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Glacéau vitaminwater to help young creatives #shinebright in brand’s latest campaign, by recruiting six mentors including Susie Bubble and Mikey Trapstar to help cutting edge creative talent

Glacéau vitaminwater, the original, enhanced drink, is launching a new campaign for the summer, which will offer emerging talent unrivalled opportunities to work with some of the biggest names in the entertainment and creative industries, as part of a long-term, global commitment to help young talent.

The #shinebright campaign will be kick-started this summer, throughout Europe, by six leading cultural entrepreneurs from the worlds of fashion, music, design and media. These cultural entrepreneurs will mentor and support aspiring creatives in a series of exciting projects, all geared towards giving them a step up the creative industry ladder.

World-renowned fashion blogger, Susie Lau (of Style Bubble fame) and Mikey Trapstar (founder of legendary urban streetwear label Trapstar) will be among the first wave of cultural entrepreneurs mentoring aspiring creatives. Susie will be offering one-to-one mentoring and the chance to work with her at London Fashion Week. Mikey is offering young designers the chance to showcase their designs in a London pop-up store, offering them the inside track on launching their own fashion brand. Other opportunities include the chance to work alongside musician /architect /designer Jenny Grettve at a studio in Sweden and a photography session capturing the streets of Paris during a one-to-one photography workshop with Theo Gosselin.

The content-rich and social campaign showcases the importance of nurturing creativity and talent through an integrated approach including PR, media partnerships, sampling, social media, social advertising and OOH.

Glacéau vitaminwater is urging consumers to get involved by heading to a dedicated campaign hub, www.vitaminwatershinebright.com to find out more about the creative challenges set by each of the six mentors. The six #shinebright opportunities are open until Friday 16th August. Follow @vitaminwater_uk to find out more about the collaborations, stay up to date and get involved.

The campaign was created by luxury and lifestyle agency, atelier and social agency, holler. Both are part of the Leo Burnett Group in the UK.

Glaceau vitaminwater’s 2013 Shinebright campaign is part of a long term, global commitment to help young creative talent to be at their best. The six mentors were chosen to represent the campaign as they have a unique style and personality that reflects six of the different vitamin and mineral combinations available.

The mentors star in a photoshoot by Matt Irwin, styled by Anna Trevelyan, which is being featured on billboards in cutting edge urban spots across the UK, France, Denmark and Sweden, to catch the eyes of a discerning crowd.

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.

An interesting take on cigarettes showcased here in a new commercial for the "DNA Project" entitled The Cigarette That Saved Lives.
The DNA Project had the following to say about the ad campaign:
Egg Films’ Bruno Bossi recently directed The Cigarette That Saved Lives, a controversial commercial for The DNA Project, a non-profit organisation raising crime scene awareness and fighting crime with science with the invaluable support of The Change a Life Trust. “It came as a surprise, as it does to most people, that we do not have the legislative framework in place to more fully use DNA profiling for crime scene investigation in our country,” says Bruno. In South Africa, the National DNA Database only has about 133 000 DNA profiles and there are only two South African Police Services labs that can perform DNA profiling on forensic samples.
Conceptualised by Fox P2, The Cigarette That Saved Lives depicts another brutal South African murder but focuses on the evidence that’s left behind, encouraging viewers to never disturb a crime scene as DNA can convict. The ad is paradoxical: a cigarette saves lives in a commercial where the lead woman dies. “The wonderful thing about this ad is that it creates conversation,” says The DNA Project founder Vanessa Lynch. “Egg and Fox P2 have done a brilliant job.” Everyone involved with the shoot worked pro bono, from the crew to the rental houses. “This project struck me as one of the more worthwhile causes in our country,” says Bruno. The DNA Project would also like to thank the Change A Life Trust for helping by sponsoring this advert.
Vanessa set up The DNA Project after her father’s murderers went free because DNA evidence left at the crime scene was discarded, destroyed and not properly collected. “There was only one chance to collect and preserve that evidence, and it was lost,” says Vanessa. “We can never go back, so that crucial link to my father’s killers was lost with it.”
The Cigarette That Saved Lives is currently screening on local broadcasters as part of the 16 Days of Activism for No Violence Against Women and Children between 25 November (International Day for the Elimination of Violence Against Women) and 10 December 2011 (International Human Rights Day). “Awareness is one of our biggest problems,” says Vanessa. “You can have the laws and systems in place but you only have once chance to gather the evidence before it’s lost forever.”
Credits:
Advertising Agency: FoxP2, Cape Town, South Africa
Agency Producer: Katherine Tripp
Executive Creative Director: Justin Gomes
Copywriter: Gavin Williams
Art Director: Michael Lees-Rolfe
Director: Bruno Bossi
Director of Photography: Paul Gilpin
Producer: Kirsten Clarence
Post Production Company: Black Ginger
Editing Company: Priest
Editor: Matthew Swanepoel
Music: Marc Algranti
Music Publisher: Pulse Music NY

High in the Italian Alps, thousands of stick-like images of people and animals, carved into rock surfaces, offer a tantalising window into the past. Archaeologists believe that the earliest of these 150,000 images date from the Neolithic but that most originate from the Iron Age. The UNESCO-protected ‘Pitoti’ (little puppets) of the Valcamonica valley extend over an area of some three square kilometres and have been described as one of the world’s largest pieces of anonymous art.

An event taking place next Monday (18 January 2016) at Downing College, Cambridge, will give the public an opportunity to learn more about a fascinating project to explore and re-animate the Pitoti of Valcamonica. Displays and hands-on activities staged by seven of the institutions involved in the EU/European Research Council-funded ‘3D Pitoti’ digital heritage project will show visitors how archaeologists and film-makers have used the latest digital technology to explore an art form often portrayed as simplistic or primitive.

