View online – Acommscouncil.nz/downloads/Winners_Effies_Awards_NZ_2013.pdf · Effie winners, as...

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AView online – www.caanz.co.nz

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B View online – www.caanz.co.nz

2 Introduction

3 Judges

4 DraftFCB New Zealand – Health Promotion Agency

5 M&C Saatchi – NZ Police

6 DDB Group – NZ Lotteries

7 DraftFCB – Mitre 10 (NZ) Ltd

8 Colenso BBDO – Frucor Beverages Ltd

9 Barnes, Catmur & Friends – Boundary Road Brewery

THE AWARDS SPONSORED BY

10 Grand Effie®

10 Most Effective Client of the Year

11 Most Effective Agency of the Year

11 Hardest Challenge

12 Sustained Success

13 Consumer Services

16 Most Progressive Campaign

18 Social Marketing/Public Service

18 Retail/Etail

19 Best Strategic Thinking

21 Most Effective Integrated Campaign

24 Most Effective PR/Experiential Campaign

25 Limited Budget: less than $300,000

27 Most Effective Digital/Social Media Campaign

28 Fast Moving Consumer Goods (FMCG)

30 Consumer Durables

31 New Product or Service

31 Charity/Not for Profit

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Design & Production: Mediaweb Limited, www.mediaweb.co.nz

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Recognition of creative excellence will always be prone to personal opinion, cultural differences, politics, fashion trends and hyperbole. With

effectiveness it’s less subjective because, as this year’s Effie theme states; ‘Results Don’t Lie’.

Advertising can influence people’s behaviour. It can take a sum of money and turn it into a significantly larger sum through the magic of creativity.

But Effectiveness is not a sexy word. It suggests rational thinking and numbers rather than emotions and ideas. So Effectiveness often gets a hard time. I’ve even heard it vilified as the enemy of Creativity.

Personally I like Effectiveness. Effectiveness puts a smile on our clients’ faces. It grows their business and ours. It enables us to employ top talent. And it allows us to do wonderful, magical, creative, entertaining, humorous, ridiculous, outrageous, surprising things.

So let’s be honest. The reverse idea has been well analysed and discussed, but maybe it’s time to acknowledge that Effectiveness allows us all to be more Creative. And we all like that.

So here’s to spectacular effectiveness.David Thomason

Chair of Effie Awards 2013

Effie is about interrogating our work under the twin spotlights of results and return on investment. Only under the harsh light of this interrogation can we truly get a

sense of what has been genuinely effective and why it has worked so well. The learnings that result make us all stronger and prove our value to clients.

We work in a highly innovative industry that has the power to change our clients businesses, to define and grow new markets and ultimately make New Zealand a more prosperous and better place to live.

To that end, the Effie Awards contribute to the pool of global and local knowledge and that’s why they are so important for agencies and their clients alike. They aim to recognize, educate and encourage effectiveness among the marketing communications industry and clearly prove the value that effective creative ideas deliver.

The New Zealand Effie Awards would not be possible without the support and commitment of our commercial partners and sponsors. CAANZ would like to acknowledge TVNZ and ANZA for their on-going association with the Effie Awards.

Thanks to David Thomason, Chairman of the New Zealand Effie Awards for leading the process this year and to Convener of Judges, Lew Bentley. Thanks also to the entire judging panel and particularly Charlie Robertson and Peter Field for making the trip to Auckland for the executive judging session.

Charlie and Peter brought an international perspective and a high degree of rigour to the final round of judging. Their view was that the gold winners were genuinely world class.

Congratulations to all the winners.Paul Head

Chief ExecutiveCommunication Agencies Association

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Congratulations to this year’s Effie winners, as well as all who took the time and effort to enter.

I would like to thank everyone who contributed to the judging process. It does take time and effort out of busy diaries to complete, but the level of support was fantastic. Hopefully those who took part found it interesting and professionally rewarding.

Our two international judges, Peter Field and Charlie Robertson, were very impressed by the quality of the work produced in New Zealand. They commented that the sophistication and depth of supporting evidence of the winners was truly world-class.

The level of competition was tough and the judging was very rigorous. The entries that succeeded were

Abe Dew Adi Staite Alana O’Neill Alex Radford Alistair Jamison Amanda Cater Amanda Murphy Andrew Reinholds Andy Bell Andy Blood Andy McLeish Angela Day Angela Watson Angus Hennah Anna St George Annabelle Wilkinson Anthony Rice Barry Williamson Ben Rose Ben Shaw Brendan Downey-Parish Bridgette Franklin Camille Turton Cat Groombridge Cath Bosson Cheryl Kortink Chris Monaghan Chris Riley

Chris Vaughan Chrissy Payne Claudia MacDonaldCraig Delaney Craig Thomson Daniel Barnes Danny Brown David Innes David MacGregorDavid Bell David Bowles David Walden Dean Taylor Debby Giness Debra Hall Delina Shields Denelle Joyce Desiree Hales Dianne Head Donna O’Keeffe Emma Bolser Emma McLean Emma Popping Fiona Hyland Fiona Hicks Fleur Head Fleur Skinner Gareth Codd

Geoff Cooper Gill Stewart Greg Jones Greg Whitham Greg Doone Greg Forsythe Greg Jones Ian Mills Ian Sutcliffe Ingrid van Rijn James Whitaker James Mok James Roberts Jane Hitchfield Janisa Parag Jarad O’Hara Jeff Clark Jeremy Hunt Jeremy O’Brien Jo Kelly Jo Reid Jodene Murphy Jodi O’Donnell John Buckley John Schofield Jono Key Justin Mowday Kamran Kazalbash

all powerful stories of insight, smooth execution and clearly documented results.

The entries that did not succeed often struggled to rise from effective to excellent. There were also many campaigns that were not able to translate an interesting campaign into a compelling case of return on investment.

This year we introduced a scrutineering process to help eliminate administration errors with entries. This was a positive step as there was a high number of entries that would previously have been eliminated due to word count or displaying agency branding.

Overall, there has been a very positive reinforcement that New Zealand advertisers and agencies are doing a great job.

Lew BentleyConvener of Judges

Karin Glucina Kate Humphries Kate Thomas Kathryn Bruce Kathryn Thomas Katrina Horton Katrina RichmondKeeley Sander Kim Girbin Kim Wicksteed Laura Goldie Laura Maxwell-HansenLee Parkinson Leigh Graham Lexie Ribot Linda Major Liz Adams Liz Cartwright Lucinda SherborneMargaret HawkerMargaret Reid Mark Pickering Martin Waiguny Mary Vance Matt McNeil Matt O’Sullivan Matt Shirtcliffe Matthew Pickering

Megan Clark Megan Nagel Michael Healy Michael Redwood Michelle Jones Mike O’Sullivan Mike Fredricson Minna ReinikkalaNatasha Le MarinelNick Ascough Nick Baylis Nick Campbell Nick Garrett Nicky Greville Nicola Igusa Nigel Keats Nigel Douglas Nigel Grant Nikki Grafton Nikki McKelvie Nileema AllerstonNina Bialostocki Olly King Parris Downey Patrick Murray Paul Irwin Paul Catmur Paul Pritchard

Paul Sinclair Paula Adams Penelope Burns Rachel Allison Rachel Leyland Rachel PrinceRawinia Newton Renee Campbell-Scott Rex Pearce Richard Bourke Richard Fenner Richard SandfordRichard Stevens Robert Harvey Roel Wijland Rufus Chuter Rupert Price Sally Falconer Samantha OsborneSarah Febrache Sarah Hodgetts Sarah Kenny Scott Wallace Sean Keaney Sean McCready Shelley Crestani Sheryl Dunlop Simon Teagle

JUDGES

Siobhan McKennaSophia Quilian Sorrel Davies Steph Pearson Stephanie Lowe Stuart Lewis Stuart RutherfordSue Gill Susan Browne Tamsin McDonnellThomas Scovell Tim Dixon Tim Opie Todd McLeay Tom Davidson Tom Osborne Tony Gardner Trish Whitwell Vanessa Ellis Vicky Upton Wendy Rayner Zac Stephenson

INTERNATIONAL JUDGES: Charlie Robertson, Founder – Red Spider Global, Peter Field, Marketing Consultant

EXECUTIVE JUDGES: Annemarie Browne, Jacqueline Smart, James Hurman, Jeremy Taine, Lindsay Mouat, Murray Campbell, Tracey Lee

CAANZ would like to thank all our judges in Auckland and Wellington who gave their time and expertise so generously:

Thanks!

