ShowBusinessMan [Search results for nature] 

Puma introduces us to it's newest technology in running shoes with the commercial above for PUMA Mobium shoe, the running shoe that was inspired by cats, yes cats, see video below.

A cat's paws contract to provide propulsion and expand to provide cushioning. PUMA Mobium Elite's Expansion Pods, inspired by a cat's paw, adapt to your foot with every step. Welcome to Adaptive Running.

Press:
PUMA Launches The Nature of Performance in 2013.
PUMA Celebrates A Year Of Innovation With Groundbreaking Performance Product Introductions & New Campaign Launch 2013 signals a pioneering year for PUMA, as the global sportlifestyle brand re-energizes its performance positioning through the introduction of a new cross-category performance platform — The Nature of Performance. The Nature of Performance underpins a new creative and marketing campaign, in addition to serving as the inspiration for a collection of innovative new products in the Football, Running, Training and Fitness categories.

PUMA's Nature of Performance platform is a red thread that unifies all of PUMA's performance categories with a consistent voice, look and feel. Grounded in nature and the athlete's innate desire to perform at their best level, The Nature of Performance takes us on a journey that is at once personal and universal. Through it, we come to understand certain campaign insights:

• The Nature of PUMA Football: Whether it's in your nature to be power hungry, a glutton for speed or a control freak, PUMA builds inspired products to amplify you and your team's instincts.
• The Nature of PUMA Running: It's in our nature to disrupt the monotony of running. It's making a routine run feel fresh again, and it's in our nature to get you out the door.

PUMA also partnered with video production house Juliet Zulu to develop a series of technical films and TVCs for The Nature of Performance that will roll out online, by category, beginning in February 2013.

"With The Nature of Performance, we've found our own unique voice within the performance space," said Filip Trulsson, Director of International Marketing at PUMA SE. "The platform works across all of our sport categories and offers a compelling and effective way to convey pinnacle performance PUMA products and the user experiences at its most natural state."

The Nature of Performance platform launch coincides with a series of innovative new product introductions in Spring/Summer 2013, including ground-breaking footwear and apparel styles for Running and Training.

PUMA Mobium Elite is a first generation PUMA Adaptive Running™ shoe that's built on a system of interdependent technologies that are proprietary to PUMA. The patent-pending technologies of the Mobium Bands, the Windlass Chassis and the Expansion Pods work together allowing the shoe to expand and contract as the foot naturally does through the gait cycle. PUMA has identified this new category of running — Adaptive Running — after two years of intense biomechanical research, development and testing. PUMA Mobium Elite encourages a more natural movement and efficient stride.

In addition to innovative new product introductions, PUMA is also introducing for 2013 a unique naming and labeling concept designed to make it easy for consumers to identify which products best fit their performance needs. The PUMA CELL system consists of 14 CELL names, each of which corresponds to a specific key performance benefit — dryCELL for moisture management, visiCELL for increased visibility and powerCELL for compression, to name a few. PUMA CELL is a proprietary system the brand has developed to ensure product benefits are clearly communicated and identifiable to the consumer.

I love everything about this campaign, especially Puma Designer Raymond Horacek (video below) who quotes the great architect Antoni Gaudi, "...man does not create, he discovers" in his design process. Raymond and the PUMA Innovation Team studied the way big cats move and how the human foot changes in length, height and proportion during the running step that gave birth to Adaptive Running.

Credits:
Creative Advertising Agency: Droga5
Video Production House: Juliet Zulu

A public education campaign was launched today to highlight the benefits of organic food and to help consumers understand the difference between products labeled organic and those that are labeled as “natural.”

“Foods made with the use of toxic persistent pesticides and even genetically engineered ingredients are being labeled as natural,” said Gary Hirshberg, Chairman of Stonyfield Farm. “Only organic guarantees that food is produced without the use of toxic persistent pesticides, hormones, antibiotics or genetically engineered ingredients. Only organic gives you complete piece of mind.”

The videos help consumers understand the how the “natural” label can be used to confuse shoppers. The videos were developed by the recently launched agency Humanaut with help from advertising icon Alex Bogusky.

Organic foods are subject to stringent environment and animal welfare standards enforced by United States Department of Agriculture.

While the Food and Drug Administration and USDA discourage companies from including “natural” claims on processed foods containing synthetic or artificial ingredients, there is no official definition of “natural” and little enforcement of misleading claims.

“Only organic is produced in a way that Mother Nature would recognize as natural,” said Sarah Bird, Chief Marketing Officer for Annie’s, Inc. “Many products that claim to be “natural” are made with ingredients you couldn’t find in nature – including artificial flavors or colors, synthetic preservatives, high fructose corn syrup, and genetically engineered ingredients.”

