Watch the Top Five Super Bowl Commercials from the past fifteen years (yes, Feb. 3 marks the 16th anniversary of our coverage of your favorite Super Bowl Commercials – SuperBowl-ads.com)
Watch the Top Five Super Bowl Commercials from the past fifteen years (yes, Feb. 3 marks the 16th anniversary of our coverage of your favorite Super Bowl Commercials – SuperBowl-ads.com)
SCOTTSDALE, Ariz.–(BUSINESS WIRE)– Go Daddy’s commercials for the 2011 Super Bowl are far from being approved, in fact, they haven’t even been filmed yet, but CEO and Founder Bob Parsons declared Go Daddy will advertise in the big game for a seventh consecutive year. Go Daddy has purchased two 30-second spots in the Super Bowl and a single 30-second pregame commercial on FOX – all to be produced by Go Daddy Productions.
Parsons also said, like every other year, the ads will be GoDaddy-esque – meaning edgy, fun and slightly inappropriate – but this year will be different because Go Daddy Girls Danica Patrick and newcomer Jillian Michaels will both be featured.
“Jillian has the power … Danica has the speed! Together, our dynamic duo of Go Daddy Girls add up to sheer Super Bowl magic,” Parsons said. “Hopefully the FOX network won’t keep commercial creativity on such a short leash this time around. For 2011, Go Daddy is going to be as edgy as ever – in fact, our goal is to ‘out Go Daddy’ ourselves!”
Go Daddy, the world’s top Web hosting provider and domain name registrar, has leveraged the Super Bowl to its advantage over the last six years by using edgy 30-second commercials to attract millions of Internet visitors to www.GoDaddy.com. This year, an estimated 100 million people are expected to watch the Super Bowl.
“It doesn’t get much bigger than being in a Super Bowl commercial,” Jillian said with a big smile. “I think shooting a spot with Danica Patrick is going to be a blast. Go Daddy certainly knows how to create buzz around Super Bowl time – I’m looking forward to being a part of this new Go Daddy campaign!”
Danica has been featured in four Go Daddy Super Bowl campaigns to date. She starred in Go Daddy’s “Baseball” commercial, ranked as the Most-Watched Super Bowl Ad in 2009, according to TiVo.
When it comes to Go Daddy’s plan to use both her and Jillian in this year’s Super Bowl commercial, Danica had two words: “Girl Power!”
“Go Daddy takes some heat for their edgy commercials, but if you watch the ads I’m in, they’re actually all about Girl Power,” Danica said. “Adding Jillian to the campaign creates a whole new range of possibilities.”
Go Daddy’s Super Bowl legend began six years ago when FOX yanked Go Daddy’s ad before its second airing during the 2005 Super Bowl. That censorship triggered a postgame controversy which some believe puts Go Daddy under extra scrutiny with television executives each year.
“I agree with Bob,” Danica asserted. “Censors really need to lighten up! Aren’t Super Bowl commercials supposed to be about having a little fun?!”
The Super Bowl broadcast is set for Feb. 6 on FOX, the television network on which Go Daddy’s original controversy ignited.
To see Go Daddy’s Super Bowl commercials and photos, visit www.GoDaddy.com/SuperBowl.
To learn more about establishing your online presence, easily and affordably, visit www.GoDaddy.com.
About The Go Daddy Group, Inc.
Go Daddy is a leading provider of services that enable individuals and businesses to establish, maintain and evolve an online presence. Go Daddy provides a variety of domain name registration plans and website design and hosting packages, as well as a broad array of on-demand services. These include products such as SSLCertificates, Domains by Proxy private registration, ecommerce website hosting, blog templates and blog software, podcast packages and online photo hosting. The Go Daddy Group has more than 43 million domain names under management. Go Daddy registers, renews or transfers a domain name every second. GoDaddy.com is the world’s largest Web hosting provider and is the world’s No. 1 domain name registrar according to Name Intelligence, Inc. During the first half of 2010, The Go Daddy Group registered more than one-third of all new domain names created in the top six generic top-level domains, or gTLDs, including .com, .net, .org, .info, .biz and .mobi.
- The Go Daddy Group -
Copyright © 2010 GoDaddy.com, Inc. All Rights Reserved.
The Go Daddy Group
Elizabeth L. Driscoll/VP Public Relations
E-Trade Financial Corp. will advertise in the Super Bowl again early next year. The spot will certainly feature a talking baby. The idea for its commercial, however, may not be one cooked up by E-Trade ad agency Grey Group.
