Warc analysis cannes effectiveness lions 2012


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Warc analysis cannes effectiveness lions 2012

  1. September 2012CANNES CREATIVEEFFECTIVENESS LIONS>> An analysis of entries to the 2012 awards
  2. 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.© Copyright Warc 2012. All rights reserved www.warc.com
  3. About this analysis and overview 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 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.© Copyright Warc 2012. All rights reserved www.warc.com
  4. Analysis of campaign trends>> Objectives, media budgets, channels and brands
  5. Marketing objectives 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). ‘Build, defend position’ and ‘increase Most-used marketing objectives awareness’ were the most common No. of entries using (% in brackets) objectives – both for all entries and the shortlist. The prominence of ‘awareness’ All Shortlist goals is a likely reflection of how many entries campaigns used social media (see the Build, defend position 71 (80) 11 (85) Media Channels section). Increase awareness 71 (80) 11 (85) ‘Increase sales’ and ‘Increase market share’ were the third and fourth most- Increase sales 59 (66) 8 (62) used objectives respectively. ‘Gain customers’, another ‘hard’ objective, also Increase market share 35 (39) 4 (31) made the top seven. Brand launch 19 (21) 2 (15) This list is rounded off by ‘Social, non- Gain new customers 19 (21) 2 (15) profit’, although some commercial campaigns – like the Lion-winning Social, non-profit 18 (20) 3 (23) Bundaberg Rum - used this objective too.© Copyright Warc 2012. All rights reserved www.warc.com
  6. Media budgets 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). Small-budget campaigns remained the Media budgets 2012 v. 2011 most common type of entry, with 31% No. of entries with data (% in brackets) within the 0-500k band – but this did represent a significant drop from the 61% Band (US$) 2012 2011 recorded in 2011. 0 - 500k 28 (31) 63 (61) That said, taking the lowest two bands together, some 51% of entries were 500k - 1m 20 (22) 8 (8) backed with a budget of less US$1m. 1 - 3m 12 (13) 11 (11) This might best be explained by the increased use of ‘earned’ and social 3 - 5m 11 (12) 6 (6) media (see the next section, Media Channels) and their ability to amplify the 5 - 10m 11 (12) 3 (3) effects of ‘paid’, traditional media. 10 - 20m 6 (6) 8 (8) Again, only cautious inferences can be made, given the partial data available. 20m+ 1 (1) 4 (4)© Copyright Warc 2012. All rights reserved www.warc.com
  7. Media channels: 2012 v. 2011 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. 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.© Copyright Warc 2012. All rights reserved www.warc.com
  8. © Copyright Warc 2012. All rights reserved www.warc.com
  9. © Copyright Warc 2012. All rights reserved www.warc.com
  10. Media channels: All 2012 entries v. shortlist 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. 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.© Copyright Warc 2012. All rights reserved www.warc.com
  11. 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%).© Copyright Warc 2012. All rights reserved www.warc.com
  12. Winners, shortlist and other key cases>> A focus on the best entries of 2012 – and what it takes to win
  13. Grand Prix 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. 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 2008s hit, Dark Temptation. Speaking to Warc in Cannes, jury member Lucy Jameson, Grey Londons incoming chief strategy officer, praised the campaigns creative but emphasised that what tipped the balance in Axes favour was its rigorous focus on effectiveness. For more insights, see the What it takes to win section.© Copyright Warc 2012. All rights reserved www.warc.com
  14. Lions’ winners 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. 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 Childrens Initiative’ innovated across multiple touchpoints, achieving 30% awareness. Snickers (Mars, global): The ‘Youre Not You When Youre Hungry’ campaign was adapted in 50 markets and influenced 88% of global value sales.© Copyright Warc 2012. All rights reserved www.warc.com
  15. Remaining shortlist 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. 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.© Copyright Warc 2012. All rights reserved www.warc.com
  16. 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)*© Copyright Warc 2012. All rights reserved www.warc.com
  17. Most-read entries: beyond the shortlist 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. 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.© Copyright Warc 2012. All rights reserved www.warc.com
  18. What it takes to win 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." Entries were judged on three criteria: strategy (25%), idea (25%) and – most significantly – results (50%). “I think we were all surprised at the number In this respect, the best entries paid particular attention to a specific point in the guidance of cases that didnt get notes on creating successful entries: near the shortlist; that “It is not enough to make assertions, the jury just thought want proof. Any claim must be supported by effectiveness was how evidence and source data… much free media youd “Throughout the judging process the Jury will earned rather than be asking themselves: Has effectiveness whether or not there was been proved beyond a reasonable doubt?" commercial success.” The best entries therefore stood out for their Lucy Jameson focus on proving effectiveness. Jury member and incoming Chief Strategy Officer, Grey London (Warc interview, Cannes, June 2012)© Copyright Warc 2012. All rights reserved www.warc.com
