ShowBusinessMan [Search results for great advertising

  • Elmer's Glue "Let's Bond" TV Commercial

    Elmer's Glue "Let's Bond" TV Commercial

    LIMEY Directorial duo KN+SAW (Katrine Naleid and Stephen Austin Welch) have just completed a new TV commercial for Elmer’s Glue titled “Let’s Bond.” Comprising both the live action and a print campaign also shot by KN+SAW the project gave the directors their first opportunity to collaborate with the creative team at SBC Advertising on a national campaign in both mediums.

    "Working with Katrine and Stephen through LIMEY was a pleasure from start to finish,” says Neil Widerschein, Chief Creative Officer, SBC Advertising. “They were exceptional collaborators throughout the process, helping us perfectly capture the fresh direction we're taking the Elmer's brand. The entire production — courtesy of LIMEY — was refreshingly absent of drama or unpleasant surprises. As a team, they were focused on our project from the very beginning all the way through editorial. We all absolutely loved working with them and would do it again in a heartbeat."

    When SBC Advertising first brought their concept to KN+SAW, they were thrilled about directing a piece that would go from talking about glue to talking about creating memories that last a lifetime. “We were tasked with making very genuine moments, watching families bond over bonding. We directed these scenes to capture authentic moments — memories in the making — filled with a child’s pride and excitement, as well as moments Mom’s and Dad’s will cherish and enjoy forever,” relates Stephen and Katrine.

    What KN+SAW achieved was capturing those moments and allowing the viewer to witness playful scenes when parent and child truly connect as they share valuable time making artistic creations enabled by Elmer’s glue. Allowing the viewer to identify and relate to that cherished, quality, family time of genuine, feel-good moments — a time and place of concentration, intrigue and laughter.

    SBC Advertising had the ambition to shoot both the broadcast spot and a tandem still campaign. By hiring Katrine and Stephen to shoot both the motion and stills, they were able to give the client more production while saving time and money.

    KN+SAW created a combo-shoot production that was not only cohesive but maintained all of its momentum and performances. The shoots were seamless, back- to-back productions (without the costly stop-and-start that that can take a toll on budgets.)

    “We played to the strengths of the actors and crew,” explains Stephen and Katrine. “We created a calm vibe on-set, which was great for the child-actors and allowed for their natural enthusiasm to come through, thereby creating great imagery."

    “When it came time for the still shoot, we already knew what would and would not work concerning the lighting, blocking and performance,” continues the Directors. “So we already had a head start on the day.”

    The print division at SBC Advertising had actually wanted to work with Katrine as a still shooter for quite some time. They were huge fans of her lifestyle and kids imagery. Proving that all roads lead to KN+SAW, when the ad agency presented Katrine and Stephen to the client, Elmer’s, they were already familiar with the directing duo’s work and had actually even seen an internal presentation of the duo's directing reel to show the stylistic direction the agency wanted their TV commercial to take.

    The advertising agency and directors were very keen to cast actual families, as well as professional actors to create the on-set families in order to make the moments and the performances as genuine as possible. The age range of the kids was from 4 to 8 years old, a particularly challenging but wonderful age. KN+SAW shoot a lot of kids and always make sure the perfect environment is created allowing the actors, both adult and child to develop this close and unique relationship with the directors.

    “One of the on-set lines that cracked us up was a 4-year-old boy who said to us while rolling, ‘You know, I’m just really not a morning person!’ He then went on to deliver a great glue bottle squeeze! We were able to capture these real emotion moments and made footage that is truly authentic and fresh,” notes Stephen and Katrine.

    “The agency showed great trust in letting us imagine and invent the specific props the kids and parents worked on,” conclude the Directors. “Everything we shot was 3-dimensional; and worked very well with the product and appeared quite textured to the camera and lighting. We created fish with fins and flowing tails; an octopus out of a paper towel core; the button art is priceless. Getting the biggest fanfare are the masks — robot for dad and the cutest little fire-breathing dragon you ever did see for the girl. We are collaborative directors by nature and creating our crafting props for this spot is a place this really shined.”

