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Transcript of Cannes lions 2012 analysis from Warc
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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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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.
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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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Entries by client sector (%) 2012 v. 2011
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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
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