Tag Archives: case study

Case study: Sony ‘DSLR Gear No Idea’ campaign

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Campaign: DSLR Gear No Idea

Client: Sony Australia (digital imaging: NEX cameras)

Agencies: Havas Worldwide Australia, Naked Communications

 

Background

Every year, millions of amateurs upgrade to a professional DSLR (digital single lens reflex) camera. They want professional quality, but what they get is a complicated camera they can’t use. Research has shown that two-thirds of DSLR users will keep their camera on auto mode for the entire time they own it. We needed to show people that the compact Sony NEX had the same size sensor as a DSLR and therefore would give them the same result without the bulk or difficulty.

Objectives

Our communications objectives were two-fold:

  • increase awareness of the Sony NEX camera as DSLR quality without the difficulty, and
  • educate consumers about the compact system camera (CSC) category as a whole and Sony’s leadership role within it.

 

The key challenge for the agency was that awareness of the CSC category was extremely low. Consumers automatically upgrade from ‘point and shoot’ to ‘DSLR’ without knowing that there is a category in between.

Strategy

For the vast majority of people, the path to buying a DSLR begins with online search. Our principal aim was to interrupt this search at the earliest possible stage by spreading a simple truth: spending thousands on a DSLR you can’t use won’t make you feel like a pro; it’ll make you feel like an idiot.

The communications strategy for the campaign was to:

  • seed doubt about DSLRs – big, bulky and difficult to use, and
  • highlight Sony NEX as the alternative to the DSLRs (a DSLR without the difficulty); we were targeting ‘point and shoot’ upgraders, or anyone who had started thinking about taking their photography to the next level with a DSLR.
Foreign Correspondent

 

We decided to begin our interruption process with specifically targeted media. We used viral film, tactical search, pre-rolls and tactical display media to sow doubt among consumers researching DSLRs online.

We then explained how NEX was the perfect solution for those wanting ‘quality without the difficulty’ through online display media and out- of-home advertising.

We created our own YouTube channel where consumers could view and share all of our different content – this linked through to the Sony site for purchase.

In-store POS emphasised the technical benefits of the camera, which highlighted NEX as the leader within the CSC category.

 

Macro Freak

Execution

Our campaign idea ‘DSLR Gear. No Idea’ came from a simple truth: people continue to buy big, expensive cameras that they can’t figure out how to use.

We scouted our city and surrounds to spot the people with ‘all the gear and no idea’ and developed characters based on the stereotypes of people we had observed – then gave them a humorous twist. We wanted to create characters that consumers could relate to themselves, or recognise in their friends and family.

Our characters were:

  • the MacroFreak: obsessed with getting the perfect close-up shot,
  • the Foreign Corresdpondent: the guy at your barbecue who thinks he’s reporting from a warzone,
  • the Vidiot: the ‘Foreign Correspondent’ in video mode,
  • the F-stop Fusspot: the guy who fiddles with settings so much he never gets the shot,
  • the Sideline Hero: the dedicated dad who thinks Saturday sport is the World Cup,
  • the Status Updaters: taking a selfie with a DSLR is just plain silly,
  • the Flasher: the DSLR dummy who hasn’t figured out how to turn the flash off yet, and
  • the Lens Spotter: loves to talk lenses, but very rarely does he actually use one.

 

NEX YouTube channel

 

Our characters appeared in unbranded online videos and gathered momentum virally before paid media and branding kicked in one week later. We ran pre-rolls on YouTube, online display and video on sites that our characters from our video would be relevant to, for example ‘F-stop Fusspot Dad’ on the Parents Section of The Sydney Morning Herald.

In-store, we ran our video to continue to seed doubt and our POS positioned NEX as ‘the solution’ and the leader in the CSC category.

 

Status Updaters

Results

  • Sales tripled within four weeks of launch,
  • 1.6 million online video views in four days,
  • four million views in total, so far,
  • 128 blogs in 16 countries covered our campaign,
  • 268,000 Facebook shares,
  • more than 6000 subscriptions to our YouTube channel,
  • 9898 click-throughs to sales page, and
  • 8,383,485 earned impressions.

 

Lens Spotter

Case Study: In the palm of your hand – Nokia’s launch of the first Windows based mobile

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CAMPAIGN: NOKIA LUMIA MOBILE

ADVERTISING CAMPAIGN CLIENT: NOKIA

AGENCIES: INMOBI, CARAT

BACKGROUND

The Nokia Lumia was the first Windows-based mobile to launch. As part of a multi-channel campaign, Nokia wanted to create a mobile campaign that would be able to reach consumers in a relevant environment and educate them on the benefits of the Nokia Lumia smartphone and how it works.

Nokia and its agency, Carat, came to the conclusion that mobile was the perfect platform to support the multi-channel campaign objectives and approached InMobi to deliver the mobile component of the campaign.

OBJECTIVES

In an incredibly crowded smartphone market, Nokia needed to think outside the traditional realms of advertising to allow its target audience to engage with the new Nokia Lumia device. It wanted to create an environment where consumers could experience the device in their own time, at their own leisure and in their own way.

The main campaign objectives included:

  • build brand recognition and engagement
  • enable consumers to interact with the operating system and device in a very personal way
  • reach existing smartphone users that were looking to upgrade their smartphone device, and
  • expose the product to new consumers on an ongoing basis.

STRATEGY

To maximise consumer interaction with the Nokia Lumia device, InMobi created a motion-activated rich media mobile ad within the InMobi Studio creative platform, which uses the latest HTML5 technology. Using rich media design and creative, the team created a truly original immersive, interactive and memorable experience that allowed consumers to have the Nokia Lumia come to life in a very personable way.

They were able to virtually hold the handset, click through the tiles and play with the device in their own time, and on their own phone. This enabled consumers to discover the intui- tive interface of the Nokia Lumia and explore all the great features, including social media integration, pictures, messaging, personalisation and more.

EXECUTION

The campaign ran on the InMobi advertising network in Australia, which currently reaches over two billion impressions every quarter and half the Australian population. The target audience of the campaign comprised existing smartphone users that were looking to upgrade their smartphone device, so the ads specifically targeted other smartphone devices to ensure that they would have the maximum effect. This approach assisted in driving up the level of engagement and improved the overall results of the campaign.

RESULTS

Nokia was able to engage and educate thousands by placing the device functionality right into their hands, at a time when they were open to explore.

The campaign achieved a peak click-through rate of 1.39% with an average click-through rate for the full campaign of 0.82%.

