Brief: V Australia needed to increase sales on its route between Sydney and Los Angeles, but wanted to avoid price war advertising. Rather than compete for share within the current market, they set out to grow the segment and attract new travelers to the market – people who weren’t already considering travelling to LA. Our challenge: put bums on seats with V Australia’s new “3 Day Deals”. The biggest obstacle was to convince people that LA was actually “do-able” in three days. The perception was that it was too far, too expensive and just too hard.
Creative Execution: The use of Twitter to fuel the campaign tapped into the mindset of the target market in a way no other medium could. It was new, it was immediate, and its freshness translated both to the brand and destination. A purpose built website – 4320la.com – housed the campaign elements and captured results. This was where the tweets fed live, displayed the twit pics, background on the “Twits” themselves, and most importantly, linked to the V Australia homepage and information about the 3 Day Deals. The tweets were also relayed and promoted live each day through the radio station’s drive time segment.
Creative Solution: To put LA within people’s reach, we decided to demonstrate how to experience LA in just three days. We ran a promotion, using print, online and radio to recruit three energetic, enthusiastic Aussies – willing to fly to LA for 72 hours of non-stop action. The catch – share all of it with the rest of the world by twittering every minute of their trip – that’s 4,320 tweets. The desired outcome was to drive people to the website – to not only book a “3 Day deal” but explore the site and what V Australia had to offer.
Results: Over three weeks, the website recorded: • Over 67,000 visitors • Over 55,000 unique visitors • Over 175,000 page views • Time on site: over 3 minutes • Just under 50% click through rate to the “Flight Deals” button on the website. The film of the stunt became a mini documentary for the airline’s inflight entertainment, webisodes, retail TVCs and was taken up by cable Channel V. The take up of the deal was so successful that the offer was extended for an additional month. V Australia was so pleased with the results, 4320Sydney was launched one month later.
Advertising Agency: Droga5, Sydney, Australia
Executive Creative Director: David Nobay
Executive Planning Director: Sudeep Gohil
Senior Copywriter: Ben Akers
Senior Art Director: Ben Smith
Agency Producer: Paul Johnston
Director Digital: Brett Mitchell
Digital Producer: John McLean
Account Director: Nicolas Kettelhake
Account Director: Liz Ainslie
Executive Producer: Tom Korsan (Great Guns Usa)
Head of Production: Ellen Devine (Great Guns Usa)
Editor: Craig Wilson (Image Post/Sydney)
Sound Design: Tone Aston (Nylon Studios/Sydney)
Executive Producer: Matt Long (Goodoil Films)
Production Producer: Chana Mclallen (Goodoil Films)
Editing: Macca Mclean (Goodoil Films)
Agency Producer: Roy Di Giorgio (Droga5 Sydney)
Brief: Our brief was to promote Canon EOS, a leading brand of DSLR cameras. However, because Canon EOS targets a variety of skill levels within the photography community, we had to create a promotion which would be appealing to all levels – from beginners, to more advanced photographers.
Creative Execution: Our first step was to create a photochain, which we showcased in national television, print and online advertising. This directed people to the photochains website, where they could upload photos to continue the chain we had started. Once online, people could also start their own photochains, or join those created by others. People soon became the medium for the campaign, inviting friends, family and colleagues to join their photochains. As the photochains network grew, we ran real photochains and the photographers who had created them, in our national advertising. This constantly showcased the live network of photochains, integrating the growing community with the advertising itself, as a way to constantly attract a growing audience.
Creative Solution: Our solution was ‘EOS Photochains’ – A new way for people to be inspired, that would literally spread from one photographer to the next as a new creative experience. By transforming photography from something people traditionally do on their own into a unique way to connect with others, Photochains is growing as its own social network of photography, and a new creative experience. Our desired outcome was to create an idea that photographers would embrace in their everyday lives, grew a new community of photography online, and was inextricably linked with the Canon EOS brand. Photochains was created by integrating the advertising, live photochains network and photographers as one.
