Engine Room Creates New NASCAR On Air Graphics/Branding Package For Fox Sports; Photo-Real CG Show Open Establishes An Exciting New Look for NASCAR ON FOX
Hollywood, CA — Engine Room’s latest NASCAR project for Fox Sports revved into high gear during the Daytona 500 broadcast. The expansive, high-energy package will air throughout the NASCAR ON FOX fourteen-week season and involved the creative development, design and production of the Show Open (Daytime and Night versions) as well as two new NASCAR ON FOX branding icons to be rolled out in the coming weeks.
For the last two seasons, Fox Sports has tapped Engine Room for custom animation pieces involving intensive and rapidly produced, animated comic-style CG recaps of each weekly NASCAR race. This year’s the collaboration went into overdrive, with Engine Room delivering an entire broadcast sports package that showcases the thrills, spills and upsets intrinsic to NASCAR, all with a beautiful new hyper-real look. As part of the Open’s signature design, are animated race cars that reflect the evolution of new 2013 custom body styles from the big three automakers in a wild race to the finish line. Engine Room was also tasked with designing two new branding icons for FOX SPORTS to be used throughout the racing season. The new chrome, energy infused Fox X-Car and its high-tech robot driver Speedus, a powerful 3D animated cousin to FOX Football robot Cleatus, is a lightning-fast racing mascot on wheels.
VFX Supervisor Dave Piedra, Creative Director Dan Schmit and EP Michael Caplan led the Engine Room design and animation team throughout the intensive process that spanned nine months, from the design phase to the execution of each deliverable in the campaign, which included two complete packages, the first for day races and a second to air during the season’s night competitions.
“Our work with Fox Sports is always incredibly rewarding thanks to the vision and passion of EVP/Creative Director Gary Hartley and his team,” says Engine Room’s Dan Schmit. “We are proud of how our ongoing collaboration with Fox Sports has evolved for more than a decade from a relationship based on our live action skills, to now providing large scale creative branding projects where we have been invited to do it all, from developing original concept, through feature-level visual effects CG execution. Gary saw our potential early on and we look forward to many more years of exciting collaboration and visionary work in support of Fox Sports.”
About Engine Room: Engine Room is a global creative arts studio specializing in visual effects, live action and design for television, commercials, feature film and new media.
New public awareness campaign for A Child Is Missing entitled "Playtime Is Over." The ad is a bold and realistically terrifying look at what happens to many of our missing children around the world. The ad was created by the Ripple Branding Company for A Child Is Missing Alert.
Personally I found this commercial to be too hardcore at first, but after watching it a few times and allowing myself time to think about the work this charity does, and more importantly the reality of what happens to so many missing kids I was able to digest it. But it made me wonder if the ad would be effective in getting people to donate to the cause or make them close their eyes are run.
We reached out to Ripple Branding Executive Creative Director Douglas Tracy, and asked him if they were getting the same reaction to the ad: "Yes, actually we wanted to give people the chills in the most horrific way we could imagine and the actor really nailed his character and lines. So far everyone has had the same reaction, and I just hope that it translates into people taking action and donating to such a worthy cause."
Please share you're thoughts to the commercial and more importantly donate if you can, link below.
Campaign credits and special thanks go to: Sherry Friedlander -Founder of A Child is Missing Alert Douglas Tracy- ECD/copywriter Ripple Branding Company Jonny Lumbley- Director Max Gutierrez — Director of photography Alexandra Thoridt- Art director Floh Weckert- Senior Art director Jean Yarjour- Animator The Lodge Music- Music Dave DeAndrea-VO
Supply&Demand’s David Holm returns to direct his second global campaign for Marriott Hotels & Resorts through agency of record Grey, New York.
After success branding the hotelier last year, Grey re-approached Holm to direct its latest campaign, this time shooting in Istanbul. Supply&Demand flew Holm over early to allow an extra week of scouting before the job awarded. That gamble paid off:
“David’s earlier work ended up becoming our style guide for the shoot,” acknowledges creative director Denise O’Bleness on Holm’s eagerness to continually shape ideas. “His images, ideas and research went as far as Marriott’s global print campaign that also uses his beautifully composed shots.”
Holm, a director of photography himself, directed for five days, shooting footage alongside cinematographer Justin Henning, visiting multiple locations to attain the right feel for the brand – the allure of travel, the need for comfort and the security of trusting in Marriott Hotels & Resorts no matter your destination or itinerary.
“It’s great to have an agency like Grey trust us and hire David on a project of this magnitude,” explains Tim Case, Supply&Demand’s Founder / Managing Partner. “We were excited to direct, shoot and also have the opportunity to bring design and animation to the campaign. Trust with an agency is always critical, in this instance to create a world of beautiful destinations for Marriott International's flagship brand.”
