Uk'shona Kwelanga - A WhatsApp Drama Series|短视频,APP|广告营销案例【ADGuider广告指南】

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Ukshona Kwelanga-WhatsApp 戏剧系列

案例简介：简介; 在南非，埋葬心爱的人的尊严是极端的文化意义和殡葬政策因此被视为必不可少的; 因此，殡葬市场是高度饱和的。80% 的消费者已经拥有了一项政策，许多竞争对手 (包括传统保险公司、银行、手机公司和零售商) 提供葬礼产品。除此之外，Sanlam 的葬礼计划没有竞争对手提供的固有优势，他们中的许多人投资了大量的营销支持。因此，Sanlam 是一条小鱼在一个非常大的池塘，并提供不同的消息越来越困难; 我们介绍了提高认识和信赖感 Sanlam 是我挑的葬礼计划强调必须适当葬礼盖; 我们的竞选活动的目标是提高审议在入门级市场，驱动接触,驱动器通过直接的销售同比增长了 15%，并最终增加 Sanlam 殡葬市场所占的份额; 战略; 观众组成的南部非洲城市成年人 (月-49 岁)，与家人，000 R8 之间收入和 R25 000。财政紧张和拉伸，这些人都非常清楚的财务负担家庭，这尤其体现在对葬礼。; 以实现这些目标，我们采用的战略，其中考虑到在他们一生大部分时间的 WhatsApp 的,最大的社会信息平台的观众; 支持对我们的英雄 WhatsApp 的戏，我们发起宣传运动，建立一个观众通过传统媒体、公关和社交媒体。每个事件的 WhatsApp 的,观众也享受了一个专为葬礼的政策; 实际上我们建立我们自己主持的娱乐性能，然后介绍了广告在适当时间的用户体验; 相关性; Sanlam 的 Uk'Shona Kwelanga WhatsApp 的电视剧是前所未有的，这是第一次在这个社会信息平台使用的主机的剧集。这戏剧性的先驱者一个全新的内容 (多媒体情景 WhatsApp 的内容); 该运动已经成为一个创新的内容和媒体在传染病杂志 (和他们大多数传染病列表为 2018), 和使用信息的一个例子是创新在 Facebook 的美国总部; 结果，在工作条件,该月 000 人报名参加戏剧的目标是超过 367%，与 46 700 登陆窗口。93% 的注册完成了整部戏剧 -- 这是一部在 15 秒被认为是成就的世界中包含 20 分钟内容的戏剧 -- 产生了 603 天的总消耗内容。这个活动也产生 R11 632 718 万赚的媒体 (+ 165% 的目标) 的 87% 的投资回报率; 就业务结果而言，Sanlam 在竞选期间出售了 21 400 个新的葬礼计划，比 5 320% 个新政策的竞选目标高出 100。Sanlam 殡葬市场所占的份额增长了 3%，与领先的行业如 Old Mutual 和自由的人都失去了市场份额; 这是在一名媒体预算 R11.3m 万亿 4月 1% 类花间和 2017年11月; 执行; Uk'Shona Kwelanga 戏剧本身发挥出的 WhatsApp 的,并得到了一个多通道的媒体战略，利用广播电台、广告、公关、社会媒体的登陆窗口; 一旦注册，我们的观众一整天都收到信息 (每天都被视为 “一集”)，因为我们的角色互动，葬礼剧上演。使用 WhatsApp 证明了技术上的挑战性 -- 这种体验是通过使用广播列表来创建一个不能被用户评论打断的内容流来实现的。社区管理人员对所有读者评论和问题 (这是唯一可以看到的，没有更多的用户); 运动跑过去六周。用户收到的内容好像是在七天内从角色实时发送的。多个播放列表的设置，允许用户注册随时在竞选期间收到的全部。; 活动说明，我们创建了自己的戏剧说完全的 WhatsApp 与南非的热门电视剧的编剧之一。观众跟随索韦托 WhatsApp 集团虚构的兰加家族。信息传递 (通过播放列表) 的观众实时，如果家里有一个会话中文本的 emojis，图片,语音记录和视频; 所发生的故事说明了传统和现代生活的家庭关系因缺钱而进行埋葬父亲照他们的愿望。许多专题探讨会非常熟悉到南非的新兴中产阶级消费如: 财政负担落在年轻一代的传统价值观和各代人之间的差异; 所有的人物，地点,情况是由广泛的研究创造的 (遵循与开发电视节目相似的过程)。

