Forgotten Island · September 2026 · OOH performance test
Prove out-of-home drives the right people to the right showtime.
A small, isolated test built for a performance-driven client. Run digital elevator screens across 8 residential locations adjacent to 2 carefully chosen theaters during the Forgotten Island opening window. Then prove — with foot traffic data — that exposed audiences walked into those theaters, on the days the film was playing, at showtime windows. No new contracts needed — allocates within existing DOOH programmatic-guaranteed spend. Just place, time, and signal.
~$5K
Allocated within DOOH PG spend
2 · 8
Theaters · screen locations
14d
Live before release weekend
Sep '26
Forgotten Island launch
01
The bet
What we're proving
Pick 2 theaters with spread-out showtime grids (not the 16-screen megaplexes), and run digital elevator screens across 8 residential locations in their catchments. Run live for the 7–14 days leading into the September release weekend. Then show — with foot-traffic data tied to each theater's exact location and Forgotten Island's exact showtime windows — that exposure moved feet into seats. No new buys, no production. Just allocate spend within DOOH programmatic-guaranteed and let the signal speak.
WHY THIS TITLE
Forgotten Island
Animated, KPop Demon Hunters–style aesthetic that translates beautifully to short-form digital screen creative. Modest showtime grid in September keeps the foot-traffic signal clean and attributable.
WHY THIS FORMAT
Digital elevator screens
Programmatic-served digital placements in residential elevators. 15–30 second creative loops, captive viewing, daypart-controlled. Trafficked through existing DOOH PG deals — no new contracts, no production cycle.
WHY THIS APPROACH
Performance, not awareness
The client's plan is performance-driven. So is this test. Two markets. Tight measurement window. Closed-loop attribution to specific theater foot traffic on specific showtime days. No "lift study" hand-waving.
02
Why this format wins
Proven · Adelaide-measured
Entertain, don't interrupt
Most OOH shouts at people for a fraction of a second as they walk by. An elevator wrap is the opposite — a 30–60 second captive ride where the audience is in a confined space with the brand on every wall, looking around, exploring, taking pictures. Riders don't perceive it as an ad. They perceive it as environmental art that's part of the building. That's why attention scores aren't even close.
ATTENTION · ADELAIDE
Multi-second attention, not glances
Industry OOH benchmarks measure attention in fractions of a second. Digital elevator screens in our prior campaigns measured multi-second attention on Adelaide — and the most engaged audience cohorts clocked +30–48% above campaign and network benchmarks. Forgotten Island's animated creative is built for exactly that kind of held attention.
FRAME-BY-FRAME
Every panel earns its own attention
Static OOH gets a single glance. A digital elevator screen plays a frame-by-frame loop with attention measured second-by-second across the spot. Animated titles like Forgotten Island translate beautifully to short-form creative: every frame can carry a different beat of the trailer, and Adelaide scores each one.
CLOSED-LOOP
Attention → foot traffic → showtime
Attention is the leading indicator. Foot traffic at the right theater on the right day is the actual proof of action. We measure both — Adelaide for attention quality, foot traffic for behavioural lift. That's the closed loop a performance-driven client needs.
Theater selection isn't a guess — it's the output of a location-vs-showtime analysis. We need two inputs and we'll do the work: the September showtime grid for Forgotten Island in your Canadian release plan, and our digital screen inventory by postal code. We pair them up and find the two theaters with the cleanest signal-to-noise ratio.
Filter
What we're looking for
Why
Spread-out showtime grid
Theaters with 2–4 Forgotten Island showings/day — not the 8–16 screen megaplexes
Fewer concurrent showings = cleaner foot-traffic attribution per showtime window
Digital screen inventory in catchment
4 residential locations within ~2km of each chosen theater
Proximity tightens the path-to-theater and the measurement window
Animation-friendly programming
Theaters that historically index for animated/family titles
Built-in audience overlap with Forgotten Island's release plan
Two distinct DMAs / catchments
Two theaters that don't share residential overlap
Independent control groups for each market — doubles the proof power
Excluded
Yonge-Dundas, Scotiabank, downtown megaplexes
Too noisy — too many concurrent showings, transient catchment
Final theater pair locks once we see the September showtime grid alongside our digital screen inventory by postal code.
04
How we measure
No new contracts · DOOH PG allocation
Step 1 · Baseline
Pull foot-traffic baseline at the two chosen theaters for the 14 days before the campaign goes live. We need a clean "before" picture of who shows up to each location and when.
Step 2 · Go live
Creative trafficked into existing DOOH programmatic-guaranteed deals 7–14 days before the Sept release weekend. No new contracts, no production cycle, no incremental insertion order.
Step 3 · Match to showtimes
Forgotten Island has a spread-out showtime grid at the chosen theaters in September. Foot-traffic data gets bucketed against those exact time windows — Forgotten Island showings vs. all other films in the same theater as a built-in control.
Step 4 · Tie back to exposure
Residents within the catchment of exposed digital screens vs. residents in comparable un-exposed catchments. Did the exposed cohort show up at the theater during Forgotten Island showtimes at a higher rate? That's the proof point.
No new buys, no new contracts: the test runs as a spend allocation within the existing DOOH programmatic-guaranteed plan. Creative is digital, daypart-controlled, and live in days — not weeks of production. Place + time is the signal. Lightweight build, clean attribution.
05
Timeline
Now · Late April
Lock title commitment · sign-off on DOOH PG spend allocation envelope.
May
Receive Sept showtime grid + agency's DOOH inventory by postal code · run location-vs-showtime analysis · lock the 2 theaters and 8 screen catchments.
June – July
Creative spec defined against Forgotten Island key art and trailer · trafficking parameters set in DSP · baseline foot-traffic capture begins.
Late August
Campaign goes live in DOOH PG flight 7–14 days before release weekend · daypart-controlled.
September
Forgotten Island opens · measurement window runs alongside theatrical run · attention scores logged through Adelaide.
Allocated within existing DOOH programmatic-guaranteed spend — no incremental contract. Two theaters, eight residential screen catchments, digital creative trafficking, foot-traffic measurement, Adelaide attention scoring, closed-loop report. Everything in scope. If the result lands, the methodology scales to a full multi-market plan at any budget tier — and Universal walks into the next FY plan with a real performance number for OOH.
Confirm Forgotten Island as the test title and the September Canadian release window.
02
Sept showtime grid + DOOH inventory
The September showtime grid for Forgotten Island in your Canadian release plan, and your DOOH programmatic inventory by postal code. We'll run the location-vs-showtime analysis and come back with the 2 theaters and 8 screen catchments.
03
Key art + creative spec
Higher-res key art for the digital creative cut-down. Trailer is already public on YouTube — we'll work from that and conform to the DOOH PG creative specs.