The winning formula: eight factors that UKSA judges look for when selecting finalists for the TV Sponsorship category

In part, this is because brands that sign up for TV sponsorships benefit from an affinity with their companion show (or programming strand in some cases). While it’s important not to over-exaggerate this point (because some sponsorships are just glorified media buys), the evidence from bodies like Thinkbox suggests audiences are still predisposed to think positively about brands that support their favourite shows.

There are also other factors at play. In an era of ad skipping, audiences often use sponsorship credits as the cue to re-enter shows after ad breaks. The importance of this proximity to programming has been amplified in recent years by the fact that there is often no clear junction between editorial content and advertising anymore.

No less important is the fact that TV sponsorship has developed into a sophisticated marketing platform that reaches audience via multiple touchpoints. These days, any sponsorship worth its salt is going to include activity in-store and across social media. Where conditions allow, there is also likely to be a product placement component.

From the perspective of the UK Sponsorship Awards, increased demand for TV Sponsorship is clearly a positive development – because it means there are many more potential candidates for the relevant category. But this increase in volume also presents a challenge for judges. How, when there are so many sponsorships out there, do they separate out the best from the rest to arrive at their shortlist?

There’s no exact science to this (because, in the final analysis, awards finalists tend to have an unexpected ‘x’ factor). But for this article we have dug back through the last few years to identify some salient factors that helped TV sponsorships stand out.

Clear objectives: UKSA repeatedly drums home the point that its judges are looking for three core elements – clear objectives, campaign creativity and strong results; and this is as true of the TV sponsorship category as any other. These three elements all carry equal weight – but when reading an entry the first thing judges typically see is campaign objectives. As such, it makes sense to nail this point as quickly as possible. This is what Drum OMG & ITV managed to do with Voice of Choice, Go.Compare’s high-profile sponsorship of talent show The Voice. In this case, the brand used TV sponsorship to alert consumers to its recent name change. Brand mascots Wynne Evans and Gio Compario were linked to The Voice to tell a richer and more culturally engaging story than could be achieved via TV ads. The brand also acquired the license to activate the IP in idents on broadcast and across social and digital channels. The sponsorship resulted in significant uplifts against all of its KPIs, driving 73% awareness and 57% ident recognition. Clear objectives weren’t the only reason this campaign won the 2023 TV Sponsorship Award, but they provided a strong narrative thread that informed the entire campaign creative and helped deliver robust results.

Creative credits: Way back in the mists of time, critics lauded Cadbury for the creativity of its Coronation Street sponsorship credits. These days, most sponsorships tend to focus more on functionality or comedy than craft and creativity – but there are notable exceptions. One recent UKSA finalist was Projections, Hyundai’s sponsorship of Film on 4, entered by Innocean UK. This innovative campaign was designed to showcase Hyundai’s new electric vehicle (EV), the IONIQ 5. As part of this, Hyundai used the EV’s vehicle-to-load (V2L) technology to power film projections of cinematic genres – while simultaneously highlighting the innovative interior features of the IONIQ 5. From a cowboy cantering along the side of a road to a flying saucer landing down the side of a tower block, the projections were filmed for real and enhanced in post-production. The credits were beautifully executed – and served the purpose of highlighting the state of the art capabilities to the target ABC1 audience.

The right brand fit: Fragmentation in broadcast media has made it easier than ever for brands to achieve the right fit in TV Sponsorship. In recent years, numerous UKSA finalists have demonstrated the benefits of establishing authentic relationships with either thematic channels – or specific strands of programming. Roku Gin & Laphroaig Whisky, for example, secured a primetime sponsorship with Discovery’s Food Network, which connected the two drinks brands with food-loving ABC1 adults. Elsewhere, Hampton by Hilton signed up for a very effective partnership with Channel 5’s travel and adventure themed programming. The neat fit between Hampton by Hilton and the programming created a launchpad for the use of innovative, fun and relatable creative. It’s important not to define ‘brand fit’ too narrowly – particularly when dealing with popular mainstream programming. However, it is crucial that brands are able to quickly demonstrate to audiences why they are a relevant and relatable partner. Many TV sponsorships founder on the rocks of viewer cynicism or apathy.

