BrillIAAnt Use of Content
Submitted by: DDB Chicago
Campaign Title: We love STEM
Client: Emerson
Agency: DDB Chicago
CREATIVE: http://2017.brilliaanceawards.ddbchi.com/
Describe the challenge that became the foundation for the media strategy
In 2015, Emerson committed itself to developing the next generation of innovators and problem-solvers through its support of STEM (science, technology, engineering and math) education. Making a conscious choice to speak to this audience unlike anyone else had before – talking directly to them as peers, enlightening them on the joys and global impact that STEM and STEM careers can have – the global engineering and technology company formed an alliance with internet star vlogger and self-proclaimed science nerd Hank Green. The unique and unexpected nature of that partnership not only set the tone for the entire initiative but was critical to its highly successful launch. But three years later, this success also posed our challenge. Specifically, how to gain media attention and interest for a 3-year-old partnership and keep Emerson’s STEM efforts newsworthy?
Tell us the solution to the challenge and why it was innovative
Emerson realized that to make its STEM efforts newsworthy, we’d have to create some news. To gain stronger insights into public perception of STEM, Emerson fielded a 1,000-parent consumer survey on STEM attitudes and participants’ perception of their own math and science capabilities. The survey uncovered some interesting facts: Just 5 out of 10 parents feel very capable helping their child with math homework. And nearly 9 out of 10 adults would choose an unpleasant household task, like laundry, over doing a math problem. With these great statistics in hand, the next step was to create a campaign that could leverage the news while giving the audience a stronger understanding of the importance of STEM skills and how, by supporting STEM careers, Emerson forwards its mission of leaving the world in a better place than we found it. The cornerstone of the effort: Hank Green and Emerson partnered on a satellite media tour, targeting top news and online outlets across the country to share the story of STEM. The Emerson team also led targeted pitch outreach to top-tier outlets across the country to gain further traction on its STEM message. The message was reinforced across Emerson’s social media channels which featured a series of specially developed 2:00, :30 and :10 videos featuring Hank Green and distinctive storylines that would resonate with students and workers alike. The survey information was featured on the front-page Snapshots section of USA Today. Survey results were also featured within campaign creative (graphics, display, copy) across earned and owned media. Strategic media partnerships with LinkedIn, YouTube, and Wall Street Journal were established to drive reach and engagement with media professionals and executives across Emerson-related industries. Natural audience and brand synergies were the foundation of an incredibly successful partnership between Emerson and the Wall Street Journal. Emerson leveraged a suite of Wall Street Journal media solutions, including display and video, and leveraged both audience and contextual targeting. Most uniquely, the campaign was activated natively through in-article video placements within the heart of contextually relevant content. This was the first time Emerson utilized Wall Street Journal’s in-article video tactic. An innovative, two-pronged native content strategy with LinkedIn allowed Emerson to achieve granular targeting and ensured qualified traffic at scale. Emerson utilized LinkedIn’s Dynamic Ad offering to drive response within the media professional community. In addition, Emerson drove strong engagement among industry executives via in-feed Sponsored Content placements featuring attention-grabbing STEM survey findings. After seeing exceptional Sponsored Content performance, media was optimized to put greater focus on these placements targeted at industry executives and media professionals. Emerson established a custom media professional audience on YouTube by utilizing Google’s expansive technology suite, including search queries and data signals. In addition to sophisticated targeting, strategic opt-in video placements drove viewership quality.
Discuss the success of the media campaign and how this was measured
Through the satellite media tour and Hank’s targeted interviews with outlets nationwide, Emerson received nearly 22 million media impressions for its survey results. In addition, USA Today featured Emerson’s stats on parents helping children with homework on its front-page Snapshots feature, adding an additional million eyes onto Emerson’s message about the importance of STEM education worldwide. Social media efforts were strong, with nearly 600 #WeLoveSTEM mentions and 2.1 million impressions of STEM-focused messages on Emerson’s corporate social channels. Additionally, Emerson exceeded performance benchmarks across all three digital media partners. LinkedIn • Emerson’s Sponsored Content placements were 85% above LinkedIn’s engagement rate benchmark • Emerson’s Sponsored Content placements were 41% above LinkedIn’s click-through rate benchmark The Wall Street Journal • Aggregate video click-through rate was 39% above The Wall Street Journal’s video Benchmark • In aggregate, the display banners click-through rate was 68% above The Wall Street Journal’s benchmark YouTube • In aggregate, the YouTube placements were 15% above view-through rate benchmarks • Individually, the 30-second videos were 36% above benchmark, 10-second videos were 28% above benchmark, and 15-second videos were 13% above benchmark Emerson went a step further when it comes to measurement by running a custom Google Brand Lift Study to determine the campaign’s effect on Emerson search interest and brand perception. The study included a control versus exposed video study on YouTube and measured changes in search volume for campaign related key words across Google properties. The campaign drove a 321% lift in Creative interest, 156% lift in Brand interest and a 74% lift in Product interest on Google search queries. The study also saw an 11% lift in brand awareness of users exposed to Emerson video ads.
Campaign Title: We love STEM
Client: Emerson
Agency: DDB Chicago
CREATIVE: http://2017.brilliaanceawards.ddbchi.com/
Describe the challenge that became the foundation for the media strategy
In 2015, Emerson committed itself to developing the next generation of innovators and problem-solvers through its support of STEM (science, technology, engineering and math) education. Making a conscious choice to speak to this audience unlike anyone else had before – talking directly to them as peers, enlightening them on the joys and global impact that STEM and STEM careers can have – the global engineering and technology company formed an alliance with internet star vlogger and self-proclaimed science nerd Hank Green. The unique and unexpected nature of that partnership not only set the tone for the entire initiative but was critical to its highly successful launch. But three years later, this success also posed our challenge. Specifically, how to gain media attention and interest for a 3-year-old partnership and keep Emerson’s STEM efforts newsworthy?
Tell us the solution to the challenge and why it was innovative
Emerson realized that to make its STEM efforts newsworthy, we’d have to create some news. To gain stronger insights into public perception of STEM, Emerson fielded a 1,000-parent consumer survey on STEM attitudes and participants’ perception of their own math and science capabilities. The survey uncovered some interesting facts: Just 5 out of 10 parents feel very capable helping their child with math homework. And nearly 9 out of 10 adults would choose an unpleasant household task, like laundry, over doing a math problem. With these great statistics in hand, the next step was to create a campaign that could leverage the news while giving the audience a stronger understanding of the importance of STEM skills and how, by supporting STEM careers, Emerson forwards its mission of leaving the world in a better place than we found it. The cornerstone of the effort: Hank Green and Emerson partnered on a satellite media tour, targeting top news and online outlets across the country to share the story of STEM. The Emerson team also led targeted pitch outreach to top-tier outlets across the country to gain further traction on its STEM message. The message was reinforced across Emerson’s social media channels which featured a series of specially developed 2:00, :30 and :10 videos featuring Hank Green and distinctive storylines that would resonate with students and workers alike. The survey information was featured on the front-page Snapshots section of USA Today. Survey results were also featured within campaign creative (graphics, display, copy) across earned and owned media. Strategic media partnerships with LinkedIn, YouTube, and Wall Street Journal were established to drive reach and engagement with media professionals and executives across Emerson-related industries. Natural audience and brand synergies were the foundation of an incredibly successful partnership between Emerson and the Wall Street Journal. Emerson leveraged a suite of Wall Street Journal media solutions, including display and video, and leveraged both audience and contextual targeting. Most uniquely, the campaign was activated natively through in-article video placements within the heart of contextually relevant content. This was the first time Emerson utilized Wall Street Journal’s in-article video tactic. An innovative, two-pronged native content strategy with LinkedIn allowed Emerson to achieve granular targeting and ensured qualified traffic at scale. Emerson utilized LinkedIn’s Dynamic Ad offering to drive response within the media professional community. In addition, Emerson drove strong engagement among industry executives via in-feed Sponsored Content placements featuring attention-grabbing STEM survey findings. After seeing exceptional Sponsored Content performance, media was optimized to put greater focus on these placements targeted at industry executives and media professionals. Emerson established a custom media professional audience on YouTube by utilizing Google’s expansive technology suite, including search queries and data signals. In addition to sophisticated targeting, strategic opt-in video placements drove viewership quality.
Discuss the success of the media campaign and how this was measured
Through the satellite media tour and Hank’s targeted interviews with outlets nationwide, Emerson received nearly 22 million media impressions for its survey results. In addition, USA Today featured Emerson’s stats on parents helping children with homework on its front-page Snapshots feature, adding an additional million eyes onto Emerson’s message about the importance of STEM education worldwide. Social media efforts were strong, with nearly 600 #WeLoveSTEM mentions and 2.1 million impressions of STEM-focused messages on Emerson’s corporate social channels. Additionally, Emerson exceeded performance benchmarks across all three digital media partners. LinkedIn • Emerson’s Sponsored Content placements were 85% above LinkedIn’s engagement rate benchmark • Emerson’s Sponsored Content placements were 41% above LinkedIn’s click-through rate benchmark The Wall Street Journal • Aggregate video click-through rate was 39% above The Wall Street Journal’s video Benchmark • In aggregate, the display banners click-through rate was 68% above The Wall Street Journal’s benchmark YouTube • In aggregate, the YouTube placements were 15% above view-through rate benchmarks • Individually, the 30-second videos were 36% above benchmark, 10-second videos were 28% above benchmark, and 15-second videos were 13% above benchmark Emerson went a step further when it comes to measurement by running a custom Google Brand Lift Study to determine the campaign’s effect on Emerson search interest and brand perception. The study included a control versus exposed video study on YouTube and measured changes in search volume for campaign related key words across Google properties. The campaign drove a 321% lift in Creative interest, 156% lift in Brand interest and a 74% lift in Product interest on Google search queries. The study also saw an 11% lift in brand awareness of users exposed to Emerson video ads.
Submitted by: Starcom
Campaign Title: The Daily 360
Client: Samsung
Agency: Starcom
Media Partner: New York Times
Creative: https://lion.box.com/s/ns0z4r3pgerb7yzev9hykdybyp3rxrsh
Describe the challenge that became the foundation for the media strategy
Samsung’s purpose is to develop technology that makes people’s lives easier and better. The New York Times’ brand revolves around deepening people’s understanding of the world. Together, we showcased the power of 360-degree storytelling in a way that transformed journalism. Samsung wanted to make 360 video consumption a daily habit for a wide audience, so we turned to The New York Times because of their history of legitimizing new technologies by applying quality journalism to new platforms and created an idea called The Daily 360.
Tell us the solution to the challenge and why it was innovative
Appearing within editorial (not advertising), The Daily 360 delivered understanding by involving people in stories, as opposed to just showing or telling them, and utilized 360-degree technology to drive empathy and understanding of a crisis, another culture, politics or simply a beautiful location. A 360 video was released every single day, featuring the work of 120 NYT journalists in over 33 countries, leveraging Samsung’s new Gear 360 camera, summed up in the line used across all assets “Be there now." The stories were delivered in a timely way via a permanent space on The Times’ homepage, mobile site, within the NYT VR app and on the Samsung Gear VR platform. We ran print, digital and mobile advertising across NYT platforms and built ubiquitous support with social media and earned PR to launch our series. A more heavily branded site within NYT houses many of the videos for long-term viewing.
Discuss the success of the media campaign and how this was measured
The Daily 360 videos have been viewed over 98 Million times with 63% more views than standard videos on NYT. Competitor device owners comprised 69% of the viewership and 60% who regularly consumed our content credited Samsung as meaningfully innovative. Best of all, 59% of them agreed they would buy devices from Samsung, more than doubling the baseline benchmark.
Campaign Title: The Daily 360
Client: Samsung
Agency: Starcom
Media Partner: New York Times
Creative: https://lion.box.com/s/ns0z4r3pgerb7yzev9hykdybyp3rxrsh
Describe the challenge that became the foundation for the media strategy
Samsung’s purpose is to develop technology that makes people’s lives easier and better. The New York Times’ brand revolves around deepening people’s understanding of the world. Together, we showcased the power of 360-degree storytelling in a way that transformed journalism. Samsung wanted to make 360 video consumption a daily habit for a wide audience, so we turned to The New York Times because of their history of legitimizing new technologies by applying quality journalism to new platforms and created an idea called The Daily 360.
