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How to win an award at Cannes Lions, D&AD and CLIO - for PR

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The best you can do to learn how to win an award is to review campaigns which have already won. So find here winning PR programs from last years at Cannes Lions, D&AD and CLIO. Listen and learn.

Veröffentlicht in: Marketing
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How to win an award at Cannes Lions, D&AD and CLIO - for PR

  1. 1. AWARD WINNING WORK Learn from Cannes Lions, CLIO and D&AD for your PR Work Petra Sammer | 2017
  2. 2. 1. CANNES LIONS Focus on the idea THE MOST PRESTIGIOUS AWARDS ON CREATIVITY WORLDWIDE 2. CLIO AWARDS Focus on a unique brand experience 3. D&AD AWARDS Focus on the beauty and execution
  3. 3. 1 Cannes PR Lion Winners 2013 - 2017
  4. 4. DUMB WAYS TO DIE Grand Prix Cannes PR Lion 2013 Client: Metro Trains Melbourne Agency: McCann Click for Case Video
  5. 5. Accidents and deaths among young people on Melbourne’s Metro train system had been on the rise for years. But young people don’t listen to public safety messages. We needed to make train safety part of the conversation amongst 13-25 year olds. The strategy was to throw a hand grenade into the world of PSA messaging. To be so deliberately different to the norm, we couldn’t help but create a conversation around the message. We wrote a song called Dumb Ways to Die, created a music video for it, and attributed it to an artist that didn’t exist: Tangerine Kitty. We uploaded the video onto YouTube and the song onto iTunes. Within a week it had been viewed 20 million times and covered on every news service in Australia. Within a month, it had captured the world’s attention so effectively, it made it into Google’s 2012 Zeitgeist. CAMPAIGN DESCRIPTION
  6. 6. Reduce train related accidents in key accident areas by 10% over 12 months. Generate campaign awareness of 25% within 12 months amongst the core target. CLIENT BRIEF OR OBJECTIVE
  7. 7. For the three months post-launch, Metro has experienced a 21% reduction in accidents and deaths compared to the same time last year. The goal was 10%. In post-testing, 39% of our core audience said they would act safer around trains. Campaign awareness amongst our core audience 46% after one month. The goal was 25% after one year. The video has 44 million YouTube views and rising. It also has huge levels of engagement, with 450,000 likes and 11,000 dislikes. Dumb Ways to Die is the most shared public service campaign in history, with 3 million + Facebook shares and 2,000+ blog posts. The song charted on iTunes in 28 countries and is still getting airplay on radio stations worldwide. 155 days after launch, the campaign is still being shared on Twitter, Facebook and Instagram more than 2,500 times every day. Reported by over 750 global news sites. Earned media US $60m and rising. EFFECTIVENESS
  8. 8. EXECUTION We wrote a song called Dumb Ways to Die, created a music video for it, and attributed it to an artist that didn’t exist: Tangerine Kitty. We uploaded the video onto YouTube and the song onto iTunes. Within a week it had been viewed 20 million times and covered on every news service in Australia. People wanted to know who Tangerine Kitty was, but we wouldn’t say. This added fuel to the fire. Even Billboard was after us. Over the next week we launched 21 animated gifs which quickly became tens of thousands of memes and avatars. We launched a karaoke version of the video to encourage parodies and covers. Over 200 were made inside of a month. Schools started using our campaign material to educate their students, so we quickly produced a 64 page book for use in the classroom. After a month, we had far exceeded every goal we’d been set.
  9. 9. Accidents and deaths among young people on Melbourne’s Metro train system had been on the rise for years. The problem is, young people don’t listen to public safety messages – especially when they come from authorities. Despite Metro’s best intentions, all their safety messaging was effectively invisible. We needed to make train safety part of the conversation amongst 13-25 year olds, and a traditional approach clearly wouldn’t work. RELEVANCY STRATEGY The strategy was to break every single rule of public safety messaging we could find. To be so deliberately different to the norm, it couldn't help but create a conversation around the message. To engage teens and young adults, our message had to have a strong WTF/OMG factor. It had to feel like it was coming from a peer, not from an authority. It had to be content, not advertising focused. And it had to be housed on social platforms that encouraged peer-to-peer sharing. In short, our strategy was to throw a hand grenade into the world of PSA messaging.
  10. 10.  Disruptive approach  Music as key momentum for engagement  360° integrated campaign  Investment in creation of outstanding content  Sparking a real and relevant conversation  Generating strong “business“ results WHY DID THIS CAMPAIGN WIN?
