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Contents
Foreword
5
Introduction
7
l.
How to fi ll in the DO Brief, section by sectioD
I3
2.
Examples of good DO Briefs, and rcasons why they're good
'2
3·
Tnspi ration, 24-hour Briefs, a RedWorks Brief and the ac tual briefing
35
Appendi x: Exa mplcs of gooel DO Briefs from O gilvy P ublic Relations Worldwid e, O gilvyAction and O gilvyOne
45
Ogih'Y & MaLher COfe Creative Bricr: New Idea Generation -Direction Brand
Product
Job No.
Task
DO BAIEF Date
Success Critena
E.g., new product launch, reposition !he brand, generate inquiries
How will this activity be measured and are these measunements in place?
Why 15 this briaf hare? What's keeping the cl ient awake at night? What's happening in the client's business that has prompted the need for communication? What is the big brilliant problem we can help to salve? Who are we trylng to influence? Who is it we need to influence and how (if at all) do they currently think, feel and behave towards the brand/category/ product area? Ask yourself what they are currently doing that we need to change. Think about any barriers that exist. Please bring these people to life in a way that will help the creative team get inside their heads, not just as general consumers but within the context of the specific challenge the brand faces . NB: The relevant points will set the scene; more in-depth info can be attached in the Inspiration section or saved lor the briefing. What do wa want them to DO as a result o, tilis communication? When it says "do" it means DO. This is the actual change in behavior that will ultimately altecl the client's businessand help them sleep well at nigh!. A simplistic answer like "buy mare X" is not enough-everyone in the business is doing tha!. Be specific rather than general. You'lI need to have explored who you need to influence, what they are currently doing, and how we need to change it befare you can express this fully. How do we expect communications to work towards achieving this? How are the communications actually going to DO that? Will they shock, engage, make things more relevant , entice people to trial , create a unified voice far the brand, change the way people feel abQut when and where they should consume the product and so get them to consume it mare olten? How will our communications reward people for the time they spend with them? What are we trying to convey? What is the care thought that will drive the creative solution? Think about whether this should be a big a killer fact, a promise, a straight message, or just a plain and simple big idea- it depends on the task at hand . What wlll help people to KNOW thls? What makes this competitive, relevant to the target and true? NB: Additional product detail can be attached as an addendum to the core brief.
Mandatorias What are the immutable "must haves" ar "must nots" for this task? E.g., avoid attacking competition or using slapstick humor, ensure culturally sensitive references, leature the product, etc. Account Dinector
Creative Development Time
4
What will help people to FEEL th 51 What are the care values ar personality 01 the brand we need to stay true to? Are we questioning ar directing? Are we being inclusive ar exclusive? Are we talking conspiratarially with people ar are we distant and autharitative? What do we imagine the tone 01 the communication lo be?
Channels Where and whet1 will we reach people in the most receptive state of mind? (Please expand as needed.)
Planning Director
Final Review Date
Clien! Presentallon Date
Supporting Materials List any additional technical specs, copy briels, or product details supporting this brief.
Cneative Director
Final Deadline
Production Budget
P10Mdl03:
Perva jve Creativity. Jt's what Ogilvy aims ro r. We want LO be the network that doc Lhe bes t, the freshe t and Lhe hotte t creativc work in the world. That's why I'm deligh ted by lhi renewed focus on th ve ry start f rhe creative process- the crealive b rief. Everyone who wriles a crea tive brief ha the pp rt unity to mak a d ifferenc . You remembcr the old computer acronym GlGO? "Garbage lo, Garb gc O ut." It's like thal with b riers. Every creallve team ha' horror stor ies of receivi ng lousy briefs. D ul! , vague confu ing, though tle What chance do they have of producing sparkli ng, fresh reative work if th e accou nl t a m d esn't hrief th m properly? Bu t every crealive lea m al o re member. those bri f lhal made a di ff'eí oce. Briefs that igniled their imaginations. Briefs that open d up new possibilities. Erief tha t inspi red and enthused. 111at's what Perva ive Crea ivity mcans here. Writing a briefhas to be a creati fe act
in it elr. 1bat will O'i ve crcative teams lheir best chance of producing g reat work. The better the brief, th hetter thc work. Our Tw in Peak traleg y- tbe trategy of producing the most creative work in lhe world a wd! as the mo t effective- sLarts he re. With great briefs. The DO Erier n l form is here to help y u. It asks the lo ugh queslions you need to answer in order to write greal brief . PI as ' tud y and apply lhe lcssons in this short book. Thank you, and good luck.
WHY JS TIllS CUIDE HERE?
PresidentJohn F. Kenn dy wanted to ell the idea oflanding aman on the Moon. He said , "We choose to go t the Moon in this de acle and do the other things, not becau e they are easy, bu l beca use they are hard." The DO Brief is ha rd. Most cr alive briefs ask familiar questions. lhe DO Brief a ks ough new questions. This guide explai ns why. It will he!p you answer those questions b tter.
WHAT'S 1.
EW
BO T THE DO BRIEF?
It begins with a q uestion about the client's business issue. N t aD awareness issu ,or an image issue, or a positioning issue, but a business issue. Unless our creative work help clrive the d ient's business, it will pass like a ship in the night. All clients want profitable growth. H w can we help?
To help solv the client's business issue, we need a commercial idea -an idea that uses Ogilvy's creativity to address th .r busin ss issue. 2.
It asks what communications must goet consumers to do. H w must consumer behavior change-not just awareness or perceptions, but behavior? For in tance, a chari ty ad might raise your awareness. It might even move you to tea rs. But unless you put your hand in your pocket to donate money, it failed.
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It asks how communications will change behavior. AH campaigns exisl to get somebody to do something, but they work in different ways. Sorne persuade, giving rational informatio n about a product benefit. Otbers make lhe brand fam ous. Sti l1 others strengthen emotional engagement. There are many other possibilities. We need to be clear ab ut which communications fiode! applie' in th is si tuation .
4. It asks what we n eed to convey. U nlike mos t creative briefing forms, il does not assume the solution is always to dr iv a logical, factual proposition into consumcrs' minds. Often the most effective campaig ns create an emotional impression of the brand. Conveying inform atíon can be effective, but conveying feelings can be more effective. 5. It is channel-neutral and global. P reviously, Ogilvy & Mather Advertising, O g ilvyOne, Ogilvy Public Relations Worldwide and O gilvyAction each had different briefing forms. The DO Brief encourages in tegration among strategists of all disciplines because it is the shared platform for a11 activity. It is also used in all regions. Al! of us must use the same too1 in tn is global ized w rld .
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WHY DOES IT ASK THESE QUESTIONS? l.
To improve br iefing quality. FiIling in the DO Brief ought to make your brain hurt. It demands clarity, focus and consistency as wdl as creative stimulation. lhe harder you work at the briefing form, the better the briefing will be.
2.
To help clients huy original work. It is easier for our marketing clients to seIl seen-it-before creative work within their own companies. Helping them buy fresh, truly original work is part of the planner's job, perhaps the most important parto Stanley Pollitt, one of the fathers of account planning, said something crucial about the planner's role that seems to have been forgotten: "lhe rationale of creative work after it has been developed will become much more important than the initial creative brief." What is a "rationale of creative work"? It is a narrative that explains how the work wiIl sell more. It involves four steps: i) Review the brand's sales and position in the market to identify a business opportunity. ii) Identify the key consumer segment for that opportunity. iii) Analyze consumer behavior and attitudes in terms of the defined business opportunity. iv) Articulate the role of communications in bringing about the desired behavioral change. lhese reftect the first four questions on the DO Brief. Answer them properly and you are well on the way to selling the work as strategically right.
3. To j udge creative work. Creative work should be judged against strategy. Unless you happen to be in the target market, it doesn't matter whether you personaIly like, say, the look of the lead actor or the music track. lhe question is whether the work will get the sales job done. If you and the client agree on the communications strategy-by going through the Ogilvy Fusion™ process and the DO Brief together-it will be easier to judge whether the work will be effective with its target audience.
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Wl1ERE DO • IT FIT ¡NTO O lLVY FU, 101 ?
Ogilvy Fu ion i Ogilvy's new operati ng system. It p urpos is to provide a way or our disciplines to work more cIo d y together and produce deeply integ rated 360 Deg ree campa ign . There are two versions: Ogilvy Fu ion (d signed LO be completed in 48 hour or a similarly short ti me) and Ogilvy FusionPróf\l (designed for ]oDITer and more complex marketing programs). They share the sa me fi e-stage process:
4
SOLUTION
111ere are thrce Ogilvy Fusion tages before rhe DO Brief.
Business Arnbition is first. 111is asks the cssential qu stions to help articulare the dient's business issuc OY opportunü y. It men h lps define the marketing and com munication goals. Customer ExjJerience identifies barrier and dr ivers to purchase at ach tep of (he consumerjo urney. It a l O covers the desired consu mer r pon e to our comm unications at each step. Architecture identifies the rol s ror commun ications and basie channel choices at each step.
