Cairns Crocodiles The Work: Changing the World Campaign Presented By Pinterest

Cairns Crocodiles The Work: Changing the World Campaign Presented By Pinterest

No one would work in this industry if we did not believe that a good campaign has the power to change the world. With less than a month to go until the first ever Cairns Crocodiles Awards ‘presented by Pinterest’  we wanted to shine a light on the incredible entrants who are achieving good with their innovative and creative campaigns.

The Cairns Crocodiles Awards celebrate the best examples of creativity in marketing and advertising across APAC.

The Changing the World Campaign ‘presented by Pinterest’, is an award open to those that are using their creative powers to make positive change – whether it be raising awareness about a health campaign or gaining funds for an overlooked issue.

You can see the winner crowned live in Cairns, just – Buy Cairns Crocodiles Tickets Now!

Without further ado, and in no particular order, here are the shortlisted entries:

Out of the Square – ‘The Big Ask’ for Soul Hub

Soul Hub is a grass-roots Newcastle-based charity dedicated to helping the most vulnerable in the community. They focus on three critical areas: homelessness, mental health, and addiction. A charity that receives little-to-no ongoing Government funding, Soul Hub, relies on the generosity of the community to do their important work.

Their lofty goal of raising $1.8m in order to relocate their existing operations to new premises needed a big idea – “The Big Ask” was born.

What was the challenge?

With their current lease expiring, they’d received a generous donation of new premises: 10 years rent-free, including all outgoings.

Now they just needed an estimated $1.8 million in 8 months to build out, furnish and relocate into the new space. An enormous fundraising goal by any standard, especially in the middle of a cost-of living crisis.

Soul Hub fundraise each year to support those in need, however this time they needed a huge injection of cash. They required a strong approach outside of their normal fundraising efforts.

What were the insights and strategy?

Newcastle is a ‘big small’ town, historically blue-collar. As a result, Novocastrians are laid back, open and direct. They call it like it is. They also look after each other.

$1.8M is a lot of money to raise, so Out of the Square decided to skip to the chase and call it like it is!
“This is a BIG ASK – but we can do this together”. And thus, ‘The Big Ask’ campaign was born with a tagline to match – ‘Join The Big Ask – Donate to 1.8’.

How did the idea and strategy come to life?

Out of the Square used the limited production budget they had to create key assets designed to empower the community and spread the word. These included a suite of downloadable digital assets such as the Big Ask fundraising Toolkit, “editable” social tiles to help the community promote their involvement and editable templates for fundraising events.

What were the results?

There was ultimately only one metric that really mattered… December 11th, Soul Hub opened the doors to their fit-for-purpose new premises to welcome guests, having successfully reached their $1.8 Million target! (and exceeded by $100k). Now that made for one Big Ask Christmas!

 

Dentsu Creative – ‘Second Chance Champions’ for Transplant Australia

‘Second Chance Champions’ was a proactive and pro bono campaign made for Transplant Australia, a charity that supports all those touched by organ and tissue donation. They aimed to drive mass awareness around a critical issue within Australia, where donation rates had dropped to alarmingly low levels since the pandemic.

What was the challenge?

Given 4 in 5 Australians support organ donation and the registration process takes just 60 seconds, it’s a wonder why the demand for more transplants isn’t being met, year after year.
But the reality is: less than 1 per cent of people who die each year are eligible for organ donation given the deceased must die in a hospital under very specific circumstances. This is exacerbated when you consider only 54 per cent of the deceased’s next-of-kin consent to donation – simply because they never discussed their loved one’s decision. This lack of conversation, combined with all kinds of myths about the procedure, was preventing thousands from receiving a lifesaving transplant.

What was the insights and strategy?

There are currently around 1,800 Australians on the transplant waitlist, and 13,000 more on dialysis. But sadly, very few people who die each year are eligible for organ donation, and the family consent rate sits at just 54 per cent due to a lack of conversation about the issue.

But how do you inspire a nation to broach a less-than-inspiring topic? You situate it within a perennial national talking point: Sport.

Together with Transplant Australia, Dentsu launched a national campaign and feature-length documentary about the Perth World Transplant Games – to tell a less sombre, more positive story within the category.

