The Thinkbox TV Planning Awards 2013

The Thinkbox TV Planning Awards

Foreword Contents The Judges Suzanne Bidlake Consultant editor, Brand Republic Group

Lindsey clay Managing director, Thinkbox

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know that you have less time than ever, but that didn’t stop 98 of you making time to write entries for these awards – a record number. Thank you all. With so much outstanding media thinking on display, it was always going to be a massive task to get to a shortlist. This year, 21 papers made the shortlist, but we promise that none of the work will go to waste and will endeavour to turn as many as possible into case studies to share on our website.

The best entries tell a story. They offer a balance of the broad strategic ideas with the executional detail that we know is a vital part of getting the best out of TV today.

It was a genuine joy to read your inspired ideas and innovative approaches. We found out about the success brands have had by using TV in all its expanding forms: on its own or as part of an integrated campaign; for the first time or after ten years of consistent investment; using linear spots or TV-on-demand sponsorship; spending tens of thousands or tens of millions of pounds; and building brands or driving instant response.

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Meet the panel

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The Awards

here are many fine ingredients that go into the perfect Thinkbox TV Planning Award entry: clearly set out background and objectives to provide a substantial base; a strong strategic solution, diffused throughout the whole; a plan or recipe that includes clever, often witty, skills and demonstrates how best use was made of what was on offer.

Then, elegant presentation. A stunning end product; the proof – plus client endorsement – to prove the pudding, as it were. And all to suit (or, better still, extend) the palate of that client.

In the seven winners, we have a beefy concentration of those things; a distillation of why TV is such a potent component in the best media plans, and how it is best when complemented by other ingredients – spiced up by new media or balanced out by the more classic.

The winners are the best of the 21 that were shortlisted from a record 98 entries this year.

Very many congratulations to them all.

In their entirety, the 2013 winners present us with a smorgasbord of the best in TV planning that leaves us full of admiration – and optimistic for the work they could inspire this year that we might award in 2014.

Shortlisted entries 5

List of category winners 6 Grand Prix winner

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Special award winner

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Best use of TV in an integrated campaign

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Best ongoing use of TV 9 Best newcomer to TV

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Best use of sponsorship or content 11 Best use of TV innovation

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Best use of TV for response

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Features TV and multi-screening 14 TV ads are still effective 16 TV builds word-of-mouth 18 Supplement editor Suzanne Bidlake Managing editor Michael Porter Art editor Tania Shishkin Sub-editor Tim Mawdsley Account director Sarah Virani Haymarket is certified by BSI to environmental standard ISO14001

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The 2013 judges Tess Alps Chair of judges, executive chair, Thinkbox

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e are indebted to our senior and talented judges for giving up so much of their time to read the shortlisted entries. They take it very seriously but tell me they enjoy it; and I believe them, because they get to read about the best thinking in TV planning.

Normally, judging days are relaxed and convivial. Not so this year, as the news of Nick Milligan’s tragic death was still raw. A couple of months later and we are having to learn to live without him. No-one believed in living every moment to the full more than Milly and he wouldn’t want this occasion to be anything other than a happy and celebratory one.

But we should spend a little time remembering our friend. Nick Milligan devoted his working life to the TV industry and was a major force in its transformation from a three-channel, analogue, linear advertising medium into the multi-channel, multi-platform, interactive advertising super-medium that today’s shortlisted entries have used so brilliantly.

And without Milly – and a few other visionary TV sales bods – there wouldn’t be a Thinkbox at all. No Nick, no Thinkbox, no TV Planning Awards, no glass in your hand right now. So please join us in raising yours to say: “Cheers Milly, thanks and love.”

