Bridgestone is among one of the first 2012 Super Bowl XLVI advertisers to start building up the hype to the Super Bowl ad game with a teaser campaign. "Performance Balls and Puck" commercials, launched during the Bridgestone Winter Classic hockey game on NBC. Sports commentators Mike Milbury, Barry Melrose, Dick Vitale and Michelle Beadle compete to be the first to the scoop in the "Time to Perform" press conference.
The engineers at Bridgestone are about to make a very important announcement: they're going to take their vast knowledge of performance on the road and bring it to the playing fields of the world; a bold move that promises to revolutionize sports as we know it.
Follow the biggest sports reporters as they try to break the story of how Bridgestone is going to attempt to revolutionize the world of sports by bringing their tire technologies to each sport. Stay tuned at facebook.com/BridgestoneTires leading up to Super Bowl XLVI. The spot features: Michelle Beadle, Dick Vitale, Barry Melrose, Mike Milbury and Kenny Smith.
Sports legend Dick Vitale is tracking the Bridgestone story but a rising star in Michelle Beadle thinks she will get the scoop first. Follow the story at facebook.com/BridgestoneTires to learn more about Bridgestone taking their innovative tire technologies into the world of sports.
The latest announcement left the world's leading sports announcers speechless and tweet-less.
Scion and global creative agency ATTIK are literally putting the pedal to the metal in the youth-focused automotive brand's national cross-media launch campaign for the all-new, 200hp, rear-wheel drive 2013 Scion FR-S sports coupe. Today, the brand and agency executives are very proud to detail their new "Driving is Back" campaign, which is currently debuting numerous advertising placements across the country. "Scion is extremely excited about the launch of the FR-S," said Jack Hollis, Vice President, Scion. "The rear-wheel drive sports car is the brand's halo car that pound-for-pound and dollar-for-dollar, is igniting the passions of a whole new group of driving enthusiasts.
Together with our partners at ATTIK, we are absolutely thrilled to kick-off the campaign inviting everyone to rediscover the fun of driving with the FR-S." "In this campaign, the radical new FR-S itself is first and foremost," began ATTIK co-founder and executive creative director Simon Needham. "To us, there are very few exciting cars out there that are also practical on some level… and the FR-S gets great gas mileage while maximizing performance. So naturally, our campaign demonstrates the power and handling of this amazing car – most often in the hands of drifting champ and renowned racing driver Ken Gushi, who drove the car in many of the exciting driving scenes. Across every campaign facet, our overall goals are to excite, inspire, drive people to explore the FR-S online and get them into dealerships and behind the wheel." The "Driving is Back" campaign was conceived by ATTIK's creative director Ron Lim, art director Mike Cornell and copywriter Andy Sciamanna, and its out-of-home elements are now live in 40 locations in 26 major U.S. markets. Today, the first of three: 30 spots will break… not only on young adult-targeted cable outlets where viewers are accustomed to seeing Scion ads, but also via NBCU syndication, and on NBC, Fox and every major sports network. First comes "Bringing the Sport Back to the Car," which will begin and end a three-month TV buy. Different campaign spots will appear between June 25 and August 5, and more video ads (all commercials and videos were directed by Needham) will run on the brand's social media channels and website well into September. In print, the first spreads will begin to appear mid-June in Sports Illustrated, Maxim, Motor Trend, and Men's Journal, among many others. Banner placements are also blanketing most standard and some new targets for the brand starting today. "Since the FR-S is Scion's biggest push into the sport coupe market yet, we wanted to extend our reach beyond our typical media channels," Lim explained. "This car already has a lot of buzz around it, and we are aiming to build on that excitement. Of course, television is still a powerful mass medium. We also chose mainstream automotive pubs for the first time. Our campaign is much heavier in details than usual as well. We're psyched about our specs and so are the automotive tastemakers; it was important to reach enthusiasts this time out. Andy and Mike really sold the experience of driving the FR-S." Lim also shared insights into some of the more innovative media tactics the campaign will introduce in July. "We're also using smartphone apps to invite readers to watch the FR-S in action through Digimarc codes embedded in the print. Using their smart phones, consumers will be able to peek under the hood of the FR-S and see it in action. This is a great way to feature the very emotional driving experience within a static