THE MUSIC VIDEO

ClientCITRÖEN NORGE
Category A03. Cars & Automotive Products & Services
TitleTHE MUSIC VIDEO
Product/ServiceCITROËN C3
Entrant McCANN OSLO, NORWAY
Idea Creation McCANN OSLO, NORWAY
Media Placement STARCOM Oslo, NORWAY
Production FUS Oslo, NORWAY
Additional Company OHOLOGY Oslo, NORWAY
Additional Company 2 CITRöEN NORGE Lørenskog, NORWAY
Credits
Name Company Position
Bjørn Erling Solberg McCann Nordic Account Executive
Simen Hanssen McCann Nordic Planner
Daniel Eraker McCann Nordic Copywriter
Christian Steine Lindvik McCann Nordic Art Director
Katrine Berget McCann Nordic Account Manager
Lars Hoel SDG Motion Design
Stian Andersen FUS! Director
Glenn Huth Mæland FUS! Producer
Håvard Byrkjeland FUS! DOP Lighting Cameraman
Erik Treimann FUS! Editor
Raymond Gangstad FUS! Grade
Haakon B Mathiesen FUS! Director & edit -behind the scenes
Vi Duc Truong FUS! Cameraman - behind the scenes
Highasakite Highasakite Music Artist
Thomas Eklo Skaara McCann Oslo Designer

The Campaign

The idea was to shoot a music video using the car itself as a camera. In addition to the music video, we wanted to make a more commercialized behind-the-scenes video, showing off the car and its features. By collaborating with the right band on the come-up, all parties were able help each other. The band got a wider audience, a free music video, air-time on TV, and a bigger PR-team pushing it. The brand got to show off their new car model in a new and interesting way, borrow credibility from the band, and got a direct line of communication to the young, urban population they are trying so hard to reach.

Creative Execution

We worked systematically with the media agency and the artist management to coordinate all media activities across earned, owned and paid media. The goal was to maximise the potential in each phase of the plan and then rapidly move on to the next. As we did not know how long each phase would last, we had to have a day to day dialogue on the status of PR spreading internationally, nationally and then on the paid media. Paid media consisted of Facebook, Instagram and YouTube. All the viewing data, including data from the artist YouTube-channel was used to retarget the audience with tactical messaging to create leads and test drives.   The campaign lasted for 4 weeks.

We managed to get over 20 PR-cases in international and national press, with a combined earned reach of over 900 000 people. We created over 6 million impressions on YouTube and Facebook, and over 1,5 million video views. After the campaign, the public awareness of the Citroën C3 rose to 50%, with an increase of 25%, and the Norwegian Citroën-website had a 63% increase in leads. The amount of people with a positive perception of Citroën had a 27% increase, and post-testing shows that 48% of the people think it stood out from other car advertisements. That’s quite a step up from the 27% average. And, in the same period, Citroën’s market share had a healthy 25% bump.

Car advertisements (at least the big, global campaigns) are often impersonal and generic, making it difficult for people to connect with, and more importantly, remember the brand. That’s why Citroën had to do something different to stand out amongst the many, claim their position as a colourful, creative and cool brand, to reach new, young and urban target audiences. By focusing the communication on one simple feature on the new C3; the built-in camera, we could allow ourselves to be more playful and less technical. Granted, this feature might not be the sole reason for buying a new car, playing with the camera to show off the car itself is certainly proof that Citroën thinks a little different than most car-brands.