The shortlisted entries LES Binet Head of effectiveness, Adam & Eve/DDB

Jude bridge Global brand and marketing director, Mothercare

jessica burley Chief executive, M/Six

dan clays Managing director, OMD UK

PETER DUFFY Marketing director, easyJet

Arif durrani Head of media, Campaign, Brand Republic Group

Stewart Easterbrook Chief executive, Starcom MediaVest Group

rosie faulkner Partner, Mindshare

laurence Green Founder, 101

claire harrisonchurch Marketing strategy director, Premier Foods

steve hatch Chief executive, MEC

chris hayward Head of investment, ZenithOptimedia

Matthew Hook Chief strategy officer, Carat

andrew mallandaine UK sales director, Turner Media Innovations

andrew McIntosh Head of brand strategy, BSkyB

richard oliver Managing partner, Universal McCann

Justin gibbons Creative director, Arena

tanya steele Director of fundraising, Save the Children

Nick Milligan (right) celebrates at first ever Thinkbox TV Planning Awards

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INTEGRATED OMD John Lewis

Newcomer UM London Chambord

INNOVATION Vizeum 20th Century Fox

INTEGRATED OMD McDonald’s

Newcomer AdConnection Lovestruck.com

INNOVATION M2M Paddy Power

INTEGRATED The Red Brick Road ADT

Newcomer OMD London Midland

INNOVATION OMD Intel

Ongoing PHD, Drum and Grey London BHF

SPONSORSHIP or CONTENT Mindshare UK Surf

INNOVATION Mindshare UK Jaguar

Ongoing WCRS, Engine and Havas Media Just Eat

SPONSORSHIP or CONTENT PHD, Drum and AMV BBDO Sainsbury’s

RESPONSE Starcom MediaVest Autoglass

Ongoing Initiative Quorn

SPONSORSHIP or CONTENT Starcom MediaVest Samsung

RESPONSE Manning Gottlieb OMD Sony Pictures

Ongoing Manning Gottlieb OMD Waitrose

SPONSORSHIP or CONTENT MediaCom Nikon

RESPONSE ZenithOptimedia Toyota

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THE GLORY SPREAD Category winners Best use of TV in an integrated campaign Manning Gottlieb OMD

Grand Prix winner

Special award winner PHD, Drum and Grey London British Heart Foundation

John Lewis Best ongoing use of TV PHD, Drum and Grey London

PHD, Drum and Grey London’s winning work for the British Heart Foundation spanned three years and five campaigns, with TV at its core.

“Watch your own heart attack”, the Yoobot avatar tie-in with Nickelodeon, involvement with a Coronation Street plotline, screening The Angina Monologues on Sky1 starring Victoria Wood, and pairing Vinnie Jones with the Bee Gees’ Staying Alive all made full use of the broad spread that TV offers. The entry also won praise for its presentation, well-written narrative and compelling, life-changing results.

British Heart Foundation Best newcomer to TV UM London Chambord

Best use of sponsorship or content Mindshare UK Surf Best use of TV innovation Vizeum 20th Century Fox

Why PHD, Drum and Grey London won “If you had said five years ago that the British Heart Foundation would be one of the most innovative users of TV, people would have been surprised.

Every time they go at it, something interesting comes out.”

Steve Hatch, chief executive, MEC

“I’d be dancing on the table with campaigns and results like these. They’ve worked TV in a variety of ways to create fame and save lives.”

Laurence Green, founder, 101

“A really strong body of work showing how you can use TV in different, creative ways against your business objectives.”

Stewart Easterbrook, chief executive, Starcom MediaVest Group

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Best use of TV for response Starcom MediaVest

“There’s a big effect when you talk about the value of lives.”

Autoglass

Les Binet, head of effectiveness, Adam & Eve/DDB

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Best low budget use of TV M2M Paddy Power When the US Ryder Cup golf captain Davis Love III urged home fans in Chicago to deliver the loudest support ever seen at the event last year, M2M and Paddy Power seized the chance to capitalise on the brand’s mischievous image and wrest back control of the buzz for the European team.

The Paddy Power “Sky Tweet” was an audacious campaign that asked TV viewers to Tweet messages of support in real time, which were written out in smoke in the skies of Chicago by a fleet of acrobatic planes.

With a mere £350,000 budget, it reached 500 million people on TV and generated £30 million in PR. And, importantly, the Ryder Cup came home.

“An incredibly powerful idea, enriched by TV; executed superbly and very purposeful,” was the analysis from Carat’s Matthew Hook. “I really loved this,” Steve Hatch of MEC said. “Very well branded, it was cheeky and innovative.”

“This was brilliant layering,” Arena’s Justin Gibbons noted. “For me, the innovation was in the circularity.”

Highly commended Ongoing WCRS, Engine and Havas Media Just Eat

Sponsorship PHD, Drum and AMV BBDO Sainsbury’s

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Best use of TV in an integrated campaign

Best ongoing use of TV

Manning Gottlieb OMD

PHD, Drum and Grey London

John Lewis

British Heart Foundation

F Shortlist OMD

McDonald’s

The Red Brick Road ADT

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or a UK retailer, Christmas is the advertising equivalent of the Super Bowl in the US, when ads are judged to be “winners” or “losers”.

For John Lewis, whose ad output over recent years has been both muchanticipated and highly awarded, the pressure was on to say something appropriate and meaningful, in an innovative style. More importantly, Christmas is the most important time of year for the retailer commercially, when 40 per cent of annual profits are generated.

