Doritos Cool & Hot

Awards: Video Advertising (Gold)

Campaign summary
Our new product Doritos Cool & Hot was at first refreshing and then giving a hot sensation.
We had to interact with our consumers in order to have them experience the sensations.

1. Objectives and Strategy
We were inspired by the roller coaster experience in the main commercial to tell the boldness of our product. On mobile platforms, where we meet our target audience heavily, we offered an astonishing experience throughout our specifically created interactive 360 video, in order to have our consumers interact with our product genuinely and maximize the user experience.

2. Execution and Media
Users can explore around by moving their mobile phones when virtually riding on Roller Coaster with our 360 custom mobile video.
To experience the feeling of refreshment which is our first sensation,
the whole screen was covered with ice and then the consumers were asked to break the ice by tapping the screen.
Then immediately; the whole screen was covered with the flames and asked the consumers to put out the fire again by tapping the screen.
We made our target audience to experience cool & hot loop to the fullest.

3. Creative
We were inspired by the cool and hot feeling of the product. With the virtual rollercoaster, users can explore around by moving their mobile phones with our 360 custom mobile video.

4. Innovation
Aurora is an interactive 360 video, in order to have our consumers interact with our product genuinely and maximize the user experience.

5. Results
During the video, users moved their phones 3 million times to break the ice and put out the flames.
Compared with similar interactive campaigns, 10 times more interactions were achieved.
87% of the viewers’s attention was on the screen.
We achieved 35% increase in ad recall, compared with our pre-mobile-campaign period.

Spotify for Brands Virtual Reality House Tour

Awards: Virtual and Augmented Reality (Silver)

Campaign summary
Spotify Business Marketing is responsible for driving demand for Spotify’s advertising business and keeping Spotify top-of-mind with media buyers and brands through experiential, digital and social campaigns. Spotify operates a freemium model with more than 116 million people globally enjoying advertisements on the free, ad-supported tier; however, many media buyers and brand marketers are Spotify Premium subscribers and do not regularly engage with the Spotify ad experience. Common feedback from the ad sales team was that buyers didn’t understand the basics about how ads are shown on the platform and what the opportunities are for targeting. Verbally explaining the look and feel of ad formats can be a dry experience. Spotify Business Marketing needed to find a differentiated, impressive, creatively inspiring way to showcase our ad products. VR was the answer.

1. Objectives and Strategy
   
   - Drive advertising revenue growth on Spotify’s ad-supported free tier and highlight Spotify as a tech innovator
   - Provide an immersive, “wow” experience that showcases Spotify's ad products in context and in action to bring Spotify advertising alive
   - Create an effective tool that is portable and accessible for groups of 10-20 and can be easily scaled globally

   VR allowed us to create a portable, immersive experience.This house only needed to be built once, but could be adapted to the user and then explored by anyone, anywhere wearing a headset.

   The global Business Marketing team are able to use the VR CMS to adapt the tool to their local languages and cultures, as well as change the ads and facts displayed within the house. Local teams take the VR headsets to meetings with clients and create opportunities to experience the VR tool at roadshow sessions and tentpole events like Cannes and CES.

2. Execution and Media
   Typically, the VR tool is used to kick off meetings and events with an attention-grabbing moment that makes attendees see Spotify ads differently. The Sales team then prompt those who’ve experienced the tool to explore what surprised them in what they saw, and what ideas it sparked for integrating their brands into the Spotify platform.

   Spotify approached several experiential and VR agencies in the UK to develop this tool, before eventually deciding to work with Manzalab, an agency based in Paris. Manzalab visited Spotify’s London and Paris offices to take inspiration for the design from the interior decoration of our offices and worked closely with our internal design and brand teams to ensure the House was consistent with the Spotify brand identity.

3. Creative
   The VR experience begins with a brief voiceover introduction to the tool. Users then find themselves in the central hall of the House and can choose where to go next. There are four doors to open: To a kitchen, a gym, a study and a baby’s room. Each room features a different device, showcasing a different Spotify format within the Spotify user experience and playing a different genre of music. The House also features facts about advertising on Spotify (e.g. on the noticeboard in the study) and “easter egg” interactive elements, like a rocking horse that rocks when you hover over it.
4. Innovation
   For the ads themselves, we were able to leverage “dummy” ads featuring fictional brands, so as not to tie the experience to any one specific brand; although in some cases, we do insert specific ads from certain brands via the CMS in order to personalize the experience for buyers and marketers working on that brand.

