Cannes Lions 2009 - Серебряные призеры в номинации Media Lions

12 CHIMES OF THE BELL

Type of Entry:	Use of Media
Category:	Best Use of Television
Title:	12 CHIMES OF THE BELL
Advertiser/Client:	MASTERCARD
Product/Service:	MASTERCARD
Entrant Company:	UNIVERSAL McCANN Madrid, SPAIN
Media Agency:	UNIVERSAL McCANN Madrid, SPAIN

Creative Credits

CHANGED OPENING CREDITS & EPISODES

Type of Entry:	Use of Media
Category:	Best Use of Television
Title:	CHANGED OPENING CREDITS & EPISODES
Advertiser/Client:	RADIO STATION STUDIO BRUSSELS
Product/Service:	MUSIC FOR LIFE
Entrant Company:	MORTIERBRIGADE Brussels, BELGIUM
Advertising Agency:	MORTIERBRIGADE Brussels, BELGIUM

Creative Credits

Name	Company	Position
Jens Mortier/Joost Berends/Philippe Deceuster	Mortierbrigade	Creative Directors
Stephanie Zimmermann	Mortierbrigade	Head Of Strategy
Patricia Vandekerckhove	Mortierbrigade	Producer
Dieter Vanhoof	Mortierbrigade	Creative
Paul Popelier	Mortierbrigade	Creative

Results and Effectiveness:

Even though it was broadcasted only on one medium, we were present in a lot more. Other TV channels took to the footage to show it in their news programs. The radio stations reported it and even two of them did a special in depth reportage about women on the run without that we asked. The press covered the action as well. In total we had a PR return of investment of 350%. On the online platform we got a very positive feedback from customers.The radio listeners increased by 200% during that period.. During 6 days and 5 nights 3 DJв?Ts played your favourite song in exchange for a donation. Music for life was a huge success. In 6 days time, 3.5 million euro was raised. A giant amount for a small country.

Creative Execution:

The original series starts with the opening credits showing all the actors, and a song that is all about в??home sweet homeв?T. We took the same graphics, and the song but the images were taken from footage that we shot in Oeganda, we created 5 different opening credits, where people could follow 5 mothers on the run. When the viewers of в??thuisв?T were all set to watch their favorite show, instead of seeing the normal credits, the viewers saw our opening credits. We also created an online platform where we aired in depth documentaries showing how they lived and try to survive.

Insights, Strategy and the Idea:

The yearly Belgian charity event в??music for lifeв?T, organised by radio station Studio Brussels and the Red Cross, this year was all about mothers on the run. Today, millions of mothers and children need to escape due to violence and war. They are left homeless without care and help. We needed to do something more impactful than just showing these terrible images in a tv spot, since they do not longer touch western people. There is a certain fatigue, and it is so far away. We needed to bring this subject home, and infiltrate in peopleв?Ts daily lives.That we took quit literally, we decided to do something with Belgiumв?Ts most watched tv series в??thuisв?T (= dutch for в??homeв?T ). в??Thuisв?? is a series like в??neighboursв?T and itв?Ts all about families and their households. It is watched by a million viewers every day. It is part of life.

IKEA-CINEMA-CATALOGUE

Type of Entry:	Use of Media
Category:	Best Use of Cinema
Title:	IKEA-CINEMA-CATALOGUE
Advertiser/Client:	IKEA AUSTRIA
Product/Service:	IKEA FURNITURE
Entrant Company:	DDB GERMANY BERLIN, GERMANY
Advertising Agency:	DDB GERMANY BERLIN, GERMANY
Media Agency:	MEDIACOM AUSTRIA Vienna, AUSTRIA

Creative Credits

Name	Company	Position
Amir Kassaei	DDB Germany/Berlin	Chief Creative Officer
Bert Peulecke	DDB Germany/Berlin	Executive Creative Director
Stefan Schulte	DDB Germany/Berlin	Executive Creative Director
Birgit Van Den Valentyn	DDB Germany/Berlin	Creative Director
Tim Stuebane	DDB Germany/Berlin	Creative Director
RenГc Gebhardt	DDB Germany/Berlin	Art Director
BjГ¶rn Kernspeckt	DDB Germany/Berlin	Art Director
Stephen Kimpel	DDB Germany/Berlin	Account Director
Patrick Baschinski	DDB Germany/Berlin	Account Manager
Jonathan Helmer	DDB Germany/Berlin	Agency Producer
Kathrin Rueppel	DDB Germany/Berlin	Agency Producer
Peter Schoenherr	DDB Germany/Berlin	Graphic
Anke Zink	DDB Germany/Berlin	Graphic

Results and Effectiveness:

With a little investment into projectors and slides we got several product placements during famous movies for free. The guerilla action reached over 13,000 viewers in 92 screenings. In front of the cinemas over 5,000 IKEA catalogues were distributed в?" instead of the estimated 1,000.

Creative Execution:

We used existing great movies with great actors in which IKEA products are seen accidentally. With a smart and clever trick we directed the peopleв?Ts attention to the IKEA products. Guerilla promotion teams equipped with powerful portable projectors brought names and prices of IKEA products during the movie on the screen в?" next to Brad Pitt, George Clooney and other famous actors. This surprising execution fits perfectly to the IKEA principle: surprise the many people with fresh ideas for everybodyв?Ts everyday life. After the show we consequently distributed IKEA catalogues in front of the cinema.

Insights, Strategy and the Idea:

In the context of the launch of the new IKEA catalogue we had to generate attention among young people for IKEAs latest products. How do you get maximum attention of young people? Advertise in cinemas but donв?Tt do a standard commercial. So we inspired moviegoers with an unseen idea to get them spreading our message themselves.

LUMP

Type of Entry:	Use of Media
Category:	Best Use of Magazines
Title:	LUMP
Advertiser/Client:	DUBAI HEALTHCARE CITY
Product/Service:	BREAST CANCER SELF EXAMINATION
Entrant Company:	IMPACT PLUS (BBDO) Dubai, UNITED ARAB EMIRATES
Advertising Agency:	IMPACT PLUS (BBDO) Dubai, UNITED ARAB EMIRATES
Media Agency:	OMD Dubai, UNITED ARAB EMIRATES

Creative Credits

GRAZIA INSIDE

Type of Entry:	Use of Media
Category:	Best Use of Magazines
Title:	GRAZIA INSIDE
Advertiser/Client:	WESTFIELD
Product/Service:	SHOPPING CENTRE
Entrant Company:	ARENA BLM London, UNITED KINGDOM
Media Agency:	ARENA BLM London, UNITED KINGDOM

Creative Credits

Name	Company	Position
Gabrielle Rossetti	Arena BLM	Press Manager
David Davies	Grazia	Managing Director
Lucy Wheeler	Grazia	Head Of Creative Solutions
Peter Cross	Yellow Door	Managing Partner

Results and Effectiveness:

This partnership is one-of-a-kind: . We achieved media value close to В?1.9m . 76% Westfield unprompted awareness . 61% of Grazia readers who saw the Westfield campaign told their friends about it . 42% made plans to visit . 5% of the entire Grazia circulation entered the Westfield competition . Westfield Grazia Partnership spanned 2,497,913 copies . Footfall surpassed 1m in the 1st 10 days . 148,800 people downloaded the i-phone application . Unique visits to the Westfield Website increased 6-fold in the week Grazia went live at Westfield . ROI was В?18 for every В?1 media

Creative Execution:

We enlisted Grazia magazine to help us bring Westfield to life. Forty-six editorial team members set up shop at Westfield for one week and produced an entire Westfield-themed issue at the scrutiny of shoppers. We ran a cover gatefold and a 16-page editorial piece weeks before the launch. We road-blocked grazaidaily.co.uk and created a competition where users could experience Westfield first-hand. A bespoke iPhone application included a directory and map for them to find their way around Westfield and fashion/beauty news from GraziaВ?s team. Further editorial partnership helped women to see shopping at malls в??in a new lightв??. Conde Nast offered a В?2,000 shopping spree. We created a glossy cover-wrap for the Evening Standard and polybagged ES magazine and ran a contest inviting readers to submit pictures of London в??in a new lightв??, via a custom microsite, at the time we projected Westfield imagery on key West London landmarks.

Insights, Strategy and the Idea:

Westfield, the pioneering shopping and leisure destination, opened in Londonв?Ts W12 in October. With over 265 brands, 25 styles of cooking, art and events, style advice and hands-free shopping, Westfield is as much a meeting hub as a place to shop and eat. The economic downturn, peopleв?Ts negative perceptions about malls and competition from Oxford and Bond Street made our challenges even harder: в?ў Appeal to the hard-to-reach professional and educated urbanite в?ў Drive traffic and convey Westfieldв?Ts benefits в?ў Incorporate Westfield into Londonв?Ts everyday landscape в?ў Make Westfield the #1 shopping center in the UK The affluent female target prefers to experience things first hand and is the trendsetter amongst friends. Our influencers are 25% more likely to read magazines for the latest styles, and magazine readers generate three times the WOM. We got magazine and journalists on-board to convince these mall-rejecters that Westfield deserved their time and money.