The idea was to celebrate “going the extra mile” to find the perfect present and to suggest that John Lewis, with its 350,000 individual products, is the perfect place to do so. “The journey”, which features a snowman’s epic voyage to find the perfect gift for his snow-woman, did exactly that and more, creating a “mini-snowman world” that people could explore, share and enjoy.

The TV ads extended out into social media, in-store materials, knitable toys, a storybook, and snowman appearances at landmarks around the country. The track from the ad – Gabrielle Aplin’s cover of the Frankie Goes to Hollywood track The Power Of Love – made it to number one, and the track’s proceeds were donated to Save The Children.

Manning Gottlieb OMD used Brand Science to isolate the direct contribution of TV to the business, attributing to it £162.98 million of incremental revenue and an RROI of £41.79.

Praise from Craig Inglis, the John Lewis director, marketing, was unequivocal: “Unquestionably our best, most integrated and successful Christmas to date.”

The judges admired the beautifully written and visual presentation of the entry – along with its “fantastic results”.

“This is integration with TV at its beating heart and should be an inspiration to all agencies,” they agreed, with MEC’s Steve Hatch noting that “the sense of teamwork among client and agency came across really vividly”.

One judge’s view

One judge’s view

“The planning squeezed extra juice and made brilliant TV work better.”

“Over the past three years, PHD and the British Heart Foundation have demonstrated the power of TV to absorb, shock, educate and entertain – always focused on changing behaviour and, ultimately, saving lives. They have been a brilliant ad for TV on TV.”

Laurence Green, founder, 101

Dan Clays, managing director, OMD UK

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hen it comes to evaluating ROI, it is difficult to argue with saving lives.The British Heart Foundation, with its partners PHD, Drum and Grey London, used almost every TV format over a three-year period to get across the message about heart disease. Among the wide-ranging results: at least 37 lives were saved during that time through the power of TV. And, as Les Binet, the head of effectiveness at Adam & Eve/DDB, said: “Who knows what the impact will be over 30-40 years?”

Heart and circulatory disease is the UK’s biggest killer, accounting for one in three of us. Education about its prevention, and how to respond should it strike, are key to reducing its impact. In a strategically coherent and well-written entry, the BHF’s agencies demonstrated how they used TV in five different and potent ways that took real advantage of the medium.

TV delivers must-see, tune-in moments: BHF created epic, appointment-to-view advertising with TV stars, and even David Cameron invited viewers to “watch your own heart attack”. TV creates fame: BHF made children famous by putting their Yoobots (avatars) on Nickelodeon and encouraging healthy lifestyles.TV entertains: BHF created The Angina Monologues, a sold-out theatre event headlined by Victoria Wood, to raise awareness of female heart disease and screened it on Sky1. TV informs and educates: BHF stopped people in their tracks to impart crucial information about how to administer CPR with a memorable ad pairing Vinnie Jones with the Bee Gees’ Staying Alive. TV builds relationships with viewers: Coronation Street character Audrey Roberts’s heart attack drove home the message that heart disease can happen at any time, prompting an 80 per cent awareness of female heart disease and a 20 per cent lift in calls to the BHF helpline.

“TV has been a pivotal weapon for us,” Nick Radmore, the head of social marketing and brand at BHF, said. “We’re proud of the way we’ve used it in innovative ways to help educate people about heart disease. Ultimately, we use TV because it works.”

Shortlist Initiative Quorn

Manning Gottlieb OMD Waitrose

Highly Commended WCRS, Engine and Havas Media Just Eat

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Best newcomer to TV

Best use of sponsorship or content

UM London

Mindshare UK

Chambord

Surf

A Shortlist AdConnection

Lovestruck.com

OMD

London Midland

French drink, virtually unknown in the UK, virtually no advertising during the past ten years (and never on TV), a £200,000 budget and a target to increase value sales by 20 per cent.

That was the challenge from Chambord, a black-raspberry liqueur owned by Brown-Forman. The solution from UM London? Sink the whole budget into a sponsorship deal with E4’s Revenge. Not only did it work to raise awareness and sales, it also convinced the client to spend more on spot TV advertising around it.

Revenge, an ABC Studios drama about the decadent and glamorous lives of residents of The Hamptons, fitted neatly with Chambord’s “why not?” proposition.

It was a favourite with the sociable 25- to 34-year-old women identified by UM as Chambord’s target customers – women who like the odd luxury and would be inclined to buy a bottle of champagne on impulse on a night out. Chambord is best drunk as part of a champagne cocktail and is considered a treat in France.

