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父亲节
案例简介：描述活动/条目: 品牌电影内容 -- 长期以来承诺太多，但几乎没有任何注释 -- 终于找到了它的脚。有一系列的司机在领先。 最明显的是通信和屏幕技术的惊人进步。现在我们无缝地在一个 “我的媒体” 屏幕设计和另一个屏幕设计之间滑动。 内容营销最终提供了对在线编辑性质的共同理解，以及品牌内容在其中的潜在作用。内容营销意味着娱乐、信息和回报是推动品牌参与和销售的关键手段。一个好的电影故事，讲得好。 娱乐现在很重要。是的，我们正在网上观看更多的电影，但至关重要的是，质量也更高。想想 iPlayer 和 Netflix。当然，品牌也在追随。想想乐高或红牛。围绕所有权和发行的媒体模式正在被颠覆。品牌正在重新组织他们的媒体优先事项，从 “付费” 到 “拥有” 和 “授权”。像内容策展人这样的术语的当前使用标志着我们已经走了多远。 娱乐性品牌电影内容 -- 事实或戏剧 -- 最终成为命题、价值观和倡议的强大载体。 结果: 高影响力/高品质品牌剧。 全英国前列腺癌英国 “父亲节” 运动的目的是提高前列腺癌意识，让 “普通” 男性谈论它。 挑战是以一种强硬、有趣的方式向尽可能多的观众传达这一艰难的信息。 这场运动的重点是让公众对一部新的英国 “火把” 戏剧的明显发布感到兴奋，该剧由全明星阵容组成，包括雷 · 温斯顿、查尔斯 · 丹斯、约翰 · 西姆、塔姆辛 · 奥思韦特和尼尔 · 斯图克。 为了将前列腺癌的故事保密，启动了一项涉及国家新闻、电视和广播新闻的精心协调的公关倡议。3x 短片预告片在 ITV 和在线上分阶段发行，在 ITV4 (父亲节 2013) 的主要放映之前。 在整个预告活动中，以及主要电影叙事的前半部分，其含义是 “父亲节” 将是另一个漫长的耶稣受难节: 帮派正在重新团聚。其中一人最近去世了。另一个想要出去。紧张为大团圆建立。当他们最终见面时，事实证明他们并没有计划 “工作”。这是前列腺癌，他们都有共同之处，我们见证的会议是他们的支持小组。 该剧的情感叙事以他们的支持小组会议达到高潮。这里的角色分享他们的癌症经历和治疗。每个人都处于疾病的不同阶段，他们的每一个故事都揭示了疾病的不同方面。通过这部戏剧，我们了解了症状，患有这种疾病的感觉，以及它对患者及其家人的影响。 最重要的是，男性需要开始考虑前列腺癌，最重要的是，开始谈论它。 在 ITV4 主要广播 (父亲节 2013) 的前一周，预告片在 ITV 的编辑时段播放，宣传据称是一部主要的新剧。国家记者被要求一起玩，并播下了一部新的黄金时段抢劫惊悚片的想法。 传统的电视节目和海报新闻广告得到了 ITV 和英国前列腺癌在线资产的支持。最后，在主传输的前几天，著名剧组成员发布了推特，并出现在 ITV 日间节目中 (今天早上和洛林) 和国家新闻时段，以促进真正的项目 -- 提高对前列腺癌的认识的运动。 在 ITV4 播出的当晚 (2013 父亲节)，这部电影吸引了 450,000 观众。 总的来说，超过 500万人通过电视和在线参与了 ITV 预告片/编辑/新闻报道。 这部电影受到了观众的好评，并在媒体上获得了好评: “一部扭曲的迷你戏剧系列 -- 比好莱坞的大部分电影提供了更好的故事情节”。理查德 · 布鲁克斯 (星期日泰晤士报)。 对英国前列腺癌来说，这证明是一个巨大的成功。 经历过这场运动的人对慈善机构的普遍认识几乎翻了一番，从 33% 增加到 64%。英国前列腺癌网站的独特访问者增加了 260%。来自 Facebook 的推荐增加了 417%; 来自推特的推荐增加了 9,019%。捐赠给英国前列腺癌的数量增加了 249%。 前列腺癌英国将其列为 “有史以来最好的运动”。
父亲节
案例简介：Describe the campaign/entry: Brand film content – for so long promising much but delivering little of any note – is finally finding its feet. There’s a range of drivers that are leading the charge. Most obvious are the spectacular advances in both communications and screen technologies. Now we seamlessly slip between one ‘my media’ screen devise and another. And content marketing at last provides a common understanding of the editorial nature of online, and the potential role of brand content within it. Content marketing means entertaining, informative and rewarding are the key means to drive brand engagement and sales. A good film story, well told. Entertainment is at a premium right now. Yes, we’re watching more film online, but crucially, of a higher quality too. Think iPlayer and Netflix. Naturally, brands are following. Think Lego or Redbull. Media models around ownership and distribution are being turned on their heads. Brands are re-organising their media priorities from ‘paid for’ towards ‘owned’ and ‘earned’. And current use of a term like content curator is a mark of how far we have come. Entertaining brand film content – factual or drama – is at last emerging as a powerful conveyor of propositions, values and initiatives. Results: High impact / high quality brand drama. The aim of the UK wide Prostate Cancer UK’s ‘Father’s Day’ campaign was to increase Prostate Cancer awareness and get ‘ordinary’ men talking about it. The challenge was to