CASE 1 33Figure 1.7 Division of total video views across websitesreveal the feature-length version → offer ‘DVD’ extras for
those who want to engage more deeply).
In phase 1, teaser stories from the embedded journalists
in Sandwich were in the papers the very next day. And just
24 hours later, ten-second teaser adverts were broadcast
on TV and released online, creating the opportunity for
viewers exposed to both the news stories and the adverts to
connect the dots. After just a further five days, the reveal
phase began, with full feature stories in the press and the
release of a 60-second advert, again on TV and online. The
extend phase then comprised the steady release of 26 pieces
of video content across the Web, and housed on the cam-
paign’s YouTube channel, which functioned as the content
hub. Catering for audience members who seek a deeper
level of engagement, the content was also made available
on an immersive website at walkers.co.uk. The site featured
a 3-D town of Sandwich, within which the content could be
discovered. All the TV ads pointed to the website; all the
online videos linked to the YouTube channel content hub.
The campaign was conceived with PR-’ability’ at its
heart. There was a high degree of both integration and
synchronisation between it and the other channels used.
Throughout the phases, PR collateral ran across print,
online and broadcast news media, and comprised event
features, profile pieces and bespoke daily webisodes from
behind the scenes. Involving a cross-section of talent
allowed the team to tap into a vast range of publications
catering to different passions, e.g. sport and music.
‘Online’ encompasses a bundle of channels all by itself,
and required a sub-set of principles. The team leaned
towards a decentralised approach to content release, seed-
ing the videos widely and encouraging their free circulation
around the Web. Particular videos were, however, focused
towards the relevant communities, for instance those pas-
sionate about football got more of the videos featuring
Frank Lampard. The resulting appreciation and advocacy
from JLS’s fan base was especially strong. The majority ofthe total video views actually came from the long tail of
small video-hosting sites that were seeded to, not from
YouTube ( Figure 1.7 ).
Supplementing the above seeding approach, the team
used paid rich media display to boost the reach of the videos,
and got the celebrities to point their Twitter fans in the
direction of the campaign’s YouTube content hub, to see them
surprising the Sandwich locals. The team also benefited
from indirect reach (earned media) both instantly and as
the campaign progressed, the latter because of the general
sharing of the videos amongst friends, the former because
some of the Sandwich locals shared user-generated photos
and videos on Facebook directly from their mobile phones,
and because of the work of the on-site social media team,
who were posting photos and starting conversations from
the word ‘go’.
Figure 1.8 summarises the activities under each phase.
Figure 1.9 shows the 360° integrated marketing commu-
nications logic behind the campaign.
A short video summary of the campaign can be viewed at
http://digital.151awards.com/awards/WalkersSandwich/
Assets/AH107542_Walkers_Sandwich_CYBER_B01.mov.Results
The campaign turned out to be very successful in many
respects and engaged all the target groups of the campaign.
The Great British public:
z ranked third in Adwatch, with a modest TV spend of
£960 000;
z 80% ‘ enjoyed watching it a lot ’ (Millward Brown post-test,
vs UK norm of 65%);
z the campaign channel was the most popular sponsored
channel on YouTube throughout March (YouTube);
z the campaign resulted in 1.7 million complete video
views, equivalent to 3.3 million minutes in viewing time.M01_PELS3221_05_SE_C01.indd 33M01_PELS3221_05_SE_C01.indd 33 5/28/13 11:09 AM5/28/13 11:09 AM