The organisers of the 58th Cannes Lions International Advertising Festival are pleased to announce the launch of the Cannes Creative Effectiveness Lions in 2011.
Creative Effectiveness Lions will honour creativity which has shown a measurable and proven impact on a client’s business - creativity that effects consumer behaviour, brand equity, sales, and where identifiable, profit.
Only entries that were either shortlisted or Lion winners, across all categories, at Cannes Lions in 2010 will be eligible to enter into Creative Effectiveness Lions 2011, as these will have already been judged and established as being creatively world-class by the 2010 Cannes Lions juries. The success, therefore, of an entry in the Cannes Creative Effectiveness category will endorse the effectiveness of that creative excellence.
Entries in the Cannes Creative Effectiveness category will be rewarded for Strategy (25%), Idea (25%) and Results (50%). The entries will be judged as one, with no categories, and the awards will be Grand Prix and Creative Effectiveness Lions (no Gold, Silver or Bronze). The winners will be honoured in Cannes on Saturday 25th of June 2011 alongside the Film, Film Craft, Titanium and Integrated Lions winners.
Commenting on the new category launch, Terry Savage, Festival Chairman, said, “With the introduction of the Cannes Creative Effectiveness awards we aim to establish a direct correlation between creativity and effectiveness. Cannes Lions has always been, and always will be, a Festival of Creativity, however now more than ever ROI is paramount to the client and it is important that we acknowledge and reward this but without losing the essence of Cannes Lions.”
Entries for the new Cannes Creative Effectiveness Lions competition open on 4 November 2010 and close on 4 March 2011. The data of all entries will be checked by the external auditors PricewaterhouseCoopers.
Further information regarding this new category and how to submit entries will be available from 4 November 2010 at www.canneslions.com.
When you work in advertising, your job is to create messages that stand out and make an impact to create brand preferences among consumers. The message is always the same. "Buy me, I'm the best," says the ad.
When you are a creative in advertising, your job is to find new ways of saying this. We are here to sell things, everybody knows that. The aim is to do it with a wink of the eye that says: "hey, I know you know I am trying to flog you something, but look, I found a new way of doing it and you'll think its pretty cool." We’re just a wink factory really.
Today there are dozens of advertising festivals around the world that reward these new ways of saying the same thing, these new forms of rhetoric. With Grand Prix, golds and silvers, these chosen ideas strut the Croisette, the covers of professional magazines and are talked about on blogs. And when we see these campaigns, we say to ourselves that advertising still sparkles and is still able to reinvent itself in different forms and different media, to keep surprising us. It's quite exciting to see all that talent on display. It is an engine and an example not only for those who make the advertisements, but also for those who watch them and who commission them. But just between you and me, it’s more the lion that hides the savannah.
For everything that is being rewarded as the cream of the crop, this "new way" to sell us things is only the very tip of a huge wave, a tsunami of campaigns unfurling on people around the world. One only has to have been on a jury in one of the festivals to realise that what is rewarded only represents maybe 0.00001% of global production. And the rest? Well... to be honest it’s not really all that great, it's not really new. You just have to open a newspaper or turn on a TV to see too many repetitious, clichéd, mindless, condescending messages. It is counter-productive for our industry insofar as consumers become increasingly advertising-averse and our customers more wary of the effectiveness of campaigns.
It’s as if there isn’t one discourse per brand but a single formatted advertising language, a sort of “Esperanto” understood by everyone, a bland, unimaginative language of few words that tells everyone “pay attention, this is advertising, this is how to speak in advertising.”
It was this rather disturbing observation that gave the idea to push this paradox to its limit. Since advertising all too often resembles a mediocre rehashing of things that already exist, why not try to create a machine that would do it in our place?
And so the idea of CAI (Creative Artificial Intelligence) was born – a software robot that immediately and infinitely creates simplistic and non-differentiated advertising. CAI represents nine months of relentless work.
CAI is first and foremost the product of a huge amount of planning work. All possible, imaginable brand promises by product category were compiled. Next, CAI was loaded with thousands of visuals, bits of copy, and dozens of typical page layouts. So when you ask CAI to work, she can randomly generate around 200,000 ads.
