Advertisements
 

The Epica Awards: Whatever happened to the 30-second ad?

December 7, 2012

EpicaYou don’t have to look far for this year’s Big Theme in the Epica creative advertising awards. After 25 years as a Eurocentric awards scheme, with a nod now and then to the wider EMEA hinterland, Epica finally went global, welcoming entries from the dynamic emerging markets of Brazil, Argentina, India and China – not to mention the biggest creative challenger of the lot, the USA.

A recalibration of award winners – agencies, networks and countries – was only to be expected. It comes as no surprise, therefore, that three out of the top four awards – the Epica d’Or or grand prix –  went to countries that had never before won a grand prix.

What didn’t change was the judging principle. Epica is unique in representing the choice not of the creative community itself but of experienced journalists drawn from trade magazines in over 24 countries. I would not wish to give the impression that their judgement has been skewed by an influx of jurors from the new world, because that would be entirely untrue. The panel remains, for now at least, what it has always been: essentially European. The new challenge is the enlarged scope of their perspective.

Enough of the preamble. Who got the big prize? That’s normally taken to mean the film Epica d’Or. And the answer is: a total outsider from Denmark. When I say ‘total’, I mean total: the campaign was produced not by an agency, but by the in-house communications team of coach operator Midttrafik. Simply stated, the problem with coach travel is it appeals to the head, not the heart. It offers a no-nonsense, value-for-money alternative to other modes of transport, but “cool” it is not. The creative solution proferred by Midttrafik is a piece of burlesque called “The Bus” that humorously highlights coach travel’s unglamorous practicalities: comfy seats, panoramic views, acres of space, 24/7 availability, special bus lanes, and experienced, reliable drivers who take the strain. See the film a couple of times and you too will be saying, “Ja, still cool,” and “Yeah. Din es ‘street'” with a Danish accent. Watch out for the young guy on an orange motocross bike: his expression is a treat.

While the campaign creatives may be amateurs, direction and production are slickly professional. Step forward Marc Wilkins/RARE and M2Film respectively, who managed to make the whole thing on a budget – I’m told – of only €200,000. “The Bus” also took top prize – as it must do to qualify for the Epica d’Or, a gold – in the transport & tourism category.

Runner-up for the top prize – and also winner of the corporate image category – was Marcel Publicis’s epic “Cartier Odyssey”. Filmed with icy majesty, it is a lapidary hommage to the life of Louis Cartier on the occasion of his 165th birthday (165th? Don’t ask why – we’re talking high fashion here) which deploys the watchmaker and jeweller’s iconic panther as its leitmotif. Beautiful – and yet there is a chilly emptiness at its heart. What exactly is the point of this 3 minute 30 second historical travelogue, supposedly made for the cinema?

For my money a good overall winner would have been “Follow the Frog”, devised by the Rainforest Alliance and Los Angeles agency Wander. But it was scored in the public interest category, which by definition excludes it from consideration for the top film or print prizes. The Rainforest logo is a kind of kite mark, reassuring consumers that the product in question has signed up to a prescribed set of environmental standards. The campaign – long enough for cinema but meant for viral –  needs little other explanation. As you will see:

Long, isn’t it? Indeed, if there is a general criticism of this year’s film crop – which is considerably better than last year’s – it is encapsulated in the word “overblown” – too long, too self-indulgent and too reliant upon humour. Here’s an example of what I’m talking about from Canal+ and BETC, “The Bear” – which won the direction and cinematography category and was a runner-up in media:

It’s a mini-film in its own right, which is all very well if you’re the next Ridley Scott with designs on Hollywood. But whatever happened to the discipline of the 30-second spot? Well, it’s here, in this Aldi/McCann Manchester offering (actually 20 seconds long). Not new, I know – but as a seam of inspiration it’s seemingly inexhaustible. It won gold in the confectionery & snacks category:

Print winners: what can I say without a despairing note in my voice? It’s a fading format, with one or two redemptive examples of excellence. The overall winner this year – a first from Finland – was McDonald’s “Large Coffee”, devised by DDB Helsinki:

McDonald's

It’s probably better as a candidate for the outdoor prize, but no matter. That went to the Microloan Foundation’s “Pennies for Life”, devised by DLKW Lowe. Think wishing-well meets poster in an innovative digital format and you’re half-way there. Microloan is a charity that supports women in Africa setting up their own business. The idea is that you contribute virtual spare pennies via your smart phone, and watch the digitally-generated poster image take shape as the coffers swell:

Microloan

While on the subject of outdoor, one of the cleanest examples of the genre was “Stop Trying”, a gold winner in the household category devised by Herezie (a French agency) for Vapona. Not desperately original, but classic: strong, simple colourful imagery is complemented with unmistakable branding in the bottom right-hand corner. Brownie points to Herezie for pulling it off in a difficult, low-interest category:Flyswatter

