Effie Report 2012 Edition

in partnership with
in association with
Inaugural Edition
A special report that ignites the discussion on the drivers of marketing effectiveness
Deep analysis of Efe Award cases and exclusive commentary by industry leaders
revealing key insights and trends on what it takes to create and implement
effective marketing communications strategies.
www.effie.org
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Iob|e ot ConIenIs
Introduction
Chart 1 Paid Media Expenditure Among Finalists
Chart 2 Average Number of Communication Touchpoints
Chart 3 Hero Touchpoint
Chart 4 Communication Touchpoints
Can finalists be defined in terms of their
campaign goals?
Chart 5 Campaign Goals
Chart 6 Research (Among Finalists)
Chart 7 Entry Objectives
Getting results: What qualities determine a
campaigns effectiveness?
Chart 8 Highly Effective Campaigns Can Be Accomplished
on Very Small Budgets
Chart 9 Traits of Gold Medalists with Under $1 Million
Media Expenditure
Chart 10 Medalists That Spend Under $1 Million
Chart 11 Gold Medalists Use More Touchpoints to
Accomplish Their Goals
Commentaries by the Experts
Tara Back, President, Jack Morton Worldwide
Todd Cunningham, Senior VP, Strategic Insights & Research,Viacom Networks
Dan Fietsam, Chief Creative Ofcer, Energy BBDO
Maria Luisa Francoli, Global CEO, MPG
Stephen Hahn-Grifths, Former Chief Strategy Ofcer, Leo Burnett
Elizabeth Harris, Senior VP Strategy Director, Leo Burnett/Arc Worldwide
Daryl Lee, Global Chief Strategy Ofcer, McCann Erickson
Colin Mitchell, Worldwide Head of Planning, Ogilvy & Mather
Leonard F. Murphy, Editor-in-Chief, GreenBook, Senior Partner, Gen2 Advisors
Dan Ng, Director of Planning, Anomaly
Mary Ann Packo, CEO, Millward Brown North America
Suzanne Powers, Exec VP Global Strategy Ofcer, Crispin Porter + Bogusky
Gail B. Tifford, Senior Director Media, North America, Unilever
Faris Yakob, Chief Innovation Ofcer, MDC Partners/kbs+ & Founding Partner Spies&Assassins
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Drilling down:
Investigating some specific issues
Do finalists deploy media differently?
Chart 12 Touchpoints
What role does brand experience play
in driving finalists?
Chart 13 Brand Experience
Shopper marketing: What can we learn
from and about the finalists?
Chart 14 Shopper Marketing Primary Goals
Chart 15 Shopper Marketing Objectives
Chart 16 Shopper Marketing Hero Touchpoint
To what degree does the goal of the
campaign impact its ability to produce
the best results in its category?
Chart 17 What Other Objectives Do Medalists Have?
Chart 18 Connect to a New Audience: Medalists
Chart 19 Media Expenditure by Objective
(Among Finalists)
Chart 20 Communication Touchpoints by Objective
(Among Finalists)
Introduction Carl Johnson, Chairman of the Board, Efe Worldwide, CEO & Co-founder, Anomaly
Detailed Findings by Millward Brown
Worldwide Effie Programs
Partners
Acknowledgments
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The holy grail of effectiveness in marketing
communications has never been more complex.
We are seeing a transformed media landscape,
the impact of technology, the rise of consumer
involvement and ever-increasing budget pressure.
Exciting for sure, but demanding.
There are, unsurprisingly, no magic solutions or silver bullets.
Demonstrable ROI proved by data is increasingly
important but some of the more innovative
approaches to media usage lend themselves
more easily to a situation where overwhelming
circumstantial evidence seems more appropriate.
As the global champions of effectiveness, we are
committed to raising and enriching the debate about
best practice.
Thats why we decided to embark on a new initiative,
called the Efe Report, which provides analyses
and expert commentary based on intelligence
gained from the most recent marketing case studies
submitted into the Efe Awards program. Every Efe
award entry is packed with information and data on
how marketers brought their ideas to life and made
them work. By gathering and analyzing the data in the
Efe Reports, we can all gather gems of insight from
the most effective marketers to take back to our work.
Our research partner for the inaugural edition is
Millward Brown, a global leader in brand, media and
communications research. The rm has provided an
analysis of insights and trends on what it takes to create
and implement effective marketing communications
strategies based on the case studies submitted into the
2012 North American Efe Awards program.
To make it even more interesting, we also shared the
Efe Report with a wide range of smart people across
the business asking for their personal overlay and
observations - from creative agencies of all shapes
and sizes, from PR, innovation, media agencies and
owners and, of course, clients.
Their opinions add much value to the report and also
conrm a truism in life We see things not as they are,
but as we are.
This is the rst of many new initiatives, involving a wide
range of commentators, where we hope to provide
more insight into the way forward for your business.
As with many areas of life, this rst Efe Report indicates
that some things will never change, and some things
will never be the same again.
The fundamental, and timeless, importance of strategy
is once again reinforced along with the rising power of
integrated and innovative media programs.
And its never been about how much money you spend.
Look out for more stirring of the effectiveness pot in the
near future.
%CTN,QJPUQP
CEO & Co-founder
Anomaly
Chairman of the Board
Efe Worldwide
we|come Io
Ihe f|rsI the eporI
4
o|d Med|o xpend|Iure Among f|no||sIs
oeIo||ed f|nd|ngs by M|||word 8rown
||no||s|s |end |o spend. bu| no| spend |he mos|.
In consideration of what separates Efe
nalists from other entrants, it is important
to recognize that every entry is deemed
to be of a caliber worthy of an award.
Those completing the application know
that the work submitted has created
impact, and consequently the bar is high.
The evidence proves this all entries
demonstrated results in one or more
ways. Of course, this makes it hard
for the judges they are dealing with
degrees of effectiveness. And yet, even
still, there are factors that delineate
nalists from others.
It isnt about spending a lot of money. Almost half of
the nalists had budgets lower than $20 million. The
highest incidence of nalists spent $20 million to $40
million (chart 1). Nevertheless, that isnt to say that all
the money went into just one medium. Finalists used
12 percent more touchpoints than entrants in general
(chart 2). There are few big differences between entries
in general and nalists in which the touchpoint was
deemed the hero. TV continues to lead, followed by
interactive, between them garnering the lions share.
Print, consumer involvement and out-of-home (OOH)
are also cited, but at much lower levels (chart 3).
Finalists, more than entrants in general, are more likely
to make use of consumer-generated touchpoints
such as viral, word-of-mouth (WOM) or consumer
involvement. Interestingly, while by no means the most
pervasive medium, cinema is 70 percent more likely
to be used by nalists than average while sponsorship
is no more likely to be part of a nalists program than
among entrants in general (chart 4).
Prepared by Philip Herr, Senior VP, Corporate Intelligence
Charts and narrative by
Under $5 M||||on
$5 m||||on - $20 m||||on
$20 m||||on - $40 m||||on
Over $40 m||||on
Chor| 1
|ndexed |o Io|o|
75
100
Lte 8wee|spo| - 164
136
De|o||ed ||nd|ngs by M|||word 8rown
Averoge Number ot Commun|coI|on Iouchpo|nIs
More |s more - no||s|s use more med|o |ouchpo|n|s.
* Hero touchpoint is dened as the touchpoint that was the focus of the
campaign the one doing the heavy lifting.
Averoge number ot
commun|co||on |ouchpo|n|s used
Io|o|
Chor| 2
Chor| 3
Ln|ron|s
I
V
P
r
|
n
|
O
O
N
O
|
h
e
r
|
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|
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c
|
|
v
e
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o
n
s
u
m
e
r

|
n
v
o
|
v
e
m
e
n
|
L
v
e
n
|
s
45%
48%
29%
27%
4%
5%
3%
2%
3%
3%
2%
3%
14%
12%
||no||s|
||no||s|s
10.7
12
Rero Iouchpo|nI
Ihere ore tew d|tterences be|ween hero |ouchpo|n|s |n genero| ond
|hose used by no||s|s.
Commun|coI|on Iouchpo|nIs
||no||s| compo|gns moke more use ot c|nemo, v|ro|, word-ot-mou|h (wOM) ond consumer
|nvo|vemen| re|o||ve |o en|r|es |n genero|.
C|nemo 10
V|ro| 22
wOM 31
Consumer |nvo|vemen| 46
kod|o 30
ke|o|| exper|ence 40
OON 39
Pk 53
Lven|s 36
D|rec| 35
IV 72
Consumer-genero|ed 26
Guerr|||o 22
|n|eroc||ve 96
Pr|n| 58
8ponsorsh|p 19
170
132
126
117
117
113
110
109
108
106
104
104
104
102
100
100
8cores |ndexed |o Io|o|
||no||s| Io|o|
%
Chor| 4
Compo|gn Goo|s
Medo||s|s hove tewer goo|s |o och|eve. |ur|hermore, compo|gns w||h goo|s bosed on o
bus|ness ob[ec||ve ro|her |hon o |orge| oud|ence co||ec| more medo|s.
Nove o Dov|d |oke on o Go||o|h 17
Connec| w||h o new oud|ence 41
|ounch or re|ounch o brond/produc| 51
8peok |o brond |nuencers 25
8u||d or chonge corporo|e |moge 30
8peok |o k|ds/|eens 17
8peok |o men 44
8peok |o boomers (45+) 11
8peok |o women 50
8peok |o tom|||es 19
Averoge number ot goo|s - genero||y 3.9
Averoge number ot goo|s - Medo||s|s 3.4
147
137
72
68
104
100
100
110
91
91
|ndexed |o Io|o|
Medo||s| Io|o|
%
Io|o|
Con hno||sIs be dehned |n Ierms ot Ihe|r compo|gn goo|s?
The goal of connecting with a new audience has far
greater likelihood of garnering a medal than entries
not attempting to connect with new audiences. In fact,
any campaign that was designed to speak to a highly
targeted demographic audience generally performed
below average. A David taking on Goliath is 47 percent
more likely to gain a medal than other approaches
(chart 5).
In all likelihood, the ability of connecting with a
new audience was facilitated by the use of market
research. Overwhelmingly, entrants mentioned the
application of some kind of research as being part of
the marketing program (chart 6).
