Raising the bar Thomas kim Cheil Worldwide adobo Creative Rankings Finding enlightenment
Ad Summit Pilipinas
mad about awards
Cannes Chimera New York Fest The One Show D&AD Kidlat 2014 adobo Design Awards
Issue 51 may - june 2014 Philippines PHP 195 Indonesia IDR 100k Malaysia MYR 15 Singapore SGD 10 Hong Kong HKD 60 Thailand THB 250
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E D I TO R ’ S N OT E May-June 2014, Issue 51
Mad about awards Whew! It’s been an eventful couple of months! In April, we here at The Word on Creativity celebrated our eighth anniversary in style at URBN on the Fort Strip. It was a night to remember as we not only debuted our 50th issue, we also premiered the redesigned, revamped, and reloaded look of our award-winning website, adobomagazine.com, thanks to the combined efforts of Spinweb and our dedicated digital team. As the biggest show on the grandest stage of them all is just around the corner, we are honored to have on our cover Cheil Worldwide’s Thomas Kim, a man who has brought Grand Prix glory to his native South Korea on more than one occasion. While the Philippine advertising community recovers from the collective high rendered by the one-two punch of Ad Summit Pilipinas and the 2014 Kidlat Awards, we would like to extend our heartiest thanks and congratulations to everyone who made that momentous week in scenic Subic Bay possible. Let adobo magazine walk you through the highlights with our exclusive festival coverage on page 181. Of course, that’s not the only festival we’re covering; head on over to page 52 to check out our insider analyses and roundups of Cannes Chimera, New York Fest, One Show, D&AD and more. At 216 pages it is indeed our biggest-ever festival issue. Speaking of D&AD, it proved to be the site of the latest in DM9JaymeSyfu’s blockbuster award run, that began with an unprecedented Grand Prix at last year’s Cannes Lions and continued on into this year, snagging metal at
One Show and New York Festivals among others. This time around, the mobile initiative bagged the Philippines’ first-ever Yellow Pencil. And, just to show that we well and truly are a business that’s mad about awards, we would be remiss if we didn’t introduce our new and improved adobo Creative Rankings! From copywriters to clients to ECDs, we rank the best of the best from 2013. We also present the winners of our very own adobo Design Awards and Design Series, where we honored the country’s best in creative excellence and learned a lot from our talented juries, headed up by AIGA-medal recipient Lucille Tenazas. Rounding out this edition is our profile on Leo Burnett Manila’s Raoul Panes, and Davao-born animator John Butiu, who has made it big in Hollywood. So sit back, savor and enjoy this latest issue of adobo. In a couple of weeks, we’ll have all the latest from Cannes, as adobo will be on hand to catch all the action in the south of France. Now, what to wear?
Angel V. Guerrero Founder, Publisher & Editor-in-Chief
staffbox President & Editor-in-Chief Angel V. Guerrero
Vice-President & Chief Operating Officer Janelle Barretto Squires
EDITORIAL Consultant Editor Sharon Desker Shaw Managing Editor Mikhail Lecaros Editorial Coordinator & Writer Charisma Felix
Digital Editor Carmela LapeĂąa Multimedia Journalist Amanda Lago
Cover Photo Min-kwan Kim Special thanks to Soomee Moon
ART Creative Director Victor Garcia Multimedia Artist Ricardo Malit
Graphic Artist & Illustrator Joshua Gonzales
marketing & events Sales and Marketing Head Jovy Astillero Events Manager Ched Dayot Marketing & Events Coordinator Kriss Luciano
Account Manager Tricia Amarilla Business Development & Circulation Officer Andrew Sarmiento
admin & Finance Finance Consultant Jeffrey Cuenca Finance Officer Elsa Bagalacsa
HR & Admin Officer Romina Claros
For advertising, sales, subscription, editorial and general inquiries, please get in touch. editorial@adobomagazine.com sales@adobomagazine.com subscriptions@adobomagazine.com events@adobomagazine.com books@adobomagazine.com info@adobomagazine.com www.adobomagazine.com Telephone +632.845.0218 / +632.886.5351 Fax +632.845.0217 adobo magazine Unit 203, Bldg 1, OPVI Center (Jannov Plaza) 2295 Pasong Tamo Extension, Makati City 1231, Philippines Follow us on Twitter @adobomagazine Like us on Facebook www.facebook.com/adobomagazine
adobo magazine is published bi-monthly by Sanserif Inc. Š 2014 Sanserif Inc. All rights reserved. Printed on recycled paper. No part of the magazine maybe reproduced or transmitted by any means without prior permission of the publisher. While every effort has been made to ensure the accuracy of the information in this publication, the publisher and the editor assume no responsibility for errors of omissions or any circumstance of reliance of information in this publication. The opinions expressed in this publication do not necessarily represent the views of the publisher and the editor. Advertisements are the sole responsibility of the advertisers.
CO N T R I B U TO RS May-June 2014, Issue 51
Mark Nicdao Photographer
Dan Harvey Photographer
Ryan Sulit Photographer
Shampoo Padilla Photographer
Roy Van Morales Photographer
Neil French Writer
Chris de Pio Sanchez Writer
Merlee Jayme Writer
Jamie Tolentino Columnist
Tepai Pascual Writer-artist-creator ‘Krokis’
Clint Catalan Stylist
Elvie Recalde Make-up artist
Bianca Vela Make-up artist
Anthea Bueno Make-up artist
Lei Ang Make-up artist
Tyrene Orais Make-up artist
J-mar Martinez Hair stylist
Jheff Duran Hair stylist
FINAL METEOR GARDEN for adobo_9x12.pdf
4/25/14
11:03:13 AM
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Raising the bar THOMAS HONG-TACK KIM, Cheil Worldwide
Trendspotting
98
Full throttle
Table of Contents May-June 2014, Issue 51
Cover Story Raising The Bar: Thomas Kim, Cheil Worldwide
86
Philippine News 08 10 12 14 16 18
20 22 24 26 27 28 30
Labstore in Manila Radio worries Metals boom On the move New wins The feel-good factor
Global News
31 32 34 36
Publicis-Omnicom deal collapses Samsung in pitch mode On the move Brands with purpose Adspend rebound New wins World Cup fever
The Work 38 42 46 47 48 50 52 74 77
Creative Review: Ted Lim, Dentsu Asia Creative Showcase Ad of the Month Bang for the Buck: ‘Apology Press Conference’ Book Review by Neil French: Predatory Thinking Creative Corner: Thomas Yang, DDB Singapore Festival Roundup: D&AD, New York Festival, One Show, APAC Effies, AWARD, CUP, ANDY Awards, Cannes Chimera, AME Awards adobo Design Awards adobo Design Awards winners
Design 82 84
Jed Root lands in Manila Design profile: John Butiu
Centerfold 96
Teeny Gonzales, Seven A.D.
Trendspotting
Digital
98
adobo reboots website to improve user experience Philippine spots dominate YouTube leaderboard Stretching creativity in digital campaigns Philippine brands give Instagram a miss
100 Raoul Panes, Leo Burnett Manila 105 adobo Creative Rankings 2013
Full Throttle
People
Media 148 MindShare takes The Loop to Asia 148 Getting to Know: Guido Zaballero, Head of Marketing and Programming, Cignal TV 150 Festival of Media Global
Special Report 158 168 172 181
Cannes Primer adobo Masterclass: Lucille Tenazas adobo Design Series Ad Summit Pilipinas Kidlat Awards
Regular Sections 214 Downtime 216 Events calendar
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philippine news
Labstore in Manila
Roldan, Nadong to lead Y&R retail, shopper offering MANILA Y&R | Labstore, the consolidated retail and shopper marketing unit of WPP’s global marketing network, has launched in the Philippines, headed by two long-serving Y&R Philippine senior executives. Business unit director Maya Roldan (left) and executive creative director Jenny Nadong have been tapped to lead the Philippine operation. Roldan has more than 17 years of advertising experience and currently leads Y&R Philippines’ integrated marketing development for Colgate-Palmolive, working closely with MEC, the advertiser’s media agency, to ensure the company’s marketing communications efforts are integrated. Nadong has 18 years industry experience and was promoted to her current role late last year, focusing on Colgate-Palmolive. Labstore has a presence in more than 20 countries across all regions and launched in Thailand at the same time as its arrival in the Philippines. Jon Bird, co-founder of Y&R’s retail marketing agency IdeaWorks in Australia and New Zealand, who has since moved to New York to lead Labstore as its global managing director, said the network was “building Labstore for the reality of retail today”. “We live in a globalized, digitized,
AMES SHORLIST JWT, Burnett top lists
334 The number of entries from 17 countries, including the Philippines shortlisted for the Asian Marketing and Effectiveness Strategy Awards, which will be held in Singapore May 29.
polarized and increasingly personalized retail world…where the shopper is in control. That’s our starting point, and from Day 1, Labstore will have a global perspective, with digital and data at the core. “We believe there is a sweet spot where retail and shopper marketing intersect, and that will be Labstore’s territory – working with both retailers and manufacturer brands to develop great solutions for the shopper.” Labstore resources include retail marketing strategy and execution across all retail touchpoints, and shopper research, insights and execution with a focus on integration of digital. Y&R Philippines’ shopper/retail offering has been in place for eight years, primarily for Colgate-Palmolive and Chevron Lubricants. Y&R plans to extend Labstore’s offer to its other clients, including Inbisco, Unilab, CDO and Sun Cellular.
16 The number of Philippine entries that have been shortlisted for the effectiveness competition.
3 The number of categories Leo Burnett’s ‘Aid Couture’, the Procter & Gamble and Red Cross-supported effort, and JWT’s Unilever activation, ‘Hair Sonata’, where Cream Silk-conditioned hair literally makes music, have been shortlisted in.
3 The number of Philippine entries that made the Digital Strategy shortlist – DM9JaymeSyfu’s ‘TXTBKS’ with two entries and BBDO Guerrero’s ‘Unselfie’ claimed the third spot.
3 MORE FUN IN BORACAY The island resort takes center stage in the first in a series of new ‘It’s More Fun’ advertising created by BBDO Guerrero for the Department of Tourism. Showing endless possibilities available in the destination, the 30-second spot is filled with activities from one sunrise to the next, as the agency gives tourists more reasons why it is more fun in the Philippines. The ad is part of the DoT’s new sustaining phase of the campaign and will be supported by other TV materials, print and digital.
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May-June 2014
The number of local entries on the Media Strategy shortlist – BBDO Guerrero’s ‘Unselfie’, Unilever’s ‘#TeenWeekPH’ and MediaCom’s ‘Pamilya On Guard’ for Procter & Gamble
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Radio worries MANILA Radio continues to hold its ground in drawing an audience but will need to bolster programming if it is to stay competitive as rival mediums capitalize on the advantages afforded by mobile. The assessment from Kantar Media general manager Gabriel Buluran (pictured) came when the research company released the first ‘Tuning in to Radio’ study conducted in partnership with the Radio Research Council, Kapisanan ng mga Brodkaster ng Pilipinas (KBP), underscoring radio’s strength within the media mix. The study found that 33% of Filipinos’ FM listening was done on mobile devices, a trend that TV broadcasters have moved quickly to capitalize on. “(Radio) has retained its effectiveness and potential.
New Kantar research points to medium’s strength and looming threats as TV broadcasters expand mobile content
It just has to protect what is already theirs so they wouldn’t be encroached upon by existing or emerging media,” said Buluran. “The problem is, we know TV stations are going mobile. Don’t wait for the dominant medium to encroach on the space that is exclusive to you now.” He called on radio stations to strengthen programming during peak hours, which occur when TV is half-asleep. While TV’s peaks occur at noontime and in the evening, radio listening peaks are in the early morning and late at night. There are over 4 million listeners from 6 AM to 10 AM and almost 2 million listeners from 9 PM onwards, according to Kantar. While over 2 million Filipinos listening during primetime when they reach home, Buluran said radio reached touchpoints that other
media could not – 300,000 Filipinos listen to the radio at work. “This is something broadcasters should keep in mind. Radio is really a background medium whereas with TV, productivity goes lower,” he added. The study also showed that there are 100,000 who listen while in transit from 9 AM to 10 AM. 45% of those in transit are from the middle to upper class. “2.34 million people pass through EDSA every day. This is your potential. The only touchpoint you have is through a mobile device, one of which is radio. For advertisers and networks this is something they should probably seriously look at.” Television still gets the highest share of spend – 77% to radio, which is in second place, with 18%. Although people spend less time on radio than they do watching TV, the study found that radio captures audiences for longer periods per session. While TV viewers spend 16 sessions per day, radio listeners spend almost two sessions, but each session for TV lasts an average of only 20 minutes compared to the average radio session of 105 minutes.
PHILIPPINE RECOGNITION STEVIE RECOGNITION ABS-CBN and its president and CEO Charo SantosConcio (pictured) took Gold in the Service Company and Woman of the Year categories for the Philippines at the inaugural Asia Pacific Stevie Awards, a business awards program. The broadcaster was recognized for business achievements in 2013, especially its efforts to provide relief and rebuilding aid to help Filipinos who suffered from devastating natural disasters or fighting in Zamboanga. Santos-Concio was awarded for leading the country’s largest multimedia conglomerate in achieving top TV ratings and box office sales for Star Cinema, groundbreaking business ventures such as ABS-CBNmobile, theme park Kidzania Manila, and TV home shopping channel O Shopping, public service initiatives and revenue growth.
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GLOBE METAL HAUL Globe Telecom bagged two Golds and a Bronze at the Asia Pacific Stevie Awards, winning the Customer Service Leader of the Year award for launching a strategy highlighting the use of its Twitter support channel and the new Globe community. Its ‘Prepaid GoSakto’, which provides an interface for customers to create different promo bundles though a step-bystep process, also bagged Gold in the New Consumer Product of the Year under the All Nations category. The Bronze went to the International Business Group’s Globe Seafarer subscriber information module in the New Consumer Service of the Year – All Nations category. The product addressed the need of traveling Filipino seafarers to regularly get in touch with their loved ones at affordable call and text rates from anywhere in the world without the use of expensive satellite equipment.
May-June 2014
LIFETIME ACHIEVEMENT ABS-CBN chairman Eugenio ‘Gabby’ Lopez III (pictured) was recognized with the Lifetime Achievement Award for his contributions to the broadcast industry by the Kapisanan ng mga Brodkaster ng Pilipinas (KBP) at the 22nd Golden Dove Awards. Lopez was recognized for leading the transformation of ABS-CBN’s business strategies. “Our consumers have changed. They now have the power to choose how and when they would consume our content. From being a broadcast mass media company, we are now driving our revolution to become a consumer company that engages with each customer on an individual basis. We change because that is how we can best serve the Filipino,” said Lopez in his acceptance speech
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Metals boom
DM9JaymeSyfu cleans up with ‘TXTBKS’ while local shops also shine on this year’s international awards circuit
DM9’s Merlee Jayme with the New York Festival trophy
New York Festivals
NEW YORK Philippine agencies left New York with one of their biggest awards hauls on this year’s show circuit. Four agencies bagged metals at the show. DM9JaymeSyfu emerged as the region’s best performing agency with its hugely successful ‘TXTBKS’ initiative for client Smart Communications. The inventive effort to turn excess SIM cards and old mobile phones into text books for school kids earned two Grand Prizes in the Low Budget and Mobile categories and six First Prizes. Adding to the Philippine haul, McCann Worldgroup’s radio spots for the Philippine Cancer Society scored a First Prize for ‘Hold’ and a Third Prize for ‘Press, while TBWA\Santiago Mangada Puno’s ‘Koi Fish Feed Invite’ for Ayala Land won a Second and Third Prize. Campaigns & Grey’s ‘Rafting’ for Quezon Province won a Third Prize.
Andy Awards NEW YORK DM9JaymeSyfu continued its winning streak with ‘TXTBKS’ bagging two Golds at the 50th ANDY Awards. DM9 – the lone Philippine entry on the shortlist – bagged Golds in the competition’s Mobile and Reset categories. The latter category recognizes work that is unique and innovative and sets the tone for the industry to move forward.
One Show NEW YORK The Philippines went to One Show with five agencies on the shortlist, but only two shops succeeded in scoring metal. DM9JaymeSyfu and Ace Saatchi & Saatchi won Silver Pencils – the former with Smart Communication’s multi-awarded ‘TXTBKS’ in Mobile and the latter with ‘ZZZ Radio’ for Procter & Gamble Philippines for Innovation in Radio. The Pampers radio spot, a multiple Lotus winner at AdFest, saw the agency set up a radio station to provide white noise, allowing babies to sleep and therefore giving their moms much needed rest.
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May-June 2014
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Award SYDNEY DM9JaymeSyfu was the lone Gold winner outside of Australia and New Zealand at the 35th Australasian Writers and Art Directors Association (AWARD) show. It picked up the metal in the Mobile category for ‘TXTBKS’ for client Smart Communications. The campaign to turn obsolete SIM cards and old mobile handsets into textbooks and lighten the load of
school children commuting to school also bagged a Silver award in the Alternative Media category. TBWA\Santiago Mangada Puno also bagged a Silver for ‘Koi Fish Feed Invite’ (pictured) created for Ayala Land. The invitation, which doubled as fish food to encourage residents of the Nuvali eco-community to feed the resident koi, won in the Environmental Design category.
GOING FOR GOLD Led by DM9JaymeSyfu, local shops improve their batting average on the international awards circuit AdFest Increase Year-on-year
+10
2014
1
Total 16
AMES 4
7
Increase
4
Year-on-year
2013
3
Total 6
1
2
Year-on-year
+0 LEGEND
2014 Total 2
2013
Increase
2014
Total 2
1
+3
1
Grand Prix
Total 4
1
Andy’s 2
2
Gold
Silver
Total 6
2013 Total 2
Increase Year-on-year
2
+2
2
D&AD
2
Year-on-year
2013
Total 5
+1
One Show Increase
2014
3
Total 2
Award Increase
2
Year-on-year
-8
2013 Total 0
2014
1
1
2013
4
6
Total 2
Total 10
NYF Advertising Increase
2
Year-on-year
+13
2
Bronze
2014
In-book
2014
Total 13
2
7
3
1
2013 Total 0
Nominations
Full festival coverage from page 52
Festival of Media Global
Ame Awards
D&Ad
NEW YORK DM9JaymeSyfu cleaned up at the AME Awards, winning the Philippines’ first-ever AME Grand Award and the regional Platinum prize for Asia Pacific for ‘TXTBKS’ for Smart Communications. Along with the two awards in the Mobile/Cellular/Hand-held Device category, the agency also picked up two Gold medallions. TBWA\Santiago Mangada Puno added to the local haul with two Bronze wins for ‘Oishi Prawn Crackers: Kaleidoscope World’ for Oishi Prawn Crackers (pictured) and ‘Audio Guide for the Longest Art Gallery’ for Boysen KNOxOUT. The audio guide uses GPS geo-tagging technology on commercial buses plying EDSA, which has been converted into an outdoor museum by street artists invited to paint murals along the route to demonstrate the smogeating qualities of KNOxOUT paint.
LONDON DM9JaymeSyfu scored another historic win for the Philippines, taking the country’s first-ever Yellow Pencil with ‘TXTBKS’. The agency’s D&AD triumph adds to the Smart campaign’s expanding list of firsts following last year Cannes Lion Grand Prix. ‘TXTBKS’ won the Yellow Pencil for Innovative Use of Mobile Technology. ‘Family Remeet’ by Ace Saatchi & Saatchi for client Cebuana Lhuillier had also been nominated in Ambient. The two shops also landed in-book slots – Saatchi’s ‘Home Invasion’ and DM9’s ‘TXTBKS’ will feature in the annual’s Integrated Mobile Campaigns and Innovative Use of Mobile Technology sections respectively. TBWA\Santiago Mangada Puno scored the Philippines’ third in-book slot with ‘Mirror’ for the Red Whistle radio campaign to provide a voice to HIVpositive people and their families.
May-June 2014
ROME Starcom MediaVest Group took the Bronze prize for Best Engagement Strategy at the media competition for its ‘First Step to Livelihood’ campaign for United Home Products. The campaign set out to help mothers in underprivileged communities develop livelihood skills, which in turn turned them into brand advocates. ‘First Step’ was also shortlisted for Best Comms Strategy and Utility/Public Service Award. Three other local agencies were also shortlisted for the global media competition – 1 Digital Media Group with ‘Rexona Run to Your Beat’, Mobext for ‘McDonald’s McDelivery Mobile’ and MediaCom for ‘Pamilya on Guard’. Full festival coverage from page 150
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On the move
Local agencies build bench strength in digital, media Jan Lorraine Cui Havas Media Ortega
Acee Vitangcol, Essa Balao, Julia Pronstroller Di9it
Dino Cabrera
Leo Burnett & Arc Worldwide Dino Cabrera has been promoted to chief creative officer of Leo Burnett and Arc Worldwide following strong business growth and continued integration across units in the local office. Cabrera was previously head of the agency’s digital creative group, where he was responsible for developing digital work as part of integrated communication solutions for clients such as McDonald’s, Samsung and Procter & Gamble. He joined Burnett in August 2011 from NetBooster, now Movent, where he was the executive creative director with responsibility for turning the web company into a digital creative agency. “The appointment of Dino reinforces our continued focus and investment in building our digital capabilities… we are confident that he can effectively steer our digital group in providing clients superior digital marketing and communications solutions that encourage people interaction with brands,” said Raymond Arrastia, managing director of the Burnett group.
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DM9’s digital offering hired Acee Vitangcol (right) as social media director, Essa Balao (left) as CRM director and Julia Pronstroller as group account director. A certified digital marketer with a background in research and social anthropology, Vitangcol’s career has spanned TNS/Kantar Worldpanel, ABS-CBN as a digital strategist and Havas Media Ortega as a social planner. Balao has six years in advertising, starting as a communications planner at MediaCom, where she handled multi-platform executions for Procter & Gamble brands. In 2012, she joined the CRM team at Netbooster, now known as Movent, spearheading e-CRM campaigns for Globe, Del Monte Philippines, Wyeth and Starbucks. Pronstroller’s appointment marks a return to DM9 following six years with Gallardo & Associates, where she led client servicing and account management for her unit. “Digital is still young in the country and the talent pool is still growing. That’s why it’s absolutely critical that we clearly define the DNA of the marketers and creatives that we want to come on board Di9it,” said Di9it’s managing director and partner Carlo Ople.
May-June 2014
Former TBWA\Tequila Manila account director Jan Lorraine Cui has joined Havas Media Ortega as business director to drive the relationship with key clients such as Unilever, Reckitt Benckiser, Krispy Kreme and Jewelmer Joaillerie. Cui was account director at Tequila, where she led the rebranding campaign of China Bank Savings. She was also an account manager at JWT Manila where she managed the company’s design team, Sugar Rush. “As we strengthen our position in the integration space, we need leaders who have the breadth of experience across various specialist fields. Jan brings with her a deep understanding and appreciation of activation, design, advertising and digital, which will prove beneficial for our clients,” said Jos Ortega, the agency’s chairman and CEO.
Iea Nepomuceno Arena
Iea Nepomuceno has joined Havas Media Ortega second agency brand, Arena, as business director following stints at a media blocktimer, JWT and TBWA\Tequila. In her new role, Nepomuceno will lead Arena’s account management team to manage a client list that includes LBC, LG, L’Oréal, Maybelline, Garnier, Globe Business and SM Cyberzone. She joined JWT as an account director and was later promoted to integrations director, where she supported the development and implementation of integrated campaigns for clients such as Unilever, Mondelez, Nestlé and Johnson & Johnson. At TBWA\ Tequila, she handled belowthe-line advertising, activations and CRM on campaigns such as Bactidol 12-hour Sing-a-thon, Kraft Eden’s ‘Operation Smilewich’ and Cream Silk ‘Hair Sonata’. More recently she worked as a leading media blocktimer.
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r3 new business league
Briefs
MOBEXT WINS Pizza chain Shakey’s has appointed Mobext as its digital agency of record following a review of its communications strategy for the next two years. Mobext has been tasked to bring a mobile-first focus to the chain’s digital efforts and will work closely with creative agency, J. Romero and Associates. Its duties span a full digital scope, including management of Shakey’s desktop and mobile websites, social media, mobile and online media, and other digital assets.
EXPANDED JOB The Philippine Department of Tourism has expanded BBDO Guerrero’s remit on the account, tapping it for the next phase of ‘It’s More Fun’ activity after a creative pitch against Publicis Manila and Dentsu Manila. The next phase covers overseas markets and also looks at the expanding market for events and conferences as well as communicating to those who work on the frontline of the tourism industry in specific service areas. BBDO has enjoyed an award-winning run with the ‘It’s More Fun’ campaign, which has helped jumpstart tourism arrivals.
adobomagazine
April 2014 Philippines Top 10 wins Month
Account
Area
Saatchi & Saatchi
Creative Agency
Mar
Toyota Motor (Yaris)
Philippines
BBDO
Apr
Department of Tourism Project
Philippines
TBWA\smp
Jan
Converge ICT
Philippines
Saatchi & Saatchi
Mar
Huawei Technologies
Philippines
Saatchi & Saatchi
Mar
Republic Biscuit Corp. Brand: Hansel
Philippines
Grey
Apr
GlaxoSmithKline (Social Media)
Philippines
McCann
Apr
Globe Tatt Awards (Digital Project)
Philippines
DDB
Jan
Habitat for Humanity
Philippines
Grey
Jan
Mega Lifesciences Project
Philippines
Grey
Mar
Fitness First (PR)
Philippines
Media Agency
Month
Account
Area
ZenithOptimedia
Feb
Nestlé
Philippines
Starcom
Mar
Smart Telecom (Digital)
Philippines
Carat
Mar
Mondelez
Philippines
ZenithOptimedia
Feb
Wyeth
Philippines
Vizeum
Jan
Reckitt Benckiser
Philippines
Starcom
Apr
Shang Properties
Philippines
Universal McCann
Feb
H&M
Philippines
Starcom
Feb
Easy Taxi
Philippines
MEC
Jan
Beiersdorf (Nivea)
Philippines
Starcom
Mar
Splash
Philippines
BPI picks social media AOR Burnett wins 7-way shoot-out to land BPI account MANILA Leo Burnett and its activation and integration unit Arc Worldwide won a seven-way pitch to land the social media agency-of-record assignment for Bank of the Philippine Islands (BPI), spanning its different product segments. BPI digital marketing head Virginia Brocka, said Burnett and Arc’s presentation was aligned with BPI’s overall social media strategy. “Beyond a social media plan, their proposal showed a clear understanding of how BPI will utilize social media to drive business,” she added. Burnett and Arc’s newly promoted chief digital officer Dino Cabrera said the group had leveraged proprietary tools to provide digital
May-June 2014
solutions that engaged and drove consumer participation. “We recognize that digital is rapidly evolving and we need to capitalize on the opportunity it brings. Which is why we created our own Social CRM program, which is a powerful solution that will help strengthen their marketing efforts,” he added. BPI was one of only two financial institutions to win a Boomerang award in 2013, netting a Bronze for the ‘BPITalk To Us’ campaign by McCann Worldgroup. The assignment is the latest awarded by BPI – early this year, the bank tapped Interpublic pair Lowe and McCann Erickson to sharpen its positioning ahead of ASEAN economic integration next year.
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The feel-good factor Good vibes abound in this summer’s local campaigns.
McDonald’s
LBC Express
Rexona
Caritas Manila
Campaign ‘#BetterTogether McDonald’s + Coca-Cola’ Agency Leo Burnett Client Golden Arches Development Corporation
Campaign ‘Move it For Manny’ Agency Arena Philippines Client LBC Express, Inc.
Campaign ‘Do the Moves’ Agency Lowe and OPEN Philippines Client Unilever
Campaign ‘Second-hand ads’ Agency Dm9JaymeSyfu Client Caritas Manila
The Work This McDonald’s spot is right on trend, serving as an antidote to the world’s fast-paced digital evolution as it brings the virtual world into the real one. The ad, promoting the fast-food chain’s BFF Bundle, is built on the idea that real-life connections are more meaningful than digital ones. It shows online interactions as they would take place in the real world – retweeting is about passing a message on to your friend by way of a whisper, tagging is a matter of labeling drawings of your family, refreshing translates as taking a sip of a cold drink, and adding a friend is exactly that – except that it’s not done with a click of a button, but with a warm smile.
The Work Rallying support for the country’s favorite boxer, the LBC campaign kicked off 10 days before Manny Pacquiao successfully wrested the WBO welterweight championship belt from his rival. The campaign urged Pacquiao’s fans to upload photos of them with left fist raised and tagged with #MoveItForManny, as a sign of solidarity with the boxer. The names of the supporters were then printed on custom boxing wraps, which were sent to Pacquiao. At the end of the campaign, Pacquiao won the title and LBC’s social media presence grew considerably, generating millions of Twitter and Facebook impressions, and winning over 4,000 new fans on Facebook.
The Work Taking the form of a dance music video, the ad features top celebrities Sarah Geronimo, Apl.de.Ap, Enrique Gil and Elmo Magalona performing a catchy tune. The video was first released on March 8 and subsequently revealed as part of the Rexona brand campaign on March 16. Targeting teens, the video broke into the daily Top 10 of music video channel MYX, while a countrywide dance tutorial caravan took to the streets to extend the messaging.
The Work Highlighting the value of hand-me-downs, old ads Potencee, Cignal TV and Smart were edited and dubbed over to promote Caritas Manila’s fundraising project, ‘Segunda Mana’. While initially confusing, the ads showed that cast-offs could still be put to good use – an appropriate message to promote a project that thrives on donations of second-hand goods.
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May-June 2014
TV Commercials. You Create. We Deliver. IMD Cloud. Discover the better alternative for TVC transmission in the Philippines. “IMD receives only broadcast quality files, which means we as a post-house have full control over the final quality sent to local and cable channels. Flame and Smoke can export directly, giving no loss in colour or quality from bad transcoding workflows and methods.” Pedring Lopez, Managing Director
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global news
Deal collapses PARIS/NEW YORK A planned merger of “equals” between Publicis and Omnicom to create a US$35 billion marketing communications giant sank under the weight of challenges that beset the deal. “The challenges that still remained to be overcome, in addition to the slow pace of progress, created a level of uncertainty detrimental to the interests of both groups and their employees, clients, and shareholders,” Publicis chairman Maurice Lévy (right) and Omnicom chief executive John Wren said in a joint statement about the failed merger. “We have thus jointly decided to proceed along our independent paths.” Failure to secure a favorable tax structure and regulatory approval from China helped sink a deal that was supposed to provide scale to better compete with the internet giants reshaping the industry. There were also cultural issues and disagreements over the composition of the executive team for the combined Publicis Omnicom Group (POG). A report by the influential Le Monde added to suspicions with its description of the merger as a French take-over of Omnicom: “So, if Maurice Lévy has indeed taken control of his target, why talk about a “merger among equals? To save face for the Americans and gain their approval.” Neither side will have to pay the $500 million penalty fee since the
Tax and cultural issues sink $35bn merger to create adland’s largest holding firm, Publicis Omnicom Group
deal was unanimously cancelled. WPP CEO Sir Martin Sorrell, who predicted the merger’s collapse in April, said: “All the demise of POG demonstrates is that eyes can be bigger than tummies. The lessons for the industry, in our view, should be to focus on new markets (like the Philippines) new media (digital), data investment management and the application of technology (where we have a real business, not a mythical one) and ‘horizontality’ (what we term getting our 178,000 people in 110 countries to work harder on providing added value and effectiveness and efficiency to our clients).” McCann Worldgroup Asia Pacific
president Charles Cadell added: “… the word was that media was not going to be merged anyway and I’m fairly sure they will not be advocating this position any more. Media consolidation of course provides advantage – but not necessarily only in respect to Google and Facebook, who are part of the media landscape not the focus of it. Networks, agencies and such ‘giants’ are still learning how best to work together to provide our mutual clients the best solutions for brands. “Industry consolidation will doubtless continue however – though likely next time round in not such a dramatic fashion.” While the merger was supposed to provide greater scale for the two companies in a landscape being redefined by the rise of internet giants, Wren sought to clarify Omnicom’s stance on the tech leaders: “We are generally partners not competitors... We have always believed that anything can be digital and that means pretty much everything we do,” he said, pointing to significant investments being made in its data and analytics business, Annalect. “We continue to make significant internal investments in Annalect because technology is changing,” he added and pointed to areas such as e- and m-commerce, where firms such as Deloitte, IBM and Wipro compete in, as offering significant opportunities for the future.
Counting the cost
The failed merger in numbers
131
$52m
$23bn
$500m
The combined age of the two key players who would have led the merged group as co-CEOs for the first two-and-a-half years – John Wren, 60 years and Maurice Lévy, 71 years.
The amount Publicis spent on merger related expenses in 2013 while Omnicom invested $41.1 in 2013 and a further $7m in Q1 this year.
The combined revenue of the two groups in 2012. If they had merged the combined marketing holding giant would be worth $35bn.
The termination fee that would have been owned by one company that unilaterally cancelled the merger and the touted cost savings the pair said would result by joining their operations.
adobomagazine
May-June 2014
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The unraveling
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Industry views on failed merger partners’ quest for scale as internet giants redefine marketing landscape
“It’s surprising news but not surprising. … mergers of this size, when you’re forming the largest organization on the planet, are often very, very complicated. Ultimately the decision was made not to go that way because the one thing that we wanted to protect the most was the culture, the culture of our organizations, our people, and our clients…” Cheuk Chiang, Omnicom Asia Pacific CEO
“I don’t believe that POG was speaking on behalf of the industry. It was more the decision by two individuals, Maurice and John, probably emotional decisions rather than rational decisions, to put POG together. As we said at the time in July 2013, the proposal lacked strategic logic and was a strategic volte-face for both companies, it was structurally clunky, it would run into regulatory issues and did not articulate any benefits for clients or people. As to the suggestion that POG would compete with Google and Facebook, we have always taken the position that Google, Facebook et al are ‘frenemies’ (admittedly friendlier ‘frenemies’ than historically) and should be treated as such.” Martin Sorrell, CEO, WPP
“The networks are relevant already – that is why they continue to demonstrate such healthy growth. The rise of social, digital etc provides for a burst of innovation and energy in the industry and is not some possible mortal blow. All networks provide ample resources in social media and working this already into the engagement plans on their clients’ business. Media agencies all provide programmatic buying services and as this continues to grow, they in turn will continue to build new offerings for clients solutions to expand engagement beyond the functional and technological. Agencies will continue to evolve and build their digital competencies and further bring this into the center of their operations either through continued acquisitions or continued staff selection of digital natives. This is an exciting, enervating and positive time for our industry. Game on.” Charles Cadell, Asia Pacific President, McCann Worldgroup
“Companies that offer integrated marketing communications solutions, by dint of creativity and holistic thinking, will never be pushed off the stage by the likes of Google and Facebook, both of which are single-platform media providers. In terms of what we offer our clients, we are chalk and cheese. In fact, we perform an essential function they would like to be able to provide, but can’t. (It’s not in their DNA.) The risk to the holding companies is not competitive advantage. It’s market valuation. I suspect the major holding companies will be more focused than ever on increasing their scale to avoid being acquired themselves. Perhaps that’s what was originally behind the Publicis Omnicom merger proposal. As Martin Sorrell has repeatedly noted, the deal offered no clear benefit to clients.” Tom Doctoroff, APAC CEO, JWT
“This was supposed to be a super-duper mega merger between two marketing giants so it’s a shock that after so much fanfare and all the announcement that it is not going to happen. What went wrong? Mega mergers between two giants in any industry usually happen when one buys the other but a marriage of ‘equals’ doesn’t usually happen.” Angelito Pangilinan, CEO, Carat Philippines
May-June 2014
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Samsung in pitch mode Electronics giant sends RFIs to holding companies SEOUL Seven years after its last global media review, Samsung Electronics has put its worldwide agency roster on notice, issuing a request for information at the holding company level. The review is expected to span creative, media and digital. Two holding groups and at least three networks figure as incumbents – Publicis Groupe’s Starcom MediaVest handles the bulk of the advertiser’s global media account, while Leo Burnett has creative duties. The creative roster also includes Cheil and its US agency McKinney as well as MDC’s 72andSunny. RGA, part of Interpublic Group, has the US digital account, which it won a year ago. Given the substantial growth in its global marketing budget over the past three years, the expected shootout
will no doubt be a hard-fought battle across its roster of multiple incumbents. Samsung earned US$179 billion in 2012 across all its products. In the last three years, the company has substantially increased in its marketing budget, particularly for its star consumer electronics business. It invested US$3.83 billion in marketing in 2013 and has booked considerable earned media through clever stunts such as this year’s star-studded Oscar selfie seen around the world.
INEO takes clients, team to Publicis SINGAPORE INEO Solutions’s 22-member team has shuttered the digital and social media agency and joined Publicis Singapore, beefing up its digital bench strength and drive its expansion. Former INEO chief executive Kelvin Koo has been appointed head of digital at Publicis. The move comes four months after Publicis Singapore installed TBWA\ Singapore veteran Lou Dela Peña as CEO as the network looks to further expand an office of importance to its regional platform. “We can’t use the word acquisition. They simply decided to cease operations as INEO
and … join us. All 22 of them,” she said. Koo added: “After a decade of running INEO, I believe that it is time to strategically change our business direction. Creativity now moves at the speed of culture. This move to join Lou and her team is the next level of leading the change for our clients and the industry at large. Dela Peña believes that the new hires will change the way the agency approaches every single brief. Over 30% of Publicis Singapore is now composed of pure-play digital specialists. Koo and his team have also brought their client roster to Publicis. “We have spoken to all our key clients and everyone was excited and had no issues. So you can say they are all moving – Scoots, Tangs, Bread Talk, Trend Micro, Virgin Active Singapore and Bosch Home Appliances among others,” he added. While the approach may differ with holding company, Publicis Groupe’s aggressive spree to snap up companies across the world, it delivers to its parent company’s increasing focus on digital to bolster future revenues .
adobomagazine
May-June 2014
New hires to beef up digital strength
GLOBAL MOVES Sherlock AT ADK Rob Sherlock, the former creative head of former Draftfcb (now FCB) Asia Pacific, has joined Asatsu-DK (ADK) as its first worldwide ECD, with a focus on ADK’s overseas markets. ADK, which has a long-standing strategic alliance with WPP, appointed Sherlock to lead the overall creative evolution of the offices and support its global expansion, especially in Asia. Sherlock is based in Singapore, where he will work with individual offices and the Tokyo headquarters. He was previously chief creative officer of Draftfcb in Asia and America for 12 years – first as regional creative director of Asia Pacific and later as chief creative officer in Chicago.
MRM/McCann promotes Longserving McCann Worldgroup senior executive Michael McLaren has been elevated to MRM\McCann CEO from his last role as president of the customer experience and relationship marketing agency. “He is ideally suited to the task of leading MRM/McCann and continuing to further develop and grow the brand throughout the world,” said Harris Diamond, chairman and CEO of McCann Worldgroup. In a nearly 15-year career with the network, McLaren also gained Asia experience, moving to Japan in 2009 in the dual role of CEO of McCann Worldgroup Japan and regional president of Asia Pacific, where he oversaw operations in 14 countries.
Wolff Olins APPOINTS Wolff Olins has promoted the managing director of its London office, Ije Nwokorie to global CEO, replacing Karl Heiselman who left to join Apple in a marketing communications role. Nwokorie has led the London office for the past four years, working under Heiselman. While Heiselman was based in New York, Nwokorie will stay in London but shuttle to the US. Apple is keeping Heiselman’s role under wraps but the appointment comes as the tech giant begins bolstering its marketing team against an increasingly nimble rival, Samsung.
Advertorial
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On the move
Key talent exit and agency hires in Asia Pacific
KV Sridhar
Raj Deepak Das Leo Burnett India and Sub-continent
Erick Rosa
Susie Hunt
Leo Burnett India and Sub-continent MUMBAI Marking the end of an era, KV Sridhar – affectionately known as ‘Pops’ – left Leo Burnett early in May after a 17year stint in an advertising career that spanned 30 years. Burnett’s former chief creative officer is looking to reinvent himself and pursue other interests after nearly two years in his last role following his promotion from national creative director in 2012. Sridhar’s exit came just months after the agency’s India sub-continent chairman and chief executive Arvind Sharma left. The pair had worked together for nearly 23 years. “Pops has always been a young man at heart and once again his nomadic spirit has led him to look at things afresh and follow his heart to pursue new adventures,” the group’s India CEO Saurabh Varma said. Sridhar described his tenure at Burnett as “a purposeful journey… in shaping the agency’s creative prowess”, helping the shop win at international award shows from Cannes to New York Festivals and domestic competitions. The office went on to win Agency of the Year twice within the global network.
MUMBAI A long-serving BBDO creative Raj Deepak Das has been tapped to fill K V Sridhar’s shoes as chief creative officer of Leo Burnett India following a talent hunt that spanned several continents. “Raj brings with him an exuberant amount of global experience, creativity, focus and best-in-class leadership,” said Burnett’s worldwide chief creative officer Mark Tutsell, who was personally involved in the search. “He understands today’s creative landscape is always-on and always integrated.” From his Mumbai base, Das will spearhead creative operations in the city as well as New Delhi, Bangalore and Chennai. Das had been with BBDO for nearly a decade, first at the Bangkok office before returning to India some five years ago as ECD. He was an integral part of BBDO’s regional team and has done work for global brands, including Procter & Gamble, Pepsi, Visa, Johnson & Johnson, Mars Food and Pizza Hut. His work on Gillette – ‘Women Against Lazy Stubble’ and ‘Shave Sutra’ – and others have been widely recognized from Cannes to D&AD and regional shows.
SINGAPORE Brazilian Erick Rosa has left JWT Sao Paulo to take up the executive creative director role at Lowe Singapore, replacing Dominic Stallard, who moved to Saatchi & Saatchi Singapore. Rosa will oversee creative output for all Lowe Singapore clients as well as lead creative work on Close Up, a Unilever brand, globally, out of Singapore. “Erick is a great new addition to our regional team in Asia and to our Global Creative Council (GCC). He is passionate about good creative and a great person to work with. Along with other additions to our Asia creative team like Carlos Camacho in Vietnam, we are making sure our work in the region is game-changing,” said Jose Miguel Sokoloff, GCC president. Rosa added: “I truly believe that this region, and Singapore, is by far the most ebullient and fresh place to be in the world right now.” Prior to JWT, Rosa made his mark while at Leo Burnett Lisbon with the Portuguese Red Cross’ temporary Hope Store to raise funds during the Christmas 2008 season. Rosa has worked on numerous multinational brands, including Johnson & Johnson, Coca-Cola, Chrysler, Nivea, Credito Agricola, MTV, Amnesty International and Fiat.
