An emotional and uplifting new TV ad for Toronto's Hospital For Children's (Sick Kids) fall brand campaign. The commercial is wrapped around their signature line "Together We Will," and helps to capture the strength, compassion and determination that make SickKids the incredible place that it is.
This spot feature real SickKids patients, families and staff singing along to Roy Orbison's "You Got It" and highlights unconditional love among families and the lengths to which they go, together with SickKids staff, to help make sick children better.

Learn more about the campaign please visit www.sickkidsfoundation.com/together. Full Press Release below.

SickKids campaign rallies community to come together to support children’s health “Together We Will” emphasizes strength in unity Picture this: A four year old leukemia patient braving the MRI table for his next scan. A newborn in an isolet hooked up to oxygen. A child being rushed to the emergency department by ambulance. A dad cradling his baby in a rocking chair in the baby’s hospital room. A teenage cancer patient in her bedroom putting on her wig. A mom and her son doing crafts in a hospital playroom in between his treatments.

These are just some of the scenes portrayed in a new marketing campaign for The Hospital for Sick Children (SickKids) set to launch November 12 for six weeks through to December 31, leading up to the busiest giving season of the year. The campaign is centred on the tagline “Together We Will” and emphasizes the strength of a community coming together to help improve children’s health. SickKids staff, patients and families featured in the ads help capture the strength, compassion and determination that makes the hospital an incredible place to the thousands of families who rely on it each year.

The creative concept is brought to life with a focus on the breadth of people it takes to help a sick child, both at home and at SickKids. Set to the emotional lyrics of Roy Orbison’s You Got It, the television spots feature children, youth and their parents together with SickKids staff in real hospital settings singing along to “…anything you want… you got it… baby.” The spot closes with the caption: We’ll do anything for them. But we can’t do it alone. Together We Will.

Twelve patient ambassadors aged 17 months to 17 years old from throughout Ontario, with conditions ranging from brittle bone disease to organ transplants and various childhood cancers, are featured in the campaign. Although many of them are in active treatment, these young patients muster all of their energy to sing along and lend their help to inspire people to support the hospital through donations.

“These scenes capture some of the most poignant moments between a child and their parents or their medical team, reflecting the family-centred care approach at SickKids,” says Ted Garrard, President and CEO, SickKids Foundation. “This campaign truly illustrates the lengths to which staff and families will go, together, to help improve and save children’s lives. Families know they can count on the multidisciplinary medical teams at the hospital when their children need them. This holiday season we need the community’s support to help SickKids continue to be there for anything our patients need, now and in the future.”

In keeping with the spirit of a community joining forces to help children who need life-saving medical care, a mural featuring leukemia patient Hunter Kemp, 5, and a sampling of 19 representatives from his SickKids circle of care will be installed at Dundas subway station. In the mural, Hunter is joined by his family and his extended SickKids family who have been there for him throughout his cancer treatment, including everyone from his nurse and oncologist to his Child Life Specialist and psychologist. Hospital President and CEO Mary Jo Haddad is also featured. The mural symbolizes the group of people who come together when a child is seriously ill and bears the caption: Together We Will. No Matter How Many of us it Takes. The mural is the focal point of a subway station domination which also includes branded wrapped pillars, stairs and turnstiles.

The ‘Together We Will’ theme is also integrated with the print campaign which features patients photographed with either a parent or someone from their SickKids medical team with aspirational claims of what can be achieved together with community support. Together We Will Make a Hospital Feel Nothing Like a Hospital and Together We Will Search for Answers are examples of how the print campaign aims to inspire people to help SickKids achieve its vision to advance children’s health in Toronto and around the world.

Elements of the campaign include mass marketing with television, print and out-of-home advertising including a branded domination at Dundas subway station and at 10 Dundas St. E., elevator wraps in 35 buildings and presence on 110 elevator screens throughout buildings in downtown Toronto. A: 60 second television spot is the focus of the campaign, with supporting 15-second spots, print ads and digital banner ads. The 60-second spot will run before every movie in six Cineplex theatres in the Greater Toronto Area.

