranked first, followed by The National Parks Board (NPB)’s #CityInNatureSG campaign, The Ministry of Defence (MINDEF)’s NS55 campaign, MOH’s COVID Protocols, and MuslimSG’s Ramadan and Raya content.

The same report revealed that three out of the top five campaigns saw Instagram and YouTube dove the majority of interactions. On Instagram, #CityInNatureSG gathered 47,251 interactions (66.74% of total interactions), while MuslimSG earned 27,359 interactions (82.79% of total interactions). MINDEF NS55 registered 15,380 and 17,674 interactions (combined, 80.42% of total interactions) on YouTube and Instagram respectively. 

According to Emplifi, this is not surprising given that 88.7% of Singaporeans use YouTube two hours daily on average while four out of five select the channel as their preferred platform to watch videos. As for Instagram, it continues to be one of the most popular social networks for millennials, allowing brands to reach about 86% of the population.

Collectively, statutory boards produced four times more content than ministries in the first half of 2022. However, ministries saw better engagement, with over one million total interactions versus over 988,000 interactions received by statutory boards. The National Environment Agency (NEA) has maintained its lead from the first half of 2021 regarding the number of published content, while the second and third top content publishers were MINDEF and GOVTech respectively.

The report also found that MINDEF overtook MOH in the first half of 2022 as the top government body that drove the highest audience interactions. Most interactions were from Instagram at 112, 981 versus Facebook at 90,946. MINDEF also saw increased engagement on YouTube, receiving three times more than in the first half of 2021. MOH received only 22.8% (234,138) of the interactions it saw in the first half of 2021 where content on COVID-19 and national vaccination programs drew more interest. 

Meanwhile, The Land Transport Authority (LTA), secured third place with 140,940 interactions in the first half of 2022 with mini contest posts, behind-the-scenes content, as well as news on the land border opening between Singapore and Malaysia.

Following the 2021 trend, users remained highly engaged with government agencies in the first half of 2022. Brand content made up about half (54.52%) of all content on government profiles, with 2.05 million interactions (97.21%). Separately, while user-generated content accounted for 45.48% of the content, it led to only 58,666 interactions (2.79%).

In terms of engagement and interactions in the first half of 2022, replies took the lead at 42.83%, followed by shares with 31.12%, and posts with 26.05%. Previously, sharing was the most popular and replies the least, which shows how users are increasingly conversing with government bodies.

“Social media is a key strategic tool for the public and private sector. The speed at which messages can be passed and shared on social media can’t be equalled by any other communications channel. Whether it’s for real-time updates, answering questions or simply to show their more fun side, Singaporean governmental organisations continue to make good use of social media to reach and engage with their audiences,” said Sharma.

Singapore – Interactions made by Singaporean public agencies and government bodies were much more evident on the social media platform Instagram than any other platforms, with a 12.7% increase from 2020 and a total of 1.69m interactions, according to the latest data from unified customer experience platform Emplifi.

According to the data, there is a 1.2% increase in content produced by these entities, from 5,409 in 2020 to 6,219 in 2021. In comparison, Twitter accounted for the largest proportion of published content at 53.01% or 30,671 tweets. However, interactions were 2.16%, or 158,737 interactions. Facebook, which made up over 30% of content across platforms, received the largest share of interactions at 72.9%, or 5.37m interactions.

While Traditionally ministries and statutory boards have leaned towards Facebook and Twitter, social media platform Instagram emerged as the platform with the highest engagement rate (1.18%) and share-of-voice (70.7%). Conversely, Facebook, YouTube and Twitter saw declines in their share-of-voice.

Some of the campaigns that showed higher engagement include the National Parks Board (NPB) #CityInNatureSG, Gov.sg #IGotMyShot, MOH Covid-19 Vaccination, Gov.sg TestTraceVaccinate and MOE #OurSchoolStories campaigns.

Varun Sharma, vice president for Asia-Pacific and Japan at Emplifi, said, “Social media emerged as a crucial platform to keep people informed and aware during the pandemic. Now, as the world gradually eases restrictions, social channels continue to prove their effectiveness to initiate two-way dialogues.”

