Tourism Victoria | Remote Control Tourist

Insight

Unlike other Australian destinations, Melbourne is not known for its iconic buildings or amazing natural landmarks. Instead, it’s more about ‘experiences’ – food, fashion, music, the famous laneways and its overall creativity. In fact, the best bits of Melbourne are hidden away. They are things that take time to discover - but once you do, your curiosity is rewarded.

The primary objective for this campaign was to highlight the fact that Melbourne is a very different destination that is constantly changing, and there’s much more to it than initially meets the eye. Its main focus was to give the domestic audience new reasons to visit Melbourne – whether they had visited previously or never considered coming.

So Clemenger BBDO Melbourne created the Remote Control Tourist – a way to let people from anywhere in world explore the hidden secrets of Melbourne before they visit in person. To literally let them ‘go before they go’. Remote Control Tourist is a tourism marketing world-first; a real-time web experience which allows visitors from around the world to truly experience the depth of all Melbourne has to offer, in the closest way possible to actually being there. They could ask the Remote Control Tourists to explore anything: stepping on to the MCG, drinking coffee in a laneway, checking out a designer store or sampling one of Melbourne’s gourmet restaurants.

Strategy

The campaign strategy was built around the idea of allowing people in other cities to experience Melbourne’s depth first hand. By harnessing the power of social media and combining it with some clever streaming video technology, the Tourists truly became the users’ eyes and ears in Melbourne. Part guide, part humble servant, the Tourists helped the audience explore the twists and turns of the city.

Potential visitors simply had to tweet or message via a specifically designed website, and the most interesting suggestions would be actioned by a Remote Control Tourist. The campaign included a number of distinct phases of activity – from pre-launch and the five-day live period, right through to a calendar of promotions and assets that can be used for a number of purposes. The strategy relied on the creation of first person video content that told the deeper and more interesting stories of Melbourne. This content is essential to provide information and to help people explore Melbourne in the future.

Execution

As the Remote Control Tourist was a world first campaign, Tool had to do a lot of work behind the scenes to work out how to even make it happen. It had no blueprint for it. The campaign itself was run on a custom built platform that allowed people from anywhere in the world to watch and control the Remote Control Tourists live as they were on the ground in Melbourne. The Remote Control Tourists were controlled by requests made on the website, Twitter and Facebook. Live requests were moderated and then fed to the website and in turn, to the Remote Control Tourists on the ground. Aside from the real-time HD video stream, viewers could also follow the journey on an interactive Google Map that provided information on the nearby places of interest.

To enable the constantly moving Tourists to stream HD footage in real-time, their backpacks contained cutting edge technology that enabled the digital video data to be split across four 4G LTE Mobile data connections. The four streams were then received at the RCT headquarters and stitched back into a single stream and then encoded for the various devices (desktop computers, smartphones, tablets) and distributed across the Internet via the Akamai network.

The resulting experience was a website that delivered a real-time HD video stream, map-based location tracking and a social feed of the user-generated requests and dialogue. The teaser campaign was launched the week before the campaign live period that incorporated bespoke designs from respected artists, Craig and Karl. The teaser campaign and live period consisted of press, outdoor posters, digital screens and banners but was complimented with a large scale social media and PR presence.

Results

From October 2 – November 20:

- Estimated unique reach of media coverage: 150,980,058
- Twitter impressions: 41,464,450
- Facebook impressions: 7,906,130
- Total visits to site: 138,980
- Unique visits to site: 107,830
- Return visitor: 22.40%
- Average visit duration: 6:18
- Cities: 5324
- Countries interacting with the website: 171
- Positive sentiment: 96%

BRAND:

Tourism Victoria

CATEGORIES:

Government/Public Sector

Travel/Airlines

REGION:

Australia

DATE:

October - October 2013

AGENCIES:

Tool

Clemenger BBDO

MEDIA CHANNEL:

Digital,Mobile,Online,Out-of-Home,PR

ohnnie Walker | Diageo | Dads Deserve Better

Insight

Diageo is focused on using technology to influence brand preference in an increasingly connected retail world. Specifically, to leverage the mass penetration of smartphones to disrupt how people shop and influence decisions right up to point of purchase. Diageo’s brief was to make Father’s Day 2013 in Chile bigger and to position premium whisky brands Johnnie Walker and Buchanan’s as a thoughtful gift for Dad. The ambition was to increase the retail focus on the occasion, drive premiumisation and frequency of consumption.

