2013 Report For Media

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THE GUNN REPORT FOR MEDIA 2013
THE GUNN REPORT FOR MEDIA 2013 SUMMARY
i
Media Campaigns of the Year:
Dr Dre • Virtual 2Pac For Coachella
Chronic Touring (Los Angeles)
Puerto Rico Correctional & Rehabilitation Department • Follow2Unfollow
Starcom Mediavest Group (San Juan)
DELA Funeral Insurance Company • Why Wait Until It’s Too Late ?
Ogilvy & Mather (Amsterdam) / Mediavalue (Amsterdam)
UTEC/University Of Engineering & Technology • Potable Water Generator
Mayo Draftfcb (Lima) / Media Connection BPN (Lima)
Dove • Real Beauty Sketches
Ogilvy Brasil (São Paulo) / PHD (London)
ii
Country of the Year:
USA
Runners up: United Kingdom & India
iii Advertiser of the Year:
McDonald’s
Runners up: Coca-Cola & Samsung
iv
Agency Network of the Year:
OMD
Runners up: Starcom & Mindshare
v
Holding Company of the Year:
GroupM
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Runners up: Omnicom Media Group & Publicis Groupe
THE GUNN REPORT FOR MEDIA 2013
INTRODUCTION TO THE GUNN REPORT FOR MEDIA 2013
A very warm welcome to THE GUNN REPORT FOR MEDIA 2013.
The aims of The Report are, before anything else, to share with the marketing industry our belief that consumers
experience brands through media and that in these difficult times, media innovation and creativity are more than ever,
key to brand success.
The context in which marketing is taking place has changed dramatically these past years on three levels. Advertisers are
fighting against an increasingly competitive and tough business environment where ROI is vital.
They are also faced with customers, who are very unpredictable, expect to be surprised and entertained, and are more
and more influenced by their friends and their networks. They want to participate, share and collaborate as never before.
Because of technology, the means of production and the channels of distribution have been turned over to the masses.
Every single one of us has access to a potential audience of millions of people on social media channels.
Consumers also want to control and dictate when, where and how they are communicated with. They want a dialogue
and a real conversation, whatever the platform is: banners, posters, press or TV ads, YouTube, Facebook, Pinterest,
Instagram, Google, Twitter...
And last but not least, technology is changing the world without any come back. Previously advertising was first and
foremost about interrupting an audience. But for many marketers that playbook is being tossed aside. The conventional
order, putting distribution strategy at the end of the process, has been being flipped. Brands themselves are becoming
media. The advertising guru Lee Clow a few years ago said, “New technology hasn’t simply made our media options
broader, it’s actually changed the model that brands have to operate in. Our talent is still about storytelling but using
new delivery systems, formats, screens and experiences that have become opportunities for brands”.
Media creativity is therefore an effective and universal tool for brands to speak to consumers and to attain a brand’s
objectives by standing out in a crowded field of competitors.
In a world where today’s generation has grown up with turning off buttons and skipping what they don’t like, the art
of reaching a consumer requires as much guile and strategy as the creative message of advertising. The media channels
that advertisers utilise to connect with their consumers and capture people’s attention are as vital as the creative content
that we deliver. As consumers gain more control over their media consumption, and as more content and messages vie
for their attention, it becomes an even greater challenge to engage with them on their own terms. And the media role is
finally receiving the attention for its key function in leading the success of an ad campaign.
Contact has become as critical to the success of a marketing campaign as content. The right media connections can
make or break a campaign, or even a brand, and change behaviour as a result.
But what does media creativity really mean? Media – the process of buying, planning and strategy – is every bit as
creative as depicting storyboards for a print or TV ad campaign. A creative media approach is one that has examined
every possible point of “connection” between brand and consumer, using whatever analytical tools are the most relevant
and effective. This is what we call communications planning, and it is this rigour that generates unconventional ideas
and the greatest impact per dollar spent.
At a time of increasing difficult economic climate in the world, innovation is key for effectiveness. It is urgent to push
creativity and new ideas. Brands need even more than before to find and use meaningful and innovative solutions.
Media - in all their forms - have become an integral part of marketing. The inclusion of a media platform in a
communications awards event is an important signal to the marketing world that is building the right connections
between brand and consumer is an absolute necessity.
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THE GUNN REPORT FOR MEDIA 2013
Since its launch, The Gunn Report for Media, has always wanted to send each year a signal to brands to put a global
spotlight on media innovation and success, and to inspire a higher quality of media product throughout the world.
In order to help recognize the best campaigns, and the agencies and networks that are most committed to media
creativity, The Gunn Report for Media 2013 has, once again, combined the winners’ lists from all of the world’s most
important award contests so as to establish the only annual, worldwide, “league tables” for the communications
industry.