There is also a digital component called SickKids Free Movie Day. People can help fill a virtual theatre online at www.sickkidsfoundation.com/together to send SickKids kids on an exclusive movie experience this holiday season. Cineplex will provide a complimentary movie screening for young patients who are healthy enough to attend the theatre in the new year.

The campaign website will go live on November 9 at www.sickkidsfoundation.com/together and will feature the 60-second television commercial and patient stories. People who wish to support SickKids can donate by visiting the Together We Will campaign website.

The Together We Will concept, creative and digital development was handled by JWT and media planning and buying was handled by Maxus. Partners Film produced the television spots, directed by Kathi Prosser, and photography for the print campaign was done by award winning photographer and filmmaker Mark Zibert.

Credits:
Client: Sick Kids Foundation
Agency: JWT, Toronto
VP/Managing Director: Neil MacLellan
Copywriter: Jed Churcher
Art Director: Andy Brokenshire
Agency Producer: Raquel Rose
Account Director: Michelle Ching
Production Company: Partners Film
Director: Kathi Prosser
Executive Producer: Aerin Barnes
Line Producer: Amalie Bruun
Director of Photography: Tico Poulakakis
Editing Company: Panic and Bob
Editor: David Baxter
Music: Eggplant
Producer & Music Director: Adam Damelin
Producer: Nicola Treadgold

M&M's newest commercial gets a little dangerous as Ms. Brown introduces Red to a chocolate loving beauty, things quickly get ugly as the red headed woman wants to "Devour" our little funny loving red M&M as she drives off with him.

Credits:
Ad Agency: BBDO, New York.

M&M's 2013 Super Bowl Ad Watch News:

Today Mars Chocolate North America introduced M&M'S® Brand's new integrated marketing campaign called 'Better With M™,' which includes a new 30 second television commercial that will air during the first quarter of Super Bowl XLVII.

"'Better With M' showcases how M&M'S irresistible chocolate makes moments more fun and delicious," said Roy Benin, Chief Consumer Officer, Mars Chocolate North America. "The 'Better With M' story is delivered through our colorful spokescandies, whose irresistible chocolate always makes moments even better – be they watching the Super Bowl, baking cookies, gathering the family together for a movie or even tailgating."
In addition to the Super Bowl ad, which was created by BBDO New York, highlights of the year-long 'Better With M' campaign include multiple English and Spanish television, print and digital ads, in-store displays, consumer promotions and multiple social initiatives focused on Facebook and the hashtag, #betterwithmms. The first television ad from the new campaign – starring Ms. Brown – will being airing today.

A cornerstone of the campaign is a new cause-related marketing effort designed to make 'America Better With M' by funding the construction of Habitat for Humanity homes across the nation. As part of the initiative, M&M'S is also encouraging, as well as incentivizing fans to help 'M-Prove America' by volunteering at Habitat job sites nationwide.
"'Better With M' represents one of the largest marketing efforts in M&M'S history," added Benin. "We're confident our full range of communications and activities will excite consumers from the Super Bowl all the way through next winter's holiday season."
via: PR Newswire (http://s.tt/1ypL6)

Kevin Spacey is brilliant in the new ad campaign for American Airlines created by the ad agency McCann, London, enjoy a sneak peek of the spot set to air in a couple of days.

Official Press Release:
Kevin Spacey, the Academy Award-winning actor, takes on three new roles as part of a campaign to promote American Airline’s unique brand philosophy of understanding the individual flyer.