The storyline for the spot could come from a pool of videographers who submitted 250 submissions for E-Trade and Grey through Poptent, a social network dedicated to crowdsourcing video content. Grey will produce any of the work chosen from the pool, says E-Trade Chief Marketing Officer Nick Utton.
Utton, who stresses he is “delighted” with Grey, tells me he decided to crowdsource ideas for E-Trade’s 2011 advertising campaign to make sure the financial services company has the “best advertising imaginable” going in to the new year. “If we can get some ideas from people as creative fodder, it would be helpful.”
Utton will evaluate ad ideas from Grey, a unit of WPP Group, along with those submitted by Poptent’s talent pool. Utton didn’t want to share any details from the crowdsourcing effort but I understand that one submitted features emus—animals in ads are sure-fire Super Bowl crowd pleasers. Another features Benny baby trying to get another to invest in a “Twitter for dogs.” ETrade will pay $15,000 to the best winning video. It will pay $10,000 each for two runner-up videos.
“We’re busy reviewing what we’ve got,” Utton says. “We’ve got a lot of great options.”
Poptent, based in Wynnewood, Pa., works with many big marketers, including Procter & Gamble, Anheuser-Busch and GE, which just paid $40,000 for four videos produced by the Poptent community. Typically, says Poptent president Neil Perry, marketers buy broadcast-ready spots for TV spots and Web videos. The company charges $35,000 for most assignments. They keep $25,000 and the remainder goes to creators of the best content.
The privately held company recently received $3 million from MK Capital.
Frito-Lay has used consumer-generated commercials during the Super Bowl for several years. This year it will run such ads for Pepsi Max and Doritos.
Utton wanted to keep submissions contained to a smaller group, citing the competitive market E-Trade is in. “Doritos, let’s be honest, is a snack food. Money is serious stuff. We use humor and yet…we are highly regulated.”
Grey is partnering with E-Trade in this effort. Utton says Grey is a great “generalist” ad shop. “Does Grey have the best mobile platform development for the Droid, RIM and Apple? No. That’s when E-Trade and others go out and buy specialist help.”
PLANO, Texas, and NEW YORK, Sept. 15 /PRNewswire/ — Marking the fifth anniversary of the groundbreaking contest that changed the Super Bowl advertising landscape, the Doritos brand today launched the biggest, most unexpected Crash the Super Bowl yet. With an ad contract and a $5 million payout on the line for sweeping the top three rankings of the USA TODAY Ad Meter, the contest will offer an unprecedented six :30 Super Bowl ad spots for consumer-created commercials. Plus, this year’s contest brings the most surprising twist to date – Doritos inviting sibling brand Pepsi MAX to the program for even more chances to sweep the top spots on the Ad Meter. Each brand will air three :30 consumer-created ads during the Super Bowl XLV broadcast, Feb. 6, on FOX, leaving it up to fans to decide whether they submit Doritos ads, Pepsi MAX ads or, – for those that are especially ambitious – ads for each.
Since 2007, Doritos has aired consumer-created ads on the Super Bowl telecast that have consistently ranked within the top-five spots of the USA TODAY Ad Meter. This marks the first time PepsiCo’s Doritos and Pepsi MAX brands have partnered for a Super Bowl activation.
“Following last year’s Super Bowl, our fans wanted another shot at sweeping the top of the USA TODAY Ad Meter and challenged us to look for new ways they could demonstrate their abilities at the highest level,” said Rudy Wilson, vice president, Frito-Lay. “We answered by bringing Crash the Super Bowl back and stocking our arsenal in a way nobody expected – by partnering with Pepsi MAX to offer six spots to consumers to showcase their talents and make their dreams a reality.”
“We are excited to return to the Super Bowl this year to drive mass awareness that Pepsi MAX has Zero Calories and maximum taste through a consumer engagement program like Crash the Super Bowl. We believe that great ideas can come from anywhere and we’re excited to give Pepsi MAX fans the chance to showcase their creative talents on one of the world’s biggest stages,” said Lauren Hobart, CMO Sparkling Beverages, PepsiCo Beverages America. “With our colleagues at Doritos, we’re confident fans of both brands will put it all on the line this year and that the experience will help catapult their careers in many new and exciting ways.”
