Showing posts with label Awards. Show all posts
Showing posts with label Awards. Show all posts

2.7.20

We’re the Superhumans| Channel 4

http://wearethesuperhumans.com/

This inspiring campaign, launched by Channel 4’s in-house creative agency, 4Creative, to advertise the 2016 Rio Paralympics, is an ideal example of marketing that works, developed from a deep understanding of their audience.
In the lead up to the event, having conducted extensive research into athlete perceptions and audience attitudes, the marketing team launched a campaign called ‘Freaks of Nature’, challenging the perceptions of disability in sport, soon to evolve into the follow-up campaign entitled ‘Meet the Superhumans’.
Veering away from convention, the campaign portrayed Paralympians in a new light, as fearless ‘superhumans’ as opposed to people to pity.
Dramatically changing the way their audience viewed disabled athletes, 64% of viewers stated that the Channel 4 coverage had had a favourable impact on their perceptions of people with disabilities, with 82% agreeing that disabled athletes were as talented as their able-bodied counterparts.
Winning a number of national and international awards, the campaign quickly became the second most shared Olympics-related ad of all time on social media.
“One of the main challenges we faced was overcoming the indifference people felt towards the Paralympics”, says 4Creative Business Director, Olivia Browne. “One of the key ingredients to the idea’s success was the single-minded belief that the Paralympics did not have to be second best to the Olympics and could have its own voice, swagger and attitude.”








Agency: 4creative
Client: Channel 4
Award: Black & Yellow Pencil / Film Advertising Crafts / Direction for Film Advertising, 2013

Channel 4's live broadcast of the opening ceremony on the night of August 29 2012 was watched by 11.8 million TV viewers - its largest audience in ten years. The campaign also successfully raised awareness and understanding of disability in sport and helped the London 2012 Paralympics become the first Paralympic Games to sell out.

When Channel 4 became official broadcaster of the Paralympics, just 14% of the population said they were looking forward to the event. By the time the event closed, 64%* of the population agreed that the Paralympics were as good as the Olympics - a figure that rose to 79% among those who had watched Channel 4's Paralympics coverage. Meanwhile, 69%* of viewers said it was the first time they had made the effort to watch the Paralympics.

Other findings underlined this attitudinal shift. By the games' end, 65%* of viewers felt Channel 4's coverage had had a favourable impact on their perceptions of people with disabilities. 82%* agreed that disabled athletes were as talented as able-bodied - 91% among those who had watched the coverage. 68% felt the coverage had had a favourable impact on their perceptions of disabled people in sport.

Meanwhile 'Meet the Superhumans' was widely-praised for its creativity and impact winning many national and international awards including a D&AD Black Pencil, four D&AD Yellow Pencils and a Nomination at D&AD Awards 2013.


Channel 4 set out to make its coverage of the London 2012 Paralympic Games the biggest event in Channel 4's history and, by doing so, take Paralympic sport to another level. The end result was a powerful and striking campaign at the heart of which sat a 90-second TV ad, 'Meet the Superhumans'.

This film presented a number of Paralympians in 'do or die' training mode with reference to background stories and a climax depicting the intensity of elite sport competition set to a rousing musical soundtrack. Showing Paralympians as powerful warriors rather than people to pity was a striking break with convention.

'Meet the Superhumans' was Channel 4's biggest marketing push in 30 years. The campaign's scale plus its attitude, energy and production values helped create an unprecedented atmosphere of anticipation and excitement in the build up to the games.

The broadcaster's live broadcast of the opening ceremony was watched by 11.8 million TV viewers - its largest audience in ten years. The campaign also successfully raised awareness and understanding of disability in sport and helped the London 2012 Paralympics become the first Paralympic Games to sell out.
The Story


"Working with a broadcaster like Channel 4 was an opportunity for the Paralympics' organisers to take Paralympic sport to a whole new level," says Channel 4 Chief Marketing & Communications Officer Dan Brooke.

Channel 4 has a public service remit set by parliament which requires it to be innovative, distinctive, represent alternative views and bring minority voices centre stage. As a result, its winning bid for the Paralympic broadcast rights was underpinned by a number of important commitments.

For example, it committed to significantly increasing broadcast coverage - it eventually broadcast 500 hours, 400% more than the BBC's Paralympic coverage from Beijing in 2008. It also pledged to make the games more accessible to a wider audience; ensure at least 50% of the event's TV presenters were disabled; and explain disabled sports in new and more engaging ways.

