DPZ Propaganda has thought up fine ideas for the Brazilian competition of advertising. «The good idea is capable to win any» — a slogan of prints of the international competition of a print advertising "the World award of publicity" opens idea of competitions: not important from what you the countries and as long you work in advertising — the main thing, are how much good your Idea.
Print advertising competition «Premio de Propaganda o Globo» is founded in 1996. The committee from nine judges which number includes the most known advertisement makers of Brazil, selects winners in nine categories.
The Excellent Idea is Pleasant to All!
Prints inform on value of good idea and conclusive appeal to any person. The Argentina football fan with good idea (a burning bulb — the international symbol of idea) drinks beer with the Brazilian fans. The Motorcyclist-idea withdraws the girl directly from under a wreath. The nice girl acquaints with the father ugly (but "ideological") the guy.
Havas Worldwide London is behind a major new ad campaign for car maker Peugeot, promoting its ‘Just Add FuelTM’ finance package.
The idea behind the campaign is that Peugeot takes the stress out of buying a new car. It shows that people don’t need to worry about things that don’t affect them, and that with Peugeot’s ‘Just Add FuelTM’ finance package, they also do not need to worry about the car insurance for three years.
In the TV ad, ‘Gary’s Cat’, we are told the sad story of a worried man looking for his missing feline in the pouring rain, before the voiceover tells us: ‘Hang on. You don’t know Gary do you. Well, don’t worry then.’ It cuts to a couple driving a new Peugeot 208, having a great, worry-free time, and explains the benefits of the ‘Just Add FuelTM’ package, a single monthly amount that covers car tax, warranty, breakdown cover and comprehensive insurance for three years.
Dom Gettins, Creative Director at Havas Worldwide London, said: “Hunting through car insurance deals isn’t everyone’s idea of a good time so Peugeot’s ‘Just Add FuelTM’ is a brilliant idea, and we wanted to create an ad that would appeal to people who have better things to do with their lives than worry.”
Morgan Lecoupeur, Marketing Director at Peugeot UK, said: “With a unique and highly-attractive product in ‘Just Add FuelTM’ we needed a great idea, with a serious and an amusing aspect, also saluting our ‘Motion & Emotion’ signature, and I think Gary’s Cat will give us the awareness we seek from Christmas Day, as it airs for the first time.”
Credits: Creative Ad Agency: Havas Worldwide, London Creative Director: Dom Gettins Art Director: George Brettel Copywriter: George Brettel Account Director: Jess Tarpey Agency Producer: Laura Middleton Director/Production Co: The Sniper Twins / Smuggler Producer: Nick Fewtrell Editor: Andy Mcgraw Post Production: The Mill Sound Design: Angell Sound DoP: Jan Richter Friis
Visual effects and animation studio, Light of Day (www.lightofday.tv) recently teamed up with John Varvatos to create a commercial featuring a six-fingered hand to promote their new fragrance, John Varvatos Star USA. The commercial idea stemmed from the fragrance's tagline, "The New Fragrance For Your Sixth Sense."
The TV spot features a shot of fingers on a man's hand counting along with rock music in the background. The hand proceeds to put up a peace sign and the new fragrance's packaging is shown. As realistic as the hand appears it has one more finger than usual, allowing it to count up to six. The hand and its movements are so realistic that one may not immediately notice anything out of the ordinary the first time watching it.
This attention grabbing idea was originally displayed in a print ad of the hand holding up a peace sign. Using those ads as a reference, the Light of Day visual effects team was able to turn the 2D idea into a realistic and natural looking moving hand.
"A dexterous six-fingered hand doesn't really exist in nature, so the challenge was creating a six-fingered hand that seamlessly looked real and moved in a believable way," said Dino Tsaousis, a flame artist for Light of Day who did the compositing and finishing work for the Varvatos commercial. "We had to play around with the palm and fingers to make it look anatomically correct as far as how the muscles moved."
Tsaousis explained further that he even used his own hand as a reference when trying to determine natural muscle movements of the hand.
"Between the finger, the palm, and the way the muscles move, there was about three or four different pieces that I stitched together to create the hand," Tsaousis said. "After that I had to rebuild the background and do some re-lighting for the feeling the client was looking for."
From a technical standpoint, Autodesk Lustre was used for the coloring and Flame was used for the compositing and finishing.
In typical GoDaddy style they have released the first of two Super Bowl ads early and there are no hot girls, which actually a pleasant surprise. The commercial, "Your Big Idea" features a few people who have the next "Big Idea" but fall short of living the dream.
If you were expecting Danica Patrick or model Bar Refaeli in something sexy, not to worry you can view other racy GoDaddy ads here until then.
