W C R S & B S K Y B

BUSM2062 11000230 Evaluation of Sky Broadband ‘Fairytale’ Campaign 2010-2011

08 Fall  

Executive Summary The 2008 recession brings Sky Broadband a new money-smart customer of the ABC1

female demographic. A new product of one bill for line rental and broadband was created to increase market share and change public perception of Sky Broadband. The Fairytale campaign was produced as Harris et al. (2012) found purchase of broadband was emotionally driven; this campaign portrayed a world where “everything ends well”

(Harris et al. 2012). TV, press and sponsorship were the main mediums of choice due to their relationship with the target audience. The media plan was set for a 12 month 10/11

fiscal year with three strands and 5 bursts. The campaign acquired 2 awards and generated plenty of success, including making Sky this fast growing broadband provider

10/11 (Harris et al. 2012).

Sky Mission Statement “We entertain, excited and inspire customers… Because we never forget Sky is a

choice, we put customers first and work hard to earn their trust… with a commitment of exceptional customer service… we’re always looking for ways to improve. That spirit has

made us what we are today, and it will drive us to become what we want to be tomorrow… ‘We believe in better’”.

(BSkyB 2013)

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Table of Contents Sky’s Position in the Telecommunications Industry .................................. 3 Our Objectives ................................................................................................ 3 The Strategy ................................................................................................... 4 Sky Broadband Consumer Segmentation .................................................................... 4 Targeting Sky Customers ............................................................................................ 5 Sky’s Position in the Broadband Market ...................................................................... 5 Our Strategic Objectives .............................................................................................. 5 Sequencing and Integration of the Creative ................................................................. 6 Fairytale Campaign Tactics ........................................................................... 6 Fairytale in the Media ..................................................................................... 8 Press ............................................................................................................................ 8 TV ................................................................................................................................ 9 Post Campaign Evaluation .......................................................................... 10 WCRS Benefits and Our Future with Sky Broadband .............................. 12 References .................................................................................................... 13 Bibliography ................................................................................................. 15 Appendices ................................................................................................... 17

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Sky’s Position in the Telecommunications Industry Sky is a major competitor in the telecommunications industry that was worth £53.4bn in 2010, operating a multi-channel television, broadband and telephone service in UK and Ireland (Ofcom 2011). Sky’s total customers were above its competitors with 10.65m customers in the UK, compared to BT with 10m and Virgins 4.85m (Benady 2012). However, in 2009, Sky’s market share of broadband was lagging behind its competitors with 13% in comparison to Virgins 22% and BTs 27%, as seen in Figure 1 (Harris et al. 2012). We at WRSC were given the assignment to address this vital issue with BSKYB Corporation. Sky’s consumer base is family’s, whom still have tight purse strings due to the 2008 recession (Harris et al. 2012); It was our job at WRSCs to help encourage new customers to join and switch to Sky Broadband with a detailed target customer analysis, appropriate creative and relative media plan.

Our Objectives In preliminary discussions with Sky, objectives were set with what the desired outcome for our creative would achieve. Specifically, Sky desired to be the ‘fastest growing broadband provider in the UK in our 10/11 fiscal year (June 2010-June 2011)’ (Harris et al. 2013). This would be measured by growing attachment rate in broadband and TV by 50%. Sky also desired to increase unprompted awareness by an achievable 10% from 54% to 64%. To ensure reliability, Sky wanted to improve prospects scores for “Sky offers good quality broadband” (Harris el al. 2013); in a clear 12month period that would be built around 5 bursts. Together we set out objectives of how we wanted customers to respond to the creative campaign, what we wanted them to know, feel and act;

Figure 1: Broadband Market Share 2009 (Source: Harris et al. 2012).

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• Cognitive Objective: ‘convince audiences that the product was reliable, accessible and affordable’, informing the customers of these qualities would build trust (Harris et al. 2012).

• Affective Objective: grow positive perceptions and drive sales by selling the ‘latest modern utility that families simply couldn’t and wouldn’t live without’ (Harris et al. 2012).

• Conative Objective: encourage broadband purchase by growing ‘agreement amongst both prospects and customers that “Sky Broadband is better quality than competitors”’ (Harris et al. 2012).