The Gunn Report for Media 2013 proves that creativity, innovation and efficiency go together. The future of the industry
lies in the innovative strength of its media creativity. The contests that I have reported on this year are witness to that
compelling truth. Once more, I applaud those agencies that are setting new standards in media innovation, and I
encourage everyone in media to go on “raising the bar” higher and higher.
Isabelle Musnik
Editor, The Gunn Report for Media 2013
Coca-Cola has consistently been in the top two Advertisers in The Gunn Report for Media. Guy Duncan, Global
Group Content Director, The Coca-Cola Company comments:
The world has changed. Over 4 billion searches on Google a day, 500MM tweets a day, 88MM blogs on Tumblr, 72hrs
of content uploaded to Youtube every minute. We all know this and participate in it every hour of every day.
Being uniquely creative in today’s media landscape is the table stakes for a modern brand to remain relevant. Simply put,
creativity for us, is king. Such is the explosion of opportunity for a brand to make its voice heard and grab attention,
that we’re witnessing vast new quantities of content being generated every day. This explosion of content has led the
industry and our Company to understand that what sets the winning brands apart is Creativity. Creativity = competitive
advantage in a crowded marketplace and is the difference between winning and losing.
At The Coca-Cola Company, our mandate is to deliver a greater quality of content, and that’s how we better connect
with our consumers – through big ideas that get talked about, through engaging stories that are shareworthy, and
through day to day conversations that allow us to take a disproportionate share of popular culture.
This is our approach to great content that scales and spreads. We engage with our consumers by developing
better stories that inspire them to share, though experiences they want to to talk about, and by engaging them in
conversation. We connect with our consumers by following a distinct connection strategy: placing of our content
strategically in owned, earned, shared and paid media, in that order. All this so that it creates increased value for our
brands, for our company and for the world in which we operate.
Guy Duncan
Global Group Content Director
The Coca-Cola Company
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THE GUNN REPORT FOR MEDIA 2013
CAMPAIGNS
2013 has not been an easy time for advertisers who had to fight against an economic crisis in many parts of the world.
But it has been an extremely interesting year, with many inspirational campaigns, much storytelling and strong stories.
The uncertainty about the future pushed advertisers, big and small, private and governmental/and charities, local and
international, to find new ideas to reach consumers. Five trends can be noticed:
Bravery: Technology, although very important is not the only key to success. Irrespective of technology, on what
platform or medium you are on, the business is still about ideas – small or big – and bravery. Many winning campaigns
throughout the world prove it. Be bold and do something new.
Integration: No media is king any more. Every channel plays a role. One of the best examples of this trend is the
Cannes Media Grand Prix ‘Why Wait Until It’s Too Late?’ for the Dutch funeral insurance company DELA, featuring an
interactive campaign with recordings used in a TV commercial. The company then used print ads that readers were
encouraged to complete. The uploaded ads were used for posters. People could also post a picture with their letter on a
website and on Facebook. These letters were also placed around the city – where the person to whom the message was
directed, could see it. In addition, radio and banners were also used.
The speed of communications: Advertisers had to think fast and adapt to new consumer behaviour. 2013 saw a lot
of real-time campaigns launched, such as Oreos’ ‘Daily Twist’, ‘Kleenex Catches Cold’, Mercedes-Benz ‘#YOUDRIVE’,
Paddy Power’s ‘Sky Tweets’ or Water Is Life ‘Hashtag Killer’.
Universal values: In 2013 some of the key words were “engagement” “social responsibility”, “moral
conscientiousness”. In our recession economy, simply being kind is a rising trend. A kind of soft revolution is starting,
brands are trying to be useful and to help not only consumers but also the collectivity. Some of the most-talked about
campaigns in 2013 were going in this direction: like the Australian Metro Trains’ ’Dumb Ways to Die’, Coca-Cola ‘Small
World Machines’, in which Coke machines from Pakistan and India interact, ‘A Million Reasons to Believe in Thailand’
(Coca Cola), aimed at recharging the people’s confidence in these difficult times, or the Peruvian campaign ‘Potable
Water Generator’, (The University of Engineering and Technology) that featured a billboard in a drought-stricken area
that pulled in humidity from the air and created a water source.
The growing importance of earned media: According to a study done by social@Ogilvy in mid-2013, 80% of a
brand’s reach now comes through ‘amplification through advocacy’. The number of mentions and shares in social media
has become an important indication of success for campaigns.
