The Disappearing Girl: Reinventing Romcom for The Social Media Generation|短视频,APP|广告营销案例【ADGuider广告指南】

消失的女孩: 为社交媒体一代重塑 Romcom

案例简介：执行为了让脚本系列具有内在的社会性，我们通过将节目分成四个不同的阶段来构建一个完整而灵活的世界: 角色发展: 以及柯林斯自己的社交渠道, 在该系列推出前几个月，我们回填了另外 16 个新角色手柄，邀请粉丝网络跟踪这个故事。 · 会议:在这里，我们成立了柯林斯，由 AT&T 在演艺圈赞助，给了这个品牌一个真实的理由。现场直播: 我们在一周内推出了该系列，所有的社交跟踪/深化故事，并直接与观众互动。为了保持真实性，在此期间我们没有使用付费媒体。《邮报》节目: 该系列以最后的现场直播会议结束，在会议上，该节目的虚构性质被揭示。之后，我们转向传统的娱乐营销，以新粉丝为目标，进行狂欢体验。概要想象一下，你坐在学校的午餐室里，看着一个女孩盯着她的手机笑。她是在看电视还是朋友的快照故事？这很重要吗？对青少年来说，技术已经使朋友成为他们的娱乐对象，他们越来越期望他们的娱乐行为像朋友一样。我们称这种趋势为 “frienderentertainment”，手机是它的主要交付机制。迄今为止，这种地震转变主要被认为只是界面的变化，而不是因为它有可能永远改变我们参与故事的方式。我们的目标是利用手机的独特特性，创造一种新型的移动讲故事，真正突出 AT&T 在创造和消费中的作用，从而推动品牌相关性和定位 AT&T 作为创新者。成功不仅取决于范围，也取决于观众的参与。结果粉丝们不仅仅是看这个节目，他们还参与其中，就像他们试图帮助一个朋友找到他梦想中的女孩一样，留下了这样的评论: “我想通了!!我去了她的 instagram (@ unlockalldoors)，然后我点击了她的照片，再次点击了一下，它把我带到 (@ open_me_1) 之后，我去了第三张照片，按下了它，这让我找到了 (@ solve。 me1)按下图片并阅读一些评论 + 她发布的图片 = Santino bros.“这种深度接触帮助这个消失的女孩超越了所有的 KPIs -- 总视频浏览量超过 31 毫米, 总印象 111 毫米，总约会 2 毫米。商品、聚会和媒体扩大了接触好莱坞、 WJLA 、 WLOS 、 Just Jared 、 Mashable 、 Sweety High 、年轻好莱坞、美国在线、老虎节拍、 Circa 、女孩生活的范围, 和即时所有覆盖的系列。相关性在这个项目中，我们与社交媒体影响者 Collins Key 合作，利用社交媒体的独特特性，创建一个创新的脚本系列，邀请观众进入这个世界。我们的节目通过 YouTube 、 Twitter 、 Instagram 、 Facebook 和 Snapchat 播放，利用 20 多个社交渠道创造了一个不同于以往的创新叙事。活动描述这个正在消失的女孩模糊了现实生活和小说之间的界限，在 YouTube 、推特、 Instagram 、 Facebook 和 Snapchat 上，她主演了 YouTuber Collins Key，在一个脚本化的 YA 系列中扮演了他自己的一个版本。故事开始于柯林斯放弃了他的粉丝惊喜聚会的地理位置 -- 在那次聚会上，我们播种了我们的核心演员，包括柯林斯的爱情兴趣。当粉丝们观看、抢购和发推特时，柯林斯选择我们的女演员作为他浪漫把戏的主题。被迷住了，柯林斯向神秘女孩询问她的名字，但她逃跑了，只给他留了一个 Instagram 的手柄 -- 柯林斯求助于他的粉丝来破译的一条线索。当柯林斯在洛杉矶追逐这个女孩时，似乎是实时的，粉丝们用他们的手机扮演了僚机和社交侦探的角色。战略我们的核心策略很简单: 为我们的青少年女孩目标创造伟大的 friendertainment，强调 AT&T 的作用。实际上，我们制作了一个青少年女孩会喜欢的节目，但也通过消费者研究确保我们的系列模仿了她们的移动行为。我们的执行策略包括: 网络跟踪角色: 当十几岁的女孩承认她们经常跟踪网络时，我们回填了角色社交渠道来构建消失女孩的故事。实时: 我们的消费者期望与朋友保持持续的联系，所以我们拒绝了传统的发布时间表，因为它像青少年一样提供内容来更新他们的朋友。呼叫和回应: 鉴于青少年希望成为对话的一部分，我们建立了一个以本地对话为模型的社会生态系统: 问题、赞扬、辩论、请求, 和一对一的消息。多平台: 我们的节目不是在一个平台上 “直播”，而是表现得像十几岁的女孩，她们有选择地在一系列移动平台上分享。

