Static vs Digital Billboards: Which Works Better for Augmented Reality Campaigns?

Augmented Reality (AR) is changing what's possible in OOH advertising (out-of-home advertising), transforming traditional billboards and murals into interactive experiences. However, not all outdoor advertising formats are equally suitable for AR campaigns. AR billboards work best when viewers have enough time and stability to scan and interact with the content. This report provides an in-depth comparison of static versus digital billboards for AR, covering technical factors like digital content cycling, 30-second dwell time requirements, and QR code limitations. It is aimed at OOH advertising agencies and Fortune 500 marketing leaders (CMOs, VPs, Creative Directors), offering strategic insights on choosing the right formats for location-based AR experiences in outdoor advertising.

AR in OOH Advertising: Static vs. Digital Formats

In AR-enhanced OOH campaigns, a physical advertisement acts as the trigger that initiates a digital experience on a user's smartphone. AR can overlay 3D animations, videos, or interactive elements onto a billboard or poster when viewed through a mobile camera. The effectiveness of this largely depends on the type of billboard.

Static Billboards/Posters (Printed or Non-changing Displays): These include traditional printed billboards, posters, murals, and any advertisement that remains constantly visible. Static placements provide the most reliable platform for AR because they ensure the AR trigger image remains in view for image tracking by AR apps – the camera can lock onto the visual markers of the ad and sustain the AR content overlay without interruption. Users also have as much time as they need to scan the image or QR code and explore the AR content, which is vital for meaningful interaction.

Digital Billboards (Rotating Content Displays): Digital out-of-home screens alternate between multiple ads every few seconds. They provide dynamic messaging and flexibility for advertisers, but pose challenges for AR. The AR experience might depend on recognizing a specific image or a persistent on-screen cue, which becomes problematic if the content switches quickly. If an AR user points their phone at a digital billboard, the target image could disappear mid-experience due to content rotation, disrupting the image tracking and shortening the interaction. Unless specific measures are taken, standard digital billboards are not inherently suitable for AR's need for longer dwell times and stable visuals.

In essence, static formats provide the most reliable platform for AR because they ensure the AR trigger image remains in view. Digital screens can support AR only if the content is displayed long enough or if interactive triggers (like touchscreens or on-demand content) are used to keep the AR marker visible.

The Importance of Dwell Time and Digital Cycle Duration

One critical factor for AR in OOH is dwell time – how long a person can actually view and engage with the advertisement. Traditional billboards often only get a few seconds of attention as people pass by. Industry research notes that the average viewer spends just 6–8 seconds looking at a standard billboard. AR aims to significantly extend this engagement: when an AR experience is involved, viewers' active engagement can increase to 45–75 seconds on average, or even longer. In other words, AR can multiply the time consumers spend interacting with an ad, which is great for marketing – but only if the advertising format makes it possible.

Digital billboard cycling often conflicts with long dwell times. According to the Out of Home Advertising Association (OAAA), digital billboards usually show a new static image every 6 to 8 seconds. Many transit and retail digital screens also feature short ad slots, often ranging from 7 to 15 seconds. These quick rotations challenge AR campaigns, as an AR experience triggered by the ad might barely begin before the screen switches to another ad. For effective AR, marketers generally recommend at least 30 seconds of continuous exposure for the AR content or trigger. In fact, OOH best practices suggest monitoring dwell times of 30 or more seconds as a key engagement measure. If an AR activation requires a user to point their phone and wait for content to load or a marker to be recognized, a window of less than 10 seconds is often too brief.

Why choose "30 seconds"? This guideline is based on user behavior and safety considerations. A person might need several seconds to notice the AR call-to-action (e.g., a prompt like "Scan with your phone for AR"), then use their phone to scan a QR code or image, and finally experience the AR content. Industry analyses show that each extra step or bit of friction can lower participation – for example, every additional activation step can reduce engagement by approximately 20%. Ensuring an ad remains visible for at least half a minute increases the chances that interested viewers can take out their phone and activate the AR without feeling rushed. In high-dwell environments like transit hubs (where people are waiting around), 30 seconds is achievable. On highways or busy streets, it's much more difficult, which is why choosing the right format is essential.

