CANNES LIONS CREATIVE EFFECTIVENESS

Transcription

CANNES LIONS
CREATIVE
EFFECTIVENESS
An analysis of the
2015 Awards
Four ideas to take from this report
DIGITAL STRATEGIES
ARE MATURING FAST
BIGGER CAMPAIGNS TEND
TO DO WELL
THE ENDURING POWER
OF EMOTION
CHANNEL PLANNING
EVOLVES
2015 marked the first year that a
truly digital-led campaign won
the Grand Prix at the Cannes
Creative Effectiveness Lions. The
winner, as well as many of the
top entries, used a combination
of online video, social media and
PR. This is a maturing strategic
model. It is increasingly used
by major brands for global
campaigns, and can be backed
up with effectiveness metrics.
Shortlisted Creative
Effectiveness Lions tend to be
ambitious, big campaigns. They
used more media channels,
measured more metrics and
tended to have higher budgets
than non-shortlisted entries.
That said, the top campaigns
did not necessarily rely on
very high budgets; many used
limited media spend very costeffectively.
Emotion and storytelling were
both key creative approaches in
the 2015 Creative Effectiveness
Lions. The use of emotion as a
creative approach in these Lions
entries has grown 145% over
the last five years, and use of
storytelling has grown 270%
in the same period.
The Grand Prix-winning
campaign did not use a formal
media agency. Judges noted
the ‘re-integration of media and
creative’, with a shift towards
media being discussed up front
to inspire the idea, and then
refined during the execution
stage. This is a work-in-progress.
1
2 2
3
4
© Copyright Warc 2015. All rights reserved.
Contents
Executive Summary
Notes from the Jury President
4
6
1. Analysis of Campaign Trends
Media mix
Lead media
Media use since 2011
Social platforms
Campaign duration
Campaign budgets
Creative approaches
Hard metrics
Soft metrics
Geographies
7
8
9
10
11
12
13
14
15
16
17
2. The Grand Prix and best entries of 2015
Live Test Series: Case study summary
Live Test Series: Behind the scenes
Live Test Series: The judges’ views
Gold winners
Silver winners
Bronze winners
18
19
21
22
23
24
25
3. Lessons from the Creative Effectiveness Lions 2015
Notes from the judging
27
About the Creative Effectiveness Lions
30
More from Warc
31
28
Executive Summary
This report analyses the entries to the 2015
Cannes Creative Effectiveness Lions, in
order to draw conclusions from their media
use, creative strategy and other factors
that contributed to each campaign.
Now in its fifth year, the Cannes Creative
Effectiveness Lions recognise highly creative
work that has produced a measurable
and proven impact on a client’s business.
It is about creativity that affects consumer
behaviour, brand equity, sales, and, where
identifiable, profit.
In 2015, the category broadened its scope
to include shortlisted or awarded campaigns
from the past three years. This replaced
the previous eligibility range of one year,
allowing entries to demonstrate the longerterm effects of creative work. The change in
entry criteria contributed to an increase in
entries, and in prizes awarded, allowing for
a rich dataset to investigate the link between
creativity and effectiveness.
This report looks at the entries in terms of
the media mix, lead media, budgets, hard
and soft metrics, and creative approaches,
among other factors. Most analyses compare
all entries in the 2015 awards with the toprated campaigns – those on the shortlist or
prize winners. The perspective of five years
4 since the category was established has also
allowed some interesting comparisons of
media use and creative strategy since the
awards were founded.
A digital first
The 2015 Creative Effectiveness Lions are
notable for being the first year in which a truly
digital-led campaign won the Grand Prix.
Previous years’ winners have featured digital,
of course, but within a bigger campaign
structure. The Volvo Trucks ‘Live Test Series’
campaign, on the other hand, combined
online video (specifically, YouTube), public
relations and social media to deliver global
reach and significant business results.
In an interview featured in this analysis, the
agency-side strategist who worked on ‘Live
Test Series, Tobias Nordstrom from Swedish
agency Forsman & Bodenfors, explains how
the brand focused on YouTube as the main
media channel, and combined it with PR
to create a virtuous circle: as more people
viewed it, the mainstream media picked up
on it, leading to even more views. Judges were
impressed that the Grand Prix campaign
was genuinely global, and that the social
approach led to breakthrough results.
‘Live Test Series’ is not alone. Analysis of
media usage in the Creative Effectiveness
Creative
Effectiveness
campaigns are ambitious
and complex. They use
more media channels and
measure more effects
Executive Summary continued
Lions since 2011 reveals the emergence of
new strategic models. The average number of
media channels used in entries has increased
over time from 5.15 channels in 2011 to 7.59 in
2015, underlining the growing choice, and the
growing complexity, facing marketers. Social
media, online video and PR have all seen
significant growth.
Creating an online video and then
maximising word-of-mouth or buzz is not a
new strategy. But as digital matures, it is a
strategy that is increasingly being applied
by global marketers, backed by robust
effectiveness measures.
Analysis of media usage since 2011 also
underlines the mixed fortunes of ‘traditional’
channels. Usage of TV has dipped, but nearly
50% of entries still use TV in some way. It is
also still commonly used as a lead channel,
and overindexes among the shortlist and
winning entries versus its status in the total
pool of entries. Among the other ‘traditional’
channels, usage of radio has stayed the same,
print has declined, but outdoor has grown
since 2011.
