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Campaign Brief (AUS/NZ) Online.
Campaign Brief Magazine : July August 2007
CAN NES door and the site itself were pretty ordinary when placed under the microscope, but most of the excite- ment dwells o n t he idea of RGA and the clients (Apple/Nike) creat- ing a new product before they wor- ried about creating the ads. So, what of Titanium? Well first off , I bet ter explain the judging process. In a nutshell: about 3 25 entries, each using a 5 minute film (that invariably felt more like 30 mins) to sell their case. Oh, and we only had three days to v iew, what I estimate as, the equivalent of about 3,000 30 sec spots. You’d think that the 1,000 Euro Nobby: “I thought it was a real shame that the decision was made not to open the Grand Prix up to public service work, as I think ‘Earth Hour’ from Leo Burnett, Sydney and particularly ‘The Tap Project’ from Droga’s boys in New York was really powerful stuff that deserved to be considered for the big prize” TITANIUM JURY DAVID NOBAY SAATCHI & SAATCHI AUSTRALIA CANN ES ’07. OK, DEEP BREAT H. Think about rel axing things. Quie t places. (But terscotch pudding usu- ally does it, for some reason.) I can do this. It’s been ab out 10 days since I returned from the Croisette, via a extended sejour n with th e ki ds up the Fre nch coast. S omewhere in between th ere and now, He athrow happened. Or rather Al Queda did. The result was yours truly s tagger- ing bac k into Sydney airport s ans any Gold Lions (Ok, my fault, not Osam a), sans lu ggage ( BA/ Heathrow/Osama) a nd missing all our k eys (wi fe for pu tting t hem in luggage /possibly in cahoot s wit h Osama, still investigating). Could be wor se, I guess . Mike O’Sullivan act uall y ar rived in Cannes without any luggage, result- ing in him wearing a rather fetching tangerine b lous e for the fir st few days of judgi ng (does n’t e xpl ain why he’s still wearing it, though). Right. Enough about me an d my fucking lugg age. Let’s talk ab out Cannes Judgin g. Or, s pecif ical ly, 22 CAM PA I GN B RIE F the thorny ‘Integrated & Titanium’ category. I say thorn y, a s t her e seemed to be an elevated degree of interest in the area this year . Bizarre, as I don’t think too many people ne ed to de lve into what ‘Integrated’ means. The only my s- tery, for me at least, is why it’s been off the show for so lo ng. All the other major shows have lo ng cele - brated the fine art of blow ing a n idea out across many different paths (as opposed to the not so fine art of ‘sy nerg y’, whi ch basically j ust means matching luggage). If we’d had it l ast year , I’m pretty su re Lowe Hunt, Sydney would have a Grand Prix to add to all their other metal for LynxJet. As for the judg- ing this year, the criteria was pretty much the same as it i s for all inte- grated award shows - nam ely, let’s cel ebrat e the ideas that si ng o ut across media, by playi ng t o th e quirky strengths of ea ch one . For tha t v ery r eason , we loved t he Wor ld P res s Phot os idea fr om Clems in Well ington be cau se it used each individual media to build the idea, as opposed to just spread- ing the same visual liber ally across 200 platforms, which was unfortu - nately the case with most of th e ent ries. Tate Gal lery sc ore d f or much the same reason, while the Argentinian Axe work snag ged the Grand Prix b ecause, in addition to playing seamlessly across TV, digi- tal , PR, outdoor , dir ect an d beyond, the agency’s idea actually started with re-packaging the prod- uct itself (they sneakily in creased sales by bundling two fla vours o f deodourant in a singl e pa ck and asking blokes to blend them them- se lve s. Kind of ‘mash-up’ for pongs). Having an impact on the product itself, as opposed to waiting patient- ly until the client and factory ha ve delivered it to the agency door, was pretty much the winning ingredient in a lot of the Grand Pri x work a t Cannes this year. Nike+, wh ich missed out on the Grand Pr ix i n Titanium, but scored it in digital, was a case i n point. Fr ankly, th e individual elements l ike TV, ou t- price tag would have cut down the entr ies (especially the on es that opened with ‘CHALLENGE - WE HAD NO MONEY...’ Well, you had 1,000 Euros mat e, maybe you should have used that on the idea and forgone the entry!), but, as with all categories, the vast majority was dross. Given the pr ice tag though, at least our chairman Alex Bogusky gave most of the films a more than generous viewing, alth ough the temptation to scream ‘STOP’ after the first 10 se conds was often over- powering. At this point: a note on the entries themselves. More than any other category, I’d say the presentation of Integrated/Titanium is paramount - arguably as key as the idea itself. I’m not saying that’s right. I’m just saying that that’s the fact. In print, a decent proof at 150% actual size can go a long way to making the work s tand out, but frankly, if the layout and idea is shit, no stock in the world can save it. In the case of these 5 minute films, the execution, pace, music and storytelling of the entry is half the bloody idea. I fe ar many a great idea was simply badly sold, or rather told, when it came to the entries. In contrast, the odd average idea was given quite a rise by a thoughtful bit of editing and soundt rac k. Ultimately , my tip would be to keep it simple (a great insight, followed by a showcase of the e xecution, followed by a suc- cinct list of the ultimate results) . This year, I think too many entries pushed the numbers/results/figures into overkill. Sure, it’s important to make a case for the results, but not if it swamps the purity of the execu- tion. Too many supers screaming $2M OF FREE MEDIA etc. A l it- tle subtlety can go a long way. OK, enough of that. What of the criteria i tself? Wel l, Alex kicked off the judging for us by making a sim- ple observation: Much as we all acknowledge that BMW Films was a breakthrough moment i n the industry (and the catalyst for the Tit anium category), if the s ame work was entered a few years later, it would be lucky to score a finalist. The r eason? Well, the very nature of the original work was so inspiring to us all that we collectively went out and started aping it in some way. It created its own genre. His point was that whatever we chose to elevate to Grand Prix, it should be work that spawned its own move- ment, much as BMW Films did s o JU L Y /AU GUST 2007
September October 2007
May June 2007