Tell us the solution to the challenge and why it was innovative
Appearing within editorial (not advertising), The Daily 360 delivered understanding by involving people in stories, as opposed to just showing or telling them, and utilized 360-degree technology to drive empathy and understanding of a crisis, another culture, politics or simply a beautiful location. A 360 video was released every single day, featuring the work of 120 NYT journalists in over 33 countries, leveraging Samsung’s new Gear 360 camera, summed up in the line used across all assets “Be there now." The stories were delivered in a timely way via a permanent space on The Times’ homepage, mobile site, within the NYT VR app and on the Samsung Gear VR platform. We ran print, digital and mobile advertising across NYT platforms and built ubiquitous support with social media and earned PR to launch our series. A more heavily branded site within NYT houses many of the videos for long-term viewing.
Discuss the success of the media campaign and how this was measured
The Daily 360 videos have been viewed over 98 Million times with 63% more views than standard videos on NYT. Competitor device owners comprised 69% of the viewership and 60% who regularly consumed our content credited Samsung as meaningfully innovative. Best of all, 59% of them agreed they would buy devices from Samsung, more than doubling the baseline benchmark.
Submitted by: The Wall Street Journal
Campaign Title: Connecting Cultures
Client: Star Alliance
Agency: Atomic
Media Partner: The Wall Street Journal | National Geographic
Creative: https://www.nationalgeographic.com/staralliance20/
https://vimeo.com/228386063
Describe the challenge that became the foundation for the media strategy
Celebrate Star Alliance’s 20th anniversary, demonstrate the incredible network they provide and encourage our audience to connect with the cultures they visit.
Tell us the solution to the challenge and why it was innovative
For 20 years Star Alliance has taken people on journeys of discovery and enabled cultural connections around the world. Atomic, MEC, National Geographic and The Wall Street Journal have come together to celebrate this anniversary.
The two-part film series, titled ‘Connecting Cultures’, marks the first media partnership between The Wall Street Journal and National Geographic.
Targeting business and leisure travellers, the campaign centered on five destinations served by Star Alliance’s five founding member airlines (Air Canada, Lufthansa, SAS, THAI and United), each of which offered viewers a unique cultural experience.
Fronting the film series was National Geographic’s renowned travel writer Robert Reid, who as part of this partnership traveled from Bangkok to Stockholm and even to the ice fields of the Arctic all with the purpose of promoting the key destinations of the founding airlines through amazing cultural experiences.
The campaign was promoted through digital ad units across The Wall Street Journal and National Geographic throughout the duration of the live hub, plus heavy social media contributions from National Geographic given their robust social following.
To drive engagement with the campaign, National Geographic also hosted a global Star Alliance competition offering 20 people the chance to become ‘Mileage Millionaires’, which attracted over 59,000 entries globally.
Running through September 2017, the campaign was supported by digital display, social and print elements to create awareness and build further engagement.
Discuss the success of the media campaign and how this was measured
The Results
Campaign coverage of over 1 billion
Content views quadrupled targets
Over 3.1 million interactions with the mapping tool
Over 32,000 FFP (Frequent Flyer Programme) referrals
Brand impression and intention to fly scores at 9 out of 10
Shift in brand promoter score from 22% to 76% overall
We had a reach of 29 million via the in-flight entertainment systems of the Star Alliance 5 founding member airlines
Countries distributed:
U.S, U.K, Germany, China, Japan, India Brazil Australia
Campaign Title: Connecting Cultures
Client: Star Alliance
Agency: Atomic
Media Partner: The Wall Street Journal | National Geographic
Creative: https://www.nationalgeographic.com/staralliance20/
https://vimeo.com/228386063
Describe the challenge that became the foundation for the media strategy
Celebrate Star Alliance’s 20th anniversary, demonstrate the incredible network they provide and encourage our audience to connect with the cultures they visit.
Tell us the solution to the challenge and why it was innovative
For 20 years Star Alliance has taken people on journeys of discovery and enabled cultural connections around the world. Atomic, MEC, National Geographic and The Wall Street Journal have come together to celebrate this anniversary.
The two-part film series, titled ‘Connecting Cultures’, marks the first media partnership between The Wall Street Journal and National Geographic.
Targeting business and leisure travellers, the campaign centered on five destinations served by Star Alliance’s five founding member airlines (Air Canada, Lufthansa, SAS, THAI and United), each of which offered viewers a unique cultural experience.
Fronting the film series was National Geographic’s renowned travel writer Robert Reid, who as part of this partnership traveled from Bangkok to Stockholm and even to the ice fields of the Arctic all with the purpose of promoting the key destinations of the founding airlines through amazing cultural experiences.
The campaign was promoted through digital ad units across The Wall Street Journal and National Geographic throughout the duration of the live hub, plus heavy social media contributions from National Geographic given their robust social following.
To drive engagement with the campaign, National Geographic also hosted a global Star Alliance competition offering 20 people the chance to become ‘Mileage Millionaires’, which attracted over 59,000 entries globally.
Running through September 2017, the campaign was supported by digital display, social and print elements to create awareness and build further engagement.
Discuss the success of the media campaign and how this was measured
The Results
Campaign coverage of over 1 billion
Content views quadrupled targets
Over 3.1 million interactions with the mapping tool
Over 32,000 FFP (Frequent Flyer Programme) referrals
Brand impression and intention to fly scores at 9 out of 10
Shift in brand promoter score from 22% to 76% overall
We had a reach of 29 million via the in-flight entertainment systems of the Star Alliance 5 founding member airlines
Countries distributed:
U.S, U.K, Germany, China, Japan, India Brazil Australia
BrillIAAnt Use of Social Media
Submitted by: MediaCom
Campaign Title: Hungerithm
Client: Mars-Snickers
Agency: MediaCom
Creative: https://drive.google.com/file/d/1hvSGt7Jlid3m7iJDWaMCa9Ugd2Al9M8m/view?usp=sharing
Describe the challenge that became the foundation for the media strategy
MARKETING CHALLENGE – Effectively communicate a promotion that updates 144 times a day
BRAND INSIGHT – You’re not you when you’re hungry
CONSUMER INSIGHT – Australians are at their angriest when they’re hungry, between meal times. A hangry nation needs a Snickers
We developed a brilliant idea to bring to life the global BRAND INSIGHT – you’re not you when you’re hungry – the Hungerithm.
A hunger-algorithm based on a 3,000-word lexicon analyzing 14,000 social posts every day that monitored the online mood of the nation and lowered Snickers prices accordingly at every 7-Eleven in Australia.
The angrier the Internet got, the cheaper Snickers became.
So the MARKETING CHALLENGE became how do we effectively communicate a promotion that updates every 10 minutes (144 times a day in total), and is only valid for one hour after redemption? Further, we needed to be more relevant to the lives of younger Australians by being where they are (not sitting at home watching TV) when they’re feeling the most susceptible to Snickers messaging (at the times they’re at their hungriest).
To tap into this we knew we needed to be where young Australians are sharing and feeling their angriest – the internet.
We knew that while the internet can enlighten and entertain, it can also be an angry place. Our CONSUMER INSIGHT was that this influx of anger peaks in between meal times, and that maybe the internet wasn’t angry, Australians were simply hungry.
Tell us the solution to the challenge and why it was innovative
We had to bring to life an idea based on the internet’s anger, away from the couch where Australian’s could actually get into their local 7 Eleven in the hour they had to redeem their much-needed, reduced price Snickers.
Our strategy was simple: use our media to target young Australians when they’re feeling their hangriest, when they’re on the go, geo targeted to stores.
Get young Australians
Who are at their hangriest
To consciously address their predicament, and redeem the Snickers that will transform them back to their normal selves
By tapping into and amplifying real-time angry data triggers, when they’re mobile – near 7 Eleven stores.
We needed to impact Australians when they were hangry, out and about, and near a 7-Eleven. The campaign was 100% digital (with the exception of some live price updates on TV) and mobile led, with 65% of all impressions served to mobile and the remainder targeted at desktop to capture people at work.
All impressions were served using “hangry data triggers” – delivered in real-time to those most in need of a Snickers:
• 45% of programmatic video & display impressions delivered to environments where anger is at its peak: commuter delays, traffic reports, weather, sport and politics – each with a bespoke creative execution (eg. “Angry because your team lost to a team that isn’t your team”).
• The remaining 55% time targeted between meals – after all, you’re not you when you’re hungry.
• Spotify playlist targeting - linking music with anger: targeting those on their daily commute & between meals.
• Real-time reactionary Facebook & Twitter paid posts: covering breaking news events, including Brexit, Trump, Game of Thrones spoilers and the Australian Federal Election.
• All ad-units clicked directly to the Hungerithm site, with Snickers prices updating in real time. From the mobile site, users claimed a coupon which was redeemable via mobile at any 7-eleven within 60 minutes.
• Importantly all placements were geo-fenced and served to those close to a 7-eleven, ensuring no users were out of the redemption range.
Outside of digital, we leveraged our overall TV investment and secured real-time Snickers price updates on key morning TV spots – The Morning Show and Daily Edition.
Discuss the success of the media campaign and how this was measured
The campaign generated:
• 6,689 coupons
• Snickers unit sales increase of 67% over the period.
• 4.04% growth in the total Chocolate Self-Consumption segment, well ahead of the national petrol and convenience market, which saw a 0.16% decline across the same period.
• Snickers Self-Consumption sales value grew 19.25% over the period.
• Snickers delivered 55% of 7-Elevens growth in Chocolate Self Consumption.
• 7-Eleven gained 0.95% share, nearly 1 full market share point across the Chocolate Self Consumption segment over the campaign period.
• 30.4m paid media impressions – reaching an estimated 4m Australians
• 150 earned media articles including news.com.au, Mashable and Inc. Magazine, generating an estimated $1.44m in earned media through PR
• 120% increase in Snickers brand mentions on Twitter
• Google’s brand lift study showed a 34.7% uplift in recall based on the question “which of the following have you seen online video advertising for recently”.
1,740% uplift in Facebook traffic
Submitted by: MediaCom
Campaign Title: NHS Missing Type
Client: England's National Health Service
Agency: MediaCom
Creative; https://drive.google.com/file/d/1BYdN5HGCFl8vugfDWVaK93ASZvhdLfYG/view?usp=sharing
Describe the challenge that became the foundation for the media strategy
The number of new blood donors in Britain has declined 40% in a decade. Since 2010 National Blood Week has been the key time to recruit new donors. Last year there was an urgent need to recruit new donors to safeguard the blood supply for the future as the number of new donors coming forward has plummeted. With over two million blood transfusions per year in England, there is an urgent need to keep the numbers up.
Donations have fallen across the board, meaning Britain’s National Health Service Blood & Transplant needed to attract donors for every type of blood – so we needed to capture potential donors’ attention by demonstrating the importance of replacing missing A, O and B blood types.
Tell us the solution to the challenge and why it was innovative
disruptive c mp ign w s required t sp rk c nvers ti n nd initi te eh vi ur ch nge – cre ting new d n r registr ti ns – r ther th n simply r ise w reness. Missing Type w s the cre tive s luti n: t king the s, s nd s fr m n mes, pl ces nd r nds th t we inter ct with every d y, giving very visi le imp ct cr ss the c untry.
Got that? Let’s make that a bit clearer… A disruptive campaign was required to spark conversation and initiate behaviour change – creating new donor registrations - rather than simply raise awareness. Missing Type was the creative solution: taking the As, Os and Bs from names, places and brands that we interact with every day, giving a very visible impact across the country.
The idea was for an inclusive movement where anyone or any company could drop the type from the social media profiles, their content and their real-world physical presence. The idea was simple to activate: minimal effort was required to create the desired disruption.
Our idea was for a national movement that turned media companies and brands to become advocates. That took our message out of paid-for advertising units and onto the front page and into the shop window.
Our strategy was planned to work across three stages:
1) Tease & intrigue
2) Give context & meaning
3) Retarget & convert to registration
Discuss the success of the media campaign and how this was measured
Major British & international brands O2, Odeon, Nando’s, British Gas, Santander, Tesco, PlayStation, and many more dropped the letters A, O, B from their names in support. Top British soap operas Coronation Street & Emmerdale did the same. Microsoft ran their TV ads with letters removed from their brand on the end-frame.