Editing was handled by Marco Perez at Union, NY, while Design and Animation took place at ODD (Office of Development and Design) with Holm acting as Creative Director – effects neatly tying in Marriott’s branding iconography, as designed by Grey after winning the account from mcgarrybowen:
“We’ve been working with Marriott to update elements such as the company logo and brand voice,” O’Bleness explains. “David used topographical lines, lens flair and various graphics elements that were taken directly from our designs.”
As for re-hiring Holm for the second campaign, O’Bleness admits there’s plenty of directorial talent out there – but why bother when Holm continues to deliver:
“Lots of good directors to choose from with incredible talent,” she explains, noting how Holm won the work over other heavy hitters. “You never go back to a director unless there are compelling reasons. David is incredibly gifted, quick on his feet and works with what he’s given. He went above and beyond our expectations, as he did in the first campaign. We couldn’t have asked for more.”
Holm continues focusing on new work, currently in the midst of shooting another global campaign for a large multinational brand soon to be announced – all projects allowing him to continually push boundaries as a director:
“I need to take chances, to diversify my work,” says Holm. “It’s about growing as a director – finding the story, setting the bar higher each time I go out there and making it happen the best that I can. Grey really trusted in me on this job, and because of that it really shows in the final product.”
Creative Credits: Director / Cameraman David Holm Executive Producers / Managing Partners: Tim Case & Charles Salice Executive Producer / Managing Director: Jeff Scruton Producer: Ari Hakim Cinematographer: Justin Henning Head of Production: Nathan de la Rionda
Agency // Grey Group CCO: Tor Myhren ECDs: Jan Egan & Ron Castillo CD: Denise O'Bleness Copywriter Emily Goldenberg Director, Broadcast Production Bennett McCarroll VP / EP: Kim Kietz AP: Sophia Pellicoro Casting Director: Nina Pratt Senior Music Director: Zack Pollakoff EVP: Chris Hinkaty VP: Hope St. Clair AE: Ben Krame AAE: Joe Colandrea
Post Production // ODD, NY Creative Director: David Holm Executive Producer(s): Tim Case & Charles Salice Head of Production: Matthew Turke
Editorial // Union Editor: Marco Perez Senior Producer: Sara Mills
Maria Sharapova, the 25 year old tennis star just got herself into the candy business with the launch of "SugarPova". "I think it’s important that any venture, business or otherwise, feel authentic," said Sharapova amid the frenzy of launch day. "As a little girl, I was awarded a lollipop after a good practice...I’ve had a love affair with candy ever since."
So what make's SugarPova different from any other candy? "We felt that there was an unmet market need for a fun, flirty, feminine candy collection that felt luxurious but was also accessible. Most candy is marketed to children--but grown-up children need their candy too," says Sharapova.
Look for some fun flavors in the collection: Flirty, Cheeky, Quirky, Silly, Sassy and Chic with fashionable and sporty shapes...and lots and lots of sugar.
SugarPova identity and branding by the ad agencies Dentsu, New York and branding agency Red Antler.
Supply & Demand director Gerard de Thame has wrapped the director’s cut of “Forever Faster” for Puma, work that continues to separate the brand from the sporting pack with an open invitation to join its rebellious cause.
“One of the main things Puma wanted to get across was a different message than the likes of Nike and Adidas whose athletes often tow the line and take themselves far too seriously,” say de Thame on Puma’s new branding platform. “Puma’s whole approach is: ‘we are different, we are individuals’ in work that is told in a very unique way.”
“Forever Faster” sidesteps convention by striking a rebellious pose using the world’s fastest man – all to prove that when you set the pace, you’re the one to chase. Rather than mimic serious-minded pleas we are introduced to the wise cracking persona of Usain Bolt, who instead revels in impatience, hostility and a bevy of impossible odds.
De Thame’s director’s cut sees a more rhythmic spot than the agency’s earlier version, focusing on the world’s fastest man as he speaks of Puma’s primal call. “It was a great collaboration between Gerard and the agency,” explains Tim Case, Supply & Demand’s Founder / Managing Partner. “Matt Anderson and Jeff Benjamin were fantastic, it was fun to be around and watch them develop this with Gerard. Usain Bolt turned out to be a terrific guy.”
The campaign was a competitive pitch, the commercial forming after different machinations of the original idea. “At one point we almost went with Usain hopping fences and jumping into people’s swimming pools,” de Thame reveals. “That was quite interesting, but the idea was eventually dropped.”
A desire to reference branding from the 70s was also examined before production, a move recalling one of Puma’s greatest marketing moments when Pele wore their black and gold Puma King boots, specially-crafted for Pele during the 1970 World Cup. In a beautiful piece of marketing excellence, Pele effortlessly pushed the brand by asking the referee to stop a game moments before the final whistle – just to tie up his Puma laces as everyone watched enthralled.