Fixed-location digital screens, such as digital panels at bus shelters or interactive kiosks, occupy a middle ground. They are digital but are placed where pedestrians tend to linger, allowing for longer user engagement. Some networks or media owners can modify the content schedule to support an AR experience – for example, by extending the display time of a particular ad when someone interacts with it. An example is interactive transit kiosks: if a user engages with a digital kiosk (via touch or scanning a code), the screen might hold on that content longer, effectively bypassing the usual rotation. OOH companies like Intersection, which manages urban digital kiosks and transit screens in many cities, could potentially enable longer slots or interactive modes for AR campaigns. However, in practice, any digital format must be evaluated to ensure it can meet the 30-second dwell time requirement for AR. If it cannot, the AR experience risks being cut off too quickly.

Bottom line: To support AR, the advertising format must provide a stable visual for at least ~30 seconds. Static media naturally meet this with unlimited exposure time. Digital media require either special adjustments (longer loops, interactive triggers) or they will likely fall short of optimal AR engagement time.

QR Code Limitations on Roadside Billboards

Many AR campaigns use QR codes on ads to prompt or initiate the experience (for example, scanning a QR code might open a WebAR link or an app). However, placing QR codes on large roadside billboards or moving OOH formats is widely discouraged due to safety and practical concerns. Experts in the OOH industry have called QR codes on highway signs "an accident waiting to happen," noting it's neither quick nor safe for drivers to attempt to scan a code while in motion. Unlike a bus shelter ad where a pedestrian can comfortably scan a code from a few feet away, a driver passing a billboard at 60 mph cannot (and should not) try to capture a QR code.

There are also technical constraints on QR code readability at distance and speed. A QR code must be in a smartphone camera's view, steady, for at least a few seconds to be scanned. One industry analysis found that a QR tag may need 1 to 4 seconds of steady visibility for the phone to capture it, depending on the code complexity. At highway speeds, achieving this is nearly impossible – the effective scanning distance for a QR code is limited, so the code would have to be very large to be scanned in motion. For example, one expert calculated that encoding a typical URL would require a QR code several feet wide on a truck or billboard to be scanned from a car, and even then, the user would have to keep the phone camera steady while both vehicles are moving. In short, QR codes are best suited for pedestrian-level and static placements, not roadside billboards designed for drivers.

For AR campaigns, static formats in walkable areas work best for QR interactions. Passersby can stop and scan the code to activate AR. On highways or fast roads, if AR is used at all, it should not require quick scanning. Some campaigns advise users to engage at a safer location (e.g., "Experience this AR at our website or when you visit X location") instead of trying to activate AR in traffic. Another option is markerless AR that uses location data or recognition of a large object (like a billboard or landmark) without a QR code—still, the user should be a passenger or off-road for safe phone use. The consensus: roadside and mobile ads are not suitable for direct AR activation, especially via QR codes, due to safety concerns and low conversion rates.

Why Static Billboards Work Best for AR Campaigns

Static billboards and posters provide the best opportunity for AR because they naturally address the limitations mentioned earlier. With a static (unchanging) display, the AR trigger image remains always visible. Users have endless time to scan and interact with AR content at their own speed. This significantly boosts engagement. In fact, AR campaigns have been shown to greatly increase dwell time and engagement on static OOH placements, turning a quick 2-3 second glance into an interactive experience lasting a minute or more. One report noted that while a traditional static billboard might only hold attention for 2-3 seconds, an AR-enhanced display can engage users for around 75 seconds on average. This longer interaction is exactly what marketers seek, and it's only achievable if the advertisement remains visible.

Static formats also align well with how AR image tracking functions. In an AR billboard or augmented reality mural scenario, the AR app uses the printed graphic itself as the marker. For example, in Verizon's recent AR mural campaign (detailed later), the app recognized the mural's artwork and overlaid digital 3D animations onto it. This process requires the physical image to stay within the camera's view. If the image is persistent (a painted wall or poster), the AR overlay can remain anchored in place as the user moves around and explores it. If the image were to change or disappear (like on a digital screen), the tracking would fail unless more advanced techniques are used. Static visuals = reliable AR anchors.

Another advantage of static placements is that they are often located in environments where people naturally spend more time. Think of bus stops, transit stations, street-level posters, or airport terminals – these are places where potential viewers might be waiting or walking slowly, which allows them to stop and try an AR experience. It's no surprise that many of the early successes in AR OOH have occurred on static surfaces like murals and posters in urban areas, where people can come across them and engage. A busy transit station, for example, not only offers a steady audience but also creates an environment ideal for AR: one study noted that "high-dwell" areas (transit stations, event venues, etc.) show significantly higher AR engagement rates (around 28–32%) than transient traffic areas.