Iconic British locations including Downing Street (home of the British Prime Minister), Abbey Road and Llanfairpwllgwyngyllgogerychwyrndrobwllllantysiliogogogoch railway station in Wales joined in too.
Within hours #missingtype, was trending on Twitter, as the public realised what was happening and tweeted their support. Hundreds of other brands we hadn’t approached then scrambled to get involved, as few things concern a brand social team more than missing out the reflected glory of jumping on a good cause trend.
The next day we layered in context and asked for donors. We used TV alongside Facebook, Instagram & YouTube video to extend reach and continued to dominate social through a sponsored Twitter trend.
The fruit of the campaign was a huge pool of engaged users to follow up with and drive through to the registration process, which was phased over several weeks to manage the logistics of allocating new people into donor sessions.
We smashed our target by 50%: in total 30,000 new donors signed up as a direct result of the campaign, which is nearly a sixth of our annual target.
Traffic to blood.co.uk site was 353% higher than in National Blood Week 2015
478,480 people engaged with the campaign on Facebook and over 1,000 brands showed their support dropping their As, Os & Bs, generating 178m earned impressions.
The campaign received 689 pieces of news coverage on every major British TV news show: BBC News, Channel 4 News, Sky News, ITV regional news, BBC Regional news and Good Morning Britain. There was extensive coverage across most major radio stations and national newspapers. Altogether PR delivered 2.1 billion impacts across print and online.
Campaign Title: Hungerithm
Client: Mars-Snickers
Agency: MediaCom
Creative: https://drive.google.com/file/d/1hvSGt7Jlid3m7iJDWaMCa9Ugd2Al9M8m/view?usp=sharing
Describe the challenge that became the foundation for the media strategy
MARKETING CHALLENGE – Effectively communicate a promotion that updates 144 times a day
BRAND INSIGHT – You’re not you when you’re hungry
CONSUMER INSIGHT – Australians are at their angriest when they’re hungry, between meal times. A hangry nation needs a Snickers
We developed a brilliant idea to bring to life the global BRAND INSIGHT – you’re not you when you’re hungry – the Hungerithm.
A hunger-algorithm based on a 3,000-word lexicon analyzing 14,000 social posts every day that monitored the online mood of the nation and lowered Snickers prices accordingly at every 7-Eleven in Australia.
The angrier the Internet got, the cheaper Snickers became.
So the MARKETING CHALLENGE became how do we effectively communicate a promotion that updates every 10 minutes (144 times a day in total), and is only valid for one hour after redemption? Further, we needed to be more relevant to the lives of younger Australians by being where they are (not sitting at home watching TV) when they’re feeling the most susceptible to Snickers messaging (at the times they’re at their hungriest).
To tap into this we knew we needed to be where young Australians are sharing and feeling their angriest – the internet.
We knew that while the internet can enlighten and entertain, it can also be an angry place. Our CONSUMER INSIGHT was that this influx of anger peaks in between meal times, and that maybe the internet wasn’t angry, Australians were simply hungry.
Tell us the solution to the challenge and why it was innovative
We had to bring to life an idea based on the internet’s anger, away from the couch where Australian’s could actually get into their local 7 Eleven in the hour they had to redeem their much-needed, reduced price Snickers.
Our strategy was simple: use our media to target young Australians when they’re feeling their hangriest, when they’re on the go, geo targeted to stores.
Get young Australians
Who are at their hangriest
To consciously address their predicament, and redeem the Snickers that will transform them back to their normal selves
By tapping into and amplifying real-time angry data triggers, when they’re mobile – near 7 Eleven stores.
We needed to impact Australians when they were hangry, out and about, and near a 7-Eleven. The campaign was 100% digital (with the exception of some live price updates on TV) and mobile led, with 65% of all impressions served to mobile and the remainder targeted at desktop to capture people at work.
All impressions were served using “hangry data triggers” – delivered in real-time to those most in need of a Snickers:
• 45% of programmatic video & display impressions delivered to environments where anger is at its peak: commuter delays, traffic reports, weather, sport and politics – each with a bespoke creative execution (eg. “Angry because your team lost to a team that isn’t your team”).
• The remaining 55% time targeted between meals – after all, you’re not you when you’re hungry.
• Spotify playlist targeting - linking music with anger: targeting those on their daily commute & between meals.
• Real-time reactionary Facebook & Twitter paid posts: covering breaking news events, including Brexit, Trump, Game of Thrones spoilers and the Australian Federal Election.
• All ad-units clicked directly to the Hungerithm site, with Snickers prices updating in real time. From the mobile site, users claimed a coupon which was redeemable via mobile at any 7-eleven within 60 minutes.
• Importantly all placements were geo-fenced and served to those close to a 7-eleven, ensuring no users were out of the redemption range.
Outside of digital, we leveraged our overall TV investment and secured real-time Snickers price updates on key morning TV spots – The Morning Show and Daily Edition.
Discuss the success of the media campaign and how this was measured
The campaign generated:
• 6,689 coupons
• Snickers unit sales increase of 67% over the period.
• 4.04% growth in the total Chocolate Self-Consumption segment, well ahead of the national petrol and convenience market, which saw a 0.16% decline across the same period.
• Snickers Self-Consumption sales value grew 19.25% over the period.
• Snickers delivered 55% of 7-Elevens growth in Chocolate Self Consumption.
• 7-Eleven gained 0.95% share, nearly 1 full market share point across the Chocolate Self Consumption segment over the campaign period.
• 30.4m paid media impressions – reaching an estimated 4m Australians
• 150 earned media articles including news.com.au, Mashable and Inc. Magazine, generating an estimated $1.44m in earned media through PR
• 120% increase in Snickers brand mentions on Twitter
• Google’s brand lift study showed a 34.7% uplift in recall based on the question “which of the following have you seen online video advertising for recently”.
1,740% uplift in Facebook traffic
Submitted by: MediaCom
Campaign Title: NHS Missing Type
Client: England's National Health Service
Agency: MediaCom
Creative; https://drive.google.com/file/d/1BYdN5HGCFl8vugfDWVaK93ASZvhdLfYG/view?usp=sharing
Describe the challenge that became the foundation for the media strategy
The number of new blood donors in Britain has declined 40% in a decade. Since 2010 National Blood Week has been the key time to recruit new donors. Last year there was an urgent need to recruit new donors to safeguard the blood supply for the future as the number of new donors coming forward has plummeted. With over two million blood transfusions per year in England, there is an urgent need to keep the numbers up.
Donations have fallen across the board, meaning Britain’s National Health Service Blood & Transplant needed to attract donors for every type of blood – so we needed to capture potential donors’ attention by demonstrating the importance of replacing missing A, O and B blood types.
Tell us the solution to the challenge and why it was innovative
disruptive c mp ign w s required t sp rk c nvers ti n nd initi te eh vi ur ch nge – cre ting new d n r registr ti ns – r ther th n simply r ise w reness. Missing Type w s the cre tive s luti n: t king the s, s nd s fr m n mes, pl ces nd r nds th t we inter ct with every d y, giving very visi le imp ct cr ss the c untry.
Got that? Let’s make that a bit clearer… A disruptive campaign was required to spark conversation and initiate behaviour change – creating new donor registrations - rather than simply raise awareness. Missing Type was the creative solution: taking the As, Os and Bs from names, places and brands that we interact with every day, giving a very visible impact across the country.
The idea was for an inclusive movement where anyone or any company could drop the type from the social media profiles, their content and their real-world physical presence. The idea was simple to activate: minimal effort was required to create the desired disruption.
Our idea was for a national movement that turned media companies and brands to become advocates. That took our message out of paid-for advertising units and onto the front page and into the shop window.
Our strategy was planned to work across three stages:
1) Tease & intrigue
2) Give context & meaning
3) Retarget & convert to registration
Discuss the success of the media campaign and how this was measured
Major British & international brands O2, Odeon, Nando’s, British Gas, Santander, Tesco, PlayStation, and many more dropped the letters A, O, B from their names in support. Top British soap operas Coronation Street & Emmerdale did the same. Microsoft ran their TV ads with letters removed from their brand on the end-frame.
Iconic British locations including Downing Street (home of the British Prime Minister), Abbey Road and Llanfairpwllgwyngyllgogerychwyrndrobwllllantysiliogogogoch railway station in Wales joined in too.
Within hours #missingtype, was trending on Twitter, as the public realised what was happening and tweeted their support. Hundreds of other brands we hadn’t approached then scrambled to get involved, as few things concern a brand social team more than missing out the reflected glory of jumping on a good cause trend.
The next day we layered in context and asked for donors. We used TV alongside Facebook, Instagram & YouTube video to extend reach and continued to dominate social through a sponsored Twitter trend.
The fruit of the campaign was a huge pool of engaged users to follow up with and drive through to the registration process, which was phased over several weeks to manage the logistics of allocating new people into donor sessions.
We smashed our target by 50%: in total 30,000 new donors signed up as a direct result of the campaign, which is nearly a sixth of our annual target.
Traffic to blood.co.uk site was 353% higher than in National Blood Week 2015
478,480 people engaged with the campaign on Facebook and over 1,000 brands showed their support dropping their As, Os & Bs, generating 178m earned impressions.
The campaign received 689 pieces of news coverage on every major British TV news show: BBC News, Channel 4 News, Sky News, ITV regional news, BBC Regional news and Good Morning Britain. There was extensive coverage across most major radio stations and national newspapers. Altogether PR delivered 2.1 billion impacts across print and online.
Submitted by: Beck Media & Marketing
Campaign Title: National Geographic + Airbnb: The Great American Eclipse
Client: National Geographic, Airbnb
Agency: Beck Media & Marketing
Creative: https://www.dropbox.com/sh/cz4njcpn2g07dqc/AAC-hFE9a_tEdZfBJC_A_ZvXa?dl=0
Describe the challenge that became the foundation for the media strategy
In implementing this campaign, we faced the following challenges:
Tell us the solution to the challenge and why it was innovative:
We leveraged National Geographic’s expertise in both the science realm and live social-storytelling space to create a majestic, multi-platform program that captured global attention around the rare natural phenomenon of a total solar eclipse. In doing so, we paired our key talent (an astrophysicist, a night sky photographer, an astronaut, and a science correspondent) with the power of our live social-storytelling capabilities to make an impact and provide much-needed context to what was happening in the sky, as the world watched live.
Program overview:
National Geographic partnered with Airbnb to create a once-in-a-lifetime experience for two “Night At…” contest winners. The winners were given a special night in a custom-built, geodesic dome, as well as a private jet trip to see the eclipse from the very beginning of its Path of Totality over the Pacific Ocean — all while accompanied by National Geographic experts each step of the way. Those who couldn’t experience this first-hand could follow along on social via the special “Live from the Eclipse” live stream we created together across Facebook, YouTube, and Periscope channels. The National Geographic experts onboard the Airbnb private jet experience posted directly to the National Geographic Instagram account as well, documenting their journey.
Discuss the success of the media campaign and how it was measured:
An exclusively social campaign, it garnered 126M total impressions across all social accounts — 85M of which were driven solely by our Instagram activity on the day of the Eclipse (the National Geographic photographer on the private jet captured one of the first images of the eclipse, as it made its way across the US). The day-of livestream generated widespread media coverage across both national and local outlets, as well as the highest peak viewership National Geographic has ever seen – garnering 3.5M video views.
Campaign Title: National Geographic + Airbnb: The Great American Eclipse
Client: National Geographic, Airbnb
Agency: Beck Media & Marketing
Creative: https://www.dropbox.com/sh/cz4njcpn2g07dqc/AAC-hFE9a_tEdZfBJC_A_ZvXa?dl=0
Describe the challenge that became the foundation for the media strategy
In implementing this campaign, we faced the following challenges:
- Capitalizing on a historic moment in time
- Creating a partnership that breaks through the cluttered media landscape by combining the epic storytelling approach of National Geographic with the intimate and personal ethos of Airbnb
- Engaging a larger global community in the historic Great American Eclipse in August 2017
- Building upon Airbnb’s popular “A Night At…” franchise
Tell us the solution to the challenge and why it was innovative:
We leveraged National Geographic’s expertise in both the science realm and live social-storytelling space to create a majestic, multi-platform program that captured global attention around the rare natural phenomenon of a total solar eclipse. In doing so, we paired our key talent (an astrophysicist, a night sky photographer, an astronaut, and a science correspondent) with the power of our live social-storytelling capabilities to make an impact and provide much-needed context to what was happening in the sky, as the world watched live.