"We knew from the outset editorial and advertising would need to work hand-in-hand if we were to achieve our goal of representing the event and its athletes as elite and world class with unique ability beyond their disability," Head of Marketing James Walker adds. "The challenge was: how?"
The Strategy


An internal, cross-departmental team was assembled spanning marketing, editorial and Channel 4's in-house creative agency / production company 4Creative which develops and produces creative campaigns for Channel 4 programming. "As both the marketing team and 4Creative report to me, the relationship is more equal partners than client and agency," Brooke explains.

Research into athletes' perceptions and audience attitudes was commissioned to help inform from the outset the overall vision and tone for both Channel 4's Paralympic editorial coverage and marketing. On-going attitudinal tracking was also put in place to gauge shifts over time and help feed into the early stages of creative development.

In August 2010, two years before London 2012, Channel 4 broadcast a documentary called 'Inside Incredible Athletes' - its first Paralympic-themed programming. This was supported by a marketing campaigned called 'Freaks of Nature' designed to challenge perceptions of disability in sport and encourage viewers to question their own prejudices.

"The intention was to change people's attitudes and to do that we needed to take them on a journey," Walker says. "'Freaks of Nature' was intended to challenge by turning the meaning of the phrase on its head. The idea was that if great athletes are considered exceptional and different, why not apply the same standard to Paralympians?"

The concept and the attitude it encapsulated provided an important part of the foundation for the campaign that would become 'Meet the Superhumans.'


In late 2011, work began in earnest on the London 2012 Paralympic Games launch marketing campaign at the heart of which would be a TV commercial. "The commercial was always going to be the centrepiece because TV is the strongest medium," Walker says. "And TV is the best medium to sell TV."

4Creative's starting point was the idea that Paralympic athletes are 'superhuman' - an evolution from the 'Freaks of Nature' campaign. "The line is the idea - I can't separate the two," explains Tom Tagholm, Channel 4's former Network Creative Director, who conceived and directed the 'Meet the Superhumans' campaign. "I'll normally try to write a visual idea and end in a line that sums up the thought in a strong way. It's what happened here."

What was needed was a creative execution that would make people both watch and think again about what they were watching - to wonder at who would win, rather than wonder that a disabled athlete can compete at all.


Tagholm's idea was for a film depicting the pain and joy involved in the intense preparation for and participation in elite, world-class competition with reference to some of the Paralympians' back stories - an explosion, a car crash, a mum in hospital. Its success would depend on conveying the emotional intensity, energy and attitude of the athletes themselves.

A decision was made to shoot live sports footage at Paralympian test events and storyboard iconic shots which selected athletes would then be asked to recreate.

"One of the main challenges we faced was overcoming the indifference people felt towards the Paralmypics. One of the key ingredients to the idea's success was the single-minded belief that the Paralympics did not have to be second best to the Olympics and could have its own voice, swagger and attitude," says 4Creative Business Director Olivia Browne.

"We absolutely embraced the athletes: their stance, the ways they've adapted to their sport, the ways they use their bodies. We sought to capture their 'take us as we are' spirit in a way that hadn't been done before - to celebrate the ability beyond their disability."

Led by producers Gwilym Gwillim and Rory Fry, the 4Creative production team spent 16 days shooting Paralympians all over the country but only for limited periods of time due to their intense training regimes. At all times the emphasis was on the need to find camera angles that were new and felt special. "On some occasions up to ten cameras were used - a mixture of formats including Phantom, Alexa and Canon 5D," Browne adds. "We even invented rigs that didn't exist to get right to the heart of the action."


Striking the right balance in the created scenes between footage that was both natural and shot from the heart of the action was also a challenge. Meanwhile, the back story scenes were storyboarded then shot as a "flashback moment" that would appear only briefly to provide an emotional jolt in the middle of the film.

"I didn't know these scenes would come in the middle of the ad until I got a little way into the edit," Tagholm says. "It just seemed the right place to not dwell on or over-dramatise these moments, but ensure they are felt in a vivid way."

The importance of attitude and emotional intensity made 4Creative editor Tim Hardy's role critical. Pace was essential - each shot had to be high energy, with nothing slow or moody. It was about being unapologetic with every aspect of the production - including the choice of music. Which is why when early on in the edit Hardy suggested Public Enemy's 'Harder Than You Think' all involved agreed the fit was perfect.

