warc analysis cannes effectiveness lions 2012

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

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Page 1: Warc analysis cannes effectiveness lions 2012

CANNES CREATIVE September 2012

>> An analysis of entries to the 2012 awards

EFFECTIVENESS LIONS

Page 2: Warc analysis cannes effectiveness lions 2012

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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:

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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 objectives No. of entries using (% in brackets)

All entries Shortlist

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. 2011 No. 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%).

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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.

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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. 2011 Total 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. 2011 Total 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. 2011 Total 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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www.warc.com

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. EVENT REPORTS Save time and money by tracking the themes discussed at industry conferences worldwide via Warc’s Event Reports section. REQUEST A FREE TRIAL Not a subscriber? Register at warc.com/trial for selected content from over 6,000 case studies and articles, an extract from Warc’s 2012 Toolkit report and daily news bulletins.

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