Program overview:
National Geographic partnered with Airbnb to create a once-in-a-lifetime experience for two “Night At…” contest winners. The winners were given a special night in a custom-built, geodesic dome, as well as a private jet trip to see the eclipse from the very beginning of its Path of Totality over the Pacific Ocean — all while accompanied by National Geographic experts each step of the way. Those who couldn’t experience this first-hand could follow along on social via the special “Live from the Eclipse” live stream we created together across Facebook, YouTube, and Periscope channels. The National Geographic experts onboard the Airbnb private jet experience posted directly to the National Geographic Instagram account as well, documenting their journey.
Discuss the success of the media campaign and how it was measured:
An exclusively social campaign, it garnered 126M total impressions across all social accounts — 85M of which were driven solely by our Instagram activity on the day of the Eclipse (the National Geographic photographer on the private jet captured one of the first images of the eclipse, as it made its way across the US). The day-of livestream generated widespread media coverage across both national and local outlets, as well as the highest peak viewership National Geographic has ever seen – garnering 3.5M video views.
BrillIAAnt Use of Mobile
Submitted by: Economist Group
Campaign Title: TOKYO: MODERN/TRADITION
Client: TCVB
Agency: DENTSU INC.
Media Partner: THE ECONOMIST GROUP
Creative: https://drive.google.com/open?id=141_EMsho7DhyMC5F0tZNUql77XMf4GWi
Describe the challenge that became the foundation for the media strategy
Inbound tourism for Tokyo has been going from strength to strength (the number of foreign tourists in 2017 were 1.3mn, up 10.2% from the previous year) - the trend is set to continue. The recent rapid growth owes much to the visitors from Asia - the Tokyo Convention and Visitors Bureau had the task to attract the affluent, intellectually curious (and perhaps non-first timers to Japan) from key markets such as the US, UK, Canada, Australia, France and Germany.
Tell us the solution to the challenge and why it was innovative
The Economist Group was keen to showcase Tokyo to the sophisticated readers of 1843, The Economist's lifestyle publication. The team created an innovative visual and content microsite presenting the two contrasting sides of Tokyo - the modern and the traditional (http://tokyomoderntradition.economist.com), allowing the audience to interact and explore its buzz and zen.
"Choose your kind of Tokyo"
Each of the four categories (entertainment, culture, place and food) contained a pair of stories - the traditional on the left and the modern on the right. This allowed the visitor an easy way to navigate across the two "worlds". The stories were conveyed through the combination of words, pictures and sound.
The microsite was promoted globally with particular emphasis on US, UK, Canada, Australia, France and Germany. Online ad units on 1843magazine.com (the lifestyle publication of The Economist), digital app ad units on the 1843 app and The Economist app (Digital Edition app and Espresso app) were launched to promote the microsite. The ad units utilised the same idea - presenting the two sides of Tokyo via the option to select either the left (traditional) or the right (modern), which enhanced the engagement of the audience - even the ad viewers (please see results).
Discuss the success of the media campaign and how this was measured
The campaign achieved over its required KPIs with the top country markets leading the top of the results. It logged over 132,000 interactions and had its visitors staying 45% longer on the average than other Economist campaign microsites, which proved that the microsite has indeed engaged its target visitors.
The ad units promoting the microsite (online ad units, 1843 app ad unit, Digital Edition ad, and Espresso app ad units) have achieved interaction click rates that are above the Economist ads CTR benchmarks.
Campaign Title: TOKYO: MODERN/TRADITION
Client: TCVB
Agency: DENTSU INC.
Media Partner: THE ECONOMIST GROUP
Creative: https://drive.google.com/open?id=141_EMsho7DhyMC5F0tZNUql77XMf4GWi
Describe the challenge that became the foundation for the media strategy
Inbound tourism for Tokyo has been going from strength to strength (the number of foreign tourists in 2017 were 1.3mn, up 10.2% from the previous year) - the trend is set to continue. The recent rapid growth owes much to the visitors from Asia - the Tokyo Convention and Visitors Bureau had the task to attract the affluent, intellectually curious (and perhaps non-first timers to Japan) from key markets such as the US, UK, Canada, Australia, France and Germany.
Tell us the solution to the challenge and why it was innovative
The Economist Group was keen to showcase Tokyo to the sophisticated readers of 1843, The Economist's lifestyle publication. The team created an innovative visual and content microsite presenting the two contrasting sides of Tokyo - the modern and the traditional (http://tokyomoderntradition.economist.com), allowing the audience to interact and explore its buzz and zen.
"Choose your kind of Tokyo"
Each of the four categories (entertainment, culture, place and food) contained a pair of stories - the traditional on the left and the modern on the right. This allowed the visitor an easy way to navigate across the two "worlds". The stories were conveyed through the combination of words, pictures and sound.
The microsite was promoted globally with particular emphasis on US, UK, Canada, Australia, France and Germany. Online ad units on 1843magazine.com (the lifestyle publication of The Economist), digital app ad units on the 1843 app and The Economist app (Digital Edition app and Espresso app) were launched to promote the microsite. The ad units utilised the same idea - presenting the two sides of Tokyo via the option to select either the left (traditional) or the right (modern), which enhanced the engagement of the audience - even the ad viewers (please see results).
Discuss the success of the media campaign and how this was measured
The campaign achieved over its required KPIs with the top country markets leading the top of the results. It logged over 132,000 interactions and had its visitors staying 45% longer on the average than other Economist campaign microsites, which proved that the microsite has indeed engaged its target visitors.
The ad units promoting the microsite (online ad units, 1843 app ad unit, Digital Edition ad, and Espresso app ad units) have achieved interaction click rates that are above the Economist ads CTR benchmarks.
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Submitted by: Kinetic
Campaign Title:Dell + Sony Pictures Spider-Man Homecoming Digital Out of Home Game Client: Dell Creative: Describe the challenge that became the foundation for the media strategy Timed to the opening weekend of Spider-man: Homecoming and the packed July 4 th weekend, the Spidey Scramble gaming experience, powered by Dell hardware turned Times Square into a video game arcade. Dell allowed four-players at a time to control Spider-Man as he raced to the top of a real-life New York City skyscraper using their mobile phones. Tell us the solution to the challenge and why it was innovative Dell teamed up with Sony Pictures, a long-time Dell customer and partner, to take collaborations to the next level with Spider-Man: Homecoming. Collaborating both behind and in front of the camera, Spider- Man: Homecoming kicked off a 360-degree integrated global marketing campaign featuring PC gaming industry’s newest entrant, Dell’s new Inspiron 15 7000 Gaming Laptop and the highly-anticipated film. To work in synergy with the 360-degree marketing campaign highlighting the partnership, Dell was looking for a high-impact digital out of home concept. The television ad campaign showcased new Spider-Man content created with Jon Watts, the director of Spider-Man: Homecoming, and featured Peter Parker daydreaming in class about an epic battle between Spider-Man and the Vulture. The focal product of the campaign was Dell’s new Inspiron 15 7000 Gaming laptop, so of course we immediately gravitated toward concepts involving gamification. Our core concept was to allow people the opportunity to race Spider-man up the side of a New York City skyscraper. Timed to the opening weekend of Spider-man: Homecoming and the packed July 4 th weekend, the gaming experience, powered by Dell hardware and complete with high-score leaderboards, turned Times Square into a video game arcade. By targeting movie fans who like to game for fun, competitive gamers looking for new technology, and the legion of Spider-Man fans, Dell allowed four-players at a time to control Spider-Man as he raced to the top of a real-life New York City skyscraper using their mobile phones. The game play was simple, but incredibly compelling. Fastest times were posted on a daily leaderboard, and players could also enter to win a $100 promotional gift card to use on Dell.com. Between games the digital screens featured messaging promoting Dell and the new Inspiron 15 7000 Gaming laptop. While waiting to play, gamers were entertained with stunning Spider-man animations as well as the full TV commercial. Throughout key locations in New York City matching creative was featured via digital projections, and custom painted murals, ensuring that our target audience was exposed multiple times to consistent creative messaging. Discuss the success of the media campaign and how this was measured This interactive OOH game built brand equity for both Dell’s new gaming computer as well as Spider- Man: Homecoming, which swung theaters on July 7 to a $117 Million Domestic opening weekend. The activation garnered 45MM OOH media impressions and earned more than 40 million impressions via PR efforts. The game attracted 3,137 non-unique total game players, who played 1,084 games. This translated to being at 85% capacity throughout the activation, which is well above the average we have seen on other DOOH activations involving 2nd screen gaming. Players were thrilled with the experience quoting: “I am in the market for a good work/play laptop. I am definitely going to check out the Dell Inspiron 15.” “It's rare to find a game I can really play with my kids that I can actually beat them at. I love Spiderman Scramble.” “This game is fun and really addictive. Can I download this game to play it all the time?” |
BrillIAAnt Use of Data & Analytics
Submitted by: Facebook
Campaign Title: Priceless Journey
Client: Mastercard
Creative: https://www.facebook.com/business/success/mastercard
Describe the challenge that became the foundation for the media strategy
“Connecting you to the things that matter most”
Mastercard is a technology company in the global payments industry. It operates the world’s fastest payments processing network, connecting consumers, financial institutions, merchants, governments and businesses in more than 210 countries and territories. Mastercard products and solutions make everyday commerce activities—shopping, traveling, running a business and managing finances—easier, more secure and more efficient. Mastercard aimed to develop an unprecedented brand experience for people across 6 different markets to increase card preference and inspire its audience to travel in a priceless way.
Tell us the solution to the challenge and why it was innovative
Mastercard raised awareness among its target audience on Facebook and Instagram, using the latest creative ad formats for each stage of the campaign, which ran for 19 days in December 2016.
A unique Canvas was created to build awareness and consideration and help position the Priceless Journeys concept, incorporating a 360 video recorded from a helicopter above New York City skyscrapers. Viewers could change and control their perspective from their phones within the 360 experience, allowing them to explore the city from different angles.
After awareness, the campaign centered on 4 pillars: Eat, Stay, Shop, Play. Carousel ads showcased at least 2 offers and one entry per category. Mastercard created different ads by combining the 7-second NY Priceless Cities video with cinemagraphs covering restaurants, events, shopping, and hotels, each with a creative element in motion. Each category showed off its benefits through this combination of cinemagraphs, videos and static images, directing audiences to become part of the Priceless Cities program.
Throughout the campaign, the brand also took advantage of the visual nature of Instagram and developed assets specifically for the platform using a single hashtag—#pricelesscities—to position its message in an aspirational way.
Mastercard segmented its ads and developed its content strategy using Facebook’s Audience Insights, which allowed it to reach a massive audience and coverage of people age 18 and older in Argentina, Brazil, Chile, Colombia, and Mexico who were interested in travel, shopping, dining and entertainment.
Discuss the success of the media campaign and how this was measured
THEIR SUCCESS
Raising the brand
Mastercard’s campaign reached a massive audience on Facebook and Instagram, and successfully drove the brand’s positioning and preference levels.
70% of target audience reached (surpassing goal of 55%)
28 million people reached in 5 different markets: Argentina, Brazil, Chile, Colombia and Mexico
28 million people reached in 5 different markets: Argentina, Brazil, Chile, Colombia and Mexico
Campaign Title: Priceless Journey
Client: Mastercard
Creative: https://www.facebook.com/business/success/mastercard
Describe the challenge that became the foundation for the media strategy
“Connecting you to the things that matter most”
Mastercard is a technology company in the global payments industry. It operates the world’s fastest payments processing network, connecting consumers, financial institutions, merchants, governments and businesses in more than 210 countries and territories. Mastercard products and solutions make everyday commerce activities—shopping, traveling, running a business and managing finances—easier, more secure and more efficient. Mastercard aimed to develop an unprecedented brand experience for people across 6 different markets to increase card preference and inspire its audience to travel in a priceless way.
Tell us the solution to the challenge and why it was innovative
Mastercard raised awareness among its target audience on Facebook and Instagram, using the latest creative ad formats for each stage of the campaign, which ran for 19 days in December 2016.
A unique Canvas was created to build awareness and consideration and help position the Priceless Journeys concept, incorporating a 360 video recorded from a helicopter above New York City skyscrapers. Viewers could change and control their perspective from their phones within the 360 experience, allowing them to explore the city from different angles.
