Archives




2021 | |

Tiger Street Food Virtual Festival

Advertiser: Tiger
Brand: Tiger Beer
Creative Agency: NAGA DDB, Repreise (Digital), Freeform (Activation)
Credits: -

153_FINALIST_EC5_TIGERVIRTUALSFF REC

Objective & Challenge
• Tiger is famous for regularly hosting largescale street food festivals, complete with games and activities, live performances, and of course a great selection of street food to savour alongside icecold Tiger Beer.
• These activities strengthen brand affinity amongst target consumers, build top of mind awareness and brand equity by associating Tiger and street food (think street food, think Tiger).
• But at the end of 2020, the third wave of Covid19 cases surged in Malaysia, resulting in a strict new lockdown.
• Tiger wanted to inspire people to find special new moments despite sheltering in place. At a time of polarisation and unprecedented anxieties, Tiger wanted to bring Malaysians together.
• The challenge was to move the street food experience beyond endless live streaming towards data and techenabled experiences that mimicked extraordinary local streetfood atmosphere online
• Tiger’s target consumers were aspirational new progressive male and female drinkers aged 22 to 29 years old, who bought beer at least once a year

Insight & Strategy
• There had been plenty of online ‘events’ and festivals in the past 9 months, but livestreamed video content alone isn’t particularly engaging or novel any more. There were also many food delivery services, so we had to offer more than just a way to order food online while watching some videos.
• A food festival is about so much more than just the food. That’s what brings you there, but it’s the overall experience that people were missing the most. Walking around, checking out what various vendors have to offer, playing games and joining in on activities – and even watching live performances.
• So in addition to making sure we had a huge selection of great, authentic street food from some of the best vendors Malaysia has to offer (more than 80 across the four weekends of the festival), we really focused on replicating everything else about the experience, in a fullyimmersive 3D world.
• Therefore, Tiger wanted to bring back the excitement of street food in this ‘new normal’ by using technology and creativity to design new and accessible street food experiences via digital platforms.
• We spent around 5 months creating this from the ground up – nobody had done something like this before. We didn’t even know if it would be possible when we started. But everybody working on it really believed in the idea, and that’s what kept us going. It’s really all down to the hard work and late nights of everyone involved that we were able to make this happen.
• Unlike most virtual festivals that ran as livestreamed content, the Tiger Street Food Virtual Festival was planned as a fullyimmersive and engaging online experience; the first of its kind anywhere in the world.
• Next generation personalisation paved the way for a world of virtual street festival experiences where every consumer could be served dynamic, engaging content and Uncover the Extraordinary
• Users would be able to walk the 3D streets as their own customized avatar, interacting with others, playing games and visiting vendors, before ordering street food directly to their door through our official delivery partner – DeliverEat

Execution
• Different platforms were used throughout the three phases leading up to the festival month.
• Awareness: Launched conversations on the virtual street food festival and encouraged preregistration. Celebrity KOLs like Lizz Chloe and Harvinth Skin were hired as festival characters (NPC) to drive traffic, engagement, and Word of Mouth.
• KL Foodie, our food content partner, transformed into an animated character to show audiences the hidden gems and crowd favorites at the food festival.
• It was crucial to publish great content that resonated with audiences. Content angles around food and virtual festival were tested beforehand to determine which ones enjoyed higher affinity amongst younger and older audiences via social and programmatic buy.
• Creatives and content were developed based on the winning angle to during the official festival launch
• 12 days before the official launch of the virtual festival, we hosted an exclusive virtual event allowing media and KOL’s to preview the virtual experience • Event: A full page full color double page spread was published on The Star and The Sun to ensure the launch came in loud. Besides food, beer and games, the fully immersive experience was complete with an exclusive live performance by Malaysian hiphop artist NAMEWEE beaming all the way from Taiwan and only available for viewing within the festival. • Promotion: The campaign leveraged high reach media such as social channels and newspapers to drive sales and traffic to TraditionalOnTrade outlets.
https://thecitylist.my/blog/tigerbeerlaunchesfirstofitskindmalaysianstreetfoodvirtualfestival https://funntaste.com/tigers1stevervirtualstreetfoodfestival/
https://www.thedrum.com/news/2020/11/03/tigerbeerintroducesvirtualstreetfoodfiestasatisfymalaysianscravings https://klfoodie.com/tigerstreetfoodvirtualfestival2020/ https://says.com/my/tech/tigerstreetfoodvirtualfestival#

