Best Programme Marketing Shortlisted
Beaver Falls E4 Innovative promotion helped ramp up interest ahead of launch, particularly among 16-24 year- olds. Competitions, online games and a tie-up with social network rewards service GetGlue combined to attract viewers, and the judges loved the irreverent tone of its marketing.
Friends Comedy Central Getting the message out that Friends had moved from E4 posed a challenge for Comedy Central. The team commissioned a new version of the iconic theme tune and used it on all of its advertising. The result: a 112% ratings leap and a similar uplift for the channel overall.
Dynamo: Magician
Impossible Watch
T
he marketing behind Dynamo: Magician Impossible was quite simply “on another level”, creat-
ing a new celebrity of the conjurer and giving a channel not known primarily for its original commissions more prom- inence than ever before. Watch’s strategy was simple: once
people saw a bit of Dynamo’s very special proposition, they would be astonished and want to see more. With that as their starting point, a 360-degree campaign was built. This included an augmented- reality app, downloaded 200,000 times, that allowed users to see Dynamo’s magic come alive before their eyes. Facebook and Twitter were prominent
in the run-up to the series launch and during the show itself, with both garner- ing legions of fans and followers. Dynamo himself was central to the show’s publicity, which culminated in his river walk stunt on the Thames. By the time the show launched,
Dynamo had cut through to the main- stream. His street magic show was the most successful new programme on
www.broadcastnow.co.uk
pay-TV last year, and the highest-rated ever on the UKTV-owned channel, peaking with 1.9 million. He subsequently showed up as a guest on terrestrial shows such as Never Mind The Buzzcocks. It also helped boost the younger demo- graphic tuning in to Watch – one of the
‘A great example of a programme that punched way beyond
its channel weight’ Awards judges
strategy’s key aims – and enabled the multichannel to sign an exclusive deal with Dynamo, including two further series, despite interest from terrestrials. The judges were just as mesmerised as
the audience. “Watch has created its first national conversation,” said one. “Clever, cool and watchable,” said another. They were all particularly impressed
given Watch’s small budget, noting it was “a great example of a programme that punched way beyond its channel weight”.
22 June 2012 | Broadcast Digital Awards | 19
Unstoppable: The James Cracknell Trilogy Discovery This trio of programmes centred around the life- threatening accident that nearly derailed Crack- nell’s plans to race across America. The market- ing really got into the mind of the athlete, and led to the channel’s highest-rating programme of the year, up 278% on the slot average.
Falling Skies FX FX went big in marketing its glossy American sci-fi drama, produced by Steven Spielberg and starring Noah Wyle, with strong support on TV, online, press and digital outdoor platforms. As a result, the channel as a whole benefited, with a 51% uplift in monthly average ratings.
Highly Commended
The Fades BBC Three The judges loved the BBC’s marketing around this supernatural drama series. The team sought early engagement with genre fans at events like Comic Con and offered online teaser trails ahead of the on-air campaign. The broad- cast campaign included a partial trailer with a QR code to drive viewers online to additional content. Judges were impressed by its “fresh and cool approach”, noting how it succeeded in “rewarding fans all the way”.
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