Thc So/ution ínspired by the DO Brief is the fou rth stage. It follows as a nat ural progression fro ro lhe previous Ogilvy Fusion stages. I n essence, gilvy Fusion is a statemcnt of our strategy, and the DO Brief is the one-p age su mmary and creative inspiration-it is \"here the rubbej" meets the road. You may need sub-briefs fOf particular corn munications tasks or channels in ve ry elabora te, complex campaigns. Use the DO Brief format fOf these loo . Th c fift h stage is Effectivenes.r, which identifies key success metrics based on with . the Business Ambition we
ENTS
C olin Mitchell and Job n Shaw wrote ke y sec tions. Paul Matheso n, Gavin Macdon ald, a nd Catherine Mous tou of Ogilvy Asia Paci fi c made many helpful cornrnents and suppJjed exa mples; they were a]so key membcrs of lhe team that devised, tested and tra i_ned the D O Brief in tbe fi rst place. The Inspiration section carne from Sarah Ncwman's tenu re as H ead of Plann ing in Ogilvy Londo n. Many tha rU
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°1
Don't begin with the brief. Alway begin wiLh a trateo-y. 111e DO BTief sh uld b e the one-page su mmary of the strateg y and indicate how it hOllld be implement d , a step towa rd a creaLive ol ution.
Ogi1vy & 11athcr or' Crcílliv
n
The ti le says it all. Use thi briefing form
r. New 1d l O gene rale
a Gen ratio n - Direc .on
a new ereati e id a.
Sometimes you do n't n ed a new ereative id a- for in tanee, ror an adap tation through R dWorks. There is an example of a RedWork briefing f, rm in Chapter .
Brand
Product
Task E.g., new PfoduCt launch, reposition lhe brand , generate inquines
Job No.
Date
Suc cess Criterla HOI/J will this activity be measured and are these measurements in place?
Mo t of lhe n Xl boxes are self-explana to ry, but please note the rda tion hip between fue Task and lh SlIccess C riteri . Ir the t sk is to reposition the brand, wouI d you measur success by rhe number of inqu iri s lhe camp ign gen rated? Probably noto Ir !he task is to generale inquiries, would yo u measure suecess by ha ng s in brand image or personali ty? Again , probably noL Make SUTe your lhin king is joined up.
lt really htlp er atives when you are clear abolll how suecess will be j udged . O ne kind of ca mpaign wiIl genera te inqui ries, whi1e anoth r ki nd wilJ reposi tion the b rand . Let th m know from the beginning whal i requi r d. Don't send them clown blind alleys.
Why Is thls brlaf here? What 's keeping the client awake at nigh!? What's hap pening in the client 's business tha! has prompted the need lor communication ? Whal is Ihe big brillianl problem we can help lo solve?
O g ilvy's effectiveness ioitiative starts right here, with an articulation of the cIient's b usi nes issue o r opportunity in the crealiv grief. 1he c1ient's objeetive is always profitabl growth , bUl how is that lO b e achieved? Sometimes there is mis u nd ' rsta nding abou t what eo unts as a b usiness issue. Are sales or market share Aat or dec1 in ing? That's a business issue. Is a competitor outpacing 1I, io the market? l11at's a business issue. We need w rds like " al s," "marke t share," "reven ue" or "profitability" in thi scction, not "bra nd image" or "awareness." 1he O gilvy Fusion proccss (Business Ambition) wi Uhelp he re.
'4
Ir you are lucky, O gilvy RED Consul ting or Business Accelcra.lion \ViII have done sorne upstrcam analysis chat win answer this question fo¡"you . Bu t rnos t often ¡eH be up ro you and your tearo to fi nd an answer. So rn e accou nt tcarn s will say aLth is point, "We do o't know about sales; rhe cl ient doesn't share thal informa tion with us." But have you asked? Perhaps if y011 ask pol itcly and expIain how important it ¡s, the marketing director wouId spend a haJ f hou r briefi ng thc team on the business challenges facíng the brand. Yo u can find ou t a tOl by yourself. For instan ce, what do financialjo urnalis ts and ind ustry bloggers say abo ut lhe clien l's business? What's in tha t industry's trad c magaz ines? Wha t do the comp any's own finan cial reports and press statement y? Does yo ur rnanaging director o r financc director know? Do you know someone who works in that indus try? I t's always belter lO makc an ed ucated guess abou t the c1 ient's b usiness issue lhan ro hy nothing, because Lhen c1ien ts can COfrect any misapprehensions when rhey review lhe brief. It is es.fential that you try lo fi nd out wbat the business issue ¡s. Campaigns that are based on business or behavioral objectives are more thanjour times as likely to be sales eJJective as campaigns based 00 a tti tude or awareness objcctivcs.' O g üvy Fusion's Business Ambition scction suggests the key qucstioos tor you to answer.
Olhers migh l say, "Crearives don' t need to know lhis." But they do, and thcy've asked for it befo re. O g ilvy's most senior crealives asked us nol to sh ie1d them from business rcalities in b riefings .
Who are we tJying te Innuence? Who is il we need lo inlluence and how (il al all) do Ihey cu rrentl y think, leel and behave to wards the brand/calegoryl producl area? Ask yoursell what they are currently doing Ihal we need to change . Think aboul any barriers that exist. Please bring these people to 1,Ie in a way that wíll help Ihe creative team gel inside their heads, nol just as general consumers but wilhin Ihe conlexl 01 the specilic challenge the brand laces. NB: The releva nI poinls will set Ihe scene; more in·depth inlo c.an be atlached in the In sp iration seclion or saved lor Ihe briefing .
The perfcct answer to this queslion would ínclude: i) a q uan titative dcscription o f lhe ta rgel audience, incl uding tbeir buyi ng behavior in relation to the business ¡ssue ¡dentified in the preccding section, and ii) a q uali tative dcscrip tion that bring s lhem alive as people to creatives. Herc's a g real example from an Axe brief: He thinks about lOomen a loto A lot lotoBut not drearnil1g ofrmnance, he\' (l dirty bo) lO/lO can 't stop thinking about sex lOitlz extraOldinarily lOelcoming women. ret in Ihe real wor/d) women are a complete0! differenl countl)i-úS .wrnelOhere hes never heen, it l1UlJ' be a while bifóre he getJ lo go thar and)ou're f},7Laranteed he won't be ableto Jpeak the language lOhen he does.Deep down he wishes he couldjust be lúmse!faround gir/s, that it lOasn't so complicated) that he didn 't have to tr) so hatd.
' Binel, Les; JJ1d Field, Peter: "Marketing in lhe E ra or Accountabi li ty: WARC.
2007
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This is wher we include the target's perceptions of the brand-its image, positioning or personality, etc. Don't put that in the business issue section.
What do we want Ihem to 00 as a result of thls communica1lon? When it says "do" it means DO. This is the actual change in behavior that will ultimately affect the client's businessand help them sleep well at night. A simplistic answer like "buy more X" is not enough-everyone in the business is doing that. Be specific rather than general. You'll need to have explored who you need to influence, what they are currently doing, and how we need to change it belore you can express this lully.
As the brief says, "do" means "DO." What change in consumer behavior will grow the client's sales? NEVER write "Buy more X." That's unhelpful and spineless. Think through how an individual might respond to the campaign. What does that person do now and what behavior do we want instead? Specific, concrete actions ("Fit window locks") are much more helpful to the creatives than platitudes ("Be vigilant"). Provide a narrative of the individual behavior change you want. Sorne good DOs that brought the tasks alive to creatives include: • When the insurance man from X comes round, don't slam the door in his face; invite him in for a chat. • Reach past the ordinary tea on the shelf and get specialty tea X instead. • Get your mortgage sorted with X bifOre you look for your new house. • Instead of passing by X shop as you have done every weekend for the last five years, stop and go inside. • Drool over the page and divert the taxi to X instead. The DO must always flow sea mIes sIy from the business issue and consumer target identified earlier in the brief. How do we expect communications lo wortc lowards achieving this? How are the communications actually going to DO that? Will they shock, engage, make things more relevant, entice people to trial, create a unified voice lar the brand, change the way people leel about when and where they should consume the product and so get them to consume it more afien? How will our communications reward people lar the time they spend with them?
Unless we specify in advance how the communications are expected to work, we don't know the issue in full, we haven't examined the problem hard enough, we don't know the audience well enough and we haven't established the strategy soundly enough.
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1l1e brief asks for a commUnlcations Olodd for the ad. What is a "cornmunications modd"? Thcre are trucc kinds: l.
