A museum in Sweden will digitise its mummy collection in 3D to allow visitors to unwrap a real mummy in digital form.
Visitors will be able to virtually explore what is inside a mummy's sarcophagus [Credit: Institute Swedish ICT]The mummies from Medelhavsmuseet in Stockholm will be digitised by technology which uses photos and X-ray scans to create 3D models.
The permanent exhibition is scheduled to open in the spring of 2014.
The curators hope it will help visitors gain a deeper understanding into the lives of ancient Egyptian people.
The museum will scan six mummies using a process called reality capture technology, where high-resolution 3D digital models can be made by compiling data from photos and X-ray scans.
Museum visitors will be able to explore the mummies in a way similar to what archaeologists do when they are looking for novel discoveries from ancient remains.
"We aim to set a new standard for how museums work with 3D digitisation and interactive visualisation to make collections more accessible to other museums, researchers and museum visitors," said Thomas Rydell of the Swedish Interactive Institute.
"In this project we are working with mummies, but the same methods could of course be used on large variety of objects, such as natural history objects and other historical artefacts."
The museum visitors will be able to zoom into very high resolution to see details like carving marks on a sarcophagus. They will also be able to "unwrap" a mummy by peeling off virtual layers of the wrapping to explore the artefacts buried with the body.
"We can literately create a virtual copy of the mummy. This version could be shared with other museums, be used for research or be part of an interactive visitor experience," added Mr Rydell.
The work is a collaboration between Swedish visualisation researchers, Medelhavsmuseet in Stockholm and two technology companies, Autodesk and Faro.
"The technology will enable our visitors to gain a deeper understanding of the men and women inside the mummy wrappings," said Elna Nord, producer of the exhibition.
"Layer by layer, the visitor can unwrap the mummy and gain knowledge of the individual's sex, age, living conditions and beliefs. With help from the technology, the mummies become so much stronger mediators of knowledge of our past."
Every year IBM makes predictions about 5 technology innovations that stand to change the way we live within the next 5 years, (above) IBM introduces us to Cognitive Computing. Thought your smartphone was smart? In five years our computers just might be: Tasting, Smelling, Hearing, Seeing, and Touching everything for us. (5 senses videos below).
The goal of cognitive computing is to get a computer to behave, think and interact the way humans do. In 5 years, machines will emulate human senses, each in their own special way.
“With all due respect to current technology, our computers today are just large calculators,” said Paul Bloom, the CTO of Telecom Research at IBM. “They calculate very fast and lots of data, but they really don’t think.”
"This is really an assistive technology," commented Dr. Bernard Meyerson, IBM's VP of research. "It can't go off on its own. It's not designed to do that. What it's designed to do, in fact, is respond to a human in an assistive manner. But by providing a human-style of input, it's freed us from the task of programming and moved to the task of training. It simply has — not more intelligence — but more bandwidth, and there's a huge difference between the two."
Smell:
In 5 years, computers will have a sense of smell. We will see vast advances where sensors will be equipped to smell potential diseases that feed back into a cognitive system to tell us if they suspect a possible health issue. Your phone will detect if you're coming down with a cold or illness before you do.
Taste:
In 5 years, a computer system will know what you like to eat better than you do. A machine that experiences flavor will determine the precise chemical structure of food and why people like it. Not only will it get you to eat healthier, but it will also surprise us with unusual pairings of foods that are designed to maximize our experience of taste and flavor. Digital taste buds will help you to eat smarter.
Sight:
In 5 years, computers will not only be able to look at images, but understand them. Computers will be trained to turn pictures and videos into features, identifying things like color distribution, texture patterns, edge information and motion information. A pixel will be worth a thousand words.
Touch:
In 5 years, you will be able to touch through your phone. IBM is working on bringing a sense of touch to mobile devices, and bringing together virtual and real world experiences for a number of industries including retail. Shoppers will be able to "feel" the texture and weave of a fabric or product by brushing their finger over the item's image on a device's screen.
Hearing:
In 5 years, computers will hear what matters. Hearing systems of the future will be trained by 'listening' to sounds and will use this input to start detecting patterns and building models to decompose sounds. Machines will be used to predict when a tree might fall or to translate "baby talk" so parents understand if a baby's fussing indicates hunger, tiredness or pain.
