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New subcategories also launched specifically for single posts, ads and campaigns using Snapchat.

Reflecting the fast-growing use and importance of augmented reality and virtual reality in creative marketing programs, The One Club for Creativity announced that Snapchat will now sponsor a pair of submission categories covering those areas for this year’s ADC 98th Annual Awards (http://www.adcawards.org), one of the world’s longest-running and most prestigious global competitions celebrating excellence in craft and innovation in all forms of design and advertising.

Under the new agreement, Snapchat is official sponsor of the show’s Interactive-AR/VR (http://www.adcawards.org/categories/interactive/#ar-vr) and Experiential Design-Digital Experiences (http://www.adcawards.org/categories/experiential-design#digital-experiences) categories.

In addition, The One Club has this year created new ADC Annual Awards subcategories for Snapchat single and campaign entries for posts, ads or campaigns utilizing the platform’s individual qualities and strengths (http://www.adcawards.org/categories/interactive/#social-media).

"Snapchat and The One Club share a passion for celebrating craftsmanship and creativity,” said Augie Chun,Head of US West Coast Creative Strategy at Snapchat, who is on this year’s ADC Interactive jury. “I'm excited to partner with the ADC Annual Awards on the Interactive and Experiential AR/VR categories as a way to highlight world-class Augmented Reality Lenses on Snapchat."

“AR in particular has opened the door to an exciting whole new world of creative possibilities,” said Kevin Swanepoel, CEO, The One Club for Creativity. “But what we’ve seen so far is just the tip of the iceberg, as creatives and brands continue to explore new ways to reach and captivate their target audiences. The market is ready to take off, and we couldn’t have a better partner than Snapchat to elevate and celebrate the great AR/VR creative work.”

Juries for the ADC 98th Annual Awards have just been announced. PJ Pereira, co-founder and creative chairman, Pereira O’Dell, San Francisco, CA, is chair of the Interactive jury, and Ann Harakawa, principal, Two Twelve in New York, NY and Honolulu, HI, is chair of the Experiential jury.

he ADC 98th Annual Awards are part of The One Club for Creativity, the world’s foremost non-profit organization celebrating creative excellence in advertising and design. Entries can be submitted via http://www.adcawards.org, deadline for entry is January 31, 2019.

New subcategories also launched specifically for single posts, ads and campaigns using Snapchat.

Reflecting the fast-growing use and importance of augmented reality and virtual reality in creative marketing programs, The One Club for Creativity announced that Snapchat will now sponsor a pair of submission categories covering those areas for this year’s ADC 98th Annual Awards (http://www.adcawards.org), one of the world’s longest-running and most prestigious global competitions celebrating excellence in craft and innovation in all forms of design and advertising.

Under the new agreement, Snapchat is official sponsor of the show’s Interactive-AR/VR (http://www.adcawards.org/categories/interactive/#ar-vr) and Experiential Design-Digital Experiences (http://www.adcawards.org/categories/experiential-design#digital-experiences) categories.

In addition, The One Club has this year created new ADC Annual Awards subcategories for Snapchat single and campaign entries for posts, ads or campaigns utilizing the platform’s individual qualities and strengths (http://www.adcawards.org/categories/interactive/#social-media).

"Snapchat and The One Club share a passion for celebrating craftsmanship and creativity,” said Augie Chun,Head of US West Coast Creative Strategy at Snapchat, who is on this year’s ADC Interactive jury. “I'm excited to partner with the ADC Annual Awards on the Interactive and Experiential AR/VR categories as a way to highlight world-class Augmented Reality Lenses on Snapchat."

“AR in particular has opened the door to an exciting whole new world of creative possibilities,” said Kevin Swanepoel, CEO, The One Club for Creativity. “But what we’ve seen so far is just the tip of the iceberg, as creatives and brands continue to explore new ways to reach and captivate their target audiences. The market is ready to take off, and we couldn’t have a better partner than Snapchat to elevate and celebrate the great AR/VR creative work.”