Models of comrn1l1úcalions in Keneral It used lO be lhought that all communicalions work lhe same way. Sorne clienls and rcsearchcrs still think that. Typical "universal" models include:
AIDA: Attention, intereSl, desire, acrion. STARCH: Sec, read, remember, act upon , AGMAR: Awareness, comprehension, conV1ction, action. AlETA: Awareness. intcrcs[, evaluation, Irial, adoption. 1l1cse communications modds are old- for instance, Al DA dates [rom lhe ,880s. They assume a) consumers arcpa'isive and ernpty-headed, and b) commurucatÍon move cOllsumers through a linear sequence oC conseious, diserete mental event before tbey buy anything. Neither of thesc assumplions i5 credible Loday. Communicatjons models like thcse fundamentally mjsunderstand lhe way our minds, and campaigns, aetually work . lbey don'L reOeclleamings in ncW'oscicnce, psychology or ín-market cffcctiveness. So why do they still survivc? Bccause lhey're plausible, not because they're right. Thcy're converuenl checklists ror prelest research and Lracking sludies. But this can create a big problem far uso Creative ideas may appear to htil in rescarch. In reality, lhe problem may not be me creativc idea but lhe cornmunications model that underlics the research methodology. Howevcr, rebriefing the crcalives beca use ran imaginary problem wastes money and diminishes creativc mOJ-alc. You may need a conversation wiLh the client and rescarch agency about how l/¡ is jJarticular crzmpaigll should be pretcstcd and tracked. 2.
Mode1s ofsome cllmpairtns A more sophisticated approach allows lhaL d iffe rent campaigns may work in different ways. 'TIlrce of lhe most widely used sels of communications models are: Hall 0' Partners: Sales Response- Pcople register a buying opporlunity thal fits lheir plan.... Persuasion- People t.ake oul a piece of information. Involvement- People get involved in the adverLising. Salience- People register lhe ad as standing oul in its sector. Q
'1lall . Mike (oC I-Jall & Pantll,-",) : "U,ing At.lvt' rlising C'lln pa igns."
Di rrnenl RDTarch
for Díff¡-rrnt
Marc h '9.9 2
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Millward Brown: Irnmediate Challenge- Pcople lak away "new new " abou t th produc t thal create an immediate desire to buy ir. Interest/Status- Peop!c's memories of advertisement make rhem more likely lO buy brand X. Enhancement- Memories of advert ising daims and ¡maO'es are converted about the bl nd. ' ciuring experi oce of lhe prod ucl iota
IPA: EmotionalInvolvement- Peop e re 1grealerempathy for tite brand becau. e of rhe emouon created by the ad, or i likabil ity. Fame- People taLk more aboul lh brand and its adv rti ing, see it as making waves in its category. Information- People take away a piece of in fom1ation about the brand, its u ers or thei r w rlci. Persuasion- People are convinced by rarional argument that brandX is superior. Reinforcement- People are remindcd to keep on doing what th yal ready do (I oyalty campaigns) .1 There are effectiveness re ult on ly for lhis last sel. Ern otlve strat gies (Fame and EmotionaI Involverncnt) a r more Jikely lO be sale' cffective lhan rational ·trategies (Persuasj o and Information) . Rein forcernen l ca mpaigns are lhe least effeclivc:
Fame Emotionallnvolvement Pcrsuasion Information Reinforcement
Effi'ctiveoes ucce % p.
rate
68 61 J3
You necd to w rk out in advance wb ich of lhese com municati ns models is mo ' t likely lO bring abo ut the behavioral hange described in the previous section of lhe brief. Thi will be ba >d on your understand ing f tbe consumer nd the kind of beh avi ral cha nge you are looking foroEven hough em tive campaign have a rugher success rate in gene ral, persuasive or informaLive campaig ns might be better in a partic ular case.
3- Model of this !Jarticular campaign Rather lhan u ing a standard, off-lhe- hclf inAu nc model, think lhrough th ljnk between Lhe campaign , nd Lhe pu rcha e. Ogilvy Fu -ion will help you here, with tbe Ogilvy Comm unicati ns BlueprintT\' exercises.
fM ill ward Brow n, as su mma TÍzcd b y P ru e. TC'rry: "An AII -E mbracing Ihcory o f How Ad vertising Vlorks," Ad map , Fcbrua ry 1998 'B inct, S; a nd Ficld , Pele r: "Marke ting in the Erd of ccou ntabi lity," WARC,
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To give an examplc o[ think:ing [hrough Lhe purchase process, a brand o[ rruitjuice Rcsearch"'showed kids were unlikely to was bought by moLhers and drunk by ask for any particular brand in this sector. An imponant role for the campaign was to get motbcrs to bdjeve their kids would love il even Ihough tliey didll't actively aSÁJor it. Thi... communications modeJ is clear in tbis diagrdIIl: ExampIc ofbespoke communications modd Advert isin g
/
Child impact "The one for me"
%
Mother t hinks ch ild wiU llke
% Mother purchases
The DO Brief version of th is mighl say someLhing like, "We m:ed moms to bcljev this is Dot only high-qualiLy juice, but also will be a trca t for Lheir "kids. lhe trouble is lhal kids don'l ever ask for it by name.. H ow can we get moms to bdievc it is popu lar with their kids ir they never ask ror it? By making a campaign their kids lave. 1l1e popuLarity with kids wiU lcad mothers to lhal thc brand is popu lar with lhcm too." Wllh a comm unica tions modcl c1early in mind, il is much easier to design pretesl and trdckil1g research appropriale to this particular campaign .
"Snurce: Kia·Ora
hi slOI'y, Anl< lfl)' Buck.1PA Efrec lí venc!\5 Awa rdl>. 19RR
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Whal are we lJying to eonvey? What is the eore Ihoug hl that wlll drive lhe ereati ve solution? Th in k about w hether this should be a b ig ideaL: a killer fae t, a prom ise, a straight message, or just a plain and simple big idea-it depends on the tas k at hand .
Thi is the mo t prc S Uf· · ed cetion of the brief. It is whal creatives look at firsl. Ir is how the brief as a whole will mainly be judged . lt i never easy 10 wrile, bu t it is easier oC' lhe b rief.
ir you have worked hard o n lhe earli r
ections
111 de: ¡red behavioral change and commun ications mode! wil! guicle you r choice or the Ic-ind of thing th communicatíons mu t eonvey. Ir yo u nee 1 g nerate ¡nqujries, you wiH probably use a per ua ion infl ue n e model, and ro r thal you wou ld wam te convey factual info rmati n. Ir y u nced to reposition the b rand, you will p rob ably use an emOlivc influenee model, and for lhatyou woule! want to conv y f c.üngs abouL the brand.
There are sorne great "Conveys in the follmv1 n
What will help people to KNOW thls? What makes this eompetiti ve, relevant to the target and true? NB: Additional pro duct del ail can be attached as an ad dendum lo the eore brief.
hapler.
What wíll help people lo Uds? What are the core values or persanality of the brand we need to sl ay true to? Are we questioning or direc ti ng? Are we being Inclusive or exc lusive? Are we talki ng conspiratorially wi th people or are we distant and authoritative? What do we imag ine the tone of Ihe comm un ication to be?
I n 01 0 t briefs th i s cti n wou ld b cal led "Support for che Propos iti n," which tends to lead toward ratio naJ, faet-based c1 ai ms. Sut we n w kn ow information is only one Ravar of effectivc eamp igns , aoe! usuall y no t thc m sl eITec1Íve. So lhe DO Brief gives knowledge andIeelings egual ta.Lus. I f you wa n t to convey fact ual inform ation, yo u wOlll d give more em p ha is l, lhe Knowledge b ox. If you want to convey a fceling, you would write more in Lhe Fcc1ings box. You don' t h ave to fil l both boxes each ti me . Be very selec tive abo ul wha t you wrü e in eithe r Avoid cl ichés and p latitude D wha t yo u have written r aI1y suppo rl lhe "Convey," and is it meaningflll , appropriate and imagi native? Or is il thcre for other reason - for instance, lo appea e the die nt or aec u nt team? 'TI1cn lhe brief will eon fuse lhe erea li e .
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Mandatorles What are the immutable " must haves" or "must nots" for this task? E. g., avoid attacklng competition or using slapsti ck humor. ensure cu lturally sensit ive references, l eatu re the product , etc.
Planntng
Accoun\
Creatlve DBvoJopment Time
Channels Where and when will we reach people in the most receptive state 01 mind? (Please expand as needed.)
Final Ae\iIf1w Dale
Supportlng MElterlals List any additiona! technical specs, copy briefs, or product details supporting this briel .
Creative Dlrector
CUent PresentalJon Da10
Final Ooadline
Productlon Budget
Finally, we come to lhe practical stuff that creativcs need to know before they actual1y begin worki ng on someth ing_ Mandalories res tr ict creative freedo m, so , as lhe brief says , only include the "immu tables." 1l1at i.llclud es the thi ngs th at will get the ad out of hand as unbuyablc. C reativcs m ust be in rormed o f these "m ust nots" im mcdjately, befare Lhey Slart work, or yo u may waste their time on mutes that will never see the light o f da)'.
lhe ChanneIs box wi U summarize the O g-ilvy Comm unications Blueprint fro m Fusion . For b riefs with many delailed req ui reme ms- often direct, d igital or retail activatíon briefs-attach a separate p age to the DO Brief. 1l1e briefMUST be signed by the aCCOUl1t, plann ing and creative directors before it ente.t·c; the crea tive d eparLment. C realives are absolu tdy right to refuse to work on DO Bricfs wilho ut all th.ree signatures. 1l1C remaining boxes are sclf-explanatory.
