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LIMEY Director Nick Jones had “Fishy Fishy” fun, shooting a new commercial for global fast food chain, McDonald’s. The: 30 spot combines creative humor and playfulness, showcasing McDonald’s new “Fish McBites.” Nick Jones’ directorial talents lend to good taste and a good time. A seamless collaboration with the McDonald’s brand, which campaigns on the slogan “I’m lovin it,” the new spot is sure to leave you feeling that way.

“This was a great idea, and I think we pulled it off in a light-hearted and realistic way,” explains Jones. “We saw an awful lot of cast; there’s a lot of talent out there! And we ended up with some great people. The Agency was a dream; really funny, very cool and totally trusting to work with. Great ideas were going back and forth. The crew was superb, really on it, and a pleasure to work with also. I shot loads of options, tons of coverage, and we all couldn’t get the song out of our heads by the end of the day!”

"I always enjoy working with Burrell, and it was a pleasure to do so again,” adds LIMEY Owner/EP Andrew Denyer. “The spot was right up Nick's alley, fun and youthful. Nick’s suggestion to shoot and stage the spot at night was one of those choices that really up’ the spot’s creative value. Nick’s eye for talent and natural performances show through."

Credits:
Client: McDonald’s
Spot Title: “Fishy Fishy”: 30
Agency: Burrell
Chief Creative Officer: Lewis Williams
CD/Writer: Terrence Burrell
CD/Art Director: Paul Olsen
Executive Agency Producer: John Seaton
Production Company: LIMEY
Director: Nick Jones
Owner/EP: Andrew Denyer
Editorial: Spin Artist
Editor: Phil Lee
Music House: Sonixphere

Ad agency Risdall in Minneapolis called on the comedic and casting talents of LIMEY Director Nick Jones for its hilarious, new commercial campaign for Affinity Plus. In “laugh-out-loud” terms, the two-spot campaign outlines just how far Affinity Plus will go for clients. The 30-second spots, entitled “Surrogate Mother” and “Human Cannonball,” are currently airing regionally.

With its new commercials, Affinity Plus unabashedly takes a shot at its larger banking competitors via parody. The first spot, “Surrogate Mother,” parodies the traditional testimonial spot, opening with a “real” couple at home explaining how “their” bank goes the extra mile for them. The story takes an unexpected turn as they explain that at Affinity Plus, their banking agent goes so far to help her clients that she happily carries their baby. In “Human Cannonball,” when an Affinity Plus Account Manager asks what else he can do for his client, he finds himself stuffed into a cannon and takes flight.

Brave comedic parody from a credit union makes for great fodder for a comedy Director like LIMEY’s Nick Jones. Well-known for his stellar casting eye, Jones was able to work with JR Casting in Minneapolis to find just the right actors for this campaign, and their performances truly bring the spots to life. It was of particular concern for Director and creative team alike that the viewer got the parody. Affinity Plus as a credit union were very comfortable taking pot shots at the “big banks,” but it had to be handled just right.

“We all --agency and Production Company alike — had a great deal of fun shooting these spots together,” says Andrew Denyer, Executive Producer/Owner of LIMEY. “The scripts were particularly well crafted when we received them and Nick certainly managed to take them to the next level.”

“It was a blast!” comments LIMEY Director Nick Jones. “The scripts were a dream to receive, and even more so to get the green light to shoot them. The ideas were so strong from the outset, that it was just a real pleasure discussing how to make the films unique, original, funny and totally surprising. What could be better than discussing how to top a surrogate mother gag with a ‘pregnant man’ gag.”

According to Jones, the ‘Human Cannonball’ spot was the more intense of the two. Visual effects, stunt work, audience, dialogue, lighting changes, etc, were all incorporated into the spot, and shot in just one day. “All in all, a great agency, great fun, and we ended up with some really great commercials. I’m chuffed!” concludes the Director.

Credits:
Client: Affinity Plus
Spot Titles: “Surrogate Mother”: 30; “Human Cannonball”: 30

Ad Agency: Risdall/Minneapolis
Creative Director/Art Director: Matt Bergen
Copywriter: John Neumann -
Producer: Tammy Auel
Production Company: LIMEY
Director: Nick Jones
Executive Producer/Producer: Andrew Denyer
Director of Photography: David Schnack
Editorial Company: Schnitt, Inc
Editor: Charley Schwartz
Producer: Jill Asp Dotseth
Post Production Companies
Ring of Fire
Drive Thru

Honda continues its sponsorship of the National Hockey League(NHL®) with a new spot featuring Anaheim Ducks' Corey Perry and Detroit Red Wings' Nicklas Lidström, which pays homage to a few of the league's oldest fan traditions. Developed by Honda's longstanding agency of record, RPA, the new 30-second spot, "Passionate Fans," first aired during the 2012 Bridgestone NHL Winter Classic.