The exhibitors from Austria, Italy, Germany and the UK will show that the thousands of Pitoti can be seen as “one big picture” as dozens of artists, over a period of some 4,000 years, added narratives to the giant ‘canvases’ formed by sandstone rocks scraped clean by the movement of glaciers across the landscape. The images are etched into the rock surfaces so that, as the sun rises and then falls in the sky, the figures can be seen to gain a sense of movement.

Displays will introduce visitors to the scanning, machine learning and interactive 3D-visualisation technologies used by Bauhaus Weimar, Technical University Graz, and St Pölten University of Applied Sciences to record, analyse and breathe life into the Pitoti. Cambridge archaeologists Craig Alexander, Giovanna Bellandi and Christopher Chippindale have worked with Alberto Marretta and Markus Seidl to create Pitoti databases using Arctron’s Aspect 3D system.

The scanned images of the Pitoti are stored in the rock-art research institute in Valcamonica, Centro Camuno di Studi Preistorici, and have given the project’s team an unprecedentedly rich resource to play with in exploring the power of graphic art in combination with other media.

The 3D Pitoti team members attending next week’s event will engage with visitors who will be given the chance to experience the scanner, UAV (unmanned aerial vehicle), computer sectioning, and the Pitoti ‘oculus rift’ virtual reality experience, made possible by using advanced imaging systems which are creating a new generation of ‘real’ images. The live demonstration of the interactive 3D Pitoti children’s app, developed by Archeocammuni and Nottingham University, is likely to prove popular with younger visitors who will have the chance to handle the technology and ask questions. Also taking part in the event will be the renowned craftsperson Lida Cardozo Kindersley who will demonstrate the art of letter cutting as an intensely physical process.

“Many of the images at Valcamonica are contemporary with classical Greek art but are an under appreciated form of art. I believe that the Pitoti are an example of minimalism, an early precursor to work by Alberto Giacometti and Pablo Picasso. They can be just as powerful as the classical art of Athens and Rome in their own way. By showcasing our project in the neo-classical setting of Downing College, we are highlighting this clash of visual cultures and using the digital to raise the appreciation of what has been seen as ‘barbarian’ or ‘tribal’ art.”

Members of the 3D Pitoti team captured thousands of images of people, sheep, deer, horses and dogs found on the Valamonica rocks. The digitised images gave the project a ‘casting directory’ of thousands of ‘characters’ in order to create imagined narratives. The creation of moving images using pixels, or dots, echoes the making of the Pitoti which were pecked out of the rock by people striking the surface with repeated blows to produce lines and shapes.

Dr Sue Cobb, from the University of Nottingham, who led the international team of scientists, said: “Thanks to the 3D Pitoti project, archaeological sites and artefacts can be rendered in stunningly realistic computer-generated models and even 3D printed for posterity. Our tools will give more people online access to culturally-important heritage sites and negate the need to travel to the locations, which can be inaccessible or vulnerable to damage.

“We overcame a number of technical challenges to innovate the technology, including developing weatherproof, portable laser scanner to take detailed images of the Pitoti in situ in harsh, rugged terrain; using both a UAV and glider to take aerial shots of the valley for the computer model and processing huge masses of data to recreate an immersive, film-quality version of the site in 3D.

Next Monday’s event will include a test screening of a 15-minute 3D generated film called ‘Pitoti Prometheus’ which reimagines the story of Prometheus (who, according to legend, created men from clay) by animating digital images captured in Valcamonica. The fully finished film will be launched later in the year.

The film’s 3D engineer Marcel Karnapke and film-maker Fred Baker (contributing via Skype) will take part in a discussion at the end of the day, enabling the audience to ask questions about the film and the unfolding of an ambitious project which breaks new boundaries in terms of European cross-disciplinary collaboration.

“We use the word ‘pipeline’ to describe the process by which we’ve scanned and channelled the rock art images through time and space to bring them to mass audiences,” says Baker. “It’s a pipeline which stretches well beyond what we’ve produced and future technologies will undoubtedly open up new understandings of art forms that communicate so much about humanity and our relationships with each other, with the environment, and with imagined worlds.”

Next Tuesday morning (19 January 2016), a series of talks and workshops, aimed primarily at academics, will take place at the McDonald Institute for Archaeological Research. The two days of events are the official culmination of the 3D Pitoti project. For details of Monday’s event, which is free of charge, go to http://3d-pitoti.eu/

Source: University of Cambridge [January 14, 2016]

Premium distiller Jura is teasing fans of its whisky with a new campaign showing an artist’s impression of people tasting a thirty-nine-and-three-quarter-year old whisky, ahead of its launch next year.
James Kirkham, Holler founding partner, said: “Our Jura activity is going to have a focus on breaking convention and not resorted to tried and tested category norms. This is a great first example of instant, smart, socially inspired promotions which ignite passion and get people talking.”
A video of the event is below, and tweeters of a legal drinking age are in with a chance to win a vial of The 39 ¾ by retweeting it.

Creative agency Holler is behind the online and experiential campaign, called ‘Visual Taste of 39 ¾s’, which had its beginnings at the Jura Whisky Festival, where attendees were given an exclusive chance to taste the special tipple.
Artist Robbie’s Brown Shoes, of the Puck Collective, was on hand to capture the reactions of the tasters and his creations are now being shown on Jura’s Facebook page, as well as distributed via Twitter.

Jennifer Watts, account director at Brandworks International, left, and Scott Morris, media manager at Mindshare Media MICHELLE SIU PHOTO Ad Agency Wars III is set for Wednesday in Toronto!

A year ago, Scott Morris’s typical Friday wind-down with colleagues would have involved beer, pizza and more beer.