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Category: GRAND EFFIE + Sustained Success Award: GoldAgency: DraftFCB New ZealandClient: Health Promotion AgencyTitle: The Journal: Three Years of Changing Behaviour & Saving Lives

SummaryIn 2010 The Journal was recognised at the Effie Awards for outstanding launch results. In 2011, it continued to exceed expectations, and was awarded the Most Effective Campaign.

Now three years on from its launch, the National Depression Initiative (NDI) campaign is demonstrating it was truly built to last.

The campaign, which includes the TVC featuring John Kirwan (JK), depression.org.nz and The Journal, has sustained its effectiveness in changing behaviour and saving lives even though the campaign’s resources haven’t changed in three years. With some careful fine-tuning it is continuing to deliver long-term results.

Key LearningsAside from getting people with depression to self-help, there is still a need to maintain mass awareness of the core issues around depression. It’s important everyone knows that what they are struggling with might be depression, and that the NDI website, depression.org.nz, has information to help them.

For this reason, the mass reach of TV would remain an important component of the campaign. Plus, the structure of the TV commercial would need to cover the core issues for a mass audience and drive those who need more information to depression.org.nz.

Marketing Challenge & ObjectivesDepression is a huge problem for New Zealanders; layered onto this is New Zealanders’ reluctance to seek help.

By way of achieving the overarching goal to increase the awareness of, and information about, self-help techniques as an alternative option for New Zealanders suffering from mild to moderate depression, specific objectives were established.

However, due to the nature of the illness itself, there were significant barriers to achieving these objectives. Social isolation and stigma also make people reluctant to ask for help. A key creative challenge was to keep the user’s relationship with JK balanced between likeability and authority.

Creative Insight & StrategyJK has been a resounding success in the fight to raise awareness of depression. It was now time to evolve JK’s role from empathetic celebrity on TV to personal coach online, delivering self-help in a unique way that would inspire people to practice the skills they need to recover from depression.

The Journal is a secure section of the main depression.org.nz website, providing a private, personalised online programme where JK could inspire people to learn, and more importantly practice, the self-help skills they need.

It combines what works about traditional therapy – personal, high-frequency contact – with the best online features: ease of access, personalisation, interactivity and tracking. JK fronts every touchpoint with the user.

The Journal was ready to launch in June 2010. To persuade our

depressed, unmotivated audience to get online and use it, DraftFCB worked to reposition JK as a mentor. They created a TVC that evolved JK’s role from empathic celebrity to personal coach by portraying his authoritative rugby coach role. Using a sporting analogy to make the point that having a plan helped him get through depression himself, JK explains that at depression.org.nz he can help individuals by making a simple, personalised plan to help them get through depression too.

DraftFCB then used JK to prompt action. Leveraging search and digital media to increase conversion from TV, JK’s familiar face was used online to prompt recall of the TVC and guide people towards the help they need while they were already sitting at a computer.

Evolving yet another touchpoint, JK was used to recommend the programme to medical professionals. By creating a direct mail campaign targeted at GPs, which included a case study outlining how The Journal is helping people achieve a medically significant improvement in their depression condition, DraftFCB were able to show how it could be incorporated into an overall treatment plan. Print advertising in magazines and journals for GPs supported this DM.

Communications StrategyDepression.org.nz and The Journal self-help tool would be completely irrelevant to people, until such a time that depression is triggered. So a funnelled approach was used to get people what they need at the right time.

Throughout the campaign DraftFCB have used various combinations and weighting of tactics dependent on specific objectives. This included sufficient TV weighting to establish the fact that JK could now help individuals make a plan to get through depression (via The Journal) at depression.org.nz.

As time progressed, and reduced media budgets came into play, converting awareness via TV to information-seeking online became key to sustained success.

PR activity was carried out to give further prominence to JK’s likeability and authority. An extensive search engine optimisation audit helped identify the most effective key words. A supporting media plan was put together to target priority audiences through niche media touchpoints such as Pacific Radio and Express Magazine.

ResultsSince the NDI started, it had achieved a phenomenal 90% awareness of depression.

Over three years this campaign has persuaded more than 1.2 million people to seek information from depression.org.nz.

This campaign has sustained an average of 600 new people per month signing up to The Journal, exceeding the original monthly target by 200 users every month for 3 years. 90% of people who complete The Journal achieve a medically significant improvement in their condition.

Because of the sustained success of The Journal, the average cost per user to the Government is now $1,000 less than what it used to cost per patient to subsidise professional fees and medication for depression.

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5View online – www.caanz.co.nz

Category: Hardest Challenge + Social Marketing/ Public ServiceAward: GoldAgency: M&C SaatchiClient: NZ PoliceTitle: Increasing the diversity of NZ Police

SummaryThis is a remarkable story of how you can take on a huge challenge with a modest budget and blow your targets out of the water. Bringing together insight, a thought provoking creative idea and an innovative, integrated media approach, M&C Saatchi worked with NZ Police to convince young Maori, Pasifika, Asian and female New Zealanders to sign-up for a career in the police force. Thanks to this campaign NZ Police recruited its most diverse crop of rookie cops, ever.

Key LearningsTo reach the target audiences, a number of barriers had to be moved to show them that as a future cop they could still be true to themselves. Moreover M&C Saatchi had to inspire bright young people with a myriad of other career options to make the biggest call – that they could run towards the danger when others needed their help.

Marketing Challenge & ObjectivesThe challenge was to overcome a number of issues facing Police recruitment. A lack of diversity in the thin blue line and a highly competitive recruitment market place sat alongside the scepticism of the young target audiences, who are switched off to traditional advertising techniques.

The NZ Police recruitment marketing budget had also been greatly reduced, decreasing by 63% in 2012/13 compared with 2008/09.

240 people needed to be recruited into the Police College in order to maintain frontline staff numbers. To improve the diversity of the frontline the campaign included some specific targets; 25% of recruits to be women; 25% of recruits to be Maori, Pasifika or Asian.

Using online recruitment seminars, they would need to generate 142 ‘new cops’ a week during the 23 week campaign. That’s 3,260 seminars, split amongst the target audiences.

It was critical they maximised the reach of earned media through leveraging PR opportunities in both mainstream and niche ethnic media.

Creative Insight & StrategyThe campaign required a strong, emotive idea at its core that challenged perceptions about policing, in particular amongst the four distinct audiences: women, Maori, Pasifika and Asian. The answer was to break the stereotype and turn perceptions of police work on its head by doing the unexpected - spray painting extraordinary work stories of cops on urban walls and in the hang-outs of the young people they wanted to reach.

Teaming up with Otis Frizzell, three street art installations were created, each designed to appeal to one of the four audiences.

The Female story: This story played on the idea that, as a female police officer, you are in a position to “stop those who think

they’re unstoppable”. The street art was installed in a Massey University Campus. Stencilled beside the police constable were the real, vicious text messages received by a woman from her dangerous ex-boyfriend - from “I can change babe” through to “I’m gonna burn your ####$#% house down”. This visceral execution is something all young women can empathise with.

The Pasifika story: NZ Police went where most secular brands fear to tread. They recreated the true story of a Tongan police officer who prayed for a woman who was seeing demons and threatening to commit suicide. Installed at the Otara Market, the execution showed that “when you become a cop, you don’t lose who you are, you use who are, to help people”.

The Indian story: What was recreated was a true story of an Indian officer who raced against the clock to save a man who was drunk and passed out on a train line. It was installed on the train tracks at the busy and well positioned Kingsland train station.

These extraordinary work stories dealt with subject matters that few public sector organisations would be comfortable inserting into their advertising. The contentious nature of these stories would lead to greater discussion and cut-through.