Engagement levels and dwell time on the rich media ad proved how immersive and engaging the campaign was, seeing audiences staying within the ad for an average of 140 seconds for every unique visit. The average percentage of new visitors was 79.3%, delivering well over expectations for the campaign, which was to expose the product to new customers on an ongoing basis. The mobile ad delivered far beyond Nokia’s expectations and resulted in being the lowest cost per engagement channel for the entire campaign.

InMobi has since won two awards for the Nokia Lumia campaign, including Best Multi-Channel Integrated Marketing Campaign and Best Use of Mobile Media in Advertising at the 2012 Australian Mobile Awards.

 

 

She Runs The Night – strategy, execution, results of Nike’s groundbreaking campaign

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Campaign: She Runs the Night

Client: Nike

Agency: Razor

 

Background

The Nike brand was strong within the running market, but Asics had a slight edge in shoe sales, especially female shoes. Nike had always designed shoes specifically for women’s feet, but had never communicated exclusively to females. Collectively, Nike and Razor felt this gap was an opportunity.

According to research firm GfK, Nike was the top consideration for female runners; however, Asics was seen as the running specialist and the brand most likely to be recommended to others.

Nike She Runs runners

Objectives

Nike’s overall objective was, to find a way to connect with female runners and get them talking about Nike.

Strategy

Razor started by speaking with young females who took their running seriously and soon it became apparent running appeared to be an individual pursuit, dominated by men. Women had a tendency to run alone, often left to overcome their fears and achieve their goals by themselves. This seemed at odds with women’s natural inclination to discuss and share experiences.

The big insight was that young women runners lacked something fundamental to the female psyche: a forum to communicate, achieve goals and conquer barriers together. The idea, therefore, was born: create a community for young females bound by a passion for running.

The strategy was to use real female runners as the primary channel to promote and grow the community a significant departure for Nike from elite athlete-led communication. Channel imperatives employed were:

  • Physical running communities – created for authenticity,
  • digital communities – necessary to match young female social behaviours,
  • mobile interactivity – essential given high usage by runners, and
  • advertising – placed in female worlds, not running worlds, shattering the male-dominated norms.

Nike She Runs Facebook

Execution

Conversation was ignited through Nike’s social media channels, with a rally cry for change and stimulating chat around the barriers women face. It was during this conversation that the need to tackle the biggest barrier of the community was identified: running alone at night.

So, Nike decided to challenge its community by announcing a 13-kilometre night race for female runners. This would be the anchor around which the community would be built. It also gave the community a name: ‘She Runs the Night’.

Young runners were solicited to be the voice of the brand. Carly, a young runner, was appointed as the community manager to bring a voice to the ‘Nike She Runs’ Facebook page. Her posts brought instant authenticity to the community and led to some of the highest engagement across Facebook posts.

Nike encouraged women to share their running experiences with both the Facebook page and their fellow fans.

After 16,000 likes and 14,000 people talking about the run within one month, it was clear the community was on to something powerful.

With 87% of young female runners running with their phone, an app with content generated by Nike and the runners was made available to the women to provide further inspiration and motivation.

Nike She Runs in storeTo help recruit runners for the race, five young women were chosen as ambassadors. Their stories were told in a content piece, employed across multiple channels.

The ambassadors’ stories were placed on posters with QR codes that activated videos in environments where runners congregated and discussed running or fitness, such as Fitness First gyms and well-known running routes.

 

Further promotion was provided through eDMs sent out to Nike’s various databases and via a Cosmopolitan partnership, which included:

  • An editorial feature on night running,
  • advertising,
  • website integration with Cosmopolitan.com.au via editorial, plus impactful display advertising, sending users through to the race’s Facebook registration, and
  • a running workshop.

 

Nike She Runs EDMThe promotional push was replicated within universities, recruiting ambassadors who:

  • Networked and recruited within clubs, societies, sporting groups, gyms, sport and faculties on campus,
  • put up posters across the five campuses,
  • sent eDMs to 39,834 students, and
  • used their own social channels.

 

Each ambassador held weekly run clubs in different locations around Sydney, allowing women to not only train for the 13-kilometre run, but also connect with other women along the way.

Race night was where the community came together. Runner journeys were published via all media partners and Nike’s own media. Race entrants also received a personalised digital media video post-event.

For the ‘She Runs’ strategy to operate as an ongoing communication platform, it was critical that the community continued to contribute and promote post-event. Nike-run clubs continue to operate on a weekly basis.

Ambassadors still provide motivation to runners and continue to promote product innovations. Carly is still blogging.

Results

‘She Runs’ was one of the most successful campaigns of 2012. It demonstrates the power of a culturally connected idea – one that helps a community to form, shifts brand perceptions and ultimately changes how people talk about a product. All KPIs and expectations were exceeded:

  • A community of 54,762 female runners was built (83% more than KPI),
  • 98% of the digital community,
  • positively engaged with Nike (40% more than KPI), and
  • 90% of runners surveyed via Facebook intend to run the race again this year (13% more than KPI).

 

Nike did not commission research to gauge a shift in brand preference, but sales targets were hit and key shoe styles sold out.

Nike and Razor set out to shake up running for women and ended up sparking a movement that unleashed a powerful, thriving community – a community that’s still running.

The campaign has also been recognised by several key media industry awards including winning the Best Integrated Media category at the 2012 Media Federation of Australia Awards and winning for Best Engagement Strategy at the Festival of Media Awards Asia.

 

Hurling tomatoes to cure bank rage

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Campaign: Bye Bye Bank Rage. Hello Heritage.

Client: Heritage Bank

Agency: BCM Partnership

Technology: MediaMind

Background

In a long-term campaign, winning tactical battles is vital. Heritage Bank knew this when it launched its ‘Bye bye bank rage. Hello Heritage’ campaign in July to support its long-term goal of bringing more of the big four banks’ least satisfied customers into its folds.

The campaign was timed to coincide with the Federal Government ‘tick and flick’ account switching reforms in July, allowing Australians to change financial institution more easily.

For a smaller bank, without the marketing budgets of the big four banks, this timing would allow it to ride media and public interest in the rule changes.

Heritage had manoeuvred into a strong position before the reforms. In south-east Queensland, where most of its branches are, it has 6% market share, which has been growing year on year. Heritage’s advertising awareness, consideration levels and brand health metrics have also all risen steadily since late 2009, when it introduced its ‘people first’ brand message across all core marketing activity. This had translated into real growth in home loan, customer and term deposit accounts – the core measures of marketing success for banks.

So successful was its ‘people first’ branding, when Heritage changed from building society to bank in December 2011, it stuck to the message, making it clear to customers that the change was in name only. People still came first.

