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Doritos recently announced the details of the seventh Crash The Super Bowl Ad Contest and as of today you can officially submit your ad! The 2013 Crash The Super Bowl VII should see some great consumer created ads considering this years grand prize winner is getting the opportunity to work with Michael Bay on the film "Transformers 4."

Is your ad ready to be submitted? Check out the submissions already rolling in on the Doritos FaceBook App, more details below:

What has become one of the most popular of all the Super Bowl Ads on game day are the finalist of the Crash The Super Bowl contest. Now the seventh year that Doritos is running the contest they kick it up big time by announcing this years winner has the opportunity to work with Michael Bay on the next installment of the “Transformers” movie franchise, along with a shot at a $1 million bonus!

Bay who actually started his career in advertising had this to say: "...creating television spots and trying to make a name for myself, I can definitely relate to those who enter the Crash the Super Bowl contest," said Bay, who began directing commercials and music videos one week out of film school in 1989. "I know firsthand how challenging it can be to succeed in such a competitive industry, so I’m excited to help someone else truly make a name of their own."

The contest invites people to use their own creativity to create homemade ads for the Doritos brand, the top two spots will air during the Super Bowl XLVII broadcast on Sunday, Feb. 3, 2013. One of the ads will be selected by America’s votes; the second by the Doritos brand team. The ad that ranks the highest on the USA TODAY Ad Meter rankings will be awarded the grand prize of working with Michael Bay, and if that ad lands at the top of the USA TODAY Ad Meter, Doritos will be handing its creator $1 million!

The contest will run exclusively from a Crash the Super Bowl-branded app on the Doritos Facebook Page (www.facebook.com/DoritosUSA) for the first time. You can upload your 30 second commercial starting today Oct. 8, 2012 to Nov. 16, 2012. The app is designed to engage and socialize with consumers in a much broader way than in previous years with app features like a "Pitch In" tool that allows fans to interact with each other. The tool will also allow people to help ad creators by requesting or offering up props, talent and other items contestants might need to create their ads. The traditional toolbox is still available and loaded with the Doritos logos, product shots, music and animations for use in creating your ad. The gallery of submissions is already filling up.

The top five ads will be announced in January 2013, awarded $25,000 and a trip to New Orleans to attend Super Bowl XLVII in a private luxury suite. Then it will be up to fans to vote for their favorite ad, where they will tune in to learn for the first time which two ads will compete for the top spot in the USA TODAY Ad Meter. Bonus prizing will be awarded, based on how each ad ranks on the USA TODAY Ad Meter:
• No. 1 spot on the USA TODAY Ad Meter wins you a cool $1 Million
• No. 2 two spot on the USA TODAY Ad Meter wins you a $600,000 prize
• No. 3 spot on the USA TODAY Ad Meter wins you $400,000

Ram Krishnan, vice president of marketing for Frito-Lay North America added, "Over the past six years, our fans have created thousands of Doritos ads, dominating the USA TODAY Ad Meter year after year and making Doritos the brand to watch on Super Bowl Sunday. Every year, our fans deliver for us, so this year we’re bringing them a contest grand prize that we know will be a true game changer. The opportunity to work on a blockbuster film like ‘Transformers 4’ is an experience we know will help catapult our lucky winner to the big time."

Consumer-created Doritos ads have ranked in the top-five of the USA TODAY Ad Meter the last six years, and in three of the last four years scored the No. 1 ranking, the campaign is clearly one of the greatest ad campaigns ever created.

Sponsored Post for CTSB

Go Daddy is one of the first 2012 Super Bowl advertisers to give us a sneak peak at what they are up too. Go Daddy's Super Bowl commercials include two spots this year, "The Cloud" features Danica Patrick and The PussyCat Dolls and what seems to be some short of heavenly angel thing, which reminds me of the Axe Fallen Angel ads.

The official press release:
SCOTTSDALE, Ariz.–(BUSINESS WIRE)– Super Bowl 2012 will mark a product milestone for Go Daddy. The world’s largest provider of Web hosting, domain name registrations and net-new SSL Certificates is known for its edgy ads with smokin’ hot Go Daddy Girls, but for the first time ever, Go Daddy is using one of its two edgy new Super Bowl commercials to specifically reference its cloud-based offerings.

Go Daddy has long delivered services “in the cloud” – providing individuals and businesses more efficient and less expensive online options. Now, it’s taking its product marketing to Super Bowl viewers with fun references to Go Daddy’s innovative offerings such as 4th Generation Hosting, known as 4GH.