The secrets of a successful campaign
Creative Effectiveness campaigns are
ambitious and complex. The shortlist and
winning entries tend to be bigger than
5 average: on average, they use more media
channels, have higher budgets, and measure
more effects. That said, the success of ‘Live
Test Series’ shows that there is not a single
route to success, and that bigger is not
automatically better.
Analysis of creative approaches suggests
that brands are focusing much more on
emotional advertising approaches than they
were five years ago. Usage of emotional
appeals in Creative Effectiveness entries
has jumped by 145% in that period. That
may reflect the growing body of evidence
that emotion-led marketing tends to be more
effective.
Warc’s analysis separates ‘hard’ metrics,
such as revenue and sales, from ‘soft’ metrics
including awareness and PR value. Over
the past five years, there has been a notable
increase in the number of campaigns using
social media/buzz as a soft metric, reflecting
the changes in media usage.
Lessons from the judges
The report also includes insights from
interviews by Warc with members of the
Cannes Creative Effectiveness jury.
Several judges are clear that changing
approaches to creativity mean a rethink of the
creative development process. In particular,
channel strategy and creative strategy are
being ‘re-integrated’, there is greater focus
on data as a creative input, and campaign
measurement approaches are evolving.
It is clear this is a work-in-progress; both
agencies and clients are still searching for
the optimum way to respond to the changes
taking place in the industry.
All, however, are clear on one thing:
creativity at its best, as evidenced in these
case studies, can be a powerful driver of
business results.
Notes on the data analysis
This report analyses the 143 Cannes Creative
Effectiveness Lions case studies that were
published on warc.com in June 2015. Data
may not add up to 100% for three reasons:
•For clarity, many of the charts display only
selected criteria
•Some cases will have assigned multiple
creative approaches, media channels and
so on.
•Other cases might not have all the
metadata included, missing details of
campaign duration, budgets and so on.
Notes from the Jury President
Wendy Clark on creative effectiveness
Cannes Lions interviewed Wendy
Clark, Creative Effectiveness Jury
President and President, Sparkling
Brands & Strategic Marketing
for Coca-Cola North America, to
discover what she learned from
this year’s competition.
What key trends and themes
emerged?
Wendy Clark: A few notable consistencies
were observed in the submissions:
1. We observed a dominance of social
media statistics (views, impressions,
etc.) as evidence of business impact in
many submissions. In a digital world,
increasingly these statistics are nondifferentiating. They are, in fact, table
stakes of what all work must accomplish as
a baseline.
2. We saw strong creative work for cause/
non-profits that definitely caught the
attention of the jury; that said, for the most
part, the ROI and impact for non-profits
was not captured as robustly as the forprofit/brand work demonstrated.
6 3. Perhaps what was most compelling for the
Creative Effectiveness jury was strength of the
creative work and accompanying results in
categories that are not historically known as
highly creative — industrial trucking, snack
foods, retailing, etc.
What do the 2015 Creative
Effectiveness Lions winners say
about the work in 2015?
Clark: This year’s Creative Effectiveness
winners clearly evidence what we have known
to be enduringly true of our industry for many
years — that incisive business strategies
interpreted into powerful creative storytelling
can create demonstrable impact for brands
and companies.
How will the winning work inform the
direction of the industry? What shifts
can we expect to see in the future?
Clark: As a jury we hope that this year’s
winners show the possibility that all brands
from all categories can win a Creative
Effectiveness Lion. When a campaign
for trucking showing tow hooks, ground
clearance, steering and maneuverability
arrests the world’s attention and wins a
Cannes Creative Effectiveness Grand
Prix it shows all of us that our brands and
companies have the potential to win, too.
What advice do you have for 2016
Creative Effectiveness Lions
entrants?
Clark: The category is growing in popularity.
With the likelihood of even more submissions
next year, entries must be constructed in a
simple, clear, compelling way. The jury is
seeking an overt statement of objectives;
an insightful strategy and set of creative
work that seeks to address the objectives;
and clear metrics that concretely show the
objectives being met.
1. Analysis of
campaign trends
Media mix The best campaigns
tend to use more channels
AVERAGE NUMBER OF CHANNELS USED
Number of channels used per campaign, 2015
Winners + Shortlist
8.15
All entries
•The finding that the most successful
campaigns tend to be ‘bigger’ is supported
by recent analysis of the Warc 100, a list
of the world’s best campaigns based on
performance in effectiveness and strategy
competitions.
7.59
MEDIA USAGE – ALL ENTRIES VS SHORTLIST (SELECTED CHANNELS)
Percentage of case studies using each channel, 2015
100
85.3 88
•Social media remains the most-used
channel. Interestingly, more Creative
Effectiveness campaigns now employ PR
and online video than television.
88
75
80
64.3 64
68
63.6
60
55.2
46.9
40
40
52
44.1
32
27.3
36
27.3
20
36
32
21.7 24
14.7
10.5
ke
tin
g
or
e
st
16
•Despite being a hot topic in the marketing
press, content marketing was not widely
used by entries. While many case studies in
the competition had a content element, few
were formal content strategies.
•In 2014, outdoor was a dominant medium,
used by 92% of shortlisted campaigns as
one of their channels. This time it was used
by less than one-third of the shortlisted
entries.