From a creative perspective, static formats also enable more detailed artwork or instructions that support AR. Advertisers can include clear on-panel instructions like "Scan this poster to see it come to life!" without worrying that the message will disappear after a few seconds. They can also add large AR markers or designs optimized for recognition. Augmented reality murals have already proven successful at engaging audiences: these are essentially large static artworks specifically designed to trigger AR content. Since they don't change, the AR activation can be precisely aligned with the mural's graphics. The result is a smooth integration of physical and digital – viewers see the art on the wall and, through their phone, see animations perfectly synced with that wall.

In summary, static media checks all the boxes for AR campaigns: long exposure, stable imagery, pedestrian-friendly viewing, and creative flexibility. For marketers and OOH agencies, if the goal is to incorporate AR, static placements are usually the first and best choice.

Fixed Digital Screens: Possible But Proceed with Caution

Not all digital OOH is completely off-limits for AR. Fixed-location digital screens, such as digital urban panels or transit shelter displays, can support AR if certain conditions are met. The key is ensuring those digital signs can effectively behave like static ones during the AR interaction.

Some ways this can happen:

Extended Display Duration: When an advertiser purchases a full slot or dominance on a digital network, the screen may show that advertiser's content continuously or for significantly longer than the usual 8 seconds. For instance, an interactive kiosk or a digital bus shelter could display an AR-enabled ad for over 30 seconds or on demand. A company like Intersection (which operates LinkNYC kiosks and other urban digital panels) could set up the campaign so that when someone scans or touches the screen, it doesn't immediately switch to another ad. Essentially, the digital sign needs to pause the rotation during active AR use. Achieving this requires coordination with the media owner, but it's possible for special campaigns.

AR Content Integrated into Screen Interactivity: Some digital screens are touch-enabled or have cameras and serve as a form of interactive out-of-home advertising. In these cases, the screen may host an AR experience directly, such as using the screen as a "magic mirror" AR display. For example, certain transit kiosks feature AR mirrors or interactive games where users see themselves on the screen with AR overlays. These are AR campaigns but function differently—they don't require the user's smartphone, as the screen provides the AR view. This is effective in locations like malls, stations, or airports where people can pause and interact. However, this is more advanced digital signage than the usual "scan with your phone" AR and needs custom setup.

Markerless AR Anchored by Location: An emerging method involves using location-based AR experiences that are not connected to a printed marker. Technologies such as GPS, compass, and advanced AR cloud mapping can enable a campaign to anchor AR content at a specific physical location (for example, "place a 3D object at the coordinates of this digital billboard"). Even if the screen's content rotates, a user's phone might still position the AR experience at that spot. Markerless AR has evolved to allow triggers through geolocation or by recognizing larger physical structures, like a kiosk's shape or familiar environments. For instance, AR platforms can now activate content automatically without requiring a visible QR code by combining GPS data with scene recognition. This lessens dependence on the image displayed on the screen. However, markerless AR for OOH is still in early development; it works best when users are guided to access the AR experience at the correct location and when the environment is sufficiently distinct for the AR system to lock onto.

Even with these strategies, the main challenge remains content duration. If using the user's own device to scan the screen, that screen needs to display either a QR code or an AR marker long enough to start and sustain the experience. If a digital panel cycles every 10 seconds, an AR app would lose tracking as soon as the content changes. Therefore, any digital format used for AR must be carefully planned. "Fixed digital" formats like digital urban panels or bus shelters are often seen as potentially suitable because they are in stable locations (not moving) and are at street level (accessible to pedestrians), but it's important to verify that those screens can hold a static image or at least give users control (e.g., a "Press to start AR" button). Otherwise, there's a risk of an AR campaign that users find frustrating or miss entirely.

In summary, digital OOH can only support AR if treated more like static OOH during the AR engagement window. This may involve custom scheduling (longer slots), interactive features, or advanced AR techniques. Marketers considering AR on digital networks should work closely with media owners (like Intersection or JCDecaux, etc.) to ensure the campaign is technically feasible. Otherwise, a traditional static poster might provide a more reliable AR experience with much less complexity.

Best OOH Formats for AR Campaigns (and Ones to Avoid)

Considering all technical and practical factors, we can classify OOH formats based on their suitability for AR.