The 60-second ad ‘The Individual’ breaks on UK television on 12th November.
Kevin Spacey appears as a slick designer type, a creative screen writer and a Malibu family guy and finally as himself in the series of ads.
Director Chris Palmer of Gorgeous who’s previous work included the Skoda ‘Baking Of....’ and the Budweiser ‘Lyrics’ ad, worked closely with Kevin Spacey in developing and bringing to life the three characters who reflect the broad American Airlines premium flyer demographic.
American Airlines is tapping into the rich values associated with ‘Modern America’; egalitarianism, primacy of the individual and the impeccable but informal approach to customer service.
All the characters are united at the end of the film in their appreciation of American Airlines understanding ‘what makes me, me, whoever I happen to be.
Two additional 20 second ads bring the proposition to life. ‘Multiple Meals’ shows the three characters having distinctive dining habits, all of which are accommodated by American Airline’s ‘Dine Upon Request’ service. In ‘Multiple Boarding’, the characters are shown checking in their various ways, from a traditional boarding pass to a smartphone option.
The campaign is backed by out-of-home advertising and digital activity which has also been created by McCann, and ties in with American Airline’s evolved ‘discerning flyers’ strategy, developed to widen American’s appeal, to be more inclusive of a wider audience for First and Business.
The first screening of the Advertisement on TV will break on UK television on 12th November at 6.05 pm on ITV1 during the International Football match between England and Spain.

Maria Sebastian, Vice President, Sales and Marketing EMEA at American Airlines comments:
We believe that this new campaign is an exciting development for American Airlines as we have Kevin Spacey creating a number of unique characters purely for our campaign. It’s interesting and engaging – but crucially, it also conveys our service ethos, treating discerning customers as individuals.”

Geoff Smith and Simon Butler, Co-Creative Directors at McCann London, said of working with Spacey: “The casting of Kevin Spacey for the trio of roles was crucial to the emotional appeal of this ad, and his performance really lifts it to a higher level. He manages to combine an everyman quality with an indefinable touch of class, which sits seamlessly with the ‘discerning flyers’ message that the ad conveys.”

Chris Palmer says: “Kevin Spacey really nailed the characters, as you'd expect. I can't imagine any other living actor who could have transformed into such diverse and believable characters. It was weird shooting with him as a totally different character each day. The crew didn't recognise him when he came on set, even on the third day. You completely forgot it was Kevin Spacey in there. In fact, it was a bit of shock to see him as himself on day four.”

Credits:
Project: The Individual
Client: Stephen Davis Head of Marketing EMEA American Airlines
Agency: McCann London
Brief: American Airlines is the airline that treats you like an individual
Copywriter: Geoff Smith
Art Director: Simon Butler
Creative Directors: Geoff Smith & Simon Butler
Worldwide Chief Creative Officer/TM: Bill Oakley
Director: Chris Palmer
Production Company: Gorgeous
Producer: Michaela Johnson
Agency Producer: Paula Mackersey

On January 2, Emmy nominated Trop50 spokesperson, Jane Krakowski, returns to Canadian television in a cheeky New Year's themed television commercial for the brand. Inspired by her 30 Rock character, Jenna Maroney, the 30-second spot features Jane — as her sassy alter ego — with her girlfriends dishing about life and welcoming the New Year while enjoying Trop50.

Credits:
via: PraxisPR1

Soon after elections of the American president on the country the wave of propaganda processions of gays and lesbians has swept.

The Ms. of America has decided «to beat out a wedge a wedge»: has declared, that the same sights at marriage at an idol of the country of Barack Obama.

Owners of the White House throw down a challenge of traditional morals.

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Moms Demand Action has launched a new ad campaign to drive support for new and stronger gun laws in America in the aftermath of the massacre at Sandy Hook Elementary School in 2012. The video, "How many more rounds?," is an emotive depiction of the damage caused by gun violence. An AR-15 assault weapon is fired in slow motion with each discharged shell casing representing a major shooting in America. The video ends with the message, "How many more rounds are we going to let this go on for?" along with a phone number to the Congress switchboard.
Story via: SUSAN KRASHINSKY | The Globe and Mail — Shell casings from a black AR-15 rifle spin in slow-motion flight. Each one is labelled with the name of a school or a city where a mass shooting has taken place: Columbine; Carson City; Virginia Tech; Aurora and Minneapolis and Brookfield and Newtown.
This new television ad wades into the debate over gun legislation in the United States at a crucial time, as the Senate prepares to vote Thursday on President Barack Obama’s proposals to stem gun violence. But the agency behind it is located in Canada.

