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CREATIVE EFFECTIVENESS LIONS

Title: Client: Product: Summary Please submit an overview of the campaign and analysis of its effectiveness in 400 words or less. You should first highlight the creative idea behind the work, then describe how the objectives of the campaign have been successfully met, referring to your verifiable sources. This will primarily be used after the judging to showcase the winners. However, the judges will also have access to this summary during judging The Pacific: How a handwritten letter got half of New Zealand watching a TV show that the rest of the world tuned out. TVNZ TELEVISION PROGRAMME

In April 2010, 346,000 New Zealand homes received a handwritten letter from a soldier fighting in Okinawa during World War Two. This unexpected letter was the first stage of a campaign to create an emotional connection between todays New Zealanders and the Pacific War of 1942. The war was the subject of The Pacific, a new show for major New Zealand broadcaster TVNZ. Remarkably for a war show, The Pacific was one of TVNZs most successful ever launches. The creative campaign captured the interest and the viewership of millions of New Zealanders: Despite the show attracting just 1% of USA and UK audiences, 24% of New Zealanders tuned into the first episode of The Pacific 57% of New Zealanders (2.3 million people) watched the show at some point throughout the series Despite being a show set in 1942, it attracted an important younger audience back to TVNZs TV ONE Ultimately the success of the campaign allowed TVNZ to command a 19% higher return for the 30 spots within the episodes of The Pacific. The creative thinking, which won Cannes Lions in both outdoor and media as well as a Grand Prix at the 2010 Spikes, gave this American TV show a unique relevance to New Zealands people and history, making it a must-see for the majority of New Zealanders and, in the words of TVNZ CEO Rick Ellis, materially contributing to the ratings and

revenue impact of the TV ONE schedule.

1. What were the objectives for the creative work Please distinguish between interim objectives (e.g. awareness, image, attitudes, and behaviour) and sales objectives (e.g. volume, revenue, market share). Be aware that having both will strengthen your entry In April 2010, TVNZ debuted Steven Spielbergs The Pacific. A ten-part series, the story follows the intertwined odysseys of three US Marines during America's battle with the Japanese in the Pacific War during World War Two. A war show by Steven Spielberg is no doubt a great war show. But its still a war show. And war shows arent for everybody. Girls dont really get into them, theyre historical and so suffer from a modern relevance issue, and although on the surface theyre full of action, a lot of people find them kinda boring. Despite the shows big budget and big name director, it had been watched by just 1% of people in the UK and US.
SOURCE: UK Sky Movies Audience Ratings as detailed at http://www.tv-ratings.free-satellite-tv.co.uk/tv-ratings/uk-tv-ratings-180410.htm, US - HBO Audience Ratings as detailed at http://tvbythenumbers.zap2it.com/2010/03/16/kamikaze-hbos-big-budget-the-pacific-premiere-ratings-disappoint/45169

The Pacific felt like a huge opportunity but it was by no means a guaranteed success. In spite of this, TVNZ looked to the show to improve the fortunes of their TV ONE channel. The channel was missing out on the crucial younger audience, who saw the channel as old and boring by comparison to New Zealands other free to air channels.

The objective for the campaign was to get plenty of people, and the right people to watch the show. Specifically, to: Achieve a 9.6 rating among all people 5+ across the shows season (10 rating points higher than the average 8.6 rating of the same timeslot the previous year) Attract a younger audience of All People 35-49 back to TV ONE

2. What was the strategy behind the work? Be clear about the connection between the objectives, the brief and the final creative work.

