Coca-Cola: Chok Chok

Coca-Cola: Chok Chok

Mobile and creative thinking can come together to create really compelling marketing campaigns. In this example, Coca-Cola Hong Kong created a “Chok Chok” mobile app that turned the viewer’s smartphone into a remote control for their TV ad.

To collect the Coca-Cola bottle caps that appeared on the TV screen, viewers had to swing their phones when the ad came on. Those who successfully managed to swing and collect were instantly rewarded with prizes that included cars, sports apparel, credit card spend value, travel coupons and movie tickets.

As a result the campaign was seen by 9 million people and the app got over 380,000 downloads.

The real question is whether your second-screen idea creates a one-step action people can do instantly when the media moment appears.

For those wondering, the bottle cap collection was enabled through the audio signal of the ad, which triggered the application and synced the user’s motion with the ad. The accelerometer in the phone was also used to assess the quality of the motion. Together they were used to catch the bottle caps virtually.

However as far as I know, Honda in the UK was the first to pioneer this kind of an interactive TV ad, even though it did not receive results like Coca-Cola.

In mass-reach consumer campaigns where TV attention and smartphone use overlap, audio-synced interactivity can turn a passive spot into a short participation window.

Why this works so well

It works because it gives the viewer control in a way TV usually does not. Here, “viewer control” means one deliberate physical action that directly drives what you get from the ad. Because the ad’s audio triggers the app and the accelerometer judges motion quality, the “catch” feels causally tied to the on-screen moment instead of feeling random.

Extractable takeaway: If you want participation in real time, design a one-second action that maps cleanly to an on-screen event, then make the feedback and reward immediate.

  • Viewer control is the hook. The ad is not just watched. It is “played” through a simple physical action.
  • Timing creates urgency. You have to act when the ad is live, which turns media time into a moment of participation.
  • Feedback is immediate. You swing, you collect, you win. The loop is easy to understand and easy to repeat.

Steal this second-screen loop

Start with a single, unmistakable behavior the viewer can do in one second. Then use a reliable synchronization trigger (here, the ad’s audio) and a sensor input (here, the accelerometer) to connect the phone action to what happens on screen. This is the right level of interactivity for broadcast media: simple action, obvious timing, instant payoff.

  • One-second action. Choose a gesture the viewer can do immediately when the spot starts.
  • Reliable sync trigger. Use a broadcast-carried signal to trigger the experience, such as the ad’s audio.
  • Sensor validation. Use the phone sensor input to assess whether the action quality is good enough to “count”.
  • Immediate feedback. Keep the loop legible: swing, collect, win.

A few fast answers before you act

What is Coca-Cola “Chok Chok”?

It is a Coca-Cola Hong Kong mobile app that synchronizes with a TV ad and lets viewers swing their phones to collect on-screen bottle caps for prizes.

How did the app sync with the TV ad?

The app used the audio signal of the ad as the trigger, then aligned the on-screen moments with the user’s motion so “collection” happened at the right time.

What role did the accelerometer play?

The accelerometer assessed the quality of the swinging motion, helping determine whether the viewer “caught” the bottle caps virtually.

What is the main takeaway for interactive TV and second-screen work?

Make participation effortless, tie it to a tight timing window, and reward the action immediately so the viewer feels impact in the moment.

Augmented toys and games from Toy Fair 2013

Augmented toys and games from Toy Fair 2013

A Barbie vanity frame turns an iPad into a make-up mirror, then “virtual lipstick” stays aligned to a moving face in real time. That single mechanic explains why Toy Fair in New York suddenly feels like a preview of hybrid play, where the screen becomes a window and the physical object remains the star.

Most of the standout demos share the same blueprint. A physical toy, book, or playset provides the anchor. The iPad app provides the content layer. The camera feed stitches the two together so kids can touch, move, build, and explore while the digital layer reacts.

In consumer product innovation, the most scalable mixed reality experiences treat the device as a lens onto the room, not the destination.

Augmented reality (AR) toys are physical products that use a phone or tablet camera to overlay digital characters, effects, or instructions onto the real-world toy. The toy stays central. The app adds feedback, rules, and story without replacing hands-on play.

The real question is whether the digital layer makes the toy better on its own terms, or just adds novelty that fades.

Why these “phygital” toys land

Parents get a familiar promise. Less passive viewing and more active play. Kids get something that feels like magic because it responds to the real world, not just taps on glass. Here, “phygital” means physical-first play where the app adds feedback and story without replacing hands-on interaction.

Extractable takeaway: Design for low-friction onboarding and immediate payoff. Put the device in the frame, scan the page, point at the ball, then something delightful happens fast.

The Toy Fair shortlist

Barbie Digital Makeover Mirror

Lets kids try out make up while avoiding all the mess. The iPad camera tracks a face in real time so the “makeover” sticks as the head moves.

Mattel Disney Princess Ultimate Dream Castle

Billed as a first mass-market doll house to support augmented reality, with app-triggered activities layered onto the physical rooms.

Popar 3D Books

A line of children’s books that use AR to make pages “come alive” with virtual 3D objects and animations that appear to pop off the paper.

Sphero Ball and Sharky the Beaver

Billed as the first app ever to let you take a virtual 3D character for a walk around your house. The physical ball becomes the anchor for an on-screen creature you “walk” around the room.

