Tip:
Highlight text to annotate it
X
["AH LA LA" BY THE TAKEOVER UK]
CLEVE LANGTON: Great.
Hi.
I'm Cleve Langton.
And I am chairman of the Effie Global Committee.
And I want to welcome you all.
And thank you for coming here.
We have two distinguished guests with us today.
There's Doug.
You're head of innovation at Taxi?
DOUG: At Taxi in New York.
Yeah.
CLEVE LANGTON: OK.
That's fun.
Rick.
RICK WEBB: I'm one of the co-founders and the COO of The
Barbarian Group.
CLEVE LANGTON: So what we wanted to do today was give
you some observations from the winning Effies.
And there's a lot of lessons to be learned here.
There's a lot of we call 'em insights.
Because what you'll find is a lot of the most effective
campaigns are using a lot of very nontraditional media.
In fact, most of the ones that have won a lot of the grand
Effies have used a huge number of nontraditional media.
What we did was we spoke to the judges.
And the judges, as you know, are a group of marketers and
agency people.
And we said, for 2010, what do you think are
the top growth areas?
What do you project for 2010?
Not surprising, social media, social networking.
They see a 64% increase.
Obviously this is not quantitative.
It's what they said.
Online search, not surprising.
Online ads.
Mobile, that something that we will discuss a little later
because everybody says this year is the year of mobile.
But they keep saying it.
And somebody said at the 4A's they've been saying that for
the last seven years.
We'll actually see if 2010 is the year of mobile.
You know around the world mobile is
tremendous in its influence.
And then guerrilla marketing.
Everybody is projecting an increase
in guerrilla marketing.
Trends with the greatest impact, again mobile
marketing at 8%.
User-generated content.
How does everybody feel about user-generated content?
Do you think that's still as important as it was?
What do you think?
DOUG: Sure.
Yeah.
I think it's part of what everyone's doing,
CLEVE LANGTON: right.
DOUG: And creating an area where people can
create stuff is great.
I think that the category's pretty broad.
I think what's happening is that brands and publications
are creating better tools and people are raising their skill
level in this space.
A lot of online gaming is user-related content.
I think the word is a little weird.
CLEVE LANGTON: Well, it's a little overused, probably.
RICK WEBB: Yeah.
DOUG: Isn't user-generated content kind of the same?
RICK WEBB: I really see the two of them as very
intertwined, user-generated content and social media.
DOUG: User-generated content, is that like a contest where
someone makes a video and it goes on--
CLEVE LANGTON: It was a broad question.
Where's Erica?
What was the question, Erica, do you remember?
ERICA: It's basically just what are the trends for 2010.
And the options that they had to choose from were
user-generated content versus marketing [INAUDIBLE]
CLEVE LANGTON: OK.
And then, again, social marketing.
Next?
RICK WEBB: Yeah.
I would err on the side of social marketing of the two.
But I really think--
CLEVE LANGTON: OK.
2009, we analyzed the media used by the entrance.
Not surprisingly roughly 90% used internet.
TV not declining.
Basically holding its own.
Poor radio, by the way, is going down quite a bit.
But print is holding its own.
PR seems to be doing quite well, and that's because of
social media, basically.
Out-of-home, you can see.
It would be foolish of me to read through each one of them.
But again, the surprising thing here, to me at least, is
the impact of PR.
And PR as we know it has changed dramatically.
Next.
This is, to me, quite an interesting observation.
Nobody submits a so-so Effie entry because it costs money.
It's a hard thing to pull together.
So therefore all the entries are good.
Obviously, the winners are the best.
But the interesting thing here is the average number of media
used by all entrance is six.
And 79% are using four more.
So what we're seeing is we're seeing, even under smaller
budgets, there's a large number of media being used in
general and a higher percentage among the winners.
To me that's quite interesting insight.
Next.
So we said, from 2009 to 2008, where was
the greatest increase?
And we found consumer involvement again.
Sort of a vague term there.
But it's up almost 70%.
Still growing.
We probably expect something very similar
to that this year.
Events.
The event has gone through a lot of change.
And it's gone through a lot of problems
because of cost and cutbacks.
But that's not what we saw in the media being used by the
winners or by all entries.
