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.
Grey London has unveiled its first work for Volvo Car Group: a beautifully-shot, highly sensory film urging the viewer to ‘seek feeling’ – a dramatization of Volvo’s human-centric ethos.
The quietly epic film – a global TV campaign for Volvo’s existing XC60 model – is a shift in tone for the car manufacturer. Moving the brand into a more premium space, it introduces some of the pillars that will underpin its revamped brand positioning: ambition, simplicity, authenticity, Swedishness, and the same level of design quality and craft that goes into its cars. It represents a stylistic prologue to what is to come from the Volvo Kreativ Studio, including a high-profile, multi-faceted campaign for the launch of Volvo’s revolutionary flagship model XC90.
The film itself is about movement; about dynamism and intuitive response – the visceral, emotional experience of the Volvo XC60 brought to life. It begins in the passenger seat of the car –parked on an empty beach, radio quietly humming in the background, door left open, and a pair of shoes discarded in the footwell. Moving toward the water, the radio fades into the distance – drowned out by the sound of the ocean as we reach the shoreline…
“to feel to really feel is a rare thing these days”
…then out into the surf. Through the water, through the first tentative laps to the thundering crash of enormous waves, out into the darkness…until the water is still. Serene. A lone figure sits on her surfboard, her windswept silhouette visible only through the moonlight. Staring out toward the horizon, she’s waiting; a defiant look in her eyes.
And then it comes. The swell rises. A wave approaches, powerful and unstoppable. Adrenaline racing, we rise up. She rises up. Her arm takes one graceful, powerful swipe through the water as the wave is about to break…and then we cut. Against the black, we hear the earth-shaking thunder of the wave collapsing. The film ends with the line ‘Seek Feeling. The responsive XC60’.
Hollie Newton, Global Creative Director at Grey London, says: “The last thing the world needs is another overly-retouched car, hooning down a mountain road to a soft rock soundtrack. There's a defiant, slightly renegade Swedish spirit to Volvo that simply doesn't fit with the bland world of car advertising. And thank god for that. We have an enormous suite of work coming up for Volvo which challenges the conventions of the sector. This is the first. A quietly epic piece of film that, hopefully, makes you feel something.”
Marcus Söderlund, Director (and Swede), adds: “I am working my way through the four classical elements with Grey: last time it was a fire film, now water. The perspective in this film is pretty special; it´s not a first person perspective. The whole way through it’s the viewer’s film and view. Working in the element of water is fantastic – there is so much you just can´t predict or control. If you embrace that, you can get imagery you can’t even dream of.”
As very specific weather, moonlight and tidal conditions were required for the highly technical shoot, the time of year made shooting in Sweden impossible. Instead, the film was shot in Durban, South Africa. After looking at dozens of potential locations, Durban emerged as the only that could provide the essential quartet of good waves, high-quality levels of moonlight, shark nets and – most importantly – an area which closely resembled Swedish environments. Just as vital as the location was the casting – with 46 year old Cape Town resident and experienced surfer Lisette Forsyth eventually chosen. Not only was she at ease in the ocean and a passionate surfer, she had a beautifully graceful and serene look in the water.
The campaign is Global Creative Director Hollie Newton’s first for Grey since joining from Wieden + Kennedy last year, where she created Lurpak’s multi-award-winning Good Proper Food. It was directed by Gothenburg-born Marcus Söderlund through Academy. Print photography was from Gian Paul Lozza, best-known for capturing his subject using only ambient light. Allan “Willy” Wilson – famed for his surf films – was underwater DoP, while André Chémétoff – known for his beautiful, technical films such as Our Day Will Come by Romain Gavras and Jaron Albertin’s Sony Volcano – was DoP.
