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CANNES CREATIVE September 2012 >> An analysis of entries to the 2012 awards EFFECTIVENESS LIONS

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CANNES CREATIVE

September 2012

>> An analysis of entries to the 2012 awards

EFFECTIVENESS LIONS

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At a glance: Key insights

Shortlisted cases used a higher number of channels

than the average across all entrants. Greater use of

PR, branded content, word of mouth and/or TV also

distinguished the shortlist from the rest of the pack.

Social media was the most used channel - often

deployed for awareness-building. However, the

judges emphasised the need to show that awareness

led to behavioural change and sales growth.

Cases‟ media budgets were generally higher in 2012

than in 2011. Low-cost „earned‟ media featured

mostly as a supplement to paid for media.

Local brands comprised more of the shortlist in 2012

than the previous year, but global brands still

provided most of the shortlisted cases – including two

multi-regional campaigns.

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About this analysis and overview

Analysis of campaign trends

Marketing objectives: The most common aims of the entered campaigns.

Media budgets: A budgetary breakdown, from less than US$500k to $US20m+.

Media channels: Traditional v. digital and other trends in the media mix.

Brand types: The balance between global and local brands.

Winners, shortlist and other key cases

Grand Prix: Why BBH‟s global campaign for Axe stood apart from the rest.

Lions‟ winners: The five other winners of Creative Effectiveness Lions.

Remaining shortlist: The seven additional shortlisted campaigns.

Most read: The campaigns that warc.com users have been reading most.

What it takes to win: What the judges expect (including an insider‟s view).

Breakdown of entries

Overview: The class of 2012 by region, country and client sector.

The 2012 Cannes Creative Effectiveness Awards received 92 entries. This document

is based on the 89 entries available for publication on warc.com. It covers:

Analysis of campaign trends

>> Objectives, media budgets, channels and brands

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Marketing objectives

„Build, defend position‟ and „increase

awareness‟ were the most common

objectives – both for all entries and the

shortlist. The prominence of „awareness‟

goals is a likely reflection of how many

campaigns used social media (see the

Media Channels section).

„Increase sales‟ and „Increase market

share‟ were the third and fourth most-

used objectives respectively. „Gain

customers‟, another „hard‟ objective, also

made the top seven.

This list is rounded off by „Social, non-

profit‟, although some commercial

campaigns – like the Lion-winning

Bundaberg Rum - used this objective too.

Analysis of marketing objectives reveals the most prevalent to include

‘hard’, business-focused objectives (e.g. increase sales) and softer, brand-focused

aims (e.g. increase awareness). Overall, entries had an average of 3.9 objectives, a

figure closely matched by the shortlist (averaging 3.8).

Most-used marketing objectivesNo. of entries using (% in brackets)

All

entriesShortlist

Build, defend position 71 (80) 11 (85)

Increase awareness 71 (80) 11 (85)

Increase sales 59 (66) 8 (62)

Increase market share 35 (39) 4 (31)

Brand launch 19 (21) 2 (15)

Gain new customers 19 (21) 2 (15)

Social, non-profit 18 (20) 3 (23)

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Media budgets

Small-budget campaigns remained the

most common type of entry, with 31%

within the 0-500k band – but this did

represent a significant drop from the 61%

recorded in 2011.

That said, taking the lowest two bands

together, some 51% of entries were

backed with a budget of less US$1m.

This might best be explained by the

increased use of „earned‟ and social

media (see the next section, Media

Channels) and their ability to amplify the

effects of „paid‟, traditional media.

Again, only cautious inferences can be

made, given the partial data available.

N.B. Media budget information was not available for all entries. The analysis below is

based on data from 59 entries (66%) in 2012 and 103 entries (76%) in 2011. Only

limited conclusions can be drawn (which exclude shortlist-specific analysis, where

data was only available for 4 of the 13 shortlisted entries in 2012).

Media budgets 2012 v. 2011No. of entries with data (% in brackets)

Band (US$) 2012 2011

0 - 500k 28 (31) 63 (61)

500k - 1m 20 (22) 8 (8)

1 - 3m 12 (13) 11 (11)

3 - 5m 11 (12) 6 (6)

5 - 10m 11 (12) 3 (3)

10 - 20m 6 (6) 8 (8)

20m+ 1 (1) 4 (4)

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Media channels: 2012 v. 2011

Social media was the most-used channel in

2012, utilised by 75% of entries (v. 50% in

2011). Other digital and non-traditional

channels also recorded strong increases

(see the chart on the next slide).

Traditional channels remained broadly

stable, so the adoption of digital has not

replaced them, but „earned‟ and social

media were often used to amplify „paid‟

media effects – evidenced by the average

number of channels used in 2012

increasing over 2011 (see chart, right).