Strategy 

Research conducted by Diageo showed that shoppers spend on average 30% more on Mother’s Day than Father’s Day. Why? Sons and daughters find it more difficult to express their feelings towards Dad and he’s harder to buy for than Mum. Driven by the insight that a gift is more intimate if it’s personalised, Evrythng positioned Johnnie Walker and Buchanan's as a way to celebrate fatherhood by connecting thousands of bottles of whisky to the Web, so they could carry a one-to-one digital video message from sons and daughters to their dads. Provoking consumers via the campaign message ‘Papa Merece Más’ (Dads Deserve Better).

Execution 

The idea was simple but delivery was technically demanding. The campaign leaned on Diageo’s mobile technology platform +More to make every bottle ‘smart’. This breakthrough application of Internet of Things technology gives each product a unique, addressable digital profile on the Web triggered by a unique QR code printed on the sleeve, which consumers scan using their smartphones. In three easy steps, sons and daughters could create a personal film tribute for their Dad and digitally attach it to a bottle of whisky, using their smartphone.

When Dad received his gift, he enjoyed not just the whisky but also a personal one-to-one video message right there on his own smartphone, accessed via the same QR code – putting theatre and emotion back into the act of giving. Described by Diageo's Head of Customer Marketing in Chile as “The most ambitious platform for modern trade ever in Chile,” campaign activation was conducted at scale via hundreds of tailored POS promotions, mall interventions and sampling events, a disruptive YouTube ‘gift destruction’ channel and a PR and key social influencer strategy.

Results

The campaign drove a 25% year-on-year sales uplift of Johnnie Walker and Buchanan’s whisky, with a campaign ROI of 64%. The Dads Deserve Better message reached a massive online audience, with over one million YouTube hits and eight million Twitter impressions via celebrity influencers. 24% of all users who visited the mobile website created a personalised video for their dad, reflecting a highly engaged audience.

And the innovative application of mobile technology gained traction with the press, earning significant PR coverage across Chile as well as global media interest in +More, including a report in the Harvard Business Review.

BRANDS:

Johnnie Walker

Buchanan's Whisky

BRAND OWNER:

Diageo

CATEGORY:

Drinks (alcoholic)

REGION:

Chile

DATE:

May - July 2013

AGENCY:

Evrythng

MEDIA CHANNEL:

Mobile,Online,Retail/POS

Always will be

Kickers Crisps | A Crazy Dane Rapping In Finnish

Insight

Estrella, the second largest snack brand in Finland, had failed to break into the shaped snacks (‘shapes’) category despite serious launch attempts during recent years. Shapes currently stand for 8% of the total snacks category and hold considerable potential for future growth. A classic favourite shapes product from the 90s, Kickers was withdrawn from the market by Estrella 15 years ago. Ever since, consumers have been requesting it back.

Could bringing Kickers back turn Estrella’s fortunes in the shapes category? The re-launch faced a couple of major challenges: First, the marketing budget available for the project was very limited. Second, the snacks category is highly competitive and impulse driven. Third, even though Kickers had its loyal fans from the 90s, the main consumers of shapes are 16-25 year-olds - far too young to remember the previous golden era of Kickers. Having no equity in the market was both a blessing and a curse. In the mind of the target group Estrella didn’t have much to build on, yet it had every opportunity to introduce Kickers to a new generation of fans and make it a superstar again. How could it capture their attention, and make them try Kickers?

Strategy

It was clear from the start that the target group had certain special characteristics that needed to be considered. Authenticity is highly valued by young people today, so Dagmar saw an opportunity to focus on something that was genuine for Finnish youth. The Finns are rightly proud of their heritage, but at the same time aware of being from a small country. Hence, they are extremely flattered when a foreigner shows interest in them. It also found that music plays an important role in the everyday life of young people, and Finnish rap music in particular has become very popular. Young people see themselves as forerunners and like to participate in new phenomena.

Dagmar knew that a traditional media campaign would not solve the challenges, so it needed to find something new and unusual. The solution slowly emerged from a totally unknown young Danish guy called Andreas with a unique talent. Together with its production company, they discovered this crazy Dane who had uploaded a YouTube a video of himself rapping a well-known song in Finnish. Linguistically it was perfect but the guy didn’t know a word of Finnish. How did he do it? Why? There was massive potential for a cool and targeted comeback for Kickers.