Natural claims have been added to everything from cooking oils made from genetically engineered crops to ice cream made from cows pumped full of growth hormones.

“Many consumers mistakenly believe that foods labeled as ‘natural’ are better than food that has been certified as organic,” said Lewis Goldstein, Vice President of Brand Marketing at Organic Valley. “Organic food starts with organic farming, from the ground up. Only organic is subject to tough, enforceable standards created by the USDA designed to insure that our families can count on their food being produced in ways that protect their health, the environment, and the welfare of farm animals.”

The public education campaign is being launched by Organic Voices, a non-profit organization, and is supported by organic companies and other companies, including AllergyKids, Annie’s, Earthbound, Happy Family, INFRA, Late July, Nature’s Path, NCGA, Organic Valley, Rudi’s, and Stonyfield.

“Many products carry the ‘natural’ claim when there is nothing natural about them,” said Darren Mahaffy, Vice President of Marketing at Nature’s Path Foods. “As a result, many consumers are buying products they think are the same – or even better – for their families and the environment than organic.”

A recent survey found that consumers commonly believe that “natural” foods do not contain artificial ingredients.

“The public needs new tools to understand the benefits of organic and to be able to distinguish between organic foods and all other unverified claims,” said Laura Batcha, Executive Director of the Organic Trade Association.

Organic Voices works to educate and empower consumers by promoting the benefits of organic food.

Creative Credits:  
Advertised brand: Only Organic
Spot Title: The Natural Effect
Advertising Agency: Humanaut
Creative Advisor: Alex Bogusky
Creative Director: David Littlejohn
Art Director: Stephanie Gelabert
Art Director: Chad Harris
Copywriter: David Littlejohn
Copywriter: Jason Corbin
Production Company: Fancy Rhino, Chattanooga, TN
Director: Daniel Jacobs
Producer: Katie Nelson
Production Designer: Chad Harris
Director of Photography: Andrew Aldridge
Editor: Andrew Aldridge
Music Company: Skypunch Studios, Chattanooga, TN
Composer: Carl Cadwell
Media Strategy: Ikon3

The Maya are one of the oldest cultures in the world. This exhibition is all about the magnificent artistic forms of expression of the Maya. With a collection of around 300 works of art, including many Mexican national treasures, it displays the fundamental aspects of pre-Hispanic art: the body and the physique are central to this exhibition.

The Maya present their vision of life using various materials and techniques from their daily life, splendid buildings and works of art. They describe their relationship with gods, their everyday existence, their literature, their astronomy, their music and their dances. What often dominates these works is an idealised notion of humanity, which the Maya retained not only in their conception of humans and the ideal of beauty, but also in the location of mankind in the cosmos.

The exhibition will run until 7 August 2016.

Source: Martin-Gropius-Bau [July 12, 2016]

Batavo, one of Brazil's main dairy products brands, seeks to develop products inspired by nature. As a result, the NBS agency created an advertisement using natural paints whose production is based on fresh fruits.

Credits:
Advertising Agency: NBS, Sao Paulo, Brazil
Creative Director: Carlos André Eyer, Cassio Faraco, André Lima, Pedro Feyer
Art Director: Daniel Scheiner, Tammy Aires
Copywriter: Rafael Miranda
Illustrator: Tammy Aires
Production: W3 Filmes
Photographer: Ricardo de Vicq
Graphic producer: Giba Silvestre
Art-Buyer: Rose Zanetti

An exhibit of American Indian art at the Metropolitan Museum of Art throws the connection between art and collector into unusually sharp relief.

"The exhibit honors Coe and the role he played in the acceptance and understanding of the Native American work," said Julie Jones, head of the museum's Department of the Arts of Africa, Oceania, and the Americas.

The show includes about 40 objects representing a wide range of materials, from stone to animal hide, as well as time, place and distinct peoples.

Most of the Coe collection dates from the 19th to early 20th century when Native Americans came in contact with outsiders ranging from traders to missionaries to the U.S. army.

"Coe had some particular interests, one of them being objects that have come to be called souvenir art," Jones explained.

Souvenir art melded Native American art with European art, such as mocassins embroidered with European-like floral designs. Work from the people of the Great Plains evokes the men on horseback wearing feathers and buckskin.

Masks and head dress ornaments, sometimes used in theatrical ceremonies and story-telling, are another aspect of the exhibit.

An imposing sculpture of a Noble Woman by the Northwest Coast Haida artist Robert Davidson, dated to 2001, is a contemporary expression of a long tradition of carving wood. Most of the objects were made by artists who were schooled by their predecessors.