Putting all available funds into the sponsorship of 22 episodes of a single show (and over the most cost-effective, less competitive summer period) allowed Chambord to plant its message in several breaks throughout each episode.

When TV spots were added, showing how and when the drink should be consumed, awareness rocketed from 22.5 per cent to 32 per cent and year-on-year sales rose by 47 per cent (with the sponsorship alone generating a 28 per cent lift).

“If that was the client’s introduction to TV, it will have felt pretty good,” Starcom MediaVest Group’s Stewart Easterbrook said. “They’ll be back.”

Charlotte Ashburner, the senior brand manager at Brown-Forman, confirmed just that: “To invest our entire media budget into TV was a risky strategy. In the end, it over-delivered against every metric, proving that TV is an extremely effective channel for Chambord. We will be reinvesting in 2013 and have just kicked off the latest TV campaign.”

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One judge’s view

One judge’s view

“This is perfect, and at little more than £300,000, it’s bonkers.”

“This charmed me. It was very strong in a whole variety of ways.”

Justin Gibbons, creative director, Arena

Matthew Hook, chief strategy officer, Carat

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his is a story of how a small brand in the value sector of a low-interest category used TV sponsorship to out-shout its rivals in the middle of the London 2012 Olympics.

Surf’s sponsorship of ITV2’s The Only Way Is Essex went far beyond the usual sponsorship deal by having one of the show’s stars create a new fragrance for a limited-edition variant of the brand. One of the key messages that parent Unilever wanted to convey to potential customers was that the detergent delivers better fragrances that last longer. The aim was also to provide relevant reminders of Surf’s fragrance benefits outside the TV airtime. The result: Surf’s limited-edition Summer D’Reem variant, promoted by Joey Essex as the smell of summer and holidays, generated around £1.2 million in sales.

TOWIE was selected as the ideal show to partner with, appealing directly to the typical Surf customer – a young married mum, working part-time who loves celebrities, a package holiday to Spain, TV, Facebook, beauty products, perfumes and girly nights out. The constant dramas of TOWIE offered the perfect escapism from the mundane world of laundry.

Within the sponsorship, animated idents featured two fun-loving girls who get into sticky situations but are always lifted out of them by the fragrance of Surf.

“The only smell is Essex” idea also played out digitally via a “Fresh out of Essex” destination within ITV Player and Tweets from Joey Essex to his 1.5 million followers.

He began with the teaser that he’d had such a great holiday in Marbella that he wished the smell of summer could “last and last”.

The sales uplift and rise in value share clearly delighted Unilever.The award judges were impressed too. ZenithOptimedia’s Chris Hayward praised how the campaign was “really well-explained”, while MEC’s Steve Hatch enthused: “It’s pure telly, that one. Pure telly, doing something pretty cool.”

Winning this award, Mindshare has made the smell of success last a little longer.

Shortlist MediaCom Nikon

Starcom MediaVest Samsung

Highly Commended PHD, Drum and Abbott Mead Vickers BBDO Sainsbury’s

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Best use of TV in innovation

Best use of TV for response

Vizeum

Starcom MediaVest

20th Century Fox

Autoglass

T Shortlist M2M

Paddy Power

Mindshare Jaguar

OMD Intel

hat Vizeum’s campaign to promote the Ridley Scott film Prometheus, for its client 20th Century Fox, has spawned many imitations is testimony to both its brilliance and its significance.

The agency masterminded the screening of the world exclusive trailer of the film in a takeover of an entire commercial break during Homeland on Channel 4, which encouraged viewers to Tweet responses with the hashtag #areyouseeingthis. A follow-up spot in the next break – the world’s first live Twitter ad break – then featured these comments. And for those who might have missed the follow-up, the Twitter reaction was rebroadcast on digital posters the next day.

The whole event was hyped with ads on C4, Twitter, Google, Facebook, radio and in the press.

The surrounding buzz was phenomenal: 2.4 million people tuned into the TV ad event (30 per cent more than the show’s average) and 24,000 Tweets used the hashtag, generating more than 576,000 impacts on the evening alone. Recall of the curated break was 77 per cent, with 80 per cent declaring Prometheus was a “film for them” after seeing the Twitter reaction.

“They found a new way to do things in a world where everyone’s trying to do the new thing,” Carat’s Matthew Hook said. “Considering it was the first, the execution was very well done and the results were impressive.” SMG’s Stewart Easterbrook added: “This was a magnificent demonstration of the innovative use of TV.” The client was delighted too. “The live ad... showed huge amounts of innovation,” Chris Green, the marketing director of 20th Century Fox, said. “The idea was loved by the wider studio, being replicated domestically and with markets around the world being encouraged to undertake similar activity. The ad really seemed to capture people’s attention, which was fantastic; we received many notes from other studios and businesses within the industry, which really shows we managed to pull off something special.”

