Coca-Cola Light has been the official partner of San Sebastian’s Film Festival. For the 60th anniversary of the Festival, Coca-Cola Light developed an audiovisual project of the band MARLANGO. It was a piece which was halfway between cinema and music, filmed in cinema format. It was titled “Los sueños de Ulma” (Ulma´s dreams). Many Spanish film personalities participated in the film, such us Maribel Verdú and Juan Diego Boto, among others.
Coca-Cola Light has shown its support for people who take a stand for what they believe, who demonstrate their own personality, who really enjoy what they do and who give to it their own personal touch. That is why Posterscope looked to emphasise Coca-Cola Light´s unique and creative character.
The objective was to communicate and activate the launch of an innovative project that Coca-Cola created with some Spanish actors. It created engagement around the film launch, connecting with and surprising the target audience. This audience is predisposed to find new innovate advertising formats, generating views and sharing information. All of that with a proposal which created value and represented the values and positioning of the brand, connecting the media so that OOH would work as a loudspeaker and digital as the channel where the contents would flow and would be shared.
To develop convergent activity, which would make it easier for the consumer to interact with the brand: Using the owned media (website and social networks) to generate strong social noise and positive feelings in the net and in earned media too? Posterscope was looking to generate a high repercussion, high buzz of action and liquidity between different media.
The strategy was to create an emotional connection through art and technology in the hotspots with our target audience and connecting through the media to achieve the most views, repercussion and engagement.
The target was adults between 30 and 39 years old, culturally concerned, trendy and innovators. The brand was talking to a consumer interested in art and culture, looking for new experiences. They are heavy users of new technologies, which will surprise them. That is why Posterscope created a QR Art, making its communication into an artwork. Using a 1.5 x 1.5m canvas, Posterscope drew with actual Coca-Cola Light bottle caps a QR code. It showed these artworks in some art galleries, those that were most appealing to the target audience in Madrid, Barcelona and San Sebastián. These actions provided repercussion, media coverage and efficiency to the strategy.
The QR code was connected to “Los sueños de Ulma”. The art galleries’ visitors (target audience), could find exclusive content by focusing their smartphones on the canvas. This exclusive content included ‘making-of’ videos, actors interviews, teasers of the film… and later, after the launch, they could download, view and share the clip. It amplifies Coca-Cola Light´s message, creating a new story, where the lead actor is the consumer and tells the story again and again.
Posterscope showed the QR Art as the rest of artworks in 11 art galleries in Madrid, Barcelona and San Sebastián (Festival´s host). It carefully selected the art galleries space in these cities. The agency studied the nature of these spaces, but also the distribution of the spaces where the QR Art could be showed to obtain the maximum visibility, impact and media coverage, and to obtain the highest audience, studied the affluence of the target to the art galleries.
It used two ways to let the people know where the QR Art would be exposed:
- Using Coca-Cola Light´s social network to direct the audience (Owned Media)
- Affixing some vinyl posters in the shop window to direct the audience into the art galleries.
In the artwork´s signature were instructions on how to download the app in order to use the QR Art. By scanning the QR code the user could access the premiere to the clip MARLANGO, which were exclusive for the San Sebastián’s Festival 2012. After the launch of the film, they could download it.
The results of the campaign demonstrated the efficacy in terms of buzz, impact and media coverage in both online and offline media. At the end, the campaign resulted in nearly three and a half million impacts: more than 1,680,000 impacts on conventional press, 1,265,640 impacts on digital press and 46,185 impacts on blogs.
The QR Art was scanned 5,420 times, with 447,100 impacts on Twitter.
The economic conversion of these results is close to €85,000 ($116,000). Once more, the campaign demonstrated that when the content is appealing to the target, they become the best influencer, as they interact with and talk about the brand, getting a high engagement return.