  11. 11. SCARECROW Grand Prix Cannes PR Lion 2014 Client: Chipotle Agency: Edelman Click for Case Video
  12. 12. Chipotle is known for its great tasting food, but few know that Chipotle has radically impacted the fast food industry and the food system. Believing that the more people know about the company, the more they will become passionate and loyal customers, Chipotle wanted to tell this story. The result was a content-driven marketing platform, “Cultivate a Better World," designed to emotionally engage customers in Chipotle's journey to create a sustainable future. As a continuation of the Cultivate platform, “The Scarecrow” is entertainment created to draw attention to food issues while engaging consumers about these complex concepts in an entertaining, memorable and shareable way. “The Scarecrow,” is an arcade-style adventure game for iPhone, iPad and iPod touch, with a companion animated short film of the same name. Both the game and the film depict a scarecrow’s journey to bring wholesome food back to the people by providing an alternative to the processed food that dominates his world. The game is available for free download in the Apple App Store. Players of the game who completed one star in each of the worlds were awarded with Chipotle food in the form of a mobile coupon delivered immediately to their devices. The short is set to a remake of the song “Pure Imagination” from the 1971 film classic “Willy Wonka and the Chocolate Factory,” performed by Grammy Award-winning artist, Fiona Apple. CAMPAIGN DESCRIPTION
  13. 13. • Raise awareness of The Scarecrow experience, generating game downloads, video views, and game player retention, proving consumer engagement was successful. • Establish Chipotle as a thought leader around food issues and raise awareness of the company’s sustainable, ethical business practices, or their commitment to “Cultivate A Better World.” • Audience: The campaign targets fans across a myriad of categories – food, music, film, animation, gaming, technology, marketing, design, etc. CLIENT BRIEF OR OBJECTIVE & GOALS
  14. 14. The Scarecrow franchise has created a conversation about food in popular culture generating over 614 million media impressions, from hundreds of stories including The New York Times and USA Today. Columns in The New Yorker, LA Times, and others featured educated arguments about food issues by influential farmers, sustainability advocates, and consumers. Since its launch, the film has generated over 12.5 million YouTube views. Over 650,000 have downloaded the game, playing an average session of 5 minutes. The song debuted #32 on Billboard’s Streaming Songs chart and has been purchased over 13,000 times on iTunes. In its first month, The Scarecrow franchise sparked 18.4 million conversations across 17 social platforms with a 92.7 social sentiment score and, for the first time, made Chipotle the top social brand, replacing Taco Bell, on the Restaurant Social Media Index Top 250 list. Twitter impressions totaled 126,782,322 in the two months following the launch. EFFECTIVENESS
  15. 15. The film became a trending video on YouTube, as the game was featured as an Editor’s Choice on the iOS App Store at launch. The song was distributed on iTunes and promoted by PR, social media, mobile ads, and across Chipotle’s owned assets (Chipotle.com, etc.) The film was also the opening cinematic for The Scarecrow mobile game, which has been downloaded over 650,000 times in North America. Later, in the rollout of the Scarecrow, a multi-faceted digital campaign was initiated to increase the viewership, including targeted search, paid YouTube views, and leveraging the YouTube video in mobile games across iOS devices. EXECUTION The Scarecrow film was launched on YouTube with no paid media for its first four weeks. Solely promoted through PR, starting with a USA Today exclusive and earned social media, the Scarecrow generated over 7 million views.
  16. 16. Chipotle was started with the notion that food could be served fast without becoming a typical fast food experience. Since its inception more than 20 years ago, Chipotle has developed a deep commitment to finding delicious ingredients that are raised responsibly with respect to the farmers, the animals, and the environment. As part of Chipotle's mission to change the way people think about and eat fast food, they have focused much of their marketing on helping consumers understand where food comes from and how it's prepared, and encouraging conversation about the food system. RELEVANCY
  17. 17. STRATEGY The Scarecrow was the lead asset of a PR campaign designed to reach consumers across the nation with a message that forces them to consider the source of their food. The PR team sought to secure an exclusive story to build buzz and drive further coverage. In media outreach, the team showcased Chipotle’s decision to minimize branding, driving maximum engagement in the video game’s educational content, an evolution of the brand’s unique marketing through storytelling strategy. Communication also positioned the film as a catalyst for conversation about food issues such as industrial farming and food production, and encouraged people to be more curious about where their food comes from.
  18. 18.  Strong Storytelling  Gamification & Music  Investment in creation of outstanding content  360° integrated campaign  Sparking a real and relevant conversation WHY DID THIS CAMPAIGN WIN?
  19. 19. LIKE A GIRL Grand Prix Cannes PR Lion 2015 Client: Always Agency: Leo Burnett Click for Case Video
  20. 20. Despite a 30-year commitment to empowering girls through puberty education, including a UN initiative, P&G's Always’ brand purpose wasn't cutting through to a new consumer generation: the brand was still talking about pads. While Always historically focused on confidence based on superior product performance, the new path to relevancy was to build a fresh understanding of confidence while remaining authentic to the brand. The opportunity was to reinterpret confidence so that it would become part of a girl's existing conversation. Our insight was that at puberty, a girl’s confidence drops significantly: more than half of women claimed they experienced this decline. Empowering girls during puberty when their confidence is lowest would give the brand the relevant and purposeful role it needed. Always charged its agency partners with creating a global campaign to drive an emotional brand connection. Based on a powerful insight informed by research, the team centered on a bold PR idea — a provocative social experiment. The resulting video recording transformed "Like A Girl" from an insult to a meaningful statement about confidence. The #LikeAGirl integrated campaign launched in 20 different markets, achieved broad awareness in reaching half the world's population. Earned media and influencer strategies helped #LikeAGirl become the #1 viral video in the world. The campaign lifted Always brand equity, scored 96% positive sentiment, and increased purchase intent by 92%. It led to a monumental shift in the conversation that turned "Like A Girl" into an inspiring statement and part of the cultural lexicon around the world. CAMPAIGN DESCRIPTION
  21. 21. Objectives: Drive emotional brand connection and brand salience/purchase intent. Executional Goals: Achieve an impactful launch for the video with specific reach/sharing goals of 2 million video views and 250 million media impressions. Research: Research Now was engaged to understand confidence at puberty and help define an insight to shape the campaign: • 56% of girls claimed drop in confidence at puberty. • Lowest confidence moments — at start of puberty/first period — leave a lasting effect. • 89% of females (16-24) think words are harmful to girls. Insults like "like a girl" cast lifelong doubt on how powerful a girl can be. CLIENT BRIEF OR OBJECTIVE
  22. 22. EFFECTIVENESS Our social experiment not only far surpassed the business expectations but sparked a monumental shift in the conversation: Output/Awareness: • 85MM video views on YouTube • 4.58B media impressions/150 countries, reaching half the world's population • 758.9MM social mentions for #LikeAGirl • Top-tier online media coverage--BBC, Huffington Post, Mashable, BuzzFeed • Spot: #1/AdWeek, #2/AdAge • Trended on Facebook during launch Knowledge/Consideration: • 81% of women 16-24 support Always in reclaiming “like a girl” as an inspiring statement • 96% overall positive sentiment (emotional brand connection) • 92% increase in purchase intent (salience) • P&G/Always were lauded across all media; the campaign was popularly supported/endorsed by celebrities around the world Action/Business Impact: • Twitter followers increased 195.3% • 1.5MM+ video shares; 35,000 comments, 13% user-generated content • With research showing broad campaign appeal, Always asked girls/boys/women/men to join the movement at the Super Bowl. #LikeAGirl dominated SB news cycle with 5.2B new impressions and 3.4MM additional organic video views, trending nationally on Twitter/Facebook.