The objectives of increasing sales volume and/or
launching a brand generated a disproportionate
share of medals. To the extent that demonstrating
marketplace results was the one criterion that had a
good shot of delineating nalists from others, it is likely
a function of being able to demonstrate impact via
a new launch or a campaign designed to increase
sales. New news invariably drives curiosity and trial
(chart 7).
Chor| 5
eseorch (Among f|no||sIs)
nIry ObjecI|ves
keseorch he|ps produce no||s|s.
Iypes ot keseorch
Morke||ng |mpoc| con bes| be demons|ro|ed v|o so|es go|ns. No| surpr|s|ng|y |wo ot |he
|eod|ng ob[ec||ves tor no||s|s were obou| dr|v|ng vo|ume or |n|roduc|ng o new produc|.
Ouon|||o||ve 27%
Ouo|||o||ve 27%
8egmen|o||on/|orge| 15%
8oc|o| 4%
O|her (|n|erno|, |n-morke|, e|c) 27%
Used reseorch
D|d no| use reseorch/unknown
17%
|ncreose so|es vo|ume ||no||s| 159
10%
8rond |ounch ||no||s| 120
|ndexed |o Io|o|
6% 94%
Chor| 6
Chor| 7
R|gh|y ttecI|ve Compo|gns Con be Accomp||shed on Very 8mo|| 8udgeIs
wh||e [us| 14 percen| ot en|ron|s spend under $500k, 20 percen| ot go|d w|nners d|d.
|ndexed |o Io|o|
GeII|ng resu|Is:
whoI quo||I|es deIerm|ne o compo|gn's ettecI|veness?
When evaluated qualitatively, it appears that,
overwhelmingly, the most salient characteristic
dening gold from all others was the effectiveness
of the strategy. The ideas that drove results invariably
came from smart insights into consumer needs or
behaviors and the strategies that exploited them.
Another very important factor associated with
gold winners was the implementation of brand
engagement with the product. Whether hands
on or via some form of interactive medium,
virtually every gold entrant found ways to involve its
consumer audience.
As indicated from the qualitative evaluation, the
quality of execution was also exceptionally high in
order to gain high visibility, audience engagement
and in many cases secondary publicity to multiply the
brand impact. And to this end, a high proportion of
this group had particularly low budgets frequently
less than $1 million. There were a few that had high
budgets in excess of $10 million but by far they
were in the minority (chart 8).
To this end, gold medalists with low budgets are more
likely to be a David taking on Goliath and much more
likely to be local (chart 9). And because they have
lower budgets, unpaid media are far more likely to be
part of their repertoire guerilla, PR or WOM (chart 10).
A factor that tended to be strongly associated with
gold winners was smart media integration the use
of multiple media to reinforce the core message
but mostly to activate the brand experience. Other
entrants used multiple media and in most cases
reasonably layered, but not nearly as well woven
into a unied point of action, with the focus on
engaging the audience.
Other notable distinctions of gold winners were the
reframing of the category or brand and/or a smart
problem denition. These two ideas are quite similar and
underlie the superior strategic thinking of these winners.
Interestingly, take note that gold winners are more likely
to be new product ideas than other entrants.
Io|o| en|ron|s
Go|d medo||s|
14%
20%
Chor| 8
Iro|Is ot Go|d Medo||sIs w|Ih under $1 M||||on Med|o xpend|Iure
keec||ve ot |he smor| dep|oymen| ot smo|| budge|s, go|d w|nners were tor more ||ke|y |o be
|oco| ond creo|e d|srup||on w||h|n |he|r respec||ve co|egor|es.
Nove o Dov|d |oke 17
on o Go||o|h
8u||d or chonge 30
corporo|e |moge
Goo| - Ihe morke||ng ettor| wos des|gned |o
More ||ke|y |o be o Dov|d ond Go||o|h cose.
Compony 8|ze - |eod Agency
.ond s|oy |oco|.
|oco| 17
keg|ono| 15
No||ono| 84
165 200
207
70
53
Io|o| Ln|r|es
%
Io|o| Ln|r|es
%
Medo||s|
|ndexed
Medo||s|
|ndexed
5KNXGTYKPPGTU Silver winners dont have the richness
in strategic thinking demonstrated by gold winners, but
like gold winners, they do have excellent executions. In
many cases, even with strategies that failed to disrupt
their categories, they managed to develop exceedingly
engaging executions that gained traction with their
respective audiences. Helping the great creative were
well developed and integrated media plans.
Interestingly, silver winners were more likely to have bigger
budgets than gold winners.
Furthermore, we see fewer instances of brand experience
or engagement driving strategy among silver medalists
than gold medalists.
$TQP\GYKPPGTU Like silver, only less: Fewer instances
of media integration, brand experience or brilliance in
strategic thinking. In fact, the single variable that is likely
to be driving bronze awards comes down to excellence
in creative execution. Bronze winners, like non-nalists, are
most likely to have large budgets.
Chor| 9
Medo||sIs IhoI 8pend under $1 M||||on
Go|d Medo||sIs use More Iouchpo|nIs Io Accomp||sh Ihe|r Goo|s
||ke o|| en|ron|s, |hose w||h $1 m||||on use |n|eroc||ve, bu| o|her mo|ns|reom med|o ou||e|s ore
used much |ess. Ihe d|tterence be|ween o w|nn|ng compo|gn |ho|'s under $1 m||||on ond o
non-no||s| comes trom |he use ot more be|ow-|he-||ne oc||v||y |o engoge consumers such os
Pk, even|s ond guer|||o morke||ng.
|n|eres||ng|y, go|d w|nners |end |o use more |ouchpo|n|s, |n o|| ||ke||hood creo||ng o ne|work
ot woys |o en||ce peop|e |o |he|r cen|ro| po|n| ot brond engogemen|.
|ess dr|ven by. %
|n|eroc||ve 96
IV 72
Pr|n| 58
D|rec| 35
Nero Iouchpo|n| %
IV 45
|n|eroc||ve 29
Pk 1
More use ot. %
Pk 53
Lven|s 36
Pockog|ng 12
OON 39
Guerr|||o 22
wOM 31
Averoge
Among Ln|ron|s
Go|d Iouchpo|n|s
12.7
10.7
149
147
183
120
132
186
203
600
101
30
131
55
53
37
Io|o| Ln|r|es
Io|o| Ln|r|es
Io|o| Ln|r|es Medo||s|
|ndexed
Medo||s|
|ndexed
Medo||s|
|ndexed
Chor| 10
Chor| 11
or||||ng down:
lnvesI|goI|ng some spec|hc |ssues
oo hno||sIs dep|oy med|o d|tterenI|y?
Everyone does interactive 20 percent points higher 1.
than TV in terms of incidence. However, just being
interactive per se has minimal impact on whether an
entrant is effective or not.
Digital video and social networking and to a a.
lesser degree video skin/bugs and podcasts are
more likely to drive results, while display ads and
the presence of a website have no incremental
impact. Interestingly, while one-third of entrants
employed mobile advertising and half that many
used gaming, neither of these approaches was
particularly successful in garnering awards.
TV isnt a blunt instrument spot, branded content, 2.
TV sponsorship and placement on TV are more likely
to generate nalists than other approaches.
Trade (professional print) is more associated with 3.
medalists likely a function of the high degree of
business-to-business successes in 2012.
Cinema, while deployed by just one-tenth of entrants, 4.
and product design, deployed by one-twentieth of
entrants, both punched well above their weight
generating twice as many medals as average.
Other paid media that are associated with nalists 5.
are placed-based OOH, trade shows, sales promotion
and point-of-purchase materials. To a lesser degree,
owned media or sponsorship was associated with
gold/silver winners.
In terms of non-purchased media, PR, ambient media 6.
(within guerilla), WOM and consumer involvement
are all associated with nalists (chart 12).
Dr||||ng down: |nves||go||ng some spec|c |ssues
Iouchpo|nIs
wh||e |n|eroc||ve dep|oymen| by no||s|s per se ore no| d|s||nc||ve trom o|| en|ron|s, |he reo|
d|tterence ||es |n |he |n|errup||ve monner |n wh|ch no||s|s use |n|eroc||ve. 8|m||or|y, omb|en|
med|o w||h|n guer|||o opprooches de||neo|e be|ween o|| en|r|es ond |hose |ho| ore no||s|s.
|n|eroc||ve
IV
Pr|n|
kod|o
D|rec|
Pk
Lven|s
C|nemo
OON
8ponsorsh|p
ke|o||
Guer|||o
Consumers
|nvo|vemen|
|ndex
D|g||o| v|deo 111
V|deo sk|n/bugs 137
8oc|o| ne|work|ng 110
Gom|ng 106
Mob||e 109
|ndex
8po| 111
8ronded Con|en| 105
P|ocemen| 143
8ponsorsh|p 114
|ndex
Amb|en| Med|o 200
96
72
58
30
35
53
36
10
39
19
40
22
46
Io|o| Ln|r|es
%
w|nners
|ndexed
102
104
100
117
106
109
108
170
110
100
112
104
117
Chor| 12
whoI ro|e does "brond exper|ence" p|oy
|n dr|v|ng hno||sIs?
While the numbers from the quantitative research yield
results representative of the total, qualitative research
about brand experience and shopper marketing
provides some interesting insights. Some 7 percent
of all entries fell into the brand experience category;
however, less than 2 percent were ultimately nalists.
Unless referenced to a chart, the data and comments
in this section are derived from a qualitative review of
nalists, and in some cases hand counts reect the
proportions cited.
The era of claim-based advertising, while not
entirely gone, is certainly not winning Efe awards.
Overwhelmingly, award-winning campaigns engage
audiences mostly online and rather than telling
it to them, involve them in the narrative. Invariably,
nalists have found intriguing ways to have their target
audiences participate in stories about the brand.
Data exemplifying brand experience nalists indicate
either connecting with a new audience or talking to a
cultural or ethnic group to be the most differentiating
goals. This is totally consistent with the construct in
that brand experience is invariably about targeting a
specic mindset or attitude and engaging people with
those characteristics.
Consumer involvement and OOH along with TV, tend to
be hero touchpoints to a greater degree than average.
And while interactive media are indicated as the hero
for most nalists, its incidence falls a bit below average.
Interestingly, services government, leisure and
nancial index way above average for this category
(chart 13).
The vast majority of nalists embodying brand
experience centered on interactive behaviors either
solving a puzzle, adding ideas to a ctional plot, voting
for an idea or following a real time narrative. And while
TV played a role for most, it was in a supportive role. For
these, the action was online and TV sought to activate
the idea.