"Traditions were handed down," Jones said.

The man behind the collection

Born in 1929 in Cleveland, Ohio, Coe grew up in a home with filled with works by Renoir, Pissarro, Monet and Manet, all collected by his father, a trustee of the Cleveland Museum of Art.

"Coe came from a solidly Eurocentric point of view. He grew up in a house full of European paintings and learned to love them," Jones said.

But a book by Miguel Covarrubias, a Mexican artist and amateur archaeologist sympathetic to tribal art, was a catalyst for Coe to turn his attention to the art of Native Americans.

Soon after reading it, Coe bought a carved model of a totem pole, his first work of American Indian art that would eventually form part of the Coe Collection, a group of more than 1,100 objects, some dating from prehistoric times.

He became a champion of American Indian art, a mutualism that continued for the next half-century.

By 1962 Coe, a curator at Kansas City's Nelson-Atkins Museum of Art, organized "The Imagination of Primitive Man," an exhibit designed to illuminate the creative imagination of tribal peoples.

The most ambitious campaign Coe waged on behalf of this art resulted in "Sacred Circles: Two Thousand Years of North American Indian Art," shown in London as part of the United States Bicentennial in 1976, and in Kansas City one year later.

Its nearly 700 objects revealed the Indian approach to nature and nature's relationship to man, myth, time and space to a public that was unfamiliar with it.

"'Sacred Circles' changed the popular presentation of American Indian art and influenced a generation of collectors and museum professionals," Jones said.

For his last large exhibition — "Lost and Found Traditions: Native American Art, 1965 -1985" — Coe crisscrossed North America, seeking works of art that used traditional forms and materials, but were redefined by contemporary visions.

It marked Coe's transition from art historian to an advocate for the new, larger world of North American Indian contemporary art, and was shown in several museums in 1986.

Author: Ellen Freilich | Source: Reuters [January 17, 2012]

The WWF (World Wide Fund for Nature wants us to Cycle for Life with their newest
commercial via the ad agency JWT and Seven Sunday Films.

Credits:
Client: World Wide Fund for Nature
Product: WWF
Title: Cycle for Life
Agency: JWT
Director: Bo Krabbe
DOP: Torben Forsberg
Executive Producer: Rodney Louis Vincent
Produced at Seven Sunday Films

For many, new smartphone technologies are liberating advancements, but for women who are victims of abuse they are just another control mechanism that can be exploited by their abusers.

Toronto-based agency UNION has created a new online video on behalf of Interval House, Canada’s first shelter for abused women, to show that while the technology has changed, the problem of abuse hasn’t. Mimicking the smartphone “reveal” commercials we see so often, wherein companies unveil their new smartphone tech, the ad subverts audience expectations for such ads to show just how much control a smartphone can give an abuser, as well as how that control can make it even harder for women to seek help from facilities like Interval House.

“When we started this project, we still had a relatively naive conception of the forms that abuse could take – that it was mostly physical or verbal,” said Lance Martin at UNION. “But as we learned more, we realized how big a role control and surveillance play in abusive relationships. And how smartphones enable that.”

With the goal of having viewers take away a better understanding of the evolving nature of abuse, UNION’s ad for Interval House also encourages them to engage with the problem, do what they can to eliminate it and donate.

This ad is part of UNION’s ongoing work for Interval House which began earlier this year with the Facebook connect project, Every Second Matters.

Credits:
Campaign Name: Phone Demo
Client: Interval House, Toronto
Creative Agency: UNION, Toronto
Executive Creative Director/ Partner: Lance Martin
Senior Art Director: Glen D’Souza
Senior Copywriter: Michael Takasaki
Designer: Justin Aitcheson
Producer: Jennifer Dark
Group Account Director: Cheryl McKenzie
Account Supervisor: Daniella Casasanta
Planner: Heather Black
Production Company: Sugino Studio
Director: Todd McLellan
Executive Producer: Dan Arki
Editorial Company: School Editing
Editor: Aaron Dark
Post Production: Paul Binney/Fort York VFX
Sound Design/Music: Steve Gadsden/ TA2 Sound & Music
via: Glossy

Meet Diego Stocco, a sound magician. He's a Foley Artist, Sound Designer and all around guru of sound, watch and listen as he creates a cinematic jungle in this new ad for DTS Audio.

Music can be more than drums, guitars and strings. The simplest items can make an extraordinary sound with an ounce of creativity. In the latest installment of the DTS Audio's Sound Magician web series, artist Diego Stocco creates a cinematic jungle by mixing everyday objects with technical equipment in a field of grass.