Execution

Dagmar decided to get this charming, funny and talented Danish rapper on-board - and four months before the launch of Kickers, met with Andreas and developed a communication plan. First, Dagmar needed to make the Kickers name recognisable among the target group. The Danish rapper claimed the stage name ‘K1ckerz’ and was filmed performing popular Finnish rap songs. He created a YouTube channel for his work. When the original artists of these songs heard about this, they got so inspired by K1ckerz that they started sharing his videos with their own fans. This gave K1ckerz instant credibility. The mass media also spotted the crazy Dane. Soon K1ckerz video was the most viewed entertainment clip on Iltalehti, the largest online newspaper in Finland. K1ckerz was also interviewed on national radio.

The media raised K1ckerz visibility and credibility which, in turn, ramped up commentary on YouTube. The YouTube channel quickly grew in numbers of views. Facebook comments skyrocketed. A quirky new phenomenon was born. To take Kickers to the next level of stardom, the campaign team helped him write and perform his own rap song, carefully written as a parody of a first love; a first love of Kickers. Finland’s No.1 music video production company produced a professional music video for the song in which Kickers starred. It became the official re-launch platform for the Kickers brand, with subtle but relevant and self-ironic product placement throughout.

Results 

The execution of the Kickers launch was a major success. The critical target group did not react negatively to the product placement – because it just made sense. Estrella created a new phenomenon which raised a lot of earned media. In a population of five million the music video got over 400,000 views, fueled solely through social media and PR. The consumers didn’t consider K1ckerz a ‘fake’ artist – they think he made a good first single and has a promising future.

During the launch there was a moment of Kickers-mania when stores simply ran out of the product and the Estrella factory had to work through the night to meet the sudden explosion demand. A smart idea followed by excellent and fearless execution pushed Estrella Kickers into the big league of the Finnish snacks market. A quite unusual relaunch.

BRAND:

Kickers Crisps

CATEGORY:

Food

REGION:

Finland

DATE:

2013

AGENCY:

Dagmar

MEDIA CHANNEL:

Digital,Online

Safeguard | Pamilya OnGuard

Insight

Safeguard has been the No.1 soap brand in the Philippines for decades. Its brand promise of superior skin germ protection has kept families healthy for generations. But in 2013, that position was under threat - not so much from products offering better germ protection, but from changing consumer attitudes. Thanks to an improving economy, Filipinos were wealthier than ever before and their triggers for soap purchase were changing. With more disposable income, they were no longer satisfied by simple germ protection; now they wanted to look as beautiful as the celebrities they saw on TV. Critically the brand faced three key challenges:

• Wealthy Filipinos were becoming complacent about hygiene. Swept up by their new found affluence, they no longer felt exposed to the same health risks as in the past.

• Safeguard’s promise of better family hygiene was invisible to the naked eye. Mums couldn’t see a demonstrable difference between the anti-bacterial benefits of Safeguard and the performance of beauty soaps.

• The home hygiene market was fast becoming part of the beauty market – and soaps offered the most affordable entry point.

But, while rivals now offering moisturising or whitening products, Safeguard hadn’t kept up. With sales going down the plug hole, MediaCom needed to get Safeguard back to the top of mum’s shopping list. It needed to remind mums why skin germ protection was so important and make family hygiene a priority again.

Strategy

Consumers didn’t just need to reassess the importance of skin germ protection, they needed to make it a priority. They needed to create a sense of urgency around the issue and reconnect with wealthier mums. MediaCom realised that, while the economy might have improved, mums’ core priorities hadn’t changed. They still worried about their family’s safety and security - and mum was the person everyone turned to when danger struck. The agency knew that mums regularly tune in to breaking news, via TV, news sites, news alerts and the Facebook pages of key channels. In fact, news and current affairs had the greatest affinity among mums and consistently high ratings.