get this difficult message to as large an audience as possible in a hard-hitting, entertaining way. The campaign focused on exciting the public about the apparent release of a new British ‘heist’ drama, featuring an all star cast, including Ray Winstone, Charles Dance, John Simm, Tamsin Outhwaite and Neil Stuke. Keeping the Prostate Cancer story under wraps, a carefully co-ordinated PR initiative involving the national press, television and radio news was launched. 3 x short movie trailers were produced for phased release on ITV and online, prior to the film’s main transmission on ITV4 (Father’s Day 2013). Throughout the teaser campaign, and the first half of the main film narrative, the implication was that ‘Father’s Day’ was going to be another Long Good Friday: the gang is getting back together. One of them has recently died. And another wants out. Tension builds for the big reunion. When they eventually meet, it turns out they are not planning ‘a job’. It’s Prostate Cancer they all have in common, and the meeting we witness is their support group. The drama’s emotional narrative culminates with their support group meeting. Here the characters share their cancer experiences and their treatment. Each is at a different stage of the illness and each of their stories reveals a different aspect of the disease. Through the drama, we learn about symptoms, what it’s like living with the disease, and its impact on sufferers and their families. The take out message is that men need to start thinking about prostate cancer and, most importantly, start talking about it. In the week prior to the main ITV4 broadcast (Father’s Day 2013), trailers played out across ITV editorial slots, promoting what purported to be a major new drama. National journalists were asked to play along, and seeded the idea of a new prime-time heist thriller. Conventional TV spots and poster press ads were supported by ITV and Prostate Cancer UK’s online assets. Finally, in the days ahead of the main transmission, prominent cast members posted tweets and appeared on ITV daytime shows (This Morning & Lorraine) and national news slots to promote the genuine project – a campaign to raise awareness about prostate cancer. On the night of the ITV4 broadcast (Father’s Day 2013) the film reached an audience of 450,000. Overall, more than 5 million people engaged through TV & online with the ITV trailer / editorial / news coverage. The film was well received by viewers and received critical acclaim in the press: “A mini drama series with a twist – and offers a better story line than much of Hollywood”. Richard Brooks (Sunday Times). For Prostate Cancer UK, it proved a huge success. General awareness of the charity almost doubled among those who experienced the campaign, increasing from 33% to 64%. Unique visitors across Prostate Cancer UK’s website increased by 260%. Referrals from Facebook were up 1, 417%; and referrals from Twitter were up by 9,019%. The number of donations to Prostate Cancer UK increased by 249%. Prostate Cancer UK labelled it their ‘best campaign ever’.
