Sky has launched a smart TV called Sky Glass, which aims to radically reposition business in the age of broadcasting without the need for satellite dishes or receivers. Sunny Bhurji, Sky’s director of marketing, is opening its doors to a “scandalous” 18-month launch of the UK’s largest-ever product.
The telecom giant wants to reach 99% (“99.9%” corrects Sunny Borgy, Sky’s director of marketing) of the UK’s adult population with a three-month campaign championing new television as the consolidation and simplification the TV sector needs.
Sky Research notes that many television viewers are frustrated by the complexity of television. Bharji argues that there has been a “proliferation of technology” and we have been “trained” to spend all our time “in and out of apps” to find our favorite original shows. He is not wrong there.
The Sky Glass product was launched to solve the “frustration about excessive complexity and loss of time”. But there is a lot more to convey with such a drastic overhaul about how Sky plans to go to market in the modern television age.
The first weeks of the three-month campaign will see Sky Glass star in stunning shots of stylish TV. Some of the biggest frictions with Sky’s new subscriptions have been resolved — no more satellite dishes (not available in tall towers or listed buildings), and an all-in-one device for those who like a simple TV cabinet. From Sky’s perspective, having TV delivered over a broadband connection (instead of via satellite) would have implications for the product package down the line as well. Armed with an Ultra HD TV, many will be looking to arm themselves with a good web connection.
Each of the eight TV channels created for the campaign features a song dedicated to the 2021 Brit Award winner Griff’s “Rising Star.”
The ‘The Spell’ phase of the campaign will be followed by ‘The Wizard’, which will show the magical relief that technology is purported to give. This will be where we will see a film of high production value with top talent and directors attached. Sky wants to show the magical ease with which it solves many of the TV problems that have surfaced in recent years.
For a campaign like this, Bharji says, the difficulty lies in conveying the “abundance of features and benefits” that Glass brings – which is reflected in where the campaign is implemented…
The goal is to reach nearly every adult in the UK. Most of us have our own televisions. This is a wide circumference to cast a net over it. In the lead up to Christmas, there will be no avoiding Sky Glass. This is said to be the UK’s largest product launch, costing tens of millions of pounds.
Sky customers will increase regular interest on their owned properties. “The whole business is the catalyst behind the next big thing,” he adds. About its most important characteristics, anyone who is thinking of upgrading the TV or simplifying its setup will be alerted. regularly.
Meanwhile, apart from that, subscribers to competing cable or streaming generation will need to be convinced that it’s worth the switch. Enter “Sky’s Most Motivating Digital Campaign… We know people will want to know more. And we have digital content that truly leads them to their passion points.”
Most of this will create a Sky microsite, a customized buying journey that allows a choice of TV (small, medium or large, in five colors) and an appropriate content package. I’ve put hundreds of hours of thought into making this page easier to navigate and understand.
Breaking down the campaign, Harji estimates that 55% will be above the line, and 45% digital on everything from PPC bidding (and retargeting), to YouTube, Spotify, Facebook, Instagram, and WeTransfer acquisitions. Helena Bonham Carter will voice the digital audio acquisitions.
Bharji advocates for truly broad targeting standards. Sky relies on anyone who enjoys watching things on screen with this product in mind. It has about 23 million customers in Europe (where TV will be available from 2022).
For now, it’s focused on hacking into the UK. “It’s no coincidence that we go to so many people.” This is factored into product pricing and development. It’s billed to Sky on a monthly basis, just like the phone contracts many of us are tied to in the long run.
“That makes it very accessible. And if we made a really premium TV at a really high price, we could have targeted a more affluent demographic. We wanted to make sure everyone got an amazing experience at an affordable price.”
So even though there isn’t “necessarily a target audience,” the campaign is designed to cater to people at different levels of adoption inclination. Early adopters, those who need more evidence to make the leap, and late adopters. Not coincidentally, at the height of the campaign, 40 million Brits would be within 20 minutes of a retail or pop-up environment where they could experience television. “Many will want to touch and feel it.”
Objectively speaking, it’s also the first Sky product that can be shopped on social media. It’ll be helpful to check in to see how many TV packages Sky is carrying on these new routes in the coming months. Social media was supposed to kill TV don’t sell it…
Lest we forget the other effective channels, Sky is keen on achieving an expected 1.3 billion out-of-home (OOH) impression and boasts its first-ever Times cover. It expects to share 86% of the voice in the first three week period in its sector.
From an agency perspective, the in-house Sky Creative Agency (one of the largest in the UK) took the lead. It was a bold call to give an in-house agency the largest media budget in the product’s launch history. But SCA president Simon Buglione has ascended to a higher profile for the Sky brand as the agency delivers more ambitious work beyond its original jurisdiction.
SCA created the “Campaign Hub” to bring together the “best of the best from all the different agencies” including Venturethree, AKQA and Amplify. A lot of creative capabilities exist within the company, but to launch such a massive product, every aspect of production and delivery has to be considered.
18 months ago this project went live as we adapted to work in virtual environments. This eventually became more and more personal as the risks of the pandemic subsided. Everything from the logo to the branding to the final product soundtrack was up for discussion.
“We did it collectively because there is no single agency that can do all this end-to-end. You need that kind of collaboration,” says Bharji. “I’ve never worked with so many different agencies on something this big before and it really worked, really We will continue to use this model going forward.”
Dive into the future of TV, The Drum explains how the top players in TV are fighting for control of the TV console. On a standard smart TV, Sky won’t always be the first program to run, which risks eroding viewers who can navigate their content through, say, Samsung’s built-in software or another external device like a Roku stick. By putting Sky’s built-in software into the fabric of affordable high-end television, it likely found an edge in the CTV ad war and helped make it easier to retain pay-TV customers.