The strategy needed to leverage both their concern for their family and their consumption of breaking news. They needed to shock them from their complacency. But they ouldn’t cry wolf. The warnings had to be credible, rapid and appear whenever there was an issue. Safeguard needed to go beyond being just a skin hygiene brand, and become an early warning system for worried mums. The solution would be real-time breaking news. It would interrupt mums’ normal viewing and jolt them into action, helping keep their families safe. It would highlight the dangers of regular events, such as the floods that regularly overwhelm the Philippines’ poor drainage systems, and more regional issues such as bird flu outbreaks. Safeguard would become the national news agency for hygiene risk stories. Each would be reported credibly and with urgency. It would highlight the importance of antibacterial soap in cleaning wounds and preventing the spread of sickness. It would tell mums: it’s time to make sure your family is protected.

Execution

Safeguard created a brand-new, breaking news service focused on hygiene risks. Pamilya On Guard used real news to help mums protect and care for their families. It partnered with the country’s leading news and current affairs media network, ABS-CBN, to build a team of well-known news veterans and star reporters briefed to identify daily news stories that were relevant to the brand. Each content piece was anchored on real-time news designed to make mums realise the clear dangers her family was facing right now. Pamilya On-Guard provided new-to-the world information straight from credible experts. It reacted rapidly to emergencies and calamities across the country and abroad to make sure the mums had the information they needed as soon as possible.

The content was aired across free TV, niche/cable TV and radio in a regular timeslot, with added news plugs to promote each episode. In digital, content was integrated this content into the ABS-CBN website and mobile app. It even had its own news section on Facebook and used Twitter to push new content.

Results

Pamilya On Guard has become an established news programme and now attracts higher ratings than ABS-CBN’s own news breaks. It was so credible that even the Department of Health has become a partner in the programme and other P&G brands are now using the same format to build product relevance.

• Sales grew by nearly $2m during the campaign, helping to sell an extra 14 millions bars of Safeguard in just six months.
• Since the launch of Pamilya On Guard, Safeguard White shares are the highest they have been in three years.
• Unaided Brand Awareness has increased by 232% amongst the Safeguard target market.
• Since the start of the programme, Safeguard has successfully grown the home hygiene category by 2% whilst beauty sales have declined by 5%. Ultimately Safeguard was able to not only attract new users but also convert beauty soap consumers.
• Pamilya On Guard continues to educate Filipino mums about the importance of family hygiene protection.

BRAND:

Safeguard

BRAND OWNER:

Procter & Gamble

CATEGORIES:

Pharmaceuticals/Healthcare

Toiletries/Cosmetics

REGION:

Philippines

DATE:

April - September 2013

AGENCY:

MediaCom

MEDIA CHANNEL:

Direct Marketing,Digital,Mobile,Radio,TV

Avon | Crazy For The Kisses

Insight

A kiss is the purest and most beautiful act to demonstrate trust and appreciation to those we love, but many times the vertiginous rhythm of life we live in does not allow us to express it in its real dimension and we lose the opportunity to share a “good morning” or “I love you” with this expression of love.

Starcom needed to find the perfect place, that represents a starting point from which Avon could connect its consumers, make them think about the value of the kiss and allow this story travelling to different parts of the city reaching to a great number of people, linking all this to the launch of the new Avon lipstick Ultra Colour Rich Totally Kissable.

Strategy

Chile is on its way to become a developed country and Santiago, the capital city, represents all the dynamics of a rushed and rough life. Transport, specifically the Subway of Santiago, symbolises this scenery of permanent stress where around 2.4 million people circulate daily (almost 35% of the city’s population). They come and go without noticing who is next to them, they walk in a hurry, discuss and interact in an impersonal way. 

Transfer stations are the places on the Subway where people change lines and can walk through wider spaces. There is where Starcom was capable of calling their attention through an attractive BTL action, which made them stop, watch, and interact, by establishing a natural dialogue between them and the brand, giving them a small but important moment to think about the value of a kiss to later send it to different destinations.

Execution

In the terrace of the transfer in one of the most crowded Subway stations, and starting point towards the four cardinal points of the city, the agency built a stage where the American plastic artist Natalie Irish would create a portrait only with her lips, live, during the peak hour.

The action immediately called the attention of all the people circulating in that place, especially by women, who enjoyed watching step by step how Natalie was creating a beautiful portrait of a woman with her lipstick Ultra Colour Rich Totally Kissable, her great talent, and the umbrella of the campaign called “Crazy for the kisses”.

The event was widely spread on social networks through mobile phones, retweeted and labelled on Facebook thousands of times. Media covered the news helping to amplify the action rapidly, generating additional content without cost for the brand during that day and the following ones.