Highly Suitable Formats (Static Media)

These formats are perfect for AR because they stay still, offering unlimited viewing and easy scanning. They are usually placed in pedestrian-facing locations or areas where people can pause and engage. Examples include:

Street-Level Static Posters and Signs:

• Bus Shelters (poster displays about 68.5″ H x 47.5″ W) – Positioned at eye level for pedestrians and commuters, bus shelter ads are ideal for AR. People often wait at shelters, offering plenty of time to scan a poster for an AR experience.
• Urban Panels (30″ H x 60″ W) – These are street furniture posters usually seen on sidewalks, newsstands, or kiosks. Their size and city setting make them easy for pedestrians to interact with.
• Street Banners (96" H x 36" W) – Vertical banners on poles or construction barricades. They are static and visible to pedestrians. If the banner is within reach or view of pedestrians (like along sidewalks), AR can be applied effectively.
• Elevator Wraps (custom vinyl installations) – Inside or outside elevators in public buildings. People in elevators are a captive audience for a moment, and a wrapped elevator with AR content can engage them (though internet connectivity for AR in elevators can be a consideration).
• Headhouses (custom static installations) – "Headhouse" usually refers to above-ground structures like subway entrances. Adding AR-enabled graphics to these can turn a transit entrance into an interactive exhibit.
• Bikeshare Station Posters and Dock Wraps – Ads on bikeshare docking stations or nearby static panels. Users often linger while renting bikes, so AR content here can add a fun element (e.g., AR showing a bike route or animation).

Transit/Rail Static Placements:

• Static Platform Posters – Common sizes include 1-Sheet, 2-Sheet, 3-Sheet posters, Dioramas, Platform Kiosk ads, and "Station King" and "Station Queen" posters. These are printed ads found on train or subway platforms and corridors. Commuters waiting on a platform often have time to pull out a phone and try an AR experience. For example, a backlit Diorama (illuminated poster) with AR could make a movie character come to life when scanned.
• Station Dominations – This refers to a campaign that covers an entire station with multiple custom static placements. AR is ideal here because the campaign can promote exploration. For instance, a station domination with AR might transform an entire subway station into a scavenger hunt where different posters activate various AR effects. Since it's a custom installation, it can be tailored specifically for AR (large graphics, clear markers, etc.).
• Tunnel Wraps – Large-format static graphics inside tunnels, like those seen from train windows. These are less common for AR because viewers see them from a moving train. However, if implemented in a walkable pedestrian tunnel, an AR tunnel wrap could be highly engaging (people could walk along and see AR unfold around them). Generally, any static wrap that people can walk past (wall murals, building wraps) can incorporate AR, andaugmented reality murals have already proven successful at engaging audiences.

Airport Static Media (Example: Charlotte Douglas International Airport – CLT):

• Standard Static Placements: Major airports like CLT have hundreds of static advertising spots (over 300 in Charlotte's case), including backlit displays, large banners, wall wraps, and more. Airports are ideal for AR because dwell times are long— travelers wait for flights, walk through terminals, and are likely to notice engaging interactive ads. A static poster in an airport concourse can encourage users to interact with AR, such as playing an AR game or using a virtual wayfinding guide.
• Static Dominations in Airports: These include large banners in ticketing areas, expansive wraps in plazas or concourses, and similar displays. If an advertiser "dominates" an airport section with static media, AR can enhance it into an immersive experience. For example, a ticketing hall banner could activate an AR animation welcoming travelers, or an AR scavenger hunt could span multiple banners and posters throughout a terminal.
• Vitrines and Banners: Many airports feature glass vitrines (showcases) or hanging banners. As long as the creative remains static, they can be AR-enabled. The benefit in airports is that travelers often have the time and Wi-Fi connection to easily use AR apps or webAR on their phones while waiting.
• Why these static formats stand out for AR: They satisfy the dwell time requirement (people can linger and scan), they offer a constant visual anchor for AR tracking, and they are typically designed for close or moderate viewing distances – ideal for a smartphone camera to pick up details. Campaigns on these formats can freely include AR call-to-actions and even staff or prompts to educate users. For example, a bus shelter poster might say "Scan the mural to see a 3D surprise," turning an ordinary wait for the bus into a memorable brand experience.

Potentially Suitable Digital Formats (Needs Verification on Duration)

These formats are digital screens but could support AR if they can display content for longer durations or be triggered on demand. They are all fixed in location (not on moving vehicles) and typically at street level or in transit environments where a person can stop to engage. Before planning AR on these, one must verify that the media owner can accommodate the required timing or interactive functionality.