Morris, the media manager at Mindshare Media Canada, still ushers in the weekend with members of Toronto’s advertising community. But for the past three months their fellowship has been devoted to toughening up for a charity boxing event.

Agency Wars III, which takes place at the Arcadian Court this Wednesday, will see 24 men and women from 14 local ad agencies square off to raise money for Ronald McDonald House and the National Advertising Benevolent Society.

The participants, who train with professional coaches, actually become qualified amateur boxers sanctioned by Boxing Ontario for the sold-out event.

One of the final training sessions found a broad range of ad industry employees, from art directors to CFOs and copywriters, drilling down at The Boxing Loft in the Entertainment District.

Morris, 31, had spent last Friday fine-tuning ideas for his Ford Fusion portfolio for next year. But come dusk, he was focused on his upcoming bout with Jason Kan, motion graphics designer at Teehan+Lax.

Even before stepping into the ring for their three two-minute rounds, Morris has already earned bragging rights: he’s shed 35 pounds since training began in September and can now execute at least 40 pushups and an eight-minute mile.

“I’ve never done anything like this in my life,” said Morris as he took a break from light sparring inside the Adelaide St. W. gym. “I feel good. I feel confident. I wake up everyday thinking I’m going to throw up from the nerves, but I just channel past that and stay focused.”

Abs aside, Michael Clancy has seen the long-lasting benefits of exposing his competitive industry’s desk jockeys to the even more cutthroat world of pugilism since he founded Agency Wars three years ago.

“Knowing what to do under fire is really important,” said Clancy, executive creative director for Brandworks. “If you can get into a ring, then you can walk into any boardroom in the world.

“In the ad business, taking care of your stress is really important. And boxing is a spectacular way to do that because you’re not in your head. You have to be very much aware of your body. And hitting a bag, doing that kind of strenuous work, the footwork involved, takes you out of the office and puts you into a very physical place where you do what you’re told. You don’t have to think, and you’ll be fine.”

Clancy, 62, who took out his opponent in the third round, aided by former junior featherweight champ Steve Molitor in his corner, when he fought in 2010, has been the oldest competitor to date in the event, which is taped by Fight Network for later broadcast.

“It’s kind of like a fantasy camp for boxing,” he said. “You get to walk in with your entourage, you get to pick your music and it’s televised.”

Head coach Chris “Mr. Showtime” Johnson, a 1992 Olympic medallist, finds the ad folks “very dedicated.

“They’re hungry. They want it almost to an obsessive stage,” he said. “They believe in perfection, but perfection in a sport like this does not come in three months. It’s taken me almost a lifetime.”

After a 20-minute skipping warm-up, Johnson led the group through various punch combinations, all the while pumping them up for fight night.

“If you get a chance to hit someone, hit ’em hard, because if they get the chance they’re going to hit you hard,” he exhorted.

From his ringside perch, returning announcer Jeromy Lloyd, Marketing Magazine’s online editor, has seen a fight or two stopped for split eyebrows and swollen eyes. He’ll be decked out as usual in a rented tux, but without a catchy “let’s get ready to rumble”-style tag line.

“I’m so scared of trotting on someone else’s intellectual property and getting the event sued,” he explained.

The creative team at Brandworks came up with the nickname “Da Boss (a.k.a. The Shot-caller)” for one of their fighters, Jennifer Watts, and selected their Christmas party favourite, LMFAO’s “Shots,” as her entrance music.

Now endowed with an eight-pack and the ability to do “at least 20 real pushups,” thanks to the rigorous 12-week training, the 6-foot-2 account director is pumped to face off against Mindshare media manager Christina Mirabelli.

“My strategy,” said the trash-talking Watts, 30, “is to keep her back with these long arms so she does not get near my face — and punch her in the head.”

Via: Ashante Infantry | The Star

Buckle up and hold on tight! To demonstrate that the all-new 2014 Subaru Forester puts the sport back in SUV, creative ad agency DDB Toronto created the Forester Family Rally. In a nutshell, they put families in a Forester on a rally course.
Press:

Toronto, April 10, 2013 — Subaru Forester Campaign Puts Real Families in the Driver’s Seat
Subaru Canada is inspiring families to experience the adventure and adrenaline of rally racing with the launch of its new 2014 Forester campaign, “Forester Family Rally.” Developed by the integrated groups of DDB Canada’s Toronto office, the comprehensive national campaign kicks off with the 30-second television spot, “Family Rally.”
Playing host to an organized rally event, the agency challenged six families to “hit the road” on a closed track, in the performance-driven Forester. The TV spot follows one of the six families conquering the mountainous terrain. It captures natural bursts of excitement as the family of four cheers on their mother with every twist and turn. The ad highlights some of the Forester’s new features like the X-MODE™, which sees the mother safely navigating the vehicle through challenging terrain with a swift push of a button. The spot drives viewers to visit www.familyrally.ca for a closer look at the new 2014 Forester, highlights from the other participating families’ rally runs and to enter a contest for the chance to compete in Subaru’s next family rally.
“With the new Forester launch, we wanted to pay tribute to Subaru's rich history and renowned reputation in rally racing” says Todd Mackie, creative director, DDB Canada. “By capturing the driving experience of real families on a rally track, we were able to depict the fun and adventurous spirit of the Forester, while demonstrating its high performance and handling.”
Via the “Forester Family Rally” hub, developed by Tribal DDB Toronto, users can watch each family’s rally run, switching camera angles for a closer look at the action, monitor each family member’s heart rates as their Forester goes through each turn of the track, view post-race interviews and check-out the results. For the truly adventurous, users can either book a test drive or register for a chance to compete in the next Forester Family Rally event via the microsite.
In August 2013, Subaru Canada will fly five qualifying families to Tremblant, Quebec for an action-packed, rally-themed competition. “ Developed by DDB Public Relations, the Forester Family Rally experience will kick off with adventure-themed competitions, including: rock climbing, go-karting and paddle boat racing, followed by a climatic performance family rally event on a closed course. Families will collect points over two days, with the winning family taking home a brand new 2014 Forester.
“The new 2014 Forester really puts the ‘sport’ back in SUV,” says Geoff Craig, director of marketing, Subaru Canada. “The campaign cleverly proves how everyday drivers can tackle a variety of terrains with confidence, reinforcing how the Forester is different from other compact SUVs, with its all-wheel-drive and superior road handling capabilities.”
Pre-roll, print, digital, social, public relations, radio, direct mail and in-dealership marketing round out this integrated campaign by driving traffic to the Forester Family Rally hub. Each program element contributes to create excitement and conversation surrounding the 2014 Subaru Forester, while encouraging families across Canada to qualify for the next Forester Family Rally event, taking place in August 2013.

