Online Campaigns

Cases Featured

I. Amex Adventures of Seinfeld and Superman – webisode campaigning.II. Volvo Life on Board – creating through flow, offline to online.III. Axe Lynx Axefeather – ease of involvement IV. Loctite Super Bonder – Website product demonstration V. Monopoly Live! – Blending real and virtual, on and offline activity.VI. Singapore Airlines Boarding Pass Privileges – regional equity, through an

exclusive ‘brand extension’ reward scheme.VII. Sony Erricsson K700 Take your Best Shot – product – inspired social

network site.VIII. Dove Campaign for Real Beauty – cause adoption – social network sites.

Amex Webisode

Webisode

A webisode is simply a web episode – collectively it is part of a web series, a form of new media that characteristically features a dramatic, serial storyline, and where the primary method of viewership is streaming online over the Internet.

Where there is no "set" standard for length, most webisodes are relatively short, ranging from 4-15 minutes in length.

Amex Webisodes

• Commissioned two films a unique way of attracting traffic to their website featuring American comedian Jerry Seinfeld with costar Superman written around the potential of Amex cards

• Both 5 minute episodes were made available first only on the Amex site. • Two episodes were made titled

• A uniform used to mean something • Hindsight in 20/20

• The website also featured downloadable images, behind the scenes footage and further details of Amex card membership and benefits.

• As a package all the elements worked together to make the entertainment and advertising content connect.

• Story lines highlighting particular benefits of Amex card membership, by demonstrating situations where there unique services would be useful.

• First they make you go on the Web to see it. Then they make the sell so soft that it's hardly even there. Seinfeld alludes to his AmEx card—and its purchase-protection plan—for a total of about three seconds, toward the end of the five-minute clip. He never once utters the words "credit card" or "American Express." Which makes us wonder: Why would AmEx spend millions to create an ad that's not really an ad?

• Here's where the Seinfeld "Webisode" comes in. It takes precisely the opposite tack: Instead of deftly slipping a placement into somebody else's content, AmEx just built its own content—featuring Jerry Seinfeld, no less—around a product placement. It thereby seizes complete control over both quality and tone.

• And as for the quality and tone, well, they're pretty good. The Webisode is funny—not a masterpiece by any means, but worth the time it takes to download.

Amex Webisodes – comments on a site

Integrated Mix

• Direct• Online Website

Campaign Planning

Timeline S O N D J F M A M J J A S 0

Concept development

X X X X X X

Launch Y Y

Word of mouth / press

W W W W W W

Media exposure

M M M M M M

Hits (millions)

0.5 1 3 5 6 8 10

04 05

Volvo Life on Board

Volvo Life on Board – Concept

• In 2005 a website was developed as an extension to a pan European television advertising campaign for Volvo.

• On the site, a series of 7 driver-passenger conversations, shown as snippets in the television commercials, were shown in full online.

• The conversations were unscripted which allowed the dialogues to develop in a way rarely seen in a commercial

• The films each featured two people who had never met before – people with extraordinary backgrounds and different ways of life

• They meet and drive off in a Volvo, sharing car journeys in different parts of Europe

• They talk about themselves , their achievements and share experiences and touching, moving or funny moments.

Strategy

• The strategy of pulling television viewers across to the campaign website stemmed from research that showed that a third of UK car buyers did most of their research on the internet, rather than visiting dealership

• The target audience Europeans aged 30-55 – were known to lead hectic lives, selectively watch television and want information on demand so they were high users of the internet for information and entertainment.

• They were also known to do their own research rather than accept information pitched at them.

• Therefore the campaign objective was to get people online, because once viewers were already on the site they were likely to view the rest of the site’s content.

• Hence Life on Board was central to the campaign.

• It received traffic from the web link given at the end of the commercial and aimed to divert it through the Life on Board films to information about the Volvo range.

Review

• The campaign launched through a series of teaser commercials featuring vignettes of the Life on Board conversations, and a web address appeared in the end frame.

• This was followed by separate commercials for Volvo models. From then on.

• From then on popularity snowballed through peer recommendation via word – of mouth activity.

• The overall campaign message was that volvo provides the security and comfort to relax and enjoy reflecting on life in cars. Volvo wanted to celebrate life in their vehicles through documentary styled approach.

• Once online, viewers could view the films interactively – they could flick through bookmarked content and read the background to the journeys through a variety of rich text links.

• The site made watching the films more of a user controlled experience, so viewers felt empowered to explore the site on their terms.

Integrated Mix

proportion of campaign

Campaign Planning

Timeline S O N D J F M A M J J A S 0

Launch X

Run Y Y Y Y Y Y Y Y Y Y Y Y Y Y

Word of mouth / blogging

W W W W W W W W W W

TV exposure T T T T T T T T

Media exposure

M M M M M M M M M

Hits (millions)

5 7 10 11

04 05

Axe Lynx Interactive Fun

Background

• Aim was to enhance the axe existing market position

• The target was young men, the proposition was that Axe would make them attractive to women.

•The allure was that it would appeal to women in the right tone – sexy but not sexual,

• Buzz word featured in the brief included cheeky, light hearted and playful.

• Television campaign preceded the website by 18 months in the UK and had attractive wide press coverage.

• This was largely motivated by a witty narrative, distinct soundtrack (which went to the top of UK singles chart and much internet chat room conversation.

Snapshot

A

Strategy

• Being online provided several opportunities for customer engagement

• Prospects could sign up and receive further Axe material, and a URL link could redirect viewers to another site featuring the entire axe campaign – television commercials, screen savers and virals.

• The purpose of axefeather was to drive traffic to the main site, and web traffic was pushed from the site to the URL links.

Strategy

• The interactive’s film’s art director spent one day registering on as many youth blog sites as possible, then introduced the axefeather.com link into conversations.

• By picking sites used by early adopters, awareness of the site spread by word of mouth, person to person

• The message was circulated by others in the age group, so it was welcomed as shared entertainment and not an intrusive pitch

Review

• A simple concept enabled the site to be constructed without complex programming and the simple construction meant the site could be accessed through low-grade equipment

• The site did not pressurize the user to sign up for other Axe acitivities such as messaging services. As a non committal site it made playing a pleasure and forwarding hassle free.

• The site was gender specific, but did not put women off. They engaged with the saucy tone of the humour, which stops short of being sexually explicit.

Integrated Mix

• Commercial• Other • Ambient

Campaign Planning

Timeline S O N D J F M A M J J A S 0

Concept Development

D D D D

Completed Project

C

Launch L

Word of Mouth / Blogging

W W W W W

Additional Promotion

A A A A

Media exposure

M M M M M

Hits (millions) 0.5 1 3 5 6 8 10

04 05

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