Imaginext Apptivity Fortress

Combines playset and app play in one, with the iPad physically inserted into the fortress so the device becomes part of the toy and the adventures unfold around it.

NeuroSky

Brain waves control furry ears.

Lego Mindstorms EV3

User-created robots that can be controlled by various sensors and smartphones.

Cubelets

Magnetic blocks that snap together to make an endless variety of robots with no programming and no wires. The “logic” is in how you combine the cubes.

Sifteo Cubes

A magical interactive game system built on the timeless play patterns of LEGO, building blocks, and domino tiles, but with screens and sensors inside each cube.

Design rules for hybrid play products

  • Make the physical object the controller. When hands are busy, attention stays in the room.
  • Design for instant delight. The first 10 seconds should prove the concept without instructions.
  • Use the camera as a sensor. Anchors, markers, and recognizable shapes are a simple bridge between atoms and pixels.
  • Plan for replay. New levels, new stories, and collectible content keep the “magic” from wearing off after day one.

A few fast answers before you act

What is an AR toy in simple terms?

An AR toy is a physical toy, book, or playset that becomes more interactive when viewed through a phone or tablet. The camera feed shows the real object, and the app overlays digital characters, effects, or instructions on top.

Do these experiences replace “screen time”?

Not really. They redirect it. The screen becomes a lens onto physical play, so the child is moving, building, and exploring while the digital layer reacts.

What is the most repeatable pattern across the examples?

A physical anchor plus an app-based content layer. The physical piece gives tactile play and structure. The app provides animation, rules, progression, and feedback.

What should a brand learn from this wave of toy innovation?

Interactivity scales when the physical product is useful on its own, and the digital layer adds meaning rather than acting as a required destination. The best experiences feel like an upgrade, not a dependency.

What is a common failure mode for “phygital” concepts?

Too much setup and too little payoff. If the experience needs long instructions, special lighting, or frequent recalibration, the magic breaks fast and replay drops.

Lacta: Love in the End

Lacta: Love in the End

Lacta, a leading chocolate brand in Greece, has been creating innovative film content since 2009 around its strategy of being a symbol for the sweetness of love.

For this installment, Lacta invited fans to submit their stories of unfulfilled love, with the promise to give them the happy end they never had. On the cinema screen.

Finally three stories formed the basis of a film screenplay, entitled “Love in the end”, that was released on Valentine’s Day 2013. A transmedia campaign promoted the film and it became a big hit with audiences in Greece. Here, transmedia means connected teasers and social storytelling across channels that all build anticipation for the same release.

From real stories to a cinema-screen happy end

The mechanism is an audience-to-cinema pipeline. Collect true stories of unfulfilled love, select a small number that can carry a broader narrative, adapt them into a screenplay, then build anticipation through connected channels so the audience feels ownership before opening night. The real question is whether a brand can turn private emotion into a public release without draining it of authenticity. That structure works because early participation creates emotional investment before release, so the opening feels like a shared payoff rather than a pushed campaign.

In European FMCG branded entertainment, this kind of storytelling works best when participation is a source of meaning, not just a source of reach.

Why this lands

This works because it makes the brand the enabler, not the author. The stronger strategic move is to let audience truth carry the emotion and keep the brand in the enabling role. Lacta does not just “tell a love story”. It invites vulnerability, then pays it back with a public resolution in a culturally heavyweight format. The cinema.

Extractable takeaway: If you want a branded film to feel earned, start with real human input, curate hard, and give the audience a clear public moment to rally around, so anticipation becomes part of the product.

The results the campaign reported

Campaign reporting stated that 17% of the Greek internet population saw the online teasers, generating 700,000 views and hundreds of rave comments.

Reported social momentum was also strong. Lacta’s Facebook fans increased by 100,000, making its Facebook page the biggest for any brand in Greece at the time, with 650,000 fans.

On release, the film was described as having the biggest opening night for any Greek movie in the last five years, with more than 75% of all movie tickets being sold for it.

Here are the past film based campaigns

What to borrow from Lacta’s film playbook

  • Use a human intake. Real stories create emotional permission that scripted copy rarely earns.
  • Curate into a single release. Selection and adaptation turn raw submissions into a coherent film people can anticipate.
  • Build anticipation with episodic crumbs. Teasers and social updates make a film feel like a season.
  • Anchor to a calendar moment. Valentine’s Day creates a natural reason to care now.

A few fast answers before you act

What is “Love in the end”?

It’s a Lacta branded-entertainment film built from fan-submitted stories of unfulfilled love, adapted into a screenplay and released on Valentine’s Day 2013.

What does “transmedia campaign” mean in this case?

It means the film was promoted through multiple connected channels using teasers and social storytelling to build anticipation before the main release.

What results were reported for the online teasers?

Reported results said 17% of the Greek internet population saw the teasers, producing 700,000 views and hundreds of positive comments.

What results were reported for Facebook growth?

Reported results said Lacta gained 100,000 new fans, reaching 650,000 fans and becoming the biggest brand page in Greece at the time.

What was reported about opening night?

The film was described as the biggest opening night for a Greek movie in the last five years, with more than 75% of all movie tickets sold for it.