"This new spot gives Honda the opportunity to showcase its commitment to the sport. 'Passionate Fans' celebrates favorite customs and the passion of the league's devotees," said Tom Peyton, Honda brand manager, American Honda Motor Co., Inc.

The spot features Perry, the current league MVP, and 12-time All-Star Lidström walking from an arena after a late-night NHL game. As the pair prepares to depart in their Honda Pilot, a hat falls on the windshield, mirroring hard-core hockey fans' habit of tossing their hats toward the ice when an NHL player pulls off a hat trick, scoring three goals in a single game. As the stars exchange confused glances, wondering if the other had scored a hat trick recently, hats rain from the sky. As an octopus plops on the dashboard-a bow to Detroit Red Wings' fans habit of tossing these critters on the ice-a narrator says, "They've got passionate fans. We've got passionate fans."

"You don't typically find casual hockey fans-they are diehards by nature. Honda fans are also an enthusiastic bunch, so the two are a natural fit. This campaign ties the passion and tradition of the NHL directly to Honda," said Pat Mendelson, group creative director at RPA.

"Passionate Fans" will run on NBC and Versus and during sports programming. Print will appear in "USA Today" and online units will run online on NHL.com and NHL team sites.

Credits:
Spot: "Passionate Fans" (first air: 1/1/2012)
Agency: RPA
ECD: Joe Baratelli
GCD: Pat Mendelson
GCD: Jason Sperling
AD: Can Kadioglu
Jr. CW: Charles Patterson
Agency Executive Producer: Gary Paticoff
Agency Producer: Joshua Herbstman

Production Co: Alive&Well
Director: Alex Feil
DP: Christopher Sargent
Executive Producer: Phillip Detchmendy
Line Producer: Lawrence Lewis

Editorial Company: Spot Welders
Editor: Lucas Spaulding
Assistant Editor: Sophie Kornberg
Executive Producer: David Glean
Post Producer: Patrick McElroy

Telecine Company: CO3
Telecine Artist: Stefan Sonnenfeld
Telecine Executive Producer: Denise Brown
Visual Effects Company: Public
Lead Flame Artist: Max Harris
Visual Effects Producer: Stacy Aungst
Visual Effects Executive Producer: Kim Nagel
Title Design: Royale
Executive Producer: Danielle Hazan
Audio Post Company: Juice West
Audio Post Mixer: Bob Gremore
Sound Design Company: SOUTH
Executive Producer: Dan Pritkin
Celebrity Talent: Nicklas Lidström of the Detroit Red Wings, Corey Perry of the Anaheim Ducks

Rainy, snowy weather is here, and you'd better be ready if you're stepping out to face the elements. Nice Shoes comes prepared for the conditions in a new spot for Under Armour shot and edited by Producers Rip Lambert and Dave Hudson, respectively. The studio, led by Creative Director Aron Baxter and Colorist Lenny Mastrandrea, deftly captures the vagaries of menacing nature during the freezing season in promoting Under Armour's line of cold-weather gear available at Dick's Sporting Goods.
The spot opens with a school bus pulling up to a snowy stadium and a determined high-school football team solemnly filing out, uniforms in hand. A hard-barking narrator punctuates the visuals with motivational outbursts: "Tonight, we take respect!" The pulsating montage that follows weaves through the amped-up rituals of the pregame locker room and the swaggering, almost ferocious swaying of several teams collectively flexing on-field, ready to explode, oblivious to the rain and snow dumping over them.

Under Armour and Lambert challenged Nice Shoes to take scenes shot on an 80-degree day and transform them into menacing snapshots of winter fury. "Everyone did a great job setting us up, blowing fake snow over the live-action scene and creating small drifts for effect," stated Baxter. "Then we took over in compositing and CG, creating a full-blast winter landscape in the background and foreground, adding or blocking snow as necessary, all against an edgy color palette true to Under Armour's brand. We added to the tension of athletes in the midst of intense preparation by creating the breath streaming from them with a mixture of live action elements and created particle systems."

The hero shot is a dramatic composited close-up of beading water shot at 120 frames and a CG liquid water drop (at 500 frames a second), portraying the droplet landing and then trickling down, completely repelled by Under Armour's Charged Cotton material. "We mocked this shot up two or three times, then referenced live shots and similar shots from our liquid CG simulation arsenal to create the final," added Baxter.