For other brand experience nalists, actual
product demonstrations either torture testing or
demonstrations of the brands functionality drove
brand engagement.
Several related observations emerge from exploring
brand experience:
Budgets really dont need to be large to make a 1.
campaign effective. Just over half of these nalists
had budgets under $2 million. Two had budgets
over $20 million with the balance falling between
the extremes.
Highly intelligent layering of low cost media 2.
activities (such as social media) on top of a core
brand idea can serve to drive a highly targeted
group of people to the appropriate site.
Audiences tend to be dened in terms of 3.
their interests and perspectives rather than
demographics, facilitating a richer brand
experience targeting those interests.
Return on investment can be vastly 4.
disproportionate given the narrowness of the
audience and the smallness of the program.
Irrespective of the size of the brand or budget 5.
involved, having audiences engage with the brand
in a way that demonstrates its value to them can
be transformative. Whether it is participating in an
online activity or a physical behavior showcasing
the brands benet, the behavior invariably leads to
increased revenue.
Audacity and transparency pays. Invariably these 6.
nalists placed themselves in a circumstance that
potentially could be embarrassing.
What delineated the less successful entrants from 7.
the nalists were:
Less integration of their media activities or a.
fewer media deployed to activate the program.
Seemingly the media deployed were added
together rather than woven into a tight plan.
To this end, nalists invariably had multiple
online activities drawing in their audiences and
funneling them to the core.
A vaguely dened brand insight or denition b.
of the problem the program was to address. In
some instances the goals lacked boldness,
while nalists were transparent, embracing the
real time possibility of failure.
8rond xper|ence
when o||emp||ng |o engender brond exper|ence, no||s|s ore more ||ke|y |o be connec||ng
w||h o new oud|ence - por||cu|or|y e|hn|c or cu||uro| groups. Ihe|r |ouchpo|n|s ore more ||ke|y
|o be IV or OON wh||e |he|r |ndus|r|es ore ||ke|y |o be serv|ce.
Connec| w||h o new oud|ence 48
8peok |o o spec|c cu||uro| 5
or e|hn|c group
8peok |o |eens (13-20) 25
8peok |o young men (20-35) 41
8peok |o young women (20-35) 45
8peok |o tom|||es 16
8peok |o mo|hers 14
|n|eroc||ve 55
IV 5
OON 5
Governmen| ond non-pro| 7
|e|sure 8 en|er|o|nmen| 7
||nonc|o| serv|ces 5
136
333
77
43
60
56
67
89
133
333
333
667
167
333
Goo| - Ln|r|es |n 8rond
Lxper|ence Co|egory
Nero Iouchpo|n|
|ndus|ry 8ec|or |or Cose
8rond Lxper|ence
Ln|r|es %
8rond Lxper|ence
Ln|r|es %
8rond Lxper|ence
Ln|r|es %
||no||s|s
|ndexed |o Non-w|nner
||no||s|s
||no||s|s
Chor| 13
8hopper morkeI|ng
1
:
whoI con we |eorn trom ond obouI Ihe hno||sIs?
The challenges for shopper marketing programs
are greater than for consumer marketing in that the
brand manager has to balance multiple objectives
grow brand revenue, drive retail trafc and create
positive outcomes for both parties. From a retailers
perspective most brand marketing activities are zero
sum games what brand A accomplishes comes
from brand B no incremental trafc or revenue for
the retailer. So effective programs build revenues for
the retailer while enhancing the brands fortunes.
Unlike the lack of success among general entries when
talking to women or to moms, shopper marketing entries
fared much better when directed to those audiences
(chart 14).
Programs designed to generate trial, revitalize a market or
to re-launch a brand all performed relatively better than
those intended to launch a new brand or just to increase
sales volume. In all likelihood these programs required a
degree of disruption to the status quo (chart 15).
While retail experience was the hero touchpoint for two-
thirds of entrants, it was also a bit above average when
it came to generating nalists. TV and interactive were
no better than average in generating nalists (chart 16).
Comparing nalist shopper programs to non-nalists
uncovers several key differences from those less effective:
Disruption Overwhelmingly, about two-thirds of
t
nalists programs demonstrated some aspect of
disruption either by novel product placement in
the store, changing the way shoppers perceived the
retailer or changing perceptions of the brand.
Brand experience While a great deal harder to
t
execute on a scale that spanned multiple doors or
even chains, effective programs built some aspect
of brand experience for the brand or the chain. This
was true for about half the nalists. Typically this was
executed in-store with a strong link to and support
from online activities. But unlike brand experience
for non-shopper nalists, the focus of the experience
was always in-store. By contrast, non-shopper nalists
utilized online as the focus for the brand experience
in many instances.
Changing perceptions of the category The
t
third aspect that dened nalists was to shift the
way shoppers perceived the retailer. (These were
programs initiated exclusively by the retailer without
any brand partnership.) This occurred in just under
half of nalists.
1 Information in this section is derived from an analysis of entrants and nalists in a separate Efe competition.
8hopper MorkeI|ng r|mory Goo|s
w|nn|ng en|r|es tor shopper morke||ng ore oddress|ng |he mos| trequen| shopper - women (moms).
8peok |o moms 16
8peok |o women 22
|ounch o produc| 19
Io|o| Ln|r|es
%
||no||s|s
|ndexed
150
132
95
Chor| 14
8hopper MorkeI|ng ObjecI|ves
8hopper MorkeI|ng Rero Iouchpo|nI
wh||e |ncreos|ng so|es |s obv|ous|y por| ot shopper morke||ng ob[ec||ves, |r|o| ond rev||o||zo||on
ot o brond ore tor more ||ke|y |o dene o no||s| re|o||ve |o o|| shopper morke||ng en|ron|s.
8hopper morke||ng progroms hove re|o|| exper|ence o| |he core. ||no||s|s ore reo||y no
d|tteren| trom en|r|es |n genero|.
By contrast, shopper programs that were less successful
tended to be mass market activities that just happened to
be executed in the store as one aspect of a larger program.
They tended to be integrated marketing activities, which
while successful for the marketer, were somewhat less likely
to be designed around the retail environment.
A major challenge for shopper marketing lies in the
choice of target audience. While successful marketers
can execute a brand experience initiative based on a
very specic mindset or need, overwhelmingly, virtually
every entry showed the same broad audience busy
moms trying to stretch their shopping budgets. This
lifestyle denition, or a similar variation of it, was replicated
in virtually every entry. This isnt a reection of marketers
lack of imagination, but rather an acknowledgment
of the limited ownership of the end consumer. The
marketer cannot target too narrowly when dealing with
mass retailers the programs need to reach a sufciently
broad audience to justify their expenditure and the
retailers commitment. So perhaps, while shopper
marketing has made considerable inroads over the past
decade, it would appear that its relative sophistication
lags that of marketers in general.
|ncreose so|es vo|ume 34
8rond re-|ounch/re-pos|||on 9
8rond |ounch 16
Deve|op/rev||o||ze morke| 6
Go|n |r|o| 6
IV 6
|n|eroc||ve 6
8hopper |nvo|vemen| 9
Io|o| Ln|r|es
%
Io|o| Ln|r|es
%
||no||s|s (|ndexed)
||no||s|s (|ndexed)
100
133
103
108
200
100
67
200
75
Chor| 16
Chor| 15
Io whoI degree does Ihe goo| ot Ihe compo|gn |mpocI |Is
ob|||Iy Io produce Ihe besI resu|Is |n |Is coIegory?
Overwhelmingly, campaigns have multiple objectives
an average of 3.9 in total. However, medalists have
fewer just 3.4 on average (chart 5). This suggests that
being more pointed in what you try to accomplish is
likely to result in a better, more focused campaign.
Among medalists, connecting with a new audience
is the most prevalent goal. Additional goals of those
seeking to connect with a new audience are to speak
to brand inuencers, reach out to other cultural groups,
be a David taking on Goliath and build or change
corporate image (chart 17).
From the standpoint of media deployment, entrants
seeking to connect with a new audience tend to
have more touchpoints. They are more likely to use
retailtainment, cinema, interactive gaming, product
placement on TV, WOM and viral aspects of consumer
involvement (chart 18). Nevertheless, nalists seeking
to connect with a new audience are more likely than
average to have smaller budgets as do nalists
who have a David-taking-on-Goliath objective. By
contrast, building or changing a corporate image
appears to require bigger budgets (chart 19). And
to this last point, building or changing a corporate
image not only takes more money but in order to win,
it looks like it requires the deployment of more media
touchpoints (chart 20).
whoI OIher ObjecI|ves oo Medo||sIs Rove?
Ihere |s ot|en more |hon one ob[ec||ve..when |he ob[ec||ve |s |o connec| w||h o new
oud|ence, |ho| ob[ec||ve mon|tes|s d|spropor||ono|e|y os connec||ng w||h brond |nuencers
or cu||uro| oud|ences.
Io|o| % Connec| w||h o New Aud|ence (|ndexed)
8peok |o brond |nuencers 26
8peok |o o spec|c cu||uro| 4
or e|hn|c group
Nove o Dov|d |oke on o Go||o|h 25
8peok |o men 34
8peok |o women 31
8u||d or chonge corporo|e |moge 30
|ounch or re-|ounch o brond/produc| 56
158
150
132
120
119
117
102
Chor| 17
ConnecI Io o New Aud|ence: Medo||sIs
when |he goo| |s |o connec| |o o new oud|ence, no||s|s over-|ndex ocross |he boord,
por||cu|or|y |n produc| p|ocemen| on IV, gom|ng |n d|g||o|, c|nemo ond re|o|||o|nmen|.
Connec| Ln|r|es % |ndexed |o Io|o|
ke|o|||o|nmen| 3
C|nemo 14
|n|eroc||ve gom|ng 16
IV produc| p|ocemen| 9
ke|o|| exper|ence POP 30
kod|o 34
D|rec| 42
V|ro| 31
wOM 40
Consumer genero|ed 30
Newspoper - d|g||o| 12
IV bronded con|en| 24
Newspoper - pr|n| 26
Pockog|ng 11
IV sponsorsh|p 20
OON 41
IV spo|s 64
|n|eroc||ve soc|o| ne|work|ng s||es 75
Guerr|||o 29
8omp||ng/|r|o| 17
|n|eroc||ve d|sp|oy ods 75
8ponsorsh|p 19
ke|o|| exper|ence |n-s|ore v|deo 7
300
200
187
186
146
137
137
137
177
168
119
136
133
127
125
125
124
123
115
111
109
92
101
58
57
Chor| 18
Med|o xpend|Iure by ObjecI|ve (Among f|no||sIs)
D|tteren| ob[ec||ves requ|re d|tteren| budge|s.no||s|s w||h |he goo| |o chonge corporo|e
|moge spend woy more.