The key strategic challenge was to engage New Zealanders en masse in a genre that typically only attracted a certain segment of viewers. Rather than simply letting people know a new war show was on, we had to find a way for people to really connect with the Pacific. To create relevance and excitement among New Zealanders, male and female, who dont really consider themselves into war shows. The Pacific was a show based on real stories, from a real war that affected many New Zealanders. The strategy was to take those real 1942 stories that the show was based on, and insert them into the lives of New Zealanders in 2010. We wanted to create a context of interest and intrigue in World War Two, the week before the show aired. A sense of I want to find out more about the Pacific War. A fresh appeal to those whod normally be happy to leave WWII consigned to the annuls of history. The brief was to bring the reality of the Pacific War to life in the most authentic, impactful and emotionally powerful way possible. The standard on-air trailers would tell people that there was a new war show on ONE. Our job was to go way beyond those trailers and connect New Zealanders with the show in a much richer and more personal way.

3. What was the creative work? Detail the creative output in terms of its content, the media channels, and the investment behind it? Among the historical remnants of the Pacific War, we found hundreds of letters home from the soldiers fighting in Japan.
a guys luck, even mine, cant last forever. Barkness and I thought we were immune to such stuff, but Barkness is gone and I am by myself now. I wish Id get a case of amnesia or something, for a guys memory can just about drive him nuts at times. Hope everyone is alright at home, give them my love. No telling when Ill get another chance to write you. Your youngest son, all my love, Jonny.

Touched by these letters, we could immediately see their power. Few of us have ever received a piece of mail as moving as one of these handwritten notes. But what if we could? The letters became the catalyst for a campaign about recreating the emotion of the Pacific War in New Zealand, 2010. Firstly by letting as many New Zealanders as possible read actual letters sent home from soldiers at war in the Pacific. And secondly by recreating a dogfight using actual WWII aircraft. Throughout, wed use PR to credibly build awareness and engagement around those events. First we sent a letter to 346,000 New Zealand homes from a real soldier fighting in Okinawa. This was as realistic a replica as we could possibly create, to give a sense of what it must have been like to receive a letter from a loved one away at war. Then hundreds of copies of real letters and photos were pasted on a 20M long wall in central Auckland, free for people to read and take away with them. Then on the eve of the premier, we gave Auckland its very own invasion. Thousands of people flocked to Aucklands Mission Bay yesterday to watch a number of mock explosions in a reenactment of a World War II dogfight. Crowds lined the streets and the beach to watch two Japanese fighter planes take on a New Zealand Kittyhawk. (NZ Herald, NZs largest daily newspaper.) TVNZs news media helped us out a lot for obvious reasons, but the events were also covered by several radio stations and print media including a three-quarter page spread in the NZ Herald, one of TVNZs fiercest competitors.

4. What effect did it have in the world? Explain what happened after the work appeared. Again, be aware of the difference between interim and sales effects.

The Pacific Letters & Dogfight campaign was a huge success for TV ONE. It engaged hundreds of thousands of New Zealanders: 360,000 letters were deployed via post and our street installation. Thousands showed up to the dogfight. And we delivered NZ$443,484 (US$343,500) worth of free media coverage. It created enormous viewership: 974,430 New Zealanders, or 24% of New Zealanders aged 5+, tuned in to the first episode of The Pacific, and the show went on to be viewed by 57% of New Zealanders across its season. It attracted younger viewers back to TV ONE: TV ONEs share of All People 35-49 increased from 17% in 2009 to 26% during The Pacific. The Pacific achieved an average rating of 11.6 agains the target of 9.6 and the previous years 8.6 TV ONEs overall audience during The Pacific skewed much younger than their normal peak time audience.

Lets look at those results in more detail

The campaign engaged hundreds of thousands of New Zealanders: 360,000 letters were deployed via post and our street installation and thousands showed up to the dogfight. We created a traffic delay into Mission Bay (the site of the dogfight) which caused buses to be 2 hours behind schedule. 1.5km of people lined up along the beachfront to watch the spectacle. And the spectacle brought us NZ$452,361 (US$344,000) worth of free media coverage. (SOURCE: TVNZ PR/LIST BELOW)