To help celebrate the launch of the contest, Doritos and Pepsi MAX are hosting a first-of-its-kind event today aimed at giving consumers the best possible preparation for this year’s competition. Held in Los Angeles and available nationwide by live webcast, the event will be headlined by creative directors from two of the world’s leading ad agencies – Jeff Goodby from Goodby, Silverstein & Partners and Rob Schwartz from TBWA\Chiat\Day – for an exclusive behind-the-scenes discussion about creating breakthrough Super Bowl ads. In addition, film and television star Betty White, whose Super Bowl spot became a phenomenon coming out of Super Bowl XLIV, has joined the Crash the Super Bowl team to help inspire contestants to shoot for the Super Bowl spotlight and pursue their dreams. She will be appearing at the launch event and serving as one of the lead recruiters for this year’s contest. Consumers can view a live webcast of the event at 1 p.m. EST/10 a.m. PST today at http://www.ustream.tv/crashthesuperbowl or a recording of the event will be available at www.crashthesuperbowl.com.
This year, participants can upload :30 commercials that share their love for Doritos tortilla chips or Pepsi MAX to www.crashthesuperbowl.com from September 27, 2010, to November 15, 2010, to be considered for one of the coveted spots that can change the lives of Doritos and Pepsi MAX fans. To help entrants amp up their creative masterpieces, the site also houses a toolbox where Doritos and Pepsi MAX logos, product shots, music and animations are available for download and use. In addition, footage from today’s launch event also will be available on the contest website.
Ten finalist ads will be announced in January 2011 – five Doritos ads and five Pepsi MAX ads. Then it will be up to fans to vote for their favorite ads online and determine two winning Doritos spots and two winning Pepsi MAX spots. In addition, Doritos and Pepsi MAX executives will each select a winning spot for each brand, for a total of six consumer-created spots to air during the Super Bowl XLV broadcast. Each of the 10 finalists will win $25,000 and a trip to Dallas to attend Super Bowl XLV in a private luxury suite at the game, where they will tune in to learn for the first time which ads won when they air for a worldwide audience. Beginning today, details about the advertising challenge are available at www.crashthesuperbowl.com.
Potential grand prizing for the contest will be based on each winning ad’s ranking on the USA TODAY Ad Meter:
• $1 million will be awarded for an ad that scores the No. 1 spot on the Ad Meter
• $600,000 will be awarded for an ad that scores the No. 2 two spot on the Ad Meter
• $400,000 will be awarded for an ad that scores the No. 3 spot on the Ad Meter
If consumer-created Doritos and Pepsi MAX ads sweep the top three rankings of the USA TODAY Ad Meter, an additional $1 million bonus will be awarded to each of the three winners for a total prize giveaway of $5 million. In addition, the consumer who creates the highest-ranking Doritos or Pepsi MAX ad will win a guaranteed contract to create an additional ad for the two brands in 2011.
The USA TODAY Super Bowl Ad Meter tracks the second-by-second responses of a panel of viewers to ads during the national broadcast of the Super Bowl and ranks them favorite to least favorite. Created in 1989, USA TODAY’s Ad Meter has been regarded as the most influential Super Bowl ad rating in the advertising industry.
Doritos tortilla chips is one of the billion-dollar brands that make up Frito-Lay North America, the $13 billion convenient foods business unit of PepsiCo (NYSE: PEP), which is headquartered in Purchase, NY. Pepsi MAX is one of PepsiCo’s billion-dollar global brands and is part of Pepsi Americas Beverages. To learn more about Pepsi MAX, visit the Pepsi Max tab on Pepsi’s Facebook page at: www.pepsimax.com. To learn more about Doritos, visit its website at www.doritos.com or on Twitter at www.twitter.com/DoritosUSA.
PepsiCo offers the world’s largest portfolio of billion-dollar food and beverage brands, including 19 different product lines that each generates more than $1 billion in annual retail sales. Our main businesses – Frito-Lay, Quaker, Pepsi-Cola, Tropicana and Gatorade – also make hundreds of other nourishing, tasty foods and drinks that bring joy to our consumers in more than 200 countries. With annualized revenues of nearly $60 billion, PepsiCo’s people are united by our unique commitment to sustainable growth, called Performance with Purpose. By dedicating ourselves to offering a broad array of choices for healthy, convenient and fun nourishment, reducing our environmental impact, and fostering a diverse and inclusive workplace culture, PepsiCo balances strong financial returns with giving back to our communities worldwide. For more information, please visit www.pepsico.com.
Posted: Aug 09, 2010 10:10 a.m.