WILD TRAPPED ANIMALS

Type of Entry:	Use of Media
Category:	Best Use of Outdoor
Title:	WILD TRAPPED ANIMALS
Advertiser/Client:	PRESERVEPLANET.ORG
Product/Service:	CONSERVATIONIST FOUNDATION
Entrant Company:	DDB COSTA RICA San JosГc, COSTA RICA
Advertising Agency:	DDB COSTA RICA San JosГc, COSTA RICA
Media Agency:	OMD San Jose, COSTA RICA

Creative Credits

Name	Company	Position
Manuel Travisany	DDB	General Creative Director
Juan Jose Ulate	DDB	General Art Director
Jorge "cacho" Quesada	DDB	Producer
Carlos Redondo	DDB	Illustrator
Alex Corrales	DDB	Illustrator
Tomas Jankovich	DDB	Agency Producer
Sergio Vargas	DDB	Agency Producer
Manuel Travisany	DDB	Copywriter
Alexander ZuГ+iga	Eucor	President
Jose Orozco	DDB	Executive Account

Results and Effectiveness:

в?ў What happened as a result of the communication activity? The cages themselves became roadside attractions wherever they were placed. Since the chosen highway is highly congested, it was inevitable they would be seen. Many times drivers stopped to admire them, while others simply parked their cars to see how they worked from up close. в?ў How did the communication achieve the goals and influence business outcomes? в?ў Include commercial results such as sales and profit as well as change in consumer awareness and attitudes. It is calculated that close to 3,200,000 cars (data from the Costa Rican Ministry of Transportation) passed along the road while the messages were in place. Various blogs, newspapers and TV news programmes took it upon themselves to broadcast throughout the country that there were в??trapped animals along the highwayв?? and to explain the reason why they were.

Creative Execution:

в?ў What was the creative strategic solution? Mechanically activated silhouettes were built that imitated the real movements of various wild animals when they are in captivity. At the same time, the usual public highway freestanding sign structures were turned into в??cagesв?? within which these animals were installed. On the outside was the legend в??If you love animals, keep them wild,в?? signed by Preserveplanet.org.

Insights, Strategy and the Idea:

в?ў What were the business, marketing and communications objectives that lay behind the case? Reduce wild animals in captivity through a campaign that raised awareness of the problem, targeting an especially sensitive group of people who vacation outside the city and bring back the young of wild species. в?ў Describe the target audience and their relationship with the brand. The chosen target is people who leave the city by car and go to areas where they capture or buy these species. в?ў Explain the unique insight that shaped the idea. The insight is that usually people who raise wild animals in captivity think the animals are happy living this way. в?ў How was it relevant to both the client and the target audience? What makes the idea relevant is that the в??cagesв?? were placed where people leaving the city had to pass. For the client this meant making a highly directed effort at an extremely sensitive group.

IMPOSSIBLE GOALKEEPER

Type of Entry:	Use of Media
Category:	Best Use of Ambient Media: Large Scale
Title:	IMPOSSIBLE GOALKEEPER
Advertiser/Client:	ADIDAS
Product/Service:	ADIDAS FOOTBALL
Entrant Company:	TBWA\GERMANY Berlin, GERMANY
Advertising Agency:	TBWA\GERMANY (180\TBWA) Berlin, GERMANY
Media Agency:	CARAT HAMBURG & CO MEDIA-SERVICE Hamburg, GERMANY

Creative Credits

Name	Company	Position
Stefan Schmidt/Markus Ewertz	TBWA\ Germany	Creative Director
Emiliano Trierveiler	TBWA\ Germany	Copywriter
Marco Bezerra	TBWA\ Germany	Art Director
Katrin Dettmann	TBWA\ Germany	Agency Producer
Martina Kersten	TBWA\ Germany	Art Buyer
Kerstin Gold/Falk Lungwitz/David Barton/Tanja Kurr/Andreas Ebsen	TBWA\ Germany	Account Manager
Moritz Kiechle	TBWA\ Germany	Strategic Planner
Markus Rachals	Adidas	Head Of Brand Marketing
Sven Schindler	Adidas	Group Brand Communication Manager
Limes Vertriebsgesellschaft Mbh		Production Company
Carat/Hamburg		Media Agency
Vertical Vision Gmbh/Co.kg		Production Company
Johann Sebastian HГ¤nel/Ragnar Schmuck		Photographer
24/7		Retouching
Martin Schindler	Adidas	Director of Marketing Performance

Results and Effectiveness:

5 TV channels and over 25 newspapers, news agencies and portals were there to cover one piece of advertising. In a matter of hours, there were over 150 posts in 25 countries on the Internet. Major news titles, like BBC, Bild and USA Today featured it in their print or online versions. It reached major Brazilian and Argentinian football news, but also the cover of the biggest Hungarian newspaper and Chinese TV. A week before the final, the press declared adidas the winning sports brand of the UEFA EURO 2008. Recognized by 30% of the audience, against 12% for the competitors, reporting an increase of 50% in the football apparel sales and getting an extra 15% of the market.

Creative Execution:

To rise above the mass of standard advertising, we had to create a channel that embodied в??Impossible is nothingв??. We took the cityв?Ts dearest landmark, and converted it into an ambassador for our brand: a 60 meter high, 111 year old ferris wheel in the в??Praterв?? amusement park in Vienna. It was the symbol of the EuroCup, welcoming over 4 million visitors a year. We installed a 60 meter tall version of the worldв?Ts # 1 goalkeeper, Petr Cech, with 8 arms spinning along the Prater ferris wheel. It was no megaposter, but rather idea, media and audience interacting, an unbeatable goalkeeper you could take a ride with.

Insights, Strategy and the Idea:

adidas wanted to be the # 1 football brand during the UEFA EURO 2008 in Austria and Switzerland, using the event to take the brand message far beyond the borders of the 2 countries.

LIVE AD

Type of Entry:	Use of Media
Category:	Best Use of Special Events and Stunt/Live Advertising
Title:	LIVE AD
Advertiser/Client:	HONDA
Product/Service:	HONDA ACCORD
Entrant Company:	STARCOM MEDIAVEST GROUP London, UNITED KINGDOM
Advertising Agency:	4 CREATIVE London, UNITED KINGDOM
Media Agency:	STARCOM MEDIAVEST GROUP London, UNITED KINGDOM

Creative Credits

Name	Company	Position
Jane Ollier	Starcom	Business Director
Gavin Mcgrow	Starcom	Account Director
Tom Tagholm	4 Creative	Creative Director
Tim Van Someren	4 Creative	Director
Dave Lewis	4 Creative	Producer
Keeley Pratt	4 Creative	Senior Producer

Results and Effectiveness:

Desire for Accord в?" on Hondaв?Ts brand tracker, в??desireв?T leapt by a massive 38 points, more than double the clientв?Ts target. Desire to view в?" 200,000 extra people tuned in purely to watch the ad! Desire to talk about - over В?2m of PR was generated during the campaign. Desire to find out more в?" Honda had over 39,000 unique visitors to the DIWD blog prior to the event, with over 4,000 prospects generated. Post event, traffic to Hondaв?Ts UK website was an enormous 400% higher than average! Desire to buy в?" over В?1m of new Accord sales were generated in a single weekend.

Creative Execution:

The Honda philosophy is в??Difficult is Worth Doingв?T (DIWD), therefore the media strategy had to deliver the brand philosophy in two ways: 1. Challenge the Audience в?" seed DIWD concept several weeks before the car was available in dealerships. 2. Reward the Audience в?" through an emotional pay-off for their hard work in the seeding stage. We kicked off with a series of unbranded communications to launch the concept of DIWD though large format outdoor, cryptic TV spots and optimised search driving the audience to the DIWD blog with a diary of a skydive. Unbranded print and TV ads, with skydiving cues, alluded to an event taking place on TV at 8.10pm, during the week of the event. The reward came with the worldв?Ts first ever 3-minute live ad featuring an 18 strong skydive team spelling H,O,N,D and A, in sequence, demonstrating the philosophy behind the new Accord - 'Difficult is Worth Doingв?T.

Insights, Strategy and the Idea:

In May 2008, Honda launched the new Accord, the spearhead of their premium challenge to Audiв?Ts A4 and BMWв?Ts 3 series. From proprietary Honda research, we knew that desirability, rather than rationality, was the most influential factor on sales in this specific automotive sector. Unfortunately, Hondaв?Ts are known for being reliable, well built and efficient, NOT desirable. To drive sales in this sector, we had to make the Accord appeal to the heart, not just the head. The target audience is a late 30s VW Golf/Audi A3 owner. They are ambitiously aspirational, with the emphasis on ambitious. Rather than fantasizing about their goals in life, they are not afraid of hard work and effort to get their desired results. They need to be challenged and rewarded for their hard work and effort.

HUMAN RACE

Type of Entry:	Use of Media
Category:	Best Use of Special Events and Stunt/Live Advertising
Title:	HUMAN RACE
Advertiser/Client:	NIKE
Product/Service:	NIKE+
Entrant Company:	R/GA New York, USA
Advertising Agency:	R/GA New York, USA

Creative Credits

Name	Company	Position
Nick Law	R/GA	Chief Creative Officer/North America
Nick Coronges	R/GA	Executive Technical Director
Robert Rasmussen	R/GA	Executive Creative Director
Cesar Marchetti	R/GA	Senior Visual Designer
Masha Ioveva	R/GA	Senior Interaction Designer
Donald Oliver	R/GA	Senior Producer
Thomas Chan	R/GA	Technology Team Lead/Solutions Architect
Jim Hord	R/GA	Creative Director
Natalie Lam	R/GA	Creative Director
Lee Walling	R/GA	Presentation Code Developer
Nauman Hafiz	R/GA	Senior Quality Assurance Analyst
Michael Mosley	R/GA	Senior Flash Developer/Solutions Architect
Jill Nussbaum	R/GA	Executive Creative Director
Wade Convay	R/GA	Associate Creative Director
James Kuo	R/GA	Senior Producer
Jordana Reim	R/GA	Producer
Josh Balik	R/GA	Senior Flash Developer
Vincent Dibartolo	R/GA	Senior Software Engineer
Can Misirlioglu	R/GA	Creative Director/Digital Studio
Heidi Miller	R/GA	Associate Director/Analytics

Results and Effectiveness:

Please see Confidential Information

Creative Execution:

The Nike+ Human Race 10K was the largest one-day running event in history, and the next evolution of the award-winning product, Nike+. Runners around the globe came together, both physically and virtually, to challenge and inspire each other. As Nikeв?Ts lead digital agency, we connected people to the race in the digital space and beyond. We created a digital platform which included registration, race and concert information. We developed tools to let users find and challenge other runners; utilities that helped people raise money for charity; media players with access to proprietary music mixes; video content featuring athletes and artists, housed on its own YouTube channel. And on race day, we made results available as they came in. Working with partner agencies, we also created concepts for on-site experiences like video booths and off-line ideas such as a commemorative book in which users could submit photos of their experience.