Results: Photochains is now growing as its own social media platform which continues to grow with every photo, as a way for Canon EOS to be a brand which stands for creative inspiration. Photochains has created a new way for photographers to connect through photography, as well as a new dialogue between Canon EOS and the photographic community: – 94 photos uploaded every day since launch, which is 4 photos an hour – 12 minutes average time on website – Over 20,000 photos uploaded from around Australia to date – Canon EOS has risen to a record 67% market share in Australia since launch
Advertising Agency: Leo Brunett, Sydney, Australia
Executive Creative Director: Andy DiLallo
Executive Creative Director: Jay Benjamin
Creative Group Head: Michael Canning
Art Director: Kieran Antill
Digital Creative Director/Design: Kieran Ots
Group Account Director: Amanda Quested
Account Director: Jodi McLeod
Director: Daryl Ward (Curious)
Photographer: Sean Izzard (The Pool)
TV Producer: Rita Galiardi
Head of Digital: Dominique Hind
Digital Producer: Tristan Parker
Developer: Nick McGrath
Interface Developer: Keong Seet
Brief: Orcon is a New Zealand telecommunications company. Despite offering faster broadband and superior customer service, it was relatively unknown in a market dominated by the huge corporates (Vodafone and Telecom). The agency’s overall brief was therefore to raise awareness of this superior broadband offering. Our strategy was to communicate this by staging a major online event – in effect a mass product demonstration – and build awareness of Orcon by engaging the nation with it. While we had to attract new customers to the brand, every stage of the campaign began by communicating firstly with existing Orcon customers.
Creative Execution: Orcon is an internet company and in every aspect of this campaign, from the call for auditions, through the facebook activity to the Play live with Iggy event itself, the internet was central. While every telco talks up its product and services, the strength and originality of this campaign was that Orcon actually used its broadband to enable a world-first technical feat – connecting nine Kiwis from their homes across New Zealand to Iggy’s studio in Miami, and re-recording the classic track ‘The Passenger’.
Creative solution: We created a world-first event, a chance to re-record ‘The Passenger’, live online, with Iggy Pop. Our direct response objective was two-fold: Attract a large enough pool of talented auditions to ensure we could select our virtual band. Maximise the country’s engagement with the auditioning process. The call for auditions went out first to Orcon’s customer base, to its facebook friends, and via online advertising. This was then extended by 15” TVCs and street posters calling for people to Play live with Iggy Pop. Entrants then uploaded auditions directly to a specially built facebook application, where they could be browsed.
Results: We received 200 video auditions in 10 days, a superb talent pool to select our nine band-members from. – Auditions viewed more than 100,000 times on facebook, part of an explosion of interest in the campaign. National press, prime-time current affairs TV shows, websites and blogs all over the world picked it up. – 3,500 new Orcon facebook friends in just 2 weeks. – The campaign generated over NZ$650,000 of unpaid media coverage before the TV ad had even run. – And Orcon’s sales increased 30% on previous year.
Advertising Agency: Special Group, Auckland, New Zealand
Creative Director: Tony Bradbourne
Creative Director: Rob Jack
Creative Director: Heath Lowe
Managing Director: Michael Redwood
Agency Producer: Sascha Mortimer
Interactive Producer: Hamish Wanhill
Project Manager: Jules Pakenham
Strategic Planner: Claire Beatson
Media Strategist: Sean McCready
Director / Director of Photography: Darryl Ward (Curious Film)
Executive Producer: Matt Noonan (Curious Film)
Editor: Luke Haigh (Curious Film)
Producer: Andy Mauger (Curious Film)
Flame: Nigel Mortimer (Curious Film)
Audio Engineer (USA): Alfred Figueroa (Crescent Moon. Miami.)
Audio Engineer (NZ): John Cooper (Liquid Studio)
Audio Engineer (NZ): Jordan Stone (Roundhead Studio)
Head of Brand & Communication: Duncan Blair (Orcon)
Head of Sales & Marketing: David Joyce (Orcon)
Chief Executive Officer: Scott Bartlett (Orcon)
Brief: At the end of june 2009, Michael Jackson died. Studio Brussels, a major Belgian radio station felt that they ànd their listeners should pay tribute to the king of pop. We needed a direct approach to all Michael Jackson fans, in order to bring them on the platform, and to strengthen it’s position as the one and only Belgian music chain.