C
on
te
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m
ar
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m
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ed
ia
ia
0
All entries
•Shortlisted and winning entries to the
Cannes Creative Effectiveness Lions tend
to use more channels than the average:
8.15 per entry versus an average of 7.59
for the total pool of entries. This pattern is
consistent with previous years.
Shortlist + winners
20
10
0
Earned
Events
media,
and
Internet
buzz
experiential
Mobile
- microsites
Other
and
Online
apps
and
Outdoor,
video
ambient
Public
out-of-home
media
Social
relations
Word
media
Television
of mouth, advocacy
Lead media The growing power
of digital-led strategy
Lead media
0
InternetMobile
- display
and
Onlin
* ap
Ou
MOST-USED LEAD MEDIA CHANNELS
•Analysis of the lead media used by entries
underlines the emergence of digital-led
strategic models. The shortlist and winning
entries show a skew toward social media
and online video, for example. The Grand
Prix winner, from Volvo Trucks, is an
example of a strategy that led with online
video, social media and PR (see page 21).
44
24
24
20
20
19.6
14.7
12
11.9
8
10
6.9
4
9 s
r
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W
or
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–
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All entries
ac
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ite
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ro
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m
ic
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e
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O
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rn
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o
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al
m
ed
i
si
o
a
0
85.3
55.6
•Other ‘traditional’ channels
fared less well
60
51.9
46.9
in the analysis. Outdoor was used
as a lead
40 entries, and 8% of
medium by 12% of all
shortlist and winning
20 entries.
•Despite the near-ubiquitous use of
0
mobile phones by consumers, mobile-led
strategies remain rare in the Creative
Effectiveness Lions. This does not mean
that marketers are not investing in mobile.
However, it does suggest that, for marketing
communication, mobile remains more of a
supporting medium than lead channel.
35.3
a
28.7
ed
i
28.8
30
al
m
34.3
So
ci
37.8
io
n
40
•Interestingly, TV continues to perform well
as a lead channel. It was second only to
social media both among all entries and
among the shortlist100
and winners. This
underlines that multiple media models are
80
now being used effectively.
is
39.9
d
48
ev
48
Te
l
50.3
50
ut
60
60
O
% of case studies using each channel as a lead media, 2015
Shortlist + winners
40
20
Media
use since 2011 Digital has
0
Internet
Mobile
- display
and
Online
* apps
Outdoor,
video
*
out-of-home
*Public
relations
Social media
Television
WOM/Earned
*
Media *
driven
greater
channel
choice
AVERAGE NUMBER OF CHANNELS USED 2011 VERSUS 2015
20115.15
20157.59
•There is clear growth in the use of social,
PR, online video and earned media since
the awards were founded in 2011.
MEDIA USE SINCE 2011 (SELECTED CHANNELS)
•Television, which was the dominant
channel in the 2011 Creative Effectiveness
Lions, registered a decline over the five
years, but is still used by almost half of
entries.
% of case studies using each channel, 2011 and 2015
100
85.3
75
80
55.6
60
64.3
51.9
46.9
63.6
44.1
35.3
40
29.3
27.1
•Warc has published the Creative
Effectiveness Lions since 2011, allowing
a comparison with media strategy five
years ago. Since 2011, media proliferation
has had an effect. The average number of
channels in 2011 was 5.15, but in 2015 the
entries used an average of 7.59 channels in
their campaigns.
27.3
24.8
27.3
23.3
20
10.5
•‘ Traditional’ media have had mixed
fortunes over the past five years – usage of
radio has stayed the same, while usage of
print formats has declined. Outdoor is the
only ‘traditional’ channel to have grown
over the five years.
s
ed
ap
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ia
0
2011
10 2015
3 - 6 months
30
20
10
0
Social platforms Facebook and
YouTube
are key
channels
Facebook Twitter
YouTube
Instagram Tumblr
Deep dive on social
6- 12 months
1- 3 years
Over 3 years
0
Campaign duration
SOCIAL PLATFORMS USED
•As social media was the most used channel
in 2015, it is worth analysing which social
platforms campaigns used. Not all entries
gave full details on the specific social
medium: this analysis covers 113 entries.
2.2
Real
time/1
day
•Facebook, YouTube and Twitter were the
% of case studies using each platform, 2015
80
0
dominant social platforms. Facebook
and
YouTube overindex significantly among the
shortlist and winning entries.
Up to 3 months
•Six shortlisted campaigns had a specific
social channel as a lead medium –
including the Grand Prix, which focused on 9.7
3–6 months
YouTube.
70
64
60
60
56.6
49
50
41.3
40
44
12
•Instagram and Tumblr were much less
likely to be used, and were not named
channels in any shortlisted or winning
6–12 months
campaigns.
13.5
30
4
9.8
10
0
Facebook
YouTube
Twitter
2
Over 3 years
0
All entries
11 6
1–3 years
20
Instagram
0
2.1
0
Tumblr
0
10
Shortlist + winners
2
6- 12 months
Campaign
duration Most campaigns
1- 3 years
Overup
3 years
last
to three months
0
10
20
30
40
50
60
70
80
Campaign duration
MOST COMMON CAMPAIGN DURATIONS
•This analysis looks at the 133 Creative
Effectiveness case studies for which
campaign duration information was
provided.