Shooting on location in Italy with Oscar-winning cinematographer Mauro Fiore (Avatar, Training Day, Smokin’ Aces), de Thame shot most of the football footage on green screen. Additional material was also garnered with supporters at real football games:
“Mauro’s work is phenomenal and we had complicated lighting and green screen work to achieve,” explains de Thame. “As always we were limited to the time the athletes gave us, but that served to keep us on our toes. We managed to capture everything we needed while Usain was a pleasure to work with. He has the perfect persona to encourage the use of rebellion and defy social norms, is such an interesting guy, and definitely breaking barriers like Puma.”
Asked why he finds himself in the US more often than Europe of late, de Thame responds that creativity and budgets are simply more attractive here. “The American market is more vibrant,” he explains. “There’s more going on, the reverse of how it used to be with better creative in England and money to go with it.”
De Thame wraps up by mentioning that post on the spot was also productive, giving props to both The Mill and Final Cut on the look of the final product – The Mill creating full CG stadiums with crowd differentiation between various football players on the pitch, while matte painters also created various custom landscapes.
“The agency really let us get on with it,” says de Thame on wrapping the work. “I supervised both the edit and the post effects. Joe Guest over at Final Cut did an amazing job, flying in from London to give us the right flow.”
Creative Credits: Agency: JWT, New York Executive Producer: Matt Anderson Creative Director: Dan Morales, Amy Morales Chief Creative Officer: Jeff Benjamin
Production Company: Supply & Demand Integrated Executive Producer: Tim Case Executive Producer: Charles Salice Executive Producer: Jeff Scruton Senior Head of Production: Rika Osenberg Director: Gerard De Thame Producer: Fabyan Daw Director of Photography: Mauro Fiore
Editing Company: Final Cut NY Editor: Joe Guest
Post: The Mill, NY Exec Producer: Melanie Wickham Producer: Veronica Ware Shoot Supervisor: Andrew “Barnsley” Wood 2D Lead Artists: Westley Sarokin 3D Lead Artists: Wyatt Savarese Colourist: Mick Vincent
This 45 second film debuted on 12 in-arena screens and projected on the court before player introductions at Nets season opener on November 3, and will be shown at home games throughout the season and used in other promotional capacities. Three important elements came into play with the film. Not only would it be debuted before the team’s season opener, but the game also marked the first game of the high-visibility Brooklyn franchise and the initial game at the NBA’s newest arena, the Barclays Center.
The Famous Group, who have worked with the Nets since 1997, developed the theme “Arrival in Brooklyn” and conducted a live action shoot portraying Nets players in and around the new arena. Stars such as Deron Williams, Joe Johnson, Gerald Wallace and Kris Humphries, are shown arriving by taxi, subway and sidewalk, intercut with shots of uniformed players inside the Barclays Center. The film adheres to the Nets‘ iconic black & white branding, shot entirely in b&w and featuring players dressed in white shirts and black suits and ties. The film’s feel is reflected in the score, an original hip-hop track composed and performed by John Forté entitled “Brooklyn.” “We wanted an idea that was as big and grand as the Barclays Center, and fresh and cool as Brooklyn,” said Andrew Isaacson, executive producer, The Famous Group. “This film captures that attitude.”
Credits: Client: Brooklyn Nets Project: “Arrival to Brooklyn” in-arena game day open Production Company: The Famous Group, LA/NY The Famous Group Directors – Jesse Austin and Hemu Karadkar Executive Producer – Andrew Isaacson Producer – Will Hyde Art Director – Jesse Austin Editors – Steve Davis and Jaron Halmy Production Coordinator – Brandon Grabowski Animator – Luis Gonzalez Animator – Rachel Arnold Animator – John Dougherty Line Producer — Jennifer Pearlman Production Supervisor – Jessica O'Brien Director of Photography – Connor O'Brien Music: “Brooklyn – Something to Lean On” – John Forté Brooklyn Nets Senior VP, Event Marketing & Community Relations — Petra Pope Director, Game Presentation — Paul Kamras Video Manager — Rich Mallon Video Coordinator – Paul Connors
Here's a look at the new RAZR Fit Xtreme TV ad featuring Phil Mickelson and the commercial for the all new X Hot Irons featuring Luke List for Callaway.
Credits: The principals of design-focused production studio Leviathan are very proud to share the results of their collaborations with advertising agency Factory Design Labs on behalf of Callaway Golf Company. Numerous TV spots and brand films supporting the launch of Callaway Golf's new line of RAZR Fit Xtreme(TM) Drivers, X Hot(TM) Drivers, Fairway Woods and Irons have recently debuted on targeted media outlets and Callaway's YouTube Channel. Leviathan's team has been integrally involved in the end-to-end design, animation and visual effects aspects elevating the visual, artistic, branding and storytelling aspects of these spots and several new Callaway product films and still renderings that are 100 percent CG.