Let’s get to the specifics. You type in your category product (e.g Junk Food) and then your product (Pizza). Next you have to choose your target audience, the aim of your campaign (create awareness, launch a product, etc.) and you type in your chosen brand name. Following this, CAI will generate your product pack-shot. CAI will then propose all the possible brand promises associated with your product (in our example – crunchy, genuine, homemade etc.). Once this is done (all in just one minute, exactly), CAI will present you with her copy strategy. If you are happy with it, CAI will begin her creative process (20 seconds) and offer you three possible print ads. Once you have made your choice, you can even see your future campaign in situ. Thank you CAI.
It started out as an intellectual game became more and more alarming as it progressed in the development of our robot. It was expected to create a clumsy, rather grotesque machine that would be systematically way off the mark, in a comical way. Unfortunately, this is not the case. CAI produces something that is a caricature, but that very often by some random diabolical grace, reminds us of an ad we have already seen on a street corner or on the page of a magazine.
CAI creates immediately and quasi-infinitely something that resembles advertising but that fundamentally isn’t, in the sense that it lacks essential qualities: novelty, inventiveness and the unexpected. In short, anything that only a human being is capable of producing. CAI is a fascinating but dangerous machine because it synthesizes the nemesis of our creative profession: standardised or formatted thinking, call it what you want.
In this sense, it is our responsibility to cultivate the differences between our agencies, to encourage our planners and our creatives to always strive to go further, to not be content with regurgitating what has already been seen on the web or elsewhere. This is what creates the value of our thought production. It is what we owe our clients and what they have the absolute right to demand of us.
Such is the true story of CAI, the first and, I hope the last, robot who made advertising.
Special thanks to my team:
Here's some fierce Girlrilla street advertising. Two anonymous French students in their 20s recently donned niqābs and short shorts and strolled through the streets of Paris, making sure to hit several government ministry buildings. The women, one of whom is Muslim, call themselves "Niqabitches."
"We were not looking to attack or degrade the image of Muslim fundamentalists – each to their own – but rather to question politicians who voted for this law that we consider clearly unconstitutional," they said. "We want to de-dramatise the situation."
The French senate passed the law last month. It is due to go into effect early next year. A woman who chooses to defy the ban will receive a fine of 150 euros (£125) or a course of citizenship lessons, according to the Telegraph. A man who forces a woman to go veiled will be fined 30,000 euros and serve a jail term.
DDB Brasil, one of the largest and most awarded ad agencies in Brazil, decided to mark its 21st anniversary – celebrated this past September 19 - in an unusual way. The agency has decided start a selection process - to be carried out in a digital environment, and then through face-to-face interviews – to choose a 21-year-old student for an innovative research project. The student will spend 99 days visiting 9 cities in world in search of trends. The cities to be visited include London, New York, Paris, Barcelona Milan, Mumbai, Bangkok, Shanghai, and Tokyo. The selection process starts today at www.99novas.com.br, and the student will depart for those cities on January 9, 2011.
“DM9 has been opening space for the new over these past 21 years. We want new trends, new thoughts, new ways of looking at the world. All from the viewpoint of people who – just like the agency – are 21 years old, and want to build a bright, conscious future”, says Sergio Valente, DDB Brasil’s President.
The trip will involve backpacking and hiking, and will be paid for by DDB Brasil, and the student be assisted by DM9DDB people while on the trip. The student will have to publish daily posts telling about the trends in each place he or she visits. The posts will be published on a public-access blog. At the end of the 99-days’ trip, the blog will be evaluated, and, if the results are acceptable to the agency, the student will be invited to become a part of the DDB Brasil staff in Sao Paulo.
In order to participate in the selection process, applicants must meet a few requirements. The first step – Registration - is already a part of the selection process. Applicants must be 21 years old on the day of departure (January 9), speak fluent English, and provide proof of being a registered student at any college or university in Brazil. Students from all undergraduate courses accredited by the Ministry of Education may take part in the selection process. After registering, students will have to take an online General Knowledge quiz. The 99 students – aged 21 and regularly registered for an ME-accredited undergraduate course – with the highest scores in the shortest amount of time will then move on the second phase of the selection process.
In the second phase, the 99 selected students will have to prove their talent, and show that their English is good. They will be asked to make a 90-second video in English on a topic that will only be revealed on the day, and then participate in an online interview in English.