% of case studies for each campaign duration, 2015
2.2
•The majority of all entries and the
shortlisted case studies had campaign
durations of up to three months. Overall
there were only small differences in
campaign lengths between all entries
and the group of winners and shortlisted
papers.
Real time/1 day
0
64.4
Up to 3 months
60
•Winners and the shortlisted entries were
slightly more likely to have a longer
campaign duration – with 20% in the 6 to 12
months category compared to 13.5% of all
entries.
9.7
3–6 months
12
13.5
6–12 months
•While agile, real-time marketing has been
much hyped, this strategy is not yet a
feature of the Creative Effectiveness Lions,
used by just 2.2% of entries. At the other
end of the spectrum, few campaigns lasted
more than a year.
20
6
1–3 years
4
2
Over 3 years
0
0
All entries
12 10
20
30
40
50
60
70
80
Shortlist + winners
10
10
5
5
Campaign
budgets
Largest
budgets
0
0
Activism,
Brand
angercharacter
Celebrity
Emoti
Inform
H
No budget
Up to 500k
1 - 3 million
3 - 5 million
5 - 10 million
10 - 20 million
Over 20 million
not required for winning campaigns Advocacy
Campaign budgets
Creative approaches
CAMPAIGN BUDGETS
•There were 115 entries that provided
budget information, including 22 of the 25
shortlisted campaigns.
% of case studies for each campaign budget, 2015
35.0
34.8
35
•The entries overall
35 had a significant
number of entries with media budgets
below $500k.
31.8
30
30
•The shortlist overindexed in the middle,
with 59% of entries between $1 million
and $10 million (compared
to 32.2% of all
25
entries in this bracket).
27.3
25
21.7
21.0
20
•There were also significant
numbers of
19.5
20
entries with no budget or below $500k,
demonstrating how many Creative
Effectiveness Lions
14.3
15 achieved notable
business success without the assistance
of large budgets – including among the
winners.
10
18.2
16.5
13.6
7.8
5
6.1
3.5
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um
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All entries
11
9.6
9.1
rti U
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pa C
tio ,
n
9.6
10
11.3
pa
15
Shortlist + winners
10
Creative
approaches
Emotion
is
0
Activism,
Advocacy
Brand
angercharacter
Celebrity
Informative,
Humour
Partnerships,
educational
MusicStorytelling
User
Sustainability,
affiliation
Stunt,
generated
spoofresponsibilty
content, participation
central
toEmotion
current
campaigns
5
Creative approaches
CREATIVE STRATEGY 2011 VERSUS 2015 (SELECTED STRATEGIES)
•The most-used creative approaches in the
2015 competition were emotion, advocacy
and storytelling. Storytelling in particular
overindexed among the shortlist and the
winners, with 40% of these entries taking a
storytelling approach.
% of case studies using each creative strategy in 2011 and 2015
35.0
35
•The use of these tactics has significantly
increased since 2011 when the Creative
Effectiveness Lions were founded, with
the use of emotion in particular growing
150%. This may reflect a growing body of
evidence that emotion-led strategies tend
to be more effective.
30
25
21.7
21.0
19.6
19.5
20
15.4
14.3
15
11.3
11.3 11.9
11.9
10.5
10
9.8
7.7
6.8
6.0
4.6
5
•The use of ‘stunts’ or ‘spoofs’ has also
increased significantly over the past five
years. This may reflect the media data, as
this approach would fit well within a digitalled, PR-driven framework.
5.3
3.8
2.3
14 er
ng
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Ac
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ot
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20
10
Hard
metrics Top campaigns report
0
itude
Behavioural
changeMarket
(non-profit)
change
Customer
penetration/customer
(non-profit)
loyalty
Market share
Price
gainProfitRevenueSales
more metrics
ms
AVERAGE
NUMBER OF HARD METRICS USED
Hard metrics
•Winners and the shortlist measured slightly
more hard metrics than average in 2015.
Number of metrics used per campaign, 2015
Winners + shortlist
1.6
All entries
1.4
MOST-USED HARD METRICS 2011 VERSUS 2015 (ALL ENTRIES)
•There has been growth in use of behaviour
change as a metric over the past five years.
% of case studies using each metric in 2011 and 2015
60
•When looking at the 2015 entries, sales
dominates the shortlist and winning entries,
with 64% of these highly rated campaigns
using this metric.
53.4
50
40.6
12.6
10
18.0
21.7
15.0
14.7
6.8 5.6
6.1 3.5
6.0
3.8 2.8
2011
15 e
Pr
ic
0.0
4.9
At
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oy
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om
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de
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tp
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ar
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ts
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0
fit
20
•The next most popular hard metrics for the
winners and shortlist were market share
(28%) and revenue (24%).
29.4
29.3
30
Pr
o
40
•Entries used a similar number of hard
metrics five years ago and in 2015, but
the focus on these measures has evolved.
In 2011, market penetration was a major
focus as well as sales. This year, however,
entries overall were less likely to measure
penetration.