Communications StrategyFollowing the innovative nature of the campaign M&C Saatchi used a mixture of traditional and new media. Each installation was unveiled at community and media launches, and a pitch was made to media that focussed on both the uniqueness of the campaign and interview opportunities with police role models. 30” TV spots for each of the installations featured, as did cinema, radio and ethnic media advertising. Adshels included QR codes, while Facebook and Twitter were also leveraged. All channels drove people to a (mobile optimised) version of newcops.co.nz, and invited people to take an online recruitment seminar.

ResultsThere is no doubting the instant effect of this campaign. It was so effective that the marketing department had to halt advertising at the end of 2012 for six months so that the Police recruitment team could play catch-up with the 2,905 people in the recruitment pipeline.

Against the campaign target of 3,260 seminars completed, 3,917 were completed. (20% over target.)

The greatest success, though, lies in the quality and diversity of response, as that was the core focus for this campaign. Between 1 July and 10 December, the campaign generated 615 seminars from potential Maori candidates (target 489).

477 seminars were watched by Asian people (target 326). This was a significant over-achievement of 46% and a whopping 103% increase on the previous year.

Seminars undertaken by women were 26.7% above last year and 9% above target. This led to what was also the highest proportion of female recruits into Police College in over a decade.

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Category: Consumer ServicesAward: GoldAgency: DDB GroupClient: NZ LotteriesTitle: Too big to handle

SummaryBig Wednesday was shrinking, and time was running out.

DDB Group used good old advertising to create real demonstrable lifts in sales. This is a story about making the hard, yet simple, changes that are necessary - and nothing more. It’s about working restlessly week in and week out to build new sales levels that hadn’t been seen since the game’s launch seven years ago.

Key LearningsBig Wednesday is a brand, but the target audience just weren’t buying into it.

This meant meeting the target market where they were at, even if it came at the cost of ‘brand difference’. DDB had to rebuild communications from the bottom up, employing a more retail-oriented approach.

Marketing Challenge & ObjectivesBig Wednesday was introduced in 2005 with a clear mandate – build sales during the Lotto lull in the middle of the week. By 2013 it had carved a unique place in the minds of New Zealand, with visibility, ad awareness and affinity right up there with the nation’s favourite game Lotto. It was a distinct game with a different emotional benefit built on lavish unadulterated glamour, but despite all this ‘success’ sales were in long-term decline.

Aggressive business objectives were set: halt sales decline - measured as a 15% increase in baseline sales - and build sales from a larger, regular player base - measured as an increase in tickets sales of 12%.

This wasn’t about yearly penetration (driven by massive one-off jackpots), this was about creating more tickets sales week in/week out.

DDB needed to set Big Wednesday on the path to growth before it became ‘Small Wednesday’.

Creative Insight & StrategyRegular players were buying into the idea of Big Wednesday; irregular players were simply buying into a category-generic proposition, and to them the brand imagery was all a little much.

This forced a number of fundamental changes, including a change to how the jackpots were communicated. By demoting the prizes and promoting the total prize pool each week would be about the dollars. Also, moving from brand to branded retail and scrapping the big ‘brand platform’ communications that set Big Wednesday apart, to create immediate interest in the jackpot.

Big doesn’t come naturally to New Zealanders. One of the symptoms of being Kiwi is that it’s less socially acceptable to visibly want big money. That meant finding a way to normalise the win, making it more socially acceptable to desire. The

strategy was to embody the true ridiculousness of a win so big you don’t know what to do with it.

So to bring this idea to life, Big Wednesday advertising would focus on awkward observations of winners struggling to come to terms with their new-found wealth.

Communications StrategyTelevision continues to be the cornerstone of Big Wednesday communications, delivering the emotional want factor quickly and efficiently week in/week out. This was supported with radio as a frequency builder.

But it wasn’t all business as usual. The campaign was structured differently, opting for hard working executions that gave more prominence to the jackpot figure. This more hard-nosed retail approach meant focused weekly media activity on Monday/Tuesday – close to the purchase occasion, adding variety by running more than one execution each week. It also meant hitting the same jackpot from two or more angles and an additional focus on evening radio to trigger purchase during the ‘top up’ shop at supermarkets each night.

Jackpot awareness is critical, particularly in baseline weeks. Press and digital display give Big Wednesday the reach to further alert people to where the jackpot stands each week.

ResultsWinning results with ticket sales growing by an unprecedented 19% from the year prior - well surpassing all previous results.

Baseline sales targets were also smashed, generating 23% growth instead of the ‘ambitious’ target of 15%.

The success wasn’t simply due to a higher perceived jackpot; the whole campaign shift had generated more value to Lotto NZ, creating an ROI of $8.85 for every dollar spend.

The campaign paid for itself in just two weeks and has set a new level of sales that Big Wednesday still enjoys.

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Category: Retail/etailAward: GoldAgency: DraftFCB New ZealandClient: Mitre 10 (NZ) LtdTitle: Making DIY Easy As

SummaryArch rivals Mitre 10 and Bunnings were locked in a fierce price battle that consumers were starting to see the brands as interchangeable. DraftFCB New Zealand needed to change the strategy if they were to win the price perception war.

With research showing that only 16% of DIY customers were motivated by price, it was clear the obsession with price promotion meant a bigger consumer need was being ignored.

The innovative ‘Making DIY Easy As’ campaign not only smashed sales targets, it gave Mitre 10’s customers the satisfaction of a DIY project well done.

Key LearningsMany Kiwis aspired to be practical DIYers, but they were reluctant to admit that they didn’t have the same level of DIY skills as their parents. This lack of confidence was a major barrier to even starting a DIY project, let alone buying the necessary tools and equipment.

Therefore, if Mitre 10 was to become a DIY market leader, it needed to do more than simply drop prices.

Marketing Challenge & ObjectivesShowing the product being sold and the price it’s being sold at had always been the formula followed in DIY retailing, but discounting was no longer working.

However, breaking away from the old tried and true was going to take some convincing on DraftFCB’s part. Mitre 10 wasn’t a corporate with deep pockets, run by a head office. Its marketing team had to answer to more than 100 store owners focussed on short-term sales generation – and generally quite resistant to change.

Creative Insight & StrategyResearch showed Kiwis were losing confidence in their DIY ability - and the gap between DIY inspiration and action was confidence.

DraftFCB realised the how-to knowledge, plus the extra handy tips, would add value to the Mitre 10 customer experience and provide a reason, other than discounts and convenience, to shop at Mitre 10. It would also cement Mitre 10’s leadership position and make it hard for competitors to follow.

Making it ‘Easy As’First on the list was an easily identifiable name and icon. The bold

black and orange ‘Easy As’ thumbs-up logo acted as an icon for customers and also made it easy to buy from Mitre 10 rather than the competition.

Next was creating a fresh take on the brand identity: “DIY. It’s in our DNA”. A humorous comparison was made between the strong, confident Kiwi DIY type, and the feeble, insecure ‘pay someone else to do it’ type. The TVC featured a broad cross-section of New Zealanders doing a range of DIY projects. From gardening and assembling a BBQ, to painting and building a deck, there was a level of DIY that all target audiences could see as achievable.

Stan the Front Man – Stan was chosen as the face of the ‘Easy As’ videos based on his genuine building credentials (he runs his own building business). With his approachable Kiwi style he was confident and knew what he was doing, but didn’t overcomplicate things with technical jargon. Throughout the videos, Stan showed how to complete the project, and how to get the best out of the products available at Mitre 10.

The videos could be accessed via mitre10.co.nz and the Mitre 10 ‘Easy As’ YouTube Channel, which also showcased the growing range of projects available to learn and have a go at. This is now a long-term resource that will live on well beyond the life of the TVCs.

An on-going communications programme ensured all staff were inspired and equipped to assist customers with ‘Easy As’ questions. This included tutorial videos, likely questions, pocket reference guides, and the creation of caps and badges to identify experts on each topic.

In-store large thumbs up banners pointed to the ‘Easy As’ stand where customers could watch videos on a big screen, and collect printed ‘Easy As’ guides to complement the instructions in the videos. In aisles, ‘Easy As’ street signs and tear-off ‘Easy As’ shopping lists had everything they needed to complete a particular project.

Communications StrategyThe communications strategy set out to wrap the DIY journey from ‘go to whoa’ by:

Inspiring them to start: identifying times when people were at home and relaxed enough to consider starting a project then featuring a single project on TV each week and aligning subsequent activity around this.