Credits:
Client: Subaru Canada Inc.
Agency: DDB Canada, Toronto
Creative Director: Todd Mackie, Denise Rossetto Al
Associate Creative Director:
Copywriter: Allan Topol, Mark Biernacki
Art Director: Pete Ross
Agency Producer: Andrew Schulze
Account Team: Michael Davidson, SVP, Business Unit Director; Peter Brough, Account Director; Julia Morris,
Senior Account Executive; Lindy Scott, Account Coordinator
French Partners: Groupe Rinaldi: Jean-Charles Bullot, Creative; Maurice Rinaldi, President;
Tanya Fouleman, Account Executive
Strategy: Tony Johnstone, SVP Director of Strategic Planning; Sandra Moretti, Senior Strategist;
Kevin McHugh, Strategist
Social Media Strategy: Melissa Smich, Senior Cultivator; Ed Lee, Director, Social Media
Media: OMD: Michelle Jairam, Client Communication Director; Jennifer Thompson, Group Director of Strategy
Event Management: Vehicle Dynamics Group
Production Company: OPC & Family Style
Director: Chris Woods & GoodDearGood
Director of Photography: James Gardner
Line Producer: Oliver van Beek
Post-Production Company: Posterboy Edit
Editor: Mark Paiva & Danica Pardo (Pre Roll)
Online Editor: Axyz – Joel Saunders
Colourist: Alter Ego – Wade Odlum
Audio House: Grayson Matthews
Casting Agency: Jigsaw Casting – Shasta Lutz

The world's largest 3-D interactive projection billboard was created to promote the Chevy Sonic on the Roosevelt Hotel in Las Vegas.

Hollywood Boulevard was taken over last week, where they re-created the giant-sized, 3D version of the old-school claw game in front of the famous Roosevelt Hotel. Passers-by were given a chance to use a human-sized joystick to direct the claw which was projected onto the side of a building and had a chance to win an array of prizes including a $4,000 vacation, a Burton snowboard, and one for lucky person, a 2012 Chevy Sonic.

The project was the work of Goodby Silverstein & Partners and Pearl Media. "With Pearl's innovative approach to experiential advertising and Sonic's willingness to try 'firsts,' we at Chevy wanted to take the partnership into groundbreaking territory. So we added the real-time experiential claw-game piece," said Kevin Mayer, Chevrolet's director-advertising and sales promotion. "Sonic is up for any challenge, and Pearl's Claw Game pushed the Sonic into a new gaming realm that combined old-school fun with cutting-edge technology."

The famous Roosevelt Hotel is no stranger to being used for 3-D projections, Lexus put a twist on traditional Earth Day activities when it brought Earth Night to Hollywood as part of the launch of the all new CT 200h. Lexus transformed The Roosevelt Hotel with a 3D projection featuring architectural light mapping technology. Using state-of-the-art projection, lighting, shadows and 3D animation, the imagery popped from the walls and windows of the hotel to animate the landmark.

Pearl also did one for the release of the X-Men film on the Roosevelt.

When Droga5 got in touch with New York to ask if they wanted to pitch on a commercial to launch the new hydrogen powered Toyota they jumped at the chance to be involved in such a pioneering point in the history of motoring. Droga5 then received a truly brave script that engages the viewer in the provocative and absorbing debate surrounding this sustainable alternative to fossil fuels.
Brief
The brief called for simplicity, elegance, and sophistication in the film, whilst ensuring a palpable sense of a human hand in the visual storytelling. This felt like an incredibly refreshing and inventive way of marketing a new car and was something we were thrilled to be a part of. The sensibilities of the project were completely aligned with our creative approach and working methods as a studio.
Approach
Working closely with the creative team at Droga5, our winning response was to craft a rich visual journey that breathes life into the film’s dialogue in a variety of visual ways, whilst maintaing a seamless flow and coherent aesthetic.
The line was used as a repeat motif and the visual element that leads us through the film. Beginning with the carbon line representing our current use of archaic fossil fuels, through the crumbling carbon city until it’ is finally reborn as the blue ‘hydrogen paved highway’; Toyota’s vision for the future of car propulsion.
Post production and animation was expertly handled by the talented team at Analog.