In the third phase, the number of participants will have been cut down to 9 only. The challenge will become more specific. Each student will be asked to create a blog using the tools he or she is familiar with. The task here is very similar to that the winner will have to perform every day during the 99-day trip. Therefore, the participants will have to show all their knowledge and skills in a very concise way. Those with the best performance will be invited to a face-to-face interview at the agency’s office in Sao Paulo.
After all this process, the time will come to announce the winner. This will be done in the beginning of December this year, thus giving the winner enough time to prepare for the trip, and spend the holidays with his or her family. The preparation exercises for the trip will begin on January 3. Before embarking on the journey, the winner will spend five days at the agency’s office in order to meet the people working there, talk to the agency’s executives, discuss the project, and plan for the trip.
The journey will begin on January 9: London, New York, Paris, Barcelona, Milan, Mumbai, Bangkok, Shanghai, and Tokyo. The result of this journey will be a blog that looks like 21-year-old DDB Brasil: young, daring, and filled with relevant content.
Communications agency creates slightly lighter sequel to its collected works
First there was 2 kilo of KesselsKramer, a book that was more like a brick. Published by PIE books, this hefty tome contained all of the Dutch communications near manic output over ten years. Every piece of work from the very good to the not so very good was included.
In their annual Best Global Brands report, Interbrand, a leading brand consultancy, interviewed CMOs and top marketing executives to discuss the changes in brand management over the past year, the current trends across and within sectors, and the pivotal role of brands in a new era consumer expectations. Interbrand publishes the ranking of the top 100 brands based on a unique methodology analyzing the many ways a brand touches and benefits an organization, from attracting top talent to delivering on customer expectation. What contributes to a brand's value? The financial performance of the branded products or services, the role of brand in the purchase decision process, and a brand’s ability to continue to secure earnings for the company.
The Inspiration Room is one of the most popular creative portals online. TIR recently released a iPhone app (free). You can view the best in advertising, photography, illustration, post production, marketing and design inspiration from over 216 countries.
Horizontal and Landscape mode for all content
The ability to save branded wallpapers to the iPhone and save images
Very fast download time for video, articles and web browsing
Today, legendary film director Sir Ridley Scott announces Porcelain Unicorn from American director Keegan Wilcox as the winning short film in Philips’ Tell It Your Way film-making contest. See the announcement.
The Top 10 Agencies ranking identifies the individual agencies that have produced the most awarded creative talent in the 10 years since the YoungGuns were founded. Work from these agencies can be found here.
Home Run Inn (HRI) Halloween Promo Videos Feature Past Customer Film Submissions:
Home Run Inn, Chicago’s Premium Thin-Crust Pizza, is holding its 3rd annual “Halloween Video Challenge” together with their global advertising agency, Blue Chip Marketing Worldwide. HRI is on a quest to find the most creative, pizza loving CRINGE-WORTHY horror film featuring HRI’s scary-liciously good pizza. Starting Monday, September 27th through October 18th, participants can submit their original two-minute HRI horror film to www.HomeRunInnContest.com where online voters and a judging panel will choose the most frightful flicks. Fifteen finalists will move on to the second round and online voters will ultimately determine the Grand Prize winner, announced on or around October 26th. The winner receives $2,500 and a Halloween Party in a box for 25. The top 15 finalists received HRI pizza for one year and a Flip video camera.
When you are Nike, you just do it. There's absolutely no point being timid or ordinary. You blaze trails, create trends, draw attention.
Access created Nike Extreme experiences around the globe. Here are a few of our concepts in which they uses the Nike singular swoosh power to create serious buzz. The kind of buzz that goes viral because people love it. Because they are having fun doing it.
Do annoying jingles, creepy animated characters, and cheesy celebrity endorsements in advertisements rile you up? If so, Consumerist.com wants you to vote! Kicking off today, Consumerist.com is on the hunt for the worst ad in 2010—and no company is safe.
“Every day we are bombarded with commercials that we have no control over,” said Meghann Marco, Executive Editor of Consumerist.com. “Now is the chance for viewers to shout back and put their worst commercials on the chopping block for all to see.”