Informing them how: showing people how to actually do the project. Paid, owned and earned media drove people to relevant ‘Easy As’ content across a range of platforms.

Equipping them: Providing relevant media prompts in the immediate run up to and on ‘DIY days’. Press, digital and TV ads highlighted the products featured in that week’s project video to prompt purchase and start the project that weekend.

ResultsProviding the right content at the right time throughout the customer journey meant sales targets were smashed, without sacrificing margin. ‘Easy As’ videos resulted in sales uplifts far exceeding 10% for products featured.

By the end of June 2013, over 775,828 different Kiwis had watched 1,027,800 ‘Easy As’ videos online, and stores that had higher proportions of staff trained in the ‘Easy As’ guides consistently saw higher sales uplifts.

Plus, the success of the campaign has resulted in an on-going commitment from store owners to support ‘Easy As’ into the future.

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Category: Sustained SuccessAward: GoldAgency: Colenso BBDO/ Proximity New ZealandClient: Frucor Beverages LtdTitle: V Brand

SummaryLaunched in 1997, V has grown into a true power brand in New Zealand. But in 2007, V discovered both market share and penetration were in decline; the brand had lost touch with its core consumer, youth aged 18-24.

Utilising insights from research, Colenso BBDO/Proximity New Zealand launched a new strategy to do amazing things with V Energy that would start conversations and provide consumers with real brand interactions.

Since then V has managed to accelerate the success achieved over previous years.

Key LearningsConsumers’ definition of cool is constantly evolving. V has always embraced the idea of doing extraordinary things – it is the genus of the creative strategy V Urban Legends; a highly successful and constantly evolving strategy launched in 2007.

Over the last three years, 3 executions have been released under this construct - each designed to be almost accessible. In other words, the audience should feel that what the campaigns did is something they could almost do themselves. This level of accessibility is a key factor in V’s on-going relevance with their market.

Marketing Challenge & ObjectivesV operates in a highly competitive category with many brands all vying for the same target audience. Competitors were shifting the market positioning from exuberance and fun energy to a space that represented a more charged and aggressive energy.

The creative focus for V is the 18-24 year old demographic – and this fickle group can easily be swayed by brands perceived to be more edgy. They seek ‘cool brands’ that connect with them both online, through social and digital channels, and off-line, through activations and experiential events.

Creative Insight & StrategyCreate Urban Legends – amazing things done with V energy that get people talking – was the creative vision.

First up was a new hybrid sport to support the launch of V’s new hybrid sports water product. Called Pomparkour, it combined Parkour, an urban ‘free running’ sport, with Pompier, a French ladder racing sport. After manufacturing a history, information, photos and filmed sightings of the sport, they launched a TVC and website based around ‘the guys who started it’.

The media loved the story and, not quite sure themselves about how real it was, ran editorial content discussing the emergence of this unusual new sport. V blurred the lines between reality and fantasy, getting into the conversations of young New Zealanders.

Next V built a 2-tonne truck and mounted an 840 barrel paintball gun that created instant artwork within 1/8 of a second. They filmed it in action for a TVC that tipped into an online experience.

Website visitors could create and upload their own art to be fired

out of a virtual paintball machine. This artwork was then featured in an online gallery for others to ‘like’ and share. One lucky person’s artwork was selected to be fired out of the real gun at a live event in the middle of the Auckland CBD. The story of making the V Motion Project a reality was then documented.

Meanwhile the V team was hacking XBOX Kinect motion tracking technology with Ableton Live music making software and using it to create a truly unique piece of technology. Webisodes were released periodically updating fans on progress.

The project culminated in a surprise event in downtown Auckland. The team brought the finished V Motion machinery, their dancer (or Motion Artist) and a camera crew to capture it all on film. A live TV crew from a youth TV station and a number of national youth radio stations covered the event. From this performance they created a TVC and a full length music video.

A key part of keeping the brand fresh, V also implemented one new product launch per annum: V Iced coffee, V Blue, and V Not Orange.

Communications StrategyAll campaigns were genuine 360o multi-media experiences and integrated across media platforms and touchpoints, including the pack and in-store environment – all key to creating synergies.

Each campaign was in market 3-4 months at a time and all leveraged online, TV, in-store, posters, V packaging, Adshels, POS and outdoor.

Additional media was used to increase audience engagement for specific campaigns, while the music track and video were fed to leading youth TV and radio stations.

Over time, Colenso BBDO/Proximity New Zealand shifted weighting from one-way media to utilising a more engaging and interactive strategy, as the audience demanded more immersive brand experiences. This evolving communications strategy has been integral to the genuine sustained success that the brand has achieved over the last three years.

ResultsThe V Urban Legends creative strategy has delivered sustained growth for the V brand in every measure from awareness to consideration, to sales and market share.

There has been a 48% increase in ‘have seen this campaign’ from 2010 to 2012. ‘Believe it was different to other drink ads’ has gone from 84% in 2010 to 95% in 2012, and it has sustained an 81% in ‘enjoyed the campaign’.

In 2010 V had 95% awareness and by 2012 it achieved 98% awareness. From 2010 to 2012 there has been a 34% increase in consideration.

V continues to grow at or above category averages (10% average p.a.) with growth of 13.7% in Grocery, and 11.4% in Oils in 2012.

The launch of V Motion alone allowed V to record its highest ever sales figure for a month.

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Category: Most Progressive Campaign Award: GoldAgency: Barnes, Catmur & FriendsClient: Boundary Road BreweryTitle: The Resident

SummaryCraft beer in New Zealand was stuck in a cluttered rut, so Boundary Road Brewery (BRB) decided to import exotic brewers to counter the imported exotic beers.

They’d bring fresh taste buds and hybrid flavours to New Zealand and let them loose, getting the best of local and international values. Suddenly a modest exercise in building BRB’s brand credibility was turning into a million dollar money-maker.

Key LearningsWhile the first impression of the typical craft beer fridge is of dizzying diversity, on analysis it all boils down to a few simple clichés.

The first is around origin, the second around the brewers themselves. Finally, there is the visual cliché that flows on from the obscure, exotic nature of the first two clichés.

The core of a successful strategy for a small player is avoiding, rather than conforming, to the standard moves of your far larger opposition, and doing something the category hasn’t seen before.

Marketing Challenge & ObjectivesNZ’s craft beer market is crowded with a dizzying array of brands. The consumer is spoiled for choice and shops. While the margins are good if you can get noticed, the odds of standing out are small, making it a category not for the faint-hearted.

BRB had smashed through the clutter with its Chosen One launch, becoming the number two craft beer in supermarkets in just 12 months. The challenge now was to expand its credibility as a brewer.

A craft beer drinker can be a fickle beast, and given craft beer’s inherent snob value, there was a very real likelihood that BRB’s extraordinary popularity could, ironically, start to count against it. They had to make sure it was a beer that punters could keep believing in.

BRB wanted a new beer that would crack a target of $750,000 in sales in the first year (5% of the burgeoning BRB range). Budgets had to be modest: $200,000 to not only produce the campaign, but create the whole brand from scratch including naming, designing and packaging the product. Media was to be no more than $50,000, despite the doubling of their main competitor’s already formidable spend.

Creative Insight & StrategyCalled ‘The Resident’, the strategy was to bring an international master brewer to NZ, give them a month to get to know the place, then give them a blank canvas to create their own hybrid masterpiece with NZ’s raw materials – while filming the journey to engage BRB’s growing legion of fans.

The first step was placing an ad in the world’s most prestigious brewing website that began: “Really good brewer needed to be national hero for small, beer loving country. Car park provided.”

The ad itself was a minor hit – giving the project prominence within the craft beer world.

Brian “Spike” Buckowski was chosen: an award winning brewer from the USA. Having never been to NZ, he was perfectly placed to view our country with fresh taste buds. He toured the local breweries, got to see the sights and do some fishing, all the while duly informing the rapidly growing legion of BRB Facebook fans of these momentous events. Artist Otis Frizzell sketched his portrait for the label, and The Resident microsite, while Spike blogged to his audience back home. The ever-present film crew recorded his every move.