Unlike purely creative advertising campaigns, media related campaigns are still very different from one country to the
next. Not many are Europe-wide and even fewer are international. This is not only due to different behaviours with
regards to product or service consumption, but also to different approaches on how to use media, and of course
advertising regulations. Restrictions on use of advertising placement, timing or content are different between countries
and continents. Some countries for example don’t allow sponsorship of TV programmes, some restrict billboards in the
streets.
To ensure a balanced representation, my rule is to highlight only those campaigns that obtained a significant number
of points and which won awards in four or more regional or global festivals. Only three this year received awards in 4
festivals – local and international: ‘Follow2Unfollow’, Puerto Rico Correctional and Rehabilitation Department (Starcom
MediaVest Group Puerto Rico, San Juan), ‘Potable Water Generator’, The University of Engineering and Technology (Mayo
Draftfcb, Lima) and ‘Real Beauty Sketches’ and Dove (Ogilvy Brasil, São Paulo).
And I will also therefore highlight in the report some of the winners of the global festivals which have been praised for
their creativity, their innovation AND results. And which show how important it is to think ‘out of the box’, to invent
new media, and also to use the ‘oldest’ ones. All these campaigns have tangible results and prove that creativity and
efficiency go together.
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THE GUNN REPORT FOR MEDIA 2013
DR DRE • Virtual 2Pac at Coachella
USA
Chronic Touring
Los Angeles
CCO: Ed Ulbrich
CD: Philip Atwell, Dylan Brown
CW: Philip Atwell, Dylan Brown
Prod: Philip Attelle, Dylan Brown,
Dr.Dre
Dir: Philip Atwell
DOP: Aj Raitano
Camera: Kevin Mcgill
Music: 2pac, Snoop Dogg, Dr.Dre
Animation: Steve Preeg
Head of Production: Scott Gemmell
Compositing Supervisor: Janelle Croshaw
Visual Effects Producer: John Kokum
Live Action Producer: Kim Monaco
Lighting Designer: Demfis Fyssicopulos
Brief:
The work is a five minute video piece designed and
created exclusively for two shows at the Coachella Valley
Music Festival. The vision of Dr. Dre, “Virtual 2Pac”
was conceived as a way to bring fans something that
was beyond the scope of imagination – an original
performance of the late rap star Tupac Shakur. Working
with Dr. Dre, Snoop Dogg, Philip Atwell and Dylan
Brown, Digital Domain created a completely believable,
computer-generated likeness of 2Pac that when projected
onstage at the outdoor venue, created the illusion that he
was performing live alongside Snoop Dogg. An estimated
180,000 fans at two shows witnessed the performance
live, and tens of millions more watched it online in the
days and weeks that followed.
Strategy:
The challenge of the project was to create a completely
original performance of the late rap star that did not rely
on or incorporate existing footage. Digital Domain artists
created a computer-generated likeness of Shakur using
proprietary techniques and technology, and finessed it in
detail to get the movement, skin, eyes - every element to
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match 2Pac, working closely under Dre’s and Snoop’s
direction. The resulting video was projected onto a
screen and bounced off a reflective surface, creating
the illusion that ‘Virtual 2Pac’ was onstage with Dre
and Snoop for an original performance. Digital Domain
also created the close-up video played on screens at the
venue.
Results:
The goal with ‘Virtual 2Pac’ was to create something
truly mind blowing for fans worldwide. The successful
achievement of that goal was evident within 48 hours
of the first show, when YouTube videos of the live
performance (since removed) amassed 15 million+
views. In the week following the second performance,
2Pac album sales increased 500% and his song ‘Hail
Mary’ experienced a 1,500% gain in a week. Between
the dates of the two shows there was a 500% increase
in visits to the 2Pac website and fan acquisition rose by
78%. There were thousands of media stories, assessing
“virtual 2Pac’s” impact on everything from music to
entertainment, ethics, technology and intellectual
property.
THE GUNN REPORT FOR MEDIA 2013
PUERTO RICO CORRECTIONAL AND REHAB DEPARTMENT • Follow2Unfollow
Puerto Rico
Starcom MediaVest Group
Puerto Rico, San Juan
Regional Strategy Director: Alejandro Rosado
free citizens on the street. Followers would be able to
interact with inmates and learn, one-on-one, how grim
a life behind bars really is. We believed that the most
effective deterrent to crime was the criminal himself.
Creative execution:
The agency provided Internet access through iPhones,
Android phones, tablets and computers to three inmates
so they could setup Twitter accounts and share the
harshness of their everyday lives to followers. People
chose between a wide range of prisoner’s stories that
were unique and emotionally charged. Young people’s
curiosity was the key engagement driver.