The Strategy Sky Broadband Consumer Segmentation We then set out to understand our target customers in order to cater our creative campaign to achieve the most successful campaign we could. Although our consumers were families we had to sell to ‘Mums, the ultimate holder of the family purse strings’ (Harris et al. 2012). Our research showed that our demographic audience was 25+ women, at an ABC1 socio-economic grade due to the need for disposable income, although this was not an exclusive target audience. Finally, the campaign had to reach the ABC1 women category across the country, from all different walks of life. Figure 2 (adapted from: Percy and Rosenbaum- Elliot 2009) demonstrates the decision-making stages for a high involvement product. Boote (1983) found women over 25 could be placed into one of three of these distinctive values orientation groups, 1) home centred women, 2) contemporary homemakers and 3) women whose primary orientation and interests are outside the home. These categories can be modernized to be 1) full time mum 2) part time mum/worker and 3) full time worker. Utilizing the VALS module, our target audience would be categorized as Thinkers, ‘informed reflective content’, Believers, ‘literal loyal moralistic’ and Achievers, ‘goal orientated, brand conscious convention’ (Strategic Business Insights 2013).

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Targeting Sky Customers In order to target this large audience, making up 12.7m of the UK population, we had to consider the wider macro environment. The 2008 recession was failing to show signs of economic growth; Sky had a new style of audience, the “enthused savvy shopper”, with a focus to save money. Discussing with Sky, a new product would be sold in the campaign to satisfy their needs and wants; the delivery of a “quadruple whammy”, one bill for line rental, broadband, TV and mobile phone. The money saving customers would be given the opportunity to “make a smarter choice by embracing pay TV when taken in conjunction with the broadband product” (Harris et al. 2012).

Sky’s Position in the Broadband Market In order to create a successful campaign we had to understand Sky’s position in the telecommunications market. Harris et al. (2012) found that “BT positioned itself around tradition, Virgin around speed, and TalkTalk around price”. Sky had to find their distinctive sells point, whilst maintaining the BSkyB Corporation premium product positioning and sustaining growth. Figure 3 (adapted from Harris et al. 2012) presents Sky’s position amongst its competitors according to the market share and spontaneous broadband provider awareness; accompanied by Figure 4 (adapted from Harris et al. 2012) which presents Sky’s desired position in the market.

Our Strategic Objectives 1) “A successful business, seeking to further increase volume and value

in record time, 2) Targeting increasingly cash-strapped audiences, 3) Attracted by an increasing range of credible competitors” (Harris et al.

2012).

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Sequencing and Integration of the Creative Integrating all the above research and a successful campaign, begun with the key strategy to sell Sky’s product as a reliable, accessible and affordable, “whilst simultaneously remaining true to the parent brand position of “Believe in better” (Harris et al. 2012). The brief was to “position Sky as the provider that made broadband effortless and fun. The promise was that Sky would look after the difficult bits; bring you simple, reliable and great value broadband, so you could just relax and enjoy the benefits that the products bring to everyday life” (Harris et al. 2012). Leading to our appropriate creative strategy that complimented the target audience, which would sell Sky’s USP and remain faithful to the BSkyB brand, the Fairytale campaign was born; using modern fairytales, we wanted to capture the “feeling of a world where things are uncomplicated and all end well” as displayed in Figure 5 (Harris et al. 2012). The 12-month fiscal year 10/11 campaign, was built around 5 bursts delivering 3 strands, fame, frequency and recency; in order to generate awareness, change opinion and gain market share; ultimately driving sales.

Fairytale Campaign Tactics Analysing ABC1 women habits, we found the best way to reach would be to communicate on television, as Thinkbox (2013a) suggests, “women in this bracket value TV”. Figure 6 (Harris et al. 2012) illustrates the highest percentage of the overall advertising budget given to the Fame strand, where TV served as a prompt to reappraisal (Harris et al. 2012). In Figure 7 (adapted from Harris et al. 2012) we see the further break down of the advertising budget to each of the types of mediums we planned to utilise in order to make this campaign a success. ABC1’s tend have “demanding family lives”, due to their desire to want me-time, magazines are their media of choice to relax and unwind (Thinkbox 2013a); hence press receiving the second highest slice of the advertising budget.