Creative advertising agency Fancy Rhino creates a beautiful new ad campaign for Samsung in cooperation with Current TV and Take Part (a subsidiary of Participant Media) showcasing the Galaxy Note II and the Galaxy Note 10.1 tablet in action.
The short film styled ads feature a handful of people in the non-profit world who are doing some pretty amazing work and using good technology to do it. the result is a combination of stories of these social rock stars to the Samsung brand in a powerful way.
Samsung salutes Adam Braun, CEO and Founder of Pencils of Promise — a non-profit organization that creates schools and uses innovation through technology to provide access to education all over the world.
Samsung praises SunSaluter — a company that uses innovative technology to energize communities all over the world.
Matt Flannery of Kiva.org uses technology to connect people all over the world and inspire social action.
Credits: Advertised brand: Samsung Advert title(s): Create the Future Advertising Agency: Fancy Rhino, Chattanooga, TN, USA http://Fancyrhino.com CCO: Drew Belz Creative Director: Caleb Rexford Spot Directors: Drew Belz, Isaiah Smallman and Caleb Rexford Producer: Take Part http://www.takepart.com Graphic Design: Michael Mahaffey Director of Photography: Keith Turner and Andrew Aldridge Camera: Kelly Lacy, Keith Turner and Andrew Aldridge Sound Production Agency: Ro-Co.co http://www.Ro-Co.co Soundtrack Composer: Michael Kendall
The talented and lovely drummer Gemma Hill performs a solo percussion set using nothing but Bosch products in a cool video entitled "Bosch — All Around You". Gemma pounds away on a full line of products including a lawnmower, a washing machine, car batteries, security cameras, air-filled packaging bags and drive and control hubs.
Gemma Hill, the percussionist used by Bosch UK, started playing at the age of 10. Having studied on the degree course in Contemporary Popular Music at the Academy of Contemporary Music (ACM), Guildford in the UK. She works as a professional live and studio drummer and has played with various bands and artists around the world for the last seven years. Bosch, a leading global supplier of technology and services in the automotive technology, energy and building technology, industrial technology, and consumer goods, Bosch spends over 4 billion euros on research and development, and applies for over 4,700 patents worldwide.
Whitelodge's latest collaboration with Christopher Raeburn featuring his fresh-from-the-catwalk SS14 Menswear collection. Conceived and directed by Ryan Hopkinson, this one of a kind fashion film fuses technology with style to deliver a striking presentation of Christopher's collection shot in bullet time using the Sony Xperia Z smartphone.
Filmed over three days, the piece fuses moving image and stills art directed by Ryan to give a 360 degree spiral view of colour explosions, with each look bursting away from the model to reveal yet another layer to Christopher's collection.
100 Xperia Z smartphones mounted on a one-off spiral rig, set up to capture every angle of an explosive fashion collaboration that pushes fashion and technology to new limits.
'Xperia Z Versus Fashion' captures every angle of three explosive transitions that model Sera underwent, while wearing four pieces of fashion designer Christopher Raeburn's recent collection for London Fashion Week.
Delve into the behind the scenes film to see exactly how the look was achieved...
Credits: Creative Advertising Agency: Whitelodge, USA
The new Audi R8, Go light. Go agile. TV commercial entitled "Colors".
Audi incorporates the Audi ultra lightweight technology in the new Audi R8. Technology that enables lighter and therefore more agile driving. The high number of components made of carbon and ceramic in relevant areas of the vehicle give this sports car an even more dynamic character. Each and every one of these elements define and make up the claim of the launch campaign of this sporty model: "Go light. Go agile." In this line of communication, the TV spot revolves around this concept. The story is set in a spectacular vault with a large glass platform. In this setting, a sequence of colors is reproduced illuminating various areas of the stage. The new Audi R8 has to follow it with the greatest possible agility and speed. The driver of the vehicle drives in sporty fashion over the checkerboard and successfully completes the series of colors. As a final twist, the driver gets out of the new Audi R8 and breaks the glass surface. The spot manages to convey the campaign concept "Go light. Go agile." with a spectacular performance of the new Audi R8. It communicates the result of the Audi ultra lightweight construction technology while showing all the sportiness of the new Audi R8.
