This Christmas, Vodafone wanted to do something a little different — so they shipped in some cutting-edge laser graffiti technology from Spain and asked Ireland's most talented graffiti artists to paint Christmas messages from their Vodafone Playground Facebook wall on the sides of buildings across Ireland.
Armed with this seriously cool kit the team, including renowned street artist Maser, created spectacular shows in three Irish cities, painting the sides of iconic buildings with lasers, surprising and delighting unsuspecting Christmas shoppers.
The company suggests to bring the unique design of drawings in any jeans shop Levi's (only in Japan) and to make for itself exclusive jeans from Levi's.
This years Harvey Nichols 2012 Christmas ad is an all out war between two ladies caught in the same dress. It's that all too familiar scenario. You've spent weeks, months even, searching for that seemingly perfect party outfit and arrive feeling fabulously festive — only for someone else to show up wearing the exact same dress.
This year, the Harvey Nichols Holiday video explores the dilemma of a #samedress situation, heightening the drama by extending the initial death stare, so that this fashion face-off is played out with laser beams and explosive energy bolts!
High in the Italian Alps, thousands of stick-like images of people and animals, carved into rock surfaces, offer a tantalising window into the past. Archaeologists believe that the earliest of these 150,000 images date from the Neolithic but that most originate from the Iron Age. The UNESCO-protected ‘Pitoti’ (little puppets) of the Valcamonica valley extend over an area of some three square kilometres and have been described as one of the world’s largest pieces of anonymous art.
An event taking place next Monday (18 January 2016) at Downing College, Cambridge, will give the public an opportunity to learn more about a fascinating project to explore and re-animate the Pitoti of Valcamonica. Displays and hands-on activities staged by seven of the institutions involved in the EU/European Research Council-funded ‘3D Pitoti’ digital heritage project will show visitors how archaeologists and film-makers have used the latest digital technology to explore an art form often portrayed as simplistic or primitive.
The exhibitors from Austria, Italy, Germany and the UK will show that the thousands of Pitoti can be seen as “one big picture” as dozens of artists, over a period of some 4,000 years, added narratives to the giant ‘canvases’ formed by sandstone rocks scraped clean by the movement of glaciers across the landscape. The images are etched into the rock surfaces so that, as the sun rises and then falls in the sky, the figures can be seen to gain a sense of movement.
Displays will introduce visitors to the scanning, machine learning and interactive 3D-visualisation technologies used by Bauhaus Weimar, Technical University Graz, and St Pölten University of Applied Sciences to record, analyse and breathe life into the Pitoti. Cambridge archaeologists Craig Alexander, Giovanna Bellandi and Christopher Chippindale have worked with Alberto Marretta and Markus Seidl to create Pitoti databases using Arctron’s Aspect 3D system.
The scanned images of the Pitoti are stored in the rock-art research institute in Valcamonica, Centro Camuno di Studi Preistorici, and have given the project’s team an unprecedentedly rich resource to play with in exploring the power of graphic art in combination with other media.
The 3D Pitoti team members attending next week’s event will engage with visitors who will be given the chance to experience the scanner, UAV (unmanned aerial vehicle), computer sectioning, and the Pitoti ‘oculus rift’ virtual reality experience, made possible by using advanced imaging systems which are creating a new generation of ‘real’ images. The live demonstration of the interactive 3D Pitoti children’s app, developed by Archeocammuni and Nottingham University, is likely to prove popular with younger visitors who will have the chance to handle the technology and ask questions. Also taking part in the event will be the renowned craftsperson Lida Cardozo Kindersley who will demonstrate the art of letter cutting as an intensely physical process.
Eleanora Montinari [Credit: CCSP/3-D Pitoti with permission of Marc Steinmetz/VISUM]Archaeologists increasingly believe that the Valcamonica images may have been one element in a kind of ‘proto-cinema’ that might have involved other ‘special effects’. “When I first saw the Pitoti, my immediate thought was that these are frames for a film. Initially I envisaged an animated film but over time I’ve come to realise that the quality of colour, the play of light and shadow, and the texture of the rocks, make the Pitoti much more sophisticated than 2D animated graphics. That’s why we need to work in 3D,” says Cambridge archaeologist and film-maker Dr Frederick Baker, one of the founding participants in the project.
