Showing posts with label Marketing -Youth. Show all posts
Showing posts with label Marketing -Youth. Show all posts

The World’s Biggest Hug

Conselho Nacional Do Sesi, the national council of social services in Brazil, ran the world’s biggest hug over two days in October 2010 using the Christ the Redeemer statue in Rio de Janeiro. Over two nights the statue’s spotlights were turned off, allowing projections of cityscapes and 3D imagery to create the illusion that Christ was closing his arms around the city. The symbolic 3D hugs were linked to the number of visitors to the Carinho de Verdade (True Affection) campaign site, raising public awareness of the impact of sexual abuse on children and teenagers, and encouraging the development of healthy relationships of trust.
Cristo Redentor Hug


The True Affection campaign was launched on October 19, in Rio de Janeiro, by National Council of SESI in partnership with Globo TV, the Human Rights Secretariat of the Presidency, the Committee National Combat Sexual Violence against Children and Adolescents, Childhood Brazil, the SESC / SENAC, Petrobras, and Firjan
various organizations that make up the networks to deal with violent sex in Brazil.

The Carinho de Verdade campaign was developed at Agnelo Pacheco by creative directors Gui Pacheco and Paulo Bertoni, copywriter Tatá Marx, art director Juan Sales, agency producers Ozana Andrade and Suellen Rocha, graphic producers Ozana Andrade and Márcio Monteiro, account team Sabrina Ravagnani and Felipe Dória working with SESI marketing director Cleude Gomes.
The World’s Biggest Hug event was developed at Monumenta (previously known as Casanova Comunicação), Brasília, by creative director Carlos Grillo, art directors Cloves Menezes and Glauber Dorotheu, copywriter Paula Cunha, planner Fernando Torres, account manager Martha Leticia Ferreira, account supervisor Livia De França, producers Rosely Youssef and Daniela Hemesath.
Digital work was produced by Digital Group. Filming was produced at Cinevídeo.
3D content production by VisualFarm, included architectural mapping of the statue, and involved eight 15,000 ansilumens projectors. Content was directed by Fernando Salis.
The campaign won two Bronze Lions at Cannes 2011, two silver at the 2011 NY Advertising Festivals, and a silver at the CLIO Awards 2011.

Daffy's Dancers JUMP out of MOVIE SCREEN

The discount retail chain Daffy's staged such live performances over the weekend at the Ziegfeld Theater in Midtown Manhattan before screenings of the new film Amelia. In a campaign by Johannes Leonardo in New York, part of WPP, dancers acted out how shoppers try on clothes in what was called Fitting Dance."

WorkSafeBC: Raise Your Hand

Raise Your Hand aims to create a youth movement around workers rights, utilizing themes of '60s and '70s rock and roll, youth empowerment and social activism. The anchors for the campaign are the website and an original song that serves as the campaign's anthem. Campaign teams have been setting up Raise Your Hand tents at youth-focused events around British Columbia. Brand ambassadors play the anthem, take photos of attendees to create customized buttons, and encourage people to record karaoke versions of the song, which are used as mashup-style videos posted to YouTube. All from Wasserman + Partners, Vancouver

Client: WorkSafeBC

Agency: Wasserman + Partners, Vancouver


Liam Greenlaw (Creative Director)

Terry Lin (Art Director)

Allen Forbes (Copywriter)

Claire Khan (Agency Producer)

Country: Canada

Other Credits:

Vice President and Managing Director: Pauline Hadley-Beauregard
Broadcast Producer: Kylie Leathem
Digital Producer: Liv Hung
Developer: Engine Digital
Media Planner: Antonella Frustaci
Brand Activation Team: Oliver Flaser, Anne Buch, Rachel Legge
Production Company: Craven Studios, Vancouver
Director: Liam Greenlaw
Director of Photography: Ian Kerr
Editor and company: Don Macdonell, JMB Post Production, Vancouver
Audio Post-Production Company: Davor Valuma, Wayne Kozak Audio Productions

COI: Choose A Different Ending

Immagine 1

Choose A Different Ending is an interactive film that allows you to decide what happens next. You can interact with it, choose what to do and decide how it ends. In Choose A Different Ending you decide whether to live or die.

