Title | MEET THE EXTRAS |
Brand | KIA |
Product / Service | KIA CERATO HATCH |
Category | A01. Best Fictional Program, Series or Film where a client has successfully created a drama, comedy or mi |
Entrant | INNOCEAN WORLDWIDE AUSTRALIA North Sydney, AUSTRALIA |
Entrant Company: | INNOCEAN WORLDWIDE AUSTRALIA North Sydney, AUSTRALIA |
Contributing Company: | INNOCEAN WORLDWIDE AUSTRALIA North Sydney, AUSTRALIA |
Production Company: | FINCH Sydney, AUSTRALIA |
Name | Company | Position |
---|---|---|
Scott Lambert | Innocean Australia | Creative Director |
Jenny Mak | Innocean Australia | Copywriter |
Lyndal Kearney | Innocean Australia | Art Director |
Tania Templeton | Innocean Australia | Head Of Broadcast |
Kathy O'connor | Innocean Australia | Planner |
Simon Hornery | Innocean Australia | Group Business Director |
Janine Allan | Innocean Australia | Business Director |
Nick Ball | Finch | Director |
Jeremy Rouse | Finch | Dop |
Julianne Shelton | Finch | Producer |
Karen Bryson | Finch | Executive Producer |
Rob Galluzzo | Finch | Executive Producer |
Peter Sciberas | Finch | Editor |
Fuel Vfx | Post Production | |
Song Zu | Music/Sound Design |
Most of the Branded Entertainment to date in Australia has been web based content or straight up product placement – not entertainment developed around a brand strategy. In 2010 the 4 Australian free to air commercial networks – 7,9,10 and SBS, all added digital channels, vastly increasing the amount of advertiser supported programming available to consumers. There are now 16 free to air channels in a market of 21m people. The free-to-air networks consider a show successful if it pulls over a million viewers an hour. Their digital channels need about 300,000 viewers to win a time slot, and cable can range from 15,000 for non-sports shows up to 150-300,000 for blockbuster event shows. Australians have always been early technology adopters. The fractured media landscape and the challenges of pitching brand-funded shows to the networks, has pushed advertisers to the internet as a viable cost per eyeball way to measure return on investment for branded entertainment. As advertisers move from a model where they supply a car as a consumer promotion on a game show into branded shows, where the ‘channel’, story, character or situations are built around a brand agenda, there is tremendous scope for long-form storytelling.
The key objective was to increase sales for the Cerato Hatch, in spite of the fact that there were no improvements to the car, change in body shape or additional features on offer. Although a solid small car, there is nothing really exciting about it, and sales had been flat. What the Cerato does traditionally offer however is many features that come as standard. The creative challenge was, how to make a group of standard features stand out in a compelling way. So we created a series of short films about ‘The Extras’; a collection of quirky characters that personify each feature and showcases the benefit they deliver to the driver. People watched the films on the web, and they found personality in a car that had been perceived for a long time as being boring.
A National TVC and a series of web banners drove the consumer to our dedicated "Meet The Extras" Microsite. It was here that they could watch our series of comical short films about "the Extras"; standard features that are anything but standard.
After just one month, test drives for the Cerato Hatch increased by 227%, brochure downloads increased by 142%, and time spent on the microsite was 600% longer than the time spent on the generic Cerato home page. And amazingly, sales increased by an average of 53% month on month compared with the same time last year. And let's not forget, that this is exactly the same car that had been on the market for the previous two years.