In addition, public sector agencies also used short-form videos, which were the best performing content pieces. For instance, Singapore Tourism Board’s (STB) YouTube content skyrocketed in 2021, with a total of 32,683,601 views for the year, having released 157 videos.

Lastly, the data highlighted the rising popularity of user-generated content (UGCs) in driving audience engagement. In comparison to 2020, the audience was 8.9% more engaged with government profiles, with almost half (48.2%) of user-generated content published in 2021. Overall, UGCs from government profiles grew 1.4 times, from 37,621 content pieces in 2020 to 54,525 content pieces in 2021. The share of interactions on UGC also saw an uplift of 1.22% to 2.38% in 2021.

“There has never been a one-size-fits-all approach when it comes to creating content for social media. This has led government bodies to innovate their social media strategies to ensure they are reaching the right segment of the audience, with the right message at the right time. We are now starting to see many public sector bodies moving onto TikTok, including STB, National Parks and NEA. We expect TikTok to become more widely used in 2022 as organisations become more comfortable with the format. The mix of social channels to drive public action and engagement is good to see and sets a great case study for marketers,” Sharma concluded.

Singapore – Global communications company Infobip has added Instagram messaging as a channel in its Communications Platform as a Service (CPaaS) offering, broadening the ways businesses are able to provide customer support.

Through its solutions, Infobip empowers consumer-facing businesses by providing a unified and simple workspace for customer support agents to engage and talk with customers on a variety of channels such as email, chat apps, live chat, and video calls, among others in social media. 

Instagram messaging is the newest addition to its portfolio of channels. The messenger API for Instagram is now available specifically on ‘Conversations’, Infobip’s contact center-as-a-solution service, which the tech provider said will result in the need for fewer calls to a contact center, thus, a more seamless and improved customer experience. 

“We are delighted that Infobip is launching Instagram Messenger in their contact center solution. The Messenger API for Instagram is now available for all developers who make it possible for brands to improve and enhance messaging experiences with customers,” said Vivien Ang, Infobip’s regional manager for APAC.

Infobip said that through the new capability, businesses will be able to handle messaging at scale on Instagram. 

Since its launch in 2010, Instagram has seen a meteoric rise in active users making it one of the top social networks worldwide and which in turn has made it a key strategic communications tool for enterprises and institutions.

Ang adds, “It is clear that customers want to use their preferred channel of communication to connect with businesses and service providers. In fact, many customers today primarily choose to interact with brands through social media for everything from ordering food, requesting rides, making retail purchases right through to some elements of banking, and this same fast and simple capability can be brought to the contact center.”

Sydney, Australia – Creative agency We Are Social in Australia has rallied its support for Australian independent charity The Kids’ Cancer Project with a new pro bono campaign encouraging people to support the charitable cause.

The Kids’ Cancer Project aims to raise money to fund scientific studies that look into better treatments and ultimately a cure for brain cancer, which is the biggest killer by disease among children.

To collect funds, The Kids’ Cancer Project has launched ‘Pirate Day’, a day where people dress up to raise funds for childhood brain cancer research, and was first observed during 2015.

We Are Social has partnered with visual effects company Alt.VFX and through its visual studio T&DA, have created an augmented reality (AR) filter for Instagram, which aims to provide an opportunity for people to virtually dress up as a pirate and show their support online using #PirateDay2021.

The ‘ARRRR filter’, a Spark AR Filter for Instagram and Facebook, lets users dress up as a pirate. After donating on PirateDay.com.au, users can also unlock the special parrot, Rosie, by entering the code in their donation receipt. The filter, developed by Alt.VFX’s visual effects studio T&DA, can be accessed via the @TheKidsCancerProject Instagram page.

The agency has also enlisted TV stars and social media influencers like Olivia Vivian, Ben Polson, and Mel Schilling to join the initiative and nominate their friends to do the same, helping spread awareness of the charity day among their followers and drive further use of the filter and donations.

“Childhood brain cancer is a horrible disease, and one that has affected my family directly”, says Ewan Harvey, copywriter at We Are Social

“We are incredibly proud to put our creativity towards a worthy cause and, with our partners at Alt.VFX, help The Kids’ Cancer Project raise much-needed funds for research,” he added.