Creative Credits:
Production Company: ATYP
Directors: Merlin Nation, Chris Angelkov
Executive Producer: Debbie Crosscup
Client: Toyota
Campaign: The Turning Point
Agency: Droga5 NY
Creative Chairman: David Droga
Chief Creative Officer: Ted Royer
Executive Creative Director: Neil Heymann
Creative Director: David Gibson
Creative Director: Nathan Lennon
Copywriter: Johan Gerdin
Digital Designer: Devin Croda
Chief Creation Officer: Sally-Ann Dale
Head of Broadcast Production: Ben Davies
Broadcast Producer: David Fisher
Group Brand Strategy Director: David Gonzales
Communications Strategist: Elsa Stahura
Junior Brand Strategist: Emily Mulvey
Group Account Director: Steven Panariello
Account Director: Bola Adekoya
Account Manager: Dave Murphy
Director of Digital & Integrated Marketing Strategy: Kimberley Gardiner
Post Production/Animation: Analog
Grade: The Mill
Producer: Heath Raymond
Telecine: Matt Osborne/Mikey Rossiter
Music: Rob Burger Music
Composer: Robert Burger
Sound: Heard City
Mixer: Phil Loeb
Voiceover: Brian Bascale

The new “Vikings” exhibition at Discovery Times Square is, in a sense, built around something that isn’t there.

The exhibition, which opens on Friday, was organized by the Swedish History Museum in conjunction with MuseumPartners in Austria, and the people behind it really want you to know that during the 350 years (750 to 1100) that Viking culture flourished, horned helmets were never a thing. They have amassed 500 artifacts — some copies; many the genuine article — to make the point.

There’s not a horned helmet among them (unless you count an amusing sight gag as you exit), because no such headpiece has ever come out of an archaeological dig. The ubiquitous headgear often associated with Vikings, we’re told in the exhibition, actually came out of the imagination of an 1876 costume designer staging a Wagner opera. And that’s not the only misperception this exhibition is intent on correcting.

The first thing you see in the introductory film as you enter is a farming scene. Raiding was certainly part of what Vikings did, but it is de-emphasized here — perhaps too much so — in favor of displays that highlight social and religious life and try to give women their due.

Countless fictional portrayals might have left the impression that Viking culture was somehow 90 percent male, wild-haired and sword-wielding, but of course it wasn’t, as the jewelry and many other women’s artifacts here attest. The now-rusted keys on display, we’re told, were often carried by women, because with men frequently on the road, they ran the farm.

What’s most interesting about the exhibition, though, is the way it places Vikings within the evolving world. It includes, for instance, a shell found on Gotland, the Swedish island, that came from the waters off distant Cyprus, because one thing Vikings were good at was getting around.

From Scandinavia, the Vikings vikinged far and wide, encountering other emerging cultures. The exhibition is organized by themes rather than chronologically, and the cross-cultural pollination is especially clear in a section on religion. Norse gods and Christian symbolism combine on brooches and pendants, tangible evidence of the kind of slow cultural conquest or merging that is harder to dramatize than a plain old military invasion but fascinating to contemplate.

The ships that made all this roaming possible are well represented. There’s a reproduction of a Viking boat, but just as compelling is a display that speaks to the archaeologist’s frustration: So many materials, including wood, deteriorate in a harsh climate. The display — “We call it the ghost ship,” Ms. Hejll said — consists only of what might be left of a ship at an archaeological dig: the metal hardware that held it together. Dozens of weatherworn rivets and other pieces of ancient hardware dangle from strings, creating the shape of a vessel; only the actual vessel is missing.

The exhibition is geared toward a general audience, with several interactive features likely to appeal to children. One especially illuminating one involves shipbuilding. It presents a graphic display of a landscape, then asks you to select what you’d need to build a Viking ship. Rope? Sure — make that choice and all the horses in the landscape lose their tails, because horsetail hair was used for rope. Wood? Of course — make that selection and all the trees disappear. Deforestation, it turns out, was not just an Industrial Age problem. The Viking commitment to a seafaring life was also a commitment to expend a lot of natural resources.

The Vikings Exhibition runs from Feb. 5 – Sept. 5, 2016, at Discovery Times Square: 226 West 44th Street, Manhattan, NYC.

Author: Neil Genzlinger | Source: The New York Times [March 02, 2016]

OK love birds, Trojan Condoms is at again, this time they are taking to the streets with a fleet of Pleasure Carts to promote Trojan Vibrations.

Americans are getting ready to experience a pleasure revolution as the makers of Trojan™ Vibrations shake up the nation with a multi-city vibrator giveaway. Kicking off in Washington, D.C. on Tuesday, November 13th, Trojan™ Vibrations will be touring the U.S. to serve up their latest line of Trojan™ Vibrations products via specially-designed Trojan™ Vibrations Pleasure Carts modeled after traditional hot dog carts.

This holiday season, the Trojan™ Vibrations Pleasure Carts will be satisfying pleasure cravings in multiple cities across the nation, where pleasure-seekers can swing by to receive a free Trojan™ Tri-Phoria™ Vibrator or Trojan™ Pulse Vibrator, while supplies last. The giveaway comes on the heels of this summer's buzz-worthy New York City sampling effort, where the Trojan™ Vibrations Pleasure Carts were greeted by thousands.

"With the success of the Trojan™ vibrator giveaway in New York City, it is evident that Americans understand that pleasure is a normal part of sexually healthy lives," said Bruce Weiss, Vice President of Marketing, Trojan™ Sexual Health. "By innovating high quality vibrators and making them easily accessible on drugstore, mass merchandiser and grocery store shelves, Trojan™ remains dedicated to taking pleasure out of the bedroom and into the mainstream."

Vibrators, Get Your Vibrators Here!

As temperatures outside start to drop, the makers of Trojan™ Vibrations will help heat things up by deploying a fleet of Trojan™ Vibrations Pleasure Carts over the coming weeks. The tour kicks off in our nation's capital and moves on to other cities, where brand ambassadors will be on hand to distribute free Trojan™ vibrators. People can track the tour and uncover upcoming stops by visiting Facebook.com/TrojanVibrations.