After awareness, the campaign centered on 4 pillars: Eat, Stay, Shop, Play. Carousel ads showcased at least 2 offers and one entry per category. Mastercard created different ads by combining the 7-second NY Priceless Cities video with cinemagraphs covering restaurants, events, shopping, and hotels, each with a creative element in motion. Each category showed off its benefits through this combination of cinemagraphs, videos and static images, directing audiences to become part of the Priceless Cities program.
Throughout the campaign, the brand also took advantage of the visual nature of Instagram and developed assets specifically for the platform using a single hashtag—#pricelesscities—to position its message in an aspirational way.
Mastercard segmented its ads and developed its content strategy using Facebook’s Audience Insights, which allowed it to reach a massive audience and coverage of people age 18 and older in Argentina, Brazil, Chile, Colombia, and Mexico who were interested in travel, shopping, dining and entertainment.
Discuss the success of the media campaign and how this was measured
THEIR SUCCESS
Raising the brand
Mastercard’s campaign reached a massive audience on Facebook and Instagram, and successfully drove the brand’s positioning and preference levels.
70% of target audience reached (surpassing goal of 55%)
28 million people reached in 5 different markets: Argentina, Brazil, Chile, Colombia and Mexico
28 million people reached in 5 different markets: Argentina, Brazil, Chile, Colombia and Mexico
Submitted by: John McNeil Studio
Campaign Title: Eurosport Tech Integration
Client: CA Technologies
Agency: John McNeil Studio
Media Partner: SWIRL
Creative: https://www.dropbox.com/s/gv8lc4jo9os9ziu/Eurosport%20Tech%20Integration.mp4?dl=0
Describe the challenge that became the foundation for the media strategy
As CA Technologies evolves and redefines itself within the software industry, reaching and connecting with both the new and the existing global IT community means that CA needs to go beyond the tried and true methods of communicating and position the organization as an innovative leader that relates to and embraces both their audience and the technologies and platforms they use to gather information.
CA’s history has, in some ways, positioned it as a more conventional player, but over the last 10 years, the company has gone through an evolution that has aligned it with the digital transformation that impacts businesses today and where they advance for future success.
Taking this positioning and making it a tangible, engaging and aspirational motivator for our audience—millennials plus—required a new approach, one that would reach beyond the norm and relate to their passions in their everyday lives.
Tell us the solution to the challenge and why it was innovative
It’s no secret that most IT professionals are also avid cyclists. So, CA decided to launch several initiatives around sports marketing to engage this audience.
CA wanted to connect with them and at the same time demonstrate how our products and services could be applied to technologies that would enhance their cycling experiences.
First, we partnered with professional cycling team Trek-Segafredo to develop a logistical advantage for them through CA solutions and services.
CA Flowdock allowed the riders and support team to communicate from anywhere in the world in real-time, enabling them to be more agile. CA PPM provided the team with a secure and centralized location to store medical and sporting data, while automating the process of staff and vehicle scheduling for races.
With data becoming more and more the competitive advantage in pro-cycling, CA is helping Trek-Segafredo achieve their race-to-win mission.
Next we partnered with Strava, the most popular social networking cycling app. To engage our audience, we created, with Strave, the 10th Rider Challenge—a training promotion where the winner would join team Trek-Segafredo during their preparation for one of their major competitions.
And finally, partnering with Eurosport, Europe’s leading sports network, CA created an innovative, first of its kind Live Map App experience. This Cycling App allows users to customize their live sport consumption, with the ability to select specific pro riders and obtain their speed, positioning and biometric data while they compete in each of the Cycling Grand Tours.
It’s a highly immersive experience, in real-time, placing the user in the heat of the action.
Incorporating GPS tracking and biometric information, Eurosport was able to offer extensive analysis on race developments.
Utilizing CA’s API Management software helped developers efficiently collect, standardize and publish data from several different sources to create a rich, unified experience.
At the same time, CA App Experience Analytics allowed Eurosport to see exactly how people were using the app in real-time, making possible on-the-fly improvements and proactive problem solving, thereby enhancing the app user’s journey.
Also, before year-end, CA will be launching a cycling-focused newsletter, The Break, that will provide on-going updates on all the latest team Trek-Segafredo news and advances in training, recovery and technology in cycling.
Discuss the success of the media campaign and how this was measured
The challenge facing CA at the beginning of this campaign was to build a strong brand awareness among IT professionals who were cycling enthusiasts. By partnering with Eurosport—building the first ever immersive Live Map experience, creating the 10th Rider Challenge with Strava and teaming up with Trek-Segafredo, CA saw immense social presence.
Over the past 12 months, CA’s local EMEA Twitter accounts have acquired 26% more followers. CA mentions with Trek and Eurosport on Twitter over the course of 13 months have included 4,958 mentions, 4.8M reach, and 20.1M impressions. CA and Eurosport alone saw 1,798 Twitter mentions, 2.2M reach, and 5.9M impressions. CA and Trek-Segafredo saw 3,160 Twitter mentions, 2.6M reach, and 14.2M impressions.
The innovative immersive Live Map app developed with Eurosport lead to a richer user experience through the utilization of CA’s products. With data and analytics allowing an engagement unlike anything done in the past, users were able to truly see—in real-time—how each rider’s performance levels compared.
An average of 50,000 daily map users; 236,000 live map opens; an average of 1.3M viewers of race coverage; and 563,000 page views on Facebook and Twitter.
CA plans on building on the success of its brand awareness through the continuation of Eurosport Tech Integration promotions and extending the Live Map integration through 5 additional races in 2018.
Campaign Title: Eurosport Tech Integration
Client: CA Technologies
Agency: John McNeil Studio
Media Partner: SWIRL
Creative: https://www.dropbox.com/s/gv8lc4jo9os9ziu/Eurosport%20Tech%20Integration.mp4?dl=0
Describe the challenge that became the foundation for the media strategy
As CA Technologies evolves and redefines itself within the software industry, reaching and connecting with both the new and the existing global IT community means that CA needs to go beyond the tried and true methods of communicating and position the organization as an innovative leader that relates to and embraces both their audience and the technologies and platforms they use to gather information.
CA’s history has, in some ways, positioned it as a more conventional player, but over the last 10 years, the company has gone through an evolution that has aligned it with the digital transformation that impacts businesses today and where they advance for future success.
Taking this positioning and making it a tangible, engaging and aspirational motivator for our audience—millennials plus—required a new approach, one that would reach beyond the norm and relate to their passions in their everyday lives.
Tell us the solution to the challenge and why it was innovative
It’s no secret that most IT professionals are also avid cyclists. So, CA decided to launch several initiatives around sports marketing to engage this audience.
CA wanted to connect with them and at the same time demonstrate how our products and services could be applied to technologies that would enhance their cycling experiences.
First, we partnered with professional cycling team Trek-Segafredo to develop a logistical advantage for them through CA solutions and services.
CA Flowdock allowed the riders and support team to communicate from anywhere in the world in real-time, enabling them to be more agile. CA PPM provided the team with a secure and centralized location to store medical and sporting data, while automating the process of staff and vehicle scheduling for races.
With data becoming more and more the competitive advantage in pro-cycling, CA is helping Trek-Segafredo achieve their race-to-win mission.
Next we partnered with Strava, the most popular social networking cycling app. To engage our audience, we created, with Strave, the 10th Rider Challenge—a training promotion where the winner would join team Trek-Segafredo during their preparation for one of their major competitions.
And finally, partnering with Eurosport, Europe’s leading sports network, CA created an innovative, first of its kind Live Map App experience. This Cycling App allows users to customize their live sport consumption, with the ability to select specific pro riders and obtain their speed, positioning and biometric data while they compete in each of the Cycling Grand Tours.
It’s a highly immersive experience, in real-time, placing the user in the heat of the action.
Incorporating GPS tracking and biometric information, Eurosport was able to offer extensive analysis on race developments.
Utilizing CA’s API Management software helped developers efficiently collect, standardize and publish data from several different sources to create a rich, unified experience.
At the same time, CA App Experience Analytics allowed Eurosport to see exactly how people were using the app in real-time, making possible on-the-fly improvements and proactive problem solving, thereby enhancing the app user’s journey.
Also, before year-end, CA will be launching a cycling-focused newsletter, The Break, that will provide on-going updates on all the latest team Trek-Segafredo news and advances in training, recovery and technology in cycling.
Discuss the success of the media campaign and how this was measured
The challenge facing CA at the beginning of this campaign was to build a strong brand awareness among IT professionals who were cycling enthusiasts. By partnering with Eurosport—building the first ever immersive Live Map experience, creating the 10th Rider Challenge with Strava and teaming up with Trek-Segafredo, CA saw immense social presence.
Over the past 12 months, CA’s local EMEA Twitter accounts have acquired 26% more followers. CA mentions with Trek and Eurosport on Twitter over the course of 13 months have included 4,958 mentions, 4.8M reach, and 20.1M impressions. CA and Eurosport alone saw 1,798 Twitter mentions, 2.2M reach, and 5.9M impressions. CA and Trek-Segafredo saw 3,160 Twitter mentions, 2.6M reach, and 14.2M impressions.
The innovative immersive Live Map app developed with Eurosport lead to a richer user experience through the utilization of CA’s products. With data and analytics allowing an engagement unlike anything done in the past, users were able to truly see—in real-time—how each rider’s performance levels compared.
An average of 50,000 daily map users; 236,000 live map opens; an average of 1.3M viewers of race coverage; and 563,000 page views on Facebook and Twitter.
CA plans on building on the success of its brand awareness through the continuation of Eurosport Tech Integration promotions and extending the Live Map integration through 5 additional races in 2018.
BrillIAAnt Use of Innovation
Submitted by: MediaCom
Campaign Title: React to shamers
Client: P&G
Agency: MediaCom
Media Partner: Google React
Creative: https://drive.google.com/file/d/1slyVqYKd1KcKFP7fq-yhdYgEPPp20oLi/view?usp=sharing
Describe the challenge that became the foundation for the media strategy
You’re most likely to be the victim of shaming for the first time in your teens.
But today, shaming isn’t just confined to the classroom. It’s on social, on mobile – and girls are often too scared to stand up to the bullies.
Objective: Help young Israeli girls take a stand
35% more young girls worldwide consider suicide due to shaming Being a teenager is tough. It’s when you’re most likely to go on your first date, to have your first kiss, and most likely to attend your first job interview. Sadly, it’s also when you’re most likely to suffer your first breakup, experience sexual harassment for the first time or be the victim of shaming – which is no longer confined to the classroom. It’s on social, on mobile – and girls are often too scared to stand up to the bullies. Tragically, over the last 10 years such pressures have driven 35% more girls to consider suicide globally. Shaming affects one in five girls. This was an issue Always, the market leader in the feminine hygiene space, was passionate about.
We realised that Virtual Reality (VR) technology makes anything possible. It lets us experience out-of-this-world activities and try new things – all in a safe and controlled virtual environment.
And that gave us an idea.
What if we could let girls experience – and overcome – the challenges of adolescence before they had to face them for real?
One of the biggest concerns of parents is that they can’t prepare their kids for all the experiences life throws at them.
That’s critical during puberty when young girls are at their most vulnerable and self-confidence hits the lowest lows due to physiological, hormonal and emotional changes.
But what if technology, as well as being a weapon for shaming, could also be part of the solution.
Tell us the solution to the challenge and why it was innovative
A new form of Virtual Reality put girls into the middle of a shaming incident
Virtual Reality gave us the toolkit to empower girls to be ready for the shamers and prepare them to respond in the most powerful way possible.
Our VR experience would give girls an insight into what shaming looks like and what it feels like. It would build their confidence in a safe environment.
We would develop a new form of Virtual Reality: Empowering Reality. This would use video content to create real-life situations that challenged our target audience. It would be Karaoke style with subtitles to help them respond in the right way.
The launch would be a major event, getting our target involved and attracting a huge audience.
This would be amplified via digital, using 360-degree versions of our experiences, to recreate the same in-the-room feeling right across the country.
Alongside this we would seek to earn coverage both via the power of our execution to drive social media content, but also by putting the issue of shaming on the media agenda.
We gave young girls the power to stop the shaming
We launched our campaign on International Women’s Day with a pop-up VR booth in the centre of Israel’s biggest city, Tel Aviv.