Leviathan landed its first assignments for Factory Design Labs in 2011, and as a result of the studio's craftsmanship on those high-profile projects, it was chosen as an official partner for design, CG and VFX for the agency's 2013 campaign for Callaway. "Earning the opportunity to develop and apply extraordinary design and VFX solutions for Callaway is one of the most exciting things to happen for our company so far," confirmed Leviathan's executive producer Chad Hutson. "Knowing our contributions need to represent Callaway as the world-class leader moving into the future, we are pouring ourselves into perfecting the brand's look across all media platforms."
Agency: Factory Design Labs ECD: Andrew Price Creative Director: Steve Pratt Associate Creative Director: Tom Goodrich Sr. Art Directors: Jason Shiskowsky, Steve Hurd Art Director: Elliot Hasse Director of Broadcast Production: Melany Fehrenbach Broadcast Producer: Jessi Dana
Design, Animation, Visual Effects: Leviathan CD: Bradon Webb Lead 3D: Nathan Davies Lead Compositor/VFX: Chris Beers Lead 2D: David Brodeur Animator/Compositor: Katrina Nelken Compositor/Particle Effects: Tim Sepulveda 3D Artists: Timur Salikov, Morgan James, Adam Stockholm Roto Artists: Patrick Schultz, Kurt Lawson, Shawn Sahara, Ashley Whitaker Graphics Editor: Mike LaHood Producer: Lauren Shawe EP: Chad Hutson ECD: Jason White VFX Director: Matt Daly
How do put an unforgettable day into a fabric softener? You put Isaiah Mustafa on a horse!
Isaiah Mustafa, the Old Spice man your man could smell like is back on horse but not for an Old Spice commercial, this time he lends his talent in this new ad for the re-branding of Downy Simple Pleasures to the new Downy Infusions. Spot title "Memorable Day" and his new line..."You'll remember the days you wear it."
Downy Simple Pleasures is now Downy Infusions. New layers of fresh scent create an experience so fresh it is unforgettable. You'll remember the days you wear it.
BlackBerry signed a new sponsorship deal with Mercedes-Benz Petronas Formula 1 and their driver Lewis Hamilton as the team's new official mobile computing partner and collaborate on technical and marketing opportunities. The BlackBerry logo will be seen on the new F1W04 Silver Arrow, the entire team will be using BlackBerry devices throughout the season. Driver Lewis Hamilton welcomes BlackBerry to the team in the video clip above.
Ross Brawn, team principal of the Mercedes AMG team, welcomed BlackBerry to the team: "On the day that our new Silver Arrow, the F1 W04, is launched, we are very pleased to announce our partnership with BlackBerry. We are looking forward to embracing the new BlackBerry 10 platform at both a technical and operational level, as well as collaborating with the team at BlackBerry to bring new mobile innovation to Mercedes AMG Petronas. It is especially pleasing to be able to launch this exciting partnership today as our latest Silver Arrow takes to the track with BlackBerry branding."
Frank Boulben, BlackBerry's Chief Marketing Officer said: "Formula One is all about precision engineering, design and innovation — three values that mirror the approach that's gone into creating BlackBerry 10. It is a natural fit for BlackBerry to partner with the MERCEDES AMG PETRONAS Formula One Team to deliver value through technical and marketing collaboration. We have built BlackBerry 10 to keep people moving, and we believe the essence of this will be delivered at many levels through our partnership." via:Crackberry.com
The Royal Ontario Museum unveiled The Forbidden City: Inside the Court of China’s Emperors, presented by the Robert H.N. Ho Family Foundation with Manulife as Lead Sponsor. The exhibition is on display in the Garfield Weston Exhibition Hall from Saturday, March 8 until Monday, September 1, 2014. Presented in collaboration with Beijing’s Palace Museum, the show brings to Canada for the first time approximately 250 treasures that were part of Chinese imperial life for five centuries in a city strictly off-limits to all but the emperor, his family, and his personal servants. These objects are the relics of a momentous chapter in China’s long and fascinating history.
More than 80 of the exhibition’s objects, including textiles, calligraphy, paintings, and armour, have never before travelled outside the Forbidden City. Complemented by stunning artifacts from the ROM’s own internationally celebrated Chinese collections, these objects tell captivating stories and reveal the fascinating characters that made the Forbidden City the centre of an immense empire for more than 500 years. Due to the significant number of light-sensitive textiles and paintings, there will be an extensive rotation of objects half way through the exhibition’s engagement, presenting a new opportunity to experience the stories and exquisite objects of the Forbidden City.