Sure, we just had the first pre-season NFL game yesterday, but as any coach will tell you, it’s never too early to start planning a trip to the Super Bowl. Just ask General Motors.
Joel Ewanick, GM’s vice president of marketing, told Advertising Age that GM “will return to the Super Bowl in 2011; that an ad campaign will break next month for the Chevy Camaro; and that there’s a new tagline coming for Cadillac, ‘The new standard for the world.’”
As the company comes out of its bankruptcy filing with several new products, GM is increasing its marketing budget. Automotive News reports, “GM is increasing its advertisement spending to levels seen prior to its bankruptcy filing.”
“GM hasn’t advertised during the Super Bowl since 2008, but will be making a return appearance as it continues to distance itself from its 2009 bankruptcy filing. Ewanick failed to reveal what specific plans GM has for the big game, but did reveal all advertising would revolve around the Chevrolet brand,” writes Left Lane News.
For consumers, the extra cash GM is spending on marketing will mean more commercials — but then again, that will also mean more exposure to GM products. Still, “Exactly when these new marketing efforts will start popping up on our TV sets is still to be determined,” writes Autoblog.
NEW YORK – The cola wars are back, and this time they have zero calories but plenty of nostalgia. PepsiCo Inc. will premiere a revamped version of its “Diner” Super Bowl commercial on Monday night, pitting its Pepsi MAX against Coca-Cola’s popular Coke Zero, a brand five times its size.
Analysts say people love the funny, spirited rivalry of the decades-old cola wars and the move will benefit both soda makers. That’s good news for the $100 billion industry, which is seeing weak soft drink sales as shoppers switch to healthier juices and teas.
The premise of the new Pepsi MAX ad is the same from the 1995 original, one of the better loved commercials from Super Bowl XXIX: Delivery drivers from the rival soft drink makers form a short-lived friendship in a diner over music. The first ad’s song was The Youngblood’s “Get Together.” This time around it’s “Why Can’t We Be Friends” by War. They sample each other’s drinks and the Coca-Cola driver prefers the Pepsi product. And then the friendship comes to an abrupt — and funny — end.
The first version compared the longtime No. 2 Pepsi and Coca-Cola brands. This time around, the ads take on a very 21st century product — zero-calorie versions of their full-calorie counterparts.
Coca-Cola Co., Atlanta, has been wildly successful with its five-year-old Coke Zero brand, which taps into the healthy shopper mindset. Now PepsiCo wants to move into that market with Pepsi MAX, which has its roots in Europe but is relatively new to the U.S. Pepsi MAX first launched in 1993 overseas and came to the U.S. in 2007, two years after Coke Zero’s release. The entire brand did $1.7 billion in sales in 68 countries last year. Coke Zero has been growing in the double digits for four years now and is in 133 countries. The brand is worth more than $1 billion in sales.
The new ad is again directed by Joe Pytka, who has directed dozens of Pepsi ads over the years, including ones featuring notable stars such as Michael Jackson and Aretha Franklin. Viewers will see a familiar face. Art LaFleur, who played the Pepsi driver in the original, runs the diner.
Coca-Cola has not done comparison advertising for Coca-Cola Zero beyond comparing itself to Coca-Cola. It was quick to downplay the assertion that Pepsi MAX is better.
“Doesn’t a fight require two sides? As far as we can tell, the two drivers in this ad may be the only remaining Pepsi MAX drinkers,” said Coca-Cola North America spokesman Scott Williamson.
The updated version of “Diner” is the latest in a long line of advertising remakes, as creators dig back to past successes to tap into nostalgia. A Coke Zero Super Bowl ad in 2009 remade the company’s classic “Mean Joe Greene” commercial with Pittsburgh Steeler Troy Polamalu. Boost Mobile remade the famous Super Bowl Shuffle with Chicago Bears alumni in this past year’s Super Bowl.
PepsiCo declined to say how much it is spending on the ad, which was made in collaboration with TBWA/Chiat/Day LA ad agencies. The company, based in Purchase, N.Y., promises this is just the beginning of a new push for the brand. The campaign will also be extended online to feature exclusive content on Facebook and YouTube.
“We think now is the time to start banging on the drum, on the fact that we believe we have a great tasting, zero-calorie soda and we’re ready to take on the competition,” said spokeswoman Melisa Tezanos.
The cola wars have been successful for Pepsi and Coca-Cola in the past because they draw attention to the products and they’ll likely do so again, said John Sicher, editor of trade publication Beverage Digest.