Producers and Nice Shoes have collaborated on the Under Armour account for years. "I was thrilled to team up with them once again," noted Mastrandrea. "We didn't have a ton of time to work on this — just a few days — and both Producers and Under Armour wanted the spot to really shine. That's where our years working together and our familiarity with the brand ethos came together to turn out an awesome spot."

Credits:
Client: Under Armour
Spot Title: PREPARE
Production Company: Producers
Director: Rip Lambert
Producers: Ross Jones, Karen Phillips
Editor: David Hudson
Sound Design: Tim St. Clair
Mix: Robert Bragg
Motion Graphics: Chris Abolt
Visual Effects: Nice Shoes
Creative Director: Aron Baxter
CG Artists: Jim Collins, Boaz Livny
VFX Artists: Jason Farber, Vin Roma
Producer: Jen Cadic
Color Grading: Nice Shoes
Colorist: Lenny Mastrandrea

Attribution: Written content created by TRUST: http://www.trustcollective.com
Under Creative Commons License: Attribution Share Alike

Jaguar is launching today a new television advertisement in the U.S. that communicates the brand’s resurgence by spotlighting its high performance cars and their innovative new design. The new 30-second spot is the first ad from Jaguar’s new global ad agency of record, Spark44, and showcases the brand’s highest performance models: the XFR, XJL Supersport and XKR-S.

“Jaguar represents seductive design, innovation and performance. This new television spot truly communicates the excitement surrounding the brand with our new high performance line-up,” said David Pryor, Brand Vice President of Jaguar North America. “The ad boldly shows off the three highest performing models in the Jaguar fleet, the XFR, XJL Supersport and XKR-S. We couldn’t be more proud of our 2012 model year collection and are thrilled to showcase it through a spot that reflects a new, progressive approach to the brand.”

In “Jaguar at Play,” the models are shown as animated objects — teasing, challenging and playing with each other in a variety of environments, ranging from the rural forests of northern San Francisco to urban industrial locations. The spot communicates the heightened sense of life drivers feel when they get behind the wheel — agile, powerful and exhilarated.

The spot debuts on the NFL Network on December 1 and will also air, in the U.S. only, on national cable and locally, including CNN, ESPN and Comedy Central. It was directed by Vic Huber, of Coyote Productions, and features an original score from Anthony Marinelli.

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."

Los Angeles-based ad agency Arcana Academy are reminding consumers that the mattress is often the scene for many familial ups and downs in “Life Before Your Eyes,” a poignant brand affinity spot for mattress giant Sealy Posturepedic.

Taking the cheeky and avant-garde creative under the brand’s category re-defining ‘Whatever You Do In Bed, Sealy Supports It’ campaign into new emotional territory, the spot recounts the story of a family moving across the country. When they hit a bump in the road, the mattress flies off the back of their moving track and the seminal moments in lives flash before viewers’ eyes.

“People fall in love with their bedding, their pillows and even their bed frame, but ask around and you might be surprised to discover that most people aren’t sure what brand of mattress they sleep on, let alone express an emotional connection to it,” said Arcana Academy co-founder Lee Walters. “If you love your mattress, is it possible for it to love you back? This spot says, yes. Definitely.”

“Life Before Your Eyes” will debut on April 1 and air during heavy retail periods throughout May, June, July and August. In between those periods, it will act as a brand affinity spot to broaden consumers’ perceptions of Sealy Posturepedic mattresses.

Credits:
Title: Life Before Your Eyes
Client: Sealy
Agency: Arcana Academy, Los Angeles
Executive Creative Director: Shane Hutton
Executive Creative Director: Lee Walters
Art Director: Lee Walters
Art Director: Alex Esseveld
Copywriter: Shane Hutton
Copywriter: Agustin Sanchez
Executive Producer: Florence Babbitt
Agency Producer: Jessica Darke
Agency Producer: Denice Hutton
Account Executive: Elizabeth Miller
Directors: Annabel Jankel and Jackson Jankel-Morton
Production Company: Curious Pictures
Director of Photography: Martin Ahlgren
Executive Producer: Bill Reilly
Line Producer: Carol Haak
Editorial: Arcana Academy
Editor: Keith Hamm
Animation and Visual Effects Company: Big Block
Managing Director, Big Block: Kenny Solomon
Executive Producer, Big Block: Leslie Sorrentino
Producer, Big Block: Cindy Chapman
VFX Supervisor: Randall Smith
Lead/Designer: Curtis Doss
Flame Artist: Brian Schneider
Animator: Peter Sperrazza
Colorist: Bob Curreri, Cinelicious
Sound Design Company: Eleven Sound
Executive Producer, Eleven Sound: DJ Fox
Sound Engineer, Eleven Sound: Scott Burns
Music Company: Egg Music
Original Music: Brack Herfurth, Egg Music
Executive Producer, Egg Music: Eric Fawcett
via: Glossy

