03 декабря 2016 г.

Бронзовые призеры в номинации Titanium & Integrated Lions



YOU GOT 30 MINUTES

Type of Entry: Titanium and Integrated
Title: YOU GOT 30 MINUTES
Advertiser/Client: DOMINO'S PIZZA
Product/Service: DOMINO'S PIZZA
Entrant Company: CRISPIN PORTER + BOGUSKY Boulder, USA
Advertising Agency: CRISPIN PORTER + BOGUSKY Boulder, USA
Creative Credits
Name Company Position
Andrew Keller Crispin Porter Bogusky Co-Executive Creative Director
Rob Reilly Crispin Porter Bogusky Co-Executive Creative Director
Jeff Benjamin Crispin Porter Bogusky Interactive Executive Creative Director
Evan Fry Crispin Porter Bogusky Creative Director
Steve Babcock Crispin Porter Bogusky Associate Creative Director
Mel Kreilein Crispin Porter Bogusky Art Director
John Reid Crispin Porter Bogusky Copywriter
Kate Mcquail Crispin Porter Bogusky Copywriter
Thomas Pettus Crispin Porter Bogusky Interactive Copywriter
Kat Street Crispin Porter Bogusky Interactive Art Director
Ken Slater Crispin Porter Bogusky Designer
Kenny Kim Crispin Porter Bogusky Interactive Art Director
Joe Miranda Crispin Porter Bogusky Designer
Robert Valdes Crispin Porter Bogusky Executive Integrated Producer
Craig Gillespie Crispin Porter Bogusky Director
Mike Maguire Crispin Porter Bogusky Director
David Rolfe Crispin Porter Bogusky Director of Integrated Production
Winston Binch Crispin Porter Bogusky Head of Interactive Production
Matt Bonin Crispin Porter Bogusky Head of Video

 

Describe the campaign/entry:
Domino’s isn’t known for great taste. Twelve years ago, Domino’s revolutionized the pizza category with a 30 minute delivery guarantee. Although it was discontinued for legal reasons, the safe-but-speedy, passionate-yet-efficient culture remained. Fast forward to today where most pie shops deliver and the major competitors battle over ingredients and taste. Amidst this, Domino’s leveraged the “30 Minutes Guarantee” and made a shift in the conversation with the “You Got 30 Minutes” campaign. Domino’s turned the waiting-for-my-pizza time into the gift of time and reminded America what they do best: Delivery.
Give some idea of how successful this campaign/entry was with both client and consumer:
The campaign’s success stared virally as bloggers posted their experiences with the brand. With users spending an average of five minutes 40 seconds on Pizza Tracker, Domino's saw a surge of 11+ million visitors. “You Got 30 Minutes” and Pizza Tracker caught on quickly as news outlets profiled the launch, resulting in several millions of dollars of free impressions. Domino's franchisees posted "You Got Game" signs over the door; "Delivery Expert" CDs played from stereos and speedy-yet-safety reminders decorated office desks and dashboards. The pride reignited with the challenge to make a great product and deliver in 30 minutes.
Describe how the campaign/entry was launched and executed across each channel in the order of implementation.
Over several months, the You Got 30 campaign was launched using traditional and non-traditional methods. TV and Radio spots focused on examples of what a consumer could do with 30 minutes. Collateral and in-store materials further pushed the “gift of time” with coupons touting a free 30 minutes for power napping or a finger football match. Interactive work pushed the campaign with a homepage re-design and banners driving online ordering. Domino's Pizza Tracker was unveiled as an interactive pizza-monitoring tool within the campaign. With their free 30 minutes, customers could follow their pizza's journey from dough stretching to delivery.

 