A target relevant multimedia campaign filled out the
delivery of the FOLLOW2UNFOLLOW ME message
across paid, owned and earned platforms. The agency
created and produced a TV spot, radio spots/mentions,
billboards, restroom boards, online banners & print ads.
Brief:
The year 2011 ended as the most violent year in the
history of Puerto Rico, registering 1,136 murders at a rate
of 30.5 murders per 100,000 inhabitants, the highest
on the island since 1940; making it one of the more
dangerous islands in the Caribbean according to The
United Nations Office on Drugs and Crime.
Dead in the centre of this domestic warfare were Puerto
Rico’s young adults who, like young adults everywhere,
were resistant to the voices of authority. The Puerto Rico
government would have to to try a more personal and relevant
approach to get through to the youth they were losing.
Strategy:
Having established that mass media messages were
ineffective, the agency turned to social media, which, like
social media everywhere, is the leading communication
channel among young adults.
The agency convinced the Puerto Rico Correctional and
Rehabilitation Department to allow something that other
prisons in the world would have never allowed: Twitter
communication between convicted felons in prison and
In addition, a press conference was held to launch
the effort. But most importantly, we leveraged our
relationship with top media vendors and made a
multimedia campaign without investing a single dollar.
All media vendors agreed to donate their advertising
inventory/space for the project.
Results:
Within hours, the media picked up on it and the
press coverage exploded. The ‘inmates’ Twitter
accounts got thousands of followers on the week
after the launch. With $0 media investment, the
campaign got over $1.1MM in earned media with an
unprecedented multimedia reach over 90% and 44%
awareness. Just a few days after the campaign was
launched, “FOLLOW2UNFOLLOW” was the main topic
of conversation in the news, in tweets and on blogs not
only in PR but also across the world.
This first-of-its-kind campaign enabled a seemingly
impossible dialogue that redirects the pathway to
violence. On a survey of 500 respondents who were
exposed to the campaign, 54% said that they would now
reconsider their actions and decisions in order to avoid a
life of crime.
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THE GUNN REPORT FOR MEDIA 2013
DELA FUNERAL INSURANCE COMPANY • Why Wait Until It’s Too Late? The Netherlands
Ogilvy & Mather,
Amsterdam /
Mediavalue,
Amsterdam
CD: Darre van Dijk
CW: Piebe Piebenga
AD: Darre van Dijk / Bart te Riele
(Digital)
AP: Brenda Bentz van den Berg
Prod Co: Wefilm,Amsterdam
Dir: Roel Welling
Prod: Bas Welling
Strat Dir:Hans Veldhorst
Brief:
Funeral insurance company DELA is a cooperative of 3
million members. DELA believes in a dignified farewell for
everyone, but above all being there for each other during
life. The campaign had to bring DELA’s tagline “For
each other” to life again and make the topic relevant
in society. The Netherlands is still recovering from the
crisis. Banks and insurance companies played a crucial
part in that crisis and are therefore seriously distrusted by
the Dutch public. Because DELA is a non-profit making
cooperative, they had to emphasize their identity and get
rid of negative associations with their brand.
Strategy:
The most beautiful words are often spoken when
someone has passed away. But why wait until it’s too
late? Say something wonderful today. The idea was
to give ordinary people a chance to say something
wonderful to someone they really care about and filmed
their speeches with 6 hidden cameras. The footage was
used to develop extraordinary commercials, with real
emotions. These commercials were part of an integrated
campaign that encouraged everyone in the Netherlands
to show their love and affection. The agency made print
ads with only the word ‘Dear’. People were invited to
fill in the rest. The uploaded ads were used for outdoor.
Each poster was unique and placed in the area where
the person it was meant for lived. Besides the print ads,
people could post their beautiful words on Facebook and
on DELA’s website. In addition, radio, banners and live
television speeches were used within the campaign.
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In total the DELA campaign cost 2.7 million for concept,
execution and media. Approximately 5% of the budget
was used for the creative concept, 15% on execution and
80% on media.
Results:
During the campaign period the amount of funerals
provided for people that weren’t a member of DELA
increased with 10%. DELA’s insured capital grew with
50%, even though DELA didn’t define commercial
objectives and the campaign didn’t communicate
products or services.
During the campaign period the amount of website
visitors increased with 66%. Facebook likes increased
with a staggering 96%. On Twitter more than 3600
messages were about the DELA campaign and only 6%
had a negative sentiment.
The awareness on DELA grew from 78% to 87% and
the few negative associations with the brand decreased
from 9% to 3.5%. Reputation measured with the
RepTrackScore increased with nine points, from 65 to 74.
Association with the cooperative identity increased with
7 points, from 60 to 67. Besides that, DELA captured a
place in the top 10 best-known brands in Holland.