First stop? Washington, D.C., Location:The Park at Fourteenth 920 14th St., NW Washington, D.C. 20005. When: Tuesday, Nov 13th from 12:00 PM — 4:00 PM.

Join the Pleasure Party: Trojan™ Vibrations unites the country with a platform that aims to bring pleasure to the people. Visit the Trojan™ Vibrations Pleasure Carts for some post-election fun.

If you can't swing by the Trojan™ Vibrations Pleasure Carts, visit Facebook.com/TrojanVibrations for a chance to win a free Trojan™ vibrator.

What's the Buzz All About?

American couples are embracing vibrators more than ever before.[i] In fact, research from The Center for Sexual Health Promotion at Indiana University found that more than one in two American women (53 percent) and close to half of all American men (45 percent) have used a vibrator in their lifetime.[ii]

The makers of Trojan™ Brand Products are helping to lead the mainstreaming of the category by making high-quality vibrators accessible across a multitude of channels—at drugstores, grocery stores, mass merchandisers, online and in select adult stores—making it easier for couples to bring a higher level of fun and intimacy into their relationships. From vibrators to a wide variety of condoms, for over 90 years, the makers of Trojan™ Brand Products have remained dedicated to providing people with the tools they need to increase the heat index in the bedroom.

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SOURCE Trojan(TM) VibrationsFrom PR Newswire

The XBOX Kinect is a super cool gaming system. But clearly it has a chance become much more than that. And twofifteenmccann is showing us the possibilities with the Kinetic Effect.
Credits:
Agency: twofifteenmccann
Chief Creative Officer: Scott Duchon
Creative Director: Paul Caiozzo/James Robinson
Art Director: Nik Daum
Copywriter: Neil Bruce
Director of Integrated Production: Tom Wright
Senior Producers: Mai Huynh / Colleen Wellman
Business Director: Peter Goldstein
Management Supervisor: Melissa Hill
Account Executive: Justin Charness

Production Company: Anonymous Content
Editorial Company: Arcade
Original Music: Q Department
Mix: Lime Studios
via: SFEgotist

A surprise visit from Donkey Kong is at the heart of the new promotion — or "prankvertising" — directed by kaboom's matt fackrell, who is known for his work on Yo Gabba Gabba. The prank was staged for the release of Donkey Kong Country Returns 3D for Nintendo 3DS.

Credits:
Ad Agency: Leo Burnett USA
Executive Creative Director/SVP: Dominick Malolo
Sr. Account Executive: James W. Heike
Art Director: Scott Fleming
Copywriter: Travis Meidell
Producer: Chance Woodward
Producer: Jen Solley

Production Company: kaboom productions
Director: matt fackrell
DP: Chris Saul
Executive Producer: lauren schwartz
Producer: steven sills
Art Dept: Bryan Anderton
Editor: matt fackrell

The Sevens, launched today on Secret Location’s website, is a multi-layered narrative experience will also live online at www.whatarethesevens.com and can be enjoyed on a number of levels: as a short film, an interactive game or a fully immersive mystery in which users can participate.

“The interactive film is the start of a larger narrative that we’ll continue to build on over the next year and beyond,” explains company founder James Milward. “A lot of the time the most experimental ideas we have aren’t appropriate or are too risky to hinge the success of our clients on. As a result, we built this experience as a sandbox for us to play in and experiment with ideas, techniques and technology in a way that will prove concept with real users.”

For the past four years, Secret Location has produced several experimental interactive experiences, including Rookie Blue: Interrogation Room, Stanfield’s Guy At Home and Endgame Interactive, which won an International Digital Emmy® in 2012. The Sevens begins with a phone call and contains three puzzles for viewers to solve. In a suburban home, a young girl named Julie is confronted with a series of mysterious symbols that, once arranged in a particular order, unlock a phone number and passcode. If users solve the puzzles and dial the number, they are taken deeper into the story’s narrative by being given a chance to solve one final puzzle in order to reveal an alternative ending.

“The nature of the story is that it keeps drawing you in further and further, making you more vulnerable. It’s the classic Alice In Wonderland rabbit hole scenario,” says Pietro Gagliano, creative director and partner at Secret Location. “We want people to feel shaken up by how deeply immersive the experience feels at the end.” The idea evolved from Secret Location’s portfolio launch four years ago. Set up as a Choose Your Own Adventure-type narrative, the site drove 120,000 people through the portfolio in the first three months. Incidentally, the designers posted a phone number on the bottom of the site for potential clients to call but visitors assumed it was part of the game. “We received nearly 100,000 phone calls in the first six months,” says Gagliano. “Suffice it to say, it was annoying but it did give us an idea and proved that people would call if we asked them to – or even if we didn’t ask them to.”

The team began brainstorming and writing The Sevens in November 2011 with writer/filmmaker José Avelino Gilles Corbett Lourenço and production began in February 2012. Now that it’s live, the creative team intends to grow the story, add new characters and create related content that can live on other sites, such as YouTube. Secret Location has already rolled out several real world elements connected to The Sevens. In tandem with the site launch, cryptic posters featuring characters from the film and chalk stencils of the mysterious symbols and the URL have begun appearing in select cities across North America, including Toronto, New York and Los Angeles. “We’d love to keep adding elements to this narrative,” says Gagliano. “That’s why we created an open invitation at the end of the experience for the user to contribute ideas.” “This is really not the end,” adds Milward. “It’s just the beginning of a growing story eco-system and mythology that we’re creating around The Sevens.”

