This was a groundbreaking entirely media-led campaign (best of 2017 - Campaign Mag) where the media truly became the message.
To sell the benefit of broken screen insurance, we set out to use media to convey that ‘oh shit’ feeling when you drop and smash your phone.
We found new ways to exploit existing media to do so, but more than that, persuaded contractor to meddle with their precious inventory; breaking it, unhinging it and generally wreaking havoc.
In a market where OOH inventory is rigorously maintained, suppliers took a lot of convincing to let us also break the rules!
Over the last three years, the UK racked up an astonishing £1bn repair bill for cracked mobile phone screens. O2 listened and took a stand: making free screen repairs a core market proposition for the first time, anywhere, a big deal in telco land.
The timing of the campaign was consciously aimed to break immediately before the new iPhone launch. O2 was the only network offering t free repair with the new contract as part of its “Ooops” tariff. So this competitive advantage message deserved a big platform.
We had three core objectives:
1) Prime market ahead on new iPhone launch to favor 02
2) Drive iPhone upgrades
3) Drive uptake of ‘oops’ tariff (20GB +)
Describe the creative idea/insights
We all know what that moment of breaking feels like. And we all probably say exactly the same thing “Oh Shit”.
The Advertising Standards Authority weren’t about to let us plaster ‘oh shit’ all over the country. So the challenge we set ourselves was this: ‘Can the MEDIA communicate that ‘oh shit’ feeling where the message can’t?
So we set out to smash things up.
Describe the strategy
Our idea was to use media to communicate this feeling through breaking formats in relatable ‘Oops! Moments’.
02 told us that almost all phone breakages happen in high traffic, public spaces. (makes sense, distracted people, no carpets). Therefore OOH led our campaign.
We used Smartsteps Telefonica data to identify mobile usage hotspots where we saw high multitasking and crowd volumes, i.e high likelihood of bumping, fumbling and dropping
But we were worried that using existing inventory in its existing form was not going to be remarkable enough for such as remarkable deal and a relatable feeling, So we played both within and outside of the normal rules.
Describe the execution
In contexts where phones were most likely to be dropped; malls, the commuter rush hour and music venues, each execution was bespoke and dramatic.
• In the underground DEPs ‘rolled’ phones down escalators, bouncing down the screens.
• we used lenticular motion-detection technology so that the poster screens “cracked” as commuters walked by.
• We smashed up the Waterloo Motion, UK's biggest screen.
It took a lot of persuasions to get contractors to meddle with their precious inventory but in the end, we created new formats:
• Billboards were taken off their hinges and were left hanging off their fittings
- Fake billboards were created, fitted and then smashed
- A dedicated campaign was created for music venues; a place where phone breakages are common due to hand waving and alcohol.
A high impact two-week UK-wide OOH campaign in hit consumers, underground, press and digital formats were deployed.
List the results
As well as smashing media, we smashed our KPI’s
1) Prime market ahead on new iPhone launch
• Brand love increased +12%,
• customer care and value perceptions +7%
• consideration rose +3% among prospects ahead of our competitors at iPhone Pre Orders (a big shift)
• Oops! drove 170k phone upgrades (32% above target)
3) Drive uptake of ‘Oops’ tariff (20GB +)
• 68% of customers moved to our ‘oops’ tariff versus a 49% target
Overall OOPS! drove 70% of period sales and an incremental 17m revenue Y-O-Y
The campaign resonated so well people debated whether these were accidents or deliberate, 190m earned reach impressions, over 3,000 social mentions and even telephone calls to contractors reporting broken panels.
People really tuned into the way Oops! brought a truth to life in a simple, powerful way. it wasn’t just the audience we wanted Media to capture, but the feeling.