Credits: Advertising Agency: DDB, Barcelona, Spain General Creative Director: José María Roca de Vinyals Executive Creative Director: Fernando Barbella Creative Directors: Alejandro Arriagada, Jaume Badia Art Director: Fernando Alcazar Art Director: Javier Rodriguez Copywriter: Xavi Gimeno Agency Producer: Vicky Moñino Production Company: Agosto Director: Nacho Gayan Producer: Toni Moreno Director of Photography: Patrick Duroux Editor: Dani Arbonés Post Production: Big Lazy Robot / Metropolitana Post producer: Daniela Borges Sound: Imasblue (Alex Perez) Music: La Crem (Ramón Martinez)
Saatchi & Saatchi Brussels today launch the latest instalment in the ‘Samsonite VERSUS the World’ campaign. ‘VERSUS’ showcases the latest innovations in travel design and technology that set Samsonite apart from the competition. Brought to life via a series of tongue-in-cheek videos, the POS and instore campaign will also run online from 11th August, 2014.
Following on from the success of the campaign’s earlier films, the latest work introduces the many features of the Samsonite range by subjecting each product to rigorous, real-life testing. Five new products are put through their paces in a series of unexpected endurance trials in the Samsonite Quality Lab.
Creative Director of Saatchi & Saatchi Brussels, Alexander Cha’ban said “The brief for this project was a great challenge; tell the world that Samsonite products are built to last and endure. Well we decided to go one better and actually show the world by inviting them into the heart of the Samsonite Quality Lab. Then we set about holding Samsonite to their word by letting loose the greatest forces of nature against each innovative feature of their range. The result is a series of quirky and funny videos that really reinforce the strength, resilience and durability that have kept Samsonite at the forefront of the luggage industry for years”.
Samsonite VERSUS Small Spaces The new Pop-FreshTM case is the ideal size for on-board luggage, and the ultimate cabin companion, easily gliding through a high-rise obstacle course of tight spaces.
Samsonite VERSUS Everything Twice. At the centre of the ultimate tug-of-war between tractors, horses and weight-lifters, the new Lite-LockedTMcase remains intact thanks to the innovative Curv® technology and 3-point-lock system, a winning combination of strength and security.
Samsonite VERSUS International Weather Forecast. Whether it’s raining cats and dogs in the UK, buckets in Belgium or nails in Canada, disastrous weather is no match for the Samsonite RainsportTM Umbrella. Constructed of storm-proofed material and innovative ‘floating ribs technology’, the ultra-flexible umbrella keeps the carrier dry in even the most extreme conditions.
Samsonite VERSUS Boarding Time. In a race against time with a remote-controlled car, the new Samsonite X-Pression +TMcase emerges triumphant. The winning feature is the 360° spinning wheels that offer extreme maneuverability to help speed through airport checkpoints with the greatest of ease and agility.
Samsonite VERSUS Risky Business. Even when under attack from flying tennis balls, the new TriForceTM laptop case offers the ultimate protection for your business essentials. With 360° shock absorbing casing and extra corner cushioning for a laptop, the TriForce case will protect against any unexpected falls or bumps.
Creative Credits: Creative Director: Alexander Cha’ban AD: Arnold Hovaert Copy: Damien Veys Production company: Denzzo Production Director :Lars Damoiseaux Producers: Jeroen Berx, Bea Catteeuw Account Director: Jonathan Moerkens
The FA has launched a new advert to remind people about the importance of Respect in our national game. The film looks at the potential of ‘corrective’ technology – think ED209 from Robocop — to deal with the problems of raging touchline parents, the loss of referees, foul mouthed players or abusive managers. The Respect program was launched in 2008 and although there is much still to do, after five seasons across all levels of football on field discipline has improved, assaults on referees have fallen, 5,000 more match officials have been recruited and the environment of children’s football has improved.
Dermot Collins, The FA’s Respect Manager, said: “The application of technology is an ongoing discussion in Football. This film takes a light hearted look at how it can be applied to improving behaviour in the Grassroots Game but ultimately the solution is in our own hands. We all have a part to play.”
Credits Advertising agency: Man+Hatchet (http://www.manplushatchet.com) Creative Director: Henry Cowling Senior Creative: Rob Wakefield Creative Team: Phil Lethbridge, Barry Fearn Account Director: Simon Oldridge Account Manager: Sophie Kay Production Company: Man+Hatchet Producer: Simon Sanderson Director: Will Tribble SFX: Chris Green VFX: Tony Lymboura Concept artist: Robert Cheetham
ConAgra Foods with the help of Google Glass technology, Marie Callender's and Healthy Choice frozen meals are re-imagining the way we see food in this 3 minute long ad.