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One judge’s view

One judge’s view

“If you think of TV innovation in the past year, you think of this. It had everything and we all got excited about it. It paved the way for what could be done.”

“If there’s one brand that has used radio more than any other for 20 years, it’s this.

And now it’s gone on to TV.” Justin Gibbons, creative director, Arena

Arif Durrani, head of media, Campaign, Brand Republic Group

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his is how a low-interest, 40-year-old brand, heavily entrenched in radio and direct-response TV, was persuaded to invest in peak TV and was so impressed that it has continued the strategy into 2013.

With a limited budget, Starcom MediaVest developed a media strategy across a two-week burst that would bring in a volume of customers profitably, establish the value of brand advertising and raise the awareness of the hazard of driving with poor visibility.

In an attempt to overcome motorist inertia, Autoglass partnered with Bosch to give away a free pair of windscreen wiper blades with all vehicle-glass repair and replacement, and used peak TV as the lead medium, backed by a direct-response TV plan that was optimised to its full potential.

The company made the unusual decision to employ the same creative for both peak TV and direct-response TV, thus minimising production costs and building on a consistent approach.

The results? A 56 per cent increase in the volume of customers achieved during the two weeks and incremental sales worth more than four times the value of the marketing investment.

Starcom MediaVest used its expertise in both planning for response and brand KPIs to ensure that the Autoglass investment was deployed in the smartest way. Autoglass’ sales and marketing director, Andre May, said: “This allowed us to access high-profile spots, such as during Coronation Street and Downton Abbey, which would normally be cost prohibitive to us, and generate an excellent ROI. It has given us the confidence to invest further in peak TV for response in 2013 – plans which have already delivered successful results this year.”

MEC’s chief executive, Steve Hatch, commented that the Autoglass entry paper was the one that gave him the most confidence in response. He said it was a “classic example of performance planning on TV”.

Shortlist Manning Gottlieb OMD Sony Pictures

ZenithOptimedia Toyota

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thinkbox

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Connected viewing: chat, play, discover, buy Multi-screening is changing the way viewers connect and consume, and this is good news for advertisers as multiple screens offer multiple opportunities

TV apps: TV’s social-media enrichment Zeebox Zeebox is an interactive second-screen app that enables viewers to discover, connect with, share or interact with live TV as they watch. The app enables viewers to see what friends are watching and invite them to watch together, or chat, share and Tweet around shows. They can get information on topics talked about on TV and play along with shows, follow celebrities, and get live stats for big sporting events. Consumers can even buy products seen during a programme or during the ad break via “zeetags”.

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eople have always multitasked while watching TV: multi-screening, where they watch TV with a connected device such as a laptop, tablet or smartphone to hand, is simply the latest version. Though still not a mainstream behaviour, multi-screening is on the increase and Thinkbox believes that connected viewers on companion screens represent the most interesting and likely commercial opportunity for advertisers.

Recent excitement has focused on connected TVs – sets that are connected to the internet either directly or via a set-top box or games console.

The obvious benefit of a connected TV is that viewers can reach into the internet and access on-demand TV with minimal fuss.

Intel recently announced it would launch an internet TV set by the end of 2013, and speculation abounds about what Apple is up to with its connected-TV ambitions. Certainly, this is likely to be one of the most competitive spaces around.

One of the main benefits of connected TVs to advertisers and their customers is the return path they offer and the potential for activities such as shopping via the TV set. This could create an additional economic model for commercial TV based more on the transactional model found in e-commerce.

However, the more Thinkbox researches this topic, the more it is inclined to believe that people treasure their TV screens for watching content , or “output”, whether linear or on-demand.

They prefer to “input” on a different personal device rather than on the shared screen.

rises to 56 per cent for 16- to 24-year-olds. Text was used to chat about TV by 22 per cent; 18 per cent used social media, and 10 per cent used mobile messenger services.

% Agree from quant survey

50

Any interaction

Chat on social networking sites about TV programmes

Text about TV programmes

Chat on messenger about TV programmes

40 30 20 10 0

16-24

25-34

35-44

45-54

55+ Source: Thinkbox

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Multi-screening encourages viewing On average, when only one person was in the room and was multi-screening, 64 per cent of their TV viewing sessions lasted for longer than 15 minutes. This compares with 47 per cent when they were watching with no accompanying activity. When two people were present, the figures were lower due to increased interaction. When multi-screening, 41 per cent of viewing sessions were for longer than 15 minutes compared with 35 per cent when watching with no accompanying activity.

