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f t i v l

Those Little Things
Estrella Damm

Great Life in
‘Those Little Things’


In Estrella Damm’s 2016 short film, Jean Reno found it difficult to explain one very simple thing: the good life comes down to ‘Those Little Things’.
Thanks to Laia Costa, Jean Reno finally understands this concept, but in the content generation world it has been in use for a long time. Every detail, every image, every copy contributes towards creating great content that connects with the user.

This has been our second year working with Estrella Damm on its most important annual campaign: our second short film is in the bag. Once again, we were tasked with producing a long video piece, with television being rejected as the platform for the premiere and the baton being passed to YouTube Nevertheless, the objective wasn’t only to conceive, create and orchestrate the Social Media content strategy, but also to beat the numbers achieved by Dakota Johnson’s 2015 campaign ‘Vale’, the brand’s first short film.

SPOILER ALERT: objective achieved.

The primary objective was to beat the numbers obtained by ‘Vale’, last summer’s campaign.


The expertise that Zoom acquired during ‘Vale’, the previous year’s campaign, was the starting point for creating the schedule and general structure before moving on to the next step. We went through 4 to 6 very different stages.

Once the stages were established, it was time to create and divide the content by starting at the very beginning: how had Social Media scene changed over the last year? This was during the time when Playground and Tasty videos were at their peak, so we were on the right track by using a video as the main piece. However, a 16-minute video was still an eternity in the mobile world.

We needed the user to be able to reach the entirety of the content easily – straight to the point with no intermediate clicks, while also creating expectation and making users want to see the film via new Social Media formats. Thereby positioning Estrella Damm as the innovative and up-to-date brand that it is today.

Based on all the elements explained above, we created various mottos: mobile first + less is more + think outside the box.

The Facebook strategy was based on our big bet on the video (and the differences from using YouTube natively). We continued with the 2015 strategy of uploading the video directly to the platform to take advantage of the paid social advantages such as major reach, autoplay and custom audience.
In addition, we began using 2 new formats: Canvas, to present new information about the short film in advance; and Facebook Live, to show the audiovisual production. The latter was implemented as a window for users to follow the short film’s premiere at the Antiga Fàbrica on the 7th of June. Jean Reno, Laia Costa, the director Alberto Rodriguez, and the composer Ramon Mirabet, were also present at the Antiga Fàbrica. The latter gave a concert of the score of Those Little Things.

YouTube was the main channel for viewing the whole film and also another platform through which users could enjoy the Live format, along with the website.

Twitter made it difficult for us to upload the video because of their 10-minute limit but we were able to overcome this hurdle like we did in 2015 with the short film ‘Vale’. There was also the option of showing the whole trailer and using the Live format through this tool, but the icing on the cake was still come.
Thanks to SnappyTV, the Twitter video platform used exclusively for media, we were able upload a video that was longer than 10 minutes and share clips of the best moments from the premiere right after they happened.

Instagram also contributed to the campaign: the Mediterranean Spots guide was used to show trailers to announce the imminent arrival of the short film’s premiere.

Gifs, frames, countdowns and the score concert video were some of the elements that also played a part in the general strategy. They were used to disseminate and communicate content that was created to enhance the impact of the ‘Those Little Things’ short film on social media. Interaction with the community – which was 4 times greater than usual with 3 organic trending topics on the day of the premiere – and its monitoring was also of great importance.

The film reached 8 million views on YouTube.


During the 2 months that the campaign ran, the goal was to create direct and simple content in order to achieve our goal: increasing the views generated by the video pieces. The amount of content was less but its effectiveness was remarkably superior. There was 40% less content on Social Media but we increased the views of the entire campaign by 35%. It is important to emphasise the trailer stage of this remarkable growth. Although it consisted of 2 pieces instead of 1 this year, it achieved 140% of last year’s views.

The film reached 8 million views on YouTube across both languages. We were therefore able to see how user video watching has moved from one platform to another: the trailers for ‘Those Little Things’ and the short film itself increased their views on Facebook by 40% when compared to ‘Vale’, the previous year’s campaign.

In the case of Twitter, taking into account that the 2015 short film video could not be uploaded, the increase was 100%.
In 2016, the short film made a big splash on Social Media, more so than the previous year: 40 million impressions in the brand channels, and a billion impressions in external channels, plus positive user feedback. Out of 100000 mentions on Twitter, 95% were positive comments.

Indeed, what we refer to as “the good life” lies in the little things. Only by focussing on those little things that mean everything will we be able to achieve great things. Very great things.