Marie Callender's and Healthy Choice just released this super cute video, illustrating how technology and instant information can make the frozen food aisle a simpler place.
Inspired by Google Glass technology, the ad follows two shoppers as they make their way through the grocery store picking their favorite, family-friendly meals from the two brands. Marie Callender's and Healthy Choice use crisp vegetables, tender meats and perfectly al dente pasta to create chef-inspired entrées and desserts that are not only good for you — but will bring the family together.
A big trend is the merging of the digital and physical worlds. (Please don’t call this phygital. Really, please.) Heineken is the latest to take a stab at bridging virtual life with real life. As part of its campaign “Heineken Ignite,” the beer brand, with the help of agency Tribal DDB, has come up with what they are calling the first “smart beer bottle.” The new bottle uses micro sensors and wireless networking technology to sense motion and lights up in response. The bottle can also respond to music and the output of specific audio and data cues. For example, it can detect different kinds of motion like cheering, drinking or sitting idle on the bar counter. The bottle lights can be remotely activated, so that all bottles can be programed to synchronize to a music beat. “We wanted to develop an idea that would re-invent the nightclub experience unlocking the power and possibilities of mobile innovation and technology,” said Paul Smailes, global head of digital at Heineken. This interactive bottle design was part of an innovation workshop exercise the brand created to come up with a way to create an interactive experience with its bottles that uses mobile technology. Heineken used Tribal DDB’s “Spark” process which involves a set program of research, briefing, ideation, development, consumer validation and prototyping over a 10-week period. “The hardest part of innovation is making it happen within the increasingly faster pace that new technologies and innovations are rolled out,” said Sandra Krstic, deputy managing partner at Tribal DDB Amsterdam. “Heineken recognized it needed to adopt the principles of lean start-ups.” The brand is testing the Ignite bottle design during Milan Design Week. According to Smailes, the brand will continue to experiment with the bottle and concept in order to determine the next steps and whether or not it will be made available to the public. The fly in the ointment here, of course, is price. Heineken didn’t say how much the prototype cost, but it’s a safe bet that a smart six pack would set you back a pretty penny. Story via: Saya Weissman @ DigiDay
High in the Italian Alps, thousands of stick-like images of people and animals, carved into rock surfaces, offer a tantalising window into the past. Archaeologists believe that the earliest of these 150,000 images date from the Neolithic but that most originate from the Iron Age. The UNESCO-protected ‘Pitoti’ (little puppets) of the Valcamonica valley extend over an area of some three square kilometres and have been described as one of the world’s largest pieces of anonymous art.
An event taking place next Monday (18 January 2016) at Downing College, Cambridge, will give the public an opportunity to learn more about a fascinating project to explore and re-animate the Pitoti of Valcamonica. Displays and hands-on activities staged by seven of the institutions involved in the EU/European Research Council-funded ‘3D Pitoti’ digital heritage project will show visitors how archaeologists and film-makers have used the latest digital technology to explore an art form often portrayed as simplistic or primitive.
The exhibitors from Austria, Italy, Germany and the UK will show that the thousands of Pitoti can be seen as “one big picture” as dozens of artists, over a period of some 4,000 years, added narratives to the giant ‘canvases’ formed by sandstone rocks scraped clean by the movement of glaciers across the landscape. The images are etched into the rock surfaces so that, as the sun rises and then falls in the sky, the figures can be seen to gain a sense of movement.
Displays will introduce visitors to the scanning, machine learning and interactive 3D-visualisation technologies used by Bauhaus Weimar, Technical University Graz, and St Pölten University of Applied Sciences to record, analyse and breathe life into the Pitoti. Cambridge archaeologists Craig Alexander, Giovanna Bellandi and Christopher Chippindale have worked with Alberto Marretta and Markus Seidl to create Pitoti databases using Arctron’s Aspect 3D system.
The scanned images of the Pitoti are stored in the rock-art research institute in Valcamonica, Centro Camuno di Studi Preistorici, and have given the project’s team an unprecedentedly rich resource to play with in exploring the power of graphic art in combination with other media.