When MJZ Director Rupert Sanders and Grey New York needed high-end VFX to bring a World War II epic, a medieval fantasy battle, and a bit of science fiction together in a new spot for DIRECTV, they turned to the team at MPC. The spot is a showcase of MPC’s impressive skillset and resources. The LA office led a team that included artists across MPC’s global family of studios, taking the project from rough concept design to photo-real rendering to flawless compositing.

“This was one of those projects that only comes along once in a while,” noted MPC LA Managing Director Andrew Bell. “To help create three disparate and fantastic environments with such an incredible director and agency is a VFX team’s dream come true.”

Acclaimed production designer Dominic Watkins (National Treasure: Book of Secrets, The Bourne Supremacy) and his art department helped MJZ transform a quiet canyon two hours north of Los Angeles into the otherworldly scenes. Working with MJZ’s footage of a battle scene populated with 50 extras in authentic military garb, Jeeps, a burnt-out half-track, derelict troop carriers, and a Sherman tank, MPC joined forces with the physical special effects experts at Full Scale Effects to help provide in-camera explosions and balloon lights to illuminate the vast canyon. MPC enhanced these elements in VFX as well as adding the parachute flare in CG.

They also collaborated to create the computer-generated dragon and a spectacular live-action fireball of dragon’s breath. Watkins worked closely with Sanders to recreate the backdrop with several imaginative twists, including a matte painting, a gnarled tree reaching toward the moon from a built-up hill, and a valley rippling with trees, scorched earth, and the skeletons of fallen combatants. The spot’s samurai warrior was shot onsite with a high-speed Phantom camera and lit by glimmering heatwaves to match the CGI dragon.

“One of our greatest challenges in this sequence was to have the dragon’s fireball interact with, but not touch, the warrior and his stallion,” said Mike Wynd MPC LA’s VFX Supervisor. “We solved this problem by digitally rearranging the scene to provide more distance between the two opponents with some of the live-action trees moved and foreground scrub added.”

To create the UFO scene, a small second-unit MJZ team shot the car traveling down a darkened country road. MPC then added the computer-generated spaceship and digitally added light to the ground, the car, its shadows, and the surrounding scenery. The studio also added additional atmosphere and jolted the power poles and cables with an alien-induced shake.

MJZ shot the plates of the back-seat observer with a green screen outside the windows and MPC composited the outside environments in afterward. MPC sealed the effort with interactive lighting in both the live-action and digitally enhanced segments.

View the: 60 version below the credits.

Credits:
Client: DIRECTV
Spot: “Road Trip”
Air Date: May 2013
Agency: Grey New York
President/CCO: Tor Myhren
Executive Creative Director: Todd Tilford
Executive Creative Director: Perry Fair
SVP Creative Director/AD: Denise O’Bleness
Executive Producer: Andrew Chinich
Associate Producer: Lindsay Myers
VP Account Director: Tamar Arslanian
VP Account Director: Beth Culley
Production Company: MJZ
Director: Rupert Sanders
DOP: Greig Fraser
Producer: Laurie Boccaccio
Editorial Company: Work/Spotwelders
Editor: Neil Smith
VFX: MPC LA
Managing Director: Andrew Bell
VFX Supervisors: Franck Lambertz, Mike Wynd
VFX Team: Ben Persons, Brendan Smith, Sharon Marcussen, Brinton Jaecks, Ryan Knowles, Mike Wynd, Ross Denner, Daniel Marsh, Fred Durand, Ian Wilson, Danny Wynne, John Cherniack

Press: What if you could buy a new car alongside your everyday groceries? This is the scenario imagined in Volkswagen’s latest spot to promote the affordability of the Volkswagen brand and its most accessible model, the Jetta.

“Butcher”, which began airing this month, opens with a woman ordering four sirloin steaks in a traditional food market. She then asks, “How fresh is the Jetta?” just as she would while contemplating a roast or rack of lamb. The camera then pulls back to reveal two silver Volkswagen Jettas dangling and gently swaying behind the counter from the market’s ceiling. After briefly considering the affordable price, she spontaneously decides to buy the “one on the left”.