print ad." According to Lim, Scion and ATTIK chose Digimarc technology due to its successful integration with the Sports Illustrated Swimsuit issue earlier this year, citing its track record, its powerful security features, and its ability to seamlessly present video as part of the agency's print ad, which is entitled Video Test Drive. That ad is scheduled to run in the July 9 issue of Sports Illustrated. Finally, Scion's and ATTIK's executives are also putting the finishing touches on a powerful iAd that will appear in targeted apps for the iPhone and iPad and allow viewers to view videos and explore more features of the FR-S in amazing detail. The brand and agency once again have many leading technology, creative, production and post-production partners to thank for their campaign contributions. Among those are commercial production company Blueyed Pictures, editorial company Lost Planet, CGI/VFX company Brewster Parsons, and music company Squeak E. Clean Productions. For ATTIK, additional credits include senior broadcast producer Patty Lum and senior account manager Michelle O'Hea, to name but a few. Credits:
Client: Scion Advertising Agency: ATTIK U.S. Executive Creative Director: Simon Needham Creative Director: Ron Lim Art Director: Mike Cornell Copywriter: Andy Sciamanna Sr. Broadcast Producer: Patty Lum Production Company: Blueyed Pictures Director: Simon Needham Directors of Photography: Brooks Guyere, Daniel Ardilley Executive Producer: Jamee Natella Producer: Jon Goldberg Editorial Company: Lost Planet Editor: Saar Klein Executive Producer: Gary Ward Producer: Jaclyn Paris Graphics/VFX/Finishing Company: Brewster Parsons Executive Producer: Darcy Parsons Producer: Rebekah Koerbel CG Artists: Denis Gauthier, Vonetta Taylor Music/Sound Design Company: Squeak E. Clean Productions
Ad agency Deutsch New York, is filming the one of 2 GoDaddy 2013 Super Bowl ads this week, GoDaddy also announced that one spot will feature supermodel Bar Refaeli with return GoDaddy girl, Danica Patrick, ironically in a spot entitled "Perfect Match". Story via USA Today: Sexy Super Bowl ads may emit a tad less sizzle this go-round — but two will feature knock-out supermodels.
Go Daddy, historically the Super Bowl's raciest advertiser, on Friday will name supermodel Bar Refaeli as its newest Super Bowl-bound Go Daddy girl.
She was ranked No. 1 on Maxim's Hot 100 for 2012. The move comes just weeks after Mercedes-Benz announced that supermodel Kate Upton will star in its game spot.
Both models are former Sports Illustrated swimsuit issue cover girls.
But neither of the hotter-than-hot models will appear in racy attire. In fact, both will appear in formal dresses — as plans are right now. Even as Super Bowl marketers are reaching out to the world's most beautiful models, some appear to be evolving away from ultra-racy imagery.
"It's about intrigue and desire," says Noreen Jenny Laffey, president of Celebrity Endorsement Network, which links celebrities with marketers. "It's not what you see; it's what you don't see — but you know is there."
For Go Daddy, it's also an attempt to soften its image. "The new sexy at Go Daddy is all about the customer," says Barb Rechterman, chief marketing officer.
This will be Refaeli's first Super Bowl spot. The Israeli native, who has dated actor Leonardo DiCaprio on and off, will star with veteran race car driver Danica Patrick in the 30-second ad.
Refaeli, 27, who was the cover model for the 2009 Sports Illustrated swimsuit issue, says she has no hesitation about linking up with an advertiser whose brand image has been built and tarnished by its often-racy Super Bowl commercials.
"I am a model who is well known for her body and feminine image," she says. "I'm not here to make people think I'm the next Einstein."
The ad, to be filmed next week in Los Angeles, also features Patrick, who will star in her record 11th and 12th Super Bowl spots for Go Daddy.
Go Daddy won't reveal detailed contents of the spot, called "The Perfect Match." But the two will likely discuss why helping customers is the new meaning of sexy at Go Daddy.
While Refaeli's outfit in the commercial is still undecided, it will be a cocktail dress or something very formal, says Rechterman. "We're not thinking bikinis or anything like that," she says. "You might say we've come up in the world."
For the third consecutive year, EP*Vision‘s Maryam Parwana East Pleasant Directors David Weinstein and Stash Slionski have teamed up with the Washington Nationals and their branding agency 40/40 on the team’s season advertising campaign and in-stadium display content.
This year’s entry is a thematic continuation of the past two campaigns, with a duo of high-intensity spots featuring action footage blended with studio footage of star players. Bold and defiant narratives – a hallmark of the team’s distinctive “Natitude” – pepper the spots, most powerfully in shorter ads focused on star players Bryce Harper and Stephen Strasburg.