But the most important of all: Avon stopped consumers for a while, giving them a great moment of reflection and experience, from which they could give themselves the opportunity to understand that a kiss can become the most beautiful piece of art, that it summarises all those things that cannot be said with words, and that from the instant that it is given it can be saved for ever in memories.

Results

Despite the limited budget provided for this event, the action was a huge success. Main media across the country broadcasted live the action, reaching coverage of +528% of the allocated to mass communication.

The campaign achieved:
• 38 minutes of coverage in terms of content in the media that attended to cover the event.
• 1,500 samplings of the lipstick Avon Ultra Colour Rich Totally Kissable to women that were in the Subway station.
• 1,652 virtual kisses through a Facebook application.
• Over 2,300 likes on Facebook were generated organically thanks to this activity.
• More than 26,000 views of the video were achieved in the Avon Chile YouTube channel.

But even more important; since this action and the good reception of this experience among our consumers, the concept of the value of a kiss started a trip towards different points of Santiago, it spread alongside the women and surely the stories built with kisses are being told until now.

BRAND:

Avon

CATEGORY:

Toiletries/Cosmetics

REGION:

Chile

DATE:

July - August 2013

AGENCY:

Starcom

MEDIA CHANNEL:

Experiential,Events,Online

Redd's Apple Ale | Redd's Apple Launcher

Insight

In a crowded marketplace filled with “up-and-coming” alcoholic beverages, from craft beer to hard ciders, MillerCoors needed to set its new Redd’s Apple Ale apart. While an apple-flavoured beer was something different than other beers on the market, it still presented a tall task, especially in targeting a consumer group moving away from all beers except craft.

The war for market share in the beer category is brutal. With millions of Millennials venturing off into spirits and wines—compounded by increasing competition from the growing cider category—Initiative had its work cut out. Redd’s is the first (and only) hybrid beer-cider in the field, but having a unique product isn’t enough in today’s landscape. It needed to position the drink in a way that not only appealed to a notoriously fickle audience, but gave legitimacy as a real beer option, instead of merely a passing fad.

Strategy

When the agency delved into the consumer (males 21-34), one thing struck: More than any other demographic, these consumers needed to be the first to try new food and drinks—almost as a badge of honour. Initiative had the beginnings of a strategy, as it now knew that positioning Redd’s as a “must try” beverage was the way in. 

But do this, it needed to create a buzz loud enough to influence the target in a fun, new way. So the agency set about developing a fully interactive campaign that felt fresh, new, and most of all, buzzworthy.  Initiative needed to engage the consumer in their everyday life by selling the idea of “embracing the unexpected” and branching out from the drab and normal. After brainstorming and testing dozens of ideas, it settled on a two-prong strategy to bring the insight to life.

The first goal was to visualize how different Redd’s is, and in the process mark its stake as a brand trying to do something different. To accomplish this, Initiative set out to highlight the apple’s iconography in American culture and show the fruit in out-of-the-ordinary ways using various out-of-home executions, 60-second spots, in cinema, and on pages in Rolling Stone and Entertainment Weekly. 

The second part of the strategy was to put the power in the consumer’s hands and execute a completely new way to show the product “in action.”

Execution

Enter Redd’s Apple Launcher: a first of its kind interactive experience that allowed online and app users to launch real apples at a real target, in real time. Users that logged on the website were greeted with several options at the “Redd’s Bar” where they could select what and who they wanted to shoot with the apple launcher.

But the fun didn’t stop there. Because only one user could shoot the launcher at a time, Initiative created a way to let those waiting in the queue engage with the brand, whether that was choosing the song that would play next or what should happen in the funhouse. Users also received points for their performance and were entered to win daily prizes, including Living Social Deal Bucks, sunglasses, and glassware.

It also developed a TV partnership with Big Bang Theory and Myth Busters to promote the event, and partnered with uStream to launch a “uStream Takeover” that got cross-channel pollination from media outlets including CNN, Yahoo!, Washington Post and Monocle.