How did the idea and strategy come to life?

Dentsu had two objectives. First to bring the issue of organ donation to as many Australians as possible. Second, to grow the number of donations themselves.

To do so, they created Second Chance Champions: a motivating story that used the Trojan Horse of sport (a national love) to invite the conversation of organ donation into lounge rooms across Australia.

Launching across multiple streaming platforms, Second Chance Champions is a feature length documentary backed by PR that delves into the world of organ donation through an international sporting event called the World Transplant Games.

What were the results?

Airing on Ch10, 10 Play, Apple TV+ and Paramount+, Second Chance Champions achieved national TV and online coverage, unlocking an audience of 12 million Australians. Or put differently, 50 per cent of the adult population. This figure increased by 3m through PR across TV News, Online, Radio & Print – resulting in 743 pieces of coverage and generating $14m in earned media (despite $0 media investment).

 

Special Australia – “Shift 20 Initiative” for the Dylan Alcott Foundation

What was the challenge?

Despite almost 20 per cent of Australians having a visible or non-visible disability, only 1 per cent are represented by brands in their advertising and marketing communications, leaving a large portion of the Australian population feeling unseen and unacknowledged.

Partnering with the Dylan Alcott Foundation, Special Australia were tasked with not only raising awareness around the current lack of visibility of people with disability in mainstream media, but also inspiring long-term change.

What were the insights and strategy?

By consulting with people with disability (PWD), Dentsu began to understand the impact of able-ism in our industry: PWD spend money with brands, but are rarely shown in advertising – making them feel unseen. This was validated by Kantar research, which showed PWD appear in only 1per cent of ads, globally.

How did the idea and strategy come to life?

To help increase representation and inclusion of people with disability, Dentsu created The Shift 20 Initiative – a collective movement centralised around an open source utility, a hub with tools and resources to help brands be more inclusive and make the shift towards normalising disability representation across all forms of media.

To launch the initiative, Dentsu united 13 of Australia’s biggest brands in a world-first coordinated effort to create ‘The Unignorable Ad Break’ – reshooting key scenes in their most iconic ads, replacing existing talent with people with different forms of disability to show how true representation should look in our everyday culture.

What were the results?

The campaign achieved blanket coverage across the national and global media landscape:

  • 600M impressions. Estimated combined reach of 96 per cent amongst Australians 18+
  • 144 pieces of media coverage in AU, 467 pieces of coverage in the US
  • 78 per cent uplift in recall of disability representation in participating brand’s advertising in the first 3-weeks.
  • 10 per cent increase in overall recall of disability representation in advertising in the first 3-weeks.
  • 63 per cent of viewers felt more positive about a brand after seeing advertising featuring people with disability (PWD), and 27 per cent said they’d take some kind of action

 

Cocogun – “Don’t You Forget About Me” for MissingSchool

MissingSchool is an organisation that supports the approximately 1.2 million kids across Australia affected by chronic physical or mental illness, who miss school for months and sometimes years. Beyond the everyday trauma of their health crisis, they feel forgotten and isolated, through no fault of their own. This sense of isolation has been shown to compound their conditions still further. MissingSchool works to provide ways to keep sick kids connected to their friends and school communities, including through bespoke technology.

What was the challenge?

Across Australia, chronic physical or mental illness affects up to 30 per cent of schoolkids – that’s approximately 1.2m students. They risk missing school for months to years. Research shows that isolation from their school community and peers has significant long-term consequences. Not being able to attend school causes their learning, relationships, and well-being to suffer. MissingSchool uses bespoke technology – See-Be telepresence robots – to keep these kids connected with their schoolmates and their education.

However, not enough people know that this is such a big problem. And those that do haven’t got the time or headspace to think about it deeply. So we needed a way to get/keep these sick kids on the public’s radar – to drive awareness and donations.

What were the insights and strategy?

Megan Gilmour founded MissingSchool following a personal family experience when her son was diagnosed with three rare blood disorders, one of which was pre-leukemia. The entire Gilmour family was absorbed by Darcy’s illness and had to move to Sydney from Canberra for his treatment. With their minds focused on his physical condition, it took a long time to realise that Darcy was also being affected by his sense of being disconnected from his school community. He actually needed school, his friends, and his wider school community back in north Canberra.

