Cannes lions 2012 analysis from Warc

September 2012

CANNES CREATIVE
EFFECTIVENESS LIONS
>> An analysis of entries to the 2012 awards

At a glance: Key insights
Shortlisted cases used a higher number of channels
than the average across all entrants. Greater use of
PR, branded content, word of mouth and/or TV also
distinguished the shortlist from the rest of the pack.

Social media was the most used channel - often
deployed for awareness-building. However, the
judges emphasised the need to show that awareness
led to behavioural change and sales growth.

Cases‟ media budgets were generally higher in 2012
than in 2011. Low-cost „earned‟ media featured
mostly as a supplement to paid for media.

Local brands comprised more of the shortlist in 2012
than the previous year, but global brands still
provided most of the shortlisted cases – including two
multi-regional campaigns.

To activate the
hyperlinks view in
SLIDE SHOW

© Copyright Warc 2012. All rights reserved www.warc.com

About this analysis and overview
The 2012 Cannes Creative Effectiveness Awards received 92 entries. This document
is based on the 89 entries available for publication on warc.com. It covers:

Analysis of campaign trends

Marketing objectives: The most common aims of the entered campaigns.

Media budgets: A budgetary breakdown, from less than US$500k to $US20m+.

Media channels: Traditional v. digital and other trends in the media mix.

Brand types: The balance between global and local brands.

Winners, shortlist and other key cases

Grand Prix: Why BBH‟s global campaign for Axe stood apart from the rest.

Lions‟ winners: The five other winners of Creative Effectiveness Lions.

Remaining shortlist: The seven additional shortlisted campaigns.

Most read: The campaigns that warc.com users have been reading most.
To activate the What it takes to win: What the judges expect (including an insider‟s view).
hyperlinks view in
SLIDE SHOW Breakdown of entries

Overview: The class of 2012 by region, country and client sector.


Analysis of campaign trends
>> Objectives, media budgets, channels and brands

Marketing objectives
Analysis of marketing objectives reveals the most prevalent to include
‘hard’, business-focused objectives (e.g. increase sales) and softer, brand-focused
aims (e.g. increase awareness). Overall, entries had an average of 3.9 objectives, a
figure closely matched by the shortlist (averaging 3.8).

„Build, defend position‟ and „increase
Most-used marketing objectives
awareness‟ were the most common No. of entries using (% in brackets)
objectives – both for all entries and the
shortlist. The prominence of „awareness‟ All
Shortlist
goals is a likely reflection of how many entries
campaigns used social media (see the Build, defend position 71 (80) 11 (85)
Media Channels section).
Increase awareness 71 (80) 11 (85)
„Increase sales‟ and „Increase market
share‟ were the third and fourth most- Increase sales 59 (66) 8 (62)
used objectives respectively. „Gain
customers‟, another „hard‟ objective, also Increase market share 35 (39) 4 (31)
made the top seven.
Brand launch 19 (21) 2 (15)
To activate the This list is rounded off by „Social, non-
Gain new customers 19 (21) 2 (15)
hyperlinks view in profit‟, although some commercial
SLIDE SHOW campaigns – like the Lion-winning Social, non-profit 18 (20) 3 (23)
Bundaberg Rum - used this objective too.


Media budgets
N.B. Media budget information was not available for all entries. The analysis below is
based on data from 59 entries (66%) in 2012 and 103 entries (76%) in 2011. Only
limited conclusions can be drawn (which exclude shortlist-specific analysis, where
data was only available for 4 of the 13 shortlisted entries in 2012).

Small-budget campaigns remained the Media budgets 2012 v. 2011
most common type of entry, with 31% No. of entries with data (% in brackets)
within the 0-500k band – but this did
represent a significant drop from the 61% Band (US$) 2012 2011
recorded in 2011.
0 - 500k 28 (31) 63 (61)
That said, taking the lowest two bands
together, some 51% of entries were 500k - 1m 20 (22) 8 (8)
backed with a budget of less US$1m.
1 - 3m 12 (13) 11 (11)
This might best be explained by the
increased use of „earned‟ and social 3 - 5m 11 (12) 6 (6)
media (see the next section, Media
Channels) and their ability to amplify the 5 - 10m 11 (12) 3 (3)
To activate the effects of „paid‟, traditional media.
hyperlinks view in 10 - 20m 6 (6) 8 (8)
SLIDE SHOW Again, only cautious inferences can be
made, given the partial data available. 20m+ 1 (1) 4 (4)


Media channels: 2012 v. 2011
Social media became the most -used channel in 2012 (in 2011 it was television) and
other digital channels recorded significant increases in use. But traditional channels
remained broadly stable, led by TV which retained a presence in well over 50% of
entries. The average number of channels used increased over 2011.