Multi-screeners are even more open, welcoming and positive about advertising

Chatting about TV via an additional screen is common 60

Shazam Shazam uses audio-recognition technology in TV ads to enable viewers to access extra content. More than ten million viewers in the UK who have Shazam on their smartphones can use the app to enter competitions, get extra brand or product information or view additional content. In the UK, Shazam has partnered with ITV to offer advertisers the chance to have their spots Shazam-enabled.

Cadbury and Pepsi used the app to run ticket promotions during Britain’s Got Talent, while this year’s Brits were also Shazam-powered.

People buy TVs primarily to watch TV, despite what else they can do, and you don’t need a connected TV to respond to an ad.

Connected devices are already having an effect on the way we consume TV, and the ad industry has started seriously to get to grips with this. The good news for advertisers is that Thinkbox research shows that multi-screeners are even more open, welcoming and positive about advertising than single-screeners.

There have been many research studies dedicated to multiscreening and Thinkbox, with COG Research, was responsible for one of the farthest reaching. Screen Life: The View From The Sofa won the Grand Prix at the Media Research Group Awards and the award for Advertising and Media Research from the Market Research Society.

The View From The Sofa involved a complicated combination of research techniques to examine the actuality of multi-screening and its implications for advertisers. It examined more than 600 hours of TV viewing gathered from filming the living rooms of 20 multi-screening households in the UK over two weeks. This footage underwent psychophysiological analysis to examine programme and ad break engagement. This was coupled with self-reporting of online/mobile activity using COG’s award-

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winning “Digi-ethno” technique. A laboratory test examined ad recognition, and there was further online research among 2,000 people with TV and online access.

The findings indicated that there is a symbiotic relationship between TV and connected media. Multi-screening taps into existing human needs and behaviours such as curiosity, finding out and sharing that can start with TV and lend it a multiplier effect. With so much data to assess, there were many fascinating aspects to examine, and also some powerful overarching themes:

Multi-screening holds viewers People in the sample were more likely to stay in the room or not change the channel during the ad break if they were multi-screening. Multi-screening viewers stayed in the room for 81 per cent of ad breaks; viewers not multi-screening stayed in the room for 72 per cent.

TV is a catalyst for multi-screening Thirty-one per cent of those with access to TV and the internet have chatted about TV programmes on a second screen, and this

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Multi-screening taps into existing human needs such as curiosity, finding out and sharing

Ad recognition is unaffected In a lab test where participants were invited to watch TV and/or use a laptop without knowing they were being tested on TV ad recognition, there was no significant difference in the level of ad recognition between those multi-screening or just watching TV. Multi-screening brings people closer Multi-screening – like other new TV technologies, such as digital recorders – makes people feel closer to TV and advertising as it enables them to research what they watch, share it online and participate.

It encourages shared and family viewing Partners and children are more likely to keep a TV viewer company if they can multi-screen; previously they might have left the room.

Thinkbox will be doing more research under the Screen Life banner. This study has shown that connected viewers are good news for commercial TV. People can chat, play, discover and buy as they watch. Multiple screens provide multiple opportunities.

The next study, TV in Demand, focuses on video-on-demand and launches at Bafta on 3 July. Visit thinkbox.tv for more details.

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thinkbox

thinkbox

The long and the short of effectiveness If advertisers want to build great brands they must useTV ads to connect emotionally with their consumers,according to the latest IPA effectiveness research

data has confirmed what many marketers know: that promotions with money off increase price sensitivity, as do direct-marketing campaigns where there is often a discount call-to-action.

TV gives the best business results % 50

Increase in number of business effects

Focus on brand-building If promotions are run, Binet and Field urge a focus on brandbuilding activity, such as gifts with purchase, competitions and instant wins. If retailers insist on a price promotion, brands must use it to bargain for in-store presence and support.