   The development of the CMS for the tool was especially significant as it allowed all global teams to quickly and efficiently change elements of the House without additional cost or delays. Further, the CMS makes the tool extremely flexible. For example, at Dmexco 2018, we were able to offer English and German versions of the tool to booth visitors.

   5. Results
   Nearly 1,000 Spotify for Brands prospects and clients have experienced the VR tool since launch. By tracking VR tool use in Salesforce, we are able to directly attribute the use of the tool to several hundreds of thousands in additional advertising revenue for the business by noting who has used the tool and who is subsequently marked as a contact on revenue bookings. Use of the tool is ongoing and resulting revenue continues to increase. So far, we’ve seen at least a 5x return on investment in the tool’s development.

   In addition to direct impact on revenues, feedback from clients and prospects has been very positive, with most noting how the tool had advanced their understanding of the Spotify ad offering, as well as being fun and entertaining to use.

The Tunnel

Awards: Brand Advertising Campaign (Silver)

Campaign summary       

Together with Adris, Croatia Osiguranje Insurance Company, Brigada and Millenium promocija, we organised a historical exhibition in a tunnel bellow Zagreb to mark the 133th anniversary of Croatia osiguranje Insurance Company. We were engaging the citizens to take an active part on an everyday basis and change the physical layout of the exhibition by adding their own historical accounts posting them on the social media with the hashtag #PovijestPisemoSami (#WeWriteOurOwnHistory). Throughout 7 weeks we used digital channels to raise awareness, incentivise people to see the exhibition and take an active part, with the budget allocated for Facebook (15%), Instagram (8%), Google (11%) and Twitter (6%), and direct media buying on top sites (60%). We targeted all online users, making adjustments according to real-time results. Every week we came up with new creative ideas accommodated to suit different digital channels. The photographs of users not only composited the exhibition’s layout, but also generated content for further online and offline communication. The online campaign reached over 1.5 million people and exceeded the targeted number of photographs eventually received (5,370).

Objectives and Strategy               

The agency’s task was to increase brand awareness, generate buzz and incentivise social media engagement. The objectives of the campaign:

• Brand awareness: 500,000 single users
• Number of photographs with hashtag #PovijestPisemoSami (#WeWriteOurOwnHistory): 3,000

The task was to showcase 133 years of the activity of Croatia Osiguranje Insurance Company in a creative and appealing way. The tunnel bellow Zagreb was turned into a multi-media project that is an exhibition spanning 13 decades characterised by interesting events, people and items from a specific historical period. Its specificity was allowing citizens to actively engage in compositing its layout over digital channels changing it on a daily basis and embedding bits and pieces from their own past. The project was foreseen as a historical account accommodating each and every one of us.

Execution and Media    

The strategy was centred round digital media. They were used to raise awareness about the exhibition itself, incentivise people to go and see the tunnel and engage users to take an active part in the exhibition’s layout by posting their own photographs from the past on their own social media profiles with the hashtag #PovijestPisemoSami (#WeWriteOurOwnHistory) and a short caption. The campaign took 7 weeks, with the budget allocated for Facebook (15%), Instagram (8%), Google (11%) and Twitter (6%), and direct media buying on top sites (60%). The digital campaign was used to post content in order to pique the interest of users, incentivise them to take an active part in the exhibition’ layout and become brand ambassadors. We targeted all online users, making adjustments according to real-time results.

Creative              

The underlying idea for the launch of the campaign was raising awareness about the event itself. Throughout 7 subsequent weeks, to optimise the campaign and achieve best possible result, every week we came up with new creative ideas for different digital channels, adjusted to suit their own individual specificities. The photographs from the users’ past composited the exhibition’s layout on a daily basis and generated content for further online and offline communication.

Innovation

The exhibition was composited offline in real-time every day with online content posted the previous day (offline/online fusion). Custom messages were used to micro-target all people in close vicinity of the tunnel (>1km).

