Universal Studios Case study REACTIONS CAMPAIGN by David&Goliath

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REACTIONS CAMPAIGN

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Industry Records & Cinema Production
Media Case study
Market United States
Agency David&Goliath
Director Christian Loubek
Executive Creative Director Colin Jeffery
Creative Director Steve Yee, Ben Purcell
Art Director Bryan Carroll, Ben Salas
Copywriter Aroon Mukhey, Justin Bajan
Producer Carrie Lighthall
Account Supervisor Megan Mcdonnell
Editor Adam Bright
Released June 2010

Credits & Description

Category: Titanium and Integrated
Advertiser: UNIVERSAL STUDIOS HOLLYWOOD
Product/Service: KING KONG 360 3D
Agency: DAVIDANDGOLIATH
Date of First Appearance: May 23 2010
Chief Creative Officer: David Angelo (David&Goliath)
Executive Creative Director: Colin Jeffery (David&Goliath)
Creative Director: Ben Purcell (David&Goliath)
Creative Director: Steve Yee (David&Goliath)
Art Director: Ben Salas (David&Goliath)
Copywriter: Justin Bajan (David&Goliath)
Art Director: Bryan Carroll (David&Goliath)
Copywriter: Aroon Mukhey (David&Goliath)
Executive Producer: Carol Lombard (David&Goliath)
Producer: Carrie Lighthall (David&Goliath)
Director: Christian Loubek (Anonymous Content)
Executive Producer: Dave Morrison (Anonymous Content)
Editor: Adam Bright (Spinach)
Director of Print Services: Meredith Ball (David&Goliath)
: John Alcorn (Photographer)
Media Consultant: Aiellen Shaw (GranDesign)
Media Consultant: Ari Chasan (GranDesign)
Account Director: Jessica Halter Powell (David&Goliath)
Account Supervisor: Megan McDonnell (David&Goliath)
Media placement: Ambient - 2 Spots - Dodgers Stadium, Santa Monica Beach - 25 May 2010
Media placement: Television - NBCLA - 12 June 2010
Media placement: OOH - Clear Channel, CBS, JC Decaux - 12 June 2010

Describe the campaign/entry
Our approach for King Kong was not to market it as simply a ride, but rather to treat it as an immersive, intense, real world experience. We wanted people to feel as if a destructive and intimidating King Kong had entered their world and was more real than ever. In order to do this, we created a series of stunts at iconic Los Angeles landmarks. At Santa Monica Beach we hired sand sculptors to show up at midnight and create giant footprints along the beach. The buzz continued as footprints were next discovered at dodger stadium. The prints trampled the field and left the outfield in ruins. In addition, tossed smoking vehicles were discovered around Hollywood as the impact was felt around the city.

Describe how the campaign/entry was launched across each channel in the order of implementation
We kicked off the Kong Campaign in a big way, with non-traditional ambient stunts at Dodgers Stadium and Santa Monica beach. This garnered media attention from news stations, extending the campaign's reach in free media impressions to a broad audience. By toying with the viewers reality we started asking questions that were finally answered a few weeks later by the release of the :60 Television Spot. Only in the last few frames do we catch a glimpse of the thing causing all this chaos, King Kong. We followed up with a series of Out of Home billboards designed to bring home the original ideas of questioned reality set forth in the Ambient Stunts.

Give some idea of how successful this campaign/entry was with both client and consumer
We reached 5 million guests in 2010, marking the single largest attendance since Jurassic Park (1996) and the fourth largest annual attendance in USH history. With the launch of KK 360 3-D, summer attendance increased by 27%, international attendance increased by 29%, and local guest visits increased by 46%. A USH in-park survey conducted at the end of June showed that 41% of USH guests were already aware of the new attraction prior to visit. Among guests aware, 31% cited TV as the largest source of awareness.

The beach stunt garnered national TV coverage by over 62 stations, extending the campaign’s reach in free media impressions to an even broader audience Non-traditional approach extended reach and, thus, awareness without spending a ton.