Credits: Project name: The Swell Client: Volvo: Tomás Caetano (Vice President Brand Marketing), Ingela D'Angelo, (Director, Marketing Communication), Magnus Brodd (Marketing Content Director), Anna Wirsen (Project Leader) Agency: Grey London Executive Creative Director: Nils Leonard Global Creative Director: Hollie Newton Creative Team: Hollie Newton / Jamie Starbuck / Howard Green Managing Partner: Nick Dutton Business Director: Camilla Ashenhurst Account Manager: Mel Caplan Agency producer: Harriette Larder Creative producer: Glen McLeod Planning Director: Matt Buttrick Planner: Hayley Cannon Production company: Academy Films Director: Marcus Söderlund Editor: Tom Lindsay @ Trim Producer: Medb Riordan Exec Producer: Lizie Gower DOP: André Chémétoff / Allan “Willy” Wilson Colourist: Aubrey Woodiwiss Post-production: Yourick Van Impe (Flame) & Aubrey Woodiwiss (grade) @ Electric Theatre Collective Audio post-production: Aaron Reynolds @ Wave Photographer: Gian Paul Lozza
The highly anticipated 2013 Subaru BRZ rear-wheel-drive sports coupe makes its debut in Canada with the launch of a new campaign ‘Scorched,’ and car aficionados and passionate drivers will agree, car porn has never looked so good.
Developed by DDB Canada’s Toronto office, the national campaign features a 60-second online film, ‘Scorched,’ shot with Phantom camera technology, creating extreme slow-motion shots. The suspenseful story unfolds inside a garage where an unknown source of heat melts everything in its path. Amplified by a dubstep track, “Execute” by Excision, the final shot reveals the heat source to be the Subaru BRZ emerging out of a drift, demonstrating that the BRZ handles as incredibly as it looks.
“The Subaru BRZ is a hot car, with a great deal of excitement already surrounding its release,” says Todd Mackie, creative director, DDB Canada. “We wanted to create a visual story to mirror that anticipation while captivating both existing fans and reaching new ones.”
Print, online, ambient, social media, public relations and targeted blogger outreach round out the campaign; each highlighting the sizzling sports coupe. Selectmedia and bloggers also got the opportunity to feed their gear head inside by attending the ‘Scorched’ shoot, to get a rare, behind-the-scenes peek at the Subaru BRZ in action.
“This is Subaru’s first rear-wheel drive sports coupe and with limited quantities available in Canada this year, it’s the most highly anticipated launch in the category,” says Geoff Craig, director of marketing, Subaru Canada. “We challenged DDB to accelerate the buzz and launch the BRZ with creative that’s just as hot as the car.”
A hologram lenticular in The Grid and attention-grabbing creative in national newspapers and magazines reveals the BRZ burning through the pages. Similarly, online advertising burns up computer screens and tablets to unveil the hot new sports car.
The Subaru BRZ turned heads at the 2012 Montreal Grand Prix (June 8-10), with an ambient street-art installation produced by DDB Public Relations. The BRZ was showcased as part of an eye-popping, movie-style set featuring a burnt mailbox, singed bike rack, melted street lamp and a massive 32’ heat-blasted brick wall. The result was a surreal replica of a Montreal street corner that appeared to have been utterly “scorched” by the hot new sports car.
To enhance the installation DDB Public Relations engagedCanadian NFC tech firm, TAPmeTAGS Inc. to provide NFC enabled tags as part of a test-pilot program to encourage consumer interaction onsite. Singed wild postings surrounding the installation encouraged passersby to “tap or snap” using their NFC phones. This directed consumers to a dedicated BRZ landing page where they could learn more about the vehicle, view images and book a test drive.
The Montreal ambient installation is the first of a series, with more coming to major cities across Canada this summer.
Credits: Advertising Agency: DDB, Toronto, Canada Creative Directors: Denise Rossetto, Todd Mackie Associate Creative Directors: Paul Riss, Adam Bailey Copywriter: Adam Bailey Art Director: Paul Riss Agency Producer: Ken Rodger Account Team: Michael Davidson, Peter Brough, Julia Morris Media Company: OMD Production Company: Radke Director: Common Good Common Good Creative Directors: Eric Makila, Jamie Webster, Jordan Clarke Executive Producers Common Good: Marie-Pierre Touré, Stefanie Kouverianos Executive Producer Radke: Miriana DiQuinzio Line Producer:Dwight Phipps Director of Photography:Chris Mably Editorial: Ross Birchall, Bijou Editorial VFX: Common Good VFX Supervisor: Alex Avram Post-Production: Alter Ego Colourist: Erin Whipp / Alter Ego Online Editor: Darren Achim Music: “Execute” by Excision
THE 2012 VOLKSWAGEN BEETLE OFFERS THE SAME SMILE WITH SHARPER TEETH
The Volkswagen Beetle has been many things over the years. But whether playing the role of the friendly, utilitarian car of the people, or a smile-on-wheels with a flower vase by the steering wheel, it’s also always been a single-minded exercise in progressive, iconic design. The latest incarnation of the Beetle is no exception. Although lurking beneath a shell that harkens back to the original is a machine that’s dedicated to performance and driving enjoyment.