Stocco is an Italian sound designer best-known for his work on Showtime's The Tudors and the feature film Chernobyl Diaries. His creative mindset allows him to create eclectic compositions using custom built instruments, elements of nature and experimental recording techniques.

Ashton Kutcher, the face of the new ad for the Nikon D3200 camera, entitled "Tree" seems have brought along all of his Twitter followers for a relaxing day of nature shots in a picturesque serene forest.

Credits:
Ad Agency: McCann Worldgroup, New York
Chief Creative Officers: Sean Bryan and Tom Murphy
Copywriter: Larry Platt
Art director: Tom Sullivan
Creative director/copywriter: Alon Seifert
Art director: Tracey Smith
Executive producer: Kathy Love
Producer: Alexis Mead

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.

Great new work from the creative agency Cheil for the new Samsung "What's Your Tabitat?" campaign. Three ads make up the campaign for the Samsung Galaxy Tab 3 line up: "Wanderus" (above) — known for their constant motion; totally at home even when they aren't, below "Relaxicus" — the unapologetic home dweller; a kick back couch-snuggler, and "Connecticus" — Who is tribal by nature; incredibly connected and inherently social.

The spots were produced by Toronto based production company six01, a relatively new studio that has grown from a foundation in visual effects and motion graphics work to take on full, large scale, live-action productions. "Produced in three weeks for Cheil Canada, this marks an important step for us towards larger scale, live-action productions", says six01 on it's blog. "We're excited to add this capacity to our services while maintaining a strong visual effects and motion graphics portfolio".

Credits:
Campaign Title: "What's Your Tabitat?"
Client: Samsung Canada
Creative Agency: Cheil, Canada
Executive Creative Director: Jason Partridge
Senior Art Director: Helene Larochelle
Copywriter: Brook Johnston
Account Director: Lindsay Wagter
Producers: Jordan Foster & Kyle Griblin
Production Company: six01
Directors: Jordan Foster & Kyle Griblin
1st Assistant Director: Sarah Blais
Production Manager: Damon Foster
Editorial & Post-production: six01

Scooped from: The Toronto Egotist

The British Museum will open a major exhibition presenting a history of Indigenous Australia, supported by BP. This exhibition will be the first in the UK devoted to the history and culture of Indigenous Australians: both Aboriginal peoples and Torres Strait Islanders. Drawing on objects from the British Museum’s collection, accompanied by important loans from British and Australian collections, the show will present Indigenous Australia as a living culture, with a continuous history dating back over 60,000 years.

The objects displayed in this exhibition are immensely important. The British Museum’s collection contains some of the earliest objects collected from Aboriginal people and Torres Strait Islanders through early naval voyages, colonists, and missionaries dating as far back as 1770. Many were collected at a time before museums were established in Australia and they represent tangible evidence of some of the earliest moments of contact between Aboriginal people, Torres Strait Islanders and the British. Many of these encounters occurred in or near places that are now major Australian cities such as Sydney, Melbourne, Adelaide, and Perth. As a result of collecting made in the early 1800s, many objects originate from coastal locations rather than the arid inland areas that are often associated with Indigenous Australia in the popular imagination.

The exhibition will not only present Indigenous ways of understanding the land and sea but also the significant challenges faced by Indigenous Australians from the colonial period until to the present day. In 1770 Captain Cook landed on the east coast of Australia, a continent larger than Europe. In this land there were hundreds of different Aboriginal groups, each inhabiting a particular area, and each having its own languages, laws and traditions. This land became a part of the British Empire and remained so until the various colonies joined together in 1901 to become the nation of Australia we know today. In this respect, the social history of 19th century Australia and the place of Indigenous people within this is very much a British story. This history continues into the twenty first century. With changing policies towards Indigenous Australians and their struggle for recognition of civil rights, this exhibition shows why issues about Indigenous Australians are still often so highly debated in Australia today.

The exhibition brings together loans of special works from institutions in the United Kingdom, including the British Library, the Pitt Rivers Museum and the Cambridge Museum of Archaeology and Anthropology. A number of works from the collection of the National Museum of Australia will be shown, including the masterpiece ‘Yumari’ by Uta Uta Tjangala. Tjangala was one of the artists who initiated the translation of traditions of sand sculptures and body painting onto canvas in 1971 at Papunya, a government settlement 240km northwest of Alice Springs in the Northern Territory. Tjangala was also an inspirational leader who developed a plan for the Pintupi community to return to their homelands after decades of living at Papunya. A design from ‘Yumari’ forms a watermark on current Australian passports.