Guerrilla, again, up 26%.
Cinema.
I find that interesting, around 25%.
PR, again, up, down.
And TV, that's basically flat.
Next.
OK.
We'll do a little pop quiz because this will show some of
the interesting insights into the
Effie winners and entrants.
First question, what percentage of winners spent
less than $1 million on their campaigns?
Can I see a show of hands?
How many people think 20%?
Less than $1 million?
OK.
How many people think 30%?
One, two, three, four.
OK.
40%?
OK.
So the vast majority.
50%?
And the answer is 30%, which is interesting because what
it's saying is the winners are not
necessarily the big spenders.
And the interesting thing is for those people who think
that the Effies are an advertising thing, the game
has changed a lot.
Next.
Thank you, Angie.
What percentage of winners spent more than $40 million?
How many people think 55%?
I guess you can figure this out.
OK.
Let's reveal the answer to that one.
15%.
So again, it skews much more towards the
smaller spending accounts.
Next.
This is an interesting question.
What was a top goal cited by the winner?
What did they want to achieve?
How many people think it's expand their audience?
One, two, three, four.
Four.
OK.
Launch, relaunch brand or product?
OK.
Vast majority.
So buy or change corporate.
Here's the surprising insight into that, Interesting.
RICK WEBB: It's weird sales isn't on there.
CLEVE LANGTON: Huh?
RICK WEBB: It's weird sales isn't on there.
CLEVE LANGTON: Yeah.
That's the bottom line.
RICK WEBB: Increase sales.
CLEVE LANGTON: Right.
OK.
Next.
So Rick, you're up.
What we asked Rick and Doug to do is pick their favorite
campaign, or the campaign they thought most typified success
or the criteria for the Effies.
Remember, the primary criteria, the overriding
criteria of the Effies is effectiveness.
But effectiveness can be defined in many ways.
And we're going to show you three campaigns today.
I think you're going to see how different effectiveness is
defined and how varied the media that's used across each
one of these campaigns.
So Rick, you want to take that from here?
RICK WEBB: Yeah.
OK.
So this one, the Canadian Club Damn Right.
How many of you guys say this, by the way, since that was a
heavily debated topic when we were judging it.
This campaign was for Canadian Club which is a whiskey.
It's a Canadian whiskey.
Any whiskey drinkers?
OK.
So you guys are basically the market for this.
And if you're whiskey drinker, Canadian whiskey, especially
Canadian Club at this point, is not
exactly top of the line.
It's really going to bourbons and single malts.
And there's Canadian Club especially was really saddled
with the image of being out of date and old-fashioned.
As a lush, there are many boozes like this you just kind
of stay away from.
Early Times, for example.
So this is one of those, Canadian Club.
And what they did is they hadn't been advertising
against the brand in quite a long time, which became a
challenge in judging it that I'll get to in a minute.
But they took their biggest liability--
if you want to go to the next slide.
ERICA: We're going to show the video.
RICK WEBB: Oh, it's going to show the video?
We'll let you watch the video.
But what they did, I thought was really great about it is
they took their biggest liability, this sort of out of
date, old-fashionedness of it, and they turned that into an
asset in a way that I think emotionally resonates with the
target audience in a pretty strong way.
I'll freely admit that the creative on this was a huge
draw for me since I'm the target and I'm a whiskey
drinker and I'm of that age.
And I have this relationship with my father that they
really tapped into.
But they did a really good job with that.
And I think it just hit the target a really great way.
So let's watch it, and I'll talk about the effectiveness
afterwards.
NARRATOR: For decades, Canadian Club was the best
selling brand of whiskey in the United States.
Men everywhere drank cocktails because cocktails were
masculine and sophisticated.
But today, not so much.
At cocktail time, guys have to make do with girlie drinks,
juvenile drinks, soccer mom drinks.
It's not good.
And Canadian Club has suffered sales declines
for 16 straight years.
What guys need today is a drink that's masculine but
still sophisticated.
What guys need is Canadian Club.
So what's stopping 'em?
Well, they told us it's what their dads drank.
Spirits are about being young, hip, attractive.
That's not your dad.
But wait a minute.
