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Jumbo UGG Tall Boots 35cm (UGG)
* Classical high boots (UGG), style of traditional Australian footwear. The cafe, cinema and walks on the nature are irreplaceable for campaigns on shops. * Style: 35,5cm are long. * The Material: These UGG boots are made of a high-quality Australian sheepskin. The top of boots is processed by a band that gives them the "finished" kind. Thanks to special heat-resistant qualities of the Australian sheepskin to your feet it will be warm in the winter and not hot in the summer. * The Sole: Easy strong synthetic EVA a sole. A leather support. * Colors: pink, violet, chocolate, beige, brown, black. * Ugg boots — wholesale and retail.
The new Boots Christmas TV advert entitled "Let's Feel Good" is simply a series of brief vignettes of family and friend gift giving. The commercial seems to make the "ah crap I forgot to get a gift, better run to the drugstore and find something..." moments look perfect and does a nice job of reminding us what the holidays are really all about.
Created by the ad agency Mother, London and features the music of Elton John and the song "Are You Ready For Love". Behind the scenes footage below.
Fast football currently dominates the beautiful game with the likes of Lionel Messi, Ashley Young, and David Silva controlling matches across the world. Now, with the launch of the groundbreaking adidas F50 powered by miCoach, adidas is giving UK footballers the chance to prove they’re fast too with their ‘The Hunt For Fast’ campaign.
adidas is scouring the nation for the fastest 11 amateur footballers in the land. After playing in a match or training session wearing a new pair of f50 boots powered by miCoach, you’ll be able to view your performance data including: average speed, top speed, distance covered and more. Then, you can upload the stats directly onto miCoach and compare them to other players across the country. The players who with fastest times each week will be rewarded with a place in the fastest team ever assembled.
The adizero F50 miCoach players who make it into the team will be given ultimate recognition for their efforts with personal advertisements appearing in press, online or pitch side hoardings at football matches across the country. Additionally, select winners will get the chance to put their speed to the ultimate test by meeting and competing against some of the fastest professional players in the premier league.
Thanks to the miCoach chip in the boot, players are able to track their performance as the devise measures 360 degree movement, the number of sprints, and distance covered in the game. The chip wirelessly connects to your smart phone, iPad, PC or Mac and uploads your statistics which you can then share via social media channels.
This is Neymar Jr. in his Hypervenom boots. This is what it’s like to try to stop him.
Creative Credits: Advertising Agency: Wieden + Kennedy, Portland, USA Creative Directors: Alberto Ponte, Ryan O'Rourke Copywriter: Dylan Lee Art Director: Bertrand Fleuret Producer: Jeff McDougal Agency Executive Producer: Matt Hunnicutt Visual Effects: Dan Williams Agency Producers: Jessica Staples, Endy Hedman Production Company: Reset Director: Johnny Green Editors: Kirk Baxter, Scot Crane Post Production Producer: Sean Costelloe Music: Wu-Tang Clan with Kool G Rap
Adidas and creative Adam Fish of Iris capture the genius of FC Barcelona star Lionel Messi by dressing him in a bespoke LED suit and capturing his skills at 1,000 frames per second.
The New Speed of Light captures the footballing genius of Leo Messi like you've never seen before. Exploring the moves that make him the best in the world in intricate detail through the use of light.
The film captures and analyzes Leo's movement, to reveal the secret of his movement on the pitch as well as highlight the light in motion design of the new adizero F50 Messi boot he'll wear for the first part of the season. To do this, Leo wore a custom-made LED suit and hood, with hundreds of individual LED's sewn by hand in to adidas TechFit gear. As well as 'hacked' adizero F50 Messi boots rigged with the three stripes in LED and a bespoke, moulded LED football. He was then filmed at 1000 frames per second using a Phantom camera and the resulting footage treated using a specially developed visual effects technique — creating a beautiful echo effect and a concert visual aesthetic set to a fitting electro/dance track by Congorock.
Credits: Developed by Iris and ML Studio Director: Marcus Lyall Creative: Adam Fish Shot on location in Barcelona, Spain.