THIS IS NOT A JERSEY / ADITHREAD

Type of Entry: Titanium and Integrated
Title: THIS IS NOT A JERSEY / ADITHREAD
Advertiser/Client: ADIDAS NEW ZEALAND / NEW ZEALAND RUGBY UNION
Product/Service: ALL BLACKS RUGBY TEAM
Entrant Company: TBWA\WHYBIN\TEQUILA Auckland, NEW ZEALAND
Advertising Agency: TBWA\WHYBIN (180\TBWA) Auckland, NEW ZEALAND
Creative Credits
Name Company Position
Andy Blood TBWA\Whybin\Tequila Executive Creative Director
Guy Roberts TBWA\Whybin\Tequila Creative Director
Corey Chalmers TBWA\Whybin\Tequila Writer/Art Director
Guy Roberts TBWA\Whybin\Tequila Writer/Art Director
Che Tamahori Shift Interactive Creative Director
Robert Harvey TBWA\Whybin\Tequila Media Arts
Rhys Sinnot TBWA\Whybin\Tequila Account Director
Blake Crosbie TBWA\Whybin\Tequila Account Manager
Ross Brown Match Photographer
Andy Salisbury/Chris Clifton Cake Retouchers
Sarah Crosswell Shift Interactive Producer
Prentice Porter Shift Interactive Design
David Harris Shift Database Development
Robin Southgate Shift Flash Developer/Programmer
Alex Chea Shift Flash Design
Len Cheeseman   Typography
Hayden Cake Typography

 

Describe the campaign/entry:
We enabled fans (both local and global) to get close to the All Blacks and demonstrate their support in an innovative and completely un-prototyped way. An interactive promotion invited fans to put their name and message onto a virtual thread known as “adiThread”. Using breakthrough scientific technology, we then used nanotechnology to engrave the names onto the actual thread to be sewn into the badge on the Captain’s jersey.
Give some idea of how successful this campaign/entry was with both client and consumer:
The campaign took on a life of its own generating blog stories around the world and over 25,000 Google results. The New Zealand media ran the campaign as the lead story in the primetime news bulletins and it made the front section of the major metropolitan newspapers. The website generated traffic from over 150 countries. And 68% of NZ babies born on test match dates claimed their special jersey. Interest in the All Blacks was restored with research showing 18% more fans expressing interest. Ultimately, within an 8 week time frame, almost 10,000 fans got to have their name nano-engraved into All Black Richie McCaw's jersey.
Describe how the campaign/entry was launched and executed across each channel in the order of implementation.
We seeded a short film to a database of 40,000 thousand of rugby fans, asking them to share with us what the All Blacks Jersey meant to them. They responded by going to the virtual thread where they posted their names and their thoughts. OOH media, POS promotion, PR and editorial coverage in newspapers and on prime-time TV also activated and amplified the story driving traffic to the sight. Alongside this we launched ‘Birthright’, a promotion that provided a unique chance for babies born on the day of a 2008 test-match day to be gifted a special All Blacks jersey, by an All Black, which gave us a new generation of fans.

 



DANCE

Type of Entry: Titanium and Integrated
Title: DANCE
Advertiser/Client: T-MOBILE
Product/Service: T-MOBILE
Entrant Company: SAATCHI & SAATCHI London, UNITED KINGDOM
Advertising Agency: SAATCHI & SAATCHI London, UNITED KINGDOM
Creative Credits
Name Company Position
Paul Silburn/Kate Stanners Saatchi/Saatchi Executive Creative Director
Stephen Howell Saatchi/Saatchi Copywriter
Rick Dodds Saatchi/Saatchi Art Director
Ed Sayers Saatchi/Saatchi Agency Producer
Emma Wolanski Saatchi/Saatchi Production Assistant
Sarah Galea Saatchi/Saatchi Account Director
Gareth Ellis Saatchi/Saatchi Planner
Michael Gracey Partizan Director
Russell Curtis Partizan Production Company Producer
Tim Maurice Jones   D.O.P.
Diesel Schwarze   Editor
  The Mill Post Production
  EMI/Peer Music/Notting Hill/Universal Music Companies
Ashley Wallen   Choreographer
Sally Beerworth Saatchi/Saatchi Business Leader

 