  23. 23. EXECUTION Our strategic approach centered on tangible data and an influencer/media strategy. RESEARCH Leveraged insights/data from research study to bolster campaign credibility, news value, content and messaging. HASHTAG Introduced a social hashtag #LikeAGirl as a rallying cry so girls could let the world know the inspiring things they were doing “Like A Girl." VIDEO LAUNCH Seeded video with influencers/bloggers/m edia before it was placed on YouTube to help spark viral word- of-mouth and fuel launch media coverage. An exclusive in AdAge announced the video. MEDIA OUTREACH Leveraged a surge of female empowerment movements in outreach. Combined with influencer seeding, the approach ensured robust coverage across traditional/social categories. CELEBRITIES Engaged Vanessa Hudgens/Bella Thorne/ Jordin Sparks /Jasmine V to post tweets on the campaign. These sparked additional tweets from Sarah Silverman/ Tyler Oakley/ Maria Shriver/Cher/ Kristen Bell/ Chelsea Clinton/ Melinda Gates. REAL-TIME NEWS DESK Monitored/engaged with #LikeAGirl conversations to amplify social sharing.
  24. 24. In 2013, Always, the P&G feminine care brand was global category leader, but its biggest competitor was gaining traction by connecting with millennial girls in a more emotional way. Despite a 30-year commitment to empowering girls through puberty education, including a UN initiative, Always’ brand purpose wasn't apparent to the new generation of consumers: the brand was still talking about pads. To secure its future, Always needed to better connect with the next generation of consumers. Historically, Always focused on confidence based on superior product performance; the opportunity was to build a more meaningful understanding of confidence. RELEVANCY
  25. 25. STRATEGY Target Audience: To create a change in the social understanding of girls at puberty, Always enlisted millennial women (connected, could relate, want to make a difference). Always sought to inspire a movement to change "Like A Girl" from an insult to mean downright amazing things. This idea was brought to life through a social experiment to show the impact the phrase had on society – especially on girls pre- and post-puberty. The result was a video that captured how people of all ages interpret the phrase produced by award-winning documentarian/director Lauren Greenfield. The interviews showed that somewhere between puberty and adulthood, women internalized the phrase to mean weakness and vanity, but also how some encouragement can help change girls’ perceptions of what it means to proudly do things like a girl.
  26. 26.  Strong insight (based on long-term research)  Compelling visualization of insight (“show, don´t tell”)  Investment in news engine and media/seeding  PR in the lead of whole communications program: “News Engine Approach”  Sparked a real and relevant conversation WHY DID THIS CAMPAIGN WIN?
  27. 27. THE ORGANIC EFFECT Grand Prix Cannes PR Lion 2016 Client: COOP Sweden Agency: Forsman & Bodenfors Click for Case Video
  28. 28. Several scientific studies had shown that if you eat conventional food, you have a number of different pesticides in your body – and that if you switch to organic food, the pesticides disappear within days. Very few consumers knew about this. (Who'd tell them? Almost all food companies, and governments, are more or less invested in the conventional model of farming.) So Coop conducted their own study, and filmed it. CAMPAIGN DESCRIPTION
  29. 29. EXECUTION With the help of IVL, the Swedish Environmental Research Institute, Coop conducted an experiment with an ordinary family, the Palmbergs. The experiment was documented in a scientific report and a more sharable 90 second film. The report from IVL was important for credibility in contacts with news media, and contributed to the extensive coverage, beginning with the family appearing as guests on Sweden's biggest morning TV show. But the film was of course the centerpiece of the campaign. And a massive international grass roots movement, built by pinpointing individuals and organizations with a passion for organic food, helped it go viral. In Sweden, as expected, the campaign made many in the food industry angry. But the criticism gave Coop an opportunity to take a public stand for consumers' right to know what they're eating.
  30. 30. The film has been viewed more than 40 million times on YouTube and Facebook, generating news coverage, blog articles and social media posts with a total reach of more than 2 billion. 88 % of social media mentions have been favourable. In Sweden a survey showed that 57 % of those who had seen the film said it would make them buy more organic. Sales of organic food increased by 50 % over the period during which the film was released. The share of consumers who say they prefer shopping at Coop increased by 14 %. And Coop had their best year financially in 23 years. OUTCOME
  31. 31. The entire campaign was PR driven. From the recruiting of the family to their appearance as guests on Sweden’s biggest TV morning show. From the activation of a global grassroots movement to Coop's response when, as expected, some in the food industry attacked the campaign. RELEVANCY
  32. 32. SYNOPSIS Coop, once the biggest supermarket chain in Sweden, had steadily lost market share for two decades. And now their competitors were catching up in the one area where Coop had dominated – organic food. They needed to re-establish their leadership on organic food. And they needed to reignite their brand.
  33. 33. The key insight was that most people aren't willing to pay more for a product because it's better for the environment. (Although many of them are willing to pay more for a product that they perceive to be of higher quality, or healthier.) And surveys showed that organic food was still associated more with "good for the environment" than with "good for me". So Coop decided to communicate something that no other food company had dared talk about: The fact that if you eat conventional food, you have a number of different pesticides in your body – and that if you switch to organic food, the pesticides disappear within days. This is important information, especially for Coop's target audience, families with kids, considering more and more research indicates health risks for growing children. STRATEGY
  34. 34.  Changing and challenging the agenda of a recent conversation  Simple and clear visualization  Generating strong business results WHY DID THIS CAMPAIGN WIN?