    CREDITS
    Advertising Agency: SBC Advertising, Columbus, Ohio.
    Creative Director: Neil Wilderschein
    Art Director: Ian Brown
    Copywriter: Ian Brown

    Production Company: LIMEY, Los Angeles CA http://www.limey.tv

    Director: KN+SAW
    DP: David Schnack
    Executive Producer: Andrew Denyer

    Location:
    Minneapolis, MN

    Editorial Company: Optimus, Santa Monica
    Editor: Erin Nordstrom
    Asst. Editor: Annie Carey
    Executive Producer: Therese Hunsberger
    Colorist and Online Editor: Dan Swierenga

    Music Company: Catfish Music, Chicago, IL
    Music Composer: Jeff Boyle

  • Bad FedEx Delivery Guy....An Epic Fail

    Bad FedEx Delivery Guy....An Epic Fail

    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.

  • A Collection Vintage Dickies Menswear Print Ads

    A Collection Vintage Dickies Menswear Print Ads

    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.

  • Starz: Re-Brand Campaign

    Starz: Re-Brand Campaign

    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

  • New Ad: Stardust Embarks On A Mission For Baylor University

    New Ad: Stardust Embarks On A Mission For Baylor University

    Stardust, the bicoastal integrated production and design firm, partnered with Proof Advertising to create a rich and complex journey through the history of Baylor University’s great discoveries and achievements. The short film — largely constructed from stock footage from the Baylor Vaults — is treated through layers of graphic textures, paralax effects, shot elements (like fire and lens flairs) and hand-drawn illustrations to elicit an archeological experiment in the visual medium. The result is an emotional exploration into some great moments and achievements across the spectrum; including sports, science, and spirituality.

    “This film for Baylor University is an innovative project,” explains Stardust Creative Director/Co-Owner Seth Epstein, “in that we were asked to work with every kind of image you can imagine — from stills, to archival footage to footage shot on RED. We wanted to create an integrated, seamless and emotional piece. To do that, we wanted the piece to feel human and have the feel of a physical touch versus being digital or cold. We also filmed light, dust, and type elements in our studio, which we then blended into the footage and gave it a magical quality. Now, with all of the technology we use to create pieces, it’s important to mix analog techniques in to achieve looks that can't be accomplished any other way.”

    Stardust Art Director Angela Ko adds that the concepts of “Missions” that Proof Advertising brought to the Stardust creative team for the Baylor project was “inspiring to our creative process in so many ways.” She continues: “Our goal was to create a cinematic narrative to complement the writing and principles of Baylor University, which carries so much humanity and heart. We approached this piece in a way that a Curator would curate an art exhibition — where there is one overall concept and theme, but a range of different pieces composed using different mediums. We wanted to re-contextualize the library of images and footage that was provided by Baylor and sew it together to create one grand picture. Working on this project has brought renewed insight and excitement about what purpose we have as individuals. We hope this piece will have the same impact on the person who watches it.”

    Credits:
    Client: Baylor University
    Advertising Agency: Proof Advertising, Austin, USA
    Creative Director: Craig Mikes,
    Associate Creative Director: George Ellis
    Associate Creative Director: Rob Story
    Account Director: Sparky Witte,
    Executive Producer: Vicki Russell,
    Broadcast Intern: Danny Nouri

    Production/Design/Animation Company: Stardust
    Managing Director/Co-Owner: Dexton Deboree
    Creative Director/Co-Owner: Seth Epstein
    Executive Producer: Blythe Dalton Klippsten
    Producer: Paul Winze
    Art Director/Senior Designer: Angela Ko
    2D Animators: Sandy Chang, Mark Kim, Taekyu Kim
    Compositors: Sandy Chang, Mark Kim, Taekyu Kim

  • How Big Is Duck Dynasty — 9 Million Viewers Kinda Big

    How Big Is Duck Dynasty — 9 Million Viewers Kinda Big

    Last Wednesday night's back-to-back season premieres of "Duck Dynasty" became the #1 telecasts in network history! An astonishing 8.6 million viewers tuned in to see America's favorite family, making "Duck Dynasty" the #1 nonfiction series on cable. Perhaps even more impressive is the record-shattering 5.0 million adults 18-49 and 4.9 million adults 25-54 who tuned in; as well as the incredibly successful Social Media campaign that led up to the premiere.