“This is sort of classic Pepsi, a funny, provocative ad taking a shot at Coke,” he said. “This can only help both companies and both products.”
By Eriq Gardner
For the third time in the last 10 days, a commercial that aired during this year’s Super Bowl has prompted a lawsuit.
The latest targets a spot aired by Kia Motors that allegedly rips off a classic funk tune by Dyke & the Blazers called “Let a Woman Be a Woman.”
Drive-In Music Company, which says it owns the rights to the composition by Arlester Christian, is suing Kia, CBS, the NFL, ad agency David & Goliath, Ninja Tune Records and various other parties for infringing its copyright on the song. According to the complaint, the agency didn’t seek or obtain permission to use the composition or sound recording in the spot. The plaintiff is spreading the blame, taking CBS to court for airing and continuing to air the commercial and the NFL for airing the ad on its website.
Super Bowl commercials are designed to attract attention but brands who paid big bucks to be a part of this year’s extravaganza probably did not have this in mind. This month luxury goods maker Louis Vitton sued Hyundai for featuring a basketball with the company’s logo. We’ve already covered in detail Lindsay Lohan’s lawsuit against E-Trade. And let’s not forget the beef by the White Stripes against the U.S. Air Force (even though that didn’t get to court).
March 03, 2010 3:25 PM
Pantsless hullabaloo in Super Bowl leads to Dockers getting three spots in NCAA tourney.
By Brian Steinberg, AdAge.com
Talk about getting caught with your pants down. After running back-to-back ads in the Super Bowl utilizing the same creative theme — people walking about without any trousers — CBS has agreed to give one of the marketers involved additional ad time to make up for the gaffe, according to a person familiar with the situation.
Dockers’ Super Bowl ad featured men traipsing about without britches, while signaling to male viewers they ought to grow up and “wear the pants.” Oddly, the ad was preceded by a commercial from online job site CareerBuilder that sported office workers taking the concept of casual Fridays to a strange extreme — walking around the workplace in their underwear. Of possible concern: The placement of the two commercials could blur distinctions in consumers’ minds.
“The fact the theme of not wearing pants is similar in both, and the fact that they ran back-to-back, would make it more confusing for consumers to remember who to attribute each piece of creative to,” said Stacey Shepatin, director of national broadcast for Interpublic Group of Cos.’ Hill Holliday.
Dockers expressed concern, according to a person familiar with the situation, so CBS has allocated the Levi, Strauss & Co. apparel brand three 30-second spots during the NCAA men’s basketball championships. CBS declined to comment, but in a statement, the network said, “The feedback we received from the client was that they were pleased with the ad’s performance.” A spokeswoman for CareerBuilder did not return phone calls seeking comment
Executives at Dockers “were somewhat disappointed that we ran immediately after the CareerBuilder spot, given the visuals were similar, though we definitely felt the spots were very different,” said Jennifer Sey, vice president of global marketing, for Dockers.
Ms. Sey declined to comment on whether CBS offered new ad inventory in exchange for the Super Bowl placement. While the company is happy with results from the Super Bowl advertising, she said, “the agreements we made with our network advertising partner are confidential, but we are constantly in discussion with the network about strategies. Those discussions are ongoing.”
A hullabaloo over doffed pantaloons in a Super Bowl spot seems out of place, but the emergence of one sheds light on some of the arcane practices surrounding the running of TV commercials. TV networks deliberately screen commercials for outsize claims, unproven allegations against competitors, decency standards and other criteria. But they rarely make certain the theme and creative elements in one are completely different from others that may air in the same commercial break.
Instead, TV networks usually take care not to place ads from rivals in the same ad break. Ads hyping Coke and Pepsi products never run near each other, for example, nor do ads for cereals from Kellogg and General Mills. Networks take particular pains to avoid placing ads from rival car makers in proximity to each other, though sometimes the addition of commercials from local stations, often rife with spots from regional dealerships, makes the task extremely difficult to accomplish.
Trying to weed out ads with similar creative ideas might be an insurmountable task. Would viewers get confused by consecutive ads featuring any number of usual-suspect ad elements such as animated characters, dissatisfied housewives or ditzy frat boys? Are there enough commercials in existence today that don’t use these elements that could be used to buffer those that do?