2015
80
Soft
metrics Social buzz and
70
60
awareness
most-used overall
50
40
30
AVERAGE
NUMBER OF METRICS USED
Number
20 of metrics used per campaign, 2015
10 + shortlist
Winners
3.6
0
Brand
Awareness
health/equity
Brand-specific
Consumer
measures
measures
participation
PR
Search
value performance
Social media,
Web
buzz
traffic
All entries
3.1
Soft metrics
MOST-USED SOFT METRICS 2011 VERSUS 2015 (ALL ENTRIES)
% of case studies using each metric in 2011 and 2015
79.0
64.3
35.0
30
24.8
20
10
2015
tio
ci
pa
rti
pa
m
er
C
on
su
So
2011
n
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ro
45.9
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35 2015 entries, social
•When looking at the
media metrics and30awareness dominate
25
the shortlist and winning
entries. Of these
20
highly rated campaigns, 84% used social
15
media/buzz metrics, and 76% measured
10
awareness.
e
50
40
•Consumer participation and web traffic as
metrics have declined in use over the past
five years.
40
lu
53.8
5
•There are also significant differences in soft
0
metrics measured now
compared to five
years ago. In keeping with other findings
about using online video and earned media
tactics, there has been a large increase in
the use of PR value and social media or
buzz as metrics.
va
58.6
25
•In common with the20findings for hard
metrics, the shortlist and winners of the
15 Lions tend to report
Creative Effectiveness
more soft metrics than
10 the average (3.6
versus 3.1 across all entries).
PR
70
60
30
Eu
80
30
25
20
15
10
5
0
21.5%
20
16 15
© Copyright Warc 2015.
All12%
rights reserved.
10.1%
10
8.7%
30
20
25
15
20
10
15
5
10
0
5
Geographies Strong performance
from the United States and Brazil
0
REGIONS
•The 143 Creative Effectiveness entries in
the analysis originated from 38 different
countries. This global competition included
submissions from countries including
China, Turkey, Colombia, Finland,
Indonesia, Lebanon, Pakistan, Serbia and
Thailand.
% of case studies from each region, 2015
36.2%
36.2%
23.5%
28%
Top countries for entries, 2015
28%
17 7.4%
ia
As
a
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As
i
•The United States was the biggest single
market, accounting for one-fifth of all
entries to the competition. The US also
overindexed among the shortlist and
winning entries.
•Brazilian entries also notably
overperformed, accounting for 4% of total
entries but 16% of shortlisted campaigns.
8%
4% 4%
8.7%
Shortlist + winners
2.7%
2.7%
8%
en
Sw
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en
Sw
ed
il
Br
az
az
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2.7% 4%
di
4% 4%
4%
Br
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G
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m
4%
4.7% 4%
G
er
e
4%
5.4%
2.7% 4%
2.7%
2.7%
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0%
2.7%
2.7%
ai
n
16%
Sp
4%
0%
0%
n
4.7% 4%
Sp
ai
4%
In
5.4%
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h
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All entries
4%
12%
e
10.1%
8.7%
Fr
an
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n
n
St ite St ite
d
at d
at
es
es
Au
Au
st
st
ra
ra
lia
lia
5
8.1%
•More than one-third of entries were from
Europe, making it the leading region for
submissions.
16%
nc
15
5
10
0
7.4%
12%
Fr
a
21.5%
Ki Uni Ki Uni
ng te ng te
do d do d
m
m
25
15
20
10
21.5%
8.1%
M
COUNTRIES
12.1%
S
So
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h nt h nt
Am ra Am ra
er l & er l &
ic
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N Au N Au
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AmNo AmNo
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ro
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12.8%
30
25
30
20
12.1%
M
id
dl
dl
e
& E & eE
Af as Af as
ric t ric t
a
a
12.8%
23.5%
Eu
40
35
30
40
25
35
20
30
15
25
10
20
5
15
0
10
5
0
2. The Grand Prix and
best entries of 2015
This section focuses on the Grand Prix
winning campaign from Forsman &
Bodenfors in Sweden.
As well as a general case study summary,
including the campaign’s strategy and
results, the report features an interview
with the planning director behind the
campaign, Tobias Nordstrom.
The section also includes overviews of
the other winning case studies.
Volvo Trucks ‘Live Test Series’
Case study summary
The Grand Prix winner at the Creative
Effectiveness Lions was ‘Live Test
Series’, a campaign for Volvo Trucks
that was based around online videos
which dramatised product benefits –
and boosted sales.
Brand
Volvo Trucks
Agency
Forsman &
Bodenfors
CHALLENGE
Location
The Volvo Trucks market was
fragmented, and most purchasers of
the trucks are not the people driving the
trucks. To make their decision, these
buyers instead seek help from a wide
network of contacts, from workshop
acquaintances to financial advisers to
friends and families.
To cover this massive network, Volvo
Trucks needed to “go wide” with a
mass communications idea in order
to cut through. To do this efficiently, it
needed a creative execution that would
pick up a lot of viral and PR support.
Grand Prix
winner,
Creative
Effectiveness
Lions, 2015
Sweden
SOLUTION
The campaign used a classic
advertising creative execution: product
stress tests. The creative idea was to
carry out “extreme” tests of relevant
19 “The Epic Split”, an online video for Volvo Trucks featuring Jean-Claude Van Damme.
Case study summary
product features, in a live set-up
where the outcome could not be
guaranteed. And the tests needed to
be so entertaining that they would
thrill and engage the widest possible
audience while still providing a valid
and relevant demonstration (for the
core target group) of the new truck.