The campaign created enormous viewership: Across the season, the average rating for The Pacific among TV ONEs target demographic was 11.6. Thats 20 points higher than the targeted 9.6 rating, and 30 points higher than the average rating in the same slot a year earlier. 974,430 New Zealanders, or 24% of New Zealanders aged 5+, tuned in to the first episode of The Pacific. This is a huge number for The Pacific by international standards. In the US and UK, the first episode pulled just 1% of those populations. SOURCE: UK Sky Movies Audience Ratings as detailed at http://www.tv-ratings.free-satellite-tv.co.uk/tv-ratings/uk-tv-ratings180410.htm, US - HBO Audience Ratings as detailed at http://tvbythenumbers.zap2it.com/2010/03/16/kamikaze-hbos-big-budget-the-pacific-premiere-ratingsdisappoint/45169

This episode aired the day after the Dogfight event, and under a week after the Letters campaign. Over the series, a massive 2,299,420 New Zealanders (57% of all people 5+) tuned in to watch The Pacific.
(SOURCE FOR ALL VIEWERSHIP FIGURES: Nielsen TAM (Television Audience Measurement) as commissioned by TVNZ)

It attracted younger viewers back to TV ONE: TV ONEs share of All People 35-49 in the 8:30 Monday night timeslot increased from 17% across the same period in 2009 to 26% during The Pacific. As this chart shows, TV ONE skews a lot older than the average (as represented by PUTS which means People Using Television Services) The Pacific, however, attracted many more viewers in the 25-49 demographic, demonstrating success in attracting younger viewers to ONE.

(SOURCE: Nielsen TAM (Television Audience Measurement) as commissioned by TVNZ)

5. How do you discount the other factors that could have caused some or all of this effect? You may use econometrics if you wish but it is not a necessity. 8

Some shows, like Lost or Desperate Housewives, are guaranteed ratings successes. Theyve enjoyed huge success and media profile in their home markets before they air in New Zealand, and by the time they get here, none of us can wait to see them. This wasnt the case with the Pacific. Just 1% of the USA and UK had tuned in. The show had a big name, but virtually no hype, profile or momentum before it aired here. A 24% share is high in New Zealand. It might be hit by one of those huge international juggernauts (Desperate Housewives gets those numbers), but never by a show without the media hype. For example, The Closer, another high-cred show with a big name associated, got 15% when it first aired. There was other advertising - on-air promos built awareness of the show and when it was on, in the usual way that a TV network promos their shows. But these on-air promos had been used the year earlier and only achieved an 8.6 rating. (SOURCE: Nielsen TAM (Television Audience Measurement) as commissioned by TVNZ) There were no other competitions or promotions or hooks to watch the first episode that could have create artificially high viewership. Lastly, the viewership wasnt because there isnt anything else to watch in New Zealand. TV ONE is one of fifteen free-to-air channels, and is the least preferred of the major channels. (SOURCE: TVNZ Channel Brand Health Tracker) SKY TV, the pay option, offers 110 channels and is in 48% of New Zealand homes. On 8:30 on a Monday night there are endless viewing options for the average New Zealander.

6. What was the commercial gain for your Client as result of running the creative work? Entries will benefit from their ability to isolate a return on investment, not just a picture of sales growth or changes in brand measures. Compared with the same slot (Monday night 8:30 9:30) a year earlier, TV ONEs share of audience was on average 28% higher:
The Pacific Channel Share (AP5+)

12/04/10 19/04/10 26/04/10 3/05/10 10/05/10 17/05/10 24/05/10 31/05/10 7/06/10 14/06/10 AVERAGE

Yr_2010 30.5 28.9 28.1 25.3 22.8 25.2 27.5 26.4 24.0 24.1 26.3

Yr_2009 19.2 16.5 20.3 17.4 17.3 18.4 19.2 25.5 22.6 28.5 20.5

Diff 59% 75% 39% 45% 32% 37% 43% 4% 6% -15% 28%

(SOURCE: Nielsen TAM (Television Audience Measurement) as commissioned by TVNZ)

