Tag: Norway

The Snapchat Pitch

Its been a while (2011) since I came across an innovative Social Media recruitment campaign. In this latest example Norwegian ad agency DDB Oslo has tapped the growing trend of chat apps to attract talent to its agency.

To seek out new talent they created “The Snapchat Pitch”. Interested job seekers had to sum up their concept in 10 seconds or less via video, drawing or song and send it over to DDB Oslo via Snapchat. If the DDB creative department liked the pitch, they would fly the job seekers over to their office for a final interview.

Why Snapchat was the right medium for this recruitment idea

The constraint is the feature. Ten seconds forces clarity. It pushes candidates away from long explanations and toward an idea that lands instantly. That is a useful filter for creative roles, because the pitch is not only the message. It is also proof of judgment under pressure.

Extractable takeaway: When the format itself forces the behavior you want to assess, the application becomes a live demonstration instead of a claim on a CV.

Snapchat also shapes the tone. It is informal, fast, and personal. That lowers the barrier to submit, and it signals that DDB Oslo is looking for modern creators who can think in native mobile formats, not just traditional portfolio pieces. Here, native mobile formats means short, informal creative communication built for the phone screen, not adapted from a longer presentation. Snapchat is not a gimmick here. It is the right screening tool because the medium tests the same creative compression the job demands.

In agency recruitment, where portfolios often reward polish more than immediacy, that makes the channel itself part of the assessment.

What makes it different from typical agency recruitment

Most recruitment campaigns ask for credentials first and creativity second. This flips it. The creative output is the entry ticket. The interview is the reward. That sequencing matters because it makes the selection criteria visible and fair. Everyone starts with the same brief. Communicate an idea in 10 seconds.

The real question is whether the first application step can reveal creative judgment before the interview begins.

What DDB Oslo is really optimizing for

For DDB Oslo, the business intent is not just to look different. It is to widen the top of the funnel while screening for candidates who can already work inside a mobile-first creative constraint. That makes the application mechanic do two jobs at once. It attracts attention and improves fit.

What to borrow if you want to attract talent

  • Use a format-native challenge. Pick a platform where the format itself tests the skill you care about.
  • Make the first step lightweight. Low friction increases the number and diversity of submissions.
  • Reward the best with a real-world next step. A flown-in interview makes the upside tangible and shareable.

A few fast answers before you act

What is “The Snapchat Pitch”?

It is a recruitment idea by DDB Oslo where job seekers pitched a concept in 10 seconds or less via Snapchat using video, drawing, or song.

What did candidates have to submit?

A short concept pitch that fits into 10 seconds, sent to DDB Oslo through Snapchat.

What happened if the pitch was good?

If the DDB creative department liked the pitch, they would fly the job seeker to the office for a final interview.

Why use Snapchat for recruiting?

The platform enforces brevity and rewards clarity. It also tests whether candidates can think and communicate in a modern mobile-native format.

Why does the 10-second limit matter?

It turns the application itself into a filter. Candidates have to show judgment, clarity, and creative compression before they ever reach the interview stage.

Ikea Social Catalogue

IKEA has been innovating every year with their classic paper catalog. In Norway they decide to take this classic paper catalog and make a social media version of it. With zero budget, they ask their 130,000 Facebook and Instagram fans to post the page of their favourite product on Instagram and add the hashtag #ikeakatalogen, for the chance of winning that product.

How the Social Catalogue works

The mechanic is intentionally lightweight. Here, “mechanic” means the single action IKEA asks for. One public photo of a catalogue page plus one hashtag. IKEA asks fans to pick their favourite item from the catalogue, photograph the page, and post it publicly so the product becomes discoverable through personal networks. Over time, more and more items get documented and shared by real people, effectively recreating the catalogue as a social feed.

In retail and consumer brands with large owned distribution like catalogues, the cheapest growth loops come from turning existing browsing moments into public signals.

The real question is whether your owned channel can become a prompt people want to publicly share, instead of a one-way broadcast they only consume.

Why print is the trigger, not the limitation

Most brands treat print as a one-way broadcast. Here, print is the starting gun. The physical catalogue becomes the prompt that drives people online, and the content that fuels sharing is already in consumers’ hands. Print is not the limitation. It is the trigger when you design the handoff into social indexing.

Extractable takeaway: If you can turn an owned, offline touchpoint into a simple public posting behaviour, you get both social proof and a self-building product index without paying for equivalent distribution.