Each test was made into a short
film and was seeded via YouTube,
including videos starring a ballerina,
a hamster and the president of
Volvo Trucks. These videos were
aired solely on Volvo’s YouTube
channel. The most famous of the
video demonstrations was The Epic
Split, in which action star Jean-Claude
Van Damme carried out his famous
split between two reversing trucks,
showcasing the Volvo truck’s Dynamic
Steering system.
RESULTS
The videos were viewed over 100m
times. The campaign also achieved an
earned media value of 115,000 Euros,
a significant increase in brand recall
and awareness, with sales in the fourth
quarter of 2013 rising by 23%.
Read the full case study
As well as the Epic
Split, other films in
the Live Test Series
included Technician
(top right), The
Ballerina Stunt
(bottom right), and
The Chase (bottom
left).
20 © Copyright Warc 2015. All rights reserved.
Behind the scenes
Following the Grand Prix win, Warc spoke
to Tobias Nordstrom, head of planning at
Forsman & Bodenfors, the creative agency
responsible for ‘Live Test Series’.
A BOLD STRATEGY
A lot of people see the campaign as just one
film – ‘The Epic Split’ – and forget all of the
other work that’s behind it. The strategy was
extremely bold. We decided to go global,
basically through digital media, in a way that
hadn’t been tried before.
The scary part was that we didn’t use a
media agency. We did it all by ourselves. You
could say that we started off with the thought
to use YouTube as our main media. Later on
we learned that it’s actually two main media
– PR and YouTube – collaborating with each
other. You need to get views on YouTube for the
papers to start writing about it. Then when the
papers start writing about it, views increase.
We had an extremely collaborative way of
working. I’m the planner on the case, but I
turned the whole team into planners. Everyone
needs to think of the strategy. You can’t
have creatives that don’t think planning and
planners that don’t think creative.
For a month [ahead of launch] I was
sweating, stressed about how that strategy
21 would fall out. But it worked. And it was
successful. And that makes writing that case
study a lot easier!
WRITING THE CASE STUDY
My advice is that you need to stick to the point.
I knew the jury was going to be reading a lot
of case studies, so I kept things crystal clear,
all the way through. And of course we had
good results from the campaign, so you don’t
need to work so much on [presentation], you
can just go straight into the case.
MEASURING EFFECTIVENESS
It’s a constant battle. But it gets easier when
you’re on digital platforms, most of the time
because you can track that, you can follow it.
At the end of the day, it’s about sales. That’s
the foundation. Then you need to prove
effectiveness. But it gets much easier to do
that if you have strong growth in sales to back
it up.
Watch the full video
Tobias Nordstrom
discusses the Creative
Effectiveness Grand Prix
with Warc at the Cannes
Festival
The judges’ views
“Live Test Series
fused creativity
and commerce
so that one
enabled the other. This
was the threshold the
Creative Effectiveness jury
was seeking: compelling,
engaging, beautiful
content, that evidences a
differentiating, insightful
strategy, and delivers
measurable and clear
business impact.”
Wendy Clark, President, Sparkling
Brands & Strategic Marketing,
Coca-Cola North America
“It was a clear
winner because
it was work
that everybody envied.
It made its case clearly
and emphatically. Most
of all, it lifted sales in
a permanent way.”
Cilla Snowball, Chairman, AMV
BBDO
“It didn’t rely on paid
media or interruption,
and was one of the
few genuinely global
campaigns on the
shortlist.”
Rupen Desai, Regional President,
Mullen Lowe APAC
“Everyone thinks it’s a celebritydriven idea, but it’s not. There
are funny viral videos, product
demonstrations. They are taking an incredibly
low-interest category and getting 100m views.
That’s effectiveness from a cultural standpoint.
And the sales results are unbelievable.”
“There was a
clear linkage
of the idea to the results.
The case study was easy
to read, and it made its
point very simply. It was
a transformative idea –
they’ve set a new, very
high, benchmark for
other truck brands.”
Suresh Nair, Global CSO, Grey
“It was rooted
in one of the
basic strategies
in advertising –
product demo
– but done in a
fresh, engaging,
entertaining way.”
Jarek Ziebinski,
President, Leo Burnett
APAC
“In the use of media it was
very innovative, but it was
also reassuringly human.
Jean-Claude Van Damme’s
epic split fascinates people
in the same way that Harry
Houdini and Buffalo Bill
fascinated people years
before.”
Luc Wise, Co-Founder, Herezie
Suzanne Powers, Global CSO, McCann
22 © Copyright Warc 2015. All rights reserved.
Gold Winners
‘THE BEAR AND THE HARE’
(JOHN LEWIS)
UK department store John Lewis
increased its brand affinity
and sales with an emotional,
TV-driven, Christmas campaign.
CHALLENGE
In a crowded market, John Lewis
projects itself as the home of
‘thoughtful gifting’ taking a
calmer approach to selling than
its rivals.
SOLUTION
A TV ad told the story of a hare
that wants to treat a bear that
always misses Christmas because
23 ‘THIS IS WHOLESOME’
(HONEY MAID)
it is hibernating. The ad then led
to a variety of digital activations,
resulting in a number one hit
song, extensive social media and
viral activity, many parodies and
mass earned media support.
RESULTS
Following the campaign, John
Lewis achieved a +6.9% increase
in sales and a high of 27% market
share.
Honey Maid celebrated the
diversity of “wholesome”
American families through a
series of TV and online films.