Meaning that the shows TARPs were on average 34% higher than the previous year:
The Pacific Audience TARPs (AP5+)

12/04/10 19/04/10 26/04/10 3/05/10 10/05/10 17/05/10 24/05/10 31/05/10 7/06/10 14/06/10 AVERAGE

Yr_2010 12.6 12.8 11.9 10.9 10.2 11.2 12.4 11.8 11.0 10.8 11.6

Yr_2009 7.7 6.8 8.3 7.0 7.3 7.9 8.2 10.6 9.7 12.7 8.6

Diff 63% 89% 44% 55% 41% 42% 51% 11% 13% -15% 34%

(SOURCE: Nielsen TAM (Television Audience Measurement) as commissioned by TVNZ)

Which ultimately meant that TVNZ could charge an average 19% higher ratecard spot cost, earning them NZ$1293 10

(US$1000) extra per spot played during The Pacific:


The Pacific 30" Ratecard Spot Cost

Yr_2010 12/04/10 19/04/10 26/04/10 3/05/10 10/05/10 17/05/10 24/05/10 31/05/10 7/06/10 14/06/10 AVERAGE $8,050 $8,050 $8,050 $8,150 $8,150 $8,101 $8,150 $7,969 $7,900 $7,900 8047.0

Yr_2009 $6,573 $6,742 $6,670 $6,600 $6,600 $6,685 $6,685 $6,791 $6,975 $7,086 6740.7

Diff 22% 19% 21% 23% 23% 21% 22% 17% 13% 11% 19%

(SOURCE: TVNZ Sales Data)

There were the equivalent of 24 30 spots in each episode of The Pacific, and ten episodes, adding up to 240 spots. Meaning that TVNZ earned an extra NZ$310,320 (US$240,000) over the NZ$1,617,600 (US$1,250,000) they would have ordinarily made in that timeslot. The total media spend was NZ$199,135 (US$154,000). Showing the short-term ROI to have been $1.66 for every media dollar invested, over and above the return that could have been expected with a traditional campaign of on-air promos.

The Pacific marketing campaign summed up how we want to execute marketing at TVNZ. Not only did it materially contribute to the ratings and revenue impact of a key part of our ONE schedule, it also cleverly built a New Zealand connection with consumers, which in turn meant that the TV ONE brand made a meaningful impact. A lot of people commented to me personally on how intrigued they were on receiving the Pacific war letter what better way for the TV ONE brand to connect with consumers? Rick Ellis, CEO, TVNZ, August 2010

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7. What do you think this case adds to our understanding of how creativity can be effective?

With The Pacfic campaign, we learned the power of creativity to establish an authentic place for a TV Show in a countrys consumer culture. Without The Pacific campaign, the relevance of Spielbergs show to New Zealanders would have been negligent. Or, at least, consumers would have needed to do their own research into the Pacific War to have understood the relevance of the show. What the creative idea did was established a connection between New Zealands history and the show, creating an important reason for New Zealanders to watch. Howard Gossage once said As far as I can see, what we call creativity begins with the ability to recognize what is already there. If this sounds like too a glib a definition, let me remind you that not only beauty but everything else is in the beholders eye. Some people behold better than other people. The connection between The Pacific and New Zealand was there. But it took creativity to recognise it, magnify it, and use it to make the show far more successful than it otherwise would have been.

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Entry Composition Please list the different media used throughout and after your campaign (up to 4 March 2011) with an indication of the period. All parts of the campaign may be considered during judging. Type of Media Date of 1st Implementation Budget/ Media Spend Type of Media Letterbox Drop Outdoor TOTAL e.g. TV campaign - 3 spots e.g. 8-10 November 2009 e.g. $ 100,000 USD Date of Implementation 04 April 2010 04 April 2010 Budget / Media Spend NZ$42,208 (US$32,692) NZ$156,927 (US$121,547) NZ$199,135 (US$154,240)

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