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Sky’s third highest slice of the advertising budget was awarded to sponsorship; Sky became a terrestrial sponsor for all films on Channel 4, More4 and E4, plus the 7pm Family Film on Film4. As Thinkbox (2013a) suggests “the majority of ABC1 women juggle part-time work with parenthood and many stay at home to care for their children”, a film is the family pastime, to spend quality time together, placing sponsorship will reach target customers, consumers and potential customers as each film will also hold their own demographic audience. Harris et al. (2012) suggest the “sponsorship presence ensured Sky Broadband was always on and enables Sky to be front of mind in the broadband consideration set”.

To look at in more detail please look at Appendix A. The campaign was released in 5 bursts, with the highest total advertising spend in June and July 2010, this high visibility at the beginning of the campaign sets the foundations for recall brand awareness where the audience “must think of the brand prior to the point of purchase” (Percy and Rosenbaum-Elliott 2009:p.227). The second burst takes place in August, September, around the same time the sponsorship begins. The third burst was planned to take place after the Christmas period, the lack of advertising for a high involvement product before this time is due to, the target audience spending money else where and their focus will not be to buy other ‘want’ commodities at this time. Finally, the second largest burst is in March-April near the end of the campaign to maintain the brand recall after the campaign has finished.

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Fairytale in the Media Press  In order to reach our ABC1 women target audience, we had to consider the most appropriate environment and channelling. Figure 8 exhibits the press media plan for the duration of the campaign. Grazia and Red magazine have the highest female ABC1 readership, 89.8% and 73% hence the largest distribution of the budget (Baurer Media Magazines no date). Although newspaper is not a particular medium choice by ABC1 women, the guardian has the highest readership of this category (Thinkbox 2013a). Sky consumers are broader than their target audience and these newspapers have high total readership and circulation in UK therefore an appropriate place for Sky’s advert to be placed (Newsworks no date).

To look at in more detail please look at Appendix B. Figure 9 (Hearst nodateb) presents the spend by press title for Red magazine, as seen in the graph, when budget allows we planned utilised the premium positions, such as the gatefold, as research has shown these environments receive the highest attention from the audience.

To look at in more detail please look at Appendix C.

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TV  

To look at in more detail please look at Appendix D. Figure 10 displays the TV schedule for one day in July 2010, highlighting the programmes that we placed Sky Fairytale’s on for that month. Film4 hosts a range of films each month, for example if the budget allowed we would of placed it on these movies. Films like Anastasia and Night at the Museum are targeted toward children, stay-at-home mothers would join children to watch these movies or be cleaning within the household still allowing for an opportunity-to-see. ITV1 has a range of programmes that appeal to our target audience, morning television such as Daybreak and Lorraine have a high reach of ABC1 women, weather the ABC1 women demographic is getting ready to take their children to school or going to work, they are likely to be watching these programmes (ITV no ndateb). News programmes on Channel 4 and ITV1 throughout the day have a large reach with our consumers as they take an interest in the wider world and surroundings (Thinkbox 2013a). Programming after the watershed are popular amongst the target audience such as Channel 4’s The Hoarder Next Door and Ramsay’s Kitchen Nightmare; this is the time that women take to relax and unwind once children have gone to bed or after a day of work. Figure 11 (adapted from BARB 2010) demonstrates our TV campaign analysis, using channels ITV1, Channel 4, LivingTV and Film4. ITV1 has the highest ABC1 women TVR’s of 93% with key television shows such as Britain’s Got Talent and Coronation Street, placing the Sky’s Fairytale advert will give our target audience a 2.2 opportunity to see (BARB 2010 and ITV no datea). In comparison to LivingTV where the TVR of ABC1 women is 21% in July 2010, the opportunity to see is 4.2. Our cost-per-thousand is also lower for the channels that have the highest target audience TVR’s, therefore, in July 2010 we planned to place our advert 56times on ITV1, in comparison to LivingTV which we only placed 30 times; our research showed the higher the

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target audience TVR’s equated to lower the opportunity to see and lowest cost per thousand, making it relative.

To look at in more detail please look at Appendix E. High involvement products in the transformational sector, according to Percy and Rosenbaum- Elliot (2009), suggest this sector deals with “brand decisions for products with much longer purchase cycles, [and] this is what permits a relatively lower rate of frequency “; this is illustrated in Figure 12. Therefore we planned to reach around half of our target audience with an average frequency of 3.15.