Results

The Redd’s Apple Launcher campaign “literally” catapulted the beer into consumer’s consciousness and allowed it to overtake its main competitor to become the fifth-fastest growing beer brand in only four months, according to Nielsen.  Volume goals were exceeded six months prior to the first year of sales and it became the #1 selling FMB six-pack at 7-Eleven and Harris Teeter within four months. Awareness from the target for Redd’s reached 57% seven months into launch (Millward Brown, ACT tracker) as well.

The Redd’s Apple Launcher website received over 175,000 visits across just five days with a 92% new visitor average (Google Analytics) and over 27,000 sweepstakes entries were submitted (Ignition) via the app.

Brand integrations also showed considerable success with media platforms including BuzzFeed, Discovery, and Yahoo, delivering over 52 million impressions (Media Mind). Social integration through 13 launcher-related posts reached over 1.5 million people with 6,000+ likes, 439 comments and 320 shares (Facebook Analytics). Integrations into Maxim magazine resulted in over 12K scans and over 2K video sweepstakes entries, while digital promotions through Maxim beat interaction benchmarks by 17 times the average (Data provided from Maxim, benchmark via Media Mind). Now, only a short time after launch, Redd’s has become a household name.

BRAND:

Redd's Apple Ale

BRAND OWNER:

MillerCoors

CATEGORY:

Drinks (alcoholic)

REGION:

United States

DATE:

June - July 2013

AGENCY:

Initiative

MEDIA CHANNEL:

Experiential,Online,Out-of-Home,Print,TV

Samsung | Oscars Selfie

Insight

In 2014, Samsung partnered with the Oscars to introduce the world to One Samsung: a connected suite of premium products united by incredible innovation and unmatched design. The challenge was to demonstrate Samsung as an innovation leader in screens from the 1.56-inch screen on a Gear to the 110-inch Curved UHD TV screen and everything in between.

72andSunny’s task was to put Samsung front and centre of the cultural conversation during the biggest celebration of on-screen action. When something incredible happens in our lives we use our screens to share it with others.

Strategy

The idea was that incredible things happen on Samsung screens. The agency’s strategy was to show that from big to small, Samsung has the most premium screens on the market. It showed this by surrounding the Oscars event with media opportunities demonstrating the brilliance of Samsung screens.

Execution

Incredible things happened…

On TV: Five minutes of airtime showcased Samsung’s product line.

On the red carpet: “The Oscars Backstage” sponsorship provided exclusive access to the green room, which featured a wall made out of 86 Samsung products. A Samsung Selfie station let celebs take and post pictures via a Samsung tablet. @TheAcademy posted 10 promoted celebrity selfies taken from the green room.

In digital: Display and video ads on Oscars.com and in a companion mobile app.

During the show: The first-ever Oscars product integration within the ceremony. Oscars host Ellen out the Note 3 front and centre by integrating the device into the show as part of the negotiation. Ellen took a selfie with some of Hollywood’s biggest celebrities and the world contributed to its success on the second screen.

Results

The Galaxy Note 3 was front and centre during the ceremony, including the record-breaking “selfie” Ellen snapped in front of 656 million global viewers. The selfie generated 2.3 million+ tweets, crashing Twitter within just 34 minutes, and more than 65 celebrities re-tweeted the selfie.

- 34 million Facebook impressions
- 2.1 billion meme impressions
- 428 million combined online, print and broadcast impressions within the first 10 days
- 18% lift in ‘likelihood to recommend Samsung’ from the week prior to post Oscars
- 16%+ rise in brand sentiment on Twitter during Oscars week climbing to 42% weeks later (23/03). 

BRAND:

Samsung

CATEGORIES:

Electronic Goods

Telecoms/Mobile

REGION:

United States

DATE:

February - April 2014

AGENCY:

72andSunny

MEDIA CHANNEL:

Digital,Events,Online,Sponsorship,TV

MegaFon | Megafaces - Sochi Olympic Pavilion

Insight

MegaFon, the general partner of the 2014 Winter Olympics in Sochi, with its Olympic activation needed to reinforce its customers’ loyalty and mobile internet usage as well as to stimulate mobile internet trial by other network customers in the time of Mobile Number Portability (MNP).

In early 2013 the Olympics seemed “very official and unapproachable” for most Russians. MegaFon found a phenomenal business opportunity to encourage everyone to leave their personal mark in the Games history and put its high-speed mobile internet at the core, inviting fans to write a new digital chapter of the Olympics.