The 30-second ad is called The Cloud. It features Go Daddy Girl Danica Patrick and the new Pussycat Dolls, along with several core product references in a “divine” setting. The Cloud is also Go Daddy’s most ambitious production in the company’s eight-year Super Bowl history. The storyline includes a revealing moment and an extravagant set design.

“How can we produce a Super Bowl ad that’s fun, edgy, slightly inappropriate and also speak to cloud-based products?” asked Go Daddy CEO and Founder Bob Parsons. “Like only Go Daddy can … trust me, it’ll be as GoDaddy-esque as ever. Danica will surpass her most revealing Go Daddy moment, from back in 2008 when she gave us the big unzip!”

Danica recently ranked the Internet’s Most Searched Athlete and she’s also a sort of Super Bowl staple. By most observers’ count, Danica has been in more Super Bowl ads than any other celebrity, and with this year’s campaign, she will have 11 big game ads on her resume, all with Go Daddy Productions.

“Doing Go Daddy’s Super Bowl commercials is always interesting, but this year’s are epic,” Danica said. “The commercials are very funny – there’s physical humor, and in The Cloud there’s a big-time dance routine. Yes, I dance. And I’ll say this, the dance sequence is as GoDaddy-esque as it gets!”

Go Daddy’s other 2012 Super Bowl ad also features Danica, along with her Go Daddy Girl colleague and fitness guru Jillian Michaels. Like Danica, Jillian is a strong woman and successful entrepreneur.

“I like the way Bob and Go Daddy portray women as strong and successful,” Jillian said. “Yes, the commercials are edgy and hot … but the Go Daddy Girls always have the last laugh, they are the ones in control. A lot of people don’t realize this, but Bob’s executive staff is made up of more women than men.”

The 30-second ad featuring Jillian and Danica is designed to bring massive consumer attention to the.CO domain, the Internet’s most popular new domain name extension. While Go Daddy is working to keep the specifics of the storyline under wraps for now, it has said the ad features a stunning international supermodel whose world-class body drew this comment from Jillian on-set: “If I made a DVD about how to get a body like hers, I’d be a gazillionaire.”

.CO Internet S.A.S. CEO Juan Diego Calle makes a cameo appearance in the Internet-only version of the commercial, along with Bob Parsons. “Not only was filming the Super Bowl ad a fun way to spend a work day, we know it will help take dot-CO to the next level – driving more business and boosting brand awareness,” said Calle. “Last year’s Super Bowl ad helped us to finish our first year with more than one million dot-CO domain names registered by people in more than 200 countries – and made dot-CO the hottest new Web address in the world!”

Go Daddy partnered with.CO Internet for the first time in the 2011 Super Bowl with great success. As for its cloud-based products and services, Go Daddy has been in the cloud since before the term was coined. Not surprisingly though, most people have more awareness of Go Daddy’s commercial campaigns … that may change with this year’s advertising leap into the cloud.

For the Pussycat Dolls, featured prominently in The Cloud’s outrageous dance scene, 2012 marks their first-ever Super Bowl commercial and serves as the unofficial launch of the new Pussycat Dolls.

Google showcases it's voice-activated search app in a new TV commercial where a mom brings a 19th century president to life with the help of the Google Knowledge Graph, Martin Van Buren the 8th President of the United States. Is it just me that is just taking note or is Google rolling out some pretty great ad campaigns lately?
Another Google spot that began airing yesterday entitled "Replacement Umpire", the ump finds himself a little out of his league and asks Google for help making the right call.

Credits:
Created by Google Creative Lab.

Update: Be sure not to miss the just releases "2012 Google Zeitgeist — Year In Review" video and get all goose bumpy with the rest of us. See it HERE.

At Great-Ads we love to share truly great advertising campaigns, and sometimes we need to remind ourselves here that it's the creatives behind the work that we want to compliment and not the brands. Ok so why are we rambling on.......FedEx, oh FedEx with so many a great ad featured here like The Enchanted Forest, the Dominoes spot from BBDO, Toronto, and one my personal favorites The FedEx AAAAAAAAA Auto Repair Shop ad...one of your delivery guys does this!!!

"goobie55" who uploaded this video on YouTube, obviously upset about how her package was handled by the FedEx delivery man, was even more surprised considering she was home with her front door wide open.
Note To FedEx: the best advertising campaign is useless when videos like this are as common as your commercials.