While a focus on performance is definitely a new direction for the Beetle, innovation has always been a hallmark of the car’s personality, so Volkswagen Canada and Toronto advertising agency, Red Urban, agreed that innovation must also inform the marketing effort to launch the Beetle in Canada. To this end, much of the Beetle out of home advertising in Toronto and Vancouver offers an enhanced experience, using augmented reality (AR), a technology that allows people to use mobile devices like iPhones and iPads to see animations on the advertising that are triggered by markers embedded in the ads themselves.
The AR animations can be seen on gigantic billboards in Toronto’s Dundas Square, as well as on transit shelters throughout Vancouver and Toronto. The animations themselves show the Beetle launching itself through billboards, jumping off of a massive ramp that appears to emerge from the side of a building, and smashing through transit shelters after racing through a long tunnel that appears to be built behind the shelter itself. All the animations serve to demonstrate that this is a much more aggressive, performance-oriented Beetle than any of its predecessors.
“Previous Beetles have been kind of cute and friendly, but this one has a lot more attitude, so we thought the advertising better live up to that,” notes Bruce Rosen, Director, Marketing and Communications of Volkswagen Canada. Steve Carli, President of Red Urban adds, “The car is a nod to the past and the future at the same time, so using the AR overlay on a very traditional out-of-home media buy really seemed like a solid conceptual fit.”
The out-of-home campaign runs from September 26 to October 30 in Vancouver, Toronto and Montreal. In addition, an online digital campaign will run from October 26-November 26. The free app can be downloaded at vwjuicedup.ca, and people can experience the AR at home through the “Volkswagen Beetle. Juiced Up.” video on the Volkswagen Canada YouTube channel.
Credits: Agency: Red Urban Canada Creative Director: Christina Yu Writers: Matt Syberg-Olsen, Jon Taylor Art Directors: Damian Simev, Liam Johnstone Producers: Andrea Hull, Sam Benson Account Director: Nicole Milette Tech Consultant: Joe Dee Production: Pixel Pusher Animation/Design: Bully! Entertainment Video Director/Editor: Tyler Williams Billboards (Atrium at Bay and 10 Dundas St. West, Toronto): Clear Channel
Scion and global creative agency ATTIK are literally putting the pedal to the metal in the youth-focused automotive brand's national cross-media launch campaign for the all-new, 200hp, rear-wheel drive 2013 Scion FR-S sports coupe. Today, the brand and agency executives are very proud to detail their new "Driving is Back" campaign, which is currently debuting numerous advertising placements across the country. "Scion is extremely excited about the launch of the FR-S," said Jack Hollis, Vice President, Scion. "The rear-wheel drive sports car is the brand's halo car that pound-for-pound and dollar-for-dollar, is igniting the passions of a whole new group of driving enthusiasts.