消失的女孩: 为社交媒体一代重塑 Romcom

案例简介：Execution To make a scripted series feel inherently social, we built a world that was both full and flexible by breaking the show into four distinct phases:· Character Development: Along with Collins’ own social channels, we backfilled an additional 16 new character handles months before the series launched inviting fans to cyber-stalk the story.· Meetup: Here we established Collins as sponsored by AT&T within the show world, giving the brand an authentic reason to be.· Show Live: We rolled the series out over a single week with all social tracking/ deepening the story, and engaging directly with audience members. To preserve the authenticity, we did not use paid media during this time.· Post Show: The series ended with final live-streamed meetup where the fictional nature of the show was revealed. After we switched to a traditional entertainment marketing targeting new fans for a binge experience. Synopsis Imagine you’re sitting in a school lunchroom, watching a girl laugh as she stares intently at her phone. Is she watching TV or a friend’s Snap story? Does it even matter? For teens, technology has made it so that friends are their entertainment and increasingly, they expect their entertainment to behave like a friend. We call this trend “friendertainment,” and mobile phones are its primary delivery mechanism. To date, this seismic shift has primarily been recognized only as a change of interface and not recognized for its potential to forever change the way we engage with stories. Our goal was to tap into the unique properties of mobile phones to create a new type of mobile-storytelling that truly highlighted the role of AT&T in creation and consumption—thereby driving brand relevancy and positioning AT&T as an innovator. Success would be defined not only by reach, but also by audience engagement. Outcome Fans didn’t just watch the show, they engaged with it like they were trying to help a friend find the girl of his dreams leaving comments like “IVE FIGURED IT OUT!! I went to her instagram (@unlockalldoors) Then I clicked on her picture that she had and tapped on it again and it lead me to (@open_me_1) After that I went to the third picture and pressed it and that lead me to (@solve.me1) pressed the picture and read a couple of comments+the pictures she posted = Santino Bros.” This level of deep engagement helped The Disappearing Girl blow past all KPIs - with over 31MM total video views, 111MM total impressions, and 2MM total engagements. Merchandise, meetups and press expanded the reach with Access Hollywood, WJLA, WLOS, Just Jared, Mashable, Sweety High, Young Hollywood, AOL, Tiger Beat, Circa, Girls’ Life, and Instant all covering the series. Relevancy In this project we teamed up with social media influencer Collins Key was to tap into the unique properties of social media to create an innovative scripted series where the audience was invited into the world. Playing out over YouTube, Twitter, Instagram, Facebook and Snapchat, our show utilized over 20 social channels to create an innovative narrative unlike any prior. CampaignDescription Blurring the lines between real life and fiction, The Disappearing Girl starred YouTuber Collins Key acting as a version of himself in a scripted YA series that lived on YouTube, Twitter, Instagram, Facebook and Snapchat. The story started with Collins dropping the geolocation of a surprise meetup for his fans—at which we seeded our core actors, including Collins’s love interest. As fans watched, snapped, and tweeted, Collins selected our actress to be the subject of his romantic trick. Smitten, Collins asked the mystery girl for her name, but she ran away, leaving him with only an Instagram handle—a single clue that Collins turned to his fans to decipher. As Collins chased the girl through L.A., seemingly in real time, the fans used their phones to play the role of wingmen and social sleuths. Strategy Our core strategy was simple: create great friendertainment for our teen-girl targets that highlighted the role of AT&T. In practice, we created a show teen girls would love, but also ensured through consumer research that our series mimicked their mobile behavior. Our executional strategy included: Cyber-Stalkable Characters: As teen girls admit that they regularly cyber-stalk, we backfilled character social channels to build The Disappearing Girl’s story. Real-Time: Our consumers expect constant connection with friends, so we nixed the traditional release schedule for one that delivers content like a teen would to update their friends. Call and Response: Given that teens expect to be part of the conversation, we built a social ecosystem modeled on native conversation: questions, praise, debate, requests, and one-to-one messaging. Multiple Platforms: Rather than having our show “live” on a single platform, we behaved like teenage girls, who selectively share on a range of mobile platforms.