But the best result is that by all the wonderful words
spoken by the public, Holland grew a bit more loving.
THE GUNN REPORT FOR MEDIA 2013
UTEC • Potable Water GeneratorPeru
Mayo Draftfcb, Lima /
Media Connection
BPN, Lima,
VP/CCO: Humberto Polar
CD: Alejandro Aponte / Juan
Donalisio
CW: Alejandro Aponte
AD: Juan Donalisio
Video Editor: Mayra Carbone /
Diego Santillan
Brief and strategy:
Results:
The University of Engineering and Technology of Peru
(UTEC) required a spectacular idea to announce the
opening of course registrations for 2013. Although many
young people aspire to go to university, engineering
is often not the first choice for students. Inspired by
UTEC’s rallying cry, “Ingenuity In Action”, Mayo Draftfcb
wanted to highlight the positive impact that engineering
solutions can have on the world to make it relevant for
the young audience.
As a result of this technological breakthrough and its
inspirational social impact, there has been a significant
increase in applications and UTEC has built a very strong
position compared to other engineering universities
in Peru in a very short period of time. The billboard
produced has produced 40,950 litres of water to date,
benefiting hundreds of families, neighbourhoods and
visitors to the area. The activity had such a positive
effect on UTEC’s reputation and Lima’s surrounding
communities that the university has decided to keep the
billboard running as a permanent landmark.
Creative execution:
Mayo Draftfcb responded to the challenge by working
with engineering students to create a billboard design
that would harness the humidity in the air and convert it
into potable water - a vital resource in one of the world’s
driest cities. Lima and surrounding villages are in the
costal desert of Peru and there is a severe lack of clean
drinking water. The instalment was positioned off of the
Panamericana Sur highway at the 89.5 kilometre marker,
a high traffic road that leads to the beach where many
young people would see it towering at approximately 20
meters high (over 65 feet) for maximum visibility.
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THE GUNN REPORT FOR MEDIA 2013
DOVE • Real Beauty SketchesBrazil
Ogilvy & Mather Brasil,
São Paulo / PHD, London
CCO: Anselmo Ramos
ECD: Roberto Fernandez / Paco
Conde
CW: Hugo Veiga
AD: Diego Machado
AP: Veronica Beach
Prod Co: Paranoid US
Dir: John X Carey
EP: Jamie Miller / Claude Letessier
Brief:
The way women depict themselves is dramatically
different from how others perceive them. Over half
(54%) of women globally agree that when it comes to
how they look, they are their own worst beauty critic,
which equates to a staggering 672 million women
around the world. In response, Dove® conducted a
compelling social experiment to illustrate how this
problem manifests.
Execution:
The Real Beauty Sketches film features Gil Zamora, an
FBI trained forensic artist who has used his trademark
Compositure™ Methodology to draw over 3,000
sketches during his 28-year career. The film documented
Zamora creating composite sketches of seven women
who were hidden behind a curtain and he used their
self-descriptions as the basis of his drawings. Prior to
their session with the forensic artist, each of the women
were unexpectedly asked to spend a short period of time
with a stranger without being told why. Zamora then
drafted sketches from the stranger’s depictions. Most
of the sketches drafted from the stranger’s point of
view showed a more beautiful, happier and frequently
more accurate portrayal of the women and further
demonstrates that, when it comes to how they look
the biggest beauty pressure is the pressure they put on
themselves.
In order for the video to be seen and shared online, Dove
used YouTube True View Platforms, Tweets and trends
on Twitter, and Facebook video-sharing along with
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Dove’s 14 million Facebook fans,
Results:
Unprecedented levels of sharing and engagement were
achieved. Less than a month after launch, the Dove Real
Beauty Sketches film became the number one viewed
online video ad of all time. The film, which explores how
women view their own beauty in contrast to what others
see, has been viewed more than 114 million times to
surpass all previously recorded video ads, according to
the Viral Video Chart reported globally by Unruly. In
addition, it is also the most shared video ad in over a
year and the third most shared of all time. Dove Real
Beauty Sketches was uploaded in 25 languages to 33
Dove YouTube Channels and has been viewed in over
110 countries.
Dove Real Beauty Sketches has garnered widespread
attention across all media channels and the brand has
been overwhelmed by the positive response from around
the world. The phenomenon has been further fueled
by celebrities and other brands joining the conversation
and sharing the film with others. Additionally, 14
video parodies of the film have been created. At the
end of May 2013, the campaign has generated almost
four billion PR and blogger media impressions, which
continue to increase daily.Global launch coverage
highlights include: 121 print features, including leading
op-ed pieces, 484 major broadcast news and lifestyle
segments, and thousands of online articles that have
generated hundreds of thousands of comments, likes
and shares.