Under $1 m||||on
$1 - $10 m||||on
Io|o| Connec| w||h
o New
Aud|ence
|ounch or
ke-|ounch
o 8rond/
Produc|
Nove o Dov|d
Ioke on
o Go||o|h
8u||d or
Chonge
Corporo|e
|moge
$10 - $40 m||||on
Over $40 m||||on
22%
28%
35%
15%
7%
15%
34%
37%
33%
34%
50%
30%
35%
24%
21%
26%
17%
7%
29%
Chor| 19
21
Commun|coI|on Iouchpo|nIs by ObjecI|ve (Among f|no||sIs)
8u||d|ng or chong|ng o corporo|e |moge o|so en|o||s dep|oy|ng more med|o |ouchpo|n|s
|hon no||s|s |n genero|.
Connec| w||h o
New Aud|ence
Io|o|
||no||s|s (%)
|ounch or ke-|ounch
o 8rond/Produc|
Nove o Dov|d Ioke
on o Go||o|h
8u||d or Chonge
Corporo|e |moge
100 100 100 100
Chor| 20
IV 79
kod|o 36
Pr|n| 59
D|rec| 38
Pk 64
Lven|s 44
|n|eroc||ve 99
Pockog|ng 16
Produc| des|gn 10
C|nemo 18
OON 45
Irode shows 15
8ponsorsh|p 17
Guerr|||o 25
Consumer 57
|nvo|vemen|
78 89 79
38
63
42
75
33
33
0
21
63
4
13
71
42
67
97
59
72
62
86
59
3
26
31
62
34
38
38
21
75
30
61
37
65
41
19
11
19
43
19
19
44
24
41
41
57
48
61
43
15
9
20
48
13
11
50
24
63
All in all, Efe winners, as reective of the crme de
la crme of the effective advertising campaigns,
have lessons for all marketers. They inform that
while large budgets can create impact, very small
budgets (under $1 million) were disproportionately
gold winners. And in deploying their small budgets,
gold winners invariably created disruption in their
respective categories. This indicates that online
activities are critical and that engaging the audience
with some form of brand experience is a path to the
best results. And nally, excellent strategic thinking,
excellent creative and deployment of non-traditional
(earned) media drive excellence.
Charts and narrative by
We at Efe rightly anticipated that an analysis of
the data from our Efe North American program
would reveal rich insights and trends on what it
takes to create and implement effective marketing
communications strategies. And we have provided
more value by asking industry experts to offer their
perspectives on how the ndings relate to their own
experience.
Our experts are an exclusive group of 14 marketing
and advertising opinion leaders they are experts
in everything from all aspects of creative to strategy
to planning, and they work at client companies, a
variety of types of agencies and research rms. With
their contributions to this report, they are enriching
the discussion and debate about the drivers of
effectiveness that produce the best results. We thank
them for their participation in this rst Efe Report.
CommenIor|es by Ihe xperIs
Mary Lee Keane
President
Efe Worldwide
Commen|or|es by |he Lxper|s
lI's NoI A|| AbouI Money
Clear problem denition
t
Sharp insights
t
An experience platform that uses all the right
t
touchpoints for the target
An integrated digital/physical platform to draw
t
people in, engage people with the brand and
amplify the experience so that the broader world
can experience it as well
This year, by and large, those were the ingredients
that dened Efe nalists, not the amount of
investment. That makes sense weve long believed
that the right experience is the key to effectiveness.
A creative, cut-through experience is the best tool to
capture imaginations, build rational and emotional
understanding, change minds and drive critical
word-of-mouth.
Experiences cut through
We live in a world of marketing clutter. Consumers are
bombarded by thousands of marketing messages
every day and are prone to ignore or not even trust
what they hear. If you experience it, then you believe
it you share it, you tell others about it and they
amplify for you.
Treat brands as verbs
Its about what brands do, not just what they say and
brands that use their resources to create cut-through
experiences that demonstrate their difference are the
brands that stand out. As the best of this years Efes
show, brands are starting to behave like this.
In time, everyone will get the basic components right
That puts the focus back on the idea at the core. The
bar for ideas is rising. We live in an integrated world
where experiences that dont cut through and arent
useful are cast aside quickly. The bar rises every day,
and customers expect brands to keep up and even
stay ahead of evolving expectations.
The most effective ideas of the future will have these
at the core:
Transparency
Living by the what you do, not what you say credo
demands openness and honesty as a cost of entry. If
the experience is not true to what you stand for, it will
be found out quickly.
Tara Back
President
Jack Morton Worldwide
Usefulness and generosity
Key to cutting through is understanding how your
brand earns a spot in the consumers day - by giving
time, by making something better or easier. The best
experiences exude that kind of personal usefulness
and generosity by design.
Shareable by design
Its not about eyeballs or likes. Its about the genuine
conversation that an experience garners and how far
that conversation spreads among those who matter.
Minds are changed as a result. The best experience is
for naught unless its shared actively and widely. The
best experiences will be designed for sharing using
technology simply and innovatively to do it.
Boldness (with purpose)
Being bold isnt about stunts or gimmicks intended to
shock and awe those may create a lot of short-lived
attention and buzz, but they dont change minds or
create the conversations that lead to effectiveness.
While tried and true, those models are outdated and
increasingly less effective.
Effectiveness in the future will depend on taking
purposeful creative risks, underpinned by rigor and
insight, to create new ideas that blaze new territories
and different formulas. Its a bold new brand world, but
its one that promises to be more exciting for marketers
and consumers alike.
8Ioy|ng Aheod ot op|d|y Chong|ng
Consumer Vo|ues
After years of being associated with the Efes, I nd
that I am still amazed.
Amazed how the ranges of winners still come in all
shapes and sizes, big budgets and small. No matter
the medal, each winners journey to success is both
humbling and inspiring. As you might imagine, winning
an Efe has its own way of keeping you in check while
it celebrates the greatness in our midst that might
otherwise be taken for granted. Heres an example of
this special kind of greatness and a couple of insights
about the winners.
Faced with the daunting challenges that typically
accompany launching a new car, Kia Soul would
make its debut against a backdrop of auto industry
federal bailouts, high unemployment and a rather
jarring, unexpected truth.
The consumer values of Kia Souls target were
shapeshifting away from the expressions of individuals
showing off their material possessions (including cars)
to the emerging embrace and desire for personal and
group acts of giving back.
As with many winners, there wasnt a clear line-of-sight
for how Kia would meet its marketing objectives of
selling vehicles, stealing market share away from the
category leaders and getting the conversation started
about this new car.
Todd
Cunningham
Senior VP
Strategic Insights & Research
Viacom Networks
Ultimately, Kia Soul not only won a Gold Efe, it outsold
the competition, now dominates its category and has
millions who impatiently await the next installment of
the award-winning campaigns.
A couple of insights from Millward-Browns analysis of
Efe winners:
First, there is a strong correlation (94%) between
t
the use of research and brands that won an Efe.
Getting a front-row seat to better understand the
changing relationships consumers have today with
brands and one another helps to address the fact
that winning campaigns report connecting with a
new audience is one of their top campaign goals.
Brands have only just begun to gauge the possible
impact of radical economic and social changes of
the last decade. (Crowd-favorite David-taking-on-
a-Goliath brand was the only campaign goal that
was reported more often than connecting with a
new audience.)
Second, Efe winners seem to be moving in the
t
direction of the brand experience starting well
before the product is even in consumers hands.
It is well documented that the battleground for
marketers as they look forward is for consumer
attention. As found in a recent study by Time Inc. on
Digital Natives showing that Millenials reportedly
change their media devices more than 27 times
an hour, attention is actively splintering across
more screens, services and devices. These many
touchpoints which were utilized by the nalists
further demonstrate marketers desire to be where
the potential for higher levels of engagement exist.
Finalists are not sitting still; they are blazing new trails
and leveraging the activity associated with rapid
changes in consumer values, cultural currencies and
interactions with one another to ensure their success.
As Efe illuminates year-round, these winners show no
signs of stopping to look back.
From time to time, scan a few Efe-winning stories.
Perhaps youll also nd it to be fun to continue
to be amazed.
whoI's our rob|em, Mon?
When it comes to marketing effectiveness, diagnosing
the problem is the solution.
At BBDO, creativity reigns because research shows
that creatively-awarded campaigns are 11 times
more effective in the marketplace than non-awarded
campaigns. Simply put, creativity is more effective
because it is a force-multiplier. We dene it as the
magical ability to engage the attention of our
audience to capture it and hold it while we give
them some information, a demonstration or an
experience that changes the way they think, the way
they feel, the way they behave.
The best way to unleash that creativity is to ruthlessly
dene the problem. As philosopher and educator John
Dewey said: A well-dened problem is half solved.
Perhaps 50% is an overstatement, but no doubt,
disciplined problem denition plays a signicant role in
winning cases.
First, be perfectly clear in your declaration of intent. Get
as specic as you possibly can. Prioritize actionable
objectives versus simply listing broad sweeping
generalizations. Reaching a new audience is not
going to cut it. Its a tactic to achieve an objective,
but its not going to cause a change in the way your
audience thinks, feels or acts. Efe data show that
campaigns with goals based on business objectives
rather than target audience collect more medals.
A great example is the Gold Efe-winning case for
Snickers in which the problem is clearly articulated
nd an insight and brand idea that can work across
the globe in order to reverse brand value declines and
increase penetration. Within this framework, the team
was able to deliver a powerful insight: Youre Not You
When Youre Hungry. The result was a single-minded,
universal brand idea that also allows for exibility within
local markets.
Dan Fietsam
Chief Creative Ofcer
Energy BBDO
Once you have a clearly dened problem, media mix
follows. This year, the most awarded campaigns were
centered on smart consumer insights rst, followed by
smart but appropriate media channel strategies. No
single channel predominated over another, and
winners employed both few and multiple touchpoints.