The 3D Pitoti team members attending next week’s event will engage with visitors who will be given the chance to experience the scanner, UAV (unmanned aerial vehicle), computer sectioning, and the Pitoti ‘oculus rift’ virtual reality experience, made possible by using advanced imaging systems which are creating a new generation of ‘real’ images. The live demonstration of the interactive 3D Pitoti children’s app, developed by Archeocammuni and Nottingham University, is likely to prove popular with younger visitors who will have the chance to handle the technology and ask questions. Also taking part in the event will be the renowned craftsperson Lida Cardozo Kindersley who will demonstrate the art of letter cutting as an intensely physical process.
Eleanora Montinari [Credit: CCSP/3-D Pitoti with permission of Marc Steinmetz/VISUM]Archaeologists increasingly believe that the Valcamonica images may have been one element in a kind of ‘proto-cinema’ that might have involved other ‘special effects’. “When I first saw the Pitoti, my immediate thought was that these are frames for a film. Initially I envisaged an animated film but over time I’ve come to realise that the quality of colour, the play of light and shadow, and the texture of the rocks, make the Pitoti much more sophisticated than 2D animated graphics. That’s why we need to work in 3D,” says Cambridge archaeologist and film-maker Dr Frederick Baker, one of the founding participants in the project.
“Many of the images at Valcamonica are contemporary with classical Greek art but are an under appreciated form of art. I believe that the Pitoti are an example of minimalism, an early precursor to work by Alberto Giacometti and Pablo Picasso. They can be just as powerful as the classical art of Athens and Rome in their own way. By showcasing our project in the neo-classical setting of Downing College, we are highlighting this clash of visual cultures and using the digital to raise the appreciation of what has been seen as ‘barbarian’ or ‘tribal’ art.”
Members of the 3D Pitoti team captured thousands of images of people, sheep, deer, horses and dogs found on the Valamonica rocks. The digitised images gave the project a ‘casting directory’ of thousands of ‘characters’ in order to create imagined narratives. The creation of moving images using pixels, or dots, echoes the making of the Pitoti which were pecked out of the rock by people striking the surface with repeated blows to produce lines and shapes.
Dr Sue Cobb, from the University of Nottingham, who led the international team of scientists, said: “Thanks to the 3D Pitoti project, archaeological sites and artefacts can be rendered in stunningly realistic computer-generated models and even 3D printed for posterity. Our tools will give more people online access to culturally-important heritage sites and negate the need to travel to the locations, which can be inaccessible or vulnerable to damage.
“We overcame a number of technical challenges to innovate the technology, including developing weatherproof, portable laser scanner to take detailed images of the Pitoti in situ in harsh, rugged terrain; using both a UAV and glider to take aerial shots of the valley for the computer model and processing huge masses of data to recreate an immersive, film-quality version of the site in 3D.
Michael Holzapfel (left) and Martin Schaich (right) [Credit: ArcTron/3-D Pitoti with permission of Marc Steinmetz/VISUM)]“With our new story-telling app, users can scan and animate 3D Pitoti images to construct their own rock art stories from the thousands of fascinating human and animal figures discovered so far. The aim is to show to public audiences that with archaeology there isn’t a single answer to the art’s meaning –there are theories and interpretations — and to teach the importance of the rock art as a biographical record of European history.”
Next Monday’s event will include a test screening of a 15-minute 3D generated film called ‘Pitoti Prometheus’ which reimagines the story of Prometheus (who, according to legend, created men from clay) by animating digital images captured in Valcamonica. The fully finished film will be launched later in the year.
The film’s 3D engineer Marcel Karnapke and film-maker Fred Baker (contributing via Skype) will take part in a discussion at the end of the day, enabling the audience to ask questions about the film and the unfolding of an ambitious project which breaks new boundaries in terms of European cross-disciplinary collaboration.
“We use the word ‘pipeline’ to describe the process by which we’ve scanned and channelled the rock art images through time and space to bring them to mass audiences,” says Baker. “It’s a pipeline which stretches well beyond what we’ve produced and future technologies will undoubtedly open up new understandings of art forms that communicate so much about humanity and our relationships with each other, with the environment, and with imagined worlds.”
Next Tuesday morning (19 January 2016), a series of talks and workshops, aimed primarily at academics, will take place at the McDonald Institute for Archaeological Research. The two days of events are the official culmination of the 3D Pitoti project. For details of Monday’s event, which is free of charge, go to http://3d-pitoti.eu/
Source: University of Cambridge [January 14, 2016]
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.