Creative Credits Ad Agency: Deutsch, New York Production Company: Biscuit Filmworks Editorial/Post Production: The Cutting Room VFX: The Mill
New FAB1 campaign by Partners Andrews Aldridge for Breast Cancer Care. Presenter Chris Evans came up with the idea to recreate FAB1 as a modern day Rolls-Royce and rent it out to raise funds for breast cancer awareness. Rolls-Royce, a PAA client, teamed up with Evans, reproduced the car and made it available for hire. Partners Andrews Aldridge has created an integrated campaign ‘#FAB1Million’ to support the initiative. The aim of the campaign is to raise £1 million for the charity over the next 12 months. Press: Breast Cancer Care gets Thunderbirds’ FAB1 on the road for new campaign The iconic pink car owned by Thunderbirds character Lady Penelope, FAB1, is the driving force behind a new campaign by Partners Andrews Aldridge for Breast Cancer Care. Presenter Chris Evans came up with the idea to recreate FAB1 as a modern day Rolls-Royce and rent it out to raise funds for breast cancer awareness.Rolls-Royce, a PAA client, teamed up with Evans, reproduced the car and made it available for hire. Partners Andrews Aldridge has created an integrated campaign ‘#FAB1Million’ to support the initiative. The aim of the campaign is to raise £1 million for the charity over the next 12 months. The campaign will launch on April 18th, the same day Chris Evans, Gary Barlow, James May and Prof. Brian Cox attempt to drive FAB1 from Land’s End to John O’Groats in 24 hours. Partners created the visual identity for FAB1 Million and has collaborated with sister agency Fantastic Thinking to deliver a website showing the route of the drive and stop-off points at www.fab1million.co.uk. The agency has also created a Twitter personality and Facebook page for the car, which will serve as the hub of information for the campaign, as well as encouraging people to donate and hire out FAB1. They also plan to support the campaign throughout the year with a series of initiatives.
Partners has collaborated with The Scarlet Life and Brand Events in making this campaign come to life.
Breast Cancer Care chief executive, Samia al Qadhi, said: “FAB1Million is an incredibly exciting project and we’re grateful to everyone involved in making Chris Evans’ brilliant idea come to life. We can’t wait to see the FAB1 Rolls-Royce on the road and raising funds to ensure that no-one faces breast cancer alone. Funds raised by FAB1Million will enable Breast Cancer Care to provide free information and support to many thousands of people affected by breast cancer. So whether you book the car for a special day or make a donation through the FAB1 text donation line, we hope everyone across the UK will get involved.” People can take part by texting FAB to 83222 for @BCCare. Every time the total of donations reach £7,500, a lucky person will be chosen to win the FAB1 car for a day.
Here is a sneak peek into The Perrier Secret Place campaign that brilliantly combines modern day marketing strategies. We received our preview invite kit today which included the stamp to get in, and we were also given a special invite code to share with our visitors here at Great-Ads, find it and the link after the campaign Q&A's and credits below.
Perrier Secret Place Premise: If you were at a Secret and Exclusive party and you wanted to party as long as possible, you’d make sure you were as refreshed as possible. And no one can throw a party and ensure you are refreshed to party as long as you can like Perrier.
Q. Tell us about this latest digital initiative for Perrier? Perrier Secret Place puts you in the shoes of a guest who goes to a very very special evening party. A hidden place in an alley in Paris, behind a laundry mat. An evening where all guests will have the opportunity to live their craziest fantasies. And you'll have the best seat in the house to enjoy since all the characters that you see on the screen are clickable. With one click you find yourself in their skin. Living their fantasy.
Q. How did you come up with this idea? We started from the following insight: drinking Perrier during the evening party is the best way to take full advantage of all the opportunities available to you… and until the end of the night. In Secret Place, not only are you at the Ultimate Party living out the experience of the Ultimate Party Guest from the beginning, but you also live out the ultimate evening of 60 other guests who are in the apartment.
Q. And there is something to win, right? Yes. At the ultimate party, we’ve hidden a very special bottle of Perrier. 5 clues are hidden in the rooms of the apartment. They will lead you to the bottle where you are entered into a drawing to win an exclusive invitation to the wildest night of the world party in St Tropez, New Year in Sydney, Miami Art Basel, Carnival in Rio and the closing of the season Ibiza. Only the most experienced gamers will succeed, believe me... Among thousands of different scenarios during the evening, only one leads to the bottle.
Q. So, it’s a game or an interactive film? Both! This project mixes Brand Entertainment and Gaming. We produced 1 hour and 20 minutes of content that allows all users to experience a unique evening scenario. We also used digital interactivity to inject this dimension of Gaming. This involves the quest of finding the bottle and the opportunity to live the lives of all guests by clicking on them.
Q. Why Secret Place? This was inspired by the emerging phenomenon of speak easy. A party venue at the rear façade that has absolutely nothing to do with the place. This is quite in line with Perrier. Completely unexpected.
Q. How are you using social networks to amplify this experience? In partnership with the agency Buzzman, we worked on a social strategy: Become a fan on Perrier Facebook and regularly you will get tips to find clues that will lead you to the secret Perrier bottle. We'll give you a little tip. Slip into the skin of the young man who looks through the keyhole and live out his fantasy. Or play a game of "Pillow Fight" (Sounds weird, but it is Perrier!)
Q. How will the experience function on the mobile? We have specifically developed an application that runs on iPhone / Android / iPad. This is not a replication of the desktop experience but a concept designed for specifically for the mobile device. By downloading the application you enter the rooms of the Perrier apartment and you can navigate through each room. The challenge: find the Secret hidden bottle of Perrier in the apartment.
Q. What was the biggest challenge to pull off this experience? This is the most ambitious project to carry. We spent 18 months writing lots and lots of different scenarios. Produced a film in which we choreographed each scene so that it is connecting with one another when the user clicks on the characters. Sound design work has also been a real challenge. Imagine having to reproduce the sound of a bottle on a bar as many times as there are people in the room who can hear it.
Q. Where will Secret Place be launched? The experience will be available worldwide but open to 20 countries to play in the major markets for Perrier France, United States and Canada. This is the first time that Perrier launches a project of this magnitude in the United States. The challenge is enormous. Positioning is also a little different there. Much more premium. We really hope that the French touch--its audacious content-- is embraced well there.
Q. What results do you expect? There is a counter on the site that counts the number of lives that all users worldwide will live on the site. 1 life = 1 click on a character. I want to hear from Perrier that this idea made 10 million lives by the end of week five of the experience’ launch.