“Going into the initial campaign with the Nationals in 2011, we knew that they were working on a three-year cycle and that they wanted a modular approach so that 2011, ‘12 and ‘13’s campaign would all work with each other seamlessly,” notes Weinstein. “The 2013 look worked fluidly with the Phantom campaign we shot in 2012 and the team was able to use all the assets in a cohesive package.”
East Pleasant has worked with 40/40 since 2007, when the two entities teamed up on a series of projects with NFL PLAYERS, the marketing arm of the NFLPA. The transition to working with the Nationals and COO Andy Feffer proved seamless. “There was a comfort level already established and we really knew what we could expect from 40/40 creatively and vice versa,” explains Weinstein. “No matter the shoot, there has to be a narrative to it, with great storytelling and great visuals, and 40/40 principal John Trotter understands that as well as anyone.”
Weinstein & Slionski’s extensive sports experience has given them a special skill set in working with athletes. “The first thing you have to realize with athletes is that they take direction better than anyone – most of them have been playing organized sports on a high level their entire lives, so they’re used to a regimented schedule and people telling them what to do all day, every day,” says Weinstein. “When they get on set with us, we just make them feel at home, play some music they like, and try not to take ourselves too seriously. Their job is stressful enough, so we just mess around and make it feel like a clubhouse.”
EP*Vision CD Maryam Parwana led post work on the campaign, recreating the fluid production pipeline from client to post that has contributed to the success of so many past campaigns.
Credits: Client: Washington Nationals Advertising Agency: 40/40 Production Company: East Pleasant Director: David Weinstein & Stash Slionski EP: Michelle Cuccuini Hicks Director of Photography: Stash Slionski Editorial: Pleasant Post Editor: Chris Fiore/Parallel Universe Producer: Taylor Colbert Color Grading: Pleasant Post Post/Effects: EP*Vision CD: Maryam Parwana Producer: Niabi Caldwell Sound Design & Mix: Big Yellow Duck
Lexus and ad agency Team One develop "CinePrint" technology and bring print ads to new level by merging print and digital media. A print ad that ran in the Oct. 15 Sports Illustrated magazine for the 2013 Lexus ES roars to life when you place it over an iPad that has the Web page Lexus.com/stunning loaded. The video above demonstrates just how impressive this is as the engine revs, the headlights flash, the wheels spin and the background pulses with color, while to listen to a rockin musical soundtrack.
Credits: Ad Agency: Team One CinePrint™ technology developed by Lexus.
Nuggets of Nostalgia: DickiesStore Discovers Marketing Material from Decades Ago Having recently happened upon an archive of advertising artefacts, DickiesStore is happy to release a wealth of ad campaigns from as far back as the 1930s. This treasure trove of relics has got many retrophiles revelling in the rich history of this couture-centric print media that has been unearthed. Although the sentiment and commitment to designing top quality workwear and fashion forward casual wear has remained consistent throughout Dickies’ history, these newly discovered gems clearly trace the ebb and flow of advertising and marketing methods over the past 90 years. The Williamson-Dickie Manufacturing Company faced challenging times in its early years, as the Great Depression was crippling the US economy. But as sturdy and tough as the workwear they were designing, the company weathered the storm and set a benchmark in the industry, marketing themselves as the all-American clothing brand. As the 50s came around a great emphasis was placed on Dickies being the premium retailer of attire for the “man of production”. On a societal level times have changed dramatically since then but at that point [see image 2] advertising clearly addressed the fact that Dickies manufactured workwear that was easy wearing, easy looking and easy to maintain. Dickies advertising of the 1960s shifted focus somewhat, catering towards the cool kids on campus. The brand identified that scholars wanted to look good and feel comfortable both in and out of class. As they introduced imagery of motorcycles and sports cars, the marketing material from the late sixties that DickiesStore recently uncovered clearly spoke to an audience who led a care-free but fashion conscious lifestyle. In the late 70s and 80s the Dickies brand broke through with a range of funky apparel that really identified with the pop generation. Dickies exemplified what it meant to be hip, cool and colourful. This sense of fun went hand-in-hand with their continuous pursuit of producing durable and comfortable clothing. Dickies also began more powerfully introducing their iconic logo — the horseshoe – into their campaigns and although it represents a solid, reliable product, when it comes to the manufacturing of top quality workwear, Dickies isn’t in need of any extra luck. via: DickiesStore Blog.