About Secret Location: Secret Location is an Emmy® Award-winning interactive agency that launches products and solves problems through storytelling for brands, broadcasters and producers. Just four years old, the company is a three-time Webby Awards honoree, was shortlisted for a 2011 Cannes Lion and is a Gemini, AToMiC, Creativity International, CASSIES and Marketing Awards winner. Secret Location is based in Toronto, Canada, and is led by President/Executive Producer James Milward. http://www.thesecretlocation.com/

Credits:
Created by Secret Location
Executive Producer: James Milward
Creative Director & Lead Designer: Pietro Gagliano
Technical Director: Ryan Andal
Project Manager: Ashlee Lougheed
Art Director: Stefan Grambart
Graphic Designer: Kai Salminen
Editing & Motion Graphics: Steve Miller
Assistant Editor: Michael Kazanowski
Web Developers: Gino Fazari, Michael Phan, Paul Stodolak
Music & Sound Design: Lodewijk Vos & Joseph Murray
Cast– In Order of Appearance
Dad: David Straus
Julie: Elle McFeeters
Dog: Pearl
Mom: Jennifer Fullerton
Written By: José Avelino Gilles Corbett Lourenço & Secret Location
Directed By: José Avelino Gilles Corbett Lourenço
Director of Photography: Henry Less
Assistant Director: Billy Shand
Line Producer: Luke Bryant
Assistant Camera: Nick Giordano
Gaffer: Dave Lewis
Art Director: Michael Leach
Set DResser: Dylan Jackson
Sound Recordist: Edward Senkowski
Hair & Makeup: Margot Keith
Wardrobe Stylist: Sarah Millman
Production Assistant: Derek Modesto
Contributors:
Adam Drake
Adam Park
Ann Marie Donnelly
CJ Hervey
Graham Budd
Jenn Hartnoll
Jory Krüspe
Josh Manricks
Kathryn Rawson
Noora Abu Eitah
Sabrina Saccoccio

Embark on a global film experience and discover what common bond brings us all together with this new ad / web film official trailer for Samsung and "We All Share".

You can tell Samsung what sharing means to you by tagging twitter or instagram pics with #weallshare and learn more at weallshare.samsung.com.

The films world premiere will be 01/09/2013 at 2pm live at the Consumer and Electronics Show in Las Vegas.

Credits:
Advertising Agency: Leo Burnett, USA
Director: Miles Jay
Chief Creative Officer: Mark Tutssel
Global Executive Creative Director: Shannon McGlothin
Global Creative Directors: Brandon Rochon, Adam Kennedy
Associate Creative Directors: Andrei Chahine, Ryan Stotts
Executive Producer: Matt Blitz
Producers: Keith Jamerson, Chance Woodward, Jennifer Dennis
Music Director: Gabe McDonough
Production Company: B-Reel
Editorial: Rock Paper Scissors
Post Production: A52

Translation has unveiled the second chapter of its ongoing brand campaign for Champs Sports with “Game Loves an Audience,” a dynamic new marketing program for the back-to-school season. Seizing on the pins-and-needles feeling of anticipation that comes along with every new school year, “Game Loves an Audience” is all about looking good, and wanting everyone to see it. The campaign reinforces Champs’ well-established “We Know Game” tagline with three :30 spots, daily content for Champs Sports’ social media channels, digital banners, and a custom digital hub.

“The first day back to school is more than just a day,” notes Translation CCO John Norman, “it’s the red carpet moment of the school year. It’s a reunion, a chance to try something new, and a special moment to stand out. It’s the perfect time for a brand like Champs Sports to help you show off your game with new kicks, stylish tees, and a fresh look.”

“Translation, through its new brand work, has done an exemplary job of expanding on the idea of ‘We Know Game’,” explains Champs Sports Director of Marketing Scott Burton. “We’re showing that ‘Game’ is as much about athletic skill as it is about swagger and confidence in all other arenas. Moreover, the work is done through the lens of a high school athlete, making the impact and its meaning to our consumers relevant during this time of year when students are going back-to-school.”

Creative Credits:  
Brand/Client: Champs Sports
Campaign Title: Champs Sports Back to School Campaign
Spot Title: “Joy Ride,” “First Period,” “Practice”
Launch Date: August 2014

Agency: Translation
Chief Executive Officer: Steve Stoute
Chief Creative Officer: John Norman
President: Nils Peyron
Executive Creative Director: Jay Berry
Executive Creative Director: Marc d’Avignon
Creative Director: Mat Jerrett
Associate Creative Director, Copywriter: Matt Herman
Associate Creative Director, Art Director: Matthew McFerrin
Art Director: Adam Chang
Copywriter: Greg Dyer
Art Director: Allison Bulow
Copywriter: Jameson Rossi
Director of Content Production: Miriam Franklin
Producer: Carole McCarty
Assistant Producer: Monica Johnson
Head of Brand Strategy: Tim Flood
Strategist: Shon Mogharabi
Music Supervision: Nick Pacelli
VP Account Director: Daniel Mize
Account Supervisor: Patrice Caracci
Account Executive: Steven Molinari
Asst. Account Executive: Jackson Brodie

Production Company: @radical.media, Los Angeles
Director: Michael Lawrence
Director of Photography: Alex Disenhof
Executive Producer: Donna Portaro
Line Producer: Scott Cunningham

Editorial Company: Cut + Run NYC
Editor: Dayn Williams
Assistant Editor: Katie Pehowski
Post Executive Producer: Rana Martin
Post Producer (“Joy Ride,” “First Period”): Olivia Chiu
Post Producer (“Practice”): Ellen Lavery

Telecine Company: CO3 NYC
Colorist: Damien Vandercruyssen
Producer: Katie Andrews
Assistant Colorist: Matt Paul

On line: Cut + Run
Flame Artist: Joseph Grosso
Assistant: Matt Dolven
Producer: Julia Williams

Audio Post: Heard City
Mixer: Evan Mangiamele
Executive Producer: Gloria Pitagorsky
Producer: Katie Flynn

Music by: Elias Arts
Creative Director: Greg Grifith
Producer: Matt Phenix

Integrated campaign brings GE Monogram to Canadian travelers
via enRoute and Air Canada Maple Leaf Lounges

Press: Toronto – March 4, 2014 – GE Monogram is proud to announce their partnership with EnRoute, Air Canada’s inflight travel magazine, for a new integrated content series highlighting notable chefs and food personalities in Canada. This is part of a broad initiative with Spafax – an international leader in content marketing and custom publishing. The upcoming campaign titled ‘GE Monogram Presents The Chef Series,’ will run across several platforms with the goal of providing rich content to consumers in transit.