SINGAPORE FutureBrand has appointed a new Asia Pacific chair – Susie Hunt, who assumed the role in May, combining her position with current responsibilities for HuntHaggarty, the brand experience consultancy she co-founded. Hunt will have oversight of FutureBrand’s Shanghai, Beijing, Hong Kong, Melbourne, Sydney and Singapore offices, which handle clients such as UOB, Petronas, Fiji Airways, HostPLUS, Bank of Shanghai, Singapore Police Force and Asia Breweries Incorporated in addition to her HuntHaggarty responsibilities Hunt has held a number of senior positions in the region, including Asia Pacific regional director at Enterprise IG (latterly Ogilvy Asia Pacific and the Brand Union) and communications planning director at JWT Sydney. “This position and its particular responsibilities have been created to better deliver FutureBrand’s company vision in the region, raise our profile and build on the success of work for clients such as Fiji Airways,” said FutureBrand CEO Patrick Smith.
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May-June 2014
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Brands with purpose Company CEOs and consumers should shape brand’s purpose: WFA survey SYDNEY Unilever and Procter & Gamble jointly topped a poll by the World Federation of Advertisers (WFA) ranking brands that demonstrate the most purpose in their advertising. For its Global Brand Purpose Research, WFA polled 828 global marketers from 33 countries who described the pair as “purpose leaders”. With brands like Dove and its decade-old Real Beauty campaign inspiring women to be comfortable with themselves, Unilever was seen as the purpose leader in Europe. Procter & Gamble has similarly given its marketing purpose with its Olympiclinked campaign that celebrates mothers. Marketers defined purpose as creating programs that positively impact communities (55%) and having ethical business practices (47%). A majority of marketers (88%) said purpose would become increasingly important to building brands, while 78% believed having a sense of purpose would be critical in Who does hiring the best talent. Unilever But WFA found that Procter & Gamble protecting and improving Google the environment and Apple helping to address global issues were definitions Coca-Cola employed by just 39% Nestlé and 35% of respondents McDonald’s this year from 56% and
52% respectively in last year’s polling. The findings, it said, suggested marketers were perhaps becoming less global and ambitious and more internal, local and CRM-focused in their articulation of purpose. Marketers believed that purpose needed to come from the top – 68% said CEOs should be involved in designing and shaping purpose; 75% agreed that shaping purpose should involve people outside the organization, including customers and the supply chain, while 68% agreed that it is important to work with third parties including NGOs and governments. “It clearly tells us that there is an emerging realization that marketers need to put purpose into their marketing, and increasingly so in order to be successful,” said WFA managing director Stephen Loerke. “It becomes clear that purpose isn’t necessarily about saving the planet... it can be about taking small and meaningful actions. Finally, there is a strong sense that it needs be top down but it best? requires buy-in from 14% everyone. There is even 14% a certain understanding 11% that purpose cannot come 10% only from within the company but the company 9% should look outside itself 9% in order to help shape 7% brand purpose.”
purpose leaders
LEGO INVADES SPRINGFIELD Lego continues to break new branding ground, following up its blockbuster movie foray with an appearance on the small screen. Echoing the successful The Lego Movie, the brand recreated a Lego universe for an episode of The Simpsons, titled ‘Brick Like Me’, in which Homer has to make his way back to the Springfield he knows. Centered on the father and daughter Homer and Lisa’s relationship, the co-branded episode is based on Lego being the only fun thing a dad can do with his kids. Lisa though has other ideas in this ambitious episode rife with brick puns.
adobomagazine
May-June 2014
Nostalgic PITCH Iconic British retailer John Lewis, the company behind last year’s ‘The Hare and The Bear’ Christmas tearjerker, is highlighting the role it plays in people’s lives across generations in celebrating its 150th anniversary. Shifting from the late 1800s to the present, ‘Never Standing Still’ celebrates the past century and a half. It captures people in constant motion, shifting seamlessly from a personal to a historical perspective. Created by Adam & Eve/DDB, the agency behind the Christmas commercials, the spot closes with a montage of logos used by the retailer along with the line: “For 150 years you’ve never stood still. Neither have we.”
BACK TO THE PAST To mark its 150th anniversary, JWT is reverting to the classic J. Walter Thompson name at year-end, nine years after the WPP-owned agency abbreviated its tag. WPP chief Sir Martin described the J. Walter Thompson company brand as “immensely powerful” and said the rebrand was a “slick and good move”. The agency shortened its name in 2005, a year after Bob Jeffrey was installed as global CEO. “Our greatest value to clients is our ability to recognize a changing world in which the customer is king, the currency is time and the rewards are measured in the length and strength of relationships. This understanding defines our role, purpose and belief,” Jeffrey said of shortening the name.
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On the rebound ROME ZenithOptimedia has revised 2014 global advertising spending levels upwards for the third time, forecasting that marketing investment will the pre-financial crash high of 2007. The new forecast calls for growth of 5.5% to US$537 billion this year, up by 0.2% on the forecast the media company made in December last year after stronger than expected expansion in Asia Pacific and the Americas. Revealing the new numbers at April’s Festival of Media Global’s gathering in Rome, the agency’s worldwide chief executive Steve King saw three speeds of advertising growth – the European Union and Japan expanding slowly, North America, the Middle East and Oceania showing steady growth and BRIC and Latin American markets on a fast growth track. “Advertisers are gaining in confidence as the world economy returns to stable growth,” said King. He said three events – Sochi’s Winter Olympics, Brazil’s World Cup and the US’ mid-term elections – would provide a significant spending boost, benefiting television in particular. “They will find plenty of opportunities to generate strong returns on their
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ZenithOptimedia has forecast global advertising investments surpassing 2008 financial crash levels for the first time in its revised spending outlook
advertising investment in the fast-growing digital media, but should remember that television has lost none of its power to reach large and engaged audiences.” Despite forecasts of its impending demise, television remained a dominant platform, attracting 40% of spend last year, which is twice the amount the internet (21%) attracts. The agency predicted spend on television growing 5.2% this year from 4.4% last year. The internet, however, remains the fastest-growing medium – after growing 16.2% last year, it is forecast to expand 16% each year from now to 2016. Within digital, growth has been tipped between now and 2016 at 21% a year for display; social media 29% and video 23%; all boosted or are starting to benefit from “the revolution in programmatic buying”. But the real star is mobile advertising, which is tipped to grow six times faster than desktop internet at an average of 50% a year until 2016. King projected that mobile advertising would rise from $13.4 billion last year, accounting for 2.7% of overall spend, to $45 billion in 2016, which would be 7.6% of all ad investments. Speaking of mobile’s surge, King said: “It’s not the internet of everything, but the mobile of everything.”
Spending Surge ZenithOptimedia revision 2013 3.9%
$509bn 2014 5.5%
$537bn 2015 5.8%
$568bn 2016 6.1%
$603bn
AXE’S NEW TONE? First it was the cinematic ‘Make Love Not War’ spot for this year’s Super Bowl; now there’s ‘Soulmates’, a retelling of a man’s hapless pursuit of a woman through the course of history. Both spots are uncharacteristic for the Unilever brand long known for its racy – if not sexist – ads. Created by BBH London, whose mantra is to zag when others zig, the pair of spots hints at a brand doing a bit of growing up. Whatever the case, the new 90-second film is a tasteful narration of a man thwarted in getting the girl by a splitting ice sheet, the eruption in Pompeii, the sinking of the Titanic and the Vietnam war protest. He eventually succeeds in a modern-day convenience store after – naturally-dousing himself in Axe.
May-June 2014
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r3 new business league
new wins RED COMM HATTRICK Confectionary company, Perfetti Van Melle Indonesia, has tapped Red Comm as digital agency for three of its brands – Chupa Chups, Happydent and Alpenliebe. The agency has been tasked with all digital duties, including social media as Perfetti is looking for a new approach to stand out in a saturated and noise-filled category.
April 2014 Asia Pacific Top 10 wins Creative Agency
Month
Account
Area
McCann
Apr
Microsoft
APAC
Leo Burnett
Apr
Woolworths Retail
Australia
Madison
Apr
Airtel
India
Y&R
Apr
Videocon (Handsets/TV/FTP)
India
Y&R
Apr
Johnnie Walker (Digital)
China
DDB
Apr
BT Financial Group
Australia
Havas
Apr
BOC Corporate
China
M&C Saatchi
Apr
IAG (NRMA/SGIO/ SGIC)
Australia
Havas
Apr
Pacific Credit Card Center
China
Ogilvy
Apr
TBZ Jewellry
India
Month
Account
Area
Media Agency
DIGITAL TASK TBWA’s Digital Arts Network has been appointed marketing communications partner for luxury sportswear brand Paul & Shark in Greater China following a three-month, multi-agency review. The agency will handle brand positioning and advertising on the assignment, which covers print, outof-home, retail, digital and video VW RENEWS The longrunning relationship between the Volkswagen Group and its global incumbent MediaCom has been extended for a further three years, with the agency adding a new commercial vehicle brand MAN to the assignment. In a relationship that spans more than 30 countries, the agency will continue to provide strategic media insights and planning and buying services for the group’s VW, Audi, SEAT, Skoda and VW Commercial Vehicles marques.
adobomagazine
Carat
Apr
Microsoft
APAC
Mindshare
Apr
Pepsi
China
Havas Media
Apr
XOLO(Digital)
India
Carat
Apr
Acer
China
Carat
Apr
Ai Zhi Wei
China
OMD
Apr
Snapdeal.com
India
OMD
Apr
SCA Group
Australia
OMD
Apr
Fiat Chrysler
New Zealand
Starcom
Apr
Media Prima
Malaysia
MAXUS
Apr
Vodafone
India
Merck hands panAsia brief to Y&R Wins Neurobion account JAKARTA Merck has awarded panregional creative and strategic work for its Nerobion vitamin label to Y&R Group Indonesia in preparation for the label becoming an over-the-counter brand. Strategy and testing followed the review for the neurotropic vitamin brand across key target markets of Indonesia, India and the Philippines. “This is a very important new campaign for us, not only for Indonesia, but also for the region, as we are transforming Neurobion from a fully
May-June 2014
prescription driven product to an overthe-counter product,” said Feni Herawati, Merck’s head of marketing, consumer health – pharmaceuticals division. “Not only has the team managed to come up with a strong creative idea that works across our regional markets in Asia, but the strategic thinking behind the brands are also strong. I am also thankful that I get a highly dedicated professional team.” Y&R’s Indonesian office had earlier won strategic consultancy duties for the pharmaceutical company’s iron supplement, Sangobion. “The same high expectation goes for the Sangobion strategy consultancy as the output will be used for creating a strong foundation for the upcoming new product under our core brand – Sangobion.”
ADVERTORIAL
BADONG ABESAMIS Chief Creative Officer
MARY BUENAVENTURA Chief Executive Officer/ President
Y&R Philippines has always been a low-key agency, choosing to enjoy their achievements quietly instead of announcing them to the world. Moving forward into 2014, however, the quiet agency is poised to make a bit more noise, especially as its chief officers fully embrace the agency’s business strategy: Fame and Fortune. “Fame and fortune is our business strategy, which is hinged on our vision which is to be our client’s most important partner,” chief executive officer Mary Buenaventura said, explaining that fame refers to awards and fortune refers to revenue, not only for the agency, but also for its clients. While the agency had always been focused on awards in the past, Buenaventura shared that since teaming up with chief creative officer Badong Abesamis , they realized that fortune also needs to come into play. “In the past it was always [about] awards. But Badong and I have come to terms and realized that we have to balance it, and so far it’s been working for us. Last year, we reached our fortune targets, we reached our fame targets so this year that is also something that we’re going to do,” she said. “Badong and I are working closely together to make sure that fame and fortune are balanced because it’s very important. Fame will bring us clients, but fortune will make us take care of our people.” “It really is a causal relationship between the two. The chain shouldn’t be broken because fame will engender fortune, fortune will engender fame. I think it’s a business strategy more than anything,” Abesamis
added. The pair shared that since working together, both of them have committed to both fame and fortune in equal measure. “It’s a partnership, more than someone reporting to somebody,” Buenaventura shared. “Fame is his responsibility as much as it is mine. I think that is the commitment that I’ve given Badong, as much as Badong has fairly embraced that fortune is also his commitment to me. “ Their partnership has fostered an environment of mutual support at the agency, with operations and accounts providing resources for the creative team, and the creative team supporting accounts in terms of timetables to ensure fast turnaround. “I think that is why we’ve been winning new accounts, we’ve been winning effectivity awards,” Buenaventura said. The agency also took home a generous haul at last year’s award’s season, bringing home, among countless others, a Cannes Silver Lion and two Cannes Bronze Lions for their ‘Anti-Dengue Mosquito Trap’ campaign for Maynilad. More than the awards, Buenaventura also shared that they have gotten the highest reviews from all their clients in 2013. As the 2014 awards season goes in to full swing, their outlook is nothing but positive. “I’d like to say that Badong’s team has come up with quality ideas that will be entered in awards shows in 2014,” Buenaventura shared. “I think the quality of the work that they will be entering is really good for awards and I think most important is the effectivity for clients. I think that is for
me the strength of Badong and his team.” This and a lot of new business won in the past couple of months—including being named Sun Cellular’s Digital AOR—is already enough reason for Y&R to speak a little louder this year. To add to that, the agency is also set to launch its business pillars: Y&R Interactive for digital, Y&R Labstore for retail and shopper, Y&R Activation for activations, Y&R Food and Beverage for pharmaceuticals and FMCG, Y&R Pulse for research and strategy, and Y&R Zed Academy for training and internships. Buenaventura said that they owe it to themselves and their people to start making noise this year. “I think the reason why we’re not going to be as quiet is that we have a lot to talk about in 2014 in terms of our vision, which is to be our clients most valued partner, our business pillars that we’ll be launching, new business innovations, our business wins that we’re proud of. I think it’s high time,” she said. “In the end, it can only be better for the agency. If we talk about ourselves a little bit more, I think clients will value us more as well in terms of perhaps the business wins, in terms of the creative wins,” Abesamis added. Ultimately, for Y&R, it’s about what’s best for their clients. “At the end of the day, it’s about work, it’s about our clients, it’s not about us.,” Buenaventura said. “We don’t need to be recognized as individuals, it’s more really for the agency...On our end when we say we’re noisy, it’s because we also want to be part of that, not because of ourselves, but also because of the brands that we handle.”
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World Cup fever Sponsors and guerilla advertisers battle to win fans’ hearts at June’s showdown
Coca-Cola
Powerade
Pepsi
Nike
Campaign ‘One World, One Game’ Agency Wieden+Kennedy, Sao Paulo Client Coca-Cola
Campaign ‘Nico’s Story’ Agency Wieden+Kennedy, Amsterdam Client Coca-Cola
Campaign ‘Now Is What You Make It’ Agency 180LA Client PepsiCo
Campaign ‘Risk Everything’ Agency Wieden+Kennedy Client Nike
The Work For its largest World Cup investment ever, the official sponsor plays on the tournament being ‘the World’s Cup’. Its two-minute film – shot in the Amazon, an economically blighted Eastern Europe, strife-torn Ramallah, Palestine and tsunami-hit Otsuchi, Japan – moves from hardship to celebration. Delivering the feel-good factor, it takes individuals from hardship to Brazil, reminding viewers that the brand is everyone’s drink and the tournament is everyone’s Cup. Featuring a uniquely Brazilian identity across the campaign, the soccer drive is supported by branded content under its over-arching ‘Where Will Happiness Strike Next’ platform and features an original anthem and a photo mosaic wall for selfies among other activities.
The Work Born with one leg, Nico Calabria is the irrepressible star in an emotional campaign by the official sports drink brand. His refusal to let his handicap limit his life, has made an inspiring figure on the road to Brazil. In the film’s two-minute span, Calabria grows from toddler to confident teenager with a passion for all types of sports, especially football. He plays the beautiful game with remarkable physicality, deftly somersaulting back into action when he falls. For Calabria, there’s no limit to his life. Growing up to climb Mount Kilimanjaro, become a YouTube sensation and scoring a spot on the US national amputee football team, Calabria reminds football fans that ‘There’s Power In Every Game’, according to the advertiser.
The Work There’s no mention of the World Cup but there’s no mistaking that Pepsi is also riding on the coattails of the world’s biggest sports celebration with star power. In its two-minute musical ad, YouTube sensation Stony just happens to run into six of the world’s top football players – Argentina’s Leo Messi and Sergio Agüero, England’s Jack Wilshere, the Netherland’s Robin van Persie, Brazil’s David Luiz and Spain’s Sergio Ramos – on the road to Brazil. Adding to the star wattage, the spot ends with American R&B diva Janelle Monáe performing an exclusive cover of David Bowie’s Heroes, which was also launched on iTunes. An interactive version of the spot – fronted by US soccer star Clint Dempsey – supports the campaign.
The Work Adidas is the official sponsor, but that didn’t stop guerilla marketer Nike from hijacking the tournament. Its two spots under the ‘Risk Everything’ umbrella kicked off with a somber ad featuring three brand ambassadors, all aware that they carry their country’s hopes for success. The spot ends with the line: ‘Pressure Shapes Legends. Risk Everything’. The follow-up, ‘Winner Stays’, however, is four minutes of pure fun. The blockbuster is packed with star endorsers, a WAG, an NBA champ and a hulking Avenger to boot. It opens with a group of young men playing a winner stays game in which they morph into Nike’s global soccer stars. But the winning penalty is taken by young unknown, willing to risk everything.
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adobo reboots website to improve user experience New digital offers in the works Words Carmela Lapeña
The thing about being ahead is that once you stop, it’s easy to get left behind. adobo launched in the digital space in 2007. Back then, Facebook was new, instant messenger was the preferred way to stalk your crush, and free WiFi was as uncommon as uncongested lanes on EDSA. Like many other websites then, adobo’s was a no-frills platform. It did its job and was recognized with a Quill merit award for the Digital Space in 2009, and a Quill Award of Excellence in 2010 – the company’s first top award. The Award of Excellence was given for adobo’s online platforms, including SMS and
email newsblasts, websites and microsites, and presence in social networking sites. However, online technology and design moved on rapidly, but adobo didn’t, leading some of our readers to describe the website as “very Web 2.0”. An urgent reboot was in order, with the company investing in a top-to-bottom revamp to improve the user experience. Navigation has been significantly improved on the new-look site, which offers a fully responsive interface that works across a range of devices, a highly improved search function (a search bar that actually works!), and a tagging system, making for a more enjoyable way to read and search the site.
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The website also features multiple forms, allowing the user to easily connect with adobo, whether it’s to subscribe to the magazine and e-newsletter, or to find out more about advertising with us. We’re pleased to share that the revamped website is just the first of adobo’s updated digital platforms. Keep an eye out for adobo’s mobile apps and even adobo TV. As we’ve learned, there is no rest period in the quest to stay ahead. The new adobo magazine online was developed by Spinweb and launched at Milestones, adobo’s eighth anniversary party, on April 10.
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youtube leaderboard
Philippine spots dominate YouTube leaderboard Seven of 10 online ads are locally-made
Locally-created ads dominated YouTube Philippines’ first quarter leaderboard, accounting for seven of the 10 most viewed online ads, which relied on celebrity influencers and content to win eyeballs. “Most of the ads were produced locally, which doesn’t come as a surprise. Filipinos are very much capable of creating relevant online content,” said Ryan Morales, Google Philippines’ head of marketing. The leaderboard was based on an algorithm that factored in both paid and organic views, and audience retention. Dave Ferrer, executive creative director of JWT Manila, and Eugene Demata, executive creative director of DM9JaymeSyfu’s digital agency Digit, shared their thoughts on how and why top 10 spots locked in viewers. 10. Urban Discovery ‘All New Ford EcoSport’, Philippines
Ford’s jam-packed mock trailer ad has a lot to offer its viewers – a little bit of action here, some comedy there, and even a brewing romance between YouTube sensations Petra Mahalimuyak and Bogart the Explorer. “This ad definitely respects its [online] medium, making proper use of cyber celebrities,” said Demata. According to Ferrer, whose agency produced the piece, the trailer was “meant to entice people to participate in the promotion, which is part of a bigger campaign to follow in the coming weeks.”
creative, are usually centered around attraction. The message and the twist of the piece drove audiences, and even the two reviewers, to admire and share it on various social media platforms. “It’s something I did not expect Axe to say. Make love, not war. ‘Make love’ is very in line with this brand – ‘not war’ adds a nice twist to it,” said Ferrer. “It definitely offers something new. It’s a very good departure from the usual sex-focused advertising,” said Demata. “The production value is excellent. It’s engaging, unexpected and surprising.” 8. NestlÉ Philippines TVC: Milo 50th Year ‘The Call’
“Off the bat, you know it’s a Milo commercial. The colors are a dead giveaway. It’s very traditional Milo,” said Ferrer of the anthemic, nostalgia-inducing ad. “It’s very impressive and nicely directed, and is attractive to those who grew up drinking Milo and fans of the famous athletes featured on the ad.” 7. Hidden camera catches dream date gone wrong #FlakerDate
Axe commercials, though always
Demata said Head & Shoulders’ hidden camera set-up with Ramon Bautista was fun and successful in engaging its viewers, but thought it came off as less than authentic. For Ferrer, “It feels a little bit manufactured, but it was funny to see the reactions of the victims of the gag – when they met the girl and when they see that her dandruff falling on her food. It was gross, but funny.” “This is going to be the trend,” Ferrer added. “Recording how people behave when confronted with something.”
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9. AXE Peace ‘Make Love, Not War’, 60-second
6. Vaseline ‘DaRe To Be Instant Fair’
Vaseline’s coverage of its ‘Dare To Be Instant Fair’ challenge allowed viewers to see the product in action. “People want to know if the product really works,” said Ferrer. “Using Maxene Magalona, an influencer with so many followers, as an ambassador for their brand is very effective,” added Demata. “She really did her job well.” 5. Magnum Gold
Magnum was launched in the Philippines with so much hype and celebrity value. In the same spirit, the ad, directed by Bryan Singer —best known for directing 1995 American crime-thriller classic, The Usual Suspects and the upcoming X-men — also features Academy Award winner Benicio del Toro. “I thought it was Angelina Jolie [with del Toro]. She’s a dead ringer,” said Ferrer of Brazilian supermodel Caroline de Souza. “It reminded me of Mr. and Mrs. Smith, but the production value was just okay. The good looking celebrities made it watchable.” 4. World`s First Bendable TV Samsung @ CES 2014
Attracting the attention of techies, the bendable TV was showcased at the Samsung booth at CES 2014, an annual global consumer electronics and consumer technology tradeshow held in Nevada. “The innovation drove the views,” said Demata. “A bendable TV is something new. The beauty of this is it’s the content that’s driving the viewers.” 3. #GetEnergized With The New Pond’s Men!
It’s no surprise that this action-packed Pond’s
youtube leaderboard
Men ad made it to the Top 3 with heartthrob Xian Lim endorsing the product. “Pond’s has always been for women, and now there’s a new product for men. This and, of course, the good-looking talent makes the ad interesting. I imagine it was viewed by a lot of people who have a crush on Xian Lim,” said Ferrer. 2. Fade Pimple Marks with the new Pond’s White Beauty!
Though a traditional and conventional ad, Pond’s White Beauty did not fail to capture the interest of online viewers “Celebrity endorsers like Julia Barretto are very effective in attracting viewers,” said Demata.
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1. Globe ‘Creating A Wonderful World’
With the upbeat music and the animated treatment of the film, Globe’s ‘Creating a Wonderful World’ topped the leaderboard. ”The way they talked about their different services for Globe in this animated way is quite entertaining to look at,” said Ferrer. “It’s like the Nora-Vilma rivalry,” said Demata, referring to the competition between the Philippines’ top two telecommunications companies, Globe Telecom and Smart Communications. “The competition is really hot right now.” According to both Ferrer and Demata, the upcoming trend will boil down to great ideas. Both expressed their vision for ads with fantastic “shareable” content in the guise of something really funny, much like the Head & Shoulders’ ad, but more authentic. “The trend we see working for online advertising right now is the use of influencers,” said Morales. “But at the same time, we also see a rise in great content.”
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v i ewpoint
Stretch creativity in digital campaigns Be social and user-friendly Creativity has always been an important part of the advertising world; it is also a big part of what makes this industry very exciting. When it comes to digital, the creative standards take on a whole new level since what one might consider creative for TV or print might not be considered as creative when executed for digital. So here are three tips to help you deliver a creative digital campaign.
interactive elements, special discounts or more information. However, be sure that you have your social housekeeping guidelines prominently displayed on your channel to keep social disruption to a minimum. Follow up your first touchpoint with a full user-friendly experience
If you have already spent a lot of budget on hiring a brand advocate or invested a lot of time coming up with a kickass alternative idea, it would only cost a little bit more to leverage it on your social media channels. The legendary Old Spice ad was a hit concept as a TVC, but they made sure to follow up with more content via their social channels. Be sure to offer your social community something that will add value and complement your campaign, whether it is follow-on content,
Do not just resize your creative assets; place it on VEVO, YouTube and various MPUs to label it a ‘digital’ campaign. Make sure that you have a landing page at the very least or a microsite for the campaign which contains richer information about the effort. With more real estate on your hands, there is more room for you to be more creative. Bear in mind that you should always include information leading to the point-of-sale whether it’s an online store or a store locator as well. Finally, don’t forget to include the option for your customers to share on social media. Bonus points if your customers get to look cool in front of their friends or be the bearer of a special offer or discount.
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Bring your TV or print campaign to life with a social element
Stretch the boundaries of new technology
Is your development team at the bleeding edge of technology? If so, let them experiment and join in the brainstorming process. You’ll know that your campaign is a creative winner when your customers have comments such as ‘wow, just like magic’ or ‘so hi-tech’. Think long and think hard if there’s anything you can do with websockets, NFC, iBeacons, etc which will give some value (even if it’s just convenience or efficiency) to your consumers. I came up with an NFC badge system for one of our events last year which enabled attendees to sign in quickly into sessions and allow the event staff to know where everyone was and which sessions were filling up quickly to aid traffic flow. Although it was a relatively simple concept, it allowed smooth and efficient switchovers between sessions. Just be sure that you thoroughly test your new technology before you implement your campaign and provide detailed instructions to your users.
Jamie Tolentino currently works as a digital marketer at a global asset management firm. She was previously an innovation strategist at Quirk London. She writes for TNW (The Next Web) and blogs on the Huffington Post UK.
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gi v i ng instagram a miss
Philippine brands give Instagram a miss Social site lags Facebook, Twitter in local use Words Chris de pio sanchez
Many a marketer and brand expert has touted the potential of Instagram – the extremely popular online social networking and photo and video sharing service. Have Filipino brands already begun to exploit this potential? Why has it yet to catch on locally?
The brainchild of software engineers and entrepreneurs Kevin Systrom and Mike Krieger, Instagram debuted in October 2010. As its name suggests – ‘Instagram’ is the catchy combination of instant camera and telegram – Instagram is all about images. The app allows users to upload both pictures and short videos to their accounts. A wide range of photographic filters can be employed to tweak photos, from those that enrich colors to those that convey a monochromatic or aged effect (and many others besides). Users can choose to share their uploaded photos and videos with everyone, or with
individuals or groups of their own choosing via the “Instagram Direct” feature. They are also able to link their Instagram accounts to their Facebook, Twitter, Flickr and Tumblr accounts should they so desire, broadening their exposure. Practically from the start, Instagram became known for its remarkably active and engaged user community. It quickly caught on; a million users had set up accounts within months of its debut, and the Instagram community had multiplied to 10 million users a hair short of a year later. (Today, the app boasts a whopping 200 million active users, not a few of whom have been active users from the start.) In December 2011, Apple bestowed upon the app its coveted “iPhone App of the Year” award, citing it as the “definitive photo-sharing app of 2011”. While initial versions were only for Apple’s iOS, Instagram later widened its footprint with the introduction of versions for Android (launched in April 2012) and
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Instagram in an instant
Windows Phone (launched in November 2013). Further features were also trotted out one after the other to enrich the Instagram experience, including the ability to post and share short videos – putting it in contention with Twitter-owned mobile app Vine – in June 2013. Instagram’s “cool factor” and enduring popularity, and, thus, its ever-increasing value, have led it to change hands in the past; Facebook famously snapped it up for a cool US$1 billion in 2012. A marketer’s dream
It should come as no surprise, therefore, that even in today’s app-mad world – a world in which dizzying ascents are all too often followed by equally precipitous declines – Instagram still resides in the firmament of favored apps. A 2013 study by marketing and data analytics firm SumAll of all brands on social with more than 25 fans on Instagram, Facebook, Twitter and
giving instagram a miss
Google+ found that Instagram was the best platform for brands, due to, among other factors, fan/follower engagement almost three times that of other networks. Other experts have found that Instagram is tops for brands. In May 2014, Eliza Brooke, writing for Fashionista, quoted Forrester as saying that Instagram was brands’ top bet for consumer engagement, as the platform showed the highest rate of consumer engagement with brands across all social media networks – including Facebook and Twitter. As a matter of fact, said Brooke, Instagram currently boasts almost 60 times the engagement of Facebook. Early days in the Philippines
The overweening popularity of Instagram overseas is not shared by Philippine netizens. Data collected by Effective Measure would appear to indicate that at present, Instagram usage locally lags that of Facebook and Twitter – just 4.7 million monthly unique browsers, a far cry from Twitter’s 8.1 million or Facebook’s 20.5 million. Data available also shows that Instagram also loses out in other key statistics such as frequency of visits and average visit duration. Isabelle Turpault, managing director of Zenith Optimedia’s Performics division, says that these usage statistics have served to limit Instagram’s appeal with large marketers here. Another contributing factor is the absence of paid media opportunities locally, which makes it more difficult for those brands attempting to use Instagram to scale up their usage of the platform for marketing purposes. While more active users joining the Instagram fold would serve to attract more local brands, Turpault says that this growth would have to be quite significant to make a dent in the situation. Twitter, she says, is most probably next in line after Facebook in terms of local brands’ investment and/or commitment. Importantly, she adds, while the rollout of ads on Instagram could encourage more Philippine brands to enter and/or ramp up their Instagram presence, any firm push in this direction could still be a while away, given the latest comments of Facebook head honcho Mark Zuckerberg on the issue. At Facebook’s April 2014 quarterly earnings call, Zuckerberg said that
Instagram was currently some years away from being a key business for Facebook. Turpault concludes that realistically, the Philippines is not at all likely to see local brands adopt or migrate to Instagram en masse any time soon. The likely scenario, given current trends, is Instagram will remain more of a niche channel, at least for now – as Twitter and fellow platform Tumblr have been for the past few years. Such platforms could be better suited for certain brands, depending on their target market and communication strategy. Setting the Benchmark
Turpault and other experts point to a handful of local brands that have bucked the trend and established a presence of note on Instagram – these are brands that cater to young urban professionals, presumably those that also make up the core of Instagram users in the Philippines. Leading the scene are popular apparel
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brands such as Forever21 (Forever21 Philippines boasts a shade under 42,000 followers – which pales in comparison to the global Forever21 account’s 3.4 million) and Philippine brand Bench, which has a little over 72,000 followers. Among local brands that have made the jump to Instagram, Turpault says Bench stands out. The brand has made quite a name for itself both in the Philippines and abroad, thanks to its eye-catching, edgy photography and marketing and advertising campaigns involving matinee idols and other celebrities – many of whom actively court controversy yet ends up building significant buzz around the brand. These images are feted in a wide range of advertisements and in events – an approach not many other brands have dared to take, or succeeded in adopting. Bench has translated this approach to its Instagram account, where its focus on sharing striking, often provocative, photographs with its audience fits Instagram to a T.
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Cre ative r ev i ew
TED LIM
Creative Review
Ted Lim joined Dentsu Asia as its Singapore-based chief creative officer in April 2013, boasting a track record spanning more than two decades. The multi-awarded creative with local, regional and international recognition to his name spent 20 years with Naga DDB in Malaysia before leaving to launch his own consultancy Wanted. He was with Leo Burnett Singapore before the Japanese advertising giant came calling to help drive its creative renaissance
Pampers Diaper ‘ZZZ’ Integrated Campaign Ace Saatchi & Saatchi Loved this. Though some will compare it to Go Outside magazine’s mosquito ‘Repellent Radio’ campaign that won the Cannes Radio Lion Grand Prix in 2012.
Philippine Department of Tourism ‘Project Thank You’ Integrated Campaign BBDO Guerrero Bigger than the film, I salute the scale of ‘The Philippines Says Thank You’ global outdoor campaign. Big effort, big heart.
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SM Foundation ‘Smile’ TVC FCB Manila Noble effort, though the creative expression is somewhat formulaic.
Bayan Telecommunications ‘Telepono’ TVC BBDO Guerrero Better story-telling could have made a difference here.
Scarsdale Artisanal Delights Corporate Identity Lowe Open Philippines Nice, clean and simple logo design. What else can we do with it?
May-June 2014
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Creative Guild of the Philippines ‘Young Once’ Print Y&R Loved the #youngonce snapshots. Good creative people age well.
Philippine Bureau of Internal Revenue ‘Carry’ Print Campaign JWT Manila This reminded me of an American TVC that featured ordinary working-class people bearing the full weight of big, fat bankers on their shoulders.
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CARA Phil ‘Rescue Pets’ Print Campaign Stark images, powerful headline. Better if there was more meat in the copy (look up Indra Sinha in The Copy Book). But well done.
Philippine Star ‘Newsboy’ Print Campaign IXM Always good to salute the unsung hero. But messengers of “the truth?” I wish I could say the same for newspapers everywhere.
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Creative Showcase
Leo Burnett Manila McDonald’s ‘#BetterTogether’ Chief Creative Officer Raoul Panes Creative Directors Meggy de Guzman, Dante Dizon Senior Art Directors Stephanie Mangalindan, Ryan Giron, Chary Chu Copywriter Alexis Dy Associate Copywriter Toby Amigo Associate Art Director Sara Sarmiento Production House Pabrika Director Joel Limchoc Producers Steve Vesagas, Lester Parulan Music Top Suzara (Loudbox) Arrangement Top Suzara and Allan Feliciano (Loudbox) Audio Engineer Glenn Mariano (Hit Productions)
TBWA\SantiagoMangadaPuno Hana ‘Clean river soon’ Chief Creative Officer Melvin Mangada Creative Director Ali Silao Associate Creative Directors Nolan Fabular, Chino Jayme Art Director CJ de Silva Account Director Kathy Cosico Planner RJ Paculan Production Designer Teresa Camposano Producer Dennis Carlos Assistant Producer Abi Ramos Videographer/Editor Emilie Batard Photographer John Chua
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Ace Saatchi & Saatchi Safeguard ‘The Safeguard Germ Alarm’ Executive Creative Director Andrew Petch VP-Creative Director Trixie Diyco Creative Director Bia Famularcano Art Directors Keith Comez, Kevin Beltran Head Of Art Denise Tee Agency Producer Mikey Reyes Client Services Director Lou Santos Management Supervisor Sinta Baguio Account Manager Paulo Marquez Activation Director Gen Lizares Events Supervisor Yhanee Mendoza Events Manager Louie Di Jr. Digital Director Sheila Tiongco Digital Media Manager Patti Lee PR Martin Romualdez PR Director Patti Mallari
DDB Philippines CARA Welfare Philippines ‘I am home’ Deputy Executive Creative Director Jimmo Garcia Creative Director Bobby Vito Art Directors Ow Fajardo, Clawe Arcangel Copywriter Ogy Yap Account Danni Tsai Photographers Karel Sevilla, Clawe Arcangel Final Artists Ow Fajardo, Clawe Arcangel Print Producers Ayie Tama, Sharki Librada Digital Service Head Ian Ong Digital Producer Tina Gerolaga Creative Developers Nif Ruedas, Kc Barrios
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McCann Worldgroup Philippines Pioneer Trucks Inc. ‘Angels vs Demons, Owls vs Bats, Sorcerers vs Witches”’ Chairman/CEO Raul Castro Deputy ACD / Art Director Noel Bermejo Copywriter Matt Crescenzo Art Directors Allan Almeda, Ian Sta. Maria Head of Art Joseph Velasquez Illustrators Ace Cabanting, Nonie Cruzado
McCann Worldgroup Philippines Globe Tattoo ‘10 Stories of Greatness’ Associate Creative Director Paolo Fabregas Copywriter Amanda Cruz Art Directors Atan Talas, Rei Santos Associate Business Group Director Bambi Reyes Account Managers Pau Pamatmat, Nika Daffon Associate Strat Planning Director Karen Sanggalang-Ayala Producer from JAW Jho Moya Director of Photographer Shing Fung Cheung Production Designer Nina Torres Executive Producer Anne Guttierez Makeup Ning Tadena
BBDO Guerrero Johnson’s Baby ‘Shadow Playground’ CCO David Guerrero ECD Cristina Tin Sanchez CD Asterio Gutierrez, Jao Bautista, Corey Cruz Copy Asterio Gutierrez, Cristina Tin Sanchez Art Lizther Castaneda, Race Cuneta Planner Chris Aguilar Accounts Berny Songco, Claudine Medina, CJ Roque Producer Aldous Pagaduan Production company Tower of Doom
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Seven AD PS Bank ‘Resto’ CEO Teeny Gonzales Executive Creative Director Russell Molina Creative Director Rina dela Calzada Copywriter Maki Correa Art Director Angel Ramos COO Tey San Diego Business Unit Director Wella Tan Senior Account Manager Denise Amora Producers Steve Vesagas, Lei Hosseinzadeh-Ang Director Sid Maderazo Production House 88-Storey
Lowe Philippines Alaska ‘Lovebirds’ President & CCO Leigh Reyes Creative Director Mario Serrano Associate Creative Directors Gari Valderrama, Rommel Aboy Copywriter Kay Galang Business Unit Director Do Bagcal Account Director Trina Nadela Account Manager Bea Bobadilla Producer Jenny Abad Santos Director Thierry Notz Production House Provill Post Production House Underground Logic
Lowe Philippines Rexona ‘Do the Moves’ President & CCO Leigh Reyes Creative Director Roman Olivares Art Director Martin Flordeliza Business Unit Director Mike Trillana Account Director Tricia Kiocho Account Manager Abien Coronel Producer Bunny Hukom Director Adrian Calumpang Production House Provill Post Production House Underground Logic Audio Production House Fluidpost/Loudbox
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Ad of the Month m a r c h a n d a p r il 2 0 1 4
DM9’s ‘D-Date’ and Y&R’s ‘Alternative Medicine Kit’ take top spots
march 2014
april 2014
DM9JaymeSyfu Team Manila & Caritas Manila ‘D-Date’
Y&R Philippines Maynilad ‘Alternative Medicine Kit’
Director Nicollo Lopez Head Creative Miko Quiogue Animation Artist Jan Jan Arsenal Editors Shem Hampac, Bea Marquez Colorist Bea Marquez Production Manager Jaresa Felipe Camera Operators Bea Marquez, Paolo Ruiz
Chief Creative Officer Asia Marcus Rebeschini Chief Creative Officer Badong Abesamis Exective Creative Director Herbert Hernandez Creative Director Nonie Azores Art Directors Flerika Villagracia, Sandy Salurio, Jon Salutal Copywriters Badong Abesamis, Nonie Azores Producer Ariel Bautista Final Artists Carlos Averion, Ringo Francia Accounts Mary Buenaventura, Agnes Almasan, Tin Reyes
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Bang for the Buck a cas e f o r e f f e c t i v e n e ss
Snickers ‘Apology Press Conference’ Client Mars Japan Agency I&S BBDO Tokyo
AWARD WINS The campaign has picked up Gold awards in the 2013 Appies and in the inaugural APAC Effies. WHAT IS IT? A riff on the brand’s long-running ‘You’re Not You When You’re Hungry’ campaign made famous by actress Betty White and later spawned a version where construction workers ditched their cat calls for positive shout-outs to passing women. The Japanese version latched on to what has become a generational touchstone for young Japanese: The Apology Press Conference. Indeed, the sight of ‘salarymen’ apologizing for corporate stumbles and government failures has become so common that the phrase has
entered into the vernacular and become a source of humorous memes among young Japanese in mocking each failure. To appeal to this younger audience, the agency created ‘The Snickers Apology Press Conference’ event to give regular folks the chance to apologize for bad behavior in a fun and dramatic way. In telling their stories publicly, people would be absolved of their bad behavior by blaming their actions on ‘hunger’. Entries were solicited online and shortlisted apologists were invited to the event, fronted by notorious rebel Yuya, known for his dramatic public apologies, who served as the celebrity face of the campaign. Invitations were sent to mass and youth-skewed press, leading to thousands, turning for the event in person or online. At the event, Yuya crowned the best apologist and he advised the audience to simply chow down on Snickers the next time hunger pangs strike. Additional communication material was then created from the live content for follow-up campaigns. RESULTS Annual sales increased 10% and in the pre/ post campaign period, the usage rate rose 142% for the 16-19 age group and 148% for the 20-24 segment. The campaign also
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increased the likability factor for Snickers by 120%, delivering on the communications goal. About 50 media outlets, including the top-rated Sunday morning TV shows and 35 news websites covered the event, achieving more than US$1 million in PR exposure. Social media reached an additional 2.7 million followers. The numbers were all the more impressive considering its media budget – half of 1% of the overall category spend – meant Snickers was in no position to out-shout dozens of huge brands such as Lotte, Meiji, and Morinaga in the battle for shelf space and a share of people’s minds. WHY IT WORKED The campaign achieved cut-through in a cluttered confectionary space by zeroing in on a cultural insight to execute an event in an irreverent way, which appealed to its traditional media-averse youth audience. The so-called ‘lost decade’ (actually more than two decades of Japanese economic stagnation) generation was not only familiar with the apology press conference but mock the repeated corporate stumbles in online memes and conversations. The irreverent and humorous approach gelled with Snickers, though an established brand elsewhere is a relatively young, upstart label in Japan
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b ook rev i ew
Book Review A one-time bullfighter, Neil French is credited for spearheading Asia’s creative revolution. His award-winning campaigns for Chivas Regal and Kaminomoto picked up numerous awards for rose from his creative role at Ogilvy & Mather to become worldwide creative of WPP before leaving in 2005 Words NEIL FRENCH
Predatory Thinking Not a great book about advertising, but a great book about thinking.