Describe the campaign/entry:
The nation was in the depths of winter and recession, making many people sensitive about corporate insincerity and dishonesty. In this climate, T-Mobile had to launch a new campaign. One that people could believe in and trust. One that would make people feel good about the brand. So we couldn’t just tell people T-Mobile’s new philosophy, we had to prove that, Life’s for Sharing. By doing so, we had to add another 143k customers. We decided to create a live event so memorable that people just had to share it. The event had to be big enough so that the reaction from the general public, TV journalists, press journalists, bloggers, radio call-ins, copy-catters and online tributes, would become a major part of the multimedia campaign. One amazing moment was not only shared with people who were there, but shared with the world through a variety of different media. Because Life’s for Sharing.
Give some idea of how successful this campaign/entry was with both client and consumer:
It had a staggering 13 million hits on YouTube, and counting. The 12th most all-time viewed in the Entertainment category on YouTube (UK). There’s 43 Facebook groups, the largest with over 4,500 members. It’s the most viewed commercial in the last 365 days on ViralVideoChart.com 2,500 blogs shared it with the world. The T-Mobile YouTube Channel is the UK’s second most subscribed channel ever. National T-Mobile stores enjoyed record breaking footfall. The number who think of T-Mobile as their number 1 provider has tripled. T-Mobile had the lowest cost per response, ever. T-Mobile’s cost per acquisition declined by 24%. In a recession, T-Mobile had a 52% increase in sales from last year. 80% of these customers were the intended top end of the market, who spend more than £30 a month. It was re-enact around the country, from a flash mob of 1300 people to a couple’s first wedding dance.
Describe how the campaign/entry was launched and executed across each channel in the order of implementation.
At 11am on 15th January a single commuter started dancing. Moments later hundreds more joined in, including hundreds of genuine members of the public. Everybody there enjoyed a moment worth sharing. The live event was reported by 6 TV news stations, including ITV news and London Tonight. They even reported the launch time for the commercial. 14 national, local and regional newspapers, including The Times, The Guardian and The Sun (who described it as ‘an epidemic of joy’) reported it. 19 regional radio stations, including BBC London, LBC & Heart, shared it. The event aired, in a full length commercial break. Rushes were re-cut for brand and product TV, digital outdoor, online advertising, radio ads, Print & Poster, direct press and retail P.O.P. A branded YouTube channel was created where people could learn the dance, add their faces to it, watch the many tribute dances from both the public and celebrities.

 



MOST INTERESTING MAN

Type of Entry: Titanium and Integrated
Title: MOST INTERESTING MAN
Advertiser/Client: HEINEKEN
Product/Service: DOS EQUIS
Entrant Company: EURO RSCG WORLDWIDE New York, USA
Advertising Agency: EURO RSCG WORLDWIDE New York, USA
Creative Credits
Name Company Position
Conway Williamson EURO RSCG Chief Creative Officer
Dave Weinstock EURO RSCG Copywriter
Dave Arnold EURO RSCG Art Director
Andy Currie EURO RSCG Copywriter
Dan Fried EURO RSCG Producer
Steve Miller Radical Films Director
Mary Perhach EURO RSCG Global Chief Communications Officer
Katy Milmoe EURO RSCG Account Director
Katie Pearson EURO RSCG Account Supervisor

 

Describe the campaign/entry:
Beer advertisers seem to believe that images of buxom ladies, tailgating and frothy glasses are the ticket. While a fairly low degree of intelligence is assumed, research revealed that our target did actually have a brain and was rather irked by the clichés and potty humour employed by the category. They felt misrepresented, misunderstood. These guys wanted to be seen as interesting, and conversely, they were terrified of being perceived as boring. Inspired by this insight, we set out to turn the category on its head. In place of Joe Drinker with an easily relatable lifestyle, we created the Most Interesting Man in the World (MIM.) Instead of soothing the drinker with generic cues of masculinity, we used the sophisticated figure of the MIM, dashingly attired in Hemingway-style suits and situated in exotic and intriguing locales, to imply that all drinkers could and should be living a more interesting life.
Give some idea of how successful this campaign/entry was with both client and consumer:
2008 case sales increased 21% vs. YAG while beer, Import & Specialty category growth remained flat to negative. Key tracking metrics, “different,” “cool,” and “worth the price” all rose considerably. Particularly among those who had seen the campaign. Similarly, trial, awareness and consideration all increased at a much higher rate for those who had seen the advertising. Tracking also showed that the more campaign elements our audience saw, the more their consideration rose; evidence that the integrated campaign worked as a whole. Lastly, since the Assistant Search launched, site traffic increased 350% while the number of hits on the campaign website rose 1,283% vs. YAG from 2.3MM to 31.8MM. The average length of time spent on the site also increased over a minute to 5:50min. The result? Nearly 10,000 entries from all 50 states.
Describe how the campaign/entry was launched and executed across each channel in the order of implementation.
We created a communications plan that presented the MIM as a bona fide celebrity. Using multiple touch-points, we blurred the lines between fact and fantasy, allowing our audience to play along. TV :30’s are a montage of the MIM’s exotic adventures designed to build his lore and legend. :15s provide our target with wit, wisdom and sage advice garnered from a life lived interestingly. TV is refreshed frequently to keep target engaged. OOH: Promotes overall brand awareness, and extends reach of MIM’s wisdom beyond TV. Events/PR: An elaborate funeral procession. The deceased was Steve, the MIM’s esteemed assistant and right-hand man. Although unable to attend in person, the MIM gave a telecast eulogy and, at the same time, announced he would be accepting applications for Steve’s successor. Interactive: Serves as central hub to build community and interactivity among target. Assistant search microsite developed for application process.