THE GUNN REPORT FOR MEDIA 2013
COUNTRIES
THE MOST AWARDED COUNTRIES IN THE WORLD IN 2013
Countries
Points
1USA
302
2UK
254
3India
241
4Canada
153
5France
150
6
124
Hong Kong
7UAE
110
8Malaysia
101
9Australia
97
10China
96
11Singapore
95
12Portugal
93
13=Brazil
85
13=Turkey
85
15Poland
80
16Chile
79
17 New Zealand
74
18Germany
66
19Peru
65
20Russia
63
21Colombia
61
22Spain
58
23Ireland
53
24Romania
51
25Ukraine
50
The Table shows that the top three countries worldwide are the United States, the UK and India, which has
consistently climbed up the table these last few years.
It is important to point out that a growing number of countries overall are being rewarded for the media creativity
of their media or advertising agencies.
Smaller or newer advertising countries like Ecuador which has received Media Lions for the first time (one Silver Lion
and two Bronze), the UAE, Puerto Rico, Lebanon, Peru, Ecuador, Uruguay, Paraguay and Guatemala received awards
at national and international festivals. Many of their entries show strong and clever strategic thinking and bold
executions. In Cannes for example of the 18 Gold Lions which were awarded in June 2013, the USA only got two,
the same number as Peru...
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THE GUNN REPORT FOR MEDIA 2013
ADVERTISERS
In Table below I list the Top 10 advertisers who received 20 or more points in 2014 and won awards in 4 or more
festivals.
THE MOST AWARDED ADVERTISERS WORLDWIDE 2013
Advertiser
1
McDonald’s Number of festivals Points
22
83
2Coca-Cola
22
79
3Samsung
18
49
4Nike
15
40
5Axe
9
38
12
33
7Volkswagen
9
26
8Pepsi
9
25
9=Heineken
7
24
9= Puerto Rico Government
5
24
6Vodafone
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THE GUNN REPORT FOR MEDIA 2013
ADVERTISERS
McDonald’s this year beat Coca-Cola. Its success came from 22 festivals, with 83 points. Amongst its awards was
work from:
Australia: “Track My Macca’s” (OMD Australia and DDB Sydney)
Denmark: “Coin Offers Coins for Clicks” (OMD Denmark and DDB Copenhagen)
Hong Kong: “I’m Amazing” (OMD Hong Kong and DDB Hong Kong)
Indonesia: “Small Currency” (Leo Burnett Group Indonesia)
Russia: “A Ring To Bring Them Closer” (Optimum Media OMD Moskow and Leo Burnett Russia)
Spain: “Free Wifi” (TBWA Spain)
As well as from Chile, France, Hong Kong, India, Poland, Singapore, Turkey, UAE and USA.
Coca-Cola took second place with campaigns from 22 different festivals, demonstrating the quality and originality
of their work all over the world. Its 79 points came, amongst others, from:
Australia: “Small World Machines“ (Leo Burnett Sydney) and ‘’Share a Coke’’ (Ikon Communications Australia)
Brazil: ‘’Amplificador” (JWT Brazil)
Colombia: ‘’Coca-Cola Download Concert’’ (O&M) and “Botella De Hielo” (O&M)
India: “Coke Open Happiness“ (Lodestar/Universal Media) and “Coke Studio’’ (Lodestar/Universal Media)
Thailand: ‘’A Million Reasons to Believe in Thailand’’ (Initiative Bangkok)
As well as from Chile, China, Czech Republic, Ecuador, Hong Kong, India, Indonesia, Peru, Spain, Turkey, UAE, UK and
USA.
It is interesting to see that Coca-Cola was the “most effective advertiser“ at the US Effies in 2013 (+3 ranks), getting
nearer and nearer the big giants Unilever and Procter & Gamble
Samsung came third with 49 points in 18 festivals, coming from:
India: “Samsung Sparks A New Guinness World Record“ (Starcom Mediavest Group India) and “Let’s Chat” (Starcom
Mediavest Group India)
New Zealand: “The Smart Phone Line” (Starcom New Zealand and Colenso BBDO New Zealand)
Singapore: “Making Samsung Galaxy S4 the Headline” (Starcom MediaVest Group)
USA: “Taking A Bite Out Of Apple“ (Starcom Mediavest Group)
As well as from Chile, Czech Republic, Germany, The Netherlands, Poland and Spain.