FATHER'S DAY
案例简介：描述活动/条目: 品牌电影内容 -- 长期以来承诺太多，但几乎没有任何注释 -- 终于找到了它的脚。有一系列的司机在领先。 最明显的是通信和屏幕技术的惊人进步。现在我们无缝地在一个 “我的媒体” 屏幕设计和另一个屏幕设计之间滑动。 内容营销最终提供了对在线编辑性质的共同理解，以及品牌内容在其中的潜在作用。内容营销意味着娱乐、信息和回报是推动品牌参与和销售的关键手段。一个好的电影故事，讲得好。 娱乐现在很重要。是的，我们正在网上观看更多的电影，但至关重要的是，质量也更高。想想 iPlayer 和 Netflix。当然，品牌也在追随。想想乐高或红牛。围绕所有权和发行的媒体模式正在被颠覆。品牌正在重新组织他们的媒体优先事项，从 “付费” 到 “拥有” 和 “授权”。像内容策展人这样的术语的当前使用标志着我们已经走了多远。 娱乐性品牌电影内容 -- 事实或戏剧 -- 最终成为命题、价值观和倡议的强大载体。 结果: 高影响力/高品质品牌剧。 全英国前列腺癌英国 “父亲节” 运动的目的是提高前列腺癌意识，让 “普通” 男性谈论它。 挑战是以一种强硬、有趣的方式向尽可能多的观众传达这一艰难的信息。 这场运动的重点是让公众对一部新的英国 “火把” 戏剧的明显发布感到兴奋，该剧由全明星阵容组成，包括雷 · 温斯顿、查尔斯 · 丹斯、约翰 · 西姆、塔姆辛 · 奥思韦特和尼尔 · 斯图克。 为了将前列腺癌的故事保密，启动了一项涉及国家新闻、电视和广播新闻的精心协调的公关倡议。3x 短片预告片在 ITV 和在线上分阶段发行，在 ITV4 (父亲节 2013) 的主要放映之前。 在整个预告活动中，以及主要电影叙事的前半部分，其含义是 “父亲节” 将是另一个漫长的耶稣受难节: 帮派正在重新团聚。其中一人最近去世了。另一个想要出去。紧张为大团圆建立。当他们最终见面时，事实证明他们并没有计划 “工作”。这是前列腺癌，他们都有共同之处，我们见证的会议是他们的支持小组。 该剧的情感叙事以他们的支持小组会议达到高潮。这里的角色分享他们的癌症经历和治疗。每个人都处于疾病的不同阶段，他们的每一个故事都揭示了疾病的不同方面。通过这部戏剧，我们了解了症状，患有这种疾病的感觉，以及它对患者及其家人的影响。 最重要的是，男性需要开始考虑前列腺癌，最重要的是，开始谈论它。 在 ITV4 主要广播 (父亲节 2013) 的前一周，预告片在 ITV 的编辑时段播放，宣传据称是一部主要的新剧。国家记者被要求一起玩，并播下了一部新的黄金时段抢劫惊悚片的想法。 传统的电视节目和海报新闻广告得到了 ITV 和英国前列腺癌在线资产的支持。最后，在主传输的前几天，著名剧组成员发布了推特，并出现在 ITV 日间节目中 (今天早上和洛林) 和国家新闻时段，以促进真正的项目 -- 提高对前列腺癌的认识的运动。 在 ITV4 播出的当晚 (2013 父亲节)，这部电影吸引了 450,000 观众。 总的来说，超过 500万人通过电视和在线参与了 ITV 预告片/编辑/新闻报道。 这部电影受到了观众的好评，并在媒体上获得了好评: “一部扭曲的迷你戏剧系列 -- 比好莱坞的大部分电影提供了更好的故事情节”。理查德 · 布鲁克斯 (星期日泰晤士报)。 对英国前列腺癌来说，这证明是一个巨大的成功。 经历过这场运动的人对慈善机构的普遍认识几乎翻了一番，从 33% 增加到 64%。英国前列腺癌网站的独特访问者增加了 260%。来自 Facebook 的推荐增加了 417%; 来自推特的推荐增加了 9,019%。捐赠给英国前列腺癌的数量增加了 249%。 前列腺癌英国将其列为 “有史以来最好的运动”。
FATHER'S DAY
案例简介：Describe the campaign/entry: Brand film content – for so long promising much but delivering little of any note – is finally finding its feet. There’s a range of drivers that are leading the charge. Most obvious are the spectacular advances in both communications and screen technologies. Now we seamlessly slip between one ‘my media’ screen devise and another. And content marketing at last provides a common understanding of the editorial nature of online, and the potential role of brand content within it. Content marketing means entertaining, informative and rewarding are the key means to drive brand engagement and sales. A good film story, well told. Entertainment is at a premium right now. Yes, we’re watching more film online, but crucially, of a higher quality too. Think iPlayer and Netflix. Naturally, brands are following. Think Lego or Redbull. Media models around ownership and distribution are being turned on their heads. Brands are re-organising their media priorities from ‘paid for’ towards ‘owned’ and ‘earned’. And current use of a term like content curator is a mark of how far we have come. Entertaining brand film content – factual or drama – is at last emerging as a powerful conveyor of propositions, values and initiatives. Results: High impact / high quality brand drama. The aim of the UK wide Prostate Cancer UK’s ‘Father’s Day’ campaign was to increase Prostate Cancer awareness and get ‘ordinary’ men talking about it. The challenge was to get this difficult message to as large an audience as possible in a hard-hitting, entertaining way. The campaign focused on exciting the public about the apparent release of a new British ‘heist’ drama, featuring an all star cast, including Ray Winstone, Charles Dance, John Simm, Tamsin Outhwaite and Neil Stuke. Keeping the Prostate Cancer story under wraps, a carefully co-ordinated PR initiative involving the national press, television and radio news was launched. 