Cochlear Film, Digital, Case study The Hearing Test In Disguise [image] by CHE Proximity Australia

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The Hearing Test In Disguise [image]

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Industry Health & Pharmaceutical Products
Media Film, Digital, Interactive & Mobile, Case study
Market Australia
Agency CHE Proximity Australia
Executive Creative Director Ant White
Creative Director Ben Stainlay
Junior Art Director Jake Blood
Junior Copywriter Anne Laure Naumowicz
Production Revolver/Will Orourke
Released October 2016

Awards

Cannes Lions 2017
Cyber Online Video: Brand/Product Video Silver Lion
Cyber Web Platforms: Microsite Bronze Lion

Credits & Description

Title: The Hearing Test In Disguise
Agency: Che Proximity
Brand: Cochlear
Country: Australia
Entrant Company: Che Proximity, Sydney
Advertising Agency: Che Proximity, Sydney
Media Agency: Che Proximity, Sydney
Pr Agency: Che Proximity, Sydney
Production Company: Revolver/Will Orourke, Sydney / Noise International, Sydney
Executive Creative Director: Ant White (Che Proximity)
Group Creative Director: Brian Jefferson (Che Proximity)
Creative Director: Ben Stainlay (Che Proximity)
Junior Art Director: Jake Blood (Che Proximity)
Junior Copywriter: Anne Lau (Che Proximity)
Ceo: Chris Howatson (Che Proximity)
Managing Partner: David Halter (Che Proximity)
Group Account Director: Marianna Rice (Che Proximity)
Senior Account Manager: Alice Jamieson (Che Proximity)
Account Executive: Harry Manion (Che Proximity)
Junior Planner: Hannah Garcia (Che Proximity)
Head Of Investment: Daniel Bradley (Che Proximity)
Head Of Programmatic & Data Partnerships: Cameron Dinnie (Che Proximity)
Strategic Planner: Lily Tidy (Che Proximity)
Executive Producer: Tori Taylor (Che Proximity)
Senior Tv Producer: Jen Livingston (Che Proximity)
Digital Products Director: Jamie Metcalfe (Che Proximity)
Digital Producer: Blair Patterson (Che Proximity)
Chief Operating Officer: Andrew Drougas (Che Proximity)
All: Everyone (Pr Edge)
Screenwriter / Director: Pete Baker (The Glue Society)
Managing Director / Ep: Michael Ritchie (Revolver / Will Orourke)
Ep / Head Of Projects: Josh Mullens (Revolver / Will Orourke)
Producer: Jasmin Helliar (Che Proximity)
Dop: Stefan Duscio (Revolver / Will Orourke)
Editor: Philip Horn (Revolver / Will Orourke)
Production Manager: Erin Maxwell (Noise International)
Sound Designer: Kathleen Burrows (Noise International)
Composer: Bruce Heald (Noise International)
Senior Experience Strategist: Olivia Scott (Che Proximity)
Campaign Description:
Based on the insight that people with hearing loss are in denial, we developed a way to test their hearing, without them knowing.‘Does Love Last Forever?’ is a short film with two different endings, depending on the viewer’s hearing ability. It’s a hearing test in disguise.The film follows a couple’s relationship over four decades, and poses the question “Did love last?” For those who can hear well, their relationship remains loving. But the film is scripted and produced in such a way that people with a hearing problem perceive the relationship to deteriorate. The beauty of the idea lies in the parallel between the perceived deterioration of the on-screen relationship by hearing loss sufferers, and the growing disconnect they may be experiencing in their own life, due to hearing loss. This subtle reminder demonstrates the effects of a condition that they may have refused to admit.
Outcome:
We turned the hearing test on its head, disrupting the ambivalence of our audience and inspiring them to action. Results in the first 9 weeks:-Tested over 90,000 Australian’s hearing in the first 9 weeks – people who normally may have not been tested-Leading to 6,000 taking a further hearing assessment-103,000 visitors to the microsite, with a bounce rate of only 3%-Average time on page is 14 minutes, demonstrating high engagement-Provided a platform for those with a hearing issue to connect with Cochlear for a free consultation to commence their long path to rediscovering their hearing. This fulfilled our key commercial objective of filling Cochlear’s sales funnel with 437 highly engaged, high value leads. -The campaign has resulted in a Return Ratio of 25:1
Strategy:
Direct to consumer:Cochlear had traditionally focused their efforts on communicating to hearing professionals and audiologists, seeking recommendation as opposed to request. However, as consumers are not actively visiting hearing professionals and hearing professionals are becoming less influential in brand choice, we needed to make a bold strategic leap and go directly to the consumer. Disrupt the denial:85% of hearing loss sufferers were denying their symptoms. Considering this behavioural barrier, it was clear that we couldn’t just tell people they had a problem, we had to demonstrate it.Data informed all aspects:Patient data and research revealed the coping mechanisms (eg avoiding busy restaurants, turning up the TV volume) and the sounds and environments people with hearing loss find difficult (eg background noises, words with consonants such as T, S, noisy restaurants). These insights from the data were worked into every aspect of the production.
Synopsis:
Australia is in the midst of a silent epidemic. 3.5 million people are living with some form of hearing loss, however 85% do nothing about it. As the global leader in implantable hearing solutions, Cochlear’s biggest competitor is not a rival brand – it is the inaction of their potential customers. Many are in denial; others simply dismiss it as part of ‘growing old’. Untreated sufferers isolate themselves from social situations, losing connection with loved ones and face an increased likelihood of developing depression.It is against this backdrop that Cochlear decided to launch their first major consumer facing campaign, aiming to: -Raise awareness of the prevalence of hearing loss and get the nation talking about it-Encourage action amongst those who are in denial-Connect sufferers with Cochlear for a consultation, providing the platform to begin their path to rediscovering their hearing.
Execution:
Script, direction and sound design were all carefully orchestrated to create two different endings, depending on the viewer’s hearing ability. Working with audiologists to analyse patient audiograms, we developed hearing profiles that showed what would or wouldn’t be picked up at varying levels of hearing loss. We used this knowledge to develop a script that was considered across all levels of hearing loss (mild, medium and severe), mapping out which words would be harder to hear. Performances were choreographed to be interpreted negatively and the ability to lip read was taken away. Scenes with higher instances of background noise were selected, which people with hearing loss find difficult. The film was the beginning of a complex digital journey to evaluate the hearing ability of users, flag potential issues and lead them to recovery. Users were driven to our site to take a further hearing assessment, quantifying their hearing ability.