Nike was fourth with 40 points from 15 festivals, coming amongst others from:
Australia: “She Runs The Night“ (Razor, Sydney)
China: “Nike Greatness” (Mindshare Shanghai)
UAE: “Nike LVL UP“ (JWT LLC Dubai)
USA: “Find Your Greatness” (Wieden+Kennedy, Razorfish, New York) and “Nike+Fuelband” (R/GA New York)
As well as from France, Mexico, The Netherlands and Poland.
Axe followed in the fifth position with 38 points in 9 festivals coming, amongst others, from:
Argentina: “Young and Mature” (Ponce)
India: “5.2 Years of Brand Content Interactions in just 6 Months” (Mindshare) and “MTV VJ Jose Kidnapped for Axe
Shower Gel Launch” (Mindshare India)
As well as Belgium, UAE and Ukraine.
Vodafone’s sixth place was due to its success in 12 festivals with 33 points coming from:
Egypt: “Vodafone Fakka” (OMD Cairo and JWT Cairo)
Romania: “Digital Public Library” (UM Romania Bucharest and McCann Erickson Bucharest)
And also India, The Netherlands, Portugal, Thailand and Turkey.
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THE GUNN REPORT FOR MEDIA 2013
AGENCY NETWORKS
In the Table below I list the Top 20 Agency Networks who received 51 or more points in 2013.
THE MOST AWARDED AGENCY NETWORKS WORLDWIDE 2013
Agency
Points
1OMD
367
2
326
Starcom / Mediavest
3MindShare
319
4
218
UM 5PHD
159
6Mediacom
156
7
148
Havas Media
8Carat
120
9
114
Leo Burnett
10Mec
104
11O&M
99
12ZenithOptimedia
93
13BBDO
81
14Initiative
80
15DDB
72
16Maxus
57
17S&S
56
18TBWA
54
19JWT
51
20FCB
47
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THE GUNN REPORT FOR MEDIA 2013
AGENCY NETWORKS
OMD is the winner, challenged by Starcom/Mediavest. It was the most awarded network in the Cannes Media
competition, with 10 Media Lions, including two Gold, 4 Silver and 4 Bronze.
OMD’s agencies had very good results all over the world. Amongst its stars agencies: OMD Australia, named media
Agency of the Year in Cannes, OMD UK with its “Mariachi Christmas campaign” (Pepsico/Doritos), OMD Denmark
with “Coin Offers Coins for Clicks” (McDonald’s), OMD Hong Kong with “I’m Amazing” (McDonald’s), OMD China
with “Bring Happiness Home” (Pepsi, Lay’s, Tropicana), OMD Dominican Republic “Gastronomic Heritage” (Rica Milk),
OMD Spain with “Free WiFi” (McDonald’s), OMD Lebanon with “A Heritage Worth Review” (Dewar’s), OMD Cairo
with “Vodafone Fakka” (Vodafone), and OMD Russia for its “A Ring to Bring Them Closer” campaign for the Ronald
McDonald Foundation.
Starcom is challenging OMD in many countries. Its Puerto Rico agency was the star of the network in 2013, producing
one of the campaigns which was the most awarded in the world in 2013 (“Follow2unfollow”, Puerto Rico Government).
Starcom MediaVest Group USA agency did very well in the US Effies, and was one of the three “most effective agency
networks” with O&M and BBDO Worldwide. The US agency also won many prizes at local festivals for a number of
advertisers, such as Duracell, Mars Petcare Pedigree, Mondelez, Oreo, Microsoft and Samsung.
Amongst its other star agencies: SMG Poland, which was the most awarded in the Polish Effies, SMG UAE with “World
Fastest Running Machines “ (Adidas), SMG Netherlands with “Heineken The Candidate ‘ (Heineken International), SMG
New Zealand “The Smart Phone Line” (Samsung.)
Mindshare was in third position. Its Indian agencies performed the best in the network, followed by its Malaysian
agencies both locally and internationally, for clients like Axe, Ford and Maggi.
Its Chinese agencies (mainland China and Hong Kong) were also successful, for clients like Canon, Disney, Land Rover,
Nescafé and Nike.
Amongst its star agencies were also Mindshare UK for Kleenex “Kleenex Catches Cold”, Mindshare San Juan/Puerto Rico
for Heineken “Longer Merry Christmas”. Mindshare Dubai/UAE also performed well in 2013 with “Rescue Radio” (Sawa
Mininjah) and “Speed Personified” (Nissan), “Nike LVL UP” (Nike). Mindshare New York was also rewarded for American
Express “Welcome to Small Business Saturday”.