Lenthéric Solo: Fail. Up your game. Ad Agency: Bester Burke, Cape Town, South Africa
For Dettol hand sanitizer. Ad agency: Havas Worldwide, Santiago, Chile. via: copyranter
Don't let the stains tell the wrong story. Restaura Car. Car Cleaning. Advertising Agency: Hermandad, Brazil Creative Director: Paulo Lima Art Director: Pedro Teixeira Copywriter: Hélio Maffia Illustrator: Douglas Reis
Bliss Self-Foaming Body Wash. Really cares of your body. Advertising Agency: Looma, Kishinev, Moldova Creative Director/Art Director: Sergey Prokopchuk
AXE. The cleaner you are. The dirtier you get. Advertising Agency: BBH, London, UK Executive Creative Director: Nick Gill Creative Director: Dominic Goldman Copywriter: Richard Mcgrann Art Director: Andy Clough Photographer: Dimitri Daniloff
Rowenta Foot Massage. Spa For Your Feet...Or Foot Fetish. Advertising Agency: Publicis, Frankfurt, Germany Executive Creative Director: Stephan Ganser Creative Directors: Nico Juenger, Konstantinos Manikas Creatives: Merlin Kwan, Konstantinos Manikas Photographer: Mert Photo
Sanitol,Urinal. Touch him. And you touch everything he’s touched. Advertising Agency: McCann Worldgroup, New Delhi, India
Boots Body Cream. For sexier knees. Advertising Agency: McCann Worldgroup, Bangkok, Thailand
Brazilian Beauty. Keep yourself tidy. Advertising Agency: The Cavalry Melbourne, Australia Creative Director: Tony Greenwood Art Director: Craig Maclean Copywriter: Tony Greenwood
New Remington bikini trim & shape.
In honor of May 4th, as “May the Fourth be with you!”, the Nerdist Channel came up with this video as nothing says celebrating Star Wars fandom like two lovely ladies with lightsabers. Directed by Seth Green, the “Saber” sequel delivers some good, “clean” fun involving super-sudsy saber action.
Hornby, the model/toy railway and train maker releases their first advert in three years, the ad was created by sassy Films. The heart-warming ad, "Hornby generations", launched on Friday and focuses on the generations of children that have enjoyed playing with a Hornby train set.
The 30-second spot starts in black and white, before showing one man growing up using a Hornby train set as a young boy, through to becoming a grandfather. The strapline reads: "A passion for every generation and the next". The spot will be shown before this years Christmas blockbusters in cinemas around the UK, including Hugo, Happy Feet 2, Puss In Boots, Alvin & The Chipmunks. Nat Southworth, marketing director at Hornby Hobbies, commented: "This campaign is the beginning for Hornby. We focus on the generational love for Hornby trains and our proud history. The closing frame focuses on our future."
Credits: Created by Sassy Films Media planning & buying by Arena Media Creative and art director: Steve Kemsley
Four Swiss construction workers star in the latest advert for the new Alpen Muesli cereal.
The Full Alpen created by the creative team at BBH gives us four attractive, well groomed and very well spoken Swiss men who even wipe their boots as they enter the restaurant...crazy I know.
Credits: Creative Advertising Agency: BBH Creative Team: Rob Ellis and Alex Ball Creative Director: Nick Kidney and Kevin Stark Producer: Peter Montgomery Strategic Business Lead: Fleur Holcroft Strategy Director: Jonathan Bottomley Strategist: Carl Mueller Team Director: Victoria Berthinussen Team Manager: Amy Forster
Production Company: Academy Director: Peter Cattaneo Executive Producer: Producer: Juliette Harris DoP: Stu Bentley Post Production: The Mill Editor/Editing House: The Quarry Sound: 750mph Sound Engineer: Sam Ashwell Music: Jonathan Goldstein
Even today, the world of the ancient Greek gods has lost none of its fascination. Accounts of the deeds of mighty Zeus, his jealous wife Hera, the twins Apollo and Artemis, beautiful Aph-rodite, and Dionysos the god of wine, are as enthralling as ever after more than 2000 years.
A mask of an old man is on display at the Roman-Germanic Museum in Cologne, Germany. The exhibition 'Return of the Gods' will run until 26 August 2012 [Credit: EPA/Oliver Berg]
Greek poets and artists conveyed a vivid picture of the world of these gods. Their work set creative precedents and were a source of inspiration; they also furnished models and a stim-ulus for new interpretations and original compositions by Roman writers and sculptors.
Over a period of more than three hundred years, the Brandenburg-Prussian Electors and Kings in Berlin collected antique works of art, which are now in the museums of the ‘Preußischer Kulturbesitz’ Foundation – the Pergamon Museum and the Collection of Antiqui-ties. For the first time in Cologne, in the exhibition The Return of the Gods, the Olympian world of the Greek gods is recreated with marble statues, stone reliefs, bronzes and luxurious vases from the Berlin collections – a cross section of outstanding European art from early Greek times to the imperial Roman period.
Zeus, Hades, Poseidon
Zeus, the Romans’ Jupiter, was the majestic ruler of the Olympian world. As the lord of the heavens, he carried a thunderbolt as his weapon. Zeus was the father of nu-merous gods and heroes; most of his offspring were not begotten with his wife Hera, but were the result of his many erotic liaisons.
Poseidon was the master of the sea, inland waters and storms. As the “shaker of the Earth”, who made the Earth tremble with his trident, he was held responsible for earthquakes and natural disasters. People also venerated him as the protector of their ships. The Romans called this god Neptune.