    The original press release and "The Quack is Back" spot below:

    The creative team at A&E called on long-time collaborators at entertainment agency BIGSMACK to help conceive, write and produce a hilarious Season 3 promotional campaign for their biggest runaway hit in the cable net’s history: “Duck Dynasty.” Under the creative leadership of Head Creative Andy Hann and Senior Creative Director Matt Hall, the BIGSMACK team collaborated with A&E’s in-house team to write, produce, and post for an extensive campaign, that is being rolled out now, as a daily countdown to the launch of the third season on February 27th at 10/9c.

    Hann and director Scott Whitham co-direct an unbelievable 21 spots in just two days. The BIGSMACK team shot in the deep rural bayou of Louisiana in the dead of winter, up against tremendous challenges. To view a selection of the creative results, go here: http://wdrv.it/VVWojD

    “’Duck Dynasty’ has literally become a phenomenon for A&E, being their highest rated show to date,” says BIGSMACK’s Hann. “It has huge fan appeal, so we were thrilled when they asked us to take a crack at what appeared to be the impossible. We jumped right in with the A&E Senior Creatives Maria Pecoraro and Keith Kopnicki, and fleshed out and wrote a mountain of scripts over the course of a week. Kudos to the A&E marketing and creative team, who worked many weekends and late night hours to make sure this was a successful campaign. This project was a great opportunity for BIGSMACK to show what our company can do, pulling from all of our resources to make this roll-out campaign a reality, and a funny one at that.”

    One of the most successful reality series currently on television, “Duck Dynasty” features the Robertson’s, a Louisiana bayou family living the American dream as they operate a thriving business while staying true to their family values and lifestyle. After creative concepting and writing In New York and Philadelphia was complete, the BIGSMACK production team flew down south from the east coast. They were met with seven inches rain soaked roads in early January, and show fans appearing on-set to get a peek at the Robertson’s, known for their signature long beards. CD Hann and Whitham directed the 21 spots with just two days to shoot the show’s main characters. Strategically planning the logistics for the shoot, they had two crews shoot simultaneously at an enormous Bayou location in Monroe, Louisiana.

    “We went in with a plan of course, but due to the volume of spots, unpredictable weather and an unfamiliar location, a lot of adjustments and improv had to happen in Monroe days and hours before the shoot,” explains BIGSMACK’s Head of Marketing Andrew Kobliska. Mud soaked roads, trucks and equipment coming from hundreds of miles away, and crew arriving the night before were part of the challenges the production team was up against. “While Andy was directing one spot, he had to think about the next two spots so we could have a crew set things up ahead of time. The crew was awesome: great hustle; great attitude. The DP's Andrew Turman and Patrick Loungway were absolutely incredible. Because of the circumstances, the DP's had to act essentially as Co-Directors, and they really came through. The members of the Robertson family were all good sports. They hung in there with us and they were willing to do whatever we asked, which included being submerged in freezing water! They have natural talent, and great comedic timing. They really are a wonderful, funny family, which is why they are loved by so many fans worldwide.”