Juries for the ADC 98th Annual Awards have just been announced. PJ Pereira, co-founder and creative chairman, Pereira O’Dell, San Francisco, CA, is chair of the Interactive jury, and Ann Harakawa, principal, Two Twelve in New York, NY and Honolulu, HI, is chair of the Experiential jury.

he ADC 98th Annual Awards are part of The One Club for Creativity, the world’s foremost non-profit organization celebrating creative excellence in advertising and design. Entries can be submitted via http://www.adcawards.org, deadline for entry is January 31, 2019.

Tuesday, 15 January 2019 00:00

Gayle Mandel, Executive Director, AME Awards

 

"This year AME expanded its competition categories to showcase effective campaigns whose goals are to encourage social good and beneficial behavior that result in positive movement and outcome for individuals, causes, society, and the welfare of animals and the environment. AME’s Creativity for Positive Impact categories include 6 distinct categories. But most importantly, aside from a revised roster of categories, I’m especially excited about the inception of the AME Advisory Council, their experience and wise counsel will infuse AME with added agility." Said Gayle Mandel, Executive Director, AME Awards.

In this interview, Gayle breaks down the AME awards process, giving us insight into the world of effectiveness, results and excellence.

Here is the complete Q&A.....

What sets AME apart? 

AME stands for Advertising & Marketing Effectiveness, and it’s been a standout competition within the New York Festivals family competitions for a quarter of a century. What sets AME apart is that it’s entirely focused on results. Entries earning an AME Award are like the special forces of the advertising world…risk-taking, creative and strategic campaigns that have stamina and go the distance on behalf of the brand. 

Why does AME put such a heavy emphasis on effectiveness? 

Effectiveness is the bottom line and Results mean the consumer has taken action.  

Clients want results. Creative work dazzles and takes the viewer on a journey, and creativity is super important, however, if at the end of that journey the viewer doesn’t know if the ad was for a resort, an insurance company or a soft drink…no one is going to buy it. At AME, we ask the entrant to prove that the campaign accomplished what it intended to do. A campaign’s art direction, writing, or production values are all worth noting and admiring, however, if it didn’t move the needle for the brand, it’s not worthy of an AME Award.

What do entrants need to prove if they want to win an AME Award?

RESULTS. 

Which AME award-winning campaigns have stood out achieving both creative and ground-breaking execution?

All winning entries in the AME Awards knock the ball out of the park.

Creative + Effective = AME Award. Effectiveness equals results. It takes both a creative and strategically effective approach to deliver results. And AME’s winning campaigns were based on extremely creative ideas that delivered brilliant results.

2018’s AME Platinum Award winners for example, “Dead Whale”  by Dentsu Jayme Syfu was 2018’s AME Regional Platinum Award/Asia Pacific and earned  Best of Show (AME Grand Award), the AME Green Award and a Gold. Their winning entry was an installation of a 73-foot decomposing “Dead Whale” on the shores of one of the most polluted cities in the Philippines during the 2017 ASEAN Summit. The installation, created by using plastic wastes collected from the ocean, resulted in over 100 million impressions internationally and caught the attention of ASEAN leaders, which put Coastal and Marine Protection in the proposal for the next Summit.

Zulu Alpha Kilo’s “Common Ground” the 2018 AME Regional Platinum Award/North America and Gold AME Award winning entry for Harley-Davidson Canada created a “foreign exchange of bikers”  that were documented in a series following riders from different backgrounds on a trip across Canada. Discovery Channel picked up the series for a primetime special and resulted in over 47MM impressions; surpassing goals by 235%; over 8.7MM views surpassing goals by 218%, and over 415,000 engagements, with an increase in market share of 1.9% against the nearest competitor.

Heimat Werbeagentur GmbH Germany “A New Way of Thinking”  2018 AME Regional Platinum Award/Europe and Gold AME Award winning entry for Free Democrats reached and activated young voters and bridged the gap between the Liberal party and the voters. The agency utilized PR Stunts and special events and created a unique digital identity that resulted in FDP returning to the German parliament with the party's highest rise ever in number of votes (5,9%), even while having the smallest campaign budget among the six major parties.