Before your dad was Homer Simpson, he
was something else.
Your dad was young in the 60s and 70s.
He went out late.
He got phone numbers.
Sometimes two a night.
Before he was your dad, he was you.
Except he knew what his drink was.
Canadian Club.
We realize that to get people to rethink Canadian Club,
first we had to get 'em to rethink dad.
We brought this insight to life where
our target guys live.
In print, in out-of-home near bars, in the often ignored
areas of on-premise and off-premise point of sale.
With in-bar events like shoe shine nights that recall dad's
glory days.
Online, we gave consumers the tools to make their own ads,
which they did a lot.
Consumers connected with Canadian Club
on a whole new level.
We made your dad aspirational and his drink too.
Canadian Club.
Damn right your dad drank it.
RICK WEBB: Yeah, OK.
We're going to go through the case study of it.
But basically, the strategic challenge, of course, is to
restore the vitality to a dormant brand.
And I think that they handled that really well.
Could you just the whole slide so I can talk through it?
That would be really good.
Oh, it's all--
CLEVE LANGTON: No, we'll have--
RICK WEBB: Oh, it's one by one.
Right.
There we go.
Awesome.
So taking that liability of being old-fashioned and
turning it into a strength is really awesome.
And taking the major criticism of the brand and turning into
a positive is really great.
The results were interesting.
If you read the whole case study in PDF form, they're
just straight dead on astronomically solid.
They didn't spent a lot of money on it, but they
immediately reversed sales.
They had the largest quarter on quarter growth in, I think,
16 years or something like that.
It was like the first increase in sales in ages, like more
than five years.
Ultimately, as the judge, it became a bit of an issue
because they hadn't advertised against the brand in the past.
So we couldn't judge this campaign
against another campaign.
But what it really did was it quantified the efficacy of
quality advertising, which is really awesome.
We still wrestle with that all the time, the 50% wasted
versus the 50% that's effective.
This one was dead-on.
There's no doubt.
You watch the graph, and there's zero advertising.
They do this campaign, and it goes way up.
It made it a challenge to compare its efficacy against
other campaigns.
But it was a very clear case study of effective
advertising.
Plus, I just really love the creative.
I'm a creative, even though I'm a COO.
And it's just dead-on for the demographic.
My dad grew up of a small town.
And as everybody there is getting old, all the people
are starting to--
You don't think about your dad in that way until everybody
starts getting a little tipsy in their 60s and gossiping
about their youth, and letting on that
everybody loved the guy.
It's perfect.
Everybody in that group, a lot of people have that
relationship with their father.
And tapping into that emotional connection as you
grow up and start thinking about your parents in
different ways and respecting their history was, I think, a
really brilliant move.
CLEVE LANGTON: Great.
Questions on this?
Points of view on this?
Issues on this?
Anybody?
Nope.
Doug.
DOUG: It's my turn?
CLEVE LANGTON: It's your turn.
DOUG: OK.
Well, I chose the Burger King Whopper Freakout campaign by
Crispin Porter.
One of the main reasons why is because when I was in high
school, my third job was working at Burger King.
And so this campaign was really close to me in the
respect that it didn't do what normal campaigns do, which is
to showcase beautiful food, showcase eating it, creating
an exaggerated, wonderful experience.
This, in fact, takes the product out of the hands of
the consumer and shows the consumer in fear.
Because they fear change.
And what it was really interesting is they took
something which is probably their biggest weakness, which
is their real estate and what it looks like and made it the
centerpiece for their campaign.
CLEVE LANGTON: Great.
DOUG: Here's the video.
MALE SPEAKER: Hello, baby?
Guess what these *** done did at Burger King?
These *** done took away from the
*** Whopper.
NARRATOR: Heaven's to betsy.
The Whopper.
It's America's most beloved burger and has been for the
past 50 years.
But how do you prove love?
Burger King decided to prove it by taking away the Whopper
for one day in one town to see what would happen.
What happened was the Whopper freakout.
A town in middle America was chosen to serve as the stage
for this day of deprivation.
It was rigged with cameras inside and out.
Trained actors posing as BK employees explained this new
reality to unsuspecting patrons.