“Many of the images at Valcamonica are contemporary with classical Greek art but are an under appreciated form of art. I believe that the Pitoti are an example of minimalism, an early precursor to work by Alberto Giacometti and Pablo Picasso. They can be just as powerful as the classical art of Athens and Rome in their own way. By showcasing our project in the neo-classical setting of Downing College, we are highlighting this clash of visual cultures and using the digital to raise the appreciation of what has been seen as ‘barbarian’ or ‘tribal’ art.”
Members of the 3D Pitoti team captured thousands of images of people, sheep, deer, horses and dogs found on the Valamonica rocks. The digitised images gave the project a ‘casting directory’ of thousands of ‘characters’ in order to create imagined narratives. The creation of moving images using pixels, or dots, echoes the making of the Pitoti which were pecked out of the rock by people striking the surface with repeated blows to produce lines and shapes.
Dr Sue Cobb, from the University of Nottingham, who led the international team of scientists, said: “Thanks to the 3D Pitoti project, archaeological sites and artefacts can be rendered in stunningly realistic computer-generated models and even 3D printed for posterity. Our tools will give more people online access to culturally-important heritage sites and negate the need to travel to the locations, which can be inaccessible or vulnerable to damage.
“We overcame a number of technical challenges to innovate the technology, including developing weatherproof, portable laser scanner to take detailed images of the Pitoti in situ in harsh, rugged terrain; using both a UAV and glider to take aerial shots of the valley for the computer model and processing huge masses of data to recreate an immersive, film-quality version of the site in 3D.
Michael Holzapfel (left) and Martin Schaich (right) [Credit: ArcTron/3-D Pitoti with permission of Marc Steinmetz/VISUM)]“With our new story-telling app, users can scan and animate 3D Pitoti images to construct their own rock art stories from the thousands of fascinating human and animal figures discovered so far. The aim is to show to public audiences that with archaeology there isn’t a single answer to the art’s meaning –there are theories and interpretations — and to teach the importance of the rock art as a biographical record of European history.”
Next Monday’s event will include a test screening of a 15-minute 3D generated film called ‘Pitoti Prometheus’ which reimagines the story of Prometheus (who, according to legend, created men from clay) by animating digital images captured in Valcamonica. The fully finished film will be launched later in the year.
The film’s 3D engineer Marcel Karnapke and film-maker Fred Baker (contributing via Skype) will take part in a discussion at the end of the day, enabling the audience to ask questions about the film and the unfolding of an ambitious project which breaks new boundaries in terms of European cross-disciplinary collaboration.
“We use the word ‘pipeline’ to describe the process by which we’ve scanned and channelled the rock art images through time and space to bring them to mass audiences,” says Baker. “It’s a pipeline which stretches well beyond what we’ve produced and future technologies will undoubtedly open up new understandings of art forms that communicate so much about humanity and our relationships with each other, with the environment, and with imagined worlds.”
Next Tuesday morning (19 January 2016), a series of talks and workshops, aimed primarily at academics, will take place at the McDonald Institute for Archaeological Research. The two days of events are the official culmination of the 3D Pitoti project. For details of Monday’s event, which is free of charge, go to http://3d-pitoti.eu/
Source: University of Cambridge [January 14, 2016]
New Jolly Ranchers Turtle Ad – Chewy and crunchy, like a turtle. But they taste way better and won’t laser zap you.
“Turtle” is the latest from director Olivier Agostini for Jolly Rancher. “Turtle” was written and directed by Olivier Agostini as part of a crowd sourcing campaign for the brand, which he discovered on http://www.poptent.net The brief for this project was centered around the concept that the new Jolly Rancher candy was crunchy and chewy.
“The words a crunchy hard shell with a chewy inside, kept making me think of a turtle”, says Agostini. “I've never owned a turtle, nor do I know anything about turtles, but I couldn't seem to shake this vivid picture from my imagination.”