And finally…

  • Germany once again topped the rankings, with a total of 66 awards, including 9 gold winners.
  • Britain moved up from fourth to second, at the expense of France and Sweden, which were third and fourth respectively. It won 56 awards but an unsurpassed 13 golds.
  • Top agencies were Jung von Matt Hamburg, with 16 awards (including two golds), followed by last year’s winner Forsman & Bodenfors, Gothenburg, which captured 10 awards and two golds.
  • Most successful network was DDB, with one Grand Prix and 8 golds. Next in line were Leo Burnett and Publicis Worldwide.
  • More on the awards here.
Advertisements

Zombie epidemic infects adland

December 1, 2012

imagesI’m deeply indebted to the international Epica creative advertising awards – on which I served as a juror – for giving me nightmares. Every year, the awards betray certain cultural themes – performing dogs, hyper-animated babies, whatever – that have successfully invaded the collective unconscious of the creative community. This year, alas, it is Zombie Apocalypse, in which an epidemic number of the flesh-eating undead manage to bring society as we know it to its knees.

Here’s one particularly absurd example of the genre, which didn’t in fact make the prize-grade. It’s called “CPR makes you undead” and hails from the Heart and Stroke Foundation of Canada. Yes, you read right.  The premise? You’re a survivor in a post-Apolcalyptic landscape and you have a cardiac arrest – after, as it happens, catching sight of an army of hungry Zombies coming your way. Well, who wouldn’t? But wait, here’s the twist. The Zombie is your friend, the one who calls 911 for a (non-existent) ambulance and proceeds to carry out emergency resuscitation. After all, what use are you to a Zombie if you’re actually dead?

“Regardless of age, everyone can benefit from the lesson embedded in humor in the video,” H&SFC director of health promotion and public affairs Mark Holland tells us, “As zombies covet only the living, they need to move quickly to bring cardiac arrest victims back to life. We all should do the same.” He truly is having a laugh isn’t he? After watching this, you might prefer to be dead.

Have no fear, though: civilised society is fighting back with every manner of golf club, fishing rod, tennis racket and football that Norwegian sports equipment supplier XXL can furnish:

This commercial (my thanks to Messrs Stephen Foster and George Parker; I’m assured it’s a direct rip-off from Shaun of the Dead) has just been banned on Norwegian TV prime time after a Facebook campaign of vilification. Apparently, it’s “stupid and provocative”. Not to mention derogatory to the human rights of zombies. If they have any.

Most disturbing by far, however, is this gory viral for ZombiU – a survival horror video game which leans heavily upon the freeze-frame reveal technique used with such great effect by Philips’ “Carousel” Cannes winner a few years back. “ZombiU” won Ubisoft, which edited it, a gold in Epica’s Animation category. Arguably it’s most haunting element is the soundtrack…

Happy dreams everyone. And more on the other Epica winners anon.


Print and posters more persuasive than film at Epica 2011 creative advertising awards

January 7, 2012

Creative advertising award schemes are, by their nature, an imperfect guide to reality. If your agency doesn’t enter, your work doesn’t get considered; on the other hand, those who do enter and win may be regarded as unrepresentative of general industry opinion.

Even so, hardy annual schemes provide a rough and ready guide to agencies and agency groups that are performing above standard.

Which is exactly what you find with the latest Epica international advertising awards. Set up in 1987, they are Euro-centric or rather EMEA in their scope and differ from most in the genre in being assessed by senior advertising trade-magazine journalists (usually editors) rather than the creative community. Creatives may dislike their work being prodded and probed by what they probably regard as a bunch of philistines, but they cannot deny that experienced journalists bring a degree of objectivity to the proceedings.

So what does Epica 2011 tells us? First that Germany, not France or Britain, is the advertising power-house of Europe. To be sure you would expect the biggest country – and the only one with a thriving economy right now – to be the most prolific entrant. But it also hauled the most winners: 15 golds, 45 silvers, 29 bronze – 89 awards in total. By way of perspective, France came second with 66 awards, of which 11 were golds; and Britain trailed Sweden in fourth place with 41 awards (Sweden: 58), of which 12 were gold (Sweden: 8). Germany had an “off-year” last time round, in 4th place. But pole position is no fluke: it has taken the palm 7 times in the last decade.

Next, the best performing networks. This was less clear-cut than last year, when WPP-owned Y&R attained an easy ascendancy with 8 category winners sourced by 4 different shops. It managed to cling on to top position this year but with a lesser margin – 5 winners from 2 shops – and also faces a serious challenge from Wieden & Kennedy, which shares the top honours. Next ranking were IPG-owned McCann Erickson (4 winners in 4 offices), Omnicom-owned BBDO (which is clearly slipping, 4 winners in 3 offices) and WPP-owned Ogilvy (the same). DDB (Omnicom) came sixth.