Grey Canada has been working with a newly formed group seeking to brand itself as the Mothers Against Drunk Driving of the gun debate: Moms Demand Action for Gun Sense in America. The partnership came about after chief creative officer Patrick Scissons, on vacation south of the border over Christmas, saw a news segment with Shannon Watts, the founder of the group that at the time was called One Million Moms for Gun Control.
Mr. Scissons was moved to reach out to Ms. Watts and ask whether she needed help with the cause. From that conversation, Grey landed on the pitch list for agencies and then secured the account to do pro bono advertising work – something nearly every agency does for a select portfolio of causes.
The group’s first television campaign will launch on networks such as CNN and MSNBC and in smaller markets as the group’s members lobby for time on local stations.
Ms. Watts says she was inspired by the MADD brand.
“It really changed the culture and the perceptions around driving while intoxicated,” she said. “There’s an important role moms play in touching the emotions of America.”
As the group gained traction, Grey did a number of smaller promotions, including one involving a typically Canadian perspective. Noting that the popular candy Kinder Surprise Eggs are banned in the U.S. – because of the alleged choking hazard – the Canadian advertising team worked up an Easter campaign sending eggs to Anderson Cooper and other news personalities. The point was that there are more limits on Kinder eggs in the U.S. than there are on the purchase of assault rifles.
The group’s influence has been growing, which Ms. Watts attributes to the power of social media. Since it was launched in December, it now has roughly 90,000 members in 90 chapters across the U.S. On March 28, some members were invited to the White House to stand on stage while the President spoke about gun legislation.
The new ad is darker than the Easter campaign – the images of shell casings are accompanied by audio of 9-1-1 calls, news reports and solemn presidential addresses about shooting incidents, and the voices of parents whose children have been killed.
The organization’s goals include background checks for gun purchases, a ban on assault weapons, and the tracking and regulation of ammunition sales in large quantities. It is funded by the members and by online donations.
The gun debate is not only a focus for the Canadian office of Grey Group, which is a multinational firm; in a meeting last fall, Mr. Scissons and Tor Myhren, chief creative officer and president of Grey New York, discussed it as an issue deserving consideration.
For agencies, these types of free public service announcements are a creative opportunity as well.
“You talk about agencies really wanting to do breakthrough work, work that strikes a chord emotionally and really motivates public opinion, the public service space is obviously the greatest area for that,” Mr. Scissons said. “Any profile it brings the agency based on the success of that work is great. But on a personal standpoint, feeling a connection and being passionate about the cause, it’s infectious within a shop.”

"Tastes change, fashions change, and the advertiser has to change with them." Thomas J. Barrat, aka. "the father of modern advertising".

The industry of advertising has not failed to realize the emergent customization of literally anything that surrounds us. Being one of the many social changes the digital world has brought, advertisers soon understood the benefits of tailoring their products to specific audiences. This goes in line with other customization trends that this decade of the twenty-first century has seen, such as 3D printing technologies allowing you to have a different -and brand new!- cereal bowl every day; or the striking objects and architectures that digital design has freed from the idea of 'the mass'.

Advertisers have slowly, but steadily, started to implement this new approach in a variety of ways, both virtual and analog. While predicting the future is always a slippery thing to do, one could start to see a tendency to favour all things bespoke, to the detriment of audiences understood as homogenous masses of identical individuals. This had started shyly with the television, where toys would be advertised in the middle of children’s programs, and alcoholic beverages after late-night movies. The exploitation of these customization techniques, however, has undergone a radical makeover with the arrival of the Internet and the subsequent acceptance of the digital realm. Customization of a company's advertising campaigns comes hand in hand with other public relation strategies, as a matter of fact, and is intimately related to the company's brand identity. When a PR agency embarks the task of developing developing a corporate brand identity, it will typically begin by asking just that: who are our customers? Clarifying what your audience’s needs are is a step in the right direction when it comes to bespoke advertising, based on the potential customers' specific tastes and likings, rather than blindly advertising to an obscure mass of unknown individuals.

You might have realized that the advertising in sites such as YouTube or your e-mail service provider varies according to your latest web searches or the messages you have exchanged with your contacts. Indeed, the algorithm sometimes gets things wrong, such as the day my German boyfriend sent bussi (kisses), and a bunch of adverts of Finnish bus companies (bussi) appeared in Suomi all over my web browser! If you are yet to realize about these changes, you might well have received a newspaper in the post, with your own name printed in the headline instead! University prospectuses these days are also customized to the prospective student's interests, and displaying their name on every other page. Could this be the doomsday of mass advertising?

Advertising is arguably as old as human society, and it started as a way to inform the public, ie. the audiences and potential clients, about one's own services. Never before, however, has advertising had the possibility of selecting its audiences as carefully as before. Flyers have been put up by blacksmiths and doctors alike, while stall owners at markets have sung and shouted about their products in all cities worldwide. Nowadays, more than a decade into the twenty-first century, it is more urgent than ever to utilize digital technologies in order to do something that these advertising methods did not: optimization. These methods were targeting all passers-by, without carefully selecting them in order to direct their message only to those who might have been interested in the services offered. In other words, optimized advertising means sending out one's message only to interested audiences, and thus avoiding unnecessary expenses.

Moving away from mass advertising means entering an era of optimal advertising. Thankfully, this is possible because the means are now available. All successful businesses are acutely aware of it, but not all strands of possibility have been explored. Television and cinema, not to mention newspapers, are only the grandparents to the new universes of interactive and multi-media advertising that gadgets such as tablets and smartphones have opened before us. Advertising brought to you in a silver tray.

A guest post from Fortune PR.

Photo Credit: Mackenzie King addressing an outdoor audience on his Western Tour, 1941. William Lyon Mackenzie King. Library and Archives Canada, C-068667

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.

Sporting New Eyewear Supports The Police
DDB Canada launches arresting campaign for the Vancouver Police Foundation

Vancouver, August 6, 2013 — Recently, the Vancouver Police Foundation launched its first communications campaign aimed to increase awareness and garner support for the charitable organization. The Vancouver Police Foundation provides funding for emerging technology and innovative ideas as well as a wide range of community policing and youth-at-risk outreach programs not included in the police department’s annual operating budget.

Developed by DDB Canada’s Vancouver office, the goal of the integrated campaign is to raise awareness for the Vancouver Police Foundation and better connect the public to the police via a line of iconic, mirrored aviator sunglasses. These sunglasses not only serve as a visual symbol of support that Vancouverites can wear proudly, but they also play a central role to all of the creative aspects within this campaign.

“The iconic sunglasses pay homage to a signature look inherently tied to police and act as a badge of support that buyers can wear,” says Cosmo Campbell, executive creative director, DDB Canada. “This becomes an opportunity and conversation piece for Vancouverites to demonstrate their support for the police and look good doing it.”

The sunglasses play a primary role in two 30-second television spots, titled “Hoodslide” and “Deflated,” which kicks off the campaign and aims to drive sales of the sunglasses. Taking a humourous twist to popular TV police dramas, both spots drive viewers to buy the sunglasses in support of the Vancouver Police Foundation and visit the website to find out more about the organization and how proceeds benefit the community.

“In the short term, the goal of the campaign is simply to raise awareness for the Vancouver Police Foundation and show support for the VPD by wearing the sunglasses,” says Martina Meckova, executive director, Vancouver Police Foundation. “Our long term objective is to increase the membership of the Foundation and broaden the support base, so that more people in Vancouver can benefit from the work that we do in the community.”

A social media contest coincides with the campaign launch and invites people to submit photos of themselves wearing the sunglasses, along with the hashtag #VPDPartners for a chance to win a unique Ride-Along police experience. Symbolizing the solidarity between the people of the city and the Vancouver Police Department, the photos from the contest will be aggregated on the Department’s website as a visual tribute to the police officers.

“Initially, we asked DDB to assist us with some print ads to promote the Vancouver Police Foundation in a local paper,” says Peter Brown, chair, Vancouver Police Foundation. “The agency returned with an impactful campaign strategy that lends itself successfully across various mediums, allowing us to build a stronger relationship with the public.”