Together with our partners at ATTIK, we are absolutely thrilled to kick-off the campaign inviting everyone to rediscover the fun of driving with the FR-S." "In this campaign, the radical new FR-S itself is first and foremost," began ATTIK co-founder and executive creative director Simon Needham. "To us, there are very few exciting cars out there that are also practical on some level… and the FR-S gets great gas mileage while maximizing performance. So naturally, our campaign demonstrates the power and handling of this amazing car – most often in the hands of drifting champ and renowned racing driver Ken Gushi, who drove the car in many of the exciting driving scenes. Across every campaign facet, our overall goals are to excite, inspire, drive people to explore the FR-S online and get them into dealerships and behind the wheel." The "Driving is Back" campaign was conceived by ATTIK's creative director Ron Lim, art director Mike Cornell and copywriter Andy Sciamanna, and its out-of-home elements are now live in 40 locations in 26 major U.S. markets. Today, the first of three: 30 spots will break… not only on young adult-targeted cable outlets where viewers are accustomed to seeing Scion ads, but also via NBCU syndication, and on NBC, Fox and every major sports network. First comes "Bringing the Sport Back to the Car," which will begin and end a three-month TV buy. Different campaign spots will appear between June 25 and August 5, and more video ads (all commercials and videos were directed by Needham) will run on the brand's social media channels and website well into September. In print, the first spreads will begin to appear mid-June in Sports Illustrated, Maxim, Motor Trend, and Men's Journal, among many others. Banner placements are also blanketing most standard and some new targets for the brand starting today. "Since the FR-S is Scion's biggest push into the sport coupe market yet, we wanted to extend our reach beyond our typical media channels," Lim explained. "This car already has a lot of buzz around it, and we are aiming to build on that excitement. Of course, television is still a powerful mass medium. We also chose mainstream automotive pubs for the first time. Our campaign is much heavier in details than usual as well. We're psyched about our specs and so are the automotive tastemakers; it was important to reach enthusiasts this time out. Andy and Mike really sold the experience of driving the FR-S." Lim also shared insights into some of the more innovative media tactics the campaign will introduce in July. "We're also using smartphone apps to invite readers to watch the FR-S in action through Digimarc codes embedded in the print. Using their smart phones, consumers will be able to peek under the hood of the FR-S and see it in action. This is a great way to feature the very emotional driving experience within a static print ad." According to Lim, Scion and ATTIK chose Digimarc technology due to its successful integration with the Sports Illustrated Swimsuit issue earlier this year, citing its track record, its powerful security features, and its ability to seamlessly present video as part of the agency's print ad, which is entitled Video Test Drive. That ad is scheduled to run in the July 9 issue of Sports Illustrated. Finally, Scion's and ATTIK's executives are also putting the finishing touches on a powerful iAd that will appear in targeted apps for the iPhone and iPad and allow viewers to view videos and explore more features of the FR-S in amazing detail. The brand and agency once again have many leading technology, creative, production and post-production partners to thank for their campaign contributions. Among those are commercial production company Blueyed Pictures, editorial company Lost Planet, CGI/VFX company Brewster Parsons, and music company Squeak E. Clean Productions. For ATTIK, additional credits include senior broadcast producer Patty Lum and senior account manager Michelle O'Hea, to name but a few. Credits:
Client: Scion Advertising Agency: ATTIK U.S. Executive Creative Director: Simon Needham Creative Director: Ron Lim Art Director: Mike Cornell Copywriter: Andy Sciamanna Sr. Broadcast Producer: Patty Lum Production Company: Blueyed Pictures Director: Simon Needham Directors of Photography: Brooks Guyere, Daniel Ardilley Executive Producer: Jamee Natella Producer: Jon Goldberg Editorial Company: Lost Planet Editor: Saar Klein Executive Producer: Gary Ward Producer: Jaclyn Paris Graphics/VFX/Finishing Company: Brewster Parsons Executive Producer: Darcy Parsons Producer: Rebekah Koerbel CG Artists: Denis Gauthier, Vonetta Taylor Music/Sound Design Company: Squeak E. Clean Productions
BMW M5 — "Bullet" — High Performance Art. The world's fastest sedan recreates super slow-motion bullet footage on a much grander scale. The result: High Performance Art.
Formula 1™ legend David Coulthard and pro-golfer Jake Shepherd set a new world record — farthest golf shot caught in a moving car — with the help of the Mercedes--Benz SLS AMG Roadster. The car caught the ball 275 metres away from the tee.
This stunt was verified by Guinness World Records
Can a car go faster than an arrow? Hyundai's new thinking to discover new possibilities proves it can with the Hyundai Genesis Coupe vs an Arrow.
Skoda Fabia, a car advertised for the most spacious cabin in its category, was transformed into a real hostel: with a comfortable double-bed, pillows, free wi-fi, and everything needed for a comfortable stay. Yes, it had a bathroom next to the car just in case. The hostel was placed at «Izmaiolovo Park», one of the most pleasant parks in the city to provide a great view for the guests.
The project was created by the advertising agency Proximity (BBDO Russia Group), in a partnership with the accommidation website Tripping.com: every time someone was searching for a place to stay in Moscow, surprisingly, the Skoda Hostel appeared in the results, and users could book it online and spend one night there. The only payment accepted were likes, tweets and shares.
Guests could also take the car for a ride around the city, so each booking became a full scale test drive. The hostel was fully booked, and had great feedback from its guests.