Strategy

Megafaces – MegaFon’s Olympic Pavilion – became a pinnacle of the five month Olympic campaign ‘Create Your Own Olympic History’ and gave everyone the opportunity for an epic “I was there” Olympic moment – for THE best selfie ever!

Execution

The 2,000 square metre Pavilion featured the world’s first large scale LEC kinetic façade, becoming a digital Mount Rushmore. Customers from across Russia and visitors to the Olympic Park had their faces photographed and transferred to the Pavilion façade. It was designed to function like a huge pin screen that could extend out to a depth of up to two metres. The façade of the Pavilion was made up of over 11,000 actuators and was capable of rendering 3D images eight metres tall by six metres wide. It morphed every 50 seconds, with three faces featured at any one time, enlarged by 3,500%.

A 3D processing engine ran automatically to algorithmically position, scale and re-light the raw scan data from a virtual photo booth. The effect this created was akin to a digital tromp l'oeil – the first of its kind.

Results

MegaFaces was a runaway success. More than 400 news articles featured in the Russian media and over 600 internationally established the pavilion as one of the iconic symbols of Sochi 2014. More than 140,000 participants’ faces were shown throughout the Games and more than 100,000 posts and tweets.

This impressive campaign was awarded the Innovation Lions Grand Prix at the Cannes Lions International Festival of Creativity 2014.

BRAND:

MegaFon

CATEGORY:

Telecoms/Mobile

REGION:

Russia

DATE:

February - February 2014

MEDIA CHANNEL:

Experiential,Digital,Events,Sponsorship

Virgin Mobile | Game Of Phones

Insight

Virgin Mobile is the black sheep of the Virgin family of brands. Despite all of the other services with the Virgin name, it is a budget brand in Australia. The average age of its consumer base is 42 years old who are value-driven traditionalists who use Virgin Mobile because it is the cheapest telco in the market. As any marketer will tell you, this is not exactly a prime segment, and on top of that, it isn’t the target Virgin brands are known for catering to.

With only 4% market share, Virgin Mobile is behind its next closest competitor (20% share) by a considerable margin. In order to grow, Virgin Mobile needed more than just a marketing effort; it needed a complete shake up of how it operates. It needed to develop the same brand equity and loyalty amongst young people who admire Virgin for challenging the status quo in other businesses. Instead of just acting like a telco, Virgin Mobile needed to become a way of life.

Strategy

Virgin Mobile slowly fell into the trap that the only value it could provide was in cost, but value can come in any number of forms. Being part of the Virgin family has its benefits, in SMG’s ammunition it had a range of Virgin Family rewards – from Virgin airline velocity points, to crates of wine, to gym membership and Virgin financial services – rewards that sit well outside of the telco remit! 

Rewards work best, though, when people have a way to actively participate in the programme, rather than passively wait to accumulate prizes. Regularly updated, attainable goals lead to an ongoing cycle of positive reinforcement that many brands have capitalised on via gamification. Where many programmes fall short, is when the challenges only pit the user versus brand. When young people participate with friends, reinforcement comes from both the brand and their social circle.

The idea was to get young people involved in Virgin Mobile via gamification, but the game wouldn’t be between them and Virgin. It would be a game between young people and their friends; with real risks and immediate rewards. Introducing the Game of Phones, Australia’s largest ever, location-based mobile app challenge, where consumers are the warriors, their mobile is their weapon and the Virgin Family rewards are the treasure. With their mobile handsets as weapons, SMG endeavoured to turn the media landscape into a battleground like no other.

Execution

It created a mobile that game challenged players to hunt for virtual prizes worth $200,000 in a combined alternative reality and real-world interaction, found on the Game of Phones’ app map screen on their smartphones. When players came within 50 metres of a prize icon, they can tap to claim it, but it could then be stolen by other players located within 100 metres.

It needed to be in constant communication with warriors on the ground, so set out to utilise media that helped to create a real-time self-perpetuating feedback loop with game players. Social media and dynamic online messaging formed the foundation of the campaign, providing live and local tracking of every player and every reward. Radio provided an opportunity to facilitate live updates and voltage around prizes and offers with street teams to engage retail.