  35. 35. Cannes PR Lion entry principles 2017 The PR Lions celebrate creative work which success- fully builds trust and cultivates relationships with credible third- parties, utilising mainly earned-media tactics or channels to influence public dialogue and ultimately change perceptions and behaviours in ways that protect and enhance the reputation and business of an organisation or brand with its target audiences. OUTLOOK
  36. 36. 2 CLIO PR Award Winners 2013 - 2017
  37. 37. BRIDGE OF LIFE CLIO PR 2013 Client: Samsung Life Insurance Agency: Cheil Worldwide Seoul Click for Case Video
  38. 38. South Korea has recorded the highest suicide rate in the OECD for the eighth year running (OECD Health Data 2012). Over 15,000 commit suicide in just one year, which is an average of 43.5 deaths per day (2011 National Statistics Office). Suicides are especially frequent near the bridges over the Han River in Seoul and among the 23 bridges, the ‘Mapo Bridge’ has the highest number of suicides. (Out of the 1090 suicides committed on a Han River bridge, 17.2% - or 188 suicides - happened on the Mapo Bridge) In order to decrease the suicide rate on the Mapo Bridge, we installed an innovative system on the railing. Because the widely used infrared sensor system would react to wind, the vibrations of passing cars, as well as heat from exhaust fumes, an art director and a technical director collaborated to develop a sensor that combined the infrared system with the ultrasonic sensor system, with a $530,000 budget. This new type of sensor only reacts to people walking on the bridge, and then lights up the railing. It has been installed on the Mapo Bridge for over 6 months now, and the City of Seoul and Samsung Life Insurance are planning to install it on other bridges as well. CAMPAIGN DESCRIPTION
  39. 39. CLIENT BRIEF OR OBJECTIVE Our idea to stop and prevent the suicides on the Mapo Bridge was not installing a physical device to hinder the suicides, but to create an interactive bridge that would change the people’s minds through communication and a human touch. Our intention was to have the pedestrians keep reading the messages that were shown throughout the 2.2km of the Mapo Bridge through the ‘Bridge of Life’ installation, and eventually walk all the way to the other end without realizing it.
  40. 40. Currently, we are planning for additional installations on other bridges over the Han river, in hopes that it will help decrease the suicide rate in Seoul, as well as in the nation of Korea in the long run. We hope that this technology can be applied to bridges with a high suicide rate around the world. But primarily, this innovative technology has helped decrease the suicide rate on the Mapo Bridge by 77%, and if even just one life can be saved through this campaign, we believe in its meaning and value more than anything. The Bridge of Life has received widespread national coverage on TV and in newspapers with 177 reports, as well as global coverage in 8 different media (Reuters, Voice of America, China TV The Tokyo Times, etc.). About 11,000 posts about the Mapo Bridge have been shared on social networks, of which 92% are positive. EFFECTIVENESS
  41. 41. EXECUTION 06/17/2011 Project start 12/19/2011 Developed first prototype 12/23/2011 Idea pitched to Samsung Life Insurance, but turned down 01/29/2012 Contacted other clients 03/16/2012 Another pitch to Samsung Life Insurance, infraded + ultrasonic sensor developed 04~06/2012 Consultations with the Seoul Citizens, the Seoul Metropolitan Fire & Disaster Headquarters, the Seoul HQ for Security, Management of Bridges Department, the Hangang Project HQ, and the Ministry of Culture, Tourism & Design 07/17/2012 Confirmed by Mayor of Seoul 08/2012 City of Seoul and Samsung Life Insurance sign MOU 09/26/2012 Opening of ' Bridge of Life'
  42. 42. Prior to the installation, the annual death benefit through suicide paid out by Samsung Life Insurance reached approximately 40 billion KRW (or 37 million USD), and was the No.1 reason for payment, with over 10% of the total insurance amount. Since the opening of the Bridge of Life on Sep 26th, 2012, until today (Mar 26th, 2013), the suicide rate has dropped by 77%. RELEVANCY STRATEGY First, we installed sensors on the guardrails, so that when people walked by, lights turned on according to their movements. On the lighted rails appeared short messages, making it seem as if the bridge was speaking to the passers-by. The 20 or so messages that were shown were not warnings or teachings, but rather kind words, comforting song lyrics, funny jokes, and other phrases that would speak to the anxious and confused minds of those attempting to end their lives..
  43. 43.  Cause related PR  UBX (Useful brand experience)  Great result WHY DID THIS CAMPAIGN WIN?
  44. 44. CLEVER BUOY CLIO PR 2015 Client: Optus Agency: Fuel Communications Click for Case Video
  45. 45. Optus, Australia’s second largest telecommunications provider, briefed us to find a new way to communicate the strength of their network with the objective to improve consumer awareness and brand perception. In response we saw an opportunity to solve a genuine and topical issue surrounding Australia’s coastline connecting the Optus network to something our audience were passionate about. Australia has four times more shark attacks than any other country in the world and current methods to deter sharks hadn’t changed in over 60 years. At the heart of Optus’ values is their desirability to “improve people’s lives through technology” as they position themselves to be the “ultimate wingmen” for Australians. So we asked ourselves, could we use the Optus network to help protect our beach goers and our sharks? Clever Buoy is a smart ocean buoy that detects sharks and sends instant alerts to lifeguards via the Optus digital network. By providing a culturally relevant solution with the Optus Network at its core, we created more than a marketing response, we created a transformational utility that disrupted the traditional Telco industry and received an overwhelming response towards the brand. As we were launching a rapid prototype, earned media was the most relevant channel to start the conversation and generate awareness. CAMPAIGN DESCRIPTION
  46. 46. CLIENT BRIEF OR OBJECTIVE The goal was to shift the focus from the size of the Optus network, to its amazing capabilities. Research revealed that the growing reliance on data has led Australians to consider their mobile network as a utility, ie. something that should just work. Couple this with the fact that it was common knowledge the leader brand’s network coverage was larger. But the perception was that it was much larger, even though the difference was less than one percent. 85% of Australians live within 50km of the coast. So this seemed like a logical place to begin our start.