Of the traditional channels, television

remained a key media featuring in 57% of

all entries in 2012.

Social media became the most -used channel in 2012 (in 2011 it was television) and

other digital channels recorded significant increases in use. But traditional channels

remained broadly stable, led by TV which retained a presence in well over 50% of

entries. The average number of channels used increased over 2011.

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Media channels: All 2012 entries v. shortlist

In particular, word of mouth and social

media featured in the channel mixes of

92% of shortlisted entries, compared to

75% of entries overall.

A higher proportion of shortlisted entries

(85%) also employed public relations

compared to all entries (65%).

Among the traditional channels, television

is the only media to be used in the majority

of all entries (57%).

Moreover, television also over-indexes

within the shortlisted entries, featuring in

more than three quarters (77%) of those

campaigns.

A comparison of all entries with shortlisted entries shows a higher proportion of the

shortlist employed television as a ‘paid’ medium in combination with non-traditional

‘earned’ media to amplify their message (see below right and next slide). This is a

pattern that’s also broadly shared by the 2012 Warc Prize for Innovation.

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Brand types: global v. local

As in 2011, there was a roughly equal number of entries in 2012 from global brands

(54%) and local brands (46%). But local brands increased their representation on the

shortlist in 2012, significantly upping their proportion to 31% from just 10% in 2011.

That said, global brands still accounted for nine of the 13 shortlisted entries (69%).

Winners, shortlist and other key cases

>> A focus on the best entries of 2012 – and what it takes to win

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Grand Prix

This creative idea played out across a wide

range of local markets and media, employing

print, TV, cinema and OOH, as well as online

and social channels.

The campaign exceeded its sales targets by

7% and grew volumes by over 4%, making

Excite the most successful new variant launch

since 2008's hit, Dark Temptation.

Speaking to Warc in Cannes, jury member Lucy

Jameson, Grey London's incoming chief

strategy officer, praised the campaign's creative

but emphasised that what tipped the balance in

Axe's favour was its rigorous focus on

effectiveness. For more insights, see the What

it takes to win section.

The Grand Prix was presented to the Unilever deodorant, Axe / Lynx. BBH London’s

‘fallen angels’ creative reversed a downward sales trend with a global campaign that

claimed the Excite fragrance was so attractive, it would seduce even the most

virtuous of women.

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Lions’ winners

Bundaberg Rum (Diageo, Australia): This CSR-led

campaign for a limited edition „Watermark‟ rum raised

nearly A$1m for Queensland‟s flood victims.

Chrysler 200 (US): Detroit-born rapper Eminem

fronted a two-minute Super Bowl ad, increasing sales

eight-fold over the year.

Febreze (P&G, US): Filmed experiments became TV

ads, leveraged by social media, leading to five

months of sustained growth.

Initiative Vermisste Kinder (Germany): „Missing

Children's Initiative‟ innovated across multiple

touchpoints, achieving 30% awareness.

Snickers (Mars, global): The „You're Not You When

You're Hungry‟ campaign was adapted in 50 markets

and influenced 88% of global value sales.

Alongside the Grand Prix-winning campaign for Axe, Creative Effectiveness Lions

went to five other entries. Of these, one was an Australian campaign, two were from

the U.S., one was for a non-profit campaign in Germany and one, like Axe, was a

global campaign.

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Remaining shortlist

American Express (US): How Amex engaged 103m

Americans with its Small Business Saturday.

Hippo Baked Munchies (Parle Agro, India): How

Twitter boosted distribution and 20m extra unit sales.

Domino‟s (US): Show Us Your Pizza employed user-

generated content and boosted sales by 12%.

Old Spice (P&G, US): This interactive digital

campaign boosted sales from +60% to +125%.

Axe (Unilever, Mexico): This TV-led „Premature

Perspiration‟ campaign grew the brand by 19%.

IBM Watson (IBM, US): How an IBM computer‟s quiz

show success translated into $245m of revenue.

Colombian Ministry Of Defence (Colombia): How 30%

more FARC guerrillas decided to demobilise.

The seven remaining non-winning cases on the shortlist included four campaigns

from the US together with three from developing markets: India, Mexico and

Colombia.

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Most-read entries

The following table details the most-read Creative Effectiveness Lions by warc.com

users, listed by their company type. Naturally, the shortlist attracted most reader

interest, but several non-shortlisted entries (marked with a *) made it onto all three

lists. For more on the five most-read of these, see the next slide).