Q. How is this truly innovative? We believe Secret Place is truly a digital first. Not because it’s the first time you can click on something and enter into his point of view. But, the ambition was really to say: Imagine you enter in any movie theater, have the quality screenwriting and the direction of cinema but also to have permanent control over the course of the story.
Q. What kind of partner did you work with to make this type of project? Fighting Fish is our production partner based in Paris. This is the first time that we’ve made a digital experience for Perrier conducted by the French. This is an opportunity to remind the world that France is in a good position on Digital Excellence.
Beyond the fact that Fighting Fish is based in Paris, it was able to fulfill the requirements demanded by this project. The team assembled to deliver this feature was made up of an interactive-hybrid. On the team was Lawrence King, the director of the experience and who is currently working on his own film. Arnaud XXX is the production designer and there were the script writers. Franck Marchal oversaw the sound design – having conducted several reputable orchestras before working with us. Fighting Fish puts digital at the heart of its "production thinking" and Ogilvy Paris thinks the same way. This allows a real synergy between the film's producers and those who are thinking through its interactivity.
Q. Why is Secret Place the right creative approach for Perrier now? Digital and social are playing an increasing role in Perrier's Communications strategy. They have an important, specific role: communicating the edgier, younger, hottest facet of the brand. Reaffirming that Perrier is a must have brand and product when it comes to partying and socialising. And proving, again and again, that the brand loooooves creativity, surprise and inventiveness. This is what Secret Place brilliantly does in my mind. – Benoit de Fleurian, Managing Director | Ogilvy&Mather Advertising. The digital space has opened up a new opportunity for brands. It's solved a contradiction that exists in the real world. Physically, you can't make an exclusive experience accessible to everybody. But with Secret Place, that's exactly what we've achieved. We give people the opportunity to live an experience they wouldn't normally live, but have always dreamed about. Like those exclusive parties you've always longed to be invited to. And thanks to Perrier, you can live it not once, but multiple times, through the eyes of multiple characters. This is an idea that is only possible thanks to the technology we have at our disposal today, and a bit of creative thinking. — Chris Garbutt, Chief Creative Officer | Ogilvy&Mather Paris, Group
Q. The Director is who? And why did you choose this director? Laurent King. We chose him because of his ability to manage this kind of project: half movie, half digital and interactive experience. It's really important to have this kind of new director that knows how to direct with all the constraints that a digital experience impose.
Q. Where did you shoot and tell me one challenge with organizing the shoot or a challenge that arrived at the shoot? How did you overcome the challenge? We filmed in an amazing appartement in Paris that was almost a piece of art by itself. We loved the parisian kind of architecture of it, with lovely rooms, very different to each other. It's very rare to find a place with different moods and atmosphere in it. Moreover, we were looking for a place where you can imagine secret parties happening in it. The biggest challenge was to choreograph all the action of the 60 guests. It was a real challenge because every character had a link to each other in terms of scenario.
Q. Is there a music track? The track of the experience is played live by the group called "TOYZ".
Q. Would love to hear from one of the party-go’ers at this Ultimate Party... The Host: All Secret Places have their secrets. You understand why I'll keep this one...
Credits: Secret Place, a campaign imagined by Ogilvy, produced by Fighting fish while Buzzman was in charge of the Social Media and PR strategy. Format: Digital/Brand Entertainement Chief Creative Officer: Chris Garbutt Creative Director: Frederic Levron, Thierry Chiumino Copywriter: Baptiste Clinet, Nicolas Lautier, Florian Bodet Art Director: Baptiste Clinet, Nicolas Lautier, Florian Bodet, Chris Rowson, Global Business Leader: Constance Capy Baudeau Account Supervisor: Stanislas Vert Film Producer: Diane de Bretteville Digital producer: Hugo Diaz, Cyril Duval, Sandra Petrus Production company: Fighting Fish, Olivier Dormerc, Cyril Couve de Murvil, Adrien Moisson, Benjamin Przelspolewski Sound Design: Le COMPTOIR DU SON / Franck MARCHAL & Alexandre POIRIER Film Director: Laurent King Story development: Olivier Domerc Story editor: Benjamin Bloch Production manager: Caroline Petruccelli Production designer: Arnaud Roth Director of Photography: Frédéric Martial Wetter Line Producer: Vincent RIVIER Location manager: Timothée TALANDIER Main title music: Toys Client: NWFB head of marketing and category, Muriel Koch. Sparkling Brand Director, Fabienne Bravard. Perrier International Brand Manager Armelle Roulland Social Media & ePR Strategy Buzzman: Georges Mohammed-Chérif (CEO & DC) Hubert Munyazikwiye (Head of Social Media & PR) Nicolas David (Social Media Manager)
Visit www.perriersecretplace.com and use the invite code "PE757 " enjoy the party.
Ontario students launch "Stick It To Fast Food" campaign and urge everyone to join the fast food boycott.
See all the posters, logos and banners from the Stick It Shout page. I'll give these kids credit for having the courage and the smarts to start this campaign, but it's going to be challenging...as I was reading more about the Stick It campaign and found myself reading the article Helen Branswell of The Canadian Press News wrote on the CTV News website, I couldn't help but laugh at the advertisement that displayed, image below.