This indisputably demonstrates that the why media is
used is more important than the what or how much.
In the Gold Efe case for Wrigley Orbit Big Pak, the
problem was clearly dened upfront: Orbit was losing
its cool to be seen with perception among the
key young adults that are essential for vital growth
and brand health. Eschewing traditional choices,
Big Pak was launched via a new music video as a
promoted World Premiere on MTV. Once the problem
was identied, it became clear how to choose the
right media channel. If the problem had not been
specically and clearly identied upstream, this would
have seemed a hollow media tactic rather than a
germane and effective solution.
In sum, creativity is dependent on deliberate,
thoughtful and strategic problem diagnosis. To use
another oft-quoted (but not always adhered to) axiom:
creativity thrives with the freedom of a tight brief.
Row Io GeI eop|e Io|k|ng
AbouI 8omeIh|ng Meon|ngtu|
The Efes are the gold standard of marketing
effectiveness across our industry and throughout
the world. Having been a judge multiple times, I feel
Ive seen it all. From a media standpoint, there are
generally three types of campaigns that have a high
propensity to win: creating a new product or service
(driving brand value/attachment), removing a
product (stunt) and creating a cause.

In order to be recognized, campaigns must be able
to stand out successfully from the crowd. They must
be memorable through meaning. The best way to
do this is through content. Winning campaigns have
something worth telling the world about and are able
to present their big idea in a simple, straightforward
way; clarity is key.
As the Efe Report proves, the most salient
characteristic shared by gold winners is the quality of
the strategy. The ideas that drive excellent executions
come from smart insights into consumer needs and
behaviors and the strategies that exploit them.
Take for instance one of my favorite current
campaigns: P&Gs Olympic Go Mom. This is a
beautiful campaign based around a simple insight:
Who is most proud of an athletes accomplishments?
His or her mother, of course! As any mother (or Debbie
Phelps) will attest, this is an undisputed, universal truth.
And its this simple straightforward truth that led to
such a meaningful and powerful campaign.
Maria Luisa
Francoli
Global CEO
MPG
Its important to note, however, that its not the size of
the marketing budget that counts; great insights dont
need to cost brands lots of money to uncover. Smart
insights may come from pure and simple common
sense and fuel the ideas that generate strong
marketing communications and help to build a strong
brand in an increasingly complex environment.
This is particularly demonstrated well in a few cases
from the 2012 competition.
Troy (Michigans) Public Library Book Burning Party
was a great example of what could be done with
both a limited budget and timetable. In order to avoid
permanent closure, the library needed more funding,
but a bill to increase taxes had already failed twice.
The agency turned public opinion around in just six
weeks with a big insight: A vote against the library is
like a vote to burn books. Talk immediately turned from
taxes to the taboo topic of burning books, something
the citizens of Troy were strongly against. The campaign
quickly garnered support, and the bill passed allowing
the library to remain open.

Another strong campaign was Eat Em Like Junk Food
for Bolthouse Farms Baby Carrots. Getting consumers
to swap their favorite fried snack for a bag of baby
carrots is no small feat. The agency knew it couldnt
compete with cheesy chips and irreverent advertising
so it joined them! Colorful, high-voltage packaging
resembled single-serving sizes of tortilla chips and TV
spots mocked the high-calorie counterparts. In the
end, the branding campaign was successful because
it shed a new light on vegetables and got people
talking about healthy snacks something that was not
common before.
Io Ihe ower ot f|ve
quoIes Io More ttecI|ve MorkeI|ng
In this past year, smart agencies have led the way in
showing us that winning at the Efes and ultimately
inuencing human behavior requires a more
participatory and integrated approach to marketing.
Theyve also taught us that its not the size of your
budget that matter most, its what you do with it that
really counts. But whats most interesting to observe is
that in looking at the contributing factors behind many
of the Efe medalists in 2012, there are some recurring
themes best summarized by ve Ps:
1. Problem
Finalists tended to more clearly dene the business
problem as a human problem or as a behavioral
tension that the brand needed to solve for. Layers of
marketing objectives and multiple goals made the
brand challenges more complicated, less achievable
and ultimately, less believable. A clear, concise and
single-minded reframing of the problem enhanced the
power of the brand story.
2. People
Winning brands didnt try to target everyone or follow
the rule book of consumer segmentation based on
demography. Instead, they took the approach of
engaging people based on understanding human
behavior and an ability to connect with new users
and communities of people who are more willing to
potentially identify with a brand belief system and
buy into the inherent values of the brand.
3. Purpose
Many winners demonstrated that a purpose-based
brand idea is an economic multiplier that yields
accelerated success. Consistently, brands that added
up to a higher order sense of why theyre more relevant
to peoples lives were more likely to drive behavior
change. Gold winners proved out that a powerful idea
evokes emotion and fosters participation.
4. Participation
Brands that created participation didnt necessarily
use every form of media; they leveraged only the
touchpoints that really matter. In particular, stories
that showcased how brands and people can
participate together through technology, interactive
media or hands-on brand experience were more
successful in creating involvement and deeper levels
of engagement.
Stephen Hahn-
Grifths
former Chief Strategy Ofcer
Leo Burnett
5. Populism
Among gold winners, the potential to create brand
populism went way beyond traditional marketing
metrics. For sure, signicant shifts in brand equity and
behavior change were apparent including sales
increases and growth in new customer acquisitions.
But the added dimension of demonstrable increases
in cultural currency through creating word-of-mouth,
social media involvement, brand community etc., was
the difference between winning gold or not.
In conclusion:
Effective marketing today is about more than just
persuasive advertising or skillfully messaging your
way into peoples lives. Success is driven by a human-
centered and purposeful approach to marketing
that inspires acts, not ads, that transform human
behavior to create lasting relationships, foster active
participation and evoke deeper levels of brand
intimacy. When that happens and the power of the
ve Ps is fully unleashed, the impact on the brand is
signicant, if not exponential.
MeeI|ng Ihe Cho||enges ot
8hopper MorkeI|ng
Shopper marketing is one complicated business.
As Millward Browns study states, the challenges
for shopper marketing programs are greater than
for consumer marketing. Given the nature of what
shopper marketers are up against, its no wonder
9GJCXGOWNVKRNGOCUVGTU
t
Not only are we
designing programs that will build brands while
selling products, we need these same programs
to help retailers differentiate their brands and drive
trafc through their doors.
9GUGGMVQEJCPIGDGJCXKQT
t
right this minute. In
shopper marketing we are out to get people not
to just buy into the brand but to actually buy the
brandright now.
9GJCXGCVCTIGVKPOQVKQP
t
Shoppers on a mission
will, according to eye-tracking research, spend an
average of only three-tenths of a second looking
at signage in the store and, according to Nielsen,
they make up their mind about a product in 3-to-7
seconds. Not much time to form an impression.
Given these challenges, it is critical in shopper
marketing that our objectives are focused and that
our ideas are based on insight (into shopper behavior
as well as retailer needs) and meet our shoppers at
important relevant points along their path to purchase.
But is that enough? We dont think so. In addition,
we believe that effective shopper marketing requires
interruptive creative ideas.
Elizabeth Harris
Senior VP Strategy Director
Leo Burnett/Arc Worldwide
Interruptive creative ideas challenge the norm, make
retailers and brands stand out in unexpected ways
and stop shoppers in their tracks with a wow, would
you look at that. According to Millward Brown, two-
thirds of nalists shopper programs demonstrated
some aspect of bold interruptive creativity.
For example, the Swiffer Project Jack campaign took
on Swiffer skeptics not by creating a program that just
explained what the product did in a clever way but
instead by changing the whole way that the product
was displayed, liberating the Swiffer Sweeper from
its box in Walmart to display it fully assembled and
showcasing the power of the product.
And, when Walgreens wanted to enhance its
perception with customers as not only their corner
drugstore but as a wellness partner committed to
taking an active role in its customers lives, it could
have created a program that explained just that. But
instead of saying it, Walgreens proved it by creating
Walk With Walgreens, a loyalty program that rewards
people for walking, that got millions of its customers
moving, healthy and walking into Walgreens.
It is this type of interruptive creative thinking that is
needed to design truly effective shopper marketing
that builds our brands, drives sales, excites our retailers
and makes shoppers stop and engage with us. So
as you create your next program, ask yourself how
interruptive is it? Have I creatively inspired involvement
and engagement with my brand? Can we prove what
we want to say about ourselves versus just saying it?
Can we solve this from a completely new angle? Leo
Burnett himself famously said ETGCVKXKV[JCUVJGRQYGT
VQVTCPUHQTOJWOCPDGJCXKQT and in our opinion, he
could not have been more right.
Ihe IruIh AbouI ttecI|veness
The Efe analysis of nalists and medalists reveals
some timeless truths for marketers and some new ones.
First the timeless truths:
We learn, again, the truth that less is more, that the
t
more effective marketing campaigns have fewer
goals and are business-focused on their goal-
setting (sales volume, brand launch) rather than
communications or audience specic.
We see, again, the truth that its not size that matters
t
when it comes to marketing budgets, as the
majority of nalists have mid-sized budgets in the
$20 million-to-$40 million range and yet do very well
from an effectiveness perspective.
We are shown proof, again, that the best goals are
t
ones that make us hope and cheer, as when a
David takes on a Goliath or when we try to connect
a brand to an entirely new audience.
And we are, once again, reminded of the truth that
t
movies still move us most of all, with cinema being
the channel most indexed to gold medalists.
This much we knew, but it is good to see these truths of
marketing reafrmed through analysis at a time when
so much of our industry seems in ux.
However, the Efe analysis also reveals some surprising
new trends that may indeed be the new truths of the
new era of marketing in which we nd ourselves today:
New truth No. 1:
t
Quantity and quality matter. We
see that adding more touchpoints does yield better
results, when gold medalists utilize a higher average
number of touchpoints than entrants.
New truth No. 2:
t
Digital is non-negotiable. We see
that the new normal for interactive investment is 27
percent to 29 percent of marketing budgets, that is,
if you want your marketing efforts to be successful.
New truth No. 3:
t
Everyone wants to play. And we
see that participation touchpoints (viral, word-of-
mouth, consumer involvement, ambient) where
people are invited to share in the brands activities,
are the clear determinants of marketing success in
the todays world.
Daryl Lee
Global Chief Strategy Ofcer
McCann Erickson
So what do these new truths mean for marketers today?