The integrated campaign will include a print component in the spring and fall issues of enRoute, featuring a series of seven full page editorials known as “The Chef Series,” which will present a distinct interview with a chef or food personality. The campaign’s video element will involve award winning chef interviews shot in a GE Monogram kitchen space. The video series will air on Air Canada’s inflight video systems during the fall, but is also scheduled to air on the Food and Documentary channels. Both the print and video series will live online at enroute.aircanada.com for the duration of the campaign, where users can experience content as it’s published.

To complement the campaign, GE Monogram will hold a contest in August for Air Canada Maple Leaf Lounge guests in Toronto, Montreal and Vancouver airports, whereby GE Monogram displays will be set up, inviting lounge guests to enter for a chance to win two tickets to enRoute’s 2014 “Canada’s Best New Restaurant” event held in Toronto in November 2014, including return flight and accommodations.

Mother have created a new ad for PG tips, ‘Mountain’ featuring the beloved duo Monkey and Al. This time, Monkey and Al go on an epic journey and catch-up with their loved ones over a cup of tea.

The new advert gives us a chance to get to know the duo a little better. On their trip we learn that the pair are in fact keen singers — we also learn that they are average singers. They burst into a gutsy rendition of the Motown classic, “Ain’t No Mountain High Enough” as they take the train and trek through country lanes to visit their loved ones. We also see that Monkey is the proud owner of some rather lovely dance moves.

When they arrive at their destination they’re greeted by their mothers, who they both bear a striking resemblance to. The mums join in the singing and the foursome sit down to enjoy a cup of PG tips together. The ad finishes with the end-line “You, me and a cuppa PG”.

Craig Ainsley, creative at Mother said, “To show the true power of the PG tips catch-up cuppa Al and Monkey had to leave their kitchen and head back home to visit the ones they love the most (except each other). It’s great to see them out in the real world, catching a train, walking in the country. It’s also great to see Monkey full length; there’s something about seeing his little legs that just makes you smile”.

Credits
Creative Agency: Mother
Art Director: Mother
Copywriter: Mother
Planner: Mother
Agency Producer: Mother
Director: Steve Bendelack
Production Company: Hungry Man
Producer: Pam Ashbury
Editor: Mark Burnett @ Speade
Post Production: Framestore
Audio post-production: Factory
Sound designer: One More Music
DoP: Baz Irvine

In Australia Strike Bowling will save your Christmas Party from enividable doom and save many of us from the aftermath of one too many an Egg Nog. This fun TV spot from agency Loud & Clear entitled "Your Workplace is No Place For A Party" could very well have been shot in just about any office any where in the world, lord knows we've had a few we'd like to forget ourselves.
In an earlier campaign, customers were asked to describe their very worst office Christmas party experiences. They then created an ad featuring some of the worst, with the chance to win an unforgettable party for you and 25 colleagues at Strike Bowling.
Credits:
Brand: Strike Bowling
Headline: Your workplace is no place for a party
Advertising Agency: Loud&Clear Creative, Melbourne, Australia
Agency website: http://www.loudclear.com.au
Creative Director: Keith Walsh
Copywriter: Joel Beath
Photographer: David Rusanow
Director: Jordan Prosser

Good Hope FM’s new brand ad, shot by Slim from Egg Films, comes with one, unmistakable message: if you don’t have Good Hope FM, you have no hope.

The deliciously tongue-in-cheek spot makes a great meal of a simple truth: Capetonians live in one of South Africa’s greatest cities; and boy do they know it.
It is exactly this wry humour that attracted Slim to the job in the first place: “I really digged the exaggeration and comedy; it gave us a chance to completely take the mickey out of ourselves as both Capetonians and non-Capetonians,” says Slim, ironically a non-Capetonian himself.

Letting the comedy speak for itself, Slim purposely chose to avoid too many tricksy morphs and let editor Ricky Boyd work his magic, allowing the cut to reveal the change from cool Cape-Town-land to uncool-place-of-no-return, after our guy mistakenly strays beyond the signal of Good Hope.

The concept, dreamed up by 140BBDO creatives Ivan, Alexis, Gareth and Alex, proves that those wine-guzzling rascals can laugh at themselves after all. We didn't actually get to interview any of them but we'd imagine that if we did, they'd say something like, "It's, like, the truth. And if you don't, like, find it funny, you're probs from, like, Jo'burg. Eeuw."

Credits:
Creative Ad Agency: 140BBDO
Title: Beyond The Fence
Client: SABC / Good Hope FM
City: Cape Town, South Africa
Agency producer: Sarah Southey / Jo Weiss / Megan Sturgess
Executive creative director: Ivan Johnson
Creative director: Alexis Beckett
Copywriter: Alex Goldberg
Art director: Gareth Cohen
Production company: Egg Johannesburg
Director: Slim
Director of photography: Willie Nel
Production co-producer: Nicci Cox
Executive producer: Colin Howard / Nicci Cox
Post production: Deliverance
Editing: Deliverance
Editor: Ricky Boyd
Audio: Milestone Studios