When Spike’s monthly residency was up he emerged from the brass bowels of BRB with not just one, but three new craft creations.

Communications StrategyWith just $50,000 to spend in media Barnes, Catmur & Friends focused on digital and PR, where Spike’s story could travel via word of mouth at little cost.

They started with the recruitment ad that not only generated its own mini-PR wave but also has the honour of being one of the few recruitment ads to ever make to www.Bestadsontv.com.

They kept their fan base alerted to Spike’s travels via social media, building anticipation for the new creations he’d produce, and ran Facebook competitions teasing BRB fans with the opportunity to win beers that had not even been invented. Spike’s journey also sparked national media interest, with stories in New Zealand Herald, Stuff, Idealog and more.

The Resident microsite was built, a small digital shed just round the back of BRB’s main site where Spike’s (and future Resident brewers’) stories could be permanently housed for beer posterity.

Squeezing out the budget entirely online, they used takeovers, pre-rolls, and banners to lead people to The Resident site and meet Spike for themselves.

ResultsThe Resident had been a low-key campaign that just refused to stay small.

The initial recruitment ad alone produced 2,000 visitors to the Brewers Guild website, leading to 60 full applications for the month-long, unpaid position.

The Resident microsite had almost 17,000 unique visits, with Spike’s video notching up over 6,500 views.

Meanwhile, over in the sales department, The Resident had sold $1.2m worth of beer in supermarkets, and $205,000 on tap – bringing the total to more $1.4m – almost double original forecasts.

The ROI delivered a spectacular sales return of 560%, and The Resident now proudly boasts some 10% of BRB’s total sales.

new zealand

2013


Most Effective Client of the Year

Boundary Road Brewery

GRAND EFFIE

GOLD The Journal: Three Years of Changing Behaviour & Saving Lives

Agency: DraftFCB New ZealandBrian Van den Hurk – Managing DirectorJames Mok – Asia Pacific Executive Creative DirectorSimon Sievert – Digital ArchitectMurray Watt – CreativeNick Pengelly – Interactive ProducerEsther Watkins – TV ProducerKate Heatley – Account DirectorJane Wardlaw – Group Account DirectorSarah Raine – Account DirectorDavid Thomason – Head of PlanningCarl Sarney – PlannerBlair Alexander – Media DirectorSteph Pearson – Digital Media DirectorAnne Lipsham – Media Strategy DirectorAngela Spain – General Manager PRKimberly Kastelan – Account Director PRAlisha Thomas – Account Manager PR

Client: Health Promotion AgencyClive Nelson – Chief ExecutiveTane Cassidy – General Manager Communications and CapacityLaurianne Reinsborough – General Manager of OperationsWendy Billingsley – Manager Programme Marketing and CommunicationsHannah Booth – Manager Mental HealthLiza Dickie – Account Lead Programme Marketing and Communications

SPONSORED BY:

SPONSORED BY:

Ministry of HealthDerek Thompson – Team Leader Mental Health Service Improvement Sector Capability and ImplementationMemo Musa – Senior Advisor, Mental Health Service ImprovementExposure FilmsKevin Denholm – DirectorSalt InteractiveMike Chalberg – DirectorMental Health InteractiveXander van der Merwe – Developer

new zealand

2013


Most Effective Agency of the Year

Congratulations to DDB Group who for the second year running, have claimed the Gold Effie for Most Effective Agency of the Year.

Competition again came from some worthy contenders, but it was DDB Group’s tally of finalists (7) and metal winners (1 gold, 2 silver and 8 bronze) that propelled them into top spot.

DDB scooped a Gold Effie Award for their ‘Too big to handle’ campaign for client NZ Lotteries. Sharing the metal around their clients saw SKY Television’s ‘Lloyd’ and ‘Father Time’ campaigns picking up a silver and two bronze Effies respectively. ‘Here’s to us’ for client Lion was awarded 3 bronze Effies, Volkswagen’s ‘Beetle Mania’ a brace of bronze and Westpac received the final bronze in their impressive haul.

Congratulations DDB Group!

SPONSORED BY:

Hardest Challenge

GOLD Increasing the diversity of NZ Police

Agency: M&C SaatchiChristine Mossaidis – Senior Account Manager Dave King – CEO/Creative DirectorJames Bowman – Senior Art Director Emma Fern – Senior Planner

Client: NZ PoliceCampbell Moore – Senior Marketing Advisor NZ Public Affairs Russell Pilcher – Manager Strategic CommunicationsIkon CommunicationsRos Ross – Communications ManagerStephen May – Communications TraderHaystac Fleur Skinner – General Manager Liz Holt – Senior Account ManagerAnna Skerten – Account Director

SPONSORED BY:

new zealand

2013


SPONSORED BY:

Sustained Success

GOLD V Brand

Agency: Colenso BBDO/Proximity New ZealandColenso BBDO / Proximity New ZealandNick Worthington – Creative ChairmanAaron Turk – Creative Director/Digital Creative DirectorJae Morrison – Art DirectorLachlan Palmer-Hubbard – Art Director/Digital Art DirectorGraeme Clarke – CopywriterPaul Courtney – Agency Executive ProducerRob Linkhorn – Agency ProducerTim Ellis – Group Account DirectorSamantha Parsons – Account DirectorStefanie Robertson – Senior Account ManagerEileen Cosgrove-Moloney – Account ExecutiveAndy McLeish – Head of PlanningMat Tizard – Creative TechnologistCraig Thompson – Digital DesignerAdam Wood – Digital DeveloperMike Hammond – EditorCameron Wilson – Editing Assistant

Client: Frucor Beverages LtdLuke Rive – Marketing ManagerCormac Van Den Hoofdakker – Senior Brand ManagerThick As ThievesNik Beachman – ProducerZoe McIntosh – DirectorProduction CompanyAssemblyAmanda Chambers – ProducerJonny Kofoed – DirectorMatt Von Trott – Director

Production Company/Post Production CompanyJeff Nusz – Lead DeveloperOMDZac Stephenson – Media StrategistJonathan Ray – Media StrategistFugitive LtdPaul Sanderson – Lead DeveloperMike Delucchi – DeveloperImages & SoundJames Hayday – Sound DesignerFreelanceRenaud Maire – CinematographerTim Mauger – EditorGolden Age Studio / Level Two Music LtdJoel Little – Music ProducerFranklin Rd/Golden Age Studio/Level Two Music LtdSound MixBlockheadOnline Editor

new zealand

2013


Consumer Services

GOLD Too big to handle

Agency: DDB GroupLucinda Sherborne – Head of PlanningDavid McIndoe – Planning DirectorAngela Watson – Group Business Director Jenny Travers – Account DirectorCharlie Stow – Account DirectorNicholas Dellabarca – Account ManagerAndy Fackrell – Executive Creative Director Natalie Knight – Creative DirectorGavin Siakimotu – Creative DirectorJudy Thompson – Executive TV ProducerRosie Grayson – Agency Producer

Client: NZ LotteriesKirsty Phillips – Head of Brand & CommunicationsReuben Wiremu – Brand and Communications ManagerExit FilmsDeclan Cahill – ProducerAdam Gunser – DirectorFreelanceIan McCarroll – DOP

Sustained Success

GOLD The Journal: Three Years of Changing Behaviour & Saving Lives

Agency: DraftFCB New ZealandBrian Van den Hurk – Managing DirectorJames Mok – Asia Pacific Executive Creative DirectorSimon Sievert – Digital ArchitectMurray Watt – CreativeNick Pengelly – Interactive ProducerEsther Watkins – TV ProducerKate Heatley – Account DirectorJane Wardlaw – Group Account DirectorSarah Raine – Account DirectorDavid Thomason – Head of PlanningCarl Sarney – PlannerBlair Alexander – Media DirectorSteph Pearson – Digital Media DirectorAnne Lipsham – Media Strategy DirectorAngela Spain – General Manager PRKimberly Kastelan – Account Director PRAlisha Thomas – Account Manager PR

Client: Health Promotion AgencyClive Nelson – Chief ExecutiveTane Cassidy – General Manager Communications and CapacityLaurianne Reinsborough – General Manager of OperationsWendy Billingsley – Manager Programme Marketing and CommunicationsHannah Booth – Manager Mental HealthLiza Dickie – Account Lead Programme Marketing and CommunicationsMinistry of HealthDerek Thompson – Team Leader Mental Health Service Improvement Sector Capability and ImplementationMemo Musa – Senior Advisor, Mental Health Service ImprovementExposure FilmsKevin Denholm – DirectorSalt InteractiveMike Chalberg – DirectorMental Health InteractiveXander van der Merwe – Developer

SPONSORED BY:

new zealand

2013


Consumer Services

SILVER Still Flatting?