Reiterating its ‘people first’ messaging seemed the next logical step for Heritage, as the Government stepped in to remove the barricades inhibiting customers from switching freely between banks, and Heritage had ammunition to know many might switch. In May 2011, Roy Morgan Research found one in five Australians was likely to change financial institutions in the next year, rising to almost 50% of people if the paperwork and administrative effort were substantially reduced.

Knowing the Government changes were coming and detecting growing consumer ‘bank rage’ through the media, Heritage commissioned additional research in late May 2012 into the term ‘bank rage’ as a potential campaign hook.

Colmar Brunton found it was real. Some 53% of Australians had experienced bank rage, and big four bank customers were more likely to have experienced it, compared to those who banked with a mutual bank, like Heritage. And, compared to other institutions, banks rated third behind telcos and government as the top organisations people get angry with.

Objectives

This insight into bank rage, combined with the Roy Morgan research, formed a core part of the brief to BCM. Heritage also gave BCM creative licence to do something different with the campaign, while staying true to its core ‘people first’ brand. Getting BCM to think outside the box was also a commercial necessity and the campaign needed to be efficient while still generating the required noise.

Website

Strategy

BCM came back with the campaign ‘Bye bye bank rage. Hello Heritage’. Essentially, this campaign asked people to identify and release their bank rage in a fun and slightly cheeky way: by hurling tomatoes!

With limited budgets, but a desire to have maximum impact, BCM used existing footage to make two TVCs and kept the rest of its budget for press, letterbox dropped leaflets and street furniture.

But the jewel in BCM’s campaign crown was an interactive live streaming video banner ad, teaming up with digital advertising solutions provider MediaMind to run it. In an Australian first, clicking on this banner ad led people into a studio to virtually participate in Australia’s first ever 24-hour live online tomato throwing marathon.

Live banner ad

Execution

Heritage rolled out the campaign in two stages. A PR teaser campaign kicked it off on 24 June. Queensland media were sent a mystery box containing a media release about the campaign, key findings from the Colmar Brunton research and a tomato. Media responded positively, calling on Heritage Bank CEO John Minz for interviews throughout the day.

In the week before to the new legislation, Heritage launched its first TVC, simply announcing: ‘It’s coming’. Online advertising powered by the MediaMind platform and a dedicated campaign website (byebyebankrage.com) also kicked off to support this.

On Sunday 1 July, when the new rules kicked in, Heritage unveiled its main campaign. This included:

  • A new TVC declaring ‘Now you can make the switch’,
  • a double-page spread and switch form in Queensland’s highest circulation Sunday paper The Sunday Mail, and
  • a letterbox drop, including the switch form, to the metropolitan areas of Brisbane, the Gold Coast and Sunshine Coast.

Bus shelter roof

On Monday, all Heritage branches opened with new ‘Bye bye bank rage. Hello Heritage’ point-of-sale material encouraging customers to switch more of their accounts to Heritage. Adshel properties advertised the campaign on bus shelters.

These featured interactive screens where people waiting for a bus could vote on whether they loved their big bank or not.

Heritage also launched its 24-hour live banner ad campaign with MediaMind technology on Queensland’s premier news site, couriermail.com.au.

When a visitor clicked on the takeover banner ad, they were invited to enter their name, suburb and response to the question, ‘Do you love your big bank?’ choosing from three responses: ‘Yes’, ‘No’ and ‘When pigs fly’.

Once they answered, they were then introduced to Heritage Man, the star of Heritage’s TV commercial, live in a studio. Knowing the visitor’s response, the Heritage Man would throw a tomato or other fun missile at one of three targets with the response the visitor chose written on it, while engaging in some light-hearted banter.

Logistically, organising the tomato throw-in was a challenge. As well as sourcing tons of tomatoes, and props such as throwable toy chickens and plastic squirt guns, Heritage organised through MediaMind for #byebyebankrage hashtag Tweets to stream on the site, so those watching could also get involved.

Real tweets also ran on Heritage’s TVCs and Facebook pages. These weren’t live as ensuring people’s approval to use their tweets took time.

Bus shelter inside

Results

For Heritage Bank, the four-week tactical campaign was a major success, helping it to gain significant ground in its long-term goal to be a first choice bank for consumers in south-east Queensland.

Key campaign results measured on the MediaMind platform included:

  • More than 1200 people registered and took part in the 24-hour live studio interactive ad,
  • more than 5000 people visited the site simply to watch, spending an average of more than two minutes at the site, well above the industry benchmark, and
  • more than 10,000 visited the byebyebankrage.com campaign m-site during the four-week campaign period.

Additionally, Colmar Brunton research found the campaign increased brand awareness and consumer interest in Heritage. In particular:

  • Two-thirds of people recalled seeing the Heritage campaign and took away the key message that it is now easier to switch banks,
  • 57% had a better understanding of what Heritage stands for,
  • 49% were more positive about Heritage,
  • 42% of consumers made a conscious decision to consider Heritage in the future,
  • 44% said the campaign made Heritage Bank stand out from all other institutions, and
  • 9% would tell friends and relatives about Heritage Bank.

But, most significantly, there was a 10% increase in the number of customers who switched to Heritage in the two months during and after the campaign, compared to the two months before it.

 

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Delightful direct campaign for the Arts Centre

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Campaign: Sally’s First Show

Client: Arts Centre Melbourne

Agency: OgilvyOne Melbourne

Background

Seeing a live performance can change the course of a child’s life and career. But if you live far away from a theatre – or you don’t have much money – it’s hard to get the opportunity to see a show.

To give as many Victorian primary and secondary students access to as many live performances as possible, Arts Centre Melbourne set up the First Call Fund. Since 2008, the First Call Fund has enabled over 15,000 Victorian students (and their 1520 teachers) to experience the performing arts at Arts Centre Melbourne, many for the first time. This inspiring program is funded through the generosity of donors.

Objectives

The objective of the ‘Sally’s First Show’ campaign developed by OgilvyOne Melbourne was to increase donations by about 23% on the previous year, while mailing to a smaller audience.

Strategy

Ogilvy’s insight was simple: the audience (people on Arts Centre Melbourne’s mailing list) want to share their passion for the performing arts with others. So the key message was that a donation to the First Call Fund would bring children closer to the performing arts. It allowed art lovers to feel they were contributing to the arts and inspiring a new generation of patrons and performers. The communication was delivered entirely by mail – a single pack sent to 12,000 recipients.