Not sure where to start with this. After all, Dave is a lunch-mate of mine, and after all, there should be some honor among thieves. Also, having ploughed through this tome, he seems quite capable of poisoning me Mulligatawny, or least flobbing in it while I’m in the powder-room. On the other hand, I have a reputation for hardcore honesty to maintain, and since that’s now all I’ve got, I’ll have to forswear lunches at the Groucho, and wear a false moustache and a raincoat if forced. Alan Coren was a very clever, very funny writer, broadcaster, and journalist when
I was an apprentice suit in Birmingham. I thought he was a genius, and bought his every book, plus all the hastily gathered compilations of his weekly column in Punch magazine. These compilations were the equivalent of today’s blogger printing out his meanderings, slapping on a cover, and selling it as his Collected Wisdom. Hint, hint. Anyway, Coren once published a book called Golfing for Cats, which had a huge swastika on the cover. The reason being that he’d done some research and found that books about the Nazis, books about cats, and golf tips and biographies comprised the majority of paperbacks sold in W. H. Smiths. Thus, he argued, his latest should put him alongside the greats and earn a shit-load of money, despite being nothing to do with feline fascists or any silly ball game. It didn’t, but was hilarious nonetheless, and proved that all research is crap. Trotty has, of course, done more or less the same thing; a cover-pic of a pink, ravening rabbit and a serial-killer title. Inside, not a single bunny, and barely a mention of the tearing-out of throats. The man’s a charlatan. And furthermore he writes like this. And it’s all set in small sans serif type. He never indents paragraphs, ’cos every sentence is a paragraph. So the page would look silly. Just like this one is starting to do. But I’ve read his damn book twice. Slowly. The first time because I’d promised to
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review it. And then again because I couldn’t believe the sheer chutzpah of the man. I mean, ‘My Uncle Ginger’ war stories? ‘When I was a lad’ reminiscences? Soccer stories – may the reader forgive him. Not much at all about advertising, which is what one would expect of the author. The man’s a cad and a bounder. That’s the only conclusion. And I’ll have to give up this sentence-aline lark, before I start to like it. Not only did I read it, cover-to-cover, twice. Not only did I have to stop a lot and think about what I’d just read. But the book is now in my bathroom, so that I can have another go at it, chapter-by-chapter, at leisure, as it were. What it’s not is a great book about advertising. What it is is a great book about thinking, and that is a skill that is rarely honed these days. I’m now involved in businesses from dotcom start-ups to magazine publishing, film production, musicals, and retailing, (anything but advertising, note) and I’ve ordered hardbacks of Predatory Thinking for all of my partners and associates. I honestly believe that every one of them will benefit massively, even… or especially… those who know everything about everything. What I find a little disquieting is the thought that the book might break out of its ‘advertising’ niche, and become widely-read by our rivals. Then life will become a tad competitive. I wish I’d met Trotty when I was a lot younger. But he was always out of my league. I’d have paid to work with him. I could’ve been a contender. I could have been somebody. Instead of a bum. Which is what I am.
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cre ative co r ner
Creative Corner Deputy executive creative director/head of art, DDB Singapore, Thomas Yang 1
2
Still trying to make sure I go home before the sun sets.
My Guan Kong statue - All negative energies entering my area will be deflected in the presence of him.
4 6
7 When I can’t crack an idea, I will turn to this list for help.
Photos of my family and friends. My supporting backbone through while I am working.
9
A constant reminder that I need to do good work.
5 I usually pen down my ideas on these piles of used paper. Still got plenty to recycle :(
13 Stickers to remind those drivers in DDB to keep cyclists safe on the road.
My 100 copies bike+art orders awaiting for delivery worldwide
12 Meeting, shoot holiday & birthday reminders all in this red Moleskine. 11 My fuel of at least 1.5 litre a day.
10
My stack of latest reference books that I haven’t gone through.
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14 My little storage to keep all my bicycle tools
8 Selling this full carbon TREK Madone 5.9 frame. Please give your contact to adobo if you’re interested.
3 Love the design of this desk lamp. Lights ON means I’m hungry for ideas. OFF means I’m out looking for inspiration.
Another mode of transport during my lunch time. It will burn anything that you eat :)
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D&AD
Asia Pacific converts 37 nominations to 14 Pencils Japan, Australia each bag a Black Pencil
LONDON Asia Pacific enjoyed one of its best years at D&AD, winning 12 Yellow Pencils, two Black Pencils and the Most Awarded campaign honor. Dentsu Tokyo’s stunning sound and light installation ‘Sound of Honda/Aryton Senna 1989’ was crowned the Most Awarded Campaign with its haul of one Black Pencil, two Yellow Pencils, one nomination and four in-book prizes, helping the shop take the Most Awarded Digital Agency crown. Two other campaigns vied with ‘Sound of Honda’ for the Most Awarded Campaign prize – Forsman & Bodenfors’ ‘The Epic Split’ featuring action star Jean Claude van Damme for Volvo Trucks and LEMZ’ ‘Sweetie’ campaign to hunt down online predators each won 2 Yellow Pencils and a Black Pencil. Eight Asia Pacific markets had gone into the May 22 awards presentation in London with 37 nominations, but only four left with Pencils from what is arguably one of the world’s toughest creative competitions.
Australia claimed the region’s second Black Pencil – Finch in collaboration with Havas Worldwide Sydney for the ‘Most Powerful Arm Ever Invented’, a campaign with a robot arm signing a petition for the public to raise awareness of Duchenne Muscular Dystrophy. The campaign also won a Yellow Pencil. Japan converted six nominations into Yellow Pencils, making it the region’s best-performing market. For ‘Sound of Honda’, Dentsu collaborated with Honda Motor and tech wizard Rhizomatiks in using the automaker’s signature telemetry system to recreate the sound of the world’s fastest lap set by the late F1 champion as an installation on the original Suzuka circuit featured during the Japanese Grand Prix qualifying round. Dentsu Tokyo also scored with Yoshida Hideo Memorial Foundation’s ‘The Beautiful Black List’ in Illustration for Design. The agency executed the design for the exhibition of successive D&AD Black Pencil
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winning work at the museum to mark the competition’s 50th anniversary last year. The three other winners from Japan were – Nippon Design Center’s ‘Pierre Herme Paris’ in Packaging Design, Mr Design’s ‘Tamabi’ in Branding Schemes/Large Business and Six’ ‘Tokyo City Symphony’ in Art Direction for Digital Marketing. Australia, the next most-awarded regional market, earned 3 Yellow Pencils for ‘Phubbing: A Word is Born’, ‘Road’ and ‘Most Powerful Arm’. ‘Phubbing’ from McCann Melbourne, which rewrote D&AD’s record books after ‘Dumb Ways To Die’ returned with a spectacular haul of 6 Pencils last year, won in Writing for Design for client Macquarie Dictionary. ‘Road’, part of a campaign by DDB Sydney dramatizing the hypnotic effect long drives has on the human mind to showcase Volkswagen’s Fatigue Detection Technology, won for Radio Advertising. The Yellow Pencil is just the latest triumph for ‘Road’, which was judged the best radio ad of the year after it netted the Golden Siren a few days earlier. New Zealand’s two Pencil winners were the multi-awarded ‘Food Photos Save Lives’ from FCB for Unicef in the Integrated Mobile Campaign category and Colenso BBDO’s ‘Trial by Timeline’ in Direct Response/ Digital for Amnesty International. While the overall Pencil count for the region was the same as last year, the spread of markets and agencies that were
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AWARDS round-up in the running for the coveted trophy was wider than 2013 when ‘Dumb Ways’ so thoroughly dominated D&AD and every other competition on the show circuit. The Philippines nabbed its firstever Yellow Pencil, which went to DM9JaymeSyfu for ‘TXTBKS’ for client Smart Communications, continuing an impressive run on this year’s awards circuit. In all, 52 Yellow Pencils, 2 White Pencils awarded to campaigns for good and a record 7 Black Pencils were awarded to work from 17 countries out of 144 nominations. Ogilvy & Mather Paris was crowned Most Awarded Advertising Agency after amassing a string of nominations and in-book awards for its work with IBM, while Apple won the Most Awarded Design Agency, earning a Yellow Pencil for its Mac Pro. Unilever emerged as the Most Awarded Client. Two White Pencils were awarded for the first time – LEMZ’s ‘Sweetie’, a powerful campaign that helped a children’s charity identify over 1,000 online predators, won the Advertising and Marketing Communications category, and life-changing invention ‘Gravity Light’, won in Design.
52 53 56 58 60 62 64 66 68 69
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01 Sound of Honda – Aryton Senna 1989 02 Most Powerful Arm Ever invented 03 The Beautiful Black List
D&AD Asia Pacific converts 37 nominations to 14 Pencils Asia nets in-book jackpot
nyfest ‘Epic Split’ takes Best in Show at New York Fest
one show ‘Epic Split’ takes multiple Best of One Show prizes
effie BBDO, Australia lead Effie® metal count
award McCann’s golden AWARD touch
the cup ‘I Am Mumbai’ delivers Grand Cup for Taproot
andys Droga5 scores Grandy at landmark Andy’s show
cannes chimera A mentor’s perspective A challenger’s perspective
ames
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DM9 flies Philippine flag at AME Awards
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Digital revolution, design innovations at the fifth adobo Design Awards
adobo design awards May-June 2014
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Japan
China
1 4
22 India
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Hong Kong
Thailand
2 Vietnam
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Singapore
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1
Philippines
1 Indonesia
10
23
3
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Australia
6 Nominations
New Zealand
In-book
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Asia nets in-book jackpot Windfall for Japan, Australia, India
Use of Media and Direct Response/Digital Australia, will also feature in-book. LONDON Eleven markets in Asia Pacific have categories. Lowe Singapore and Grey Group McCann Erickson accounted for landed more than 100 places in the D&AD’s have a slot each for their use of mobile. nearly half of India’s 22 in-book slots. Its annual, with Japan, Australia and India Lowe’s nominated ‘Clingy Animals’ Penguin Books ‘Authors Headphones’ scoring more than 20 in-book slots each. campaign and individual ‘Pig’, ‘Lamb’, ‘Cow’ campaign and individual author posters Japanese agencies have taken 27 in-book executions for Unilever’s Sunlight brand accounted for nine of its in-book slots. Its slots to 23 for Australia and 22 for India. topped the Thai leaderboard, accounting remaining slot went to ‘Keys Are Hard Dentsu added to its haul of five for half of the market’s in-book slots in To Find’ for Illustration for Design. nominations with 11 in-book slots the Illustration, Advertising Campaigns Ogilvy & Mather took four in-book slots, followed by 6 for Hakuhodo. and Press Advertising categories. largely for its WWF India work in the Poster ‘The Sound of Ayrton Senna 1989’, a Ogilvy Thailand, Leo Burnett and categories with ‘Animal Trees’, ‘Panda’, sound and light installation by Dentsu Inc Visionary Group landed two in-book places ‘Hippo’ and ‘Bear’. The agency’s other for client Honda Motor, will feature in-book each. Ogilvy’s nominated in Production Design, ‘Cut To Build’ work for Online Branded Films The JCC will feature in the and Digital Marketing. Temporary Installation and Other winning work for the Point-of-Sales Graphic Design group’s Japanese offices categories, while Burnett’s for were ‘The Beautiful Black the Center for the Protection List’, which celebrated 50 of Children’s Rights years of D&AD Black Pencil Foundation in the Poster Awards along with other Advertising categories. The hand-picked pieces returning Visionary Group’s ‘Chaos’ to the Tokyo’s Advertising and ‘University Students’ will Museum, and Dentsu Tokyo’s feature in Entire Magazines Photography for Design and Illustration for Design. entries, ‘Wild Illumination’ ‘The sound of ayrton senna 1989’... japan’s cannes hope New Zealand’s seven and ‘Rolling Eggs’. in-book places have gone Hakuhodo scored with been spread across agencies – New Zealand in-book places went to Philips’ ‘Torch Led The Big Issue’s ‘A Homeless Success Story’ Transport Authority took two places with Daylight’ in Photography for Advertising in Illustration for Design, ‘Tokyo Symphony Clemenger BBDO for ‘Expert Opinion’ and Hindustan Lever’s ‘Lifebuoy Roti’ in Orchestra’ in Sound Design/Use of Music in TV Commercials and Curious Film for Advertising and Marketing Communications. for Websites and Digital Design and in ‘Blazed’ in Direction for Film Advertising. Grey Group Mumbai’s Procter & Gamble the Websites categories and ‘Japan White Others placing in-book were Saatchi & work ‘Lasts For Ages’ and ‘Positive And Shadow’ in Posters/Graphic Design. Saatchi for ‘TUI Beer Plumber’ for Earned Negative’ will feature in-book in Illustration, The big in-book winners out of Australia Media, Colenso BBDO’s nominated ‘Trial Poster and Press Advertising categories. were Leo Burnett Sydney and Ogilvy & By Timeline’ for Animation and Illustration Singapore and Thailand have each taken Mather Melbourne with six and four entries for Digital Marketing, DDB with ‘Be The 12 in-book places. It is three slots down for respectively. Burnett’s nominated work ‘Run Artist’ in TV Commercials and Alt Group’s Singapore against last year while Thailand That Town’ for the Australian Bureau of ‘Silo Theater 2013 Season’ in Posters. has seven extra slots this year. Publicis Statistics and ‘Road To Recovery’ for Diageo China scored 4 in-book places – both accounted for half of Singapore’s takings will feature in-book in the Mobile Apps and of Ogilvy China’s work were for animal with its ‘Liking Isn’t Helping’ work in Poster Integrated categories respectively. Its ‘Small protection and conservation groups, Peta’s and Press categories. BBDO and DDB each World Machines’ for Coca-Cola to bring two ‘Fur Hurts’ and WWF/Traffic’s ‘Vanishing have two in-book slots. The former will be rival nations together scored in-book slots in Treasures’ in Exhibition Design and represented with ‘Guinness Draught In A two categories – Advertising and Marketing Illustration respectively. The third in-book Bottle’ for Illustration and Art Direction Communications and Direct Response/ slot went to Wieden+Kenedy Shanghai’s for Poster Advertising, while DDB’s ‘My Ambient. Two other pieces of work for Diageo, ‘Free Flyknit’ for Nike in Poster. Smart Eye’ earned its slots in the Innovative ‘Comets Australia’, and ‘Anti Established
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ne w y or k fest i v al
‘Epic Split’ takes Best in Show at New York Fest
Category, the ‘Epic Split’ also earned two Grand Prizes, four First Prizes, the Gold equivalent, two Second Prizes or Silvers, three Third Prizes or Bronze awards, and one finalist place. Metals for ‘Epic Split’ along with wins from across the Volvo Group’s global agency network helped the automaker emerge as 2014’s Brand of the Year for the creativity and innovation demonstrated in its communications. In addition to Best in Show award, the group also took home two Grand Prize awards, six First Prizes, six Second Prizes, four Third Prizes and eight finalist awards. BBDO emerged as the Network of the Year after its global offices produced the most number of metal wins – two Grand Prizes, 15 First Prizes, 16 Second Prizes, 56 Third Prize, and 139 finalists. The UNDPI First Prize Award was also presented to BBDO. The Philippines’ DM9JaymeSyfu
Volvo, BBDO win Brand, Network honors
NEW YORK Amazingly flexible action star Jean Claude Van Damme steered Volvo Trucks to internet glory and the New York Festivals’ Best of Show prize with an epic split seen around the world. Forsman & Bodenfors Sweden created the entertaining and spectacular stunt as part of a series of live and creative performances tests to demonstrate Volvo
Trucks’ new dynamic steering system by having the pop culture icon perform the ‘Epic Split’ between two trucks moving in reverse to Enya’s sublime Only Time track. Topping 100 million views within 38 days, the spot has emerged as one of the most viral auto films ever at the end of 2013, surpassing Volkswagen’s ‘The Force’ by 20 million views Along with Best in Show in the Film
Most Awarded Asia Pacific Markets G
1
2
3
F
Grand Prize
First
Second
Third
Finalist
South Korea 1
3
F
1
3
14
Japan 1
2
3
F
2
3
3
33
F 2
Thailand F
Taiwan
Philippines G
1
2
3
Malaysia
F
3 2
7
1
3
1
F
1
5
Singapore
4
1
2
3
F
1
2
7
9
Australia
New Zealand
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3
F
1
6
2
7
8
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F
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7
25
100
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emerged as the region’s best performing agency with its hugely successful winning ‘TXTBKS’ initiative for client Smart Communications. The inventive effort to turn excess SIM cards and old mobile phones into text books for school kids earned two Grand Prizes in the Low Budget and Mobile categories and six First Prizes. Adding to the Philippine haul, McCann Worldgroup’s radio spots for the Philippine Cancer Society scored a First Prize for ‘Hold’ and a Third Prize for ‘Press, while TBWA\ Santiago Mangada Puno’s ‘Koi Fish Feed Invite’ for Ayala Land won a Second and Third Prize. Campaigns & Grey’s ‘Rafting’ for Quezon Province scooped a Third Prize. The region’s other Grand Prize winners were GPY&R Melbourne ‘Air Force FM’ for Defense Force Recruiting in Direct and Clemenger BBDO ‘Mistakes’ for New Zealand Transport Agency in the Public Service Announcements category.
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Taking home a piece of New York Festival unveils cool new trophy NEW YORK Cannes has its majestic Lion, D&AD its Pencils now New York Festivals has come up with an iconic trophy of its own. Reflecting the Manhattan skyline, the festival’s home base, the trophy comes in the shape of a skyscraper and is equipped with a built-in projector to play the winning case study when it is picked up. Sagmeister & Walsh created the art deco-inspired trophy which comes in five sizes and designs for the World’s Best Idea, Grand, First, Second and Third Prize awards. Cast in aluminum and powder-coated in monochromatic colors, the skyscraper trophies range from 8 to12.5 inches, allowing award-winners to build a collection of their own multi-dimensional version of the New York City skyline in their trophy case.
Asia Pacific’s metal count Prize
GlobalTotal Awarded
Asia Pacific Awards
Grand Prize
10
4
1st Prize
70
24
2nd Prize
104
18
Bronze
226
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Finalist
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‘Epic Split’ takes multiple Best of One Show prizes Volvo, agency win top company awards
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NEW YORK Forsman & Bodenfors Sweden scooped a fistful of Best of Show wins for viral sensation ‘The Epic Split’ at One Show within days if its New York Festival triumph. Action star Jean Claude Van Damme’s ‘Epic Split’ performed between two reversing Volvo Trucks took the Best of Show prize across the Advertising, Interactive and Branded Entertainment categories. ‘Well-conceived and beautifully shot, ‘The Epic Split’ is precisely the kind of creative work that cannot be pigeon-holed into a single discipline,” said Kevin Swanepoel, president of The One Club, of the spot which surpassed 100 million views within 38 days of launch. “The fact that it was the most parodied spot of the year is testament to its pervasiveness and engagement.” Hakuhodo’s ‘Kikuchi Naruyoshi Jazz’ tied for Best in Design with ‘Project Daniel’ by The Ebeling Group and Not Impossible Labs.
‘The Epic Split’ helped Volvo Trucks, a largely business-to-business advertiser, take the Client of the Year award, the second top marketer prize after Volvo Group landed the Brand of the Year award for wins across its global agency network at New York Festival. Two agencies stood apart from the rest: Forsman & Bodenfors, which won Agency of the Year with its success across Advertising, Interactive and Branded Entertainment disciplines; and Dentsu/
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Gold Pencil Consumer Radio: Campaign Category 02
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Tokyo, which won Design Agency of the Year. Ogilvy Group was named Network of the Year. One Show whittled down 21,300 submissions from 63 countries to award 374 winners – 97 Gold Pencils, 142 Silver, 134 Bronze and one Green Pencil. Asia Pacific agencies returned with 20 Golds, 37 Silvers and 27 Bronze awards. Japan’s haul of six Gold, 11 Silvers and 10 Bronze prizes put it at the top of the
leaderboard. Singapore emerged with the next biggest haul – four Golds, seven Silvers and four Bronze – just ahead of Australia and India, which had a similar number of Golds but the former had six Silvers and seven Bronze to the latter’s two Silvers and two Bronzes. The region’s best performance was seen in the Design competition, which produced 9 Golds, 14 Silvers 10 Bronze awards. Japan won four of the Golds – Dentsu Nagoya with ‘Mother Book’ for Printing and Paper Craft, Nippon Design Center for a brand identity campaign, ‘Ichihara Lakeside Museum’, Flame Tokyo for Typography for the ‘27th Architecture and Environment Design Competition’ and Tsushima Design’s ‘Hiroshima Peace’. McCann Erickson India’s ‘Share My Dabba’ – nominated for D&AD’s White Pencil race – to feed Mumbai’s poor with left over from the traditional Indian food delivery service won a Design Gold along with Droga5 Sydney for designing the book cover for Qantas’ ‘Loyalty Stories for Every Journey’, Singapore’s H55’s ‘A Guide to the Flora and Fauna of the World’ and Ogilvy Thailand’s ‘Cut to Build’ in Spatial Design. The competition with the next highest number of Golds for the region was Advertising. McCann Erickson India and Ogilvy’s Vietnam and Singapore offices produced three Golds each. McCann won two Golds for client Penguin India’s ‘Author Headphones’ campaign and its third for the single ‘Mark Twain’ execution
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for Newspaper and Print Craft. Ogilvy’s Golds were awarded for the Global Alliance Asia Pacific’s “Nanking’ for Newspaper/Magazine, Writing and Print Craft. DDB Sydney produced Australia’s lone Gold with Volkswagen Group’s ‘Australian Driver Fatigue Technology’ in Consumer Radio. Dentsu Tokyo and Leo Burnett’s Sydney and Chicago offices produced four Golds for the region from the Interactive competition. Sound and light installation ‘The Sound of Honda/ Ayrton Senna 1989’ won Gold in Data Visualization and Infographics while ‘Asoberu T-shirts’, which uses augmented reality to allow motifs to pop out of a wearer’s T-shirt. Burnett Sydney took Mobile Branded Games’ Gold for its multi-awarded ‘Run That Town’ to highlight the value of the census for the Australian Bureau of client Statistics, while its Sydney-Chicago collaboration struck Gold for Coca-Cola’s experiential ‘Small World Machines’. The final Gold for Asia came from Branded Content and was won by Burnett Sydney’s ‘Road to Recovery’ campaign to help an Australian town regain its economic footing after a natural disaster. There were no Golds for the region in the IP/Product competition, which produced three Silvers and two Bronzes. Party/Tokyo dominated regional takings to win two Silvers for client Toyota Motor Sales for Digital Product and Integrated Digital and Physical Products.
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s
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11
9
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4
6
4
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14
10
Branded Entertainment
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IP & Products
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3
2
Most Awarded Asia Pacific Markets country
G
s
b
Japan
6
11
10
Singapore
4
7
4
Australia
5
6
7
India
4
2
2
Thailand
1
-
1
Korea
1
1
1
Malaysia
-
4
-
Philippines
-
2
-
Hong Kong
-
2
-
New Zealand
-
1
1
China
-
1
1
05 01 ‘Epic Split’ 02 ‘Road’ 03 ‘Kikuchi Naruyoshi Jazz’ 04 ‘Mother Book’ 05 ‘Project Daniel’ 06 ‘Small World Machines’ 07 ‘The Sound of Honda/ Ayrton Senna 1989’
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BBDO’s winning team, L-R, Nick Garrett, Jaclyn Lee, Mindy Yap, Alvina Seah, Lucy Hurst, Jason King, the Singapore 4A’s Anthony Kang, Andy Wilson, Kit Koh and Honda Masakai
BBDO, Australia lead Effie® metal count BBDO emerges as Network of the Year at inaugural show
SINGAPORE Australia and BBDO topped the leaderboard of the inaugural APAC Effies after going into the competition with the most number of shortlisted entries. Australian agencies converted 22 finalist entries into 4 Gold, 9 Silver and 5 Bronze awards. Whybin\TBWA Sydney picked up two of the Golds for Insurance Australia Group’s ‘Car Creation’ campaign in the Brand Experience and Brand Revitalization categories. In commenting on ‘Car Creation’, the jury noted, “simple ideas are often the most effective”. The remaining Golds went to McCann Melbourne for ‘Dumb Ways to Die’ and Saatchi & Saatchi Sydney for Greenpeace’s ‘Getting John West to Change Its Tuna’, the latter was applauded by the jury for combining human truth and brand truth to deliver great results. Tied with 7 awards each, China and New Zealand also made the Top 3 cut of regional markets with the most number of winners. New Zealand’s haul included a Gold for indie shop Barnes, Catmur & Friends for Hell Pizza’s ‘Hell’s Most Fiendish
Invention Yet: Pizza Roulette’, a campaign the jury deemed playful and insightful. BBDO Worldwide, together with its Proximity arm, emerged as Agency Network of the Year with a haul of 2 Golds, 7 Silvers and 6 Bronze awards from agencies in the region. Both its Golds came for work done for Mars’ brand Snickers – I&S BBDO Tokyo’s ‘Apology Press Conference’ and BBDO Hong Kong’s ‘How Snickers Got On Its Game In Asia’. Ogilvy & Mather and Lowe & Partners, which entered the competition with the next highest number of shortlisted entries at nine each, were in the running for the network prize. BBDO’s New Zealand office, Colenso BBDO/Proximity, emerged as Agency of the Year, entering the competition with 10 finalists across five different brands – Bank of New Zealand (BNZ), Mountain Dew, Frucor Beverages, Fonterra’s Tip Top and Amnesty International. BNZ’s ‘Work Till You Die’ and Amnesty’s ‘Trial By Timeline’ won Silvers and Tip Top’s ‘Feel Tip Top’ and Fruco’s ‘Beyond The Wall’ took the Bronze.
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“To win creative awards without the work also winning effectiveness awards is pointless,” the agency’s managing director Nick Garrett said at the presentation. Following closely in second and third positions respectively in the agency race were Lowe Lintas & Partners Mumbai and Whybin\TBWA Sydney. Whybin’s 2 Golds and 2 Silvers all came from one client and campaign, Insurance Australia Group’s ‘Car Creation’ work. Lowe Lintas won four of the six awards for India, bagging 2 Golds, a Silver and Bronze. Its Golds were awarded for ‘Help A Child Reach 5’ for Unilever’s Lifebuoy brand in the Goodworks – Brand category and Hindustan Lever Kissan’s ‘100% Natural Seeded in Media Innovation. Judges deemed that ‘Help A Child’ was created on strong insight that had been beautifully articulated. “Coming on the back of being declared the Agency of the Year in India, this performance yet again reinforces our belief in the type of work we do and the criteria of evaluation we value,” said the agency’s CEO Joseph George of the shop starting 2014 by winning Agency of the Year at the Indian Effies. In all, 56 prizes – out of a total of 96 shortlisted entries from 16 countries – were awarded. Twelve prizes were Gold, 26 Silver and 18 Bronze. The winners and Finalists will be included in the Effie Effectiveness Index, a global ranking of the most effective marketers and brands compiled by analysing finalist and winner data from worldwide Effie competitions.
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Winners Showcase Gold Awards Award
Entry Title
Client
Agency
Food
‘Apology Press Conference Grand Prix’
Mars Japan
I&S BBDO Tokyo
Retail
‘Hell’s Most Fiendish Invention Yet: Pizza Roulette’
Hell Pizza
Barnes, Catmur & Friends Auckland
Brand Experience
‘Car Creation’
Insurance Australia Group
Whybin\TBWA Sydney
Brand Revitalisation
‘Car Creation’
Insurance Australia Group
Whybin\TBWA Sydney
David vs Goliath
‘Getting John West to Change its Tuna’
Greenpeace
Saatchi & Saatchi Sydney
GoodWorks – Brand
‘Help A Child Reach 5’
Unilever
Lowe Lintas + Partners Mumbai
GoodWorks – Non Profit
‘Smoking Kid - A Personal Message to the Smokers’
Thai Health Promotion Foundation
Ogilvy & Mather Advertising Thailand
Media Innovation
‘100% Natural. Seeded.’
Hindustan Unilever
Lowe Lintas and Partners Mumbai
New Product or Service
‘The smallest café in the world’
Dongsuh Food
Cheil Worldwide Seoul
Small Budget
‘Dumb Ways to Die’
Metro Trains
McCann Melbourne
Sustained Success
‘Dip. Dab. Drop.’
Unilever
Lowe Singapore
Multi Market – Products
‘How Snickers Got on its Game in Asia’
Mars Foods
BBDO Hong Kong
Country
SCAN QR CODE TO VIEW CAMPAIGN VIDEOS
Food
Retail
Brand Experience, Brand Revitalisation May-June 2014
GoodWorks - Non Profit
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award
McCann’s golden AWARD touch Wins 17 of 24 Golds awarded
SYDNEY McCann Melbourne again steamrolled rivals to dominate the 35th annual AWARD, with ‘Dumb Ways to Die’ winning in 12 categories to take a record 17 of the 24 Gold Pencils handed out. The unprecedented showing help deliver the Agency of the Year prize to McCann, which has been on a tear since Cannes 2013 with its animated campaign centered around a catchy jingle and ungainly blobs meeting grisly ends. The PSA also netted the Client of the Year award for Metro Trains, leading a list that included Mini/ SPCA New Zealand, Tourism Victoria, Coca-Cola and Diageo Australia. So complete was McCann Melbourne’s dominance of the show that it won in practically all platforms, from Film and Video to Print, Posters and Outdoor, Radio and also took Gold in Direct Marketing and a number of Craft competitions. Yet despite its remarkable performance, BBDO went on to take the Network of the Year prize ahead of McCann Erickson, DDB, FCB and Leo Burnett. Two of the winning network’s offices – Clemenger in Melbourne
and Colenso New Zealand rounded out the Top 5 Agency of the Year leaderboard. The former won Gold for Tourism Victoria’s ‘Melbourne Remote Control Tourist’ in Film and Video and the Digital categories and beat ‘Dumb Ways’ for the Best in Show honor. The A$3.6 million virtual tourist experience to target digitally-savvy travelers had earlier won the Technical Achievement Award at March South by Southwest festival in Austin, Texas. “Creating something fresh that unlocks a genuine consumer advantage is rare. This idea utilizes technology to deliver an experience that gives Melbourne a competitive edge. I wish I’d done it,” jury chairman Sir John Hegarty told Campaign Brief Asia.
Clemenger BBDO won Gold for Tourism Victoria’s ‘Melbourne Remote Control Tourist’ in Film and Video and Digital, landing the Best in Show honor
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Clemenger BBDO scored Gold in Film and Video for ‘Blazed’, a viral film for the New Zealand Transport Agency warning about the dangers of driving under the influence. FCB New Zealand won three Gold Pencils in Film and Video, Direct Marketing and Digital for the charming ‘Driving Dogs’ campaign, a viral marketing hit pairing the SPCA and Mini to encourage pet adoption. The Philippines’ DM9JaymeSyfu was the lone Gold winner outside of Australia and New Zealand, picking up the metal in Digital for its multi Grand Prix-awarded ‘TXT BKS’ for client Smart Communications. The campaign also won Silver in the Alternative Media category.
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‘I Am Mumbai’ delivers Grand CUP for Taproot Fourth CUP in seven years for India
BELGRADE Taproot India won four CUPs, including the Grand CUP, for its powerful ‘I Am Mumbai’ film in the 7th Intercontinental Advertising Cup, a competition that celebrates ideas infused with local culture. The competition is only open to finalists and winners from four regional competitions – AdFest, the Ibero-American FIAP, and Europe’s ADC*E and Golden Drum. Four AdFest winning agencies took 10 CUPs, a third of the prizes awarded in the competition, with Taproot topping the regional leaderboard. Created for the Mumbai Mirror, the gritty ‘I Am Mumbai’ spot, which shows the city’s underprivileged standing up against injustice, picked up three CUPs in Best of Corporate (under Best of Products & Services); Best of Film (under Best of
Media) and Best Use of Local Culture (under Best of AdMaking) in addition to the Grand CUP. ‘I Am Mumbai’ has been feted on the global awards circuit, winning Golds from AdFest to Cannes. McCann Melbourne’s blockbuster animated public service video ‘Dumb Ways to Die’ for Metro Trains produced three CUPs for Best of Travel, Tourism and Transport (under Best of Products & Services); Best of Campaign (under Best of Media); and Best Universal Idea created in a Local Market (under Best of AdMaking). Dentsu Inc Tokyo won two CUPs for ‘Share the News Paper with Children’ for The Tokyo Shimbun in the Best of Communication Media and Publications (Best of Products & Services); and Best of Interactive (Best of Media) competitions.
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Rounding off the region’s wins, Cheil Worldwide won one CUP in the Best of Outdoor category under Best of Media for its ‘Bridge of Life’ campaign for Samsung Life Insurance. Taproot India has become the fourth agency from AdFest to win the Grand CUP in the competition’s seven-year history, according to AdFest president Jimmy Lam. Previous Grand CUP winners from the region were Clemenger BBDO from Australia for National Australia Bank’s ‘Break Up’ in 2012; Beacon Communications Tokyo for ‘ Yubari City Project’ in 2010, which also won the Grande Lotus Roots at AdFest that year; and GT Tokyo for its viral ‘Love Distance’ campaign for Sagami condoms, which won the Grand CUP in 2009.
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Droga5 scores Grandy at landmark Andy’s show Wins for crowd-sourcing platform, Thunderclap NEW YORK Asia Pacific returned with a haul of Golds from the 2014 ANDY Awards, which presented its most prestigious honor to Droga5 for ‘Thunderclap’. Described as the first crowd-sourcing platform that enables people to be heard by saying something together, ‘Thunderclap’ won The Grandy and US$50,000 in prize money in the Agency Innovation/Creative Technology category. It also picked up a Gold for Social/ Creative Technology in a year when the competition marked its half century. Leo Burnett Sydney scored two Golds and a Bronze for its Coca-Cola work in partnership with its Chicago office. ‘Small World Machines’ provided a live communications platform for India and Pakistan, two nations divided by more than just their borders. The Sydney office also won a Bronze in the Out-of-Home category for Coca-Cola’s ‘Small Faces’. The Australian wins contributed to Burnett’s overall 10 awards – four Golds, four Silvers and two Bronzes. “With 50 years of prestige and creative excellence, being named Network of the Year for the fifth consecutive year is of course very gratifying. I’m remarkably proud of our network’s commitment to bold and audacious creativity,” said Mark
Tutssel, the network’s chief creative officer. Wieden+Kennedy also earned a similar metal haul as Burnett with wins from its London, New York and Portland offices. The beautifully shot ‘Weave Your Magic’ from its London office for Arla Food’s Lurpak brand scored two Golds, winning in Cinematography and Director, while Portland’s ‘Sony Be Moved Campaign Hub’ took two Golds for Website and Digital Design. DM9JaymeSyfu in the Philippines earned two Golds in the Mobile and Reset categories for the multi-awarded ‘TXT BKS’, which turns excess SIM cards and old handsets into school textbooks. McCann’s Melbourne and India offices earned two Golds – the former for internet sensation ‘Dumb Ways to Die’ winning in the Gaming category and the latter for Penguin India’s ‘Author Headphones’ in Collateral Design. ‘Author Headphones’ also took three Silvers in Promotional Items for Entertainment and Illustration. Sookmyung Women’s University won Gold for ‘Google Unicart’ in the Student category Silver wins came from Havas Worldwide Sydney, winning Silver in the Creative Technology category for ‘Durexperiment Fundawear’ for Reckitt Benckiser, and BBDO Singapore
for Asia Pacific Breweries’ ‘Un, Deux, Trois, Quatre’ for Out-of-Home, which also won Bronze for the campaign. Fred & Farid Shanghai won the region’s final Bronze for Porsche China for the ‘911 Rear Horse Power’ campaign. In marking its 50th anniversary, the ANDYs introduced a new award category, the Bravery Awards, honoring the bravest marketers: Volkswagen was honored as the Bravest Legacy Marketer for its ‘Think Small’ campaign in 1959 and other campaigns that followed. Chipotle Mexican Grill was presented with the Bravest Current Marketer award for having a very clear point of view and a set of convictions as a brand that stood up and publicly declared it had gone off-track. Through its award-winning partnership with CAA Marketing, the advertiser returned to its belief in sustainable farming, using natural foods and meats produced from animals not treated with antibiotics. This year’s show also recognized the people behind the most creative work of the past 50 years with the one-time only Andy Bravery Award presented to: David Abbott, Lee Clow, Jeff Goodby, Bob Greenberg, Sir John Hegarty, Rich Silverstein, Mary Wells Lawrence and Dan Wieden
Most-Awarded Agencies Agency
Awards
Leo Burnett
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4 Gold, 4 Silver, 2 Bronze for France, London, Sydney and Tailor Made
Wieden+Kennedy
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4 Gold, 4 Silver, 2 Bronze for London, New York and Portland
Droga5 NY
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1 GRANDY, 5 Gold, 1 Silver, 1 Bronze
Forsman & Bodenfors
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4 Gold, 1 Silver, 2 Bronze
BBDO
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1 Gold, 1 Silver, 3 Bronze
McCann
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2 Gold, 3 Silver
DDB
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2 Gold, 2 Silver
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Cannes Chimera 2013
A mentor’s perspective Sharpening Cannes Chimera ideas to eliminate poverty Words Merlee Jayme
This bleak picture of poverty was my guide when I judged 200 ideas of the 1,000 entries to this initiative. The ideas ranged from technology based projects to installations to simple donations. In the end, the eight winning ideas are all strong on the Cannes Chimera’s main criteria: Scalability and longevity. This was why the Philippine entry using gaming as a means to end poverty was one of the winners. I was so happy that FCB Manila’s ECD James Bernardo and digital director Ramby Libarnes had the opportunity as well to join me in this worthwhile endeavor. In Seattle, the eight teams from all over the world started the day with a presentation of their original ideas. Then Chimera creatives were paired and a quick ideas-exchange – very much like speed dating – took place. I was partnered with Weiden & Kennedy Amsterdam global planning director Nick Docherty. Within 10 minutes, Nick and I took turns brainstorming with each team. It was short and sweet but it gave us the chance to offer our points of view to help polish each idea. The rest of the two days assigned us, Chimera creatives, to brainstorm longer with the teams. I struck up a nice friendship with Sandrine Huijgen (Heineken Amsterdam) as we passionately worked on the women’s
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Cannes Chimera jurors and entrants
Imagine entering a beautiful building where every corner challenges you to solve world problems, invent new innovations, and build something to change the world. Yes, there is such a place. The Bill and Melinda Gates Foundation in Seattle U.S.A. The moment you step into the premises, you feel awed and inspired that the 1,194 people working here have only one goal: To help mankind. This is where the Cannes Chimera workshops have been held for the past three years. For two long days, Cannes Grand Prix winning creatives deflate their egos, roll up their sleeves and work on ideas with the world as their client. Brand solving became world problem solving. The brief for the 2013 challenge is to eliminate extreme poverty from the planet by 2030. Ambitious but noble. Having volunteered in orphanages and hospital wards, worked for Gabriela, Caritas Manila and political campaigns, this cause is very close to my heart. It depresses me to see communities with no access to basic sanitation like toilets and clean water, women and children deprived of education or hospitalization, family members being separated from one another to look for jobs in the world.
issue. The feminist in us tirelessly worked on the strategy and thinking behind Vital Voices’ powerful idea. To end the second day, all of the works were presented to the whole group, ready to be executed in the next six months. All in all, I had the chance to work with three winning ideas: JWT Tel Aviv’s ‘The 1.25 Cube’, Vital Voices US’ ‘What Women See and Naked Communications Australia’s ‘The Act Button’. Working on these allowed me to brainstorm with the most brilliant creative minds as well. I was paired with Ogilvy & Mather Worldwide chief creative officer/chair Tham Khai Meng, Heineken Amsterdam global communications director Huijgen, Till Diestel, Seviceplan Germany’s innovation director, and FCB New York chief creative officer Javier Campopiano. This was admittedly a humbling and uplifting experience. In the hallway, there was an African proverb written on the wall that truly embodied this trip: “If you want to go fast, go alone. If you want to go far, go together.” The Cannes Chimera initiative made me realize that a big problem like poverty can indeed be solved but only with the help of others. It also turned my poverty depression into inspiration.
Merlee Jayme is DM9JaymeSyfu’s chief creative officer. Her team brought home the country’s very first Cannes Lion Grand Prix and, recently, the first D&AD Yellow Pencil for the ‘Smart TXTBKS’ campaign.
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A challenger’s perspective Taking dFCB’s ‘Gamers Vs Poverty’ to the Cannes Chimera forge Words James Bernardo
TAKE 13 of the most creative minds in the world. Mix in 20 wide-eyed and curious individuals from all walks of life. Pour in eight world-changing ideas. Simmer and stew for two days. You get the perfect recipe for organized chaos called the Cannes Chimera Workshop. The near-freezing weather in Seattle did not cool down my excitement as I met up with the other participants waiting for the shuttle that would take us to the Bill and Melinda Gates Foundation. As I alighted the bus, the rain started to fall, making the walk a little challenging. I crossed the street and was immediately greeted by a sign hanging overhead near the entrance to the foundation’s museum. It simply stated: “ Enter Curious. Leave Inspired.” This kept me warm the rest of the way. The glass doors of the foundation looked imposing. Looking outside in, the uniformed security personnel looked stern and seemed to be guarding the national treasure. I was pleasantly surprised when they opened the doors and instantly greeted us with smiles. Along with the other participants, I was led across a hallway. There, inscribed on the wall, was an old African proverb that said: “If you want to go fast, go alone. If you want to go far, go together.” “This is going to be interesting,” I told myself. There was an awkward moment when I had to pinch myself as I saw some faces I only saw in magazines and award show websites. I guess it was like meeting your heroes for the first time. After a quick breakfast, the moderator asked all of us to gather around. The show was about to begin. Flashback to a few weeks before the workshop – me and the team were busy preparing a solid business plan, complete with case studies, charts, and statistics for ‘Gamers vs Poverty’, our solution to eradicate poverty, one of eight entries shortlisted for the 2013 Cannes Chimera challenge. I felt good we had a great idea. I was ready. I was confident. I was wrong. Flash forward to the workshop. The moderator called my team to present
first. My eyes widened in disbelief. My throat dried up and I could feel the beads of sweat forming on my face. All these brilliant minds in one room were all too quiet. I began to go through the slides. Our business plan’s success depended on one unanswered question: How do I convince a game developer to buy into this idea? When I finished, polite applause followed. The other teams had it worse. The Chimera members raised some fundamental questions. Others were grilled about their ideas. It was only 30 minutes into the first day. After that, we had eight five-minute consultation sessions with the Chimera members. The next session took longer as eight pairs of Chimera members went with each winning team to dissect, analyze, deconstruct and reconstitute each idea. At the end of the first day, some teams felt they had the worst ideas in the world. But, the dinner that night was lovely. The second day held a mixture of dread and anticipation for me. Would our idea come out unscathed? An amazing resource person from the Gates Foundation showed us the humbling reality of poverty and how rich countries have cut back on spending for poverty relief. But it ended on a positive note by the fact that in 20 years, world poverty has been cut in half. After the talk, a pair of Chimera members would spend some time again with each team to iron out the kinks. Some gave practical advice. Some gave leads to people who could help. Some forced us to rethink our approach. Some challenged
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us to think bigger. I almost doubted myself a few times. But after an exhausting day, I knew we had something great to present. So, I volunteered to go first. But a technical glitch had us present second. As I was presenting our new and improved idea, I saw nodding heads and widening eyes in the audience. The applause seemed louder this time around. I turned to my teammate and smiled. Achievement unlocked. Level 1 complete. Looking back. I think the best thing that came out of this workshop was not arriving at solution or a clearer direction of where to take our idea. It was realizing that one really has to subject a great idea to all the scrutiny and criticism in order for it to come out better in the end. And, the most important lesson: If you believe that your idea can save the world and people say it’s impossible to do, do it anyway. What would have made the workshop even better was the presence of connectors and enablers who could immediately see the feasibility and scalability of the ideas. But having said that, I am looking forward to the next stage.
