Bianca Guimarães
Associate Creative Director at BBDO
Greater New York City Area, Etats-Unis
TitreThe Face of Distracted Driving
BriefA young man talks to camera about how his life might have turned out differently. As we hear his voiceover, we see home video footage of him as a young boy. When the film cuts back to him, it’s revealed that this is what Caleb Sorohan would look like today, if he hadn’t been killed by a distracted driver eight years ago. We then see a newspaper clipping of his death. The agency worked carefully with the victim's family, forensic artists, and visual effects teams to "resurrect" him.
Agence
Campagne The Face Of Distracted Driving
Annonceur AT&T Inc.
Marque AT&T
Mise en ligneNovembre 2018
Secteur d'activité Culture, loisirs et sports
Synopsis A young man talks to camera about how his life might have turned out differently. As we hear his voiceover, we see home video footage of him as a young boy. When the film cuts back to him, it’s revealed that this is what Caleb Sorohan would look like today, if he hadn’t been killed by a distracted driver eight years ago. We then see a newspaper clipping of his death. The agency worked carefully with the victim's family, forensic artists, and visual effects teams to "resurrect" him.

For the last eight years, AT&T’s It Can Wait campaign has been dedicated to fighting distracted driving. The problem is that, while more than 95% of people recognize the danger in using their smartphones while driving, over 83% of drivers — teens and adults alike —still do it.
Our goal for 2017 was to close this gap between belief and action. In order to do so, we needed to put our creative work through two filters: first, was it engaging enough to rise above the noise and get our audiences’ attention? And second, was it powerful enough to go beyond just issue awareness, and to create real change in driver behavior?
Strategy
Every week, three different:15s videos—rooted in three different insights revealed in our research — were pushed out against three audience groups: A18–24 (Gen Z), A25–34 (Older Millennials) and A35–49 (Gen X).
Understanding that there is no direct proxy for behavior change when looking at just engagement metrics, we looked to a number of touchpoints in order to make comprehensive decisions on what defined success. Data was gathered in partnership with third-party research group MetrixLab, Facebook’s beta internal research tool Creative Compass and standard front-end data available from our DSP on a weekly basis. When and where possible, we also looked to understand sentiment by looking at the comments left on our videos to better contextualize performance.
The performance mapping from MetrixLab took a look at Memory metrics (aided brand recall, message recall, message playback, ad recognition), Effect (interest, purchase and clicking intent, virability) and Reaction (likeability, differentiation, credibility, relevance, understanding and brand fit). Creative Compass provided another read on some of the same measures, and where possible we were sure to ask: “Does this message make you less likely to drive distracted?”
The Face of Distracted Driving was the top-performing asset when looking across all data sets and audiences.
Relevancy
The 2017 It Can Wait campaign — that culminated in the The Face of Distracted Driving video work — epitomizes how smart, thoughtful application of data can lead to creative work that drives emotional response and delivers on communications objectives in a purposeful way.
Drawing on over eight years of accumulated campaign feedback, we knew the communications challenge we faced in 2017: people believe that distracted driving is wrong, but they still do it. The creative use of data was the only way to attack this difficult behavioral problem in order to save lives.
Outcome
The campaign garnered over 73 million media impressions and over 13 million views in less than a week. We effectively doubled the average engagement rate of all past AT&T brand advertising.
But most importantly, we shifted the way drivers behave behind the wheel. Sixty percent of viewers said the campaign would change their behavior, and we helped the It Can Wait program surpass 20 million pledges to never drive distracted.
In the end, we proved that data can not only fuel the creative process, it can also save lives.
Media Strategy
Performance data was shared on a weekly cadence to allow us to understand three key questions
1. Does one insight territory/creative messaging pillar perform better than others?
2. Are there audience-specific nuances that inform what succeeds in-market?
3. What can we deduce about the tone of work to help inform future executions?
Our learnings were rolled into creative development and helped inform optimizations in storytelling and media. And while Facebook was our core social data partner, the videos were also distributed across other social platforms and media partners to understand how — and if — the environment in which the creative played had an impact on resonance, awareness levels and behavioral intent shifts.