HIFI PROJECT PROVIDES MUSIC & SOUND DESIGN FOR VISUALLY COMPELLING STARZ RE-BRAND CAMPAIGN

Los Angeles & Minneapolis – (May 13, 2013) Collaborating with ad agency Fallon, HiFi Project is the creative force behind the music and sound design for the new, visually compelling re-brand for cable network STARZ. According to HiFi Creative Director/Composer Paul Robb, this was the most extensive sonic branding campaign to date for the company, which is better known for working on commercial and advertising campaigns such as new spots for Gap, Jaguar, and Chevy.

HiFi Project was tapped to create an extensive soundscape that was innovative and revolutionary, taking the listener on a musical journey; while design firm yU+co was called on to create a design language that infused the entire landscape of the STARZ platform with their new tagline, “Taking You Places.” “We had a great time on this project because they really gave us a tremendous amount of freedom to create music,” explains HiFi’s Robb. “We were tasked with creating a soundtrack for the network that was thrilling, but never heavy-handed. They didn’t want music that was overly whimsical or cheery, but something that was gripping, seductive, and premium.”

HiFi initially provided STARZ with 60 original demos, from which network creatives chose five to explore further. After hearing extended arrangements (some as long as four minutes) of the “final five”, a hero track was chosen. HiFi then set about the demanding task of arranging this hero track into five broad style families, for each of the network programming categories. All in all, HiFi Project produced an astonishing 35 complete compositions, ranging from two seconds to over three minutes in duration.

“From a creative point of view, this was just pure joy,” says Robb. “We were given license to create music and sound design for these beautiful, abstract graphics that yU + co had created. We don’t get that level of freedom that often, so we were thrilled.”

“Because a great deal of our work is in the commercial and advertising realm,” adds Executive Producer Birgit Roberts, “and there are oftentimes far more restrictive parameters to that type of work, our team really had a great time with the creative process. It was also great to collaborate with both Fallon and the creative team in-house at STARZ on a re-brand of an entire cable network, which was a first for us.”

Credits:
Client: STARZ
Executive Creative Director: Jessica Creasey
Director of Production: Kandy Barry
Technical Director: Sean Richardson
Creative Director: Michael Vamosy

Ad Agency: Fallon
Integrated Producer: Angie Schoemer
Art Director: Ben Pagel
Creative Director: Andrew Voss

Design Company: yU+Co:
Senior Producer: Carey Michaels Keeney

Music & Sound Design Company: HiFi Project:
Creative Director/Composer: Paul Robb
Executive Producer: Birgit Roberts
Composer: Jason Murgo
Producer: Melissa Mooney

Right on the heels of three extraordinarily successful projects — garnering record breaking ratings for their clients — BIGSMACK unveils a new promo campaign for the National Geographic Channel. The energy-packed, mind-tickling campaign for the channel’s newest series “Brain Games” broke earlier this week in anticipation of the series launch on Monday, April 22nd at 9 p.m. (ET/PT).

Under the creative leadership of Founder/Head Creative Andy Hann and Senior Creative Director Matt Hall, BIGSMACK collaborated with National Geographic’s in-house creative team to complete the creative concepting. BIGSMACK wrote, produced, and created extensive CGI and graphics for the new launch campaign. http://www.bigsmack.tv/work/nat-geo-brain-games/

Hosted by Filmmaker and TED Talks icon Jason Silva, the new television series will use illusions, mind games and interactive experiments to reveal the inner workings of the human brain. Each episode of “Brain Games” will explore a different topic. These will include attention, fear, perception, sense of time and memory. Silva is a self-professed "wonder junkie," who has spoken widely about neurology, the human brain, and technology. The timing of the show is perfect, as President Obama announces a broad new research initiative to invent and refine new technologies to understand and map the human brain. Silva is joined on “Brain Games” by “The Gentleman Thief” Apollo Robbins, a deception specialist.

“National Geographic Channel has been a great, long-term client of ours,” says BIGSMACK’s Hann. “We worked on the promo for the “Brain Games” special last year, and it was so popular and successful that Nat Geo decided to turn it into a series. We were thrilled when they came back, and asked us to work on the promo campaign for the new series. We have a very collaborative relationship with Nat Geo. They really utilize us as a collaborative creative agency, and we work very well with their in-house team. They have a great deal of creative trust in us, which we really appreciate. This was a hugely fun campaign for the BIGSMACK team to work on. One of the biggest challenges was the research that we needed to do in order to find fun, and thought provoking examples of brain puzzles and teasers; as well as the choreography of the spots which required the cameras, experiments, and the on-screen talent to be in sync. Many of the shots were all done in one-take, which was quite a feat.”