 



ASSURANCE

Type of Entry: Titanium and Integrated
Title: ASSURANCE
Advertiser/Client: HYUNDAI
Product/Service: ASSURANCE
Entrant Company: GOODBY SILVERSTEIN & PARTNERS San Francisco, USA
Advertising Agency: GOODBY SILVERSTEIN & PARTNERS San Francisco, USA
Creative Credits
Name Company Position
Jim Elliott Goodby/Silverstein And Partners Creative Director
Rob Thompson Goodby/Silverstein And Partners Copywriter
Nat Lawlor Goodby/Silverstein And Partners Copywriter
Thomas Kemeny Goodby/Silverstein And Partners Copywriter
Jake Benjamin Goodby/Silverstein And Partners Copywriter
Dino Spadavecchia Goodby/Silverstein And Partners Art Director
Cris Logan Goodby/Silverstein And Partners Art Director
Mark Voehringer Goodby/Silverstein And Partners Art Director
Stacey Higgins Goodby/Silverstein And Partners Agency Producer
Sabrina Shamma Goodby/Silverstein And Partners Agency Producer
Alex Flint Goodby/Silverstein And Partners Copywriter
Tony Stern Goodby/Silverstein And Partners Copywriter
Matt Courtney Goodby/Silverstein And Partners Art Director
Ryan Spelliscy Goodby/Silverstein And Partners Copywriter
Karen Lamour Goodby/Silverstein And Partners Art Director
Andrew Lee Goodby/Silverstein And Partners Interactive Producer
Jess Shay Goodby/Silverstein And Partners Print Producer
Chris Bruyere Goodby/Silverstein And Partners Account Director
Susan Ogren Goodby/Silverstein And Partners Account Manager
Amber Adou Goodby/Silverstein And Partners Account Manager

 

Describe the campaign/entry:
Hyundai Assurance was our answer to the question every car company in America faced at the start of 2009: How could we sell cars during the deepest recession in 25 years? Faced with the worst marketplace in a generation, we quickly realized that no amount of cash back, employee pricing or special APR financing could outweigh the onslaught of grim economic news consumers were facing. What car buyers needed most was confidence. But how could a Korean car company give the American people back their faith in the future? By taking the unprecedented step of shouldering 100% of the financial risk involved in buying a vehicle. Hyundai Assurance promised that if you bought a Hyundai and then lost your job, you could give the car back. No questions asked. No harm to your credit. Television, print, radio and online spread the message and the response was nothing short of phenomenal.
Give some idea of how successful this campaign/entry was with both client and consumer:
Hyundai Assurance was wildly successful. As American car companies watched their sales plunge by almost 50%, and the Japanese brands saw U.S. sales declines in excess of 30%, Assurance helped Hyundai increase sales by 14% YOY, making it the only car brand in America growing in 2009. The campaign generated over 350 news stories leading to over 100 million PR impressions. Hyundai saw the most online traffic in its history. Across every metric, this was the most successful promotion in the company’s history. And, as another measure of its impact, the competition soon followed suit with their versions of Assurance. Perhaps most impressively, the campaign’s influence extended far beyond just the car business. Industries as varied as airlines, homebuilders, cruise lines and even NBA teams all created copycat programs. Hyundai Assurance has fundamentally changed the way companies are approaching marketing in 2009.
Describe how the campaign/entry was launched and executed across each channel in the order of implementation.
The campaign launched on the world’s biggest advertising stage: The Super Bowl. At the same time, banner ads drove people to the Assurance experience on HyundaiUSA.com. Starting the Monday after the Super Bowl, print ads promoted the program in national and regional newspapers while radio ads hit the airwaves.

 

28.06.2009


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