Social media was the most-used channel in
2012, utilised by 75% of entries (v. 50% in
2011). Other digital and non-traditional
channels also recorded strong increases
(see the chart on the next slide).

Traditional channels remained broadly
stable, so the adoption of digital has not
replaced them, but „earned‟ and social
media were often used to amplify „paid‟
media effects – evidenced by the average
number of channels used in 2012
increasing over 2011 (see chart, right).
To activate the Of the traditional channels, television
hyperlinks view in remained a key media featuring in 57% of
SLIDE SHOW all entries in 2012.


To activate the
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SLIDE SHOW


Media channels: All 2012 entries v. shortlist
A comparison of all entries with shortlisted entries shows a higher proportion of the
shortlist employed television as a ‘paid’ medium in combination with non-traditional
‘earned’ media to amplify their message (see below right and next slide). This is a
pattern that’s also broadly shared by the 2012 Warc Prize for Innovation.

In particular, word of mouth and social
media featured in the channel mixes of
92% of shortlisted entries, compared to
75% of entries overall.

A higher proportion of shortlisted entries
(85%) also employed public relations
compared to all entries (65%).

Among the traditional channels, television
is the only media to be used in the majority
of all entries (57%).

Moreover, television also over-indexes
To activate the
within the shortlisted entries, featuring in
hyperlinks view in more than three quarters (77%) of those
SLIDE SHOW campaigns.


Brand types: global v. local
As in 2011, there was a roughly equal number of entries in 2012 from global brands
(54%) and local brands (46%). But local brands increased their representation on the
shortlist in 2012, significantly upping their proportion to 31% from just 10% in 2011.
That said, global brands still accounted for nine of the 13 shortlisted entries (69%).

To activate the
hyperlinks view in
SLIDE SHOW


Winners, shortlist and other key cases
>> A focus on the best entries of 2012 – and what it takes to win

Grand Prix
The Grand Prix was presented to the Unilever deodorant, Axe / Lynx. BBH London’s
‘fallen angels’ creative reversed a downward sales trend with a global campaign that
claimed the Excite fragrance was so attractive, it would seduce even the most
virtuous of women.

This creative idea played out across a wide
range of local markets and media, employing
print, TV, cinema and OOH, as well as online
and social channels.

The campaign exceeded its sales targets by
7% and grew volumes by over 4%, making
Excite the most successful new variant launch
since 2008's hit, Dark Temptation.

Speaking to Warc in Cannes, jury member Lucy
Jameson, Grey London's incoming chief
strategy officer, praised the campaign's creative
but emphasised that what tipped the balance in
To activate the Axe's favour was its rigorous focus on
hyperlinks view in effectiveness. For more insights, see the What
SLIDE SHOW it takes to win section.


Lions’ winners
Alongside the Grand Prix-winning campaign for Axe, Creative Effectiveness Lions
went to five other entries. Of these, one was an Australian campaign, two were from
the U.S., one was for a non-profit campaign in Germany and one, like Axe, was a
global campaign.

Bundaberg Rum (Diageo, Australia): This CSR-led
campaign for a limited edition „Watermark‟ rum raised
nearly A$1m for Queensland‟s flood victims.

Chrysler 200 (US): Detroit-born rapper Eminem
fronted a two-minute Super Bowl ad, increasing sales
eight-fold over the year.

Febreze (P&G, US): Filmed experiments became TV
ads, leveraged by social media, leading to five
months of sustained growth.

Initiative Vermisste Kinder (Germany): „Missing
Children's Initiative‟ innovated across multiple
To activate the
touchpoints, achieving 30% awareness.
hyperlinks view in Snickers (Mars, global): The „You're Not You When
SLIDE SHOW You're Hungry‟ campaign was adapted in 50 markets
and influenced 88% of global value sales.


Remaining shortlist
The seven remaining non-winning cases on the shortlist included four campaigns
from the US together with three from developing markets: India, Mexico and
Colombia.

American Express (US): How Amex engaged 103m
Americans with its Small Business Saturday.

Hippo Baked Munchies (Parle Agro, India): How
Twitter boosted distribution and 20m extra unit sales.

Domino‟s (US): Show Us Your Pizza employed user-
generated content and boosted sales by 12%.

Old Spice (P&G, US): This interactive digital
campaign boosted sales from +60% to +125%.

Axe (Unilever, Mexico): This TV-led „Premature
Perspiration‟ campaign grew the brand by 19%.

To activate the IBM Watson (IBM, US): How an IBM computer‟s quiz
hyperlinks view in show success translated into $245m of revenue.
SLIDE SHOW
Colombian Ministry Of Defence (Colombia): How 30%
more FARC guerrillas decided to demobilise.


Most-read entries
The following table details the most-read Creative Effectiveness Lions by warc.com
users, listed by their company type. Naturally, the shortlist attracted most reader
interest, but several non-shortlisted entries (marked with a *) made it onto all three
lists. For more on the five most-read of these, see the next slide).