One of the world’s most elite (and expensive) cars recently became a canvas for the creative whims of the techie minds at The Media Merchants, a technology-driven production agency based in Vancouver.
In November, the agency gathered influencers in the city’s creative, technology, design, advertising and automotive sectors for The Lamborghini Project, an exclusive audio-visual event centered around projection mapping onto a Lamborghini Reventon.
At $1.5 million, the Reventon is the luxury automaker’s priciest road car. Only 20 have been produced and sold to the public. Using its raw, understated and angular exterior as inspiration, creative technical director Anthony Diehl and animator Stuart Langfield projection mapped a series of real-time visuals on to the vehicle’s dark grey, semi-matte finish.
Initially, Media Merchants conceived The Lamborghini Project exclusively as a projection mapping experience but once they began the meticulous process of mapping animated images onto the car, they realized they had a one-of-a-kind opportunity to do something even more ‘live.’
“One of the surprising and fun elements of the project was getting everything aligned perfectly and then discovering that we had a pretty awesome VJ setup sitting in front of us,” says Anthony Diehl, creative technical director on the project. “Although it wasn’t part of the original plan, we couldn’t help ourselves and took the opportunity to run a live VJ set with visuals created in real-time.”
Diehl and Langfield developed the animated visuals using hybrid 3D and 2D techniques developed specifically for the purpose of projection mapping onto 3D objects. Working from the idea of ‘contrast,’ they sought to highlight the Reventon’s dark, moody and clean lines through a combination of predefined op-art imagery and improvised, real-time effects.
“It’s a scalable technique, allowing us to add or remove projectors for the final execution depending on technical or budget considerations, even after the animated content has been produced,” explains Diehl. “We really tested out the extent of this process on the Lamborghini project and it worked beautifully.”
The video content was created using MadMapper and Modul8 VJ software run off two Macbook Pro laptops networked together for playback sync and then plugged into three 7000 Lumen Panasonic projectors and one 6000 Lumen Christie Projector.
For the music, Media Merchants turned to Mitch Lee of Redemption Audio for a soundtrack that contrasted pure and crisp strings, pianos and snyths with distorted percussion, dissonant noise and an ominous silence. The end result perfectly underscored The Lamborghini Project’s gorgeously subtle symmetry.
Credits: Projection Mapping: The Media Merchants Creative Technical Director: Anthony Diehl Animation Director: Stuart Langfield Sound Design: Mitch Lee for Redemption Audio Post Production: JUMP Studios Videography: Perfect Pictures, Van Media Director of Photography: Dan Dumouchel Lamborghini Reventon: SR Auto Group via: GlossyInc.
As part of its “For Those Who Do” campaign, the “Getaway” film involves the consumer in a story centered around the versatility of the new Lenovo Yoga 11S, in the way only Lenovo can. It’s dark and slightly subversive. Stylish without being too sleek. And, best of all, it showcases our single product’s four incredible modes, in a storyline that allows our consumer to interact directly with the product and the campaign’s hero, Lizzie.
“Getaway” isn’t a sequel in the literal sense, but it uses our illustrious heroine from last year’s campaign, “The Pursuit,” and adds to the story. It tells us that she’s gone through incredible measures to capture Lenovo’s technology more than once – in fact, this is her eleventh heist. And now that she’s completed her final mission, she wants to give the tech back to the people – our biggest fans. The end result is an entertaining piece of film with our incredible technology as the real hero, and a call to our fans to join the story and claim one of Lizzie’s eleven Yoga 11S’s for themselves.
Credits: Creative Agency: Saatchi, NY Production Company: Logan & Sons VFX/ Editorial: LOGAN Telecine: MPC NY, MPC LA Music Score: Paul Minor End Music Track: “Mechanical” by Oliver Sound Design: SNAPSOUND Mix: Sonic Union
Wind Mobile Italy reminds us that it's good to put down our SuperPhones and communicate face to face in this heart warming new web film entitled "Papa".
Dad,
Technology has made us feel closer and closer. Communicating is easier and faster everyday. But still, there are and there will always be moments when men and women will have to meet face to face.
Wind has chosen a story, a short film by Giuseppe Capotondi, that with grace and poetry reminds us how important it is to feel close to someone, bypassing a technology that is becoming more and more pervasive in our lives and in our affections.
