A young 13–29 audience and a compressed campaign window: short TV copies, non-standard digital formats, influencers and digital-only OOH.
Sprite Mojito is a new flavour in the line, not a new brand. That is a different job from sustaining awareness: in a single season the young audience has to learn the flavour exists and be given a reason to try it. The audience is narrow by age — 13–29 — and it is the hardest group to catch with classic TV. One more constraint: the creative materials arrived late and the campaign launched in May instead of the planned April, which shortened the window.
We answered the compressed window with weight and non-standard formats rather than by extending the dates. On TV we took the shortest copies — 6 and 15 seconds: with inventory tight that is the only way to build spot volume, and a young audience has no use for a long spot anyway. In digital we bet on non-standard Rich Media formats, which stand out more than a banner and cost less per contact than video. OOH went digital-only in two cities — a creative with the product in frame reads on a screen in a second. And we added influencers as a channel that is more convincing than direct advertising for a 13–29 audience.
TV delivered several times more spots than the plan called for, thanks to six- and fifteen-second copies. TV budget was redeployed from other campaigns to strengthen the launch, and that is recorded in the report rather than dissolved into the overall estimate.
The campaign started later than planned because of the creative delay. Over the shortened period online video still came in above plan on volume and reach, at a cost per contact below the one budgeted. Lost time was made up with weight, not with extended dates.
Non-standard display formats proved the most cost-efficient tool per contact for a teen and young adult audience — more noticeable than a banner, cheaper than video. We recommended expanding their share in the brand future campaigns.
Instagram and Facebook worked for repeat contact with an audience already covered, not for reach. That is a deliberate split: video and display build reach, social adds frequency.
For a flavour launch this channel matters for its format rather than its volume: the audience sees the product in the hands of someone they trust, not inside an ad break. For a 13–29 age group that is more convincing than direct advertising.
All inventory digital, in Dushanbe and Khujand, with the creative built around the product shown large. On OOH a person has one second, and in that second they have to understand what the product is; the conclusion held and went into the recommendations for the next campaigns.
A flavour launch inside a shortened window: the campaign started 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. The short TV copy delivered several times more spots under tight inventory. Non-standard Rich Media formats showed the best cost per contact on a 13–29 audience and went into the recommendations for the next campaigns. Campaign performance figures are not published.
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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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