James Bernardo is chief creative officer of FCB and dFCB Manila following his return to advertising after nearly a year as vice president of marketing at SM Retail.
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01 dFCB’s Ramby Libarnes and James Bernardo with DM9JaymeSyfu’s Merlee Jayme 02 Bernardo and Libarnes present ‘Gamers vs Poverty’ 03 Mentors Tham Khai Meng and Darre Vandijk from Ogilvy with Jayme 04 Jayme with Vandjik 05 BBDO India’s Josy Paul, Serviceplan’s Alexander Schill and Jayme 06 FCB’s Javier Campoplano with Jayme 07 Mentors and Cannes Chimera winners at the Cannes Chimera forge 08 Inspiration at every turn at the Bill and Melinda Gates Foundation’s Seattle office 09 Libarnes on arrival Snapshots provided by Merlee Jayme and James Bernardo
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DM9 flies Philippine flag at AME Awards Scoops Grand, Platinum prizes
NEW YORK DM9JaymeSyfu’s ‘TXTBKS’ continued its winning-streak on the international show circuit, to take the Philippines’ first-ever AME Grand Award and the regional Platinum prize for Asia Pacific. The agency won the plum awards in the Mobile/Cellular/Hand-held Device category. DM9 also earned two Gold AME medallions for the initiative to convert excess SIM cards and old handsets into school textbooks, helping lighten the daily burden for school children by 50%. “It was an idea that did not use high technology and complicated innovation,” said the agency’s chairman and chief creative officer Merlee Jayme. “Today, we continue to help ‘lighten the load’ of children in schools and orphanages, not just here in the Philippines, but in other countries as well.” The Green Award went to Bartle Bogle Hegarty China for ‘The Digital Earth Hour – Reaching Millions of People in One Hour’ for client WWF China. The
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campaign used a programmed piece of code that digitally turned off lights on social sites, and was estimated to have reached over 50 million people in one hour based on daily traffic figures. BBH also picked up two Silvers and a Bronze for the WWF campaign. “This project started with a simple desire to make a difference; to bring a certain awareness in a market that’s notorious for its indifference towards environmental issues. Our solution is a symbolic one but, the hope has always been that this “surprise” a user experiences online could spur them to genuinely participate in making a change,” said Johnny Tan, the agency’s executive creative director. Leo Burnett, the only Australian agency recognized at the show, won three Golds and three Silvers for its campaign championing a worthy cause. ‘Seek – Volunteer to Promote Volunteering’, which set out to enlist media owners, celebs and real people to volunteer their media space, won across multiple categories, including online, low-budget, integrated and direct response. China emerged as a major regional winner in the show, earning six Silvers and five Bronze awards on top of BBH’s haul. BBDO collected a Silver and Bronze for ‘Gillette Shave Sexy’ while PHD collected three Silvers and pair of Bronze for Cornetto’s ‘Love in Different Tense’. JWT scored a Bronze for its ‘Missing Children’ initiative. TBWA Hakuhodo delivered two medallions – a Silver and Bronze – for ‘The Soil Restaurant’ for Japan, and Geometry Global/ Grey earned a Bronze for ‘Dyslexia Did Not Stop Me’ for Malaysia. TBWA\Santiago Mangada Puno added to the Philippines’ haul with two Bronze wins for ‘Oishi Prawn Crackers: Kaleidoscope World’ for Oishi Prawn Crackers and ‘Audio Guide for the Longest Art Gallery’ for Boysen KNOxOUT.
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Celebrating design excellence DM9, Nexus, Plus63 stand out in toughest adobo Design Awards ever Words Carmela lapeÑa & amanda lago
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The fifth installment of the annual adobo Design Awards saw its toughest competition yet, with DM9JaymeSyfu, Nexus, and Plus63 Design Co. bagging top awards. The 2014 awards, which honored the best and brightest talents in contemporary creativity, handed out five Golds, 14 Silvers, and 42 Bronze out of 366 entries in both the Professional and the Open/Theme category. The competition winners were awarded in a ceremony held at Ayala Museum in Makati. New forms such as photography and wearable design were introduced this year in the Professional segment.
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Meanwhile, the Open/Theme category called for socially relevant, environmentally conscious, sustainable work in line with its theme, ‘Design for the Future’. DM9JaymeSyfu bagged the competition’s inaugural Lucille Tenazas Excellence Award, named in honor of Filipino-American AIGA recipient who served as jury chair. The prize was awarded for its Smart ‘TXTBKS’ campaign, which transformed SIM cards into condensed workbooks that could be read on old-model mobile phones. The campaign also won Best in Show, Design for a Purpose, and a Gold in the Game/Application category.
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01 Jury President Lucille Tenazas (front row, fourth from right) with the adobo Design Awards jury. 02 adobo’s Angel Guerrero (left) and Janelle Squires (second left) with Lucille Tenazas (fourth, left) and DM9’s Alex Syfu and team 03 Juror Jowee Alviar on the judging floor
Plus63 Design Co. won Best in Show, Design for Good for its ‘Kindred App’, which also won Gold in the Game / Application category. Noticing how people would use social media to search for blood donors, the team came up with the app, which connects blood donors and recipients. Plus63 Design Co. also earned a Silver for ‘Back Alley Barbershop’, and two Bronze awards, one for ‘Your Local’ and another for ‘Design Co.Mission’. Nexus bagged three Gold awards: One for ‘Honda ‘Hands’ in the Animated Video category, Bombay Sapphire ‘Imagination Machine’ in the Outdoor/ Ambient category and V&A ‘Memory Palace’ in the Interactive category. There were two winners in the Open/ Theme Category, Design for the Future, which called for creative pitches to promote socially relevant design. This year’s winners were Wunderman International Philippines’ ‘Life / Door’ in the Professional Division, and De La Salle, College of St. Benilde’s Ma. Therese A. Valmonte’s ‘LRT Foodtrip: A Mobile Application’ in the Student Division. Both entries earned Bronze awards.
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TBWA\ Santiago Mangada Puno won five Silvers and eight Bronze awards, with ‘Tree Lungs’ netting two Silvers for Best Design, Illustration and Best Design, Environmental /Spatial. JWT Manila took six awards, including three Silvers for ‘Chaplin’, ‘V’ and ‘Lake’, and three Bronze for ‘Beach’, ‘Bike’, and ‘Seed Notes’. BBDO Guerrero’s ‘Mountain Dew 360’ won a Silver for Best Design, Digital Imaging and a Bronze for Best Design, Press & Poster. Leo Burnett Manila won five Bronze awards –one each for ‘Origami’, ‘Aid Couture’, ‘Hooray 3’, ‘Body Combat’, and ‘Flux Design Labs’.
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Lowe Inc. earned a Bronze for its ‘Red Cross ‘Fork’ Poster, while Campaigns & Grey won two Bronze for ‘Rubber Cut: Tire Donation, Rafting’. IXM also earned two Bronze awards – ‘Seiko Astron ‘All The Time’ and ‘Muntinlupa Trashémons’. Ace Saatchi & Saatchi’s ‘ZZZ Radio’ earned two Bronzes for Best Design, Press & Poster and for Best Design, Digital Imaging. Team Manila’s three Bronze were awarded for ‘Nike Lebron X Team Manila’, ‘Mapa Manila’, and Flying Ipis ‘Give Ipis A Chance’ album’. Alyssa de Asis also earned a Bronze for Canon Marketing Philippines’ ‘Festival of Colors’. In the Best Design, Publishing – Book Design category, De La Salle, College of St. Benilde’s ‘The Benilde Book 2014’ won a Silver award, while McCann Worldgroup Philippines’ ‘ICAB Adoption Literature: Mummy and Hunny Bunny ICAB Adoption Literature: Destiny’s Delivery’ earned a Bronze. R. Jordan P. Santos’ ‘NBDB The Book of Beginnings and The Book of Endings’ also earned a Bronze award. In the Best Design, Short Film category, there were two Bronze winners: Go Motion Productions’ ‘Mini X Cusi’ and 88 Storey Films’ ‘Unsilent Night’. Meanwhile, Blackpencil Manila’s ‘How Not to Instagram’ took a Bronze in Best Design, Music Video/ Audio Video. There were also two Bronze winners for Wearable Design: Y&R’s ‘GenerosiTee’ and DDB Philippines’ Project Hope Floats. This year’s winners also included
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01 adobo’s Angel Guerrero and Janelle Squires with Lucille Tenazas with Plus63 Design Co. Joanna Malinis and Dan Matutina 02 Angel Guerrero with TBWA\SMP’s Ali Silao and John Ed de Vera 03 International entry winner Nexus beamed into the awards ceremony 04 Third Domingo (right) leads the IXM award-winning team
freelance entries from Lady San Pedro, who won a Silver for ‘Facades’; Daryl Feril, who won a Bronze for ‘DFS Galleria S/S 2013: Passage to Paradise’; and Raxenne Dosher R. Maniquiz, who earned a Silver for ‘Bratpack Peg Catalog May 2013’ and a Bronze for ‘Bratpack Peg Catalog November 2013’. This year’s competition saw top names in advertising and design on the judging panel, which was led by New York-based design practitioner and educator Lucille Tenazas. “This was a really tough jury. There was a good balance of people who paid attention to the content and also people who paid attention to the aesthetics,” she said. Tenazas led the two-day judging, where she deliberated entries along with the other members of the jury. For Tenazas, the entries that qualified as worthy of consideration were “things that were both poetic and pragmatic”. A recipient of the AIGA (American Institute of Graphic Arts) Medal, Tenazas explained that she looked for thought-provoking work that lingered beyond the 10-second response. “A lot of the times we are drawn to something we look at it, we’re bowled over by it but then it doesn’t stay long with us… I actually like things that pose questions, that do not necessarily
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provide the answers, but they provoke these kinds of questioning,” she said. Meanwhile, first-time judge Meneer Marcelo shared that the judging was challenging, but exciting. Of the entries, he said, “Most of the interesting ones are in the Open/ Theme category. Not just in print, but a combination of different disciplines.” According to Jay Tablante, many of the winning pieces were the ones that made use of digital forms and technology. “Most of the Golds and the Best of Shows have started to shift towards a digital medium…it was more of the interactive and the digital stuff that
The ADA jury
Jury President Lucille Tenazas, Team Manila designer Jowee Alviar, bag designer and SoFA co-founder Amina Aranaz-Alunan, illustrator Meneer Marcelo, industrial designer Kenneth Cobonpue, Associate Creative Director for Design of TBWA\SMP John Ed De Vera, graphic designer AJ Dimarucot, Executive Creative Director of JWT Manila Dave Ferrer, architect Tobias Guggenheimer, Executive Creative Director of BBDO Guerrero Dale Lopez, illustrator Dan Matutina, sculptor and artist Leeroy New, animator Armand Serrano, photographer Jay Tablante, communications specialist Brian Tenorio, and design educator Dean Joey Yupangco.
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actually made an impression on me rather than the traditional media,” he said. Other jury members echoed similar sentiments. Dan Matutina said, “I think the works that won were the works that connected with the judges in an emotional and aesthetic standpoint. I think most of the Golds came from the digital category because that’s where most of the exciting works are going to in terms of the industry. There’s still a lot of good prints and branding, but people are excited about doing digital work, because for one, digital’s new and you can try new things with it and technology evolves fast so designers like that because it makes them move fast as well.” At the same time, Leeroy New shared, “A lot of the pieces that stood out were reliant on new technology. I guess that’s ultimately one way to come up with new forms, to actually use new technology and all these innovations that are constantly popping up. There were a lot of really good homemade, DIY executions as well.”
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adobo Design Awards Showcase Lucille Tenazas Excellence Award Best in Show, Design for a Purpose Best Design, Animated Video (GOLD) TXTBKS DM9JaymeSyfu
Best in Show Design for Good Kindred App Plus63 Design Co.
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Best in Design Open/Theme Category, Student Division LRT Foodtrip: A Mobile Application Ma. Therese Valmonte, De La Salle - College of St. Benilde
Best Design Outdoor / Ambient Gold
Bombay Sapphire - Imagination Machine NEXUS
Best Design Animated Video Gold
Honda “Hands� NEXUS
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Best Design, Game / Application Gold Kindred App Plus63 Design Co.
Best Design Interactive Gold
V&A Memory Palaca NEXUS
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01 All judges visibly challenged as they review the video entries during the final round of judging 02 Campaigns & Grey’s Ompong Remigio (right) with Lucille Tenazas, shares her POV with the rest of the jury 03 SoFA founder and bag designer Amina Aranaz-Alunan as a first-time juror in the adobo Design Awards 04 Brian Tenorio makes a case for one of the entries 05 Jurors Meneer Marcelo, Leeroy New and Kenneth Cobonpue take a closer look at a product design entry 06 Jurors Dave Ferrer, John Ed de Vera and Dale Lopez take a break 07 De La Salle - College of St Benilde’s Dean Joey Yupangco and Walt Disney’s Armand Serrano 08 Jurors in action - Dave Ferrer, Brian Tenorio and AJ Dimarucot 09 A unanimous show of hands during final deliberations 10 Candy Crush anyone? 11 A bird’s eye view of the entries on display at The Gallery in Greenbelt
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01 Recipient of the evening’s top honor - The Lucille Tenazas Design Excellence Award as well as a Grand Prix for their entry Smart ‘TXTBKS’ - DM9JaymeSyfu L-R Caloy Sambrano, Ronald Barreiro, Alex Syfu, Lucille Tenazas, Eugene Demata and Ina Vargas 02 Plus 63 Design’s Dan Matutina (center) wins big at this year’s awards, including the Grand Prix for Design for Good for ‘Kindred App’ 03 Event hosts Zach Lucero and Sanya Smith 04 One of a handful of Golds given out goes to Nexus London’s Alan Smith and Adam Foulkes 05 Our auditing partners for the third year running - Price Waterhouse Coopers. L-R: Jagz Gonzales, Rocky Saldajeno, Chrissie Roque and Allan Cao 06 Bates’ Jake Morales with former colleagues - DDB’s Shackie Caccam, Erika Guanio, Danielle Austria, Guy in poster: Rishi Mandhyan 07 JWT in full force showing off their metal hauls for the night! L-R Arnel Villanueva, Michael Gonzales, Christopher Cristobal, Javey Villones, Tim Villela, Kaye Matriano, Elvin Villar 08 Blackpencil’s Kat Limchoc (far right) receives a metal for their amusing video ‘What Not to Instagram’ with adobo’s Janelle Squires and Angel Guerrero and Smart Ads’ Leah Besa Jimenez 09 The team from De La Salle - CSB with their Silver win 10 Y&R’s Nonie Azores receives the award for ‘GenerosiTee’ t-shirt design from Angel Guerrero and Leah Besa Jimenez
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je d root
Jed Root lands in Manila Sets up SE Asia hub with 21 local talents on books Interview Angel Guerrero & Mikhail Lecaros Words Mikhail Lecaros Photography Mark Nicdao
For over two decades, Jed Root has been at the forefront of managing creative talent from New York to Paris to Tokyo, with a number of top industry names under his company’s (Jed Root, Inc.) wing. To date, the international creative network has counted the likes of fashion photographers such as Michael Thomson, makeup artists such as Dick Page, Laura Mercier, Rumiko and the late Kevyn Aucoin among its hundreds of talents. Newer talents include Scott Schuman, who initially shot to fame online as “The Sartorialist”. Late last year, a wave of excitement rippled across the Philippine creative scene when it was announced that the company would be establishing a Southeast Asian hub in Manila and that founder and owner Jed Root himself would be heading up the search for talent. adobo magazine was able to catch up with Root and photographer Mark Nicdao on the eve of the company’s April 3 launch party (held at 71 Gramercy lounge and restaurant). When asked about why he wanted to establish an Asian hub, Root responded with a question of his own: “Think about it, why are we always going to New York? Why are we always going to London? Something I’ve noticed over the past decade is that clients are looking more inward, which you can see a lot in the work being done, in the movies that are popular, and the music industry as well. I’ve been doing business in Japan for over 20 years, and I saw it really start to happen there and I realized that this was something that was spreading out (throughout Asia).”
“I heard there was a great deal of creativity
and a lot of frustration on the part of artists, especially from clients who insist on dealing with pegs while expecting them to turn it into something original,” said Root. “But despite that, there is a lot of quality work being done here, with a very international flavor and appeal – which is impressive.” “Besides the fact that everyone speaks English – which makes things easier for me – the Philippines is unique for really being a melting pot of East and West. I mean,it has a lot of Western influences, but a lot of Asian influences as well, so it hits both markets, in a way that looks and feels very international.” While the direction of Jed Root, Inc. will be to establish itself in the Philippines before casting its attention outward, its founder and CEO maintains that it’s all a part of the plan. “In the beginning, for sure, we’ll concentrate on the Philippines, shares Root. “Our goal is to get settled with our local clients (first), but we’re already branching out, and a lot of the regional clients, like Lane Crawford, are already very, very excited about it. Think about it, why are we always going to New York? Why are we always going to London? Something I’ve noticed over the past decade is that clients are looking more inward, which you can see a lot in the work being done, in the movies that are popular, and the music industry as well. I’ve been doing business in Japan for over 20 years, and I saw it really start to happen there and I realized that this was something that was spreading out (throughout Asia).” The 21 creatives presented to the public at the launch were directly representative of Root’s initiative to embrace global talents and trends. As candidates were whittled down via a rigorous series of portfolio reviews and interviews, Root said he was
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So what drew Root to the Philippines, in particular?
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The start of a beautiful friendship: Superstar photographer Marc Nicdao and Jed Root get ready to take on the world.
struck by the quality of the work with which he was being presented, but had to remain objective about his selections. The key, said Root, was finding the right personalities and portfolios to represent the best the country had to offer. The result: An eclectic mix of established names and new ones, specially selected to present potential clients with the widest possible spectrum of talent. Comprising the final lineup were photographers Johann Bona, Edric Chen, Shaira Luna, Mau Mauricio, Mark Nicdao, Patrick Galang, BJ Pascual, Jason Quibilan and MJ Suayan; stylists Angela Alarcon, Daryl Chang, Pam Quinones and Suki Salvador; makeup artists Omar Ermita, Amanda Padilla, and Xeng Zulueta; hairstylists Borge Aloba, Mark Famila, Cats del Rosario and Celeste Tuviera and fashion filmmaker Samantha Lee. For the more established names like Nicdao, being under the roof of Jed Root, Inc. opens up a world of possibilities, especially where foreign work is concerned. “I’ve been shooting for 10 years,” said Nicdao, when asked about signing up with Jed Root, Inc., “Mostly concentrating on the local market, but from time to time, I would do shoots outside Manila. Every professional photographer in the US and in Europe has an agent, so this seemed like the best way to get out there and show my stuff without having to leave the country. His coming here is a great opportunity.” Of course, Nicdao is quick to point out that signing up with Root is just a foot in the door, and it’s up to the individual creative’s talent whether or not he’s up to the challenge. “The job of the agency is just to act as the bridge to the (foreign) clients. It’s up to us (the creatives) to get the job.”
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From Davao to Hollywood John Butiu will give ICON audiences a peek at his life as a blockbuster artist Words carmela lapeÑa
With his work on films like Harry Potter and The Lord of the Rings, Davao-born John Butiu is part of an elite and growing club of Filipino creative talent making it big in Hollywood. Flying to Manila to share his expertise at the inaugural ICON 2014, an entertainment design conference in July, Butiu – like ICON’s driving force Armand Serrano of Walt Disney Entertainment Studios and Fil-American Matthew Libatique, the cinematographer behind Black Swan and Noah – has been steadily building a gold-plated Hollywood resume. The Los Angeles-based 3D visual development artist has worked on some 25 films, including Babe 2, Chicken Little, The Chronicles Of Narnia: The
Lion, The Witch And The Wardrobe, Independence Day, Surf’s Up, and Cloudy With A Chance Of Meatballs 1 and 2. Like many artists, Butiu started young, his interest sparked by his grandmother Scion, who was also an artist who painted scenery and nature in oil. He would draw cars using pencil, paper and crayons, during his early years in Davao, before he left for the US at the age of five. His interest notwithstanding, there was little to indicate that the young artist would make his name as a Hollywood animator, especially after dropping out after two years at the Art Center College of Design, where he was majoring in Transportation and Product Design. As Butiu recounts, the dropout rate was
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high for the first two terms because of the extremely rigorous classes. “The minute we got out of class, we went straight to our assignments. We didn’t have time to socialize or go out. Since everyone at Art Center was pretty much very talented, we all had to work hard to compete with each other.” School was also expensive. “I would even skip meals since all my money went to school and even my classmates would bring me some food,” he recounts. On dropping out, Butiu took it upon himself to study on his own. “It was difficult at times because this was before YouTube and online tutorials. Back then, I had a thick book to go through, step-by-step, to learn basic Photoshop and simple 3D animation. I would stay late nights
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or even sleep in the office to learn on my own since I didn’t have a computer, which was expensive to own,” he says. For all the challenges that came in being self-taught, the journey provided plenty of perks, not least being able to study at his preferred pace and focus on what he wanted to learn. But the absence of an instructor’s guiding hand meant he was learning by trial and error. “If I had access to YouTube online tutorials, I’m sure I would have learned much more, in a fraction of time,” says Butiu, who didn’t even have Photoshop software. “I would get books, copy and print pages to use for reference, and do art with pencil, marker, chalk, and paint. Now you can simply download images from the internet with endless amounts of amazing art work and use Photoshop with lots of layers and an ‘undo’ button as opposed to starting over again.” With his self-taught skills in Adobe Photoshop and basic animation 3D software, Butiu began doing basic graphic designs at a small company. “It was difficult at first since I didn’t have a finished 2D art portfolio, especially since I originally wanted to be a car designer.” His first big break was as a 3D modeler at Rhythm & Hues Studios, where he worked on Babe 2, Speed 2, Flintstones 2, and the now iconic Coca-Cola Polar Bear commercial. “I interviewed with the modeling supervisor, Keith Hunter, who gave me a chance, which, I believe was because we had a lot in common, enjoyed art, design, and Japanese animation. I feel that he also hired me because I was being myself, he felt that I would be someone that could get along with other artists as well as someone who was to eager to learn new things,” says Butiu, whose resume includes stints at Walt Disney Animation Studios, and WETA, the company behind the epic Lord of the Rings saga. During his time at WETA, Butiu moved to New Zealand to work on The Return Of The King, which he counts among his most memorable experiences. “I had to move to a new country, learn to drive on the other side of the road, and was able to work on an amazing film and see famous celebrities (Liv Tyler, Viggo Mortensen and director Peter Jackson) filming this movie on location.” With the movie in the bag, he returned to Los Angeles to work at Sony Imageworks, where he was involved in Cloudy With A Chance Of Meatballs 1 and 2. Being part of the process in designing environments such as San Franjose, Live
Corp, and Swallow Falls Jungle ranks among some of the most challenging experiences he has had in his career. His speaking engagement at ICON Manila marks his return to the country after 17 years. In a conference that Serrano said would provide valuable lessons to advertising creative, Butiu will discuss 3D visual development, from how it can help with the design phase and get the look of the film approved. “Most of the executives would like to see how the film will look like and animate in 3D before committing an entire crew of 60 people and spending $100+ million on a film,” he explains. Excited by the prospect of his upcoming trip, Butiu says he is open to the possibility of returning home someday. “Perhaps in the future I may consider living here, since the cost of living in Los Angeles is very expensive, especially with my wife, Angie, Nicholas age four, and Alex age one, and our dog Nismo, who is a Coton de Tulear,” he says. Asked to share tips for aspiring artists, Butiu emphasized the need to constantly practice their art and to learn new styles and techniques. “There is so much amazing artwork online that you have access to and can learn from. The more variety you have in your portfolio, the better chances you have landing a job,” he says. He also stressed the importance of questioning fellow artists, online forums, or new friends and contacts as part of an artist’s growth process. “Never give up, because there will always be a way.”
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Kia Soul, Heinkel, Funt Apartment Barry B
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THOMAS HONG-TACK KIM
With terms like ‘maverick’ and ‘game-changer’ having lost some of their luster from years of arbitrary overuse, it’s easy to forget just how revelatory it is when someone actually does come along and changes everyone’s perception of an industry. In the case of Cheil Worldwide executive creative director Thomas Kim, indulging in the odd superlative or two (or three) is entirely justified because – simply put – one would be hard-pressed to find anyone who’s reshaped their country’s advertising landscape as much as this South Korean creative. Words Mikhail Lecaros Photos Duk-kwan Moon Additional material and special thanks to Soomee Moon
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‘Home Plus Virtual Store’... Nabbed a Cannes Grand Prix in 2011 and put Korean creativity on the map.
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TH OMAS HONG- TACK KIM
With years of experience amassed from working in Korea, New York and Beijing, Kim’s portfolio brims with campaigns for clients such as (Cheil’s original parent company) Samsung, Daewoo Motors, Korea Tourism Organization, Pizza Hut, Microsoft and HP that have won him recognition at Cannes Lions, One Show, New York Festival, London International Awards, AdFest, Spikes Asia, IBA, and Webby Awards. But it was the work that won Kim the Grand Prix in Media at the 2011 Cannes Lion International Festival of Creativity (for ‘Homeplus Virtual Store’) that would ultimately put him and his country on the global creative map. While the win itself was not an overnight success – being the result of years of planning and study – Kim’s (and Korea’s) first momentous Grand Prix nevertheless served to introduce his nation’s advertising (which was, and still is, largely celebrity endorserbased) to a global audience. At the same time, it initiated a paradigm shift in how Korean
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creatives approached their work: Now that someone had won a Grand Prix, the race was on to see who could get the next one. In 2013, Kim decisively dismissed any fears of a sophomore slump when his ‘Bridge of Life’ initiative for Samsung Insurance scored that year’s only Titanium Lion for an Asian country, thanks to its ingenious combination of interventions and on-the-ground activation. As Kim has grown into his role as one of South Korean advertising’s most respected figures, he has made sure to share the benefits of his industry experience as a practitioner, university lecturer, curator, and published author of four books on advertising (with a fifth on its way). Through it all, the characteristically self-effacing creative maintains that he is just a regular guy, crediting his extraordinary success to his ability to consider and (to some degree) predict trends, as well as his knack for taking a “proactive” approach with his clients.
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“Advertising is, at the end of the day, a journey to understand humans.”
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I wish i’d done that A big supporter of crowd sourcing and the potential of social media, here are some current works that Thomas admires
Why did you get into advertising, and what would you be doing if you were not in advertising?
helped me a lot as advertising is, at the end of the day, a journey to understand humans.
Getting into the advertising industry was not really in my plan when I was young. I just thought I was not the right person for a boring office, and looked for somewhere to leverage my creativity and then started as a copywriter. Since I was a teenager, I enjoyed reading and writing and even made some books myself. Given the enormous ripple effect of advertising, I thought I could create social values out of meaningful content. That’s how I got here. I would have been a writer if I hadn’t been in advertising. When I was young, they (my parents) imagined me to be a professor, diplomat or writer.
Did any of your classmates also enter advertising?
What did they say about your decision to be in advertising?
They were happy for me to be in the ad industry. I grew up in a liberal family, and my parents have always been supportive. They understood their kid (me!) should do what he can do well. How is advertising related to your field of study?
I majored in literature, and studied advertising in graduate school. I think having been exposed to literature has
‘Sound of Honda/ Ayrton Senna 1989’
Not a lot. Most of them are in journalism, some of them are writers and professors. Did anyone inspire you to take on this career?
There’re no individuals who brought me to be an ad man. I just worked and learned, picking up what is needed, mostly by myself. Please tell us about the first campaign you worked on that got published/released.
It was a women’s underwear brand. I was just one month old on the job, really new, but I even named the brand. It was supposed to be printed in a fashion magazine and I was really excited about it, just waiting for the magazine to be published. But the first encounter with my own work was on a huge outdoor billboard in a retail hotspot in Seoul. I never ever expected that. So, I ended up looking at the people who looked at my work, not looking at my own ad. I could not fully enjoy looking at my first campaign, as I learned that people look at my work (which was created on my desk) in their real life. Responsibility was way bigger than pressure at that time.
‘The Epic Split’
‘24 hours of Happy’
‘Sunny Sale and Shadow QR Code’ for Emart garnered 1 Gold, 3 Silver and 1 Bronze in Cannes Lion 2012
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THOMAS HONG - TACK KI M
”Quantity doesn’t matter. Quality matters.”
Traditionally, Korean advertising is well-known for its use of celebrities. How did this begin?
At the beginning stage of the Korean economy’s modernization, Korea’s local brands grew very rapidly, instead of the country importing Western brands and their way of marketing. The latter was quite common in most Southeast Asian countries. So for those Korean local brands, it was critical to get their names known as soon as possible, hence the use of celebrities became the norm as that was the easiest way. Is there a pressure on you to feature celebrities in your work?
I am fortunate enough to have been involved in many global projects, so I try to focus on ideas and storytelling which can be applied to many different cultures, rather than simply using celebrities. And it has worked. Absolutely. With your impressive awardS record, how does it feel to know your work has reached and influenced so many people?
Cannes Lions Grand Prix has had a big impact on Korea’s advertising culture. People have begun to look at new platforms, and understand we’re now living in a new ecosystem as opposed to an era of TVCs. They have also understood that valuable platforms naturally bring in likability, sales and mind share.
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Thomas Kim on judging in Kidlat 2014
Ideas just sitting in your brain do not mean a lot; they have to be executed and that’s how people understand that the world is moving. What drives your creativity?
Curiosity. I always try and find something new in the communication environment, especially in media. From there, I can try and predict what is coming, so I’m always changing my career, which is how I joined Cheil. For me, the three key elements are curiosity, trend-catching and bravery. Do you work better with larger or smaller teams?
It depends on the situation. Sometimes, I work with just my own team, but sometimes I bring on one or two junior guys – it’s very flexible. Now, I’m in charge of the creative innovation group that we just launched, which means that I’m developing a lot more new things, new platforms and prototypes combining different kinds of new technology. In Cheil, we have very compact teams, with four or five team members. Sometimes we get help from outside, like developers or specialists; quantity doesn’t matter. Quality matters. You mentioned bravery earlier. Does that refer to bravery on the part of the agency or the client?
Both. I always try to educate the client, so I always propose our ideas proactively, without waiting for their request – that’s
Thomas Hong-Tack Kim was in the Philippines in early May to serve as Jury President on the Kidlat Awards’ Jury C. (adobo asked him for his thoughts on the entries.) “I was impressed by the high quality of the submitted works. In the categories that I judged (digital, mobile, media, promo & activation and PR), only 15% of all entries made it as finalists last year but this year, the number stood at 35% and among finalists, 77% took medals home.” “This is such a big improvement and I think it is because Philippine creativity, which has been globally recognized recently, has driven up the overall quality. Gold medal winners are, in particular, will likely go to the Cannes Lions and get some highlight too.”
Scan the QR code to see Thomas speak about his judging experience and turn to page 196 for our full Kidlat coverage.
‘Bridge of Life’ for Samsung Insurance won a Titanium Lion at Cannes in 2013
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‘Silver Talk’ was an initiative to promote communication between generations by telling the stories of the past through an art show by the young.
very important in trying to have them accept new concepts. Fortunately, we got a Grand Prix three years ago; after that, the client is slowly changing (laughs) because they have come to know that such awards are beneficial to their global fame and standing. What’s an example of an idea that you never could have produced without the bravery and trust of the client?
I would say “Bridge of Life”. We came up with that idea two years ago. We tried very hard to make that happen, but there were a lot of problems, especially with getting permission from the government. Public service organizations in Korea are not very flexible, and ‘Bridge of Life’ was something they had never seen before. They just couldn’t imagine a bridge with interactive lighting on the handrails – they didn’t think it would work! So getting an MOU was an important, practical step to getting started. After that, it became very easy – the mayor of Seoul was so supportive! At the
beginning, no one thought it was going to happen or that it was a realistic idea – that’s why it took two years to execute it. Which is more important? Doing it for the client oR the awards?
We still always try to approach problems with authenticity. Getting awards is good, but the idea is the most important thing. “Bridge of Life” is a good example – we came up with that (on our own initiative) to help the client’s branding, and it turned out very well. Those two cannot, awards and the work we do cannot be separated. When we last spoke, you mentioned that winning a Grand Prix creates pressure on you and the agency to win more. Does that still hold true?
Actually it’s not about pressure but about expectation. I just need to do quality control and concentrate more on creating new platforms combined with digital technology. Winning more awards is just the result from it.
Minewater ‘barcodrop’ won Bronze for Direct Category at Cannes 2012 for its idea of putting an additional barcode on the bottle that let consumers donate directly to children in need.
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“From the time I first started my career in advertising, I knew it was more than just delivering a message to get sales.”
What was it like the first time you attended Cannes, and how different is it from the festival now?
Yes, it was 1997, when they had Film and Print categories only and I was bombarded with legendary TVCs and print ads. That was the heyday of traditional media advertising. Back in 1997, with my first experience at the Cannes Lions, I was very much inspired by the Diesel campaign (‘Little Rock’, which took a Grand Prix in Film) and Guinness ‘Old Man’ (which won Gold that year). But equally I felt very sad and frustrated, because back then, Korea was nowhere near to be able to make such campaigns. However, since 1998, when the Cannes Lions introduced the Cyber category, people began to shift their areas of interest from traditional media to new media. And looking at today’s advertising campaigns from Korea and their award wins, I am very much proud of it. Unlike some agencies that have just one or two major award winners, Cheil is remarkable in that it consistently reflects strong showings in a lot of different categories with a lot of different campaigns. How do you do that?
If you remember when I talked about proactive proposals, those come from being flexible. Sometimes, I work with just two guys, sometimes with a big group, and that’s how we get various kinds of ideas. Sometimes we’ll focus more on technology, other times, on how to create shared value. Another point is that we have really made the different awards shows into kind of a longterm investment. Before 2011’s Grand Prix, we hardly won anything from 2000-2010. We were not winning, but still, the company kept on investing money in sending people to Cannes just to expose them to the global creative industry. We would go back to Korea and share their knowledge with everybody else. At the end of the day, everyone in the
agency had to learn why the Cannes Lions was important and how the global creative trends were changing. Since 2011, we’ve seen the fruit of the long-term investment. You were once quoted as saying that the goal for Cheil was to be the top agency. In your opinion, how far along are you in meeting that target?
While it is difficult to say when we will be the top agency, we have been very pleased with our progress over the last few years in reaching our goal. Out of the world’s top 50 agencies listed in Advertising Age, there are only five Asian agencies, and four of those are Japanese. So we are very proud of that, and we will keep on working hard to move it even further. With your reputation, we imagine people to be coming up to you for your knowledge and experience. What are some of the stranger ways people have tried to get your attention?
One thing I strongly remember is a 14-year provincial boy who came to Seoul to meet me. Surprisingly, this young student presented his ideas which were near-professional level. It really made me to think twice about those hidden, un-mined gems. I always bear in mind that there are tens of thousands of these smart young people which, in turn, makes me to feel an obligation to make more works for them to learn. Given the industry moving towards social good, how does this affect so-called traditional campaigns?
Very much. I think this trend started a couple of years ago; because of the social media environment, everyone wants to share things they believe to be good and valuable. The type of media doesn’t mean a lot any more. We first need to create a platform for social good, and then come up with the best media mix in order to effectively run the platform. Defining the type of media
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‘Here’ Balloon for S-Oil won Bronze at Cannes 2012 for its innovative method of helping drivers park faster to conserve oil.
is not the first step. Today, the key word in communications is “shared value”. Is that what you strive for in your work?
From the time I first started my career in advertising, I knew it was more than just delivering a message to get sales. I think advertising can make society happier and create values. That is my philosophy. I’m always trying to make something new, something valuable to society and its people. I’m preparing an exhibition called “AntiAdvertising” about alternative advertising trends. Since 2001, I’m sick of it (laughs). I think, at this stage, creativity – not just in advertising – can change the world; that’s my manifesto now. I’m hoping that more young people learn this and use different platforms to share values with society. (I enjoy) when my work created on a new platform turns into a root of social value.
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A self-confessed “soccerholic”, Thomas Kim (with dog in arms) is an active supporter of his agency’s football club, Cheil United.
TH OMAS HONG- TACK KIM
For example, ‘MineWater’, ‘Sunny Sale’, ‘Here Balloon’, ‘Invisible People’ and ‘Silver Talk’. “Sustainable society” is required for all industries, not just for advertising. Your role as global ECD means you coordinate with a lot of different Cheil offices. How does the agency adjust its strategies when it enters a new country/market?
“I look for ideas every day, maybe more than the average person – my wife knows this well, sorry!”
Cheil Worldwide was founded in South Korea in 1973, and now it has 43 offices and 7 affiliates across 36 countries. We think it’s important to empower local top talents, who know the market, who have the business contacts and who are familiar with local business culture, so getting our business localized, for example winning local clients, is one of the key priorities. And we’re doing well in this regard. Apart from our global clients such as Samsung and Hankook Tire, our UK office won Coca-Cola Great Britain, Cheil China has China Mobile, Cheil Germany has Deutsche Bahn (national rail operator), Cheil India has Lavie (the local
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Samsonite brand), and the list goes on and on. Are you the type who always has to have a notepad with YOU to jot down new ideas?
Every day, I always try to find something new, especially in technology. I look for ideas every day, maybe more than the average person – my wife knows this well, sorry! I’m always on my computer to find new information. Trend catching is very important. My wife is a poet, so she writes poems when I’m stuck to my desktop. Your wife must be very understanding. With all you have on your plate, do you ever take breaks?
That used to be a big problem, but in 2013, I traveled a lot with my wife, we even went to Madagascar, Africa. (I enjoy) traveling to uninhabited areas, reading, writing, speaking in seminars, talking with the experts of other fields, eating something in a new place and playing soccer. I’m trying to find a good balance between work and life.
TEENY GONZALES
COVER GIRL W
hen someone’s come up with as many memorable campaigns and received the kinds of industry accolades that Seven A.D. President and CEO Teeny Gonzales has, it’s easy to think that there’s some sort of secret formula involved. While the untrained observer would probably chalk it up to a preternatural sense of the zeitgeist, Gonzales herself says there’s no such thing. The “secret”, she says, isn’t so much going for what appeals to the lowest common denominator as it is coming up with ideas that she herself would be entertained by. It is an approach that has served her well and, if her track record is any indication, it is one that will continue working its magic for years to come.
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mikhail lecaros photography Mark Nicdao art direction Ricardo Malit Maki Correa makeup and hair Lei Ang location DPI XL Studios
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Mai Basilio
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Lyle Sacris Director Film Pabrika
Odi Flores Director of Photography Freelance
Gino Caoile Art Director Ace Saatchi & Saatchi
As everyone on these pages will readily attest, when passion and precision are partnered with the motivation to go the distance, there is precious little that can stand between an individual and where he chooses to be. When it comes to these creatives’ shared love of experiencing the motorways from the freedom of two wheels, the rules are very much the same: As with any of their endeavors, taking on the siren lure of the open road “head-on” isn’t just a mission statement – it’s a way of life.
Mark Querubin Director 88 Storey Films
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AF Benaza Executive Director Revolver Studios
Dante Dizon Creative Director Leo Burnett Manila
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Perpetual dissatisfaction Leo Burnett Manila’s Raoul Panes still looking to out-do himself Words sharon desker shaw
In a career spanning more than 20 years, Raoul Panes has had his share of highs and lows in advertising. Early May’s Kidlat competition surely ranks as a high for Leo Burnett Manila’s chief creative officer. The office he has presided over for the past seven years – first as executive creative director before his 2012 promotion to his current role – grabbed multiple DIWA gongs, which are awarded to branded work that can show clear social objectives. The haul included five Silvers, one Bronze and eight finalists for Red Cross’ Procter & Gamble-supported ‘Aid Couture’ initiative and WWF’s Earth Hour campaign, ‘Candles’. “We were quite happy with these considering there were no Gold winners in DIWA,” says Panes. With ‘Aid Couture’, Panes and his team devised a fresh way of dealing with an age-old problem, an issue particularly relevant in a country that is hit by an average of 20 typhoons a year. While Filipinos are quick to donate cash and clothing, a good number of the clothes – gowns, leather jackets or costumes for instance – are inppropriate everyday wear for those who have lost everything.
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Rather than leaving the fashion finds to rot in a warehouse, the agency set out to convert the items into cash with a one-ofa-kind fashion sale. Teams separated the donated clothing, washed and conditioned the pre-owned items with P&G’s Ariel and Downy brands and recruited top stylists to create fashionable ensembles. Traditional and social media were used to promote the apparel, which were sold in a pop-up store in a busy mall. By the end of the two-day sale, ‘Aid Couture’ had netted 600,000 pesos. Enough funds to provide 8,610 hot meals, 2,640 bottles of water, 255 medicine kits, 372 wound cleanser kits, 597 blanket and mat sets, 258 mosquito nets, 157 hygiene kits and 375 food supply packs to victims of last year’s devastating Typhoon Haiyan. ‘Aid Couture’ is now bound for Cannes for a shot at a Lion. Under Panes’ direction, the Manila office is moving closer to the global network’s
01 WWF Earth Hour “Nightlife” TVC 02 WWF “Mudfish” Print/Poster 03 WWF “Shark” Print/Poster 04 WWF “Squid” Print/Poster
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“acts not ads” ideal. “I am trying to find that balance – trying to do award-winning work but not just for the sake of awards,” he says. “It has to sell the product, definitely and make human connections with the consumer.” For Panes, as with every other industry peer who has been in the business for a few years, the changing communications approach and landscape is both exhilarating and a little daunting. For a greater part of his career, the industry had been about TV commercials, the very thing that drew him to advertising in the first place. Television is still the dominant medium today, but commercials are now measured in terms of viral power and the ability to engage consumers as channel, touchpoint and content choices have exploded. It’s a brave new world that has energized the Ateneo graduate, who started in the business as an account manager at Great Wall Advertising and went on to work at three multinational agencies, including his current home. At every stop, Panes absorbed various brand mottos and practices that has shaped his creative and professional outlook. After a year as a suit, Panes’ love of fiction and literary writing prompted his switch to the creative side of the business at his next port of call – JWT. There, he worked with the late Butch Uy, then JWT’s boy wonder, a visualizer and wordsmith rolled into one, who was tasked with launching Pepsodent.