The emperor's role as head of the military required special ceremonial 'armour'. Worn for reviews, it was made more for show than active battle [Credit: ROM]“The ROM’s exhibition takes visitors on a remarkable journey to the heart of the Forbidden City — once off limits to all but a privileged few,” said Janet Carding, ROM Director and CEO. “Carefully selected by our curatorial team, these extraordinary artifacts from Beijing's Palace Museum will give visitors an inside view of life within the Forbidden City and immerse them in China’s rich history. The exhibition is the centerpiece of the Museum’s Centennial, bringing to life our promise to connect our visitors with their communities, world, and with each other.”
The ROM has partnered with Beijing’s Palace Museum to create an exhibition that uncovers untold stories about life in the courts of the Chinese emperors. Dr Chen Shen is the exhibition’s lead curator and the ROM’s Vice President, World Cultures and Senior Curator, Bishop White Chair of East Asian Archaeology. He said, “This exhibition allows Canadians to see, for the first time, the finest objects hidden from view in the Forbidden City. We have worked with our Palace Museum colleagues to develop untold stories about life in the courts of the Chinese emperors; ensuring ROM visitors will enjoy many of China’s national treasures, many of which have never left the palace. These objects — both luxurious and everyday — provide the unique opportunity to advance our understanding of the people who lived within the walls of the Forbidden City.”
The emperor's role as head of the military required special ceremonial 'armour'. Worn for reviews, it was made more for show than active battle [Credit: ROM]In December 2012, Dr. Shen travelled to China with co-curator Dr Wen-chien Cheng, the ROM’s Louise Hawley Stone Chair of Far Eastern Art, and curatorial advisor Dr. Sarah Fee, the Museum’s Curator, Eastern Hemisphere Textiles and Fashion to spend time in the vaults of the Palace Museum and select the most compelling objects in the vast and storied collection.
Robert H. N. Ho, Founder of The Robert H. N. Ho Family Foundation, said “The Foundation is pleased to present The Forbidden City: Inside the Court of China’s Emperors in Canada. Advancing the understanding and appreciation of Chinese culture is a key mission of our foundation. Robust educational programming in support of the exhibition should encourage wider exploration by the public, especially teachers and students. The Foundation is also proud to once again be working with the ROM, an outstanding institution which together with Beijing’s Palace Museum, has developed this wonderful exhibition, bringing to life the 600-year-old imperial palace and revealing for the first time many of its treasures and secrets. ”
This gemstone-decorated gold ewer was used only on special occasions such as the emperor’s birthday [Credit: ROM]“The Forbidden City is a true celebration of Chinese culture and history," said Nicole Boivin, Chief Branding and Communications Officer for the exhibition’s Lead Sponsor Manulife, “As a global company, Manulife is committed to engaging the international communities in which we live and work, including China where we've been operating since 1897. Partnering with the ROM to support this exclusive exhibit is an excellent way to honour the China-Canada Cultural Exchange and the ROM’s 100th anniversary.”
The ROM’s exhibition uncovers the stories of the Forbidden City and China’s last emperors who led their lives deep within the palace’s opulent interior. Through intimate encounters with everyday objects, visitors meet a cast of real characters, including emperors, court officials, concubines, and eunuchs — castrated men who served the imperial families. The ROM’s exploration of life inside the mysterious Forbidden City transports visitors through increasingly restricted areas — the palace’s great halls, grand courtyards, and intricate terraces and roofs, until visitors ultimately gain access to the most private space of all: the emperor’s personal study.
'Being Ruler is Tough' was the motto Emperor Yongzheng inscribed on this seal. At his wish, copies of this seal were placed in different rooms for his use and as a reminder of his role [Credit: ROM]Upon arrival, before reaching the admissions desk, visitors are introduced to the Forbidden City in the exhibition’s Prologue. An intricate model including many of the complex’s significant features is displayed in the Thorsell Spirit House, complemented by the one of the ROM’s most recent acquisitions — a yellow-glazed bowl, commissioned by Ming Emperor Wanli. The colour yellow was strictly reserved for royal families and could not be used in any way outside the Forbidden City unless explicitly permitted by the emperor himself.
Thrones were not made for comfort, but as a symbol of the ruler’s imperial and authoritative power. All the pieces here are part of the 'throne set' [Credit: ROM]Visitors next enter The Inner Court, the residential space where only the imperial family and their eunuchs lived. Empress Dowager Cixi, a towering presence over the Chinese empire for almost half a century, is profiled in this section. Stunning gilt silver nail guards represent her. Up to six inches long, they protected the extremely long nails of imperial women — signifying their leisure status. Also on display are the opulent objects of the emperor’s everyday life including silk dog coats, gold eating utensils, and the last emperor’s gilt bath tub.