With five natural disasters in quick succession (floods in Victoria, floods and a cyclone in Queensland, a tsunami in Japan and an earthquake in Christchurch), we recognised that this market was tired of bleak or distressing pleas for help. We took opposite approach and cut through with something positive and upbeat. We knew the target market was passionate about the arts, so we sent them a charming children’s book to dramatise the benefit of the First Call Fund.

Spread

Based on a number of real-life case study examples, the buoyant creative told a story of a student, Sally, who has the opportunity to experience a performance at Arts Centre Melbourne for the first time. The book begins with drama-loving Sally holding dances and concerts and puppet shows for herself in her small country town. Having no exposure to the arts, her friends aren’t interested in joining in. But a magical trip to Arts Centre Melbourne changes all that and soon everyone wants to be part of Sally’s act.

Because it didn’t feel like a piece of advertising, this piece thoroughly engaged the recipients. In fact, many of them wrote back to Arts Centre Melbourne praising the book.

Execution

OgilvyOne Melbourne developed a direct mail pack and follow-up postcard to be sent to the Arts Centre Melbourne database to drive donations. The follow-up postcard was sent a week later to those recipients that had not yet donated to the fund. The messaging was tailored to past and new donors.

Envelope

The cover included a personalised thank-you message with the donor’s name where the author’s name would usually appear. A personalised letter was included on the inside cover, and the donation form on the back was pre-populated with the recipient’s information to make it easier for them to donate.

The book itself was a thing of beauty. It involved handcrafted typography, 10 bespoke illustrations and graphic manipulation of textures to really make it feel like a proper children’s book. The paper was slightly textured too, to make it more tactile.

Cover and spread

Results

The pack achieved an 88% increase on the donation increase target and 132% increase on the previous year.

Response rates increased 232% year on year and the average donation amount increased by 106%.

Of course, with a project like this, it’s not just about percentages and dollar figures. Judith Isherwood, chief executive, Arts Centre Melbourne says, “As a result of donations received from this campaign, an extra 3500 children will be able to visit Arts Centre Melbourne and engage with our programs and activities.”

Additionally, the campaign won the following awards:

  • 2011 ADMA Bronze for Flat Mail,
  • 2011 ADMA Silver for Art Direction Craft,
  • 2011 Caples Bronze for Direct Mail, Flat,
  • 2011 Mobius Gold for Copywriting,
  • 2011 Mobius Silver for Art Direction,
  • 2011 Mobius Best of Show for Direct,
  • 2012 ECHO Bronze for Not for Profit, and
  • 2012 ECHO Gold Mailbox Award (USPS).

 

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A triumph of Aussie branded entertainment

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Campaign: No Leave No Life

Client: Tourism Australia, Southern Star Entertainment

Partners/agencies: SMG Red, Channel Seven, Carat, OMD, DDB

Background

Preface

In December 2008 Tourism Australia, through Roy Morgan Research, had identified that Australians had amassed an incredible 121 million days of unused annual leave entitlements. One in four full-time Australian employees had 25 or more days ‘stockpiled’, which translated to $31 billion in costs sitting on the books of employers. The stockpiling was a big issue not just for the employees looking to maintain a healthy work-life balance, but also for company balance sheets with untaken leave accumulating on their books. This leave stockpiling was also potentially having an impact on domestic tourism with workers amassing leave rather than using it to take short breaks or longer holidays in Australia.

The research suggested that the key group most likely to be stockpiling were males aged 35 to 49, followed by male and female career-orientated 20-somethings and those working toward retirement. They were with organisations both large and small, in public and private sectors, with and without children and had various reasons for not taking leave, including increased pressure in the workplace and changing economic conditions. One key barrier, however, emerged: ‘Taking leave seems like more hassle than it’s worth’. Yet most understood the benefits of taking leave and saw it as positive and a chance to enrich their lives with new experiences.

But Australia was not high on the list as a destination for taking a holiday for various reasons, including ‘It’s always going to be there, so I will visit it later’, and perceptions about overseas destinations offering more attractive holiday packages and greater ‘talkability’.

So the key question facing Tourism Australia was how to encourage all those Australians to unlock some of their leave and, more importantly, use it to take a holiday in Australia. Tourism Australia identified a number of messages that needed to be communicated to Australian employees and employers, and for over nine months worked in collaboration with Southern Star Entertainment, Channel Seven, Carat and SMG Red. Later, OMD and DDB became involved to develop a branded entertainment property entitled ‘No leave no life’.

No Leave No Life

Objectives

The key objectives of the campaign included:

  • raise the relevance and urgency of taking leave in Australia as a short break,
  • reduce the number of stockpiled leave days,
  • change perceptions to make it easy to take leave,
  • develop a platform that had greater consumer engagement than just advertising,
  • articulate the ‘No Leave No Life’ message in an entertaining and memorable way,
  • engage a younger demographic while maintaining broad base appeal, reaching more than one million Australians,
  • deliver marketing effectiveness and value for money deliver results to partners through travel content and promotions, and
  • promote domestic holidays as an integral part of the Australian economy.

Jamming with Jon

Strategy

The strategy was to develop a branded entertainment program that appealed to a wide audience, which combined both highly creative content and production values to ensure it would secure a national primetime TV transmission.

Tourism Australia, state tourism organisations and Australian industry were brought together in a branded partnership to amplify the message. To extend the budget and reduce production costs, an airline partner was secured, and the TV content was repurposed for use on multiple platforms and to drive up viewing of videos.

The show was to be used as a catalyst for employer adoption, as a call to action to encourage the taking of leave days, with out-of-home advertising to reach commuters while in their daily travel routines, key city metropolitan press to target business sections, a social media and digital presence, ambient multimedia in office environments and promotional merchandise.

Tim Rosso Ross

Execution

Each series included seven 30-minute episodes, aired on Channel Seven over December and January at 6:30pm. Series one, in 2009, was presented by Ernie Dingo, series two, in 2010, by James Tobin, and series three, in 2011, by Tim ‘Rosso’ Ross.

The episodes included in-program promotions and weather links, and the station promotional spots were supported by paid media TVCs throughout the three series.

Campaign support:

  • Radio: Austereo and Australian Radio Network Mix FM competition, promotion, pop-ups, live reads, m-sites and spots,
  • Digital and social: Yahoo!7, YouTube, niche websites, campaign site,(www.noleavenolife.com), Facebook keywords, and travel and lifestyle portals and hubs,
  • Print: Fairfax’s Sydney Morning Herald and The Age, travel and trade publications, and the free No Leave No Life magazine,
  • Outdoor: Showcase, 24-footers, interiors and cross-track (Sydney), and
  • Public relations: targeting national trade, consumer, dailies, business and magazines.