Creative Execution: Instead of just playing some Michael Jackson records, we did something much more valuable, by offering Michael Jackson fans a platform to tribute their hero. Thus strengthening our position as the one and only music chain. The chain that understands music lovers better than anyone else. Describe the creative solution to the brief/objective. So we used his most famous dance move: the moonwalk and created eternalmoonwalk.com A website, where people could easily upload their own version of the moonwalk. By putting the videos side by side, we created the never ending moonwalk. On friday the campaign was launched via some important blogs, Twitter and Facebook. A radiocommercial supported the site, and during their radioshows the studio brussels presenters invited people to participate. Several moonwalk banners were put on music platforms. Every day a new top ten of the best moonwalks was posted online. The direct response was huge.
Results: We got global news coverage. From national networks to CNN. Numerous newspaper and magazine articles. Media coverage valued at over 34.000.000 euros. The most tweeted subject in the world during 3 days. More than 3.900.000 unique visitors from nearly every country in the world. Average time spent on the site: 7 min 14sec More than 15.000 films uploaded , amounting to more than 45 kilometers of moonwalk. (kilometers – miles) The ultimate example of user generated content according to many professionals in the industry. 1.850.000 Google search results. More than 120.000 blogs
Advertising Agency: Mortierbrigade, Brussels, Belgium
Creative Director: Jens Mortier
Copywriter: Arnaud Pitz
Art Director: Sebastien Devalck
Producer: Patricia Vandekerckhove
Strategy Director: Stephanie Zimmermann
Owner: Pascal Leroy (Group94)
Marketing Manager: Peter Claes (Studio Brussels)
Marketing Assistent: Katrijn Dewit (Studio Brussels)
Head of Studio Brussels: Jan van Biesen (Studio Brussels)
Creative Director: Joost Berends
Creative Director: Philippe Deceuster
Brief: More than 80 years of Danish craftsmanship have turned Bang & Olufsen into an outstanding premium brand for hifi- and tv-systems. Each product meets highest standards in exclusiveness, quality and innovation. In 2009, Bang & Olufsen launched an expanded innovation campaign, including the introduction of various new products. The annual report 2008/09 should also be presented in a new, exceptional mode, to support the campaign and alter the innovative image of the brand. The target audience consisted of special shareholders and customers.
Creative Execution: The audio annual report perfectly reflects the core characteristics of Bang & Olufsen: quality, innovation and design. Listening to the annual report, the customer/shareholder is able to experience all three of these features: they hear extraordinary sound quality, receive facts and data in a completely new way and obtain an annual report in the form of a design object. Therefore, the idea is highly relevant to the products, and the brand.
Creative Solution: In order to achieve maximum attention and high response rates, we produced the first audio annual report worldwide. The most prominent excerpts of the annual report were interpreted and transferred into music by a renowned opera ensemble. An amazing work of arias, overtures and chorales was created. The premium edition, a design adaptation of the B&O-classic BeoSound 9000, was sent to a limited number of special shareholders and customers. The basic edition, an elegant metal CD case, was sent to selected shareholders and customers. In addition, each package included the complete annual report as a PDF.
Results: The audio version of the annual report lead to extraordinary response rates of 37% for the premium version and 24% for the basic version. Customers, as well as shareholders were enthusiastic about the idea and the high-quality production. At exhibitions, in B&O shops and in investment talks the annual report strongly increased interest for the brand and demand for novelties. Due to the highly positive feedback, an audio version of the upcoming annual report 2009/10 is planned for the international market.