Contrary to the thinking of its proponents, loyalty campaigns do not contribute as much to brand growth in the long term as attracting new customers does. Neither do loyalty campaigns minimise price sensitivity. The study found that ad campaigns dvertising Effectiveness: the long and short of it was which target new customers report 60 per cent more large sales researched and written by Les Binet, the head of effects in the first six months alone. effectiveness at Adam & Eve/DDB, and the marketing This is not to say that advertisers need to put all their eggs in consultant Peter Field. It is an update on their the brand-advertising basket. Rather, they should aim for the influential earlier work, Marketing In The Era Of best of both worlds and talk to the whole market while prompting Accountability, which was published in 2007. action with integrated activation mechanics. But the research The earlier study sought to identify which ad strategies worked found that the broader the reach of a campaign, the broader its best for brands by looking at the IPA efficiency as the benefits of Databank of Effectiveness awardreaching a mass audience None of the 1,000 ad campaigns winners. What Binet and Field also outweigh the effects of included in the study achieved identified, and which was beyond targeting. the scope of the research at the Brands that target the whole substantial long-term profit growth time, was a tension between market achieve three-times as without investing in TV advertising short- and long-term imperatives many large business effects that all brands needed to address. as those that focus on existing Marketers need to balance shortcustomers. These include term cost-effectiveness with continuous improvement to increased profit, sales or market share, and a reduction in efficiency in the long term. But short- and long-term effects are price sensitivity. different, and strategies that maximise short-term sales can Although direct campaigns that focus on a core of loyalists do underachieve in long-term profit, and those that maximise work in the short term, this tends to be reversed over the longer long-term profit can underachieve in short-term sales. The term. Advertisers, therefore, need to mix brand and response challenge is how to balance short and long term. elements. The key to this is what the study calls the “salience The updated study examined the business effects of 1,000 effect” – the extent to which brands are talked about or “famous”. advertising campaigns from more than 30 years of IPA Great brand campaigns work in the long term because they lodge Effectiveness data across 700 brands in 83 categories. The in the collective consciousness, sometimes long after they have findings provided evidence-based recommendations for businesses on how best to approach investment in advertising.

It studied effects over the short term (up to one year), medium term (one to two years) and long term (three-plus years).

Effectiveness was measured in terms of the specific effects of advertising on brands. Firstly, it looked at the annualised extra l Getting the right balance of short-term activation and share of voice a brand achieved. A secondary measure was the long-term brand-building can double efficiency. number of large business effects that advertising achieved. l Regularly reaching a mass audience is most effective, not Overall, the research found that positive growth effects chasing customer loyalty. accumulate over time, and that a series of short-term campaigns l TV advertising creates the most business effects and is will not produce the same results as a longer-term strategy. crucial to long-term profit.

While advertisers can be tempted to go for low-hanging fruit l Brands that advertise for the long-term generate double through promotions, they need to be wary that, while building the profit. volume can be done very quickly, building price margin takes time. l At least 60 per cent of ad budgets should go into In the study, three to five years was a window that brands were long-term brand-building. advised to consider in order to build margin and profitability. IPA

A

40 35 30 25 20 15 10 5 0

TV

Radio

Press

Posters

Internet Sponsorship

PR

Source: Advertising Effectiveness: The Long And Short Of It/IPA Databank

ceased to run. For this reason, short-term activity needs to have a brand element to it and advertisers need to locate the sweet spot between the brand and response. Campaigns that use both in harmony are more effective, more efficient and more profitable.

In the long term (three years and more), brand-building investment in advertising delivers double the profit of a short-term approach of less than a year. However, investing in both delivers even higher returns.

The research showed that share of voice correlates strongly with share of market. Greater share still comes largely through upweighting mass advertising, such as TV, which, in turn, leads to growth. The reverse is also true, and the study found that brands that did not maintain their share of voice faltered.

When it comes to allocating budget, the research found a consistency in how advertisers split their spend between long-term brand activity and more tactical activation. Binet and Field suggest that a ratio of 60:40 is about the right split.

Although this varies by sector, the study suggests that investing at least 60 per cent in brand-building media provides a platform upon which the remaining budget can be deployed more effectively, capitalising on the effects of the brand-building.

TV stands out as having the broadest reach and the highest

Savvy branding: Key findings from the IPA study

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involvement factor, and brands are increasingly teaming it with online activity. Multi-screening has led to even greater synergy between TV and online, effectively adding activation to all TV ads.

Campaigns are twice as efficient when TV and online are combined.

In turn, this is making TV work harder by driving down costs and magnifying its effects. In real terms, cost of reach has fallen by about 50 per cent in the past 25 years, with the biggest, mostsustained drop coinciding with the growth in digital advertising.

Significantly, none of the 1,000 ad campaigns included in the study achieved substantial long-term profit growth without investing in TV advertising. Including TV advertising in a campaign increases the campaign’s efficiency six-fold.

Campaigns using TV in this way outpunch others. Volkswagen combines brand advertising with lots of activation – everything from dealer ads to configurator apps. It has doubled market share by reallocating money rather than spending more. John Lewis achieves £5 profit for every £1 spent on advertising.