3 x short movie trailers were produced for phased release on ITV and online, prior to the film’s main transmission on ITV4 (Father’s Day 2013). Throughout the teaser campaign, and the first half of the main film narrative, the implication was that ‘Father’s Day’ was going to be another Long Good Friday: the gang is getting back together. One of them has recently died. And another wants out. Tension builds for the big reunion. When they eventually meet, it turns out they are not planning ‘a job’. It’s Prostate Cancer they all have in common, and the meeting we witness is their support group. The drama’s emotional narrative culminates with their support group meeting. Here the characters share their cancer experiences and their treatment. Each is at a different stage of the illness and each of their stories reveals a different aspect of the disease. Through the drama, we learn about symptoms, what it’s like living with the disease, and its impact on sufferers and their families. The take out message is that men need to start thinking about prostate cancer and, most importantly, start talking about it. In the week prior to the main ITV4 broadcast (Father’s Day 2013), trailers played out across ITV editorial slots, promoting what purported to be a major new drama. National journalists were asked to play along, and seeded the idea of a new prime-time heist thriller. Conventional TV spots and poster press ads were supported by ITV and Prostate Cancer UK’s online assets. Finally, in the days ahead of the main transmission, prominent cast members posted tweets and appeared on ITV daytime shows (This Morning & Lorraine) and national news slots to promote the genuine project – a campaign to raise awareness about prostate cancer. On the night of the ITV4 broadcast (Father’s Day 2013) the film reached an audience of 450,000. Overall, more than 5 million people engaged through TV & online with the ITV trailer / editorial / news coverage. The film was well received by viewers and received critical acclaim in the press: “A mini drama series with a twist – and offers a better story line than much of Hollywood”. Richard Brooks (Sunday Times). For Prostate Cancer UK, it proved a huge success. General awareness of the charity almost doubled among those who experienced the campaign, increasing from 33% to 64%. Unique visitors across Prostate Cancer UK’s website increased by 260%. Referrals from Facebook were up 1, 417%; and referrals from Twitter were up by 9,019%. The number of donations to Prostate Cancer UK increased by 249%. Prostate Cancer UK labelled it their ‘best campaign ever’.
父亲节
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FATHER'S DAY
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