Insights, Strategy and the Idea:

In the unifying spirit of the Beijing Olympics, Nike wanted to create a historic event that would bring the entire world together, inspiring its active community of avid runners as well as inviting new runners to the sport. To do so, Nike developed something that was appealing to both audiencesв?"something that current runners would find challenging and engaging but which would be approachable enough for new runners. The Nike+ platform connected runners worldwide and made the Nike+ Human Race 10K a reality.

DANCE

Type of Entry:	Use of Media
Category:	Best Use of Special Events and Stunt/Live Advertising
Title:	DANCE
Advertiser/Client:	T-MOBILE
Product/Service:	T-MOBILE
Entrant Company:	SAATCHI & SAATCHI London, UNITED KINGDOM
Advertising Agency:	SAATCHI & SAATCHI London, UNITED KINGDOM
Media Agency:	MEDIACOM 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
Ashley Wallen		Choreographer
	Emi/Peer Music/Notting Hill/Universal	Music Company

Results and Effectiveness:

Itв?Ts had a staggering 13 million hits on Youtube, and counting. Itв?Ts the 12th most all-time viewed in the Entertainment category (Youtube UK). There are 44 facebook groups, the largest with 4,500 members. The T-Mobile Youtube Channel is the UKв?Ts 2nd most subscribed channel ever. Itв?Ts the most viewed commercial in the last 365 days on ViralVideoChart.com В?1.2 million worth of free media and press coverage National T-Mobile stores enjoyed record footfall. In a recession, T-Mobileв?Ts sales have grown a massive 52% from last year. 80% are customers spending at the top end of the market, В?30/month.

Creative Execution:

At 11am on 15th January a single commuter started dancing. Moments later hundreds more joined in, including hundreds of genuine members of the public. The Stationв?Ts commuter routine was broken as everybody there enjoyed a moment worth sharing. The public took out their mobile phones and shared what theyв?Td seen with calls, texts, photos and videos. The national press advertised the commercial as it became news in itв?Ts own right. It was covered on national TV news, national press, radio phone-ins and blogs. The Sun Newspaper described it as an в??epidemic of joyв??. The dance aired 36 hours later, in a full length peak ad break. It was simultaneously launched on T-Mobileв?Ts YouTube channel. It was spontaneously shared around the world. Over the next three months, the rushes were re-cut for brand and product TV, digital outdoor, online advertising, radio ads, Print & Poster, direct press and retail P.O.P.

Insights, Strategy and the Idea:

Many people distrust mobile operators. They resent having to take out 12 to 18 month contracts that feel unfair and restrictive. (And then watch better offers stream onto the market.) To make matters worse, 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 couldnв?Tt just tell people T-Mobileв?Ts new philosophy, we had to prove that, Lifeв?Ts for Sharing. By doing so, we had to add another 143k customers. Our focus was on a new, upmarket audience, likely to spend В?30 a month, as most of T-Mobileв?Ts existing customers spend only В?10 per month. We decided to create a live event so memorable that people just had to share it.

EBAY ATTACK

Type of Entry:	Use of Media
Category:	Best Use of Internet
Title:	EBAY ATTACK
Advertiser/Client:	AMNESTY INTERNATIONAL
Product/Service:	HUMAN RIGHTS
Entrant Company:	walker ZГ?rich, SWITZERLAND
Advertising Agency:	walker ZГ?rich, SWITZERLAND

Creative Credits

Name	Company	Position
Pius Walker	walker	Creative Director
Nik Hodel	walker	Art Director
Martin Arnold	walker	Copywriter
Adrian Fluri	walker	Account Manager
Stella Jegher	Amnesty International	Marketing Manager

Results and Effectiveness:

One day after its launch, the eBay attack was the cover story of Switzerlandв?Ts largest print media. The message spread quickly and within 48 hours, thousands of people had already signed the online petition against slavery. The eBay campaign generated countless media contacts on the internet. Thousands of news portals, including Spiegel.de, ORF, Yahoo News, MSN, Washington Post and the New York Times wrote about it. The topic was discussed in over a hundred blogs. But the campaign accomplished even more than its purpose: in 2009, a peopleв?Ts initiative will be launched in Switzerland to protect women against human trafficking.

Creative Execution:

With the help of 188 Amnesty activists, we launched an overnight offensive, planned to the last detail. We used eBay to get our message across: In hundreds of live auctions, we offered women for sale. The message was always put into context of the respective product category. A closer look and the consumer discovered the adв?Ts true meaning and realized how shockingly easy it is to buy a woman these days.

Insights, Strategy and the Idea:

Every year, an estimated 2 million women and young girls are victims of trafficking. The tragic fact is that it is now possible for virtually anyone to buy a woman. Amnesty Internationalв?Ts task is to bring to our attention this outrageous violation of human rights. In order to inform the public about modern slavery we created a media campaign on the worldв?Ts largest auction platform.

CLEAN THE COMMENTS

Type of Entry:	Use of Media
Category:	Best Use of Internet
Title:	CLEAN THE COMMENTS
Advertiser/Client:	SCHESTOWITZ
Product/Service:	COLGATE PROFESSIONAL CLEAN
Entrant Company:	SHALMOR AVNON AMICHAY/Y&R INTERACTIVE TEL AVIV, ISRAEL
Advertising Agency:	SHALMOR AVNON AMICHAY/Y&R INTERACTIVE TEL AVIV, ISRAEL

Creative Credits

Name	Company	Position
Gideon Amichay	Shalmor Avnon Amichay\ Y/R Interactive Tel Aviv	Creative Director
Eran Gefen	Shalmor Avnon Amichay\ Y/R Interactive Tel Aviv	Creative Director
Lena Feldman	Shalmor Avnon Amichay\ Y/R Interactive Tel Aviv	Art Director
Roy Cohen	Shalmor Avnon Amichay\ Y/R Interactive Tel Aviv	Copywriter
Racheli Ben Avi	Shalmor Avnon Amichay\ Y/R Interactive Tel Aviv	Supervisor
Adam Avnon	Shalmor Avnon Amichay\ Y/R Interactive Tel Aviv	Supervisor
Dima Patt	Shalmor Avnon Amichay\ Y/R Interactive Tel Aviv	Flash Designer
Rona Rozental	Shalmor Avnon Amichay\ Y/R Interactive Tel Aviv	Account Executive
Shiran Chen	Shalmor Avnon Amichay\ Y/R Interactive Tel Aviv	Account Executive
Michal Karny	Shalmor Avnon Amichay\ Y/R Interactive Tel Aviv	Account Executive

Results and Effectiveness:

The campaign message spread like wild fire: Over 2.000.000 unique surfers were exposed to the message and actively participated in cleaning the talkbacks. 29,163 different comments were cleaned.

Creative Execution:

Using a unique technology, we created an innovative banner which opened up on top of the comments and allowed surfers to white out the dirty words in the comments with toothpaste strips. After the cleaning the following message appeared: Colgate Total Professional Clean- keeps your mouth clean. Actually, the banners not only allowed surfers to clean the comments; In addition, the Colgate's toothpaste strips, which appeared in the talkbacks' headlines acted as teasers and attracted other surfers to open the comments. As more comments were cleaned, more teasers were created and thus the surfers' activity widened our promotion.

Insights, Strategy and the Idea:

Colgate wanted to promote its new toothpaste, Colgate Total Professional Clean, via the internet. They asked us to emphasize the deep cleaning qualities of the toothpaste and to find a unique and special way to promote it. Internet comments (talkbacks) have become a part of the surfing culture all over the world and in our country millions of them are written each day. Often these comments include inappropriate and offensive words. Based on this insight we decided to help surfers avoid these words- we enabled them to clean up the comments!

