Bronze Spike

Case Film

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CategoryD02. Use of Branded Content created for Digital or Social
Media Placement MINDSHARE Sydney, AUSTRALIA
Production SWEETSHOP Auckland, NEW ZEALAND
Production 2 NIMBLE Auckland, NEW ZEALAND
Post Production BIG TREE STUDIOS Auckland, NEW ZEALAND
Additional Company BIG TREE STUDIOS Auckland, NEW ZEALAND


Name Company Position
Stephen England-Hall Tourism New Zealand Chief Executive Officer
Brodie Reid Tourism New Zealand Director Marketing
René de Monchy Tourism New Zealand Director of Commercial
Lauren Vosper Tourism New Zealand Global Manager, Public Relations and Major Events
Jill Chestnut Tourism New Zealand Global Brand and Content Manager
Jamie Reid Tourism New Zealand Senior Brand and Content Specialist
Ella Frater Tourism New Zealand Brand and Content Manager
Danelle Murphy Tourism New Zealand Brand and Content Coordinator
Tansy Tompkins Tourism New Zealand Global Manager Trade Marketing
Anna Basten Tourism New Zealand Campaign and Conversion Specialist
Chloe Hedley Tourism New Zealand Digital Campaign & Content Manager
Namrta Malik Tourism New Zealand Product Owner - Consumer & Corporate
Shweta Yadav Tourism New Zealand Digital Content Specialist
Tony Bradbourne Special Group New Zealand CEO/CCO
Rory Gallery Special Group New Zealand Head of Strategy
Michael Redwood Special Group New Zealand Managing Partner
Storm Day Special Group New Zealand Head of Client Service
Stu Mallarkey Special Group New Zealand Executive Creative Director
Daisy Conroy-Botica Special Group New Zealand Social & Brand Strategist
Sandra Daniel Special Group New Zealand Group Business Director
Pip Shepherd Special Group New Zealand Group Business Director
Amelia Daly Special Group New Zealand Senior Business Director
Bonnie Shum Special Group New Zealand Account Director
Tess Cranfield Special Group New Zealand Account Management
Rachael Williams Special Group New Zealand Account Management
Isabeau Brimeau Special Group New Zealand Business Manager
Callum Orr Special Group New Zealand Strategist
Katie Mortensen Special Group New Zealand Head of Film Production
Heath Lowe Special Group New Zealand Executive Design Director
Tom Martin Special Group Australia Executive Creative Director
Julian Schreiber Special Group Australia Executive Creative Director
Jack Nunn Special Group Australia Creative Director
Nils Eberhardt Special Group Australia Creative Director
Cade Heyde Special Group Australia Managing Director
Lindsey Evans Special Group Australia CEO
Celia Garforth Special Group Australia Strategy Director
Michelle Braslin Special Group Australia Account Management
Sinead Kelly Special Group Australia Account Management
Nick Lilley Special Group Australia Producer
Sharon Gray Special Group Australia Digital Production
Jesse McCallum Special Group Australia Digital Production
Dylan Pharazyn Sweetshop Director
Charlotte Evans Sweetshop Director
Mark Burrows Sweetshop Director
Zoe McIntosh Sweetshop Director
Fiona King Sweetshop Managing Director
Ben Dailey Sweetshop Executive Producer
Andy Mauger Sweetshop Producer
Ben Chesters Sweetshop Editor
Alex O'Shaughnessy Sweetshop Editor
Nathan Pickles Sweetshop Editor
David McLaren Sweetshop Colourist
James Corden Sweetshop Online
Tony Bradbourne Nimble Director
Katie Mortensen Nimble Producer

Why is this work relevant for Media?

At its core, Good Morning World was a media idea – and the media/communications strategy was a key part of the creative strategy. The repetition of a single message (from a different Kiwi) every single day was a core part of the communications strategy, as the frequency of the message was critical to the scale of the gesture, and what established Good Morning World as an enduring symbol of New Zealand’s welcome.


BRIEF Tourism New Zealand’s ‘100% Pure New Zealand’ brand platform has established NZ as the ultimate destination for natural landscapes for the past 20 years. Despite the long-term success of this campaign, many of our competitors were beginning to emulate our simple strategy of showing off New Zealand’s stunning scenery (and significantly outspend us while doing so). Our challenge became: how do we evolve and elevate ‘100% Pure’ in a new way to reclaim our uniqueness and grow NZ’s consideration as a holiday destination? OBJECTIVES Our objectives that would prove we’d done this were three-fold: - Grow affinity for New Zealand - Which grows the number of people actively considering a New Zealand holiday - While delivering an incremental lift in visitors ultimately returning a commercial payback to NZ

Describe the creative idea / insights (30% of vote)

We uncovered research revealing what travellers loved most about their visit. We found they came for the landscapes, but left raving about the people. MANAAKITANGA IS THE HEART OF KIWI HOSPITALITY The reason why was the powerful Māori value ‘manaakitanga.’ Manaakitanga — showing unconditional respect, generosity and care to all — strongly influences the hospitality Kiwis practice. BECAUSE OF THIS, KIWIS GO TO RIDICULOUS LENGTHS TO SHOWCASE THEIR HOSPITALITY It’s common for Kiwis to lend travellers the keys to their car or their beach house. Kiwis do this because they’re touched by the great effort they’ve made to get here. So, we gave Kiwis the official role of greeting the entire world each new day with a ‘Good Morning.’ Our idea was going to ridiculous lengths to make the world feel welcome by saying it every single morning for an entire year.

Describe the strategy (20% of vote)

The creative strategy was to greet the world with a different ‘Good Morning’ every morning, for an entire year — 365 Kiwis sharing the things and places they love, in completely unscripted, personal messages, showcasing what they were up to from their little part of New Zealand, inviting travellers to come on down and experience NZ’s people and places for themselves.

Describe the execution (20% of vote)

We embraced a truly social-led, content-first approach, with a new ‘Good Morning World’ video released every morning on our new ‘Good Morning World’ Instagram account and YouTube channel, as well as other existing Pure New Zealand channels. We launched to the local tourism industry with a visually stunning and emotionally moving film explaining 100% Pure Welcome, helping kickstart the second stage of our campaign — recruiting real, everyday Kiwis across the NZ to become the stars of our films. Every day for a year, our Good Morning World film series featured Kiwis showing off our unique culture and place. Like 2-year-old Sadie, blowing the world a kiss and wishing the world a good morning from her rural Northland beach house. Or Terau from Tokomaru Bay about to ride along the beach with his horse, and Ray from Te Anau featuring his prized pet, Penelope the Pig.

List the results (30% of vote)

GMW ran globally across TNZ’s key markets, generating great success worldwide across every key brand measure. Did Good Morning World grow love for New Zealand? Yes, it did. When GMW went live, after three years of stasis, appeal for New Zealand grew in all markets — especially among Aussies, climbing to 66% (+6pts), smashing a three-year target. Did Good Morning World grow the number of people considering a New Zealand holiday? Yes, it did. Tracking pre-lockdown showed consistent advances of consideration, increasing between +3pts to +9pts. And despite our border closure from March-onwards, we saw strong preservation of consideration well into the end of June, ensuring our objective was broadly achieved. Did Good Morning World deliver a commercial payback to New Zealand? Yes, it did. Despite the effects of COVID-19 on international tourism, Good Morning World delivered an ROI of $9:16 for every dollar spent.


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