Title | 4 PRICELESS DAYS |
Brand | MASTERCARD |
Product / Service | FINANCIAL SERVICES |
Category | E03. Innovative Use of Social or Community |
Entrant | TBWA\DIGITAL ARTS NETWORK Sydney, AUSTRALIA |
Idea Creation | TBWA\DIGITAL ARTS NETWORK Sydney, AUSTRALIA |
Media | CARAT AUSTRALIA Sydney, AUSTRALIA |
Name | Company | Position |
---|---|---|
Danielle Collins | Digital Arts Network Sydney | Social Content Manager |
Russ Tucker | Digital Arts Network Sydney | National Digital Creative Director |
Emil Cholich | Digital Arts Network Sydney | Social Writer |
Toby Allen | Digital Arts Network Sydney | Social Designer |
Etienne Ancelet | Digital Arts Network Sydney | TV Editor |
Kate Collings | Digital Arts Network Sydney | Producer |
Beau Silvester | Digital Arts Network Sydney | Sound Engineer |
We curated a series of seven unique and beautiful travel itineraries using our influencer content. Each was rich in recommendations on how best to spend 4-days over Easter covering dining, accommodation and entertainment. The itineraries showcased popular locations across Australia, New Zealand and Asia Pacific, utilising the influencer recommendations and experiences, garnered from their own trips to the destinations. Each influencer provided travel photography and a written guide, with Priceless Cities offers woven throughout. We utilised this content across digital, including Facebook’s new microsite format, Canvas. We developed a strong visual style that encompassed all itineraries from our 7 influencers, with a strong lock-up that linked them all together and back to the Priceless Cities page. This ensured the influencer content was unique to each influencer but also clearly linked back to Priceless Cities, as did the campaign hash tag #4PricelessDays.
The itineraries were promoted across multiple channels: influencers own social channels & blogs, Priceless Cities site, Facebook Notes and Canvas (utilising new Facebook platforms), MasterCard Facebook & Instagram. We scaled this through editorial partners Concrete Playground and The Urban List with bespoke itineraries that offered more reasons to visit Priceless.com. For display, we partnered with Red Planet, a programmatic publisher that takes online and offline data from Qantas Frequent Flyer members and overlaps this with online behavioural data to identify and target consumers with relevant ad messaging online. This level of targeting helps to reduce wastage, ensuring that impressions are served to the most relevant audience. We started to target our audience 2 weeks ahead of Easter. The timings meant that moments of spontaneous travel could be utilised through the beautiful and inspiring content from our influencers.
To date the campaign has a total of 9.1 million impressions across digital (6.4 million for #4PricelessDays). In addition, we have an additional 1.2 million reach from our influencers. CTR on both the offers and itinerary posts on Facebook exceeded our benchmark by 400% (2.00% vs. 0.4% MasterCard benchmark). On the site we saw a 60% increase in Priceless Cities sign-ups, 30% increase in offer views and 3% increase in offer redemptions. Through our successful partnership with influencers we built a repository of beautiful and engaging content and imagery to support future Cities offers and campaigns. After Easter we optimised the campaign further (such as state specific geo-targeting), and adapted the copy to make this content appropriate for other Australian holidays. We also extended our campaign to include New Zealand, with fantastic results. PLEASE NOTE: WE ARE WAITING TO HEAR BACK FROM FACEBOOK ON WHETHER THEY CAN PROVIDE INDUSTRY BENCHMARKS
The Priceless Cities target audience are 30-50 year olds with higher than average international or domestic travel and $80k+ household income. They are regular social media consumers, but are more likely to be spectators than commentators. We identified that they love spontaneous holidays and that the 4-day weekend was the perfect excuse to get away. Studies show authentic recommendations from likeminded people are the currency this audience trusts. 11% of our audience age group are on Instagram, with usage growing by 10% in the six-months previous to launch. Yet the best way to reach this audience is Facebook, as 65% are on the platform. Therefore we combined Instagram’s influencer follower-base and content, with the reach from Facebook, editorials and display. The campaign provided high-quality, light travel content designed for consumption, with locations based on Australian domestic and international travel data.