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Children who had seen the show were 78% more likely to talk about 'green' issues frequently As well as figures produced by official research, there were also a number of other results that indicated to the effectiveness of the campaign. By the end of 2008, 33,000 families had learnt about how they could reduce their energy consumption by completing an Energy Savers Report through Generation Green.
Also, 9,400 real life Eco-Rangers signed up in the shape of classroom light monitors by the end of 2008.
Vodafone shows how to ‘Chase the Dream’ Vodafone wanted to build awareness of its new sponsorship of the McLaren F1 team The strategy included creating an hour-long TV show that screened in 21 countries. Edits were also shown both in-flight and online Sponsorship awareness increased significantly, illustrating that branded content is extremely powerful The challenge At the start of the 2007 F1 season McLaren had a new car, two new drivers and a new title sponsor.
Vodafone wanted to make the most of its place at the front of the grid and highlight the intricacies of building a successful Formula 1 team.
The aim was to create a global platform highlighting Vodafone’s new link with the team, whilst also creating a deeper connection with the viewer than is possible in a simple 30second ad.
The solution The 2007 season was possibly the most exciting ever in F1 history and McLaren and its drivers, Lewis Hamilton and Fernando Alonso, were right at the heart of the story.
Vodafone created ‘Chasing the Dream’, an hour-long documentary. This one-off programme made the most of the unique access available to Vodafone whilst also incorporating the brand ideal of ‘Make the Most of Now’ by showing the challenge of getting a new car and its drivers to the starting grid.
The telecoms brand featured in the programme as the new sponsor and the show was distributed as a package with sponsorship bumpers and a set of supporting branded online tools.
The show was initially broadcast in the UK, making its debut on ITV 1 in March 2007. It was then transmitted a further three times across the ITV network.
‘Chasing the Dream’ was also broadcast in a further 20 countries around the world on both terrestrial and satellite TV stations during the 2007 racing season.
Further edits were created including a 30-minute show for airline entertainment, which was broadcast by 17 airlines. Exclusive content was also placed on broadcaster websites such as ITV.com, the Vodafone Live! Portal – delivering added value to subscribers – and digital TV platforms such as Joost.
Results ‘Chasing the Dream’ had a major impact on perceptions of Vodafone and consumer awareness of its involvement with F1.
In the UK favourability among viewers towards Vodafone increased substantially and research shows that viewers were subsequently more likely to consider the brand for their next upgrade than non-viewers.
Sponsorship association among avid motorsports fans also increased over non-viewers.
Vodafone’s brand positioning was also communicated by the show with the majority of viewers grasping the underlying message of “chase your dream” and understanding the importance of “making the most of the moment.” Aquafresh for Kids Aquafresh was entering the older kids’ toothpaste market for the first time.
They created a mini film with singing and dancing about brushing teeth, which aired every day before bedtime.
Aquafresh for Kids is now the number one brand in the market.
The challenge Aquafresh for Kids was a new entry in the older kids toothpaste market. Although the brand Aquafresh was well established in the milk teeth market, this was the first time it had targeted 3-9 year olds with the new brand Aquafresh for Kids.
To ensure their message was a success, Aquafresh needed to engage mums and kids and the best way to do that was to create something they could share.
Although many full time mums have the TV on all day, levels of attention are highly variable. The best time to reach them was when mums and children were sitting down in front of the TV to unwind together.
Spending time with mums also revealed two important insights. Firstly that busy mums like anything that makes their life easier and secondly that kids love to learn songs with actions and would demand to see their favourites time and time again.
If Aquafresh could help calm the bathroom battle and reduce the struggle as mums got their kids ready to go to bed, then it would really make an impact.
The solution The solution was to work closely with channel Cartoonito to create a song about brushing your teeth before bed.
The Nurdle Schmurdle Song featuring Milky, Lily and Billy – who feature on Aquafresh’s kids’ packs – and a group of real life kids would show children how to brush their teeth and do a tooth-brushing dance.
The mini film aired at 6.58pm every evening on Cartoonito, which then became a destination for mums and kids at a time when they could do the dance together and learn about the importance of brushing teeth properly.
The content was also streamed on the Cartoonito website so that it could be downloaded whenever and wherever kids wanted it.
A series of 30-second vox pops showing the Nurdles and their human friends talking about their love of brushing teeth ran across Turner and Viacom kids’ channels both in the evenings and the mornings.
The internet added an interactive element to the campaign with kids invited to record online what they liked about brushing their teeth. This also provided Aquafresh with contacts for further conversations.
The Nurdles have made appearances at London Zoo, supermarkets and even have their own storybook, as well as monthly appearances in BBC magazines.
Results The Nurdle Schmurdle has become extremely popular on Cartoonio and is the most downloaded piece of content on the channel’s website. The Nurdle story book was ordered by 50,000 mums within a month of the launch.
Aquafresh has grown its share substantially between 2007 and 2008 at the expense of key competitors Colgate and Oral B. It is now number one in the market, up from number three in mid-2007.
PCSOs call on TV support Police Community Support Officers need to boost recruitment and understanding An ad-funded show broadcast in peaktime on ITV 1 attracts an audience of 14m adults The show delivers £18m of media value for every £1 invested.
The challenge Police Community Support Officers used to get a bad press. Dubbed “plastic policemen” in reference to their limited powers by some sectors of the media, communicating their real value was a tough job.
The brief was to raise awareness and understanding among the general public as well as generating enquiries from potential recruits.
Research identified that the real barrier to success of the PCSO was not lack of awareness or understanding, instead the campaign should focus on increasing the value people put in the role of PCSOs.
Those members of the public who had had contact with a PCSO had a positive impression, however since only 10% of those questioned had actually met one, the negative media message was dominant.