Street Media – Fixed Digital Screens:

• Digital Bus Shelters (typically containing ~72″ LCD displays in transit shelters) – Similar to their static counterparts, these are positioned at eye level for pedestrians. If a digital bus shelter can display an AR advertisement for a longer period (for example, if the advertiser purchases the entire loop or if the screen allows interactive pausing), it could be effective. The content would need to either stay on one ad or feature an interactive invitation that effectively pauses the rotation when someone interacts.
• Digital Urban Panels (approximately 55-inch digital displays) are modern versions of street-side panels on sidewalks or kiosks. They typically cycle through advertisements, but some networks can display longer content for special campaigns. Augmented Reality (AR) could be effective if, for example, the panel shows a prompt like "Point your phone here for AR" and remains on that screen. Another option is using synchronized screens—such as two side-by-side panels, one displaying the AR marker continuously while the other cycles through content. Although rare, this setup is technically feasible.
• Vertical Digital Urban Panels (larger 75″ tall digital screens) – Similar consideration as above; these are just bigger digital signs. The vertical orientation can actually be beneficial for AR composition (fits a smartphone frame well). Again, the question is whether the AR content can last long enough. Some newer digital panels have cameras and can detect if someone is looking, potentially triggering interactive content – this could be used for AR (e.g., using a sensor to freeze the ad when someone approaches with a phone).
• Link Kiosks, such as LinkNYC with 55" displays, are digital kiosks that provide information and advertisements in cities like NYC, Philadelphia, and others. They are internet-enabled, with some featuring touch screens. A Link kiosk can run an AR campaign by displaying a QR code or marker for an extended period or by instructing users to visit a URL. Intersection, the company behind Link, has trialed interactive content on these kiosks. If an AR experience is launched through a web link (WebAR) from the kiosk, it can also display supporting visuals simultaneously. The main challenge is coordinating the digital loop so it doesn't skip out while the user is engaged in the experience.

Transit/Rail Media – Interactive Digital:



• Interactive Transit Kiosks are digital stations in train or bus areas that mainly provide wayfinding and info screens but can also display ads. Many feature touchscreens and even built-in AR cameras; for example, some subway kiosks can take your photo or show you in an ad. For AR, an interactive kiosk can be great: a user might tap a button on the screen to start an AR game or filter that uses the kiosk's camera, or scan a QR code with their phone. Because users are actively involved, they can stay engaged as long as they want. These kiosks mix the physical and digital well—a person might scan themselves and see AR on the kiosk, or use their phone along with it. The key point is that these kiosks are stationary and placed where users can stand comfortably, which is ideal for AR experiences. They are one of the few digital out-of-home formats designed for longer user interaction, since they also serve as info or service devices.

For all the above digital formats, their suitability for AR depends on the situation. It's "potentially" suitable because the hardware and environment are appropriate (stationary screen, likely pedestrian audience), but the default content scheduling might not support it. When planning an AR campaign on these formats, marketers should clarify whether the digital screen can display a static AR invite for at least 30 seconds or enable some kind of user-triggered mode. If the answer is no, then despite being a "fixed digital" format, it won't provide a great AR experience. Always test the scenario: would a person realistically be able to see the AR call-to-action, pull out their phone, launch the AR, and view the content before the screen changes or the opportunity passes? If yes, great – if not, stick to static.

Formats That Are Not Suitable for AR Campaigns

Some OOH formats by their very nature clash with AR requirements. It's best to avoid AR on these entirely:

• Moving Vehicle Ads: This includes any ads on buses, trains, cars, trucks, or other vehicles (bus wraps, train wraps, taxi tops, mobile billboards on trucks, etc.). While it's technically possible to create AR content that tracks a moving object (some experimental AR apps can lock onto a moving train graphic, for example), it's impractical and unsafe in practice. Viewers cannot safely chase or scan a moving vehicle in traffic, and the motion makes it difficult for a phone's camera to lock onto it. Additionally, the dwell time is nearly zero – a bus drives by and is gone within seconds. All vehicle-mounted out-of-home advertising should be considered AR-incompatible. As one AR media firm bluntly stated, "speeding down a highway is not going to work" for an AR activation. Save AR for the station, not the moving train.
• Short-Duration Digital Screens: Any digital OOH format with very short content loops (under approximately 15 seconds) is usually unsuitable unless you can control it entirely. Examples:
• Digital Transit Interior Screens – e.g., those small digital screens inside buses or trains that display ads for 15 seconds or less. Riders do have enough time to see them, but holding up a phone inside a moving vehicle to scan an ad that changes in a few seconds isn't realistic. The ride may be long, but the ad display isn't persistent enough for AR.
• Large Video Walls with Rapid Rotation – Some stations or malls have video walls that cycle content every 7.5 seconds (common for big LED boards displaying multiple ads). AR isn't practical unless the wall is dedicated to a single interactive piece. Most video walls also serve crowds of moving people (e.g., passing through a station), making it difficult to get everyone's device synchronized, even if one person triggers an AR moment.
• Digital Platform/Station Screens (7–10 second spots) – Many transit systems display quick ads or transit info on digital screens, similar to those 7-second clips on station monitors. These are too short for any call-to-action. By the time a user points their phone at it, the content has already moved on. Additionally, these screens are usually overhead or designed to be glanced at rather than interacted with.

In summary, any format where the advertisement is moving, fleeting, or inaccessible to a pedestrian for interaction is not suitable for AR. This includes moving vehicles and ultra-short rotating screens. AR relies on time and proximity—time for the user to engage, and proximity so they can use their smartphone effectively. If a format fails on these factors, it's better to use traditional creative methods for it and reserve AR for placements that are a better fit for the technology.

Case Studies: AR OOH Success with Static and Digital Formats

To illustrate the principles above, consider two prominent AR OOH campaigns conducted by telecommunications brands Verizon and Vodafone (in collaboration with AR solutions provider BrandXR):

Verizon's augmented reality mural in Miami – a static storefront mural that activates AR animations when scanned with a smartphone.

Verizon – Augmented Reality Murals (Static Storefronts): Verizon, aiming to showcase its technological strength and connect with local communities, partnered with BrandXR to introduce a series of augmented reality murals across Miami in late 2024. These murals were essentially static installations on store facades – large, colorful paintings created by local artists – with AR experiences layered on top. Because they were static images on walls, they served as perfect canvases for AR. BrandXR's platform identified the mural's visual markers (the artwork itself) through users' smartphones, triggering a variety of AR animations and interactive features over the mural. For instance, one mural depicted a cityscape that, in AR, "came alive" with 3D lights and moving vehicles to represent Verizon's network connectivity. Another mural incorporated natural elements that, in AR, grew and intertwined with technology graphics.

During Miami's Art Basel event, these AR murals garnered significant attention. They seamlessly integrated with the local art scene while showcasing Verizon's innovative image. The results were remarkable: Verizon's three AR mural activations (in Midtown Miami, Coconut Grove, and Hialeah) collectively generated over 657,000 AR interactions (plays) from users. Social media was flooded with photos and videos of people engaging with the AR murals, effectively turning spectators into brand ambassadors. Perhaps most importantly, the campaign increased foot traffic to the Verizon stores at those locations, as the AR content often linked to the store experience (e.g., exclusive offers unlocked via AR). This Verizon case illustrates how static formats (murals, posters) can serve as anchors for a highly engaging AR campaign that connects culturally and delivers measurable ROI. The static mural format provided users with unlimited dwell time to explore, and since they were in pedestrian areas, it encouraged leisurely interaction – exactly where AR excels.

Vodafone – AR Billboards in Public Spaces: Vodafone took a slightly different approach, using more traditional billboard formats but infusing them with AR magic. According to BrandXR, Vodafone "embraced AR to break the mold of traditional billboard advertising" by installing AR billboards in busy public areas and even blending some into mural backgrounds. In practice, Vodafone's AR campaigns involved large billboard posters that appeared normal at first glance, but when scanned with a phone, revealed hidden content. The strategy was to surprise passersby with stunning visuals: one moment, you see a static poster, and through your phone, it transforms into a dynamic portal with 3D graphics, interactive text, and even mini-games showcasing Vodafone's tech offerings. This element of surprise and delight proved very effective at grabbing attention. People would stop, take out their phones, and share the experience with friends – exactly the kind of virality they aimed for.

Vodafone's AR Billboard campaign was a smash hit, reaching over 50 million people, generating over 17,000 minutes of active brand engagement, and driving 40% of viewers to local Vodafone stores.