Agency: DDB GroupLucinda Sherborne – Head of PlanningRupert Price – Planning DirectorZoe Alden – Group Account DirectorJenny Travers – Account DirectorOliver Gould – Account ManagerAndy Fackrell – Executive Creative DirectorJay Hunt – Art DirectorPete Gosselin – CopywriterJudy Thompson – Executive Producer Rosie Grayson – Agency Producer

Client: WestpacMichael Healy – Senior Brand ManagerAdrian McCaffrey – Senior Manager MarketingAlison Dean – Marketing ManagerProdigyTim Bullock – DirectorJack Sainte-Rose – ProducerAdam Willis – EditorJon Cooper – SoundFreelanceGarry Phillips – DOPCatch CastingStu Turner – CastingJoe Fisher – CastingStarcom NZMedia Agency

Consumer Services

SILVER One small lick for Lloyd, one giant leap for E-billing

Agency: DDB GroupLucinda Sherborne – Head of PlanningDavid McIndoe – Planning DirectorCraig McLeod – PlannerNikki McKelvie – Group Business DirectorDanielle Richards – Account DirectorKatya Frolova – Account ManagerAndy Fackrell – Executive Creative DirectorChris Schofield – Creative DirectorMark Lorrigan – Creative Director – RetailJames O’Sullivan – CopywriterAdam Barnes – Art DirectorJudy Thompson – Executive TV ProducerTania Jeram – TV producerDavid McIndoe – Planning DirectorCraig McLeod – Planning

Client: SKY TelevisionMike Watson – Director of MarketingAaron Stone – Marketing ManagerTam Buhagiar – Digital Product Marketing ManagerThe Sweet ShopDamien Shatford – DirectorBen Dailey – ProducerJimena Murray – ProducerFreelanceChris Mauger – DOPHalcyon DigitalNick Burridge – Grade & OnlineLiquid StudiosCraig Matuschka – Audio

new zealand

2013


Consumer Services

BRONZE Gone Overboard?

Agency: DDB GroupLucinda Sherborne – Head of PlanningRupert Price – Planning DirectorVictoria Graves – Group Business DirectorCrystal Clark – Senior Account ManagerAndy Fackrell – Executive Creative DirectorMark Lorrigan – Creative DirectorScott Maddox – Art DirectorBen Pegler – CopywriterJudy Thompson – Executive ProducerRosie Grayson – Producer

Client: WestpacMichael Healy – Senior Brand ManagerAdrian McCaffrey – Senior Manager MarketingAlison Dean – Marketing ManagerThe Sweet ShopDamian Shatford – DirectorLarisa Tiffin – ProducerDamian Shatford – EditorJon Cooper – AudioStarcom NZMedia Agency

Consumer Services

BRONZE Unitec – We Make the People Who Make It

Agency: Special GroupMichael Redwood – Managing PartnerTony Bradbourne – Creative DirectorRob Jack – Creative DirectorAnthony Wilson – CopywriterIain MacMillan – CreativeNicola Muollo – Account ManagerNigel Sutton – Head of ProductionMahsa Willis – ProducerNaked/OPEN CommunicationsMatt OíSullivan – Managing PartnerTe Roi Dodson – Communications StrategistBeat CommunicationsAngela Mace – DirectorJames Boult – Account Manager

Client: UnitecJeanette Paine – Executive Director Marketing and CommunicationsAlistair Kirk – Director Customer Journey Marketing and CommunicationsCarly Wrigley – Director Brand ExperienceDarren Horsman – Director Corporate RelationsChristine Prestwood – Contractor – Marketing and Communications8comAndrew Morton – DirectorKatie Millington – Producer

new zealand

2013


Most Progressive Campaign

GOLD The Resident

Agency: Barnes, Catmur and FriendsDaniel Barnes – Executive Creative DirectorPaul Catmur – Executive Creative DirectorRob Longuet-Higgins – CreativeRob Cook – CreativeBrent Carlyle – CreativeCrispin Schuberth – Head of ArtLuke Farmer – Group Account DirectorSally Willis – Account DirectorGreg Elisara – Head of DigitalNick Gallagher – Account Manager Katrina Reinsfield – Media DirectorMonica Wales – Media Planner

Client: Boundary Road BreweryAdam Maxwell – General Marketing ManagerBen Shaw – Marketing Manager Beer


BRONZE Flash Driving Game

Agency: Clemenger BBDOPhilip Andrew – Executive Creative DirectorThomas Scovell – Digital Creative DirectorBrigid Alkema – Art DirectorSarah Jackson – Art DirectorJon Pickersgill – WriterJulianne Hastings – Account DirectorHayley Smith – Account Executive

Client: New Zealand Transport AgencyRachel Prince – Advertising ManagerPaul Graham – Principal Scientist Strategic DirectionsOMDEmily Goulden – Media PlannerResnMusic Track Sound Design Digital Production House

SPONSORED BY:

new zealand

2013



BRONZE The V Motion Project

Agency: Colenso BBDO / Proximity New ZealandNick Worthington – Creative ChairmanAaron Turk – Creative Director/Digital Creative DirectorJae Morrison – Art DirectorLachlan Palmer-Hubbard – Art Director/Digital Art DirectorGraeme Clarke – CopywriterPaul Courtney – Agency Executive ProducerRob Linkhorn – Agency ProducerTim Ellis – Group Account DirectorSamantha Parsons – Account DirectorStefanie Robertson – Senior Account ManagerEileen Cosgrove-Moloney – Account ExecutiveAndy McLeish – Head of PlanningMat Tizard – Creative TechnologistCraig Thompson – Digital DesignerAdam Wood – Digital DeveloperMike Hammond – EditorCameron Wilson – Editing Assistant

Client: Frucor Beverages LtdLuke Rive – Marketing ManagerCormac Van Den Hoofdakker – Senior Brand ManagerThick As ThievesNik Beachman – ProducerZoe McIntosh – DirectorProduction CompanyAssemblyAmanda Chambers – ProducerJonny Kofoed – DirectorMatt Von Trott – DirectorProduction Company/Post Production CompanyJeff Nusz – Lead DeveloperOMDZac Stephenson – Media StrategistJonathan Ray – Media StrategistFugitive LtdPaul Sanderson – Lead DeveloperMike Delucchi – DeveloperImages & SoundJames Hayday – Sound Designer

FreelanceRenaud Maire – CinematographerTim Mauger – EditorGolden Age Studio / Level Two Music LtdJoel Little – Music ProducerFranklin Rd/Golden Age Studio/Level Two Music LtdSound MixBlockheadOnline Editor

SPONSORED BY:

new zealand

2013


Social Marketing/Public Service

GOLD Increasing the diversity of NZ Police Agency: M&C Saatchi Christine Mossaidis – Senior Account Manager Dave King – CEO/Creative DirectorJames Bowman – Senior Art Director Emma Fern – Senior Planner


Retail/Etail

GOLD Making DIY Easy As

Agency: DraftFCB New ZealandDavid Thomason – Head of PlanningFleur Head – Director of Client ServicesBrodie Lawry – Account DirectorLee Dodds – Project DirectorPeter Vegas – CreativeChristiaan van Noppen – CreativeMike Fredricson – Media Director

Client: Mitre 10 (NZ) LimitedEleanor Downs – Marketing Operations ManagerSophie Rose Nicholas – Campaign ManagerDave Elliott – General Manager MarketingTVNZKathryn Allemann – Production Partnerships ManagerLance Hipkins – Executive ProducerDeb Cope – ProducerGanesh Raj – Director

new zealand

2013


Best Strategic Thinking

SILVER The Resident Agency: Barnes, Catmur and FriendsDaniel Barnes – Executive Creative DirectorPaul Catmur – Executive Creative DirectorRob Longuet-Higgins – CreativeRob Cook – CreativeBrent Carlyle – CreativeCrispin Schuberth – Head of ArtLuke Farmer – Group Account DirectorSally Willis – Account DirectorGreg Elisara – Head of DigitalNick Gallagher – Account Manager Katrina Reinsfield – Media DirectorMonica Wales – Media Planner