The exhibition’s climatic section takes visitors inside the Emperor’s personal spaces that were once forbidden to all but the emperor. As rulers, emperors were bound to strict institutionalized governance. However, their choices were their own in collecting and personal cultivation. This area showcases some of the most exquisite objects in the imperial collection including jades, calligraphies, and ceramics and an exceedingly rare porcelain “chicken” cup, commissioned by Emperor Chenghua for his mother; only two such cups exist today in the Palace Museum. In this section, a British-made musical clock and the character of a Western missionary represent the foreign dignitaries who gained access to the Forbidden City with gifts from their homelands — pieces much admired by Qing dynasty emperors.
Pages like this, in a fourteen-sheet album, presents the emperor assuming various ethnicities and characters – in each he is accompanied by an animal or a bird. [Credit: ROM]Finally, Twilight of the Last Dynasty portrays the Forbidden City’s last chapter as it began its transformation to the Palace Museum. Here, visitors learn of the fall of the empire during the last dynasty and the imperial collection’s fate. The magnificence of imperial life is countered by the poignancy of the last emperor’s departure. As visitors are brought back to their own world, they gain an appreciation for the Forbidden City then and now.
The Forbidden City
China’s imperial palace, known to the world as the Forbidden City, was built from 1406 – 1420. It was the center of government and home to China’s last 24 emperors of the Ming (1368 – 1644) and Qing (1644 – 1911) dynasties. Made up of about 980 buildings and 8700 rooms in over 90 architectural complexes, the Forbidden City remains to this day the largest palace complex in history. Once strictly forbidden to all but the emperors, their families, servants, invited guests, and most trusted officials, the palace gates are now open to all.
The Palace Museum
The Forbidden City became the Palace Museum in 1925, one year after the last emperor was forced into exile. Located in the heart of Beijing, the magnificent site spans over 720,000 square metres and houses the largest collection of China’s imperial treasures. Designated by China’s State Council as one of that country’s most important protected cultural heritage sites in 1961, it became a UNESCO World Heritage site in 1987. Today, it is considered one of the world’s most important museums. Popularly called The Forbidden City, it houses over 1.8 million art treasures spanning 5,000 years of Chinese history with many from the Qing imperial court. It is one of the world’s most visited museums, welcoming a record 182,000 visitors on October 2, 2012.
HIFI PROJECT PROVIDES MUSIC & SOUND DESIGN FOR VISUALLY COMPELLING STARZ RE-BRAND CAMPAIGN
Los Angeles & Minneapolis – (May 13, 2013) Collaborating with ad agency Fallon, HiFi Project is the creative force behind the music and sound design for the new, visually compelling re-brand for cable network STARZ. According to HiFi Creative Director/Composer Paul Robb, this was the most extensive sonic branding campaign to date for the company, which is better known for working on commercial and advertising campaigns such as new spots for Gap, Jaguar, and Chevy.
HiFi Project was tapped to create an extensive soundscape that was innovative and revolutionary, taking the listener on a musical journey; while design firm yU+co was called on to create a design language that infused the entire landscape of the STARZ platform with their new tagline, “Taking You Places.” “We had a great time on this project because they really gave us a tremendous amount of freedom to create music,” explains HiFi’s Robb. “We were tasked with creating a soundtrack for the network that was thrilling, but never heavy-handed. They didn’t want music that was overly whimsical or cheery, but something that was gripping, seductive, and premium.”
HiFi initially provided STARZ with 60 original demos, from which network creatives chose five to explore further. After hearing extended arrangements (some as long as four minutes) of the “final five”, a hero track was chosen. HiFi then set about the demanding task of arranging this hero track into five broad style families, for each of the network programming categories. All in all, HiFi Project produced an astonishing 35 complete compositions, ranging from two seconds to over three minutes in duration.
“From a creative point of view, this was just pure joy,” says Robb. “We were given license to create music and sound design for these beautiful, abstract graphics that yU + co had created. We don’t get that level of freedom that often, so we were thrilled.”
“Because a great deal of our work is in the commercial and advertising realm,” adds Executive Producer Birgit Roberts, “and there are oftentimes far more restrictive parameters to that type of work, our team really had a great time with the creative process. It was also great to collaborate with both Fallon and the creative team in-house at STARZ on a re-brand of an entire cable network, which was a first for us.”