Results

Different communication channels were used to create effective synergy and huge media outreach. The online campaign reached over 1.5 million users and exceeded the targeted number of photographs. Eventually, the number of photographs received with hashtag #PovijestPisemoSami (#WeWriteOurOwnHistory) amounted to 5,370.

Number of ads: 1,264

Number of key words: 725

Number of video views: 290,000

FB engagement rate +366%

No. of shares +185%

The achievement rate by the objectives:

-              Brand awareness: 500,000 users -> 300% achievement rate

-              Number of photographs received: 3,000 - > 180% achievement rate

Sprite: DRONE PAINTER - Ugly or Contemporary Artist

Awards: Virtual and Augmented Reality (Bronze)

Controlled by an AI-based algorithm, Saatchi&Saatchi Ukraine worked with Sprite to create ‘Drone Painter’ – a drone that paints iconic murals, without the need for human involvement. They allowed hundreds of people to design their own unique mural online, with the best mural chosen to be painted by the drone.

Heroes of Sales – the first shoppable online comedy 

Awards: Branded Content (Silver) and Video Advertising (Silver)

Campaign summary
How can a brand differentiate itself on a market with pure price promotion messages in a way that builds the brand and the image, serves the strategic, marketing and business goals, create something unique and entertain people at the same time?
Our answer was the Heroes of Sales – the first shoppable online comedy. A genre-maker and innovative Media Markt original webseries with 15 episodes. Nothing like this was published on the Hungarian market, and it is also the first content from which viewers can shop online through a special programming.
Actors are Media Markt’s own workers, and a MediaMarkt shop serves as a venue for the series. The story is fully consistent with the brand, and it is dominated by the shop and the products.
The series could reach 1,1 million views in 6 weeks, among 5.5 million internet-users, gained thousands of positive feedbacks in social media and realized 50K EUR revenue in the webshop from the unique, special built-in promotion offers.
Heroes of Sales beat series like 2 and a half man and The Walking Dead, got a 7,3/10 score on IMDB and it was also uploaded and shared on the biggest Hungarian pirate torrent websites.

1. Objectives and Strategy
There are more and more pure online player on the market of consumer electronics. One of MediaMarkt’s biggest competitive advantage is that – as a multichannel player- they have offline stores, as well.
The strategic goal was to focus on these stores by raising awareness for them and representing the product range.
Marketing objective was to create something innovative that goes beyond traditional media advertisements and strengthens Media Markt’s innovative role.
Along with the goals we also had to count with the changed media consumption habits of our young target audience as they are the generation who rarely or never watch TV while most of them use ad-blocker preventing to reach them by traditional ads – so the brand had to find a new way to the consumers.
Heroes of Sales provided solution for every purposes and challenge. 

2. Execution and Media
The communication started with special PR - the biggest websites received invitation for a premier so they could create content about the series before it started.
For building awareness, we used selected TV channels in line with our target audience and with relevant content (sitcoms). The teaser spot of the series became a real part of the channels’ program promos.
Still, the focus was on digital as users had to be driven to a microsite that was programmed specially for the series, embedded in MediaMarkt’s official page.
We had to serve two goals: raise awareness for the series and generate clicks to the microsite.
Social media appearances had a key role in the communication - the actors became part of the daily lives of more than 200K MediaMarkt Facebook page followers for 6 weeks.
Each episode was uploaded to MediaMarkt’s Youtube channel thus increasing the viewing number of the series.

3. Creative
Our webseries entertains and builds the brand at the same time. The story is consistent with the brand, it’s dominated by the venue and the product range. Current promotions and available services were also gently integrated into the story.
Creative usage: we used a longer, “movie trailer”-type OLV and beside it, every week there was a new, “weekly teaser” cut.
Users who’ve already met the movie-trailer video, and the visitors of the microsite were retargeted only with the weekly teaser copies.
On facebook/instagram we used specially for social media made creatives.
Hard click numbers were served with banners and textlinks.