STEALTH SOUND

Type of Entry:	Use of Media
Category:	Best Use of Other Digital Media including mobile devices
Title:	STEALTH SOUND
Advertiser/Client:	FANTA/COCA-COLA
Product/Service:	FANTA
Entrant Company:	OGILVY LONDON, UNITED KINGDOM
Advertising Agency:	OGILVY LONDON, UNITED KINGDOM
Media Agency:	VIZEUM UK London, UNITED KINGDOM

Creative Credits

Name	Company	Position
Jon Morgan	Ogilvy London	Copywriter
Mike Watson	Ogilvy London	Art Director
Alasdair Graham	Ogilvy London	Creative Director
Prinz Mathew Pinakatt	Fanta/Coca-Cola	Group Interactive Marketing Manager Europe
Carly O'connor	Fanta/Coca-Cola	Senior Brand Manager Fanta Uk
Charlotte Lawrence	Ogilvy London	Producer
Scott Seaborn	Ogilvy London	Mobile Producer/Head Of Mobile
Kim Parrett	Ogilvy London	Producer
Tom Shattock	Ogilvy London	Account Supervisor
Stephanie Tuesley	Ogilvy London	Planner
Liz Lebreton	Ogilvy London	Account Manager
Martyn Ware	Sonic Id	Sound Engineer
	Xs2theworld	Developers
	Mustard	Production Company
Tim Jones	Ogilvy London	Junior Planner
Anne Fuell	Ogilvy London	Account Director
Nick Angell	Angell	Sound Studio
Chris Langley	Vizeum Uk	Planning Manager

Results and Effectiveness:

в??It helped us become part of a community and the community are teenagers, so itв?Ts brilliant. Itв?Ts the perfect tool to represent what Fanta stands for в?" to overcome adulthood and boredom and give our core target group a way to communicate with each other without the rest of the world knowing. So, I mean, how cool is that?в?? -Prinz M. Pinkakatt, Group Interactive Marketing Manager, Coca Cola Europe. The wap site had 75,000 hits in the first week. Directions to the wap site and application feature on over 50 million cans. The viral has already had 600,000 views. (These figures will be updated on 1st may 2009).

Creative Execution:

Fanta Stealth Sound System - a mobile application that utilises high frequency sounds to allow teens to communicate without adults listening in. The application lives on a Fanta branded wap site. On-pack labelling and a viral film were created to drive teens to the wap site and download the application. In-store radio was also used to drive teens to purchase Fanta and engage with the on-pack messaging. The radio advert was the worldв?Ts first в??silentв?T ad в?" making perfect sense to teens and baffling adults by using the same high-pitched sounds to finish off sentences. The ads played out in shopping malls в?" the same place the noises were first used to deter loitering teens.

Insights, Strategy and the Idea:

Teens are fundamentally important to Fanta. Mobile phones are vitally important to teens. Fanta wanted to look at the mobile platform in its broadest sense and create something that not only championed the core brand values of в??PLAYв?T, but also gave teens something they need. Teens are never separated from their friends or their mobiles; theyв?Tre in a state of constant communication. They want to talk freely, without adults listening in. Itв?Ts a little known fact that teens can hear higher pitch frequencies than adults. In some parts of the UK these frequencies are used against them as ultrasonic alarms, to deter them from public spaces. In a playfully subversive way, Fanta flipped this technology on its head; creating a mobile application which gives teens an imaginative new language of secret sounds, that adults canв?Tt hear.

GOSSIP GIRL

Type of Entry:	Use of Media
Category:	Best Use of Other Digital Media including mobile devices
Title:	GOSSIP GIRL
Advertiser/Client:	THE CW NETWORK
Product/Service:	TELEVISION PROGRAMME
Entrant Company:	OMD New York, USA
Advertising Agency:	RINGLEADER DIGITAL New York, USA
2nd Advertising Agency:	MANGO MOBILE New York, USA
Media Agency:	OMD New York, USA

Creative Credits

Name	Company	Position
Jackie Stasi	OMD	Group Account Director
Matthew Ross	OMD	Associate Group Director
Elisa Dao	OMD	Strategy Supervisor
Susie Vye	OMD	Group Account Director
Jamie Wells	OMD	Ignition Factory/Mobile Leader
Rolanda Gregory	Mango Mobile
Bob Walczak	Ringleader Digital
Tanya Davies	Quattro Wireless	Sales Director

Results and Effectiveness:

The season two premiere of Gossip Girl outperformed the 2007 season average by 44% in Adults 18-34 and 35% in total viewers в?" its best ratings ever with Adults 18-34, Women 18-34 and Women 18-49. It averaged 3.4MM viewers, 1MM viewers higher than last season's average, beating out ABC, CBS and NBC. According to Nielsen ratings, The CW was the #1 network among Women and all adults 18-34. The campaign garnered a record number of widget and application downloads, and thousands of hits and friends on CW community pages. We exceeded expectations with a total of 30,902 participants, 11884 total opt-ins and 26501 total IVR calls.

Creative Execution:

Reaching viewers in an unprecedented way via mobile, we took audience engagement a step further by offering text messages from THE Gossip Girl herself in real-time during the showв?Ts pivotal moments. Once viewers opted in, they received texts that synched up with dialogue happening on-air. The texts provided show commentary and a truly unique viewing experience as fans received real gossip from the showв?Ts eponymous character. We peppered the mobile campaign with a variety of online efforts, including a в??get gossipв?? widget aligning with People Magazineв?Ts RSS Feed and promoted on such key websites as The CW, MySpace and Facebook; Web banners driving traffic to the mobile application on The CW websiteв?Ts mobile platform; and promotion on the Gossip Girl page of CWTV.com. And for the first time ever, we utilized Doubleclickв?Ts Dart for Advertisers to provide third-party visibility into the performance of the mobile web campaign.

Insights, Strategy and the Idea:

To the fans (women 18-34) of The CW Networkв?Ts popular Gossip Girl, itв?Ts not just a show, itв?Ts a lifestyle. Charactersв?T clothes become fashion must-haves and hip texting lingo like в??OMG!в?? is incorporated into everyday vernacular. We needed to continue the buzz for the showв?Ts second season among the hard-to-impress Young Adults в?" pushing the envelope to achieve more cultural permeation and ratings success. Our goals were to drive viewership by 20% over 2007, raise awareness from last season's average of 2.3 million viewers and allow viewers to interact with the endemic qualities of Gossip Girl in a new and enticing way. We capitalized on the loyal following to the trendsetting Gossip Girl, bringing fans closer than they ever dreamt possible to the showв?Ts characters. There was only one communication method sure to generate instant response and buzz: cellphones. Our media-first mobile idea engaged the audience and drove live-interaction during the show.

LET IT RING

Type of Entry:	Use of Media
Category:	Best Use of Other Digital Media including mobile devices
Title:	LET IT RING
Advertiser/Client:	OVK/PARENTS OF CHILD ROAD VICTIMS
Product/Service:	ROAD SAFETY MESSAGE
Entrant Company:	HAPPINESS BRUSSELS, BELGIUM
Advertising Agency:	HAPPINESS BRUSSELS, BELGIUM

Creative Credits

Name	Company	Position
Karen Corrigan/Gregory Titeca	Happiness Brussels	Creative Management
Gregory Titeca/Oudaha Mohamed	Happiness Brussels	Creative Director
Tom Galle/Ramin Afshar	Happiness Brussels	Creation
Sebastiaan Weyler	Bliss Interactive	Interactive Director
	Garagetv	Production
	Paratel	Production

Results and Effectiveness:

People saw the direct consequences of their actions, and we made them remember one message: Let it ring... We got the attention of thousands of persons, in only 2 weeks after launch. Numerous newspapers and blogs spread the message. And the campaign is still running...

Creative Execution:

Through a partnership with Belgiumв?Ts most used video sharing website, GarageTV, we turned what seemed a normal internet video into an interactive experience. On the website www.letitring.be, anyone can send this video to their friends, by giving their e-mail address and cellphone number. Their friend receives an e-mail with a link suggestion to what seems a typical internet movie. What his friend doesnв?Tt know, is that he is playing the main part in it. When he is watching the video, his cellphone starts ringing. If he picks up, he generates an accident in the viral movie.

Insights, Strategy and the Idea:

Calling and driving is responsible for more and more accidents a year in Belgium. OVK в?" Parents of Child Road Victims в?" wanted to make people aware of the danger. For people whoв?Tve never experienced a road accident, calling and driving doesnв?Tt seem like something harmful. We wanted people to experience the direct consequences of their actions. An accident is always unexpected, therefore we choose an unexpected way to communicate our message.

AUSTRALIA'S MOST LOVED SONGS

Type of Entry:	Use of Media
Category:	Best Use of Sponsorship
Title:	AUSTRALIA'S MOST LOVED SONGS
Advertiser/Client:	McDONALD'S
Product/Service:	AUSTRALIAN IDOL
Entrant Company:	OMD Sydney, AUSTRALIA
Media Agency:	OMD Sydney, AUSTRALIA

Creative Credits

Name	Company	Position
Melissa Mullins	OMD Australia	Senior Communications Manager
Joanne Liddell	OMD Australia	Director Of Sponsorship/Partnerships And Events
Alistair Henderson	OMD Australia	Fuse Australia Director
Karen Burchall	OMD Australia	Tv Trading Manager
Natalie Redford	OMD Australia	National Account Manager

Results and Effectiveness:

Transformed the sponsorship for consumers... в?ўNumber 1 sponsor in 2008, 43% higher than any other brand mentioned. в?ў61% of 16-39 year olds who watched Idol regularly agreed в??McDonaldв?Ts is a brand for people like meв?T, against 53% of total 16-39в?Ts. в?ўYear on year sales increased by over 16%. в?¦and client: в??в?¦we really had a job to do, to use this property more effectively... linking it more directly to our brand, being more focused, and truly engaging the viewers... You have totally delivered on these objectives, with seamless integration and outstanding results...в?? National Media & Sponsorship Manager, McDonaldв?Ts.

Creative Execution:

We conducted a nationally representative survey to find Australiaв?Ts top ten favourite songs of all time. We then challenged the Idol audience to guess the order for their chance to win $50,000. We released a clue on Australian Idol each week to help our audience solve the puzzle and another in NW magazine. There was also the opportunity to receive the clues direct to your mobile. The в??Australiaв?Ts Most Loved Songsв?T promotion was brought to life on the show and each of the Idols told us what they thought the number one song would be. They also discussed their personal favourites on the website. When it finally came to revealing the order of the top ten and the ultimate winner of the major cash prize, the Australian Idols and judges sang each song in an entertaining 10 to 1 countdown.