Advertising Agency: Serviceplan, Munich, Germany
Chief Creative Officer: Alex Schill
Creative Directors: Christoph Everke, Tim Strathus, Matthias Mittermüller
Copywriter: Juliana Hirsing
Art Director: Monika Steiner
Account Supervisor: Ralf Hussar
Production Company: just gmbh
Producer: Christian Geisler
Sound Design: Michael Armann
Brief: How do you show support for someone who can’t see? One of the greatest struggles the blind and vision-impaired face as a result of their condition is incredible isolation. Guide Dogs Australia, the country’s leading organization for services to the blind, devote themselves tirelessly to ending this isolation. So when tasked with creating a new way to generate support for the cause, it became vital that it didn’t inadvertently exclude the blind. Anything that appealed to people’s sight, such as a ribbon or wristband, would in truth only add to the problem.
Creative Execution: After 18 months in scent production and then the endorsement of blind people, Support Scent ‘scented’ letters went out to the blind community to ensure they would recognise it when worn. It then launched publicly via events and advertising, across many mediums. It’s now being sold nationwide for $5 at cosmetics stores, Australia’s largest department store chain MYER and online – with all proceeds going to Guide Dogs Australia. As a beauty product, Support Scent’s broken through traditional charity distribution barriers and drawn attention to the cause in a new arena – fashion, including appearances in magazines such as Vogue.
Creative Solution: We created something new that appealed to another sense entirely – smell. A unisex fragrance called Support Scent – that for the first time would allow the blind to actually recognise support around them. To ensure quality and credibility, we approached KIT Cosmetics, one of Australia’s leading cosmetics brands. We asked them to donate their expertise and formulate a scent, solely for our purposes, which we’d design, package and bring to market. The brief: make it desirable but also distinct enough to be recognizable. The desired outcome: new brand awareness for the cause and a 12% increase in fundraising upon launch.
Results: In departing from their traditional methods of fundraising and utilising something not only appropriately inclusive, but actually desirable; the charity is discovering an entirely new support base. It’s inspiring people to get involved because the idea lets them participate in a way they know the blind can actively recognise. Post-launch tracking has shown fundraising lifted 33% when Support Scent launched. 47% of people find the project makes the charity now more relevant to them. 79% of people exposed to it now want to more actively support the cause (for women alone, its an astonishing 85%).
Advertising Agency: Clemenger BBDO, Melbourne, Australia
Executive Creative Director: Ant Keogh
Creative Director: Damian Royce
Creative Team: Tom Martin
Creative Team: Julian Schreiber
Agency Producer/Project Manager: Sevda Cemo
Account Management: Nici Henningson/Ricci Meldrum
Print Producer: Mary Darzi
Interactive Producer: Sam Hodgson
Strategic Planner: Mike Hyde
Project Manager: Jo Currie
Designer: Beci Orpin
Directors: Amy Gerbhardt/Micca Delaney
Director of Photography: Jody Musdon/Micca Delaney/Alex Aslangul
Producers: Jane Liscombe/Allison Lockwood
Editors: Jack Hutchings/Megan Voevodin/Micca Delaney (The Butchery/Tide Edit/Exit Films)
Music Production Company: Karl Richter (Level Two Music)
Smoke Operator: Egene Richards (Digital Pictures Melbourne)
Post Production Company: Digital Pictures Melbourne
Music Composer/Arranger: The Bon Scotts
Sound Designer/Engineer: Paul Le Couteur/Jack Berryman (Flagstaff Studios)
Describe the brief from the client: The Metropolitan Police wanted to demonstrate the consequences of carrying knives. More and more young people were carrying knives in the mistaken belief that this would protect them. The agency were asked to create a campaign to show that the reverse is true.
Creative Execution: The campaign was seeded online and by mobile phone before employing social media, search media, in-game posters, blogs, posters, radio and TV. ‘Choose a Different Ending’ appeared on Youtube, unbranded, as an interactive film. The campaign drew an immediate response. Unprompted, forum members compared the choices they’d made and the consequences that followed
Describe the creative solution to the brief/objective. Our idea was to create a campaign that involved our teenage audience, enabling them to make choices and in doing so, directly experience the consequences. A film campaign was created for Youtube, putting the viewer in the position of a teenage boy on a London estate. Each film ends with an invitation to choose what happens next. Once a viewer has concluded the path they have chosen, they’re invited to ‘Choose a Different Ending.’ An ending both for the film, and for their life. 21 films, ten different endings.