CHALLENGE
The Honey Maid brand has
evolved over the 90 years of its
history – and people’s ideas of
what makes a family have also
changed: more children than
before are brought up by single
parents, grandparents, two moms
or two dads. But these “blended
families” are rarely recognized
in traditional family-focused
advertising.
SOLUTION
Honey Maid launched a gamechanging series of “family
portraits”, shown on TV and
online, that told the day-to-day
stories of blended families.
The first film told the story of how
divorce affected, but didn’t break,
one California family. Viewers
were then called on to recognise
those with blended families using
the #NotBroken hashtag on
Twitter, YouTube and Facebook.
RESULTS
The campaign achieved over 12m
video views. In the first three days
of the ad launch, 98% of mentions
of the campaign were positive.
Silver Winners
24 ‘BALD CARTOONS’
(GRACC)
‘CABLE EFFECTS’
(DIRECTV)
The Brazilian charity helped
increase the self-esteem of cancer
victims with a cartoon series
showing popular characters with
bald heads – normalising the
condition and picking up earned
media support.
US cable company DIRECTV
got people to switch to their
service from rival companies by
highlighting its superior user
experience through a series of
parody TV ads.
‘INGLORIOUS FRUITS
AND VEGETABLES’
(INTERMARCHÉ)
The French supermarket
combatted food waste with a
campaign celebrating “ugly” (but
still edible) fruit and veg in press
and TV ads, as well as in-store
activations.
‘IF WE MADE IT’
(NEWCASTLE BROWN ALE)
British beer brand Newcastle
Brown Ale played to its “no-frills”
reputation with a mock Super
Bowl campaign, tracking the
phases of a regular campaign –
and parodying the usual Super
Bowl hype.
Bronze Winners
RONALD MCDONALD SMART: OFFROAD
(DAIMLER)
LAUNCH
(TACO BELL)
25 THE AUTOCOMPLETE ‘PENNY THE PIRATE’
(LUXOTTICA)
TRUTH (UN)
Taco Bell challenged its
biggest rival McDonald’s
head on to compete in the
breakfast market by hiring
23 people actually called
Ronald McDonald to try
its breakfasts – and then
showed these taste tests
on TV and online.
Germany Daimler AG
stimulated interest in
an ageing model of
smart car boosting
sales by highlighting its
shortcomings – a series
of ads showed how smart
cars were not suited to
off-road driving, while
SUVs couldn’t compete
in the city.
UN Women, an entity of
the United Nations, raised
its profile and highlighted
gender inequality in the
UAE by showing how using
Google autocomplete
to complete the phrase
‘Women should…’ resulted
in a shocking number of
sexist phrases.
Luxottica brand OPSM
challenged brand leader
Specsavers in Australia by
encouraging mothers to
get their children to have
regular eye tests – using a
new children’s book and
accompanying app.
DILL (LIDL)
German discount store
Lidl improved brand
consideration in Sweden
where it was perceived
as low quality because of
its low prices. A pop-up
restaurant with a Michelin
starred chef attracted a
refined clientele who were
unaware of the source of
all the groceries supplied
until it was revealed it was
Lidl and that DILL was an
anagram of its name.
Bronze Winners
THE LAUNCH OF PS4
(SONY)
The launch of PlayStation
4 in the US was designed
to regain the console’s
premier position and
sell 2 million units by
targeting early adopters
who would act as brand
advocates. The theme
of the campaign was
‘Greatness Awaits’ for
gaming achievements,
and an interactive version
on YouTube awarded
digital trophies.
26 KAN KHAJURA TESAN GHITA – THE
(UNILEVER)
SOCIAL SHEPHERD
(VODAFONE)
Consumer products
brand Unilever built
brand awareness in
remote areas of India
with Kan Khajura Tesan
(KKT) Station, a free
entertainment service
delivered via mobile
phones. Within 6 months
Unilever reached 25.5%
of the population,
and gained 8 million
subscribers.
Vodafone showed its
network superiority by
using a real life shepherd,
Ghita, who was isolated
on a mountain top,
and connecting him to
the outside world via a
smartphone and Facebook
page. It resulted in Ghita
gaining half a million
Facebook friends and
Vodafone increasing sales
and penetration.
WHY WAIT UNTIL IT’S BENTLEY BURIAL
(ABTO – BRAZILIAN
TOO LATE (DELA)
ASSOCIATION
Netherlands based funeral OF ORGAN
insurance cooperative
TRANSPLANTATION)
DELA set out to change
the way people viewed
its service. A campaign
featuring real people with
real stories used the line
‘Why wait until it’s too
late?’ to express feelings
of love to the living rather
than the deceased.
A Brazilian millionaire
agreed to bury one of
his cars, a £1.5 million
Bentley, without any
apparent purpose. The
media were invited to
the burial event when
the reason for the stunt
was revealed and it was
compared to the waste in
human organs.
3. Lessons from the Creative
Effectiveness Lions 2015
At the Cannes Festival of Creativity, we talked to top executives
and strategists at some of the world’s largest agencies about
how to build a company culture and how to win effectiveness
and strategy awards. We spoke to:
• Jonny Bauer (CSO, Droga5)
• Rupen Desai (Regional President, Mullen Lowe APAC)
• Suresh Nair (Global CSO, Grey)
• Suzanne Powers (Global CSO, McCann)
• Cilla Snowball (Group Chairman and Group CEO, AMV BBDO)
• Luc Wise (Co-Founder, Herezie)
• Jarek Ziebinski (President, Leo Burnett APAC)
The new creative effectiveness
The Creative Effectiveness jury
discussed what this year’s
entries showed about the way the
marketing industry is evolving.