As girls walked past, we challenged them to try our experience with a powerful rally cry: “Don’t be a bystander, take a stand”
Once inside the booth, our videos – developed with local start up company REACT – made them the lead actors in a drama, with Karaoke-style subtitles telling them how and where to intervene.
We gave them both the confidence to know what shaming feels like but also the power to respond if they ever saw it again.
Huge TV screens relayed the drama to the watching crowds.
These experiences were transmitted across the nation via interactive 360-degree videos on YouTube, targeted at girls watching popular teen content.
Alongside this we built support and coverage for our movement to “take a stand” by creating a national petition to end shaming.
Discuss the success of the media campaign and how this was measured
25% more young girls are committed to taking a stand
Hundreds of young Israeli girls have experienced what it’s like to stand up to the bullies.
Thousands have signed our petition to end shaming.
700,000 took part in the 360-degree video experience on YouTube – 80% of our teen girl target audience.
Our videos were featured on MTV as branded content both on- and offline. With local TV also talking about how to stop shaming.
The campaign appeared for 24 hours on the YouTube Home Page.
We’ve moved the nation and 25% more girls will now take a stand against the shamers.
Our unique use of Virtual Reality – Empowering Reality – is now being used as a template to help young women cope with break ups and sexual harassment too
Campaign Title: React to shamers
Client: P&G
Agency: MediaCom
Media Partner: Google React
Creative: https://drive.google.com/file/d/1slyVqYKd1KcKFP7fq-yhdYgEPPp20oLi/view?usp=sharing
Describe the challenge that became the foundation for the media strategy
You’re most likely to be the victim of shaming for the first time in your teens.
But today, shaming isn’t just confined to the classroom. It’s on social, on mobile – and girls are often too scared to stand up to the bullies.
Objective: Help young Israeli girls take a stand
35% more young girls worldwide consider suicide due to shaming Being a teenager is tough. It’s when you’re most likely to go on your first date, to have your first kiss, and most likely to attend your first job interview. Sadly, it’s also when you’re most likely to suffer your first breakup, experience sexual harassment for the first time or be the victim of shaming – which is no longer confined to the classroom. It’s on social, on mobile – and girls are often too scared to stand up to the bullies. Tragically, over the last 10 years such pressures have driven 35% more girls to consider suicide globally. Shaming affects one in five girls. This was an issue Always, the market leader in the feminine hygiene space, was passionate about.
We realised that Virtual Reality (VR) technology makes anything possible. It lets us experience out-of-this-world activities and try new things – all in a safe and controlled virtual environment.
And that gave us an idea.
What if we could let girls experience – and overcome – the challenges of adolescence before they had to face them for real?
One of the biggest concerns of parents is that they can’t prepare their kids for all the experiences life throws at them.
That’s critical during puberty when young girls are at their most vulnerable and self-confidence hits the lowest lows due to physiological, hormonal and emotional changes.
But what if technology, as well as being a weapon for shaming, could also be part of the solution.
Tell us the solution to the challenge and why it was innovative
A new form of Virtual Reality put girls into the middle of a shaming incident
Virtual Reality gave us the toolkit to empower girls to be ready for the shamers and prepare them to respond in the most powerful way possible.
Our VR experience would give girls an insight into what shaming looks like and what it feels like. It would build their confidence in a safe environment.
We would develop a new form of Virtual Reality: Empowering Reality. This would use video content to create real-life situations that challenged our target audience. It would be Karaoke style with subtitles to help them respond in the right way.
The launch would be a major event, getting our target involved and attracting a huge audience.
This would be amplified via digital, using 360-degree versions of our experiences, to recreate the same in-the-room feeling right across the country.
Alongside this we would seek to earn coverage both via the power of our execution to drive social media content, but also by putting the issue of shaming on the media agenda.
We gave young girls the power to stop the shaming
We launched our campaign on International Women’s Day with a pop-up VR booth in the centre of Israel’s biggest city, Tel Aviv.
As girls walked past, we challenged them to try our experience with a powerful rally cry: “Don’t be a bystander, take a stand”
Once inside the booth, our videos – developed with local start up company REACT – made them the lead actors in a drama, with Karaoke-style subtitles telling them how and where to intervene.
We gave them both the confidence to know what shaming feels like but also the power to respond if they ever saw it again.
Huge TV screens relayed the drama to the watching crowds.
These experiences were transmitted across the nation via interactive 360-degree videos on YouTube, targeted at girls watching popular teen content.
Alongside this we built support and coverage for our movement to “take a stand” by creating a national petition to end shaming.
Discuss the success of the media campaign and how this was measured
25% more young girls are committed to taking a stand
Hundreds of young Israeli girls have experienced what it’s like to stand up to the bullies.
Thousands have signed our petition to end shaming.
700,000 took part in the 360-degree video experience on YouTube – 80% of our teen girl target audience.
Our videos were featured on MTV as branded content both on- and offline. With local TV also talking about how to stop shaming.
The campaign appeared for 24 hours on the YouTube Home Page.
We’ve moved the nation and 25% more girls will now take a stand against the shamers.
Our unique use of Virtual Reality – Empowering Reality – is now being used as a template to help young women cope with break ups and sexual harassment too
Submitted by: John McNeil Studio
Campaign Title: STEM10
Client: CA Technologies
Agency: John McNeil Studio
Media Partner:
Creative: https://www.dropbox.com/s/mnzsc1ent76jwty/STEM10.mp4?dl=0
Describe the challenge that became the foundation for the media strategy
STEM—science, technology, engineering, math—is constantly growing and innovating as new technology emerges.
By 2022, there will be a need for 1 million more STEM professionals than the U.S. is likely to produce. In the past 30 years, the number of women with Computer Science Bachelor Degrees has decreased by nearly half. Ethnic diversity in the field is minimal, despite how much STEM has grown. Demand for STEM is rising, but supply of STEM talent isn’t. That’s the problem.
The fact of the matter is there are barriers to STEM education. Young people generally understand that tech jobs are the opportunities of the future, but gender stereotypes and limited access to adequate education in STEM fields are often too great to overcome. This was the challenge facing CA.
As a brand seeking long-term sustainability, CA needed to tap into the youth if it hopes to have future STEM talent. CA needed to prove that tomorrow’s STEM careers will require creativity and diverse perspectives, with CA at the forefront in removing the barriers between ideas and outcomes.
Tell us the solution to the challenge and why it was innovative
CA’s corporate social responsibility is commitment to “helping close the STEM skills gap by expanding access to computer science and increasing participation by women, girls and underrepresented students of color.” In order to make STEM accessible and fulfill its responsibility, CA needed to remove the barriers between ideas and outcomes.
To do this, we created a landing page and social program for CA’s STEM10—a content series highlighting how the next great STEM talent can come from anywhere. The STEM10 series introduces 10 young innovators, such as Jaden Smith, Alexis Lewis, and Rodney Williams, who are future leaders breaking barriers in STEM. At the heart of this series is a big idea: that the world’s problems can be solved by anybody. While STEM language is often singular, pertaining to race or gender, we positioned CA as a brand that is committed to championing a world of diversity and inclusion regardless of personal obstacle.
We also helped CA create a trailer and episode for their STEM10 video series, which highlights ten innovative youth solving problems with STEM skills (science, technology, engineering and math). The series aims to prove that tomorrow’s STEM careers will require creativity and diverse perspectives to change the world.
To support CA’s mission of removing barriers between ideas and outcomes, we launched a social activation campaign with #NoBarriers. We used #NoBarriers to point out obstacles to inclusivity and highlight how CA and others are helping remove them.
We wanted CA’s STEM10 to reach Millennials and the Generation Z audience—the future STEM talent. So, we collaborated with influencers like Amy Poehler and partnered with organizations such as Girls Who Code—a nonprofit organization aiming to support and increase the number of women in CS—to introduce the world to CA’s cause and amplify the mission’s reach.
To reach future talent, we promoted the STEM10 series across social media platforms in the form of paid content and Facebook Live Q&A’s.
Through STEM10 and social activation, we were able to realign CA as a brand that isn’t afraid to make its voice and stance known. We positioned CA to challenge barriers, build tomorrow’s STEM talent, and give the youth a platform to have their voices heard.
Discuss the success of the media campaign and how this was measured
STEM10 launched on October 24, 2017.
Within the first five weeks, we had over 36M impressions, 18M+ video views, 250,000+ social reactions and interactions and an over 19% video completion rate.
As of early December, we are now at over 40M impressions, 20M+ video views, and 359,000+ social media interactions.
Moreover, our highest performing episodes have been the female driven videos. Amy Poehler’s Smart Girls has had the most social interactions with over 53K. For our entire series, female driven episode views consist of 60% of total video views.
Amazingly, these numbers don’t even reflect the full breadth of the program. After these statistics were compiled, there’s still another video that’s set to be launched.
Campaign Title: STEM10
Client: CA Technologies
Agency: John McNeil Studio
Media Partner:
Creative: https://www.dropbox.com/s/mnzsc1ent76jwty/STEM10.mp4?dl=0
Describe the challenge that became the foundation for the media strategy
STEM—science, technology, engineering, math—is constantly growing and innovating as new technology emerges.
By 2022, there will be a need for 1 million more STEM professionals than the U.S. is likely to produce. In the past 30 years, the number of women with Computer Science Bachelor Degrees has decreased by nearly half. Ethnic diversity in the field is minimal, despite how much STEM has grown. Demand for STEM is rising, but supply of STEM talent isn’t. That’s the problem.
The fact of the matter is there are barriers to STEM education. Young people generally understand that tech jobs are the opportunities of the future, but gender stereotypes and limited access to adequate education in STEM fields are often too great to overcome. This was the challenge facing CA.
As a brand seeking long-term sustainability, CA needed to tap into the youth if it hopes to have future STEM talent. CA needed to prove that tomorrow’s STEM careers will require creativity and diverse perspectives, with CA at the forefront in removing the barriers between ideas and outcomes.
Tell us the solution to the challenge and why it was innovative
CA’s corporate social responsibility is commitment to “helping close the STEM skills gap by expanding access to computer science and increasing participation by women, girls and underrepresented students of color.” In order to make STEM accessible and fulfill its responsibility, CA needed to remove the barriers between ideas and outcomes.
To do this, we created a landing page and social program for CA’s STEM10—a content series highlighting how the next great STEM talent can come from anywhere. The STEM10 series introduces 10 young innovators, such as Jaden Smith, Alexis Lewis, and Rodney Williams, who are future leaders breaking barriers in STEM. At the heart of this series is a big idea: that the world’s problems can be solved by anybody. While STEM language is often singular, pertaining to race or gender, we positioned CA as a brand that is committed to championing a world of diversity and inclusion regardless of personal obstacle.
We also helped CA create a trailer and episode for their STEM10 video series, which highlights ten innovative youth solving problems with STEM skills (science, technology, engineering and math). The series aims to prove that tomorrow’s STEM careers will require creativity and diverse perspectives to change the world.
To support CA’s mission of removing barriers between ideas and outcomes, we launched a social activation campaign with #NoBarriers. We used #NoBarriers to point out obstacles to inclusivity and highlight how CA and others are helping remove them.
We wanted CA’s STEM10 to reach Millennials and the Generation Z audience—the future STEM talent. So, we collaborated with influencers like Amy Poehler and partnered with organizations such as Girls Who Code—a nonprofit organization aiming to support and increase the number of women in CS—to introduce the world to CA’s cause and amplify the mission’s reach.
To reach future talent, we promoted the STEM10 series across social media platforms in the form of paid content and Facebook Live Q&A’s.
Through STEM10 and social activation, we were able to realign CA as a brand that isn’t afraid to make its voice and stance known. We positioned CA to challenge barriers, build tomorrow’s STEM talent, and give the youth a platform to have their voices heard.
Discuss the success of the media campaign and how this was measured
STEM10 launched on October 24, 2017.
Within the first five weeks, we had over 36M impressions, 18M+ video views, 250,000+ social reactions and interactions and an over 19% video completion rate.
As of early December, we are now at over 40M impressions, 20M+ video views, and 359,000+ social media interactions.
Moreover, our highest performing episodes have been the female driven videos. Amy Poehler’s Smart Girls has had the most social interactions with over 53K. For our entire series, female driven episode views consist of 60% of total video views.