Results and Effectiveness: 4.6 out of 5 average user rating. • 2.1% click-through rate on viral video trailers, well above 0.2% industry benchmark for rich media banners. • Net number of views logged would have required a TV budget 600% the size of our spend. • Peer-to-peer debate about the videos and knife crime swelled. At peak, more than 80 comments a day were posted, with a total of over 3,000. • Total views to date, 2,652,012. • Highest total recall of any Metropolitan Police campaign, ever. 78% among our target.
Brief: Defend Toyota’s number 1 status in Country Australia, (also known as Outback Australia), by creating immediate and significant sales of the Toyota 4WD range across regional country areas as a direct result of a promotional campaign idea.
Promotion developed from concept to implementation: We reminded Country Australians that Toyotas are the only 4WDs as tough as they are. We based our promotional idea on a rivalry that exists in local Australian culture. Tough Country Australians think city people are ‘soft’. So we created a tough new partner: ‘Country Australia Border Security”, a task force of country blokes to defend their borders from ‘soft’ city stuff. Then we supplied them with Toyota 4WDs, the only vehicles tough enough to get the job done. We built a border post and rolled out an promotional propaganda campaign using a number of existing and unique localised channels.
Success of the promotion with both client and consumer including some quantifiable results: The ‘Country Australia Border Security’ promotional idea was so well received by local country consumers that it resulted in an overwhelming response, with sales of new Toyota 4WDs surpassing all targets for the promotional period. Best 4WD sales month in Toyota Australia’s history. Toyota Prado sold out, with 2 month waiting list. Best sales month for Toyota HiLux in years. Successfully defended Toyota’s number 1 status in Country Australia. And all this after years of drought and during tough economic times.
Method of promotion: Toyota has 50 years of heritage in rural Australian communities, and a reputation as the only 4WD brand tough enough for Australia’s country areas. So it makes sense the unofficial 4WDs of Country Australia became the official 4WDs of Country Australia, helping to protect the tough way of life. In fact, Toyota is the only brand tough enough and respected enough in country areas to have done this promotional campaign idea with any credibility.
Advertising Agency: Saatchi & Saatchi, Sydney, Australia
Executive Creative Director: Steve Back
Creative Director: Dave Bowman
Copywriter: Steve Jackson
Art Director: Vince Lagana
Agency Producer: Kate Whitfield
Director: Tim Bullock (Prodigy Films)
Producer: Julianne Shelton (Prodigy Films)
Group Business Director: Ben Court
Business Director: Amy Turnbull
Planner: Simon Bird
Producer – print: Jeremy de Villiers
Brief: In Hong Kong, there’s only entertainment. There is no music industry. Television, radio, and other major channels are dominated by giant record labels. But somewhere in the city, the sound of independent music is hiding, waiting to emerge. Zoo Records is a celebrated alternative music store dedicated to breaking the monopoly of mainstream music, and exposing the public to the world of alternative sound.
Creative Execution: People who scanned the QR Codes in the animals with their mobiles were rewarded with band info and refreshing new songs. By scanning different parts, they could listen to different songs, exploring all the hidden sounds of the city. They could also buy any of the songs directly from their mobile, as well as share it on Facebook and other social media.
Describe the creative solution to the brief/objective. We took 14 indie bands, and embedded their songs and profiles into 14 different QR Codes. These were then assembled into the shapes of animals that live hidden in the city, and posted all over Hong Kong.
Results: We saw countless people sharing their newly discovered music on Youtube, Facebook, Twitter, and personal blogs. But what was even more important was that more than half of the 14 bands sold out their albums within the first week, helping more people uncover the hidden sound of the city.
