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Campaign Brief (AUS/NZ) Online.
Campaign Brief Magazine : Nov Dec 2010
AWARDS 16 CAMPAIGNBRIEF NOVEMBER/DECEMBER 2010 Australia was the best performing Asia-Pacific country in the 2010 London International Awards, pick- ing up 14 trophies and making it the fourth most awarded in the world behind the USA (72 tro- phies), UK (63) and Germany (24). The 25th LIA judging was held at the Wynn/Encore Hotel in Las Vegas, over ten days in September. Y&R was awarded Network of the Year; RCKR/Y&R, London won Agency of the Year; and MJZ was awarded Production Company of the Year. In total Australia scored five gold statues, 13 silver, six bronze and 19 finalists. New Zealand won two sil- vers and a bronze, all for Colenso BBDO Auckland. This includes sil- ver in original music to Liquidstudio’s Burger King spot, ‘The King is Coming’, silver in ani- mation for the New Zealand Book Council’s ‘Going West’ and bronze in non-traditional for V Pocket Rocket’s ‘Rocket Man’. Representing the Asia-Pacific region on the panels this year were Jureeporn Thaidumrong (JEH United, Bangkok), Jagdish Ramakrishnan (Ogilvy Singapore), Naoki Ito (Wieden+Kennedy Tokyo), Kentaro Kimura (Hakuhodo Kettle Inc, Tokyo), Ralph van Dijk (Eardrum Sydney), Paul Swann (Naked Sydney) and David Nobay (Droga5 Sydney). Golds went to Clemenger BBDO Melbourne for Guide Dogs Australia’ ‘Support Scent’ in the integrated campaign category, which saw the creation of a unique fragrance called ‘Support Scent’ with the assistance of KIT Cosmetics, one of Australia’s lead- ing cosmetics brands. The packag- AUSTRALIA RANKS 4TH AT LIA ing was designed with Braille to include the blind, and scented Braille letters, imbued with the fra- grance were sent out to ensure they could recognize the scent. It was sold nationally at Myer department stores and cosmetic stores as well as online with all proceeds going to Guide Dogs Australia. Clemenger BBDO Melbourne also picked up two bronze statues. Three Drunk Monkeys picked up gold in non-traditional and silver in The New Category for The Cancer Council of Australia’s ‘Sun Sound,’ a five-minute jingle produced by renowned Australian musician Ben Lee and Sony Music, which launched in summer 2009. The catchy five-second jingle was designed to be played at regular intervals on loud speakers at beach- es, pools and sports grounds with a friendly reminder to protect your skin from the sun. Faris Yacob, chief innovation offi- cer at MDC Partners and jury pres- ident of the New Category, for which the Monkeys won silver, said many entries featured campaigns with social components, and used social media coverage as both an element of the idea and efficacy of it. “Cultural salience is of course a valuable measure of what we do as an industry – earning attention, cre- ating interesting culture. But simply doing good outreach or PR stunts doesn’t necessarily equate to the same thing,” he said. “We debated the core component of the New. Simply using technology isn’t enough. In fact, despite the name, novelty alone isn’t enough – for what we do isn’t art, done only for its own sake, but for the goals of our clients. To be New is more than being novel, it must be rele- vant, it should interface with cul- ture. It should help us pave the way to the future of our industry. The statues we did award were richly deserved.” There were no Grand LIA awards handed out, but he praised the two golds, awarded to Crispin Porter + Bogusky for Twelpforce and to DDB Stockholm for Volkswagen. “Fun Theory taps right into the need we must all service – creating new behaviors, in a way that gen- uinely seems to have sparked a movement,” he said. “Twelpforce provides a compelling utility – a digital extension to the in-store experience, an idea that requires an admirable level of integration with the client and their internal sys- tems.” Two of Australia’s golds were for music: Exit Films picked up a gold for the Publicis Mojo Melbourne campaign for Tourism Victoria pro- moting Daylesford called ‘Double Life’ in music adaption with the sound design by Level Two Music, Melbourne. Grey Group Melbourne for TAC’s ‘Everybody Hurts’ in use of licensed music for the REM song. Paranoid@TheFeds Sydney picked up for gold in special effects for M&C Saatchi’s Optus’ ‘ Secret Training Camp’ . D irected by Thierry Poiraud, postprduction was by Buf, Paris. Other Australian agencies to per- form well in the awards were Saatchi & Saatchi Sydney with four silver statues for Tooheys New and DDB Sydney with three silvers and two bronze. Two of DDB’s silvers and a bronze were for AWARD’s 1 “We didn’t have a massive budget.” It’s hard to compete when your TVC is up against multi-million dollar Superbowl spectaculars. Same goes for print with photographers. But when was the last time you had a radio idea rejected because it was too expensive? Good radio is as cheap as bad radio. In fact, AJF Partnership recently won Round 2 of the Siren Awards with a simple voiceover. 2 “We had no time.” With radio, there’s no briefing of photographers, illustrators or directors, no location scouting, no pre-production and no retouching. Which means you can spend your time actually coming up with the idea. 3 “Our other idea died in research.” When was the last time you had a radio ad put into research? 4 “We had to adapt an overseas campaign.” True, re-jigging another agency’s print, outdoor or TV isn’t going to get you a walk to a podium. But for some reason, radio is magically left off most campaign adaptations. And when you think about it, fitting a radio ad into an existing campaign can often be as simple as answering the same brief. And if it’s a clear, simple brief, you’re halfway to Cannes already. 5 “It went through so many changes.” Strangely, radio seems to attract less scrutiny and face fewer levels of approval than other media. Perhaps it’s because there’s less at stake than a big budget TVC, or because it’s less visible (obviously) than print or outdoor. Whatever the reason, a script that’s good can often end up staying that way. 6 “The style guide meant it looked like shit.” Yes, style guides are full of rules on where to place your logo, how big to make your copy, what the imagery should look like... but on radio, you can ignore it all. And while your style guide might be as thick as a phone book with details of how to treat outdoor, brochures, print, TV and online, chances are, there’s not a single page devoted to radio. Which gives you the freedom to create something rather nice. 7 “We couldn’t get a good director/photographer/illustrator.” You don’t need Spike Jonze to direct a radio ad, or David La Chapelle to shoot it, or discover the next hottest illustrator to make it look good. You just need a good sound engineer. Luckily for us, Australia’s full of them. 8 “It’s a boys’club, the judges just give the awards to their mates.” This year, the Siren Awards include the new Client Award, with the judging panel made up of selected clients, not creative directors. And instead of just getting a trophy for the agency foyer, the creatives get to go home with a cash prize of $5000. 9 “The agency was too tight to enter Cannes.” By entering Sirens, you get the chance to enter Cannes, because the overall winning entry is automatically entered into the 2011 Cannes Radio Lions. Not only that, but the winning team also gets a free trip to Cannes. Oh, and entering Sirens is free. 10 “We missed the entry deadline.” The next round of Sirens is now open. So start thinking about radio, or start thinking about a new excuse. Enter at sirenawards.com.au. PRESENTS PRESENTS Marcello Serpa: “Some of the videos presented made an incredible effort to sell an average idea as the most revolutionary action in the history of their countries.” v
CB NAT FEB 2011