Награды за медиапланирование

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Дата регистрации: 26.04.2005

В приведенной ниже статье (извините, без перевода) речь идет о том, что креатив существует не только в креативе, но и в медиапланировании. Более того, креативное медиапланирование существует на практике, его можно выделить и с одной стороны наградить, а сдругой использовать в качестве кейс-стади для распаковки своего мышления.

Creative: The New Media Planning
Joe Mandese

As we wrap up 2005, it's a good time to revisit the two disparate themes that have been driving fundamental changes in the way marketers and agencies plan and buy media. They are the simultaneous push towards both art and science. As outlined in previous columns, the artistry of media is being driven by the shift towards communications planning, and all the attendant metrics and measures that are emerging to show its substance: attentiveness, connectivity, involvement and engagement. The drive for greater science is underscored by the increased focus on accountability, return on investment (ROI), and research and metrics that can prove how advertising and media work. While the art and science of media planning are not mutually exclusive, they often require different sensibilities. But in recent months, some great strides have been made to bring the two together, giving the artists of media planning the tools to posit and track great ideas, and giving the scientists a better sense of the intangibles that make for better returns than simple media impressions can measure. If things continue progressing the way they have been, it seems we are on the cusp of a true integration of creativity and accountability in media.

One of the best signs of this is the rapid rise in the number of so-called 'creative media awards' that have emerged in the past couple of years, making media planners feel like their creative counterparts in full-service agencies. There are now about 50 major awards festivals recognising creativity in media planning and buying, according to the just released 2005 edition of the Gunn Report For Media. They include the Cannes festival's Media Lions, the Clios, the Effies, and Media magazine's Creative Media Awards. The 2005 Media Lions, for example, attracted a record 1,076 entries from 56 countries.

But unlike their full-service advertising counterparts, the media awards aren't simply a beauty contest. They are based on creative ideas that get the attention of consumers and drive a bond with an advertiser's message.

'It has become clear that the media channels we use to “connect” to our consumers are as vital as the creative content that we deliver to them,' said Bernhard Glock, manager of global media and communication at Procter & Gamble in the introduction to Gunn's report, which was sponsored by P&G for the second year in a row.

'As consumers gain more control over their media consumption,' he continued, 'and as more content and messages vie for their attention, it becomes harder and more complex to engage with them.' Ironically, P&G doesn't even rank among the major advertisers taking top honours in this year's creative awards festivals. Computer and office equipment giant Hewlett Packard dominated the pack with five awards and 30 points from Gunn's grading system for two campaigns – 'Virtual History' and 'HyPe Gallery' – both of which were developed by ZenithOptimedia. Nike placed second, followed by Adidas, Ford and General Motors.

But P&G is trying to change things by recognising the role of creativity in media, and supposedly is pushing its agencies to think more innovatively about how they use media. We just haven't seen the evidence of that yet. However, some of P&G's media shops do rank among the most creative. Starcom MediaVest Group ranked a close second behind Omnicom's OMD unit for the highest number of creative media awards, while Carat ranked a strong eighth.

Not surprisingly, these same agencies are developing new tools and systems for tracking and measuring the effects of innovative approaches to media. Starcom MediaVest has been a major backer of Media Contacts Audits, while Carat has been boosting Kantar Media Research's new Compose system. Both of these new forms of research measure how consumers are influenced by, and where they might be most receptive to receiving, certain types of marketing messages in specific media outlets. Importantly, these outlets don't just include conventional media channels like TV, radio, print and outdoor, but measure virtually anything that can be defined as a communications channel, even doctors' offices, public relations, word of mouth, and the recommendation of a friend or colleague.

The way these agencies are using these systems is also very creative. Unlike planning systems or optimisers that output flowcharts created by rote, these new systems demand that users experiment with different scenarios to learn what types of outcome might be expected by changing channels in the mix.

It gives us a chance to think, “What if?"' says Sarah Power, the consumer insights chief leading P&G's communications planning account at Carat, and a big supporter of Kantar's Compose system.

With new tools and better recognition from the industry and peers, the next couple of years should be a golden age for media creativity. The next big push will be more scientific accountability. Systems like Arbitron's and VNU's Project Apollo - another P&G-backed initiativethat will roll out a US field test early next year - will help provide proof of media performance by tying media strategies to actual product sales. But they won't replace the kind of innovation and creativity that has been unleashed by the industry. They will complement it.

23.03.2006 16:05