"I wrote 'Meet the Superhumans' to a hip hop track and this is where we looked first," Tagholm explains. "'Harder Than You Think' has the energy and the swagger and happens to work lyrically so it's got a few things going for it."

What did the Judges Have to say about Meet the Superhumans?

Watch our D&AD Black Pencil Judging film to find out.


Throughout the campaign's development, Channel 4 was in regular and close contact with Olympic organiser LOCOG, the Paralympic authorities and local sports governing bodies as well as its own sponsorship partners: Sainsbury and BT. "The big discussion with our external partners was about the unconventional way we proposed promoting the sport," Brooke explains. "But we were confident in our approach and the knowledge that we had won the broadcast rights because of (not despite) our commitment to handling them in a Channel 4 way."

Another challenge was when to launch 'Meet the Superhumans' to maximise its potential impact, Walker adds: "The question was whether to start it before, during or after the Olympics. Before seemed the right option allowing us both more time to build reach and to show clearly that the Paralympics can be the equal of the Olympics."

So 'Meet the Superhumans' was mass-launched simultaneously across 78 TV channels on Tuesday July 17 2012 at 9pm to reach at least 50% of the UK TV audience in one fell swoop. The film was supported by a series of posters continuing the 'Superhumans' theme and a stunt - 'Thanks for the warm up' - in which Channel 4 used Twitter and outdoor media in the final days of the Olympics to thank that event for preparing the audience for the Paralympics.

Looking back, Brooke believes Channel 4 creative culture played a central role in the campaign's success. "Our remit to be innovative and distinctive is so deeply engrained when I turn down ideas it's more likely to be because they are too conservative," he says.

"Some might question whether a cross-departmental committee is the best way of developing creative ideas. But it works for us because more people in a room allows more stress testing and sharpening of ideas, not less. 'Meet the Superhumans' typifies the importance of being bold while staying true to your core brand values and demonstrates the value of taking a creative risk."

Tagholm agrees: "The thinking was to go big and never be apologetic. You can't do this in an organisation if people are scared."

Credit:
Channel 4 is proud to present the 3-minute trailer for the Rio 2016 Paralympic Games. Signed & Subtitled and Audio Described versions are available in the playlist. Download the track at http://wearethesuperhumans.com from Sat 16th July, with all profits going to the British Paralympic Association. Writers: Strouse/Adams Publisher: Warner/Chappell Music Publishing Ltd Hannah Cockcroft – ParalympicsGB Wheelchair Racer 00:32 Mel Nicholls – ParalympicsGB Wheelchair Racer 00:34 Joren Teeuwen - Netherlands Paralympics High Jumper 00:37 Matt Stutzman – USParalympics Archer 00:49 ParalympicsGB Wheelchair Rugby Team 1:00 & 2:24 Iaroslav Semenenko – Ukrainian Paralympic Swimmer – 1:26 Richard Whitehead – ParalympicsGB Athlete 1:27 & 2:09 ParalympicsGB Women’s Wheelchair Basketball Team 1:32 Piers Gilliver and Dimitri Coutya - ParalympicsGB Fencers 1.35 & 2:11 Ellie Simmonds – ParalympicsGB Swimmer 1:54 Libby Clegg – ParalympicsGB Sprinter 1:55 Sam Ruddock – ParalympicsGB Shot Put 1:56 Jody Cundy – Paralympics GB Cyclist 1:57 David Weir – ParalympicsGB Wheelchair Racer 1:57 Will Bayley and Kim Daybell – ParalympicsGB Table Tennis 2:07 Jessica Jane Applegate – ParalympicsGB Swimmer 2:10 Ali Jawad – ParalympicsGB Powerlifter 2:11 Natalie Blake – ParalmypicsGB Powerlifter 2:11 Micky Yule – ParalympicsGB Powerlifter 2:12 Chris Skelley and Jack Hodgson – ParalympicsGB Judokas 2.30

29.8.14

MegaFon | Megafaces - Sochi Olympic Pavilion


Insight

MegaFon, the general partner of the 2014 Winter Olympics in Sochi, with its Olympic activation needed to reinforce its customers’ loyalty and mobile internet usage as well as to stimulate mobile internet trial by other network customers in the time of Mobile Number Portability (MNP).
In early 2013 the Olympics seemed “very official and unapproachable” for most Russians. MegaFon found a phenomenal business opportunity to encourage everyone to leave their personal mark in the Games history and put its high-speed mobile internet at the core, inviting fans to write a new digital chapter of the Olympics.