In the past, effective marketing only involved a brand
being KPVGITCVGFCETQUU touchpoints. The stronger the
connection between touchpoints, the more powerful
and seamless the brand experience. Today, as the Efe
analysis shows, the power of integration is in a brand
being KPVGITCVGFKPVQ consumers lives. Successful
brands need to be focused on inviting people to
participate and engage with every touchpoint, letting
people make the connections as they pass your
brand content along. The role of brand community
participation has become pivotal in creating brand
experiences that yield the best return. People dont
just want brands to do, as well as say, they also want to
share in that activity with brands.
Or as we like to say at McCann, people today want their
Truth Well Told to be Truth Well Shared.
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So which are the most effective media? None, it seems.
In the rst accompanying Efe Report, Millward Brown
audited the main touchpoints used by entrants and
nalists in 2012 and found virtually no difference. TV
looks like a winning channel: A full 48 percent of nalists
used it, but then again so did 45 percent of entrants.
Interactive was very important. It was used by 27
percent of nalists, but also by 29 percent of entrants.
When you look at the use of some niche channels,
interesting patterns appear. Three in particular
jump out. Cinema, used by only 10 percent of the
campaigns, has an index of 170 (meaning that it
was 70 percent more likely than average to be used
in a nalists campaign). Thats a big difference. Viral
was one-third more likely to be used by nalists, and
word-of-mouth was one-quarter more likely to be
used by nalists.
What is it about these particular channels that
made them associated with success? What do they
have in common?
These are three of the most demanding channels.
Choosing one means that youve decided that [QWT
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EQORGVKPIYKVJEWNVWTG
Colin Mitchell
Worldwide Head
of Planning
Ogilvy & Mather
There are no rules that require a cinema ad to be big
and spectacular. But we all know that Harry Potter or
Twilight is tougher competition than your average
toothpaste ad. Equally, if you declare that viral or
word-of-mouth is going to be your channel of choice,
you had better have something worth talking about.
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Arbitron research has found that frequent moviegoers
nd cinema ads more acceptable than TV spots.
How could this be? These people have paid good
money to be entertained. Surely they dont want to
be interrupted? The fact is that cinema ads are more
acceptable because, on the whole, they are simply
better than most TV ads.
These are the new rules. According to Vizu Research,
62 percent of respondents dislike or strongly dislike
advertisements. Now ad blockers, DVRs, Flipboard and
Hulu allow people to create their own media universes.
Most of the Efe gold winners embraced this new reality
and went beyond creating good marketing to creating
pop culture.
The authors of Nikes Write the Future knew that it
wasnt competing with other ads for attention, it was
competing with the World Cup.
Chryslers celebrated Imported from Detroit
became a political Rorschach test. Imported from
Detroitborrowed from China, tweeted Republican
Congressman Dennis Ross. I cant think of a more
tting way to depict Detroits story countered local
Democratic Congressman John Conyers.
IBMs Watsons appearance on Jeopardy won 35
million viewers. On TV, it was the talk of Letterman,
Leno and Conan and was featured in everything
from Saturday Night Live to The Daily Show to a full
episode of PBS Nova to The View 5,700 TV mentions
in all. The overall media value of coverage is assessed
at over $50 million. Watson was the Webby Person of
the Year.
So next year, ask not whether your brand is ready to
compete at the Efes, ask whether its ready to compete
at the Oscars!
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8rond e|oI|onsh|p 8u||d|ng
Based on the analysis of medal winners, its clear
that viral campaigns, word-of-mouth and consumer
involvement are major contributors to advertising
effectiveness and increasingly that means embracing
a pull versus push model. That being the case,
then the role of emotional engagement by the
audience surely comes into play. One theme that
emerges in the analysis of Efe nalists is that smaller
campaigns that use multiple non-traditional channels
and target inuencers have a higher incidence of
medalists. Although its not referenced within the data,
based upon observations of marketing campaigns
in the era of social media, it certainly seems to
support the conclusion that campaigns that focus
on expressions rather than impressions, that enlist
consumers (especially inuencers) as active partners
in the propagation of the campaign leverage these
emotionally driven factors more successfully than
cognitively focused ads.
Leonard F. Murphy
Editor-in-Chief, GreenBook
Senior Partner, Gen2 Advisors
The real challenge for marketers and market researchers
is to develop baseline metrics that incorporate various
emotionally engaging attributes as predictors of
campaign success across multiple channels. This
new model will have to incorporate a variety of data
channels to deliver a holistic view and so will require a
period of experimentation as an attempt to understand
the value of the various data points available to us.
For years, advertising effectiveness measurement has
focused on explicit measures of persuasion versus the
implicit aspects of emotion such as engagement and
enjoyment. More evidence is emerging that persuasion
elements are not reliable indicators of campaign
success in the new social marketing paradigm,
so it is incumbent on us to quickly gure out what
specic methods can be used to deliver a holistic
understanding of marketing effectiveness.
Its a brave new world of brand relationship building,
and this new paradigm is important stuff. None of us
can afford to rest on our laurels or make assumptions
based on old models that may not take into account
new knowledge or a changing cultural framework. Thats
going to be important for everyone to remember as
we move forward, because were just at the beginning
of this journey of understanding the true drivers of
consumer decisionmaking and relationship building via
new touchpoints.
Ihe GreoI ond Ihe Good
What distinguishes great from good? Looking at some
of the differences between Gold Efe winners and the
rest reveals a few surprises.
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Effectiveness, almost by denition, includes a wise use
of resources. But a surprisingly high proportion of Gold
winners had lower budgets. Of course, bigger budgets
can be effective; but the pressure of lower budgets
really tests the mettle of marketers and agencies.
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With smaller budgets, its unsurprising that many gold
winners had David-taking-on-Goliath strategies. Having
ambitious business goals trumps getting people to
like you. Of course, you can be effective by focusing
resources on appealing to new people or on getting
people to understand you, but setting out to do great
things is how you set yourself up for great effectiveness.
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Few effectiveness cases today feature anything
less than a dozen touchpoints; the media space
for brands today is a thriving mix of owned, earned,
paid and hybrids of these. So it makes sense that
truly great effectiveness requires an additional level
of thought on exactly when, where and how the
opportunity is achieved. It isnt about adopting
360 solutions. Its about nding the most effective
channels and focusing.
Dan Ng
Director of Planning
Anomaly
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Perhaps the biggest story is also the smallest one. Of
the gold winners with smaller budgets, most of them
were written by smaller agencies, unsurprisingly given
how smaller agencies rely as much on PR, social
media and innovation as on the more traditional tools
to solve problems.
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If theres a pattern underlying these observations, its that
great effectiveness is an orientation inside marketing and
agency cultures. Smaller budgets, big ambitions, smarter
channel focus and smaller teams are winning and are
indicators that effectiveness is changing.
It took most of the 20th century for marketing to invest
in economies of scale. The road to effectiveness was
built on broadcasting a single message to billions
across expensive media and advertising networks. The
effectiveness of scale has become so ubiquitous that
its become merely good.
Great effectiveness is becoming a reward for scrappier
and smarter players who are more nimble with their
spends. In the end, what distinguishes the great from
the good in effectiveness is how much hunger and
how much ingenuity you bring to opportunities. No
surprise there.
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Among Efe nalists, the Hero touchpoint is shifting
from TV to digital. And it isnt just about banners or
display. It is about driving people to a site either a
website or Facebook page where they engage with
the brand and in some way contribute to the brand
story. This encourages consumers self-expression while
giving them a stake in the brand and its narrative.
No other medium allows for interaction. TV can
communicate rational and emotional messages, radio
can drive immediacy and magazines can convey
complex messages. But all are asymmetrical media.
Only digital allows for symmetry and by doing so
makes the participant part of the brand story.
TV advertising continues to play a vital role in brand
communication, but among the most successful
campaigns it is subordinated most frequently
to digital, where its role is to activate the digital
experience. Millward Browns data indicate the
continuing strength of TV as a broad reach medium
with emotional impact. However, its impact is invariably
multiplied by digital activities. Furthermore, we see
digital communications enhanced by TV (and other
mainstream media) reinforcing core messages and
brand registration and helping to drive viewers to the
brand website or Facebook page.
Clients are placing far more emphasis on owned
media specically Facebook pages, websites and
mobile apps. A recent article, Weigh Campaign
Sites Impact on the Brand Before Abandoning Them,
about the work being done at Millward Browns
Dynamic Logic unit, indicates the value of funneling
people to your website where brand favorability
and intent to purchase are increased by a factor of
three. P&Gs recent Thank you Moms campaign,
with extensive Olympic investment, is described on
AdAge.com as a perfect storm of TV, digital, social
and PR. Evidence of its success comes from sales:
Retailers that have activated the campaign in-store
have seen sales lifts of 5 percent to 20 percent.
Whats important from a marketing standpoint
is the fact that part of our jobs as brand builders
is to create content that people want to share,
commented Marc Pritchard, P&Gs CMO.
Mary Ann Packo
CEO
Millward Brown North America
Microsoft Bings worldwide scavenger hunt is a perfect
example of multiple media driving consumers to a
website to engage with a brand. The campaign, a
Gold Efe winner, spent less than $1 million. Each
page of Jay-Zs new autobiography, Decoded, was
strategically placed in a different venue and printed
on multiple surfaces, including pizza boxes, the bottom
of a swimming pool and the lining of a custom-
designed jacket by Gucci. Participants needed to
access Bing search and maps for clues in order to nd
the pages. Touchpoints included PR, guerilla marketing,
word-of-mouth and online, along with out-of-home
and TV spots. The campaign was highly successful in
driving preference and usage.
In the larger scheme of things, while we havent seen
the end of traditional media, their day in the sun will
eventually be eclipsed by digital. There isnt anything it
cant do.
Dorothy Fields and Herbert Fields said it best in Annie
Get Your Gun: Anything you can do, I can do better.
Ihe Mog|c ot Ihe 8os|cs
In a world where were being told that the owner of
big data owns the brand, subsequently, the consumer,
theres a marked danger of losing the simplicity of
what makes brands great. If we let the big data rule
all of our decisions as marketers, we will nd we are
constantly chasing bits rather than leading and
building a brand.