  47. 47. Beyond a traditional PR campaign, we created an ongoing product, service and platform for our client – one that has not only propelled the Optus brand into the mindset of consumers, but could change beach safety forever. (1) Combined Social & PR reach of over 40 million – with an 84% positive sentiment towards the Optus brand. (2) Featured in over 800 global news stories (200+ Broadcast), including every commercial channel in Australia. (3) Earned PR/Advertising value of over $7 million. (4) Optus earned a 92% share of voice in relation to #innovation and #technology compared to other Australian telcos on social media during campaign launch. (5) Launch film had over 3 million impressions. (6) The commercial Clever Buoys are now in development, with public rollout currently planned for 2015.•NSW Government have pledged $100,000 to public trials. EFFECTIVENESS
  48. 48. EXECUTION We developed a clear roadmap to build Clever Buoy, which we launched through earned channels, and amplified through owned and paid media channels. We hosted a media launch event with a live broadcast on Australia’s most watched morning show in Sydney featuring key spokespersons from the project. We focused on an influencer outreach program and a social newsroom shortlisting key influencers from technology, lifestyle & environment, innovation, beach and marine safety space which allowed us to build genuine credibility for the brand and have a reason to converse with these specialised communities. We delivered real time relevant content to engage the audience and educate them about Clever Buoy. Once people were introduced to the buoy we took them along the journey of production, detailing the different elements of the buoy anatomy and some of the technological feats we achieved along the way.
  49. 49. Optus has the second largest telecommunications network. Our brief was to improve consumer awareness and brand perception by shifting the focus, from the size of the Optus Network, to the amazing things it can do. After another shark fatality the Western Australian government sanctioned the culling of all large sharks, sparking a nation wide debate over the ethics of killing endangered sharks to save humans. Not only did we tap into the most hotly debated conversation in the country, we offered a new solution using our client’s core service, one that appeased both sides of the debate. RELEVANCY
  50. 50. STRATEGY But more than this, the beach is something close to the heart of all Australians, synonymous with our laid back lifestyle and a clear part of the national identity. Having developed the buoy, we needed to develop a relevant strategy that allowed us to engage the right influencers to kickstart the conversation and generate widespread national and international media coverage, positive WOM and social media traction to: •Create excitement, •Leverage experts for credibility, •Showcase the strength of the Optus network, •Position Optus as an innovator. Our strategy was to pitch and secure a series of exclusive 1:1 interviews prior to launch to ensure we maintained control on the conversation both locally and internationally. We developed a collection of assets for launch, including a video news release, photography, info-graphic, animation video and social content visual branding for Optus where verbal branding may have been excluded.
  51. 51.  Cause related PR / hijacking a relevant public topic  UBX (Useful brand experience)  360° integrated campaign  Great result WHY DID THIS CAMPAIGN WIN?
  52. 52. #OPTOUTSIDE CLIO PR 2016 Client: REI Agency: Edelman Click for Case Video
  53. 53. Instead of offering discounts to lure shoppers inside on Black Friday, REI announced that they would be doing something unprecedented: shutting all 143 of their stores, ceasing to process orders on their website and paying 12,000 employees to spend the day outside. Employees, members and the public were encouraged to use this day to reconnect with the outdoors and each other. We created an integrated campaign to invite the public outside with us, building a movement around the hashtag #OptOutside. CAMPAIGN DESCRIPTION
  54. 54. EXECUTION We first shared the closure with REI’s 12,000 employees and 5.5 million members. The news broke a month before Black Friday with embargoed stories on USA Today, CNN, and NBC. Timing of the news ensured REI was included in nearly all media trend stories throughout November tied to Black Friday. Ensuing coverage was designed to be social- by-design, connected to the local community, and driven through dozens of face-to-face interviews. This coincided with an integrated campaign to spread the #OptOutside movement across TV, print, out of home, digital, influencer and social outreach. A publication was created on Medium.com to discuss the benefits of a life outdoors, with stories by REI employees, outdoors influencers and advocates. A paid content partnership with .Mic created original articles to expand the reach of #OptOutside with millennials. A partnership with Meetup.com saw over 400 group outings hosted across the country.
  55. 55. #OptOutside became a widespread cultural movement. 1.4 million people chose to spend Black Friday outside with REI. Over 170 organizations showed support for REI with some even closing their doors in solidarity. Hundreds of parks opened their gates for free. The campaign earned 33 straight days of media coverage with 3,423 placements leading to 6.7 billion media impressions. #OptOutside generated 1.2 billion social impressions, becoming a trending topic on Twitter for three separate days and Instagram for two separate days. #OptOutside was #11 of Brandwatch’s top 15 Twitter trends of 2015. The hashtag entered the larger social vernacular - six months later, it was still being used thousands of times per day. While #OptOutside was designed for long term community engagement, not to drive short-term Black Friday conversations, but it sparked a dialogue that brought together friends and families, non-profit organizations, businesses, and national and state parks. 1.4 million declared to their social communities that they were choosing the outdoors over shopping chaos, and this boldness left a lasting impression of who REI is and what they stand for. OUTCOME
  56. 56. Research confirmed that interest in the outdoors was up and the health benefits of spending more time outside was gaining traction. Tangentially, enthusiasm for Black Friday shopping was decreasing. The time was right for REI to take a stand against the chaos of Black Friday. REI had the opportunity to leverage this moment to build and connect communities around the outdoors, while sharing its purpose and unique values. It was a people-first strategy. This meant using a cross-channel approach to reach employees, co-op members, outdoor enthusiasts and the outdoor industry to generate a national conversation about the benefits of a life outdoors as well as crafting inspiring content to invite people to #OptOutside. With REI’s social communities at the heart of the effort, we built connection points and engagement through other online communities and efforts including Medium, Meetup, influencer engagement, and organizations, parks and businesses who pledged to #OptOutside. STRATEGY
  57. 57. SYNOPSIS Outdoor retailer REI believes that a life outside is a life well lived. Black Friday, America’s biggest shopping day, stood in stark contrast to this belief. Held the day after Thanksgiving, this holiday had come to represent shoppers leaving their families to go buy things, spending days lining up at stores, or even fighting one another amongst the aisles. That’s why on Black Friday 2015, REI took an unprecedented stand. The co-op closed all 143 of their stores and invited the entire country to spend the day differently - by heading outside.