The perfect slot(s): Some TV sponsorships are about establishing brand credentials, others are about creating a call to action. Heinz’s partnership with the ITV and STV National Weather is a classic example of the latter. This campaign (launched in 2020) was based around the insight that brand awareness for Heinz was high, but sales and penetration were decreasing. Brits had Heinz products in their cupboards but it was taking people longer to reach for them. By linking with ITV’s weather bulletins, Heinz was able to stay front of mind every day of the year around mealtimes. This led to “a dramatic increase in sales”. Shrewdly, Heinz also created a high volume of TV and digital assets – so that it could vary its messaging by season – eg soup in winter vs sauces in summer. Campaign success encouraged Heinz to renew the following year.

Integrated campaign activity: Lidl sponsored Channel 4’s Sunday Brunch for a couple of years. Aired on a key day for inspiring weekly shoppers, the sponsorship was designed to help Lidl build affinity with audiences and improving perceptions of the brand. A key aspect of the sponsorship was its activation across other platforms. For example, Lidl used its social media channels to showcase how ingredients available in its stores could be used to make recipes featured in the show. Lidl also got involved in Sunday Brunch’s live outdoor broadcasts at three summer festivals, content from which appeared as part of the main show. Lidl’s relationship with Sunday Brunch ended in 2022. But new sponsor Samsung has continued to leverage the show in multiple ways. For example, the whole Sunday Brunch kitchen is kitted out with top of the range Samsung products – an effective use of product placement. It’s not just appliances on show either. The show also features a Samsung TV.

Use of product placement: Colgate Max White Ultra sponsored Channel 4 hit series Married At First Sight in a campaign entered by Channel 4 and Wavemaker UK. The campaign ticked many of the boxes outlined above. For example, the emotional fit was a good one – because who doesn't want white teeth at their wedding? There was also a lot of brand extension activity across related media. Aside from the show itself, which aired on E4 and All 4, the partnership also covered spin-off show MAFS: Afterparty. Extending the sponsorship's reach Colgate was the show's first-ever branded social sponsor, with key moments from the series married up with an 18-34 audience through targeted distribution. Activating the partnership off-screen, Colgate also purchased the rights to use the Married at First Sight UK branding across its social media and website. The integration didn’t end there. Colgate Max White was also featured in product placement alongside sister brands Palmolive and Sanex.

Differentiation through co-creation: Some sponsorships can look off-the-shelf and one-dimensional – a media buy in all but name. But others are the result of careful collaboration between brand, agency and media owner. An example of the latter was Lexus & Sky Arts - The Big Design Challenge, entered into the UKSA Awards by mSix and Partners. This partnership saw the co-creation of Sky Arts’ first ever ad-funded programme – a five-part talent led competitive design format, with the winner having the opportunity to exhibit their work at the V&A. This AFP was the tent pole moment in a multi-touchpoint 18-month channel partnership with Sky Arts. By carefully-crafting a bespoke campaign, the brand was able to get closer to its target audience.

Space for diverse messaging: One of the most intriguing observations about UKSA’s TV Sponsorship entries in recent years is that they seem to index strongly in terms of diverse messaging. Possibly, this is because the medium offers the time and space for complex storytelling – with the core sponsorship providing a launch-pad for prosocial multiplatform messaging. Voltarol’s LGBTQ+-focused campaign, More Than Movement, is a recent finalist. There have also been very impactful campaigns on behalf of the RNIB and Cancer Research UK. One recent category winner was Toyota Sponsors Paralympic sport on 4 with m/Six, a partnership built around Channel 4’s coverage of the 2020 Paralympic Games. Pre-event activity included sponsored video diaries from Paralympics GB athletes posted on the C4 Paralympics Facebook page. During the games there were 300 hours of sponsored TV coverage, reaching more than 22m Adults. Toyota’s brand affinity was boosted hugely as a result.

Final ThoughtThe above isn't a meant to be a comprehensive list – but it provides a snapshot of how TV sponsorship has evolved into an interactive, multi-platform, storytelling medium. One key innovation that has already spawned a separate UKSA category is branded content. Another coming down the line is transactional TV sponsorship – with the rollout of connected TVs making it possible for sponsorship credits to act as the gateway to direct from home purchase. Whatever else is on the horizon as a result of AI, data analytics etc, just keep in mind that there is one other factor judges look for – compelling results. This doesn’t have to be sales figures, but evidence of how the sponsorship moved the dial in terms of brand affinity and engagement is important. 

Interested in entering the 30^th UK Sponsorship Awards? The 2024 edition of this prestigious annual event will open for entries during September 2023. There is a dedicated category for TV Sponsorship campaigns. For more details on the awards event and how to enter this category, visit the official UKSA website.