Amazingly, these numbers don’t even reflect the full breadth of the program. After these statistics were compiled, there’s still another video that’s set to be launched.
Submitted by: Xerox Corporation
Campaign Title: Project SET THE PAGE FREE
Client: Xerox
Agency: Y&R
Media Partner: MEC
Creative: https://drive.google.com/file/d/1kZ0a5qvThH11n2oPKGCqmXmWGSohq7pU/view?usp=sharing
Describe the challenge that became the foundation for the media strategy
Xerox is an iconic brand with a strong history of innovation and customer successes in office technology, printing, imaging and workflow solutions. The challenge for Xerox is that, while people know the brand, many are not aware of the new offerings and emerging areas where we play an important role. In 2018, we launched a new brand platform called Set the Page Free – which alludes to the fact that Xerox is at the intersection or print and digital. Pages are not just printed forms or electronic documents – pages represent data & information – the currency of the digital age.
To activate on this platform, we challenged our agency partners at MEC/Wavemaker to find a way to bring the brand platform to life.
We wanted a breakthrough idea – something that would be unique and unexpected. Something that would let us showcase the brand in an engaging and unexpected way how Xerox helps the world communicate, connect and work – via our technology, software and apps. This needed to work globally – and be designed with digital and mobile at the core.
We are a B2B company so we wanted this, of course, to be relevant to B2B but in a very relatable kind of way. We also wanted it to be something that could be a ‘rolling thunder’, rather than just a one-time launch.
Tell us the solution to the challenge and why it was innovative
Our consolidated agency team came back with a brilliant idea … have 14 world famous writers and artists to collaborate on a book about the modern workplace. This ‘epic collaboration’ would be powered by Xerox technology, software and apps – from project workflows to automated translation in 55 languages to actually printing the final 200 page book on Xerox digital printing technology.
To tell the story, we created a ton of content that we put on a website called SetthePageFree.com. The site hosted videos, photos, podcasts, and excerpts from the chapters written by each author. Each Author section gave people the ability to learn more about the technology they used in the project – and deeper content on Xerox.com
The media plan was strategic, innovative and targeted. We used a combination of paid social, programmatic display and native content to showcase the project, authors and overall collaboration. This was planned in a ‘rolling thunder’ approach, with ‘teaser’ content precluding the actual announcement of the collaborators (which included Lee Child, Author of the Jack Reacher series, Aimee Mann, Joyce Carol Oates and Gary Shteyngart). The idea was to keep people coming back to the site for more content – and ultimately filling out form to opt in for project updates and subsequent communications from Xerox.
The media plan was global, covering 22 markets in 3 languages – and was all bought centrally out of MEC New York. Optimizations were done in real-time, with resources shifting to higher performing messages and content.
Discuss the success of the media campaign and how this was measured
We had set KPI’s for the success of the campaign, including targets for website visits, engagements and ultimately, how many people filled out the contact form and opted in. We also conducted a brand study with Comscore, measuring lift of key brand attributes for people exposed to the project.
The overall campaign results exceeded all benchmarks:
GOAL: Raise Awareness/Change Perception with Business Decision Makers:
(Reflects changes between Target Audience Control Group (not exposed to the project ) vs. Target Audience after visiting the project website)
• Overall Brand Perception: + 11%
• Brand Attributes: + 16% Progressive, +10 High Quality, +9 Trustworthy , +9 Innovative
• Business Consideration: + 10 Likelihood of considering Xerox for future document/printing needs
GOAL: Demand Gen: Drive traffic to site and capture form fills.
Audience Engagement
• 85MM BDM/IT targeted impressions have been delivered to date, yielding a .25% click-thru-rate (CTR) – 2x Xerox benchmarks
• Of the 119k visitors to the site, 3.5% engaged with Xerox technology information
CAPTURING PROSPECTS FOR NURTURE
Marketo Form Submissions – feeding nuture stream
• 12,044 form submissions into Marketo (for lead nurture) to-date, with a 7% Conversion Rate (3.5x benchmark)
• ~ 50/50 distribution of form fills and site engagement from IT and Line of Business Decision Makers.
Campaign Title: Project SET THE PAGE FREE
Client: Xerox
Agency: Y&R
Media Partner: MEC
Creative: https://drive.google.com/file/d/1kZ0a5qvThH11n2oPKGCqmXmWGSohq7pU/view?usp=sharing
Describe the challenge that became the foundation for the media strategy
Xerox is an iconic brand with a strong history of innovation and customer successes in office technology, printing, imaging and workflow solutions. The challenge for Xerox is that, while people know the brand, many are not aware of the new offerings and emerging areas where we play an important role. In 2018, we launched a new brand platform called Set the Page Free – which alludes to the fact that Xerox is at the intersection or print and digital. Pages are not just printed forms or electronic documents – pages represent data & information – the currency of the digital age.
To activate on this platform, we challenged our agency partners at MEC/Wavemaker to find a way to bring the brand platform to life.
We wanted a breakthrough idea – something that would be unique and unexpected. Something that would let us showcase the brand in an engaging and unexpected way how Xerox helps the world communicate, connect and work – via our technology, software and apps. This needed to work globally – and be designed with digital and mobile at the core.
We are a B2B company so we wanted this, of course, to be relevant to B2B but in a very relatable kind of way. We also wanted it to be something that could be a ‘rolling thunder’, rather than just a one-time launch.
Tell us the solution to the challenge and why it was innovative
Our consolidated agency team came back with a brilliant idea … have 14 world famous writers and artists to collaborate on a book about the modern workplace. This ‘epic collaboration’ would be powered by Xerox technology, software and apps – from project workflows to automated translation in 55 languages to actually printing the final 200 page book on Xerox digital printing technology.
To tell the story, we created a ton of content that we put on a website called SetthePageFree.com. The site hosted videos, photos, podcasts, and excerpts from the chapters written by each author. Each Author section gave people the ability to learn more about the technology they used in the project – and deeper content on Xerox.com
The media plan was strategic, innovative and targeted. We used a combination of paid social, programmatic display and native content to showcase the project, authors and overall collaboration. This was planned in a ‘rolling thunder’ approach, with ‘teaser’ content precluding the actual announcement of the collaborators (which included Lee Child, Author of the Jack Reacher series, Aimee Mann, Joyce Carol Oates and Gary Shteyngart). The idea was to keep people coming back to the site for more content – and ultimately filling out form to opt in for project updates and subsequent communications from Xerox.
The media plan was global, covering 22 markets in 3 languages – and was all bought centrally out of MEC New York. Optimizations were done in real-time, with resources shifting to higher performing messages and content.
Discuss the success of the media campaign and how this was measured
We had set KPI’s for the success of the campaign, including targets for website visits, engagements and ultimately, how many people filled out the contact form and opted in. We also conducted a brand study with Comscore, measuring lift of key brand attributes for people exposed to the project.
The overall campaign results exceeded all benchmarks:
GOAL: Raise Awareness/Change Perception with Business Decision Makers:
(Reflects changes between Target Audience Control Group (not exposed to the project ) vs. Target Audience after visiting the project website)
• Overall Brand Perception: + 11%
• Brand Attributes: + 16% Progressive, +10 High Quality, +9 Trustworthy , +9 Innovative
• Business Consideration: + 10 Likelihood of considering Xerox for future document/printing needs
GOAL: Demand Gen: Drive traffic to site and capture form fills.
Audience Engagement
• 85MM BDM/IT targeted impressions have been delivered to date, yielding a .25% click-thru-rate (CTR) – 2x Xerox benchmarks
• Of the 119k visitors to the site, 3.5% engaged with Xerox technology information
CAPTURING PROSPECTS FOR NURTURE
Marketo Form Submissions – feeding nuture stream
• 12,044 form submissions into Marketo (for lead nurture) to-date, with a 7% Conversion Rate (3.5x benchmark)
• ~ 50/50 distribution of form fills and site engagement from IT and Line of Business Decision Makers.
BrillIAAnt Use of Traditional Media
Submitted by: MediaCom
Campaign Title: Safekids
Client: Safekids Aotearoa
Agency: MediaCom
Creative: https://drive.google.com/file/d/165ACv6Fi3KuTwoEjaUks1jtKWbqAXvcO/view?usp=sharing
Describe the challenge that became the foundation for the media strategy
With a population of 4 million, New Zealand has one of the highest rates of driveway deaths and injuries in the OECD, with 7 deaths in 2014. That’s 7 young lives unnecessarily lost. Tragedies that were all preventable.
Our brief was stark but inspiring – could we save the lives of at least five children by changing driver behavior.
When we started to explore behavior theory, we discovered that emotion drives behavior, not rational messaging, and long-term behavior change can be delivered via the creation of habitual routines.
Our challenge was to create powerful protective routines when parents reversed out of their driveways.
We realized that by the time the car starts moving down the driveway, it’s too late to change event outcomes – if a child is playing on the driveway a tragedy will occur.
The opportunity to influence behavior ended the moment the key entered the ignition.
We needed to get parents to check the drive before they put their key in the car.
Our powerful insight was that there was one object that everyone touched before they drove: their keys.
Tell us the solution to the challenge and why it was innovative
We would change behavior by giving parents car keys that reminded them of their kids
Our insight helped us develop a strategy designed to save lives. We needed to instill in drivers a new safety routine the moment before they put their key in the ignition.
This was our moment of influence, the moment at which outcomes could still be changed.
Our solution was to turn key rings into warning lights and trigger the behavior change that New Zealand needed.
We would use drivers’ keys as our owned media channel– with a Safekids ‘Check me before you turn the key’ personalized photo key ring.
Our secret weapon would be a picture of the driver’s children.
The tone of the message, combined with the photo, would be designed to bring parental responsibility to the forefront. It would be a highly emotional reminder and allow us to effect behavior change BEFORE the car moved.
And it wouldn’t just work once; our key rings would remind drivers every time they touched their keys – potentially hundreds of times a week and creating long-term habitual behavior change.
This insight would only be powerful, however, if we could persuade our target to use them.
Our key target was parents, living at home with children, and we would combine mass reach with frequent calls to action to get their own Safekids key ring.
Mass reach via traditional paid media would be combined with emotive stories from mums who had lost a child. This would be accompanied by multiple easy routes to allow our target to get their own personalized key ring, featuring the kids that mattered to them.
Emotional stories and repeated calls to action combined with local events to ensure parents ordered key rings
The goal of our campaign was to get our personalized key rings into the community - if we couldn’t do that we had no hope of changing behavior.
We created a three-pronged message.
First we looked to drive awareness via PR and mass media. We organized a launch event for news journalists, government and community groups in Onehunga, a district where the majority of at-risk children lived.
The event was led by New Zealand Government Minister Nikki Kaye and included a passionate testimony from a mother whose son died in a driveway accident - the first time she had shared her story in public.
The power of our cause enabled us to negotiate smarter rates for TV, radio, print, press and online with all adverts featuring a call to action to get a personalized key ring. We also shared content and key ring registration via social channels, such as Facebook and Twitter, and partnered with a community-based website - Neighborly for their Neighbors Day.
Second we created 26 local bespoke events – in high-risk areas based on hospital admissions and socio-demographic data – providing photo booths to generate free key ring photos of kids
Finally, we created online and offline hubs where citizens could get their own key ring. In addition to our website, we also accessed office space in all 20 Department Health Boards regions and Early Childhood Services across the country.
Discuss the success of the media campaign and how this was measured
Seven children are alive today thanks to our campaign
A simple key ring has changed behaviors, changed minds and saved lives.
‘Check for me before you turn the key’ has delivered prevention at source rather than preaching with advertising from afar.
7 kids are still alive who wouldn’t be without this campaign. Since launch, total driveway run-over injury admissions more than halved.
Incidence of driveway-related child deaths and injuries is now at its lowest level for a decade.
In week 1, Safekids’ website received 50,000 key ring requests. Our total 12-month allocation of 300,000 ran out in just three months – reaching approximately 90% of our core target. The next quarter we sent out a further 100,000 key rings.
Research showed that 85% have understood the aim of the message and changed behavior. Recall is highest among younger parents.
Earned coverage has hit 559 media reports, reaching a cumulative audience of more than 9m and representing $600,000 of free media.
We’ve also done this extremely efficiently. We successfully negotiated more than $2m in media on a budget of $310,000: representing nearly 600% added value.
