Pronaca brand mark, shown in the portfolio's two-tone palette. Source: company brand assets. Trademark belongs to its owner.
Six thousand people cook a recipe, photograph it and enter it in a national competition — and each one leaves a name, an email and a permission. That is demand generation the way I ran it for thirty brands: every campaign leaves something behind that the company keeps.
Pronaca brand mark, shown in the portfolio's two-tone palette. Source: company brand assets. Trademark belongs to its owner.
Paid media stops the moment the invoice stops. So a campaign is only allowed to buy attention if it also lands a record somewhere the company controls — a site, an app, a list, a community.
Paid, owned and earned, one campaign. The audience does not consume the content — it writes it.
By 6,308 unique contestants. Registering to compete is a permissioned record, not a like.
And $0.06 per click. A self-identified food enthusiast, with a permissioned email address, at performance-channel cost.
Seventy-eight percent of the population is active on social media. Two million new accounts open every year. Ninety-eight percent of digital consumption happens on a handset — thirteen-point-seven million of them — and two percent on a computer. The media plan was built on the shape of the country's connectivity, not on the agency's habits: thumb-first, short, vertical, or not at all.
A brand cannot ask for a channel. It asks for a cohort, and the plan says which medium reaches it and what that medium is for.
| Cohort | Medium | Its written job |
|---|---|---|
| Generation X | The community — and traffic back to the sites | |
| Millennials | A loyal, visual community | |
| Gen Z | TikTok and influencers | Short form: Foodie, Healthy, Pet Friendly |
| Everyone | YouTube | Video recipes and live streams |
| The registered base | Email and the web | Campaigns — and the sites are a registration source first |
| Complaints | Exists to receive complaints. That is its written role. |
Roles as written into the corporate digital plan. The last row is the honest one most plans leave out.
Thirty brands generate thirty reasonable media requests a quarter. Funding all of them is a portfolio bidding against itself in the same auction.
Campaigns point at properties the company controls, so traffic compounds instead of being rented back next quarter.
Paid-social forms land in the consumer base, not in a spreadsheet — next to everything else known about that household, ready to be suppressed, timed or followed up.
Digital media investment came down by 40% while performance held. It is on the CV and it is the number I would defend line by line, because it did not come from a cheaper agency. It came from not paying twice for audiences the company already owned, from stopping the portfolio competing against itself, and from a reallocation rule that was written down: high CPM with low engagement loses budget; high click-through with low conversion is a landing-page problem, not a media problem; the channel with the best return gets the next increment.
Underneath it, a loop most organisations start and never finish: identify the opportunity — including the reputational risks nobody wants to see — evaluate each brand and channel against the consumer, then adjust the strategy, the channels, and sometimes the product itself.
Client sites built and tuned for search from the structure up — owned before rented, applied to organic traffic.
How a brand shows up when the search engine is a model.
A scraping-based listening engine feeding the same insight loop the corporate function ran — see the tool page.
Brands ask for an audience; the plan says which channel reaches it and what it is for.
Communities, lists and properties that compound, with every campaign depositing into them.
At Pronaca that was 40% of the digital media budget, with performance intact.