If you are thinking about truly getting in touch with someone really important, watch this short piece of cinema.
Creative Credits: Advertising Agency: Ogilvy & Mather, Milan, Italy Chief Creative Officers: Giuseppe Mastromatteo, Paolo Iabichino Client creative director: Giordano Curreri, Marco Geranzani Art Director: Giordano Curreri Copywriter: Marco Geranzani Client Service Director: Silvia Sgarbi Account Director: Ethiopia Abiye Producer: Francesca Dagostino, CDP Danielle Joujou Video Post-Production: Corte 11 Audio Post Production: Top Digital Music: "To build a home" Cinematic Orchestra Production Company: Mercurio Cinematografica Executive Producer: Francesco Pistorio Director: Giuseppe Capotondi O.P.: Tat Radcliffe Editing: Guido Notari
Print ad campaign from Mercedes-Benz; “DOG” and “FAT”, were developed by Ogilvy & Mather Colombia, to promote the Distronic Plus Technology, a driving safety system that helps drivers to keep an automatic safe distance from other cars, or even stop the Benz in order to avoid an accident.
Creative Team: Ad Agency: Ogilvy & Mather Colombia Client: Mercedes Benz Product: Distronic Plus by Mercedes Benz Chief Creative Officer: John Raúl Forero Executive Creative Director: Juan Pablo Alvarez Creative Director: Julián Gutiérrez, Andrés Astorquiza Copywriters: Julián Gutiérrez, Juan Cárdenas Art Directors: Juan Pachón, Esteban Márquez, Andrés Astorquiza, Juanita Delvasto Retouch: Salamágica Chile Illustration: Sebastián Bautista
GE puts robots on the move in a new TV ad created by BBDO. The ad features famous robots from the past and introduces innovative brilliant machines to come.
The robots are coming out of the woodwork to attend a mega-summit at an unknown location. A star-studded group that includes Data (Star Trek: The Next Generation), B-9 (Lost in Space), K.I.T.T. (Knight Rider), and Robby the Robot (Forbidden Planet) has gathered to get their first glimpse of the next generation of artificial intelligence — the "brilliant machines."
The robots want to a firsthand look at the technology that will make machines work better and smarter. Join them to see how the new products from GE are integrating innovative technology with the ability to communicate, making the world work in ways never seen before. Join the revolution.
In an era where digital and electronic inventions are consuming hours of our lives, its toys and devices are also making an impact on the way children play. Remember when fun was governed by games and activities like Red Rover, I Spy, Couch Forts and Hopscotch?
Kol Kid is helping parents and their children put down their devices with the launch of a cool new web app (Play Engine) that generates endless, simple play ideas like finger puppets, Simon Says or how to make a homemade printing press, for example. Kol Kid is a Toronto-based children’s store, making a stand to celebrate the value of simple play and illuminate the insight that tech toys can’t always fulfill the tactile joy of simple toys. Kol Kid has also released three online spots to springboard this communications campaign and help reinforce the store’s purchasing philosophy, which is to sell toys that fosters children’s imagination and play habits.
PRESS: Kol Kid’s new campaign by Tribal Worldwide — Toronto helps parents rediscover the value of simple play
In an era where so many digital and electronic toys task kids with a touch of a screen or hit of a button, Kol Kid, a Toronto-based children’s store is launching a new communications campaign that celebrates the value of simple play.
“After shopping at Kol Kid a few times I noticed they didn’t carry a single electronic toy,” says Sanya Grujicic, senior copywriter, Tribal Worldwide — Toronto. “After chatting with Lisa, the owner, our team soon realized there was a philosophy to her store that was much bigger than just toys. Technology is fundamentally changing the way children play.”
Developed by Tribal Worldwide – Toronto, the campaign launches with three 30-second web videos, directed by Tom Feiler of Code Film, that cleverly communicate how tech toys can’t always fulfil the tactile joy of simple toys.
“I’ve always been particularly tuned into childhood development,” says Kol Kid owner Lisa Miyasaki. “I’ve never been interested in toys that do the playing for you. We’ve always carried toys that are tactile and open-ended. Toys that foster a child’s imagination and allow them to create their own play scenarios.”
Putting the spotlight back on simple play activities that many parents grew up with, Kol Kid and Tribal have also launched Play Engine. A web app that generates endless, simple play ideas like finding shapes in the clouds, Simon Says or how to make a homemade printing press, for example. The playful app harnesses the utility of technology to help parents discover hours of imaginative, play ideas. Ultimately, helping kids and parents put down their devices.