A FINAL NOTE
A DO Brief m us t be log;ical, connected, joined up. Good briefs lell a story, wi th. a begi nn ing, a mid dlc a nd an end. The success criteria mus t fit lhe task. The target audicnce must fit the business issue. The dcsi red change in behavior must fi t the infl uence model . And so on wilh the olhcr sect10ns . Always remember David Ogilvy's advi ce: "What mos t clien1.s want [rom LI S is greal campaigns, wiLh the spark to ignitc sales and lhe staying power lO build enduring brands." Read through your brief one last üme criücally before you pass it to tbe creatives. Has it g OL Lhar spark? Has il got staying power?
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ProduCI
Dale
Job No.
Ho\els & Resorts
Tas!<
DO BRIEF
' "4/2009
Success Cnlarla
350 Deg.w GlobaJ Campalgn Id
• SIe.aling share In these. lhe dltllault attd compellllva IlnI"'I lar holels. • Assessed by IncteaseO Inqulries 10 i!XllIlíng halem and Inleresl lor nev; launches. • Talkablhty and PR generdhon
Why 19 tttís briel here") We are in the eye 01 \he worsl global recession since Ihe Ice Age. The rlo tellndustry is already blldly affected, partlcularly as lis key target, business travelers, are faced WIIh redlJced blldgets ttJe worfd over. There are dtopping occupancy rales and increased prometlollS and a priee war loomtng while more and more harels are b uilL In Ihe mldSt 01 aU Ihls, lt1e Shangri-La is also laundling a rucmber cf new hotels In mator US and Eurcpean destinatlons and is seel
Whal does thlS mean? Whila olher ftve-star hotels (bolh Inlemational and Asían) treal hospitaJily like hardware - somelhing lo be aeqUlreO and pollshed 10 sterlle pertectlonthe Shangri-La sees 1\ as Ilvll1g, Ilwd Inl8faction between human beings. conducted w ith heartfell since!'lty. Thus. Other l iv -star h tels reach tllelr stafl consistenUy Impeccable service, bu! \he Shangr!-La advoca!es sponlaneity and an individual approach. The>¡l belleve !ha! cookl&-cutler lakeness has nothing to do with respecting \ha guest. Othar five-slar halets mighl lreal Ihelr gueslS Ilke ki ngs to be indulged, bul lhe Shangri -La belleves in treatinq !hem "ka human belngs lo be valuad other five-star halels belle"e lhal a good haleller is made bUI Ihe Shan n- La behaves lhal a goad Iloteller is born- bom wllh!he ablhty te empa\hiza and app
What are we trying lo convey? Hosp;l ality fram the heart . What wllI I Ip peoplo to KNQW Ihls7 Staft recru ilment- \I1ey will 90 out 01 lheir way (a.g. , rural China) lo flnd staff w ith Ihe rlght attrtude. Stafftraining- Ihe firsl Ihing Ihey do is to ask trainees lo descnbe Iooking alter tarnlly or being looked alter by famTIy. Then thay relate leelings and pro tices lO Iooklng alter guests. "Everythmg must come !rom /he roart." Training on Ihe Shangri-La way-sincenly. respee!. courtesy. helplulness, 11unnllfty Slncerity is key. Thls means behavior needs 10 be sponlaneous and insdnctive, not pmscrlbed. Staft are lrusted and empowered to make a difference on !heir ovm reading end aecording lo thelr culture. This IS observed and cultlvated daily by GMs. "If JS lhe care tha! bnngs a person back. "
M¡¡lnd tortes Make It easy lo book off Ihe page/scréen. AdaptatiQrJS for European and Asian languages. Retlecr locabons (current and new) and t"¡ otel s
Creallve Davelopmen Time
Planntng Director
Fij')31Rav[ew Dale
ellenl Plesentallon Date
Wilat wlll help peopl 10 FEEL thl$? Id eas about humanily, nol efficiency. Id eas th a! are no! wailpaper lollo wing Industry codeso Ideas Illal m ake I ham la ugh or make them cry th at don' t leave them mdlffaren t.
Channela 360 Degree. But fi rst: Pri nt (prass & poslers). CRM, Digital
Supporting Mate 15 Guest tones, Shan gri-La Core Values Video, training Video andlor transe ipts
Creallva Director
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lTibiki r alivc DO Brief:
Ogil"y & ¡ f aLher Con: 'r -aove Bricf' Ncw Tde: Ge nerarion - Oireuion PredIJe!
Brand
Hlbikl
Sunlory
Task
Job
O.
DO BRIEF Date
9/1 6/2008
s UTNAXazoOOC0 1N
Success enterla Rebranc:llng
Business Target: Annual Sales 6 .5 bllllon JYP +
7 tllUlon JYP
in 5 yea,s)
Why is lh S brief here? The whisky category and Hibiki are suffering. Young pecple aren't drinking it. Its formal and hierarcllical drinking occasions are disappearing. And for all bUI the very loy 1, there's liltle emotional enga ement and certainly very lillle pleasure associated wlth il. And even th ough it's the world 's best blended whisky, very few people und ersland the superiority of the blend over ane-note pungent malts. More broad ly speaking, this applies to the world of premium alcohol overall. As the leading bran d in the Suntory whisky portfolio, Hi iki needs to change I his. We need to brlng Hibikl bac k lo life; il needs to live in th e modern world. We need lo position it as contemporary, with so meth ing uniq ue and compelling to say and enga e with.
Who are w Ing to Influence? Male, 35 - 40, premium whisky drinkers (including Hibiki) , plus drinkers 01 other premium alcohols. He's a man who's hungry For experiences and looks to get the moS! from life and what It has to offer. He lives life dynamically and appreci ates drama. com plexit y, rarity, and new ness. He searches for insp iratio n in today's age, he 's focused on what's ofihe highest quality, and he always wants sornething authentic. He loves to go to the best places, not lor show and status but because interesting things happen in them . M ixi ng with oth er people is at t he top 01 his agenda becau5e tt's abo u meeting excíting new people and encountering new worlds. He drl nks what he oonside(s to be th e best nd most interesting alcohol. He needs to understand that Hibiki is by far the best and most interest ing choice he c ould make.
What do we want them to DO as a result of thls communlcatlon? To actively choose Hibl í and to understand w hy th ey' ve d one so , To do so versus other prerni um w hisky choices , and to do so at tim es when other prem ium alcohols may also be considered. How do we expect communicatlons lo work towards achieving this? We wi ll Ik aboul b lended whisky (and our superior blend) in a new way, a way that is ric h, evocative and emotionally compelling in the story it tells abou t Hibiki (and by association the Hlb iki dnnker). For current Hibiki drinkers, thls wi ll reinforce why they already ehoose Hibiki. For Ihose drin ing other premium alcohals, it wlll make it very d ifficult not to try Hibiki.
What are we trylng to conv y? Hibiki: Make Lite More Complex. What will help people to KNOW this? A master blend of carefull y selected malt and grain whiskies. matured for a minimum of 17 years. Bringing many different characters together to make one very deep ONE is what makes us special. This process is where the drama happens: bring differen! characters together and someth ing new wi ll be born.
Mandatorias Ofl ly Hibiki understands lhat when we bri ng different people. th ings and experiences together, something dramatic happens, as our name Hibiki (resonating) implies. Accollr1t Director
Creatlve Oevelopment TIme
What will help pe opte to FEEL thls? "Make Life More Complex " is not just about whiskyit repres ents a bigger ideal. When we look at life, we reali ze that people who lead li ves with varied experien c es achieve so much more than anyo ne else. "Make Life More Complex" should remind our l arget 01this. Intimate. beautiful, ch arisrnati c, insp iring , premium .
Channels
Ptannm Director
Anal Revlew Da.ta
CUanl PresentaUon Date
Supporting Materíals
CrealJve Director
Final Deadllne
Production BlIdge!
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3. Dove creative DO Brief:
Ogilvy & • lalher Ce Brand
al ive Brit f: Nl'w Idea G nera ti n- Din:c ti n PrOduct
Job No.
Date
Dllmage Therapy shampoos na condlooners
Task Get wom en to 91ve DOIle's new shal'llpoos and cond.tíoners " '90 .
