Smirnoff Publicidad exterior, Digital, Case study THE SMIRNOFF NIGHT PROJECT Special Group NZ

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Sector Vodka
Media Ambiente, Digital, Case study
Mercado Nueva Zelanda
Agencia Special Group NZ
Director Joel Kefali Of Special Problems
Creative Director Tony Bradbourne, Rob Jack
Creative Kim Fraser
Producer Fiona Champtaloup, Amber Easby
Editor Julian Currin
Publicado junio 2011


Cannes Lions 2012
Branded content & entertaiment lions Best use or integration of experiential events Bronze

Creditos y descripciones

Type of entry: Branded Entertainment
Category: Best use or integration of experiential events
Advertiser: SMIRNOFF
Product/Service: VODKA
Advertiser SMIRNOFF
Product VODKA
Type of Entry: Branded Entertainment
Category: Best use or integration of experiential events
Advertiser/Client: SMIRNOFF
Product/Service: VODKA
Entrant Company: SPECIAL GROUP Auckland, NEW ZEALAND
DM/Advertising Agency: SPECIAL GROUP Auckland, NEW ZEALAND
Country Manager: Philip Doyle (Diageo)
Marketing Manager: Adrian Hirst (Lion Nathan)
Brand Manager: Philippa Larsen (Lion Nathan)
Events Director: Jessica Mccoll (Mango)
Events Manager: Sarah Wilson (Mango)
Public Relations: Dorita Hollins (Mango PR)
Producer: Fiona Champtaloup (Special Group)
Creative: Kim Fraser (Special Group)
Managing Partner: Michael Redwoord (Special Group)
Account Manager: Nicola Muollo (Special Group)
Account Director: Paula Kelly (Special Group)
Creative Director: Rob Jack (Special Group)
Creative Director: Tony Bradbourne (Special Group)
Producer: Amber Easby (Special Problems)
Director: Joel Kefali (Special Problems)
Field Director: Jon Wild (Special Problems)
Editor: Julian Currin (Special Problems)
Describe the campaign/entry
Branded content in New Zealand is in its infancy. The norm is for shows to be sponsored by a brand.
This is the first time in this country that a show has been created entirely by a brand: Smirnoff. What makes this even more interesting is that it is actually a show created entirely by Smirnoff's consumers.
More impressive still is that alcohol advertising in New Zealand is highly regulated. No alcohol advertising can screen before 8:30pm. You can't show alcohol being transformational in any way. And you can't show alcohol being linked with open water or violence, etc.
So, creating a brand new television series that features people watching Jaws whilst floating in the ocean or trying to escape flesh-eating zombies is some achievement.


Smirnoff New Zealand needed to make themselves relevant to young New Zealand drinkers and position themselves as the catalyst for a great night out.
Young drinkers are increasingly resistant to big brands telling them what to think. They’ll decide on what makes a good time.
Therefore, Smirnoff ran a campaign that asked New Zealanders to submit their best ideas for an extraordinary night out. They chose the best ideas, provided the budget, provided the vodka BUT gave the winners just 1 week to pull off the extraordinary. Everything was filmed (all of the unpredictable highs and lows) and turned into a brand new TV series: The Smirnoff Night Project.

Describe the creative solution to the brief/objective.

30-second television commercials, street posters, Facebook advertising and radio was used for the initial call for entries stage.
Once the winning ideas were chosen for 'extraordinary nights out' and the creation and filming had begun, teaser webisodes were used to create excitement, anticipation and talk.
The show creators were interviewed in press and on TV and radio.
The show itself was promoted as any other new TV series on channel FOUR.

Describe the results in as much detail as possible.

The series was a critical hit and ratings hit. Sunday Star Times reviewer Kate Mead had Smirnoff Night Project as 'Pick of the Week', as did The Listener and And it doubled FOUR's viewership when it aired.
Every Smirnoff brand measure increased (brand health, consistent high quality product, “for people like me” etc). In addition, Smirnoff enjoyed a 50% increase in the ‘Brand drunk most often’ measure.