Creative agencies Media agencies Brand owners

1 Axe Excite (Unilever, Global) Axe Excite (Unilever, Global) Axe Excite (Unilever, Global)

2 Snickers (Mars, Global) Snickers (Mars, Global) Snickers (Mars, Global)

3 Febreze (P&G, US) Hornbach DIY (Germany)* Puma Social (Global)

4 Chrysler 200 (US) Google (US)* Bundaberg Rum (Australia)

5 Mercedes-Benz (US)* Puma Social (Global)* VW Eco Range (Sweden)*

6 Hornbach DIY (Germany)* Mercedes-Benz (US)* Adidas (Japan)*

7 Google (US)* T-Mobile (UK)* NAB Bank (Australia)*

8 American Express (US) American Express (US) Mercedes-Benz (US)*

9 Bundaberg Rum (Australia) VW Eco Range (Sweden)* Hornbach DIY (Germany)*

10 Puma Social (Global)* Germany‟s Missing Children Samsung TV (Netherlands)*

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Most-read entries: beyond the shortlist

Mercedes-Benz (US) : This campaign grew the

automaker‟s younger-demographic Facebook

fanbase by 270% and its Twitter followers to 77,000.

Hornbach DIY (Germany): The 10-minute Infinite

House film attracted 1.8m views online, boosting

awareness and increasing turnover 4.3%.

Google (US): The interactive film Wilderness

Downtown created internet buzz about the HTML 5

capabilities of its Chrome browser.

Puma Social (global): The campaign that engaged

„after-hours athletes‟, reviving Puma with a 10.4%

growth in worldwide sales.

VW Eco Range (Sweden): The „Fun Theory‟ changed

drivers‟ perceptions of green cars, leading to sales of

20,000 and establishing VW as eco market leader.

The following campaigns are the five-most-read entries by Warc subscribers that did

not feature on the Creative Effectiveness Lions shortlist. They include global, US and

European campaigns with engaging creative and often impressive media results.

But, as the next section discusses, it can take more than that to win.

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What it takes to win

Entries were judged on three criteria: strategy

(25%), idea (25%) and – most significantly –

results (50%).

In this respect, the best entries paid particular

attention to a specific point in the guidance

notes on creating successful entries:

“It is not enough to make assertions, the jury

want proof. Any claim must be supported by

evidence and source data…

“Throughout the judging process the Jury will

be asking themselves: 'Has effectiveness

been proved beyond a reasonable doubt?'"

The best entries therefore stood out for their

focus on proving effectiveness.

The aim of the Creative Effectiveness Lions is clearly defined on canneslions.com:

"[To] honour creativity which has shown a measurable and proven impact on a

client’s business - creativity that affects consumer behaviour, brand

equity, sales, and where identifiable, profit."

“I think we were all

surprised at the number

of cases that didn't get

near the shortlist; that

just thought

effectiveness was how

much free media you'd

earned rather than

whether or not there was

commercial success.”

Lucy Jameson

Jury member and incoming Chief

Strategy Officer, Grey London

(Warc interview, Cannes, June 2012)

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What it takes to win: a jury member’s view

When it comes to proving effectiveness, Jameson

said she asks four simple questions of any

campaign entering the awards:

• Did it create any buzz and get noticed?

• Did that lead to a change in brand perception?

• Did that in turn lead to a change in behaviour?

• And did that lead to people buying more?

“It's not enough just to show that a campaign was

liked,” she explained. “Unless it actually changed

behaviour and led to a commercial result, it's a

waste of clients' money.”

So the buzz-generation of social media has a clear

role in the effectiveness narrative, but is only one

component in a longer process – something not

always appreciated by entrants.

A Warc interview with Lucy Jameson, a Cannes Creative Effectiveness Lions jury

member and incoming Chief Strategy Officer of Grey London, offers a useful insider’s

view on the standards required to win.

Video: Lucy Jameson, incoming Chief Strategy Officer of Grey

London, on what it takes to win a Creative Effectiveness Lion

Video: Tim Broadbent, Worldwide Effectiveness Director, Ogilvy

& Mather, on setting up the Creative Effectiveness Lions.

Breakdown of entries

>> The class of 2012 by region, country and client sector

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Geography: entries by region

North America took over from Europe as

the most represented region, accounting

for 31% of campaigns, compared to 16%

in 2011.

This was due to a decrease in European

campaigns, which made up 22% of the

total in 2012, down from 45% in 2011.

Contributions from Australia & New

Zealand and South America noticeably

increased in 2012, albeit from a small

base.

Elsewhere, campaigns from Middle East

& Africa decreased while Asia held

broadly steady (as did multi-market and

global campaigns).