Influencers are being upended by virtual influencers – computer-generated influencers that operate like real-life ones. Brands are increasingly seeking to partner with them, or even create them, to tap into their fan base through endorsement deals. Virtual influencers have emerged in the last few years as, arguably, the next big thing in influencer marketing. 

Characters like Lil Miquela (3.1 million Instagram followers) and Knox Frost (791,000 followers) who are both Instagram-verified, have worked with all sorts of brands and entities, from Calvin Klein and Dior to Samsung and the World Health Organization. According to an analysis published on Bloomberg by OnBuy, a U.K.–based online marketplace, Lil Miquela is estimated to make over $10M per year — for the company that created her. With 3.1 million followers on Instagram, HypeAuditor, an analytical platform for influencer marketing, estimates that she charges around $12,500 per sponsored post, making her the highest-paid ‘robot influencer’.

Virtual influencers have quickly gained traction within the industry. Technology is enabling studios and advertisers to create virtual influencers that seem almost real, giving them personalities and lives that they share with consumers, to try and form a connection with people. And brands have found that they offer certain advantages over real influencers. 

First, they are cost-effective, and content can be produced relatively quickly — it is very simple for a graphics designer to give a virtual influencer a new wardrobe and place them in any location on Earth, compared to having to fly or drive a real influencer to a specific location for a photoshoot. 

Second, they seem to be relatively effective. Influencer marketing is already one of the most effective methods to bridge the gap between a brand and its audience by leveraging an influencer’s authenticity and engagement with their fanbase. Our research finds that virtual influencers have almost three times the engagement rate of real influencers, indicating that their followers are more likely to like and comment on their content compared to the content produced by their human counterparts. 

Third, and perhaps most important, is that they are controllable and pose a significantly lower risk to a brand’s reputation. Given that virtual influencers are scripted and controlled by their creators, there’s much less chance that they will embarrass their clients by posting something offensive or controversial on their social pages. So in many ways, virtual influencers may appear like the safest option for brands.

However, brands would be wise not to get too caught up in the hype, as there are some issues around virtual influencers. 

While virtual influencers have a higher engagement rate than human influencers, HypeAuditor’s research found that 48 percent of virtual influencers had negative follower growth in 2020, meaning that they are losing followers. This may be because the accounts were losing bots, or that their audience simply did not like the content and were unfollowing them.

Another concern is around regulation. Many have questioned if virtual influencers conflict with the rules set by advertising watchdogs. For instance, the Australian Association of National Advertisers Code of Ethics requires an influencer to disclose that a post is a paid endorsement of a product or service. And this is complemented by the Competition and Consumer Act which covers ‘misleading and deceptive conduct’. Obviously, virtual influencers have not and can never try the products they promote themselves, which can be viewed as misleading and deceptive, even if they disclose the paid partnership. 

The fact that some virtual influencers look so life-like could also potentially mislead the public. HypeAuditor’s survey of Instagram users in 2019 by consultancy firm Fullscreen found that 42 percent of millennials and Generation Z have followed an influencer on the platform without realizing that they are computer-generated. 

Because of this, it is predicted that the rising popularity of virtual influencers will also lead to calls for them to be regulated, so that they don’t deceive the public or mislead their followers. 

And while virtual influencers are less likely to go off-message, brands do need to carefully consider what kind of biases a virtual influencer or their creators might have, as this could still cause damage to their brand’s reputation. Diversity and inclusivity are also highly important to consumers today, so brands must be careful when hiring virtual influencers instead of real human ones. French fashion house Balmain received criticism in 2018 for using three ‘diverse’ virtual influencers in a campaign, rather than hiring actual diverse human beings. 

Influencer marketing has huge potential in the advertising industry, as it enables brands to form much more human connections between themselves and their audiences. While there is certainly a place in ad campaigns for virtual influencers to create engaging content, brands would be wise not to forget about their human counterparts. 

This article is by Alexander Frolov, CEO and co-founder of HypeAuditor.

HypeAuditor is an analytical platform that helps brands manage the effectiveness of their influencer marketing campaigns.