Insights, Strategy and the Idea:

2008 was McDonaldв?Ts sixth year as a major sponsor of Australian Idol. With audience figures dwindling, McDonaldв?Ts recognised that they needed to make their sponsorship dollars work harder and move from being the third most recalled sponsor to number one. McDonaldв?Ts had a strong advertising presence that aimed to re-connect consumers with the things that they loved about their McDonaldв?Ts experience, and in turn increase overall sales of their core menu: Big Mac, Fries and Sundaes. Our strategy was to bring the sentiment of that campaign to life for our core 16-39 Idol audience. We soon discovered that when we asked them about the music, there was a wealth of personal experiences and memories that they were passionate about sharing. By asking people to think about their most loved song, we were able to focus our presence in Australian Idol and seamlessly connect with the above-the-line advertising.

LET'S GROW

Type of Entry:	Use of Media
Category:	Best Use of Sponsorship
Title:	LET'S GROW
Advertiser/Client:	MORRISONS
Product/Service:	SUPERMARKETS
Entrant Company:	MEDIAEDGE:CIA London, UNITED KINGDOM
Media Agency:	MEDIAEDGE:CIA London, UNITED KINGDOM

Creative Credits

Name	Company	Position
Ann Wixley	Mec Access	Activation Director
Sarah Heyworth	Mediaedge:cia	Client Services Director
Michael Bates	Morrisons	Marketing Director
Anna Hancock	Mediaedge:cia	Business Director
Sandya Piyasena	DLKW	Board Account Planner
Claire Hunt Candi	DLKW	Planning Director
Adrian Thomas	Billington Cartmell	Director
Paul Mcaffrey	Lexus Pr	Account Director
Mark Fawcett	National Schools Partnership	Chief Executive
Ian Egginton-Metters	Federation Of City Farms And Community Gardens (fcfcg)	Assistant Director
Bill Graham	Farming And Countryside Education (face)	Executive Director

Results and Effectiveness:

Letв?Ts Grow has involved more schools, more seeds and more sales than could ever have been anticipated. Within three months, 18,000 primary schools had signed up (over 85% of primary schools across the country), shattering the initial target of 6,000 schools. So far, there have been over 40m vouchers redeemed (with some even traded on eBay), 15,115 equipment orders and 166 press articles with 150 MPs applying to visit participating schools. The success has equated to В?1.1m additional weekly sales during the voucher redemption period, driving 2 million extra visitors in-store and creating significant ROI (6:1) compared to marketing investment.

Creative Execution:

Research demonstrated that Morrisons в??freshв?T programme should engage families and local communities by supporting primary schools. After thorough analysis of competitor activity in and out of store, we found open territory in an idea rooted in food and the environment. We conceived Letв?Ts Grow в?" a ground-breaking programme to help children grow fresh fruit and vegetables via an instore voucher scheme. Letв?Ts Grow enabled children to redeem vouchers for в??growing kitsв?T to experience the journey в??from seed to plateв?T in their own classrooms. Families collected vouchers for their local school with every В?10 purchase at Morrisons. Central to Letв?Ts Grow was an online interactive hub, which became the main interface between Morrisons and the participating schools. To promote Letв?Ts Grow, a two-tier marketing campaign was launched targeting teachers (below-the-line) and consumers (above-the-line, fronted by celebrity gardener Diarmuid Gavin and supported by key government bodies) to encourage online programme registration.

Insights, Strategy and the Idea:

Objective: Following its acquisition of the Safeway franchise, Morrisons looked to change consumer perceptions south of Scotland and broaden its appeal. With its greengrocer heritage, Morrisons was keen to bring its Fresh Choice for You proposition to life, engage local communities and to increase shopper loyalty amongst its core audience of 25-40 year-old mums. Insight: A traditional advertising campaign was insufficient to shift brand perceptions. To promote its brand proposition, Morrisons needed to demonstrate в??freshв?T in a tangible, engaging and real-life way. Idea: To capture the imagination of the nationв?Ts children, educate them on the origins of their food, enable them to grow their own food at school and inspire healthy eating. Solution: Morrisonsв?T Letв?Ts Grow campaign linked primary schools with an instore voucher scheme that enable children to redeem vouchers for в??growing kitsв?T. These provided schools with everything from seeds and spades to greenhouses.

WATCH YOUR OWN HEART ATTACK

Type of Entry:	Use of Mixed Media
Category:	Use of Mixed Media
Title:	WATCH YOUR OWN HEART ATTACK
Advertiser/Client:	BRITISH HEART FOUNDATION
Product/Service:	HEART & CIRCULATORY DISEASE CHARITY
Entrant Company:	GREY London, UNITED KINGDOM
Advertising Agency:	GREY London, UNITED KINGDOM
Media Agency:	PHD MEDIA London, UNITED KINGDOM

Creative Credits

Name	Company	Position
Jon Williams	Grey London	Chief Creative Officer
Damon Troth	Grey London	Creatives
Joanna Perry	Grey London	Creatives
Neil Hourston	Grey London	Chief Strategy Officer
Peter Zezulka	Grey London	Planner
Rhona Cairns	Grey London	Account Director
Zoe Farquhar	Grey London	Account Manager
Rebecca Pople	Grey London	Producer
Andrew Blackburn	Grey London	Producer
Juliet Naylor	RSA	Producer
Brett Foraker	RSA	Director
Adam Rudd	Final Cut	Editor
Rich Martin	Envy	Sound
Mark Cakebread	Grey London	Typographer
Colin Etherington	Grey London	Project Manager
Daniel Savidge	Grey London	Project Manager
Jill Young	Grey London	Art Buyer
Sean Meikle	PHD	Media Planner

Results and Effectiveness:

The event was watched by more than six million people - higher ratings than the show it was placed in. There was a 24% increase in concern and more people now phone 999 immediately, if they suspect a heart attack. There was an increased awareness of symptoms. 62% of people who saw the campaign said they would find out more information, while 64% said they discussed/shared parts of the campaign with loved ones. The best endorsement is BHF who have received personal letters of thanks from individuals citing this campaign as having saved their life or a life of loved ones.

Creative Execution:

A phased approach of media channels was employed: - National press weekend supplements, TV listings and outdoor and ambient media invited the public to в??Watch Your Own Heart Attackв??, billed as в??the most important two minutes of TV youв?Tll ever seeв??. - Personalities such as Chris Tarrant and David Cameron stating в??Iв?Tll be watchingв?? in 10 second advertisements appeared on TV, radio, online, roaming ad vans, and via ITVв?Ts interactive red button service. - Heavyweight PR generated significant national and regional coverage. - 2minutes.org.uk hosted 10-second teasers featuring well known personalities and offered mobile or email reminders of the broadcast pre-event. -Following the broadcast, the TV event was available for red button viewing for two weeks, at 2minutes.org.uk and via YouTube. -Online, press and ambient advertisements were also used to encourage those who had seen the event to share it with their loved ones.

Insights, Strategy and the Idea:

One in three heart attack victims die before they reach hospital, mostly because they don't recognize the symptons and delay seeking medical assistance. The single best way for people to recognise heart attack symptoms is to experience them for themselves. This campaign allowed people to experience their very own heart attack in the safety of their living rooms, so they were better prepared if it happened for real. The solution was the TV event в??Watch Your Own Heart Attackв?T. This two-minute film, shot from the viewerв?Ts perspective, saw Steven Berkoff vividly make the viewer suffer the common symptoms of a heart attack. Screened only once, and uniquely solus in break, at 9.17pm on Sunday August 10th, this was appointment to view television backed by an integrated campaign to create national anticipation. 6 million tuned in to have their own heart attack. Viewing figures actually went up in the break.

TO SHAVE OR NOT

Type of Entry:	Product & Service
Category:	Fast Moving Consumer Goods
Title:	TO SHAVE OR NOT
Advertiser/Client:	GILLETTE & PROCTER & GAMBLE
Product/Service:	GILLETTE MACH 3
Entrant Company:	MEDIACOM MEDIA INDIA Mumbai, INDIA
Media Agency:	MEDIACOM MEDIA INDIA Mumbai, INDIA

Creative Credits

Name	Company	Position
Nihar Das	Mediacom
Anupama Biswas	Mediacom
Prasanna Kumar	Mediacom	Group Head
Pinaki Dutt	Mediacom	Director
Neelkamal Sharma	Mediacom
Alka Pillai	Mediacom	Senior Business Director
Mandir Tendolkar	Mediacom
Harsha Joshi	Mediacom
Sumeet Vohra	Procter And Gamble India	Marketing Director
Archana Aggarwal	Procter And Gamble India	Country Media Manager
Divya Gururaj	Mediacom	Managing Director

Results and Effectiveness:

A record sales increase of 38%. Awareness doubled! Trial increased by 400%! Market share increased by 35%. And 12.2 million Indians voted for a clean shave. в??The program has been a very innovative, business building program that has had impact on brand equity and trial. An inspiring combination of educating and entertaining the consumer. This program has helped Gillette achieve leadership in the blades segmentв??. - Sumeet Vohra, Marketing Director, P&G India в??Well done. Great idea and excellent execution. Clearly a big driver of the record Mach3 shareв??. -Shantanu Khoshla, Managing Director, P&G India

Creative Execution:

First, we piqued the nationв?Ts interest by commissioning the first ever Nielsen survey on the countryв?Ts attitudes to shaving. Research highlighted a series of controversial points. Were clean-shaven men more successful? Did the nation prefer clean-shaven celebrities? And the big one: did women prefer clean-shaven men? The provocative results created immediate interest and hit primetime news. As expected, people were ready with their point of view! And the Great Indian Shaving Debate was on. For 8 weeks, leading TV news and radio stations ran celebrity interviews, panel discussions and news stories. Newspapers and menв?Ts magazines carried editorial features and reader polls. In a PR event, Bollywood stars shaved off their famous stubbles in front of the media. Live polling conducted in malls, gyms, cinemas and offices kept the debate raging, and offered men a chance to trial the product. All media directed people to www.toshaveornot.com to cast their vote.