Credits: Creative Ad Agency: Proximity, Russia Luis Tauffer — Creative Director Andres Vergara — Creative Director Luis Tauffer — Art Director Ivan Malakhov — Art Director Polina Zabrodskaya — Copywriter Ilya Andreyev — Creative Technologist Natalia Ten — Client Services Director Julia Bogdanovich — Managing Director Oleg Malyutin — Group Account Director Valery Gorokhov — Producer Giuliana Giora — Producer Production Company E:mg, Hype Production, Lógico Music, All Awards, Goudron Music Factory, Guto Chicanelli
Mad Made Drama” is a tribute to the power of Ram Commercial trucks and man’s ability to shape the world around us through hard work and sheer will. Directed by Lucky Twenty One’s The Chartrands for advertising agency The Richards Group, the spot was edited by Lucky Post’s Logan Hefflefinger.
The Chartrands scouted “Man Made Drama” in and around Portland in a Ram Truck, shooting additional footage along the way. To capture the desired images of both the truck and the surrounding environments, including a cameo by a highly trained Wolf Dog, the duo shot using a Phantom, Klaus Cam and car rig. “The agency provided a great concept and the trust to allow us to explore and elaborate,” comments Marc Chartrand. “Plus, they encouraged us to really put the truck through its paces and get it dirty which adds a level authenticity, not to mention fun,” adds Melanie Chartrand.
Lucky Post’s Logan Hefflefinger shaped the footage, honing the visual narrative in collaboration with The Chartrands: “The Chartrands are incredibly talented and shoot with the edit in mind, providing a wealth of beautiful footage from which to craft the story.” Meanwhile, Lucky Post’s Seth Olson created graphics highlighting the Full Line’s accolades and Scottie Richardson designed a soundscape with intensity to match the visual narrative.
“It was another great experience with The Chartrands and the folks at Lucky Post. We're lucky to have such talent,” concludes Rob Baker, Brand Creative with The Richards Group.
Credits: Client: Chrysler Group LLC Chief Marketing Officer, Chrysler Group LLC: Olivier Francois Head of Advertising, Ram Truck Brand: Marissa Hunter Ram Advertising Specialist: Nicole Pesale
Agency: The Richards Group Brand Creative: Rob Baker, Jimmy Bonner, Lori Wittig & Jeff Hodgson Brand Management: Dennis Berchulc, Chris Siminski, & Jaime Roderer
Production Company: Lucky Twenty One Director: The Chartrands DP: The Chartrands and Dean Mitchell EP: John Gilliland
Post: Lucky Post Editor: Logan Hefflefinger Assist Editor: John Valle Graphics: Seth Olson Sound: Scottie Richardson Finish: Tone Visuals @ Lucky Post Color: Company 3
Tire company Goodyear launches its new summer tire EfficientGrip Performance with an unusual marketing idea. The paddlewheel of Hamburg's famous steamboat "Louisiana Star" was covered with a special design that transforms it into an almost 7 meter high tire. The paddle wheel-tire was seen in the Port of Hamburg and on the river Elbe. The giant paddle wheel-tire in Hamburg was created by German advertising agency Leo Burnett.
Since 1999 the luxury liner is one of the major attractions in the Port of Hamburg. To the huge number of visitors, its paddlewheel communicates instantly that the Efficient Grip Performance offers the perfect grip when wet. The printed air duct sheet, which is mounted on the paddle wheel, is car-wash-resistant. It covers 100 m2 of Alucobond-panels. The whole construction design weighs 400 kg. Its surface has a diameter of nearly seven meters, which means it has the height of a multi-story house.
The giant paddle wheel-tire in Hamburg was created by German advertising agency Leo Burnett. The Frankfurt based agency also developed the new Goodyear campaign. The claim "Made to feel good" addresses the consumer in a more emotional way. "This unusual advertising platform complements our classic print campaign we designed for the new product," says Fabian Schreiber, Marketing Manager at Goodyear.
During this weekend, the Goodyear paddle wheel steamer will be — as usual — available for round trips on the inland waters of Hamburg.
Responsible for this campaign at Goodyear is Fabian Schreiber (Marketing Manager Goodyear).