The Efe nalists, particularly those of the golden
hue, seem to champion the basics of brilliant
marketing: Find an idea thats so true and so powerful
in its simplicity that it will travel beautifully across
experiences, help brands earn meaning in peoples
lives and drive exponential results in the marketplace.
These ideas are typically supported by data, but not
necessarily created by it. The learning from the nalists
tells a simple story:
Pick a fight
The golds have a disproportionate amount of David
brands, indexing at 165 vs. the rest. Davids are smaller
and scrappier, with typically lower budgets. They are
up against a big guy and rather than picking the
same ght as the big guy on a smaller scale (you
cant out-Goliath a Goliath) they typically choose a
different ght or change the rules in their favor.
Suzanne Powers
Exec VP Global Strategy
Ofcer
Crispin Porter + Bogusky
Find a group to help fight it
The nalists, particularly within the brand experience
category, seek to connect with a new audience
or a specic group (nalists index at 136 and 333,
respectively). They create fans and sign people up
to help spread the word. Further, when the goal is to
connect with a new audience, its typically among a
brand inuencer group or people who will do some of
the work for the brand (indexing at 158). It follows that
the Davids particularly need this to earn their way into
peoples lives without the media spend of the Goliaths.
More is more, but use it wisely
Fighters use every single touchpoint to further the ght.
In keeping with this, nalists use more touchpoints than
non-nalists (averaging at 12.0 touchpoints versus
10.7), and we can only deduce that this is about truly
delivering an idea in a cumulative system of ways that
inltrate someones life, rather than one-offs that are
unrelated. Importantly, they have to have precision and
religion in how they deliver because no dollar can go
towards something different than the ght.
Seems to me these are the basics of great marketing:
nd a simple truth. Deliver that truth in interesting,
sometimes provocative ways that help people
question their current belief system about the brand.
And, deliver the heck out of it in places that surprise,
with experiences that enthrall and among people who
will help you spread the new gospel.
Can wechallenge the Goliaths to act like Davids? To
get back to the magic of the basics and earn rather
than buy their way in? Thats the fun part of what we
do. I sincerely hope they are up for the challenge.
AdopI|ve 8IoryIe|||ng: Messoge ond Med|um
In a world of fragmented media, hyper-connectivity and
even media fatigue, is more really more effective?

We all know it starts with great storytelling. Having
something to say. A perspective on the world. It can be
inspiring, altruistic, thought-provoking, controversial or
just funny. It should be simple, meaningful and evoke
emotion. This makes it shareable.

But the content itself is not enough. We must adapt
stories across disparate media channels and that can
be a transformative combination for consumers and
brands alike.
The digital revolution has shifted our thinking from
campaigns to conversations, from impressions to
expressions. The requirements for successful storytelling
are different in a world where consumers have
ultimate control and on-demand expectations of their
experiences, media or otherwise. The story must no
longer be platform agnostic, but platform aware, as
MTV Networks exec Dermot McCormack puts it.

Adaptive storytelling is challenging for brands. We
are accustomed to broadcasting messages rather
than embedding ourselves into our consumers lives
with a brand point of view and then articulating
that point of view in a way thats authentic to
the medium be it a TV spot, a tweet, a mobile
experience or even a digital refrigerator panel.
Understanding variations in human behavior across
media is critical to inspiring conversations and
deepening consumer engagement.
Efe Gold winners demonstrated skilled adaptive
storytelling rooted in human insights into both their
consumers behaviors and media choices. Chobani,
for example, spotlighted real advocates already
expressing their passion for the brand and then
amplied those love stories across platforms in which
their customers were already active, arousing curiosity
and inspiring trial through the inherent credibility of
the messaging.
Gail B. Tifford
Senior Director of Media
North America
Unilever
At Unilever, our communication strategies aim to craft
brands for life by naturally integrating our brands into
our customers daily lives. Key is a deep understanding
of our customers and their media preferences,
partnered with brand point-of-view that aligns with
what matters most to them. For example, from a deep
understanding of the millennial male, his relationship
with his smartphone and his preoccupation with
women, the AXE Wake Up Call mobile app was
launched. That reminds guys to use AXE daily by
waking them up each morning with a video message
from a beautiful AXE woman. For the Magnum U.S.
launch, we awakened the pleasure seeker in every
woman by reminding her that pleasure is hers for the
taking in natural media moments throughout her busy
life such as her Twitter feed.
The ingredients to adaptive storytelling: Brand point
of view and insights-driven content, partnered with
a true understanding of how and why consumers
use specic media channels in their lives. Smart, not
necessarily more, touchpoints.
8even Rob|Is ot
R|gh|y ttecI|ve Commun|coI|ons
In an industry where accolades are bestowed, for the
most part, by peer review and creative judgment, we
leave ourselves open to the obvious charge that we
forget what we are here for.
Give thanks, then, for the Efes, which honor the
effectiveness of the work we do in creating value for
clients. I mean value here very specically, in the sense
of dollars and cents required to get it out the door, that
shows, overall, that the investment [in money and time
and sweat and tears...but mostly the money] were
recouped and returned upon with interest.
The Efe analysis unpicks some of the drivers of efcacy
among the nalists this year. What differentiates those that
won a medal from those that were pipped at the post? As
I was reminded all the shortlisted have demonstrated
efcacy to some level, so what separates the great from
the good?
1. Start with business objectives. Effectiveness is
simply the capability of producing a desired result.
Since we are looking to make clients money, it makes
sense to start with those objectives and then parse
them into marketing, into behavior. Keeping nancial,
and your own innovative, KPIs in mind seems to make
the work, work.
Faris Yakob
@Faris
Chief Innovation Ofcer
MDC Partners/kbs+
Founding Partner
Spies&Assassins
2. Do some [interesting, useful] research. I have
a number of epistemological issues with how most
marketing research is done, but that doesnt mean
I dont believe in research. Its crucial that we base
our solutions to client problems on cogent data
and behavioral observation, as we attempt to craft
persuasive symbols and actions that interact with
social and economic forces we are only just beginning
to truly understand.
3. Believe in strategy. Despite certain vocal
members of our industry declaiming the death of
strategy, the analysis is very clear: The most salient
characteristic dening goldwas the quality of the
strategy. So dont listen to people who say it is dead.
Indeed, anyone using the death of narrative should
be considered with caution.
4. Boldness has genius, power and magic in it
[Goethe]. The David vs. Goliath narrative over indexes
for nalists. We all love an underdog, but perhaps more
importantly we should understand that Big, [and, sigh,
okhairy] audacious goals are, like the promise to get
to the moon, both galvanizing and effective.
5. Integration means the inter-operation of parts,
not one idea in many places. The analysis makes
the distinction between woven and just layered
media. We are increasingly in the age of systems and
the inter-operation of parts to create a larger whole,
rather than media that is added together.
6. Do it, ideally with the community, dont just
say it. As Millward Brown states, The era of claim-
based advertising, while not entirely gone, is certainly
not winning Efe awards. The much vaunted era of
engagement is upon us, but the onus is, as ever, on
us to nd compelling ways to earn that engagement.
7. Be awesome. Okay this wasnt in the data, but in a
world driven by sharing, if it doesnt spread its dead,
and awesomeness, the emotion of awe, is what drives
the most spread.
EFFIE ARGENTINA
CONEP Argentina
Jorge Martnez
Rosario Galeano
EFFIE AUSTRALIA
The Communications Council
Jo Libline
Margaret Zabel
EFFIE AUSTRIA
IAA Austrian Chapter
Martina Hrmer
Roswitha Hasslinger
Raphaela Vallon-Sattler
EFFIE BELGIUM
EFFIE Awards Belgium
ASBL/VZW
Michel Tubbax
EFFIE BRAZIL
CONEP Brazil
Waltely Longo
Guilherme Torres Costa
EFFIE BULGARIA
Bulgarian Association of
Communications Agencies
Mariana Brashnarova
EFFIE CHILE
CONEP S.A.
Hctor Hermosilla
Claudio Ascu
EFFIE CHINA
China Advertising Association
Yan Jun
Owen Jia
EFFIE COLOMBIA
Asociacin Nacional De
Anunciantes (ANDA) Colombia
Olga Britto
EFFIE COSTA RICA
Comunidad de Empresas de
Comunicacin de CR
Dirk Stammes
Lilliana Gonzlez
EFFIE CROATIA
Hrvatska Udruga Drustava
Za Trzisno Komuniciranje (HURA)
Dunja Ivana Togonal
Damir Ciglar
Iva Kutle
Mario Fraculj
EFFIE CZECH REPUBLIC
Association of Communication
Agencies (AKA)
Jir Janouek
EFFIE ECUADOR
CONEP Ecuador
Ivn Correa
EFFIE FINLAND
Finnish Association of Marketing
Communication Agencies (MTL)
Tarja Virmala
EFFIE FRANCE
Association des Agences
Conseils en Communication
(AACC)
Marie-Pierre Bordet
Isabelle Guillotin
EFFIE GERMANY
Gesamtverband
Kommunikationsagenturen
(GWA)
Dr. Ralf Ncker
Sabine Kunert
EFFIE GUATEMALA
Guatemala Marketing &
Asociados Ciudad de
Guatemala
Michele Wurmser
Gloria Wurmser de Gularte
EFFIE HELLAS
Hellenic Association of
(EDEE/HACA)
Maria Bacoula-Kantza
Alexandros Karmas
EFFIE HONG KONG
The Association of Accredited
Advertising Agents of
Hong Kong (HK4As)
Angela Ng
EFFIE HUNGARY
IAA Hungary and MaKSZ
Adrienne Kaminszky
Eszter Mora
EFFIE INDIA
The Advertising Club Bombay
Bipin Pandit
EFFIE ISRAEL
Israel Advertising Association
Israel Management Center
Israel Marketing Association
Talma Biro
Yigal Baron
Yossi Lahmish
EFFIE MALAYSIA
Association of Accredited
Advertising Agents, Malaysia
J. Matthews
EFFIE MEXICO
Asociacin Mexicana de
Agencias de Publicidad (AMAP)
Sergio A. Lopez Zepeda
Leticia Melero Ortz
EFFIE NETHERLANDS
Dutch Association of
Communication Agencies (VEA)
Cees Wijnnobel
EFFIE NEW ZEALAND
Communication Agencies
Association of New Zealand
(CAANZ)
Paul Head
Kelly Gilkison
EFFIE NORTH AMERICA
Efe Worldwide Inc.