Effectiveness
• Compared to Q3’20, in Q4’20 when the festival ran Tiger enjoyed uplift on regular consumption by 5%.
• Media garnered 38 million total impressions, with 80% total campaign reach vs KPI 50%
• Site traffic 280 thousand, more than double original KPI of 108 thousand
• Virtual Festival Site: o 24 thousand signups vs KPI 21 thousand o Beat Sales KPI by 6% for F&B festival orders, Drinkies (ecommerce site) sales uplift of 41% vs prepromo o 20 thousand Namewee performance views o More distinctive brand image: +3 vs Q3
• Gained 2pt market share vs competitors in Offtrade channels
• PR received 76 media attendance and 100 earned coverage with 97% MQI score vs KPI of 85%
• Tiger’s brand health also improved across most of the brand imageries: Especially: o Brands for people like me: +5 vs Q3 o More distinctive brand image: +3 vs Q3 o Is a beer that goes well with food: +4 vs Q3

2021 | |

Heroes in the Sky

Advertiser: The Walt Disney Company
Brand: Marvel Avengers
Creative Agency: -
Credits: -

113_SILVER_EC6_HEROESINTHESKY REC

Objective & Challenge
• In 2018, The Avengers: Infinity War promotional campaign saw an iconic Malaysian building transformed into Stark Tower emblazoned with the Avengers logo. It was larger than life and the talk of town.
• In 2019, to promote Avengers: Endgame, the brand needed to do something unprecedented, bigger, and better in KualaLumpur to keep audiences enthralled and set the new pace for transmedia storytelling.
• Ultimately, driving repeated viewership of its franchise’ productions.

Insight & Strategy
• Research: Based on social listening data, brand engagement reports and keyword searches, we understood that the audience was predisposed to be fascinated by the franchise’ outdoor show and tell.
• Insight: The creative idea was rooted in the insight that consumers who are stimulated by experiential marketing are highly likely to be emotionally invested in the brand and will in turn talk about it.
• Idea: While our target audience were beyond enthusiasts, fans of the story pay close attention to the love of the Marvel Cinematic Universe – to get their buyin, the experience must respect the narrative. The core six Avengers are the beating heart of the chronicle, an ensemble of fullbodied characters the audience had grown emotionally invested into.
• Strategy: To arouse the audience’s emotional extreme, the strategy was to shock and awe. The performance sought to draw in onlookers, creating a brand connection beyond fans to craft an exhilarating experience they can own and share.

Execution
• Thanks to efficient orchestration of onground production, Intel drone performance, production design, sound and light production, and venue management and logistics,
• A dazzling display of a recordbreaking drone light show synchronised with music transpired unannounced in the night sky, bringing to life the iconic Avengers heroes, marking the premiere of Avengers:Endgame.
• The 300 drones also made it into the Malaysia Book of Records for “The Most Drones Used in a Light Show”. Powering the collective drone hive was technology developed by Intel.
• The move was to commemorate the culmination of a story told across 22 films in 11 years.
• Poignant and grand, Iron Man, Captain America, Thor, Hulk, Black Widow and Hawkeye sent signals against the backdrop of the iconic Kuala Lumpur Tower. o
https://www.nst.com.my/lifestyle/groove/2019/04/482512/showbizmarvelcelebratesavengersendgamesuperherodronedisplay o https://www.marketinginteractive.com/marvelmalaysiapromotesavengerswithrecordbreakinglightshowatklcc o https://www.soyacincau.com/2019/04/23/avengersendgamekltowerinteldronelightshow/ o

https://www.campaignasia.com/gallery/avengersiconsloomlargeoverkualalumpur/451330

Effectiveness
• 10.4 million organic reach on Instagram
• Earned PR on over 50 international and media outlets
• +28% more tickets sold compared to 2018
• USD 2 Million total media earned
• The business impact speaks for itself.
• The organic hype contributed to achieving the overarching business goal of driving excited audiences ready to watch the movie and recruiting onthefencers for revisits to the movie theatre.
• Ultimately achieving Malaysia’s highest box office record of all time at USD 21 million.