4. Innovation
The targeted, younger audience searches for entertaining and innovative contents. The biggest innovation was the idea of the branded webseries, itself.
However, we couldn’t ignore the possibility that as the leading brand in the category we must offer something exclusive, something innovative for our customers. The series-specifically programmed, built-in shopping possibility presents exactly that innovation what increases the interest of the viewers and serves the brand’s commercial purposes.
This special call-to-action required a custom programming so we created a microsite (www.akciohosok.com ) embedded into Media Markt’s official website. Besides the unique offers which were available only from here, an own, branded microsite also gave the impression of receiving something more exclusive than a simple youtube series could offer.
Each promotional offers were available for 2 weeks from the microsite. Once they expired the episodes were uploaded to Media Markt’s Youtube channel (https://www.youtube.com/playlist?list=PLVWjU85lt7IOQxjN4YizMr1gyYHUa1Gdd ) to gain more viewership and awareness.

5. Results
Our goal was to reach 1 million views in total. By the end of our campaign 1.098.677 views were realized.
The revenue from the special promotion offers and the revenue generated by the visitors who clicked forward to the webshop from the special promotions was over 50K EUR.
Head of marketing: “MediaMarkt’s communication has been built on a brave, outstanding and pleasurable style. We believe that entertaining our customers makes their decision journey more joyful, and we are continously looking for ideas to support this mission. With our partners we’ve created a great and innovative placeholder to deliver our messages, set our stores in focus and give an impactful boost to our special offers. The Heroses of Sales earned a special place both in our customer’s and our heart.”

Tymbark – Funbot

Awards: Virtual and Augmented Reality (Bronze)

Campaign summary
Market Context: Young people love spending summer holidays with their friends. And snapping photos together. Many photos. Tymbark, a popular fruit drink manufacturer, sought to be a part of their holiday experience. There was one hurdle to clear, however—getting youths to share their pictures with the brand. Funbot is an original, custom-designed AI-powered solution, which uses a highly advanced image recognition and analysis algorithms to facilitate interaction between brand and consumer. The innovative service boosted customer engagement among younger demographics, driving them to share over 300,000 photos and continue to interact with the brand as far as twelve months after campaign conclusion. 

1. Objectives and Strategy
The 15-24yo demographic makes up up the biggest group among on-the-go drink consumers. Tymbark, a market leader in the industry, faces specific challenges in this particular area—its market share is vulnerable to both typically youth-oriented brands (Frugo, Roko), and established brands with international reach (Cola, Fanta, Sprite). To maintain the market leader position, a brand needs to be perceived as a trendsetter and early adopter of innovative solutions that boost engagement among the younger consumers. For the 15-24 demographic, the summer holidays are a perfect opportunity to spend some time with friends. And snap photos together. Hundreds of photos. The challenge was to design a digital activation campaign that would encourage younger consumers to share their holiday memories, in the form of pictures, with the brand.
KPI: 50,000 photos within the activation
KPI2: At least 2 pictures shared per user
CoreTG: younger consumers (15-24yo).

2. Execution and Media
To have Funbot caption a picture, a user has to take a photo using their smartphone or upload it from their computer, IG, or FB account. The application will analyze the picture within seconds and come up with five fitting captions. The user will then pick one and receive a branded picture with the caption written down inside the trademark Tymbark bottlecap.
Funbot became an integral part of Tymbark’s Messenger chatbot. The app was also deployed on a mobile website, developed according to RWD principles, which did not require the installation of any additional software.
Social media – 18%
Video – 25%
Display – 56%
Search – 1%
The main thrust of the media efforts was pursued over six summer holiday weeks and focused on SM.
Promotional efforts in mobile channels turned out to be highly successful. 

3. Creative
Funbot is an app—based around Bottlecap—that adds personalized captions to submitted photos on the fly. Funbot is based on AI-powered image recognition and analysis solutions. Using a handful of image recognition and analysis algorithms, we designed an original platform.
A user has to take a photo using their smartphone or upload it from their computer, or IG or FB account. The application analyzes the picture within seconds and comes up with five fitting captions. The user receives a branded picture with the caption written inside the trademark Tymbark bottle cap, they can share on SM.
We taught Funbot to recognize popular popcultural elements, including celebrities, movie stills, famous paintings, even logotypes.