Outdoor media was brought into the modern battle age through real-time targeting and messaging, never done before anywhere in the world. Working with Outdoor suppliers SMG created a dashboard that allowed it to control every single Outdoor panel individually, or as a group, so that it could push game messages out to specific game players, anywhere and in real-time. (eg. “warrior Silver, Battleaxe just stole your prize, he is still in the area!”) It drove traffic to retail stores by making them the only “safe houses” for warriors to hide with their virtual prizes, and Virgin mobile lounges and airport areas became places to brag about wins.

Results

In the cut-throat battle of telco’s, Virgin was quickly crowned king. The app quickly secured over 40,000 downloads, pushing it to the top 15 apps on Android within the first week alone. Over three weeks of game play the battlefield was fierce with 39,245 active users playing more than 64,942 sessions. The 531 prizes were stolen 82,395 times; an average of 155 steals per prize. They were visceral in their quests by travelling 239,500 kilometres and cumulating over 5 years of game play and $2.5 million in earned media! When they needed shelter 14,568 players entered a ‘Safe House’ (Virgin Mobile store) to protect their loot for up to an hour at a time. As in all wars there was only one king who played 8 hours a day to win $50,000 and the title Game of Phones Champion!

BRAND:

Virgin Mobile

CATEGORY:

Telecoms/Mobile

REGION:

Australia

DATE:

November - December 2013

AGENCY:

Starcom Mediavest

MEDIA CHANNEL:

Digital,Mobile,Out-of-Home

Vogue Sunglasses | Vogue Style Mirror

Insight

Statistical evidence proved for Vogue Sunglasses that stylish experiences and lifestyle engagement increased not only brand measures but delivered immediate pay back in sales. At the same time OMD knew that the abundance of competitions increasingly alienated young audiences, especially when they are connected to cool brands. Vogue reacted to the first insight and created Vogue Style Miles – an engaging competition to collect miles/points with the main prize being a trip to Brazil.

OMD’s challenge was the second part. How could it create the respect, attention and participation this project deserves and generate sustainable growth of demand for this season and the years to come?

Strategy

Oh my God… another competition? The young, fashionable, smart consumer Vogue is talking to is literally assailed by numbers of events weekly. However, this had the outstanding main prize and wanted to maximise the pull of the potential trip to Brazil.

Research through social network and search data showed that Brazil is the destination that is most connected to mystical but fun experiences: Dancing Samba in a vividly coloured street or playing football at the Copacabana beach? Everybody has had a dream about Brazil.

How can OMD transfer the Brazilian collective imagination into a physical experience space in Italy? The answer was:  let people travel without leaving.

Execution

The agency built an interactive space with digital ultra-high resolution screens where consumers could try Vogue Sunglasses and project themselves in many different social contexts of this exotic destination: a pool party, a beach sunset, an elegant dinner and many others.

The Style Mirror was the place where the brand story met consumer imagination, while wearing sunglasses was the access gate. When the interactive screen was completed, it immediately understood the amazing power of that device: Placed in hand-selected environments of highest affinity such as aperitif parties in upmarket locations it suggested to experience Vogue Glasses in a dream Brazilian virtual environment.

Supported by a targeted strand of bought media, Display, Radio, Print and Social platforms, Vogue moved consumers in to the owned environment, where consumers could transfer themselves into the Brazil setting.

The Style Mirror, heart of consumer experience, was surrounded by sunglasses to try on: consumers could wear their favourite eyewear imagining being a star in Rio or dancing with friends in amazing locations. Connected via Facebook, consumers shared this fun, while in parallel posts generated also suggested the best retailers in the area. The idea of watching themselves from a new perspective in an exclusive environment made people feel like a star in a dream: this was the aspirational purpose of this campaign.

Results

Style Mirror smashed expectations: 5,771 people dreamed to be in Brazil for a few minutes and entered the contest, which is six times more than the competition of last year and 16 times more than the average of comparable competitions (350 - average provided by Vogue).

Consumers also shared this experience with friends on social media multiplying the exposure with the result that Italy is the number one country among 34 providing the most registered contacts to the Style Miles rewarding platform (11.290 Italians out of 20.383 global).

And most importantly it delivered significant purchase uplift: +20% vs previous year in the areas where events took place. 

BRAND:

Vogue Sunglasses

BRAND OWNER:

Luxottica

CATEGORY:

Luxury Goods

REGION:

Italy

DATE:

June - July 2013

AGENCY:

OMD

MEDIA CHANNEL:

Experiential,Online