After a week of brainstorming, Agostini came up with the concept for the spot you see here – a spot about a guy who's ominously staring at a turtle, wanting to eat it for its "crunchy and chewy" qualities, and a turtle who is trying to convince the guy not to eat him in favour of the Jolly Ranchers. “This could not just be any turtle,” adds Agostini. “I had to give the turtle some sort of power. And since the turtle was limited in terms of mobility (turtles aren't very good at karate) I figured lasers would be an easy and funny defense mechanism. And who doesn't love lasers?”
All the shots of the turtle are in-camera. The only effects being the smoke, sparks and lasers. “I felt it would never be as funny if a CG turtle was used or if we animated his mouth. For me, the more practical it looked, the funnier it was.”
Credits: Director: Olivier Agostini Production Company: Weird Pictures Copywriter: Olivier Agostini Art Director: G.O. Burton DP: Aaron Biller Editor: Steven Cuellar Production Designer: Jimmy L'ananas Wardrobe Stylist: Marie-Pierre Agostini VFX: Aaron Sjogren Animal Wrangler: Stephanie Ghantous SFX: Tyler Slade Post: Co3
Creative agency DDB, New Zealand creates a fun new ad campaign for Volkswagen that promotes VW vehicles features that make it more than just a car. Five: 15 second indents range from a seat warmer for your fish and chips to automatic laser reflectors.
Credits: Titles — Dogs, Spell, Water Pistol, Farmer, Takeaways Agency: DDB Group New Zealand Executive Creative Director — Andy Fackrell Creative Directors — Natalie Knight & Gavin Siakimotu Creatives — Toby Morris, Simone Louis, Kevin Bachtiar, Sasha Arandelovic Executive TV Producer — Judy Thompson Agency Producer — Samantha Meehan & Rosie Grayson Group Account Director — Scott Wallace Account Director — Susie Darling Production Company: Exit Films Director — Greg Wood Producer — Declan Cahill DOP — Ian McCarroll Art Director — Brant Fraser Editor — Nathan Pickles Client: Volkswagen New Zealand National Marketing Manager — Denise Goodwin
Italy's iconic Riace Bronzes will return to their home at the Reggio Calabria National Museum later this year after lengthy restoration work.
The Riace Bronzes [Credit: ANSA]For almost three years the 2,500-year-old ancient Greek statues representing warriors have been in the Calabrian regional government's headquarters, undergoing a long-awaited restoration. A host of chemical, laser and electromagnetic tests designed to help experts better understand where the statues came from, and who created them, were also carried out.
So now, it's almost time for them to return to their permanent home.
According to the superintendent for archaeological and cultural heritage of Calabria, Simonetta Bonomi, restoration work should be completed near the end of the year and the two warriors "will be back home again" in time for Christmas.
The celebrated bronzes were found in August 1972 off the coast of Calabria and quickly captured worldwide attention. They were so highly prized that they are rarely allowed to travel from their home, despite repeated requests.
Even former Italian premier Silvio Berlusconi was turned down twice after seeking to borrow the statues for Group of Eight summits.
During the current restoration work, the Riace Bronzes, last let out in 1981 for a triumphant round-Italy tour, have been kept inside a purpose-built area with a glass front allowing visitors to watch the delicate restoration work.
Meanwhile, the Reggio Calabria museum has been undergoing restorations itself while the bronzes have been away. Approximately six million euros have been earmarked for that project, and regional authorities have released the final funds need to complete the work before year end.
The Bronzes were discovered in 1972 by a Roman holidaymaker scuba diving off the Calabrian coast and turned out to be one of Italy's most important archaeological finds in the last 100 years.
The statues are of two virile men, presumably warriors or gods, who possibly held lances and shields at one time. At around two metres, they are larger than life.
The 'older' man, known as Riace B, wears a helmet, while the 'younger' Riace A has nothing covering his rippling hair.
Both are naked.
Although the statues are cast in bronze, they feature silver lashes and teeth, copper red lips and nipples, and eyes made of ivory, limestone and a glass and amber paste.
Italy has the world's biggest trove of archeological treasures but the Riace Bronzes attracted particular attention.
This was partly due to their exceptionally realistic rendering and partly to the general rarity of ancient bronze statues, which tended to be melted down and recycled.
Stefano Mariottini, the scuba diver who first spotted one of the statues some 300 meters off the coast and eight metres underwater, said the bronze was so realistic that he initially thought he'd found the remains of a corpse.