Some closing comments:
There were 12 media agencies and 8 advertising agencies in the Top 20 table but there were 9 media agencies in the
Top Ten. Media agencies seem to have understood that, if they want to see their position recognised in festivals, and if
they want to reinforce their role with clients, they need to enter more festivals. Once more, it is important to insist that
they should not leave advertising agencies to do it for them.
A new fact is that media agencies are also entering - and winning - other competitions like PR, Promotion, Cyber or
Branded Content. And their abilities and talents are awarded: for example in Cannes Starcom won lions in Promo,
Branded Content and PR, Mediacom got a lion in branded Content and MIndshare was also awarded in PR, Cyber,
Branded content and Titanium.
For the last few years a battle had been going on between advertising agencies and media agencies, the latter being
unhappy by the fact that advertising agencies were entering media competitions. This battle is slowly disappearing.
The Cannes Festival has shown the way last year. “The reality is that Media Lions should reward tactical media planning
and placement and these changes will reflect that,” said Terry Savage, Chairman of Lions Festivals. And since the 2013
Edition The Media Agency of the Year Award has been realigned so that only a media agency or media department
of a full service ad agency will be eligible to win the award in the future. Advertising agencies, clients, media owners
and others are able to continue to enter and win a Media Lion but the involvement of the media agency or media
department has become a mandatory field on the entry form.
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THE GUNN REPORT FOR MEDIA 2013
HOLDING COMPANIES
And so we come to the ‘headline’ table where the world’s largest holding companies are ranked by their performance in
the world’s top award contests.
THE MOST AWARDED HOLDING COMPANIES IN THE WORLD IN 2013
Network
Points
1GroupM
876
2
Omnicom Media Group
751
3
Publicis Groupe
617
4Interpublic
434
5
Aegis 155
6
Havas Media Group
150
At the time of writing (January 2014) the holding networks above comprise the following agencies:
Omnicom Media Group:
BBDO, DDB, OMD, PHD and TBWA.
GroupM:
MediaCom, KR Media, MAXUS, MEC, Mindshare, Ogilvy & Mather, Grey, J Walter Thompson, Young & Rubicam
Publicis Groupe:
Starcom MediaVest, ZenithOptimedia, Leo Burnett, Publicis, Saatchi & Saatchi
Interpublic:
Mediabrands (Initiative, U M), Lowe & Partners Worldwide, McCann Erickson , Draftfcb, BPN
Aegis:
Carat, Vizeum, Isobar, Posterscope
Havas Media Group:
Havas Worldwide, Havas Media which includes global companies: MPG, Arena Media, Havas Digital, Havas Sports &
Entertainment.
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THE GUNN REPORT FOR MEDIA 2013
A NOTE ON METHODOLOGY
The idea behind THE GUNN REPORT FOR MEDIA is to combine the winners’ lists from all of the most important award
festivals worldwide that focus on media innovation, creativity and effectiveness. Some of these festivals are global, some
regional, and some national.
Like its sister report, THE GUNN REPORT FOR CREATIVE, that on Media will not say what these festivals are. This is to
avoid antagonizing contest entrepreneurs around the world whose event is not included.
Regarding the national shows, what we can say is that they include 40 markets. USA, UK, France, Spain, Germany,
Australia, New Zealand, Canada, the Netherlands, Singapore, Greater China, Japan, Brazil, Argentina India, Mexico,
South Africa, Sweden, Poland, Thailand, the Philippines are all included, as well as some ‘newer’ advertising countries
like Puerto Rico, Lebanon, Colombia, and United Arab Emirates. My choice is representative of the most important
advertising markets, but also of others where media creativity is burgeoning.
Every show in the Report features all of the media: TV, cinema, radio, magazines, newspapers, outdoor, special events/
stunts, internet, mixed media and sponsorship. Some have special categories on target audiences such as youth, young
adults, all adults, men and women. Single media festivals are excluded. Too few of these reward media creativity and
efficiency, and their inclusion would have unbalanced the scoring system in respect of some countries and agencies.
The level of award that counts for a given show is “Cannes Bronze Lion Equivalent”. The application of this is a bit
judgemental but the decisions are usually pretty obvious, and the level of prize can vary from year to year for the same
show, if a jury has been mega-generous or mega-stingy.
Points are awarded on the same basis for every contest, covering campaigns, countries, brands, and agencies:
3 to 5 for a Best Show / Grand Prix, depending on the importance of the festival and the market,
2 to 3 for a winner or a gold
1 to 2 for a silver or a bronze.
A single ad or campaign may receive points for a Grand Prix and also for awards in the same festival for different
categories, for example Best Use of Sponsorship or Best Luxury Goods. Where an agency has received all of its awards
in a single national festival, it has not been included in the Agencies’ table as this would weight the points scoring
system inappropriately.
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