Making an emotional connection With so many statistics to throw behind TV, it is easy to forget the fundamental reason the medium delivers so well. One of the main reasons is that stirring an audience’s emotions is more effective than using rational messages over all but the shortest of terms.

In an age of information overload, emotions continue to guide our decision-making. The study found that emotional advertising is twice as efficient as rational, and delivers twice the profit.

However, even the best creative work will fail if it does not have sufficient scale and is not evaluated over the longer term.

Ultimately, long-term success requires brands to adopt a balanced approach. While there is a temptation for marketers to obsess over short-term metrics, weekly shifts do not always reflect the big picture. Great brands do not become great overnight, and keeping that position requires a similarly far-sighted approach.

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Brand talk isn’t cheap Advertising on TV remains the most effective way for advertisers to generate the positive word-of-mouth conversations that are crucial to brand reputation, sales and profits than buying a mobile phone. And when considering a mortgage, corporate reputation comes into it too.

There are also hard facts about worth-of-mouth. People’s conversations about brands are proven to directly affect sales and marketing effectiveness. A 2011 study by Marketshare/ Keller Fay Group found a 10 per cent increase in worth-of-mouth about a brand resulted in a sales lift of 0.2 to 1.5 per cent directly in the cases that were studied.

The POETIC study analysed more than half-a-million data points for 36 brands across retail, finance, and drink, plus data from Keller Fay, YouGov’s BrandIndex, Brandwatch, and data directly from brands. The research revealed that paid-for advertising is responsible for 72 per cent of the additional worthof-mouth about brands offline or online. Indeed, TV advertising is driving the majority of this. Thinkbox’s Screen Life: The View From The Sofa, a study with COG Research, has shown previously how TV drives online conversations via a second screen.

However, Keller Fay data suggests a majority of brand conversations are offline. And POETIC also found more than 95 per cent of brand conversations in its sample took place offline.

As the majority of worth-of-mouth takes place offline, advertisers should not simply design content for online sharing only.

The study found that TV advertising drives worth-of-mouth for a number of weeks after initial activity. This carry-over effect suggests the impact of TV on worth-of-mouth can last for several months. The study found that advertising on TV every three to six months will help maintain brand discussion.

POETIC also found TV advertising is the main driver of additional web traffic. generating 47 per cent of extra visits. And TV advertising also has the biggest impact (52 per cent) on corporate reputation of any influences measured by BrandIndex.

There’s a lot of talk about the power of worth-of-mouth, but we shouldn’t confuse where the conversation takes place with what actually caused it. What is clear is that conversations about brands don’t just appear out of thin air. They are the result of investing in advertising.

I

t’s good to talk, as Bob Hoskins used to remind us, and we have probably never talked more than we do today. As technology has expanded, so have our means to talk; the volume, in every sense, has increased.

There are many reasons we talk – to flirt, cajole, complain, insult, warn – and recent research by the marketing effectiveness consultancy Data2Decisions, commissioned by Thinkbox, examined conversations around brands.

Most brands want to be talked about. They want to be household names. Their ears delight in burning. From the word on the street to those composed in a Tweet, brands want to create the word-of-mouth that can be marketing magic.

But what sparks conversation about brands? And what role does ad investment play?

The Paid, Owned, Earned: TV’s Influence Calculated (POETIC) research examined, econometrically, the intricate relationship between “paid media” (advertising), “owned media” (primarily brand websites) and “earned media” (word-of-mouth).

Previous econometric research by the IPA, Ebiquity, PricewaterhouseCoopers and others show that TV is the most effective form of advertising and that it makes other media work harder. But TV and other paid media’s effects are sometimes overlooked when too much emphasis is put on measuring end results that are easily counted or highly visible, rather than asking what drove consumers’ behaviour in the first place.

Word-of-mouth is like a fertiliser that enriches the soil, making companies’ marketing working better. Some categories need more than others. Buying milk is likely to involve less discussion

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Conversation points: a word on word-of-mouth l

Planning for word-of-mouth makes sense. The majority takes place offline, so integrate it with online comms. l TV drives word-of-mouth and is the best place to build brand stories. If content is to be shared, reflect this throughout the company. l Conversations die out, so keep priming

l

the pump. Paid media builds a reservoir of positive stories. There’s no contradiction between tight, targeted digital marketing and TV spots. Brands need to do both.

There remains a huge role for TV, which is growing thanks to social media. Advances such as Sky’s personalised ads platform, AdSmart, will further cement this role.

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