“I don’t know of any specific policy that talks about [creative themes] being separated,” said Hill Holliday’s Ms. Shepatain. “Most of it is by category separation. My guess is that, in this situation, [CBS] looked at a job-market category versus an apparel category and said, ‘It shouldn’t be a problem.’”
For its part, Dockers said the Super Bowl ad was a success, based on measures it has for increases in numbers of “fans” the brand has on Facebook and followers on Twitter; number of searches via Google around the time the ad aired on TV; and traffic to its website, among other factors, said Ms. Sey. “These, to us, are signals that our consumers were engaged,” she said. “We’re really pleased with sales we are starting to see in the dot-com space.”
If Dockers did receive additional ad inventory in exchange for its Super Bowl placement, the move is not in keeping with typical TV-network procedure. Networks will give additional ad time, also known as “make-goods,” to clients when the shows they ran ads in fell short of predetermined ratings guarantees. CBS’s broadcast of Super Bowl shattered viewership records, drawing 106.5 million people, according to Nielsen, beating the network’s 1983 airing of the season finale of M*A*S*H.
The cost of a 30-second ad in the NCAA men’s basketball tournament typically runs several hundreds of thousands of dollars to more than $1 million, depending on the proximity of the advertising to the championship games. Meanwhile, CBS sought between $2.5 million and $3 million for a 30-second ad in this year’s Super Bowl broadcast.
Images shown during the Super Bowl of people playing basketball have landed Hyundai in a different type of court after Louis Vuitton didn’t think the ad was so super.
Luxury goods maker Louis Vuitton is accusing Hyundai of violating its trademark in one of the car company’s Super Bowl advertisements promoting the Montgomery-made Sonata.
The lawsuit, reported by Reuters news service, was filed in federal court in New York.
One of the Hyundai Sonata ads shows the car being driven through what appears to be a middle-class neighborhood. In order to illustrate its message — that luxury now is available to everyone who can buy the car — it shows residents with yachts in their yards, shows workers dining on lobster in the company cafeteria and shows police officers snacking on caviar while on patrol.
In one scene, a group of men play basketball in a park. The camera shows a close-up of the ball, and it has a decorative pattern along with what appears to be the letters “LZ” in a format similar to the “LV” initials of Louis Vuitton.
Louis Vuitton is seeking damages and for the advertisements to be permanently pulled.
The company is known to be very aggressive in protecting its trademark. In 2007, the company won a lawsuit against MTV and Sony BMG over a Britney Spears music video that showed the dashboard on a luxury vehicle that appeared to be produced by Louis Vuitton.
A French court fined MTV and Sony BMG about $117,000 each for the video.
Chris Hosford, executive director of corporate communications for Hyundai Motor America said the company still is formulating a response to the lawsuit.
“We have not had time to analyze it,” he said. “It is a pretty lengthy lawsuit.”
He admitted Hyundai was trying to bring up images of the luxury company with the advertising.
“Yes, we used a parody of the logo intentionally,” he said, when asked if it was an effort to emulate Louis Vuitton.
Most Super Bowl Ads Don’t Go Viral
Two Weeks After the Game, the Ads Drop Off the List, Replaced By Real Viral Campaigns
NEW YORK (AdAge.com) — This week’s chart is a testament to the power of TV. Now that the Super Bowl is a fading memory, so are many of the Super Bowl ads, meaning TV was the key driver of their popularity, rather than a groundswell of demand on the web.
This week, only four ads from last week’s Bowl-dominated chart remain: Doritos, Snickers, E-Trade and Google, while a fifth Super Bowl ad, from Bud Light, joins the list for the first time. Doritos came in at No. 1 with an impressive 5 million views, even though that’s a 73% drop from last week. Gone are many of the ads that generated heat around the game, such as Audi’s “Green Police,” Tim Tebow’s Focus on the Family ad and Motorola’s Megan Fox ad.
But while ads from the big game fade, some of the more durable viral campaigns are returning to the list, a testament to their lasting power. It’s the difference between a surge in audience powered by marketing and exposure from a big event, and a sustained viral campaign, powered by social media and marketing.
Just look at who’s returned to the list: Evian’s rollerskating babies are back, of course, for their 31st week in the top 10. Also back are Microsoft’s “Project Natal” with 35 total weeks in the top 10, and DC Shoes’ “Gymkhana,” which has hung on for 34 weeks.
Old Spice’s “The Man Your Man Could Smell Like” also made the list for the first time. It will be interesting to see if that ad has staying power, or if the humor starts to go stale.