A million people came to see them in 1981 and the pair are even featured on a commemorative postage stamp.
The statues usually pull around 130,000 visitors annually to the Reggio Calabria National Museum.
From 20 December to 1 June 2013 the exhibition "Mostri. Creature fantastiche della paura e del mito" (Monsters. Fantastic Creatures of Fear and Myth) will be open to the public at Palazzo Massimo alle Terme.
So "How to Make a Car for an Unsafe World"? Safe from a falling piano, safe from a giant lizard with laser beams and of course zombies, well these two TV ads for the 2013 Dodge Dart will explain it all for you. Above is the How to Make a Car for an Unsafe World spot and below "How to Make a Great Car Interior" commercial with a flame throwing guy and kissing crash test dummies. Credits: Ad Agency: W+K Portland.
How do you make healthy eating and active living fun for kids? By challenging them to try exciting activities such as turning their urine into bug repellent, holding an armpit smelling contest and inviting them to eat as many carrots as they can in hopes of achieving laser vision. The Government of Alberta’s province-wide program, titled the Healthy U 5&1 Experiment, helps families adopt wholesome habits by adding at least five servings of fruit and vegetables, and an hour of activity into each day. In an age where children are familiar with apps, gaming and earning badges, the Healthy U program makes use of this concept to present healthy eating and active living in a fun and engaging way that kids and their whole family can enjoy. “The creative plot boils down to getting kids to take part in 42 off-the-wall, wacky and weird scientific experiments that can make even the pickiest child eat broccoli,” says Eva Polis, creative director, DDB Canada’s Edmonton office. “It is much easier to convince kids to do something when you create an environment where they come to that conclusion on their own.” Developed by DDB Canada’s Edmonton office, the Healthy U 5&1 Experiment presents a 21-day challenge that invites kids and their parents to complete 42 novel experiments. Hosted on www.healthyalberta.com and free mobile app (for Apple and Android users), the provincial program features two daily experiments, one focusing on trying nutritious foods and the other encouraging physical activity. Children can earn awards and track their progress, furthering the incentive to turn these daily experiments into a lifestyle-changing habit. The program’s content targets children between the ages of six and 12, but kids are encouraged to sign up with their parents so they can begin this new healthy lifestyle as a family. The initiative kicked off earlier in May with a week-long tour of schools in Alberta that saw Healthy U host school rallies for more than 2,000 students. Associate Minister of Wellness Dave Rodney and popular YTV personality Andy Chapman co-hosted the rallies, together with the Healthy U Crew, an energetic street team. Continuing this grassroots engagement, the Healthy U Crew will extend this campaign by travelling across Alberta in a can’t-be-missed van, visiting 27 more schools in May and June, connecting with an estimated 7,500 students. The crew will also visit 40 communities in Alberta this summer, attending events including the Calgary Stampede, Edmonton’s K-Days, the St. Albert International Children’s Festival, and the Medicine Hat Spectrum Festival, inviting kids to ‘experiment’ with healthy living in all sorts of crazy fun ways. The crew will also hand out sample kits featuring 10 experiments to try. Online, radio and transit advertising as well as in-store point of purchase at Sobeys round out this integrated campaign by driving families to the Healthy U website. The sponsorship secured with Sobeys creates an added motivation to this program as families who have signed up are given grocery coupons to reduce the costs associated with their weekly experiments. Furthermore, a partnership with YTV supports this initiative via a web series featuring two of the station’s animated superstars – Dr. Frantic and Kerblooey. About DDB CanadaNamed Strategy’s 2012 Agency of the Year and Digital Agency of the Year, DDB Canada is the most creatively acclaimed, internationally recognized marketing communications agency in Canada. Known for advertising that generates significant results for clients, DDB Canada is a “total communications company” whose fundamental belief is that creativity is the most powerful force in business. DDB Canada has offices in Vancouver, Edmonton, Toronto and Montreal. The agency’s integrated groups include: DDB Kid Think (youth marketing), DDB Public Relations, Tribal Canada (digital & social), Karacters Design Group, RAPP Canada (direct), DDB Hodes Recruitment Communications (recruitment marketing) and Shopper DDB (shopper marketing).