Advertising Agency: Abbott Mead Vickers BBDO, London, United Kingdom
Agency Producer: Ben Catford
Director: Simon Ellis
Production: Mad Cow Films
Post Production: The Mill
Brand: COI

Hyundai targets young music fans in new project


Hyundai targets young music fans in new project

Hyundai has launched an innovative website dedicated to music made using the sounds of the car manufacturer’s i30 model., is part of a ‘brand campaign’ attempting to revitalise perceptions of the i30 hatchback, appealing to younger audiences and drive sales.

Created by Brazen Productions, it also offers a competition enabling bedroom DJs and wannabe music producers to download samples recorded from the car to mix their own track and submit it via YouTube with the chance of winning their own Hyundai i30.

Wannabe producers can try out the sounds first on the toolbar and then download them for use with software of their choice – there are links and info available on the 30Beats site.

30Beats will moderate uploaded videos with successful entries added to the 30beats gallery for voting by the great British, music loving population.

Brazen Productions worked with Manchester based DJ Krysko to record his own track and music video to capture the essence of 30beats and launch the project.

The track, which features a variety of different sounds recorded at
Salford’s Pie Factory including the sounds from the classic revving and horn to hydraulic ‘whooshes’ and clicks, derives its main beat from sound of the boot of the i30 closing.

“We were looking for something totally different to drive sales of the i30 in this challenging year for car sales,” said PR Manager for Hyundai, Tom Barnard,

“We are looking forward to seeing the creativity of our car loving nation as the entries start to come in.”

Doritos Loves Love 2009

Augmented Reality and social networking have been fused together in a lovefest for Doritos Brazil. Packs of Doritos Sweet Chilli - the latest flavour - bear a QR code directing users online to ‘release’ aDoritos Lover, a sweet and unique little cartoon like monster. The campaign, created by Cubocc, Sao Paulo has seen some fantastic results so far with 23,000 lovers already being freed in a week.

Upon being released, the Lovers are added to their owner’s Orkutprofile - the largest social network in Brasil - as a special app. Owners can take pictures of their Lover, create birth certificates or even put the unwanted Lovers up for adoption!

The most exiting part though is that the Lovers have a mind of their own... with built in AI, Lovers will interact with others online and can randomly ‘introduce’ their owners to other Doritos Lovers owners... amazingly, there are over 18 trillion possible Doritos Lovers combinations!

This follows news this week that the hugely successful and equally love driven ‘
Bring slow dancing back’ Doritos campaign created by BBDO Argentina has been awarded a Platinum Sol, the highest acclaim of the Iberoamerican Festival of Advertising Communication. BBDO’s win marks the first time in the history of the festival that an Argentinean agency has been awarded the acclaim. Look out for the campaign at this year’s Cannes festival too.

Kellogg's:::Football Superstar

Cereal brand Kellogg Nutri-Grain (KNG) sought to appeal to teenage boys (13-17 year old) and get them to pester their mums to purchase the brand. The brand already had a strong heritage with Iron Man in Australia, but this format did not retain relevance over winter months.
Kellogg recognized that teens were spending less time with traditional media, and so wanted to create engaging content for them.
The target audience loves sport and hanging out with their friends at a stage in their life where their body is transforming. So KNG launched the “Australian Idol” for football. This was a nationwide search for the next Football Superstar, culminating in a primetime, appointment to view, 8-week piece of branded content on the pay TV channel Fox8.
Teens had the chance to win a professional contract with Sydney FC, a scholarship to Macquarie University and the chance to be the new face of KNG. A multi-media campaign launched inviting 16-21 year olds (who are peers of influence and inspiration to our youngest consumers) to nationwide trials.
A final 15 were selected for the show and they lived and trained together for a month to battle it out to be the next Football Superstar, with one being eliminated each week. KNG was integrated into the show with branded balls and jerseys. This was leveraged with the Football Superstar website where people could find extra content from the show, training tips from Sydney FC players, interactive games and live web chats with stars from the show.
As a result, Football Superstar became the most successful series in terms of viewers across all FOX8 local productions, with an average of 120,000 viewers per episode. The online campaign reached more than 1.8m teens and ther were 26,125 visitors to the mobile site.










