A narrow category with a single active competitor: the bet was on density of presence and quality of placement rather than on budget size.
Iced tea in Tajikistan is a small category next to carbonated soft drinks, and only one competitor is active in it. That changes the shape of the brief: there is no need to shout over a dozen brands, the job is to take the category and hold it. The audience is 13–29, so the campaign works on the young, urban part of the population. One extra difficulty: the creative materials arrived late and digital launched in May instead of the planned April, cutting the window by almost six weeks.
In a narrow category it is not budget size that wins but density of presence and quality of placement. On TV we bet on short 15-second copies and on position quality: with inventory tight a short copy clears a break more easily, and we pushed the freed weight into prime time. In digital, given the shortened window, we dropped long video formats and shifted weight into non-standard Rich Media and short video: they buy more contact for the same money and work better on a teen and young adult audience. OOH went into Dushanbe only and digital inventory only, with a creative where the product occupies most of the frame.
The short 15-second copy delivered several times more spots than the plan called for. But the point here is not volume, it is position: we pushed the freed weight into prime time and raised its share well above plan. In a narrow category the quality of the slot matters more than the gross number of spots.
Programmatic and Rich Media formats produced the lowest cost per contact in the whole campaign. In the report we recorded the conclusion: on a 13–29 audience non-standard formats should be expanded, not cut.
The creative delay cut the window by almost six weeks. We dropped long video formats in favour of short ones and, over the remaining period, beat the plan on volume and reach at a cost per contact below the one budgeted.
This channel job was not reach — display and video already covered that — but repeat contact with an audience that had already seen the product. That split keeps the campaign from paying twice for the same reach.
For a new flavour, saves and comments matter more than likes — they signal that a person will come back to the product rather than simply scroll past. So the creator brief was built around a format that provokes a reaction, not around a formal number of posts.
All inventory was LED screens and LED city formats in the capital. In a narrow category there is no sense in spreading OOH across the regions — iced tea is bought above all in Dushanbe. The creative was built so the product reads in the first seconds of a screen rotation.
A campaign in a narrow category built on density of presence and quality of placement rather than budget size. The short TV copy delivered more spots under tight inventory, and the freed weight went into prime time. Non-standard display formats showed the best cost per contact on a 13–29 audience. The campaign launched almost six weeks later than planned because of delayed creative materials and still beat the KPIs set for it on every digital channel over the remaining period. Campaign performance figures are not published.
Tell us about it — we’ll suggest the format and scope of work.
Bringing a payment method nobody in the country had used yet to market: TV, digital, LED screens and indoor, 18 Tajik-language creatives and a communication broken into seven barriers rather than one slogan.
A series of campaigns over two years: holiday, summer and product activations. A media mix of TV, digital, OOH and radio rebuilt for each campaign objective, with coverage beyond Dushanbe.
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