Brother of Zeus and Poseidon was Hades, the Romans’ Pluto. He became the lord of the underworld when the gods drew lots to divide the world between them.
All these “Father Gods” are represented as mature, dignified and mighty. Zeus the father of the gods, Hades the ruler of the underworld and Poseidon the god of the sea, are difficult to tell apart when not depicted with their characteristic attributes
Asclepius, the Healing God
Asclepius was the god of medicine and healing. He was the son of Apollo and a mortal woman, so merely a demigod. He was nevertheless worshipped as a god but not regarded as one of the Olympian gods.
Asclepius’ place was among the people. He is represented in the likeness of a Greek citizen: bearded, wearing a robe and leaning on a staff. A snake is coiled around his staff and the staff (or rod) of Asclepius is still the traditional symbol of medicine.
Asclepius had many sanctuaries that attracted throngs of worshippers, where the sick sought cures through healing sleep (incubation). A centre of his cult developed at Epidaurus and another was located on the island of Kos. The physicians of Kos achieved great fame in the 5th century BC. The best known was Hippocrates and, even today, doctors swear the “Hippocratic Oath”.
The cult of Asclepius reached the western part of the Roman Empire in 293 BC when the Epidaurus sanctuary established a shrine to the Latinised Aesculapius on Rome’s Tiber Island.
Hera and Demeter – the Mothers
Hera, the Romans’ Juno, was the sister and spouse of Zeus. As the queen of the gods she watched over marriage and legitimate offspring. She therefore pursued the amorous escapades of her husband with jealous severity.
Demeter, Ceres for the Romans, was the goddess of the fertile earth, of grain and agriculture. According to the “Homeric” hymn to Demeter, her daughter Kore was abducted by Hades and, as Persephone/Proserpina, became his wife in the under-world. Searching for her daughter, the desperate Demeter neglected her responsibilities as the goddess of agriculture, which led to a severe drought. Only after the return of her daughter for two-thirds of the year did she allow everything to grow and flourish again, but Kore-Persephone had to spend one third of each year with Hades in the underworld, during which time nature was also dead.
Demeter and Hera are usually depicted as motherly goddesses, often wearing a dia-dem and veil. When ears of wheat – a specific attribute of Demeter – are not shown, it is scarcely possible to distinguish between the two.
Aphrodite and Hermes
Aphrodite’s sphere of influence was love; her son Eros was the personified god of love. From the 5th century BC onwards, Aphrodite was depicted in ever more reveal-ing clothes: light and flimsy garments accentuated the beauty of the female body. Aphrodite first appeared completely naked in the 4th century BC, as a statue by Praxiteles, whose visualisation of the goddess was widely copied. Venus, the Roman equivalent of Aphrodite, was said to be the mother of Aeneas. Hence she became the mythical ancestress of the family of the Julii, to which both Caesar and Augustus belonged.
Hermes was the messenger of the gods, the god of roads, boundaries and herds-men, the patron of thieves. He guided the souls of the dead into the after-world.
Hermes wore the clothes of a traveller: a short cape, a broad-brimmed hat and boots or sandals. Speed was suggested by wings attached to his hat, shoes or heels. In addition, he carried a messenger’s staff with two snakes (Kerykeion). The Roman equivalent of Hermes was Mercury, the god of commerce and economic prosperity.
Athena – the Patroness of Great Works
Athena was the wise daughter of Zeus. Before his marriage to Hera, Zeus was the husband of Metis, the goddess of wisdom. Zeus then swallowed his consort when she was pregnant with Athena because it had been prophesied that she would bear him a child stronger than himself, who would ultimately depose him. Athena was born when Hephaestus, the blacksmith god, cleaved open her father’s skull.
Athena was the goddess of battle, depicted with a helmet, lance and shield. Another emblem was the “aegis”, a breastplate with the head of the Gorgon Medusa in the centre. Athena was the patroness of the crafts and all artistic activities. She is also said to have invented the flute. While playing it beside a stream, she saw a reflection of herself with her cheeks puffed out, and crossly cast the instrument aside. The satyr Marsyas retrieved the flute and later challenged Apollo to a musical contest.
Many cities invoked the protection of Athena, especially Athens, where she was worshipped on the Acropolis. Her Roman equivalent was Minerva.
Apollo and Artemis — divine twins
The twins Apollo and Artemis were the children of Zeus and Leto. Jealous Hera pur-sued her rival relentlessly until, finally, the island of Delos allowed Leto to give birth to her children there.
Apollo was the upholder of order in human society, slaying wrongdoers with his bow and sending pestilence as a punishment. He defended religious purity. His attribute was the laurel. He was also the god of oracles and divine prophesies, leader of the muses and a master of the lyre. He was depicted as an idealized youth with long hair.