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“I kind of grew up with him,” he recounts. “JWT had me as a young kid. All I really wanted was to see my ad on TV. Being able to do an ad and see it in a newspaper would excite me already.” Working in the pre-computer age when art directors were still doing illustrations by hand, Panes got a close-up view of what it meant to be passionate about his craft. “There I was as a young kid drinking with the old art directors and they would talk about their passion for their craft…I think it made me aim for bigger things.” Uy’s departure to Jimenez D’Arcy paved the way for Panes to also decamp to the agency, then helmed by Ramon and Abby Jimenez, years before the former went on to launch the tourism viral hit, ‘It’s More Fun in the Philippines’, as the country’s current Tourism Secretary. While working with the husband-andwife team, Panes picked up other valuable lessons of agency life that he has tried to apply. “I saw how a lean and mean team could do wonders – the concept team was just 12 people. It was me and the art directors managing a set of accounts.” The agency’s battle-cry was the seemingly impossible combination of selling work on the first presentation and being out of the office by 5pm. “We didn’t make it on the first presentation all the time but they had a pretty good batting average,” he says of Jimenez’ work for the likes of Selecta, Bayatel and San Miguel among others. “I moved to Jimenez because of them and the agency’s Selecta work that launched before his arrival and ran to the early 2000s. Featuring the line ‘You Simply Must’, the Selecta campaigns offered “hypnotizing shots – quite a rarity back in the local market – and provocative copy that would sometimes take a dig at the behemoth market leader, Magnolia”. He points to the Jimenezes’ ethos of infusing campaigns with a “Filipino sensibility” for the high batting average of selling work on the first presentation “(The Jimenezes’) love for a work-life balance also made an impression on me. It’s something I try and do here. I always tell people that you can’t be any more creative spending long hours in front of your computer thinking. Go out and see the world to spark your creativity.” While his role has left little time for him to dabble in writing fiction, Panes remains an avid runner. He’s out running three to four times a week, usually at night at either
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05 McDonald’s “Kuya (Big Brother) TVC 06 McDonald’s “Gym” TVC 07 McDonald’s “Hooray 3” TVC 08 P&G Ariel + Downy “Aid Couture” 09 Samurai “Night Watchman”, “Cook”, “Xeroxman” Print Series 09
the Fort or UP, if his schedule permits. Shortly after the Jimenezes began their merger with Basic, Panes headed to BBDO Guerrero, partnering with the agency’s then art director Dave Ferrer. “BBDO was about benchmarking your work against the world. With their mantra – ‘the work, the work, the work’ – you couldn’t help but be infected by that passion for work details. Everybody was on the same page, so that was good.” BBDO gave him the opportunity to work on global brands such as Pepsi, FedEx and some Bayer lines. Before too long, Burnett, then overseen by chief creative officer Richard Irvine, came calling with an opportunity Panes could not refuse. At the time of his arrival, the agency was nursing the loss of the sizable McDonald’s account, which had decamped to DDB after a decade with Burnett.
With the Jimenezes’ mantra of finding the Filipino sensibility for work and selling on the first presentation drummed in him, Panes and the team worked on what was left of McDonald’s, slugging it out to eventually reclaim the entire business. The agency behind classics such as the ‘Karen Po’ campaign – where a grandfather shows he has not forgotten his granddaughter – started creating new gems under Panes. Last year’s heartwarming ‘Kuya’ – about the caring bond between two brothers – was meant to sell the fastfood giant’s new breakfast line. “But instead of doing an ad that talked about the price or the flavor, we looked for little stories to tell,” he recounts. “We have 50 to 100 stories every time we sit down. We see what engages even at the first pass, what story provokes a reaction. It’s what people draw from their experience, from their childhood, from something
May-June 2014
that happened to them on their way to work. Life is a source of our stories.” ‘Kuya’ went down well with local audiences, a reaction that took Panes and his team by surprise. “We knew it was a cute story but it was kind of overwhelming seeing all the reactions from the public.” While the new role entails more management responsibilities, Panes insists on spending the bulk of his day working as a creative. About 70% of his time is spent leading accounts, writing and working with his team. “I still write copy. I think that’s the only way for a creative leader to grow and I still learn even from the juniors.” Ever modest, Panes is reluctant to pick out his best work to date. “For now when the energy is still there, we just have to keep on looking for that little thing, growing and improving. I’d like to be in a state of perpetual dissatisfaction.”
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The 2013
adobo
Creative Rankings
Photography ryan sulit Makeup and Hair Elvie Recalde, Anthea Bueno, Tyrene Orais, J-Mar Martinez, Jheff Duran
106 Executive Creative Director 108 Creative Director 111 Art Director 115 Copywriter 118 Account Manager 123 Director 125 editor 126 planner 128 broadcast producer 130 print producer 132 Digital Imaging 134 Digital Manager 136 Production House 137 Sound Production House 138 Post Production House 139 marketing head 141 advertiser 144 agency May-June 2014
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The 2013
adobo Creative Rankings
L-R: Allan Cao, Chiarra Bianca Abanil, Rocky Saldajeno, Mark Angelo Sarmiento. Not in photo: Mark Anthony Isla.
This year adobo partnered with PWC Isla Lipana for the auditing and tabulation of the adobo Creative Rankings.
L-R: IMMAP's Mike Palacios, Creative Guild's Joe Dy and Bryan Siy, adobo's Angel Guerrero and PWC Isla Lipana's Rocky Saldajeno
The 2013 adobo Creative Rankings are verified and officially endorsed by the Creative Guild of the Philippines and the Internet Mobile Marketing Association of the Philippines.
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May-June 2014
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methodology Each year, adobo measures the creative firepower of advertising agencies, their talent and key supplier categories in the Philippines. An external auditor PWC Isla Lipana handled this year's auditing and tabulation, ensuring the process of compiling an index of creative talent behind the country’s best marketing communications work is both fair and transparent. The rankings are solely performancebased, tracking the achievements of advertising agencies, creatives, directors and production houses across 10 of the most important local, regional and global advertising awards shows in 2013. The rankings involve a multi-stage process: 4 The adobo Creative Rankings were concluded using the list of awards received by each advertising agency from selected international and local advertising awards-giving bodies as summarized and provided by adobo to PWC Isla Lipana. 4 The rankings are based solely on performances of agencies over the past year. The list of awards submitted by all agencies are duly reviewed by adobo and verified by the respective agency authorized personnel. adobo has identified the following international and local advertising award-giving bodies to be included in the tally of the 2013 Creative Rankings: • International: Cannes, D&AD, Clio, One Show, London International Awards, New York Festival, AdFest and Spikes Asia
• Local: Kidlat Awards, Boomerang Awards • As each advertising award-giving body carries a certain degree of prestige, adobo has assigned and placed equivalent points/scores for each award. The table (right) shows the equivalent or points assigned to the different awards show. PWC Isla Lipana made a tally of all the awards received by each agency from the above award-giving bodies. For score tabulation purposes, minor awards and categories including Craft entries, were only given 30% of the indicated score set for the different awards. • The total number of awards counted and accumulated for each agency was multiplied by the equivalent points shown at right. Accordingly, an agency which won a greater number of international awards is expected to amass more points. The counted awards only include credits earned by the agency (i.e metal and distinction) and do not include any credits from its creatives. • The equivalent points tabulated in number (5) are added together to arrive at the total points earned by each agency from all categories mentioned, awards (Gold, Silver, Bronze, Finalist/shortlisted) and award-giving bodies. The total points were used to determine the final rankings. • Creatives are ranked separately from the agency ranking following the same tabulation process and equivalent points awarded. Credits for creatives do not count for the agency ranking. Talent are listed with the company they were employed at the time of the award wins.
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score sheet 01 Cannes Lions
Grand Prix 340; Gold 280; Silver 230; Bronze 190; Finalist 90
02 D&AD
Yellow Pencil 280; Nomination 230; In-book 185
03 Clio
Grand Prix 280; Gold 230; Silver 185; Bronze 145; Finalist 60
04 The One Show
Grand Prix 280; Gold 230; Silver 185; Bronze 145; Finalist 60
05 London International Awards
Grand Prix 150; Gold 120; Silver 90; Bronze 60; Finalist 35
06 New York Festivals
Grand Prix 150; Gold 120; Silver 90; Bronze 60; Finalist 35
07 Spikes Asia Festival
Grand Prix 110; Gold 80; Silver 60; Bronze 40; Finalist 25
08 AdFest
Grand Prix 100; Gold 75; Silver 55; Bronze 40; Finalist 25
09 Kidlat Awards
Grand Prix 70; Gold 40; Silver 30; Bronze 20; Finalist 4
10 Boomerang Awards
Grand Prix 50; Gold 30; Silver 20; Bronze 10; Shortlist 4
adobomagazine
top
Executive Creative Director
1 Andrew Petch Points 2,777 Ace Saatchi & Saatchi Following his time at Saatchi & Saatchi offices in London and Singapore, and stints with Publicis Worldwide and BMF Australia, Andrew Petch has led the charge of history-making achievements at Ace Saatchi & Saatchi Manila. His haul included a Titanium shortlist at Cannes in 2012 and the most-ever Lion wins by a Philippine agency in 2013. In addition to Agency of the Year wins with every office he’s worked, Petch has scored numerous regional and international metal.
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Executive Creative Director
top 2013
NAME
AGENCY
SCORE
1
Andrew Petch
Ace Saatchi & Saatchi
2,777
2
David Guerrero
BBDO Guerrero
1,895
3
Merlee Jayme
DM9JaymeSyfu
1,505
4
Badong Abesamis
Y&R Philippines
1,412.50
5
Eugene Demata
DM9JaymeSyfu
1,385
6
Marcus Rebeschini
Y&R Philippines
1,338.50
7
Melvin Mangada
TBWA\Santiago Mangada Puno
1,203
8
Dave Ferrer
JWT Manila
586.50
Brandie Tan
BBDO Guerrero
490
Tin Sanchez
BBDO Guerrero
490
10
Leigh Reyes
Lowe Inc.
391.50
11
Tay Guan Hin
JWT Manila
380.50
Noel Bermejo
McCann Worldgroup Philippines
230
Raul Castro
McCann Worldgroup Philippines
230
13
Raoul Panes
Leo Burnett Manila
220
14
Joey Ong
DDB Philippines
166
15
Budjette Tan
MRM Manila
100
16
Mike Sicam
OgilvyOne
70
17
Marlon Rivera
Publicis Manila
50
Noel San Juan
Dentsu Philippines
35
Ompong Remigio
Campaigns & Grey
35
Marci Reyes
TBWA\Santiago Mangada Puno
31
Dadi Santos
McCann Worldgroup Philippines
20
Peter Acuna
McCann Worldgroup Philippines
20
Pia Ocampo
Wunderman Philippines
20
Dino Ocampo
Movent Inc.
10
Terrence Yuen
Y&R Philippines
10
22
Kat Limchoc
Leo Burnett Manila
6.5
23
Teeny Gonzales
Seven A.D.
6
9
12
18 19 20
21
David Guerrero
Points 1,895 BBDO Guerrero
Merlee Jayme
One of Asia’s most-awarded creatives, David Guerrero is cofounder of BBDO Guerrero. Since 1998, the agency has grown to become one of Asia’s leading creative agencies, with notable metal wins in 2013 for clients Pepsi and the Department of Tourism.
Points 1,505 DM9JaymeSyfu As “chairmom” of the DM9JaymeSyfu, Merlee Jayme led her team to the Philippines’ first-ever Grand Prix at the 2013 Cannes Lions for the ‘Smart TXTBKS’ initiative, powering her shop to the 25th overall worldwide spot in The Gunn Report, the highlight ranking achieved by a local office in the report.
May-June 2014
adobomagazine
top Creative Director
1 Trixie Diyco Points 2,462 Ace Saatchi & Saatchi With a portfolio that includes winning works for brands like Ariel and Cadbury, Ace Saatchi & Saatchi Vice President/Creative Director Trixie Diyco is a firm believer in the ability of an idea to inspire and make a difference. That belief was amply illustrated with PLDT ‘Screen-Age Love Story’s’ successful integration of relatable human emotion and appealing characters with an established brand, as well as the hand-washing awareness campaign for client Procter & Gamble’s Safeguard that produced ‘Suck Toe’.
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Creative Director
top 2013
NAME
AGENCY
SCORE
1
Trixie Diyco
Ace Saatchi & Saatchi
2,462
2
Greg Martin
Ace Saatchi & Saatchi
1,715
3
Rey Tiempo
BBDO Guerrero
1,675
4
Gary Amante
BBDO Guerrero
1,385
5
Jake Tesoro
TBWA\Santiago Mangada Puno
696
6
Brandie Tan
BBDO Guerrero
540
7
Joe Dy
JWT Manila
510.50
Dale Lopez
BBDO Guerrero
490
Jao Bautista
BBDO Guerrero
490
Meggy de Guzman
BBDO Guerrero
490
9
Mark Ibaviosa
JWT Manila
380.50
10
Jordan Santos
Ace Saatchi & Saatchi
367
11
Marci Reyes
TBWA\Santiago Mangada Puno
346
12
Buboy Paguio
DM9JaymeSyfu
335
13
Abi Aquino
Lowe Inc.
290.50
14
Noel Bermejo
McCann Worldgroup Philippines
230
15
Corey Cruz
BBDO Guerrero
220
Ian Sta. Maria
BBDO Guerrero
200
Jeck Ebreo
BBDO Guerrero
200
Cardy Santos
DDB Philippines
140
Mike Sicam
OgilvyOne
140
Patrick Miciano
DDB Philippines
140
18
Manuel Villafania
TBWA\Santiago Mangada Puno
125
19
Eugene Demata
DM9JaymeSyfu
120
20
Raymund Pineda
DDB Philippines
115
21
Carl Urgino
Leo Burnett Manila
102
22
Dino Cabrera
Leo Burnett Manila
95
8
16
17
Greg Martin
Points 1,715 Ace Saatchi & Saatchi
Rey Tiempo
For a guy who once described what he does as alchemy, Greg Martin seems to have had the magic working overtime, as ‘Tiger Energy Playground’ for Mondelez took Gold at Clio and ‘Screen-Age Love Story’ for PLDT at Cannes in 2013.
Points 1,675 BBDO Guerrero The current ECD of Dentsu Philippines capped off his tenure at longtime-home BBDO Guerrero with a stellar 2013, racking up metal wins at (among others) Cannes, One Show and Spike Asia, thanks to his contributions on ‘Persistent Headaches’ and ‘It’s More Fun’.
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p e op l e
cre ative r anking s
2013
NAME
AGENCY
SCORE
23
Roman Carlo Olivarez
Lowe Inc.
95
24
Alvin Tecson
Leo Burnett Manila
77
25
Louie Sotto
DM9JaymeSyfu
60
26
Oliver Sarmiento
Publicis Manila
50
27
Bryan Siy
TBWA\Santiago Mangada Puno
45
28
Denise Tee
TBWA\Santiago Mangada Puno
40
29
Sammy Pasamba
Campaigns & Grey
35
Chino Jayme
TBWA\Santiago Mangada Puno
25
Herbert Hernandez
Y&R Philippines
25
Jenny Nadong
Y&R Philippines
25
Jess Villaruel
Publicis JimenezBasic
25
John Ed De Vera
TBWA\Santiago Mangada Puno
25
John Sacro
Publicis JimenezBasic
25
Ben Deluyas
McCann Worldgroup Philippines
20
Bo Deng
Y&R Philippines
20
Bonnie Doroy
OgilvyOne
20
Kit Ong
Y&R Philippines
20
Marco Dimaano
Y&R Philippines
20
Nils Andersson
Y&R Philippines
20
Ricky Gonzales
Publicis JimenezBasic
20
32
Ali Silao
TBWA\Santiago Mangada Puno
12
33
Donna Dimayuga
DDB Philippines
11
34
Dante Dizon
Leo Burnett Manila
10.50
Dan Pambid
DDB Philippines
10
Ivan Policarpio
McCann Worldgroup Philippines
10
Jules Cabigon
Movent Inc.
10
Roberto Vito
DDB Philippines
10
Roni Gutierrez
DDB Philippines
10
Argem Vinuya
Seven A.D.
6
Joey Tiempo
TBWA\Santiago Mangada Puno
6
Mario Serrano
Lowe Inc.
6
Russ Molina
Seven A.D.
6
Stephanie dela Cruz
Leo Burnett Manila
6
James Perada
DDB Philippines
5
Gian Gonzales
Publicis JimenezBasic
4
Kulas Abrenilla
Publicis JimenezBasic
4
30
31
35
36
37 38
adobomagazine
May-June 2014
top Art Director
1 Denise Tee Points 2,417 Ace Saatchi & Saatchi TBWA\Santiago Mangada Puno Denise Tee joined the Ace Saatchi & Saatchi team as head of art in 2012 after serving as art director at TBWA\Santiago Mangada Puno. For the 2013 awards shows, Tee’s awardwinning chops could be seen in the eye-catching imagery of Safeguard’s hand-washing advocacy campaign, ‘Screen-Age Love Story’, and the Cannes Bronze Lion-winning ‘Olympic Shirt Flag’ for Procter & Gamble’s Ariel line of laundry soap, as well as Boysen print executions for TBWA.
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p e op l e
cre ative r anking s
art Director
top 2013
NAME
AGENCY
SCORE
1
Denise Tee
Ace Saatchi & Saatchi, TBWA\Santiago Mangada Puno
2,417
2
Glenn Lalogan
Ace Saatchi & Saatchi
1,740
3
Hans Malang
Ace Saatchi & Saatchi
1,707
Miguel Mier
Ace Saatchi & Saatchi
1,425
Windel Aboy
Ace Saatchi & Saatchi
1,425
5
Biboy Royong
DM9JaymeSyfu
1,410
6
Gary Amante
BBDO Guerrero
1,385
7
JP Palileo
BBDO Guerrero
1,295
8
Peepo David
BBDO Guerrero
1,095
9
Gra Benesa
Y&R Philippines
1,039
10
Jake Tesoro
TBWA\Santiago Mangada Puno
1,016
11
Buboy Paguio
DM9JaymeSyfu
960
12
Gino Caoile
Ace Saatchi & Saatchi
670
13
Milton Ganelo
Ace Saatchi & Saatchi
657
14
Claren Torres
BBDO Guerrero, Wunderman Philippines
530
15
Javey Villiones
JWT Manila
510.50
Corey Cruz
BBDO Guerrero
510
Karen Gosingan
BBDO Guerrero
510
Leah Mababangloob
BBDO Guerrero, Wunderman Philippines
510
Ian Sta. Maria
BBDO Guerrero
490
Jeck Ebreo
BBDO Guerrero
490
Nolan Fabular
TBWA\Santiago Mangada Puno
406
Danni Lim
JWT Manila
380.50
Elvin Villar
JWT Manila
380.50
Joei Calixto
JWT Manila
380.50
4
16
17 18 19
Glenn Lalogan
Points 1,740 Ace Saatchi & Saatchi An art director with Ace Saatchi & Saatchi since 2003, Glenn Lalogan has contributed to the Clio 2013-winning ‘Tiger Energy Playground’ for client Mondelez and the multi-awarded ‘ScreenAge Love Story’ for PLDT MyDSL.
adobomagazine
May-June 2014
Hans Malang
Points 1,707 Ace Saatchi & Saatchi Hans Malang’s aesthetic sense certainly caught the eyes of awards judges the world over in 2013, as her work was featured on the winning pieces for Safeguard’s hand-washing awareness campaign and PLDT’s ‘Screen-Age Love Story’.
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2013
NAME
AGENCY
SCORE
19
Rizza Garcia
BBDO Guerrero
380
20
Sandy Salurio
Y&R Philippines
363.50
Bixie Reyes
BBDO Guerrero
290
Dennis Niera
BBDO Guerrero
290
Gelo Lico
Ace Saatchi & Saatchi
290
Sugar Perez
BBDO Guerrero
290
22
Tim Villela
BBDO Guerrero
230
23
Dale Lopez
BBDO Guerrero
200
24
Joanna Benitez
OgilvyOne
100
Aion Bato
Lowe Inc.
95
Mike Quiogue
DM9JaymeSyfu
95
Ronie Villanueva
Leo Burnett Manila
95
Anna Zavala
Ace Saatchi & Saatchi
85
Janette De Veyra
Ace Saatchi & Saatchi
85
Manuel Villafania
TBWA\Santiago Mangada Puno
85
27
Ryan Raneses
OgilvyOne
80
28
Ali Silao
TBWA\Santiago Mangada Puno
77
Bob Cruz
JWT Manila
76
Drea Dizon
JWT Manila
76
30
Carl Urgino
Leo Burnett Manila
72.50
31
AM Valdez
Leo Burnett Manila
69
Carlo Cruz
Leo Burnett Manila
65
Dino Cabrera
Leo Burnett Manila
65
Fritz Valientes
Leo Burnett Manila
65
Martin Flordeliza
Lowe Inc.
65
Migs Francisco
Leo Burnett Manila
65
33
Mick Enrique
OgilvyOne
60
34
Joaquim Laurel
Publicis Manila
50
Chialet Luzarraga
Y&R Philippines
35
Momon Villanueva
Campaigns & Grey
35
36
Mario Serrano
Lowe Inc.
30
37
Melvin Mangada
TBWA\Santiago Mangada Puno
26
Arthur Ryan Aquino
TBWA\Santiago Mangada Puno
25
Derrick Periodico
Y&R Philippines
25
Gian Mawo
Publicis JimenezBasic
25
Herbert Hernandez
Y&R Philippines
25
Jess Villaruel
Publicis JimenezBasic
25
21
25
26
29
32
35
38
May-June 2014
adobomagazine
116
p e op l e
2013
cre ative r anking s
NAME
AGENCY
SCORE
John Ed De Vera
TBWA\Santiago Mangada Puno
25
RC Banares
TBWA\Santiago Mangada Puno
25
Ace Enriquez
McCann Worldgroup Philippines
20
Arjun Altomonte
McCann Worldgroup Philippines
20
Chi Roque
OgilvyOne
20
Chin Quijano
Wunderman Philippines
20
Jan Lisondra
Wunderman Philippines
20
John Pabalan
Lowe Inc.
20
Lara Rojo
Wunderman Philippines
20
Mike Fernando
Publicis JimenezBasic
20
Vanessa Tamayo
Publicis JimenezBasic
20
40
Troy Sitosta
DDB Philippines, Lowe Inc.
17
41
Mela Advincula
Leo Burnett Manila
12
Aaron Paul Asis
Movent Inc.
10
Camilo Quevedo
DDB Philippines
10
Dennis Santos
DDB Philippines
10
Gabie Osorio
McCann Worldgroup Philippines
10
Jacky Zhu
Y&R Philippines
10
Jon Salutal
Y&R Philippines
10
Migs Gutierrez
McCann Worldgroup Philippines
10
Nicole Soltes
DDB Philippines
10
Rein Dinioso
OgilvyOne
10
Yna Cruz
McCann Worldgroup Philippines
10
Dante Dizon
Leo Burnett Manila
6.50
Ella Quiogue
Leo Burnett Manila
6.50
Marjz Tayle
Leo Burnett Manila
6.50
Owie Lazatin
Leo Burnett Manila
6.50
Argem Vinuya
Seven A.D.
6
CJ De Silva
TBWA\Santiago Mangada Puno
6
Gari Valderrama
Lowe Inc.
6
Rina Dela Calzada
Seven A.D.
6
Ryan Giron
Leo Burnett Manila
6
Spiro Barroga
Leo Burnett Manila
6
Kelvin Co
DDB Philippines
5
Marco Dimaano
Y&R Philippines
5
Stephanie Mangalindan
Leo Burnett Manila
4
38
39
42
43
44
45 46
adobomagazine
May-June 2014
top Copywriter
1 Paw Berroya Points 2,095 Ace Saatchi & Saatchi With her words doing their share of the creative lifting, copywriter Paw Berroya helped elevate Ace Saatchi & Saatchi campaigns to award-winning readiness, with PLDT MyDSL’s ‘ScreenAge Love Story’ and Ariel ‘Olympic Shirt Flag’. A gifted wordsmith, Berroya has worked on a variety of campaigns, whether it was for Saatchi or her former agency, BBDO Guerrero.
118
p e op l e
cre ative r anking s
copywriter
top 2013
NAME
AGENCY
SCORE
1
Paw Berroya
Ace Saatchi & Saatchi
2,095
2
Jordan Santos
Ace Saatchi & Saatchi
1,792
3
David Guerrero
BBDO Guerrero
1,785
4
Petra Magno
Ace Saatchi & Saatchi
1,715
Gelo Suarez
Ace Saatchi & Saatchi
1,425
Sara Badr
Ace Saatchi & Saatchi
1,425
6
Aste Gutierrez
DM9JaymeSyfu
1,410
7
Rey Tiempo
BBDO Guerrero
1,385
8
Badong Abesamis
Y&R Philippines
1,363.50
9
Red Ollero
BBDO Guerrero
1,165
10
Nino Reyes
TBWA\Santiago Mangada Puno
630
Eia Garcia
BBDO Guerrero, Wunderman Philippines
510
Sheena Siao
BBDO Guerrero
510
Nikki Golez
BBDO Guerrero
490
Tin Sanchez
BBDO Guerrero
490
13
Y2 Villanueva
JWT Manila
456.50
14
Maui Reyes
Ace Saatchi & Saatchi, Leo Burnett Manila
385
Elvin Villar
JWT Manila
380.50
Joe Dy
JWT Manila
380.50
Abi Capa
TBWA\Santiago Mangada Puno
320
Rachel Teotico
BBDO Guerrero
320
Leigh Reyes
Lowe Inc.
300.50
Abe Medenilla
Ace Saatchi & Saatchi
290
Paolo Agulto
Ace Saatchi & Saatchi
290
Tony Sarmiento
Ace Saatchi & Saatchi
290
Abi Aquino
Lowe Inc.
270.50
Allan Almeda
McCann Worldgroup Philippines
230
Matt Crescenzo
McCann Worldgroup Philippines
230
5
11 12
15 16 17 18 19 20
Jordan Santos
Points 1,792 Ace Saatchi & Saatchi Jordan Santos’ ability to turn a phrase is familiar if you were one of those won over by Cebuana Lhuillier ‘Remeet’s’ heart-tugging presentation of ordinary Filipinos reunited with their foreign-based family members or laughed along with ‘Screen-Age Love Story’.
adobomagazine
May-June 2014
David Guerrero
Points 1,785 BBDO Guerrero ‘It’s More Fun’ and ‘Persistent Headaches’ called for tonguein-cheek copy to match their expertly-crafted visuals, and David Guerrero did his share for both on their way to claiming metal at Cannes, One Show, Boomerang, Clio and Kidlat.
cr eat iv e r anking s
119
pe o pl e
2013
NAME
AGENCY
SCORE
21
Maan Bautista
JWT Manila
206
Jao Bautista
BBDO Guerrero
200
Meggy de Guzman
BBDO Guerrero
200
23
Raoul Panes
Leo Burnett Manila
182
24
Bryan Siy
TBWA\Santiago Mangada Puno
145
25
Denise Nicole Oyog
DDB Philippines
140
26
CA Abrigo
OgilvyOne
100
Louie Sotto
DM9JaymeSyfu
95
Roman Carlo Olivarez
Lowe Inc.
95
28
Maan Agsalud
Ace Saatchi & Saatchi
85
29
Brandon Dollente
Ogilvy One
80
30
Alvin Tecson
Leo Burnett Manila
77
31
Jopy Arnaldo
Lowe Inc.
65
32
Marci Reyes
TBWA\Santiago Mangada Puno
57
Joaquim Laurel
Publicis Manila
50
Oliver Sarmiento
Publicis Manila
50
Joey Tiempo
TBWA\Santiago Mangada Puno
46
Griffey De Guzman
Dentsu Philippines
35
Sammy Pasamba
Campaigns & Grey
35
Chino Jayme
TBWA\Santiago Mangada Puno
25
John Sacro
Publicis JimenezBasic
25
Amanda Cruz
McCann Worldgroup Philippines
20
Angelo Salazar
Wunderman Philippines
20
Chandra Marasigan
OgilvyOne
20
Edith Montero
Publicis JimenezBasic
20
Faith Salazar
Wunderman Philippines
20
Knox Balbastro
BBDO Guerrero
20
Paolo Marinduque
Wunderman Philippines
20
Peter Juan
Wunderman Philippines
20
Pia Ocampo
Wunderman Philippines
20
Rafa Santos
McCann Worldgroup Philippines
20
Lauren Lim
DDB Philippines
11
Angela Mendoza
Y&R Philippines
10
Dexter Canete
OgilvyOne
10
George Angsanto
McCann Worldgroup Philippines
10
Rachel Yang
Y&R Philippines
10
Aimee Espiritu
Leo Burnett Manila
9
22
27
33 34 35 36
37
38
39
40
May-June 2014
adobomagazine
top Account Manager
1 Iking Uy Points 1,875 BBDO Guerrero Having begun his advertising career at JWT Manila and now with the Grey Group in Singapore, Iking Uy is no stranger to accolades, having won various awards at shows around the region and internationally. His placement in our 2013 rankings comes from the well-deserved wins earned during his time in BBDO Guerrero, when he counted the Philippine Department of Tourism and Bayer among his clients for ‘It’s More Fun’ and ‘Persistent Headaches’, respectively.
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121
pe o pl e
2013
NAME
AGENCY
SCORE
41
Gian Nealaga
Leo Burnett Manila
7.50
42
Kat Limchoc
Leo Burnett Manila
6.50
Fermin Villegas
Lowe Inc.
6
Francis Inton
Lowe Inc.
6
Maki Correa
Seven A.D.
6
Melvin Mangada
TBWA\Santiago Mangada Puno
6
Nino Gupana
Leo Burnett Manila
6
Sarah de Joya
DDB Philippines
5
43
44
top
account manager
2013
NAME
AGENCY
SCORE
1
Iking Uy
BBDO Guerrero
1,875
2
Gigi Garcia
Ace Saatchi & Saatchi
1,740
Adi Yapyuco
Ace Saatchi & Saatchi
1,450
April Landicho
Ace Saatchi & Saatchi
1,450
Claire Cruz
Ace Saatchi & Saatchi
1,450
Geli Angeles
Ace Saatchi & Saatchi
1,450
4
Ags Almasan
Y&R Philippines
1,065
5
Kathleen Camus
Y&R Philippines
1,030
Alex Syfu
DM9JaymeSyfu
960
Caloy Sambrano
DM9JaymeSyfu
960
Ina Vargas
DM9JaymeSyfu
960
7
Lou Santos
Ace Saatchi & Saatchi
952
8
Kara Filamor
TBWA\Santiago Mangada Puno
690
9
Crissy Ancheta
Ace Saatchi & Saatchi
670
3
6
Gigi Garcia
Points 1,740 Ace Saatchi & Saatchi As one of the pillars of Ace Saatchi & Saatchi, Gigi Garcia’s standard-setting client management, has displayed a proven knack for keeping in tune with the trends of the times while balancing the expectations of those whose brands she’s been entrusted with.
May-June 2014
adobomagazine
122
p e op l e
cre ative r anking s
2013
NAME
AGENCY
SCORE
10
Paolo Acosta
BBDO Guerrero
490
11
Gabbie Santiago
DM9JaymeSyfu
425
12
Merlee Jayme
DM9JaymeSyfu
400
Brian Lontok
JWT Manila Manila
380.50
Miriam Sison-Pangan
JWT Manila Manila
380.50
Tobias Bernardo
JWT Manila Manila
380.50
Arvee De Guzman
Ace Saatchi & Saatchi
290
Maine Gatbunton
Ace Saatchi & Saatchi
290
Rose Javier
Ace Saatchi & Saatchi
290
15
Paulo Marquez
Ace Saatchi & Saatchi
282
16
Tricia Kiocho
Lowe Inc.
270.50
17
Adrian Quintana
McCann Worldgroup Philippines
230
18
Lynne Esguerra-Reyes
BBDO Guerrero
220
19
Mark Dehesa
JWT Manila Manila
206
Denise Banatin
DDB Philippines
140
Jackie Caruyan
DDB Philippines
140
Vina Henson
DDB Philippines
140
21
Cha Aguiling
JWT Manila Manila
130
22
Cindy Evangelista
BBDO Guerrero
110
Joaqui Mendoza
MRM Manila
100
Mags Martin
MRM Manila
100
Edg Samson
Ace Saatchi & Saatchi
85
Eva Ocampo
Ace Saatchi & Saatchi
85
Lala De Leon
Ace Saatchi & Saatchi
85
Ping Castillo
Ace Saatchi & Saatchi
85
Ronald Barreiro
DM9JaymeSyfu
85
25
Maik Alturas
Leo Burnett Manila Manila
81
26
Golda Roldan
Leo Burnett Manila Manila
77
13
14
20
23
24
Adi Yapyuco
Points 1,450 Ace Saatchi & Saatchi Andri ‘Adi’ Rose Yapyuco may now be an art director at DDB Philippines, but the three years she spent at Ace Saatchi & Saatchi was well spent, earning her place in the rankings for work on PLDT MyDSL, Pharex Healthcorp, Roche Phils., and Meralco, among others.
adobomagazine
May-June 2014
April Landicho
Points 1,450 Ace Saatchi & Saatchi Account management experience in agencies such as Ace Saatchi & Saatchi, FCB and JWT Manila led April Lim-Landicho to the position of Ace Saatchi & Saatchi where she’s served been 2008 and now serves as management supervisor.
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123
pe o pl e
2013
NAME
AGENCY
SCORE
27
Lea Nepomuceno
JWT Manila Manila
76
Bansky Fermin
Leo Burnett Manila Manila
72.50
JM Miranda
Leo Burnett Manila Manila
72.50
29
Kathy Cosico
TBWA\Santiago Mangada Puno
71
30
Tria Sordan
Leo Burnett Manila Manila
70.50
Aiza Soller
Lowe Inc.
65
Ethel Sia
TBWA\Santiago Mangada Puno
65
Camille Dimaculangan
OgilvyOne
60
Fin Neric
DM9JaymeSyfu
60
Katrina Marasigan
OgilvyOne
60
Maffy Tamayo
OgilvyOne
60
Tam Salonga
DM9JaymeSyfu
60
Andrea Santos
OgilvyOne
50
Angelo Carpena
Publicis Manila
50
Arianne Catacutan
OgilvyOne
50
Shali Salomon
Publicis Manila
50
Katie Santos
Publicis Jimenezbasic
44
Alyssa Cortes
OgilvyOne
40
Apple Galvez
Wunderman Philippines Philippines
40
Colleen Maglaya
OgilvyOne
40
Shayne Mercado
OgilvyOne
40
Wanda Pascua
OgilvyOne
40
Henry Chua
Campaigns & Grey
35
Joee Manalo
Dentsu Philippines
35
Pam Ignacio
TBWA\Santiago Mangada Puno
32
Ethel Villanoy
Leo Burnett Manila Manila
30
Tricia Bucag
OgilvyOne
30
Yana Dalisay
Leo Burnett Manila Manila
30
28
31
32
33
34
35
36 37 38
Claire Cruz
Points 1,450 Ace Saatchi & Saatchi
Geli Angeles
Now a mobile campaign manager with AARKI Inc., Claire Cruz performed account supervisor duties at Ace Saatchi & Saatchi for PLDT MyDSL and their ‘Screen-Age Love Story’, powering her to 1450 points in our Rankings.
Points 1,450 Ace Saatchi & Saatchi Angeline ‘Geli’ Angeles kicks off our first-ever four-way tie for third place, all snagged by accounts people from Ace Saatchi & Saatchi. Angeles earns her spot on the list for her efforts for ‘Screen-Age Love Story’.
May-June 2014
adobomagazine
124
p e op l e
cre ative r anking s
2013
NAME
AGENCY
SCORE
39
Donny Dingcong
Leo Burnett Manila Manila
29
40
Katrina Cosico
TBWA\Santiago Mangada Puno
26
Gela Pena
Leo Burnett Manila Manila
25
Gella Valle
DM9JaymeSyfu
25
Jaja Galang
Y&R Philippines
25
Joy Garcia
TBWA\Santiago Mangada Puno
25
Nery Neves
Y&R Philippines
25
Partia Caturia
TBWA\Santiago Mangada Puno
25
Anika Recto
McCann Worldgroup Philippines
20
Beng Alcazaren
Publicis JimenezBasic
20
Camille Datu
Wunderman Philippines Philippines
20
Chelo Bacarro
Publicis JimenezBasic
20
Cookie Enriquez
Wunderman Philippines Philippines
20
Dalla Sugcang
Bbdo Guerrero
20
Dea Bobadilla
Lowe Inc.
20
Denise Gamo
Bbdo Guerrero
20
Eric Nolasco
Publicis JimenezBasic
20
Java Lee
Wunderman Philippines Philippines
20
Jo Angeles
McCann Worldgroup Philippines
20
Jobelle Nepomuceno
Y&R Philippines
20
Joseph Torrijos
OgilvyOne
20
Paolo Banaga
Publicis Jimenezbasic
20
Ruth Alminar
OgilvyOne
20
Trina Nadela
Lowe Inc.
20
Aimee Marcos
McCann Worldgroup Philippines
10
Anna Adipne
OgilvyOne
10
Bianca Pascual
McCann Worldgroup Philippines
10
Blaeson Jay Cordova
McCann Worldgroup Philippines
10
Cheska Teresa
Movent Inc.
10
Diane Welsh - Capile
Ddb Philippines
10
Er Rafael
Ddb Philippines
10
Fernando Sarael, Jr.
McCann Worldgroup Philippines
10
Gelo Guerrero
OgilvyOne
10
Issa Tobias
Movent Inc.
10
Leona Bedonia
McCann Worldgroup Philippines
10
Marnie Emralino
Ddb Philippines
10
Nigel Cornel
OgilvyOne
10
41
42
43
adobomagazine
May-June 2014
top Director
1 Joel Limchoc Points 1,066.5 Revolver Manila The helmer of numerous awardwinning commercials, Joel Limchoc has created an extraordinary body of work on both sides of the creative fence, having been the executive director of BBDO Guerrero before turning his talents to directing. Presently an in-house director at Film Pabrika, following his time at Revolver Manila, Limchoc secured the number one director position for his direction for the ‘Persistent Headaches’ series of commercials for BBDO Guerrero.
126
p e op l e
cre ative r anking s
2013
NAME
AGENCY
SCORE
43
Paolo Buenviaje
OgilvyOne
10
Denise Amora
Seven A.D.
6
Do Bagcal
Lowe Inc.
6
Michael dos Santos
Lowe Inc.
6
Portia Catuira
TBWA\Santiago Mangada Puno
6
Wella Tan
Seven A.D.
6
Xea Kho
Leo Burnett Manila Manila
6
Jackie Monteclaro
Publicis JimenezBasic
5
Weng Gidwani
Publicis JimenezBasic
5
46
Isabel Prollamante
Publicis JimenezBasic
4
47
Hans Gahol
Leo Burnett Manila Manila
3
48
Mapaul Manalo
Leo Burnett Manila Manila
1.50
44
45
top
director
2013
NAME
PRODUCtion house
SCORE
1
Joel Limchoc
Revolver Manila
1,066.50
2
Adrian Calumpang
Production Village
106
3
Paul Alexei Basinillo
Straight Shooters
35
4
Lyle Sacris
Film Pabrika
27
5
Jose Javier Reyes
Engine Room
26
6
Stephen Ngo
Film Pabrika, Underground Logic
24
7
Dragon Pineda
Freelance
20
8
Borgy Torre
Revolver Manila
10
9
Joseph Ramos
Underground Logic
7.50
10
Henry Frejas
Filmex
1.50
Adrian Calumpang
Points 106 Production Village Now with Underground Logic, Adrian Calumpang scored metal in 2013 for his behindthe-scenes work on the Kidlat-winning ‘Windows’ for Cinemanila and Boomerangwinning online video ads like ‘Toffee: The Ultimate Human Whisperer’, and the Parokya Ni Edgar-starring ‘EDGAR’ for Nescafé.
adobomagazine
May-June 2014
Paul Alexei Basinillo
Points 35 Straight Shooters An in-house director with Straight Shooters Media, Paul Alexei Basinillo lent his directorial talents to ‘Hit’, which was recognized as a New York Festivals Finalist in the Public Service Announcement category for women’s rights group Gabriela.
top
127
pe o pl e
cr eat iv e r anking s
editor
2013
NAME
AGENCY
SCORE
1
Melo Samson
Tower of Doom
960
2
Jamie Dumancas
Freelance
380
3
Maui Mauricio
Freelance
380
4
Jeffrey Boogs San Juan
Tower of Doom
335
Casio Nicerio
Underground Logic
7.50
Mikko Rolle
Underground Logic
7.50
Bien Felix
Film Pabrika, Hit Productions, Undergound Logic
6
5 6
top Editor
1 Melo Samson Points 960 Tower of Doom When it came to the video components of DM9JaymeSyfu’s landmark Grand Prix Lion-winning ‘TXTBKS’ for Smart Communications, Tower of Doom in-house editor Melo Samson was in charge of making sure the campaign was ready for its time in the global spotlight.
May-June 2014
adobomagazine
top Planner
1 Carmen Antunez Points 1,817 Ace Saatchi & Saatchi In devising the staggered, multiplatform approaches of campaigns such as those utilized for ‘Remeet’ for Cebuana Lhuillier, ‘Screen-Age Love Story’ for PLDT MyDSL, it can be difficult for even the most seasoned practitioner to anticipate what the eventual reaction will be. For Ace Saatchi & Saatchi strategic planning director Carmen Antunez, who is approaching 20 years in the industry following stints at Lowe and Publicis JimenezBasic, the numerous metal awards at Spikes, AdFest, Kidlat and Cannes are all in a day’s work.
cr eat iv e r anking s
top
129
pe o pl e
planner
2013
NAME
AGENCY
SCORE
1
Carmen Antunez
Ace Saatchi & Saatchi
1,817
2
Cristina Buenaventura
BBDO Guerrero
1,745
3
Natalie Ang
Ace Saatchi & Saatchi
1,450
4
Pam Gracia
JWT Manila
380.50
5
Aree Pangan
BBDO Guerrero
380
6
Mel Garovillo
Ace Saatchi & Saatchi
282
7
Loren Bade
Ace Saatchi & Saatchi
85
8
Wine Chua
OgilvyOne
60
9
Joy Santos
Leo Burnett Manila
41.50
Earl Javier
McCann Worldgroup Philippines
20
Ethel Sanchez
McCann Worldgroup Philippines
20
Gino Borromeo
McCann Worldgroup Philippines
20
Jojo Leonardo
Publicis JimenezBasic
20
Cheska Teresa
Movent Inc.
10
Czar Carbonel
OgilvyOne
10
12
Cey Enriquez
Leo Burnett Manila
7.50
13
Tey San Diego
Seven A.D.
6
Cara Soto
Publicis JimenezBasic
4
Cey Ponferrada
Leo Burnett Manila
4
10
11
14
Cristina Buenaventura
Points 1,745 BBDO Guerrero
Natalie Ang
Having worked her way from consumer insights analyst to deputy planning director at BBDO Guerrero, this former Nielsen research executive gave the benefit of her experiences to help ‘Persistent Headaches’ and ‘It’s More Fun’ to awards glory.
Points 1,450 Ace Saatchi & Saatchi As a strategic planner at Ace Saatchi & Saatchi, Natalie Ang handled her accounts with the benefit of insights gleaned from her days as an account manager. Ang now applies her skills at BBDO, where she began her advertising career.