View Volkswagen Jetta “Butcher": http://www.youtube.com/watch?v=KWdAXw7ziOo
View “How to Hang a Jetta” — a behind-the-scenes of the spot: http://www.youtube.com/watch?v=i_58EBCceAw

The spot, developed by Toronto-based agency Red Urban for Volkswagen Canada and directed by Untitled Films’ Jean-Michel Ravon, is an extension of a campaign launched late last year in the UK.

Since the impulse buy is familiar to most shoppers, communicating the brand’s message was easy. Executing the creative idea, however, was much trickier. Key to the spot’s believability was finding a location where two cars — at roughly 3,000 pounds apiece — could be hung from the wall or ceiling. Since Volkswagen Canada’s spots avoid using computer graphics as a way to reinforce Volkswagen’s authentic style, a very large space was needed.

“Choosing a location was tricky because we wanted the atmosphere to feel intimate, but the size of the vehicles ruled out small shop settings,” said Christina Yu, Executive Creative Director, Red Urban.

The stables of a downtown Toronto historical castle, Casa Loma, were eventually discovered and booked for the shoot. The stables provided a quaint space with high ceilings and authentic style details, like the subway-tiled walls so common in traditional food markets, which were a perfect backdrop for the concept of the shoot.

The next obstacle the team needed to overcome was hanging a hefty car from the ceiling in a way that looked seamless and believable.

“The big challenge was to hang the cars so that they would sway a little,” adds Yu. “To accomplish the stunt, we removed the engine, transmission and fluids from both vehicles to reduce the overall weight. A European trailer hook part was installed and reinforced before employing a custom rig solution to hoist the cars up inside the Casa Loma stables.”

Lynne Piette, Brand Marketing Manager at Volkswagen Canada, says, “We expect that the spot will resonate well with consumers as they begin the New Year. Providing a premium product and experience that's accessible to the masses is at the core of the Volkswagen brand, and this Jetta commercial represents exactly that.”

Credits:
Title: "Butcher"
Client: Volkswagen Canada
Creative Agency: Red Urban
ECD: Christina Yu
AD: Liam Johnstone
CW: Sarah DiDomenico
Broadcast Producer: Anna Tricinci
Integrated Producer: Terri Vesgo
Account Directors: Caroline Kilgour, Sonia Ruckemann

Production Company: Untitled Films
Director: Jean-Michel Ravon
Executive Producer: Lexy Kavluk
Line Producer: Tom Evelyn
DP: John Houtman
Production Designer: Michael Walker

Editorial Company: Rooster Post
Editor: Paul Jutras

Post Production: Track and Field
Online Compositor: Ernie Mordak
Music and Sound Design: The Eggplant
Music Producer: Adam Damelin
via: Glossy

This great new ad for ARCO High Quality Gas entitled "Pumping" could have just as easily been a new spot for Viagra or Cialis.

Director Jordan Brady of Superlounge has collaborated with agency OgilvyWest on a new spot for ARCO. Being confident about gasoline is a rarity. Spot-on creativity by the agency joined with relatable casting by Brady, drives audiences to “pump with confidence.” Motivation has never come so easy.

"Everyone at Ogilvy is very hands-on,” explains Superlounge’s Jordan Brady. “I learned a lot from the creative team. How do you motivate people about gasoline? Prices fluctuate and, frankly, it's not something people like to talk about. But the team found a way to motivate, crafting an anthem-like spot. Having fueled up at ARCO for years now, I've always pumped with confidence.”

Credits:
Client: ARCO
Advertising Agency: OgilvyWest
Chief Creative Officer: Bill Wright
Chief Creative Officer: James Dawson-Hollis
Art Director: Euan Au
Copywriter: Brock Johnson
Senior Producer: Cindi Blondell
Group Account Director: Evelyn Borgatta
Account Supervisor: Florence Pique-Monnier

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

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

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

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

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

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

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

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

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

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

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

via: PR Newswire

CENTURY 21 Super Bowl Pre-Game Ad: "Mini-Mart" Spot.

CENTURY 21 Super Bowl Pre-Game Ad: "College" Spot.

CENTURY 21 Super Bowl Pre-Game Ad: "Subway" Spot.

CENTURY 21 Super Bowl Commercial: "Wedding" [Official 2013 TV Spot].

