|Category||E01. Standard Sites|
|Product/Service||XBOX / FIFA 18|
|Entrant||McCANN LONDON, UNITED KINGDOM|
|Idea Creation||McCANN LONDON, UNITED KINGDOM|
|Media Placement||CARAT London, UNITED KINGDOM|
|Production||CRAFT LONDON, UNITED KINGDOM|
|Production 2||SOMESUCH London, UNITED KINGDOM|
|Production 3||TWENTYFOUR SEVEN Madrid, SPAIN|
|Rob Doubal and Laurence Thomson||McCann London||Co-Presidents and Chief Creative Officers|
|Sanjiv Mistry and Jamie Mietz||McCann London||Executive Creative Directors|
|Jacob Björdal and Jim Nilsson||McCann London||Art Director and Copywriter|
|Robert Stockton||McCann London||Account Manager|
|Francois d’Espagnac, Matteo Della Venezia and Tom Oliver||McCann London||Account Directors|
|Sailesh Jani||McCann London||Managing Partner|
|Rob Smith||McCann London||EVP|
|Paul Gillespie||McCann London||Senior Project Manager|
|Claire Colohan and Rebecca Wilford||Craft/McCann||Producers|
|Sergio Lopez||Craft/McCann||Chief Production Officer EMEA|
|Karen Crum||McCann London||Head of Planning|
|Fanni David||McCann London||Senior Planner|
|Jack Goss||McCann London||Planning Intern|
|Todd Martin||Somesuch||Director of Photography|
|Seth Wilson||Somesuch||Executive Producer|
|Reimer Eisig and Lennard van der Last||Somesuch||Composers|
|Chris Graves||Craft/McCann||Music Supervisor|
|Adam Smyth and Giselle Hall||Craft/McCann||Senior Sound Engineer and Sound Engineer|
|Mariona Sauret, Adam Ryzman and Francis Harris||Craft/McCann||Editors|
|Miriam Sasiain||Twentyfour Seven||Production Manager|
|Yasmina Ikimou||Twentyfour Seven||Production Coordinator|
|Lucas Cuevas||Twentyfour Seven||1st AD|
|Frodo Martinez||Twentyfour Seven||2nd AD|
|Ivo Van Vollenhoven||Twentyfour Seven||Ext. Producer|
|Bea Cañete||Twentyfour Seven||Producer|
|Liam White||Craft/McCann||Print Producer|
|Ellis Faint||Craft/McCann||Studio Manager|
Write a short summary of what happens in the ambient or digital execution or campaign.Xbox’s competitor had bought all the marketing rights to FIFA 18, a huge football videogame. So Xbox leveraged something bigger than videogame football - real football. Partnering with superstar club Real Madrid, we translated real football matches, move by move and in real time, into the corresponding commands for FIFA on Xbox. The dynamic, animated perimeter boards at Real Madrid’s stadium were the centrepiece of the campaign. The perimeter boards became a utility, teaching the audience (at the stadium and those watching at home) how to play like Real Madrid – on Xbox’s version of FIFA, all while never mentioning the game. When all other brands were just using perimeter boards as a space for branding, Xbox used the perimeter boards to not just sell FIFA 18, but make people better at it.
Cultural/Context information for the juryIn the lead up to the launch of many big videogames there’s a bidding war for marketing rights. For FIFA 18, an important game for Xbox, our competitor PlayStation snapped up all the marketing rights. This meant that while PlayStation had total freedom to advertise the game any way they wanted, we at Xbox had the opposite – a 100% ban on marketing the game. We couldn’t use any game assets, the logo or even show our own game packshot. So we had to somehow market a game we were forbidden from marketing.
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