Creative agencies Media agencies Brand owners

1 Axe Excite (Unilever, Global) Axe Excite (Unilever, Global) Axe Excite (Unilever, Global)

2 Snickers (Mars, Global) Snickers (Mars, Global) Snickers (Mars, Global)

3 Febreze (P&G, US) Hornbach DIY (Germany)* Puma Social (Global)

4 Chrysler 200 (US) Google (US)* Bundaberg Rum (Australia)

5 Mercedes-Benz (US)* Puma Social (Global)* VW Eco Range (Sweden)*

6 Hornbach DIY (Germany)* Mercedes-Benz (US)* Adidas (Japan)*

7 Google (US)* T-Mobile (UK)* NAB Bank (Australia)*

8 American Express (US) American Express (US) Mercedes-Benz (US)*
To activate the
hyperlinks view in 9 Bundaberg Rum (Australia) VW Eco Range (Sweden)* Hornbach DIY (Germany)*
SLIDE SHOW
10 Puma Social (Global)* Germany‟s Missing Children Samsung TV (Netherlands)*


Most-read entries: beyond the shortlist
The following campaigns are the five-most-read entries by Warc subscribers that did
not feature on the Creative Effectiveness Lions shortlist. They include global, US and
European campaigns with engaging creative and often impressive media results.
But, as the next section discusses, it can take more than that to win.

Mercedes-Benz (US) : This campaign grew the
automaker‟s younger-demographic Facebook
fanbase by 270% and its Twitter followers to 77,000.

Hornbach DIY (Germany): The 10-minute Infinite
House film attracted 1.8m views online, boosting
awareness and increasing turnover 4.3%.

Google (US): The interactive film Wilderness
Downtown created internet buzz about the HTML 5
capabilities of its Chrome browser.

Puma Social (global): The campaign that engaged
„after-hours athletes‟, reviving Puma with a 10.4%
To activate the
growth in worldwide sales.
hyperlinks view in VW Eco Range (Sweden): The „Fun Theory‟ changed
SLIDE SHOW drivers‟ perceptions of green cars, leading to sales of
20,000 and establishing VW as eco market leader.


What it takes to win
The aim of the Creative Effectiveness Lions is clearly defined on canneslions.com:
"[To] honour creativity which has shown a measurable and proven impact on a
client’s business - creativity that affects consumer behaviour, brand
equity, sales, and where identifiable, profit."

Entries were judged on three criteria: strategy
(25%), idea (25%) and – most significantly –
results (50%). “I think we were all
surprised at the number
In this respect, the best entries paid particular
attention to a specific point in the guidance
of cases that didn't get
notes on creating successful entries: near the shortlist; that
“It is not enough to make assertions, the jury just thought
want proof. Any claim must be supported by effectiveness was how
evidence and source data… much free media you'd
“Throughout the judging process the Jury will earned rather than
be asking themselves: 'Has effectiveness whether or not there was
been proved beyond a reasonable doubt?'"
commercial success.”
To activate the
The best entries therefore stood out for their Lucy Jameson
hyperlinks view in
focus on proving effectiveness. Jury member and incoming Chief
SLIDE SHOW Strategy Officer, Grey London
(Warc interview, Cannes, June 2012)


What it takes to win: a jury member’s view
A Warc interview with Lucy Jameson, a Cannes Creative Effectiveness Lions jury
member and incoming Chief Strategy Officer of Grey London, offers a useful insider’s
view on the standards required to win.

When it comes to proving effectiveness, Jameson
said she asks four simple questions of any
campaign entering the awards:
• Did it create any buzz and get noticed?
• Did that lead to a change in brand perception?
• Did that in turn lead to a change in behaviour?
• And did that lead to people buying more? Video: Lucy Jameson, incoming Chief Strategy Officer of Grey
London, on what it takes to win a Creative Effectiveness Lion

“It's not enough just to show that a campaign was
liked,” she explained. “Unless it actually changed
behaviour and led to a commercial result, it's a
waste of clients' money.”

To activate the So the buzz-generation of social media has a clear
hyperlinks view in role in the effectiveness narrative, but is only one
SLIDE SHOW component in a longer process – something not
always appreciated by entrants. Video: Tim Broadbent, Worldwide Effectiveness Director, Ogilvy
& Mather, on setting up the Creative Effectiveness Lions.


Breakdown of entries
>> The class of 2012 by region, country and client sector

Geography: entries by region
Entries were received from campaigns that ran in a total of 28 countries, down from
37 in 2011 (perhaps reflecting the fact there were 35% fewer entries overall in 2012).
Within this, there was a clear shift in representation from Europe to North America.