In mid-August, the editors at www.Consumerist.com asked readers to name the worst commercials currently airing on TV, and the response was overwhelming. The only qualification placed on potential nominees, aside from being grating, overplayed and obnoxious, was that they had to be for national brands, and air during 2010. Among the ads that drew complaints were those for Progressive Insurance featuring “Flo, the Progressive Girl” and those for the yogurt Activia, featuring actress and pitchwoman Jamie Lee Curtis.
On Wednesday, September 22, Consumerist.com will post the full list of nominees and open the door for voting on the worst of the worst. Categories will include:
Absolute Worst Ad In America
Most Grating Performance
Most Annoying Animated Character
Celebrity Who Apparently Lost The Most Money In Housing Crash
Duo Or Group That Most Needs To Be Broken Up
The winners in their respective categories will be announced on Wednesday, September 29 and will receive the coveted “Fast-Forward” Award. All winners will be based on consumer votes.
Click here to visit Consumerist.com and view the 2010 nominees this Wednesday, September 22.
Jack Link's® Beef Jerky, the No. 1 U.S. meat snack brand, is giving film and advertising students a chance to create their own Jack Link's TV commercials. The “Messin' With…? Student Film Contest” invites students to create and produce a 30-second TV spot using Jack Link’s award-winning Messin' With Sasquatch advertising campaign as their guide.
“Since its introduction in 2006, Jack Link's Messin' With Sasquatch campaign has achieved cult-like status and fans across the country have posted thousands of parody and tribute videos online,” said Jeff LeFever, director of marketing, Jack Link’s Beef Jerky. “The Messin’ With…? Student Film Contest asks film students to put their own unique spin on the original ‘Messin’ With’ theme without using Jack Link’s brand icon, Sasquatch.”
Video entries may be submitted via e-mail (less than 20MB) to email@example.com beginning Sept. 1 through Oct. 20, 2010. All entries will be available to view online. At the end of the submission period, a panel of judges representing Jack Link’s Beef Jerky will choose one winner that exemplifies the spirit of the “Messin’ With” campaign in the most original and creative way.
The winning submission will air on ESPN during the 2010 World Series of Poker Final Table this November. In addition, its creator will receive a Sasquatch-sized prize package worth $2,500—including round-trip airfare for two to Las Vegas, a two-night stay at the Rio® All-Suite Hotel and Casino, two tickets to attend an exclusive World Series of Poker viewing party in Los Vegas to view the winning TV spot live, an expense allowance, product and other prizes.
The official contest rules and regulations are available online.
Many of you asked for a specific feature for Ads of the World. The ability to create complex queries. For example all Automotive Print ads from Asia. Before you could only select one vector. Either Automotive, Print or Asia. Now you can mix and match as you like using Category Browser. For now it's only available for logged in users and you can find a link to it under your account.
It's a very server intensive feature, so we have to run it in beta for some time before we can be sure it's stable. Please test it and let me know if it works correctly. Thank you!
Advertising is known to break taboos since before the scandalous Benetton campaigns breaking down the taboos of race, sex and politics. This campaign is now taking a stab at religion and picking on widely publicised scandals around it, such as pedophilia in the Catholic church and tele-evangelists making fortunes by commercialising religion. According to Wikipedia church attendance in New Zealand is around 15% and it must be even lower among the young population. So, it's safe to say the campaign will not be opposed by too many down under.
Marcel Knobil, founder of the Creative and Commercial advertising agency, shares his advice on how best to achieve a successful career in advertising and branding.
Those looking to start or further their advertising career, will benefit greatly from Marcel Knobil's insightful answers to the following questions:
"What elements are needed to succeed in the advertising industry?"
"What do you look for in a job candidate?"
"How should one dress for a job interview in the advertising industry?"
"How should one prepare for an interview in the advertising industry?"
"What does a marketing or advertising graduate need to know?"
"How important is a candidate's work experience and education?"
Guest post by John Thomson, President and CEO of Saepio
When we think of big brands, specifically the management of their reputation and marketing activities, it’s easy to imagine remotely located think tanks with extensive security that could rival Fort Know. But in reality, many of the world’s most well-known companies trust the management of the core of the brand – its assets – to someone else.