In addition to the videos and the Play Engine, Tribal Worldwide — Toronto also refreshed the design of Kol Kid’s website adding new content and in-store photography by Tom Feiler, that helps bring the store's philosophy to the forefront. Print advertising and in-store signage are being developed as well, to further round out the campaign and drive traffic to the store.
Credits: Creative Advertising Agency: Tribal Worldwide, Toronto, Canada Managing Director: Andrew McCartney Creative Directors: Louis-Philippe Tremblay, Denise Rossetto Copywriters: Sanya Grujicic, Tiffany Chung Art Director: Andrew Bernardi Agency Producer: Andrew Schultze Strategy: Lisa Hart, Dino Demopoulos Production Company: Code Film Director: Tom Feiler Director of Photography: Alan Lukatela Cameraman: Andrew Easson, Michael Tung Sound: Shawn Kirkby Line Producer: Magda Czyz Post-Production Company: School Editing Editor: Kyle McNair Online Editor: Paul Binney Colourist: Jason Zukowski Audio House: Pirate Toronto Audio House Director: Stephanie Pigott Audio House Engineer: Jared Kuemper Casting Agency: Andrew Hayes, Powerhouse Casting
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
Built — Reinvented 2012 Camry — Release date Oct. 16, 2011
Pit Stop — Reinvented 2012 Toyota Camry — Release date Oct. 24, 2011
Press and Credits: Saatchi & Saatchi LA Creates Campaign for the Reinvented 2012 Toyota Camry
“It’s Ready. Are You?” Touts Vehicle Innovation and Performance
Saatchi & Saatchi LA today announced the launch of the reinvented 2012 Camry campaign, one of the largest integrated marketing campaigns the agency has developed for Toyota Motor Sales, U.S.A., Inc. “It‟s Ready. Are You?” demonstrates how the seventh-generation model addresses changes in consumers‟ vehicle needs, expectations and driving habits through the combination of new innovations and improvements to interior and exterior vehicle styling.
The campaign centers around six TV spots, beginning with the 30-second “Built,” which will make its national debut on October 16 during NBC's Sunday Night Football. The spot uses stunning animation and visual effects to highlight the Camry‟s new features and visually demonstrate the reinvention of Toyota‟s signature model. As the 2012 model builds around its driver, the spot touches on several of the key aspects midsize car buyers expect to get with their next car purchase.
“For nearly 30 years, Camry has been an icon of durability, quality and reliability. But with the new model, Toyota has made a serious upgrade in technology, safety, elegance, performance and flat out beauty,” said Chris Adams, executive creative director at Saatchi & Saatchi LA. “With the „Built‟ commercial, we had a lot of fun literally showing this reinvention in progress. It truly is a car built around the needs of today's drivers.”
Another 30-second TV spot, “Pit Stop,” pays homage to the Camry‟s racing heritage with Toyota NASCAR driver Kyle Busch. The ad shows how Toyota‟s excellence carries from the racetrack to the roadway by transforming the car in the speed of a pit stop to highlight the Camry's performance capabilities and intuitive mobile technology. “Pit Stop” will make its television debut on October 24.
Two additional TV commercials will roll out later this year. Further, broadcast momentum continues into next year with two spots in the Super Bowl and the Toyota Halftime Report.
The campaign also includes print ads, digital media, out-of-home boards and social media elements. Additionally, digital billboards featuring Camry imagery will run atop the Walgreens building in New York‟s Times Square to spark the public‟s interest and build intrigue for the 2012 model.
Beginning in November, consumers will have the opportunity to get behind the wheel of the 2012 Camry at over 125 events through March 2012. The Toyota Drive Center national ride and drive tour, along with activations at select Life Time Fitness locations across the country, will give the public a chance to experience the vehicle first hand.
To set the stage for the 2012 model launch, Toyota and Saatchi & Saatchi LA launched the Camry Effect website, which is designed to connect the nearly seven million Camry drivers in the United States through an intuitive, interactive, online experiencehttp://www.toyota.com/camryeffect. The Camry Effect provides past and present Camry owners a platform to share stories, moments, memories and milestones of first dates, road trips, soccer games, interviews and college days while witnessing the collective “effect”