For more inspiration view the 2018 AME Awards Winners Gallery: HERE

Why does AME separate their Grand Jury by region? 

AME divided the Grand Jury into 5 regions (Asia Pacific, Europe, Latin America, Middle East & Africa, and North America) because we feel that audiences in different parts of the world relate to campaigns based on their own regional points of view. We’re diligent about recruiting strategic and creative leaders who understand the region to ensure fair and effective judging. 

The entire panel of judges in the third round view all Gold-winning work to determine Regional Platinum Awards and Best of Show, the AME Grand Award—the ultimate in Effectiveness. 

How does the entrant provide proof of their campaign’s effectiveness? 

Mobile data has changed everything. Results are so important and there are specific metrics across every platform to measure performance. AME entrants provide thorough details as part of the brief and as part of the case study. And with case studies all the information can be put in front of the judges in a cogent way. 

What’s new at AME for this year? 

I’m new for AME as Executive Director of the AME Awards. After years of working as NYF’s Director of Public & Media Relations, I’m thrilled to be at the helm of this vibrant competition that showcases effective advertising from around the globe. 

This year AME expanded its competition categories to showcase effective campaigns whose goals are to encourage social good and beneficial behavior that result in positive movement and outcome for individuals, causes, society, and the welfare of animals and the environment. AME’s Creativity for Positive Impact categories include 6 distinct categories. 

But most importantly, aside from a revised roster of categories, I’m especially excited about the inception of the AME Advisory Council, their experience and wise counsel will infuse AME with added agility.  

Tell us about AME’s judging process and how the most effective entries are selected? 

AME’s submissions are reviewed prior to judging to ensure that all the elements are there in their proper format. Every entry is judged online, allowing jurors to judge within a private setting without distractions while judging at their own pace.   

AME’s Grand Jury judges all three rounds using the benchmark of creative execution and marketing effectiveness, specifics from the written marketing brief, and a comprehensive presentation of the work are all taken into consideration. And of course, evidence of measurable results is of the utmost importance.

The AME Grand Jury scores entries using four criteria each weighted by importance with a matrix that breaks down to 30% based on Results & Effectiveness, 25% each from Creativity and Execution and 20% from Challenge/Strategy/Objectives.  

What is the AME Report and why is it important?

Based on the results of AME’s Grand Jury, the AME report the annual three-tiered ranking report that honors and provides separate rankings for agencies, and brands. Within the report, the AME Brand Report recognizes innovative brands for their game-changing effective campaigns and the forward-thinking advertisers who approved these compelling campaigns.

It’s truly an honor to be included within the AME Report. Being mentioned among the prominent companies within the report solidifies an agency’s position within the industry and secures their global reputation for delivering the most creative and measurably effective caliber of work. 

Why are effectiveness competitions like the AME Awards important?

In my opinion, if a campaign can’t prove its effectiveness and move the needle for the brand, it’s hasn’t done its job.  

AME’s Grand Jury members say it best:

Ruichi Sharma, former Creative Chairperson for BBDO LANKA: “Increasingly, our clients are more concerned about the ROI and results of any piece of communication we create for them. More so, on large global multinationals clients. Almost every category of awards wants proof of results and how the work fared regarding sales, transforming opinions around the brand, creating awareness or evoking tangible action. Creativity just for creativity’s sake is not easy to sell anymore. Effectiveness is becoming equally if not more important. Thus, award shows like AME are gaining stature as they precisely measure the effectiveness behind a leading-edge creative campaign.

 Jon Marchant, Managing Director, FP7 Dubai: “We have the ability   more than ever to show genuine effectiveness for the fruit of our loins.   To provide genuine creativity is one thing, but to do that whilst also   proving effectiveness and proving ROI for clients, that is special.  And   with marketing budgets being squeezed more and more, it’s not enough   to simply show clients previous work, more and more you also have to   prove it’s moved the needle on business KPIs.

 It’s also a powerful narrative to use beyond marketing, when we ask   Heads of Procurement whether they want to work with the most effective agency in MENA, not surprisingly, they   are receptive to finding out more!