Sony — Two Worlds ad, Director's Cut.
Great new ad/cinema spot for Sony features an original poem, "That's What I Heard You Say", written and read by Leonard Cohen. The spot was directed by Arev Manoukian at Spy Films (lovin the work these guys do at Spy)

Sony — Two Worlds ad, 3D Version.
Credits:
Director: Arev Manoukian
Cinematographer: Bojan Bazelli
Music: Clint Mansell (Black Swan, Requiem For A Dream)
Post Production: Digital Domain (LA)
Executive Producer: Carlo Trulli & Marcus Trulli
Producer: Marcus Trulli & Peter Oad
Stereographer: William Reeve
Editing Company: Will Cyr @ Creative Post
Sound Design/Arrangement: Lime Studios (LA) Grand Central (London)
Ad Agency: Grey London
Executive Creative Director: Nils Leonard
Creative Director: Dave Monk and Matt Waller
Agency Producer: Jacqueline Dobrin
Business Director: Anneliese St-Amour
Account Manager: Suzi Napier

Check out the making of the Sony Two Worlds spot below.

Recent jumP LA addition Richard Cooperman is off to a great start with his new studio by cutting a high-energy spot for Lexus. Teaming up with Serial Pictures Director Jonas Ackerlund via Team One, Cooperman wove together a powerful combination of images, music and typography.

Miles is a winding adventure passing through day and night, remote desert scenery and lively cities, twisting mountain roads and pick-up lanes at train stations. It is populated by the young, urbane and fashionable, who pile in for long road trips and gather around pools for raging late-night parties. Cooperman perfectly blends this dynamic world with upbeat music and shots of a Lexus powering down the road.

"Jonas gave me so much unbelievable footage to work with," noted Cooperman. "The tough part was winnowing it down to the very best and building something that matched his and Team One's vision for the spot."

"We are thrilled to have such a beautiful spot be Richard's first project with us," noted jumP EP Betsy Beale. "It was a great collaboration between Jonas, the agency and Richard".

Credits:
Client: Lexus
Spot Title(s): "Miles"
Air Date: June 2012

Agency: Team One
CCO: Chris Graves
GCD: Jason Stinsmuehlen
SR.AD: Ryan DiDonato
ACD/Copy: Andrew Smart
Senior Producer: Beth Hagen

Prod Co: Serial Pictures
Director(s): Jonas Ackerlund
DP: Par Ekburg
EP: Violaine Etienne
Producer: Alec Sash

Editorial Co: Jump LA
Editor: Richard Cooperman
EP: Betsy Beale
Producer: Gavin Carroll

Post/Effects Co: A52
Lead VFX/Inferno Artist: Paul Yacono
EP: Jen Sofio Hall

Telecine Co: CO3
Colorist(s): Dave Hussey
Producer: Denise Brown

Audio Post Co: Juice
Mixer(s): Bob Gremore

via: http://www.trustcollective.com/portfolio/content/jump_lexus.php#ixzz1yqvDGM94
Attribution: Written content created by TRUST: http://www.trustcollective.com
Under Creative Commons License: Attribution Share Alike

So your parents are away and you decide to have the ultimate party, better hope your folks don't have this app.

Editor Graham Turner enjoys the Party with Reliant Energy, a newly-launched spot that shows how Reliant AccountAlerts can tip people off to usage levels; In this case, a teenage party run amok when the parents are on vacation. As fast as you can say chicken suit, the wild abandon is busted. Created by agency Grey in San Francisco, the commercial was directed by Furlined’s Speck/Gordon with whom Graham Turner previously collaborated on the wildly popular Moneysupermarket spot.

Credits:
Spot title: “Party”
Reliant Energy
Creative Ad Agency: Grey, San Francisco
President: Brad Fogel
Executive Creative Director: Jack Fund
Creative Director/CW: Michael Buss
ACD/AD: Mark Chila
Group Account Director: Frank Renwick
Agency Producer: Florence Babbitt
Production Company: FURLINED
Director: Speck/Gordon Director
Producer: Anita Wetterstedt
DP: Jeff Cronenweth
Editorial Company: Cut+Run
Editor: Graham Turner
Producer: Christie Price
EP: Carr Schilling
Managing Director: Michelle Burke
Music: Mophonics Music & Sound
Original Song "Playoffs"
Composer: Casey Gibson
Producer: Josh Marcy
Creative Director: Adam Harriman
Executive Producer: Michael Frick

The Doritos Crash The Super Bowl XLVII ad contest is back for 2013 (early I know...) here is a preview of what the contest is all about this year. The preview highlights past entries and winners plus a taste of what's to come with Michael Bay and the Transformers 4 movie.

The great Super Bowl ad-venture is back. This year, if you make a DORITOS ad you might see it air on the Super Bowl and win not just $1 Million but a prize that's twice as explosive: a gig with high-octane Hollywood hit-maker Michael Bay on Transformers 4.