Post Campaign Evaluation At the end of the campaign we were able to measure the success, in comparison to our objectives as discussed with Sky in our preparation. Sky aimed to be the “fast growing broadband provider” in the 10/11 fiscal year; this was reached with Sky adding 711,000 broadband customers and more than doubling BT’s year-on-year growth, the market leaders. Figure 13 (adapted

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from Harris et al. 2012) demonstrates the change in broadband market share in 2011, moving Sky into a more threatening position to its competitors.

Together we set out to achieve 50% growth in attachment rate, we exceeded this objective with the proportion of new customers taking broadband and TV reaching 73% the highest peak during the campaign airing, which then stabilised to 62% in the months following the end of the campaign (July-Dec 2011) (Harris et al. 2012). The desire to change perceptions of Sky Broadband by unprompted awareness to 64% were achieved and surpassed to 68% by the end of May 2011 (Harris et al. 2012). Fairytale also achieved success in the objective to improve prospects scores for ‘Sky offers good quality broadband’, increasing largely during air periods, critically shifting positively over time, as seen in Figure 14 (Harris et al. 2012).

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We also saw success in Sky’s sponsorship, recency strategy. Research by Harris et al. (2012) found that “16% of those exposed to the sponsorship said they were more likely to say Sky Broadband was either the only provider they would consider or the one they would consider vs. most others”. Finally, Fairytale generated £63.2m marginal contribution to profit from a total spend of £39.6m; equating to an ROI of £1.60 for each £1 spent and net profit of £23.6m (Harris et al. 2012).

WCRS Benefits and Our Future with Sky Broadband WCRS has since won Winner of the Best Use of TV for Response category in the Thinkbox TV Planning Awards 2011, and Entrant, IPA Effectiveness Awards, 2012 for its work on the Fairytale campaign (Thinkbox 2013b and IPA no date). Sky have also reported they “will continue to work with WCRS and have no plans whatsoever for that to change” (Cassidy 2012). The results of this campaign have been beyond expectations, making WCRS a stronger and more credible advertising agency as a result. In our future work with Sky Broadband we need to continue to achieve a larger market share, competing directly with BT and Virgin, a longer campaign may be more affective to stabilize and increase perception of “Sky offers good quality broadband” as results show high peaks were achieved during bursts.

     

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References BARB (2010). BARB Quarterly Reach Report - Quarter 3 2010 - weeks 2188-2201. [Online] Available from: http://www.barb.co.uk/viewing/quarterly-channel-reach?_s=4 [Accessed 7th May 2013]. Baurer Media Magazines (no date). Audience Finder. [Online] Available from: http://magazines.bauermediaadvertising.com/audience-finder/#results [Accessed 7th May 2013]. Benady, D. (30th November 2012). BT aims for brand revival with its big content gamble. Haymarket [Online] Available from: http://www.marketingmagazine.co.uk/news/1161501/BT-aims-brand-revival-its-big-content-gamble/ [Accessed 7th May 2013]. Boote, S., A. (1983). Psychographic Segmentation in Europe. Journal of Advertising Research. [Online] 22 (6), 19-25. Available from: Business Source Premier [Accessed 7th May 2013]. BSkyB (2013). Our Mission. [Online] Available from: http://corporate.sky.com/about_sky/what_we_do/our_mission [Accessed 7th May 2013]. Cassidy, A. (17th May 2012). Sky opens creative agency talks. Campaign. [Online] Available from: http://www.campaignlive.co.uk/news/1132470/ [Accessed 7th May 2013]. Harris, Z., Houston, E., Spencer, P., and Ainsworth, T. (2012). Sky: Fairytale. [Online] Available from: WARC [Accessed 7th May 2013]. Hearst (no dateb). Red Magazine Rate Card. [Online] Available from: http://www.hearst.co.uk/magazines/011-589-Magazine-Rate-Card.html [Accessed 7th May 2013]. IPA (no date). Sky’s fairytale (2012). [Online] Available from: http://www.ipaeffectivenessawards.co.uk/Entrant.aspx?id=453 [Accessed 7th May 2013]. ITV (no datea). Platforms: ITV. [Online] Available from: http://www.itvmedia.co.uk/platforms/itv [Accessed 7th May 2013]. ITV (no dateb). Opportunities: Breakfast. [Online] Available from: http://www.itvmedia.co.uk/opportunities/tv-advertising/breakfast-opportunities [Accessed 7th May 2013]. Newsworks (no date). The Guardian. [Online] Available from: http://www.newsworks.org.uk/The-Guardian [Accessed 7th May 2013]. Ofcom (2011). Communications Market Report: UK. [Online] Available from: http://stakeholders.ofcom.org.uk/binaries/research/cmr/cmr11/UK_CMR_2011_FINAL.pdf [Accessed 7th May 2013]. Ofcom (2012). Facts & Figures. [Online] Available from: http://media.ofcom.org.uk/facts/ [Accessed 7th May 2013]. Percy, L., and Rosenbaum-Elliott, R. (2009). Strategic Advertising Management. 4th edition. Oxford University Press, Oxford, UK.