    Credits:
    Project: 21-spot promo campaign for the launch of “Duck Dynasty,” Season 3
    Client: A&E
    EVP, Head of Marketing: Guy Slattery
    Sr. Creative Director. Brand Creative: Maria Pecoraro
    Senior Writer/Producer: Keith Kopnicki
    Director of Operations, Brand Creative: Brett DiPretoro

    Advertising Agency: BIGSMACK
    Executive Creative Director: Andy Hann
    Head of Marketing: Andrew Kobliska
    Executive Producers: Heidi Erney, Kevin Lahr
    Writers: Tom Pace, Joe Nelms, Bob Shea, Andy Hann, Laura Gillespie

    Production Company: BIGSMACK
    Directors: Andy Hann, Scott Whitham
    DPs: Andrew Turman, Patrick Loungway
    Producer/AD: Michael Dean
    AD: Nick Conway

    Editorial Company: BIGSMACK
    Senior Creative Director: Matt Hall
    Senior Writer/Producer: Laura Gillespie
    Designer/Animator: Rick Malwitz, Jason Harmon
    Editor: Rob Graham
    Sound Engineer: Bob Schachner

  • Duck Dynasty "Mash Up" — 21 Ads Shot in 2 Days

    Duck Dynasty "Mash Up" — 21 Ads Shot in 2 Days

    The creative team at A&E called on long-time collaborators at entertainment agency BIGSMACK to help conceive, write and produce a hilarious Season 3 promotional campaign for their biggest runaway hit in the cable net’s history: “Duck Dynasty.” Under the creative leadership of Head Creative Andy Hann and Senior Creative Director Matt Hall, the BIGSMACK team collaborated with A&E’s in-house team to write, produce, and post for an extensive campaign, that is being rolled out now, as a daily countdown to the launch of the third season on February 27th at 10/9c.

    Hann and director Scott Whitham co-direct an unbelievable 21 spots in just two days (view them all on YouTube HERE. The BIGSMACK team shot in the deep rural bayou of Louisiana in the dead of winter, up against tremendous challenges.

    Duck Dynasty’ has literally become a phenomenon for A&E, being their highest rated show to date,” says BIGSMACK’s Hann. “It has huge fan appeal, so we were thrilled when they asked us to take a crack at what appeared to be the impossible. We jumped in with the A&E creative team and literally fleshed out and wrote a mountain of scripts over the course of a week. Kudos to the A&E marketing and creative team, who worked many weekends and late night hours to make sure this was a successful campaign. This project was a great opportunity for BIGSMACK to show what our company can do, pulling from all of our resources to make this roll-out campaign a reality, and a funny one at that.”

    One of the most successful reality series currently on television, “Duck Dynasty” features the Robertson’s, a Louisiana bayou family living the American dream as they operate a thriving business while staying true to their family values and lifestyle. After creative concepting and writing In New York and Philadelphia was complete, the BIGSMACK production team flew down south from the east coast. They were met with seven inches rain soaked roads in early January, and show fans appearing on-set to get a peek at the Robertson’s, known for their signature long beards. CD Hann and Whitham directed the 21 spots with just two days to shoot the show’s main characters. Strategically planning the logistics for the shoot, they had two crews shoot simultaneously at an enormous Bayou location in Monroe, Louisiana.

    “We went in with a plan of course, but due to the volume of spots, unpredictable weather and an unfamiliar location, a lot of adjustments and improv had to happen in Monroe days and hours before the shoot,” explains BIGSMACK’s Head of Marketing Andrew Kobliska. Mud soaked roads, trucks and equipment coming from hundreds of miles away, and crew arriving the night before were part of the challenges the production team was up against. “While Andy was directing one spot, he had to think about the next two spots so we could have a crew set things up ahead of time. The crew was awesome: great hustle; great attitude. The DP's Andrew Turman and Patrick Loungway were absolutely incredible. Because of the circumstances, the DP's had to act essentially as Co-Directors, and they really came through. The members of the Robertson family were all good sports. They hung in there with us and they were willing to do whatever we asked, which included being submerged in freezing water! They have natural talent, and great comedic timing. They really are a wonderful, funny family, which is why they are loved by so many fans worldwide.”