MALE SPEAKER: Ladies and gentlemen, my name is Andrew.
I'm the manager of this particular Burger King.
I apologize for the delay.
I do need to let everyone know the Whopper has been
discontinued forever.
NARRATOR: The nature of our social experiment meant that
we truly didn't know what would happen.
Burger King went into it wondering would this elaborate
scheme really prove that people love the Whopper or
just *** them off?
MALE SPEAKER: They discontinued the Whopper.
NARRATOR: Thankfully, it did both.
MALE SPEAKER: I need my Whopper.
How about that?
MALE SPEAKER: Whoppers are gone?
MALE SPEAKER: Like that's it.
MALE SPEAKER: Unfortunately we no longer have Whoppers.
FEMALE SPEAKER: You cannot be serious.
Is this a joke?
FEMALE SPEAKER: I want your manager at the window when I
get there, please.
NARRATOR: To push the experiment further, we
substituted a competitor's alternative for the Whopper.
MALE SPEAKER: This is supposed to be a Whopper.
MALE SPEAKER: OK.
That's a Wendy's burger.
NARRATOR: This ruse was not well received.
MALE SPEAKER: I hate McDonalds.
MALE SPEAKER: I hate Wendy's.
NARRATOR: A roving reporter armed with a local newspaper
corroborating the story was hired to capture people's
candid reactions to the
discontinuation of the Whopper.
MALE SPEAKER: The Burger King doesn't have the Whopper.
They might as well change their name to Burger
[? Clean. ?]
MALE SPEAKER: Yeah.
MALE SPEAKER: What are you going to put on the logo now?
Home of the whatever we got?
NARRATOR: After the experiment, it was decided to
cut the hundreds of hours of footage into 15 and 30-second
TV spots, and audio from the drive-through was turned into
radio ads, all of which would lead people to
WhopperFreakout.com where a streaming eight-minute
documentary of the experiment could be found.
MALE SPEAKER: Well, this started out as a stunt, but
now it's become an internet sensation.
NARRATOR: Some folks began contributing to the hype with
homemade freakout parodies.
MALE SPEAKER: You discontinued the Whopper?
MALE SPEAKER: Oh my god.
FEMALE SPEAKER: There's no Burger King anymore.
CHILD SPEAKER: What?
MALE SPEAKER: How may I help you?
MALE SPEAKER: Hey, young man.
Let me get a Whopper with no cheese.
MALE SPEAKER: What do you mean you ain't got no Whoppers?
This ain't no Burger King without no *** Whoppers.
That's the bestselling product y'all got.
You don't got no ***' Whoppers?
NARRATOR: It is said that absence makes
the heart grow fonder.
But as Whopper freakout proved, if you love something
enough, absence actually makes you freak out.
FEMALE SPEAKER: I just want my Whopper.
MALE SPEAKER: I just want a triple Whopper.
MALE SPEAKER: I want my Whopper.
MALE SPEAKER: Get me a Whopper.
DOUG: So what was really unique about this was that
there wasn't really a new product being released.
Typically, a lot of the interest generated for Burger
King is that they add more bacon or they add barbecue
sauce or it's Swiss cheese or it's roasted onions or it's a
Western product or whatever.
This is their lead product that's almost been forgotten.
And they're drawing attention to it just by taking it away.
It's so very simple.
From an execution standpoint, it's one location.
It's at an intellectual property, which is fantastic
with franchisees.
And it lends itself really well to being spread.
The humor--
CLEVE LANGTON: The viral stuff must have been
incredible on it.
DOUG: --actual consumers.
Yeah.
The word viral always frightens me.
CLEVE LANGTON: Yeah.
The bacterial.
DOUG: The way it spread was exciting.
The way that actual consumers were able to copy it and make
their own on YouTube is fantastic.
It wasn't a prescribed, Elf Yourself type of a situation.
It was legitimately something people could grab onto and
share and copy.
The one thing, actually, a lot of judges were concerned about
with this was the double-digit increase in quarterly sales.
They felt like it could have had more depth in terms of how
much growth.
CLEVE LANGTON: Right.
RICK WEBB: Yeah.
We wrestled with that a lot on the grand jury with this one.