  19. What it takes to win: a jury member’s view 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. 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? Video: Lucy Jameson, incoming Chief Strategy Officer of Grey London, on what it takes to win a Creative Effectiveness Lion “Its not enough just to show that a campaign was liked,” she explained. “Unless it actually changed behaviour and led to a commercial result, its 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. Video: Tim Broadbent, Worldwide Effectiveness Director, Ogilvy & Mather, on setting up the Creative Effectiveness Lions.© Copyright Warc 2012. All rights reserved www.warc.com
  20. Breakdown of entries>> The class of 2012 by region, country and client sector
  21. Geography: entries by region 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. North America took over from Europe as Entries by region: 2012 v. 2011 the most represented region, accounting Total no. of entries (% in brackets) for 31% of campaigns, compared to 16% in 2011. 2012 2011 This was due to a decrease in European N America 28 (31) 25 (16) campaigns, which made up 22% of the total in 2012, down from 45% in 2011. Europe 20 (22) 69 (45) Contributions from Australia & New Aus & NZ 12 (13) 12 (7) Zealand and South America noticeably increased in 2012, albeit from a small Asia-Pacific 11 (12) 22 (14) base. S America 11 (12) 13 (8) Elsewhere, campaigns from Middle East & Africa decreased while Asia held Multi-market 6 (6) 4 (3) broadly steady (as did multi-market and global campaigns). ME & Africa 1 (1) 9 (6)© Copyright Warc 2012. All rights reserved www.warc.com
  22. Geography: entries by country North America’s regional Entries by country 2012 v. 2011 dominance in 2012 unsurprisingly Total no. of entries (% in brackets) translated into the US accounting for most entries. 2012 2011 The US accounted for 28% of USA 25 (28) USA 24 (18) entries, retaining its place as the Australia 9 (10) UK 15 (11) most represented market. Germany 6 (7) Germany 10 (7) By contrast, the UK slid from second spot in 2011 (on 11%) to Brazil 4 (4) Brazil 7 (5) joint sixth in 2012 (on 3%). Canada 3 (3) Spain 7 (5) Colombia, Canada and New Zealand were new entrants to Colombia 3 (3) France 7 (5) the top ten in 2012, replacing Spain, France and India. N Zealand 3 (3) Australia 7 (5) Meanwhile, Germany and Brazil Singapore 3 (3) India 6 (4) remained broadly steady between 2011 and 2012 in Sweden 3 (3) Sweden 5 (4) percentage terms. UK 3 (3) S Africa 4 (3)© Copyright Warc 2012. All rights reserved www.warc.com
  23. Client sectors Entries by client sector 2012 v. 2011 Total no. of entries (% in brackets) Analysis of entries by client 2012 2011 sector reveals a number of differences between 2012 and Motor/auto 13 (15) 8 (6) 2011 (also see chart on next slide). Non-profit 12 (13) 31 (23) Media & publishing 9 (10) 16 (12) Entries from the automotive sector Food 7 (8) 10 (7) rose significantly – from 8% in 2011 to 13% in 2012 – to become Leisure & ents 7 (8) 15 (11) the largest category. Alcoholic drinks 6 (7) 7 (5) Financial services 6 (7) 8 (6) Non-profit slipped from 23% to 12%, moving from first to second Telecoms 6 (7) 7 (5) place. Toiletries 6 (7) 5 (4) Other sectors featuring less Household 4 (4) 4 (3) frequently in 2012 include media Wearing apparel 4 (4) 5 (4) & publishing, leisure & Soft drinks 3 (3) 7 (5) entertainment and retail. Travel & /tourism 3 (3) 3 (2) Most other sectors retained a Business & ind 2 (2) 4 (3) roughly equal year-on-year Retail 1 (1) 9 (7) presence. Utilities 0 (0) 1 (1)© Copyright Warc 2012. All rights reserved www.warc.com
  24. Entries by client sector (%) 2012 v. 2011© Copyright Warc 2012. All rights reserved www.warc.com
  25. About the Creative Effectiveness Lions 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. 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 “Its very, very difficult to warc.com (these 89 have been the basis of the win. There were only six preceding analysis). winners this year and only Just 13 entries made the shortlist and, of these, six last year. Only Golds six won Creative Effective Lions. One of these are awarded, no silvers, no winners was awarded the Grand Prix. bronzes. So any campaign The 92 entries received is a significant that gets through that decrease on the 142 entries received in 2011, almost merciless testing the Creative Effectiveness Lions’ inaugural should be congratulated.” year. This perhaps reflects a realisation among Tim Broadbent potential entrants in 2012 of the rigorous Worldwide Effectiveness Director, O&M standards required to win. (Warc interview, Cannes, June 2012)© Copyright Warc 2012. All rights reserved www.warc.com
  26. 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 LionsMore from Warc…WARC TRENDSVisit our Trends section for a full range of material on trends in marketing, consumerbehaviour and brand innovation.EVENT REPORTSSave time and money by tracking the themes discussed at industry conferencesworldwide via Warc’s Event Reports section.REQUEST A FREE TRIALNot a subscriber? Register at warc.com/trial for selected content from over 6,000 casestudies and articles, an extract from Warc’s 2012 Toolkit report and daily news bulletins. www.warc.com
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