Insights, Strategy and the Idea:

The Indian manв?Ts traditional shaving device, the double-edged razor, could not be dislodged by newer and better shaving systems like the Gillette Mach3. The Gillette Mach3 is 10 times more expensive, and, despite being able to afford it, Indian men did not consider shaving to be a significant enough activity to justify such a premium. As a result, after a decade of presence in India, Gillette Mach3в?Ts trials and sales were flat. For men to rationalize the price premium and switch to the Mach3, the real challenge lay in combating menв?Ts inertia and indifference to shaving. Our insight was that we needed to spark a national debate, recognizing Indian menв?Ts love for voicing their opinions on everything. We needed to get shaving out of the bathroom and into the living-room, chat-rooms and conversations. We developed a platform for the campaign: в??India Votesв?¦ to shave or notв??.

WORLD'S FIRST EPHEMERAL MUSEUM

Type of Entry:	Product & Service
Category:	Fast Moving Consumer Goods
Title:	WORLD'S FIRST EPHEMERAL MUSEUM
Advertiser/Client:	DIAGEO PORTUGAL
Product/Service:	PAMPERO RUM
Entrant Company:	LEO BURNETT LISBOA, PORTUGAL
Advertising Agency:	LEO BURNETT LISBOA, PORTUGAL
2nd Advertising Agency:	ARC WORLDWIDE LISBOA Lisbon, PORTUGAL

Creative Credits

Name	Company	Position
Chacho Puebla	Leo Burnett Lisboa	Creative Director
Juan Christmann	Leo Burnett Lisboa	Copywriter
Ricardo Toledo	Leo Burnett Lisboa	Art Director
Cristina Almeida	Leo Burnett Lisboa	Production Director
AntГ?nio Junior	Leo Burnett Lisboa	Graphic Producer
AntГ?nio Franca	Leo Burnett Lisboa	Graphic Producer
InГЄs Almeida	Leo Burnett Lisboa	Account Director
Francisco Silva	Leo Burnett Lisboa	Account Executive
Federico Bosch	Arc WW Lisboa	Digital Producer
Tura	Leo Burnett Lisboa	Creative Advisor
Monica Rocha	Arc WW Lisboa	Digital Producer
Hugo Lage	Leo Burnett Lisboa	Av Producer

Results and Effectiveness:

With an annual budget of only в'¬ 30.000 we generated visibility of more than в'¬ 240.000. According to Millward Brown in a few months Pampero reached the sales expectation for the whole year, duplicated the Trial, and triplicated the Top of Mind. Pampero matched his competitor in sales and in awareness. Remarcable considering that the competitor is in the market for 15 years. Quickly we had way more visitors than any museum around. Hundreds of articles around the globe talked about it. Including several tourist guides. The brand is working to open new galleries in Italy, Spain, France and UK.

Creative Execution:

First we made MUSEUEFEMERO.COM, a site with all the material needed to enjoy the Ephemeral Museum. The site is constantly updated and soon became a cult place where artist and people interested in street art share opinions, information and fresh pieces of art. For the inauguration day, jornalist received a diferent direct marketing: a tile (typical on portoguese walls) decorated with a piece of street art. We also made happenings in bars presenting different artist painting live, to promote the museum. The Ephemeral Museum was communicated traditional media too. Such as magazines, online, and with posters in every bar and street in Bairro Alto.

Insights, Strategy and the Idea:

We had a challenge. To launch Pampero rum in Portugal, a place where rum is for old and boring people. We nedeed to make Pampero cool. For this porpoise, we focused on the social tribe who named themselves as INDIE. Why them? because theyв?Tre opinion leaders and trendsetters. They say what is cool and whatв?Ts not. So, if they say Pampero is cool, everybody will follow them. The job is done. Traditional advertising just doesnВ?t get to this people, art does. Using Pampero FundaciГ?n, a foundation that supports alternative artists, weв?Tve created the worldВ?s first Ephemeral Museum. First, the best pieces of street art at the Bairro Alto district were tagged. Then we created a website where you can download an audio-guide and a map with the pieces location. So you can go out with your mp3 player and walk the museum streets.

REINVENTING THE MAGAZINE

Type of Entry:	Product & Service
Category:	Cars & Automotive Services
Title:	REINVENTING THE MAGAZINE
Advertiser/Client:	LEXUS USA
Product/Service:	2010 LEXUS RX
Entrant Company:	TEAM ONE El Segundo, USA
Advertising Agency:	TEAM ONE El Segundo, USA

Creative Credits

Name	Company	Position
Paul Silverman	Team One	Executive Media Director
Jason Harrington	Team One	Group Media Director
Rebecca Foster	Team One	Associate Media Director
Chris Graves	Team One	Chief Creative Officer
Jon Pearce	Team One	Group Creative Director
Jason Tucker	Team One	Art Director
Schuyler Vanden Bergh	Team One	Copywriter
Jeanna Duff	Team One	Account Executive
Susie Lyons	Team One	Senior Strategic Planner
Meg Seiler	Team One	Director Of Public Relations
Daphne Adair	Team One	Account Supervisor
Alyssa Jones	Team One	Account Executive
Mary Miyoshi	Team One	Senior Print Production Manager
David Nordstrom	Lexus	Vice President/Marketing
Deborah Senior	Lexus	Corporate Manager/Advertising/Brand/Product Strategy
Steve Jett	Lexus	National Manager/Marketing Communications
Teri Hill	Lexus	Media Manager
Mariko Kusumoto	Lexus	Advertising Manager
Susan Trout	Time Inc.	Vice President/Corporate Sales
Lance Mald	Time Inc.	Chief Creative Officer

Results and Effectiveness:

At the time of submission, the в??mineв?? program had just launched, having been in market a mere two weeks. But the response has been phenomenal: 85% fulfilment (goal was 95% at 3 months), with 17% opt-in for more information on Lexus (compared to a benchmark 9%). The news media has reacted with similar enthusiasm, with over 500 media outlets reporting on в??mineв??, generating 235+ million media impressions. Since launch, dozens of marketers have contacted Time, Inc. to see how they can participate in this groundbreaking reinvention of the magazine platform.

Creative Execution:

To bring the idea of the unique driver to life, we didnв?Tt simply put ads in a magazine в?" we created a new magazine. A multi-platform, first-ever, reader-customized magazine named в??mineв??. We partnered with Time, Inc. to offer readers self-selected content from eight Time, Inc. publications. In-book and online promotional units across Time, Inc. properties drove readers to a signup website, where they could easily select their content and delivery format: print, digital, RSS feed via downloadable widget, or mobile reader. Once selected, the first of five в??on-demandв?? issues reached the reader in just 2-3 weeks. As the sole advertiser, the four Lexus RX ads in each of the five issues were also customized to the subscriber, based on information they supplied at sign-up. The capacity to create over 4 million unique ads, with no two issues alike, is what makes в??mineв?? so remarkable.

Insights, Strategy and the Idea:

First launched in 1998, the Lexus RX established the category of luxury, compact SUVs. Eleven years later, it was beginning to lose its edge amongst the competition. To launch the all-new, 2010 RX, we needed to reinvent a distinctive point of view. Our target в?" affluent, busy parents in their mid-30s to mid-40s -- like technology, but donв?Tt necessarily like, or have the time, to figure it all out. We decided to frame the features and systems of the car as attributes that relate directly to the way people really live their lives. In other words, completely inspired by the driver. When it came to print, Lexus needed to act, not just talk, in a way that conveyed a deep appreciation of the consumer as a unique individual. So to celebrate a driver-inspired vehicle, we created a reader-inspired magazine.

WE LIVE TO TELL STORIES

Type of Entry:	Product & Service
Category:	Cars & Automotive Services
Title:	WE LIVE TO TELL STORIES
Advertiser/Client:	LAND ROVER
Product/Service:	LAND ROVER
Entrant Company:	WUNDERMAN BRAZIL Sao Paulo, BRAZIL
Advertising Agency:	WUNDERMAN BRAZIL Sao Paulo, BRAZIL

Creative Credits

Name	Company	Position
Eco Moliterno	Wunderman	Creative Vice President
Adilson Batista	Wunderman	Executive Vice President
Adriano Abdalla	Wunderman	Creative Director
Rodrigo Jatene	Wunderman	Creative Director
Fabiana Baraldi	Wunderman	Media Director
Fernando Teixeira	Wunderman	Account Director
Rodrigo Jatene	Wunderman	Art Director
Adriano Abdalla	Wunderman	Copywriter
Marcelo Zampini	Wunderman	Art Director
Renato DuГ?	Wunderman	Copywriter
Caroline Sales	Wunderman	Media Coordinator
JoГ?o Lima	Wunderman	Producer
Michel Gubeissi	Wunderman	Director
Guilherme MГcdici	Wunderman	Designer
Daniel Lacroce	Wunderman	Designer
Bruno Parlato	Wunderman	Designer
Rafael Willians	Wunderman	Designer
Fernando Drudi	Wunderman	Designer
Rodrigo Cavalcanti	Wunderman	Copywriter

Results and Effectiveness:

With our program we impacted 4.6 millions people on TV. Since the channel has a predominantly class A viewership, we reached an important segment of possible Defender purchasers with a relevant message. More importantly: the demand for test drives at the dealerships had a significant boost, culminating with a 98% increase in Defender sales in March 2009.