DOUG: But the creative, I think, was so powerful and so
magnetic that it made it really easy to let it win.
CLEVE LANGTON: I also think these guys are choosing
campaigns that are obviously not in their agency.
So that's kind of nice too.
DOUG: Yeah.
I know Jeff really well, Jeff Benjamin who does all the
digital stuff at Crispin.
And he shared this with me in process.
And I was just floored by it as it was being made.
It's an amazing idea.
And just the simplicity of it.
It takes on this kind of Punk'd vibe as well as like a
mock documentary kind of feeling.
CLEVE LANGTON: Yeah.
DOUG: And it really becomes entertainment.
It's not really an advertisement as much as a
piece of comedy.
CLEVE LANGTON: I'm glad you chose this because when we
look through the Effies, a lot of the winners are using
techniques that are very nontraditional.
I don't know what traditional is anymore.
I don't know what new media is anymore.
But they're using techniques that really, really draw the
consumer into the product.
And it's very experiential.
We saw that in Kimberly-Clark.
Remember the sofa that moved around the country?
Remember that campaign?
And Tickle Me Elmo?
Erica, that won a what?
ERICA: [INAUDIBLE]
CLEVE LANGTON: Gold?
Gold, definitely.
And so we're seeing a lot more of these things.
And I think as you see these things, it should spark ideas
what you can do for your own brands or
for your client brands.
OK.
Third one up is Haagen-Dazs.
And doing good can be very, very good business.
By the way--
RICK WEBB: There's no getting around it.
Sorry.
CLEVE LANGTON: Oh my god.
OK.
Again, from Goodby.
Goodby's the agency here.
Can we roll the video?
NARRATOR: We don't know if it's an advertising truth or
not, but if your client has to appear before Congress, you
either did something really good or really bad.
Turns out, it was something really good.
The client in the hot seat?
Haagen-Dazs, makers of super premium ice cream, a brand
that, in the past, had been sold as a glamorous fashion
accessory, a brand that, even to this day, you'd expect to
find beside images of silver spoons and
self-indulgent yuppies.
Who would have guessed that an advertising agency would,
instead, turn its marketing lens towards the unsung
workforce responsible for creating the ice cream's
ingredients?
One that, as it turns out, is in grave danger.
It all started with a strange phenomenon in nature.
Honeybees are disappearing and nobody knows why.
An alarming fact that, in time, could lead to the demise
of nearly one third of all the natural foods we humans eat,
including nearly half of all natural ingredients found in
Haagen-Dazs ice cream.
And so in March of 2008, Haagen-Dazs embarked on a
fully integrated marketing effort to help bring the
honeybees back.
It began with the pledge to donate $250,000 to Penn State
and UC-Davis to help fund honeybee research, a pledge
made instantly real with the launch of a new flavor,
Vanilla Honeybee, in honor of the cause.
At the same time, Haagen-Dazs launched HelpTheHoneybees.com
where visitors can learn about the problem, donate to the
cause, and help spread the word.
Next, we needed people to visually connect with the
problem and become emotionally invested in the cause.
And what better way to do this than through the power of
television?
[OPERA MUSIC]
NARRATOR: We also developed print ads celebrating our new
Vanilla Honeybee flavor and connecting it to the problem
so that people would know they could help the cause simply by
enjoying our ice cream.
But we knew we needed to give people ways to actively help
out beyond just eating our ice cream.
So we created a magazine insert made of seed paper that
consumers could tear out, crumple up bury in the ground
to grow wild flowers for honeybees to feed on.
Through the miracle of dance, we were able to bring the
problem to the attention of millions of earth-conscious
YouTubers who, it turns out, were starved for content with
this sort of substance.
[HIP-HOP MUSIC]
NARRATOR: We partnered with consumer magazines to create
custom advertorials, created tie-ins with popular food
websites, and even employed Facebook's popular graffiti
drawing application to help people express
and share their concern.
At farmers markets and green events nationwide, Haagen-Dazs
educated people about colony collapse disorder while
handing out samples of Vanilla Honeybee ice cream and
wildflower seed packets.
Through digital outreach, Haagen-Dazs invited community
groups and schools to join in the cause by donating
bee-friendly flower seeds to help foster urban community
gardens and farms.