Strategy

Megafaces – MegaFon’s Olympic Pavilion – became a pinnacle of the five month Olympic campaign ‘Create Your Own Olympic History’ and gave everyone the opportunity for an epic “I was there” Olympic moment – for THE best selfie ever!

Execution

The 2,000 square metre Pavilion featured the world’s first large scale LEC kinetic façade, becoming a digital Mount Rushmore. Customers from across Russia and visitors to the Olympic Park had their faces photographed and transferred to the Pavilion façade. It was designed to function like a huge pin screen that could extend out to a depth of up to two metres. The façade of the Pavilion was made up of over 11,000 actuators and was capable of rendering 3D images eight metres tall by six metres wide. It morphed every 50 seconds, with three faces featured at any one time, enlarged by 3,500%.



A 3D processing engine ran automatically to algorithmically position, scale and re-light the raw scan data from a virtual photo booth. The effect this created was akin to a digital tromp l'oeil – the first of its kind.

Results

MegaFaces was a runaway success. More than 400 news articles featured in the Russian media and over 600 internationally established the pavilion as one of the iconic symbols of Sochi 2014. More than 140,000 participants’ faces were shown throughout the Games and more than 100,000 posts and tweets.
This impressive campaign was awarded the Innovation Lions Grand Prix at the Cannes Lions International Festival of Creativity 2014.




BRAND:
MegaFon
CATEGORY:
Telecoms/Mobile
REGION:
Russia
DATE:
February - February 2014
MEDIA CHANNEL:
Experiential,Digital,Events,Sponsorship