The creative team at A&E called on long-time collaborators at entertainment agency BIGSMACK to help conceive, write and produce a hilarious Season 3 promotional campaign for their biggest runaway hit in the cable net’s history: “Duck Dynasty.” Under the creative leadership of Head Creative Andy Hann and Senior Creative Director Matt Hall, the BIGSMACK team collaborated with A&E’s in-house team to write, produce, and post for an extensive campaign, that is being rolled out now, as a daily countdown to the launch of the third season on February 27th at 10/9c.
Hann and director Scott Whitham co-direct an unbelievable 21 spots in just two days (view them all on YouTube HERE. The BIGSMACK team shot in the deep rural bayou of Louisiana in the dead of winter, up against tremendous challenges.
Duck Dynasty’ has literally become a phenomenon for A&E, being their highest rated show to date,” says BIGSMACK’s Hann. “It has huge fan appeal, so we were thrilled when they asked us to take a crack at what appeared to be the impossible. We jumped in with the A&E creative team and literally fleshed out and wrote a mountain of scripts over the course of a week. Kudos to the A&E marketing and creative team, who worked many weekends and late night hours to make sure this was a successful campaign. This project was a great opportunity for BIGSMACK to show what our company can do, pulling from all of our resources to make this roll-out campaign a reality, and a funny one at that.”
One of the most successful reality series currently on television, “Duck Dynasty” features the Robertson’s, a Louisiana bayou family living the American dream as they operate a thriving business while staying true to their family values and lifestyle. After creative concepting and writing In New York and Philadelphia was complete, the BIGSMACK production team flew down south from the east coast. They were met with seven inches rain soaked roads in early January, and show fans appearing on-set to get a peek at the Robertson’s, known for their signature long beards. CD Hann and Whitham directed the 21 spots with just two days to shoot the show’s main characters. Strategically planning the logistics for the shoot, they had two crews shoot simultaneously at an enormous Bayou location in Monroe, Louisiana.
“We went in with a plan of course, but due to the volume of spots, unpredictable weather and an unfamiliar location, a lot of adjustments and improv had to happen in Monroe days and hours before the shoot,” explains BIGSMACK’s Head of Marketing Andrew Kobliska. Mud soaked roads, trucks and equipment coming from hundreds of miles away, and crew arriving the night before were part of the challenges the production team was up against. “While Andy was directing one spot, he had to think about the next two spots so we could have a crew set things up ahead of time. The crew was awesome: great hustle; great attitude. The DP's Andrew Turman and Patrick Loungway were absolutely incredible. Because of the circumstances, the DP's had to act essentially as Co-Directors, and they really came through. The members of the Robertson family were all good sports. They hung in there with us and they were willing to do whatever we asked, which included being submerged in freezing water! They have natural talent, and great comedic timing. They really are a wonderful, funny family, which is why they are loved by so many fans worldwide.”
Credits: Project: 21-spot promo campaign for the launch of “Duck Dynasty,” Season 3
Client: A&E EVP, Head of Marketing: Guy Slattery Creative Director: Maria Pecoraro Senior Writer/Producer: Keith Kopnicki Director of Operations: Brett DiPretoro
Advertising Agency: BIGSMACK Executive Creative Director: Andy Hann Head of Marketing: Andrew Kobliska Executive Producers: Heidi Erney, Kevin Lahr Writers: Tom Pace, Joe Nelms, Bob Shea, Andy Hann, Laura Gillespie
Production Company: BIGSMACK Directors: Andy Hann, Scott Whitham DPs: Andrew Turman, Patrick Loungway Producer/AD: Michael Dean AD: Nick Conway press via: Hypeworld
The Ontario Nurses Association (the union that represents almost 60,000 registered nurses and health professionals in Ontario), and Toronto based ad agency Doug & Serge idolize these health care pros much like sports superstars in print campaign.
Press release: “We know and most Ontarians understand that nurses really are the most valuable players in health care,” says ONA President Linda Haslam-Stroud, RN. “Anyone who has used the health care system has seen the extraordinary skills, dedication and value that nurses bring to the table each and every day. These transit shelter ads continue to make the point that nurses are the heroes of health care.” Haslam-Stroud says that, “Our health care system desperately needs the invaluable skills and care that nurses bring, and the government must recognize the fact that dollar for dollar, nurses are the best value in health care.”