SILVER Unitec – We Make the People Who Make It Agency: Special GroupMichael Redwood – Managing PartnerTony Bradbourne – Creative DirectorRob Jack – Creative DirectorAnthony Wilson – CopywriterIain MacMillan – CreativeNicola Muollo – Account ManagerNigel Sutton – Head of ProductionMahsa Willis – ProducerNaked/OPEN CommunicationsMatt OíSullivan – Managing PartnerTe Roi Dodson – Communications StrategistBeat CommunicationsAngela Mace – DirectorJames Boult – Account Manager


SPONSORED BY:

new zealand

2013



BRONZE Here’s to us

Agency: DDB GroupLucinda Sherborne – Head of PlanningAnna Gunnell – Senior PlannerAngela Watson – Group Business DirectorJenny Travers – Account DirectorKate Smart – Senior Account ManagerMaria Bjorkman – Senior Account ManagerAndy Fackrell – Executive Creative DirectorJulia Ferrier – Art DirectorJennie Liddell – CopywriterJudy Thompson – Executive TV ProducerTania Jeram – Agency ProducerShelley Cousins – Print Producer

Client: LionSusan Cassidy – Marketing ManagerKylie Biddle – Senior Brand ManagerMangoDorita Hollins – Senior Account DirectorJessica McColl – Senior Account DirectorOlivia Kinley – Senior Account ManagerKatie Hogan – Senior Account ManagerKimberley Mathews – Account ManagerRoadmap InstituteWilliam Stahl – DirectorMartin Elley – ProducerNina Fryland – Co- producer


BRONZE Making DIY Easy As



SPONSORED BY:

new zealand

2013


Most Effective Integrated Campaign

SILVER Making DIY Easy As




SILVER Increasing the diversity of NZ Police

Agency: M&C SaatchiChristine Mossaidis – Senior Account Manager Dave King – CEO/Creative DirectorJames Bowman – Senior Art Director Emma Fern – Senior PlannerNZ Police


SPONSORED BY:

new zealand

2013







BRONZE Unitec – We Make the People Who Make It

Agency: Special GroupMichael Redwood – Managing PartnerTony Bradbourne – Creative DirectorRob Jack – Creative DirectorAnthony Wilson – CopywriterIain MacMillan – CreativeNicola Muollo – Account ManagerNigel Sutton – Head of ProductionMahsa Willis – ProducerNaked/OPEN CommunicationsMatt OíSullivan – Managing PartnerTe Roi Dodson – Communications StrategistBeat CommunicationsAngela Mace – DirectorJames Boult – Account Manager


SPONSORED BY:

new zealand

2013



BRONZE The V Motion Project

Agency: Colenso BBDO / Proximity New ZealandNick Worthington – Creative ChairmanAaron Turk – Creative Director/Digital Creative DirectorJae Morrison – Art DirectorLachlan Palmer-Hubbard – Art Director/Digital Art DirectorGraeme Clarke – CopywriterPaul Courtney – Agency Executive ProducerRob Linkhorn – Agency ProducerTim Ellis – Group Account DirectorSamantha Parsons – Account DirectorStefanie Robertson – Senior Account ManagerEileen Cosgrove-Moloney – Account ExecutiveAndy McLeish – Head of PlanningMat Tizard – Creative TechnologistCraig Thompson – Digital DesignerAdam Wood – Digital DeveloperMike Hammond – EditorCameron Wilson – Editing Assistant

Client: Frucor Beverages LtdLuke Rive – Marketing ManagerCormac Van Den Hoofdakker – Senior Brand ManagerThick As ThievesNik Beachman – ProducerZoe McIntosh – DirectorProduction CompanyAssemblyAmanda Chambers – ProducerJonny Kofoed – DirectorMatt Von Trott – DirectorProduction Company/Post Production CompanyJeff Nusz – Lead DeveloperOMDZac Stephenson – Media StrategistJonathan Ray – Media StrategistFugitive LtdPaul Sanderson – Lead DeveloperMike Delucchi – DeveloperImages & SoundJames Hayday – Sound DesignerFreelanceRenaud Maire – CinematographerTim Mauger – Editor

Golden Age Studio / Level Two Music LtdJoel Little – Music ProducerFranklin Rd/Golden Age Studio/Level Two Music LtdSound MixBlockheadOnline Editor


BRONZE The coming of age of Father Time

Agency: DDB GroupLucinda Sherborne – Head of PlanningPlanning Director – David McIndoeNikki McKelvie – Group Business DirectorAccount Director – Danielle RichardsAndy Fackrell – Executive Creative DirectorChris Schofield – Creative DirectorToby Morris – Art DirectorSimone Louis – Copy WriterExecutive Agency Producer – Judy Thompson

Client: SKY TelevisionMike Watson – Director of MarketingAaron Stone – Marketing ManagerAmber Brown – Product Marketing ManagerThe Sweet ShopSteve Ayson – DirectorFreelanceChrighton Bone – DOPThe ButcheryJack Hutchings – EditorThe Coopers of Franklin RdJon Cooper – Sound Design

SPONSORED BY:

new zealand

2013


Most Effective PR/Experiential Campaign

SILVER Feel Tip Top

Agency: Colenso BBDO / Proximity New ZealandNick Worthington – Creative ChairmanSteve Cochran – Executive Creative DirectorAaron Turk – Creative Director/Digital Creative Director/Digital Art DirectorMick Stalker – Deputy Creative DirectorScott Kelly – Art DirectorSue Gill – Group Account DirectorLisa Walton – Senior Account DirectorAli Vernon – Project Manager/Agency ProducerLucy Hartstone – Account ExecutiveEmma Tait – Agency ProducerJosh Yee – Digital DesignerMatt Visser – Digital Developer

Client: Fonterra Tip TopCraig Griffin – Marketing ManagerMinna Reinikkala – Marketing ManagerOMDMedia AgencyRubberneckProduction CompanyDaniel Thorn – Production Company Producer Johnny Barker – Director/Editor/Music ProducerDrew Surge – CinematographerFranklin RoadSound DesignSparksPost Production CompanyOn the RoadMusic Producer

Most Effective PR/Experiential Campaign

SILVER Bay of Islands Freedom Fridays

Agency: MangoSean Brown – Senior Account DirectorBob Glancy – General ManagerRebecca Rassie – Account ManagerClaudia Macdonald – Managing Director

Client: Fullers GreatSightsMike Murphy – Sales & Marketing ManagerCharles Parker – General ManagerJo Gill – Sales Executive

new zealand

2013


Limited Budget: less than $300,000

SILVER The Resident

Agency: Barnes, Catmur and FriendsDaniel Barnes – Executive Creative DirectorPaul Catmur – Executive Creative DirectorRob Longuet-Higgins – CreativeRob Cook – CreativeBrent Carlyle – CreativeCrispin Schuberth – Head of ArtLuke Farmer – Group Account DirectorSally Willis – Account DirectorGreg Elisara – Head of DigitalNick Gallagher – Account Manager Katrina Reinsfield – Media DirectorMonica Wales – Media Planner



SILVER Nothing beats a jingle

Agency: Clemenger BBDOAndrew Holt – Managing DirectorPhilip Andrew – Executive Creative DirectorErik Hay – Senior WriterBrigid Alkema – Creative DirectorDebby Giness – Strategist

Client: The Wellington International Ukulele OrchestraGemma Gracewood – ManagerOMDEdd Lucas – Account Director

new zealand

2013



BRONZE Flash Driving Game

Agency: Clemenger BBDOPhilip Andrew – Executive Creative DirectorThomas Scovell – Digital Creative DirectorBrigid Alkema – Art DirectorSarah Jackson – Art DirectorJon Pickersgill – WriterJulianne Hastings – Account DirectorHayley Smith – Account Executive



