WWFUS – Campaign Proposal

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Table of Contents

Objectives 3
Situational Analysis 4
Target Demographic Analysis 7
Stakeholder Analysis 8
The Creative
Storyboard 9
Episode Breakdown 10
TheFutureOfUS.com 14
Social Media Competition 15
Trailer Breakdown 15
Push Event 16
Schedule 18
Budget 20
EAV Breakdown 21
References 22

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 OBJECTIVES

1. To position WWF as the number one authority on the Big 6 issues within 12 months of
release.

2. To inform and increase millennials’ interest in information regarding the Big 6 by 85%
within 3 months.

3. To directly increase the online financial contribution amount by 15% for a 3-month period.

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Situational Analysis

Social
Young social activists, such as Emma Gonzalez and the ‘Never Again’ movement (Witt, 2018), are
gaining ground in the public eye for social issues. This in turn will lead other young people to believe
that they are able to garner momentum with issues close to them. This is evidenced by the vast
number of recent up and coming youth activists speaking globally about injustices (Pimentel, 2018).
This is an opportunity to target a market that has previously not had a voice on the national stage
when it comes to complex issues, at a time where the credibility of an activist is based on
experiences more than age.
For some time, influencers have been accepted as experts in their field by mainstream media
(Trammell and Keshelashvili, 2005), but we are only recently seeing the true potential of influencers
in a social context. With increased wages for online content creators, credibility increases for their
personal brand in the perception of the general public. In ‘’The 2017 State of The Creator Economy’’
report (2017), it was found that the most important factor in influencer marketing is the credibility
and authenticity of the influencer. This highlights an opportunity to use authentic online influencers
to convey their own feelings of the brand to their audiences.
The reach of online influencers also means that low cost mass advertising can be achieved through
a dialogue with these influencers. Quinton (2007) says that there is more to word of mouth
marketing than cost saving, it is also important to add word of mouth contact points to places that
the target market already exist. For example, through social media channels where an open dialogue
can be had regarding the brand.
Individuals are most likely to donate to NGOs that offer the highest impact to their perceived cause
(Sanders and Tamma, 2015). This means that consumers are often more likely to donate to a smaller
organisation since they already know the primary operative for that NGO. An issue surrounding
WWF regarding this is that, WWF works towards a wealth of causes and so may not have the clarity
of purpose in the eye of the consumer that some smaller organisations do.

Technological
Advances in technology and digital policies have made it easier to access online content. For
example, Netflix now allow consumers to download content for a fixed period (Spangler, 2016). This
in turn means consuming content is less time consuming, as it can be done portably and no longer
relies on an internet connection. This solidifies Netflix as a good option for a content platform for a
potential WWF campaign.
The accessibility of software means that up and coming creators can put out sophisticated
products with little budget (Walzer, 2016). This means that creators are more empowered to put out
content (Ellingsen, 2014), leading to a larger pool of creatives to employ for campaigns. This is an
opportunity to find high quality creatives that have previously been under the radar of large
productions, offering an opportunity for them to gain exposure. This doubles as an ethical practice in
the context of this campaign, whereby WWF could be considered giving back to the creative
community whilst achieving the goals of the campaign.

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 With big company takeovers, such as Facebook’s purchase of Instagram (Engadget, 2012), social
platforms are becoming increasingly seamless. This means an increased number of touch points for
marketing campaigns as well as less cost to distribute across social platforms (i.e. content doesn’t
need to be created differently or require a major difference in strategy for different platforms due to
similarities and the crossover of user bases).
Twitter is now the second most popular social media option for B2C advertising (Statista, 2018).
With 80% of millennials accessing Twitter at least once each day (Tech Impact, 2017), it is a huge
platform for marketing to millennials. Approximately 64% of millennials are also now using
Instagram, making it one of the largest pools for millennials across all of social media (Pew, 2018).

Economical
In the US interest rates are due to increase (Fig.1 from creative brief), this means that more people
are likely to save money as opposed to spending it on causes such as this. This is a threat to the
charity model, meaning that the tact of this campaign must be focused on building advocates as
opposed to simply increasing donation frequency. This can be done through encouraging
fundraising.
Issues with the economy are unlikely to majorly impact viewing figures for a Netflix series as global
Netflix subscriptions have seen an exponential increase over the last decade with no signs of these
figures slowing (Statista, 2018). This data suggests that Netflix subscription figures generally work
independently to national economic status, with Netflix even becoming a staple in the home in the
same vein as cable TV has been (Dunn, 2017). Beyond this, the majority social media does not
require a paid subscription therefore consumers are afforded continuous access despite financial
hardships.