  58. 58.  Disruptive and strong business decision  Living from inside out: the idea came original from a staff member … soon the whole company stood behind the idea  Hitting a nerve: a strong insight & zeitgeist topic  Great result WHY DID THIS CAMPAIGN WIN?
  59. 59. 3 D&AD PR Award Winners 2016 (first year with PR category)
  60. 60. MCWHOPPER D&AD Yellow 2016 Best Integrated Campaign Client: Burger King Agency: Y&A NZ Click for Case Video
  61. 61. Insights: 1) People are curious for new flavour combinations and willing to trample across brand conventions to experience them. 2) There’s no longer an inside / outside of a company – thanks to social media, corporations are now held accountable for their actions. Creative idea: To raise awareness of United Nations Peace Day, Burger King made a highly visible proposal to McDonald’s, inviting them to collaborate on a truly one- of-a-kind product: The McWhopper. The proposed mash-up burger would combine key ingredients from each restaurant’s signature product, The Big Mac and The Whopper, to be prepared and served on one day only, Peace Day, 21st September 2015. CAMPAIGN DESCRIPTION
  62. 62. EXECUTION BK published an open letter in traditional and social, inviting McD’s to collaborate in creating and serving the McWhopper on Peace Day. The proposal was supported by tactical outdoor and spearheaded by mcwhopper.com, a multimedia toolkit of co-branded assets: staff apparel, signage, and a pop-up restaurant. Every asset was designed to be visually iconic and translate into multiple languages, for ease of share-ability. The proposal was met by frenzied public support, so McDonald’s drew criticism when they turned down the offer. Inspired by BK’s online Burger Build film, tens of thousands of people took matters into their own hands by creating and sharing do-it-yourself McWhoppers on YouTube, Instagram, Twitter, Vine, Facebook, and mainstream media channels - integrating the competitor’s product with our own.
  63. 63. • 8.9 billion media impressions • Earned media value $US138m (Source: ABPR, Personally Inside, Llorente y Cuenca, Ketchurn, Evercom, Weber Shandwick, Emanate and Cison) • ROI: Every $1 spent returned $88 in earned media • #1 trending topic, Facebook and Twitter • 10,000+ DIY McWhopper reviews on YouTube PEACE ONE DAY • +40% increase in Peace Day awareness (from 30% to 43% of the U.S pop) (Source: Toluna Research) • +16% increase in Peace Day awareness worldwide (Source: McKinsey and Company “The McWhopper campaign is the single highest contributor ever towards Peace Day awareness” - McKinsey and Company – Research partner) BURGER KING BRAND METRICS (ALL PEOPLE) • +75% - Positive brand buzz from 20% to 35% / +60% millennials • +25% - Purchase consideration from 32% to 40% / +76% millennials • +48% - Likelihood to recommend brand from 21% to 31% /+84% millennials (Source: YouGov Brand Index) OUTCOME
  64. 64. The McWhopper proposal was an audacious idea designed to ignite conversation, curiosity, and engagement amongst the public and media. It was diligently engineered so that regardless of how McDonald’s responded, the power of McWhopper production (both the burger and the ongoing comms) would be embraced and activated by the people. Sure enough, the ubiquitous campaign fueled frenzied discussion, and the creation of ‘do-it-yourself McWhoppers’ became an instant cultural phenomenon and an integral chapter in the McWhopper story. So much so, that over 9-months since the official campaign concluded, McWhopper content is still being shared organically on every major social platform. RELEVANCY
  65. 65. STRATEGY The McWhopper campaign wasn’t made social, it was born social. We were confident that had we approached McDonald’s behind closed doors, they would have said no behind closed doors. By making the proposal so very public on so many platforms, we knew McD’s would be pushed to respond. The proposal was planned with painstaking diligence, to ensure success didn’t hinge on a yes or a no. We invested a significant amount of time and resource into scenario planning, resulting in an extensive set of responses to cater for every conceivable scenario. More importantly, we created a comprehensive suite of campaign assets to inspire consumer engagement no matter what. It was a completely integrated approach designed to empower the public and media to create and share do-it-yourself McWhoppers, further spreading awareness. It was all very well for the world to take notice, but we also wanted the world to take action.
  66. 66. In the fiercely competitive fast food category, Burger King faced declining consideration in the all-important 18-34 year old millennial demographic. A new breed of competitors such as Chipotle was connecting with youth via a shared sense of purpose and social good, positioning BK as old fashioned. Peace One Day is a global non-profit organization whose goal is to make United Nations Peace Day, on 21st September, an annual day of non-violence and global unity. Each year they campaign tirelessly to raise awareness of Peace Day under the theme ‘Who Will You Make Peace With?’ Our objectives were twofold: Increase brand consideration for Burger King and raise awareness of Peace Day 2015. SYNOPSIS
  67. 67.  Great sense of humor  Brilliant executed  360° integrated campaign WHY DID THIS CAMPAIGN WIN?