Hann shared the director’s chair on set with BIGSMACK’s Senior Creative Director Matt Hall, since a great deal of the work was done in CGI and post, after the studio production wrapped. “The series host, Jason Silva, is renowned for his ability to improv,” explains Hall. “So we gave him an outline, but he added a lot of the material on his own while we were shooting. Because of the improv, most of the CGI/effects were added in the postproduction phase, without a lot of pre-planning. The creative process was truly an evolution, with BIGSMACK working with the in-house team at Nat Geo. At every stage, something new was added on-screen, continually making the spots that much better, and leading to a great end result.”

Due to the outstanding success of promo and show launch campaigns created and produced by BIGSMACK in the last 6 months, the team has been hard at work in the studio. “I couldn’t be more proud of the quality of work that continues to come from Andy and our BIGSMACK team” says Head of Marketing Andrew Kobliska, “The idea generation is endless, and this team truly understands how to create a successful campaign for our clients.”

Credits:
Project: Multi-spot promo campaign for the launch of new series “Brain Games”
Client: National Geographic Channel
SVP/Group Creative Director: Andy Baker
CMO: Courteney Monroe
Design Director Marketing & Creative: Carla Daeninckx
Director Ad Sales & Cause Marketing: Allison Mitchell
VP Creative & Consumer Marketing: Emanuele Madeddu
Producer: Valerie Carrillo
Agency, Production & Post Company: BIGSMACK/New York & Philadelphia
Head of Creative: Andy Hann
Senior Creative Director: Matt Hall
Head of Marketing: Andrew Kobliska
Executive Producers: Heidi Erney, Kevin Lahr
Senior Producer: Rich DiNublia
Senior Writer/Producer: Laura Gillespie
Production Coordinator: Meg Hughes
Director: Andy Hann
EFX Director: Matt Hall
DP: Andrew Turman
Line Producer: Larry Schwartz
Design/Animators: Jason Harmon, Rick Malwitz
Graphic Artist: Dan Hoffman
Editor: Mark Farkas
Mixers: Bob Schachner, Mike Taylor
Colorist: Janet Falcon

Nuggets of Nostalgia: DickiesStore Discovers Marketing Material from Decades Ago Having recently happened upon an archive of advertising artefacts, DickiesStore is happy to release a wealth of ad campaigns from as far back as the 1930s. This treasure trove of relics has got many retrophiles revelling in the rich history of this couture-centric print media that has been unearthed.
Although the sentiment and commitment to designing top quality workwear and fashion forward casual wear has remained consistent throughout Dickies’ history, these newly discovered gems clearly trace the ebb and flow of advertising and marketing methods over the past 90 years.
The Williamson-Dickie Manufacturing Company faced challenging times in its early years, as the Great Depression was crippling the US economy. But as sturdy and tough as the workwear they were designing, the company weathered the storm and set a benchmark in the industry, marketing themselves as the all-American clothing brand.
As the 50s came around a great emphasis was placed on Dickies being the premium retailer of attire for the “man of production”. On a societal level times have changed dramatically since then but at that point [see image 2] advertising clearly addressed the fact that Dickies manufactured workwear that was easy wearing, easy looking and easy to maintain.
Dickies advertising of the 1960s shifted focus somewhat, catering towards the cool kids on campus. The brand identified that scholars wanted to look good and feel comfortable both in and out of class.
As they introduced imagery of motorcycles and sports cars, the marketing material from the late sixties that DickiesStore recently uncovered clearly spoke to an audience who led a care-free but fashion conscious lifestyle.
In the late 70s and 80s the Dickies brand broke through with a range of funky apparel that really identified with the pop generation. Dickies exemplified what it meant to be hip, cool and colourful. This sense of fun went hand-in-hand with their continuous pursuit of producing durable and comfortable clothing. Dickies also began more powerfully introducing their iconic logo — the horseshoe – into their campaigns and although it represents a solid, reliable product, when it comes to the manufacturing of top quality workwear, Dickies isn’t in need of any extra luck. via: DickiesStore Blog.

YouTube Blog: Ads that entertain: YouTube’s top spots of 2011
We always knew people liked to watch the ads. At least some ads, like the great ones people talk about after the Super Bowl. Then YouTube came along in 2005 and brought with it the notion that ads can be great content that earn their way onto screens of all types, spread by consumers who vote, share, like, comment, blog, plus-one, or even create response videos or spoofs.