Newton Rebello, Group Account Director, Blue Apple Advertising, UAE: “Well, the age-old mantra of ROI. Today, clients (brands) need advertising and marketing more than ever to meet objectives (and push sales). They need their marketing communication to result in increase in business (sale). A typical creative communication may not necessarily do that. In a day-to-day communication scenario, the fact remains that agencies do produce more functional communication work rather than the ‘creative’ work. This doesn't mean that functional work shouldn't be good advertising or creatively refreshing. Awards such as the AME Awards recognises the time, effort, the need and the importance of functional work. In a way it recognises and celebrates the reality of the marketing communication business.

Let’s start by saying - Understanding the approach and steps a customer takes before getting converted can be just as valuable to marketers as the sale itself. Attribution models basically assign credit to touchpoints in the customer journey, is now becoming more complex than ever. Maybe it is time to go back to the white board and uncomplicate, starting with first indulging ourselves in how we envisage immersive consumer experiences.

Good news – the game must keep changing for the spirit of it and guess what, it is changing making show even more exciting.

Broadly, Mobile (both handsets and internet) have changed the game and now Artificial Intelligence, Predictive Science coupled with Video, Voice is gradually disrupting a lot of verticals. 4G data usage grew by 144% in 2017! So, imagine what 5G can do. Fire!

‘Make in India’ has provided the right impetus to the mobile manufacturing in the country. Approximately, 65%19 of phones sold in India are now assembled in India.

Internet user is still is a male dominated in India. Estimated 143 million female internet users in India which is about 30% of the total internet users. Among the rural internet users, the ratio between male to female internet users is 64:36 . The proportion of internet users by gender in rural India has seen much change over last year with internet users among females growing steadily.

Community Building and a New Internet for Women being powered by platform and initiatives such as SHEROES is making it happen for a women-only constructive space which is driven by ‘Empathy’ and ‘Trust’ which is building not only something social but something which is formed by emotion and real stories with powerful narratives.

The Telecom ecosystem in India changed by Reliance Jio by adding 200+ million new mobile subscribers, shaping it’s vision of Internet for Every Indian. 4G in India becoming mainstream, on both network and smartphone tech adoption, it completely dominated the market. 4G featurephone is an innovation that will take the Indian market by the tempest. Lower data cost caused massive growth in data consumption via mobile devices. Gaming, OTT Video and Digital Audio platforms became the flag bearers of increasing data traffic. India saw the launch of big OTT platforms in the last 2 years (Netflix, Amazon Prime, Hotstar, Voot, Zee5, Sony Liv, Wynk, ALT Balaji). With the growing OTT consumption, the vernacular content users is anticipated to grow by 5x folds by 2020 that English content users.

The MMA Mobile Marketing Ecosystem Reports states - India ahead of China and expected to add over 200 Mn new subscribers by 2020. 20% of the total mobile subscribers globally, now reside in India. By 2020, 27% of new subscribers added globally will be from India - making India the largest contributor globally to the mobile economy, placing India significantly ahead of other emerging economies such as Indonesia and Brazil, who contribute to less than 5% of new subscriber growth.

India continues to be the fastest growing mobile internet economy in the world. Worldwide mobile internet users grew by 9.2% in 2017, while India grew at over double the rate at 22%. The pace of growth in mobile internet users puts India ahead of the other two major economies, China and the US, which saw a growth rate of 5.4% and 6.2% respectively. India’s growing millennial population and it being a developing country are the main reasons behind the mobile growth.

Looking at the recent research by Buzzoka, some stunning facts on how Influencer marketing is creating a paradigm shift which seems to be changing the game of advertising.

69% brands spend $50,000 per year on Influencer campaign, however 27% brand goes ahead and spends $1,00,000 per year. Instagram leads as the primary choice of brands and 77% brands see it as a huge potential. This is followed by Facebook at 54%. YouTube as a platform has seen a huge rise in Influencer Marketing due to higher consumption of videos. Over 50% brand custodians considered branding and reach as their primary objective to use influencer marketing. 88% brand custodians felt that influencer marketing has the potential to drive engagement & reach. 33% brand custodians consider content quality as a key proposition before finalizing Influencer for campaigns .88% brands feel Common people plays important role in the Influencer Marketing Ecosystem.