It’s easy to understand – and sympathize with – these brands that are stretched across the globe, having to tailor to each region, its customs and culture. I remember being at a CMP conference in 2008 and the CMO of one of the most successful and well-recognized producers of personal computers told a story about how when he got to the company, they had 800 different agencies throughout the globe. Each one was creating and executing totally inconsistent marketing campaigns in the attempt to be more appealing to the local market. And then, they were able to take that number down from 800 to 200, and surprisingly that was a tremendous feat!
Enter the age old question... what’s better? Letting marketers come up with their own, local, relevant campaigns or using repurposed material that “corporate” has created?
The problem with a corporate “one size fits all” is that nine out of 10 times, it doesn’t. You lose an entire market and waste your campaign budget with an irrelevant advertisement. On the other hand, everyone has seen the example of local-led marketing gone wrong – totally inconsistent with the overall look and feel of a brand, which should solicit the same feeling from its customers whether they are in San Juan or Bangladesh. I am a true believer in a happy medium, where guidelines can be set forth to ensure consistency while still making relevant to local consumers.
The solution to a brand divided? Treat content in a rules-based manner and keep your global marketing teams up to date with fresh, relevant content components that they can use. This way, they can assemble marketing campaigns that are compliant and consistent with the brand, while also locally relevant. To accomplish this, global brands have to figure out how to make sure that every marketer in every corner of the globe first has access to these assets and, equally important, knows how to use them. With these processes in place, the need for a local agency is eliminated and brand consistency and integrity is maintained.
Each day Humble supplies enough energy to melt 7 million tons of glacier!
This giant glacier has remained unmelted for centuries. Yet, the petroleum energy Humble supplies- if converted into heat- could melt it at the rate of 80 tons each second! To meet the nation's growing needs for energy, Humble has applied science to nature's resources to become America's Leading Energy Company. Working wonders with oil through research, Humble provides energy in many forms- to help heat our homes, power our transportation, and to furnish industry with a great variety of versatile chemicals. Stop at a Humble station for new Enco Extra gasoline, and see why the "Happy Motoring" sign is the World's First Choice!
I'm happy to announce that we now support video playback on Apple mobile devices, such as the iPad, iPhone, iPod Touch and other mobile devices such as Android and Blackberry.
More than 7,000 people visit Ads of the World form their mobile devices every week and I wanted to make sure the experience is comparable to what you get on your desktop. The most popular device currently by far is the iPhone, followed by the iPad that is coming up strong. These two devices are now perfect for getting your daily fix of ads from AotW. The videos are small enough to be enjoyed even through your 3G connection if WiFi isn't available.
You can see a few screenshoots of how videos look like on the iPhone and the iPad.
Because the iPhone's screen is small, the videos do not play in-line, but open in full screen when you press the play button.
Here you can see all the controls of the full screen video playback on the iPhone.
On the iPad the experience is even better because of the larger screen real estate.
You can see the video plays inline within the page.
Is the use of music and sound in online marketing becoming more important to advertisers? From slick interactive websites to mobile phone applications, advertising music may be finding a critical new capacity as advertising moves across platforms. Some of the most significant activity in this area is taking place in New York City, where a collective of instrument-wielding composers and producers from music house Nylon Studios recently settled to introduce North America’s advertising community to its innovative brand of music-making and sound design.
Ivan Raszl talks to Nylon executive producer Mark Beckhaus about the music studio’s recent move to New York and their growing expertise in interactive ad tune creation.
Q: How’s the move to New York City going? Is it different here than working in Australia?
It’s been great. In Australia we’ve been the dominant player in our field for many years, so it’s been exciting to come into the US and to feel like the underdog. But big in Australia is not big here – in the US we are considered small and boutique. Making the move to this new market has definitely pushed us professionally and creatively. Fortunately we’ve always done well in international competition, so there was recognition of our brand here from day one.
The letter the Campbell Soup Company sent Andy Warhol concerning his famous paintings of their soup cans in 1964.
Following the success of Andy Warhol’s 32 Campbell’s Soup Cans, a product marketing manager at Campbell’s, William MacFarland, decided to express his admiration for the Pop artist’s work by sending him this fan letter, along with a couple of cases of tomato soup.
Can you imagine that happening today? There's simply no way. Instead, you'd get a legal nastygram cease & desist, with all sorts of claims about trademark and a likelihood of confusion and demands to hand over the paintings immediately. And then people would defend Campbell Soup, saying they "had to" defend their trademark. How quickly the world has changed.
Kabam, formerly known as watercooler inc., plans new games and brand partnerships
REDWOOD CITY, Calif. (August 3, 2010) – Underscoring its new focus on real games for social gamers, Watercooler Inc. today announced its new name: Kabam, under which it will produce and distribute a wide range of titles for social networks and for its own newly launched consumer site, Kabam.com.
“Our name change corresponds with a shift in business focus. The future of Kabam’s business is serving social gamers looking for deeper gameplay, whereas Watercooler was about serving the sports and media community,” said Kevin Chou, CEO of Kabam. “By carefully combining the best elements of traditional gaming with the rich interaction of social gaming, we are focused on serving social gamers looking to play real games.”
World Web Network (WWN), a leading online international advertising sales agency, today introduces a ground-breaking technology that will change the way online-branding campaign effectiveness is measured. WWN’s new system, Brand Exposure Duration (BED), precisely monitors the visibility time of each banner on a Web page, enabling clients to evaluate the effectiveness of each ad and make changes to maximize viewing duration. This technology will not only help advertisers optimize their campaigns based on efficient ad placement, but will also help Web publishers sell ad space with proven statistics to back it up.
“We’re always looking for new ways to bring value to our clients, and this system, combined with a worldwide network of publishers, sets us apart from the competition,” said Jay Kelty, managing director, World Web Network, U.S.
"In a digital world, online ad spending still pales next to TV and print ad buys. This is largely due to the limitations of current measurement tools to effectively gauge online branding exposure,” said Pierre de Grandmaison, founder, World Web Network. “With Brand Exposure Duration technology, WWN provides clients with statistics that show the amount of time each user spends with each impression and how many impressions are actually.
This game-changing technology was created by France-based company, Alenty, and is exclusive to WWN. Its intuitive design precisely measures the amount of time that a banner is visible on the page and the web surfer is active. Time is only tallied when the script detects a regular mouse-keyboard activity. After ten seconds of idle time, the tool will pause until activity returns, ensuring a reliable metric. For a demonstration of the technology positioning WWN as an innovative leader in online advertising, visit this link.
With the recent opening of its New York City office, WWN is expanding its reach to provide a more personal contact stateside. The eight-year old company has a network of more than 350 Web publishers in 50 countries, providing clients with a one-stop solution for maximizing their global branding campaigns. The company services global brands, such as Air France, Allianz, Barclays, Cap Gemini, UBS, Gemalto, Skyteam and BNP Paribas.
HUGE, the fastest growing digital agency in the US and part of the Interpublic network just created and launched a groundbreaking new social platform, called Perfunkt for Electrolux, through their AEG brand. Perfunkt represents the biggest bet on branded content and social media by a major appliance brand to date. It’s already generating new levels of engagement with consumers around branded content through stunning videos and one-on-one interactions with world-class chefs.
Many consumers shop for ovens, refrigerators and other AEG/Electrolux products only once every seven years. So how can a company like Electrolux build meaningful engagement with consumers on an ongoing basis? How can they take their brand attributes and knowledge and make these things active?
Perfunkt solves these problems for AEG and encourages two-way conversation. Original and sourced content challenges users to contribute videos, comment, vote and embark on their own personal quest to perfect gourmet skills and other household techniques. With Perfunkt, AEG is leading the way in changing how brands interact with consumers online, while challenging the well-worn Facebook/YouTube/Twitter marketing conventions.
It all started around a year ago when two young creatives working in London created this video for Hewlett Packard in response to a student competition.
HP have since approached them about the film that they made, and they have commisioned them to make a sequel to the original film.
This is an experimental project for HP overseen by Edelman. The aim of the project is to demonstrate, in an innovative and visually compelling way, the potential of quality and reliable printing. The videos were commissioned by HP Imaging and Printing in the UK and filmed by acclaimed up-and-coming filmmakers (and former winners of 2009 D&AD Student Awards), Tom Wrigglesworth and Matt Robinson. Over the course of a week, they used HP Photosmart printers to tell an imaginative and compelling story in real time using a “stop action” animation technique.