This is one family’s experience but thousands of families across Australia have had similar experiences. Sick kids feel lonely, isolated, left out, left behind. The core of our strategy was to remind people that our society is at its best when all children – whether they’re healthy or sick – are seen and heard.

How did the idea and strategy come to life?

The core of the creative idea was to have sick kids speaking for themselves – making a direct plea to the nation. To do this Cocogun enlisted a bunch of sick kids and the North Rocks Public School choir and orchestra to perform a stripped down, heartstring-tugging version of the iconic Simple Minds track ‘Don’t You Forget About Me’. While it packed an emotive punch, it also enabled Cocogun to showcase MissingSchool’s ‘telepresence’ robot technology, so viewers could see the sick kids joining in from their hospital bed/bedroom.
Cocogun also ran a series of outdoor executions which brought the sense of sick kids being forgotten to life in a simple, visceral and heartbreaking way.

In terms of audience, they used channel planning and thinking to target parents of school age kids – and tug on their heart strings by getting them to relate and empathise.

The results:

The campaign increased donations by 28 per cent and resulted in $325,000 in funding and $6m earned reach.
Reached 142 per cent more people through paid social YOY (1,034,052 vs 426,990).
Drove 13,886 people to the website in 2023 (137 per cent increase YOY).

Howatson+Company – “Touch” for Mastercard

While this film was created to redefine cinema experience for the blind and low-vision community, ‘TOUCH’ is an inclusive experience designed to be enjoyed by those with sight also – helping connect these communities in a new way.

What was the challenge?

Breaking down barriers and making the world more inclusive is part of Mastercard’s brand ambition. Their new Touch Card features unique tactile notches to make payment easier for the blind and low vision community.

To launch this accessible card in Australia, Mastercard wanted a unique, talkable act that connected with this community and brought the accessible thinking behind the card to life in a new way. And in a way that laddered up to Mastercard’s brand Priceless platform.

What were the insights and strategy?

By redesigning something as simple as payments, Mastercard’s Touch Card challenges how we design the world around us in every way. So, we decided to redesign another experience that had always catered to the sighted community: cinema.

Every year, over 500 million people visit the movies. Yet, for those who are blind or have low vision, the experience is an afterthought. The reliance on screen readers, audio descriptions, or asking friends what is happening on the screen often leads to a compromised cinema experience.
Howatson+Company decided to flip the script, creating a priceless cinema experience everyone can enjoy

How did the idea and strategy come to life?

‘TOUCH’ is a feature-length motion picture without pictures. Brought to life solely through Dolby 7.1 sound, without images or audio descriptions. Designed to be enjoyed by people who are both sighted and non-sighted.
It follows an original story of a neuroscientist trapped inside his father’s mind, along with his ex-girlfriend and an unsuspecting delivery driver. To escape, they must journey through crumbling memories and forgotten worlds.

The film was developed by award-winning filmmakers, in collaboration with consultants, composers, writers and actors from blind and low vision communities all over the world. We worked closely with inclusivity group Bus Stop Films and focus groups to consider the blind and low vision perspective at every stage of the production process.

‘TOUCH’ premiered in iconic cinemas across Australia, to sold out crowds of people across the spectrum of visual abilities, and is now being taught in film schools, giving future filmmakers a blueprint to make more inclusive productions.

Results:

‘TOUCH’ reached over 74 million people, with 150+ global news stories, garnering +AUD $10million in earned media coverage. But this is just the start. ‘TOUCH’ is scheduled to screen in cinemas and festivals globally in 2024 and beyond. And the production learnings from Touch have been turned into a lesson module and taught in leading film schools, giving future filmmakers a blueprint to make more inclusive productions.

Jack Nimble – “World’s Greatest Shave” for  the Leukemia Foundation

The “That’s Bloody Beautiful” campaign for the World’s Greatest Shave represents a significant step forward in changing the world by raising awareness and funds for blood cancer research and support. This campaign for a legacy not-for-profit revitalized a long-standing event, making it relevant to a new generation and thereby significantly impacting the Leukaemia Foundation’s mission. It is an outstanding example of how creative advertising can contribute to social change.