BRONZE Trial by Timeline

Agency: Colenso BBDO / Proximity New ZealandNick Worthington – Creative ChairmanLevi Slavin – Creative DirectorDan Wright – Digital Creative DirectorAnna Stickley – Art DirectorBen Polkinghorne – CopywriterHelen Fitzsimons – Account DirectorEileen Cosgrove-Moloney – Account ExecutiveHayley Pardoe – PlannerJames McMullan – Agency Producer

Client: Amnesty International NZRebecca Emery – Deputy Director (Campaigns, Research, Advocacy & Communications)Anita Harvey – Media & Communications ManagerAssemblyAmanda Chambers – Animation – Executive ProducerMatt von Trott – Animation – Design Lead Scott Wilson – Animation – Designer

new zealand

2013


Most Effective Digital/Social Media Campaign

SILVER The Smart Phone Line

Agency: Colenso BBDO / Proximity New ZealandNick Worthington – Creative ChairmanAaron Turk – Creative Director/Digital Creative DirectorBrett Colliver – Art DirectorSimon Vicars – CopywriterScott Coldham – Group Account DirectorAndy McLeish – Head of PlanningPaul Courtney – Producer Amanda Theobold – Producer Scott Chapman – Producer Paul Headington – Digital DeveloperAdam Wood – Digital DeveloperCraig MacGregor – Digital Developer

Client: Samsung New ZealandMike Cornwell – Marketing DirectorDebbie Fell – Group Marketing Manager of Mobile and IT Assembly LtdAmanda Chambers – Producer AnimationStarcom NZMedia AgencyFreelanceJeff Nusz – Post Production (Vis. Effects Co.)Rollercoaster DesignGreg skinner – Print DirectorOCEANIA LED SYSTEMSBob Wilson – AV / LED Wall Supplier


BRONZE Flash Driving Game Agency: Clemenger BBDOPhilip Andrew – Executive Creative DirectorThomas Scovell – Digital Creative DirectorBrigid Alkema – Art DirectorSarah Jackson – Art DirectorJon Pickersgill – WriterJulianne Hastings – Account DirectorHayley Smith – Account Executive


SPONSORED BY:

new zealand

2013



BRONZE Beetle Mania Agency: DDB GroupLucinda Sherborne – Head of PlanningAnna Gunnell – Senior PlannerJamie Barrett – PlannerScott Wallace – Group Business DirectorSusie Darling – Account DirectorLara Christie – Account ManagerKamilla Harker – Account ExecutiveAndy Fackrell – Executive Creative DirectorGavin Siakimotu – Creative DirectorNatalie Knight – Creative DirectorSasha Arandelovic – CopywriterKevin Backtiar – Art DirectorPaul Pritchard – Digital Services Director Sam Schrey – Senior Interactive DesignerSteve Gulik – Video Production

Client: VolkswagenTom Ruddenklau – General Manager of New ZealandDenise Goodwin – Marketing ManagerSpark PR Mathew Vogts – Public RelationsSpace StationRachel Stewart – MediaMGComCindy Mitchener – Media Planning

Fast Moving Consumer Goods (FMCG)

BRONZE Energizer Batteries: If Dai can step up, so can you

Agency: Y&R New ZealandJosh Moore – Executive Creative DirectorY&R AucklandTom Paine – Associate Creative DirectorKate Lill – CreativeZoe Edwards – CreativeJono Key – Senior Creative PlannerMike Keen – Account Manager Christina Hazard – Head of ProductionKelly Beange – Media Strategy Director Lee Griffiths – Media Business Director Anna Mathews – Digital Media StrategistDarelle Paniora – Media Planner / Buyer

Client: Energizer New ZealandAndreí de Beer – Marketing ManagerAlicia Roque – Brand Manager The Downlow ConceptContributing Agency

SPONSORED BY: SPONSORED BY:

new zealand

2013



BRONZE From Love to Thirst

Agency: Saatchi & Saatchi Murray Streets – Planning DirectorSarah Hodgetts – Senior PlannerShelley Winsor – Business DirectorBrodie Reid – Account DirectorAntonio Navas – ECDPhil Hicks – CopywriterAryna Karaitiana – Art DirectorCorey Chalmers – CDGuy Roberts – CDNatasha Gill – TV ProducerHaydn Thomsen – Digital Producer

Client: Coca-Cola Amatil (N.Z.)Leigh Moss – Senior Brand ManagerWendy Rayner – GM of Marketing





SPONSORED BY:

new zealand

2013


Consumer Durables

BRONZE The coming of age of Father Time

Agency: DDB GroupLucinda Sherborne – Head of PlanningPlanning Director – David McIndoeNikki McKelvie – Group Business DirectorAccount Director – Danielle RichardsAndy Fackrell – Executive Creative DirectorChris Schofield – Creative DirectorToby Morris – Art DirectorSimone Louis – Copy WriterExecutive Agency Producer – Judy Thompson

Client: SKY TelevisionMike Watson – Director of MarketingAaron Stone – Marketing ManagerAmber Brown – Product Marketing ManagerThe Sweet ShopSteve Ayson – DirectorFreelanceChrighton Bone – DOPThe ButcheryJack Hutchings – EditorThe Coopers of Franklin RdJon Cooper – Sound Design

Consumer Durables

BRONZE Let’s do it all again

Agency: Clemenger BBDOPhilip Andrew – Executive Creative DirectorEmily Beautrais – WriterAlex Metson – WriterTony Haigh – Senior Art DirectorBrendan McElroy – Group Account DirectorRebecca Clarke – Account Executive

Client: Mitsubishi Motors NZ LtdReece Congdon – Marketing ManagerDaniel Cook – Head of Sales & Marketing StrategyWarren Brown – General Manager Sales & Marketing & Executive DirectorOMDMatt McNeil – General ManagerHenry Lyons – Account Manager

new zealand

2013


Charity/Not for Profit

BRONZE It’s raining on our cats and dogs

Agency: Shirtcliffe and Co.Matt Shirtcliffe – Creative DirectorAndy Carruthers – Art DirectorAlexia Walsh – Account DirectorJane Eagles – Strategic Director

Client: SPCA AucklandRona Booth – Marketing and Fundraising ManagerChristine Kalin – CEOFreelanceAlistair Lang – Art Director

Dear <Name>

On a good day, we provide shelter to about 300 animals. On a wet day, that shelter is sadly compromised by our tired and leaking roof. As well as our cats and dogs, it rains on our highly committed staff and volunteers, visitors and office equipment.

We urgently need help to replace the roofs of our building complex, as well as the ceilings and some of the wiring. So we’re turning to <Sample Sponsor Company>. Could you provide assistance with the materials, labour, and/or costs involved?

A highly visible sponsorship

Your support would be acknowledged in a number of highly visible ways, starting with <Sample Sponsor Company’s> name and logo on the roof. Being located so close to Auckland Airport, you could be seen by thousands of travelers every day. SPCA Auckland is frequently in the news, and we would ensure the Media were alerted to such a good news story. (No more raining on cats and dogs!). You would also be acknowledged throughout our website, and regular communications to thousands of supporters.

OUR ANIMAL SHELTER NEEDS URGENT REPAIR.COULD YOU HELP

WITH A ROOF OVER OUR

HEADS?

SPONSORED BY:

New Product or Service

BRONZE Beetle Mania Agency: DDB GroupLucinda Sherborne – Head of PlanningAnna Gunnell – Senior PlannerJamie Barrett – PlannerScott Wallace – Group Business DirectorSusie Darling – Account DirectorLara Christie – Account ManagerKamilla Harker – Account ExecutiveAndy Fackrell – Executive Creative DirectorGavin Siakimotu – Creative DirectorNatalie Knight – Creative DirectorSasha Arandelovic – CopywriterKevin Backtiar – Art DirectorPaul Pritchard – Digital Services Director Sam Schrey – Senior Interactive DesignerSteve Gulik – Video Production

Client: VolkswagenTom Ruddenklau – General Manager of New ZealandDenise Goodwin – Marketing ManagerSpark PR Mathew Vogts – Public RelationsSpace StationRachel Stewart – MediaMGComCindy Mitchener – Media Planning

SPONSORED BY:

new zealand

2013

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