Credits: Client: STARZ Executive Creative Director: Jessica Creasey Director of Production: Kandy Barry Technical Director: Sean Richardson Creative Director: Michael Vamosy
Ad Agency: Fallon Integrated Producer: Angie Schoemer Art Director: Ben Pagel Creative Director: Andrew Voss
The Hudson’s Bay Company is reclaiming its past with a new logo — its first brand redesign in nearly half a century. Marking a shift from the moniker it has carried since 1965, The Bay will now be known as Hudson’s Bay. Prior to 1965, the store had carried the full name of the firm, which was founded in 1670 and is billed as “North America’s longest continually operated company.”
“Going back to their heritage, to Hudson’s Bay, makes a lot of sense,” said University of Toronto marketing professor David Dunne. “It’s something they can own. ‘The Bay’ has obviously lots of awareness in Canada, but it could be confused with lots of other things, for example, eBay, especially if they’re going to be doing online. There’s nothing all that unique about ‘The Bay.’ ”
Representatives of the Hudson’s Bay Company (HBC), the store’s parent company, which also operates Home Outfitters and Lord & Taylor in the U.S., were not available to discuss the new logo, which will mark all marketing and media materials, online and in-store displays. A redrawn coat-of-arms was also debuted for special packaging. “We’re very proud to say that Hudson’s Bay is continuing to advance in 2013, not only with our numerous new business ventures, but with our updated look,” said HBC creative director Tony Smith in a release. “We’ve taken what is a very meaningful two-pronged approach to the redesign: maintaining our heritage while modernizing the new Hudson’s Bay Company.”
Errol Saldanha, who teaches brand development at OCAD University, wonders what consumers will end up calling the store.
“Today, customers always want the shortcut — TD, FedEx,” he said. “Are people going to keep calling them The Bay, or short form it to Hudson’s, which seems to be the more distinct part of the name? “The challenge with a rebrand is everybody will just look at this as a logo, visual thing, and not maybe see a strategy behind it. The big risk is whether or not people will accept it. The Gap customers all rebelled and then they shifted the logo back.” The company said the change is to signal a “defining period” of innovations, such as the creation of high-end The Room, the launch of Canada’s first Topshop and Topman, the renovation of multiple stores and expansion into ecommerce.
Dunne isn’t sure what difference a rebrand will make “when you’ve got people like Target coming in who are known for high quality merchandise at low prices. Harking back to the fact that they were founded in 1670 is probably not going to carry an awful lot of weight,” he said.
Prior to 1965, The Hudson’s Bay Company’s logo was an elaborate, calligraphy-style script. In 1965, motivated by expansion into Quebec, the firm had American branding gurus Lippincott & Margulies create a shortened The Bay with an emphatic ‘B’.
2013 sees the word mark simplified and streamlined to an elegant Hudson’s Bay. via: Toronto Star
As we patiently wait to see some new ads start running from BlackBerry for it's new Z10 device (aside from the What It Can't Do Super Bowl spot and the Keep Moving commercial, both are great) everyone at Great-Ads is itching to see something exciting from the device manufacturer formerly known as RIM. Until then this is all we have....
MERCEDES AMG PETRONAS is using BlackBerry 10 for innovative projects unlocking the power of mobile computing and bringing fans closer to the season's 19 races. Spot the iconic BlackBerry branding on the chassis and headrest of the F1 W04 Silver Arrow, and the race suits of Lewis Hamilton and Nico Rosberg.
Today Blackberry released an official Teaser ad for the 'Set The World on Fire' Tour, Episode III of the BlackBerry Keep Moving project featuring Global Creative Director Alicia Keys. We are still hoping for something more exciting from this campaign.
Someone in Ontario, Canada took marketing the new Blackberry 10 into their own hands with this brilliant vanity license plate "BBRY 10" using the provinces slogan Yours To Discover makes it perfect, someone hire this guy. Image via:
For the third consecutive year, EP*Vision‘s Maryam Parwana East Pleasant Directors David Weinstein and Stash Slionski have teamed up with the Washington Nationals and their branding agency 40/40 on the team’s season advertising campaign and in-stadium display content.
This year’s entry is a thematic continuation of the past two campaigns, with a duo of high-intensity spots featuring action footage blended with studio footage of star players. Bold and defiant narratives – a hallmark of the team’s distinctive “Natitude” – pepper the spots, most powerfully in shorter ads focused on star players Bryce Harper and Stephen Strasburg.
“Going into the initial campaign with the Nationals in 2011, we knew that they were working on a three-year cycle and that they wanted a modular approach so that 2011, ‘12 and ‘13’s campaign would all work with each other seamlessly,” notes Weinstein. “The 2013 look worked fluidly with the Phantom campaign we shot in 2012 and the team was able to use all the assets in a cohesive package.”