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Environmental
Droughts have been occurring in Los Angeles, the home of Hollywood and therefore the basis for
the film concept of this campaign, with some intensity recently. With 44% of California now
experiencing drought conditions (LA Times, 2018), people from the region and across the nation are
beginning to understand the real-world impacts that unsustainable practices have had and are
having on their environment. This is an opportunity to relate the campaign to real life events that
have impacted the target audience.
Every year earth overshoot day is occurring earlier (Overshoot Day, 2017), this environmental
factor should act as a motivator for organisations and consumers to fight against unsustainability.
This data being public knowledge should act to the benefit of WWF as it is a current environmental
issue that we are already seeing the effects of, and not necessarily a distant future in the perception
of the public where they may feel dissociated from the effects of (Markway, 2013). It is important to
change the perception of the target audience to the point that they feel directly affected by these
environmental issues, effectively disallowing any dissociation from the consequences.

Political
The president of the USA has a public stance against the credibility of global warming research
(Nuccitelli, 2018), which in turn may be damaging to a substantial portion of his supporters and
public alike. This is a threat to any marketing practices undertaken by WWF, as the US public has
taken a step back in their acceptance of climate issues based on these politics. Beyond this, the
USA’s decision to abstain from the Paris Agreement puts them out of sync with the other 195
UNFCCC (UNFCCC, 2015) entities that are a part of the agreement. This could be taken as an
opportunity to provide facts to individuals that on the fence regarding their environmental beliefs.
The UK government’s decision to ban damaging single use plastics (CNN, 2018), and further
encouragement for commonwealth nations to follow suit, shows a major economical power’s beliefs
regarding environmental issues. This should be considered a catalyst for worldwide changes in
political sustainability policy and should be a point for pressure groups and the target audience to
focus on for change in US policy.

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 Analysis of the Target Demographic
Research has found that millennials are more sensitive to sustainability issues involving energy
(Sogari et al, 2017). This finding is in line with customer perception that points towards, of the Big 6,
energy and climate being the most dominant in the public eye. This suggests that other areas of the
Big 6, as has previously been suggested in this document, need primary focus during this campaign.
A study into university students in American cities has found that despite sustainability initiatives
on campus, undergraduates have made little in the way of change to their lifestyles (Schoolman et
al, 2014). This study goes on to explain that this is despite an interest taken in sustainability by these
students. For this reason, this campaign must tackle concepts in a way that makes these long term
environmental disasters, due to unsustainable living, feel as though they have imminent threat to
these students. This will encourage those that are open to the idea of being sustainable to live in a
fashion that is more in line with what would be expected from this.
Faw (2014) explains that more than 80% of millennials are now expecting corporate brands to
display a commitment to sustainability, or risk losing their business. Data such as this is a motivator
for brands to get involved with WWF for sustainability initiatives in order to retain their market
share of the millennial demographic. This is also good news for WWF on the basis that the target
market for this campaign have a genuine interest sustainability, and in turn pressuring corporate
entities to act with more environmental responsibility. This large body within society, the millennial
demographic, is therefore akin to a pressure group. This is expected to aid in any campaign goals
that involve government support or policy change, due to the overwhelming societal pressure to do
so.
In an article by Enkema (2017), it is suggested that millennials are often unwilling to curb their own
habits but instead support sustainable companies as a way to vicariously live sustainably. It is
therefore important that any campaign by WWF removes this disconnect between individual action
and consequence, as suggested in the situational analysis.
A study for Business Insider (2017) found that millennials expected a higher quality of content from
the content on Netflix, as opposed to other platforms. This makes Netflix a viable option for WWF’s
video content aspect of the campaign, on the basis that the target demographic are more likely to
watch a series – or miniseries – that has the backing of Netflix. The same study goes on to find that
up to 90% of millennials consume, what would be considered traditionally TV based content,
through the Netflix platform. Meaning that there is a very large user base within the target
demographic for the target platform, and therefore a large reach when taking into consideration
gross rating points for the media choice. Another survey study (Brown, 2017) goes on to find that
79% of American millennials agree that Netflix has the best original content out of all digital
platforms. The proposal for this campaign will therefore aim to brand the series as a ‘Netflix Original’
through the support of the platform throughout the production of content.

In summary, American millennials:

• Are currently mostly aware of the energy aspect of the Big 6.

• Are detached from the consequences of their actions, despite caring about sustainability
issues.
• Are expecting brands to change their behaviour, with the power and potential of also
changing government policy.
• Hold high standards for the quality of content distributed by Netflix, a platform that almost
90% of the target demographic regularly use.

