ParkCinema: ticket purchase 4.5× cheaper
We set up analytics around the cinema's funnel, added YouTube and shifted advertising toward purchases. The result — ≈$1.7 per purchase and one of our highest-volume projects.
Get a consultationAdvertising was running — but it couldn't be measured
ParkCinema is the largest cinema chain in Azerbaijan, and the brand was already advertising. But it couldn't be measured: the tracking tools were working incorrectly, and there was no way to assess campaign performance accurately. For a cinema this is doubly painful — the product changes every week along with the release schedule, and without correct data it is impossible to tell which film and which campaign actually sell tickets and which simply burn the budget. Decisions were made on gut feeling, and the advertising workload fell on the client's marketing department.
Make advertising measurable and effective
Make advertising measurable and effective: set up correct analytics, add YouTube as a new channel, increase campaign returns and take part of the operational workload off the client's marketing department.
What we did and why
First — the cinema's event funnel; without it, everything is blind
We set up Facebook Pixel and GA4 with custom events mapped to the real viewer journey: site visit → film selection → checkout → seat selection → purchase. The Pixel imposed non-standard limitations on a funnel like this — we overcame them with custom solutions. Why exactly this way: without an event funnel it is impossible to understand which ad actually drives a ticket purchase and where the viewer drops off. Only with clean tracking does 'optimisation' stop being guesswork.
Communication built around the film, not around the 'product'
In a cinema, the target audience is defined not by the brand or an abstract 'product', but by specific content — a film, an animated feature, an event. So we built the messaging around the specific release and its promotions: a blockbuster premiere, a family animation and a special event each speak to different people in a different language. This is the very heart of the niche — the advertising should sound the way the film itself sounds.
Segmentation by product, not by demographics
Instead of the standard split by gender and age, we segmented the audience by the content itself — by specific films, animations and events. Why: in cinema, demographics are secondary — very different people go to the same film, and what unites them is their interest in the content. This approach delivered nothing but positive results and outperformed the standard targeting logic.
Optimisation straight toward purchases
Once tracking was ready and the data lined up, we switched the campaigns to optimise for purchases — the advertising started looking not for clicks or reach, but for viewers who actually buy a ticket. This is what delivered the main jump in performance.
The numbers over the period
In cinema, the audience is defined by content, not demographics. Standard targeting by gender and age stalls here — while segmentation by the films themselves outperformed the conventional approach and delivered a result that could never have been achieved by doing it 'like everyone else'.
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