Learnings - LOVE (Lenovo. Oppo, Vivo, Xiaomi) v/s MILK (Micromax, Intex, Lava, Karbonn) as popularly known for Chinese Vs Indian brands. LOVE brands have been mono-channel brands, offering great value for money with aggressive marketing. The success in the transition to Omni-channel would be a key factor for them to maintain their standing in the market. MILK brands as we observe, have not been able to support a consumer’s journey in the way it is required.

After all this good news, it may be good to recognize that everything mentioned above is in some way or the other related to mapping the Consumer Behaviour and which has not been easy for mar-tech and ad-tech space.

Our ‘Wants’ (unlike needs) are juxtaposed with ‘Intent’. The inter-disciplinary social science with a disproportionate blend of psychology, sociology, ethnography, behavioural economics is what marketing is continually trying to solve. Sometimes we solve and sometimes we learn.

Specifically talking about the Indian diaspora, so many characteristics amalgamating into high volumes of data. Considering just the behavioural variables such as loyalty, usage, brand advocacy, personas, lifestyles- perhaps the key questions to ask is what should be the Brand investigation methodology into understanding few things deeper not only in terms of analytics but first ourselves wearing the Consumer hat -

(a) Horizon - can we predict a specific disruption to the effect that we are also able to predict how it may change or impact existing consumer phenomenon?

(b) Our Product behaviour – the certain way that our product communicates with the audience and the need to predict the stimulus & response for the next set of internet users

(c) Brand journey-How do we envisage our Brand journey to be vis-à-vis what it is looking like at present?

(d) Is our CRM being utilized optimally to its full potential?

(e) Should we bring in ‘Trust’ in monetization, say, build a model like Cost Per Trusted?

(f) Are too may jargons complicating the space?

(g) Are we collaborating in the way we should be?

(h) Is entrepreneurship is becoming for the sake of it – do we need to double check deeper and larger vision for a socio-economic impact?

(i) Are we adopting new technologies that have the power to Revolutionize?

Also, as industry stakeholders, I believe it is high time that we would want to ponder around the value and potential impact of ‘user engagement’ as a key campaign model. This may uncomplicate attribution projecting a more real picture while sampling a good and relevant size of the market. Today, the term ‘marketing’ is bifurcated into so many different stakeholders- Digital, Non-Digital etc. What the market needs today is deeper collaboration in terms of understanding jargons. Cross, Multi and Omni channel – can we forget this for a while and simply specify the ask to ourselves?

What we need is probably one data analytics platform which has the potential to simplify the game- one platform that is able to belt out a customized dashboard for what happens for a brand, product wise breakup of what is happening across Television, Digital & Outdoor. That level of collaboration will make this easier.

Coming to simplifying- as we are aware– Consumer Experience which is a direct derivative of how we understand and translate our efforts towards a unified decision making in terms of attribution.

The challenge - as marketers invest in more channels and digital mediums, getting a unified view of a customer’s journey is only getting harder. This seems to be become ever more complicated by increased investments in influencer marketing and Amazon where there are significant challenges in creating unified IDs.

Chris Mechanic, CEO & Co-Founder of digital agency Webmechanix, says. “Any attribution model is going to be messy. Find one that makes some degree of sense and stick with it. Whether it’s first touch, last touch or blended, the really important thing is getting everybody in a team to buy into it and then stick with that over time.”

The convergence of data across platforms and the ability to understand interactions that occur across channels in both an impression and click capacity, given the increasing fragmentation of platforms and the types of media that marketers have available to them, attribution has never been more important from a marketing measurement perspective. Be it Last-click, First click, Linear, U-Shaped, Time decay, Algorithmic or Custom attribution, I believe it is time to more tightly embrace Trust, Empathy, Transparency and Data Privacy and make it the pedestal for our workings making it easier for our us in navigating the consumer journey.