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 Stakeholder Analysis

How the stakeholders are satisfied:

• NGO Partners, WWF Branches, Pressure Groups

o Satisfied through the Profile (episodes revolving
around the Big 6) aspect of the campaign.
• Mainstream Media, Influencers
o Satisfied through the Push (event) aspect of the
campaign, where they will be involved with the
campaign before public release.
• Target Audience, General Public, Communities
o Satisfied through the reach of the Pull (Netflix
platform, social media channels) aspects of the
campaign.
• US Government Departments
o Satisfied through an ongoing conversation between
WWF-US and departments.
o Also satisfied through inspiring the target audience
to push for change in government policy.

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Episode 1

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Episode Breakdown
Each episode will be filmed simultaneously, with the separation of teams for maximum efficiency.

Each episode shows a world where each of the Big 6 areas have been played out and irreversibly
destroyed their respective environments.

The major differences between these 10-minute episodes will be to hold the interest of viewers.
These differences will come from tone of delivery (Dramatic, Satirical, Animated) as well as the
differences in the styles of the selected directors.
All episodes will end with a series of facts that have been collated for the specific purposes of these
episodes.

Director Targets: Sean Penn, Paul Redman.

Two acclaimed directors with authentic tendency towards environmental conservation.

The episode opens by generating the Netflix user’s name for the purpose of shock value, and causing
them to pay real attention to the episode.

Episode 1 – Arctic Circle

• In a world desolate of fresh water, with the oceans almost completely barren, we are
shown the day to day lives of people that must live with the bare minimum.
In this nightmare, on their 25th birthday, residents of the US are afforded the opportunity
to travel to the Arctic Circle; a now beautiful sandy area. The last known open patch of water
is contained within the arctic circle complex, and people dream of visiting for their entire
younger lives.
It is important to keep this episode dark for the early portions, as it is meant to be a point
of fear for viewers. Red rocks are the main prop for this episode, giving a feeling of a very
dry environment.

Scene 1

• The protagonist couple are sitting in their kitchen space, the female brings in a cake with
candles. The male is surprised and excited as the use of water to produce the cake and
decorations means that their monthly water allowance is almost completely used up
(pictured behind). Viewers notice that all clothing and colours of furniture are very dull,
likely unwashed for a very long time due to lack of water availability.

Scene 2

• Both the male and female visit the city via public transport. Red brick buildings tower
either side. It is noticed that there are no people walking on the streets. A dialogue is had
describing the conditions of this environment, which is alien to the viewers.

Scene 3

• Before exiting the vehicle, the protagonists don heavy jackets and what appears to be gas
masks. It becomes apparent that the masks are to prevent incredibly dry air and dust
entering the system of citizens, as has become a very common and often fatal health issue.
The wind is seen blowing dust around, and the sheer volume of dry debris becomes
apparent. It is made clear that this is normal for the rare occasions that citizens leave the
confines of their homes.

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Scene 4

• This scene is to illustrate the transition between desolate, dead, environment and the
expected lushness of arctic compound. The couple discuss the events that led up to the
collapse of the fresh water sources, and how it could have been avoided. The couple are sad
at what has been lost, but they are both already quietly excited to see a new environment
(an environment that the viewers currently take for granted).

Scene 5

• In this scene, the couple have woken up on the train to a voice on the loudspeaker
explaining that they are about to arrive to the compound. They look out of the window and
are amazed at the large body of water, they’ve never seen something like it in their lives.
They disembark the train and are lead down a long glass corridor with views of beaches
either sides. They spend the next two days enjoying themselves.

Scene 6

• After two days, the guests are starting to become suspicious of their environment. They
have not been allowed outside at all and have not been served the quantities of fresh water
they had dreamt of. They are taken to a briefing room and all is explained. The speaker
states that the supply at the compound had run out decades ago, and it is all just a façade
for some sort of hope that US residents might have that there is something greater out
there. A deep sense of emptiness is felt by all of the residents as they realise that everyone
at home above the age of 25 had kept this secret from them, they wondered why.

Scene 7

• The couple, and other guests, are seen enjoying the compound as if the briefing had never
happened. This portion of the episode should sit to illustrate the blissful ignorance of people
today, who are willing to continue living unsustainably whilst so much of the environment is
destroyed.

Credit Scene

• The screen cuts to black and two statements scroll past. These statements will be based on
the episode and have been researched specifically for the purposes of this episode, as so to
give the greatest accuracy of statement.
• Research partners are also listed at this point, providing viewers with the knowledge that
WWF actively works with smaller NGOs for a greater cause.
• The final frame will be the first call to action, the website URL clearly placed on a black
background.