Series three also included a ‘casting call’ promotion to take part in the program, a $50,000 Australian holiday competition with Virgin Australia, office tower TV in 432 office tower locations, and 150,000 overprinted coffee cups in 92 cafés nationally.

Footy with Issy

Results

Key results for series one:

  • delivered a return four times the investment,
  • reached an average of 1.15 million viewers per week across five city metro and regional areas,
  • timeslot winner with average 33% share across five city metro free-to-air channels,
  • placed second in light entertainment series for Saturday nights, summer schedule,
  • $1.4 million media value in publicity and PR, with 71 media stories,
  • prompted brand recall jumped from 23% to 45% over seven weeks, and
  • won gold at the Media Federation Australia Awards 2010.

Series two:

  • delivered a four-fold ROI,
  • averaged more than 6.5 million viewers over the series,
  • timeslot winner with average 29% share, and
  • demographic winner for women over 35 years old – 34% average demographics over seven weeks.

Series three:

  • delivered a five-fold ROI,
  • first run attracted 5.82 million viewers in 2011 on Channel Seven, second run May to June 2012 on Channel Seven Two attracted 522,000 viewers,
  • 6.75 million-plus viewers over the series five city metro and regional areas,
  • was the timeslot winner with average 30% share including Christmas Eve and New Year’s Eve across the five city metro free-to-air channels,
  • demographic winner for women over 35 years of age – 35% average demographics over seven weeks,
  • ‘casting call’ promotion generated a database of over 5000 entries in under two weeks,
  • seven state and territory tourism partners, as well as 60 industry operators partnered the series and contributed over $1 million directly towards the production,
  • Virgin Australia and the state and territory partners promoted the series through their own specific channels generating $500,000 of additional media value,
  • first ever Australian branded entertainment program to be recommissioned for the third time on primetime TV,
  • Virgin Australia holiday promotion delivered over 23,000 entries in four days,
  • Yahoo!7, YouTube and the campaign site were the most popular, generating over 32,000 views and over two million unique visits across all the sites, and
  • Mix FM launched Tim ‘Rosso’ Ross’ new radio show and a bonus campaign was negotiated including promotion worth $42,000 that reached 739,000 people.

Barossa Trike Tours

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Creating websites, apps and a new cricket league

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Campaign: KFC T20 Big Bash League websites and app

Client: Cricket Australia

Agency: Reactive

Platform: Sitecore

 

Background

After a hotly-contested pitch, Reactive won the digital account for Cricket Australia’s new KFC T20 Big Bash League in 2011. The initial project involved creating the league website and eight team sites all on a single Sitecore content management system (CMS) implementation. The nine sites have since clocked up jaw-dropping numbers, with site traffic exceeding expectations.

Since the launch in July 2011, more than eight million page views have been recorded across the league and team sites, with the average fan spending six minutes per visit on the Big Bash League website during the season.

After seeing significant growth in site traffic and interest after the launch of the new league, in December 2011 Cricket Australia and Reactive followed up with the launch of Android and iPhone apps for the KFC T20 Big Bash League, implemented in order to make it as easy as possible for fans to stay connected with their favourite team.

Choose Your Team

Objectives

The challenges facing Reactive and the KFC T20 Big Bash League project included:

  • launching the digital presence for a new cricket league and eight new teams by providing the digital interpretation of the brands initially developed by FutureBrand,
  • introducing and increasing fan engagement with the Big Bash League, its teams and players, six months prior to a ball being bowled,
  • creating rivalry between the teams to have fans declaring their allegiances and joining in the rivalry
  • working in a multi-vendor environment with concurrent delivery on the same Sitecore platform – Cricket Australia was also in the process of delivering cricket. com.au and state websites onto the Sitecore platform, and
  • engaging users of the mobile apps with an exemplary content experience enabling visitors to connect with the new league via the convenience of their phone.

Strategy

Cricket Australia selected Sitecore for its focus on usability that allows casual users to easily manage websites, its multi-site management provides support and content sharing across many sites, and its sport and entertainment credentials – Sitecore is used by a number of high profile sports team: the US National Football League (Atlanta Falcons), English Premier League (Manchester City) and the US National Basketball Association (lebronjames.com).

To overcome low levels of initial familiarity, the idea was to create an energetic and cohesive program across all nine websites, leveraging opportunities afforded by digital media to reach the youth-oriented target market.

With the KFC T20 Big Bash League heralding a new era in cricket, the Android and iPhone apps provide more ways for fans to engage with T20 cricket.

The mobile apps provide immediate coverage of the KFC T20 Big Bash League anywhere, anytime. From live scores to match alerts, fans have immediate access to the action while they’re on the go. The Android and iPhone apps feature:

  • live scores and player stats,
  • video and match highlights in high definition,
  • match alerts, so fans never miss a game,
  • ability for fans to customise the app in their team colours and get the latest team news and results,
  • live match tweets from their team, and
  • behind-the-scenes video, player interviews, match highlights and more.

Hurricanes

Execution

Following a stringent information architecture process that clearly defined the overall structure, content and hierarchy for each site, Reactive worked closely with Cricket Australia on the visuals for the sites, customising each design according to the appropriate team/league branding produced by FutureBrand.

Building the Big Bash League sites with Sitecore CMS, Reactive had to strike a balance between keeping all nine sites technically consistent yet visually distinct. Templates were developed in HTML and CSS, and included flexibility for customisation and future enhancements.

With fan engagement as a key objective, the KFC T20 Big Bash League site includes features such as a live countdown, hype videos to generate anticipation for the start of the competition and rich media content, encouraging fans to pick their teams.

Extensive social integration such as the Facebook Like Ladder and Fan Voice page create a sense of tribalism, as fans are urged to join in and declare their allegiances, making them part of this exciting milestone in Australian sporting history.

Reactive was able to tap into local and global Sitecore resources that provided them with both feedback and advice on best practice implementation of the solution. This resulted in nine visually distinctive websites that are all part of one cohesive platform.

Hurricanes app

Technical description

  • Sitecore CMS
  • Cadability/Infoplum – to show game scores and team statistics,
  • Brightcove video player – to provide fans with screenings of live matches and highlights,
  • Disqus for commenting, and
  • social API integration to Facebook and Twitter.

The apps were built across the iPhone and Android platforms, ensuring wide compatibility. The apps communicate with live score information via a ‘restful’ API that Reactive developers custom built.

The app’s content is managed via Sitecore CMS, while push notifications are managed and served with Urban Airship for both apps. Analytics are captured with Flurry, a mobile app analytics platform. For each device, our developers used slightly different designs so that they fit in with their own ecosystems and neither felt like a ‘port’ of the other.

