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>> An analysis of entries to the 2014 awards
EFFECTIVENESS LIONS CANNES CREATIVE
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In 2014 some trends of previous years have reversed. The dominance of television among winners has not been seen (58% of the shortlist used TV compared to 83% last year). More digital-led campaigns appear to be meeting the stringent requirements of a Cannes Creative Effectiveness win.
Traditional channels, in particular outdoor, were a key feature of shortlisted campaigns – typically amplified by owned and earned social media.
Social media was the most popular media channel, used by 79% of all entries, and all of the shortlist. Facebook was the most used social media channel.
Humour and emotional engagement were hallmarks of the creative strategy for shortlisted campaigns. Storytelling was also linked to effectiveness, used by 50% of shortlisted campaigns.
Overall the shortlist measured more aspects of their campaigns than all entries, with on average 5.0 reported metrics versus 4.1 for all entries. The shortlist over-indexed for awareness and “brand specific measures”.
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At a glance
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Analysis of campaign trends
Media channels: Analysis of digital and traditional channels, plus deep dives on use of outdoor and social media.
Marketing objectives: The most common aims of the entered campaigns.
Creative Strategy: The approach that characterised the campaign.
Reported metrics: Hard and soft measures the campaigns tracked.
Winners, shortlist and other key cases
Grand Prix: V/Line trains created the concept of “Guilt Trips”.
Lions’ winners: The six other winners of Creative Effectiveness Lions.
Best of the rest: The five additional shortlisted campaigns.
The judges’ view: Insights from Warc interviews with the jury.
About the Creative Effectiveness Lions
About this analysis and overview This document is based on the 80 entries to the 2014 Cannes Creative Effectiveness Awards available for publication on warc.com. It covers:
Analysis of campaign trends >> Media channels, objectives and creative strategy
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Trends in media channel usage The growth in digital channels seen in recent years slowed in 2014 and overall entries used fewer media than they had in 2013 and 2012. The shortlist focused on social media supported by traditional media. The dominance of television in the shortlist was not seen in 2014.
In addition to a reduction in the number of channels used overall, there was a consistent number of media used by all entries and the shortlist in 2014. Previously the shortlist had made use of more individual media. Cross-platform campaigns appear to be specialising in fewer, more strategic media choices.
Traditional channels were key to shortlisted campaigns, in particular outdoor (used by 92%), amplified by owned and earned social media. Only 58% of the shortlist used television, compared to 83% in 2013.
Outdoor seems to be increasingly a strategic choice for lower budget campaigns and may be a way to quickly achieve mass coverage in markets where television audiences have become fragmented.
Usage of mobile and apps continues to slowly increase, now used by 28% of all campaigns.
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Digital and traditional channel use (percentage of entries using channel)
Media use since 2011
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Digital and traditional channel use 2014 (percentage of entries using channel)
Two-thirds of the shortlisted campaigns used traditional media to draw attention to an online video, and all used social media to amplify their reach.
Shortlist media usage
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92% of the shortlist used outdoor, so we took a deeper dive to find out how and why. Outdoor was used strategically early in some campaigns for awareness, and later in others to share social findings and reinforce television ads. Several shortlisted campaigns used outdoor to drive website visits and posting of social content.
Deep dive: outdoor
Grand Prix winner V-Line used press and out of home to sustain the ‘guilt’ message with eye-catching humorous creative that directed people to the Guilt Trips microsite.
Axe used outdoor ads to encourage people to vote online for either the ‘Young’ or ‘Mature’ variants and models, hugely increasing engagement with the brand.
Outdoor was used for awareness of the Dumb Ways to Die music video produced for Melbourne Trains’ safety campaign. In ambient executions passers-by could photograph themselves alongside the campaign's characters to post on social media, and could press a giant button to take the pledge to be more cautious around trains.
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To celebrate Australia Day, McDonald’s changed it’s name to Macca’s. As well as name changing signage at certain restaurants, a TVC, print, web and outdoor campaign followed. This included a billboard collaboration with Coca-Cola at the iconic Kings Cross space in Sydney.
Another shortlisted McDonald’s campaign from Canada encouraged the public to ask McDonald’s questions about their products and practices. High-impact transit station take-overs and wild postings, featured some of the most provocative questions and without revealing the answer, they encouraged visits to a campaign website.
Expedia and Lurpak both used outdoor as part of a full cross-platform campaign. Expedia communicated specific sales messages on posters using facts which people recognised from the TV campaign.
Dove produced a six minute online film, and then used stills then used for print and outdoor to drive awareness of the online project.