DOBRIEF
7/16/2009
Success Cnt ria
• Is )ur adVernsing a WOW? IHow mueh free p,c:¡ do€>. 1I gMerate? Ale consurnet'S anct lile índuslry lalkmg ilOOU I sI?) • Does It bUlld the Dove bmnd? lDoes II slrenglheo lhe core idea tllal Do ve l ,el,Os WOI en leel greal abour themseJves?) • Does 1I prompt women give Do', 's new .;hanlpoos and conchtioners a 9o? (000$ /1rel3in CUI/'En/ Dove [iSefS Dnd encoorage olllen . omen lo sWllch brands?¡
Why IS this brIal here? Dove's hair scientists have spent yea rs developing a world-class, patented, superior hair r.epalr technology. It is belng launched as a new ra nge 01 shampoos an d conditioners called Dove Damage Therapy. It's a b r illiant solution t o a p roblem the vast majority 01 women don't th in k they have. Creating the need is difficult beca use no woman wants someone pointlng a finger at her and calling her "damag ed ." It's in sul ti ng. 'Nhy would she listen? The point of this bnef is to turn the issue of damage on its head , making damaged hair something 'Nomen activel y choose to confront , rather lIlan 50/nething they deny or shy away from. . Who are we trylng lo Influence? Women who don '1 think of their hair as damaged. They would probabiy desc,-ibe thelr hair as pretty normal: sometimes il behaves itself an d other times it's dry. or has spli t ends , or is a rnass 01 fnzz thal's a nightmare lo styt'e. But that's normal; il doesn't mean thei r hair is damaged and it doesn't rnean they need a special. tI)erapeutic repalf system. Wnen they hear "damaged hair," tlley think of extremely fran led hair that has been colored , cooked. crimped and coiffed to a crísp-certainly not their own. That's why thay shun exisl ing damageJrepair variants. Whal do W8 want them lo DO as a result of this communrcabon? We want th m to positively embrace the notion 01 damaged hair. When people ask them thell hair type. they should reply "damaged" -confidently and Witll a twi nkle in their ey , They should place their Dove Damage Therapy bottles in plain view in thelr bathrooms as badges of honor and hope that guests notice them. They should use Damage Therapy every time they fee! like their haír could use a little TLC (e.9. , the morníng after a big nlght out; at the end of a hard week; after the beach ; after workíng out any ti me theír hair feels dull and lifeless). They should join onllne communities and forums with handles Irke Stressed Tresses and leave suppor!lve messages for other women with damaged hair. They shou ld put bumper stic kers on theír bashed-up cars that say things like "ll's not Just my hall that needs repai ring." How do wa expect communlcatlons lo work lowards achlevlng thls? Cornrnunications 'Nill democratize damaged hair by revelling in the lac! that it's a slrnple tact of Ilfe for 80% 01 women . They WIII not work by lecluring or hectori ng, which is the category norm. Nor will they attempt to induce anxiety. Instead. comrnunications will be upbeat and celebratory: hair darnage is par! of being a wom an, par! 01 the Dove slsterhood.
WhBt are we tfying lo convey? DAMAGED HAI R: BRIN G IT ON ! Because damaging your hair is a sign that you are liVing life to the fullest.,
Whal wlll help people lo KNOW lhls? Darnaging your hair is norma l. There's nothing to be fearful 0 1' concerned about. Everyone does it. Blow-drying, brushing, coloring and straightening all darnage hair. Just living life damages hair. Dove Damage Therapy makes IIght work ot the repair. It's a patented technology that beats Pant ene and salon brands in labo ratory tests. It delivers tangible benelits: • 2X more moisture • 3X less írizz • 6X fewer split ends • 10X mo re resilience against futu re darnage
What wiO help people lo FEEL thl ? Pan tene's solution wou ld be to prey on women's insecurities with fear-based comm unications thal go deep inside the hair shaft to reveal U'le darnage that blow-drying and stralghtening cause. But Dove isn't Pantene. Dove is posltive and suppor!ive 01 women, not underlllining. Dove is about ordlnary women getting on with it, embracing Iheir imperfections wi th grace and humor. Dove has a sense of hurnor. It 's a twinkle in the eye, a conspiratorial wink between girlfriend . 'Nomen don't need lo take the communieations seriously or literally in order to engage with tile product.
Mandatorias
Chann 15
Should feel IIke a breath 01 fresh air in the quasi-scientilic, pretend world of hair care advertising. Fun, uPQeat and anthemic,
360 Degree plan to follow, but anthemic
Account Drrector
Crea ti." Developmenl TIme
1V!web spot wlll be vital.
Plannlng Director
Rnal Raview Date
el enl Presentation Date
Supporting Materials For tone 01 voiee·. Boots' "Here Come the Gi rls" TVC The Indigo Girls, "Closer to Fine" Creatlve Director
Final Deadline
Prod uction Budget
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Brand flcqua Panno
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Product
00 BAIEF Date
1/1A12009
Glass bOItle
Success Crileria
Task
• Aest3warll eli,. "bullon and Dusn • Being OlSked lar 1"1 restaurants
Brand SIOfY
Why 15 this briaf here? Tradit ionally pushed by restaurants. Acqua Panna is largely seen by t.he trade as th e still-wate r sister to sparkling San Pel legrino. It has no dlsf inct Identlty that wo uld ensure consumer pull-thraügh. Growt h af filtration systems and economic frugality have led to a dramatic 50 % sales decline . Who are we trylng to Influence? achlever. Well educated. He owns his own business and enjoys the sophisticated. cult urad high life. Good restaurants, nice hotels. clubs and a bread array 01 the arts constantly previde stimulation. He' JI order San PeJlegrino or a still water to accompany his tood and wine when asked. As with his on-the-go choices, he has no compeJling preference For any brand 01 premium stll l water. They all quench his thirst. but noo e of rea lly raject an imaga Ihat he stnves for (indeed , French water for lhe girls at the gym is decidedly too pin k). In charge at wark and In control in life, he sits on top of society's box. Dressed in Ozwald Boateng, he does Indeed rule his world. What do we want them to DO as a result 01 thls cornmuOIcation? Pass on the Acqua Panna legend. Become knowledgeable proponents of both Its unique hlstory and its ro le with food. We need to squlre the cognoscenti en both the glving ami receiving sides of fine dtning restaurant tables, and encourage them to reveal Acqua Panna's secret mystical knowledge. How do W8 expect cornmunications lo work towards achlevlng Ihís? Create a dramatic legend in a manner that lures and intrigues. Get them to thlnk of it with the same kind of reverence they have lar their special spints or wlnes. Challenge many of Ihe established category rules -i ncluding. specifically, the role of the water- through the use 01 history. a masculine persona, and a sense ef serenity. What are we trylng to convey1 Acqua Panna bestows astonlshing power. Whal will help people to KNOW ttllS? oewer ef the water to make tead taste better. Dellcate mineral balance + astonishing naturally flItered purity frem a 15-year journey through the limestene ef the Tuscan hills.
What wíll help people to FEEL thls? Creation of an intriguing legend. Brand Personality: Powerful, Cultured, Mysterious, Dangero us.
AstQn ishing Dower of its heri age: sourced fram Villa Panna, the Med ici Tusean estate. Ruthless Medicl power and mfiuence across Europ e etween the 13'" and 17' centuries: popes, rulers, monarchs. poli tics. Jealously guarded secret for over 400 years. Mandatories Un less t here is good reaso n creatively to the contrary, we should leverage the brand's packaging Icans.
Accounl Direclor
Creative Development Time
Channels
Creatlve Dtr13ctor
Ptanníng Director
Rnal Revlew Date
Chent Presentalion
Supporting Materials
Dale
Final Deadllne
ProductiOl1 Budget
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They re creatively sLimu latiny're also clear and internall y consis tcJ1t (no false trails), and lhey make ens .
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d in r al cl ien t business i sue : c1 ine in the T ce sio n. Shangri-La need 10 mo r stay ' per n ight pcr hotel just lO keep rey nues lhe s me as la t y ar. - What' 1 vely about "ro more s tays" i th at il makes advcrtising's lask v iv id and r al for thc creatives. A i lilar calcu lation was made f: mous in arce nt Sainsbury's IFA EITectivenc paper.!i Sain bmy', commercialobj clive was lO iner a'e 'ales by E2.5 billion over thrce ycars. 1 h is amou nt was LOO vast to be a u eful input inlO lh creativc proce . A impl uro howed il actuall, me nt cu tomen pend ing EI,I 4 m re pe r vi it (Er.r 4 x I4 mi lli n CUSl me rs x 52 weeks x 3 years = E2.5 billion) . -Thi calculation ''Lransformed the role for communícations: t geuing shoppcrs to spendo titile extra," which "unl ck d rile [ 2.5 bil li n proble m so Lh at creativ ity c uld be used to solve it. An un imaginably daunting was tran forrned in to somethrng a tang ible and approac ab! as it's po ' ible to imagine." Can you translate b ig corporate object ive int tan ible on umer behavioral changes like thi on )'our brief:? Can )'ou solve huge pn>blcm with ,olution based on the behavior o Cindividuals? Creariv s wi ll love you for it. • 'TIle wh i ky market i in dce ¡ne, and Hibiki i ded ining WiLh ¡lo Young pe pIe in particular aTe drinki ng le s. Based on current nends, Hibik i wi ll no t have a fu tu re a an advertised brand. l1le importan of Lhe la k help inspire creatives. They know that what úley d real61rnatters. • Dovc ha' sp nt years developing a product that solve p roblcm people don't tllink they have. H w lhen can we launch il lIccessfully? • Acqua Panna ales a re clown by 50%. L
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3. 111ey bring lhe audi nce Lo life in a way that allows creative to rel
l to Lhem as peopl : .1h business traveler Sh angri-La is no t a "road warr ior" cliché bUl someone who "arrives and leaves a lone." • Th wh isky dl'inker Lor Hibi ki is not a "savor the best trung in !i f "cl iché ut someone who wants LO m ingle to rn et new people , ro hay newexp eri e nce . • Dove'" ha mpo bu yer wan t t have fu n. • 'file Acqu Panna dri uker ' rule. lhe world" bUL th in k all b tt l d still water are lh samc.