Here is the Who, What, Why and How the Stick It To Fast Food Campaign came to be (from their website) WHO A collaborative effort by high school students across Ontario, the Ontario Student Trustee Association (OSTA-AECO) and Key Gordon Communications, a Toronto-based Design firm. WHAT Social media driven fast food boycott and awareness campaign. WHEN Boycott = November. Uncooling fast food = forever. WHERE Today, Ontario. Tomorrow, across the globe. We know what you’re thinking: who the hell designed this campaign? That logo, it’s so obscene! Yeah, it’s a little crude, but that’s exactly how we wanted it to be. That’s why you’re here isn’t it? That’s why it grabbed your attention. That’s also why it empowers individuals and helps to un-cool something that should have been un-cooled a long time ago.
The Stick It logo was developed by the guys at Key Gordon Communications. Stick It was designed to grab attention with its racy logo and simplify the too often conflicting health messages directed at today’s youth. The quality of the food you eat matters. It’s not the only thing that matters, but it is freaking important. It really shouldn’t take a team of scientists to figure out that fast food isn’t good for you to eat everyday. You’re better off bringing a lunch.
In May, 2012, Grant Gordon, Founder of Key Gordon, was invited by the Ontario Student Trustees` Association (OSTA-AECO) to speak at their annual conference. This group of peer-elected super-students represent Ontario’s 2.4 million students and bring the student voice to the Ministry of Education, school boards, and education-stakeholders. Grant’s passionate remarks about the food industry and the health problems related to poor eating habits inspired the students. They asked Grant how they could make a difference. Grant shared the germ of an idea – the badass logo.
The student trustees were immediately engaged. Key Gordon was flooded with emails!
So Grant and OSTA-AECO began to collaborate on the idea for a boycott of fast food and soon the campaign was born. The Stick It to Fast Food campaign is simple, clear and has an achievable goal: to empower youth to take care of their health through cooking for themselves and swearing off fast food junk. We don’t want to ban fast food but we do want it to be ‘de-normalized’. Too many people eat it everyday.
We’re pretty stoked about how it worked out. It’s student driven, it’s grassroots, and it developed organically – just the way an activist campaign should. Only this one has a sweet logo and website.
More about Stick It To Fast Food on their website and Facebook page HERE and HERE.
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
In order to provide everybody the chance to celebrate Friendship Day with a friend, Ogilvy & Mather Argentina developed with Huggies an original idea, putting together two infants to share this special day in a very particular way.
With Maximiliano Maddalena and Javier Mentasti as ECDs, the agency designed a special crib so that on Friendship Day two newborn babies could spend this event together. The idea was registered at the Bazterrica Clinic and was supported by the baby's parents, obstetricians and nurses.
In order to accompany each family during the last minutes before giving birth, the agency got involved with the obstetricians and couples who were expecting their babies to be born on Friendship Day. We shared with them the anxiety of all the previous preparations and their way to the hospital. Few hours after the babies were born, they both had their first friend right alongside.
The song and music are just perfect and really make the film that much better, if anyone has the song title please share.
Credits: Advertising Agency: Ogilvy & Mather, Argentina Executive Creative Directors: Javier Mentasti, Maximiliano Maddalena Head of Art: Diego Grandi Creative Directors: Juan Marcos Besagni, Juan Pablo Raimondi Art Director: Tiago Salgueiro Copywriter: Felipe Autran Account Manager: Constanza Archain Account Supervisor: Rosario Gonzáles Puig Head of Production: Valeria Pinto / Parson Agency Producers: Federico Faralla, Gastón Sueiro / Parson Production House: Ringo Director: Ariel Evasio Executive Producer: Jorge Larrain Production Coordinator: Liz Campi Production: Azul Crespo Postproduction Director: Luis Staffolani Photography Director: Manuel Bullrich Edition: Mario Nhamod Post Production: Barraca Post Music Company: C.C.C.I. Producciones
First Nacho Cheese, then Cool Ranch. What's next? The answer's more obvious than you think, especially if you happen to be surrounded by fire.
Credits: Client: Taco Bell Spot: "The World's Most Hottest Idea"
Agency: Deutsch, Los Angeles Group Creative Director: Brett Craig Creative Director: Jason Karley Creative Director: Josh DiMarcantonio Senior Art Director: Gordy Sang Senior Copywriter: Brian Siedband Director of Integrated Production: Vic Palumbo Executive Producer: Paul Roy Senior Producer: Mila Davis Music Supervisor: Dave Rocco
Production Company: Arts & Sciences Director: Matt Aselton Director of Photography: Nigel Bluck Executive Producer: Marc Marrie Managing Director: Mal Ward Line Producer: Scott Kaplan 1st A.D.: Craig Pinckes
Editorial Company: Cut and Run Editor: Jay Nelson Assistant Editors: Luke McIntosh and Sean Stender Senior Producer: Amburr Faris Executive Producer: Carr Schilling
Post Facility: MPC Colorist: Ricky Gausis
Visual effects Company: Method VFX and Online Artist: Jason Frank VFX Assistant Artists: Patrick Vollkommer Creative Director: Claus Hansen Producer: Stephanie Alllis Music/Composer: Massive Music (Music Festival scene only) AFM Stock Music (Airbrushing scene only)
Sound Designer Company: 740 Sound Design LA, CA Sound Designer: Rommel Mollina Assoc Producer: Jeff Martin Executive Producer: Scott Ganary
