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Doc Nonstop: How Real Stories Grow Brand Community

We all know the last tweet is yesterday's news, so how does a cause campaign with limited resources generate the content to grow and sustain a fan base over the course of a year?

Ford Warriors in Pink turned to its strength – real people and real stories. It empowered non-celebrity ambassadors and created a drove of meaningful documentary content around them. Working with its strategic film partner, Flow Nonfiction, the program exploited the flexibility of the documentary format to navigate the challenges of an integrated campaign (episodic content vs. a central film? an editorial calendar vs. real-time responsiveness? digital vs. broadcast vs. live events?) This lighthouse program has raised over $115 million to fight breast cancer over 18 years, but this year authentic engagement and hard sales numbers soared.

This panel explores the strategy, tactics and execution of a collaboration that answered the “content void” with hustle, heart and genuine interaction.

Additional Supporting Materials

Questions Answered

  1. How early should a strategic film partner be involved in the planning process? How involved in the day to day? What's the most productive and efficient way to move through rounds of feedback on doc content? Does another agency need to be involved? And how do agencies sell these types of projects through in the first place?
  2. The authenticity of the people featured in documentary is what draws us in; it can also be a challenge for the brand. How do you balance empowering real brand ambassadors vs. losing control of message and image? What are some successful strategies for connecting the subject of a real story with the brand's larger community in a productive way?
  3. What's the best way to leverage branded documentary assets? How long should they be? In delivering assets to the brand community, how do you balance some kind of editorial calendar with the ability to respond to current events, trends, feedback and "what's working" throughout the year? Can you keep ammunition and flexibility at the same time?
  4. Creating a trove of content is all well and good, but if it all looks the same, that may be a net negative. What are some successful filmmaking tactics to truly differentiate the content generated from a limited number of production days? How do you create an archive of content that feels cohesive, but has distinctive elements and unique looks and feels throughout the year.
  5. What are the key elements to capture in a real story? How do you move a real story forward through genuine events as opposed to artificial manipulation? When does a real story end?

Speakers

Organizer

David Modigliani Flow Nonfiction


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