LOST VI. THE KEY TO THE ENIGMA by Publicis Sao Paulo for Sony Entertainment Television

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LOST VI. THE KEY TO THE ENIGMA

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Industry TV Channels/Radio Stations and Programmes
Media Promo & PR
Market Brazil
Agency Publicis Sao Paulo
Creative Director Hugo Rodrigues, Kevin Zung
Art Director Sidney Araujo
Copywriter Marcelo Jun Sato
Photographer Pedro Dimitrow
Illustrator Alexandre Calvin, Marclo Moura E Daniel Leão Guerriero
Released January 2010

Credits & Description

Category: Ambient Promotion: Small Scale
Advertiser: SONY ENTERTAINMENT TELEVISION
Product/Service: TV SERIES
Agency: PUBLICIS BRASIL
Date of First Appearance: Jan 20 2010 12:00AM
Entrant Company: PUBLICIS BRASIL, Sao Paulo, BRAZIL
Creative Director: Hugo Rodrigues (Publicis Brasil)
Creative Director: Kevin Zung (Publicis Brasil)
Copywriter: Marcelo Sato (Publicis Brasil)
Art Director: Sidney Araújo (Publicis Brasil)
Account Executive: Elaine Elias (Publicis Brasil)
Account Executive: Paula Malvezzi (Publicis Brasil)
Art Buyer: Selma Momosse (Publicis Brasil)
Production: Rita Vilarim (Publicis Brasil)
Production: Marcelo Teixeira (Publicis Brasil)
Production: Flávio Zamboni (Publicis Brasil)
Photographer: Pedro Dimitrow
Illustrator: Daniel Leão
Illustrator: Alexandre Calvin
Media placement: Adcards And Posters - Bars, Restaurants And Art Galleries - 20 January 2010

Describe the objective of the promotion.
Recover the audience for the Lost TV series for the launch of its final season.

Describe how the promotion developed from concept to implementation
A new image was created of the island, containing all of the unsolved mysteries from previous seasons. Promotional actions ensured the image reached the public. Adcards with pieces of the image were distributed in bars and restaurants, causing fans to collect them all and complete the image. The complete image was displayed in one of the most important art galleries in Brazil – Romero Britto. Posters with the image were given to fans. It appeared in various blogs in Brazil (and in the world), sites, and the channel’s twitter gave clues on where to find the missing pieces.

Describe the success of the promotion with both client and consumer including some quantifiable results
Merely 3 hours after going on air, it was in over 50 sites and 280 blogs related to the series. The quest for 'pieces' was intense, generating an information exchange in Twitter and social networking sites. Art publications published the image’s exposition in Romero Britto’s gallery. Specialised vehicles praised the innovative media strategy. It was considered by the series’ producers Carlton Cuse and Damon Lindeloff as the best campaign ever created for Lost in the world. At the start of its last season, Lost was leader in 25 Pay-TV targets. The audience for the sixth season was 65% larger than the previous season.

Explain why the method of promotion was most relevant to the product or service
For Lost fans, who are addicted to the series and get involved in fan clubs and discussion forums to trade information, nothing could be better than to receive a promotional piece which is also a collectible object of desire. The adcards and the poster played that role. And, in the case of the adcards, played it in an even more entertaining manner, interacting with fans, who seeked out information in the Internet and visited different bars and restaurants to be able to put together the pieces of the puzzle.