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"Roach, Tom ; Mawds ky, e mig ; Dors')!cl,Ja ne: "Sél in shury's- HOI' a n IdC
4. Il is clca .. what we need !.he audicnce lO do as a resulL of seeing lhe campaign: • Specify which hotel they want to sLay in instead of booking "on autopilot." 1hat's inLrigu ing for the crealives: "So nlost hotel bookings are made on autopilot? r didn'l know that." • 'i\ctively choose" H ibiki over 01 her premiunl drinks. 1 h at mcans nOl joining lhe crowd, not ordering lhe same drink as othe! people. lt means standing out and asser t.i ng your individuality. • Cheerful1y reply "Damagedl" when asked what theÍT hair rype is, and display lhe bOltle in plain view io lhe bathroom as a "badge or honor." • Become Acq ua Panna's proponent. 5. 1he Convey contains a stcp towards lhe creative solut ion: • "IIospitahty from me heart" leads towards an emotivdy engaging plaLform. • "Make life more complex" lcads towards a salient and involving campa ign . • "Damaged haü shows you ardiving life lo lhe fullest" lcads towards a campaign aboul life and fun . • "Bestows astonishi ng power" leads lowards aSlonishing Renajssancc art and il P9wcrful patrons. 6. The Knows and Fcc1s support lhe Convey and lead towards the crea tive solulion: . 1 he Shangri-La campaign "might make people laugh or cry, bul nol leave them feeling indifferent." • TI1e IIibiki campaign is nOl j usl aboul the whisky itselfbut also about leading a varied, interesLing tife. • TI'le Dovc campaign is nOL based on rearor guilt, but on cnjoying Jife. • TI1e waler is sourced from the Medió Tuscao cstale and associated witb legenclary figures.
13
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L 'SPIRATIO.
Ogilvy & Matllt'r eore Crcaliv BricE New Id ea Generation- 1m ¡.ra tio n
Use ¿his pagejor anjlLhing thaL jlOU think could give creative people inspiration in solving the brief visual a.l we!! as verbal. For example: !illks to relevan! material on the web, books, m"Lides, movie14érences, music, art, TV, celebrities, a "rant')ou l¡,ave wriUen, tlwught starters, púces o/ advertising, any material whichfleslzes ouL the target audience, 07" allything else tiza t co ufd Ize!p.
The firsl pag of the DO Bricf ensUTes r 1 vanee to the el ient's busine s. The econd page is optiona\. Its role is to timulatc [re h exec ulion . Creative peopl usually ask [or two things fro m a ricf: directi n and in. piratíon .
111 y are like1y Lo want directioo a th y taTt work on a projec t, but as lh y try lo 'olve it they may be looking for inspiration. Th requirements for d irec tion and io p iralion are d irreren t. Direction oe ds to b . clcar and logica\. It m sl be followed. O n the other hand, iospiration can be intu itive, touchy-feely and vi ual. Il does nOl a1J need t be followed; it ao be used or di card d accordi ng to whethcr it is h lprul. What you put in the Inspiratjon section is very much up to you. It i yOllr chan e to think of the mos exciting and intere . ng exampl a nd sti mw i tha t bring the ntral thought of!.he brief to lif¡ . !t's aIs an opportu n ity lO make your brief sta nd ou t in relation to the other briefs that are floati ng afound the creative dcpartment, to get your b rief lO bout o ut "Work on me!" > "
The 1nspiration section should look like an enticing chocolate box of tirnul ati n. Choosing a few good pieces of stimuli yo u bclieve in i more val uable than a huge quan tity of stu ff. Yo u might u e song , painlin s, video, mov ie ,websites, and other pieces of commun ication , or yo ur owo thoughts. You could even make tbe In piration section a coupl f vi ual sl ides where the links op n aUlo maricaUy. (Yes, Pow rPoint can be used creatively.)
Sorne examples of thi ngs that could help: • Examples of olhcr bTands (gIobally) [hat have attempted si mllarj parallel challenges, a nd of success and [ai lure. • Competitive communications to iIlustrate thc conventions of the category, \-v ith ideas about how to sidestepjovercome thcm . • 1hings that takc us ¡ntO the world oC" the target aud ience- in actuality and vi sual1y and vcrbally, including smelJ, taste, and atmosphere. Bri ng thci r hopes and fears to Jife. • Sources o[ in formation and en tertainment th at inspire the tal-get audience, such as lhe web, novel s, arl, etc. • Examplcs of how peopIe interact v"ith the categoryjth e brand. What they say about them online, how they feat ure in popu lar culture. • What would lhe plan ner ad look like? Fancy wriling an inspiratjonal poem or a 5hort rant? (It may Ila t bs; as h um iliating as you th ink.) Here are cxamples of good Inspiration scc tions:
37
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Ford Fíe ta Pan o f Lh Tnspirauon crion compared the rel a unch o f (he Ford Fiesta wjth Tarantino's reseue of John Travolta1 car > r and the launch of th icon ie iMac. The ven tual work- part ofwbat wa descri ed y the sen ior rd o f E u rope client as "our mosr su cessfullauncb ever"- had something of the confidenr mood of lh ' iMac launch. It was nol encumb red with product messages ab ut tbe Fiesta, but gave the brand a en e oC being a d irable, fa hionabl i o n:
Inspiration John Travolta
iMac
Fanta The team tha t developed Fanta's "Stealth Souod System" was able to create a stjm ulus that brough t the sp irit of Fanta to life, and refelTed specifically to the tech nology that form ed the basis of the h ighly awarded campaign:
Fant¡o inspl ... elleryore to Opl' " n""1 lffi,lqlnatlor,s¡ lo see that pla y exists every""!nere and at any time, and that ¡t 's easy to spread and make contagious. ,. c; < "'atin pandemir ,o t play
-=
Play is nol just an aclivity, FoJ.'y IS a feelir¡g , al' 311,1I1(\e, a splnt that IIves ¡nside us,
X Box: Jump In
au:iJ
... _ . --
_
-
---
. . ----_.
Shame on lhe Grown-ups: Mosquito Teen
believes the world would be a beUer place if we Id' C''/\ _ ¡..., t,v.., and played more.
Cadbury's
Repellent
39
3- Ford Ka 1 his [o. pirati n ecLion illumi naled me r th most resonant lhemc for ilS targel aud iencc (a more Icading-edge group tha n Fie ta'} discovery, cele ticism nd playful subverion. 1he succes 'fu] multichannel campa ig n c\carly reRe Led Lhcs meme:
3
Foro Sacre!
5
24- HOUR BRlEFS
.
Sometimes Ilrsl thougbts are righ t. We might spend weeks worklng on a pitch slrategy onIy to lose sigh t of the obvious . lhere's a small window al' opportun ity during whic h we slill think like consumers. We might say it lasts for the OOt 24 hours after recciving a new brief. Use th at ti me 01' c1 arity la write a creaLive brief. Use the DO Brief format-it's on ly six questions. lhe 24-hour Brier is provisional. It glves a work ing hypothcsis of the SLralegy before we do the work neccssary to complete a full DO Brief". Management consultants, wha use tlLis p ract ice widcly, call it "solving the case befare solving the case." It is parLicularly usefuJ when crealive work bas to be produced quickly, but it also has ather advantages. 1l1e discipline of writing ane forces you to form a hypolhesis, whieh makes subsequent prímarfand sccondary research more purposeful. Jt align the tearo befare Lhey al! go off in differenl dircclÍons. It allows lhe whole Lcam, particularly creati ves , lO start mulling over the problem irnmcdiately. Otherwise creaÜves have lo wait until the resl of lhe team has compleled its work befare lhey can evc n begin lhi nki ng aboul solving Lhe prob!em. l"ht bcst way lo wrile a 24-hour Brier is to asscmble a "swa ml" meeting immccüalely arler the cLcnt briefing and b rainstorm the problem. You can also invite expcrts in the agency wha might help. 1l1e swarm arríves al a besl-guess consensus and somcone wriles it up and distributes it within 24 hours. lbe priority is to get a clear art iculation 01' thc c1 ienL's business prablem. TIlat's wha t lhe crcatives need mosl sta rling wark. SomeLi mes yo ur 6rst impressions wiU be very near the mark. However, often the stratcgy wilJ evolvc considerably as lhe piteh develops. TIle 24-hour Bricf is no substit ute for a fu ll y thoughl-out DO Brief. No maller bow percepLive first imprcssions are, they can always be impraved upon. Always reserve the righ l to go back to the crea uves lalcr witb a rcvised brief if you leam more [ram research, th inkin!! oranalvsis.