North America took over from Europe as Entries by region: 2012 v. 2011
the most represented region, accounting Total no. of entries (% in brackets)
for 31% of campaigns, compared to 16%
in 2011. 2012 2011
This was due to a decrease in European N America 28 (31) 25 (16)
campaigns, which made up 22% of the
total in 2012, down from 45% in 2011. Europe 20 (22) 69 (45)
Contributions from Australia & New Aus & NZ 12 (13) 12 (7)
Zealand and South America noticeably
increased in 2012, albeit from a small Asia-Pacific 11 (12) 22 (14)
base.
S America 11 (12) 13 (8)
To activate the
Elsewhere, campaigns from Middle East
hyperlinks view in & Africa decreased while Asia held Multi-market 6 (6) 4 (3)
SLIDE SHOW broadly steady (as did multi-market and
global campaigns). ME & Africa 1 (1) 9 (6)


Geography: entries by country
North America’s regional Entries by country 2012 v. 2011
dominance in 2012 unsurprisingly Total no. of entries (% in brackets)
translated into the US accounting
for most entries. 2012 2011

The US accounted for 28% of USA 25 (28) USA 24 (18)
entries, retaining its place as the Australia 9 (10) UK 15 (11)
most represented market.
Germany 6 (7) Germany 10 (7)
By contrast, the UK slid from
second spot in 2011 (on 11%) to Brazil 4 (4) Brazil 7 (5)
joint sixth in 2012 (on 3%).
Canada 3 (3) Spain 7 (5)
Colombia, Canada and New
Zealand were new entrants to Colombia 3 (3) France 7 (5)
the top ten in 2012, replacing
Spain, France and India. N Zealand 3 (3) Australia 7 (5)

Meanwhile, Germany and Brazil Singapore 3 (3) India 6 (4)
To activate the
remained broadly steady
hyperlinks view in between 2011 and 2012 in Sweden 3 (3) Sweden 5 (4)
SLIDE SHOW percentage terms.
UK 3 (3) S Africa 4 (3)


Client sectors Entries by client sector 2012 v. 2011
Total no. of entries (% in brackets)
Analysis of entries by client 2012 2011
sector reveals a number of
differences between 2012 and Motor/auto 13 (15) 8 (6)
2011 (also see chart on next slide). Non-profit 12 (13) 31 (23)
Media & publishing 9 (10) 16 (12)
Entries from the automotive sector
Food 7 (8) 10 (7)
rose significantly – from 8% in
2011 to 13% in 2012 – to become Leisure & ents 7 (8) 15 (11)
the largest category. Alcoholic drinks 6 (7) 7 (5)
Financial services 6 (7) 8 (6)
Non-profit slipped from 23% to
12%, moving from first to second Telecoms 6 (7) 7 (5)
place. Toiletries 6 (7) 5 (4)
Other sectors featuring less Household 4 (4) 4 (3)
frequently in 2012 include media Wearing apparel 4 (4) 5 (4)
& publishing, leisure & Soft drinks 3 (3) 7 (5)
entertainment and retail. Travel & /tourism 3 (3) 3 (2)

To activate the
Most other sectors retained a Business & ind 2 (2) 4 (3)
hyperlinks view in roughly equal year-on-year Retail 1 (1) 9 (7)
SLIDE SHOW presence.
Utilities 0 (0) 1 (1)


Entries by client sector (%) 2012 v. 2011

To activate the
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SLIDE SHOW


About the Creative Effectiveness Lions
The Cannes Creative Effectiveness Lions honour creativity that has had a measurable
business impact. Only shortlisted or Lion-winning campaigns of Creative Lions
competition in 2011 could enter the Creative
Effectiveness Lions competition in 2012.

Entries were judged on strategy (25%), idea
(25%) and results (50%).

A total of 92 entries were received in 2012, 89
of which were available for publication on “It's very, very difficult to
warc.com (these 89 have been the basis of the win. There were only six
preceding analysis). winners this year and only
Just 13 entries made the shortlist and, of these, six last year. Only Golds
six won Creative Effective Lions. One of these are awarded, no silvers, no
winners was awarded the Grand Prix. bronzes. So any campaign
The 92 entries received is a significant that gets through that
decrease on the 142 entries received in 2011, almost merciless testing
To activate the
the Creative Effectiveness Lions‟ inaugural should be congratulated.”
hyperlinks view in year. This perhaps reflects a realisation among
Tim Broadbent
SLIDE SHOW potential entrants in 2012 of the rigorous Worldwide Effectiveness Director, O&M
standards required to win. (Warc interview, Cannes, June 2012)


More on the Creative Effectiveness Lions:
Browse the 2012 Creative Effectiveness Lions

Browse 2011 Creative Effectiveness Lions

Warc interviews with Lucy Jameson and Tim Broadbent

Warc‟s reports from the Cannes Lions Festival 2012

Warc‟s analysis of the 2011 Creative Effectiveness Lions

More from Warc…
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