Campaign Title: Safekids
Client: Safekids Aotearoa
Agency: MediaCom
Creative: https://drive.google.com/file/d/165ACv6Fi3KuTwoEjaUks1jtKWbqAXvcO/view?usp=sharing
Describe the challenge that became the foundation for the media strategy
With a population of 4 million, New Zealand has one of the highest rates of driveway deaths and injuries in the OECD, with 7 deaths in 2014. That’s 7 young lives unnecessarily lost. Tragedies that were all preventable.
Our brief was stark but inspiring – could we save the lives of at least five children by changing driver behavior.
When we started to explore behavior theory, we discovered that emotion drives behavior, not rational messaging, and long-term behavior change can be delivered via the creation of habitual routines.
Our challenge was to create powerful protective routines when parents reversed out of their driveways.
We realized that by the time the car starts moving down the driveway, it’s too late to change event outcomes – if a child is playing on the driveway a tragedy will occur.
The opportunity to influence behavior ended the moment the key entered the ignition.
We needed to get parents to check the drive before they put their key in the car.
Our powerful insight was that there was one object that everyone touched before they drove: their keys.
Tell us the solution to the challenge and why it was innovative
We would change behavior by giving parents car keys that reminded them of their kids
Our insight helped us develop a strategy designed to save lives. We needed to instill in drivers a new safety routine the moment before they put their key in the ignition.
This was our moment of influence, the moment at which outcomes could still be changed.
Our solution was to turn key rings into warning lights and trigger the behavior change that New Zealand needed.
We would use drivers’ keys as our owned media channel– with a Safekids ‘Check me before you turn the key’ personalized photo key ring.
Our secret weapon would be a picture of the driver’s children.
The tone of the message, combined with the photo, would be designed to bring parental responsibility to the forefront. It would be a highly emotional reminder and allow us to effect behavior change BEFORE the car moved.
And it wouldn’t just work once; our key rings would remind drivers every time they touched their keys – potentially hundreds of times a week and creating long-term habitual behavior change.
This insight would only be powerful, however, if we could persuade our target to use them.
Our key target was parents, living at home with children, and we would combine mass reach with frequent calls to action to get their own Safekids key ring.
Mass reach via traditional paid media would be combined with emotive stories from mums who had lost a child. This would be accompanied by multiple easy routes to allow our target to get their own personalized key ring, featuring the kids that mattered to them.
Emotional stories and repeated calls to action combined with local events to ensure parents ordered key rings
The goal of our campaign was to get our personalized key rings into the community - if we couldn’t do that we had no hope of changing behavior.
We created a three-pronged message.
First we looked to drive awareness via PR and mass media. We organized a launch event for news journalists, government and community groups in Onehunga, a district where the majority of at-risk children lived.
The event was led by New Zealand Government Minister Nikki Kaye and included a passionate testimony from a mother whose son died in a driveway accident - the first time she had shared her story in public.
The power of our cause enabled us to negotiate smarter rates for TV, radio, print, press and online with all adverts featuring a call to action to get a personalized key ring. We also shared content and key ring registration via social channels, such as Facebook and Twitter, and partnered with a community-based website - Neighborly for their Neighbors Day.
Second we created 26 local bespoke events – in high-risk areas based on hospital admissions and socio-demographic data – providing photo booths to generate free key ring photos of kids
Finally, we created online and offline hubs where citizens could get their own key ring. In addition to our website, we also accessed office space in all 20 Department Health Boards regions and Early Childhood Services across the country.
Discuss the success of the media campaign and how this was measured
Seven children are alive today thanks to our campaign
A simple key ring has changed behaviors, changed minds and saved lives.
‘Check for me before you turn the key’ has delivered prevention at source rather than preaching with advertising from afar.
7 kids are still alive who wouldn’t be without this campaign. Since launch, total driveway run-over injury admissions more than halved.
Incidence of driveway-related child deaths and injuries is now at its lowest level for a decade.
In week 1, Safekids’ website received 50,000 key ring requests. Our total 12-month allocation of 300,000 ran out in just three months – reaching approximately 90% of our core target. The next quarter we sent out a further 100,000 key rings.
Research showed that 85% have understood the aim of the message and changed behavior. Recall is highest among younger parents.
Earned coverage has hit 559 media reports, reaching a cumulative audience of more than 9m and representing $600,000 of free media.
We’ve also done this extremely efficiently. We successfully negotiated more than $2m in media on a budget of $310,000: representing nearly 600% added value.
Submitted by: MediaCom
Campaign Title: Hotel of Legends
Client: Cerveza Victoria
Agency: MediaCom
Creative: https://drive.google.com/file/d/1Rwr-MKbKRbA-WK4ZH7RKKwrxqwoZ_ctL/view?usp=sharing
Describe the challenge that became the foundation for the media strategy
Cerveza Victoria beer is one of Mexico’s best-loved traditional brands. It has been around for more than 150 years and sells 30.5 hectoliters per month.But 18-24 year olds don’t buy it. They are more likely to buy American brands like Corona as they are perceived to be cooler than Cerveza Victoria.
Our challenge was to shift this perception by making the Mexican brand relevant for our young Mexican audience. And there is nothing more Mexican than “Dia de Muertos”.
This festival, translated as Day of the Dead, falls on 2nd November every year and is celebrated by 97% of Mexicans. It marks the moment the gates of heaven open, allowing people to reunite with their loved ones for 24 hours.
The only problem was it was also seen as old fashioned – where celebrations are sober and boring. Our target audience prefer to celebrate Halloween, which also falls on the same day and is full of fun and excitement.
Tell us the solution to the challenge and why it was innovative
Mexico is a country that loves its legends and horror stories, with 40% of young people believing in ghosts and spirits.
One of the most famous ghosts is La Llorona – a woman who drowned her children to be with the man she loved only to be rejected by him. She is a symbol of Dia de Muertos.
This legend became a focal point for our three-stage strategy:
Stage one would see us bring La Llorona back to life through a jaw-dropping, unbranded video stunt, seeded across the media landscape. This would show our young audience that Mexico’s legends are real, and create a real contrast with Halloween’s fake monsters.
Stage two would be the big reveal, showing people Cerveza Victoria’s role in the magic with behind-the-scenes footage, re-positioning it as a traditional Mexican brand moving with the times.
Stage three would convert our captivated audience through an experiential ‘haunted house’ activation, Hotel of Legends Victoria, cementing Cerveza Victoria’s role in Dia de Muertos folklore. People would be able to buy tickets to experience the Hotel through an online portal, which would be open for a month in the run up to Dia de Muertos.
Each stage would be tailored to reach and appeal to our young target audience, bringing them on a journey from discovery through to experience.
Our launch video brought La Llorona back to life, showing her walking along Reforma, one of Mexico’s most famous streets through real traffic cameras. As she walked down the road, a car drove straight through her.
The video was seeded out through and digital channels, shocking the nation. Within two days, more than 200 publications had promoted our video, sending it viral and reaching more than 18 million people.
We then unveiled the truth behind the video and showed how Cerveza Victoria made this happen through behind-the-scenes footage. This also included a teaser for our third stage – our haunted house experience.
The Hotel of Legends Victoria opened eight days later in Mexico City and gave our intrigued audience the chance to experience the legend of La Llorona.
To drive ticket sales, we retargeted young people in Mexico City using a fake movie trailer. We used contextual segmentation to reach those watching other movie trailers on YouTube, terrifying them with Day of the Dead legends.
Once the hotel was open, we made the Hotel feel like THE experience of the Dia de Muertos season by getting people to share or see the experience for themselves. This included SnapChat filters, branded Facebook profile pictures, 360-degree videos touring the hotel, a reality show with influencers who spent the night at the Hotel (both on Cerveza Victoria’s YouTube channel) and even a Dia de Muertos closing party.
Discuss the success of the media campaign and how this was measured
Cerveza Victoria has become part of Mexican folklore for turning an entire generation of young people onto a nationally-sacred festival.
And each stage of strategy had an incredible effect on our target audience.
La Llorona’s magical reappearance was viewed 2.4 million times.
4.4 million people interacted with our brand.
Cerveza Victoria became the trending topic on Dia de Muertos.
And sales among our target audience sky rocketed. We increased preference of Victoria (month on month, October to November) by 2.4% and a 4.86% growth in people naming Cerveza Victoria as the last beer they purchased.
We have changed the way young people view the most Mexican of celebrations, and smashed all our brand targets along the way.
Campaign Title: Hotel of Legends
Client: Cerveza Victoria
Agency: MediaCom
Creative: https://drive.google.com/file/d/1Rwr-MKbKRbA-WK4ZH7RKKwrxqwoZ_ctL/view?usp=sharing
Describe the challenge that became the foundation for the media strategy
Cerveza Victoria beer is one of Mexico’s best-loved traditional brands. It has been around for more than 150 years and sells 30.5 hectoliters per month.But 18-24 year olds don’t buy it. They are more likely to buy American brands like Corona as they are perceived to be cooler than Cerveza Victoria.
Our challenge was to shift this perception by making the Mexican brand relevant for our young Mexican audience. And there is nothing more Mexican than “Dia de Muertos”.
This festival, translated as Day of the Dead, falls on 2nd November every year and is celebrated by 97% of Mexicans. It marks the moment the gates of heaven open, allowing people to reunite with their loved ones for 24 hours.
The only problem was it was also seen as old fashioned – where celebrations are sober and boring. Our target audience prefer to celebrate Halloween, which also falls on the same day and is full of fun and excitement.
Tell us the solution to the challenge and why it was innovative
Mexico is a country that loves its legends and horror stories, with 40% of young people believing in ghosts and spirits.
One of the most famous ghosts is La Llorona – a woman who drowned her children to be with the man she loved only to be rejected by him. She is a symbol of Dia de Muertos.
This legend became a focal point for our three-stage strategy:
Stage one would see us bring La Llorona back to life through a jaw-dropping, unbranded video stunt, seeded across the media landscape. This would show our young audience that Mexico’s legends are real, and create a real contrast with Halloween’s fake monsters.
Stage two would be the big reveal, showing people Cerveza Victoria’s role in the magic with behind-the-scenes footage, re-positioning it as a traditional Mexican brand moving with the times.
Stage three would convert our captivated audience through an experiential ‘haunted house’ activation, Hotel of Legends Victoria, cementing Cerveza Victoria’s role in Dia de Muertos folklore. People would be able to buy tickets to experience the Hotel through an online portal, which would be open for a month in the run up to Dia de Muertos.
Each stage would be tailored to reach and appeal to our young target audience, bringing them on a journey from discovery through to experience.
Our launch video brought La Llorona back to life, showing her walking along Reforma, one of Mexico’s most famous streets through real traffic cameras. As she walked down the road, a car drove straight through her.
The video was seeded out through and digital channels, shocking the nation. Within two days, more than 200 publications had promoted our video, sending it viral and reaching more than 18 million people.
We then unveiled the truth behind the video and showed how Cerveza Victoria made this happen through behind-the-scenes footage. This also included a teaser for our third stage – our haunted house experience.
The Hotel of Legends Victoria opened eight days later in Mexico City and gave our intrigued audience the chance to experience the legend of La Llorona.
To drive ticket sales, we retargeted young people in Mexico City using a fake movie trailer. We used contextual segmentation to reach those watching other movie trailers on YouTube, terrifying them with Day of the Dead legends.
Once the hotel was open, we made the Hotel feel like THE experience of the Dia de Muertos season by getting people to share or see the experience for themselves. This included SnapChat filters, branded Facebook profile pictures, 360-degree videos touring the hotel, a reality show with influencers who spent the night at the Hotel (both on Cerveza Victoria’s YouTube channel) and even a Dia de Muertos closing party.
Discuss the success of the media campaign and how this was measured
Cerveza Victoria has become part of Mexican folklore for turning an entire generation of young people onto a nationally-sacred festival.
And each stage of strategy had an incredible effect on our target audience.
La Llorona’s magical reappearance was viewed 2.4 million times.
4.4 million people interacted with our brand.
Cerveza Victoria became the trending topic on Dia de Muertos.
And sales among our target audience sky rocketed. We increased preference of Victoria (month on month, October to November) by 2.4% and a 4.86% growth in people naming Cerveza Victoria as the last beer they purchased.
We have changed the way young people view the most Mexican of celebrations, and smashed all our brand targets along the way.