Entries were received from campaigns that ran in a total of 28 countries, down from

37 in 2011 (perhaps reflecting the fact there were 35% fewer entries overall in 2012).

Within this, there was a clear shift in representation from Europe to North America.

Entries by region: 2012 v. 2011Total no. of entries (% in brackets)

2012 2011

N America 28 (31) 25 (16)

Europe 20 (22) 69 (45)

Aus & NZ 12 (13) 12 (7)

Asia-Pacific 11 (12) 22 (14)

S America 11 (12) 13 (8)

Multi-market 6 (6) 4 (3)

ME & Africa 1 (1) 9 (6)

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Geography: entries by country

The US accounted for 28% of

entries, retaining its place as the

most represented market.

By contrast, the UK slid from

second spot in 2011 (on 11%) to

joint sixth in 2012 (on 3%).

Colombia, Canada and New

Zealand were new entrants to

the top ten in 2012, replacing

Spain, France and India.

Meanwhile, Germany and Brazil

remained broadly steady

between 2011 and 2012 in

percentage terms.

North America’s regional

dominance in 2012 unsurprisingly

translated into the US accounting

for most entries.

Entries by country 2012 v. 2011Total no. of entries (% in brackets)

2012 2011

USA 25 (28) USA 24 (18)

Australia 9 (10) UK 15 (11)

Germany 6 (7) Germany 10 (7)

Brazil 4 (4) Brazil 7 (5)

Canada 3 (3) Spain 7 (5)

Colombia 3 (3) France 7 (5)

N Zealand 3 (3) Australia 7 (5)

Singapore 3 (3) India 6 (4)

Sweden 3 (3) Sweden 5 (4)

UK 3 (3) S Africa 4 (3)

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Client sectors

Entries from the automotive sector

rose significantly – from 8% in

2011 to 13% in 2012 – to become

the largest category.

Non-profit slipped from 23% to

12%, moving from first to second

place.

Other sectors featuring less

frequently in 2012 include media

& publishing, leisure &

entertainment and retail.

Most other sectors retained a

roughly equal year-on-year

presence.

Analysis of entries by client

sector reveals a number of

differences between 2012 and

2011 (also see chart on next slide).

Entries by client sector 2012 v. 2011Total no. of entries (% in brackets)

2012 2011

Motor/auto 13 (15) 8 (6)

Non-profit 12 (13) 31 (23)

Media & publishing 9 (10) 16 (12)

Food 7 (8) 10 (7)

Leisure & ents 7 (8) 15 (11)

Alcoholic drinks 6 (7) 7 (5)

Financial services 6 (7) 8 (6)

Telecoms 6 (7) 7 (5)

Toiletries 6 (7) 5 (4)

Household 4 (4) 4 (3)

Wearing apparel 4 (4) 5 (4)

Soft drinks 3 (3) 7 (5)

Travel & /tourism 3 (3) 3 (2)

Business & ind 2 (2) 4 (3)

Retail 1 (1) 9 (7)

Utilities 0 (0) 1 (1)

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About the Creative Effectiveness Lions

Entries were judged on strategy (25%), idea

(25%) and results (50%).

A total of 92 entries were received in 2012, 89

of which were available for publication on

warc.com (these 89 have been the basis of the

preceding analysis).

Just 13 entries made the shortlist and, of these,

six won Creative Effective Lions. One of these

winners was awarded the Grand Prix.

The 92 entries received is a significant

decrease on the 142 entries received in 2011,

the Creative Effectiveness Lions‟ inaugural

year. This perhaps reflects a realisation among

potential entrants in 2012 of the rigorous

standards required to win.

The Cannes Creative Effectiveness Lions honour creativity that has had a measurable

business impact. Only shortlisted or Lion-winning campaigns of Creative Lions

competition in 2011 could enter the Creative

Effectiveness Lions competition in 2012.

“It's very, very difficult to

win. There were only six

winners this year and only

six last year. Only Golds

are awarded, no silvers, no

bronzes. So any campaign

that gets through that

almost merciless testing

should be congratulated.”

Tim Broadbent

Worldwide Effectiveness Director, O&M

(Warc interview, Cannes, June 2012)

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More on the Creative Effectiveness Lions:

Browse the 2012 Creative Effectiveness Lions

Browse 2011 Creative Effectiveness Lions

Warc interviews with Lucy Jameson and Tim Broadbent

Warc‟s reports from the Cannes Lions Festival 2012

Warc‟s analysis of the 2011 Creative Effectiveness Lions

More from Warc…WARC TRENDS

Visit our Trends section for a full range of material on trends in marketing, consumer

behaviour and brand innovation.

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worldwide via Warc‟s Event Reports section.

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