Credits: at Leo Burnett are Andreas Pauli (Chief Creative Officer), Daniela Ewald (Creative Director), Jörg Hoffmann (Creative Director), Benjamin Merkel (Senior Copywriter), Helge Kniess (Senior Art Director), Sabrina Lienig (Layouter), Philipp Müller-Scheessel (Account Supervisor), Leonie Schüssler (Junior Account Manager), Christiane Simshäuser (Projektmanagement), Netti Weber (Senior Print Production Manager), Katrin Kester (Head of Public Relations).
UK based Confused.com is defending their newest advert starring Brian the robot after the ad watchdog receives several complaints that the spot shows a couple being interrupted while she is giving him what seems to be as they say in the England "dogging". According to Campaign Live so far the ad has received 20 complaints and a spokesman for the Advertising Standards Authority said that the main claims against the ad were that it was offensive, distasteful, suggestive of sexual activity, degrading to women and inappropriate for children.
However, Joby Russell, the marketing director of Confused.com, dismissed the comments and said: "Admittedly, the woman is somewhat startled by Brian appearing in the car window, having been tying her shoelace." He explained that Brian could not help but try and help people save money on their car insurance, and said: "However, this does mean that he sometimes finds himself in awkward situations. "With Brian’s passion to help people save money, all we can say is watch out for where he might find himself next." Confused.com introduced Brian the robot into its ads in May, replacing the singing animated character Cara, as part of a complete brand overhaul by Publicis London
Acura, for the first time, will run a commercial during the Super Bowl championship game to capitalize on communicating with the more than 100 million viewers. Designed to strengthen Acura brand awareness and leverage Acura's announcement in Detroit at the North American International Auto Show earlier this month, a 60-second commercial featuring the iconic talent of Jerry Seinfeld and Jay Leno coupled with the highly anticipated NSX supercar concept will air during the third quarter.
"Acura has a specific plan in place across all communication channels to build off of the first round of product news announced at the North American International Auto Show. The response to the ILX, RDX and NSX supercar concept has been extremely positive," said Susie Rossick, Acura Brand Manager. "Our Super Bowl strategies are simple—build upon the buzz created in Detroit and leverage the excitement for the future return of the legendary NSX to the Acura lineup."
This commercial, "Transactions," depicts the over-the-top antics of two actual top car collectors, Jerry Seinfeld and Jay Leno, in an unrelenting bid to be the first in line to take delivery on the first Acura NSX.
"The goal is to present a commercial that not only clearly positions the NSX as the ultimate 'must have' sports car, but does it in a way that is memorable, entertaining and aligned with Acura's brand position," said John Hage, EVP/executive creative director at rp&, Acura's advertising agency of record.
The Super Bowl campaign includes a pre-game release of a 1-minute 50-second—extended version of "Transactions," PR initiatives, search, seeding and paid media placements. The commercial will be featured in Acura dealerships across the country. In addition, as the preferred vehicle of W Hotels, the commercial will be shown in-car on the MDX's rear-entertainment DVD screen during guest rides.
"Transactions" will help to build upon the anticipation coalescing for the next chapter of Acura, which commences this spring with the launch of the all-new RDX crossover sport utility vehicle and the introduction of the all-new ILX luxury compact sedan.
Credits: Agency: RPA Exec VP, Executive Creative Director: John Hage VP, Head of Art: Phillip Squier Associate Creative Director/Copy: Jon King Art Director: Brian Hall VP, Executive Producer: Jack Epsteen Production Writers: Jerry Seinfeld, Barry Marder, Chuck Martin, Spike Feresten, Bob Einstein Production Company: MJZ Director: Craig Gillespie DP: Emmanuel Lubezki Visual Effects: Eight VFX Editorial: Arcade Editor: Kim Bica Sound Design: Mit Out Sound Sound Designer: Ren Klyce
via: http://www.trustcollective.com/portfolio/content/rpa_transactions.php#ixzz1kzNyJWB1 Attribution: Written content created by TRUST: http://www.trustcollective.com Under Creative Commons License: Attribution Share Alike
One of the world’s most elite (and expensive) cars recently became a canvas for the creative whims of the techie minds at The Media Merchants, a technology-driven production agency based in Vancouver.
In November, the agency gathered influencers in the city’s creative, technology, design, advertising and automotive sectors for The Lamborghini Project, an exclusive audio-visual event centered around projection mapping onto a Lamborghini Reventon.