Three apps

Results

The Sitecore platform allowed Reactive and Cricket Australia to rapidly build and launch a digital presence for the new KFC T20 Big Bash League and team pages inside of 10 months.

Sitecore provides a centralised platform for eight team sites to work out of, which allows for easier management of content and admin access.

The websites have clocked up jaw-dropping numbers, with site traffic exceeding expectations. Over six million page views were delivered during the season and fan engagement on the site was over three and a half minutes. The newfound fans have continued pouring in, with an average 75-80% of new visits recorded.

The KFC T20 Big Bash League mobile apps, which pull in news and data from Sitecore, are also recording impressive numbers. The iPhone app has over 84,000 downloads and, during the cricket season, peaked at number one in the App Store for free sports apps. Cricket fans are clamouring to download the Android app as well, with over 23,500 new users since launch. The Android version is rated 4.7 stars out of five on the Android Market and the iPhone version is rated four out of five stars.

 

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The original social network – Heart Foundation’s ‘Mums United’ campaign

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Campaign: Mums United

Client: The Heart Foundation

Agency: Soup

Background

Over 60% of adult Australians and one in four children are either overweight or obese. Worryingly, Australia is ranked as one of the fattest nations in the developed world.

In Australia, as the leading organisation dedicated to reducing the impact of cardiovascular disease, the Heart Foundation has for many years run programs and lobbied for improvements in our food supply and opportunities for a more active community.

It seems almost every day there’s a TV, radio or newspaper story about our growing waistline and the increased risk it poses on our health, such as cancer, type two diabetes, stroke and heart disease. But with people bombarded with so many conflicting health recommendations, some find it difficult to decipher fact from fiction.

To address this confusion, the Heart Foundation developed the ‘Mums United’ initiative.

Mums United family

Objectives

The ‘Mums United’ initiative was designed to get Australian mums to band together and make small lifestyle changes within their families and local communities – with the ultimate goal of improving the shape of Australia.

Through the initiative, the Heart Foundation wanted to take the confusion out of healthy eating and activity advice, with three simple messages:

  • reduce your saturated fat intake (specifically educating mums about switching from full-fat dairy to reduced-fat dairy for everyone over two years old, and switching from butter to margarine),
  • be active for at least 30 minutes a day (60 minutes for kids), and
  • choose healthier options in the supermarket by looking for the Heart Foundation Tick.

The challenge was also convincing people to prioritise these behaviours in their already busy routines, with mums leading the way in initiating simple lifestyle changes. The aim was to provide mums and their families with healthy living advice that they felt was both achievable and fun.

One of the initiative’s biggest objectives was to drive uptake of information from the Heart Foundation as a trusted source of advice, and in turn inspire and cause actual behaviour change through a community of advocates.

Strategy

In order to engage directly with mums at a grassroots level, it undertook a national word of mouth (WOM) marketing campaign to create a conversation from the ground up, amplifying the impact of traditional advertising.

The Heart Foundation enlisted Soup to enable it to immediately reach influential consumers, in this case highly-networked mums, to spread the word of its new initiative and create the grassroots groundswell of conversations.

To supercharge the awareness and impact of the ‘Mums United’ initiative at a community level, Soup created and executed a three-month WOM marketing campaign. From its database of over 100,000 influential consumers (or ‘Soupers’), Soup matched 1785 mums, or ‘Soup Mamas’, in regional and metropolitan markets around the country to the Heart Foundation campaign.

Influencers have over double the amount of branded conversations than the average person. Around 65% of their branded conversations carry an active recommendation, so they buy, try or consider the product, brand or initiative they’ve heard about. Also, their social networks are at least double that of an average person. They are highly active in their online and/or offline worlds. In the case of the Soup Mamas selected, they were regular Facebook users and were social organisers within their networks. Soupers are not paid to be involved in any campaign, so brands are guaranteed that people’s feedback and interest is genuine.

The Heart Foundation decided to tap into Soup’s database of influential mums around the country because of their genuine interest in issues that impact on their family lives.

Additionally, Soup recruited a small number of ‘über’ influencers, defined by their access to larger networks and their ability to organise larger events with over 50 people within their own community. Soup also approached mummy bloggers to take on one of the ‘Mums United’ healthier living changes.

Mums United family

Execution

In August last year, Soup identified the Soup Mamas who would lead the WOM marketing campaign. They were educated about the ‘Mums United’ content, and then opportunities were created to spread the message within their vast networks of other mums.

To begin the education process and to help them spread the message in a fun and natural way, they were sent educational information packs. This included a saturated fat mythbusting quiz, healthy recipes and an activity booklet tracker, as well as sharing materials such as shopping list pads, family walking charts and extra recipes.

The ‘über’ influencers were provided with prizes and collateral to help support their own community events.

The mummy bloggers reported to readers their own Mums United challenge and how they were progressing.

The three-month campaign ran from September to November 2011.

Mums United map

Results

73% of mums said that their children were active every day (98% of mums said that their children were active a few times a week or more), compared to 52% active every day prior to the campaign. Not only that, but 30 minutes of activity at least a few times a week increased by 16%age points for mums, too.

When it comes to choosing healthier options in the supermarket, the campaign saw a shift from 75% of mums to 90% of mums that now look for Heart Foundation Tick products at least monthly, and mums reported switching from full fat dairy to healthier reduced fat products when shopping. Full-fat dairy usage dropped from 77% using it weekly or more, to just 21% post-campaign, with use of reduced fat dairy increasing from 61% to 82%.

The WOM marketing campaign resulted in a total of 896,070 offline conversations within the first month of its launch, more than double the pre-campaign target of 438,463 conversations. Meanwhile, online conversations totalled 78,057 – also well ahead of the 48,561 pre-campaign target.

A total of 16,000 mums attended a ‘Mums United’ get-together organised by a Soup Mama, with an average of 9.3 people at each event. ‘Mums United’ collateral was shared with an average of 11.4 people each.

In other results, over 1200 Soup Mamas joined the ‘Mums United’ Facebook community, and 939 mums reviewed the ‘Mums United’ campaign in an online product review, awarding it 4.3 stars out of five stars.

 

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Mutant chew: Wrigley/X-Men promo packaging

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Campaign: 5X limited edition gum and X-Men: First Class promotional packaging and point-of-sale material

Client: The Wrigley Company

Agency: Saltmine Design Group

Background

The Wrigley Company’s 5 Gum brand was created to invigorate the gum category and drive growth among the category’s key demographic, Gen C – creative, connected and community- oriented teenagers who crave stimulation in both the real and digital worlds. Its unique packaging, sleek black design and breakthrough graphics distinguish it from all other gum brands in the Australian market.