41
REDW RK
BRIEF
RedWorks d es nol use a con istem briefi ng formoBriefi ng for ms vary by task, channel, cJicnl and geograp hy. H ere' a [a irly typ ical xample:
REDWORKS TASK BRIEF - PRINT Cllent
:
Brief Owner
:
Date
I
Job No.
Newspaper Ad Task (C h eck box)
:
Magaz.ine Ad BusAd Brochure
Media I Publication(s) (Ust or attach
:
Modla Schedule)
O O O O
Leafle! Flyer Catalog POS Poster
Media I Publlcation(s)
:
Size I Number of Pages
:
Position
:
;
I
1;
Budget
O O O O
POS Wobbler POS Co unter Card
OtherPOS Othaf (Please specifv)
Publlcatlon Dale(s)
:
Message
:
(Choc k box)
:
OM Envelope Other OM
O O O
I
-
:
1Dellvery Destinatlon
1:1
Not requ ired Images
OM Letter
Color Material Deadllne
Ptlnl Quantity
O O O O
:
Existlng - Spec:lfy iocation : Supplied - Attach lo brief New Photography Required - Photo brief attached
O O O O
Notes I Inslructions 4
Mandatorles
;
Cl fent's Approva l:
---------------------
Date :
The f¡ cus is mueh m re on delivering ' xecutions l a sp cified shape and size, and less o n devel ping new crcat"Í ve idea . R edWork brief requ ire a d iffer nt kind of clarity from the DO Brief. You need to be absolulely clea r abo ut the xact materials the cIient needs.
TTlE ACTUAL BRIEFlNG
P robably the worst lhi ng to do is write a brief, slip it under th e ereatives' door and ru n away. Yo u a re missi ng an op portuni ty lo in fl uence the work. J eremy B ull more, the former creat ive dú ecto r o f JWT London, explained how bricfi ngs lead to ideas? Ask a writer of fictio n to w rite a story and he may not know how Lo begin. Ask hi rn to wri te a story abo ut, say, an in tern ational terrorist a nd a tube of toothpaste, and h e'lI soon get started. C reatives in agencies may sometimes yearn [or g reater rreedom, fo r release from the ty ra nny o f the brief. But it is prcciscly th is tyra nny tlta t prov ides sti mu lus for invention. D avid O g ilvy may have seen many black eye-patches, but it was nOl un til h is m ind was p reoccup ied wi lh lhe problem o f sell ing lI athawa)' Shirts tha t he realized black eve·patches WeTe the solu tion to rus problem. Howcver, th e acLof briefing requi res a d iffc rcn t k ind of tllink ing' from wri ti ng the brieC 111e brielcome s allhe end of the strategic process. Writing it ¡nvolv log ica l, d eductive though t bascd o n in forma tion. The briifing comes al lh e star t of the creative proccss. ILs p urpose is to spark ideas, to encourage lateral leaps and invention. Get lo kn ow the creative team before briefing thern. Wh at makes lhem tick a peopIe? What creative work do thcy admi re?What are their proudest achievements? What do lhe)' consider to be their best work? How do lhey like to be brieíed- do thcy prefer briefs to be plain and simple, or do they p refer to improve on creative starlers? Do they wa nl mounla ins of illfonn al ion or j ust one word?" Briefings must motivate and inspire the creatives. Talk about communicatÍons ¡de...., not abou t marketing stratcgy. Be more enthusiastic aboul lhe creative possibi litics tha n lhe business possib il ities. Make thc briefi ng f un, but kecp il relevant. Use the briell ng lo start a conversalion. The creative process nceds fuel. Briefi ng is a process, Dot a one-off ac tion. Slimulate a n ongoin g diaJogue and d iscuss ion. Consider ex tending the In spiration scction of the brief LO the briding's venuc and slyJe. Someti mes it can help to tu rn a ke)' element of th e brief i nlo a víscera 1 expcr icnce- whelher rid ing in th e back of a BMW al IS 0 mph, or sitting naked in a ho t spri ng, or visiting a room where Picasso painted , or being shown the real meani ng uf tea mwork b), Ma rin es in an underwatcr lunnd, 01' sampl ing the "greas)' spoon" lifestyle of van drivers, or spending an evening with p ros tilutes n an lIIV/AIDS projec t (all real cxa mp les from O gjlvy staEf).
: BlI llmn rc,Je remy: "Thinking up 'TI,ings: 'TIle Advert isíng C rcative Process," in ¡Hon BulL More: l!elánd IheSctrre, i/l AdvetÚli/lg(Nlm-k lll) , WARC , 2 003 "Two classi cs o n crcative briefing are wcll WOrlh repca led rcading: O 'M alley. D¡tmi en: "C reaLi\'(: Bric'fi ng," in How lo Plan ArllllTlirillg, ed. C nwlc:y, Don; Casscll , 1987; and Robertso n, Charlic: "C rea li"" Brid s and Bridings," in lJow lo Plan Advmúing, Seco nd Edition , ed . C oop ero Alall; SOlll h-Wes tern Cengagt:, 1997
43
CO CLU 'roN
1hc DO Brief and the creative briefing are lools thal help us reach the Twin Pcaks. Ogilv y is a creative busine ' aboye all, a crealiv bu in e. lhal helps our clienls lo grow. We mea lIrc our SlIcces by cTeal ive awards and by eíTectivenes awa rd , bUl aboye all by our clients' uccess.
44
dUo{rlJ.z:io pUV J?-lqn¿ {(}p:iO w,o.Jj Da poo:iJo SJIQUt7Jx'3
:X!pUdddV
1.
Pon d's (Og'ilvy Public Relation Worldwidc)
Ogilvy & lalht.:r Cor ' ;r aliv ' Brid New Idea Gcneralion - Di rection Brand
Prod ucl
008RIEf' Date
Job No.
ty
Ponds Task
Success entena Switching dala ¡ consUlJll!fS trading up
360 Degree campalgn to promote mkish·V/hit skin
Why is this briaf here? Th ree-quarters of skin -lightening products sold are "discount" - i.e. , the cheapest. There are significant millions to be made by trading consum ers up a step to Pond's Wh ite Beauty. This is one level below Pond's Flawless White. The chal/enge is to convince these pri ce-con scious consumers that Pond 's is superior to their existing product because only vye deliver a naturally pinkish-white result.
Who are we ing to Influence? l llve In a big eity. It's not the cap ital , but it's groWlng. You can see me on my seooter, skirting through traffic on my way to work . I have a good job, office based, and the people are nice. I spend quite a lot of time on MSN and the mobile. I li ke shopping, danci ng. gossiping, flirting. Money is tight, but 1'11 spend it if I thin k something is worth it. Right now I use a skin-lightening brand called Dabao. It does not meet my needs, but I buy it out of habit. Good skin is important, though , because it is the first thing boys see-and I want boys lo see me.
What do we want them to DO as a result of this communication? Put asida their spare change tor the next trip to the ski n-lightening aisle.
How do we expect commuOIcations to work towards achieving this? Disco unt skin-lightening products may be inexpensive, but they give cheap results: they simply mask your face w ith a blank, artificial white color. A natural complexion is pinkish-white, glowing from within and full of life. Tllis is about quality, not quantity - worn en must realize that White Beauty is several degrees superior to their current brand because it really transforms the color of their skin.
What are we trylng to convey? Pinklsh-w hite ski n is priceless.
What will help people to t(NOW thls? • Ordin ary whitening creams make you pale and w hite-as if you were wearing an anonymous mask. • Only new Pond's White Beauty gives you a pinkish-w hite glow from \/Vithin ... • ... because White Beauty adds back Iycopene and provitamin 83 to your skin .
MandatorIes Use a th ree-card face transformation
Creativa Development Time
Flnal RevlBW Date
Pinkish-white beauty is rich, alive, exciting and attention grabbing.
Channels 360 Degree channels for Indonesia, Thailand, Philippines, Vietnam, China, Taiwan , India
DIrector
A·"::count Director
What wlll help people to FEEL this? Pale beauty is chemical , anemic, empty, lifeless and ignorable.
Client Presentation Date
Supportlng Materials R&D clini cal su pport claims
Creative Director
Final Deadline
Produc tion Budget
2.
1he North Face (O g il vyAcLion)
Ogih,
1athcr .ore 'realive Brit'f: New Idea G ene ratia n - Dircctia n
Brand
Job No.