Feb 2008 - Oct 2008


TVBranded content

Using social media in increasingly potent ways

Josh Bernoff is Vice President and Principal Analyst at Forrester Research and co-author of the book "Groundswell." Keynoting this week's Interactive Advertising Bureau's Social Media Conference, he discussed how major marketers like Procter & Gamble are using social media in increasingly potent ways. With the social community effort detailed here in this video, P&G significantly increased sales of its tampon products.

the Arabic version

5 Lessons in Youth Marketing

Brand equity through the eyes of the consumer:

Brand equity through the eyes of the consumer: The case for measuring 'Commitment'
'Brand value is very much like an onion. It has layers and a core. The core is the user who will stick with you until the very end.' This much used quote from Edwin Artz seems simplistic at first glance, but the deeper you delve into it, the more profound are the implications for the brand management process, especially in the measurement of 'brand equity'.

Newcomers such as Lipton are establishing niche markets Whilst many definitions of 'brand equity' exist, most of them agree that any measurement should involve some combination of overall presence, usage or saliency, and public perceptions of the brand. However, this is more of an inside-out rather than the more realistic outside-in view of the brand and one in which not enough importance is given to the consumer experience that the brand generates. Brands are not central to consumers' lives - but consumers are central to a brand's existence; and so any approach to measuring brand equity needs to recognize that. Any practically useful measurement is not simply a function of presence and perceptions, but must also capture the quality of the relationship that the brand has created with its users.

We use the Conversion Model; which views 'Commitment' as the Holy Grail of brand building and measures equity as the brand's ability to convert promiscuous consumers into loyal apostles. Commitment is an attitudinal measure as compared to a behavioural one. Loyalty is behavioural and for that reason alone is not a sufficiently accurate reflection of the consumer-brand relationship.
There may be times when consumers may be highly satisfied with a brand yet still defect to the competition; similarly, dissatisfied consumers do not necessarily gravitate away from a brand at the first opportunity.

Measuring commitment in the UAE youth market

amongst 400 respondents aged 16-24 in the UAE. Our objective was to take a useful measurement of brand equity of key brands in cold beverages (carbonated soft drinks, energy drinks, iced teas etc) and electronic gadgets (MP3 players, gaming consoles, mobile phones etc).
Analyzing the results gives a clear idea of how commitment can shed light on the strength of the brand, important category dynamics, and emerging trends within these categories. As a category electronic gadgets generate greater commitment than cold beverages.

A typical young UAE national is more likely to try out different brands of beverages but unlikely to experiment with brand choice in electronics. While some of this can be attributed to higher switching costs or perceived risk, it also implies that most electronics companies have managed to create a differentiated brand offering through product innovations. Thus 66% of respondents tended to be single minded (i.e. committed to one brand) in their choice of gadgets, while only 47% were single minded in their choice of beverages. The implication is that market factors are more likely to influence brand usage in the beverages category.

Bigger may not always be better
Commitment is also a very useful indicator of future market share. In the cold beverages category a higher incidence of consumption does not necessarily lead to higher commitment. Brands such as Pepsi, 7Up and Coca-Cola currently have the highest consumption levels.

However, when we look into commitment levels we see that new age niche beverages such as Lipton Ice Tea, Power Horse and Oronamin-C enjoy the highest commitment levels in the category, with more committed consumers in their franchises than in the larger brands. This means that these brands have created a strong, dedicated following and while they may be smaller brands currently, they have the potential to wean more and more consumers and hence represent a very real future threat for these large CSD brands.
Based on our experience with cold drinks then, one might argue that a large consumer base leads inevitably to lower commitment. However, for iconic/power brands in some categories this is not the case.

Nokia's 'human' innovation brings success
An example of this is the performance of Nokia in the electronic gadgets category.
Nokia has by far the largest user base with a massive 90% of our respondents claiming to own a Nokia phone. But the more significant measure of Nokia's success as a brand is that 75% of those users are committed to the brand.

This is testament to Nokia's strategy of constant innovation yet consistent adherence to the values of human technology. The only other brands that come close are the iconic Apple Ipod and Sony Vaio, both of which enjoy only a fraction of Nokia's consumer base. An interesting aspect of Nokia's success is that perhaps brands need to be unfettered by the confines of their category and focus primarily on the consumer experience they wish to generate. Would Nokia have managed to create such strong commitment if it thought of itself as just a mobile phone company, and stayed away from photography or music streaming? In a city about to become home to the latest Armani hotel and Versace Pallazo surely that's food for thought.