Episode 2 – Tiger

• Takes place entirely inside of a dark, cramped, laboratory in the near future. Tigers have become
extinct and have left a gap in the food chain of their wild environments. The scientists, shown in this
episode, work tirelessly to try and build a working replacement for the tiger.
The episode will work on the complexities of building a creature as intricate as a real mammal. The
purpose of this episode is to wake audiences up to the fact that science cannot solve every issue, it is
down to average people making a lifestyle change.

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Episode 3 – On Ice

• The world is out of trees. Deforestation has finally gotten to the point where oxygen reserves on the
earth are too little to sustain a population. Mankind has been put into cryosleep until the ones that
are still awake can figure it out. At the point of the start of this episode, it has been hundreds of years
since the first people were put into cryosleep. This world is dark and dusty.
This episode is entirely animated and is therefore targeting animators to direct and work on this
project.

Episode 4 – People vs.

• This episode is in an over the top comic book film adaptation style. It is in place to act as pure
entertainment.
The plotline revolves around an antagonist that is pumping plastic bricks into the ocean so that they
can create their own island inaccessible by anyone else. The goal of the antagonist is to create a
missile that can completely solidify the surrounding ocean into a plastic material.
The protagonists endeavour throughout the episode to prevent the antagonist from completing
their master scheme. The antagonist sets convoluted traps for the protagonists in classic comic book
style.
The entire episode should be fun to watch, and not at all dark.
At the end of the episode, it will cut to black and reveal the line ‘’If you could see it happening you’d
stop it too’’. Solidifying perceptions of what the people are really fighting against.

Episode 5 – Immobile

• In a world where overpopulation has caused a major food deficit, people are no longer permitted by
law to exert unnecessary energy. Simple tasks such as walking are now banned, and everyone must
now travel in personal individual vehicles. This episode illustrates what that life would be like.
This episode’s tone should be ‘satirical’, and for this reason Charlie Brooker (creator of Black Mirror)
has been targeted to act as director.

Episode 6 - #WTFWWF

• As the title hashtag for the campaign, this episode should act as a wake-up call. In a world where
charities are no longer in existence, people are left with the reality of their actions. This episode is
very moody, with heavy downpours reflecting this throughout the episode.
It shows disgruntled citizens complaining about the fact that nobody cares about them or the world
any more.

Episode 7 – Utopia

• The plot of this episode largely relies on the brand collaborations acquired.
This is a world where everything has gone right. Ethical brands pooled their resources and
eliminated any form of unsustainability. It is a positive world with lush greenery and advanced
technology.
Product placement in this episode will involve selected collaborations as well as current business
partnerships.

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Target Directors and Writers

Arctic Circle

• Sean Penn, Paul Redman

Tiger

• The Wachowskis, John Downer

On Ice

• Brent Sievers, Gueten Borde

People vs.

• Edgar Wright, Peter Stebbings

Immobile

• Charlie Brooker, Neihana Lowe

WTFWWF

• Casey Neistat, Dan Mace, Peter McKinnon

Utopia

• Spike Jonze, Marc Munden

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 TheFutureOfUS.com

Red/Orange accents as opposed to the normal green accents, implication of distress.

The website will occasionally have a visual glitch effect, showing the website layout sourced from
wordwildlife.org’. The reason for this is to fit in with the theme of the campaign whereby life has
seemingly suddenly gone awry.
Additional content, such as behind the scenes, is expected to increase exposure to the website
through genuine content sharing in the target audience. The audience should be expected to ‘share’
content from this website as they find genuine interest in the unique value of the source.
The ‘How It Should Look’ group of buttons will link to a campaign conducted by WWF-Poland. The
title of this campaign was ‘’#TooLaterGram’’ (Griner, 2018). It revolves around first showing a
beautiful scene within nature, and then showing how this scene looks today due to environmental
damage. This campaign also used influencers to spread this information.
The main purpose of this website is as the final call to action. The bright orange button in the top
right corner redirects users to the official portal for WWF-US donations.

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Social Media Competition
The artwork for the film posters for Episode 4 and 5 are to be created via a creative
competition through WWF’s online social media channels.
This competition will serve as an ode to the creative community, building WWF’s brand as
being ethical and socially responsible outside of environmental issues. A public stance of respect
to the creative community will aid in further campaigns, where creatives may be required, and
access to a pool of creatives is more readily available to WWF based on this.