Erica Stoppenbach
EFFIE PERU
CONEP Peru
Alfredo Torres
Flavia Maggi
EFFIE POLAND
Marketing Communications As-
sociation (SAR)
Pawel Tyszkiewicz
Anna Zimecka
EFFIE ROMANIA
IAA Romania and Uniunea
Agentiilor de Publicitate din
Romania (UAPR)
Victor Dobre
Radu Florescu
Eleonore af Schaumburg-Lippe
EFFIE RUSSIAN FEDERATION
The Best Brand Organizing
Committee
Elena Beryukova
Olga Petrova
EFFIE SINGAPORE
Institute of Advertising
Singapore (IAS)
Jennifer Goh
EFFIE SLOVAK REPUBLIC
Klub reklamnych agentur
Slovenska (KRAS)
Jana imekov
EFFIE SLOVENIA
Slovenian Advertising Chamber
(SOZ)
Barbara Krajnc
Petra Prelog
EFFIE SRI LANKA
Sri Lanka Institute of Marketing
(SLIM)
Sanath Senanyake
EFFIE SWITZERLAND
bsw leading swiss agencies
Peter Leutenegger
Monika Stocker
EFFIE TURKEY
Turkish Association of Advertising
Agencies (TAAA) Reklamcilar
Dernegi
Aysegul Molu
Selma Karaaslan
EFFIE UKRAINE
All-Ukrainian Advertising Coalition
Maxim Lazebnik
Alona Mishurenko
EFFIE URUGUAY
Asociacin Uruguaya de
Agencias de Publicidad
(AUDAP)
Silvana Saavedra
EFFIE VENEZUELA
Federacin Venezolana de
Agencias de Publicidad (FEVAP)
Marcelo Ceruzzi
Ana Paula De Souza
REGIONAL EFFIE
COMPETITIONS
EURO EFFIE
European Association of
(EACA)
Dominic Lyle
Linda Klepsch
GLOBAL EFFIE
Efe Worldwide Inc.
MIDDLE EAST NORTH AFRICA
EFFIE
Mediaquest Corp
Alexandre Hawari
Sahar Raque
Worldwide Efe Programs
Jill Whalen
orIners
Produc||on Por|ner
Med|o Por|ners
keseorch Por|ner
GreenBook
offers innovative and practical resources to

researchers on both sides of the table while also providing
effective marketing services to all types of market research
suppliers worldwide.
With the Directory at its core, GreenBook supports and
enables lead generation, publication of articles and
case studies, webinars, search engine optimization, event
sponsorship, and advertising. We help market research rms
achieve marketing and sales objectives by reaching the
largest audience of researchers and research buyers.
www.greenbook.org
Q is a replacement for SPSS, WinCross
and other traditional research analysis
programs. Q massively reduces the
time taken to conduct reporting by
automating basic data re-coding and
being fully integrated with Ofce. Q
also has superior statistical testing and
advanced analyses like latent class
analysis and choice modelling.
www.q-researchsoftware.com
Millward Brown is one of the worlds leading research
agencies, with expertise in effective advertising, marketing
communications, media and brand equity research. Through
the use of an integrated suite of validated research solutions
both qualitative and quantitative Millward Brown helps clients
grow great brands.
Additional specialist practices include Dynamic Logic/Millward
Brown Digital (the leader in digital marketing effectiveness), a
Neuroscience practice, Millward Brown Optimor (helping clients
maximize returns on brand and marketing investments), and
Firey Millward Brown (a qualitative research business).
Millward Brown has more than 78 ofces in 54 countries, and is
part of Kantar, WPPs insight, information and consultancy group.
www.millwardbrown.com
Survey Analytics offers an enterprise
grade research platform for collecting
feedback to enable businesses,
governments and consumers to
participate and learn from each other.
Through its core businesses of Surveys,
Crowdsourcing, Panel Management
and PollsSurvey Analytics listening
systems enables businesses to touch
their constituents through all major
channelsincluding Web, Email, Social
Media and Mobile.
www.surveyanalytics.com
AYTM.com is the leading innovator
in DIY online market research. Simply
FGPG[QWTVCTIGVCWFKGPEG from our
built-in panels of 4,500,000+ people in
US, CA, UK, AU & IN, write your survey,
launch it and see results streaming
back within minutes (24x7x365).
AYTMs delivers your results to a robust
interactive CPCN[VKEURCIG.
www.aytm.com
Acknow|edgmenIs
the wor|dw|de 8Iott
the wor|dw|de
8oord ot o|recIors
Green8ook 8|ott M|||word 8rown Ld||or|o| Ieom
Mary Lee Keane,
t
President
Denise McDevitt,
t
Vice President
Jill Whalen,
t
Vice President
Erica Stoppenbach,
t
Director
Nisha Stephen,
t
Manager
Stephanie Jones,
t
Senior Program Coordinator
Hope Spithaler,
t
International Coordinator
Nikki Juliano,
t
Administrative Assistant
Kelley Bennett,
t
Jenna Mamorsky,
t
Carl Johnson,
t
Chairman
CEO/Founding Partner, Anomaly
Matt Seiler,
t
Past Chairman
Global CEO, Mediabrands
Greg Andersen
t

CEO, BBH, New York
Carolyn Everson
t

VP, Global Marketing Solutions
Daryl Lee
t

Global Chief Strategy Ofcer, McCann Erickson
Taylor Gray
t

VP, Global Marketing, Quartz
Lukas Pospichal
t
Managing Director
Nancy Cardenas
t
Account Manager
Lenny Murphy, Chief Editor &
t
Principal Consultant
Diane Liebenson
t
Publisher
Kate Dugo
t
Content Specialist
Mary Ann Packo, CEO
t
North America
Philip Herr, Senior VP Corporate
t
Intelligence, Millward Brown
Kelly Weikes, Executive Liaison
t
Alexandra Dziuma
t
Senior Business Analyst
Cyril Willenbrock
t
Design Team Leader
Andy Johnson, Director, Data
t
Technology & Processing
Susan Hickey, Senior VP
t
Marketing and Communications
North America
Editor
Nancy S. Giges, Principal
t
Brookdale Associates Inc.
www.brookdaleassociatesinc.com
Designer
Alex Balint, Graphic Designer
t
Idea Highway Romania
Printing
HBP Inc.
t
www.hbp.com
Mok|ng us A|| 8eIIer MorkeIers
Ihe the ttecI|veness lndex
As you may have discovered by reading this Efe
Report, there are a myriad of ingredients that must
come together in order to produce highly effective
marketing communications.
Every June, Efe Worldwide salutes the architects
behind these effective marketing communications
efforts with the announcement of the Efe Effectiveness
Index rankings (www.efeindex.com).
The Efe Index, created in partnership with Warc,
a leading global marketing intelligence service,
identies the most effective agencies, brands and
advertisers worldwide. With the introduction of the Efe
Effectiveness Index in 2011, a new industry benchmark
was established.
As one of the only truly global effectiveness
competitions (more than 40 worldwide programs
and an extensive judge network), Efes inuence on
the advertising and marketing industry was already
prominent before the introduction of the Index. By
aggregating all Efe-recognized work, Efe Worldwide
has not only put a new spotlight on the industrys top
performers but has essentially created a learning tool
to help everyone become better marketers.
By leveraging the information in the Index including
rankings and case studies every individual can use
the Index to seek out best practices from across the
globe. Adopting these best practices can ultimately
make everyone more valuable marketers at their
agencies and for their clients.
The inaugural rankings in 2011 provided an interesting
snapshot of industry performance across the globe;
Ogilvy & Mather was the network to beat in the Asia
Pacic region; DDB had a rm grip on Europe; BBDO
dominated both Latin and North America and McCann
Worldgroup proved it was top in the Middle East/
North Africa. Omnicom Group dominated every region.
Procter & Gamble and Unilever were ranked No. 1 and
No. 2 globally, respectively.
In June 2012, Efe Worldwide and Warc announced
the results of the second annual Efe Effectiveness
rankings. Tabulating more than 2,000 nalist/winning
efforts enabled the identication of the years top
performers across the globe. Given Ogilvy & Mathers
incredible success in North America, Europe and Asia
Pacic, its no surprise that the O&M network and
WPP rose to the top of the global rankings this year.
Unilever unseated Procter & Gamble as the No. 1
most effective advertiser.
The signicant changes in the rankings in a single
year have demonstrated just how quickly industry
performance can shift.
As the Index expands, Efe encourages all marketers to
use the Index as a tool in seeking out the industrys top
performers, how they are dening effectiveness and
what your organization can learn from them.
What the Index does is provide an insightful glimpse
into who is actually delivering +FGCUVJCV9QTM across
the globe. If youre not at the top of the list and even
if you are its a worthwhile endeavor to check it out
www.efeindex.com.
www.ethe|ndex.com
Client: McCann-Erickson
Product: None
Job #: 1015770-1252-F0
Ad #: M12ME_8
Headline: Truth is a Tool...
Visual: B&W Type/Logos
Space/Color: Page B/W
Publication: 2012 Effie Report
Bleed: None
Trim: 8.25x 10.875
Live: 7.75x 10.375
Gutter: None
AD: Koen Malfait
CW: Zack McDonald
CD: None
AP: None
PP: April Gallo
Created by Interface Graphics, a
division of McCann Erickson
Print/Export Time: 9-7-2012 4:19 PM
Print Scale: 100%
User Name: test
Proof #: 2
PM: Sharon Mackenzie
Account: Jeremy Miller/Susan Irwin
InDesign Version: CS5.5
Version Code: None
Color Specs: None
Document Name: IG_1015770_M12ME_8_02.indd
Document Path: ME Production:Volumes:ME Production:McCann:1015770_M12ME_8:IG_1015770_M12ME_8_02.indd
Font Family: Futura BT (Medium; Type 1; OK)
Ink Name: Black
Link Name: McCann_NY_K.ai (Up to Date; 74.76%), twt_1912.eps (Up to Date; 29.77%)
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1
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5
Truth is a tool,
a precise and reckless apparatus
that creates something meaningful and relevant
where there was nothing of consequence before.
Truth is a fever, a passion,
a cannonball that wakes up the brain, rattles the bones, explodes the heart.
Without truth, we couldnt make sense of the world,
couldnt navigate the path or negotiate the turns.
Truth is the foundation on which we build our business:
the business of ideas.
McCANN.COM

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