 

Written by Ankoor Dasguupta, Vice President- Brands, Marketing & Special Projects at SHEROES.

49 Indian, 18 American, 6 South Korean, 6 Japanese & 2 Chinese brands make it to top 100 Most Attractive list

The 1000 brands listed in the report are from 34 Super-Categories and 286 Categories

India’s Most Attractive Brands Report 2018 (MAB 2018), in its fifth edition, has listed the country’s Most Attractive 1000 brands, based on TRA’s proprietary model of Brand Attractiveness. The study is an annual syndicated primary research conducted with 2500 consumer-influencers across 16 Indian cities. Leading the list, India’s Most Attractive Brand is Samsung, the Korean mobile phone manufacturer, which also inaugurated the world’s largest mobile phone factory in Noida earlier this year. TRA Research has been scientifically measuring Buying Propensity through its’ proprietary matrices of Brand Trust and Brand Attractiveness since 2010.

Tata Motors, which has shown very good market performance recently, is ranked 2nd All-India, with a phenomenal jump from 181st rank last year. Apple iPhone, ranked 3rd this year All-India having jumped up from 92nd rank in 2017. Reliance Jio, the three-year old disrupter telecom brand and already the third largest mobile phone network in India, ranks 3rd among India’s Most Attractive Brands and tops the Mobile Telephony Category unseating last year’s leader, Airtel. Maruti Suzuki is ranked the 5th Most Attractive brand in India, up two ranks over last year. The next five ranks among the top ten are Samsung (Consumer Electronics) at 6th, Dell (Laptops) at 7th, SBI (Bank – PSU) at 8th, Nike (Sportswear) at 9th and Honda (Four-Wheeler) at 10th.

“Attractiveness or Desire can be defined as the response to a sense of longing for anything - a product, brand, person or an outcome. When brands score high on TRA’s Brand Attractiveness research, they have successfully created similar subconscious pull. Such brands have intense magnetic power over the consumers. It is extremely gratifying to see that Indian brands have the maximum presence among the top 100”, said N. Chandramouli, CEO, TRA Research on the launch of the report. He expanded that 49 Indian, 18 American, 6 South Korean, 6 Japanese & 2 Chinese brands made it to top 100 Most Attractive list.

Chandramouli further added, “Categories of Gadgetry, Mobile Services, Automobiles and Consumer Electronics have the largest average Attractiveness Index this year. All these Categories are highly driven by individual personalities and this shows a rise in the Self-Awareness – a growing sense of Purpose and Social-Worth of the Indian consumer.”

The report lists 286 Categories under 34 Super-Categories. The other Category leaders in this report are Levi’s (Casualwear), Biba (Ethnicwear-Women), Siyaram (Fabrics), Allen Solly (Formalwear), MRF (Tyres), ICICI Bank (Bank-Private), SBI (Bank-PSU), HSBC (Bank-Foreign), Visa (Credit /Debit card), Fastrack (Branded Fashion), Gucci (Luxury Fashion), Kenstar (Consumer Appliances), Samsung (Consumer Electronics), Symphony (Air Coolers), LG (Refrigerators), Samsung (Washing Machines), Philips (Lighting), Odonil (Air Fresheners), Himalaya (Baby Products), Nippo (Batteries), Coca-Cola (Aerated Beverages), Kit Kat (Chocolate Bar), Canon (Cameras), Patanjali (Ayurvedic Products), Moov (Pain Balm), Prestige (Cookware), Roca (Bath Fixtures/Sanitaryware), Taj Hotels (Hotels – Premium), Google (Internet Search), Amazon (Online Retail), Ola (Taxi Aggregation), ACC (Cement), Hero (Cycles), Nike (Sportswear), Titan (Watches), DLF (Real Estate), FBB (Fashion Retail), Nataraj (Writing Accessories), Dell (Laptops), Hewlett Packard (Personal Technology) and Jet Airways (Airline – Private).

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