4. Innovation
Using a handful of image recognition and analysis algorithms, we designed an original, high-efficiency solution. After processing the image, the algorithm then produces a couple, sometimes even a couple dozen, keyword that describe elements present in the image—it’s capable of identifying objects, structures, weather, vacation situations, celebrities, logotypes of other brands, even emotions of people in the pictures.
Then, the algorithms were fed thousands of typical vacation pictures to have them learn to identify their most commonly occurring elements. This resulted in a dictionary holding a couple of thousand phrases and their combinations, which we managed to assemble into over 3,000 creative captions. With each analyzed photo, the algorithm “learned” the best answers, and optimized relevant weights in the dictionary. It’s safe to say that Funbot is currently the most advanced tool for identifying vacation situations in photos.

5. Results
Together, innovative algorithms, unparalleled precision, and thousands of witty captions produced the desired results. Young people went crazy about Funbot and began flooding the app with photos, not just vacation pics, in order to try and beat the app at its own game. Powered by AI, the Tymbark Bottlecap managed to encourage young people to share their photos in numbers heretofore unseen. Everyone who engaged with Funbot submitted five photos on average (2.5 times the KPI) during the activation campaign.
Throughout the six summer weeks of the campaign, we received nearly 100,000 photos (2 times the KPI2).
Six months after concluding the campaign, the number of submitted pictures passed 300,000, with an average of around 1,000 new photos coming in every day.

Breastfeeding Extras

Awards: Branded Content (Bronze)

Campaign summary
Breastfeeding away from home, makes more and more mothers feel uncomfortable. They receive negative comments, are asked to ‘do it somewhere else’ and feel embarrassed. The Belgian organization ‘Kind en Gezin’ wants breastfeeding to be something normal again. To do this, they invented ‘Breastfeeding Extras’: mothers that breastfeed their babies in the background of popular television programs, series, movies, video clips. 
By bringing breastfeeding back into popular culture, our Extras are making breastfeeding truly part of everyday life again.

1. Objectives and Strategy
Breastfeeding has always been one of the most beautiful and natural things in the world. But times have changed. More and more breastfeeding mothers receive complaints for their “indecent behaviour” and are being sent away from restaurants, parks or shops

‘Kind en Gezin’, a Belgian governmental organisation that supports young parents and nurseries, wanted to make breastfeeding normal again. How? By bringing it back into popular culture. Because the more you see breastfeeding, the more normal it becomes.

So, we came up with something new: breastfeeding extras. Breastfeeding extras are just like any other extras in television, except for one thing: while they’re acting, they’re breastfeeding. By showing more breastfeeding moms on television, we’ll change public opinions that it is strange to breastfeed a baby in public. By doing so, moms nurturing their babies will be accepted again, no matter where they are taking care of their little one. 

2. Execution and Media
In order to convince production houses to work with our Breastfeeding Extra’s, media attention was key in order to get the conversation rolling.

So, we did something quite unusual. We’ve created a very special online casting agency, featuring nothing but Breastfeeding Extra's. This way, moms could feasibly volunteer on our online platform to become an extra themselves and production houses could easily book extras for their film set. We’ve launched an online film introducing the agency and its purpose to show more breastfeeding moms in public. 

3. Creative
We used the power and reach of influencers on social media to inspire volunteers to spark the public conversation. The press loved the surprise and reported on Breastfeeding Extras on online news sites, the radio and even on television. This way, they pressured production agencies into hiring a Breastfeeding Extra for their recordings. The agencies were charmed by the idea and soon after, some of Belgium’s biggest TV-shows booked a Breastfeeding Extra. Following the reappearance of our Breastfeeding Extras on television, we received a second and third wave of both on- and offline PR.

4. Innovation
Breastfeeding Extra’s are a unique approach to get breastfeeding incorporated in popular media, without placing them directly in the spotlight. It’s by their subtle appearances in the background, that they underline how ordinary it is to breastfeed a baby in public.

So, we created the first casting agency of its kind, creating opportunities for both volunteers as for production houses to help break the taboo on breastfeeding. All this, without a single euro spent on paid media.

5. Results
It was an unusual approach and it worked. After only one week, 10.000 people have visited our casting website. Even better, 497 of our visitors subscribed to become a Breastfeeding Extra. That’s a conversion rate of 5%.
Besides, with no media budget, we managed to get a reach of 20 million and €686.000 in free ad value. A number that will only keep on growing with every Breastfeeding Extra appearing on primetime television.
Our first Extras have already made their debut in big shows like ‘Familie’, ‘De zonen van Van As’ and ‘De Buurtpolitie’. The Flemish Audio-visual Fund even decided to become a supporting partner. Moreover, Breastfeeding Extras are going off-screen, appearing in two famous Belgian comic books, ‘Kiekeboe’ and ‘De Buurtpolitie’, reaching an even more diverse audience.

And so, episode by episode and show by show, our Breastfeeding Extras are proving that breastfeeding is truly part of everyday life.

Get Artsy with Polo!

Winners of Social Media (Gold)

After over a decade of silence, Polo had a re-launch campaign in 2017. Wanting to keep building its fun image and brand awareness, Polo interacted with young people on Instagram, using the most popular content type amongst them, GIFS. They scanned Polo in 360 degrees and uploaded it to Instagram GIPHY. Polo was the first brand that used Instagram GIPHY, at the right time while GIPHY was highly regarded & frequently used in Turkey.

Pharmaton TV Sponsorship Enhanced Interaction with Second Screen

Awards: Campaign Effectiveness (Bronze)

Campaign summary
Pharmaton significantly uplifted its brand metrics in 2018, thanks to a strategic sponsorship and second screen integration on Survivor and TV8 Second Screen app.

1. Objectives and Strategy
Pharmaton is a Multivitamin brand which commits both physical and mental performance and energy. Pharmaton’s main competitor is a brand with a heritage over 40 years. Even though Pharmaton has high top of mind awareness scores, trial scores were still relatively below targeted KPIs. Thus our objective was to increase trial scores, via highlighting Pharmaton's energy and performance benefits in occasions where being energetic and demonstrating high performance is the key for success. Since TV is the highest reach medium, we focused on partnering with an on-strategy TV show. Our definition of on strategy also included the viewers high involvement and active engagement with the content via second screen for mental performance to viewers. Another important fact in Turkey is that second screening while watching TV is over 70% and in order to create a strong behavioural change, generating trial, we needed the entire attention of the viewer.

2. Execution and Media
The most fitting partner that fit our strategy was TV8 and Survivor. Pharmaton became the "performance sponsor" of Survivor, supplemented contestants in order to increase their performance and rewarded the highest performers. Simultaneously, we have integrated a mini contest to TV8's mobile application called the "Second Screen", which has approximately 4 million active users and viewers consume additional content like behind the scene shootings, comment and vote about contestants etc. The contest challenged viewers with challenging questions regarding TV Show's content, contestants and important facts about physical performance. This way, we were able to inform the viewers further about the product benefits, while actively interacting with them and keeping their attention at max on both screens.
TV sponsorship lasted 4 months. On Second Screen app, we have run 6 contests in 2 weeks. The timeline of the second screen integration was towards the finale, where interactions get significantly higher.

3. Creative
Creatives across all channels focused on maximizing the benefit of Survivor sponsorship, like further engaging with consumers via using flagship statements of the contest in our social media announcements etc. Also we have revisited our airing plans to maximize the efficiency of this media partnership, via re-distributing spot plans in days where the show wasn't on air.

4. Innovation
We haven't used a "never been done before" technology in this campaign. What we did was to partner with an app that already has 4 mio active users and that enabled us to interact with users at zero platform development cost. The answers we have gathered from the second screen contest also gave us valuable insights about the known and unknown benefits of the product and people's definition of "performance" and what they expect from a performance enhancing multivitamin.

5. Results
We have reached 50% of our target audience (20+ ABC1). We have interacted with +200k unique users with the Second Screen contest. According to TV8 data, Pharmaton's interaction rate was X2 higher vs average interaction rate of second screen integrations.
Pharmaton's annual media investment declined sharply by 30% in 2018 vs 2017. Survivor sponsorship, second screen integration and digital usages announcing the integration was first used in 2018.
Brand metrics are regularly tracked by Ipsos and after the campaign, purchase intent increased by 11%, trial increased by 13% and regular (12months ongoing) users increased by 22%. This has been the most successful period for Pharmaton in Turkey.
Ipsos research also shows, 39% of the people recall Pharmaton as Survivor’s sponsor. This is significant because the show has 6-7 different sponsors in a show. Thanks to high contextual relevancy of Pharmaton's sponsorship, we were the most benefited brand from the sponsorship.

RENNOVATIVE MEGANE SEDAN TEST DRIVE CAMPAIGN

Awards: Direct Response / Lead Generation Campaign (Silver)

Campaign summary
In an environment of changing consumer expectations and trends, we designed an instant way to book a test drive, that increases brand scores in this tech-smart, creative campaign. As we learned from consumer journey the most important target for automotive sector is leading potential customers to test drive. However, the hurry of modern life makes it harder. Therefore; we aimed to increase Renault Megane Sedan awareness and differentiate from other brands by changing classical test drive experience.
We included Renault Megane Sedan as a purchase category in ‘Getir’ which is an instant purchase app and created the world’s fastest test drive opportunity. With 30 cars and drivers located in top 30 interest&purchase rate locations of ‘Getir’, tapping on ‘Megane Sedan’ was all the users had to do to get test drive.
In teaser period, Getir sent push notifications to test Megane Sedan, helping us to gain 100 test drives without any media investment. At the launch, we invested on this project with digital media to keep it alive. We were organically the trending topic on Twitter within 20 minutes. Within a month, 519 test drives were actualized which was 10x more compared to all test drives of dealers in Istanbul.

1. Objectives and Strategy
From the Purchase Journey Analysis, we know that test drive is the last and most crucial step that triggers sales in automotive category, therefore Test Drive is the main KPI of our communication strategies.
The main barrier to taking a test drive is often time. So we made sure that this was no longer a problem. We partnered with Getir, an online delivery mobile app, to make the world's fastest and most convenient test drive experience ever.

2. Execution and Media
We built up a partnership with Getir; instant delivery mobile application, where you can get book a Megane Sedan test drive, at any time, to anywhere in İstanbul, in just 10 minutes.
All the user needed to do was to tap on to the Megane Sedan category on Getir mobile application and experience the actual test drive.
In order to monitor the progress in real-time, we have started our partnership with a 3 day teaser period and a launch period. In teaser period, we had no media investments. In the day of launch, real-time content follow-up was held in order to make necessary optimizations on social media, search strategy and test drives. After the launch, automobile influencers also experienced real-time test drives in order to increase buzz and this was shared through social media to ehhance the reach of the campaign.

3. Creative
The creative idea was delivering the instant test drive, itself. So Getir, was the only touchpoint that could deliver this experience as it is an instant delivery app.

4. Innovation
This idea is the future of test drive which is the main KPI and also main challange of automotive sector. There is a great reluctancy to go to Showrooms and make a test drive under heavy traffic in big cities. Thus; the average monthly rate of test drives of Megane Sedan considering all over Turkey (80 cities) was 100 test drives; whereas together with Getir partnership this was the daily number realised only in Istanbul. As a consumer you just click on a button of your cell phone and test drive opportunity comes to your home in 10 minutes with a dedicated assistant with a deep knowledge of product where you can ask all of your questions and get instant answer. That's the “Rennovative” way of test drive.

5. Results
On the 3rd day of soft launch, 100 test drives by real consumers were realized with no media investment.
On the launch day, with the power of real time content monitoring and creation we entered trending topic list organically within first 20 minutes and got 6 million reach.
We also gained organic PR coverage which led to 161% increase in our positive brand perception.
In 30 day period, 500 test drives were delivered with 74% positive comments.
With this project we did not only drove 10x higher business KPIs with a groundbreaking approach but we also changed consumers expectation from a test drive by our ‘Rennovative’ strategic approach.

Anna Lubowska, Chair of the Jury said: “Today marketers have a range of channels in which they can reach their target audiences. This brings with it challenges on deciding where to allocate advertising budgets. Celebrating the latest and greatest work, the MIXX Awards Europe highlight why digital is a necessary channel for all campaigns. The competition recognises these campaigns and the teams behind them achieving excellence in digital marketing. Winning a MIXX Awards Europe prize puts victors in the marketing spotlight.”

The 2019 award winners are:

The Jury was Chaired by Anna Lubowska, Independent Business Consultant and Supervisory Boards Member and is joined by Anna Gruszka, Chief Digital Officer of IPG Mediabrands, CEO of Reprise, Ash Grant, Head of Biddable Media at Experian, Daniel Bischoff, Chief Marketing & Operations Officer at RTL AdConnect, Christina Keller, Director of Creative Shop, Central Europe at Facebook, Peter Drake, Executive Creative Director at Digitas and Stephanie Matthews, Campaign Manager at Virgin.

For more information, please contact:

Marie-Clare Puffett, IAB Europe (puffett@iabeurope.eu)

Pet Talks

Awards: Integrated Advertising (Bronze)

Campaign summary
Advance is a specialist pet food brand that had been mostly relying on veterinarians to prescript its products to pet owners. With the relaunch of their new positioning, they decided it was time was to focus on the pet owner to be their own prescriber, by empowering them with all the information regarding the science of dog and cat care.
Because, only by knowing and understanding our pets, we can give them the best for their health and wellbeing.
We did this by getting inspiration from TED TALKS: we created PET TALKS.
They did this by getting inspiration from TED TALKS and we created PET TALKS.
Because, only by knowing and understanding our pets, we can give them the best for their health and wellbeing.
We did this by getting inspiration from TED TALKS: we created PET TALKS.
They did this by getting inspiration from TED TALKS and we created PET TALKS.

1. Objectives and Strategy
   The objectives were to inform about advances new positioning, to interest our target about the science of pet care and empowering them through knowledge, interest the consumer though clinical rigueur and scientific credibility in a category where pet cuteness is usually used to promote the products and finally, inform and entertain.
   The world-famous Ted Talks became our inspiration. Their agenda is to make great ideas accessible and spark conversations, exactly what we had in mind as well, but our theme was pets, and so we created: Pet Talks, a community and a divulgation platform from where the brand could explain in a fun and laid-back manner, how to best care for your pets, and in a country 40% of households have at least one pet, and spend 70 Billion a year on them, we knew it would spark interest.
2. Execution and Media
   The Pet Talk platform was all about branded content.
   We started by learning about the subjects that most preoccupated pet owners.
   We then launched the Pet Talks Conference and invited pet experts such as veterinarians, biologists, ethologist; consumers and the most popular influencers to come and talk.
   We streamed Pet Talks live on Facebook and Youtube and on the Pet Talks website.
   Pet talks also generated various types of content that we reformatted for different types of the brands media channels and on the dedicated Pet Talks web.
   To amplify and get to more pet owners we launched programmatic campaigns. Also, we were present on YouTube and launched Instagram stories and posted videos on the brands Fb page.
   We also launched an VOOH campaign in downtown Madrid the same day of the conference, bringing more attention to the event.
3. Creative
   The creative idea was to change TED to PET and turn TED TALKS into PET TALKS.
   TT is a nonprofit devoted to spreading ideas, usually in the form of short, powerful talks. Their agenda is to make great ideas accessible and spark conversations, exactly what we had in mind as well, but our theme was pets, and so we created: Pet Talks, a community and a divulgation platform from where the brand could explain in a fun and laid-back manner, how to best care for your pets, and in a country 40% of households have at least one pet, and spend 70 Billion a year on them, we knew it would spark interest
4. Innovation
   This was truly innovative for the brand as it had been mostly relying on vets to inform their clients about the science of cats and dog care. For the first time they decided to empower their target through knowledge and the creation of a platform that could inform through branded content. The Pet Talk event was streamed live, and we created a huge amount of content for the brand, content that we could use within their own channels to continue to reap the benefits of information divulgation.

   5. Results
   We garnered 52M impressions.
   • The videos were viewed 15M Times
   • VTR stood at 65%, that is 5% more than the objective we had set at the beginning. This is 240% more than the most successful campaigns showcased by Think with Google.
   • The talks we posted got 1Million views and people watched for more than 5minutes on average, way over the average of 58 seconds established by Pressboard.
   • We also got some free publicity with printed press and national TV talking about Pet Talks. This gave us 8M additional impacts, which allowed us to go over the objective by more than 200%
   • We managed to innovate in the category and we repositioned the brand as expert, credible and close to its target. We also innovated in the way we relate with our consumers, we definitively managed to develop brand awareness in the minds of the consumers, not just the vets.