Best viral campaign
Were you able to leverage a social media channel to make your campaign go viral? Did the buzz that your campaign received create a stronger connection with your consumers or significantly increase ROI?
Overview: In 2010, Lionsgate film company teamed up with digital agency The Visionaire Group to promote the August 27 release of the horror film The Last Exorcism. The team creatively leveraged Chatroulette, a website that allowed random strangers around the world to video chat with each other. Usually the site is off‐limits to marketers due to its frequently graphic adult nature. The Last Exorcism Chatroulette reaction video campaign utilized an actress, a green screen, special effects editing, and special programming to swap out the webcam feed for a video loop. Users thought they were video chatting with a cute girl who was teasingly unbuttoning her blouse, but then she suddenly turn into a demonic presence. The Chatroulette users’ entertaining reactions of fear and surprise were captured and then disseminated on YouTube and other social networking sites.
Impact: A YouTube video showing the “best of” Chatroulette users’ reactions to the movie effect received more than 1 million views within 72 hours of being posted online.
Overview: Doritos Canada, a brand of Frito‐Lay, hired ad agency Proximity to help create a viral video campaign to encourage consumers to champion the brand and increase Doritos’ cultural footprint. The result was the Doritos Viralocity campaign, which asked consumers to pick a name for Doritos’ new “mystery flavor” chips and create a video explaining their choice. Videos were uploaded to DoritosViralocity.ca, where a custom algorithm was employed to track each submission’s digital footprint and award points accordingly. The bigger the footprint, the higher the score, and the better chance consumers had of winning up to $250,000. The videos, made available on Facebook, were also embeddable and shareable.
Impact: The consumer‐created Doritos Viralocity videos were viewed a total of more than 8 million times by more than 843,000 unique visitors. The videos were embedded, shared, and bookmarked more than 660,000 times, received some 31,000 comments, “likes,” and Facebook wall posts, and generated a 95.5% unique visitor‐to‐Facebook‐fan conversion. The campaign earned the #1 spot on the AdAge Viral Video Chart three weeks in a row and was the #1 most viewed YouTube Sponsor Channel worldwide for March 2010. Sales went up 24%.
Overview: Discount department store Daffy’s worked with ad agency Johannes Leonardo to create a campaign that would capture young professionals’ attention. The agency took an image that was too explicit for use in traditional media, cut it into 40 pieces, and posted the pieces as ads in subway stations around New York City along routes that the target demographic would use to commute to work. The photo showed a female and male model positioned provocatively in a bedroom, clothes‐less, their outfits strewn on the floor, and the slogan “More Bang Less Buck.” The puzzle‐piece ads included a cryptic call to action, #undergroundpuzzle, that would entice its target demographic to put Daffy’s “unpublishable” image online. An Underground Puzzle Twitter account was set up to provide clues, images, and updates about the campaign. Although the campaign was set to run for a month, all of the puzzle pieces had been posted to Twitter within two weeks and the full image was released at that time. The final image was meta‐tagged with price details so consumers could roll over the image to get information about Daffy’s discounts.
Impact: The campaign garnered 100 million impressions in two weeks with a limited media budget of $5,000. All 40 images were found and uploaded to Twitter, reaching over 89,000 people via 102 tweets, in the first two weeks.
Overview: In late 2009, the Icelandic Tourist Board, now called Promote Iceland, hired the agency Takk Takk to launch a social media campaign promoting tourism to the country. The “Iceland Wants to Be Your Friend” campaign is based on the notion that “Iceland” is an anthropomorphic remote island in the middle of the Atlantic that has “discovered how to use the Internet” and wants to reach out to people. Although very friendly, “Iceland” doesn’t always understand how to relate to humans. The website IcelandWantsToBeYourFriend.com serves as an introduction point for the campaign, which is active on social media platforms that include Facebook, Twitter, Foursquare, Tumblr, Flickr, and Vimeo. One tweet reads, “My friends tell me I remind them of an old “Spice‐Man” on the Twitter. (I do not know what this means, but I am curious.)”
Impact: The campaign’s Facebook page has around 60,000 fans and receives high impression and feedback rates. The campaign team responds in Iceland’s quirky “voice” to 40 to 70 items per week that are posted by fans on the Facebook wall. The campaign’s Twitteraccount has more than 4,700 followers, and its non‐reply tweets are each clicked by 50 to 100 people. BNET called the campaign “a lesson in the aesthetic value of consistency, simplicity and friendliness” while Medias Sociaux said it’s “exemplary in terms of the simplicity and finesse of its approach.”