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Strategic Business Insights (2013). Sample Demographics and Behaviours. [Online] Available from: http://www.strategicbusinessinsights.com/vals/demobehav.shtml [Accessed 7th May 2013]. Thinkbox (2013a). Audience Profiles. [Online] Available from: http://www.thinkbox.tv/server/show/nav.914#Housewives [Accessed 7th May 2013]. Thinkbox (2013b). Best use of TV for response 2011. [Online] Available from: http://www.thinkbox.tv/server/show/conCaseStudy.1687 [Accessed 7th May 2013].

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Bibliography Associated Newspapers (2013). Circulation and Readership. [Online] Available from: http://www.mailclassified.co.uk/circulation-readership [Accessed 7th May 2013]. BARB (2010). BARB Quarterly Reach Report - Quarter 3 2010 - weeks 2188-2201. [Online] Available from: http://www.barb.co.uk/viewing/quarterly-channel-reach?_s=4 [Accessed 7th May 2013]. Baurer Media Magazines (no date). Audience Finder. [Online] Available from: http://magazines.bauermediaadvertising.com/audience-finder/#results [Accessed 7th May 2013]. Benady, D. (30th November 2012) BT aims for brand revival with its big content gamble. Haymarket [Online] Available from: http://www.marketingmagazine.co.uk/news/1161501/BT-aims-brand-revival-its-big-content-gamble/ [Accessed 7th May 2013]. Boote, S., A. (1983). Psychographic Segmentation in Europe. Journal of Advertising Research. [Online] 22 (6), 19-25. Available from: Business Source Premier [Accessed 7th May 2013]. BRAD (2011). BSKYB. [Online] Available from: http://www.bradtop100.co.uk/06-Publishing-Media/01-british-sky-broadcasting-plc [Accessed 7th May 2013]. BSkyB (2013). Our Mission. [Online] Available from: http://corporate.sky.com/about_sky/what_we_do/our_mission [Accessed 7th May 2013]. Cassidy, A. (17th May 2012). Sky opens creative agency talks. Campaign. [Online] Available from: http://www.campaignlive.co.uk/news/1132470/ [Accessed 7th May 2013]. Harris, Z., Houston, E., Spencer, P., and Ainsworth, T. (2012). Sky: Fairytale. [Online] Available from: WARC [Accessed 7th May 2013]. Hearst (no date). Red Magazine. [Online] Available from: http://www.hearst.co.uk/magazines/Red/5-magazine.htm [Accessed 7th May 2013]. Hearst (no dateb). Red Magazine Rate Card. [Online] Available from: http://www.hearst.co.uk/magazines/011-589-Magazine-Rate-Card.html [Accessed 7th May 2013]. Hello! (no date). Reader Demographics. [Online] Available from: http://hellomagazinemediapack.com/the-reader/readership-demographics/ [Accessed 7th May 2013]. IPA (no date). Sky’s fairytale (2012). [Online] Available from: http://www.ipaeffectivenessawards.co.uk/Entrant.aspx?id=453 [Accessed 7th May 2013]. ITV (no datea). Platforms: ITV. [Online] Available from: http://www.itvmedia.co.uk/platforms/itv [Accessed 7th May 2013].