Do the entries show how creativity
and effectiveness is changing?
Powers: I got very inspired being on this
jury. They showed there are so many ways
of tackling business problems and societal
problems.
Snowball: My overall impression was that
creative effectiveness is alive and well. We
are getting better at separating efficiency
from effectiveness – impact of social buzz
versus the impact of sales and behavioural
change.
Wise: Most of the awarded cases seemed to
be multi-channel, and that changes the way
you measure effectiveness. We weren’t there
to discuss what effectiveness means. But the
jury was quite keen to look for cases where
the objectives were clear, and said where they
delivered on those objectives.
Bauer: They showed that creativity does work.
It gets people’s attention and makes people
want to engage. And they showed that you
don’t have to spend so much on media if you
cut through.
Desai: I was disappointed that there were
4,000 campaigns eligible to enter the Creative
Effectiveness category, but there were only
160 entries. And this Lion is the one that every
client and agency should [aim to] win!
Nair: There were very few ‘traditional’ ad
campaigns. They were programmes, trying
to build experiences, some sort of brand
action. That’s a definite shift.
Ziebinski: How we create is changing
because the way people consume media is
changing. So the way we bring ideas to life
is different.
28 We are getting better at
separating efficiency from
effectiveness
What do they show about how we are
using data?
Nair: No-one has really cracked it. For all the
talk of big data that’s out there, we only saw
‘small data’ in the papers.
Desai: There were two kinds of entries – one
where clients were comfortable sharing the
data, and one where they weren’t. The one
piece of advice I have is if the client isn’t on
board and doesn’t want to share, then don’t
enter the case.
Snowball: There is no shortage of data out
there. But when it comes to these Lions, we
need to isolate that piece of data that makes
the case. Data is alive and well, but the clarity
that we present it with obviously varies – and
the winners were awarded as such.
Wise: A lot of jurors looked for the right data,
not a data deluge. Some of the advertisers
on the jury pointed out that there are a lot
of metrics out there today – but questioned
which of the metrics are really meaningful.
Some digital media metrics that we present as
results – followers and Likes – aren’t results,
but are means to an end.
The new creative effectiveness
29 Ziebinski: Clients are using data slightly
differently than before, as they are under
time and financial pressure. So we discuss
with them the concept of data-driven
creativity – aggregating the various sources
so that they deliver fresh information, and
use digging into data as a way of starting
the creative process.
about the way we do research – constant
social listening, for example.
Are agency structures changing
due to all these trends?
Bauer: I see the re-integration of media and
creative. That’s what we do at Droga5. We
do the media thinking up front to inspire the
idea, then reinsert it when we think about
executions.
Nair: The strategy department of today is
different to yesterday. We have to integrate –
whether through bringing in media,
analytics and CRM into the team or by
building partnerships with others. Some
of the papers were clearly not written by
traditional advertising planners – and that
was good to see.
Ziebinski: Our model is changing. We
don’t start with writing a 30-second TV
script. We start by looking at the data. And
we are media agnostic. We are a creative
integrated communications company now.
Snowball: I don’t think agency models are
changing. The timeless requirements of
creativity are to make an impact and have an
effect. The fundamental truths of advertising
still apply.
Powers: We continue to focus obsessively
on the metrics of success – first, cultural
currency; second, brand impact; and finally
business results. [While] what we do isn’t
changing, we are becoming more nimble
Wise: Agencies perpetually reinvent
themselves. The digital revolution is
changing a lot in our business – but I’m
a strong believer that means change, but
human beings stay as human beings!
Desai: Our industry is at a point of change.
The old model of interruption is dying and
everybody in agencies who tries to create
comms in an interruption mode will see a
slow attrition.
The timeless
requirements of
creativity are to make an
impact and have an effect.
The fundamental truths
of advertising still apply
See more
This YouTube playlist features more from
the Creative Effectiveness winner and jury.
VIEW PLAYLIST
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 the Creative awards from the
previous three years can enter the Creative Effectiveness Lions
competition.
Entries were judged on strategy (25%), idea (25%) and results (50%).
For the first time in 2015, entries were awarded Gold, Silver and
Bronze Lions, rather than simply winning a Lion. There were 17
winners in 2015, a rise from just six winners last year.
BROWSE THE CREATIVE EFFECTIVENESS LIONS
2015 AWARDS
2014 AWARDS
2013 AWARDS
2012 AWARDS
2011 AWARDS
More from Warc
CASE FINDER
You can find all Warc case studies, including those cited in this
report, by searching our unrivalled database, which is organised
by campaign objective, country, industry sector, audience, media
channels, budget and campaign duration. Find a case.
ABOUT WARC
Warc.com is an online service offering advertising best practice,
evidence and insights from the world’s leading brands. Warc helps
clients grow their businesses by using proven approaches to maximise
advertising effectiveness.
Warc’s clients include the world’s largest advertising and media
agencies, research companies, universities and advertisers.
CONTACT US
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CANNES LIONS CREATIVE EFFECTIVENESS

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