Last Week Brand Campaign Agency Current Week Views* % Change in Views** Watch the Spot 1 1 Doritos Crash the Super Bowl 2010 Goodby, Silverstein & Partners 4,871,317 -73% 2 New Old Spice The Man Your Man Could Smell Like Wieden & Kennedy 1,660,063 New 3 2 E-Trade E-Trade Super Bowl 2010 Grey 1,378,361 -60% 4 Back on Chart Evian Live Young BETC Euro RSCG 1,232,441 Back on Chart 5 New Puma HardChorus Droga 5 762,436 New 6 3 Snickers Pick Up Game BBDO 737,857 -78% 7 7 Parisian Love In-house 649,998 -78% 8 New Bud Light Bud Light Super Bowl 2010 Cannonball; DDB; Palm + Havas; Momentum 547,043 New 9 Back on Chart DC Shoes Gymkhana Two Mad Media 425,267 Back on Chart 10 Back on Chart Microsoft Xbox Project Natal World Famous 411,585 Back on Chart Source: Visible Measures
*The Visible Measures Top 10 Viral Video Ad Campaigns Chart focuses on brand-driven viral video ads that appear on online-video-sharing destinations. Each campaign is measured on a True Reach basis, which includes viewership of both brand-syndicated video clips and viewer-driven social video placements. The data are compiled using the Visible Measures Viral Reach Database, a constantly growing repository of analytic data on more than 100 million internet videos across more than 150 video-sharing destinations.
Note: This analysis does not include Visible Measures’ paid-placement (i.e., overlays, pre-/mid-/post-roll) performance data or video views on private sites. This chart does not include movie trailers, video-game campaigns, TV show or media network promotions, or public service announcements. View-count results are incremental by week.
**Indicates percent change in views compared with the same period the week before.
To notify Visible Measures of an upcoming video ad campaign, or for an end-to-end assessment of your campaign’s overall performance, please contact Visible Measures directly.
For Immediate Release
sands research annouces results of neuromarketing study ranking
effectiveness of 2010 super bowl commercials
This Year’s Most Engaging Include Volkswagen and Google Advertisements;
Past Top Spots Have Achieved Considerable Future Success
February 24, 2010 – El Paso, TX – Leading neuromarketing firm Sands Research announced today that it has completed its annual study gauging the effectiveness of Super Bowl commercials. The 2010 results were compiled using electroencephalography (EEG) recordings and eye-tracking data gathered from study participants.
“Our technology measures engagement millisecond by millisecond and is the only to reflect frame by frame changes in emotion. Volkswagen’s ‘Punch Dub’ was our top scorer this year with a commercial that engaged viewers in virtually all of the frames,” stated Dr. Stephen Sands, Chairman and Chief Science Officer at Sands Research. “The company turned viewers into ‘Volkswagen detectors’ by having them look for and anticipate the cars – VW really maximized their entire 30 seconds.” Dr. Sands also noted that Google’s “Parisian Love” advertisement used an engaging storyline to elicit a consistent, deep emotional response from viewers.
Using its proprietary Neuro Engagement Factor (NEF)™, the company ranked these spots and 61 other commercials. The top ads and their respective scores are as follows:
#1: Volkswagen – Punch Dub/Deutsch – Los Angeles (4.71)
#2: Vizio – Forge/Venables, Bell and Partners – San Francisco (3.96)
#3: Budweiser – Bridge/DDB – Chicago (3.91)
#4: Google – Parisian/Google Creative Lab (3.80)
#5: Bridgestone – Whale of a Tail/Richards Group – Dallas (3.71)
“Rankings based on ‘free recall’ only test how easily a commercial is remembered and as a result fail to provide substantive feedback,” said Dr. Sands. “By conducting neuromedia analysis based on EEG readings rather than recall or more unreliable instant analysis peripheral measures such as heart rate, we are able to effectively determine the dimensions on which commercials are engaging viewers, and also an ad’s chance for success.”
Indeed, past results have proved strong indicators of future achievement – three out of the top five commercials identified in the 2009 Sands Research Super Bowl study went on to receive nominations for the coveted Creative Arts Emmy Award. This included Coca-Cola’s “Heist” spot which won the Emmy for “Outstanding Commercial” after taking Sands Research’s top ranking.
Full rankings, videos of the highest scoring 2010 Super Bowl commercials, and past year’s results are available at http://www.sandsresearch.com/SBXLIVMain.aspx.