Print, OOH, television, social, digital, public relations and an on-air partnership with Global TV BC round out this integrated PSA campaign. The campaign was created pro bono by DDB Canada with generous support from the following production partners: Clinton Hussey for Photography, OPC // Family Style’s Director Jeff Low for the TV work, Post Pro Media for post-production services, Sean Milliken for talent casting, Wave Productions for audio services and Coastal Contacts for facilitating the production of the sunglasses.

The campaign also received help from DDB Canada’s media agency partner, OMD, who offered free services by arranging a combination of donated and discounted PSA buys with BC Business, Bell Media, CBS Outdoor, and Global TV, Postmedia, TV Week and Western Media Group.

The iconic, mirrored aviator sunglasses will be distributed by the police at community events, including Vancouver’s Fresh Air Outdoor Cinema, and are available for purchase starting August 1 from the Vancouver Police Foundation website for $20 each.

“The partnership between the community and police is fundamental to crime prevention and reduction efforts,” Brown adds. “It is through the Foundation that the citizens of Vancouver can support essential policing programs that may be beyond the immediate city budget capability, raise awareness of the outstanding contributions the VPD makes 24/7, and become partners in policing so together we can build stronger communities and make Vancouver the safest major city in Canada.”

Under The Dome by Stephen King

The talisman is postponed for uncertain term

The Recording Academy® and TBWA\Chiat\Day have teamed for the sixth year to promote the 55th Annual GRAMMY Awards® with the ad campaign "#TheWorldIsListening." The 55th Annual GRAMMY Awards (www.grammy.com) will be held on Sunday, Feb. 10, 2013, at the STAPLES Center in Los Angeles and will be broadcast live in HDTV and 5.1 surround sound on the CBS Television Network.

"Slammed Door" featuring Rihanna above and below is "Soundcheck" with The Black Keys and voiceover by Dr. John

"#TheWorldIsListening" campaign features both established and up-and-coming artists across a variety of print, out-of-home and digital communications, as well as three TV commercials. The first commercial, "Slammed Door," tells five-time GRAMMY® winner and current nominee Rihanna's story. The second commercial, "The World is Listening," features artists including the Kills, Snoop Lion and Taylor Swift alongside emerging artists such as Grace Potter, Kishi Bashi and Dam-Funk. Two-time GRAMMY winners and current nominees the Black Keys will appear in the forthcoming commercial titled "Soundcheck."

At the heart of this year's "#TheWorldIsListening" campaign is a newly created Web site, www.grammyamplifier.com, which allows musicians to share their tracks via SoundCloud for a chance to have their music tweeted out by a panel of musical icons, including Linkin Park, RZA, and Snoop Lion. While social media has given musicians more ways to share their sounds than ever before, the online music space is increasingly fragmented. As a result, it gets more difficult for emerging artists to be discovered. "#TheWorldIsListening" campaign and the GRAMMY Amplifier aims to help solve this problem by exposing new artists through social platforms — with the ultimate goal of discovering artists with the potential to be the next generation of GRAMMY winners..

"This year's campaign highlights the raw emotion and desire of the artist's journey, and is amplified via social media in order to draw more music fans into an engaged music conversation," said Evan Greene, Chief Marketing Officer of The Recording Academy.

Patrick Condo, Creative Director, TBWA\Chiat\Day, said, "Sure, the music industry embraces fame — but music always comes first. From RZA to Rihanna, to the young girl taking her first piano lesson, it's their passion for the craft that will, ultimately, lead them to the public and then fame. This year's campaign celebrates this passion and the talent as burgeoning artists embark on that quest for fame."

All of the campaign materials prominently feature the hashtag #TheWorldIsListening, a first in GRAMMY history and a testament to the role of social media with regard to the GRAMMY telecast. In February 2012, the 54th Annual GRAMMY Awards generated more than 13 million social media comments making it the biggest social media event in the history of television at the time.

