Football Federation Of Australia (ffa) DM 2010 FIFA WORLD CUP QUALIFIERS by 303Lowe Sydney

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Industry Sports Teams & Events
Media Direct marketing
Market Australia
Agency 303Lowe Sydney
Director Scott Otto Anderson
Executive Creative Director Dave Johnson
Art Director Dave Gibson
Copywriter Nathan Lennon
Released March 2009


Caples Awards 2009
Campaigns Integrated campaign Gold

Credits & Description

Category: Direct Response Digital: E-commerce, Online Advertising, Brand Awareness & Social Media
Date of First Appearance: Mar 9 2009 12:00AM
Entry URL:
Executive Creative Director: Dave Johnson (Lowe Sydney)
Art Director: Dave Gibson (Lowe Sydney)
Copywriter: Nathan Lennon (Lowe Sydney)
Agency Producer: Lisa Brown (Lowe Sydney)
Group Account Director: Nathan Quailey (Lowe Sydney)
Senior Account Manager: Guy Lovell (Lowe Sydney)
Digital Producer: Karim Hadid (Lowe Sydney)
Director: Scott Otto Anderson (Photoplay Films)
Director of Photography/Producer: Oliver Lawrance (Photoplay Films)
Visual Effects: Fuel VFX (Fuel VFX)
Sound Design: Simon Lister (Nylon)
Senior Manager, Marketing: Peter Jarmain (Football Federation Australia)
Media placement: Viral Film Campaign - YouTube (Linked From Various Blogs, EDMs, Facebook Pages) - 9 March 2009
Describe the brief/objective of the direct campaign.
BRIEF:Sell tickets to Australia’s upcoming series of World Cup qualification matches against Uzbekistan, Bahrain and Japan.TARGET:They weren’t fanatical football fans but rather a broader group of sports-loving Australians, who are fickle when it comes to deciding what matches they go to; rather only buying tickets to do-or-die games. STRATEGY:Australia was on top of the group table and most had assumed we were as good as qualified. So without the promise of a do-or-die clash, how were we supposed to get people filing through the turnstiles? Make them think we stood a good chance of losing.
Explain why the creative execution was relevant to the product or service.
We were obviously looking to promote the series by garnering as much attention as possible, and it was our unusual approach in focusing all the attention on the opposition (rather than hero-ing Australia), which enabled us to create a captivating story, which the public and media picked up and helped catapult beyond its spend. This laid the foundation to create a strong direct response campaign, encouraging people to buy tickets to games.Further to this, anything that creates positive awareness of football in Australia is valued by the FFA, currently driving Australia’s bid to host the 2018 FIFA World Cup.
Describe the creative solution to the brief/objective with reference to the projected response rates and desired outcome.
We seeded a series of films online (via EDMs, fan blogs and Facebook pages of the opposing teams’ fans) showing the opposition taking onboard extreme and bizarre training methods, resulting in a showcase of incredible newfound football skills. Each film had a specific call-to-action, which came across as provoking messages from opposition’s fans.The popularity and friction caused by our digital element successfully laid the platform for us release a direct retail response campaign on TV and radio, positioned under the premise, QUALIFICATION JUST GOT HARDER. This further encouraged the Australian public to show their support by buying tickets.
Describe the results in as much detail as possible with particular reference to the RESPONSE of the target audience including deliverability statistics, response rates, click throughs, sales cost per response, relationships built and overall return on investment.
The online (viral) films pulled in over 1.2 million hits, and along with the direct retail response campaign we were able to generate invaluable PR through national news and sports programs on TV.Australia qualified before the final two matches, yet we still managed to sell 170,000 tickets for the three game series.