  68. 68. HOLOGRAM OF FREEDOM D&AD Yellow 2016 Best Public Affairs Client: No somos delito Agency: DDB Spain Click for Case Video
  69. 69. Since last year, Spanish government, backed up by an absolute majority in Congress and Senate, has been designing a group of measures and law reforms, commonly known by the population as “The Gag Law”. Ultimately, Spanish Congress passed this law on March 26th. A panel of human rights experts from the United Nations said they were concerned about the Public Security Law and the Penal Code initiatives, which they say will violate Spanish people’s human rights. One of the objectives of NoSomosDelito (WeAreNotCrime) platform against the Gag Law is public awareness of their message, especially outside Spain. To that end we created the Holographic Protest, the first of its kind in History and also a PR event initiative which through creativity, innovation, and symbolism would attract the attention of worldwide media. On March 26th, the same day the Gag Law was approved, we launched a teaser website which encouraged users to participate in the demonstration in a virtual way: uploading their pictures, recording their shouts and sending their protest messages. At that time we did not revealed the location where the protest would take place, in order to avoid confrontation with the Spanish authorities. On April 10th, we projected the protest on a 7x4 meters screen in front of the Parliament building, taking advantage of a filming permit. Media covered the event all around the world, while we documented it in a short film and print ads that were distributed some days later. CAMPAIGN DESCRIPTION
  70. 70. One of the objectives of NoSomosDelito is public awareness of their message, so they can mobilize people and collect signatures against this law, and also get support from media and governments outside Spain, in order to prevent its entry into force. That’s why our main target audience were media worldwide. CLIENT BRIEF OR OBJECTIVE
  71. 71. The campaign was a global hit in media all around the world, with an estimated earned media (at the time of writing) of 16 million euros, and a global audience of over 800 million. It was covered by the main national and international press, TV and online media, and made into the front page and editorials of some of them, such as the French newspaper Le Monde, The New York Times and The Boston Globe. It also appeared in countless local and specialized media. 17,857 people participated in the demonstration via the website, although after that moment, participations kept rising over 20,000. The online petition for the withdrawal of the law was signed by more than 330,000 people.Our protest gathered over 50,000 tweets and about 400 million Twitter impressions. Ultimately, the protest was debated in a session of the Spanish Congress. EFFECTIVENESS
  72. 72. EXECUTION On March 26th, we launched a teaser website which encouraged users to sign the online petition against the law reform and to participate in the demonstration in a virtual way. On April 10th, we projected the Holographic Protest on a 7x4 meters screen in front of the Parliament, taking advantage of a filming permit because real demonstrations have been banned there. The projected video was produced from previously filmed and the website user-contributed material. All people were post produced as ghost-like blueish figures to enhance the visual impact. Technical difficulties included illumination (darkness was required) and fitting of the produced video in the geography where it was projected. All distances, and camera angles had to be taken into consideration. Media from all over the world were present to bear witness. We also had a special cabin for NoSomosDelito spokespeople to be interview by media as real-time holograms.
  73. 73. The right of assembly is being undermined by the Spanish government, in an attempt to reduce the number and the magnitude of the protests against their policies. In fact, demonstrations around Parliament building have been banned for months. The platform NoSomosDelito (WeAreNotCrime), formed by over a hundred citizens’ organizations, activists, and jurists, has the intention of informing citizens about the meaning of these reforms, which restrict fundamental rights such as freedom of expression and assembly in the name of “citizens’ security”, and to pressure the government into withdrawing them immediately. RELEVANCY
  74. 74. STRATEGY Without a paid media budget, we had to create something that would make into the news all around the world. Something that had a powerful visual and significance, so it would be interesting for TV, press and online media, as well as viral in social platforms. Audience were greatly drawn to the Holographic Protest, for several reasons. First of all, it was a creative way of protest which has never been done before. Secondly, it defied the banning of demonstrations in front of Parliament. We chose the most difficult place, but also the most symbolic. And finally, it also reflected in a relevant way the abolition of rights the law has introduced: flesh and blood protest will not be tolerated. Media found the story interesting not only for its political and social content, but also from a technological point of view, and as a historical milestone in activism.
  75. 75.  Innovative use of technology  Strong PR tactics  Perfect timing WHY DID THIS CAMPAIGN WIN?
  76. 76. COLOR FOR THE COLORBLIND D&AD Yellow 2016 Creative B2C – Low Budget Client: Valspar Agency: FCB Chicago Click for Case Video
  77. 77. The Valspar paint company believes everyone should experience color to the fullest. Even the colorblind. By bringing color to the colorblind, Valspar brought a greater appreciation of color to everyone. Over 300 million people in the world are colorblind. Valspar worked with EnChroma, an innovative optical lab, to bring color to everyone. Special glasses were created to enable the colorblind to see the full spectrum of color for the first time in their lives. We started with the documentary film “Color for the Colorblind” as the centerpiece of a multi-channel PR campaign. The film, launched via social media, shares the emotive story of colorblind individuals reacting to the full spectrum of color for the first time in their life. We also brought the glasses to locations like museums and arboretums. And, of course, the glasses were included in point-of-sale displays in paint aisles, so that the colorblind could pick out paint for their homes for the first time. The glasses sold out in just one month. The campaign had over 800 million media impressions in just one month, and thousands of colorblind stories were shared by consumers. But, more importantly, 300 million colorblind people now have the opportunity to see color for the first time. CAMPAIGN DESCRIPTION
  78. 78. The objective of the campaign was to create a global conversation around colorblindness and in the process, create a greater appreciation for the role that color plays in our lives – establishing Valspar as not just a paint company, but a brand that believes everyone should experience color to the fullest. CLIENT BRIEF OR OBJECTIVE
  79. 79. Output/Awareness: The campaign had over 800 million media impressions in just one month. Thousands of colorblind stories were shared by consumers, and we created the first global colorblind community. 300 million colorblind people now have the opportunity to see color for the first time. By bringing color to the colorblind, Valspar brought a greater appreciation of color to everyone. Knowledge/Consideration: We launched the program one month ago so not all data is in – but the response thus far is exceptional. 94% of social sentiment was positive/neutral. And thousands of stories have been shared. Action/Business Impact: We launched the program one month ago so not all data is in – but the response thus far is exceptional. More than 20,000 likes were generated, increasing brand sentiment for Valspar by more than 10 points. EFFECTIVENESS
  80. 80. EXECUTION On March 16, we targeted colorblind celebrities with a custom-designed kit for them to experience color for the first time. The influencers included Bill Clinton, Mark Zuckerberg, and Chris Nolan. The kit included a pair of our glasses and a book that exposed the recipient to hundreds of Valspar colors. A similar kit was sent to technology and design publications and blogs. On March 18, we launched our press campaign to mainstream and trade publications. As viewers began experiencing the film and sharing their stories, our PR and social teams responded and engaged consumers to fuel the conversation about colorblindness and the appreciation of color for everyone. In coordination with the launch of the film, we installed special displays in-store with the glasses to allow the colorblind to pick out paint for their homes for the first time. We also brought the glasses to locations like museums and arboretums.