Audio Post Company: Lime Studios, Santa Monica, CA Mixer: Rohan Young Assistant: Patrick Navarre Executive Producer: Jessica Locke
End Tag Mnemonic: Method Studios-Santa Monica, CA Executive Producer: Robert Owens
Additional Deutsch Credits: Chief Executive Officer: Mike Sheldon Account Management Credits: Group Account Director: Walter Smith Account Directors: Amanda Rantuccio Account Directors: Christi Johnson Account Supervisor: Steve Scutellaro Account Executive: McKenna Pickett Account Planners: Chief Strategic Officer: Jeffrey Blish Group Planning Director: Christian Cocker Traffic/Business Affairs: Director of Business Affairs: Abilino Guillermo Senior Business Affairs Manager: Ken Rongey Business Affairs Manager: Nestor Gandia Director or Broadcast Traffic: Carie Bonillo Broadcast Traffic Manager: Sarah Brennan
Say good bye to your old microwave and that annoying "Beep...beeep...beeeep" when your food is ready. Thanks to a brilliant idea from the ad agency Del Campo Nazca Saatchi & Saatchi who came up with idea of a music playing microwave for the firm BGH. The test was so successful that they are going begin mass production of the Quick Chef Music Microwave and available to buy in 2012. And yes, that is the music of The Mamas & The Papas in this commercial and the wildly popular song "California Dreamin." Credits: Advertising Agency: Del Campo Nazca Saatchi & Saatchi, Argentina Executive Creative Directors: Maxi Itzkoff, Mariano Serkin Creative Directors: Diego Medvedocky, Ignacio Ferioli Creatives: Guilherme Souza, Breno Costa Producer: Camilo Rojas Agency Producers: Adrian Aspani, Lucila D'Amico Account director: Jaime Vidal Account Executive: Manuela Sorzana Microwave product development: Marcelo Da Torre / Creavis Production Company: Pank Directors: Pablo Fusco, Juan Chappa Executive Producer: Lucas Urquiza Photography Director: Federico Cantini Post Production Company: La Sociedad Post Music: Diego Grimblat Advertiser's Supervisors: Ezequiel Devoto, Viviana Insaurralde
From the Great-Ads inbox today: We are loving the voice of Izadora Molinari in this new psa spot for the Brazilian Institute of Hematology encouraging people to give blood. Background Most blood banks in Brazil face the same problem: no matter how much blood is donated, there is always someone waiting for a donation. And one thing patients in need cannot do is wait. Idea To encourage people to donate blood, we created a internet video that uses the YouTube timeline as part of the idea, creating a link between the waiting time and the importance of getting blood to those who need it. In the video, the blood leaves the veins of the donor and enters the timeline, as it were an extension of the catheter, until it reaches the patient, who returns to life.
Credits: Client: HEMORIO / INSTITUTE OF HEMATOLOGY Title of Film: WAITING FOR LIFE Advertising Agency: HEADS PROPAGANDA Creative Director: FLÁVIO MEDEIROS / SILVIO MEDEIROS / FÁBIO MIRAGLIA Copywriter: GABRIEL SOTERO Art Director: SILVIO MEDEIROS Production Company: PARANOID BR FILMS Director: DANIEL SEMANAS Conception and Animation: AMANDA GRAZINI / DANIEL SEMANAS / GUMA / PAULO STOKER Audio Company: LUA NOVA AUDIO PRODUCTION Music and Lyrics: TECO FUCHS Musician: TECO FUCHS Singer: IZADORA MOLINARI
For over 50 years promo girls have been handing out samples at intersections, shopping malls and other high traffic areas, hoping consumers would buy their products. Time for a change, so Pepsi and TBWA Belgium teamed up and created The Like Machine: a vending machine that doesn't accept money, only Facebook likes.
The idea of connecting through the vending machine is simple. Just use your smartphone, go to likepepsi.com, connect with your Facebook account, like the Pepsi Facebook page and get a free Pepsi.
By using the smartphone location settings, Pepsi was sure only people near the vending machine got offered a sample. People without a smartphone could tap the 42” built-in touchscreen to log in on Facebook and get a free drink as well. Once the sample was given, a timer made sure everybody was logged out.
"That there are creative minds in Belgium is no secret. The Pepsi Like Machine is another good example of that," adds Jan Verlinden, Marketing Director of PepsiCo, BeLux. Now it is possible, with a Facebook like, in real time, to get a can of Pepsi. "It’s a new way of sampling which provides us with information, so we can immediately start communicating with our target audience."
Pepsi Belgium introduced the Like Machine at the Beyoncé concerts in Antwerp.
Credits: Brand: PepsiCo Belgium Agency: TBWA Belgium Campaign Title: Pepsi Like Machine Creative Idea: Diederik Van Remoortere Creative Director: Gert Pauwels Project Manager: Jan Casier Account Director: Yann Billen, Michael Renier Digital Strategy: Rindert Dalstra Event Manager: Sharon Lavaert Back-end Developer: Diederik Van Remoortere Front-end Developer: Alwyn Wymeersch Experience Design: Gilles Vandenoostende Animation Design: Frederik Severijns Graphic Design: Anthony Buyssens Studio Artist: Danny Jacquemin, Jan Van Stappen Production: Willy Hebbrecht Public Relations: Steven Verbeiren Audio/Video producer: Johanna Keppens, Tom Syryn, Eli Sundermann
Fashion brand Bebe’s “The Best Part of the Day is the Night” ads rolling out now nationwide in print and online, add to a high-energy, multiple touchpoint marketing campaign introducing consumers to a new Bebe.
Created by New York City – based advertising agency JWalk (www.jwalkny.com), this newest national creative campaign will be seen in fashion books including Glamour, Elle and Cosmopolitan; online, with high-impact digital homepage roadblocks on sites including Instyle.com. Other components include mobile ads, video ads in taxis – even branded t-shirts, printed with campaign slogans (“good girls go to heaven, bad girls go everywhere”).