Product
The No,ih Face
DO BRIEF Date
The North Fa.ce
JanLJ8C}' 19 2009 Success Criferla
Task Grow ,narkel share in the outdoor gaar market
• • • •
Move up I rom 4th place In ouldDor genr calogory lo 2ncl place Repleca ColLlmllia In 2nd place In lile Brtlnd Ec¡uity Ranl
Why is Ihls briaf hera? Tñe Nortl1 Face: Ihe coldes/, icies/ and mas! difficull side of a mou17lam lo climb. Bu/ dedica/ion /0 adl'en/ure /akes endurance and a desire lo keep goi17g, as encapsu/ated by The North Face philosophy: "Never Slop Exploring, " The North Face is in good shape (actually), The brand achieved doutíle-digit sales growth in 2008 and has already reached its 2010 sales target -2 years in advance! It also enjoys high advocacy amang loyal U3ers and is among the top 3 brands (in Shanghai only) tha! enjoy high saliency wi thin the cal egory. They currently have 300 slores I hroughout China and plan to open another 150 stores this yea r. But to pave Ihe way lor the success 01 il s rel atl expanslon, we need lo build awareness lor the brand. In their own tracking sl udy, The North Face laces comparal ively lower awareness and equity againsl ils competi tors (souree: ACNielsen 2008 Brand Health Tracking Study Wave 1&2). • • • •
Total brand awareness ranked 41h al 51 'Yo , lollowing Toread al 78%, Columbia al 70% , and Nikko al 61 % Weal<. brand awareness in Soulhern China , ranked 7% enly, while Toread has 28% and Columb.a has 24% In brand equity ranking it placed 3rd. wl th Toread leading and Columbia in 2nd place In the Top 2 Most Favorite Brand s calegory, it ranked 3rd at 10%, '",ilh Toread leading again at 35% and Columbia lollowing al 19%
The task is twololo: to give a clearer differenliation lo The North Face by rnaking ils philosophy 01 "Never Stop Exploring" more resonant and meaninglul to the audience in China, and lo grow Ihe outdoor category to give The North Face lhe momentum il needs lo grow.
Who a", we IIylng lo Inlluence? • OutdoDr enthu siasts (participate in 5-15 outdoor activ.ties annuaJly) • Outdoor part.cipants (occasional participat.on: 2-5 out door ac ti vi ties per annum) • Nonpart icipants (no part icipa tion in outdoor actlv.ties) The outdoor sports community is stiJl ',mm alure, with even occasiDnal part icipants need ing eaucation in how to properly gear up ior outdoar activities. Today, our audience still conluses sport s wear with outdoor wear (please reler to the aUached PDF file for specilic consumer stories).
WlTai do
Wl!
want Ihem lo DO aa a resull of Ihis communicatlon?
To get our audience interested and engaged, and ult imately l O encourage them to explore the outdoor experience and think 0\ The North Face when buying their outdoor gear.
How do we 8Kpecl c;ommunlcobons to work towan:ls achloving lhis? We want to empower and inspire every human being's innate desire to explore-and by doing so, to encourage them to take their ftrst step l o "explore the;r worl d" via outdoor sports. thus building empathy and relevan ce between our audience and The North Face. What are
trying lo convoy?
Explore Your World (See More and D9 More wilh The North Face).
WlTa.l wlll help people to KNOW this7
What wlll help people to FEa Ihis?
Wil h 38 years 01 l echnícal and outdoor herilage behind il , The North Face has an impressive track record, and every piece 01 clothing oc accessory l rom The North Face is designed l o perform and withstand t.he harshest cond itions l o ensure thal wherever you mal' l ind yoursel!, you're protected -So you can enjoy more of the outdoors.
PREMlER-"Best- in-class" producl s and service AUTHENTIC- Tesl ed by alhletes whose lives depend on their gear TECHNICAL -Leader in adopting and applying new technolcgy to ouldoor products INNOVATIVE-Passionate locus on making our products better
The North Face has introduced a number 01 technical firsts: the MET5, the world's lirst battery-powered Ileece; Ihe DIAD jacket, one 01 I he lightest waterproof jackets available; the worl d's iightest single-skin tent, able lo 'Nithstand winds 01 95 mph; and a snow jac ket with built-in GPS.
Mandatories
Channels
Supporting Malarial$
We should stay wi thin the brand's DNA
• • • • •
Prin t ads Cl ient brief
of "Never Stop Exploring."
Planning Director
Account Director
Creative Development Time
Ad vert. s,ng Pu blic relatlons: athletes and government relationsh. p management Activity- based "activation" Dig.tal an d CRM In-store program
Final Review Date
Chent Presentation Date
Creative Oirector
Final Deadline
Production Budgel
February 26. 2Q09
47
3- M etLife (O g ilvyOne)
Ogilvy {;:/
ore .rcauvl Brief New Idea
Brand
Product
M\!tUfe
enemlion - D irc ·ti o n
00 BRIEF Date
Job Na.
June 20 10
Term Lite IrlSurnnce {Mlddte Marke1i
Task
ImProved response and elosure rates
Del/elOp (\ DRTV spot
Why ;5 thlS brlel here? The rn ldd la market life insurance need is s,zable, Wltt¡ en $1 1 tnUlon coverage gap- a $20 bllllon annua l premlum opportunity - and MalUle has macla It a pnoríty to sel! twenty lhousand polieles VtJ direct channels Hlsloncally, DRTV efforts WBre less Ihan sati sfactory. and lollowlng the momentum achleved wilh a quick fix lO the current spOI and new media pla n, Ogilvy will develop entirel y new work. Who are we trylng lo influonce? M lddle markel consumers are "emerging famll ies" whose 11eads are typically aged 25 -45, In dual-i ncome households earning $35K-$ 100K. They have ew responslblllti es al lhis 5tage in Iheir li ves, wi th many new milesl one sueh as mamage, buy ing a firsl home , ano Ihe oirth 01 a tlrsl child . While many women gel the bal! rolling , men cOllvert al hic¡her rates as l hey iden tlly themsalves as the p rimar,' breadwinner. Many are worrled about lha econo my and 1051ng their jOb5, are burdened wilh debt and are time pressured. With the recession , many wonder how thMy'1I ever be able to retire and now bel'eve they naed to take responsibility lor thejr own f" ture seeu rity. They know Ihey "sho uld have " for their budgets, or have al some point started the process but life iFlsurance, but ail her don 't leel confidenl buying it, sea It as too have given up fter finding ir too c omplex. If they do plan ahead , a 401 ( , is more olten seen as more deslrable. Lite insuran ce is just nol sexy.
I don 't wanl lo be , ressured inlo something. f'm prettl' sure we w n '! afford il. I 'm no ! sure we need il. It's something lar In the futuro .
SO
With the recession, tru st has eroded ac rtlSS most fma ncial serviee rands . Consumers see MetLife as truslworthy and identify w il h 3noopy, but sti ll mist rust cornmlssioned sales representa tives as usi ng high · pressure sales l aelles. What do we want Ihem lo 00 as a result ot Ihis communlcaUon1 Call the toll· free pllone numller and get a free term lite insurance quote (visi t website fo r seoondary CTA).
Test
Call the toli-free number- today, gettlng lite insurance is easier!han you Ihink (vis:t webslte for secondary e TA) .
How do we expect eommunlcatlon lo work lowards ath living thls1 Ad d ress Ih lensio n belween prospects know lng Ihey "should" have life Insurance and th ir putting off l acing the decision Sin ce the consequenceslb'lnellts are seen '15 far in the fu ture. Jum p-start thelr action today IVlth a free , no-obliga 'on life insurance quote. Refram e life insurance as a "financial safety ne!. " What am WII trylng 10 convey? An online o r phone quo te fro m MetLile 15 one of the easiest and most affordable grown -up thin gs you 'lI ever do to protect your fam ily, he.e and now. Mar. up! Then live your /ife. What will help people lo KNOW this? Forward-thlnklng leader - MetLi fe is Illno vating and ac tively cha nglng the way people buy lile insurance. II has remalned salid lhrough lhe recesslon and IS one 01 !he faslest-growlng insurance com panies globally.
Whal wlll help people lo FEEL thls? Focu s on the what , not the who: Ensure your loved anea can maintain their standard of living if anything should happen - replace lost income, relieve debt burden, save your home, pay lor college educations.
Flnanclal safety net- MetUte protec ts your assat s and your family's standard 01 liVing, taday and In the fut ure. Convenlence - MetU le pro vides the speediest. easles!. least pressured way to leam about life insurance. No sales pressure. No obligation. No personal I ormalion . You don 't even need lo provide your name.
It's the here and now: Pro tection starts right now, when you need il mos!. Waiting has a r /ice: Premiums rise wilh your age.
Affordable - Demonslrate " surprisingly affordable" by provlding ac tu al rates/coverage amounts. SSOOK In covera ge could casI as liltle as $30/month. At 1% of your income, a policy could cost less Ihan your 401(kl co ntribution. Li le insurance is olle 01 the mos! powerlul ways l o protect your fam ily, and it can also be m ore affordable than you think . Mandator\es Snoopy as "brand ambassador" to bring " approachable energy" to the brand. Tagline: "Guarantees for the IF in life ." Slrong , repetitive eall to phone action. :120 conceptf:60 conce t (consid ar male vs lema le sl
Plannrng Direel 0r
Tob in Hanspal Creativa Developmetll Time
Phil Buehler FInal Revlew Date
Cllent Presenrnü on Date
Channels DRTV
Supportlng Materials
Creatrve DIrector Joel Tmtin
Final Deadline
Production Budget