Individually, Serviceplan Gruppe Munich, Fred & Farid Paris and W&K Amsterdam took the most golds (4 apiece); and Forsmann & Bodenfors, Gothenburg the most awards (18).

So much for the statistics, but what of the overall quality of the work? A bit of a curate’s egg this year. Film, which is generally regarded as the most prestigious of the 4 leading Epica d’Or awards, finally went to W&K Amsterdam’s ‘Open Your World’ campaign for Heineken. In effect, W&K was in a duel with itself for the top honours, since the other serious contender was its last year Cannes winner – ‘Write the Future’ for Nike. Neither exactly resonates as an imaginative choice – although what they lack in originality they certainly compensate for in verve and exceptional production values. Of the two, Heineken has to have been the right choice: Nike was sooo dated and yesterday’s choice.

But if film failed to sparkle, there was ample refreshment elsewhere. Print, a category in decline if ever there was one, gratifyingly produced a triple surprise. The winner, Leo Burnett’s Swiss office Spillmann/Felser/Leo Burnett Zurich, provided some crackling word-play for, of all things, a financial services client, Swiss Life. “Life Turns in a Sentence” plays verbally on life’s vicissitudes with a series of statements that change their meaning 180 degrees in mid-sentence.

Similarly inspiring was Rainey Kelly Campbell Roalfe/Y&R’s “Passport Stamps” work for Land Rover. It had a simple, appealing graphic quality which would have worked equally well in print although in fact it won the Outdoor Epica d’Or.

While we’re there, the fourth of the big prizes, for Interactive, was won by Jung von Matt Stockholm for its “MINI Getaway” campaign.

For more on the winners, click here.


Creative momentum for M&C, Wieden, Del Campo and – of course – BBDO

January 24, 2011

Just like the business and financial world, the advertising creative industry has its reporting seasons. The Cannes Festival represents the annual benchmark and we are now at the interim stage, with the Gunn Report and AdAge – the industry’s biggest trade paper – issuing their verdicts.

To stretch the analogy a little further, these awards “analysts” heavily favour momentum stocks. That may be because – like their financial counterparts – they’re at heart an unadventurous lot who don’t like nasty surprises. Win at Cannes, and the chances are you’ll pick up a truckload of gongs elsewhere. King of the number-crunchers is the Gunn Report, which resembles Wall Street’s Quants in more ways than one. To quantitative analysis, which monitors an agency’s creative performance over many years and almost every conceivable awards scheme, is added a mysterious proprietary ingredient. We’re never quite sure of the relative weight put on the data. How else explain BBDO’s preeminence as top network for the fifth successive year?

Enough of this. The point I’m making is there are no great surprises at the half-way stage, although some of the results are well worth highlighting (BBDO’s not excluded). Rather pleasingly, M&C Saatchi’s print campaign for Dixons (honourable mentions at Cannes; it also picked up a top award at Epica) was Gunn’s global winner. The art of long copy is not yet dead.

With similar predictability, Wieden & Kennedy was garlanded  AdAge’s Agency of the Year, primarily on the strength of Old Spice Guy. And rightly so. Anyone who can create celebrity out of Procter & Gamble advertising deserves a medal: especially so when the now lionised brand was as hopelessly quaint as Old Spice.

While we’re there, a nod in the direction of AdAge’s International Agency of the Year, Buenos Aires-based Del Campo Nazca Saatchi. Del Campo, which has just celebrated its first ten years, is the epitome of a rolling creative revolution which has now persuaded some premier league clients to consider Latin America as their first port of call when devising a global campaign. In Del Campos’ case, it has just been added to Coca-Cola’s international roster.

The secret of its success seems to be a carefully blended balance of creativity and planning, reminiscent of Boase Massimi Pollitt in the Eighties. Here, at any rate, are a couple of examples of its work. The famous Teletransporter commercial, for Andes beer, which was lauded at Cannes:

And Chocolate Meter, for Kraft, which has apparently resulted in a 50% increase in Cadbury sales:


Epica Awards give boost to France – and WPP

November 29, 2010

This year’s Epica creative advertising awards – the 24th in the series – sprang some interesting surprises. France was the lead country – both in the number of winners and total awards – for the first time since 2004. WPP’s Y&R was deemed the most creative agency group – far outdistancing the usual competition from the Omnicom Group. And one of the top winners was an iPhone app.