But on top of all of this, and perhaps most profoundly,
Haagen-Dazs, together with the Coalition of National
BeeKeepers testified before the House Agricultural
Subcommittee on June 26, 2008 to urge Congress to allocate
funding for additional honeybee research.
KATIE TIEN: Haagen-Dazs ice cream challenges other
consumer products companies reliant on pollinators to join
us in educating the public and helping in efforts needed to
save this essential natural resource.
NARRATOR: A move that house representative Dennis Cardoza
called extraordinary.
We're pretty sure our friends the honeybees would agree.
CLEVE LANGTON: Just to go through, again, the reanimate
the brand and its sales.
Clearly, it's all sales goals behind it.
But again, it's doing good.
In fact, we've instituted, Erica, the doing good Effies?
ERICA: Yeah.
This year they are initaiting a new category for good works,
which is honoring pieces that are doing well by doing good
on the brand side and nonprofit, pro bono efforts on
the nonprofit side.
CLEVE LANGTON: And again, this isn't gratuitous.
This is you have to prove effectiveness.
By the way, I want to introduce Angie, Erica.
And where is Denise?
Denise?
There's Denise.
All the Effies.
And I'm going to ask them at the end just
to make some comments.
So I think you've seen this.
All natural ice cream should preserve
its all natural workforce.
You can read this.
The idea of is doing good was a very effective way of
building sales.
I want to switch to something, AXE.
How many people are familiar with AXE?
Pretty neat.
It's probably won every award under the sun, both CLIOs.
I think every creative award.
It's Unilever.
It's a very conservative company, but a very, very
rebel brand.
But the point is it one a significant recognition in the
Effies too for effectiveness.
It's an edgy campaign.
So I'd like to just show that to you now.
["TAKE ME BABY" BY SCOOTER]
FEMALE SPEAKER: Now entering soft scrub.
Now entering body buff.
Spray.
Commencing blow dry.
NARRATOR: The new AXE Detailer shower tool.
A soft black side, a rough red side.
["TAKE ME BABY" BY SCOOTER]
CLEVE LANGTON: The interesting thing about this brand, it
created a whole new category.
I think when we reviewed the big winners on the Effies,
Dove is on one spectrum and then this is
on the other spectrum.
And totally different target, but look what
they've achieved here.
Just really extraordinary what this brand has achieved.
And I guess BBH is the agency on that.
DOUG: Yep.
CLEVE LANGTON: And just phenomenal recognition among
that target audience.
And again, this is totally grabbed in the effectiveness.
And you can see how they pulled it across a very wide
spectrum
of mediums. OK.
Can we go to some issues now?
I'm making your life very miserable here.
We keep hearing this.
Can I just get an audience reaction on this?
How many people are marketers here?
OK.
Agency?
OK.
That's good enough.
Question.
Can I see a show of hands?
How many people think 2010 is going to be the year that
mobility, that mobile marketing finally reaches its
rightful role in the US like it has in
the rest of the world?
Can I see a show of hands?
How many people think it's going to be, from what your
clients are saying or you as marketers are seeing about
mobility and mobile marketing.
What do you think?
How many people think it's going to have
major impact in 2010?
OK.
Anybody care to comment why you think it's just lagging
behind the rest of the world?
Yeah.
DOUG: Because our carriers are retarded.
CLEVE LANGTON: Good point.
Good point.
DOUG: The carriers aren't really investing in
relationships with agencies or with marketers.
It's really hard.
I think what Apple's done in the space has made it really
prolifically easy for people to do it.
But they don't cover the entire market.
And I think a lot of marketers are looking for ubiquity when
they get in these programs, and that
makes it more difficult.
There's a lot of players that are doing a really great job.
But I don't think the innovation is happening in the
United States.
CLEVE LANGTON: I think that's a very good point.
RICK WEBB: I think as the browser, actually, on mobile
devices gets better, a lot of people sometimes just consider
it to be an equivalent platform.
The iPhone had a revolutionary browser.
The BlackBerry is adopting an equally capable browser.
So they're almost becoming the same
platform in a lot of ways.
The apps have specific functions that make it easier.
There's a usability enhancement.
But as people adopt smartphones with good
browsers, I think a lot of people are just like, well, I
can deploy one campaign across both.
CLEVE LANGTON: That's really interesting.
I was in Japan two months ago.
And as you know, in Japan the cell phone, mobile phone is
everything.
You go up to the vending machine, and wave it in front
of the vending machine, and out comes your produce.
And you've been charged.
It's quite incredible.
OK.
Next question.
What do you think about this, the impact of social media and
the merging of PR and advertising?
Adform is going to do something at their session.
We're doing something on social media and mobility.
But we're also doing on something, has digital and PR
and advertising, have they been homogenized because of
social media?
How many people think that the role of PR and digital and
general advertising is kind of amalgamated to some extent
because of social media?
Show of hands?
So quite a few of you.
Any interesting examples of where you've seen the--
You have an example of something?
AUDIENCE: [INAUDIBLE]
CLEVE LANGTON: Yeah?
AUDIENCE: [INAUDIBLE]
CLEVE LANGTON: It's a very good point.
RICK WEBB: Yeah.
That's happening all the time now.
CLEVE LANGTON: That is a very, very good point.
RICK WEBB: I think if you look at the historical, it makes
sense, especially like a lot of people are having PR
[UNINTELLIGIBLE]
because they had to deal with it from trade publications and
mainstream publications who they originally worked with.
And those became blogs, and then blogs went into
influencers who have their own blogs that are fans.
And then it just became a dude with a blog, and that's
basically the same thing as the consumer.
You know what I mean?
So we've subconsciously made the PR agency our lead
engagement agency and everyone online.
Because now everyone is basically the press.
The problem is they have a different set of emotions,
whereas like it's a commercial blog, you give 'em schwag, you
can pay 'em, you can do some co-sponsorship deal.
But as a consumer, if I'm just writing a blog about soda
because I love soda pop, I don't want to be bribed in the
same way that a professional blog about that does.
And so I think that's where the PR agencies are really
wrestling with it.
CLEVE LANGTON: But I think that's a very good comment.
You don't know where to give the brief these days.
And that blurring the lines is fascinating.
And I'll say this, traditional PR as we know it, just media
placement, is just going down like that.
So it's going to be picked up by the whole.
RICK WEBB: Yeah.
CLEVE LANGTON: And one final question, I think.
How much are you finding, again, for you, from the
client side, and the rest on the agency side, everything
that the ANA does now, it's all
accountability, metrics, analytics.
Yes.
How important do you think it is?
And how much are you seeing or hearing about it?
Are you a client or agency?
AUDIENCE: Yahoo.
CLEVE LANGTON: Yahoo.
OK.
AUDIENCE: We see it all the time.
As we can measure.
CLEVE LANGTON: So it's all measurement?
AUDIENCE: It's all measurement.
Ad click limits, convergence, brand [UNINTELLIGIBLE].
RICK WEBB: Yeah.
That whole period of like fun experimenting to try something
and see if it works has really gone away.
It's much more like I need to know.
They're kind of sold that they get interactive digital works.
So now they want to know what their money is going to and
how it's working, a lot more than two or three years ago
where it was just like we just an example, we just need to
try something.
That's changing a lot.
CLEVE LANGTON: Any other comments about that?
Are you finding some mediums of media are doing better
because of ability to be accountable and measurable?
Yes.
AUDIENCE: We're finding that some clients, especially,
actually, a little bit in the entertainment industry,
they're going with the trend as far as the blogs and
updating their websites.
But as far as going a step ahead with augmented reality
and things like that, they're always a little bit afraid
because of the accountability again.
So it's tough to find the clients that are really, truly
brave with that and want to take the next step that two
years ago they would have done what they're
doing now sort of thing.
RICK WEBB: Yeah.
I think the problem is every marketer, anybody with a
substantial budget, raise your hand if you have little bit of
a toy chest, right?
Like a small percentage of your budget that's your
experimental, try something out budget.
But after five years of doing it, we all kind of get broadly
what it takes to make an impact online.
And it's a pretty comprehensive, holistic thing.
It's not a play, experimental budget.
What you know everybody needs to do and they're struggling
with is they know they need to experiment with a giant,
comprehensive, integrated digital marketing strategy.
But that's way more than their experimental budget.
It's a sizable chunk of their budget.
So they have to know what's going to work.
CLEVE LANGTON: To that point, at the ANA last time, Ballmer
said take out 5% of your budget.
Use that for really experimental stuff.
And Tripodi from Coke said the same thing.
RICK WEBB: Yeah.
That's great when it's like, OK, I'll try augmented reality
or I'll do viral video or I'll do a Facebook ad.
But what we know now, and what I think everybody intuitively
knows in marketing is that you need to do all of those things
in a disciplined, consistent manner, which you can't do
with 5% of your budget.
CLEVE LANGTON: Right.
AUDIENCE: Unless you're Coke.
CLEVE LANGTON: Unless you're Coke?
RICK WEBB: Yeah, right.
Unless you're Coke, right.
Or Procter & Gamble.
Right.
And P&G, they can do it.
They're like, let's take a brand and spend $2 million
online and see if that's enough for a year, you know?
We're seeing more pitches like that.
But I think, for most marketers, they know
viscerally how they need to tackle the web.
It needs to be methodic and disciplined and
go for a long time.
But that's more than their experimental play budget is.
So they have to take a leap of faith because the metrics
aren't quite there yet.
CLEVE LANGTON: Great.
We're at time.
One thing I do want to point out, Erica or Denise, if you
want to comment on this, these four-minute videos are
available to everybody in this room to be seen on the Effie
website, right?
FEMALE SPEAKER: Yes.
All the winners for the last several years are
available on Effie.org.
You can get a chance to see the creative aspect, the
four-minute videos and in most cases actually read the briefs
that Doug and Rick actually judged and scored.
So you do get a chance to get up close and personal with the
winning work.
And just curious, how many people have actually been
involved with entering, like blood, sweat, tears put one of
these things together?
OK.
Now's the time, if you didn't know.
It's entry season right now.
And as you can see, it takes a lot of effort to pull a strong
case together to enter.
So you want to give some time on that now.
And the best way to do it is to take a look at
who's won last year.
RICK WEBB: Yeah, I was going to say after judging I thought
a lot of you might be here because you're entering.
And reading through the PDFs and watching the videos of the
ones on the grand jury made it so much clearer what you need
to do to win.
The Canadian Club one's a perfect example.
They showed efficacy, but they didn't compare
it to year on year.
There's always something.
You can't fudge that number.
It was amazing watching the judges really hone in on it.
CLEVE LANGTON: Yeah.
And boy, keep it visually clean, the
entries visually clean.
Yes.
I don't mean with the Burger King clean.
Yeah.
AUDIENCE: I actually had a question about Canadian Club.
I was wondering if any of you knew the answer to this.
We saw that campaign run in Canada as well.
And where they got a little bit of a strong presence.
RICK WEBB: I would hope so.
AUDIENCE: Yeah.
But the impact it made even there, we saw them even
associate a campaign with Movember
charity to grow a moustache.
You've got a month to shave and then get money donated to
grow a moustache.
Canadian Club became the principle sponsor of that.
I don't know who was involved in it, but they branded
cocktail straws, and at the top of them was
a tiny little moustache.
So the girls--
CLEVE LANGTON: That's so clever.
And again, we're seeing so much more of that.
And it's producing really effective results.
AUDIENCE: And the company I work for, our PR specialist at
the time, we asked every day the
guerrilla marketing company.
And all we ever got asked was, is it newsworthy?
Is it newsworthy?
Every day.
Every question, is it new?
Is it new?
All day long.
But I was wondering if it was just the American [INAUDIBLE]
campaign here?
RICK WEBB: Yeah, it was America-only.
CLEVE LANGTON: It was just the American.
Yeah.
AUDIENCE: Just American?
FEMALE SPEAKER: Yeah.
In the competition, though, it's
considered North American.
So anything that ran in the US or Canada during a certain
time window is eligible.
RICK WEBB: But they didn't mention any of
the Canadian stuff.
FEMALE SPEAKER: Yeah.
They may not have. They may have focused
on US market there.