    Credits:
    Project: 21-spot promo campaign for the launch of “Duck Dynasty,” Season 3

    Client: A&E
    EVP, Head of Marketing: Guy Slattery
    Creative Director: Maria Pecoraro
    Senior Writer/Producer: Keith Kopnicki
    Director of Operations: Brett DiPretoro

    Advertising Agency: BIGSMACK
    Executive Creative Director: Andy Hann
    Head of Marketing: Andrew Kobliska
    Executive Producers: Heidi Erney, Kevin Lahr
    Writers: Tom Pace, Joe Nelms, Bob Shea, Andy Hann, Laura Gillespie

    Production Company: BIGSMACK
    Directors: Andy Hann, Scott Whitham
    DPs: Andrew Turman, Patrick Loungway
    Producer/AD: Michael Dean
    AD: Nick Conway
    press via: Hypeworld

  • WWF Canada "The Inevitable News"

    WWF Canada "The Inevitable News"

    A 300m super tanker longer than the Empire State building has inevitably crashed into the shoreline of the Great Bear Region of coastal BC sending thousands of barrels of toxic diluted bitumen directly into the heart of the Great Bear Sea.

    WWF, Canada (World Wildlife Foundation) launches a new public awareness ad campaign to garner support and action to stop the proposed construction of the Northern Gateway Pipeline through British Columbia’s ecologically sensitive Great Bear region. The campaign centers on "The Inevitable News", a news channel that covers the news "before it happens". A series of 4 segments will roll out on WWF-Canada’s Facebook page over the next two weeks – capturing the "breaking news" of an "inevitable" oil spill in the Great Bear region and highlighting some of the fallout in the region as a result of the disaster.

    Credits:
    Advertising Agency: John st., Canada
    Creative Directors: Angus Tucker, Stephen Jurisic
    Ass. Creative Director / Art Director: Nellie Kim
    Ass. Creative Director / Copywriter: Chris Hirsch
    Producers: Christine Stephens, Shawna McPeek
    Digital Producer: Cas Binnington, Ryan O'Hagan
    Account Team Lead: Melissa Tobenstein
    Account Executive: Amelia MacGregor
    Director: Christopher Hutsul
    Production Company: Soft Citizen
    Editor: Ross Birchall / Bijou Editorial
    Visual FX: Track & Field
    Music / Audio: Vapor Music
    Colour: Redlab Digital
    2nd Unit: Nicole Dorsey
    Photography: Todd Duym

  • Ram Trucks "Man Made Drama"

    Ram Trucks "Man Made Drama"

    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

  • Texas Tourism Ads For TravelTex: Cowboys, Great Outdoors, Live Music

    Texas Tourism Ads For TravelTex: Cowboys, Great Outdoors, Live Music

    Directorz’ Jeff Bednarz Directs New Texas Tourism Campaign For Traveltex.com. A Travelers’ Passport To A Place So Diverse and Original It’s Like A Whole Other Country. As bold and unique as the state it promotes, the new Texas Tourism campaign directed by Jeff Bednarz for agency Slingshot, recently launched on cable networks nationwide. “Great Outdoors,” “Live Music” and “Cowboys” highlight just a few of the amazing adventures that await travelers in Texas, from majestic vistas, to music country – a place that inspires exceptional music in all genres. Each spot concludes with an invitation to discover more at the Texas Tourism passport to the region: www.traveltex.com.

    Director Bednarz and his crew traveled throughout the state for 15 days to film a range of experiences, from natural wonders to those created by Texans. “The state of Texas is so vast and so diverse, and people are wonderfully intriguing wherever you go,” says Bednarz. “As we embarked on the project, I looked at Texas – my home – as a different land, and through this road trip we enjoyed, and captured, just some of the awe-inspiring discoveries that await travelers.” To find out more about Jeff Bednarz and Directorz, please visit www.directorz.net.