At $1.5 million, the Reventon is the luxury automaker’s priciest road car. Only 20 have been produced and sold to the public. Using its raw, understated and angular exterior as inspiration, creative technical director Anthony Diehl and animator Stuart Langfield projection mapped a series of real-time visuals on to the vehicle’s dark grey, semi-matte finish.
Initially, Media Merchants conceived The Lamborghini Project exclusively as a projection mapping experience but once they began the meticulous process of mapping animated images onto the car, they realized they had a one-of-a-kind opportunity to do something even more ‘live.’
“One of the surprising and fun elements of the project was getting everything aligned perfectly and then discovering that we had a pretty awesome VJ setup sitting in front of us,” says Anthony Diehl, creative technical director on the project. “Although it wasn’t part of the original plan, we couldn’t help ourselves and took the opportunity to run a live VJ set with visuals created in real-time.”
Diehl and Langfield developed the animated visuals using hybrid 3D and 2D techniques developed specifically for the purpose of projection mapping onto 3D objects. Working from the idea of ‘contrast,’ they sought to highlight the Reventon’s dark, moody and clean lines through a combination of predefined op-art imagery and improvised, real-time effects.
“It’s a scalable technique, allowing us to add or remove projectors for the final execution depending on technical or budget considerations, even after the animated content has been produced,” explains Diehl. “We really tested out the extent of this process on the Lamborghini project and it worked beautifully.”
The video content was created using MadMapper and Modul8 VJ software run off two Macbook Pro laptops networked together for playback sync and then plugged into three 7000 Lumen Panasonic projectors and one 6000 Lumen Christie Projector.
For the music, Media Merchants turned to Mitch Lee of Redemption Audio for a soundtrack that contrasted pure and crisp strings, pianos and snyths with distorted percussion, dissonant noise and an ominous silence. The end result perfectly underscored The Lamborghini Project’s gorgeously subtle symmetry.
Credits: Projection Mapping: The Media Merchants Creative Technical Director: Anthony Diehl Animation Director: Stuart Langfield Sound Design: Mitch Lee for Redemption Audio Post Production: JUMP Studios Videography: Perfect Pictures, Van Media Director of Photography: Dan Dumouchel Lamborghini Reventon: SR Auto Group via: GlossyInc.
This Saatchi & Saatchi created commercial for Trident Total Gum is a wonderful example of the power us women can have over men. The ad features a young woman who seems to have some difficulty parking her car...as she sits in her car wondering what to do a police officer approaches, knocks on her window asking for her drivers license. As she struggles to find it she ultimately gives up and innocently smiles her pearly white teeth to which the stone cold faced officer falls victim.
Credits: Advertising Agency: Saatchi & Saatchi, Bogota, Colombia General Creative Director: Juan Pablo Navas Creative Directors: Juan Carlos González, Margarita Olivar Copywriter: Juan Carlos González Art Director: Margarita Olivar Account managers: María Cecilia Arciniegas, Luis Miguel Ortíz Director: Alejandro Carreño Production company: Los Notarios Producer: Nathalie Burnside Production manager: Juan Pablo Bernal Post-production: Dr. Pepe Sound production: Laika Studio via: AdsoftheWorld
The new campaign for MidFirst Bank via agency Riester connects the company’s emphasis on loyalty and deep sense of purpose to the passions of its customers. This desire to achieve performance at the highest level is lovingly illustrated in the repair of a classic GTO “The Judge” featured in “Car.” Lucky Post editor Wes Williams elaborates, “The spot connects to a universal feeling of passion through the narrative of the classic car and its owner. The anticipation starts with the opening of a garage door and concludes with the GTO’s final polish. Whether you can wield a wrench or love to edit, we’ve all had those moments.” Credits: Advertising Agency: Riester Agency Producer: Robert Farthing Executive Creative Officer: Tom Ortega Senior Art Director: Paul Svancara Writer: Jon Resheske Production Company: Directorz Executive Producer: John Gilliland Director: Jeff Bednarz Post: Lucky Post Editor: Wes Williams Assistant Editor: Elizabeth V. Moore Graphics: Seth Olson Color/Conform: Brian Buongiorno
Last year Google started a program to partner with advertisers and agencies to re-imagine how brands tell stories in a connected world. Project Re: Brief set out to recreate some of the advertising industry’s most iconic, classic campaigns using the latest technology tools. This year Google is expanding that program to work with some of today’s most iconic brands and innovative marketers, in it's newest project: Art, Copy & Code.