May-June 2014
adobomagazine
top Broadcast Producer
1 Michaelangelo Reyes Points 2,205 Freelance For this new category in the adobo Creative Rankings, Ace Saatchi & Saatchi broadcaster producer Michaelangelo Reyes takes the top spot for his part in crafting the video components of Ace Saatchi & Saatchi winners, ‘Olympic Shirt Flag’, ‘Remeet’ and ‘Screen-Age Love Story’, all of which won numerous metals at various awards shows here and abroad, including Spikes, Kidlat and Cannes.
131
pe o pl e
cr eat iv e r anking s
broadcast producer
top 2013
NAME
Production company
SCORE
1
Michaelangelo Reyes
Freelance
2,205
2
Carlo Perlas
Tower of Doom
1,945
3
Ino Magno
Hit Productions, Post Manila, Revolver Manila
1,485
4
Karen Sto. Domingo
Freelance
1,450
5
Aldous Pagaduan
Hit Productions, Post Manila, Revolver Manila
1,165
6
Idda Aguilar
Hit Productions, Post Manila, Revolver Manila
1,022
Francis Bagnes
Engine Room, Greenroom, Production Village
668
Sunny Lucero
Engine Room, Greenroom, Production Village
668
Anj dela Calzada
Freelance
490
Jing Abellera
Freelance
490
9
Chona Bustamante
Hit Productions
330
10
Sharon Ambas
Hit Productions
270.50
11
Mariel Cruz
Hit Productions
230
12
Jhem Lim
Straight Shooters, Film Pabrika, Hit Productions, Optima Digital
205
13
Alec Humphries
Straight Shooters
190
14
Syd Alcala
Film Pabrika, Hit Productions, Optima Digital
115
15
Lady Cajanding
Soundesign, Visual Hub, Underground Logic, Hit Productions, Soundstudio
97.50
16
Aileen Nunag
Underground Logic
37.50
17
Lester Parulan
Hit Productions, Revolver Manila, Shoestring
33.50
18
RJ Galang
Engine Room, Greenroom, Production Village
32
19
Steve Vesagas
Film Pabrika, Optima Digital, Hit Productions, Underground Logic, Revolver Manila, Shoestring, Post Manila, Filmex
31
20
Ana Fe Manuel
Freelance
27
21
Cherry Bacani
Hit Productions, Soundstudio
25
22
Lei Hosseinzadeh
Film Pabrika, Optima Digital, Hit Productions, Underground Logic, Filmex, Soundesign
22.50
Dhang Santiago
Freelance
20
Wishnie Torres
Freelance
20
Marivic San Juan
Film Pabrika, Hit Productions, Underground Logic
9
7 8
23 24
Carlo Perlas
Points 1,945 Tower of Doom
Ino Magno
Tower of Doom’s Carlo Perlas snags second place for his behind-the-scenes work for agencies Ace Saatchi & Saatchi (‘Tiger Energy Playground’, Ariel ‘Olympic Shirt Flag’) and DM9Jayme Syfu (‘Mixhibit’, ‘TXTBKS’) that have garnered wins at Clio, Cannes and Kidlat.
Points 1,485 Hit Productions, Post Manila, Revolver Manila Saridon ‘Persistent Headaches’ for Bayer and ‘It’s More Fun’ for the Philippine Department of Tourism struck a chord cord with audiences and juries for their memorable video components, assembled under the guidance of BBDO Guerrero in-house producer Ino Magno.
May-June 2014
adobomagazine
top Print Producer
1 Dennis Obien Points 2,692 Ace Saatchi & Saatchi As print producer at AceSaatchi & Saatchi, Dennis Obien’s output for the agency has included multi-awarded work for Mead Johnson, Toyota, Vespa, Proctor & Gamble, Kraft and Primer Group of Companies. In 2013, campaigns he contributed to that big were ‘Tiger Energy Playground’ for Mondelez, ‘Olympic Shirt Flag’ for Ariel, ‘Hands Feet’ for Safeguard, and ‘Screen-Age Love Story’ for PLDT MyDSL.
133
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cr eat iv e r anking s
Print Producer
top 2013
NAME
Production company
SCORE
1
Dennis Obien
Ace Saatchi & Saatchi
2,692
2
Ariel Bautista
Y&R Philippines
1,368.50
3
Al Salvador
BBDO Guerrero
630
4
Carol Pe Benito
JWT Manila, TBWA\Santiago Mangada Puno
612.50
5
Dennis Carlos
TBWA\Santiago Mangada Puno
475
6
Zeth Pascual
BBDO Guerrero
340
7
Emil Cruz
Campaigns and Grey
35
8
Jake Fernandez
Lowe Inc.
30
9
May Dalisay
Leo Burnett Manila, TBWA\Santiago Mangada Puno
25
10
Joey Osorio
Publicis JimenezBasic
5
Ariel Bautista
Points 1,368.5 Y&R Philippines
Al Salvador
Y&R’s print production manager Ariel Bautista has produced his share of notable campaigns, such as those for Colgate, Creative Guild of the Philippines and the Department of Health, as well as the triple Cannes Lion-winning, ‘Anti-Dengue Bottle’, for Maynilad Water.
Points 630 BBDO Guerrero The creative services director for BBDO Guerrero, Al Salvador was formerly the print services producer for Leo Burnett. At BBDO, he has worked on ‘Persistent Headaches’, ‘It’s More Fun’ and ‘Liter of Light’, winning at Cannes, Kidlat, AdFest, Clio and Boomerang.
May-June 2014
adobomagazine
top Digital Imaging
1 Dovie Raquel Points 2,402 Ace Saatchi & Saatchi Three years into his time at Ace Saatchi & Saatchi, Dovie Raquel has worked on a variety of awardwinning material, not the least of which are Safeguard’s campaign to promote hand-washing and the awards juggernaut that ‘Screen-Age Love Story’ turned out to be.
135
pe o pl e
cr eat iv e r anking s
digital imaging
top 2013
NAME
AGENCY
SCORE
1
Dovie Raquel
Ace Saatchi & Saatchi
2,402
2
Robert Achas
Ace Saatchi & Saatchi
2,120
3
Rico Torres
Ace Saatchi & Saatchi
1,740
4
Thony Alunan
Ace Saatchi & Saatchi
1,732
5
Rod Alonzo
Ace Saatchi & Saatchi
1,715
6
Jimmy Cepeda
Ace Saatchi & Saatchi
1,450
7
Carlos Averion
Y&R Philippines
1,114
8
Manny Vailoces
BBDO Guerrero
810
Angelito Tan
TBWA\Santiago Mangada Puno
320
Joy Panaguiton
BBDO Guerrero
320
10
Buddy Dizon
Y&R Philippines
303.50
11
Oliver Brillantes
BBDO Guerrero
250
12
Bene Sarmiento
JWT Manila, TBWA\Santiago Mangada Puno
232
13
Vilma Magsino
BBDO Guerrero
230
14
Allan Montayre
DM9JaymeSyfu
120
15
Michael Gonzales
JWT Manila, TBWA\Santiago Mangada Puno
102
16
Romar Quiroz
TBWA\Santiago Mangada Puno
90
17
Ringo Francia
Y&R Philippines
45
Rad Ibascol
TBWA\Santiago Mangada Puno
26
Rommel Cortez
TBWA\Santiago Mangada Puno
26
19
Alex Castro
TBWA\Santiago Mangada Puno
25
20
Rusby Gonzales
TBWA\Santiago Mangada Puno
20
21
Robert Perez
Leo Burnett Manila
11.50
Marjz Tayle
Leo Burnett Manila
6.50
Owie Lazatin
Leo Burnett Manila
6.50
9
18
22
Robert Achas
Points 2,120 Ace Saatchi & Saatchi
Rico Torres
Ace Saatchi & Saatchi computer graphic artist / FA Robert Achas Helped national pride fly high with Ariel ‘Olympic Shirt Flag’ and PLDT MyDSL’s ‘Screen-Age Love Story’, which continues to earn metal at international awards shows.
Points 1,740 Ace Saatchi & Saatchi With ‘Screen-Age Love Story’ (and Tiger Energy Playground’ before it) impressing judges the world over to bag metal wins hand over fist, it’s impossible to underscore the importance of finished art that Rico Torres had contributed towards in their ultimate presentations.
May-June 2014
adobomagazine
top Digital Manager
1 Shiela Tiongco Points 2,410 Ace Saatchi & Saatchi With five years under her belt as Digital Director at Ace Saatchi & Saatchi after proving her digital advertising mettle over two years at Ogilvy & Mather, Sheila Tiongco’s skills at crafting the online components of campaigns such as Mondelez’ ‘Tiger Energy Playground’, Ariel’s ‘Olympic Shirt Flag’, and PLDT’s ‘Screen-Age Love Story’ were rewarded in 2013 with metal wins at Cannes, Clio, AdFest, Spikes and Kidlat.
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pe o pl e
digital manager
top 2013
NAME
AGENCY
SCORE
1
Shiela Tiongco
Ace Saatchi & Saatchi
2,410
2
Joem Segovia
Ace Saatchi & Saatchi
1,450
2
Patti Lee
Ace Saatchi & Saatchi
1,450
3
Buboy Paguio
DM9JaymeSyfu
960
4
Roshan Nandwani
BBDO Guerrero
510
5
Manny Nepomuceno
BBDO Guerrero
490
6
Jerik De Guzman
Ace Saatchi & Saatchi
290
7
Nico Nicomedes
Publicis Manila
100
8
Czar Carbonel
OgilvyOne
60
Joaquim Laurel
Publicis Manila
50
Joseph Torrijos
OgilvyOne
50
10
Peter Juan
Wunderman Philippines
40
11
Diaron Lique
Y&R Philippines
25
Mellie Valimento
Wunderman Philippines
20
Noel Perlas
Lowe Inc.
20
Petrix Gueco
Y&R Philippines
20
Sean Uy
Wunderman Philippines
20
Debbi Bereber
McCann Worldgroup Philippines
10
Richard Bassi
McCann Worldgroup Philippines
10
Ruth Alminar
OgilvyOne
10
9
12
13
Joem Segovia
Points 1,450 Ace Saatchi & Saatchi
Patti Lee
A six-year veteran of Ace Saatchi & Saatchi, Joem Segovia began his career with the agency as an events manager who, despite a longtime fascination with creative work, never really imagined he would end up in advertising!
Buboy Paguio
Points 1,450 Ace Saatchi & Saatchi The third spot on the digital manager ranking is a two-way tie, with digital media manager Patricia ‘Patti’ Lee securing her position thanks to her efforts in bringing the hit ‘Screen-Age Love Story’ campaign to awardwinning life.
Points 960 DM9JaymeSyfu As associate creative director for digital at DM9JaymeSyfu, Buboy Paguio was part of the team that put together the blockbuster ‘TXTBKS’ campaign for Smart Communications. Paguio now works as ACD for digital + technologist for Leo Burnett Kuala Lumpur.
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138
p e op l e
cre ative r anking s
production house
top 2013
NAME
SCORE
1
Revolver Manila
1,066.50
2
Film Pabrika
139
3
Hit Productions
115
4
Optima Digital
115
Activations Inc. Manila
65
Visual Hub
65
6
Straight Shooters
35
7
Production Village
6
8
Shoestring
4
9
Filmex
1.50
5
top
1
Under company founder and CEO Dondon Monteverde, partner/ director Erik Matti, chief creative officer AF Benaza and general manager Luis Morelos, Revolver Studios’ legendary ‘never-say-die’ attitude, genuine camaraderie and dedicated professionalism have taken them to pole position in the 2013 adobo Creative Rankings. Boasting a wide range of commercial credits that includes BBDO Guerrero’s Saridon ‘Persistent Headaches’ campaign for Bayer Philippines, which has garnered wins at One Show, Clio, Kidlat, and included in-book at D&AD.
Production House
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Revolver Manila Points 1,066.5
May-June 2014
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top
pe o pl e
sound production house
2013
NAME
SCORE
1
Hit Productions
1,609.50
2
Soundesign
66.50
1
139
Hit Productions Points 1,609.5 As a leading sound production house in the Philippines, Hit Productions has worked its award-winning magic for BBDO Guerrero, Leo Burnett, Lowe Philippines, McCann Worldgroup and Seven A.D, among others.
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top
Sound Production House
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140
p e op l e
top
cre ative r anking s
post production house
2013
NAME
SCORE
1
Tower of Doom
1,295
2
Post Manila
1,066.50
3
Engine Room
26
4
Underground Logic
22.50
5
Optima Digital
16.50
6
Greenroom
6
7
Revolver Manila
4
top
1
Points 1,295 Begun as a home-based digital recording studio in 2002 before founder Eric Perlas expanded the company in 2005, Tower of Doom counts some of the country’s premier recording artists and musicians among its clients. Having worked with several independent groups and major labels alike, Tower of Doom leads this list for its work on DM9JaymeSyfu’s ‘Bury the Past’ for Gabriela, ‘TXTBKS’ for Smart Communications and Tanduay ‘Mixology’ for Asia Brewery.
Post Production House
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Tower of Doom
May-June 2014
top Marketing Head
1 Gary Dujali Points 1,450 PLDT vice-president and head of PLDT HOME Broadband service As a driving force behind PLDT’s position of dominance in the Philippine telco scene, Gary Dujali played a leading role in the creation of ‘Screen-Age Love Story’ with creative house Ace Saatchi & Saatchi, successfully incorporating TV, print, radio and on-the-ground to tell a touching, often-funny story that has gone on to produce numerous metal wins in regional and international shows.
142
p e op l e
top
cre ative r anking s
marketing head
2013
NAME
advertiser
SCORE
1
Gary Dujali
PLDT MyDSL
1,450
2
Christian Galvez
Bayer Philippines
1,385
2
Jay Lopez
Bayer Philippines
1,385
3
Chris Lichauco
Maynilad Water Services
995
4
Mon Isberto
Smart Public Affairs
960
5
Raffy Fajardo
Procter & Gamble / Ariel, Safeguard
952
Jenina Santos
Procter & Gamble / Ariel
670
Mukta Maheshwari
Procter & Gamble / Ariel
670
Adrian Mundin
Mondelez / Tiger Energy Biscuit
290
Cyn Icasas
Mondelez / Tiger Energy Biscuit
290
Jemimah-Fay Alentajan
Department of Tourism
290
Pam Takai
Mondelez / Tiger Energy Biscuit
290
Timmy Ong
Mondelez / Tiger Energy Biscuit
290
Chad Sotelo
Procter & Gamble / Safeguard
282
Jun Guevarra
Procter & Gamble / Safeguard
282
9
Domingo Enerio III
Department of Tourism
200
10
Francis Joseph dela Cruz
Greenpeace
130
Jean Henri Lhuillier
Cebuana Lhuillier
85
Michael Sena
Cebuana Lhuillier
85
12
Lorie Tan
WWF Philippines
65
13
Shiela Imperial
NestlĂŠ Philippines
50
14
Hubert Tan
Asia Brewery / Tanduay
25
Chairell Almendras
Globe
20
Corinne Risos-Bacani
Nokia Philippines
20
Crismer Tiria
Globe
20
Issa Cabreira
Globe
20
KD Dizon
Globe
20
Milette Rosal
Nokia Philippines
20
Popo Yambao
Globe
20
Rizza Uy
Monde Nissin Corporation
20
Samuel Jacoba
Intel
20
Vivien Dizon
Monde Nissin Corporation
20
Gina Lorenzana
Unilever Philippines/ Lipton Yellow Label Tea
10
Gerald Magtoto
Resorts World Manila
6
Martin Paz
Resorts World Manila
6
Cristine Yao
Islander
5
Chester Uy
Monde Nissin Corporation
4
Chi Valera
Monde Nissin Corporation
4
Jeff Chan
Monde Nissin Corporation
4
Ruffy Tiam-Lee
Monde Nissin Corporation
4
6
7
8
11
15
16 17 18
19
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1 PLDT MyDSL Points 1,450 PLDT tops the advertiser list, powered by its ‘Screen Age Love Story’ campaign. Boasting the main storyline of a young boy’s attempts at romance and his family’s efforts to help him find true love, the campaign resonated with audiences, who responded to the heartwarming series and relatable characters. Feedback on the industry festival circuit has been equally positive, bagging awards at regional and international shows, including multiple metals at Cannes and Spikes.
top Advertiser
144
p e op l e
top
cre ative r anking s
advertiser
2013
advertiser
SCORE
1
PLDT MyDSL
1,450
2
Bayer Philippines
1,385
3
Maynilad Water Services
1,025
4
SMART / Smart Public Affairs
960
5
Pacific Paint Philippines Inc. / Boysen
690
6
Procter & Gamble / Ariel
670
7
Department of Tourism
490
8
Gabriela
400
9
Energizer / Schick
380.50
10
Ayala Land Inc.
320
11
Mondelez / Tiger Energy Biscuit
290
12
Gellato Flipflops
283.50
13
Procter & Gamble / Safeguard
282
14
Hit Productions
270.50
15
Philippine Cancer Society
230
16
PepsiCo
140
17
Greenpeace
130
18
Nestlé Philippines
110
19
Suyen Corporation
97
20
Cebuana Lhuillier
85
21
Golden Arches Development Corp.
81
22
Johnson & Johnson / Bactidol
76
23
WWF Philippines
72.50
24
Unilever Philippines / Axe
65
Coca-Cola Far East Limited
60
MotoItalia - Philippines
60
Pharex Health Corporation
60
26
Tinta Awards
55
27
Peerless Products Manufacturing Corporation
45
25
Bayer Philippines
Points 1,385 Bayer Philippines
Bayer Philippines scores big for BBDO for the second year in a row, as the original ‘Persistent Headaches’ campaign was expanded in the Philippines to promote painkiller Saridon on a nationwide scale.
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Maynilad Water Services
Points 1,025 Maynilad Water Services
Deceptively simple and to the point, Y&R’s ‘Dengue Bottle’ execution for client Maynilad emerged as an award-winning idea in the war against mosquito-spread diseases, bagging Silver and Bronze nods at the 2013 Cannes Lions.
cr eat iv e r anking s
2013
145
pe o pl e
advertiser
SCORE
Gerber
40
Imodium
40
Panasonic / Lumix
35
Rustans
35
Gonuts Donuts
30
Samsung
30
Unilever Philippines/ Clear Men
30
Clean Air Asia
27
Asia Brewery / Tanduay
25
Cultural Center of the Philippines
25
Envirotech Waste Recycling Inc.
25
Monde Nissin Corporation
24
BPI
20
Colgate-Palmolive
20
Globe
20
Green Cross Inc
20
Intel
20
Nestlé Philippines / Alpo
20
Nestlé Philippines / Kit Kat
20
Nestlé Philippines / Nescafé
20
Nokia Philippines
20
PepsiCo / MyShelter Foundation
20
Unilever Philippines/ Pond's
20
35
Resorts World Manila
15
36
Caritas Manila
11
KFC Philippines
10
Land Rover
10
Minute Maid Pulpy
10
SMART / Smart Communications
10
Unilever Philippines/ Lipton Yellow Label Tea
10
38
Mabuhay Rest Stop
9
39
Summit Publishing Inc.
6.50
Alaska
6
Cinemanila International Film Festival
6
Advance Paper Corporation - Monami
5
Century Tuna
5
Filinvest
5
Islander
5
Soundesign
5
28
29
30
31
32
33
34
37
40
41
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p e op l e
top
cre ative r anking s
agency
2013
AGENCY
SCORE
1
Ace Saatchi & Saatchi
2,777
2
BBDO Guerrero
1,895
3
DM9JaymeSyfu
1,505
4
Y&R Philippines
1,412.50
5
TBWA\Santiago Mangada Puno
1,183
6
JWT Manila
586.50
7
Lowe Inc
391.50
8
McCann Worldgroup Philippines
270
9
Leo Burnett Manila
220
10
Ogily One
210
top
1
Points 2,777 2013 proved to be a tremendous year for Ace Saatchi & Saatchi, with the agency scoring numerous metal hauls for a wide spread of campaigns. Coming up tops were ‘Screen-Age Love Story’ for client PLDT, Ariel ‘Olympic Shirt Flag’ for P&G and ‘Remeet’ for Cebuana Lhuillier, which won 5 Lions – including two Golds – last year, a record for a Philippine agency. Adding to the Saatchi awards tally were Tiger Biscuits’ ‘Energy Playground’ and Safeguard’s ‘Hands Feet’.
Agency
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Ace Saatchi & Saatchi
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147
pe o pl e
2013
AGENCY
SCORE
11
DDB Philippines
166
12
MRM Manila
100
13
Publicis Manila
50
14
Publicis JimenezBasic
49
15
Wunderman Philippines
40
16
Film Pabrika
36
Campaigns & Grey
35
Dentsu Philippines
35
18
Movent Inc
10
19
Seven A.D.
6
17
2 BBDO Guerrero Points 1,895 BBDO Guerrero’s ‘It’s More Fun’ campaign caught the world’s imagination with its unique (for a government campaign) blend of traditional and crowd-sourced material. Meanwhile, the agency’s ‘Persistent Headaches’ campaign gained landmark, first-ever D&AD in-book recognition for a Philippine agency.
3 DM9JaymeSyfu Points 1,505 DM9JaymeSyfu made industry history with its ‘Smart TXTBKS’ initiative for Smart Communications when the agency was awarded the Philippines’ first-ever Grand Prix at the 2013 Cannes Lions and went on to achieve further acclaim on the 2013 circuit.
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MEDIA
Gowthaman Ragothaman & ‘The Loop room’ (inset)
Getting to know…
Guido Zaballero Head of Marketing and Programming Cignal TV
What is the best part of your job? Two things I enjoy: Hearing first time Cignal subscribers gush over their HD channels and being able to watch TV in the middle of work – I am in media, after all! Any sleepless nights in your role? No sleepless nights. There has been the occasional late night when we’d work on a presentation or meet with content providers over dinner. What is your guilty pleasure programme-wise? I do enjoy the Discovery and History channels. One bit of advice: Don’t watch Food Network HD late at night. You’ll end up breaking that diet! How do you juggle your switch from marketing to programming and vice versa? I can’t say there’s a switch. Marketing and programming (or content) come hand-in-hand. Content is what pay. TV is all about. Since Cignal sells content it’s part of my job to market it. What career/industry would you be in if you weren’t in media? I guess I’d still be in marketing for a telco or tech company. What presented the biggest learning curve in your current role Learning how to manage a channel. This includes channel grids, content costs, evaluating content and production of shows. Broadcast is a totally different world. Guido Zaballero has over 22 years of advertising, marketing and media experience with companies such as Ace Saatchi & Saatchi, Piltel, Smart Communications and GroupM. In 2013, he moved to Cignal TV to head both marketing and programming.
adobomagazine
MindShare puts Asia clients in The Loop Launches ‘data-infused war rooms’ for real-time edge MUMBAI MindShare has launched what it describes as “data-infused war rooms” in India and Singapore, a feature that is expected to become integral across its global offices. The Loop made its Asia debut in Gurgaon, India, followed by Singapore following launches across MindShare’s North American offices, “The Loop is not just another technological interface but rather a way of life for all of us at MindShare. As our clients’ lead business partner, we take pride in being their marketing spine. The Loop effectively breaks down all silos and brings all key stakeholders into one single room – creative, media, social, digital, content and production,” said Gowthaman Ragothaman, MindShare Asia Pacific chief operating officer. Offering what the agency described as a cultural change in working practices, each Loop facility is equipped with multiple screens monitoring data from over 100 sources in real-time. Data partners are defined on a market-by-market basis as well as in terms of relevance for clients. The agency said The Loop offered the capability to impact not only earned and owned, but importantly paid media. Clients could plan more adaptively and
May-June 2014
would benefit from a more collaborative and adaptive decision making powered by data to enable the shift of media spend quickly to leverage opportunities uncovered by real-time data during campaigns. “Loop has been entirely conceptualized, designed and managed by MindShare. We have worked with over 100 partners globally to obtain relevant data feeds,” said a spokesperson. The Loop has two modes – ‘strategy’ and ‘campaign’. In ‘strategy mode’, The Loop enables collaborative and adaptive decision making through the mixing of fast and slow data across a spectrum of different disciplines, including business planning, strategy, creative and communications planning, and across client agency networks. In ‘campaign mode’, MindShare takes third-party data feeds and tools and combines them with industry leading proprietary media spend, performance tracking and intelligence systems, to provide instantly actionable insight that can be executed in real time across paid media. Following Guargaon, MindShare launched fully functional Loop rooms in Singapore, Mumbai and Shanghai. By the end of June, The Loop will be present in 15 global markets
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fes tival o f med ia glo bal
Festival’s eclectic fare Ran gamut from particle physics to evolutionary theory
ROME In what was declared one of its best outings yet, the 8th Festival of Media Global brought together leading lights from media, technology, marketing and a noted CERN scientist to shine the spotlight on factors shaping media consumption in the years ahead. Accordingly, big data, digital, real-time marketing aka ‘newsjacking’, content strategies, media overload, the challenge of attracting top talent to media and other hot button media issues dominated the festival’s two-day agenda. Here are the highlights from C Squared’s media fest, which as Cream put it, started with particle physics and ended with evolutionary theory.
Dr. Markus Nordberg CERN CERN’s head of development and innovation spoke of an audacious experiment that discovered the elusive Higgs Boson, which had the audience initially scratching their heads wondering what he had to do with media and marketing. As it turned out, there was plenty in common between CERN’s hunt for the so-called God particle and the global media industry, and Dr Nordberg was eminently qualified to discuss an issue that has bedeviled marketers today: Big data. The nuclear research institute’s Large Hadron Collider filmed particles colliding at 99.9% the speed of light – the equivalent of 25,000 films every second – generating billions of hours of footage in the experiment, which is set to change the world’s understanding of the universe. “We are generating a lot of data because we are looking for something which is
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very, very rare – the occurrence of a Higgs particle or some other particle. So indeed we are looking for a needle in a haystack except that it is a lot harder than that,” Dr Nordberg said in an interview with Starcom MediaVest Group’s Make Next Now initiative. “A lot of the data we collect or generate is mostly, quote, unquote, useless. We need to know what we are looking for and it takes a long time to find it because the occurrence is indeed so rare. “If we don’t know what we are looking for, the probability of finding it is remote. So we would not consider the option where we collect anything and then we wait for a miracle to see some statistical significance. It’s possible, but that’s not what we do.” In short, harnessing and understanding the data generated by consumers can help advertisers sharpen their understanding of the marketplace and the business challenges that are likely to crop up in the future. To business leaders obsessed with quarterly performances, Dr Nordberg also made the case for patience. “The longer term vision is important because it takes years… until we found it last year, it took about 50 years. So that’s a long, long time.”
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David Shing AOL Shing, whose job title is ‘digital prophet’ for a company that still sells dial-up internet, provided a pertinent takeaway to angst-ridden agencies and marketers in an energetic, entertaining and thoughtful address entitled ‘Finding Order Out of Chaos…Disruption All Around Us’. “Marketing has to take control of technology, not the other way around,” he told the audience concerned about the future of the consumer journey at a time when technology has quite literally taken over the driver’s seat with the imminent arrival of driverless cars, computerized clothing and the internet of things. “Today, consumers feel like Charlie Chaplin: They are free thinkers,” he said, noting that “contrived, in-your-face advertising does not work anymore”. In his content-is-king address, he said marketers had to be on-game to meet consumers’ expectations; they had to aspire to a new Holy Grail by offering added value in making their brands truly useful and relevant. “Advertising should be the creation of experiences that the user can then share,” he said, noting that consumers prefer recommendations to hard listings. Easier said than done. Pointing to media overload as the sixth most
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influential factor behind stress, Shing said people were only recommending “between five and nine brands” a year. Designing content strategies that cut through the clutter hinged on creativity since branded content would compete not only with advertising but also popular culture. He pointed to ‘Driving Dogs’, FCB New Zealand’s multi-awarded campaign that ingeniously co-opted Mini in an effort to increase pet adoption rates for the country’s animal shelter as an example. But there was one form of content that left him cold – “native advertising”, essentially paid media which aligned the ad to the editorial content, a practice that has even gained favor with the New York Times. Describing the term as “really naïve”, Shing added: “I do think advertising still needs to be in the form of brand experience, which is different. The experience is the ad. When you blend the two together… you know back in the day we would call them advertorials.” While urging marketers to harmonize the experience across all platforms, Shing called on brands to get their mobile strategies right, dubbing it the first screen as consumers carried handsets all the time. Mobile, he said, was “about surprise and delight”, especially when used for augmented reality campaigns, while desktop was about iteration.
The head of WPP’s media investment division shone the spotlight on the industry’s struggle in attracting top-flight talent during a wide-ranging interview with festival chairman Charlie Crowe. According to Procter, compensation packages offered by the industry to entrylevel executives were dwarfed not only by investment banks, but also creative agencies. “We pay entry level graduates £21,000. It’s not a bad wage. But if you compare it to investment banking which would be £50,000 or £60,000,” he said and called on the industry to offer at least £30,000. Unlike his boss, Sir Martin Sorrell,
Proctor had a different view of the now failed Publicis-Omnicom merger, which would have created the world’s largest communications holding group, dethroning WPP from its top perch. Proctor believed the US$35 billion merger would have delivered positive benefits for the industry as a whole. Together, the merged entity, combining the media businesses of both holding groups, and WPP would control 65% of the global media buying market. In his view, the two groups could easily push out the smaller players who “undercut the market” and thus create a price spiral, which damaged the industry. Saying the merger was not an issue for him, Proctor added that if the bigger, stronger players got it right, they would have the “capital and ability to invest and make the media investment management business a better business to be in”.
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Dominic Proctor GroupM
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Lego’s head of global community cocreation discussed community building as a cornerstone in the toy-maker’s stunning turnaround from a loss-making brand into a runaway, cult success. Its reversal of fortune is perhaps best illustrated by 2013 revenues being four times the size of a decade ago, the availability of more Lego mini-figures than people on earth by 2019 and its blockbuster film foray. For a largely traditional brand, Lego was all about “contemporary thinking”, as seen in the difficult challenge it navigated in handing over some ownership of the brand to consumers. In doing so, Lego has been amply rewarded. Fans have used this “medium for creativity” to fuel independent and, in some cases, highly viral initiatives. Independent fan-created efforts included a fun movement launched by a German artist, who began patching old walls with Lego bricks, fans animating Eddie Izzard’s stand-up routines such as
‘Death Star Canteen’ with Lego pieces, and amassing 21 million YouTube views for the content, and five, fan-created scenes that appeared in The Lego Movie. Lego’s appeal has also reaped it unpaid celebrity brand ambassadors such as David Beckham, who has been open of his Lego addiction. Sales of Lego Taj Mahal skyrocketed by more than 600% in a single day after Beckham revealed that he completed the model in his spare time. The ability to hand over some ownership to consumers framed the relationship a brand/ company can have with its users or its fans, said Esperson “We have come to realize there is a difference between the trademark and the brand. The trademark is like a signature, if you copy that, we’ll release the hounds and the lawyers will chase you down, but the brand … needs to exist in the minds of the consumer. “If the brand doesn’t exist in the minds of customers, it doesn’t have any value… we are a brand eco-system where the value is also created by users.” He also advised marketers to stop relying on social listening services but to interact and talk to customers in person, as Lego’s management routinely does. “If you combine Lego with the big community of Lego fans, you have a real rocket on your hands,” Espersen said of the brand’s large adult fan following. “The adults are actually children who have gone mad.”
Kicking off the second day, the creator of the cult TV show was beamed into the venue for the festival’s first live interview to discuss a show born out a necessity. Gilligan and his writer friend, both unemployed at the time, had joked about giving up on screen writing “to cook meth in the back of an RV”, the genesis of Breaking Bad’s plot. But the key elements of the crime drama – a terminally ill protagonist who turns to meth production to provide for his family after his passing – were touchy topics that would have sent most networks running for the hills. It took Gilligan’s passion and
salesmanship and a fearless network to green light what eventually became a critically acclaimed cable sensation. Gilligan’s interview provided useful lessons for agencies and marketers on their approach to pitching ideas that are not only different but also appear risky at the ouset. “You can’t fake enthusiasm,” Gilligan said, reminding the audience to be excited when selling their ideas. Gilligan’s intuitive touch was also evident in the casting – baby-faced Matthew Broderick was passed over in favor of Bryan Cranston, who owned the Walter White role, effortlessly turning from protagonist to antagonist, from “Mr Chips into Scarface”, over the course of five seasons. Gilligan also spoke about the role of collaboration, the
difficult task of handing over some creative control to the team. He had originally planned to kill off the Jesse Pinkman character, White’s erstwhile sidekick, but was persuaded otherwise by his partners after actor Aaron Paul brought the role so memorably to life. Collaborate with the right people and make them feel they belong to the project, he advised. He also related the network’s unexpected request to limit use of the F word to one per season, requiring great thought to ensure the expletive, when used, delivered maximum impact. Breaking Bad’s writing and cast of characters represented a triumph for the small screen but Gilligan said it took the well-timed rise of video-on-demand technology to make it a real distribution success.
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Peter Espersen Lego
Vince Gilligan Breaking Bad
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Oliver Luckett theAudience The co-founder and CEO of the celebritydriven, social media start-up captured the audience’s attention with his address, ‘Building Organic Social Movements’. Social media is a massive revolution and companies have yet to comprehend its value, according to Luckett, who went from helping Disney manage the virtual presence of cartoon characters such as Cinderella or Dory from Finding Nemo to working with some 300 celebrity clients with access to 800 million online fans. Luckett, who was behind the charttopping climb of The Chainsmoker’s
Bonin Bough Mondelez Mondelez International has proven real-time marketing chops with brands such as Oreo and Honey Maid, responding to trending topics within seconds with its signature zany humor. But in a panel session, Bough, vice president of global media and consumer engagement, believes advertisers still have some ways to go before they can call themselves content companies. “I think we’re fooling ourselves if we believe we are becoming content companies,” he said. “We are not content companies, although we need to be. And I say that because content companies monetize their content. We have not thought about monetization.” Red Bull, on the otherhand, has made that transition. “A guy jumps from space and they turn around and sell that to the BBC as an hour-long documentary,” he added. Mondelez is looking to do the same, stipulating revenue-generation as a requirement in the launch of its new Oreo game app –‘Twist, Lick, Dunk’ – which boasts downloads of more than 4 million
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#Selfie, listed seven anlogies about life/ living organisms to explain social networks. As with living organisms, he said social networks needed to be fed and nurtured and that social organisms respond to emotions – as life does to stimuli – which encourages sharing, while negativity and spam – or efforts to monetize content prematurely – could result in social networks ridding themselves of the pollution. Similarly, restricting information could kill the meme, which he likened to genes, and accordingly should be allowed to reproduce freely. In other words, marketers run the risk of killing the organism by taking ownership of content. theAudience does more than simply manage its clients’ tweets or Facebook posts. At a time when salaries across the entertainment world are facing downward pressure, theAudience is focused on building a social media empire for celebrities on its books by, for instance, charging studios a fee for sponsored posts from its stable of stars.
and 200,000 active daily players. In the face of continued media fragmentation and uncertainty about consumer attention spans, Bough called on big brand marketers to be brave in their marketing. “We talk about fearless marketers and hold up marketers in the organisation who are fearless. I think what you are seeing is a whole culture change. We have to be brave and we have to believe our brands can have a bigger in voice in culture than they used to have before.” For its part, Mondelez fearlessly tackled rather than avoided the negative online reaction over same-sex couples featured in its latest series of ‘This Is Wholesome’ Honey Crunch creative. Its short film response showing the ugliness of the internet being swamped by positive comments the campaign generated has been praised as gracious and touching. “The status quo does not change if we don’t lead. We are the ones that sign the cheque,” said Bough, who green lighted the Oreo Trending Vending Lounge at South by Southwest in partnership with Twitter to allow delegates to choose fillings based on trending social data and 3D print them for custom-made cookies.
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Under attack Industry elite take aim at TV-skewed media plans
in social media conversations. Viral sensations such as Volvo’s latest live test with immensely flexible action star JeanClaude Van Damme performing an epic split between two trucks took all of 38 days late last year to reach 100 million views. Viewers then set social media alight discussing and spoofing Van Damme’s acrobatics, extending
integrated marketing activities, digital, including mobile, activation and the like rather than TV and traditional media buys. The shift in focus underline the greater value agencies and clients place on content that will grab viewers well beyond the reach of even the watchable TV shows and amplify a brand’s message
Breaking Bad
ROME Television may command the lion’s share of eyeballs and advertising budgets globally but the shift to a multi-screen environment left the medium an easy target at the Festival of Media Global gathering. Critically acclaimed shows across the world – from Breaking Bad to True Detective in the US, and Sherlock and Broadchurch in the UK – have given television some of its strongest years to date. But growing use of mobile devices and video streaming services are threatening to make traditional appointment viewing and TV stations a relic of the past. Increasingly, the small screen is hooked up for video gaming or to download content off the likes of Hulu in the US or Youku in China. Yet while figures released by ZenithOptimedia at the festival showed TV gobbling up the biggest share of 2013’s marketing budgets – 40% versus 21% for the internet – media agencies and marketers at the festival were clearly looking beyond the medium From MindShare to Starcom, media agencies have rebooted their revenue model to earn as much as half their income from non-traditional media. Under the new model, the revenue would come from
Challenging TV: Video’s rising star YouTube gross ad revenues worlwide, 2011-2013 billions, % change and % of Google ad revenues $5.60
122.2%
YouTube NET ad revenues worlwide, 2011-2013 billions, % change and % of Google net ad revenues $1.96
129.9% 97.3%
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85% $2.00
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5.5%
8.5%
11.1%
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Note: YouTube gross ad revenues % change % of Google gross ad revenues Note: gross ad revenues before company pays traffic acquisition costs (TAC); includes banner, rich media, search and videos ads Source: company reports 2012 & 2013; eMarketer, Dec 2013
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2.2%
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Note: YouTube net ad revenues % change % of Google net ad revenues Note: net ad revenues after company pays traffic acquisition costs (TAC); includes banner, rich media, search and videos ads Source: company reports 2012 & 2013; eMarketer, Dec 2013
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“It’s not the internet of things, it’s the mobile of everything.” - Steve King, ZenithOptimedia
the brand’s footprint further online. So it was no surprise that the industry’s elite gathered in Rome took aim at the medium. Bob Pittman, who led the original team in founding one of television’s most iconic channels, MTV in 1981, led a frontal attack, calling on marketers to revise their TV-skewed media mix in favor of radio. Some would say that as CEO of Clear Channel, Pittman was simply making the case for the company’s extensive radio and outdoor businesses. But growing use of mobile devices, as Pittman argued, ensured the company’s radio and outdoor services were in a sweet spot to plug in to today’s mobile lifestyles. “TV is wonderful but the media mix is out of whack – radio deserves a lot more than it gets. The usage is about the same and about the third of the money spent in digital goes to radio. The media mix has changed,” he added, saying radio was staging an “incredible return”. Pittman offered the experience of a friend who ran a Hollywood studio as an example of TV’s diminishing returns. Looking at exit surveys, he found that 60% of viewers had learned about the movie from TV and 20% from radio, despite spending 80% of the budget going on TV and just 3% on radio.
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“TV is wonderful but the media mix is out of whack – radio deserves a lot more than it gets. The usage is about the same and about the third of the money spent in digital goes to radio. The media mix has changed.” - Bob Pittman Clear Channel Communications
Research agency Millward Brown offered up statistics that showed a continued shift in video budgets from TV to multi-screens. It forecast that the rise of screens in all aspects of consumers’ lives would encourage marketers to attempt genuine marketing innovations via creative uses of digital outdoor or new possibilities presented by wearable screens such as smart watches and Google Glass. TV’s loss will be mobile’s gain with the medium’s offer of sharper targeting through location-based marketing and delivery of more measurable data making an increasingly persuasive case for marketers. Mobile advertising spend has been growing six times faster than desktop, and mobile has emerged as the main driver of global advertising growth, ZenithOptimedia’s CEO Steve King told delegates. King forecast mobile adspend growing an average 50% through to 2016, when an estimated 5 billion smartphones will be in use, not to mention tablets, offering a very different multi-screen landscape to that in place today. In two years’ time, adspend on mobile will reach US$45 billion, accounting for 28% of internet ad investment or 7.6% of all ad expenditure. “It’s not the internet of things, it’s the mobile of everything,” King said.
Some of the biggest winners from the festival’s media awards went to work that relied more on social and other media than on TV. Campaign of the Year, UM Australia’s ‘XTL’, used social media and some TV and print to encourage Australian teens to call out disrespectful online behavior with the #XTL (crossing the line) hashtag. Gold winner for Best Communications Strategy, ‘Warsaw 1935’ from Starcom MediaVest had client Prudential sponsoring a 3D movie that used digital technology to reconstruct the city with the detailing of its pre-war glory to galvanize Polish pride. Gold in the Best Content Creation category went to Clemenger BBDO for ‘Remote Control Tourist’, a real-time web experience that allowed would-be visitors to experience the full range of the city’s offers first hand before traveling there. “In 2014, we’ll see more marketers seeking to generate interaction between screens via interesting approaches such as TV ads with hashtags,” said Millward Brown global brand director Duncan Southgate. “However, the most successful marketers will build a cohesive, clear and consistent presence across screens and closely align advertising expenditure with the time their audience spends on each device.”