    Credits:
    Client: TEXAS TOURISM
    Director of Texas Tourism: Brad Smyth
    Deputy Director of Texas Tourism: Tim Fennell
    Advertising Coordinator: Jenny Poon
    Advertising Specialist: April Bear
    Advertising Agency: SLINGSHOT
    VP, Account Services: Tony Balmer
    Group Account Director: Drew Holmgreen
    Account Supervisor: Danielle Rector
    Account Executive: Rachel Massey
    ECD: Susan Levine
    Art Director: Clay Coleman
    Executive Producer: Ann Vorlicky
    Production Company: Directorz
    Director: Jeff Bednarz
    DP: Mark Thomas
    EP: John Gilliland
    Editorial/Post: Lucky Post
    Editor: Marc Chartrand
    Sound Design: Scottie Richardson

  • ASDA "Behind Every Great Christmas There's Mum" TV Ad

    ASDA "Behind Every Great Christmas There's Mum" TV Ad

    Behind every great Christmas there's mum. The UK retailer ASDA (psst they are owned by Walmart) proves that with this great new TV advert. The ad has been getting some heat, but let's be honest in most homes (mine included, my mothers included, my sisters, my aunts, my best of friends) this ad got it just about right, so suck it up dads.

    Credits:
    Client: Asda
    Advertising Agency: Saatchi & Saatchi.

  • YouTube Blog: Ads that entertain: YouTube’s top spots of 2011

    YouTube Blog: Ads that entertain: YouTube’s top spots of 2011

    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.

  • Toronto Ad School Creating Great Prints — FIAT "Drive Friendly"

    Toronto Ad School Creating Great Prints — FIAT "Drive Friendly"

    Students at Toronto's Humber College enrolled in the Creative Advertising Bachelor of Applied Arts program are creating some great work as we see in this print ad created for FIAT with a fun tag line "Drive Friendly."
    See more student work at the programs gallery page HERE.

    Credits:
    Advertising School: Humber College, Toronto, Canada
    Art Director: Iva Jericevic
    Copywriter: Logan Broger

  • Target Makes The Grocery Isle Fashionable With 4 New Ads For The Everyday Collection

    Target Makes The Grocery Isle Fashionable With 4 New Ads For The Everyday Collection

    You’ll never think about Tide and Oreo Cookies the same way again, creative ad agency, mono teamed up with high fashion director and photographer Matthew Donaldson to amplify universal truths about everyday items to epic proportions with a suite of national ads for Target and The Everyday Collection.

    Spot: "Matador" — Tonight's menu: sirloin steak, chicken breasts and pork, with a side of fierce. Welcome to The Everyday Collection by Target.

    Is Target's grocery aisle ready for its close up?

    Target is pushing its food, laundry detergent and other groceries in a national ad campaign that pokes fun at high-fashion advertising by featuring models interacting with everyday products.

    In one ad, a model in a white dress and high heels struts by blueberry muffin and cake mix boxes that explode in different colors. Then she crushes an egg with her hand.

    "Dominate that PTA bake sale," a voiceover whispers. "The Everyday Collection. By Target."

    The campaign is part of a larger move by Target, better known for its cheap-chic clothing and home goods, to focus more on its grocery-store aisle. Wal-Mart Stores Inc. and other Target competitors also have been expanding their selection of groceries to lure more customers into stores.

    For its part, Target has been expanding its grocery selection, particularly with investments in its "P-Fresh" fresh-food section. Out of its 1,782 stores, about 1100 have an expanded fresh food layout and more than 250 have a full grocery store.

    With that push complete, Target decided the time was right to put the focus on its groceries, but in a way that still plays on Target's fashion know how, said chief marketing officer Jeff Jones.

    Target, with ad agency Mono in Minneapolis, created the tongue-in-cheek campaign that treats groceries and home products like fashion accessories in a photo shoot. Spending is undisclosed on the ad campaign, but it will include eight TV ads that will run throughout 2013. In addition to TV spots and newspaper inserts, it will include eight TV spots, three radio ads, and digital short films that will run as banner ads online.

