Originally conceived as teaser posters, research with influencers in Soho New York confirmed their appeal and effectiveness at generating intrigue. Seen as cool and creative, the sock puppet however was seen to have universal and unifying appeal. The use of humour gave permission for Kodak to step ‘outside’ its traditional persona.Beyond the CES show, the posters became print ads. Sock Puppets were created for writers, badges designed to extend the campaign idea were distributed in cool urban areas. And cards were placed in employee and business partner locations.

Small budgets preclude precise measurement, but circumstantial evidence is compelling.

Visitation to Kodak’s CES stand exceeded expectation, as did subsequent coverage in main media and blogs.

Positive and prominent media coverage differed from the frequently negative slant exhibited towards Kodak’s transition from film. Employees and business partners flaunting badges became ambassadors for a more ‘dynamic and innovative’ Kodak.Numerous countries adopted the campaign. Australia’s CEO reported “This campaign enabled us to look like a brand leader on a very skinny budget.” At Singapore’s annual IT show consumers thronged the booth, whilst in China the cameras completely sold out within days.