As one of the 26 trade journal editors drawn from across Europe to judge these awards (exceptionally, the winners are not decided by a jury of creatives) I can testify that recovery is definitely on its way – entries were up 10% this year to over 3,000. But it’s a patchy recovery. The year that has seen France emerge from a creative wilderness is also the year in which one of its two principal advertising trade magazines, CB News – founded by the legendary Christian Blachas, has gone into administration. Elsewhere, the quality of print work (at least, in my opinion) has improved after a long decline; by contrast this was not a vintage year for the television and cinema commercial.

A sign of the times was the ‘Streetmuseum’ iPhone’s app – devised by Brothers & Sisters for the Museum of London– bagging one of the competition’s top four prizes, the Epica d’Or for interactivity. With a museum as client, it was always likely to be a low-budget affair, but what good use it made of that budget. The app artfully exploits sized-to-fit historic photographs as overlays on present-day Google street-map technology to give a vivid impression of London’s past whenever a visitor looked up a landmark on his iPhone. The app shot up to 19th most popular free download and, so the museum reckons, has trebled the number of its visitors.

In the hotly contested film section (TV and cinema commercials) the winner was the somewhat controversial ‘Dot’ created by Wieden & Kennedy London and Aardman Animations for Nokia N8, a smartphone. As a piece of low-budget film-making it’s masterly and involving. On brief too: Nokia has fallen behind in our perception of a desirable smartphone brand and this film, which uses CellScope technology on a bog-standard phone to achieve a remarkable piece of micro-animation, helps to redress the balance. It is one of a series that highlights Nokia’s technical competence in the smartphone arena. The (admittedly non-creative) question mark is: how much of a media budget was spent on disseminating the message? In other words, how many people have seen it?

Stacked up against ‘Dot’ in the final heat was Fred & Farid’s bizarrely amusing ‘Anytime, Anywhere’ TV and cinema ad for Orangina. A series of animals (from giraffes to bears and gay cougars – my own favourite is the iguana sketch) impersonate the actors in a range of cliched television ads, from floor-cleaner to car polish, breakfast cereal to energy drink and zit-buster. The common factor being Orangina starring as the product in every ad. Cut to bloke watching the ads on television, nuzzling up to a sheep (presumably his wife) on the sofa. Animated hommage to Disney, satire of the advertising industry? Who knows? It could only be French. Try it and see:

In the circumstances, there were other commercials that should have made it to the final cut. For example, Ogilvy’s Dove Manthem (you know the one: sing along to William Tell), which was the winner in the toiletries and healthcare category.

Just as odd was the exclusion of Adam & Eve’s ‘Always a Woman’ ad for John Lewis. It lost out at the category stage to Sapient Nitro’s ‘Sneaker Mastermind’ work for Footlocker. Not itself a great ad, but one not dogged by a plagiarism controversy.

Fred & Farid may have been pipped at the post by ‘Dot’ but they triumphed in the outdoor category with an Epica d’Or for their Wrangler Red work. The ‘animal’ theme (lots of that this year) is not new, but the photographic execution was considered outstanding.

More interesting was the final major category, the print Epica d’Or, where M&C Saatchi’s ‘The Last Place You Want to Go’ ad for Dixons narrowly beat BETC Euro RSCG’s Evian ‘Baby Inside’ work.  Evian has made the baby theme something of a trademark these past ten years, each year developing it in a new and interesting direction. This year the image was of adults with the bodies of babies superimposed on their white t-shirts: simple and effective.

But not as startlingly unusual as the Dixons ads, which appealed to the head as much as the heart. It’s good to see outstanding retail print work, full stop; but even better when it employs witty, old-fashioned long-copy which makes elegant fun of the retailer’s rivals. In the eternal struggle for mastery between copy and image, copy definitely won out this year.

So much for the work, but what of the winning countries and agencies? It was noticeable that while France was easily ahead in all winning categories – winners, silver, bronze and total awards – Britain managed to nail three of the four Epica d’Ors (film, interactive and print). It came third overall, but behind France (a long way behind) in the categories winners’ league. Sweden was number two overall, with Germany in fourth place. Far down the league table was the usually feistier Spain.

The top agency was Sweden’s Forsman & Bodenfors, Gothenburg, with 15 awards in total, four of them category winners. Serviceplan Gruppe, Munich & Hamburg – a previous winner – came second. The more important insight to emerge, however, was Y&R’s easy dominance as top network. It had 8 winners across four offices, compared with next-placed DDB’s 4 winners across the same number. Ogilvy came third with four across three. BBDO (like DDB, owned by Omnicom), often an overall winner, has drifted well down the table  (3 over 2).

Taken at face value, that’s something of a pat on the back for WPP creative supremo John O’Keeffe, whose avowed aim is to displace Omnicom as creative top dog. O’Keeffe has his eye on the Cannes Awards, but Epica winners have often proved a useful harbinger.


%d bloggers like this: