Clear Channel and Absen unite to make Rome Fiumicino a digitised airport

Clear Channel and Absen unite to make Rome Fiumicino a digitised airport
March 09
12:59 2016

Fiumicino Airport in Rome is upping its game to display advertisements from premium brands. 

With 40 million passengers served in 2015 alone, Rome’s Fiumicino Airport is also the largest airport in Italy by almost 20 million, and one of the busiest in Europe. Hindering Fiumicino’s advertising revenue expectations was an out-of-date advertising asset, which drove Aeroporti di Roma (ADR) to appoint Clear Channel Italy in December 2013 to transform the airport’s advertising program, a decision in line with ADR’s major investments planned to improve all areas of the airport. Thanks to Clear Channel and several spectacular digital products procured from Absen, over the past two years, Rome Fiumicino has been transformed into one of the most digitalised airports in the world.

From the tender phase through to personally designing an entirely new advertising programme, selecting suppliers and overseeing sales, Jonathan Goldsmid – airports director for Clear Channel Italy – has been responsible for leading this project. Goldsmid opted to utilise Absen products to get the job done, citing their premium quality, reliability and price-to-quality ratio as the key attributes that led to the decision.”

For some of the more bespoke and cutting-edge installations, Clear Channel chose to use  the Absen A2 product, due to the short viewing distance for passengers. With a pixel pitch of just 2.5mm, the A2’s resolution really was perfect for the task at hand.

One of the signature products installed by Clear Channel has been four impressive large digital columns which dominate the airport’s C Gate area. Booked exclusively by Chanel, and comprising 61.44 square metres of 4-sided LED Absen A2s.

Subsequently, two huge Absen AI06 LED screens were set up in Terminal 3s check-in hall – the airport’s main international terminal. The Absen AI06 possesses a pixel pitch of 6.25mm, and measures 8 x 4.5m, effectively delivering coverage to 100% of the passengers within the vicinity. The lower resolution of these screens – compared to the A2 – was offset by the viewing distance, typically around 10 – 15m. Fortunately for Clear Channel, the AI06’s mere 85mm panel depth and 16kg panel weight facilitated the installation process.

Also installed during the project were two other models in Absen’s high definition line-up – the AI03 and AI05. The AI03 boasts a 3.9mm pixel pitch, while the AI05 has a pp of 5.2. Both are replete with the staples of the HD range: full front access, a total depth of only 150mm (1/5 of traditional screens), low power consumption, superior consistency down to 20% brightness, and a magnetic module design that enables five times quicker installation than the average screw module.

Terminal 1’s check-in hall, which serves as the hub for Alitalia & Sky Team flights to domestic & Schengen destinations, received two large Absen AI03 LED screens, each with a pixel pitch of 3.9mm and were immediately sold on an exclusive basis to Conde Nast, as the brand realised the benefit of using the digital immediacy to change content between the different magazines within their portfolio. Installed last in the check-in area was a 36sqm AI05 screen sandwiched between 2 traditional lightboxes

Also significant was the inclusion of a 12sqm AI03 display in the area for non-Schengen arrivals. Much like the A2, the 12sqm A103 was relatively close to passengers, and since it was exclusively utilised by Prada the panel had to be exceptionally reliable, readable and vivid.

Perhaps the biggest challenge during the project came in the form of the Fiumicino’s Pier B, the main pier for Alitalia & Sky Team flights to Domestic & Schengen destinations. Classed as a premium business audience and environment by Goldsmid, the area required not only a more extensive reworking but implicitly raised the pressure owing to the clientèle therein. In the same manner that Clear Channel digitalised the four columns for Chanel in C Gate, they did so in Pier B but with 10 columns – or 131.04 square metres – of Absen A2s. Goldsmid is particularly proud of the column configuration, which stretches from one end of the area to the other.

 

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Zoe Mutter

Zoe Mutter

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