YouTube is the ultimate meritocracy for video, and advertisers are adapting to this world by creating content that people want to share. It’s no surprise, for example, that among the top-10 most-watched ads on YouTube in 2011 are two Super Bowl ads.

Most watched video ads of the year (eliminating music videos and trailers):
1. VW — The Force

2. T-Mobile — Royal Wedding

3. Chrysler — Imported From Detroit

4. DC Shoes — Ken Block's Gymkhana Four: The Hollywood Megamercial

5. smartwater — Jennifer Aniston goes viral

6. Team Hot Wheels — The Yellow Driver's World Record Jump

7. Old Spice — Scent Vacation

8. Apple — Introducing Siri on iPhone 4S

9. Samsung — Unleash Your Fingers

10. adidas — D Rose: adiZero Rose 2 The Bull

What is surprising is that the majority of YouTube’s top “ads” of 2011 (seems strange to call them that) never appeared on traditional TV at all.

Videos like T-Mobile’s Royal Wedding, itself a spoof of the JK Wedding Dance, were made for the web and made to amuse, entertain, and to be passed around, as are mini-movies like DC Shoe’s Gymkhana Four, stunts like Hot Wheel’s record jump, and Old Spice’s “Scent Vacation.”

Even the two Super Bowl ads making the list, Chrysler and Volkswagen, were part of elaborate campaigns made to live significant lives on the web. In the past, advertisers treated their Super Bowl spots like state secrets, but Volkswagen posted “The Force” on YouTube two weeks before the Super Bowl last year, and had 10 million views before the game began. Chrysler took the opposite approach, but created a video four times the length of a typical TV ad, perfect for extended watching on the web after the game.

For brands, creating great content—advertainment, if you will—isn’t just for big TV events like the Super Bowl anymore. Increasingly, advertisers and their agencies are focusing on the content and the strategy, and letting that content distribute itself. That doesn’t mean they aren’t doing traditional advertising. Indeed all of these campaigns were backed up by significant spending to seed and promote these videos on YouTube and elsewhere. But paid media only gets you so far. In the end, it doesn’t matter if they paid $3 million for 30-seconds in the Super Bowl or much less to get the conversation started. In the end, it’s the content that counts.

For the third consecutive year, EP*Vision‘s Maryam Parwana East Pleasant Directors David Weinstein and Stash Slionski have teamed up with the Washington Nationals and their branding agency 40/40 on the team’s season advertising campaign and in-stadium display content.

This year’s entry is a thematic continuation of the past two campaigns, with a duo of high-intensity spots featuring action footage blended with studio footage of star players. Bold and defiant narratives – a hallmark of the team’s distinctive “Natitude” – pepper the spots, most powerfully in shorter ads focused on star players Bryce Harper and Stephen Strasburg.

“Going into the initial campaign with the Nationals in 2011, we knew that they were working on a three-year cycle and that they wanted a modular approach so that 2011, ‘12 and ‘13’s campaign would all work with each other seamlessly,” notes Weinstein. “The 2013 look worked fluidly with the Phantom campaign we shot in 2012 and the team was able to use all the assets in a cohesive package.”

East Pleasant has worked with 40/40 since 2007, when the two entities teamed up on a series of projects with NFL PLAYERS, the marketing arm of the NFLPA. The transition to working with the Nationals and COO Andy Feffer proved seamless. “There was a comfort level already established and we really knew what we could expect from 40/40 creatively and vice versa,” explains Weinstein. “No matter the shoot, there has to be a narrative to it, with great storytelling and great visuals, and 40/40 principal John Trotter understands that as well as anyone.”

Weinstein & Slionski’s extensive sports experience has given them a special skill set in working with athletes. “The first thing you have to realize with athletes is that they take direction better than anyone – most of them have been playing organized sports on a high level their entire lives, so they’re used to a regimented schedule and people telling them what to do all day, every day,” says Weinstein. “When they get on set with us, we just make them feel at home, play some music they like, and try not to take ourselves too seriously. Their job is stressful enough, so we just mess around and make it feel like a clubhouse.”

EP*Vision CD Maryam Parwana led post work on the campaign, recreating the fluid production pipeline from client to post that has contributed to the success of so many past campaigns.