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ITV (no dateb). Opportunities: Breakfast. [Online] Available from: http://www.itvmedia.co.uk/opportunities/tv-advertising/breakfast-opportunities [Accessed 7th May 2013]. Macleod, D. (19th March 2011). Sky Broadband Fairy Tales. The Inspiration Room. [Online] Available from: http://theinspirationroom.com/daily/2011/sky-broadband-fairy-tales/ [Accessed 7th May 2013]. Newsworks (no date). The Guardian. [Online] Available from: http://www.newsworks.org.uk/The-Guardian [Accessed 7th May 2013]. Ofcom (2010). Communications Market Report. [Online] Available from: http://stakeholders.ofcom.org.uk/binaries/research/cmr/753567/CMR_2010_FINAL.pdf [Accessed 7th May 2013]. Ofcom (2011). Communications Market Report: UK. [Online] Available from: http://stakeholders.ofcom.org.uk/binaries/research/cmr/cmr11/UK_CMR_2011_FINAL.pdf [Accessed 7th May 2013]. Ofcom (2012). Facts & Figures. [Online] Available from: http://media.ofcom.org.uk/facts/ [Accessed 7th May 2013]. Percy, L., and Rosenbaum-Elliott, R. (2009). Strategic Advertising Management. 4th edition. Oxford University Press, Oxford, UK. Strategic Business Insights (2013). Sample Demographics and Behaviours. [Online] Available from: http://www.strategicbusinessinsights.com/vals/demobehav.shtml [Accessed 7th May 2013]. Telecoms Market Research (2011). UK Telecommunications Industry 2011. [Online] Available from: http://www.telecomsmarketresearch.com/resources/UK_Mobile_Operator_Subscriber_Statistics_3.shtml [Accessed 7th May 2013]. Thinkbox (2013a). Audience Profiles. [Online] Available from: http://www.thinkbox.tv/server/show/nav.914#Housewives [Accessed 7th May 2013]. Thinkbox (2013b). Best use of TV for response 2011. [Online] Available from: http://www.thinkbox.tv/server/show/conCaseStudy.1687 [Accessed 7th May 2013].

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Appendices Appendix A: Figure 7: High Level Media Plan (Source: adapted from

Harris et al. 2012). Using Harris et al. (2012) I calculated the three strands into the seven mediums utilised for this campaign from their percentages given to each strand. Fame: TV 100% Frequency: Press 36% Outdoor 42% Internet 14% Radio 8% Recency: Sponsorship 100% DR: Press 44% TV 20% Direct Mail 27% Internet 9%

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Appendix B: Figure 8: Press Media Plan (Source: adapted from Harris et al. 2012).

To calculate these figures I took the total press budget from Figure 7 and distributed media spend according to target audience reach.

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Appendix C: Figure 9: Press Media Plan by Title: Red Magazine (Source: Hearst nodateb)

To place the chosen pages to print adverts in Red Magazine I used the Rate Card on Hearst (no dateb) and distributed according to budget costs and the best pages for impact.

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Appendix D: Figure 10: TV Programming

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Appendix E: Figure 11: TV Campaign Analysis: July 2010 (Source:

adapted from BARB 2010)

Total of 12.7m (12,700) ABC1 women in UK BARB (2010) ABC1 women: Channel 4 89% ITV1 93% Living TV 21% Film4 39% Channel 4 12700 x 89 = 1130300 / 100 = 11303 44 x 89 = 3916 11303 / 3916 = 2.886363636 (2.8) 2160 / 3916 = 0.551583248 (0.55 x 10) = £5.50 ITV1 12700 x 93 = 1181100 / 100 = 11811 56 x93 = 5208 11811 / 5208 = 2.267857143 (2.2) 2160 / 5208 = 0.414746543 (0.41 x10) = £4.10 LivingTV 12700 x 21 = 266700 / 100 = 2667 30 x 21 = 630 2667 / 630 = 4.233333333 (4.2) 2160 / 630 = 3.428571429 (3.43 x 10) = £34.30 Film4 12700 x 39 = 495300 / 100 = 4953 38 x 39 = 1482 4953 / 1482 = 3.342105263 2160 / 1482 = 1.457489879 (1.46 x 10) = £14.60

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