Trailers
The main trailers demonstrate the use of a flighting pattern for advertising across social media.
Continuous posting from WWF social media channels with regard to the campaign cause the
overall advertising strategy to be a pulsing strategy, with intensity spikes surrounding the main
two trailers.
We want to keep paid advertising spend to a minimum as we do not want to be seen, in the
public eye, to be spending unnecessary capital that should be going towards environmental
causes.

Trailer 1

The first series trailer release will air on all of WWF’s social media channels, with the target of
also being aired on sponsor brands’ social channels also.
This trailer will be approximately 20 seconds long – based on the short attention span of social
media audiences (D’Silva, 2016) - and show the kind of imagery that is to be expected of
something more akin to a nature documentary. After 15 seconds of the trailer, imagery of
dystopia begin to flash as the music theme gets more dramatic. The trailer will fade to black with
the ‘’WTF?’’ logo, peaking interest of the viewer.

At this point filming has not yet been completed, so the footage pool will be limited.

Trailer 2

The second series trailer will air on all of the same platforms and channels as the first.
This trailer will begin where the first left off, with flashing dystopian imagery from the series.
The trailer will continue for a further minute, cycling through footage from each of the first 6
episodes. This trailer must sell the series as an entertainment piece, in order to attract interest.

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The Event
• The event will be the major push element of the campaign, taking place in June 2019
(approx. 2 months before the national Netflix release).
• L.A. the selected location due to high rates of
• Based in the Los Angeles Convention Center.
• Approximately 40 guests will be invited, with a make up of: influencers, journalists, prolific
environmental figures and representatives from sponsor brands. (a list is of suggested guests
can be found below).
• An outdoor projector will display an image of a decayed convention centre on the façade of
the building. This display will also feature the website title. This will be something for the
general public as well as the guests of the event and will start an online discussion regarding
the campaign.
• Whilst the majority of these influencers are located nearby to this event, up to 35 guests will
be offered board at a range of nearby ‘eco hotels’. This range includes: Shore Hotel, Miyako,
Palomar, Venice Beach Eco Cottages.

Each temporary walled structure will contain: a projected screen, seating for approximately 10 people and
various themed decorations.
Each room will be showing each of the 7 episodes in chronological order, and guests will be split up into
smaller groups for ease of process. Each of the rooms will have a different feeling and visual, the idea of this is
to peak the guests’ curiosity.

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Room 1:

• This room will purposely be very hot and dry. Guests will not be allowed to bring water into the
seating area as to increase the sensation of thirst, a theme the episode revolves around.

Room 2:

• Room 2 will use metal panels for the walls, and the area for seating will be much more cramped than
the other rooms. This will increase the sense of claustrophobia that is illustrated in the episode.

Room 3:

• This room will be similar to that of the previous room but be far colder inside. The reason for this will
be to force the audience to identify with the millions of humans inside cryochambers due to their
unsustainable behaviours. This helps to remove dissociation of consequences.

Room 4:

• A wildly different and vibrant room covered in classic comic and film posters. The idea of this episode
is to be as classically entertaining as possible, and so the room should allow the audience to feel as
though this is the case.

Room 5:

• Guests will be seated in the same personal vehicle chairs as were used in the episode. By this point,
guests are likely to start feeling hungry which will lead to better identification with the characters.
Again, causing a parity between actions and consequence of unsustainability.

Room 6

• The walls of this room will be covered with posters that are featured throughout the episode. The
shock value of seeing the ‘WTF?’ logo will create conversation amongst the guests.

Room 7

• A pristine white room, lush greenery. Containing visual the ideals of a future utopian society. Also
branding in the room from the companies that have sponsored the episode.

Suggested Guests
Influencers

Lilly Singh, Dude Perfect, Jenna Marbles, Markiplier, Logan Paul, Casey Neistat, Dan Mace, Roman
Atwood, Tyler Blevins, David Burd, Jesse Wellens, Jennifer ‘’Jeana’’ Smith, Shane Dawson, David
Dobrick, Michelle Phan, The Fine Bros, Gabbie Hanna, Liza Koshy, The Slow Mo Guys, Marques
Brownlee, Lewis Hilsenteger, Joey Graceffa, Tyler Oakley

Mainstream Media

Buzzfeed: Jonah Peretti, Rachel Christensen, Jeff Greenspan, Quinta Brunson.

Vice Media: Gary Indiana, Nancy Dubuc, Linda Yang.
CNN: Jake Tapper, AJ Willingham, Doug Criss.

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Schedule

18
19
The Budget

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Earned and Owned Advertising Equivalencies

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