Since its Australian launch in 2009, the 5 Gum brand has grown the gum category by offering consumers engaging experiences along with regular new flavour launches and engagement with the brand via social media. As the first gum that you can ‘feel as you chew’, it delights the target market with something unexpected, rewarding their curious nature and desire for discovery.

5 Gum inhabits a dark imaginary world full of fantastic sensory experiences, mimicking contemporary fantasy blockbusters, so aligning with an instalment of major movie and comic franchise, X-Men, provided the perfect partner for 5 Gum for a limited edition pack launch and consumer promotion.

When Wrigley’s 5 Gum joined forces with 20th Century Fox’s new movie release, it called on Saltmine Design Group to design the branding, packaging and point of sale material for the campaign, as well as the promotional fulfilment.

Objectives

Wrigley’s 5 Gum wanted to drive gum category growth by increasing frequency and penetration within the key target market. It was also important for this brand to continue to deliver news as the brand’s target market actively seeks out new flavours and innovations.

The design objective was to create a piece of packaging that was distinctly 5 Gum in look and feel, while remaining true to the brand positioning, brand guidelines and design integrity of both 5 Gum and X-Men: First Class brands.

Strategy

The task was to design packaging for the new limited edition 5X Mutant gum and an ownable 5X lock-up device, which was to be used across all promotional touch points on a major cross-brand promotion for Australia and New Zealand. The pack would communicate 5 Gum’s partnership with X-Men: First Class and launch a large-scale consumer promotion across Australia and New Zealand.

Saltmine’s starting point was to design a 5X lock-up that would be central to the pack design, as well as being the collaborative logo used across all touch points of the campaign. The team of creatives were given a sneak peek at characters, costumes and storylines for the upcoming film to inspire them during the design journey.

There were several mandatories to consider throughout the process: the gum variant name was to be ‘Mutant’, in keeping with the X-Men movie theme, the purple variant colour was dictated by the blueberry gum flavour and Saltmine was supplied with X-Men logos by 20th Century Fox, which needed to be integrated into the design.

The key to the brief was to seamlessly bring together two brands into one for this brand collaboration. Saltmine was also briefed to design a point of sale suite, which would be used as a platform to launch the consumer promotion in-store.

5X Gum package

Execution

Saltmine started by exploring a vast array of shapes that would inject colour and dynamic movement into a cross- brand logo, translate into a variant icon to be used on the gum box and be in keeping with the look and feel of both 5 Gum and X-Men: First Class brands. The key visual needed to be predominantly purple to mimic the purple gum inside and one of the key challenges was ensuring the contrast of purple with the black 5 Gum pack to guarantee on-shelf standout.

Designed with shelf impact in mind, the typography needed to be big, bold and true to the style of both brands and work with the purple explosive device to form an ownable cross-brand logo.

The final 5 Gum pack included an impactful shrink wrap complete with the X-Men: First Class movie logo, which could be removed to reveal the iconic 5 Gum pack with new flavour descriptor and purple explosion.

5X Gum POS1

The packs were merchandised in pre-pack units that dialled up 5 Gum’s association with the movie by incorporating the characters on a die-cut header card along with a product shot sitting on a purple carpet, highlighted by spotlights.

The striking point of sale suite – which also included posters, counter units and wobblers – included the details of the promotional campaign to encourage trial of the gum and leverage the tie-in with the movie.

The campaign was also rolled out online through 5 Gum’s Facebook page, which has over 350,000 fans and Saltmine’s 5X lock-up was used to ensure consistency throughout the campaign. The packaging and 5X lock-up were also featured in the 5 Gum TVC.

Results

The 5X campaign, for which Saltmine collaborated with OMD and Soap Creative, won multiple awards.

Sales results for the promotion far exceeded expectations. Within its first month of sales, 5 Gum Mutant was the number two SKU (stock keeping unit) in national grocery value sales, and became the top selling gum SKU across all the major packaging and converting accounts.

5X drove 5 Gum to its best ever market share in Australia: 26.5% (up from 21.1% prior to 5X’s launch). 5X was also the number two selling gum across Australia in June 2011, an exceptional result for a limited edition product.

 

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TOM Organic packaging redesign: taking eco-chic mainstream

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Campaign: TOM Organic packaging redesign

Client: TOM Organic

Agency: Truly Deeply

Background

The first and only range of feminine hygiene products accredited by the Australian Certified Organic organisation, TOM products are all 100 percent biodegradable, made entirely from organic cotton and free from chemicals, bleaches and synthetics. Previously, they were only available in selected independent stores. TOM Organic was founded on the belief that women in the world should be able to thrive on every front. They should feel empowered to pursue their dreams with a sense of optimism and empowerment.

They should never have to compromise their physical or emotional well-being through exposure to toxic products or thoughts. The joy of life should be a natural wonder that every woman in the world gets to experience.

Despite the huge level of competition in the feminine hygiene category in Australia, founder Aimee Marks believed that there was an opportunity for TOM to step outside the organic market and appeal to a wider commercial audience. Due to the high price point of the TOM range, in order to be competitive, TOM Organic needed to educate consumers on the benefits of organic and build an emotional connection with its audience.

The redesign of the TOM Organic packaging was part of a larger repositioning of the TOM Organic brand. TOM was Australia’s leading brand of organic feminine hygiene products, but had an insignificant share of market and distribution. Our task was to refocus the brand, repositioning TOM to the mainstream end of the organic market, broadening its appeal and brand awareness. One of the strongest and most relevant trends in organics is ‘eco chic’. The design of the packaging was crafted to connect with this movement where elegance and sustainability walk hand in hand.

The visual language of the pack graphics and the brand storytelling were designed to not only provide a standout presence on-shelf, but also to communicate TOM’s proposition to build a greater understanding and awareness of the brand.

TOM Organic pink pack

Objectives

The objectives of the TOM packaging redesign were threefold:

  • to help effectively communicate the benefits of using organic feminine hygiene products to increase the brand’s perceived value in order to justify a price premium,
  • to bring to life the genuine ‘eco chic’ credentials, spirit and personality of TOM, and
  • to spark an emotional connection with a wider audience.

Strategy

Truly Deeply worked closely with founder Aimee Marks to define and bring to life the genuine ‘eco chic’ credibility, spirit and personality of TOM. Through a brand definition process, re-tweak of the TOM brand identity and a fresh packaging design story, Truly Deeply transformed TOM’s on-shelf presence into a glowing, confident brand. The visual language of the packaging design is further supported by layers of evocative brand storytelling that illustrates Marks’ commitment to walking the talk as the category’s leader in environmental sustainability.