We recognized that the executions most likely to shift behavior were those which humanized the lives of victims and their stories. The Face of Distracted Driving rose to the top, and in light of our data findings and the work’s profoundly moving human story, we knew that this execution had the potential to truly change the way drivers act behind the wheel.
Campaign Description
While distracted driving is often thought of as a youth problem, data from the campaign showed that the behavior actually crosses driver demographics. As such, we needed to understand what messaging worked best in shifting behavior across a range of generations.
Our creative teams first synced up with a behavioral scientist who helped us find a range of communication options that could actually change driving behavior, rather than just generating buzz around the issue.
We worked with Facebook to develop an agile social marketing model that combined weekly testing on the front end with back-end panel measurement, allowing us to monitor engagement and behavioral intent shifts simultaneously. AT&T was the first advertiser to implement this model for an awareness-level engagement campaign.
We knew both forms of measurement would be crucial to our success: the work would not be effective unless it was engaging enough to capture audience attention, but it also had to strike deeper than mere engagement, creating real change in audience behavior.
To limit the number of variables in the test, we honed in on platform best practices in social and focused on video as our main creative format.
Type de média Etude de cas
VFX Company
2D Lead
Account Team
Account Team
Account Team
Account Team
Account Team
Age Progression
Age Progression Art
Age Progression Art Direction
Assistant Monteur
Post-Production audio
Responsable de la création
Responsable de la création
Responsable de la création
Responsable de la stratégie
Coloriste
Compositor
Compositor
Compositor
Compositor
Coordinator
Coordinator
Directeur de création
Directeur de création
Directeur de création
Directeur de création
Concepteur / rédacteur
Directeur artistique
Compositeur de musique
Compositeur de musique
Compositeur de musique
Compositeur de musique
Compositeur de musique
Designer
Réalisateur
Director of Integrated Production
Monteur
Editorial Company
Engineer
Directeur de la création
Directeur de la création
Producteur exécutif
Producteur exécutif
Producteur exécutif
Producteur exécutif
Group Executive Producer
Responsable de la production
Producteur délégué
Directeur Général
Maison de production
Producteur
Producteur
Producteur
Maison de production
Chef de projet
Senior Producer
Shoot Supervisor
Directeur des Stratégies
Chief Creative Officer David Lubars
Chief Creative Officer Greg Hahn
Executive Creative Director Matt MacDonald
Creative Director/ Copywriter Kevin Mulroy
Creative Director/ Art Director Bianca Guimaraes
Director of Integrated Producer David Rolfe
Group Executive Producer Julie Collins
Executive Producer Dan Blaney
Producer Bree Hopenwasser
Project Manager Claire McCastle
Chief Strategy Officer Crystal Rix
Strategy Director Charles Baker
Account Team Kathryn Brown
Account Team Katie Hollenkamp
Account Team Jaimie Donohue
Account Team Katelyn Burns
Account Team Caroline Main
Director Errol Morris
Line Producer Julie Ahlberg
Managing Director Shawn Lacy
Executive Producer Jeff McDougall
Editor Steven Hathaway
Assistant Editor Molly Rokosz
Producer Evyn Bruce
Executive Creative Director Ben Smith
Creative Director Gavin Wellsman
Creative Director Corey Brown
Colorist Fergus McCall
Executive Producer Rachael Trillo
Senior Producer Coordinators Nirad "Bugs" Russell
Senior Producer Coordinators Sophie Mitchell
Senior Producer Coordinators Mia Lalanne
2D Krissy Nordella
2D Burtis Scott
2D Corey Brown
2D Jamie Scott
Composer Theo DeGunzberg
Composer Gordon Minette
Composer Seth Fruiterman
Composer Ed Dunne
Composer Craig DeLeon
Engineer Sloan Alexander
Age Progression Jovey Hayes
Age Progression Art Direction Emanuel Craciunescu
Entrant Company BBDO NEW YORK
Idea Creation BBDO NEW YORK
Production BISCUIT FILMWORKS
PR FLEISHMANHILLARD
Additional Company EXILE EDITORIAL
Additional Company HUMAN
Additional Company THE MILL
Additional Company PHOJOE

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