Art, Copy & Code is a series of projects and experiments to show how creativity and technology can work hand in hand. Some of these will include familiar brands like Volkswagen, Burberry and adidas—projects developed in partnership with their creative teams and agencies. Others will be creative experiments with innovative filmmakers, creative directors and technologists to explore how brands can connect with consumers through a whole range of digital tools—including ads, mobile apps and social experiences. Google's first partner project is a new social driving experience, The Volkswagen Smileage.
Building off VW's 2012 campaign, "It’s not the miles, it’s how you live them," (video clip below if you have yet to see it) Volkswagen Smileage is a mobile app and web service that aims to add a little bit of fun to every drive, from your daily commutes to holiday road trips. The app measures the fun factor of each trip using a metric called “smileage,” based on signals like weather, traffic, location, time and social interactions (e.g., a long drive on a sunny Saturday afternoon might accumulate more smileage than a morning commute in the snow). You can use it with any car, not just Volkswagens.
Powered by the new Google+ sign-in, you can choose to share Smileage experience with friends and family. For example, during a road trip, photos and videos taken by you and your co-passengers can be automatically added to a live interactive map. The inspiration for the service came from a recent study showing that every day, 144 million Americans on average spend 52 minutes in a car—76 percent of them alone; making that time a more shareable experience. Volkswagen Smileage will be available soon in beta.
Gumtree launches its new television and radio ads this week, celebrating the thousands of success stories shared every day by its 8.6 million buyers and sellers. Featuring comedian Sanderson Jones, the executions focus on three of the site’s top categories: Motors, Jobs and Goods.
Conceived by Fold7, the campaign launches on TV on 25 March, alongside radio in London, YouTube advertising, online display and mobile ads.
The campaign, titled ‘Success!’ aims to demonstrate the joy of doing a deal on Gumtree, with the strapline, ‘Millions of sellers, millions of buyers. Gumtree. Success!’ Jones plays a brand advocate who delights in seeing others get the car, job or item they want on the UK’s number one classifieds website.
The first advert will champion Gumtree’s Motors category, where Gumtree has the highest number of privately listed cars in the UK, and will air in 30” and 10” versions. The ads for Jobs and Goods will also run in 10” versions. All the ads from the campaign can be seen on Gumtree's YouTube channel.
Hamish Stone, Head of Marketing at Gumtree.com, said: “We wanted to create a campaign that celebrates the wonderful success stories experienced by our 8.6m users on a daily basis. The site is going from strength-to-strength and with our Motors category growing quickly, it’s the perfect time to launch our latest ads. We’re hoping they’ll be just as successful!”
Ryan Newey, Creative Director at Fold7, added, “This is our first work for the brand since we were appointed in January. The campaign focuses on the key take out that we want people to remember about Gumtree; whatever you’re looking to buy or sell, Gumtree = Success!” Press via: 3Monkeys
Diesel has started new adv campaign «Diesel Island» within the limits of strategy «Be Stupid».
If you do not manage to advance the outlooks on life in an old society, it's necessary — to keep away from those who does not accept innovative principles, and to organize the own state. Diesel continues to throw brushwood in a movement fire «Be Stupid», starting new advertising campaign «Diesel Island».
Freedom Island for Free People
Is a story of desperate young people which were tired of a boring society with all its interdiction dictated by «big brother's mind». The young people has landed on paradise islands to create the new nation to take all best principles of the device of the existing countries and forever to eliminate social injustice.
People on a photos, it «the pioneers, which profits on Diesel Island in search of rescue from tyranny, an economic crisis, political corruption and reality shows», begin new life in which there is no place for silly restrictions of the usual world.
The army of these people consists of pair-three the person, armed with soft pillows, inhabitants of this kingdom of rest project ecological means of transportation (for example, the car which copes from a strength of wind), and also gradually steal Wi-Fi from neighboring countries. Being children of a wind, the sun and freedom, they do not accept all totalitarian powers.
Artists Louise Chappell & Becky Bolton are Good Wives and Warriors who provide an intimate look at their creative process and original artwork inspired by the Chevy Spark city car.
Credits: Creative Advertising Agency: Goodby Silverstein & Partners/Commonwealth, Detroit, USA