While Vodafone's AR billboards were primarily static displays (for the reasons discussed, they presumably did not use standard rotating digital screens), the campaign demonstrates that even a traditional billboard can become interactive and engaging through AR, as long as the audience can safely participate. These billboards were positioned in downtown areas and other busy zones where people could pause (such as town squares and plazas). The result was a notable boost in brand perception: Vodafone's campaign was viewed as innovative and sparked significant word-of-mouth and social media sharing. Essentially, Vodafone showed that AR is not just a gimmick – it can genuinely add value by making billboard ads more memorable and captivating than they would be otherwise.

What these case studies highlight is that successful AR OOH campaigns depend on formats that support the necessary engagement time. Verizon's murals were static and well-suited for AR. Vodafone's executions, although involving "billboards," were essentially static posters enhanced by AR content that could be digitally updated. Both avoided the challenges of short exposure; instead, they capitalized on "stop and engage" environments. They also emphasize the importance of a clear call-to-action for AR (so people know to take out their phones) and providing genuine value in the AR content (artistic animations, fun interactions, localized info) to reward users for their attention.

Conclusion: Static vs Digital – Who Wins for AR?

When it comes to augmented reality campaigns in OOH advertising, static formats currently stand out as the clear choice. They offer the stable environment and timeframe that AR needs to truly stand out. An AR campaign is most likely to succeed on a medium where the content stays put—whether it's a mural, a poster, an airport banner, or a transit shelter ad. These static placements encourage consumers to become active participants, transforming a quick glance into a minute-long, interactive, location-based AR experience. They also present minimal risks regarding user safety and technical issues: viewers can engage at their convenience, and the AR tracking remains dependable.

Digital billboards and screens, however, present inherent challenges. Their ability for quick messaging and shared slots is a weakness for AR's goals. Unless a digital screen can be managed to act like a static one—such as by dedicating more time to a single advertiser or adding an interactive mode—it may cut short the very engagement AR aims to enhance. When digital OOH is unavoidable or highly desirable, it's on marketers and media owners to innovate—perhaps through special scheduling or by using emerging AR technology that doesn't need a constant on-screen image. As seen, fixed digital kiosks with interactive features offer a good compromise, functioning like AR stations in the wild.

QR codes and safety considerations also favor pedestrian-friendly static media. AR campaigns succeed where users can safely stop and scan. A highway digital billboard might reach millions, but if none of them can engage with the AR component, its value for an AR campaign is zero. A smaller static poster at a bus stop might reach fewer people at once, but those it does reach can deeply engage – and that engagement can then be amplified through social sharing, word of mouth, and press, often far beyond the immediate impressions.

For OOH agencies and marketing leaders, the key takeaway is to match the medium to the message and technology. If your brand is investing in an AR experience – something that offers richer storytelling and interaction – give it the space it deserves. In 2025 and beyond, that usually means static or special digital formats in high-dwell locations. Fortunately, there is no shortage of such inventory: from OOH advertising murals on city streets to airport wraps to transit station dominations, there are plenty of creative static surfaces to use. These formats can become live AR portals that captivate audiences and provide measurable ROI (recall the metrics: AR campaigns can boost engagement 3-5x over regular ads and significantly increase brand recall).

Digital billboards, although less naturally suited to AR, shouldn't be dismissed entirely – they remain effective for awareness and flexible messaging, and they can complement AR initiatives by directing people to locations where AR is available. For example, a digital billboard could promote an AR-enabled mural nearby ("Exit here to experience our AR billboard around the corner"). But if asked "static vs digital: which works better for AR?", the answer is: static wins in nearly all cases today.

Ultimately, as AR technology and OOH media continue to evolve, we may see greater convergence—perhaps digital billboards with longer immersive experiences or AR that doesn't even require pointing at the billboard, using geo-fenced AR activation. There are already signs of this future: markerless AR linked to GPS, 5G-enabled AR content streaming, and more. However, until those become widespread, the practical approach for marketing leaders is clear. Use static OOH as the foundation for your AR campaigns, and support them with digital OOH through strategic modifications. Doing so will ensure that your augmented reality billboards and posters provide real value: engaging consumers in ways plain print or standard digital ads never could, all while remaining safe and effective in the real world.

Ready to transform your OOH campaigns with AR? Explore BrandXR's AR solutions or view our portfolio of successful AR campaigns to see how static and digital formats can be optimized for maximum engagement.