    26.10.10

    PRIA|Golden Targets PR winners


    The Public Relations Institute of Australia, the trade body for public relations professionals has named its best PR campaigns of the year at its Golden Target Awards.
    The winners:
    Government Sponsored Campaigns:
    Water & Vine campaign by Peter Fuller of Fuller for the Grape and Wine Research Development Corporation
    Australia experienced what became known as “the worst drought in 100 years” from 2005 to 2009. Severely reduced water allocations threatened the livelihoods of wine grape growers, as well as the $4 to $5 billion wine industry and dozens of regional communities along the Murray River. A Federally funded $1.3 million integrated communication strategy was delivered by Fuller and the Grape and Wine Research and Development Corporation.
    Public Affairs:
    Regional Cities Victoria – A Growing Solutions campaign for Regional Cities Victoria by Rachael Sweeney and David Hawkins of SOCOM
    In 2008, new population projections indicated the State Government had substantially under-estimated how many people would be living in Melbourne by 2030. A rapid and unplanned increase in population would threaten the city’s highly publicised liveability, and the State’s productivity. Regional Cities Victoria believed encouraging significant population growth in the regions would ease the pressure on Melbourne and create a productive, liveable regional Victoria. Socom worked with the group to ensure the State Government’s policy for managing Victoria’s population growth included increased government investment in Victoria’s regions to stimulate population growth.
    Issues Management:
    Adelaide: Australia’s Learning City campaign by Mark Osborne of Education Adelaide
    During 2009 Australia was labelled “racist” by the Indian media following attacks on Indian students. Australia’s reputation as a safe place to study was in tatters and the lucrative Indian education market was in danger of drying up as enrolments dropped and students returned home. South Australia’s international education marketing agency Education Adelaide, which has overseen the tripling of student numbers since 2002, launched an issues management strategy to re-establish South Australia’s reputation as a safe destination.
    Community Relations:
    Jesus. All About Life campaign by Sharon Williams and Sharon Ghatora of Taurus Marketing for Bible Society NSW.
    In September 2009, the Bible Society launched the largest promotional campaign ever undertaken by Christians in Australia. Nearly 1800 Churches from 15 different Christian Denominations in NSW came together for the first time to focus on one task – bringing Jesus back into everyday conversations. The campaign presented a huge challenge with no product, service or event to promote, with a 2000 year old intangible.
    Internal Communication:
    Turning Around Morale and Employee Engagement within a Dispersed Construction Business campaign by Susan Pantall of Leighton Contractors
    Employees of Leighton Contractors Western Australia were experiencing low morale and job insecurity after a period of negative publicity. This was largely due to industrial action on a high profile Perth project and organisational changes that significantly reduced the company’s revenue base. With no existing internal communication program in place, the challenge was to build morale, deliver communication that met the needs of the employees and build the company’s reputation.
    Investor Relations including Merger Acquisition Communication:
    Maintaining a Strong, Independent Profile For St George Bank Following its Merger with Westpac campaign by Robyn Sefiani of Sefiani Communications and Simon Covill of St George Bank.
    After the St George merger with Westpac was passed in November 2008, Westpac committed to have St George operate an independent brand within the multi-brand Group. Over 2009 St George and Sefiani executed a national media relations campaign, themed “St George is open for business”, that leveraged consumer-centric surveys, sponsorship and executive profiling for maximum effect. St George achieved its key objective – maintaining its No. 1-ranked reputation among major banks – and St George brand consideration among consumers increased.
    Consumer Marketing and Social Marketing – New and/or Existing Product or Service Including Prescription Medicines:
    First winner -Intense Tomatoes Australian Launch campaign by Shay Ashton of BBS PR for SP Exports
    SP Exports, Australia’s largest supplier of fresh field grown tomatoes, appointed BBS in 2009 to manage the Australian launch of the world’s first no mess tomato – Intense® tomatoes. BBS’ strategy incorporated traditional communication methods with an online social marketing program to target opinion leaders, generate a sense of excitement and drive sales.
    Second winner – Oroton Blogger Outreach campaign by Natalie Musico and Jaselyn O’Sullivan of bellamyhayden: chatterbox
    bellamyhayden:chatterbox was engaged to promote Oroton’s The Studio, their new online store. Through highly targeted and individualized blogger outreach program to the top 10 influential fashion bloggers in Australia, bellamyhayden:chatterbox engaged these influencers and recommend their readers visit the Oroton website.
    Third winner – Fresher Tastes Better campaign by Melanie King of 303 for the Australian Olive Association
    303’s challenge was to find a sticky and compelling idea that would get the Australian media and general public behind an Australian product to get maximum exposure for a very deserving primary industry. In creating the ‘Fresher Tastes Better’ concept using blind taste tests at food shows and in the media led by campaign spokesperson chef Matt Moran, 303 generated a tremendous amount of coverage by more than 58 million pairs of eyes and increased sales by 20 – 30% in the six month campaign.
    Business to Business Marketing – New and/or Established Product or Service: Recipe For Foodservice Success campaign by Lee McLean of Professional Public Relations for the Incremental Marketing Group on behalf of Unilever, Simplot and Fonterra.
    In 2009, IBIS World research was forecasting that the next two years would see negative growth for the foodservice industry. Recipe for Foodservice was developed as a business-to-business program to better equip hospitality businesses in the running of their restaurants and eateries during an economically turbulent 2009. Foodservice companies Unilever, Simplot and Fonterra partnered to provide collective support to their customers and other eateries by sponsoring this program which offered practical business advice and encouragement in a non-competitive environment.
    Special Event/Observance: Back to Burrinjuck campaign by Liane Sayer-Roberts of Sauce Communications for State Water.
    To celebrate Burrinjuck Dam’s centenary, the program was designed to engage Yass residents and downstream communities in recognising the significance of NSW’s first major irrigation dam and the contribution of the people connected to it. The pinnacle of the program was the opening of the dam wall to the public for the first time in 20 years, with demand so high that the scheduled tour program was doubled.
    Environmental: Developing a Long Term Plan for the Coorong, Lower Lakes and Murray Mouth campaign by Judith Bleechmore and Janet Pryor of the Department for Environment and Natural Resources.
    Drought, over-allocation of water and climate change have left the Coorong, Lower Lakes and Murray Mouth region’s internationally significant wetlands on the brink of suffering irreversible damage. An opportunity existed to plan a community engagement strategy that informed, consulted and collaborated in a way that developed the best possible long-term plan for managing the region’s future.
    Health Organisations: FebFast 2010 campaign by Sally Tyrell of Haystac Positive Outcomes for FebFast.
    FebFast is an education and charity campaign encouraging individuals to work towards a healthier lifestyle by inviting people to forgo alcohol during February and secure sponsorship for their efforts.
    Corporate Social Responsibility: DDA: Community Engagement Program by Celina Weis of QR Passenger.
    The Queensland Rail Disability Discrimination Act Community Engagement Program is an initiative developed to obtain community input into the development of non-discriminatory and accessible Rail services. Since the introduction of the Commonwealth Disability Discrimination Act 1992, Queensland Rail has worked to systematically identify and remedy the barriers that have historically impeded access for our customers with disabilities. To engage with customers who have disabilities a variety of strategies and activities are used including, reference groups, forums, consultations, information sessions, educational experiences, marketing materials and community sponsorship. The program has ensured Queensland Rail achieves its obligations under the DDA and ensures their services are in line with community requirements.
    Low Cost/Pro Bono: Cat Haven Christmas campaign by Jessica Reid for Cat Haven.
    In 2009, as an unpaid volunteer, Jessica Reid implemented the shelters first Christmas media and communication campaign. The campaign addressed the euthanasia of thousands of cats at Cat Haven occurring when the shelter is inundated with animals leading up to and during Christmas. Nearly 200 more cats lives saved during the largest cat dumping month and nearly 700 more saved between July and December compared same periods the previous year. These rates are also the highest the shelter has seen in its statistical history.