Artemis, the goddess of the hunt and huntsmen, represented unspoiled nature. Known since ancient times as the “Mistress of the Animals” and the “unconquered virgin”, she nurtured and protected young animals, but was also a huntress who killed her prey. Since the late classical period, she has usually been depicted as a young girl in a hunting tunic with a bow and a quiver full of arrows, often accompanied by an animal. Just as her brother was both the god of healing and the god of pestilence, so Artemis was the goddess of childbirth and the bringer of death in childbirth.
The Sanctuary
In the Greek and Roman world, the sanctuary was the most important place for wor-shipping the gods. People would go there with votive offerings and gifts to praise or appease a deity and to ask for favours.
At larger ritual sites there were temples with a cult image of the god. However, the centre of the sanctuary was always the altar where sacrifices were offered. At public ceremonies, cattle were often sacrificed: the priests would burn the bones, fat and hide of the animal as an offering to the gods; the meat would then be consumed by the worshippers at a ritual feast. Individual citizens usually donated smaller animals, fruit or libations. The rites could be accompanied by processions, dancing and music.
An abundance of offerings of various types would accumulate at such sacred sites. Large objects like statues would be set up on display while smaller votive objects, such as miniature figurines or weapons captured from the enemy, were deposited somewhere. In large Greek sanctuaries, Olympia and Delphi for example, there were also treasuries where valuable offerings were stored.
Dionysus and the Theatre
Dionysus was the god of wine and delirious ecstasy. Those who gave themselves to this god had to risk becoming “possessed”. Dionysus was surrounded by a retinue (thiasos) of half-wild hybrid creatures, youthful satyrs, older sileni, and frenzied maenads who often danced to the music of flutes and drums.
Dionysus was depicted as child, as a seductive youth with a body that is sometimes rather feminine, and as an old man leaning on a satyr. His attributes were the ivy, either as a wreath to prevent intoxication or wound around a staff (thyrsos), and a drinking vessel (kantharos). He always symbolised a hedonistic way of life.
Greek theatre originated in the cult of Dionysus. In many places of worship, dramatic performances were part of his festivals. Starting in Athens in the 6th century BC, first tragedies, then “satyr” plays and – after 486 BC – comedies were performed during the Great Dionysia festival. All the roles in the plays, even female roles, were taken by three male actors wearing costumes and masks, accompanied by a choir.
The Pergamon Altar
In the conflicts to succeed Alexander the Great, Philhetairos was able to establish his rule in Asia Minor, at Pergamon. His grandson, Attalos I, took the title of King. The latter’s son, Eumenes II (197-159 BC), defeated the invading Celts and developed the fortress into a Hellenistic city with prestigious marble buildings.
The religious centre was the altar of Zeus, which was visible from afar. A flight of steps led up to a podium and the colonnaded area with the altar for burnt offerings. The podium was decorated on all sides by a frieze depicting the battle of the gods against the giants. The rear walls illustrated the history of the founding of Perga-mon. Acroteria with figures stood on the roof.
The gigantomachy on the Pergamon Altar marks the pinnacle of Hellenistic art. It is the most complete antique depiction of the struggle of the younger generation of Olympian gods, together with Hercules, against the giants, born out of chaos, who were trying to destroy the new world order. Zeus with his lightning bolts is shown fighting a snake-footed giant, an allusion to the victory over the Celts.
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
With the NHL players strike looming this new commercial "This is Our Game" for the EA Sports NHL 13 game might be the only hockey we'll be getting for awhile. The extended cut above was created by the ad agency Heat, and gives us a awesome look at why fans love the game so much.
Credits: Advertising Agency: Heat, USA Executive Creative Director: Steve Stone Creative Director: Warren Cockrel Associate Creative Director: Anna Rowland Senior Art Director: Mark Potoka Senior Copywriter: Ben Salsky Executive Content Producer: Brian Coate Content Producer: Anna Askew Assistant Account Manager: Lauren Peck TV Production Company: Supply & Demand Integrated Director: Josh Taft Director of Photography: Don Davis Production Designer: John Hammer Executive Producer: Kira Carstensen Line Producer: Josh Porter Editorial Company: Arcade Editor: Kim Bica Assistant Editor: Kelly Henson Executive Producer: Nicole Visram Producer: Denice Hutton Conform / Visual Effects: Ntropic Creative Director: Nathan Robinson Flame Artists: Nathan Robinson, Matt Tremaglio, Jesse Boots, MB Emigh Producer: Fawn Fletcher Head of Production: Melissa Warhaftig Color: Company 3 Producer: Denise Brown Colorist: David Hussey Recording Studios: Beacon Street Studios Mix / Sound Design Engineer: Paul Hurtubise Producers: Caitlin Rocklen, Leslie DiLullo Music Composition: Beacon Street Studios Sing Title: "Askher"