This exhibition has been developed in consultation with many Aboriginal and Torres Strait Islander individuals, Indigenous art and cultural centres across Australia, and has been organised with the National Museum of Australia. The broader project is a collaboration with the National Museum of Australia. It draws on a joint research project, funded by the Australian Research Council, undertaken by the British Museum, the National Museum of Australia and the Australian National University. Titled ‘Engaging Objects: Indigenous communities, museum collections and the representation of Indigenous histories’, the research project began in 2011 and involved staff from the National Museum of Australia and the British Museum visiting communities to discuss objects from the British Museum’s collections. The research undertaken revealed information about the circumstances of collecting and significance of the objects, many of which previously lacked good documentation. The project also brought contemporary Indigenous artists to London to view and respond to the Australian collections at the British Museum.

Neil MacGregor, Director of the British Museum said, “The history of Australia and its people is an incredible, continuous story that spans over 60,000 years. This story is also an important part of more recent British history and so it is of great significance that audiences in London will see these unique and powerful objects exploring this narrative. Temporary exhibitions of this nature are only possible thanks to external support so I am hugely grateful to BP for their longstanding and on-going commitment to the British Museum. I would also like to express my gratitude to our logistics partner IAG Cargo and the Australian High Commission who are supporting the exhibition’s public programme.”

Source: The British Museum [April 23, 2015]

A new TV commercial for TD Ameritrade introduces us to Joe Woods who is at his first day of work. The ad is voiced by actor Matt Damon, who tells the story of how unpredictable the nature of life is while offering straight-forward retirement guidance. Joe looks happy now but wait til his investments tank, not to worry just cook what you love and save your money.

Credits:
Agency: Goodby Silverstein & Partners
Production: Pony Show Entertainment
Country: United States of America
Director: Brad Silberling
Executive Creative Director: Rick Condos
Executive Creative Director: Huner Hindman
Creative Director: Matt Ashworth
Creative Director: John Shachter
Producer: MJ Otto
Executive Producer: Tod Puckett
Account Director: Katie Rafferty
Account manager: Jenna Lubin
Director of Photography: Philippe Rousselot
Executive producer: Susan Kirson & Jeffrey Frankel
Line Producer: Fern Martin
Editing House: Spotwelders
Editor: Haines Hall
Producer: Carolina Wallace
VFX House: Kilt Studios
Producer: Mathew McManus

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

Drawing on a history of innovation in scientific and naturopathic expertise, Red Seal develops effective natural remedies that help the body heal itself and boost well being.
Advertising Agency: Sugar&Partners, Auckland, New Zealand
Creative Director: Dave Nash
Creative Director / Copywriter: Damon O'Leary
Art Director: Dave Nash

In a world where Photoshop and CGI catches our eyes' attention, this ad "Alligator" for National Geographic Wild Channel was created in order to demonstrate that nature doesn't need any special effect to be breath taking. The captured moments were chosen because they were quite unexpected, original but yet beautiful.

Credits:
Creative Ad Agency: DDB, Paris, France
Executive Creative Director: Alexandre Hervé
Copywriter: Fabien Teichner
Artistic Director: Alexandre Lagoet
Planners: Sébastien Genty, Romain Roux
Head of post-production: Sylvie Dumas
Realisation: Lawrence Wahba, Haroldo Palo Jr., Bob Poole, Jerry Butterfield
Sound: THE

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

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.

California lifestyle brand RVCA took the women of their Advocate & ANP initiatives out East for a week of #BABESinMTK. RVCA is pleased to share the teaser to the short film (below) featuring the female members of the brands Advocate & ANP* programs who were brought to the East Coast for a seven day stint in Montauk. The assembly of RVCA Women's Advocates who were flown in from California, Hawaii, Los Angeles, San Francisco, and Vancouver, Canada included photographer Ashley Barker, model Mahina Alexadner, artist Michelle Blade, artist Kylea Borges, model Ashley Smith, and artist Nina Long. The extended version of the short documentary film will debut on RVCA.COM on August 28th, 2014.

The roster of fine artists (Blade, Borges, Long ), models (Smith, Alexander), and photographer (Barker) bunkered down in Montauk for a week of creativity and collaboration amongst the inspiring women who each play a role within the RVCA family.

The itinerary, which was more of a bucket list than a working schedule, speaks to the nature of the trip and lends itself to Tenore’s ideology about giving back to those who lend their talents to the brand. Aside from lounging poolside at the house, activities for the week included lessons in the art of fishing, sailing, surfing, and horseback riding. A day at a spa was followed by the one thing that felt a little like work: Advocate Barker shot her fellow Advocate's Smith & Alexander for the brands Summer 15 campaigns.