East Pleasant has worked with 40/40 since 2007, when the two entities teamed up on a series of projects with NFL PLAYERS, the marketing arm of the NFLPA. The transition to working with the Nationals and COO Andy Feffer proved seamless. “There was a comfort level already established and we really knew what we could expect from 40/40 creatively and vice versa,” explains Weinstein. “No matter the shoot, there has to be a narrative to it, with great storytelling and great visuals, and 40/40 principal John Trotter understands that as well as anyone.”
Weinstein & Slionski’s extensive sports experience has given them a special skill set in working with athletes. “The first thing you have to realize with athletes is that they take direction better than anyone – most of them have been playing organized sports on a high level their entire lives, so they’re used to a regimented schedule and people telling them what to do all day, every day,” says Weinstein. “When they get on set with us, we just make them feel at home, play some music they like, and try not to take ourselves too seriously. Their job is stressful enough, so we just mess around and make it feel like a clubhouse.”
EP*Vision CD Maryam Parwana led post work on the campaign, recreating the fluid production pipeline from client to post that has contributed to the success of so many past campaigns.
Credits: Client: Washington Nationals Advertising Agency: 40/40 Production Company: East Pleasant Director: David Weinstein & Stash Slionski EP: Michelle Cuccuini Hicks Director of Photography: Stash Slionski Editorial: Pleasant Post Editor: Chris Fiore/Parallel Universe Producer: Taylor Colbert Color Grading: Pleasant Post Post/Effects: EP*Vision CD: Maryam Parwana Producer: Niabi Caldwell Sound Design & Mix: Big Yellow Duck
Director Seth Epstein of Stardust recently finished an incredibly moving and inspirational brand film for Ahnu, the Bay Area-based providers of originally engineered performance shoes. The three-minute short film entitled “Walk New Ground” follows ultra-endurance hiker Trevor Thomas on one of his challenging, long-distance hikes — revealing his unique story along the way.
“Stardust was chosen for one simple reason, their unique ability to capture a true and authentic moment and translate it into inspiring digital content,” says Anders Bergstrom, Marketing Manager for Deckers, Ahnu’s parent company, and Co-Creative Director on the film. “The Ahnu brand had been working with Trevor Thomas for some time, but had not yet captured the emotional essence and impact that an incredible person like Trevor can have on a brand and its core business. Seth, Dex, and their team [at Stardust] saw the potential and brought out what is true and inspiring in Trevor's story – all the while delivering on the Ahnu brand's promise to ‘walk new ground.’"
According to Stardust Director and company partner, Seth Epstein, the idea for the film came from a two-hour phone conversation and pre-interview he had with the film’s subject, Trevor. “His story was amazing on it’s own, so I asked him every question you could imagine,” he explains. “It was during that phone call, that I realized how I wanted to approach the story. I knew where I wanted to go, and needed to figure out how to do it as efficiently as possible.”
Utilizing “lean filmmaking techniques,” Epstein shot the film on DSLR on-location in Northern California’s Redwoods, not far from Ahnu’s headquarters, which was important to the company’s co-founders. “We used a lot of in-camera film techniques, and played with light and focus as much as we could, in order to create the film’s story which is a metaphor. Every filmic technique is an ingredient in the visual aesthetic of the film, and that was our intention going into the shoot.”
For Stardust Executive Producer and company partner Dexton Deboree, this Ahnu brand film represents a new direction the company is taking in terms of storytelling. “By focusing on Trevor’s story, Seth was able to create a film that truly celebrates the Ahnu brand and everything it represents as a conscious, sustainable company, which puts its success back into the community by sponsoring someone like Trevor. For us at Stardust, it was an opportunity to further express our new voice by creatively investing in a project with a lot of heart, which is important to Seth and I as creatives, but also as business people.”
After production was wrapped, the short film was edited by Neil Meiklejohn at Rock Paper Scissors with color completed by Company 3’s Siggy Ferstl. Stardust contributed motion graphics to the film, which according to Dexton required a “tender hand.” The film was unveiled at a large trade show event earlier this year. It is posted to the Ahnu web site, and will be used for branding, marketing and Social Media initiatives this year.
Credits: Client: Ahnu Brand Director: Jacqueline Van Dine Marketing Manager, Ahnu: Michelle Erbs Marketing Manager, Deckers (Ahnu Parent Company): Anders Bergstrom Production/Postproduction Company: Stardust Director: Seth Epstein Co-Creative Director: Anders Bergstrom (Marketing Manager, Deckers) Executive Producer: Dexton Deboree DP: Patrick Notaro Producer: James Taylor Design/Effects Producer: Melina Osornio Line Producer: Sean Cope Design Director, Animator: Piero Desopo Editorial Company: Rock Paper Scissors Editor: Neil Meiklejohn Executive Producer: Carol Lynn Weaver Postproduction Company: Company 3 Colorist: Siggy Ferstl Musical score by Jesse Mattson