The branded rollout follows a month-long, unbranded mystery hash tag teaser campaign, #be9to5, that introduced girls to the idea of the real 9 to 5 – 9 p.m. to 5 a.m. – and got people talking about who or what was behind it. Unbranded ads on billboards, bus stops and beer coasters with provocative lines like, “he was a good idea at the time” generated excitement; copy directed viewers to an unbranded microsite, http://www.be9to5.com/. As buzz built around the hashtag, among fashion bloggers and followers, and speculation grew about who or what was behind it, Bebe earned some much needed 9 million impressions, 120 percent above projections, a renewed cultural cachet and a ton of social engagement.
Early stages of the branded phase are showing similar momentum. The campaign has generated over 6 million impressions on Twitter and Instagram. Moreover social engagement is translating into sales increases. One example: over 1,000 t-shirts, carrying the messages "Good Girls Go to Heaven" in white and "The Best Part of the Day Is the Night" in black, sold out in one week — a 250% increase over typical t-shirt sales of 200 in a week.
You can file this under strictly rumour for the time being, however, there have been some exciting 'leaks' regarding the cast for Robert Rodriguez’s Machete. For those of you playing at home, Machete is the latest project from my favouritist director in all the land and is an expansion of a faux trailer Rodriguez created to play at the start of Grindhouse. Like the spoof trailer, the feature film adaptation will pay homage to exploitation films of the 60s and 70s, probably in a similar fashion to the awesome Black Dynamite reviewed below. Rodriguez originally came up with the idea whilst filming Desperado and wanting to create a Mexican Jean-Claude Van Damme. It has taken until now to get the idea off the ground and into production, with there being no shortage of hype surrounding the project. The latest and most reliable tid-bit comes from a Bloody-Disgusting.com contributor who revealed the four main cast members as being *drum roll please*:
Danny Trejo
Okay, so I started with the biggest unsurprise ever as its common knowledge (to all with a cranium) that Trejo is taking up the title roll of Machete. A Rodriguez regular, the character and film were created around Trejo and his signature, erm, charm.
Michelle Rodriguez
Robert’s twin sister Michelle is said to be playing the character of Luz. I should point out here the above is a lie and despite the last name, the action-babe is in no way related to Mr Rodriguez... that we know of.
Jonah Hill
Everyone’s favourite Seth Rogen doppelganger is tipped for the role of Julio.
Robert De Niro
To conclude the cast gossip with a bang, the legend De Niro will star as Senator McLaughlin in the film which, in my humble opinion, is quite unlike anything he has done before. Ballsy.
So, if the above cast info turns out to be true — what an amazing ensemble! All very different actors with very different backgrounds, this should make for an exciting collaboration. Speaking of collaborations, Rodriguez will be co-directing the picture with Ethan Maniquis who has worked with Rod-man as editor on a bunch of his past films (Planet Terror, Sin City and the upcoming Shorts). Machete has a release date for sometime in 2010 but for those wanting a taste of what to expect I suggest you watch the spoof trailer (below) where it all began.
P.S. I know, I know. Just because I finally worked out how to post whole clips from YouTube straight to my blog, that doesn't mean I need to saturate you all with videos. That said, I just came across the wicked trailer for Jennifer's Body. I've been hanging out for this comedy-horror for quite a while... mainly because it's the second film written by stripper turned wordsmith Diablo Cody. Cody had her first major hit with Juno which nabbed her the best original screenplay Oscar back in `08. Unlike her uber-successful debut, Jennifer's Body is a tad darker and (from watching the trailer) I'd say a whole lot similar to personal fav Idle Hands. There's also a strong hint of the Canadian film Ginger Snaps which had a similar plot if you trade werewolf for demon. I guess it was only a matter of time before someone `adaptated' the horror franchise and gave it a mainstream makeover. Jennifer's Body stars Amanda Seyfried as a dorky highschooler who has to try and stop a cheerleader (Megan Fox) who is possessed by a demon and killing her male classmates. Sounds like a rad concept if you ask me but you can make your own mind up by watching the trailer below. Thoughts??? In a completely un-movie-related comment I applaud the use of Cherry Bomb from The Runaways as backing music. They're one of my favourite bands ever and the song is utilised perfectly. Jennifer's Body has a clever release date of October 29 in Australia, right on Halloween (my favourite holiday).
P.P.S. Vazzzup readers? Since chameleon-comic Sacha Baron Cohen's latest movie Bruno is out in a few days, I thought I'd treat you to some vintage Bruno. I mean heck, you know people are going to be doing Bruno impressions at the water-cooler at work for the next few months so here's some material not from the movie. Plus, this is a nice warm-up to the type of humour you can expect from the Austrian Gay TV reporter. Enjoy.
“Equus the Trailer” highlights Equus’ premium luxury features and outstanding performance and refinement. The spot mimics an action movie trailer, featuring Equus as the main character and the film’s hero. The familiar deep baritone of the voice-over actor takes the audience through the 30-second trailer, citing “critics” calling the Equus “Colossal,” “Epic” and “Astoundingly Powerful.”
On Hollywood’s biggest night, Hyundai takes center stage for the fifth consecutive year as the exclusive automotive sponsor of the Oscars broadcast on February 24 on ABC. A total of nine ads will air: seven 30-second spots during the ceremony and two 30-second ads during pre-show coverage. The commercials highlight seven different Hyundai models and focus on Hyundai’s growing premium line up. The voice-over man is Academy Award-winner Jeff Bridges.
Hyundai Genesis — The "Paparazzi" ad plays on another movie-star theme as paparazzi cameras frantically try to capture one of Hyundai’s big stars, the Genesis, as it races down the road.
