Thursday, July 24, 2008

Social Media Campaign Examples.

Below you will see a list of social media and viral projects and the agencies that are doing them.

Below you will see examples, context, other peoples opinions and examples of the GOOD, THE BAD, and the JUST PLAIN WRONG social media projects.
The Campaigns or Company is the bolded item.

Other:



OTHER HELPFUL INFORMATION FOR A SOCIAL CAMPAIGN:


  • So you think most people will be BORED with whatever topic or industry you are trying to promote? Need ideas on how to research that topic?
    This blog post can probably help with that.
  • ROI
    • Case Study: ROI of Social Media Campaign for SeaWorld San Antonio - A Year Later

       

      There has been a some renewed interest in SeaWorld San Antonio's Journey to Atlantis social media campaign that was launched last spring after Shel Israe

      came out to visit the park for FastCompany TV.  Fran Stephenson, the Director of Communications at SeaWorld San Antonio was also featured in the video.

      However, since a short video can't answer all of the questions, we felt that it might be time to present an updated case study.

      Campaign Objectives

      The objectives of the Journey to Atlantis social media program were to:

      • Build relationships with the coaster community
      • Build awareness of Journey to Atlantis
      • Assist in driving visitation to the park

      Strategies for Outreach

      An analysis of influential voices in the thrill ride community, showed that there was an opportunity for SeaWorld to make inroads using social media as a channel. As a result, a targeted list of 22 coaster enthusiast blogs and forums were identified during the initial research phase.

      The primary strategy was to treat coaster bloggers as a VIP audience and to create content to suit their needs. Since the ride is considered a family ride, it was understood thrill seekers might be critical toward the ride and that some negative comments would result as a part of building buzz around the ride. This was not considered detrimental to the project.

      A content rich destination Web site was deployed to serve as the hub for content and information. The URL of the site was chosen to allow for future site expansion; however, the plan was to take the site down after the initial ride opening and evaluate the results before launching a more broad initiative.  Also, the site was intended as an extension of SeaWorld's corporate site, which didn't have the social media features necessary to quickly launch the campaign.

      Implementing the Plan

      The in-house SeaWorld team created eleven videos and a 45-photo portfolio that spanned from construction to opening day. These assets were deployed with a Creative Commons license through well known communities such as YouTube, Flickr and Veoh; and they could be easily repurposed by bloggers and viewed by others. They were also used on the SeaWorld Coasters multimedia site with social media networks as the backbone of the project.

      Bloggers and the American Coaster Enthusiast group were invited to attend the media launch day and to be among the first to ride Journey to Atlantis. For those that could not attend, relevant content and information was provided, including B-Roll, in the formats requested.

      Evaluating Results

      To measure relationships, the campaign was to look at links from coaster sites, attendees at the media day and ongoing contact. Of the initial 22 sites identified, 12 covered the ride, including Theme Park Insider. The campaign received 50 links from unique Web sites, 30 of which were from coaster enthusiast sites. The American Coaster Enthusiasts group brought 30 of its members to ride Journey to Atlantis on media day. These riders later left positive comments on YouTube videos and SeaWorld San Antonio attend its annual meeting in 2008. The relationship is ongoing.

      But perhaps the most compelling result was the overall cost of the program and the financial impact compared to other marketing tactics. In order to measure this, we piggybacked on the standard exit survey that SeaWorld generally conducts on a new attraction.  The survey was calculated over two weekends of operation. We asked two basic questions: 1) Did you come today to ride Journey to Atlantis and 2) Where did you hear about Journey to Atlantis, whereby we gave them a list to choose from.

      We reduced the overall attendance and limited it to those who said they heard about the ride on the Internet, and segmented that group by those who said they came especially to ride Journey to Atlantis.  We compared these numbers against our budget for the campaign (including both internal and external costs), which came in at about $44,000, to determine the cost per impression. We did the same across each category (television, etc.).  Overall, the cost per impression for the social media campaign was $0.22 versus $1.00 for television.

      And also using an internal formula that applies a value to each visitor to the park (per cap rate), we were able determine the revenue that each group represented.  We determined that the the online group represented more than $2.6 million in revenue.

      Methodology (updated)

      The survey was conducted over two weekends in June 2007 during regular operating hours by a market research firm that specializes in developing and maintaining marketing information systems for attractions. A total of 402 questionnaires were completed and returned, yielding a sample size sufficient for estimates about the entire population of visitors, accurate to within plus or minus 4.9 percent at the 95 percent level of confidence. The findings in the report were compared to 66 past "new attraction" surveys conducted for BEC between 1995 and 2005.

      The other sources of awareness looked at were television commercials, word of mouth, park brochure or map, saw while in the park, TV or print news story, radio commercial, newspaper ad, passmember communication, Pepsi can promotion, and billboards. By far, Internet outstripped all the others, except television commercials, which came in just under the figure for Internet, which was just under 40 percent of all visitors.

      Photo by Bob French, SeaWorld Photographer


3 comments:

Sean Oakley said...

Awesome collection of informaiton. Thanks. I have a feeling I'll be returning again and again to further sort through some of the examples.

Paul said...

CORPORATE SOCIAL NETWORKING: BRANDSTATION
Brandstation is a collaboration and brand communications platform, created by viewmy.tv ltd. The platform uses social media technology to provide for an engaging and connected online experience.
Brandstation creates a bespoke platform for companies to use for their internal and external communications to share information across teams in a more social and dynamic way.
Brandstation offers bespoke solutions around brand communications and marketing. The platform created by Brandstation enables companies to enjoy the functionality of a Web 2.0 corporate social network for team collaboration.
The platform allows users to video blog, customise event calendars, navigate with tag clouds, change design templates with dynamic flash navigation, manage RSS feeds, share social bookmarks, enjoy an intuitive and customized AJAX interface, and tag and search content across access-controlled team networks.
Brandstation management features include the ability to access and control user profiles, content management with full control of workflow, the ability to direct events, forums, blogs, category and navigation, multi-format video channel management, real-time analytics reports and API integration.

desaraev said...

Paul, this is a wonderful example of social media and online television. You may want to check out Sniki.org Social Networking Wiki. It is a list of all different kinds of social networks organized in one place. Join and add this and any other sites you think were missed.

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