Disappearing TV: Social and mobile lead work in winning campaigns
UM Australia’s ‘XTL’ led with social media and print to call out disrespectful online behavior
‘Warsaw 1935’ used digital technology, returning the city to its pre-war glory through a 3D movie
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‘Remote Control Tourist’ centered on real-time web sampling of Melbourne’s tourism experience
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Starcom’s John Sintras (center) and Asia colleagues, Jeffery Seah (right) and Joanna Mojica (third left)
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Starcom makes it two for two Wins Network Award two years running
ROME Starcom MediaVest Group retained its Agency Network of the Year crown in April’s Festival of Media Global competition for the second year running, with 10 metal wins across multiple markets. The network’s haul of 2 Gold, 4 Silver and 4 Bronze awards came from nine campaigns across seven markets – Poland, the Philippines, United Kingdom, Netherlands, United Arab Emirates, Denmark, and Sweden. Golds were awarded for ‘Warsaw 1935’, the Prudential campaign which took the Retail Award for the office in Poland, while Denmark won for Mondelez brand Marabou’s ‘The Chocolate with 6,000 Names’. In ‘Warsaw 1935’, Prudential set out to restore the vision and pride Poles had
of their city pre-WWII and, in doing so, rebuild their trust in the brand, while Marabou’s campaign allowed consumers to start conversations by sharing a chocolate and continuing the relationship by custom printing any occasion or situation to share directly on a Marabou bar right in the store. “We have worked well to develop excellence across all our offices, not just in some creative hotspots. The shortlisted campaigns showed amazing depth across all our regions/offices and categories and this flowed through to the nine entries that converted into awards,” said John Sintras, the chairman of SMG Australia and director of the Global Experience Product group, which championed the company’s reboot as the human experience agency through
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the work created. “All offices have shown progress in implementing the framework, but those who did well with this year’s judges skewed largely to our UK/European offices in addition to the Philippines and the UAE.” Sintras said the network was continually evolving its approach to experience design since it repositioned more than three years ago. “We are just in the middle of another iteration of our approach which also involves the implementation of a desktop interactive interface to ensure all our people have access to the same best practice approach, case studies, training and resources in every office around our global network.” Repeating its Festival of Asia feat from a few weeks earlier in Singapore, UM Australia walked away with the Agency of the Year prize. It also took the Campaign of the Year award for an innovative social media initiative which encouraged Australian teens to call out disrespectful or inappropriate online behavior with the hashtag #XTL (crossing the line). ‘XTL’, won Gold for Best Social Media Strategy, a repeat of its win in Singapore. Produced by UM for the Department of Families, Housing, Communities and Indigenous Affairs, ‘XTL’ also won Silver in Best Targeted Campaign and Bronze for the Utility/Public Service Award. The
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campaign became popular not only over Twitter and Facebook, but also on TV and print media, and 90% of teens surveyed reported using #XTL in the right context. “We hear much talk about the need for brands to have a purpose beyond their core benefit, to use social as a natural pathway to their audience, and to have something simple to say to them, which resonates. ‘XTL’ ticked all these boxes in a way and to a level that no other entry came close to,” said juror Tom Gill, global media director of Heineken. Sameer Singh, VP, head of global media at GlaxoSmithKline and Chair of the 2014 Jury, also singled out the campaign while noting the expansion of social media use. “It’s truly fascinating to see so many campaigns like ‘XTL’ using social media for focused, targeted outreach, and actually succeeding in changing people’s behavior and opinions. More than ever before, marketers are seeing the value of reaching out to specific audiences through Twitter and Facebook – we’ve been amazed at the creativity and skillful execution in the entries we judged from all over the world.” UM also won awards for two other campaigns: News Corp’s ‘Fast Front Pages’ took Silver for Best Communications Strategy after striking Gold at the Singpore show, and ING Direct’s ‘Spend
Your Lunch Well, winning Gold for Best Entertainment Platform. In addition to UM, Match Media won Australia’s third Gold for Data Innovation with Ikea’s ‘A Data Matching Love Story’, which won the same award at the festival’s Asia show. A total of 52 metals were awarded from 191 shortlisted entries under the new, tiered Gold, Silver and Bronze system. Judges went through several rounds of voting for many of the categories before deciding on winners, an indication of the stiff competition for honors. Asia Pacific took home 6 Gold, 3 Silver and 7 Bronze awards. Australia led the regional tally with 3 Golds, all the Silvers and 3 Bronze prizes followed by India with 2 Golds and a Bronze and New Zealand’s Gold won by Rocket for Volkswagen’s ‘Beetleing’ campaign to show the brand’s fun side to a younger generation. India’s Golds came from MediaCom for Gillette’s ‘Soldier for Women’ in the Best Engagement Strategy category and PHD’s ‘Mobile Entertainment Box’ for Kaan Khajura Teshan in Mobile. The Philippines (Starcom for United Home Products ‘First Step to Livelihood), Japan (UM for Movie’s ‘Carrie Call), Taiwan (Initiative for Red Bull’s ‘Soapbox Race’) and
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India (Madison Media Infinity (Parachute Advansed’s ‘Convincing Consumers to Become Our Sales Force’) scored a Bronze each. The remaining Bronze went to shops in Australia – MEC for Colgate’s ‘A Whiter Smile’, MediaCom for ‘Creating a Media Channel to Fight Hepatitis C’ and UM ‘XTL’. Yahoo again struck Gold for Best Contribution to a Campaign by a Media Owner for its UK office’s work for Life of Pi’s ‘Life’s Journeys’ after its Hong Kong office won in the Asia show with HSBC credit card’s ‘Red Hot Dine & Fly’ campaign.
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17 competitions at 61st Cannes Lions Launches Product Design, expands Cyber competition Words amanda lago and charisma felix
61 years on, the Cannes Lions International Festival of Creativity continues to evolve, with the upcoming festival adding a new category among other key changes this year. Product Design was included as a new category to give due recognition to the role that physical products play in brand communications, giving the competition a total of 17 categories. Entries will compete in four major Product Design sub-categories: Consumer Goods, Wellbeing and Environmental Impact, Solution (ergonomic functionality, day-to-day solutions provided through design), and Interface (visual impact, as well as its ease of navigation and ability to convey information). Festival chairman Terry Savage said: “Brand communication has become such a part of product design that it’s important as a global festival celebrating creative communications that we now recognize
is changing by the day, the minute, the this. Including Product Design Lions as a second, Cyber Lions are not playing catch-up, standalone entry category in our awards but leading the charge in modern awards line up, not only acknowledges this fast categories,” said 2013 Cyber juror Flo growing industry, but helps to set a global Heiss, founder of Heiss Studio. benchmark and precedent for Rei Inamoto, AKQA’s chief the creativity within it.” creative officer, added: “Cannes At the same time, the 16-yearCannes Lions Lions is introducing a newly old Cyber Lions category was International revamped Cyber Lions category relaunched this year with three Festival of and it shows how vibrant Cyber new subcategories: Social, Branded Creativity is in our industry. I’m convinced Technology, and Branded Games. The Cyber, Mobile, and June 15 to 21, that this is where the next big thing will come from.” PR Lions now also have 2014 As with past festivals, this year’s dedicated sections for Social, Palais des installment features a diverse linewith subcategories including Festivals, up of speakers, including brandResponse/ Real-Time Activity Cannes, France builders, creatives, and even pilots, (including crowdsourcing), a musician, and an astrophysicist. Influencer/ Blogger Outreach The speakers are set to discuss Program, and Community the creative process and going Building/ Management. beyond inspiration, addressing the “At a time when the nature of theme of Creativity in Action. digital marketing and advertising
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Young Lions Eyes on the prize It was a series of before and after images and a simple tagline – “Open for Business” – that won Publicis JimenezBasic’s Kulas Abrenilla and Jace Burayag a ticket to Cannes to represent the Philippines in the festival’s Young Lions competiton. The pair bested 21 other teams in a tilt hosted by the Creative Guild. This year, the brief was to come up with a print campaign to invite corporations and individual businessmen to set up shop in Tacloban to provide jobs for the locals who are rebuilding after typhoon Yolanda struck last November. It is the first time for freshman copywriter Burayag to attend Cannes, and the second time for Abrenilla, who also competed in 2009 with Peepo David when they were both with DentsuIndio. As the date draws near, the pair are in the thick of preparations. Burayag shared that he is immersing himself in as much experiences as he can. “There are a couple of workshops lined up for us, which will be incredibly helpful especially to a freshman copywriter like me,” he said. “It’s important for me to consume as many insights, forms of media, literature, and experiences as possible from now until June. The more stock we have, the better our chances of pulling out an outrageous idea.” Meanwhile, Abrenilla placed importance on taking it easy: “Unlike before we really squeezed our brains every waking moment, this time we ought to be more relaxed!” Jace Burayag Copywriter Publicis JimenezBasic
Kulas Abrenilla Associate Creative Director Publicis JimenezBasic
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2014 Jury Presidents Inside the thinking of this year’s jury heads
Branded content & entertainment
Doug Scott
President and founder, Ogilvy Entertainment “Content has become an important component of every marketer’s strategy, from social and mobile to experiential and long form video, giving rise to exceptional work from companies both large and small around the world.”
Design
Ije Nwokorie
Global CEO, Wolff Olins “As so many aspects of society and commerce are going through such fundamental rethinks, design has never been more important, and creative approaches never more required to address systematic challenges. I’m looking forward to seeing how our industry is bringing design as a tool to play our part in these critical and exciting times.”
Direct Creative effectiveness
David Sable
James McGrath
Creative chairman, BBDO Group “Direct is fast becoming the perfect description of our industry, defined by its unique observation of and demonstrable effect on behaviour that results in real, measurable and extraordinary responses.”
Global chief executive officer, Y&R “In an age of data obsession, there is a misconception that somehow advertising hasn’t been accountable. Nothing could be further from the truth. The best advertising, the most memorable and creative advertising has always delivered. The beauty of data is that it makes it more apparent.”
Cyber
Susan Bonds
CEO and founder, 42 Entertainment “As Cyber Lions move into 2014, it’s exciting to see new categories emerge that embrace the reality of digital’s role in everyday life, creative craft and innovation. Novelty has been replaced with excellence in execution, authenticity, reach and impact, and creating a user experience that connects.”
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Film
Amir Kassaei
Chief creative officer, DDB Worldwide “It’s a great honour and a big responsibility to be the president of one of the most important categories in Cannes. I look forward to seeing a lot of great work, to have great discussions, and to set a signal on what we believe should be the bar for Film in the next years.”
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Film craft
Brian Carmody
Co-founder and managing partner, Smuggler “I’m very much looking forward to meeting and getting to know the jury, seeing the world’s best work, and coming away with new lessons learned.”
Innovation Tom Bedecarré Chairman, AKQA President, WPP Ventures
“To inspire creative excellence in communications we increasingly need to develop new technologies, and the Innovation Lions celebrate creativity in technology. I’m super excited to see the apps, tools, hardware, software and platforms entered in this second year of the Innovation Lions awards.”
Media Matt Seiler
Global CEO, IPG Mediabrands “It has become increasingly challenging to find time amidst all the exciting goings-on during the festival to focus on the real reason we are there. As Jury President I can’t wait to get in deep with some of the world’s best work.”
Young Lions In the bag Soho Square Indonesia is the take-off ground for copywriter Aidil Akbar Latief (left) and art director Finy Tjong ( right), who have packed a suitcase full of energy and curiosity to share with the world at Cannes. It’s Aidil’s first year in the advertising industry and it’s Finy’s first job ever, which clearly gave them the bravery and freedom to come up with a simple yet powerful winning idea - to give the “hearing challenged” citizens of Indonesia their familiar sign language back. As the brightest young pair of talents in Indonesia, Aidil and Finy are now ready to burst out of the box and land at Cannes!
Aidil Akbar Latief Copywriter Soho Square Indonesia
Finy Tjong Art Director Soho Square Indonesia
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2014 Jury Presidents Inside the thinking of this year’s jury heads
Mobile
Jaime Robinson Executive creative director, Pereira & O’Dell “Progressive brands are going to go where there is potential to innovate, and right now mobile is leading that charge. Mobile can reach the right people in such cool, unexpected ways.”
Press
Radio
Founder and creative director, BETC
Proprietor and creative director, Tony Hertz: Radio & Brand Sound
Rémi Babinet “For advertisers, press remains a prestigious, quality connection with consumers that screens have not (yet) replaced. It is in everybody’s interest to defend this medium.”
Outdoor
Product design
President, Lowe Global Creative Council Co-chairman and CCO, Lowe SSP3 Colombia
Executive vice president, Samsung Electronics South Korea
Jose Miguel Sokoloff
“Outdoor is possibly where most of the best ideas in contemporary advertising come to life. To be honoured by Cannes Lions, having been given the responsibility to preside over this jury makes me very excited and proud. I am already looking forward to the sessions.”
Public Relations
Renee Wilson
President, North America, MSL Group “Never before has there been a greater opportunity for PR to demonstrate leadership, and the many multi-faceted contributions it can make to the broad world of communications and engagement.”
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Donghoon Chang
“Design is neither a discipline nor a tool, but Design is life – it is about sharing the experience through collaboration and interaction.”
Promo & activation
Susan Credle
Chief creative officer, Leo Burnett “When I look back at 2013’s winners in Promo & Activation, I see work that also was honoured in Film, Outdoor, Titanium. This is absolute evidence that the best work being done today drives participation. Channel agnostic ideas are the most modern ideas in our industry. And they tend to show up in Promo & Activation. I look forward to getting the week off to a great creative start.”
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Tony Hertz
“For a guy who’s been in love with making radio ads for as long as I have, this is obviously a massive thrill and privilege. I’m really looking forward to working with my fellow jury members to choose – perhaps even unearth – radio work which is not only great and fresh advertising, but is also impeccably conceived and crafted for this unique medium.”
Titanium & integrated Prasoon Joshi
Chairman, CEO and chief creative officer, India/South Asia McCann Worldgroup “Titanium brings the world’s most respected and eclectic set of people to the jury, and there is immense learning. The bar is raised and new benchmarks set for the world in advertising and communications. It will be an honour to work with the jury, and I hope I can humbly contribute to our quest for the best, the most breakthrough, transformational ideas the industry has to offer.”
Young Lions Festival Fierce Michelle Fun (right) and Shi Min Wong (left) have been good friends for over a decade. It was not till March 2014 that they collaborated for the first time in a national competition (the MediaCorp Young Creatives Competition), and won their ticket to Cannes. They believe their chemistry and understanding of each other make them a winning team. Both are big coffee lovers, and have been stocking up on instant java to see them through the 24-hour Cannes Young Lions competition.
Michelle Fun Copywriter Publicis Singapore
Wong Shi Min Art Director JWT Singapore
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contenders FORm GUIDE
Volvo Trucks’ ‘The Epic Split’ takes informal vote
Richard Irvine, McCann Malaysia OWN NETWORK McCann Melbourne – ‘Phubbing’ Take a global problem so recent, there’s no word to describe it. Invent the word. Use it to spark a social movement and show how it can change everything. Brilliant. WISH I’D DONE THAT Leo Burnett Tailor Made – ‘Man Buries Bentley’ Harnessing the power of public indignation, this elegant piece of misdirection delivers the organ donation message in an utterly compelling and memorable way.
Tay Guan Hin, JWT Southeast Asia OWN NETWORK JWT London – ‘Kit Kat Android’ Each version of the Android OS has been named after a sweet treat. A world’s first for the operation system to take a name from a brand. JWT London helped Kit Kat to partner with Google, to leverage digital technology to create online content. No money changed hands as it was seen to be ‘mutually beneficial’.
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WISH I’D DONE THAT Forsman & Bodenfors – ‘The Epic Split’ The perfect celebrity. The perfect soundtrack. To demonstrate the most boring benefit for a truck. Naturally shot in one perfect take to make this the most authentic and engaging film I have ever seen. Marcello Serpa, AlmapBBDO OWN NETWORK AlmapBBDO – Kombi Last Wishes I know is from us, but I simply love this project. The first “unlaunch” of a car. In this case more than a car a icon of the industry. The VW bus could not go without paying some tribute to their biggest fans. Ted Lim, Dentsu Asia OWN NETWORK Dentsu Tokyo – ‘The Sound Of Senna’ Ear-splitting, mind-blowing use of big data that the target audience totally gets. Your everyday automobile ad this certainly isn’t. An Innovation and Titanium Lion wouldn¹t be too much to ask for. WISH I’D DONE THAT Forsman & Bodenfors – ‘The Epic Split’ One of those commercial films people want to watch over and over again. Amplified millions of times online and on mobile. TV advertising isn¹t dead. It just got bigger on smaller personal screens.
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WISH I’D DONE THAT Forsman & Bodenfors – ‘The Epic Split’ Great story, great production and funny as hell. Since it comes to Cannes with a big success story already, it will be a great winner this year-
Raoul Panes, Leo Burnett Manila OWN NETWORK Leo Burnett France – ‘If Only For A Second’ Previously, Leo Burnett Milan awed us with the Wim Wenders-curated ‘Beauty of A Second’ for Mont Blanc. Here’s another wonderful take on one second, recapturing pure joy “if only for a second” from those who seem to have lost it. Great insight, simple idea, brilliant execution.
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WISH I’D DONE THAT Forsman & Bodenfors – ‘The Epic Split’ I’m a sucker for very simple yet powerful ideas. Mashing up a product demo, an over-the-hill Muscles from Brussels, cheesy lines and Enya music in one highly memorable video is creativity at its best. Props to the truck drivers too for the reverse drive!
David Guerrero, BBDO Guerrero OWN NETWORK BBDO Guerrero/Dentsu Philippines – ‘PH Thank You’
Danny Searle, BBDO Asia/Singapore
WISH I’D DONE THAT Forsman & Bodenfors – ‘The Epic Split’ I immediately think of Jean-Claude Van Damme, two big trucks and Enya.
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‘If We Made It’ Super Bowl campaign. Subversive messaging at its best. I’d drink it now, and I don’t even like it.
WISH I’D DONE THAT Ace Saatchi & Saatchi – ‘Remeet’ Cebuana Lhuiller’s ‘Remeet’.
Richmond Walker, Ogilvy & Mather Philippines OWN NETWORK Ogilvy Singapore – ‘Coke Drones’ I am betting on Ogilvy Singapore with their latest work for Coke, Coke Drones. The bar for Coke at Cannes has been set high, but a handful of innovation and a fistful of heart put this idea in strong contention. Who would have thought drones could ever be so endearing?
SP EC IAL R E PO R T
Tony Granger, Y&R Global OWN NETWORK VML – ‘For the Love of Music’ It’s hard to predict Cannes or any other show for that matter. All I can say is that I love this work from our VML office. An hour-long documentary and social activation made to change the perception of Nashville, as well as promote tourism. WISH I’D DONE THAT Droga5 – ‘If We Made It’ ‘If We Made It’ by Droga5. Funny as hell and hijacked the big spending Super Bowl titans.
OWN NETWORK BBDO Singapore – ‘Guinness Draught in a Bottle’ I think the ‘Guinness Draught in a Bottle’ campaign has a good chance of picking up. It is a simple, graphic idea. A message that is instantly clear and yet one feels like spending their time just enjoying it. The design is witty and beautiful and it’s intelligence creates a premium feel for the brand. A clear, simple and relevant idea. Craftily executed. So obvious, yet surprising. Real client client. WISH I’D DONE THAT Droga5 – ‘If We Made It’ I personally like the Anna Kendrick ad for Newcastle Brown Ale from the
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‘Purposeful Purposelessness’ AIGA award winner Lucille Tenazas champions unconventional creative approach Words Carmela LapeÑa
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New York-based designer and educator Lucille Tenazas taught adobo Masterclass participants the value of unconventional strategies to generate creative thinking. Currently the Associate Dean in the School of Art, Media and Technology at Parsons The New School for Design, Tenazas shared her approach from her perspective as a design practitioner and educator. “I’ve never been one or the other separately and I feel that those two are intertwined,” she said. The design guru emphasized the need for continuous improvement. “I always feel that there’s more to learn. That’s what keeps my practice relevant.” Comprising a diverse group of participants – designers, writers, PR practitioners, and marketers, as well as those with backgrounds in economy and psychology – the course was anchored on Purposeful Purposelessness: A unique approach to design thinking and focused on collaborative problem solving. Tenazas gave her take on Immanuel Kant’s purposeful purposelessness. “When you’re younger, there are all these pressures. At a certain point, you can afford to get a little bit sidetracked. The older you are, you’ve amassed the purposeful qualities that you have… you temper your purposelessness with discipline.” She brought the approach and methodology to life through examples of her projects. In working on 7X7, a magazine on San Francisco, she used the numerical equation in different ways, such as by having an editorial system in which seven stories would feature in each issue. “This is where my role as a designer sometimes infiltrates the editorial,” said Tenazas, who emphasized that designers should not be seen as less important than the
writers. “When you start to interject some of your comments that are really helping shape the content, then there is an opportunity for you to be seen on equal footing. “Don’t assume that just because you’re a designer, you only know the image part. The marriage of the two is crucial,” she told the participants, stressing the importance of authorship. She explained
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that in order to retain authorship while also having collaborative relationships, the key thing is to have a sense of who you are and your value system. “It’s the kind of thing that I think I have to instill in my students. We have our own values. That has to come out in your work somehow so that people take you seriously,” she said. In the classes she teaches, Tenazas
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focuses on developing her students’ way of thinking rather than the how-to of design. In one exercise, her students were required to bring one magazine to class, then directed to a certain page, where they were asked to focus on the one square inch in the center of the page. “You now have this tight focus. Talk to this thing. What is it telling you? You have to generate the content. I’m giving you something totally unpredictable,” she would tell her students. What this exercise reveals, according to Tenazas, is that her students are actually very good writers. “They’re very poetic. I said, ‘I knew it.’ There’s something in my gut that tells me designers are expressive if they’re given a chance to write,” she said, emphasizing that design is not simply about pretty work, but deep thinking. “Images and text – I don’t just slap them together. It’s really important to understand, how are they affecting each other. You move one, you move the other.”
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01 TBWA\Santiago Mangada Puno’s John Ed de Vera 02 Presentation time 03 Talking through team’s presentation 04 Tenazas with How to Think Like a Great Graphic Designer, which features her design approach 05 Ogilvy’s Richmond Walker 05
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Design, she added, does not stop with the designer. “Design to me is really how it’s applied. It can be very simple, but then when you start working on the applications, that’s when it has a different life.” As part of Masterclass, participants worked on a collaborative project, exploring word play, chance operations, and random connections. In one exercise, participants used synesthesia as a narrative strategy by creating meaning from unrelated concepts. The exercises were intended to help participants rethink their perception of objects, situations and ideas, in order to explore non-traditional associations to common scenarios. Tenazas encouraged participants to try different approaches in their design process. In the case of her work for 7X7, she tried to go in the opposite direction. “It’s so common for magazines to have faces that are big and very colorful. I said, you will make a mark if your first issue is black and white, and not having any screaming text.” Of course, clients don’t always agree with the designer, as Tenazas experienced with 7X7. Such situations can still be handled well by maintaining a level of equanimity, she added. “We’re at cross purposes. You want this, we’re not meeting halfway, and I think I should just resign the job,” she told the client, who decided to simply pay the kill fee. While it’s inevitable for designers to encounter such situations, Tenazas said there is a way to arrive at a level where one is listened to and respected. “It’s not an easy journey. It doesn’t happen overnight, either. It’s the kind of thing where you slowly gain more and more confidence,” she said. Another thing that Tenazas emphasized was the importance of collaboration, and being open to new ideas. In the design process, it’s important to involve the client so they feel that they had a hand in the final design, she said. When it comes to working in a team, Tenazas said each one has to feel that they were listened to. “It’s like being a parent. You want to bring the best out in each one. That goal permeates,” she said, adding that as a teacher, she encourages her students to come up with their own ideas, which don’t have to be in sync with hers. “I always assume that there’s something I can learn from everybody. Just because I’m the teacher, doesn’t mean I have the answer to everything,” she said.
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01 JWT’s Dave Ferrer (right) engages his co-adobo Design Awards juror 02 Lucille Tenazas in action 03 All Famous’ Robin Leonard and Pauline Pangan using role play to make their case 04 TBWA’s John Ed de Vera gets the audience’s attention 05 Aspac’s Joey Ong with Vitamin B’s Bogey Bernardo 06 Ogilvy’s Richmond Walker making a great case presentation for his break-out group 07 The break out sessions 08 The class photo 09 Green Bulb’s Leah Caringal (right) 10 Max’s Jim Fuentebella (2nd from right) with L-R adobo’s Angel Guerrero and Janelle Squires, Lucille Tenazas 11 Delegates went home with one of Lucille’s recommended books - How to Think Like a Great Graphic Designer by Debbie Millman
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Ins and outs of design from powerhouse panel Injecting storytelling into the business of design Words carmela lapeÑa
It was a day of stories and surprises at the adobo Design Series 2014, where members of the adobo Design Awards’ powerhouse jury shared their expertise. Featured speakers included SoFA dean Arch. Tobias Guggenheimer, TBWA\ Santiago Mangada Puno associate creative director John Ed de Vera, MRM Manila deputy executive creative director and Trese writer Budjette Tan, Walt Disney animator Armand Serrano, creative communications
specialist Brian Tenorio, designer and illustrator Dan Matutina, Rogue magazine illustrator Meneer Marcelo, photographer Jay Tablante, and graphic designer AJ Dimarucot. Guggenheimer kicked off the morning session talking about the universal principles of design education. “Find a way to express that unique identity that you have through your design work,” he said, likening design to a kind of philosophy as much as it is a practice. He explained the basic principles
of design: Utility, firmness, and delight, and stressed the importance of storytelling, saying, “Stories are the perfect foundation for design. They have a beginning, a middle, and an end.” He also addressed the bigger role design plays in society. “As creators of culture, whether we like it or not, we are contributing to our local and global culture by virtue of our work.” Meanwhile, De Vera offered his experience as young creative, chronicling his unlikely entry into the advertising world that began with his impulsive decision to study Advertising Arts at the University of Santo Tomas – which “sounded better than studying Nutrition and Dietitics”. He spoke about his impressions of advertising agencies during his early years. “What I knew at the time was that it was really hard to get into an advertising agency,” he said. “I would be doing overtime seven days a week, and I wouldn’t sleep. I was kind of scared.”
Arch. Tobias Guggenheimer
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Reflecting on the profession, he added “There’s a delimitation that what we do as creatives is not self-expression but extensions of ourselves. It’s how we see and approach a problem, and that’s what’s inculcated in my mind.” He offered participants advice from his college professor: “The idea is to keep creating… When I think of an idea, before I execute it, I let the idea go through my heart first. I have to let my heart, head and hand work for it. Just remember, work for money – but design for love.” Serrano, a senior visual development artist at Walt Disney, also shared his experiences and expert advice, but conceded that it was difficult to teach design, as “there are some things that you cannot explain”. Like Guggenheimer, he emphasized the importance of storytelling. “In feature animation, there has to be a compelling story. If the story is not solid, everything will crumble.” He also emphasized the importance of originality and content. “We’re
so focused on the technique that we end up being copycats of somebody else’s artwork. You have to start with the idea,” he said. Tan, on the other hand, talked about reimagining myths and legends. Starting off with a comparison of Western and Filipino superheroes and their similarities, Tan explained: “The point is, it’s the same story, told in a different way, and suddenly made more interesting.” Urging young creatives in the audience to remember their history, myths, and folk beliefs, he said: “What’s the secret to redesigning legends and gods? You have to make them iconic. Nothing’s stopping us from telling another story of another boy who can fly. The human race tells the same stories of heroes and villains over and over again, and I think we have to update it for every new generation. The world’s moved on, and there are new children who want their own version of things, updated in their own context. And that’s our challenge.” Marcelo focused on exploring
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“Stories are the perfect foundation for design. They have a beginning, a middle, and an end.”
different styles, which he explained is an important part of the learning process. “As creatives, you’ll be given limited resources. It’s up to you how you use them.” He assured young creatives that mistakes were “part of the learning process. You improve and just laugh at your old work”. When it comes to illustration, he advised the audience to aim for subtlety. “Sometimes small solutions work better.” Tablante – who is known for his elaborate
Maneer Marcelo Brian Tenorio AJ Dimarucot Jay Tablante Dan Matutina
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“I always do a lot of passion projects. I get uneasy when I’m not doing something.”
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cosplay photography – talked about cosplay and the transference of ideas. He discussed the history of cosplay, explaining how characters become identifiable: “The more influential the characters, the less attributes are needed to remind us who he or she is.” He told the class that humans were meaning-making machines: “Do not assume people think the same way as you. Look at
your work from a third person perspective.” For his session, Tenorio held an impromptu workshop. ”Design should be fun,” he said, before instructing the participants to pair up and, within two minutes, come up with design ideas for what he called ‘the traffic scenario in EDSA’. The ideas ranged from placing K-9 units around the traffic jams, replacing traffic signs with LED boards playing clips of reminders for motorists, food delivery services, jump ramps in tollways and weird-sounding names for connected expressways. Collaboration, in Tenorio’s books, is not only essential, but it also makes every project more interesting. Asked whether form or function was more important in design, Tenorio offered: “It’s really the emotional tag. Form, function, but really, it’s feeling.” Matutina and Dimarucot, who both used to work in advertising, talked about their experiences as freelancers. “Personal projects can get you a lot of clients,” said Matutina, who has done projects for Havaianas, Paypal, WIRED, Google (Think Quarterly), Frog Design, The Church of London, Bookish.com,
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ESPN, Natural Resources Defense Council, Jamie Oliver Magazine, Rogue Magazine, Nescafe, Droga5 & Rehab Studio, Giant Ant, IDW Publishing (Cobra Files), Heineken, Nike, McDonald’s & Walker Books. While the shift to freelance was not easy, it has since paid off for Matutina. “Advertising was comfortable for me. When I left advertising, I went back to the college lifestyle, but it was worth it in the end,” he said, adding that it was nice to find time to do his own thing. “I always do a lot of passion projects. I get uneasy when I’m not doing something.” Passion projects are similarly important for Dimarucot as it allows him to do even more things. Apart from having designed for the likes of Manny Pacquiao and Michael Jackson, Nike, Jordan Brand, Adidas, and Uniqlo, Dimarucot also owns googoo&gaga, a clothing line he started with his wife. He is also co-owner of Filipino-Mexican restaurant MADECA. “Doing things you love allows you to design your life. Do what you love. People will pay you for it,” he said. adobo Design Series 2014 was held on March 28 at the Mind Museum.
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01 Delegates gather for a day of learning at the first adobo Design Series at the Mind Museum in Bonifacio Global City 02 Seasoned animator Armand Serrano speaks on his experiences as a visual developer for companies like Sony and Walt Disney 03 adobo’s Angel Guerrero with SoFA’s Tobias Guggenheimer 04 Brian Tenorio illustrates his point with the help of some volunteers 05 MRM Manila’s Budjette Tan waxes poetic about his love of comics 06 Jay Tablante and Meneer Marcelo await their turn onstage at the Design Series. 07 Participants were encouraged to ask questions during the spirited Q&A sessions 08 Plus63 Design Co.’s Dan Matutina and AJ Dimarucot field questions from the floor 09 adobo’s Angel Guerrero and Janelle Squires with TBWA\ SMP’s John Ed de Vera 10 The audience laughed and learned over the Design Series
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adobo marks 8 years with Milestones party Unveils new-look website Words Carmela LapeÑa
MANILA – adobo magazine, the word on creativity, launched its new website during its anniversary party on April 10. Entitled Milestones, the celebration marked the magazine’s eighth year and 50th issue, featuring design guru Lucille Tenazas on the cover. 24 hours before the launch, the adobo magazine website was replaced with a timer counting down to the big reveal. Guests joined adobo’s president and editor-in-chief Angel Guerrero in the last few seconds of the countdown before the new site went live. The new adobomagazine.com, developed by Spinweb, features a new design that is easy to navigate, with a fully responsive user interface that resizes seamlessly from desktops, to tablets, to mobile devices. The most recent news appears right on the homepage, and breaking news and current events are highlighted in a featured news header. A meganav makes it easier for users to explore the site, which includes local and global news, as well as a dedicated digital section powered by Smart. A highly improved search experience and tagging system allows viewers to find related content and discover stories they are interested in. There is also an improved events section with a list view and calendar view, where users can find the
latest and upcoming industry events both in and outside the Philippines. The site also features multiple forms for subscription to the magazine and e-newsletter, advertising, and general inquiry. According to Guerrero, the revamped website is only the first of adobo’s updated digital platforms. “Soon, we will also be launching our mobile apps and even adobo TV. These updated platforms help us stay relevant to the industry we serve - this
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community of advertisers, supporters, staff - all of whom are indispensable,” she said. Also during the anniversary party, an awards ceremony was held revealing 2013’s Ad of the Year winner, Lowe Philippines’ Makahiya work for Save the Children. This event was made possible by Smart Ads, URBN Bar & Kitchen, Spinweb, Executive Decisions, Seabiscuit, Giantsponge Digital, Pinwheel, Martin Codax, Barcino Corporation, and Photoman.
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01 adobo’s Angel Guerrero and Janelle Squires awards BBDO’s Tony Harris with an Ad of the Month trophy 02 Ad of the Year for 2013 goes to Lowe Philippines for Save the Children ‘Makahiya Shrink’ TVC 03 Event presenter Smart Ads’ Leah Besa with adobo’s Janelle Squires 04 Philippine Star’s Lucien Dy Tioco with Felta Multimedia’s Mylene Abiva 05 adobo’s Misha Lecaros (center) with former and current PMA President Vince Reyes and Yayu Javier respectively 06 First Pacific Holdings’ Ray Espinosa (far left) with former colleague Jay Montelibano and Melvin Nubla of Media 5 07 IMMAP president Mike Palacios with Cheil’s Onat Roldan (First and second from left) 08 Birthday boy Bixie Reyes of Havas celebrates with former BBDO colleagues Gary Amante and Dale Lopez 09 JWT’s Joe Dy, Publicis JimenezBasic’s Niño Gupana and JP Cuison, and Blackpencil Manila’s Nico Zapanta 10 Wine partner Barcino gives away bottles of wine to lucky recipients. Host Zach Lucero with IMD Group’s Joshua Rea 11 adobo’s Janelle Squires with Crystal Lee of Viber and Yves Gonzales 12 Ace Saatchi’s Mio Chongson and Edg Samson with DM9’s Merlee Jayme
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01 L-R Photographer Dan Harvey, adobo’s Angel Guerrero, Hit Productions’ Vic Icasas and Brian Cua and SounDesign’s Raul Blay 02 The party in full swing 03 A toast to our latest issue 04 Chelsea FC Soccer School’s Cathy Nazareno and Coach Jojo Durian 05 David and Angel Guerrero 06 DDB’s Timmy Jayme (center) and John Lucas with DM9’s Eugene Demata (left) and Merlee Jayme (right) 07 Behind adobo’s digital revolution the team from Spinweb headed by Jaime Garchitorena (2nd from right) and Caselyn Suarez 08 adobo team celebrates Milestones 09 Rogue Publisher Ipe Cruz (right) enjoys the ad industry atomosphere with adobo’s Angel Guerrero, Hot Air Balloon’s TJ Parpan and UGL’s Aids Tecson 10 Brian Tenorio (2nd from left) joins the adobo interns at the registrations table and shows them how it’s done 11 Photographer Jay Tablante and adobo’s Ricardo Malit show their approval of the anniversary issue
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Ad Summit pilipinas 2014 182 The Road to Enlightenment 186 Marcus Rebeschini, Boy Abunda 188 Sandipan Roy 189 Dick Van Motman, Cheuk Chiang 190 Merlee Jayme 191 Simon Kemp 192 Charles Cadell 193 Ariel Fermin 194 Tom Doctoroff 195 Emily Abrera 196 adobo party snapshots 198 Summit parties 200 Seen And Heard 202 Kidlat Awards 2014 204 Lifetime Achievement Award 205 Jury Heads Weigh In 206 Showcase 214 Kidlat snapshots May-June 2014
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Ad summit Pilipinas 2014
The road to enlightenment Over 2,000 attend inaugural edition in Subic Words Carmela Lapeña & Amanda Lago with Mikhail lecaros Photography Ricardo Malit, Joshua Gonzales & Roy Van Morales
When the Ad Summit Pilipinas was announced April 2013, the thought of an alternative to the established Ad Congress was seen as an unprecedented, if not outright radical idea. At the time, festival chair Matec Villanueva was quoted as saying that the only agenda behind the Summit, as far as she was concerned, was to “build on the tradition of celebrating the best in Philippine advertising and fuelling the discussion that drives our industry forward” by “gather(ing) the sharpest, most creative minds in the advertising world to examine with delegates from all over the country the most relevant issues that shape our industry.” Flashing forward a little over a year later, the Subic Bay Exhibition and Convention Center would see Villanueva’s promise spring to full life as the inaugural edition of what has since been touted as the most prestigious event of its type in the country kicked off. The combination of seminars, rocking evening parties, a million peso cash prize (TV5), a car prize (Manila Broadcasting Corporation), a dinner cum showcase
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of a broadcaster’s entire programming repertoire (ABS-CBN which had all its big names in attendance), networking opportunities, an awards show and a bayside venue just two hours from Manila all helped the inaugural edition take flight. No doubt a line-up of creative ‘rockstar’ speakers sharing the benefits of their insight and experience helped generate plenty of heat for the first Summit. If there was a common thread to the talks, it was that of finding the mindset necessary to take on the seemingly impossible in an age of unprecedented media evolution and the importance of social responsibility, a point underscored time and again, for the industry to move forward. Further glitz was added in the form of the 2014 Kidlat Awards. For the first time, the Philippine Creative Guild-organized awards competition and presentation was attached to a major festival, lifting the value and appeal of both in the industry’s eyes (see page 202 for our full Kidlat coverage). Themed ‘The Age of Enlightenment’, the Summit opened with a colorful trade exhibit adjacent to the main seminar hall, where VIPs, event officials and delegates mingled as they perused the various booths and exhibits of brands like PLDT Home, Smart Communications, Electrolux, Future Farm Asia, ABS-CBN, Radio Mindanao Network, The Philippine Star, TV5 and, of course, adobo magazine, for a chance to sample their wares. “When you talk about enlightenment, it’s about learning, and learning is about renewal,” said Villanueva. “When you think about it, this industry is about renewal,
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whether its refreshing ideas or brands or the business. So I think we’re on the right track!” During the launch, guests released balloons for luck, and Advertising Suppliers Association of the Philippines chairman Roy del Valle and Villanueva presented a symbolic key to the trade exhibit to Subic Bay Metropolitan Authority Chairman Roberto Garcia.
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01 SBMA’s Bobby Garcia cuts ceremonial ribbon while co-chairs Alex Syfu and Matec Villaneuva look on 02 Summit’s organizing committee members take to the stage for the opening 03 Rousing response to coach Chot Reyes’ presentation 04-05 Choir and sound and light show for Summit’s opening
It was soon time to get down to the business of being enlightened. Organizers, led by 4As president Norman Agatep, 4As chair and Ad Summit co-chair Alex Syfu, and Villanueva kicked off the Summit proper the next day with two industry heavyweights. Advertising veteran Louie Morales and Gilas Pilipinas head coach and Sports5 head Chot Reyes energized the crowd as much as they enlightened them after the Summit’s opening bell. “The greatest ad campaigns tell stories,” said Morales, the chairman of CID Communications. “Cut the ‘blah blah’, tell a good story, and you will win,” he said, while delighting the crowd with pictures of himself from his early Mad Men days to the present. Only the people who love advertising will survive the business, according to Morales, noting that these were the people who also would die with their
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boots on because “advertising will consume you… it has to be your life”. Likening advertising as the light of the world, Morales told the audience they were the ones bringing the light – to enlighten consumers about their choices. “Be the supernova in advertising.” Morales was followed by coach Chot Reyes, a five-time recipient of the PBA’s Coach of the Year award, who gave a memorable speech that likened the advertising industry to a basketball game, saying that scoring advertising three-pointers took trust, effort, accountability and motivation, the basic ingredients in a TEAM. “I was tasked with forming Gilas Pilipinas, the basketball team. Little did I know that I was building Gilas Pilipinas, the brand,” he said, telling delegates that few were aware that he had built the national team to beat South Korea, a country that has qualified for the FIBA Asia Championship every year since the tournament was introduced in 1960. “Who are you building your teams for?” As his last FIBA bout showed, uncertainty is the only constant, whether in business or in the sports arena, and teams should be built with this in mind. “In the biggest battle of our lives (against Korea), we lost our best players. Think about your teams. What if you lose your two best players, do you still have the team around them to still get the job done? Pointing to his experience of getting to know his players through and through before entrusting them with a specific responsibility, coach Reyes asked industry leaders: “How much do you know your people as individuals?
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“We are under the microscope all the time.”
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“Mark Pingris is on our team because of his ability to work hard, because his skill is hustle. Figure out a way to measure hustle… in our team, we have a hustle stat. We pay big money to our hustle stat leaders.” For that to happen, company leaders must know their people’s strengths in order to forge trust-based relationships. ROR, or return on relationships, is priceless, he added. “In the end, clients give us business because of trust.” The motivational speaker also reminded the industry of the value of having work ethic: “Every single one of us in this room can work harder, smarter or better than what we already are.” Over the course of the Summit, speakers after speaker – from Boy Abunda to Merlee Jayme, Cheuk Chiang, Emily Abrera, Charles Cadell and Tom Doctoroff – enlightened, inspired and even provoked the audience to think about the way they approached clients’ communication challenges. Consumers empowered by the internet and technology have triggered a shift from the old top-down to a bottom-up communications model, creating new rules for brand engagement. “We are under the microscope all the time,” Cadell, McCann Worldgroup Asia Pacific president, reminded the audience. With growing internet access, company initiatives are routinely monitored, dissected and commented upon on social media sites, prompting advertisers to look for a higher purpose to engage
consumers as well as protect their brands, a change addressed by speakers such as Cadell, Abrera and Sandipan Roy. “As long as we have our consumers examine exhaustively everything that we do, this is here forever,” Cadell said of the shift to what he termed as societal branding. “It is harder to knock a brand that has been doing good consistently.” While societal branding isn’t a commonly used term yet in the Philippines, a study by McCann Worldgroup Manila in the aftermath of last year’s devastating typhoon
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01 Festival chair Matec Villanueva remarks on the birthing process that produced the Ad Summit. 02 Chot Reyes gets the delegates in the right frame of mind with one of the best-received talks of the Ad Summit. 03 Louie Morales lets delegates know that a career in advertising is a lifetstyle. 04 SBMA chairman and administrator Roberto Garcia welcomes delegates 05 4As president Norman Agatep gives his opening remarks. 06 Ad Summit co-chair Alex Syfu described the Summit as a “learning venue”. 07 In all, 2160 delegates attended the Ad Summit.
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Yolanda found that local consumers are nevertheless thinking along those lines. 96% of Filipinos surveyed expected brands and companies to play an effective role in post-Yolanda rehabilitation efforts. Indeed, advertisers themselves have been moving in that direction – Smart Communications with ‘TXTBKS’, Maynilad Water’s ‘Dengue Bottle’, PepsiCo’s ‘Bottle Light’ and Coca-Cola’s ‘The OFW Project’ among others are doing good, not as a one-off CSR project, but as the key component of their marketing campaign. And these
initiatives are winning big at major overseas festivals. DM9JaymSyfu’s ‘TXTBKS’ in particular has rewritten Philippine record books having bagged multiple Grand Prix and Best of Show this year alone. “The speakers were fantastic, and we’ve been getting so much feedback starting from Day 1,” said Summit co-chair Syfu. “It was so nice to see people really taking notes; people were really here to learn, which was really the objective of the Summit: to be a learning venue.” Villanueva concurred, telling adobo that, while the Summit presented a “more focused” venue than what was previously available, with “more chances for learning”, the success of the four-day event was a reflection of the camaraderie that is prevalent in the local creative industry. “It was difficult in a lot of ways. There were times we thought we weren’t going to pull through, but we just crossed our fingers, kept going, kept on doing the rounds. In this industry, we compete on a daily basis, but when it’s about coming together and we know, at the end of the road, that everyone will benefit from something, we do get support. It’s not about one organization or another – it’s for everybody.” “I hope delegates go back saying that they were enlightened, and are looking forward to the next one,” said Syfu. “I think the best measure of success, really, is for them to tell you, ‘See you at the next Ad Summit’.” Since its announcement last year, there has been the question of whether or not the Ad
Summit Pilipinas would be an annual affair, or a biannual event like the Ad Congress that it effectively replaced. According to Villanueva and Syfu, having the Summit every two years is “just right” in order to properly build up anticipation and excitement, lest the event lose some luster from over-exposure. In the end, Ad Summit Pilipinas went from an unexpected idea to an unqualified success, welcoming a total of 2160 delegates, which included 340 arriving on the final day to attend the Kidlat Awards. The online audience was in another league: The Summit generated over 40 million Twitter impressions despite only having 800 followers on the event’s official micro-blogging site. All told, it was an auspicious beginning and any and all accolades for the 4As and their collaborators are well earned and, unless we’re very much mistaken, we’ll all be seeing each other again in 2016.