Advertising Agency: Leo Burnett, Hong Kong
Executive Creative Director: Connie Lo
Group Creative Director / Art Director: Brian Ma
Creative Director / Copywrtier: Alfred Wong
Copywrtier: Wen Louie
Copywrtier: Joey Chung
Copywrtier: Cyrus Ho
Art Director: Kenny Ip
Art Director: Leo Yeung
Account Manager: Matthew Kwan)
Retoucher: Tommy Cheung
Brief: GGRP is a premier sound house, based in Vancouver, Canada. Despite a strong reputation, and a history of award winning work, GGRP was suffering from the perception that they’d gotten long in the tooth. Our objective: Prove that GGRP still stands for creativity in sound; that they remain current and relevant; and deliver on the promise that for those that truly love sound, both in its quality and creative expression, GGRP is the obvious choice. To meet this objective, our direct campaign targeted a combination of existing and potential new clients, across Canada and into the US.
Creative Execution: Vinyl fits GGRP perfectly. Vinyl has a proud history; it’s the #1 choice for audiophiles; it’s the most creative and expressive medium for sound; and it’s enjoying a tremendous resurgence in popularity. In so many ways, vinyl parallels the GGRP brand. With the cardboard record player, we delivered an experience in sound creation. Made from a single piece of cardboard, our record player folds up into an envelope that includes a 45-vinyl. The record can be operated with a pencil. As the vibrations go through the needle, they are naturally amplified in the cardboard material.
Describe the creative solution to the brief/objective.
In answering the brief, we hit on the idea of vinyl. It fit GGRP perfectly. To start, we redesigned the identity and created a new website. Next, we focused on getting the word out. Originally, we considered sending vinyl records, but there was a problem: nobody has a player anymore. After research and a number of failed prototypes, we found a way to make the album jacket operate as a player. The concept took life. There wasn’t a specific metric in place for response; instead, our DM was designed to spark conversations rooted in the idea of sound and creativity.
Results: Direct response was over 90%. Everyone who received one wanted to talk about it, or wanted more copies. But it’s the indirect responses that have generated the most traffic. It’s become an Internet phenomenon, on over 500 blogs such as Gizmodo and Wired. YouTube views for the promotional video have increased by over 20,000 in under a week. Traffic to the GGRP site grew exponentially, moving from 50 visits/week to more than 70,000. The viral nature of the record player’s success has created more conversations with the creative community than GGRP ever expected – but they aren’t complaining.
Advertising Agency: Grey Canada, Vancouver, Canada
Creative Director: Geoff Dawson
Art Director: Andrew McKinley
Copywriter: Geoff Dawson
Illustrator: Andrew McKinley
Additional Credits: Dennis Isaacson
Published: March 2010
Due to El Niño Southern Oscillation and global warming, Colombia has endured long-lasting droughts and one of the worst summers in its history. 69.279 hectares of native forests have burned down. According to the Ministry of Environment, 95% of forest fires are human-caused, 5% due to natural causes. Our target audience: people who, by oversight or neglect, caused fires. We took action in natural parks and large forest zones by creating activities that would raise awareness about the serious effects of oversights that cause fires.
Advertising Agency: Ogilvy & Mather, Bogotá, Colombia
Creative Directors: John Raul Forero, Juan José Posada, Juan Carlos González, Margarita Olivar, Diego Ortiz
Art Director: Margarita Olivar
Copywriter: Juan Carlos González
Additional credits: Fabio Quiroga
Published: February 2010
Advertising Agency: Jandl, Bratislava, Slovakia
Creative Directors: Rado Ondřejíček, Ján Fajnor
Art Directors: Marek Repka, Pavel Gajdoš
Copywriters: Karol Thiry, Matúš Švirloch
Illustrator: Marek Repka
Published: April 2010
Advertising Agency: Publicis, Gurgaon, India
Executive Creative Director: Emmanuel Upputuru
Creative Group Head / Copywriter: Sudhir Das
Creative Director: Anindya Banerjee
Associate CD / Art Director: Sunny Johnny
Advertising Agency: DDB, Milan, Italy
Creative Directors: Luca Albanese, Francesco Taddeucci
Art Director: Armando Viale
Copywriter: Valerio Le Moli
Account Director: Annagiulia Di Francesco
Art Buyer: Michela Braganti
Photographer and Postproduction: Artout Creative Group – Claudio Luparelli/Michele Gastl