Five finalist ads will be announced in January 2013. Then it will be up to fans to vote for their favorite consumer-created ad. Each of the five finalists will win $25,000 and a trip to New Orleans to attend Super Bowl XLVII in a private luxury suite at the game, where they will tune in to learn for the first time which consumer ads will compete for the top spot in the USA TODAY Ad Meter before a worldwide audience. Bonus prizing will be awarded, based on how each ad ranks on the USA TODAY Ad Meter:

• $1 million will be awarded for an ad that scores the No. 1 spot on the USA TODAY Ad Meter
• $600,000 will be awarded for an ad that scores the No. 2 two spot on the USA TODAY Ad Meter
• $400,000 will be awarded for an ad that scores the No. 3 spot on the USA TODAY Ad Meter

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Here is a great new spot created for non-profit Killing My Lobster's annual fundraising appeal. Isn't it refreshing how sometimes simplicity can be so brilliant.

The Lobster Theater Project, better known as Killing My Lobster (KML), provides artists with the opportunity to generate and produce performance art across a range of disciplines that provokes, amuses, educates, entertains, and inspires. KML is committed to producing high quality, relevant and smart comedy that draws upon San Francisco for inspiration and is a reflection of its non-traditional audience.

Written by Ken Grobe & Miriam Wilson; directed by Ken Grobe. The music was composed and performed by Joshua Sitron, who also composed the theme songs for TV shows "Dora the Explorer" and "Allen Gregory"

This spot was shot with the assistance and facilities of SF ad agency Goodby Silverstein & Partners.

Killing My Lobster is a 15-year-old San Francisco-based sketch comedy theater company, making it SF's largest and longest-lived company of its type. To place it in context: LA has the Groundlings, Chicago has Second City, and San Francisco has KML.

Once a year in December KML does a drive for donations. "Costumes" was one of the two videos created to promote that drive.

Everyone involved, from the actors to Josh Sitron to the Goodby folk, donated their time and resources to produce the spot.

Creative Credits:
Directed by Ken Grobe
Written and Produced by Ken Grobe and Miriam Wild-Smith
Camera work by Eric Herron and Chris Parisi
Edited by Chris Parisi
Featuring: Andy Alabran, Allison Johnson, Calum Grant, Paco Romane, Shaye Troha, Sabina Piersol, Todd Brotze, Jon Wolanske
Music by Joshua Sitron
Production Assistants: Reed Kavner & Sabina Piersol

Special thanks to Moe Beitiks, Samantha Schireson, Goodby Silverstein & Partners, and Jon Wolanske

Doritos recently announced the details of the seventh Crash The Super Bowl Ad Contest and as of today you can officially submit your ad! The 2013 Crash The Super Bowl VII should see some great consumer created ads considering this years grand prize winner is getting the opportunity to work with Michael Bay on the film "Transformers 4."

Is your ad ready to be submitted? Check out the submissions already rolling in on the Doritos FaceBook App, more details below:

What has become one of the most popular of all the Super Bowl Ads on game day are the finalist of the Crash The Super Bowl contest. Now the seventh year that Doritos is running the contest they kick it up big time by announcing this years winner has the opportunity to work with Michael Bay on the next installment of the “Transformers” movie franchise, along with a shot at a $1 million bonus!

Bay who actually started his career in advertising had this to say: "...creating television spots and trying to make a name for myself, I can definitely relate to those who enter the Crash the Super Bowl contest," said Bay, who began directing commercials and music videos one week out of film school in 1989. "I know firsthand how challenging it can be to succeed in such a competitive industry, so I’m excited to help someone else truly make a name of their own."

The contest invites people to use their own creativity to create homemade ads for the Doritos brand, the top two spots will air during the Super Bowl XLVII broadcast on Sunday, Feb. 3, 2013. One of the ads will be selected by America’s votes; the second by the Doritos brand team. The ad that ranks the highest on the USA TODAY Ad Meter rankings will be awarded the grand prize of working with Michael Bay, and if that ad lands at the top of the USA TODAY Ad Meter, Doritos will be handing its creator $1 million!

The contest will run exclusively from a Crash the Super Bowl-branded app on the Doritos Facebook Page (www.facebook.com/DoritosUSA) for the first time. You can upload your 30 second commercial starting today Oct. 8, 2012 to Nov. 16, 2012. The app is designed to engage and socialize with consumers in a much broader way than in previous years with app features like a "Pitch In" tool that allows fans to interact with each other. The tool will also allow people to help ad creators by requesting or offering up props, talent and other items contestants might need to create their ads. The traditional toolbox is still available and loaded with the Doritos logos, product shots, music and animations for use in creating your ad. The gallery of submissions is already filling up.