Creative Execution:

Many off-road vehicles sell attributes like durability, performance and power. But how many deliver emotional attributes? Based on that, we set aside the unquestionable quality of the Land Rover and launched a brand entertainment action involving TV, direct marketing, a web site, online and offline campaigns; it all started with a mini-series on Discovery Travel & Living, a channel with a great appeal to the target. With the concept - We Live to Tell Stories - we wanted to do more than just show the vehicle's features. We wanted to position the brand with an emotional appeal that would leave the residual feeling that on board a Land Rover Defender we all become storytellers and protagonists of our own stories.

Insights, Strategy and the Idea:

Launch the new Defender and celebrate the 60-year history of Land Rover using an innovative mix of online and offline channels.

DANCE

Type of Entry:	Product & Service
Category:	Commercial Public Services
Title:	DANCE
Advertiser/Client:	T-MOBILE
Product/Service:	T-MOBILE
Entrant Company:	MEDIACOM London, UNITED KINGDOM
Advertising Agency:	SAATCHI & SAATCHI London, UNITED KINGDOM
2nd Advertising Agency:	FREUD COMMUNICATIONS London, UNITED KINGDOM
Media Agency:	MEDIACOM London, UNITED KINGDOM

Creative Credits

Name	Company	Position
Anna Berry	Mediacom	Associate Director
Stephen Ward	Mediacom	Media Manager

Results and Effectiveness:

Handset sales went up 22% during launch week Store footfall in January was the highest ever for T-Mobile Retargeting people whoв?Td seen the brand ad online with a sales message improved response by a factor of three The viral nature of the dance content ensured that over 10m people viewed online Search volumes on в??T-Mobileв?? went up by 38% during the campaign Our YouTube channel had more subscribers than any other in January

Creative Execution:

T-Mobileв?Ts new brand positioning is в??Lifeв?Ts For Sharingв??, based on the insight that the mobile phone helps us share the unexpected things that happen to us everyday with our friends and family. We needed to launch this idea to a broad target audience, with a specific requirement to drive word-of-mouth about T-Mobile. Our strategy centred on creating highly-talkable content, building a community around the content, and making it easily shareable using digital and social networks. The agency team created a dance event that would give commuters something unexpected to participate in and share, and which would make great content that a much wider audience would want to share with their friends. We then used a combination of broadcast and on-line, editorial and advertising, to ensure that millions of people joined in with the sharing, creating a genuine word-of-mouth phenomenon.

Insights, Strategy and the Idea:

THE WORLDВ?S FIRST IN-EAR COMMERCIAL

Type of Entry:	Product & Service
Category:	Healthcare & Medical
Title:	THE WORLDВ?S FIRST IN-EAR COMMERCIAL
Advertiser/Client:	NEUROTH
Product/Service:	HEARING AID CHECK
Entrant Company:	JUNG von MATT Vienna, AUSTRIA
Advertising Agency:	JUNG von MATT Vienna, AUSTRIA

Creative Credits

GOSSIP GIRL

Type of Entry:	Product & Service
Category:	Publications & Media
Title:	GOSSIP GIRL
Advertiser/Client:	THE CW NETWORK
Product/Service:	GOSSIP GIRL TELEVISION PROGRAMME
Entrant Company:	OMD New York, USA
Advertising Agency:	RINGLEADER DIGITAL New York, USA
2nd Advertising Agency:	MANGO MOBILE New York, USA
Media Agency:	OMD New York, USA

Creative Credits

Name	Company	Position
Jackie Stasi	OMD	Group Account Director
Matthew Ross	OMD	Associate Group Director
Elisa Dao	OMD	Strategy Supervisor
Susie Vye	OMD	Group Account Director
Jamie Wells	OMD	Ignition Factory/Mobile Leader
Rolanda Gregory	Mango Mobile
Bob Walczak	Ringleader Digital
Tanya Davies	Quattro Wireless	Sales Director

Results and Effectiveness:

Creative Execution:

Insights, Strategy and the Idea:

13 REASONS WHY

Type of Entry:	Product & Service
Category:	Publications & Media
Title:	13 REASONS WHY
Advertiser/Client:	PENGUIN BOOKS
Product/Service:	THIRTEEN REASONS WHY
Entrant Company:	GREY NEW YORK, USA
Advertising Agency:	GREY NEW YORK, USA

Creative Credits

Name	Company	Position
Tor Myhren	Greynyc	Chief Creative Officer
Don Mckinney	Greynyc	Exec Cd
Fran Sheff-Mauer	Greynyc	Cd/Art Director
Elaine Mccormick	Greynyc	Cd/Writer
Karla Bussell	Greynyc	Writer
Regan Meader	Greynyc	Digital Strategist
Nick Childs	Greynyc	Exec. Producer
Denise Rasberry	Greynyc	Producer
Nick Childs	Grey Nyc	Director
Mickey Perez	Greynyc	Associate Producer
Matt Steinhart	Greynyc	Editor
Ryan Hobler	Greynyc	Sound
Antonio Valeni	Greynyc	Sound
Tom Brink	Greynyc	Camera
Angela Leali	Greynyc	Account
Jordan Long	Greynyc	Account
Nina Pratt	Greynyc	Casting
Maria Gagliardi	Greynyc	Biz Manager

Results and Effectiveness:

As views grew, we adjusted our outreach reactions and created shorter content for more traditional online media...adding to the intrigue and fueling people to continue to pass it along. As fans continued to arrive to the YouTube channel, the community coalesced around answering questions and ultimately promoting the book themselves. Overall, sales UP 140%. The average teen novel sells 15.000 copies in a year, we did that in one month. When campaign began the book had sold 18,580 units. To date, 202,770 have been sold. The book has reached #3 on the New York Times best seller list.

Creative Execution:

The fictional book is about a girl who committed suicide and made 13 audio tapes listing each of her reasons why. Our idea was to give Hannah Baker a voice by creating the tapes and releasing them to fans and non-fans completely unbranded in an air of intrigue that ultimately allowed them to be discovered. Once production began, we began researching places where conversations about the book were already happening. Blogs, message boards, book groups, etc. We then mapped out other places fans were traveling on the web -- adding to conversations, answering questions, etc. Once the content was finished we began to launch the videos --first through a non-descript YouTube channel and eventually through other video distribution sites. Based on our research, we would plug this content into conversations, with a simple в??do you know what this is?в??

Insights, Strategy and the Idea:

We wanted to sell more copies of the book. Our target was girls and boys, aged 12-16. The book had some moderate success early on and there was evidence that it benefitted from word of mouth. The publisher wanted to delay the release of the paperback longer than is typical and see if they could boost the sales of the more expensive hardcover. Our insight was basically: If you came across someoneв?Ts suicide note, you would probably be compelled to read it and would want to know more about the person.

THE ECONOMIST U.S. LAUNCH

Type of Entry:	Product & Service
Category:	Publications & Media
Title:	THE ECONOMIST U.S. LAUNCH
Advertiser/Client:	THE ECONOMIST
Product/Service:	THE ECONOMIST MAGAZINE
Entrant Company:	BBDO NEW YORK, USA
Advertising Agency:	BBDO NEW YORK, USA
Media Agency:	PHD New York, USA

Creative Credits

Name	Company	Position
David Lubars/Bill Bruce	BBDO New York	Chief Creative Officers
Kara Goodrich	BBDO New York	Senior Creative Director/Copywriter
James Clunie	BBDO New York	Creative Director/Art Director
Kathy Lando	BBDO New York	Agency Producer
Kate Houghton/Clayton Ruebensaal/Robin Quill	BBDO New York	Account Team
Nick Dewar		Illustrator

Results and Effectiveness:

The city blitz strategy over the past three years has raised spontaneous awareness of the publication across the country. The Philadelphia campaign has contributed to measurable increases in brand awareness, positive perception of the brand, newsstand sales, direct mail response, and overall national paid circulation numbers. Fifty-three percent of those aware of the Philadelphia campaign reported they were more likely to read the magazine. Total brand awareness increased 14% after the Philadelphia effort. National brand consideration increased 9%. North American circulation was up 8% in 2008 vs. 2007.

Creative Execution:

The agency was tasked with creating advertising that spoke to the target and was spoken about. It needed to create a buzz around the brand far greater than its media spend would suggest possible. It had to be fresh and inventive. The media team, PHD and Kinetic, along with BBDO New York and The Economist U.S. team worked together to create the plan. As the в??Cradle of Libertyв?? and a crossroads for an intellectual audience, Philadelphia was chosen as the city for this blitz promotion. Thousands of potential Economist readers pass through the portals of 30th Street Station, Market East Station and downtown Philadelphia every day. Along with в??station dominationв?? efforts at the train stations, the campaign was cost-efficiently supplemented by surgical media strikes on college campuses, in dorms, on bus sides and with choice OOH sites.