The growth loop is built into social behaviour

The “social” part is not a slogan. It is distribution mechanics. The hashtag makes individual posts browsable beyond the poster’s own network, so every new post increases discoverability for the next one. When someone posts their chosen page, their network sees it. That drives curiosity, repeats the behaviour, and compounds reach without buying equivalent media.

What to steal

  • Use an owned asset as the trigger. The catalogue is already shipped. The campaign rides that distribution.
  • Make participation effortless. One photo and one hashtag, then you are in.
  • Let the audience do the indexing. Fans effectively organise and surface products through what they choose to share.
  • Reward desire, not trivia. The prize is the exact thing the person already wants.

A few fast answers before you act

What is the IKEA Social Catalogue?

A campaign that turns the printed IKEA catalogue into a social feed by asking people to photograph and share their favourite pages with #ikeakatalogen for a chance to win the featured product.

What is the core behaviour it uses?

People naturally share things they want. The campaign turns that impulse into distribution and product discovery.

What does the hashtag do in this mechanic?

It collects individual posts into one browsable stream, so products stay discoverable beyond the original poster’s friends and followers.

Why is this effective for retail?

Because it turns product browsing into social proof, and social proof into incremental reach, without asking people to learn a new behaviour.

What is the simplest version to replicate?

Pick one existing owned channel, define one shareable action, and reward the exact item the person publicly chooses.

Video Campaigns: When the Player Is Message

Two videos that did not just play, they proved the point

Video innovation rarely comes from “better footage”. It comes from changing how the viewer experiences the message. These two campaigns are clean examples of that approach.

In the last week or so I came across two campaigns that used video to innovatively deliver their message.

Volkswagen Hidden Frame – using the YouTube play bar as the story

The Volkswagen Side Assist feature helps drivers avoid accidents by showing other vehicles when they are in the side mirror’s blind spot.

To drive home the message, AlmapBBDO developed a film that used YouTube’s play bar to show the difference the VW Side Assist made in people’s lives.

No Means No – a player that interrupts denial

Amnesty Norway, in an attempt to change the Norwegian law on sexual assault and rape, developed a film that used a custom video player to pop up the key message.

The campaign was a success and the law was about to change as a direct consequence of the campaign.

Why interface-led video lands harder

Both ideas shift the viewer from passive watching to active noticing. By “interface-led” I mean the player UI, like the progress bar, overlays, or controls, doing storytelling work, not just housing the film.

Extractable takeaway: If the interface carries part of the argument, the viewer is forced to notice the point during playback, which reduces message loss.

The real question is whether your player can carry the argument when attention collapses.

Volkswagen used a familiar interface to make a safety benefit visible in the moment. Amnesty used an interface interruption to force the key message to be seen, not skipped. In both cases, the “player” stopped being furniture and became the persuasion device.

In global consumer brands and publisher-style marketing teams, interface constraints often determine what gets noticed and what gets ignored.

What these campaigns were really trying to achieve

The business intent was not “engagement” as a vanity metric. It was message delivery with minimal loss.

Volkswagen aimed to make an invisible feature feel tangible and memorable. Amnesty aimed to change perception and behavior at the cultural level, and the player design reinforced that urgency by refusing to be background noise.

Player-hacking patterns to copy

Here, “player-hacking” means designing the video controls and UI as part of the message, not just the wrapper.

  • Use the interface as evidence. When the message is hard to show, let the UI demonstrate it.
  • Design for the skip reflex. If your message is often ignored, build an experience that makes ignoring harder.
  • Keep viewer control intentional. Interactivity works when it serves comprehension, not novelty.
  • Make the “point” happen inside the viewing moment. Do not rely on a voiceover claim when the experience can prove it.

A few fast answers before you act

What is an “interface-led” video campaign?

An interface-led video campaign is one where the player experience, like the progress bar, overlays, or controls, is part of the storytelling, not just the container.

How did Volkswagen Hidden Frame use YouTube differently?

It used YouTube’s play bar as a narrative device to demonstrate the value of Side Assist, making the benefit feel visible rather than described.

What did Amnesty Norway’s No Means No change about the player?

It used a custom video player that surfaced the key message via a popup, ensuring the point was encountered during playback.

Why do these ideas work better than a standard film in some cases?

Because they reduce message loss. The viewer is guided to notice the point through the viewing mechanics, not just the content.

What is the practical takeaway for brands?

If your message is often missed, redesign the viewing experience so the message is structurally harder to ignore and easier to understand.