    26.8.10

    Creative Arts Emmy Awards



    Old-spice
    Isaiah Mustafa and ad agency Wieden + Kennedy took the Emmy for "The Man Your Man Could Smell Like" for Old Spice Body Wash at the Creative Arts Emmy Awards, beating out the octogenarian for the award for best TV commercial
    It's the latest in a growing line of formal praise for a campaign that hit TV like a ton of bricks and became an ongoing viral sensation. (It moved a ton of product, too.) 
     Old Spice beat out Absolut vodka's "Anthem" (TBWA\Chiat\Day), Audi's "Green Car" (Venables, Bell & Partners), Snicker's "Game" (BBDO) and Nike's "Human Chain" and Coca-Cola's "Finals" (both also from Wieden).

    27.6.10

    Cannes2010: HARVEY NICHOLS| WOLVES


    Y&R Dubai you earned it!!

    Cannes 2010|award winners i liked in the print & outdoor categorie






    Stopache
    Stopache Splitting Seven Pick of Cannes 2010: award winners of noteAgency: Y&R, Dubai, UAE

    Hot Wheels – Big Boy

    hot wheels big boy Pick of Cannes 2010: award winners of note
    Agency: Ogilvy, Mexico

    WWF – Biodiversity
    BIODIVERSITY AND BIOSAFETY AWARENESS RHINOCEROS Pick of Cannes 2010: award winners of note
    Agency: Ogilvy, Paris

    Bayer – Aspirin
    cafiaspirina2 copy Pick of Cannes 2010: award winners of notecafiaspirina3 Pick of Cannes 2010: award winners of note
    Agency: Almap BBDO, Brazil

    CNN- Camera man
    cnn turk camera man Pick of Cannes 2010: award winners of note
    Agency: DDB, Istanbul, Turkey

    Fuji Film – smile capture
    fujimidaybig logo3 Pick of Cannes 2010: award winners of note
    Agency: RMG Connect, New Delhi, India

    Hellmans Ketchup – Food tastes better
    hellmanns ketchup crocodile Pick of Cannes 2010: award winners of notehellmanns ketchup polar bear Pick of Cannes 2010: award winners of note
    Agency: Ogilvy, Santiago

    KitKat – Have A Break chairs
    kitkatchair1 Pick of Cannes 2010: award winners of note
    Agency: JWT, Auckland, New Zealand

    National Comics Museum
    NATIONAL COMICS MUSEUM THE FART Pick of Cannes 2010: award winners of note
    Agency: JWT, Italy

    Mitsubishi – Original Parts
    ORIGINAL MITSUBISHI PARTS PORCUPINE Pick of Cannes 2010: award winners of note
    Agency: BBDO, Chile

    Supor Non-Stick Pans
    supor non stick pans1 Pick of Cannes 2010: award winners of note
    Agency: Leo Burnett, Shanghai, China

    Surfrider Foundation
    SURFRIDER FOUNDATION TYRE Pick of Cannes 2010: award winners of note
    Agency: Young & Rubicam Paris, France

    The Economist
    the economist baby Pick of Cannes 2010: award winners of note
    Agency: Ogivly, India

    24.6.10

    Middle East's first Lion of Cannes 2010 |Stopache|Splitting Steven



    Y&R Dubai has picked up the Middle East's first Lion of Cannes 2010 with a Bronze Outdoor Lion for its "Splitting Steven" ad for Paras Pharma's Stopache.

    The ambient execution used headshots on posters which were then posted up with the top half split.

    7 Skills for a Post-Pandemic Marketer

    The impact of Covid-19 has had a significant impact across the board with the marketing and advertising industry in 2020, but there is hope...