    One TV ad shows an $11.99 bottle of Tide laundry detergent and a model in a white dress dancing fancifully.

    "We all yearn for something," says a voiceover as bubbles float by the model. "And that something is the other sock."

    The campaign "creates a foil for what people are used to seeing for grocery advertising," said Jones. "It combines the design ethos and fashion creditability that Target has with the idea that it also has great grocery items at a great price." article via: The Associated Press.

    Spot: "Laundry" — Lose yourself in Tide laundry detergent. Who knows what you'll find? Give in to The Everyday Collection. By Target.

    Spot: "Ravenous" — Pickles, Ruffles chips and other timeless cravings. Attack! Give in to The Everyday Collection. By Target.

    Spot: "Bake Sale" — Cake and muffin mix hit the catwalk in true Target fashion. Welcome to The Everyday Collection. By Target.

    Credits:
    Creative Ad Agency: mono, Minneapolis.
    Director: Matthew Donaldson
    Creative Co-Chair: Paula Biondich

  • Washington Nationals — Thunderstruck Ad

    Washington Nationals — Thunderstruck Ad

    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

  • Scion FR-S "Bringing the Sport Back to the Car" TV Commercial

    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

  • Super Bowl Ad Watch: Budweiser Tweets For The First Time — Name The New Clydesdale Foal

    Super Bowl Ad Watch: Budweiser Tweets For The First Time — Name The New Clydesdale Foal

    Budweiser has launched its first-ever Twitter account – www.twitter.com/budweiser. The account went live last night.

    The iconic brand marked the occasion with another "first" involving the Budweiser Clydesdales – tweeting the first photo of a member of the elite "Budweiser Clydesdales Class of 2013," a beautiful 150-pound baby born the morning of Jan. 16. It was the brand's first-ever Tweet.

    Using #clydesdales, Budweiser also is asking Twitter followers of @Budweiser and Facebook friends to help name the young equine star, who will be seen by an estimated 110+ million viewers next Sunday during Super Bowl XLVII.

    "This newest member of the Budweiser Clydesdale family was 7 days old on the day this part of the Super Bowl commercial was filmed," said Jeff Knapper, general manager of Clydesdale operations. "A star was truly born on Jan. 16."
    More than 30 baby Clydesdales are expected to be born this year at the 300-acre Warm Springs Ranch, the state-of-the-art breeding facility for the Budweiser Clydesdales in Boonville, Mo.

    On Super Bowl Sunday on Feb. 3, the Budweiser Clydesdales will appear in a new 60-second spot, "Brotherhood," which chronicles the bond a Clydesdale foal shares with his trainer. Partially shot at Warm Springs Ranch, "Brotherhood" will take the Clydesdales advertising into new territory by providing a new level of access to their early years.

    This is the Clydesdale's 23rd Super Bowl spot since first appearing in a big game spot in 1986.

    In addition to the baby foal born this month that will appear in the spot, other young Clydesdales, including an 8-month-old and a 2-year-old, will be featured, in addition to a full hitch of eight adult horses.
    Budweiser's Twitter channel debuts after the social media platform introduced age verification, allowing the beer to restrict its tweets to users 21 and older.

    2013 A MILESTONE YEAR
    The Clydesdales celebrate a major milestone in 2013 – the 80th anniversary of their association with Anheuser-Busch. The Budweiser Clydesdales have been an integral part of Anheuser-Busch's heritage since April 7, 1933, and their strength and majesty symbolize Budweiser quality as well as integrity, achievement, success, perfection and team spirit. They were formally introduced to celebrate the repeal of Prohibition for beer.
    "The symbol has become synonymous with Budweiser — the quality that goes into the beer, as well as the time, energy and passion we put into taking care of the horses," Knapper said.