Insights, Strategy and the Idea:

By 2010, The Economist U.S. is aiming to reach the one million mark in circulation, an increase of 39%. The в??city blitzв?? campaign should build potential readersв?T brand awareness and encourage trial. Potential readers need to understand that The Economist offers a uniquely witty and intelligent perspective on the world that informs our readersв?T equally sharp views. As a target, Economist readers are united, not by age, occupation or demographics, but by how they think about and look at the world. They love the reward that comes from being challenged by interesting thoughts and perspectives. And, the fullest and best-informed perspective is a global one. Thus, the campaign theme: в??Get a World Viewв??в?"sentiment that resonates with people who appreciate that we are all affected by the interconnection of world issues.

THE KRYPTON FACTOR

Type of Entry:	Product & Service
Category:	Business Products & Services
Title:	THE KRYPTON FACTOR
Advertiser/Client:	SAGE
Product/Service:	BUSINESS SOFTWARE AND SERVICES
Entrant Company:	DRUM PHD London, UNITED KINGDOM
Advertising Agency:	DRUM PHD London, UNITED KINGDOM
Media Agency:	PHD MEDIA London, UNITED KINGDOM

Creative Credits

Name	Company	Position
Ben Kerr	Drum	Content Director
Simon Wells	Drum	Executive Producer
Jo Williams	PHD	Media Director
Jo Thompson	Drum	Account Manager
Dan Hosford	PHD	Account Director
Oliver Wilton	PHD	Interactive Media Planner
Nick Ellsom	PHD	Head Of Search
Kamilla Scott	PHD	Media Planner
John Willshire	PHD	Head Of Innovation
Mark Eaves	Drum	Managing Director

Results and Effectiveness:

The Krypton Factor debuted on ITV1 to an audience of 6.3m viewers. More than one in three people in the UK have now watched the show. 82% of viewers liked the show. 82% felt it was an appropriate thing for Sage to do. When viewers were asked which business software they would now consider purchasing, Sage came second only to Microsoft. 72% of customers felt more positive about Sage because of the show. 77% felt more positive because of Train Your Business Brain.

Creative Execution:

So, how could Sage actually help customers achieve their goals? Business success isnв?Tt about buildings, infrastructure, technology or the like; itв?Ts about having brilliant people. Sage could help customers invest in the skills of their people. We regenerated a classic TV show, The Krypton Factor. The skills required in the show (Intelligence, Physical, Knowledge, Observation and Mental Agility) perfectly matched those needed for business success. This instantly created an emotional connection, and delivered huge amounts of positive PR. Crucially it allowed Sage to live in a mainstream TV environment, and create a cultural momentum a traditional media plan could not have generated. Upon this, we created www.trainyourbusinessbrain.com where people could develop their own skills to advance their Business IQ. Extraordinary customer experiences with clear business benefits. For Sage customers, it was something extremely useful, highly entertaining, and compellingly sharable with their friends and colleagues.

Insights, Strategy and the Idea:

Sage came to us looking to form deeper emotional ties with their customers, and to make the Sage brand interesting enough for people to talk about. Which was a huge task; perceived as a large accountancy software firm, Sage also had a hugely disparate customer base. Everyone from bricklayers to Finance Directors of substantial businesses used Sage, yet none were hugely warm to the brand. We needed to influence all of these people, yet they had very few unifying features. Except one. From the smallest to the largest businesses, from straightforward to complex products, an entrepreneurial spirit coursed through every Sage customer; every single one had goals they wanted and needed to achieve. In order to be closer to their customers, we believed that Sage had to create extraordinary customer experiences which would help them achieve these goals.

MYSTERY PACKAGE

Type of Entry:	Product & Service
Category:	Charities, Public Health & Safety, Public Awareness Messages
Title:	MYSTERY PACKAGE
Advertiser/Client:	ROYAL NATIONAL LIFEBOAT ASSOCIATION
Product/Service:	RNLI YOUTH CAMPAIGN
Entrant Company:	PROXIMITY LONDON, UNITED KINGDOM
Advertising Agency:	PROXIMITY LONDON, UNITED KINGDOM

Creative Credits

Name	Company	Position
Debi Bester	Proximity London	Copywriter
Sonia Singleton	Proximity London	Art Director
Nick Moffat	Proximity London	Copywriter
Chris Monk	Proximity London	Art Director
Georgia Bradley-Grant	Proximity London	Account Director
Julie Randall	Proximity London	Planner
Joseph Pirrie	Proximity London	Account Manager

Results and Effectiveness:

в?ў We reached bloggers in the в??real worldв?T by searching their blogs for personal data, so one received a pack at his theatre group, another at his gig, another from a return address when we bought something off eBay: в?ў 7 of the 12 bloggers opened their DM live, challenged their viewers, attended our в??Gatheringв?T at HQ and helped turn our campaign into a movement. в?ў Their films attracted nearly 1,000,000 views, 4,000 texts, 150 videos; featured twice by YouTube editors and were ranked в??Top 10 most-viewed this monthв?T in UK/France/Germany/Poland/Russia/Australia/Canada; We talked to 12 people ... and reached 11% of 5-20 year olds in Britain.

Creative Execution:

It started as a campaign but has become a movement - by the youth, for the youth and about the youth. One committed to rewriting the way the media stereotypes them and one that gives them a platform to voice their values, views and vision through a medium theyв?Tve made their own. How? We sent 12 subversive в??mystery packagesв?T to Britainв?Ts 12 most popular bloggers to open live on their blogs, challenging their viewers to post videos and texts about who they really are. They did ... in startling numbers. And as intrigue built, clamour to reveal our identities intensified. We responded by inviting the bloggers to a в??Gatheringв?T at our HQ to find out. After all, who better to champion the youth than a brand with the ultimate reason to believe in them? After all, we have 470 volunteers between 16 and 22 willing to risk their lives every day to save the lives of others.

Insights, Strategy and the Idea:

The Royal National Lifeboat Institution is a sea-rescue charity facing an unexpected crisis: donors were getting older; and the youth had a lower awareness of it than any other British charity. So, how could we win their hearts? Research revealed that 1.The younger you are when you become aware of a charity, the more likely you are to donate when you reach an older age; 2.Among the youthв?Ts top three concerns is the way the media stereotypes them as a dumbed-down game-numbed knife-wielding generation; 3. Most live inland, and donв?Tt think theyв?Tll ever need saving at sea. So we sought a higher purpose than sea rescue ... and discovered our relevance not in our service, but our values. Values that are part of the в??characterв?T of an island nation; values the media accuses their generation of betraying and values they aspire to now more than ever as they take on the mantle of a world ravaged by war, recession and environment destruction.

NOT IN DANGER OF EXTINCTION

Type of Entry:	Product & Service
Category:	Charities, Public Health & Safety, Public Awareness Messages
Title:	NOT IN DANGER OF EXTINCTION
Advertiser/Client:	WWF BRASIL
Product/Service:	WWF
Entrant Company:	DDB BRASIL SГ?o Paulo, BRAZIL
Advertising Agency:	DDB BRASIL SГ?o Paulo, BRAZIL

Creative Credits

Name	Company	Position
Monica De Carvalho	Ddb Brasil	Media Vp
Fabricio De Andrade	Ddb Brasil	Media Director
Fabiana Manfredi	Ddb Brasil	Media Supervisor
Aline Brazolotto	Ddb Brasil	Media Coordinator
Sergio Valente	Ddb Brasil	Creative Director
Rodolfo Sampaio	Ddb Brasil	Creative Director
Julio Andery	Ddb Brasil	Creative Director
Marcelo Reis	Ddb Brasil	Creative Director
Guilherme Jahara	Ddb Brasil	Creative Director
Daniel Chagas Martins	Ddb Brasil	Art Director
Rodrigo MendonГ§a	Ddb Brasil	Copywriter
Samyr Souen	Ddb Brasil	Illustrator

Results and Effectiveness:

The project has been a real success, because it brought IMPACT, INTERACTION AND EXPOSITION for WWF's cause, to more than 400,000 people who daily circulate at the places where the panels are displayed. There was instantaneous contribution of money at unbelievable ZERO COST because we could get all partners to collaborate with us in this great fight at no charge. We estimate that the more than 40 panels spread in Brazil have raised around US$ 100,000 up to now. New joinings? We also can't measure that because at this moment surely there is someone else joining. Join us as well. wwf.org.br

Creative Execution:

The public stopped being passive, and with that in mind, we provoked the COLLABORATION proposed in the action, taking the target by surprise, making it PARTICIPATE and support WWF. The INTENSE CONNECTION between the public and the cause was maximized in the choices of places that allowed MESSAGE BUILDING, due to the high daily circulation of people in the buildings where they work, at the gyms where they exercise and at their favourite cinemas. Since donations had to be made using coins, we used MAGNETIC POSTERS for the action. As donations were being made, the sum of the coins REVEALED images of animals in danger of extinction from the BRAZILIAN FAUNA. After the posters were completed, the money was given to WWF.

Insights, Strategy and the Idea:

Brazil has one of the richest biodiversities in the world. There is an estimate that in Brazil there is one in each existing species of plants and animals. But all this richness is threatened and, for this reason, nature NEEDS HELP. With that in mind, we needed something immediate, and we created and negotiated a NEW MEDIA SPACE that could promote an emotional connection between audience and cause, having INTERACTIVE PANELS that provoked curiosity and impact in places of great circulation of opinion makers, more sensitive and participative in social causes. The knowledge of WWFв?Ts business applied to and integrated in an UNEXPECTED media ENVIRONMENT was crucial for the actionв?Ts success, that was even more effective because the pieces were always placed NEAR CASHIERS in sweets stalls, cafeterias, and coffee shops, where there is usually handling of money and change.

24.06.2009