  81. 81. Consumers think all paint brands are the same. As a global leader in the coatings industry, we want to show that Valpsar is not just a paint company, but a brand that believes everyone should experience color to the fullest. To inspire as many people as possible, we focused on the people who can’t experience the full spectrum of color – the nearly 300 million in the world who are colorblind. Our idea is that by helping the colorblind experience the full spectrum of color for the first time in their lives, we reawaken everyone’s appreciation to experience color to the fullest. RELEVANCY
  82. 82. STRATEGY Our idea is that by helping the colorblind, we reawaken and re-inspire everyone’s appreciation to experience color to the fullest. Colors play a vital role in our daily lives and it has been proven that our activities and responses are influenced by them. Kenneth Fehrman, co-author of the book, Color: The Secret Influence, states that, “Most people are unaware of the profound effect color has on their behavior.” No one was addressing the vital part of their lives that the 300 million people in the world were missing. What is more powerful than seeing color for the first time? From the top down we identified colorblind influencers and media personalities in order to get people to experience seeing color for the first time. From a grassroots level, we responded directly to provocative #ColorForAll stories with a gift of the glasses. Both of these strategies received “air cover” from a press outreach to mainstream and trade publications.
  83. 83.  UBX (Useful brand experience) & great usage of technology  Great storytelling  Strong user engagement WHY DID THIS CAMPAIGN WIN?
  84. 84. PARADISE HILL D&AD Yellow 2016 Creative Use of Medai Client: NGO Agency: FCB NZ Click for Case Video
  85. 85. Confront high-income communities, (and in doing so, New Zealand) with the disturbing reality that violence is occurring even where we least expect it. CAMPAIGN DESCRIPTION
  86. 86. EXECUTION Within the magazine, we created an article showcasing a new architecturally designed home in an upmarket Auckland suburb, along with the seemingly regular family who lived there. Featured on the cover and contents, the story ran as eight consecutive pages, which looked and read just like regular content. Almost. In the words and pictures we placed disturbing tell-tale signs that violence was occurring. Some of these were subtle only giving themselves away on a second read. Others were more obvious. Only on the final page did we reveal the truth – violence can happen in any home, even homes like this. Also available on the magazine’s website (along with the regular articles), and on their Facebook page, we encouraged sharing and commenting on the article to increase its reach. HOME Magazine readership: 110,000. However, the campaign reached well beyond this as our target shared the article through social media and PR.
  87. 87. Starting from a reader base of 107,000, the campaign reached ¼ of the whole New Zealand population (over 10X the magazine’s readership). Over 12% of readers either sought help or offered it as a direct result of the campaign – Bauer Research. Visits to the family violence site increased 15%. The campaign was covered by both of New Zealand’s news channels, received 280,000 Facebook engagements and over 1000 Twitter shares. The magazine was the most talked about edition in the publication’s 79-year history and has been celebrated as a much-needed first step by both the NZ Police and Ministry of Social Development. OUTCOME
  88. 88. This campaign challenged the conventions of traditional print and what it can achieve both within a publication creatively, and how far a single execution can extend its reach, within its primary target, and beyond. The campaign was born and developed through a unique partnership between the agency and publisher, with both parties contributing to the art and copy in the order that it appeared not as an ‘ad’ but as genuine editorial, seamlessly buried within the magazine’s pages. RELEVANCY
  89. 89. STRATEGY Show violence occurring even where we least expect it, even in the most seemingly perfect of homes. We partnered with NZ’s premium home and lifestyle magazine – HOME – and showed violence happening in one of its ‘perfect’ homes. This magazine, with its high-income readership of 107,000 (25% subscribers), enabled us to reach victims and communities where the violence was actually happening. We also needed to create a wider conversation with the New Zealand public, which spread our message beyond the doors of high-income communities and to the masses. The more people on the ground equipped with the truth, the better. Media and high profile social-media personalities were also sent the magazine directly, and encouraged to share. The campaign asked readers to take action should they suspect violence is occurring and visit the government website for more on how to help.
  90. 90. A new study revealed one quarter of women from all high- income homes in New Zealand were domestically abused – much higher than most Kiwis realised. In fact, research suggested 65% of Kiwis believed family violence was more likely to occur in low socio-economic homes rather than high. And only 40% believed it could be happening to someone they know. Far from reality. This lack of awareness, along with long-standing media misrepresentation, was identified as a key factor perpetuating the problem. Meaning victims from high-socio economic areas often remained isolated and un-helped, compared to their less well off neighbours. The Ministry of Social Development needed to change this. They needed these high-income victims to know they were not alone and their communities to be aware of the problem. Only if people knew could they help. SYNOPSIS
  91. 91. WHY DID THIS CAMPAIGN WIN?  Smart and beautiful  Creative use of media  Highly visual  Best use of visual storytelling
  92. 92. Petra Sammer Partner | Chief Creative Officer Ketchum https://twitter.com/PetraSammer?lang=de

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