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Marcus Rebeschini Pushing boundaries
Y&R Asia Pacific chief creative Marcus Rebeschini stressed the importance of doing the impossible, addressing advertising professionals in particular, during his presentation. “Most of the things worth doing in the world had been declared impossible before they were done,” Rebeschini said, explaining that doing the impossible, the unexpected, is a case of mind over matter. “If your mind is telling you that you’re scared, you’re going to be scared,” he said. “It’s really interesting how your
mind can convince you to play it safe.” Rebeschini said that for an audience of consumers that have seen everything, it is important to do the unexpected and unique. “That’s the problem with advertising today; everything is the same,” he said. To do so, creatives and even planners and account managers have to “get up out of [their] desks and talk to people.” “It’s so much easier to sell the boring stuff. Half the time we don’t deliver what the brand needs. That’s why clients don’t trust us,” he said. In a later interview with adobo magazine, Rebeschini explained that advertising professionals don’t have to do something wild or dangerous to stand out, but they do need to push boundaries. Sharing a campaign for Tontine Pillows
in Australia that put an expiration date on the product to remind consumers to change their pillows, Rebeschini pointed out that the idea was not something crazy, or something that destroyed the brand, but simply unexpected. “I’m sure the agency was briefed on a TV spot and a print ad, and instead they came back with something they knew the client most probably wouldn’t buy…but they actually got away with it, and they actually were able to sell it,” he said. Rebeschini continued: “The more you look for insightful things about your client’s brand, the more you push the creativity to a next level, the more you stop playing in this safe and predictable world and start doing stuff that’s more interesting, more engaging for the consumer, you’ll actually start doing better stuff, and your sales will increase.”
Boy Abunda From risks to risqué
At the Ad Summit, the conversation went beyond marketing and advertising topics, touching upon social issues such as LGBT rights when openly gay TV presenter Boy Abunda took the stage. “History and logic tell us that we can have a gay president,” Abunda said in his talk, entitled ‘Why Can’t we Have a Gay President?’, arguing that if the United States could elect a black president 44 years after ethnic minorities won their right to vote, the Philippines has hope for a gay president in the future.
He also illustrated what the country would be like under the rule of a gay president, saying that one would create a Department of Culture, amend a fundamentally flawed constitution, and naturally strengthen the Filipino family. At a press conference after his talk, Abunda agreed that the country still has a long way to go before it becomes accepting and LGBT friendly. Abunda acknowledged the risk for marketers and advertisers in particular to challenge norms and join the fight for LGBT rights, especially since their main business is to sell a product. “It is risky. But if we don’t try, where will we go? Some companies have started to be risqué, some companies have started to challenge the norms, and some of the most successful campaigns have already
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bordered on the unimaginable campaigns of 50 years ago,” he said, citing global brands such as Calvin Klein and Dolce and Gabbana for pushing the envelope. “I have so much respect for the local platform. I know it can’t be done, hindi mo naman pwedeng ipagsaksakan yan kaagad (you can’t force it right away) but being aware of who the LGBT community is is a good start,” he said. “Get to know the LGBT people better and that’s where you create the balance because I know you are talking to a market and you are portraying a certain sector,” Abunda continued. “In that respect, appreciation of both will be very important. Balancing without having to distract, hurt, diminish, trivialize any of the sectors. It’s tough, but it can be done.”
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01 adobo’s cozy booth welcomes delegates to the Ad Summit TradEx hall 02 Manny Pangilinan and PLDT’s Ariel Fermin pay adobo a visit 03 Ad Summit 2014 Committee pose for a photo op at the Trade 04 SBMA chairman Bobby Garcia with adobo’s Janelle Squires 05 Y&R’s Badong Abesamis, Marcus Rebeschini, Chiqui Lara and Herbert Hernandez with adobo’s Janelle Squires and Angel Guerrero 06 Manila Bulletin wins TradEx award for single set-up booth 07 TV5 and Smart’s Convergence booth 08 Home sweet home at the massive PLDT booth 09 Electrolux showcases their wares with their ‘Mobile Home’ 10 Delegates lined up for samples at the Purefoods booth 11 Manila Broadcasting Company makes their presence at Ad Summit Pilipinas
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Sandipan Roy
From aspiration to inspiration At Ad Summit Pilipinas, Isobar Asia Pacific’s Sandipan Roy spoke about how the internet has made brands more accountable to mankind. “I believe the internet is at the root of everything we do,” said Roy who discussed the concept of the ‘internet of vigilantism’, and how this has made brands move from being a symbol of aspiration to inspiration. “It’s no longer enough to stand out, you’ve got to stand up for what you believe. Most people choose brands when they support a cause,” said Roy, who heads strategy across Asia Pacific for Isobar. He discussed how the internet has changed things, and how brands are responding. Because of technology, the four Ps of marketing no longer exist in silos independent of each other. “Because of constant data exchange between consumers and brands, those four Ps are converging,” he said. With the influence of social media, purchase is no longer in isolation. Rather, it has become a participative process wherein consumers go to a store carrying hundreds of Facebook friends in their pocket. “Each one of them thinks they have the right to influence my purchase… so we have to be ready for commerce at any stage of the
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consumer buying process,” he said. The way brands are responding, Roy said, is by creating an ecosystem of products and services to match the consumer demand. “This whole concept of participation is going to get more and more in terms of impact on marketing,” he said. Roy stressed the importance of authenticity, saying that consumers would recommend a brand more the more they felt that it was authentic. To marketers, he said, “You can achieve transparency and authenticity while being in charge of what you do out in the consumer space.” The more authentic a brand is, the more willing people are to recommend the brand. According to Roy, it comes down to purpose at the core of the brand. “Once the brand has decided that at the core, it’s going to appeal to a higher cause or a higher ideal, then everything it does in terms of developing products, services, behaving are at the back of their core belief that they want to appeal to a higher cause,” he said. He added that the decision to appeal to a higher cause must come from top management. “It has to come from the chairman downwards. Then we will inspire people to live a meaningful life. That’s the only way it can happen,” Roy said.
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Dick Van Motman Head and heart
Dentsu Aegis network’s Dick Van Motman made a case for ‘enlightened romanticism’ in his presentation ‘Spinoza, Voltaire and Isaac Newton – Meet Don Draper’. Van Motman drew parallels between the age of enlightenment and the present day. “History has a nasty tendency to repeat itself,” he said, explaining that the 17th-century movement valued reason and individualism over tradition, in much the same way that traditional broadcast today is being replaced by big data (reason) and
targeted advertising (individualism). “We all want to find the holy grail. How can we make big data more meaningful?” Van Motman asked. “We might not be looking at the right stuff. Brands and agencies need to become enlightened.” However, Van Motman warned against too much thinking and not enough emotion. “The mind is a lonely hunter. Heart and mind need to work together to create an impact,” Van Motman said. “It can be misleading when we let the mind overtake the heart,” he said. Brands must find the balance between reason and emotion, Van Motman said. “That’s why we have a conscience. You can’t just do things from a very clinical way, and you can’t just do things from an emotional way,” he said, warning against relying too
much on big data. “In some cases, big data gives a lot of answers, and it makes for better decision making… but big data on its own is not the answer. At the end of the day, as people say, you have a product and you have a brand, and the difference is the intangible that comes from a whole set of values, a whole set of emotions,” he said. Van Motman talked about Dentsu’s belief that it’s about moving business by moving people. Simply put, Van Motman said this means getting a reaction out of the consumer. “The way to move them is via a combination of factors. Whether they be rational or emotional, functional, the trick really is how you move the consumer. How do you do that? It’s in the mind, and in the heart,” he said.
Cheuk Chiang A challenger story
“Ask me anything about Bruce Lee, and I’ll know the answer,” Omnicon Media Group CEO Cheuk Chiang challenged delegates when he opened his session, ‘Overthrow – 10 Ways to Tell a Challenger Story’. It was an unexpected way to break the ice, as was Chiang’s joke about the legendary martial artist’s favorite drink (“Wataaahhhhh!”). Aside from being the 25-year industry veteran’s personal hero, Bruce Lee epitomized the point Chiang sought to drive home in his talk on defying popular perceptions and expectations.
“New times call for new brands and services,” he said, stressing the need to adapt with the advances in technology and consumerism in order to remain relevant. The principles outlined by Chiang echoed those in the book which served as the title of his talk. The types of challenger brand personalities he outlined included the Irreverent Maverick, People’s Champion, the Democratizer, the Enlightened Zagger and the Missionary. Chiang shared, it was important for companies to first identify their challenger personality in order to inform their brand promotion strategy. In the case of the People’s Champion, “communicate through the same means as people, through social media.” “All companies need to know their collective purpose...before mapping out your
game plan, you need to clearly define why you are doing it, or who you’re doing it for. If you don’t have the why, no one would follow you.” With social media, low budgets and corporate structures were no longer barriers to establishing one’s brand as a challenger, maintained Chiang, as even the mindset behind marketing, like technology, had evolved. “It’s no longer about reaching the thousands. Now we have the opportunity to reach the one,” said Chiang, pointing out that, any company – big or small – could be a challenger, as long as they were reaching beyond their comfort zone without losing sight of who and what they were. “What’s really important is to take a stance and stick by it,” said Chiang. Because, “if you don’t stand for something, you’ll fall for anything.”
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Merlee Jayme
Humanity-driven creativity DM9JaymeSyfu chief creative officer Merlee Jayme took to the stage to present her talk, ‘When Creativity Meets Humanity”. Fresh from her agency’s spectacular performance at the New York Festivals for its ‘Smart TXTBKS’ initiative, Jayme opened with a brief introduction about how her experiences growing up had shaped her into someone who believed in tempering her work with her conscience, citing her time as a Benedectine novice as a primary influence. Jayme then proceeded to present the latest iteration of the shop’s multi-Grand Prix-winning entry. The reason for the campaign’s success, stressed Jayme, came an unwavering belief in the power of the human heart partnered with the creative mind. The resulting “responsible creativity”, said Jayme, was the truest representation of the summit’s theme of ‘Enlightenment’, as well as indicative of the industry’s direction as a whole. At the end of the day, said Jayme, sincerity was key. Jayme showed summit delegates an update on ‘TXTBKS’, wherein the original concept of condensing educational material
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for easy viewing on obsolete phones had been expanded by applying it to storybooks for orphanages. In addition, shared Jayme, DM9 was actively collaborating with international organizations to produce localized versions of ‘TXTBKS’ in other developing areas, such as South Africa’s Limpopo. The latter half of Jayme’s talk was spent familiarizing her audience with “humanity” in mind. The first one, for Caritas, saw DM9 working with Team Manila, to introduce the concept of ‘Donate By’ tags on clothes that would let consumers know when it was time to be altruistic. Finally, Jayme presented ‘Pocket Fire Extinguisher’, a project the agency had undertaken in partnership with the City of Las Piñas) to solve the problem of fire prevention in slum areas, where fire trucks would have difficulty reaching in times of emergency. Produced in sachet-form, the extinguishers work by breaking a capsule inside the pack, allowing vinegar and baking soda to mix and create flame-smothering carbon dioxide, which could then be released by tearing off a perforated corner.
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Simon Kemp
Stop talking, start listening
We Are Social’s Simon Kemp enlightened the audience with his presentation ‘Social Brands: The Future of Marketing’. Kemp brought things back to basics, saying word-of-mouth was still the most powerful form of advertising. “An increase in good conversation drives an increase in compensation,” he said. According to Kemp, marketers should remember that it’s not all about them. “Marketing is still too focused on screaming for attention,” said Kemp, comparing
marketing with dating, where one knows not to just talk about oneself. “It’s really important that as brands, we should be learning about what audiences, what people want so that we can deliver better value to them.” Kemp said that brands should focus on building strategies around passions and interests that bring people together. “Stop obsessing about what we want to say. Start obsessing about what we want people to understand,” said Kemp, adding that there is no need to repeat the same message over and over again. “It’s about repeating the same concept and changing the story a little bit.” “The places where we go to are the places where we can interact with the people we care about. Brands need to build communities,” he said, on social media driving conversation. He also stressed the importance of mobile,
noting that one in three Americans would rather give up sex than their smartphones. “If you’re not on mobile, you’re standing still. If your strategy doesn’t come to life on mobile, it’s not going to come to life at all,” he said. Talking about brands that give back, Kemp said brands need to get into people’s heads and hearts to succeed in the future. “You’re not just giving people something to buy. You’re giving people something to believe in,” he said. “Give people a reason to fall in love with you, and you won’t have to ask them to click ‘Like’,” he said. Urging brands and advertisers to make things better instead of obsessing about making better things, Kemp returned to his earlier point: It’s about the audience. “You’ll only learn something new if you start listening and stop talking,” he said.
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Charles Cadell
Brands have the power to make a difference Gen X and Y want brands that are good citizens, a demand that is leading a shift to societal branding where “making a sale has the potential to make a difference”. Charles Cadell, McCann Worldgroup’s Asia Pacific president, offered Ad Summit delegates a glimpse of the power and potential they have to make a difference in the world and peoples’ lives when he talked about the ‘New Responsibility for 21st Century Brands’. Societal branding is anchored on five truths: 4 Seek to solve an important human problem. Don’t start from a marketing agenda 4 Purposeful, not peripheral. Don’t reduce doing good to a marketing tactic as it smacks of opportunism 4 Be humble. Actions speak louder than words. If you must talk, let people do the majority for you 4 Be consistent. Don’t contradict the good you do 4 Be true to your core. Don’t try to be something you’re not. The shift is emblematic of the new rules of brand-consumer engagement. “We are under the microscope all the time,” Cadell said, now that the internet and technology have empowered consumers to monitor, dissect and comment about company initiatives. “The debate on societal brands is now a mainstream debate.” For Cadell, the shift to societal branding should be about “talking to people who are our potential friends”. That said, even the savviest of marketers – Dove and Lego, for instance – can get it wrong. Dove’s launch of a new deodorant backfired when it tried to paint armpits as beautiful by comparing the body part to New Jersey, often
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derided as ‘the armpit of America’. New Jersey residents were insulted, a rare misstep for a marketer widely praised for its decade-old campaign to redefine ‘Real Beauty’. Lego’s launch of its girl-friendly Lego Friends line to sell more of its toys to girls ended up losing it some parental love as the brand was accused of dumbing down the range for girls. KFC similarly failed with a cause marketing initiative, offering to donate 50 cents for every bucket sold to fight breast cancer in the US. Although ‘Buckets for the Cure’ raised $2 million in the first week of launch, critics argued that eating fatty foods such as a bucket of KFC actually increased the risk of cancer. The examples underscored Cadell’s point of not starting from a marketing agenda as it can blind a brand to people’s true needs and feelings. There have also been success stories, notably Body Shop with its ethical sourcing process, Mexican food chain Chipotle championing family farms in the animated and haunting ‘Scientist’ spot, Australia’s V/Line’s cheeky campaign to ‘guilt trip’ city folks into visiting their parents in the country to increase dwindling sales or Coca-Cola Chile’s effort to turn happiness literally into a movement by equipping taxis with a bike pedaling system to allow passengers to pedal their way to lower fares for a fitness promotion campaign. “Making a sale has the potential to make a difference.” The trick, Cadell added, was to do it well and do it right, all the more important with the industry now “under a microscope all the time”.
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Ariel Fermin
Humanity in a technological age
PLDT EVP and Head of Home Business Ariel Fermin closed the second day of Ad Summit, with a talk on ‘Humanizing Technology: Humanizing Over Connectivity’. Fermin was in good spirits throughout, joking frequently while presenting the various products and services his brand had to offer. Fermin shared that the tendency of brands to show off their new technologies and media was one that should not be taken lightly, lest they alienate their target market. Indeed,
with all of the new technologies and media coming into play in the modern marketplace, Fermin pointed out that direction and a firm grasp of a brand’s identity were a necessity. “When you focus on the ever-changing, your communication becomes obsolete.” The secret to success, he shared, called for brands to, “Be consistent, reliable. In the technology game it’s so tempting to march out and trumpet your new features,” he said, before advising the audience to focus on the basic things instead: Family, relationships, real-time connections. Of course, having a good product is integral to the process, as “actions speak louder than words,” or any emotion, for that matter. After all, Fermin asked the audience, “How do you sell love?” Fermin shared five rules on packaging
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one’s brand in a manner that would make it relevant to consumers while engaging them on a human level: 1: Be Trustworthy 2: Be made for each other 3: Action not words 4: Be a partner. It always takes two to tango 5: Surround your consumers with it With years of experience in marketing for brands such as Procter & Gamble, Coca-Cola, Unilever Foods, Nike, Greenwich Pizza and Chowking, Fermin is a veteran of taking existing properties and finding the unique human quality to connect them with consumers, reflected in his participation in the creation of PLDT’s multi awardwinning ‘Screen Age Love Story’.
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Tom Doctoroff
Harnessing the power of online advocates JWT APAC CEO Tom Doctoroff highlighted the critical role advocates will have for brands now that technology has empowered and liberated consumers. In his presentation, Creating Brand Advocacy in an Era of Digital Empowerment, he noted the shift from a top-down to a bottom-up communications model, a change driven by empowered consumers. The industry’s mission, he said, was to unify both models since each had its advantages. With word-of-mouth marketing given a considerable boost by growing internet and social media use, Doctoroff added: “No matter what statistic you look at, advocacy is what sells.” Advertisers must be able to use both models to effectively communicate with and engage consumers in the changing media environment, where television remains a powerful medium commanding US$250 billion in worldwide marketing spend, but technology has liberated consumers from appointment viewing and created new opportunities to deepen engagement. In the US, Oreo liberated the idea of childhood with its playful online ‘Daily Twist’ campaign to contemporize the brand in today’s context with new content over 100 days. One piece of content in particular resonated with consumers – Oreo’s multicolored filling for Gay Pride Week saw the campaign to mark the brand’s 100th anniversary jump effortlessly from social to traditional platforms, booking plenty of earned media in the process after news anchors and comedians gave it a shout-out. “We create ideas people want to spend time with… We must change passive exposure to active participation,” he said while redefining ROI as Return on Involvement. He called on agencies and advertisers to “harness the power of technology in
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the service of great ideas”, a strategy that appeals in Asia where people had an emotional relationship with the internet that is not apparent in the West. Given the nature of Asia’s relationship with the internet, he said brands should target efluencers and netizens to serve as their advocates. With millions of followers each, singer Katy Perry and Justin Bieber top the list of efluencers. While Doctoroff prompted laughter in the hall, asking how the pair had attained their coveted social media status, there is no ignoring the immense power efluencers wield today. In China, 92% of consumers would buy products recommended by efluencers, requiring brands to identify the right opinion leaders in order to tap into their community. Campaigns such as Volkswagen’s ‘Building the People’s Car’, a design competition in China, gained traction by tapping opinion leaders in motoring. “Let people display their talent,” he said of ways brands can sharpen engagement and turn efluencers into advocates. In New Zealand, a doppelganger app that allows people to match their facial features with shelter dogs to drive up adoption rates was similarly well received because it gave something people wanted to use. Pepsi China meanwhile connected with Chinese youth by allowing them to become the face of the brand – to put the faces of crowd-sourced competition winners on its can. “Online here is about release and liberation. In Asia… narcissism is even more compelling than Buddhism,” he added. “Technology moves us closer to the last mile purchase, but ultimately ROI is the shining city on a hill,” Doctoroff said, redefining ROI as a Return on Involvement.
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Emily Abrera
Creating purpose-driven brands
Having a social impact has never been more important for brands than it is today, advertising legend Emily Abrera said at her talk entitled ‘Purpose, Meaning, Advocacy.’ “Brand building today is considerably tougher than in the century that just passed,” Abrera said. “It seems to me that consumer loyalty is more elusive than ever.” Citing an SDL study on the Millenial Mindset, she explained that millenials – who are now gaining purchasing
power – are “always on”, and that two out of three millenials touch two different devices daily. She also said that a big portion of consumers is willing to pay for brands that support good causes. In building trust for brands among millenials, Abrera recommended that advertisers “create purpose-driven brands”. “We have moved up from brands being simply commercial ventures and brand building, going beyond that, brands are expected to have some other kind of role, some other kind of exalted role than just the commercial,” Abrera later said in an interview with adobo magazine. “Not that a commercial role is bad per se, business is business. But in order to have an increasingly meaningful way of interacting with its consumers, customers,
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brands always have to take on this social role. What exactly is the social role that fits a specific brand, that’s going to be answered by the brand itself,” she added. She went on to differentiate between advocacies and a company’s corporate social responsibility: “Advocacies are bigger, more meaningful, more engaging than CSR.” “Very often, a company will do some CSR. It likes to do good, but usually these are just responses to tragedies, or the needs of the times. That’s all very okay, but that’s opportunistic. You can’t be doing that every day,” she said. “Today consumers are very active on social media. You can’t get away with that. So that’s the role, it’s not even a role anymore that you have to aspire to, you just have to make sure that you’re walking the talk.”
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01 DM9’s Merlee Jayme picks the lucky winner of a pair of Air Asia return tickets 02 The Lighthouse Marina Resort 03 Dentsu’s Rey Tiempo puckers up for Loudbox’s Edsel Tolentino 04 TV5’s Tony Atayde and Melvin Nubla enjoy the San Miguel Beer with adobo’s Janelle Squires 05 Jenga meets scrabble 06 adobo’s Angel Guerrero takes a selfie with Philippine Daily Inquirer’s Pepito Olarte (left) and Ken Nuyda 07 McCann Worldgroup’s Charles Cadell knows how to keep cool 08 MediaQuest’s Noel Lorenzana (far right) with Media 5’s Jane Basas (second from right), DPC’s Sheila Paul (center), Philippine Star’s Lucien Dy Tioco (second from left) and adobo’s Janelle Squires 09 Dentsu Asia’s Dick Van Motman (right) with Aspac’s Miguel and Con Ramos 10 Sid Maderazo and Raffy Francisco (standing, extreme left and third from left) with adobo’s Janelle Squires (seated) and Angel Guerrero 11 adobo’s Angel Guerrero and Sharon Desker Shaw (right) with Jollibee Foods’ Dondi Gomez
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01 Y&R’s Herbert Hernandez and Marcus Rebeschini with Aspac’s Susan Dimacali 02 Smart Ads’ Leah Besa Jimenez with Johnnie 03 One of the highlights of the evening - fireworks courtesy of Philstar Pyrotechnics 04 DJ Mark Marasigan of Beat Project Manila keeps the party going 05 Nothing excites a crowd more than a good raffle! 06 Bottoms up! 07 L-R Starcom’s Joanna Mojica, Alaska’s Blen Fernando and Monde Nissin’s Len Pozon 08 Havas’ Norman Agatep, JWT’s Golda Roldan, Marcus Rebeschini and Aspac’s Joey Ong 09 Event partner Joshua Rea of IMD serves up the green shots, with Aspac’s Angel Antonio and adobo’s Janelle Squires 10 The stars of the advertising industry let their hair down 11 L-R Chikka’s Mario Muyco, Smart’s Mich Bustamante, Dinjo Constantino and Jing Laurel
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ad summit: the parties solar entertainment
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ad summit: the parties
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Seen and heard... Kidlat 2014 “We think there’s a lot of great work out there from different companies, different agencies for different clients that need to be recognized and deserve to be recognized.” - Kidlat Awards competition committee member Joe Dy, JWT Manila
“There was really a lot of more human connection. It wasn’t really too much about technology. It had more human connection. I guess a lot of it is making acts, not so much ads. A lot of it is sincere, you can actually see it, how they’ve crafted the ideas, the entries. I think it’s a good direction in terms of executing our digital ideas.” - Digital, Mobile, Promo, Activation, PR, and Media Juror Dino Cabrera, Leo Burnett
“As far as total entries are concerned, this year, Kidlat did get like a hundred more entries compared to last year, so there are I think over 600 plus entries this year, but as far as digital is concerned, there seems to be less. Why are there less digital entries this year? Not really sure, maybe knowing what everyone will be up against, maybe the agencies just decided to be a bit more picky on what to submit. I think there was a pretty good selection of stuff this year, innovative work.” - Digital, Mobile, Promo, Activation, PR, and Media jury facilitator Budjette Tan, MRM-McCann
“I was really surprised to find out that the Kidlat Awards show is so internationalized. [In Japan] we have a lot of advertising shows, but all the juries are domestic, all Japanese, and no foreigners are invited so sometimes the result of the shows are too domestic and less international. But here, we judged the works based on the international scale so I think it’s really good for the Philippines. I think the level of discussion we had was pretty high. The quality of the works was really high.” - Digital, Mobile, Promo, Activation, PR, and Media juror Kazoo Sato, TBWA\ Hakuhodo
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Ad Summit “I wanted to provoke discussion, I wanted to provoke minds, I wanted to provoke creative thinkers. Culture is a way of life. Hindi lahat ng bahagi ng ating culture ay tama. We also have to review our culture and sift what is right and what is wrong. I’m not saying you should create a balance. You should be able to examine culture and see what makes sense and what doesn’t.” - Boy Abunda
I think delegates are in for a lot of fun; the theme of Age of Enlightenment hopefully will expose Filipino advertisers to the latest in what’s going on in the advertising community, which is a big plus as it’s really necessary, and we really welcome them in choosing Subic for the venue. I’m keeping my fingers crossed…I hope they do it here again! If this becomes a regular event, we will definitely do it again. - Robert Garcia, Chairman and administrator of Subic Bay Metropolitan Authority
“Because becoming aware that brands have a social role to play is a kind of mind-expanding development – and when you stretch a mind, it doesn’t go back to the old size, that’s the beauty of the mind – once you understand this and you can relate to it, and you begin to practice it, it’s very hard for you to turn a blind eye, pretend it’s not there.” - Emily Abrera
Considering we only had 10 months to prepare, I would like to believe the 1st 4As AdSummit Pilipinas was a success. We could have not done this without the support of our industry partners. For practical reasons, especially in getting sponsors, the AdSummit should happen every two years. - Alex Syfu, 4As chairman
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KIDLAT 2014
Saatchi tops Kidlat, DM9 takes best of show Award show closes Ad Summit on a high Words Carmela Lapeña & Amanda Lago
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Ace Saatchi & Saatchi emerged as the Agency of the Year at the 2014 Kidlat Awards, while DM9JaymeSyfu took Best of Show. The winners were announced at the awards show, the culminating event of Ad Summit Pilipinas, held in Subic on May 10. Saatchi brought home three of the night’s 10 Gold awards, on top of 8 Silvers, 1 Bronze, and 4 Finalists. The agency’s Pampers ‘ZZZ Radio’ campaign for Procter & Gamble won Gold in the Radio and Media categories, while its MyDSL ‘Screen Age Love Story’ for PLDT won Gold in Digital & Mobile. ‘ZZZ Radio’ and ‘Screen Age Love Story’ also won several Silver awards, along with Saatchi’s Cebuana Remittance ‘Remeet’ for PJ Lhuillier, Inc. “I really like this thing from Pampers, which I thought was really clever, they had actually found something very unique and
interesting,” Y&R APAC chief creative officer Marcus Rebeschini, president for Jury A (Film, Integration, Innovation, and Radio), told adobo. “I thought that was a really nice connection back to the brand for Pampers.” Rebeschini pointed out that all of the Gold winners were campaigns for big brands. “I think what was really interesting is that most of them came at a very fresh angle,” he said. Showing no signs of slowing down, DM9JaymeSyfu’s Best of Show award was but the latest feather in the ‘Smart TXTBKS’ cap, following triumphs at – in this year alone – New York Festival, D&AD, AME, One Show, Andy Awards, and AWARD. The campaign, which breathes life into surplus SIM cards and outdated mobile handsets by turning them into digital textbooks for public school students, also picked up three Golds in Digital & Mobile, Media, and Innovation for client Smart Telecommunications. The same campaign
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also earned the agency two Bronze awards. On the Best of Show win, Jury B (Print, Outdoor, Direct & Design) president and TBWA\Santiago Mangada Puno chief creative officer Melvin Mangada shared that the decision had been a close one, with “animated discussions” between the jury presidents leading to ‘TXTBKS’ narrowly edging out the ‘Abolish Pork Barrel’ initiative of Publicis JimenezBasic. The reason for this, said Mangada, was the “potential” presented by ‘TXTBKS’’ repurposing of outdated technology, and the feeling that it could still be grown. Rebeschini shared that he initially thought the ‘TXTBKS’ case study video was ‘glossy,’ but the jury was won over when they got to try the product themselves. “We tried it out for ourselves, it does work. It’s actually a very smart idea. It’s very simple how they’ve done it...I think it’s clever
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01 Triumphant Agency of the Year Ace Saatchi & Saatchi 02 Best of show winner DM9JaymeSyfu 03 BBDO Guerrero’s award-winning team 04 Delegates check out shortlisted entries while waiting for the ceremony to begin
what they’ve done, and I can see a lot of kids going away and actually using it. So for those of you who haven’t actually tried it, it does work… don’t think it’s just a glossy video, it actually does work,” he added. Jury C (Digital, Mobile, Promo, Activation, PR and Media) president and Cheil Worldwide executive creative director Thomas Hong-Tack Kim concurred, saying that ‘TXTBKS’ conformed with the judging criteria, which were 1) Uniqueness of the idea 2) Viral power and 3) (the campaign’s ability to) create value and change the behavior of a culture. TBWA\ SMP came out as the third most-awarded agency, taking home two Gold awards for Boysen ‘Tree Lungs’ for Pacific Paints in the Outdoor category, and Nuvali ‘Koi Fish Feed’ for Ayala Land in the Design category. The agency also won six Silvers, 15 Bronzes, and 19 Finalists.
BBDO Guerrero won a Gold for Pantene’s ‘Daenerys’ for Procter & Gamble, adding to its haul of awards, which included 3 Silvers, 10 Bronzes, and 4 Finalists. Y&R Philippines rounded out the Top 5 agencies, winning 1 Gold for Maynilad’s ‘Maynilad Kit’, 8 Bronze awards, and 4 Finalists. The Kidlat awarding ceremony was a lively affair, opening with a bang as 6cyclemind got the audience to its feet to kick off the show. The program was hosted by the irreverent duo of Ramon Bautista and Jun Sabayton, whose antics entertained the audience between award announcements. Of the special awards, Filmex was named Production Partner of the Year, while Procter & Gamble was named Client of the Year. Saatchi, having won the most Gold Awards for the night bagged the Agency of the Year prize, as per Kidlat’s Olympic scoring system. Making its debut at this year’s competition was
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the former ‘What The?’ Award, rechristened as ‘Innovation’ and applicable across all categories. It is defined as anything that presents “new and previously unidentified forms of marketing that challenge the boundaries of everything that came before.” Since 2008, Kidlat has recognized and honored the country’s very best, most creative advertising work from the past year. With the mandate to push and elevate the creative standards of the country, Kidlat winners are chosen by a handpicked panel of local and foreign judges according to exacting international standards. This year, the competition received a total of 633 entries. There were 276 entries for Film, Radio, Integrated and Innovation, 233 entries for Print, Outdoor, Direct & Design, and 125 entries for Digital, Mobile, Promo, Activation, PR and Media. In 2013, there was a total of 563 entries, 9 of which were awarded Gold compared to 10 this year.
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Lifetime Achievement Robert Labayen Agency veteran behind Guild’s DIWA Awards launch
The Creative Guild of the Philippines honored creative legend Robert Labayen as this year’s Lifetime Achievement Awardee at the Kidlat Awards ceremony held on the final day of Ad Summit Pilipinas. A visibly emotional Labayen accepted the award following a video presentation of testimonials from friends, family and colleagues. “I did not expect this because I’m no longer in advertising… it’s the greatest award one can get after giving your lifetime to a career,” Labayen said. Labayen joked that he was told he might get angry because it’s a lifetime achievement award. “I might say, ‘I’m getting old.’ But I said it’s better to get old and receive an award than to get old and receive nothing.”
A 22-year veteran of the advertising industry, Labayen was ECD/vice president of Ace Saatchi and EVP/ECD of JWT before he signed on with the ABS-CBN Corporation in 2004 to serve as their head of creative communications management. During his time in advertising, Labayen was president of the Creative Guild, where he conceived of the DIWA awards with Dedes Zobel to honor excellence in advertising that supports social good. Under Labayen’s leadership, ABS-CBN has won three Platinum awards in the Araw Values Awards, including the Platinum award in the advocacy institutional advertising division for the Philippine tourism music video ‘Piliin Mo ang Pilipinas’ in 2012. The music video was created for
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ABS-CBN RNG’s ‘ChoosePhilippines’ website and was interpreted by shadow theater group and Pilipinas Got Talent 3 grand finalist El Gamma Penumbra. Labayen is also the man behind several memorable station IDs, such as the special version of the 2013 ABS-CBN Christmas Station ID. The ‘Pagbangon’ version of “Magkasama Tayo sa Kwento ng Pasko” was produced to pay tribute to the Filipino’s unwavering spirit. Labayen describes his work as being inspired by his personal advocacy to pay tribute to the Filipino. Apart from creating music videos and TV spots, Labayen is also behind ABS-CBN Pintados, a line of shirts that promote Filipino pride with bright, festive artwork that celebrates Filipino icons. According to Creative Guild chair Bryan Siy, the selection of Labayen was unanimous. “He is a great mentor, a motivating force in the lives of his young creatives who would later become some of the most admired creative leaders in the industry,” said Siy. “His distinguished work built brands and became part of popular culture. They will be remembered for many years,” Siy said. Previous Creative Guild Lifetime Achievement awardees include Raul Castro, Emily Abrera, Mon Jimenez, Abby Jimenez, Minyong Ordoñez and Jimmy Santiago.
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Jury heads weigh in: Kidlat Awards 2014 Evaluating the value of an idea and its viral power Film, Radio, Integrated and Innovation
PRINT, OUTDOOR, DIRECT & DESIGN
DIGITAL, MOBILE, PROMO, ACTIVATION, PR and MEDIA
Jury Chair MARCUS REBESCHINI
Jury Chair MELVIN MANGADA
Jury Chair THOMAS HONG-TACK KIM
Chief Creative Officer Y&R APAC
MANILA On the second and final day of judging for the 2014 Kidlat Awards, jury heads Thomas Hong-tack Kim, Melvin Mangada, and Marcus Rebeschini spoke with adobo about the selection process. Kim, Cheil Worldwide ECD and jury president of Digital, Media, Mobile, Promo, Activation, PR and Media, explained the principles of judging. Apart from deciding whether an entry has a unique idea, viral power is another important consideration. “Using social media or just technology, it is very important to share information very fast using various routes of media and contact points,” he said. The third principle of judging is the idea’s value. “For example, it can change the behaviour of purchase, or it can create social value,” he said, adding that he enjoyed judging for the Kidlat Awards, both because of his fellow judges, as well as because of the works. “I was told that last year the finalists
Managing Partners & Chief Creative Officer TBWA\ Santiago Mangada Puno
among the entries were around 50%. This year it’s double the digits – that means it’s huge progress. So I’m so pleased to judge this kind of good quality works,” he said. When it came to print entries, there were very few finalists. “I don’t think that indicated anything about the demise of print. I think it was just the crop of print work this year was probably not as good as the past,” said Mangada, CCO of TBWA\ Santiago Mangada Puno and jury president for Print, Outdoor, Direct and Design. On the other hand, he said there were a lot of interesting pieces for outdoor. “That’s where there were a lot of very interesting, very creative and innovative ideas,” Mangada said. Asked to share advice for future entrants, Mangada emphasized the importance of crafting. “I think creatives, agencies, art directors, writers and designers should always put so much emphasis on crafting after the idea is formed. Because you may have a great idea but if it’s not written well,
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Executive Creative Director Cheil Worldwide
art directed well or laid out well it will end up just a finalist or not even a finalist. So, crafting, crafting, crafting,” he said. For his part, Marcus Rebeschini, Y&R APAC CCO and jury chair for Film, Radio, Integrated and Innovation, noted that the Philippine market is really strong in viral. “I think it was quite interesting because most of the work is quite similar to all the other markets that I go to but I found that the work that was entered was quite diverse in the different mediums that it was in,” he said, adding that a lot of the big brands were able to converse into other mediums whether it’s print, outdoor, viral, radio. This year, there were 276 entries for Film, Radio, Integrated and Innovation (Jury A), 233 entries for Print, Outdoor, Direct & Design (Jury B), and 125 entries for Digital, Mobile, Promo, Activation, PR and Media (Jury C). The competition recorded a total of 633 entries, compared to 563 entries last year.
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Kidlat Showcase Gold
• Innovation • Digital & Mobile: Tools and Apps • Media: Creative Use of Digital or Mobile Platform Smart ‘TXTBKS’ DM9JaymeSyfu
• Radio Branded Audio Content • Media: Creative Use of Radio or any form of Audio Broadcast
Pampers ‘ZZZ Radio’ Ace Saatchi & Saatchi
• Film Internet and Mobile Video
Pantene ‘Daenerys’ BBDO Guerrero
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• Outdoor Free Format Single
Nuvali ‘Koi Fish Feed’ TBWA\Santiago Mangada Puno
• Design: Flat Image & Editorial
Boysen ‘Tree Lungs’ TBWA\Santiago Mangada Puno
• Design: Small/Medium Scale Three Dimensional
Maynilad ‘Maynilad Kit’ Y&R Philippines
• Digital & Mobile: Digital-Led Integrated • Promo or Activation Campaign
MyDSL ‘Screen Age Love Story’ Ace Saatchi & Saatchi
May-June 2014
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Kidlat Showcase silver
Film TV Cinema Single
Pantene ‘Daenerys’ BBDO Guerrero
Film: TV Campaign, Promo & Activation
Cebuana Lhuillier ‘Remeet’ Ace Saatchi & Saatchi
Film Internet & Mobile Video Campaign, Integrated Campaign, Media: Creative Use Of Digital Or Mobile Platform
PLDT MyDSL ‘Screen-Age Love Story’ Ace Saatchi & Saatchi
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Diwa Radio Single
Philippine Cancer Society Inc. ‘Hold’ Mccann Worldgroup Philippines
Diwa Radio Single
Philippine Cancer Society Inc. ‘Press’ Mccann Worldgroup
Integrated Campaign, Innovation, Promo & Activation
Pampers ‘ZZZ Radio’ Ace Saatchi & Saatchi
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Diwa Integrated, Diwa Digital And Mobile, Diwa Promo & Activation
P&G-Red Cross ‘Aid Couture Integrated’ Leo Burnett Manila
Print & Single, Print & Outdoor Craft: Digital Imaging
Envirotech ‘Classroom’ TBWA\Santiago Mangada Puno
Diwa Print Single
WWF Earth Hour ‘Iceberg’ Leo Burnett Manila
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Diwa Outdoor Campaign
Childhope Asia Philippines ‘Supplies’ BBDO Guerrero
Print & Outdoor Craft: Art Direction, Print & Outdoor Craft: Illustration
Boysen ‘Tree Lungs’ TBWA\Santiago Mangada Puno
Print & Outdoor Craft: Art Direction, Direct Response (analog): Small Scale Ambient/ Environmental
Nuvali ‘Koi Fish Feed’ TBWA\Santiago Mangada Puno
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Diwa Design
WWF Earth Hour ‘Nightlife’ Leo Burnett Manila
Print & Outdoor Craft: Art Direction
Seiko Phils. ‘All the time’ Ideasxmachina
Diwa Digital And Mobile
Promo & Activation
‘#Unselfie’ BBDO Guerrero
Cream Silk ‘Sonata’ JWT Manila
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01 The delegates await the start of the Kidlat Awards ceremony. 02 The TVCXpress booth at the Kidlat shortlist exhibit area 03 Hosts Ramon Bautista and Jun Sabayton 04 Introducing the Creative Guild of the Philippines who made the Kidlat Awards happen 05 adobo’s Amanda Lago, Joshua Gonzales, Mikhail Lecaros and Carmela Lapena with (center) Ad Summit chair Matec Villanueva 06 Kidlat director of competition Joe Dy 07, 08 Robert Labayen looks back on a career of highlights when he is awarded the Lifetime Achievement Award, and is later joined onstage by his family 09, 10 6cyclemind gets the Kidlat crowd in a dancing mood to start off the night.
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01 Leo Burnett claimed DIWA Public Service Awards for their work for WWF 02 IdeasXMachina wins Print&Outdoor Craft Silver for ‘All the Time’ for Seiko 03 Team TBWA\Santiago Mangada Puno, seen here accepting a Silver in Print for Envirotech ‘Classroom’, finished third 0verall at Kidlat 2014 04 Y&R Philippines bagged an Innovation award for ‘Maynilad Kit’ 05 BBDO Guerrero’s secured Gold for Pantene ‘Daenerys’ 06 DM9JaymeSyfu was awarded Best of Show for Smart ‘TXTBKS’ 07 The overall winner of the night, Ace Saatchi & Saatchi celebrates upon being proclaimed Kidlat Agency of the Year
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Downtime
Jed Root arrives in Manila
Jed Root, Inc. launched in Manila with a bang, and adobo editor-in-chief Angel Guerrero was on hand with managing editor Mikhail Lecaros to interview the man himself, along with superstar photographer and newly-signed talent Mark Nicdao. Check out the full article on page 82!
Streets Ahead
adobo’s Ricardo Malit and Mikhail Lecaros, along with Film Pabrika’s Cheska Ramos, were all smiles when they met Community’s Danny Pudi. The star was in town to promote the fifth season of the cult comedy, currently airing on Fox.
STAR GAZING
Philippine Star account supervisor Mike Maneze with Touch DDB CEO Gil Chua, Anna Chua, Touch DDB John Lucas and adobo’s Janelle Squires at the opening cocktails of Ad Summit Pilipinas.
Of flowers and #ANNEderarms
Seeing how overblown (and profitable) the hullabaloo over skin whitening products is, the lows to which some of them will go to get attention are nothing, if not astonishing. Ok, we admit the underarm dance move with Anne Curtis is kind of amusing, but the accompanying hashtag is atrocious. At least it’s not as (non-) subtle as Lactacyd’s Intimate Wash, the current campaign and packaging for which features a white…ah heck, see for yourselves.
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Japan Meets Candy Crush
There are entire websites devoted to the inspired lunacy that is Japanese media, so we won’t go into that here. What we will go into is the terrific television spots that took mobile game sensation Candy Crush from Japanese obscurity to the top of the download charts following the opening of publisher King’s Tokyo office. Of the two sets of spots, the one featuring a girl with an umbrella makes slightly more sense than the one where boy band member Junichi Okada is berated by respected actor Kenichi Endo before candy rains across the screen.