The solution The challenge was to use media to create virtual meetings between PCSOs and a wider cross section of the public. Manning Gottlieb OMD worked with OMD Fuse and ITV to create an ad-funded programme that would create new contacts on a mass scale.
Beat: Life on the Street followed real PCSOs and showed their work alongside the regular police and contacts with public. It was the first time the Home Office had funded programming and also the first ad-funded show to run in peaktime in the UK.
The first episode in the six-part series aired at 6pm on October 29 2006 and the show attracted an average audience of 2.8m.
The TV content was also leveraged via PR in the TV listings titles and local newspapers. The stars of the show were heavily promoted with live webchats on ITV.com. Local DJs went out on the beat with PCSOs and DVDs of the show have been created for potential recruits.
Results The show and associated activity delivered real and substantial change in consumer attitudes to PCSOs. The public value of the PSCOs soared from an average of 28% to 62% for consumers who had watched Beat.
Interest in signing up as a PSCO rose from 8% among non-viewers to 30% among viewers.
The cumulative audience for the show was 14m adults and each show delivered 30 adult TVRs for the cost of just 100 Adult TVRs 30-seocnd spots.
Independent research showed that the show delivered £18 worth of value for every £1 spent on the production. The show was also repeated in July 2007, delivering further value for the Home office And finally a campaign example that used the power of a big on-air show to drive the success of a content partnership that appeared online.
Sainsbury’s Try Team were a hit with The X-Factor Sainsbury’s needed to maintain a high level of awareness during the festive period when their competitors were also frequently featuring on TV Through a partnership with the biggest programme on TV, The X-Factor, Sainsbury’s bring themselves closer to mainstream family life Sales for the 12 week period up to 29th December were up by 4.7%. Sainsbury’s achieved its best ever Christmas performance The challenge Sainsbury’s were competing with the other supermarkets to achieve stand-out in a congested TV environment. The lead-up to Christmas is a pivotal time for supermarkets.
Sainsbury’s needed an idea that would encourage consumers to shop there over the festive period whilst not compromising on the quality of its food and drink.
It needed to do this by convincing families that it represented good value for the family shop, but also Sainsbury’s wanted to bring the brand closer to family life. Inspiring people to ‘try something new today’ is in the DNA of Sainsbury’s. It is a passionate philosophy based on the benefits of good value home cooking, with the aim of extending the cooking repertoire of families. Proof of this philosophy can be found in the Sainsbury’s Try Team – a team of women from across the UK who have been inspiring the nation to cook for over fifteen years. As more families were cooking at home during the recession, the brand wanted to drive positive perceptions of good value for the family. They also wanted to utilise the Try Team as well as enhance their online presence.
This is the story of how a novel TV marketing campaign firmly put Sainsbury’s into the heart of British family life. The TV solution involved the use of the Sainsbury’s Try Team and the partnership with the biggest show on TV – The X-Factor. The Try Team were used to inspire a mainstream TV audience to share the food they love with the people they love, simply and cheaply.
With a budget of less than £250k, The X-Factor Big Nights In With Sainsbury’s was created - an online partnership with ITV.com, Fremantle and the decade’s biggest TV show. The Try Team visited the X-Factor house once a week to cook with the finalists.
This unprecedented access allowed them to shoot 45 films over a nine week campaign.
For viewers it afforded a rare chance to see their favourite TV personalities be themselves off air, learning to cook and having fun whilst creating tasty dishes. For Sainsbury’s, it allowed full brand and product integration into a TV phenomenon. The videos were uploaded to a content rich Sainsbury’s food channel which was fully integrated into the X-Factor website.
The Sainsbury’s campaign was the perfect example of how a TV property could be adapted and used across other media. 21 Try Team recipes were created for Sainsburys.co.uk, and these tips were seeded on YouTube and Facebook. In addition to this, Sainsbury’s was also the first grocer to use Sky’s green button service. The recipes were uploaded to the service as a series. Finally, pre-roll advertising was used across ITV.com for the duration of the series.
Results Over 38% more ad impressions were served than estimated by ITV.com.
Over 3.5 million pre-roll video adverts were delivered on ITV.
Sales for the 12 week period up to 29th December were up by 4.7% - Sainsbury’s achieved its best ever Christmas performance.
Dwell time for the online content surpassed some of the biggest media sites (including BBC sites and Sky)
6. How do you do it?
There is more than one way to get an AFP to air. Here are a few routes:
Route 1: clients supply a brief setting out the core values of its brand and the nature of the programme it is looking to fund, working with a commissioning editor or sales house representative to attract the right production partner. Most broadcasters prefer this route, as the idea is more likely to be aligned to the channel requirements from the start.
Route 2: the programme concept is put to a production company and the format is worked up with the client prior to being presented to a broadcaster. This is a good option for an advertiser who has identified an ideal production partner and wants multiple programme ideas.
Route 3: a broadcaster is looking for a particular programme or genre to fit its programming schedule. This programme will need funding. They put a brand programming brief out to tender with producers. This is good for all parties, because it starts with a scheduling requirement, which comes with an increased chance of a commission.
Route 4: programmes are delivered "ready made" to the broadcaster, who has to find an appropriate slot for it in its schedule. This arrangement is suitable for brand owners who already own entertainment properties and wish to barter them against commercial airtime.
Shows can be fully or partly paid for by the advertiser. In some cases co-productions rather than complete funds can encourage buy-in at the broadcaster level as it maintains their vested interest.
Broadcasters work differently. Clients and agencies must understand the different commissioning and commercial practices of each broadcaster in order to achieve the best results. The best way to approach this is to first get the programme idea and then discuss business terms.
For broadcasters, each branded content proposition will be assessed as to whether it will strengthen the relationship with the client. This relationship includes spots, sponsorship, web TV, online and AFP.