Finally, the Mercedes #Youdrive campaign, where viewers could control a TV ad in real-time supported by sophisticated digital media, also used digital posters strategically to drive awareness of the launch in the days leading up to the innovative ad break.
More on outdoor
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Analysis of the 51 campaigns that detailed the social platforms used, reveals the dominance of Facebook, used by 71% of these entries. More than half of the 51 cases used more than one social media platform, with just one entry employing five separate social media.
Deep dive: social media
Facebook was the dominant channel, used by 36 of the 51 campaigns analysed. YouTube was used by 29 campaigns, followed by Twitter (23 campaigns), and Foursquare (1). Instagram (5 campaigns), Pinterest (2) and Tumblr (2) were recorded for the first time.
Just under half of the entries used one social media channel, and again Facebook was the most dominant platform, used as the only social media in 23 campaigns.
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Building brand equity was the top objective in 2013, but this year has fallen to fourth. Generating buzz has leapfrogged from fourth to first. Cannes Creative Effectiveness entries demonstrate expertise in using social content to amplify their message and make the most of budgets.
Increasing sales and increasing awareness were the most common objectives – both for all entries and for the shortlist.
The average number of objectives for the shortlist and all entries were the same at 3.1.
The two objectives effectively met by the Grand Prix winner were ‘develop, revitalise market’ and ‘increase sales’ – showing a focus on hard objectives, while the campaign evidently also achieved softer objectives such as generating buzz and increasing awareness.
Marketing objectives The most used marketing objective, as tagged by Warc, was generating buzz, although the ‘hard’ objective of increasing sales came a close second.
Most-used marketing objectives (Percentage of entries using)
All entries Shortlist
Generate buzz/WOM 56 50
Increase sales 46 50
Increase awareness 35 42
Build brand equity 33 33
Social, non-profit 31 33
Increase market share 18 25
Gain new customers 15 17
Increase brand loyalty 11 8
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Creative strategy The creative strategies employed by entries were analysed for the first time this year.
The most successful campaigns were focused on emotional engagement with consumers.
The shortlisted entries were significantly more likely to use emotion, humour and particularly storytelling than all entries.
The Grand Prix winning campaign used emotion and humour, and all winners used one or more of emotion, humour and storytelling.
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Reported metrics Analysis of the 76 campaigns that reported metrics, as tagged by Warc, showed that two-thirds of the measures were ‘soft metrics’ such as brand awareness and buzz, and one-third were ‘hard metrics’ such as sales, market penetration and customer loyalty.
Overall the shortlist measured more aspects of their campaigns than all entries, with on average 5.0 reported metrics versus 4.1 for all entries.
79% of campaigns reported both hard and soft metrics, a trend also shown by the shortlist (83% both hard and soft metrics).
The shortlist over-indexed for awareness, and were also 164% more likely to report on “brand specific measures” (that is bespoke metrics or targets created by the brand). This may reflect a commitment by these brands to measurement from the outset.
Customer loyalty, revenue and brand equity were more likely to be used by the shortlist than all entries.
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Winners, shortlist and other key cases >> A focus on the best entries of 2014 – and the judges’ views
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V/Line wanted to increase off-peak train travel and identified young adults aged 18-24, living in the city but with relatives in the country, as the target group.
The sense of obligation and guilt around visits led to the creation of 'guilt trips', with a light-hearted and social execution. V/Line was not only trying to get these people to visit their loved ones, but also ensuring they did not just jump in the car to get there.
Relatives in the country could send personalised messages and pre-paid tickets to city-dwellers, social media could be used to publicly guilt people and the concept of ‘guilt trips’ gained earned media coverage.
Guilt trips used emotional leverage to avoid providing a financial incentive. Off-peak sales increased 15%, well above target. The total revenue from the additional tickets saw $4 Million in additional revenue; exceeding the KPI by 167%.
Grand Prix The Grand Prix was presented to Australian regional train operator V/Line for its Guilt Trips campaign. McCann Melbourne developed a new concept of ‘Guilt Trips’ to encourage city dwellers to visit their friends and family in the country.
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Y&R CEO David Sable, the Creative Effectiveness jury’s president, had high praise for the case’s clear “through line” from strategic insight to execution to results. “If I was teaching an ad class anywhere in the world, I would use ‘Guilt Trips’ as an example of what to do – and they’d get the idea immediately,” he told reporters in Cannes.
“The Grand Prix celebrated that it’s possible to have fantastic creativity and fantastic business results on a small budget,” commented John Woodward, Worldwide Creative Director, Publicis and Cannes Creative Effectiveness jury member.