What was the challenge?

The World’s Greatest Shave faced declining engagement and awareness, challenging its ability to support vital blood cancer initiatives. Jack Nimble’s objective was to reignite the event, transforming public perception and increasing participation and donations. It aimed to connect a wider audience to the cause, making every shave an act of solidarity and support for those affected by blood cancer, thus ensuring the continuation of crucial research and support services.

What were the insights and strategy?

Insights revealed that the connection between the shave and the cause had weakened. Jack Nimble strategized to reintroduce the World’s Greatest Shave with a renewed focus and message: every act of shaving is a beautiful, supportive gesture. “That’s Bloody Beautiful” was born from this insight, intending to foster a community around the cause and celebrate every participant’s contribution, making the act of shaving more than a fundraiser—it’s a unifying, empowering symbol of hope.

How did the idea and strategy come to life?

Jack Nimble rebranded the World’s Greatest Shave across all platforms, integrating the “That’s Bloody Beautiful” message into every aspect of the campaign—from TV spots and social media to live events. They reinvented the whole brand from logos to fonts, all the way through to messaging strategy aimed to resonate emotionally with individuals and communities, encouraging participation and donations. The campaign was meticulously crafted to reflect the unity, courage, and beauty in supporting those affected by blood cancer, creating a widespread movement of solidarity.

Results:

At this stage, the campaign has only been live for a few weeks so is a little too early to confidently forecast where we will land.However, the client has had hugely positively feedback from our community on the new creative.

When fundraisers DO sign up and start raising money, they are raising around 10 per cent more YOY (this is the Average Per Active Fundraiser metric). This is a significant growth above our average.

Ogilvy Singapore – “Skins For Skin” for Unilever

Vaseline is about healthy skin for all. And this is particularly true for people who rely on skin donation. So Ogilvy Singapore created an experience where streamers exchange their favourite skin against the promise of a skin donation.

What was the challenge?

In Thailand, there are about 161 new burn patients every day, but the Thai Skin Bank, the collective depository of the nation’s donated skin, is empty. The lack of skin donations is mostly due to a lack of awareness. No-one talked about the subject, so nobody donated. Vaseline, which has been caring for skin since 1870, and has a strong presence in Thailand, wanted and encouraged skin-donor registrations country-wide.

What were the insights and strategy?

Few Thais knew that skin could be donated, so Ogilvy Singapore turned to those who knew the value of skin and had a strong social presence: Professional gaming streamers. By partnering up with them we let them exchange their favourite skins in the game for skin donation pledges for the Thai Red Cross.

How did the idea and strategy come to life?

With burn patients and victims rising every day in Thailand, and with a strong lack of awareness about the topic, Ogilvy Singapore decided to target a younger demographic, who would be able to understand the value of skin. In October 2023, 12 of Thailand’s largest streamers went online with a simple message : donate your skin in exchange of one of our favourite skins in the game. Reaching millions of young people over the course of 7 days, Ogilvy amplified the campaign further with a dedicated Youtube film.

Results:

  • From zero to 30,000 new donor registrations through the Thai Red Cross
    23,653 cm-squared of donated skin collected
  • 6 lives saved, as recipients of skin grafts donated via the campaign
  • 780 million social media impressions
  • 66 million views on TikTok and Youtube
  • 20,000 viewers from gaming livestreams

VML Singapore – “Change The Angle” for Unilever – LUX

Change The Angle is a campaign which highlighted the issue of sexist media camera angles at sports events. A simple QR code was used to expose sexist camera angles.

What was the challenge?

Women are 10X more likely than men to be objectified in sports. One of the main culprits is media cameras – which often deliberately focus on the women’s breasts, buttocks, thighs and even crotches. These sexist camera angles not only objectify them, but also disrespect their skills and abilities. This has been going on for decades. At the 2004 Summer Olympics, over 17 per cent of shots were coded as buttock shots and more than 20 per cent were chest shots.Even as recently as the 2021 Summer Olympics, there were 2,500 images objectifying women reported. What’s worse – once these footage and photos are published, they also find their way to hundreds of websites which are dedicated to sexually exploitative images.

