(Prépublication) Peter Ampe nous parle des case movies

Crea / News

L’année dernière, plus de 7.000 case studies différents ont été réalisés pour les Cannes Lions, le festival international de la créativité. On pourrait dire aujourd’hui que les case studies audiovisuels sont devenus l’élément le plus important de toute idée créative. Malheureusement, réaliser un case study fort constitue encore une véritable épreuve pour les agences du monde entier. Heureusement, le livre « From Cold Case to Gold Case » - une publication de Borgerhoff et Lamberigts - apporte de nombreuses pistes et solutions. Il s’agit du premier guide dédié exclusivement aux case studies, écrit par Peter Ampe, l’un des créatifs belges les plus primés. Actuellement, Peter Ampe est directeur créatif chez FamousGrey et est, depuis dix ans, un membre apprécié des conseils de création mondiaux des réseaux Publicis, DDB et Grey. L'ACC et Creative Belgium organisent également une Creative Session avec Peter Ampe le 10 mars 2020.

Cette publication a été commandée par Creative Belgium. L'objectif de Creative Belgium est d'inspirer la prochaine génération de talents créatifs et d'aider l'industrie créative à prouver sa valeur ajoutée. Promouvoir la créativité en tant que moteur de la croissance et du changement économique et social.

  • Prix : 25 euros
  • Éditeur : Borgerhoff and Lamberigts
  • Client : Creative Belgium
  • En vente dans les librairies en ligne et hors ligne et chez Borgerhoff et Lamberigts.

Vous trouverez ci-dessous un extrait du livre "From Cold Case to Gold Case".

Peter Ampe © Lydie Nesvadba

No case film, no award

The shift from mono-channel ideas to multi-channel activations, brand experiences, services and product innovations has caused case lms
to become a necessity. A case lm enables you to experience an idea seamlessly, giving you a feeling for the ow, different touch points and, ultimately, the overall results.

It makes a great tool for both agencies and brands alike. Marketingdirectors use case lms for internal and external presentations to showcase the success of a campaign or a platform. Agencies enter them into award shows and put them on their reels to impress new and existing clients.

7,102 case lms were made in 2019 (source: Cannes Lions)

But let’s face it, award shows are the main reason why case lms are made. To give you an idea, 7,102 different case lms were produced this year with the sole ambition of entering them in the 2019 edition of theCannes Lions Festival of Creativity. It shows how essential they are intoday’s judging system. Can you still win an award without a case lm? I challenge you to do so. Can you change the colour of metal by investing time and money in your case lm? I bet you can. To put it bluntly – no case lm, no award.

However, a great case lm will not save a mediocre idea. A bad idea will remain bad, even if you tie a pink ribbon round it. But the same pink ribbon tied to a great idea might have the power to turn Silver into Gold or Gold into a Grand Prix. On the other hand, a bad case lm can kill agreat idea.

Inside the juror’s head

How does a juror’s mind work? To give you an idea, let me brie y recall my jury experience during the 2016 eurobest Direct Jury, which took place in Rome. The Italian capital is a fabulous historical place that I had been lucky enough to visit many times before. But when you’re part of a jury, it doesn’t matter which city you’re in, you’ll only see the inside of the same room for a few days.

Eurobest is a rather small award show when it comes down to judging conditions. But even so, we were still locked up with eight jurors in a small hotel room for three days. The bed was replaced by a round table and eight chairs. We spent every day watching the at screen television on the wall, accompanied by the sound of a coffee machine grinding beans in the background. The lucky ones had a chair facing the small hotel room window. The only hope of a mental escape was the sight ofthe roof of the Basilica Del Sacro Cuore across the street. We were fac- ing a life-size gilded gure of Jesus, shining like a promo star in his gold leaf coat. He was holding up his right hand in the direction of the Villa Borghese, two kilometres further down the road, where we would rather have been than in a standard double room occupied by eight people who were rather embarrassed to be sharing one bathroom. If you were lucky, someone was grinding coffee beans just when you were in there.

Our category had 350 entries. Online pre-judging had narrowed this down to just under 200 cases. This was still a lot, or so the organisers warned us. We would take regular breaks, but even so, we became numb and indifferent – especially if one case was entered in different sub-cate- gories. The fact that award shows have come up with a name to describe this phenonemon, says it all. They call it juror’s fatigue. It’s not yet an idiom in the Oxford Dictionary, but it’s a useful term to remember, because juror’s fatigue is the enemy of mediocre case lms.

Even though Cannes reduced the number of categories in 2018 and put more weight on online pre-judging, judging is still a hard job. Even more so at home, where you have to carry on judging even though your kids need your attention. It’s tempting to judge a case lm after the rst 20 seconds. So, make sure your case is compelling right from the start.