A series of illustrations were crafted specifically for the packaging by Sydney-based artist Sarah Carter-Jenkins. The TOM range has been extended to six products – mini, regular and super tampons, day and night pads, and liners – each featuring a unique colour and illustration design that together create a strong story on-shelf. The colour, typography and textures along with the custom illustrations have been carefully crafted to communicate the ‘eco chic’ positioning of the brand, as well as connect with the target market: the stylish, modern young woman.

TOM Organic orange and purple

Execution

The new TOM visual identity design was launched across six SKUs (stock keeping units): mini, regular and super tampons, day and night pads, and liners. Each SKU had its own unique and handcrafted illustration with TOM visual language altered on-pack to give each product a life of its own within the TOM organic family.

The brand’s presence on-shelf is driven by a differentiating design strategy. The leading brands in the market bombard consumers with a consistently chaotic visual language.

TOM’s packaging is intentionally stylish and elegant with a sophisticated environmental edge. The visual language stands out by adopting the cues of fashion semiotics, rather than mimicking the look of the market leaders.

TOM Organic green pack

Results

The new pack design was the critical factor in TOM Organic’s product range being picked up by national retail chain Chemist Warehouse, and then by Woolworths throughout Australia.

“As a direct result of the TOM Organic brand repositioning and packaging range redesign, we have been stocked by Woolworths supermarkets nationally. As these significant changes to our supply chain are in the early stage, we’ve been unable to accurately assess the resultant increase in market share and revenues, but we are predicting they will be of the magnitude of 1000% in six months – significantly impacting our whole business positively,” says Aimee Marks, founder of TOM Organic.

The appearance of TOM Organic on the shelves of Woolworths supermarkets nationally has been the catalyst for the creation of a new category, which is expected to represent a significant market share.

At the Packaging Council of Australia’s 2012 Australian Packaging Design Awards, Truly Deeply was awarded gold in the ‘Health and beauty’ category for the TOM Organic packaging redesign.

TOM Organic products packs

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Coffee time, story time – Muzz Buzz story book promotion

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Campaign: Muzzly and Buzzy children’s story book promotion

Client: Muzz Buzz

Agency: 121 Creative

Background

Muzz Buzz is an Australian owned and operated drive-through coffee franchise chain, originating in Perth.

The company was formed in response to growing Australian tastes for premium coffee, which was at the time, not commonly available within the Perth metropolitan area in drive- through form. Franchising of the brand commenced in 2004, with individual outlets closely resembling the original design and ethos.

Executive chairman Warren Reynolds has played a major role in the coffee franchise growth phenomenon with his brand philosophy of ‘selling an experience’ being an integral part of the Muzz Buzz success.

Objectives

The primary objectives were:

  • to produce a promotional item that could be used as part of a campaign to introduce the Muzz Buzz brand into the family home, and
  • to use this as an opportunity to look for new ways to use its mascot Buzzy and further define his role within the brand.

To achieve these goals, Muzz Buzz worked with design agency, 121 Creative. It was important that designer Ben Duncalf and his 121 team come up with an approach that supported both the brand philosophy of fun and ‘selling an experience’ while also delivering widespread appeal to the target market of parents with pre-schoolers through to primary school children.

The brief also presented a further challenge, with franchise rights having been sold to several countries, it was important the promotional piece fit with the internationalisation of the brand.

Muzz Buzz essentially required a timeless piece that would allow for rollout to the global market as and when required. A further layer of complexity lay in the fact the solution also needed to be inherently Australian.

Colour in

Strategy

Clearly it was decided that a children’s booklet would be the most effective way to reach the target audience and support the brand values of fun and provide consistency with the Muzz Buzz approach of marketing to customers through an experience.

Reynolds had a storyline in mind based on his own childhood experiences. It was important that this could be adapted to relate to children today. The most effective way to do this was to create a booklet that was both story and activity.

The artwork for this promotional piece was inspired by the company’s mascot named Buzzy, reminiscent of one of the Muzz Buzz coffee cups, sporting the corporate colours of purple, white and green. It was necessary for the booklet to support the existing creative of the brand. Designers also needed to ensure that illustrations worked with the storyline copy in addition to meeting all other criteria within the brief.

A storyline in booklet format introduced a new way for Muzz Buzz to bring their mascot to life and provide another opportunity for the company to communicate with its customers. The company wanted children to learn more about Buzzy the character and relate to his personality and experiences in the story.

The booklet also presented an opportunity to add a new character to Muzz Buzz promotional material in the form of Buzzy’s sidekick, a dog named Muzzly. One of the considerations for the design agency was to produce visually appealing character design for Muzzly and Buzzy that children would relate to.

It was also important that children could connect with each character’s personality and experiences. In order to address the requirement to retain an Australian influence, the Muzzly character is a mongrel dog that came from the shelter. This also enabled the storyline to feature the RSPCA.

However, the characters and storylines still lend themselves to being adapted by each nation’s franchise chain around the globe.

Mascot town

Execution

The 18 page, 240x240mm square booklet format was chosen to make it easy to handle. The opposite face of each page included a mirror image of an illustration to allow for colouring in. A double page spread on the last two pages lent itself to educational fun activities such as a memory game, spot the difference and a maze.

The story is written in an easy style that could be suited to early readers or for adults to read aloud to children. The internationally-accepted font for children learning to read was used as the typeface for the booklet (new century schoolbook).

Cleverly woven into the story are items from the Muzz Buzz menu when describing Buzzy’s favourite breakfast.

Mascot Town and Wilbur Wildcat are references to the Muzz Buzz sponsorship of the Perth Wildcats with their mascot, Buzzy making regular appearances at games. But again, these are easily interchangeable with other mascots and sponsorship activity at Muzz Buzz drive- thrus around the world.

Muzz Buzz printed 5000 booklets initially as a limited edition and rolled them out through company stores, local child care centres and schools as a give- away.

CoverResults

All 5000 books were distributed, with the books serving a brand awareness exercise, especially at major events where families were present.

Muzz Buzz was able to reach this new market segment of families with pre- school to primary school-age children. The client also saw a 17 percent increase in the average value of orders, as parents included something from the ‘Little Buzzers’ children’s menu.
Moving forward Muzz Buzz plans to work with 121 Creative to develop the next in the series of limited edition pro- motional books following the adventures of the two characters, printed as ‘limited editions’ from the series to allow for tried and tested promotional campaigns to coincide with the release of each booklet in order to appeal to each new person falling into this target market.

 

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