Hyundai Elantra — "Elevator Pitch" commercial uses the concept of pitching a big idea to a movie producer – with the big idea being the award-winning Elantra. The spot highlights Elantra’s heated front and rear seats, Bluetooth enabled features and exceptional horsepower numbers.
Trash Talk with the Smiths | "Driving Home" and "Rehearsing", In the Kenny Smith house, it's never "just a game" the Santa Fe ads.
Hyundai Azera | "Thanks"
They even got into the Harlem Shake craze by celebrating the delivery of the first Veloster RE:MIX Edition.
Supply & Demand director Gerard de Thame has wrapped the director’s cut of “Forever Faster” for Puma, work that continues to separate the brand from the sporting pack with an open invitation to join its rebellious cause.
“One of the main things Puma wanted to get across was a different message than the likes of Nike and Adidas whose athletes often tow the line and take themselves far too seriously,” say de Thame on Puma’s new branding platform. “Puma’s whole approach is: ‘we are different, we are individuals’ in work that is told in a very unique way.”
“Forever Faster” sidesteps convention by striking a rebellious pose using the world’s fastest man – all to prove that when you set the pace, you’re the one to chase. Rather than mimic serious-minded pleas we are introduced to the wise cracking persona of Usain Bolt, who instead revels in impatience, hostility and a bevy of impossible odds.
De Thame’s director’s cut sees a more rhythmic spot than the agency’s earlier version, focusing on the world’s fastest man as he speaks of Puma’s primal call. “It was a great collaboration between Gerard and the agency,” explains Tim Case, Supply & Demand’s Founder / Managing Partner. “Matt Anderson and Jeff Benjamin were fantastic, it was fun to be around and watch them develop this with Gerard. Usain Bolt turned out to be a terrific guy.”
The campaign was a competitive pitch, the commercial forming after different machinations of the original idea. “At one point we almost went with Usain hopping fences and jumping into people’s swimming pools,” de Thame reveals. “That was quite interesting, but the idea was eventually dropped.”
A desire to reference branding from the 70s was also examined before production, a move recalling one of Puma’s greatest marketing moments when Pele wore their black and gold Puma King boots, specially-crafted for Pele during the 1970 World Cup. In a beautiful piece of marketing excellence, Pele effortlessly pushed the brand by asking the referee to stop a game moments before the final whistle – just to tie up his Puma laces as everyone watched enthralled.
Shooting on location in Italy with Oscar-winning cinematographer Mauro Fiore (Avatar, Training Day, Smokin’ Aces), de Thame shot most of the football footage on green screen. Additional material was also garnered with supporters at real football games:
“Mauro’s work is phenomenal and we had complicated lighting and green screen work to achieve,” explains de Thame. “As always we were limited to the time the athletes gave us, but that served to keep us on our toes. We managed to capture everything we needed while Usain was a pleasure to work with. He has the perfect persona to encourage the use of rebellion and defy social norms, is such an interesting guy, and definitely breaking barriers like Puma.”
Asked why he finds himself in the US more often than Europe of late, de Thame responds that creativity and budgets are simply more attractive here. “The American market is more vibrant,” he explains. “There’s more going on, the reverse of how it used to be with better creative in England and money to go with it.”
De Thame wraps up by mentioning that post on the spot was also productive, giving props to both The Mill and Final Cut on the look of the final product – The Mill creating full CG stadiums with crowd differentiation between various football players on the pitch, while matte painters also created various custom landscapes.
“The agency really let us get on with it,” says de Thame on wrapping the work. “I supervised both the edit and the post effects. Joe Guest over at Final Cut did an amazing job, flying in from London to give us the right flow.”
Creative Credits: Agency: JWT, New York Executive Producer: Matt Anderson Creative Director: Dan Morales, Amy Morales Chief Creative Officer: Jeff Benjamin
Production Company: Supply & Demand Integrated Executive Producer: Tim Case Executive Producer: Charles Salice Executive Producer: Jeff Scruton Senior Head of Production: Rika Osenberg Director: Gerard De Thame Producer: Fabyan Daw Director of Photography: Mauro Fiore
Editing Company: Final Cut NY Editor: Joe Guest
Post: The Mill, NY Exec Producer: Melanie Wickham Producer: Veronica Ware Shoot Supervisor: Andrew “Barnsley” Wood 2D Lead Artists: Westley Sarokin 3D Lead Artists: Wyatt Savarese Colourist: Mick Vincent
WGBH's Emmy® Award-winning Design Squad Nation is introducing a revamped website to inspire the next generation of engineers. The online community is fueling kids' spirit of inventiveness, providing a destination where they can discover firsthand that engineering isn't something done by boring grownups in hidden labs: it's solving problems in creative ways...everyday, and all around you. Full press release below.
PBS KIDS' Design Squad Nation® Introduces Revamped Site To Inspire Community of Creative Kids -- Emmy® Award-winning Team behind Design Squad Launches Extensive Updates and New Features to Inspire Next Generation of Engineers -- (Boston, MA, Tuesday, October 2, 2012) — WGBH announced the official launch of the revamped Design Squad Nation®, an online community that provides kids with a forum to express their adventurous, do-it-yourself spirit and share their creative ideas with other like-minded kids. Hot on the heels of a renewed DIY movement, the PBS KIDS Design Squad Nation website is the latest iteration of a franchise that includes a four-season run of the Emmy® and Peabody Award-winning TV shows Design Squad and Design Squad Nation. Design Squad Nation can be found at http://pbskids.org/designsquad/.