What were the insights and strategy?

A simple QR code was used to expose sexist camera angles. VML played the media cameras at their own game.
LUX sponsored the Durban Open Women’s Beach Volleyball 2023 tournament in South Africa and hijacked the media cameras to expose sexist camera angles during a live broadcast. Instead of wearing logos, South Africa’s top women beach volleyball players sported QR codes on parts of their bodies where the media cameras tend to focus.

Viewers who scanned the QR code were led to the Change The Angle film where female athletes revealed messages about sexist camera angles. The film ended with a call for media cameras to focus on female athletes’ strengths and prowess, and to follow the simple actionable guidelines included.

To ensure maximum viewership, VML partnered with South Africa’s largest sports network, SouthAfrican Broadcasting Corporation (SABC), to broadcast the tournament live to millions of fans. Influencers and other athletes also attended the tournament and helped spread the message further by sharing the QR code.

Results:

Change The Angle received 4.7 billion impressions and was picked by more than 377 publications worldwide, including Yahoo, Telegraph, Washington Daily News and Boston Herald among others. These articles have also been viewed 1.54 million times so far.

The campaign generated $500,000 in earned media.

Significantly, South Africa’s biggest broadcast network*, South African Broadcasting Corporation(SABC) has adopted Change The Angle guidelines.

Over 80 per cent of media companies at the Durban Open 2023 have also adopted the guidelines.

World Vision Australia – 1000 Girls Campaign

The 1,000 Girls campaign, originating in Australia and now a global movement, holds immense relevance within the international aid category. By spotlighting the stories of vulnerable girls worldwide, it not only raises awareness but also drives action.

What was the challenge?

Every year, 12 million vulnerable girls endure lives marked by sexual violence, exploitation, and abuse as child brides. This issue has garnered global attention, resonating with Australian news and politics. Research reveals a surge in girls being withdrawn from school, forced into early marriages, and subjected to violence. Without intervention, an additional 10 million girls may marry underage by 2030.

The United Nations designates October 11 as International Day of the Girl, celebrating the potential of young women worldwide.

What were the insights and strategy?

WVA’s transformative journey began with a crucial brand reset in August 2023. Having weathered a decline in brand and core product (Child Sponsorship), the organization sought to rekindle Australians’ connection and bolster support for the world’s most vulnerable children.
The campaign aimed to:
1. Increase Child Sponsorship (CSPON) acquisitions year on year.
2. Engage new audiences.
3. Stabilize brand tracking metrics.

How did the idea and strategy come to life?

The core of the campaign is ambassador-led content, meticulously crafted with a minimalist style that thrust the spotlight onto the stories themselves. Each raw, first-person account from young girls was thoughtfully selected to resonate with the ambassador’s passion, career, or upbringing, creating a profound connection.
World Vision Australia’s content strategically infiltrated key audience and retail-aligned environments through a comprehensive national PR strategy. This included video news releases, audio news releases, and targeted media exclusives featuring hero talent. Simplicity in creativity allowed them to amplify the template through corporate partner, ANZ. One of their executives read a vulnerable girl’s story, igniting a successful internal CSPON campaign.

Involving influential Australian female figures was crucial. As these women read the stories and shared their unfiltered reactions, the resonance deepened, forging a stronger connection with Australians and catalyzing campaign success.

Results:

During the campaign period 3,229 children were sponsored by Australians, including 2,071 girls. There was also an impact at a global scale with the World Vision International partnership changing the lives of 10,900+ children, an 11 per cent uplift on the previous year.

The impactful stories shared by influential female ambassadors like Liz Ellis, Michelle Payne, and Sunday Aryang drove a 51 per cent uplift in content engagement across owned channels, with Facebook experiencing a remarkable 335 per cent audience growth. Our PR campaign reached 24.7 million, and our ambassador channels reached 2.3 million.

If you have been inspired by any, or all, of these campaigns. Then Buy Cairns Crocodiles Tickets Now!




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