Credits:
Client: Washington Nationals
Advertising Agency: 40/40
Production Company: East Pleasant
Director: David Weinstein & Stash Slionski
EP: Michelle Cuccuini Hicks
Director of Photography: Stash Slionski
Editorial: Pleasant Post
Editor: Chris Fiore/Parallel Universe
Producer: Taylor Colbert
Color Grading: Pleasant Post
Post/Effects: EP*Vision
CD: Maryam Parwana
Producer: Niabi Caldwell
Sound Design & Mix: Big Yellow Duck

Diageo's new "Think How You Drink" online ad campaign debuts in Western Europe that features some embarrassing drunken walks. "With this video we are deliberately using humor to catch people's attention," Malcolm D'Sa, Diageo's marketing innovation director for Western Europe, said in a statement. "Responsible drinking campaigns in the past have tended either to preach or to scare" he added. "We know that drinking to excess is a serious issue — but our primary concern is to be effective. The message, that drinking can have harmful consequences, is still in there and it is a strong message. We've just approached it in a different way."

Not to worry if you don't remember last night, the people in the video are all actor's.

Credits:
Creative Ad Agency: Marmalade Film and Media, Soho, London http://www.marmaladefilmandmedia.com/

The Canadian Breast Cancer Foundation (CBCF) and DARE are launching an emotive new national campaign across TV, print, radio and online, to drive participation in the annual Canadian Breast Cancer Foundation CIBC Run for the Cure being held this year on Sunday, October 6.

The new campaign was born through a strategic planning process, built on a compelling goal: with the support of the community, the Canadian Breast Cancer Foundation will realize its vision of creating a future without breast cancer.

While CBCF’s vision is a clear one, previous Run marketing campaigns had taken a retrospective view, in memory of those who have struggled with the disease. DARE saw the need to re-focus on the central mission, making clear that the CIBC Run for the Cure is a step towards change for the future of women across Canada. The resulting campaign was thus developed around the strategic territory of “Running for the Future” – a future without breast cancer.

The creative, developed by DARE`s Executive Creative Director Paul Little, brought this strategic insight to life using the simple yet powerful concept of children telling us who they are running for in the future. Whether a daughter, wife or granddaughter who might be diagnosed with breast cancer, the campaign highlights that it is a future that they shouldn’t have to face, if we continue to raise funds and work toward finding a cure for breast cancer.

The TV executions, shot by Philistine, which is currently directors Tim Godsall and Steven Diller from OPC //FS, each focus on one story told by a child of the future person they are running for, while the print, shot by Melodie McDaniel from Brydges Mackinney, shows the simple line of who the children are running for in the future.

Chris Burke, Senior Manager, Event Marketing at CBCF, explains, “All charities, particularly health and cancer charities, are facing the challenge of a more crowded, sophisticated and competitive marketing environment. For CBCF, that’s comes against the backdrop of some great achievements in recent years. In 2012, it was estimated that 88 percent of women diagnosed with breast cancer will be alive five years after diagnosis, a 10 percent increase in the survival rate since 1987. This campaign reframes the discussion; making the cause relevant to everyone again and making people realize that this is still very much a cause that they should do something about, for women now and in the future.”

"We wanted to switch things up this year” adds DARE ECD Paul Little. "We wanted a different kind of logic that would make people really think about why they should participate in this event. The unfortunate reality is that breast cancer is harsh, but reminding us of that in a heavy handed ad isn't new. We wanted to surprise people and help them feel motivated by this initiative again.”
The national campaign consists of four 30 second TV commercials (3 in English and 1 in French), five print pieces, 2 radio spots and online banners. It also features strong social media elements, to extend the relationship with participants well before and beyond Run day. This includes a Facebook App that helps people submit their reasons for participating, creating shareable content to encourage people to support their friends who are getting involved.

The campaign will be in market from June 3rd 2013 through to run day on Sunday, October 6, 2013. For more information or to sign up to participate, please visit www.runforthecure.com.

Credits:
Agency: DARE
Executive Creative Director: Paul Little
Copywriter: Paul Constantakis, Paul Little
Art Director: Paul Little
Agency Producer: Mike Hasinoff, Matthew Sy, Jeff Maynard
Account Lead: Penny Norman, Jillian Pearson
Planner: John Hall
Media Agency: Vizeum
Media Lead: Lynn Mayer
Director: Philistine (currently Tim Godsall and Steven Diller)
Production Company: OPC //FS
Executive Producer: Harland Weiss, Donovan Boden
Producer: Isil Gilderdale
Director of Photography: Andre Pienaar
Editorial: School
Editor: Brian Wells
Telecine: Company3
Colorist: Tom Poole
Online & Finishing: Fort York
Sound Design & Mix: Grayson Matthews
Photographer: Melodie McDaniel at Brydges Mackinney