Members of the press may obtain expanded information and results by contacting J.Todd Smith by email at: email@example.com or by phone at 917-328-1156. All others may contact firstname.lastname@example.org or call 888-267-6087 Ext. 812.
About Sands Research Inc.
Sands Research Inc. (www.sandsresearch.com) is a pioneer in applying cognitive neuroscience technology for unique insight into the consumer’s response to television and print advertisements, product packaging and digital media. Combined with pre- and post- questionnaires, the Company provides a comprehensive, objective analysis of the viewer’s engagement in the marketing material being presented by an advertiser.
The results are in from the Wired Biometric Super Bowl Party, and 25 of our readers’ autonomic nervous systems have selected their top 10 advertisements.
The Google ad that had everyone talking after the game got the attention of our party goers as well, but the real winner was a surprise. It turns out our readers are even geekier than we thought.
The study, conducted by Boston-based research firm Innerscope, was held at Wired HQ in San Francisco with participants from across the state and as far away as Sweden. These guinea pigs had their skin conductance, heart rate and movements measured to see how they responded physiologically to the motley assortment of Super Bowl ads.
The company’s algorithms translate those measurements into a single metric they call “engagement.” While the researchers are obviously looking for spikes in people’s excitement — heart rate increases, etc — the best ads also generate consistent body movements and attention to the ad. (Read more about the science in “How Your Biometrics Can Make Super Bowl Ads Better.”)
What’s fun about this technology is that you can see people’s reactions in real time, which you couldn’t with traditional advertising scoring techniques. The downside is it takes some time to crunch the data, which is why you’re reading this now instead of the day after the game. But as the old aphorism goes, slow and data-rich wins the race.
In the videos below, engagement is charted on the graphs, so you can see it moving up and down as the ads roll. On the Innerscope scale, getting up near 90 is impressive. The peak moment they measured was (of course) Tracy Porter’s fourth-quarter interception of Peyton Manning and the long return for a touchdown that followed. It hit over 122 on the engagement scale.
“It may be the highest-ever score for Innerscope and there are some obvious reasons why that might be,” said Carl Marci, a social psychiatrist at Massachusetts General Hospital and Innerscope co-founder.
One funny quirk about this year’s Super Bowl ads: none of them beat the two NBC promotional spots for The Late Show With David Letterman and How I Met Your Mother. If we included them on the commercial list, they would have ranked one and two. Go figure. Maybe all that Conan O’Brien/Jay Leno controversy was good for the late-night talk-show-host business.
In a surprise, the Electronic Arts ad for the upcoming game Dante’s Inferno topped the list. If you needed more evidence that Wired readers are geeky, take the fact that they liked an ad for a videogame better than any of the beer commercials.
There aren’t a lot of noticeable peaks and valleys for this ad, unlike some of the others. People most just stayed tuned in and watched the whole thing.
“Like a movie trailer, the ad is the product,” Marci explained.
But why this ad and why this game, which at least to this writer, seem kind of mediocre?
“With the Dante’s Inferno ad, people probably weren’t thinking ‘This is going to be the greatest game of all time,’ but it would have been very hard for them to ignore,” said Innerscope senior scientist, Caleb Siefert. “Definitely people in that audience are going to have an opinion of the game.”
Coming in at number five, we see Google’s first Super Bowl ad. When it came on, a hush fell over the room as people watched to see how their search engine would make a commercial.
“We didn’t rate Google as the number one ad, but when you look at the trace, it’s absolutely amazing,” Siefert said.
Throughout the commercial, we stay at one time scale quickly progressing through a cute love story between some American dude and a Parisian lady. Then, right at the end, the ad’s time scale speeds up and soon the searcher is looking for information on how to assemble a crib.
“What I loved about the Google ad, it was one of the best stories told,” Marci said. “It’s so tight and hangs together so well and then reminds you of the product that delivered this story so effectively.”
Then, Google’s “branding moment” hits as the words “Search on” come on the screen. People loved it.
“I’m blown away by the slope of the line in the branding moment, how sharply it goes up,” Siefert said.
And finally, we get to the ad in which a Doritos samurai with Doritos nunchuks attacks some unsuspecting faux hipsters who are for some reason eating Doritos in the gym. What you see in the numbers here is a classic joke that works. It starts off kind of fun, lulls you for a minute as the action plays out, and then bam — the punchline.
These are some links to the best articles reviewing the Super Bowl Commercials of 2010.