    How is the baby Clydesdale featured in the commercial doing? Both mother, 7-year-old Darla, and baby are doing well, reports John Soto, supervisor of the breeding operations at Warm Springs Ranch in mid-Missouri.
    "We have had two foals born so far this year and they're both doing very well," Soto said.

    "We take great pride in each and every one of our horses, and Warm Springs Ranch is a great home," Knapper said. "The Budweiser Clydesdales are the envy of the equine world. We treat them like royalty, and they are among the best-cared-for animals in the world."

    Anheuser-Busch has about 200 Clydesdales in its herd, with about half of them at Warm Springs Ranch in Cooper County.

    via: PR Newswire

  • Mercedes Benz — Hair/Bruno Bossi Commercial

    Mercedes Benz — Hair/Bruno Bossi Commercial

    Egg Films’ Bruno Bossi recently directed two spots for Mercedes-Benz. Hair and Colleague are follow-ons to Net#work BBDO’s award-winning radio campaign for Mercedes’ Attention Assist.

    “Mercedes-Benz seldom makes TV ads for the South African market,” says Bruno, “so it was a great opportunity to work on an iconic brand. The subtle tone of the humour in these savvy scripts was also really appealing.”

    Speaking about executive creative directors Jenny Glover and Brent Singer, he says, “It was great to work with a team who were really collaborative and I enjoyed bringing their scripts to life for them.”

    Paul Gilpin shot the commercials, which were edited by Matthew Swanepoel at Priest.

    Credits:
    Title: Hair
    Client: Mercedes-Benz
    Length in seconds: 30
    First flight date: 25 April 2013
    Advertising agency: Net#work BBDO
    Agency producer: Caroline Switala
    Exec creative director: Jenny Glover
    Exec creative director: Brent Singer
    Production co: Egg Films
    City & country: Cape Town, South Africa
    Director: Bruno Bossi
    Director of photography: Paul Gilpin
    Production producer: Kirsten Clarence
    Executive producer: Colin Howard
    Post production co: Black Ginger
    Editing company & city: Priest Cape Town
    Editor: Matthew Swanepoel
    Music Company: Pulse Music
    Composer: Doug Katsaros
    Exec Producer: Marc Algranti

  • The Staples Holiday Rehearsal

    The Staples Holiday Rehearsal

    Great new commercial for Staples, "Holiday Rehearsal". Watch this great cast of characters as they practice opening their gifts.
    Credits:
    Advertising Agency: MacLaren McCann Toronto, Canada
    Creative Director: Sean Davison
    Group Creative Director: Gary Lennox
    Art Director: Sean Davison
    Copywriter: Gary Lennox
    Account Team: Ryan Timms, Sarah Lostracco, Kiara Wilson
    Production Co: Steam Films
    Director: Benji Weinstein
    Cinematography: Brendan Steacy
    Exec. Producer: Tasha Litt
    Producer: Andrew Graham
    Post House: School Editing
    Editor: Brian Wells
    Music Co: Pirate
    Colour Correct: Notch

  • A Disney Toy Soldier Trains for Mickey's Very Merry Christmas Party

    A Disney Toy Soldier Trains for Mickey's Very Merry Christmas Party

    Toy Soldier Ad

    A Disney Toy Soldier puts himself through a vigorous training in a great new ad for Disneyland's Very Merry Christmas Party in the hopes of being including in the parade. The spot features some nice cameo appearances, see if you can spot them all, I'll give you one, the "trainer" is Brian Stamper who played for the New Orleans Saints.
    Watch as Dreams Come True for your favorite Disney Toy Soldier! Performing during Mickey's Very Merry Christmas Party on select nights from Nov. 9th — Dec. 21 at the Magic Kingdom.
    Credits:
    Advertising Agency: Yellow Shoes
    Brand: Disneyland
    Advertising Agency: Yellow Shoes Creative Group, Orlando, USA
    Creative Director: Will Gay
    Art Director: Matt Stewart
    Copywriter: John McCall
    Producer: Paul Chase