Why it's important
By nature, every young kid is a budding engineer: building contraptions with glue and Popsicle sticks or sketching an idea for an automatic pet feeder. But as kids get older, they have fewer moments in their daily lives where they can develop those critical thinking skills. Design Squad Nation fuels kids' spirit of inventiveness, providing a destination where they can discover firsthand that engineering isn't something done by boring grownups in hidden labs: it's solving problems in creative ways...everyday, and all around you.
How it works
Kids can join Design Squad Nation for free; earn points by contributing ideas, sketches, and photos of the projects they dream up; and keep track of all the things they have made in their own profile pages. As users contribute more to the site, they earn more points and move up in rank from "Newbie" to "Phenom." The goal is to frame the design process as a game, encouraging a virtuous cycle that gets kids to continue sharing their own ideas while cheering on others to do the same.
Kids ask great questions that deserve great answers! On Design Squad Nation, engineer-hosts Nate Ball and Deysi Melgar respond to questions in a series of short videos posted online. One week, Nate will add his own ideas to kids' sketches of waterpark rides. The next, Deysi will share what's so amazing about NASA's Curiosity Mars rover. As mentors and guides, Nate and Deysi show kids how engineers see things through a creative lens, inspiring kids to do the same.
Video made for the YouTube Generation
Into fashion? We've got a video about how engineering connects to it. How about cooking, sports, camping, or dancing? We've got those, too, and we're rolling out more videos all the time-from cool stunts to how-tos. We know that kids have many interests, and that their favorites shift from one thing to the next. No matter what they are into, Design Squad Nation has a video, project, or inspiring example of how engineering can further their interests.
The team behind the site
A passionate team of educators, Emmy® Award-winning producers, and website engineers at WGBH created Design Squad (the TV show) and Design Squad Nation. And that team is constantly looking for new ways to share the power of engineering and inspire kids to dream big. Their efforts are garnering wide acclaim. Design Squad Nation just earned a 2012 Emmy Award in the category of New Approaches-Daytime Children's.
"More than a website, Design Squad Nation is a growing community built around the belief that through creative problem-solving and engineering, any kid can make a difference," says executive producer Marisa Wolsky. "We currently are hard at work to make this community bigger and stronger, inspiring a new generation of engineers to dream big and change the world."
Design Squad Nation invites the next generation of great thinkers to get involved at pbskids.org/designsquadnation. Viewers also can follow Design Squad Nation on Facebook and on Twitter.
Idea NEXT MORNING EVEN AFTER HARD PARTIES YOU’LL BE HAPPY TO WAKE UP WITHOUT A HANGOVER.
Solution DEVELOP A SERIES OF PRINT ADS OF THE BIGGEST BOOZY OCCASIONS LIKE NEW YEAR’S EVE, BIRTHDAYS AND CHRISTMAS. THROUGH A SIMPLE TWIST OF THE PHRASE, WE HIGHLIGHT THE KEY PRODUCT BENEFIT OF NOT HAVING A HANGOVER THE FOLLOWING DAY.
Credits: Ad Agency: BBDO, Russia Chief Creative Officer – Igor Lutz Creative Director – Mihai Coliban Senior Art Director – Aaron John Nielsen Copywriter – Andrey Sivkov Producer – Marina Shponko Account Director – Darya Arkharova Senior Account Manager – Boris Sorokin Production Studio – ‘Masked Brothers’
Under the creative leadership of Producer/Composer Chris Heidman, the Minneapolis office of HiFi Project was called on recently by ad agency Peterson Milla Hooks for a whimsical, new Spring 2013 campaign for The GAP. HiFi Project collaborated closely with popular DJ/Electronic Artist KI:Theory to add just the right musical color to the new ad.
When it comes to music, GAP is known as a forward-thinking brand,” explains HiFi Project Creative Director/Co-Founder Paul Robb. “When we were presented with the striking imagery for the ‘Skimmers’ campaign, we knew we would have to provide music that was just as bright, fresh, and new as the picture. In addition to our original tracks, we approached Ki:Theory, the cutting-edge DJ/Electronic artist and friend of HiFi; and it was his track that succeeded in capturing the mood of the spot perfectly.”
“Using toy pianos, manipulated vocals, and a wide variety of ‘cut-and-paste’ production techniques, Ki:Theory was able to take a pretty traditional group of instrumental sounds and combine them into something that sounds newer than new, but still somehow sounds familiar,” adds Chris Heidman, who oversees the Minneapolis office of HiFi.
“HiFi Project was great to work with on this new, spring campaign for The Gap,” concludes Daron Walker, Music Supervisor for Peterson Milla Hooks. “They have access to a truly diverse and talented group of artists. I was familiar with Ki:Theory, and when HiFi suggested him, I knew he was going to be the perfect fit for this project. I gave them a broad idea of what we were looking for, and we really worked well through the creative process together.”
Credits: Agency: Peterson Milla Hooks Executive Creative Director: Dave Peterson Head of Production: Aldo Hertz Broadcast Producer: Sean Healey Music Supervisor: Daron Walker Account Supervisor: Liz Sudit Account Representative: Erica Lachat Production Company: Bees and Honey Directors: Alexander Dynan/Dave Peterson DP: Alexander Dynan Line Producer: Bianca Cochran Editorial: Channel Z/Minneapolis Editor: Brett Astor Producer: Kelly Thaemart VFX/Finishing: Pixel Farm VFX Supervisor: Kurt Angel VFX Producer: Krystal Lamoureux Music Company: HiFi Project Creative Director: Paul Robb Executive Producer: Birgit Roberts Producer: Chris Heidman Composer: Ki:Theory