Ukshona Kwelanga-WhatsApp 戏剧系列

案例简介：Synopsis;In South Africa, burying a loved one with dignity is of extreme cultural importance and funeral policies are therefore considered essential.;As a result, the funeral market is highly saturated. 80% of consumers already own a policy, and numerous competitors (including traditional insurers, banks, cellphone companies and retailers) offer funeral products. Added to this, Sanlam’s funeral plans have no inherent advantage over those offered by their competitors, many of whom invest in significant marketing support. Consequently, Sanlam is a small fish in a very big pond, and delivering a differentiated message proved increasingly difficult.;Our brief was to build awareness and credibility around Sanlam’s My Choice Funeral Plan by highlighting the importance of proper funeral cover.;Our campaign objectives were to increase consideration within the entry level market, drive engagement, drive a 15% increase in sales via direct channels YOY, and ultimately increase Sanlam’s share of the funeral market.;Strategy;Our audience comprised of South African urban adults (25-49 years old), with families, earning between R8 000 and R25 000. Financially stressed and stretched, these individuals are acutely aware of being a financial burden to their families - which is particularly evident when it comes to funeral arrangements.;To reach them, we employed a strategy that took into account where they spend most of their time - on WhatsApp, the largest social messaging platform for this audience.;To support awareness of our hero WhatsApp drama, we launched a promotional campaign to build an audience through traditional media, PR and social media. At the end of each episode on WhatsApp, audiences were served an ad for the funeral policy.;Effectively we created our own sponsored entertainment property and then introduced ads at appropriate points in the user experience.;Relevancy;Sanlam’s Uk’Shona Kwelanga WhatsApp drama series was unparalleled in that it was the first time that this social messaging platform had been used to host a drama series. It pioneers an entirely new form of dramatic content (multimedia episodic content within WhatsApp).;The campaign has been featured as an example of content and media innovation in Contagious magazine (and made their Most Contagious list for 2018), and used as an example of messaging innovation at Facebook's US headquarters.;Outcome;In terms of engagement, the objective of 10 000 people signing up for the drama was exceeded by 367%, with 46 700 sign ups. 93% of registrations completed the entire drama - a drama that incorporated 20 minutes of content in a world where 15 seconds is considered an achievement - resulting in 603 days worth of total consumed content. The campaign also generated R11 632 718 worth of earned media (+165% on target) with an 87% ROI.;In terms of business results, Sanlam sold 21 400 new funeral plans, 320% over the campaign target of 5 100 new policies - during campaign period. Sanlam’s share of the funeral market grew by 3% vs industry leaders such as Old Mutual and Liberty who both lost market share.;All this was achieved on a media budget of R11.3m million which represented 1% of the category spend between April and November 2017.;Execution;The Uk’Shona Kwelanga drama itself played out on WhatsApp, and was supported by an multi-channel media strategy which used radio stations, billboards, PR, and social media to drive sign ups.;Once signed up, our audiences received messages throughout the day (each day was seen as an "episode") as our characters interacted and the funeral drama played out. Using WhatsApp proved technically challenging - the experience was achieved by using broadcast lists to create a stream of content that couldn’t be interrupted by user comments. Community managers responded to all audience comments and queries (which were only visible to them not the wider audience).;The campaign ran over six weeks. Users received content as if it was being sent from the characters in real-time over seven days. Multiple broadcast lists were set-up to allow users to sign up at any point over the campaign period and receive the full story.;Campaign Description;We created our own drama told entirely on WhatsApp in collaboration with one South Africa's top TV drama writers. The audience followed the fictional Langa family from Soweto's WhatsApp group. Messages were delivered (via broadcast lists) to the audience in real-time as if the family were having a genuine conversation in texts, emojis, images, voice notes and videos.;The story showed how tradition and modern life clashed as the family's relationships were tested by lack of money to bury their father according to all of their wishes. Many of themes explored would be very familiar to South Africa's emerging middle-class consumers such as: the financial burden falling on younger generations, the importance of traditional values and the differences between generations.;All the characters, locations and situations were created by extensive research (following a similar process to developing a TV show).