Pat Baron, McCann’s ECD explained the thinking behind the campaign, “It was an idea that created a product. We created a ticket – and the ticket itself became the advertising. Then the advertising was spread through people. They developed our message. They were the ones who thought of the headlines. But I also think that all of the best ideas are incredibly simple… People instantly get it.”
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Views on the Grand Prix The aim of the Creative Effectiveness Lions is: “[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.” Warc asked the judges why ‘Guilt Trips’ met these standards to win the Grand Prix.
Video: The jury president discusses the Grand Prix winner.
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Lurpak (UK): created a global brand positioning based on a universal food truth around the joy of cooking for food lovers.
Depaul UK: the homelessness charity, created a new income stream by selling cardboard boxes to house movers.
Expedia (UK): repositioned its brand to focus on experience rather than price in the UK and France.
McDonald’s Australia: officially changed its name to Macca's for Australia Day 2013, generating huge buzz and more sales.
Dove (Brazil): Real Beauty Sketches confronted women about their self-image, renewed Dove's brand meaning and sparked value growth.
Virgin Mobile (Australia): generated earned media coverage after recruiting Doug Pitt, actor Brad Pitt's brother, as brand ambassador.
Creative Effectiveness Lions winners Alongside the Grand Prix-winning campaign for V/Line, Creative Effectiveness Lions went to six entries. Two campaigns were from the UK, two from Australia, with one winner each from the US and New Zealand.
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AXE (Argentina): launched new limited edition variants designed to help young men appeal to young or mature women, and outperformed the deodorant category.
Lifebuoy (India): the Unilever soap brand created a social video to explain the importance of handwashing in preventing child deaths.
Metro Trains (Australia): created a humorous music video and facilitated social sharing to raise awareness of rail safety.
McDonald’s Canada: encouraged consumers to use social media to ask questions, which were then answered in an honest and transparent fashion, using text, images and videos.
Mercedes-Benz (US): launched an innovative TV ad which allowed the audience to control what happened in the spot in real time via social media.
Read the case studies for all entries on Warc.
Best of the rest The non-winning cases on the shortlist were spread across the globe including campaigns from Argentina, India, and Canada.
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David Sable, jury president, described each shortlisted campaign as having “an insight that led to a strategy, that led to an execution, that led to a distribution or deployment across multiple channels, paid and non paid. Each was tied very specifically to the business goal and there was zero discounting or other promotions.”
Judges agreed clarity in the case study is a key to success. Cases had to establish links of causality between the creative effort and business result. There was general agreement among judges that the strength of Guilt Trips was the clear “through line” from insight to execution and results. The power of the insight meant that it was a universal idea, executed locally.
There were some pitfalls to this year's case studies. Judges criticised entries for over-claiming on success, using hard-to- understand social media results and for confusion between value and volume share, which were all cited as reasons for knocking a case out of the running for a prize.
Feedback from the judges Insights from Warc interviews with the Creative Effectiveness Lions judges including David Sable (CEO of Y&R and the jury president), Adam Stagliano (chief international strategy officer, TBWA), John Woodward (worldwide planning director, Publicis) and John Ziegler (CEO for Asia Pacific at DDB).
Video: Common weaknesses from the Creative Effectiveness papers
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Entries were judged on strategy (25%), idea (25%) and results (50%).
80 entries were available for publication on warc.com (these 80 have been the basis of the preceding analysis).
Just 12 entries made the shortlist and, of these, six won Creative Effective Lions, one more award than the previous two years. One of these winners was awarded the Grand Prix.
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 can enter the Creative Effectiveness Lions competition
For more on “How to Win a Creative Effectiveness Lion”, see Warc’s video interviews with the judges.
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More on the Creative Effectiveness Lions: Browse the 2014 Creative Effectiveness Lions
Browse the 2013 Creative Effectiveness Lions
Browse the 2012 Creative Effectiveness Lions
More from Warc… WARC 100 The Warc 100 is a benchmark for commercial creativity – a ranking of the world’s best campaigns based on their performance in effectiveness and strategy competitions. WARC TRENDS Visit our Trends section for a full range of material on trends in marketing, consumer behaviour and brand innovation. EVENT REPORTS Save time and money by tracking the themes discussed at industry conferences worldwide via Warc’s Event Reports section. REQUEST A FREE TRIAL Not a subscriber? Register at warc.com/trial for selected content from over 6,000 case studies and articles, an extract from Warc’s 2014 Toolkit report and daily news bulletins.
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