The top five ads will be announced in January 2013, awarded $25,000 and a trip to New Orleans to attend Super Bowl XLVII in a private luxury suite. Then it will be up to fans to vote for their favorite ad, where they will tune in to learn for the first time which two ads will compete for the top spot in the USA TODAY Ad Meter. Bonus prizing will be awarded, based on how each ad ranks on the USA TODAY Ad Meter:
• No. 1 spot on the USA TODAY Ad Meter wins you a cool $1 Million
• No. 2 two spot on the USA TODAY Ad Meter wins you a $600,000 prize
• No. 3 spot on the USA TODAY Ad Meter wins you $400,000

Ram Krishnan, vice president of marketing for Frito-Lay North America added, "Over the past six years, our fans have created thousands of Doritos ads, dominating the USA TODAY Ad Meter year after year and making Doritos the brand to watch on Super Bowl Sunday. Every year, our fans deliver for us, so this year we’re bringing them a contest grand prize that we know will be a true game changer. The opportunity to work on a blockbuster film like ‘Transformers 4’ is an experience we know will help catapult our lucky winner to the big time."

Consumer-created Doritos ads have ranked in the top-five of the USA TODAY Ad Meter the last six years, and in three of the last four years scored the No. 1 ranking, the campaign is clearly one of the greatest ad campaigns ever created.

Sponsored Post for CTSB

The Strategic Milk Alliance, a new joint venture created by proud dairy farmers across Canada, is pouring out a new communications campaign, titled ‘Milk Every Moment” that reconnects teens and adults to drinking milk. The evocative and heart-warming creative is an ode to childhood that highlights some of the fun yet nonsensical activities people seem to have outgrown, while revealing milk as a timeless pleasure that can be enjoyed at any age.

“Not everything we did when we were kids made sense, but one thing that did make sense was pairing milk with foods such as cookies and grilled cheese sandwiches,” says Dean Lee, executive creative director, DDB Canada. “This campaign is designed to remind people that drinking milk with their favourite foods was great during their childhood and it still tastes just as good now.”

Developed by the integrated groups of DDB Canada’s Vancouver office, the comprehensive national campaign kicks off with a 60-second cinema spot, “Fun” that portrays all the amusing and occasionally illogical activities children would do purely for enjoyment’s sake. The cinema spot depicts familiar moments from childhood when cardboard boxes became hideouts and frosted posts tempted tongues, all by way of reminding viewers of the time when ‘fun’ governed their decision-making. From the ad’s nostalgic illustration of a young girl wearing rubber gloves for shoes to young boys throwing wet paper balls to the ceiling, the ad’s evocative voice-over helps narrate each scene.

All of the young actors are filmed in scenes to portray eras of the 70s, 80s and 90s, which targets and prompts people of all ages to recall their own history of playful antics. Ending the spot is a universal yet calming reassurance: “While not everything we did when we were kids made sense, drinking milk did, and still does.”

“People, as they move into adulthood, are likely to replace milk with other beverages,” says Katherine Loughlin, Manager, Market Development with Alberta Milk. “With the goal of increasing adult and teen milk consumption across Canada, the new campaign reminds people how great milk pairs with certain foods – something they would have known as kids and may have forgotten over the years.”

Three 30-second TV spots, “Fun,” “Heart” and “Curiosity” help to underpin the message, reinforcing the idea that milk used to and can still be the perfect sidekick. Each spot ends with a call to visit www.MilkEveryMoment.ca, where people are encouraged to share content such as favourite milk pairings, recipes, photos and videos.

The website further ignites users’ passion and excitement for milk through contests and community engagement. The first social contest to launch on June 17 will invite Canadians to post and share content of themselves or their children engaging in memorable childhood moments, such as the ones portrayed in the broadcast spots. The content can be shared directly on the website or via Facebook, Twitter, Google+ and Pinterest. Through a series of public voting and editorial considerations, the six-week contest will determine four winners in total: three of them will take home a Polaroid digital camera and one grand prize winner will receive a DSLR digital camera.

Digital, social, print, outdoor, public relations, experiential and shopper marketing round out this integrated campaign by driving traffic to MilkEveryMoment.ca. Each program element creates conversation and interest surrounding milk. This campaign is the first for the Strategic Milk Alliance since forming and signing DDB Canada as its agency of record in July 2012.

Milk Every Moment was launched earlier this week and will run throughout the year with OMD Canada responsible for the media plan.