"The World Is Listening" 55th GRAMMYs Full Campaign Credits:
Artists: The Black Keys, Gary Clark Jr., DaM-Funk, The Gaslamp Killer, Jim James, Kaskade, The Kills, Lianne La Havas, Linkin Park, Moon Duo, Nas, Ozzy Osbourne, Papa, Grace Potter, Rihanna, RZA, Simian Mobile Disco, Snoop Lion, Taylor Swift, Anthony Valadez, Warpaint, Patrick Watson, Jonathan Wilson.

Global Creative President: Rob Schwartz
Executive Creative Director: Patrick O’Neill
Creative Directors: Patrick Condo & Bob Rayburn
Associate Creative Director/Copywriter: Eric Haugen
Associate Creative Director/Art Director: Kirk Williams
Art Directors: Hillary Coe, Rebecca Ginos, Katie Dittman
Executive Director of Integrated Production: Richard O’Neill
Executive Producer: Sarah Patterson
Producer/Music Supervisor: Michael Gross
Assistant Producer: Whitney Fromholtz
Director of Creative Technology: Ricardo Diaz
Account Director: Michele Tebbe
Management Supervisors: Mike Peditto & James Aardahl
Account Supervisor: Daryl Conui
Group Planning Director: Rad Tollett
Digital Strategist: Kyle Luhr
Business Affairs Managers: KK Davis & Lisa Lipman
Typography Design: I Love Dust

DIGITAL PRODUCTION
Music Supervisor: Liza Richardson
Creative Technologist: David Riegler
Tech Lead: Gevorg Ablabutyan
Senior Developers: Marcelo Duende & Jake Edur
QA Lead: Lester Broas
QA Engineer: Walter Velasquez
Senior Producer: Justin Taylor
Producer: Kiley Story
Tech Lead: Mike Bucks
Technology Manager: John Byrne

PRINT & OOH PRODUCTION
Photographer: James Minchin
Executive Art Producer: Karen Youngs
Print Producer: Matthew MacDonald
Project Managers: Jane Martin, Collin Beckles
Creative Retouching: Arthaus
Prepress: E-Graphics

FILM PRODUCTION
Director: Saam Farahmand
Production Company: Furlined
President: Diane McArter
VP Executive Producer: Eriks Krumins
Producer: Dave Robertson
Original Music, Sound Design, & Mix: Barking Owl
Creative Director: Kelly Bayett
Mixer: Brock Babcock
Sound Design, "Slammed Door" and "Soundcheck": Barking Owl & Michael Anastasi
Editorial: Arcade
Editor, "The World is Listening": Kim Bica
Editor, "Slammed Door" and "Soundcheck": Greg Scruton
Post Producer: Kirsten Thon-Webb
Managing Partner: Damian Stevens
Executive Producer: Nicole Visram
Assistants: Dean Miyahira, John Jenkins, Pete D'Andrea, Laura Sanford
Visual Effects: The Moving Picture Company
Creative Director / VFX Supervisor: Paul O’Shea
Smoke Artist: Mark Holden
Telecine Artist: Ricky Gausis
Producer: Juliet Tierney
Executive Producer: Asher Edwards

Psy on the set of the Wonderful Pistachios "Get Crackin'" Super Bowl commercial shoot.(Photo by Susan Goldman)
Wonderful Pistachios announced today that international pop sensation, PSY, will star in the brand's first-ever Super Bowl spot, airing during the big game on February 3. This newest installment in Wonderful Pistachios' iconic "Get Crackin'" ad campaign will also be the first time the "Gangnam Style" rapper has ever been featured in a U.S. television commercial.

"The Wonderful Pistachios brand is fun, just like me," said PSY, "Also, I love pistachios and I look good in green. The Super Bowl is way too big for me," jokes Psy (real name Jai-Sang Park). "I never dreamed of being a singer in America, so I of course never dreamed of being in a Super Bowl ad."

PSY hit the American music scene last year when his quirky "Gangnam Style" music video went viral and later made headlines by becoming the first YouTube video to break a billion views.
"The Super Bowl is the most widely watched sporting event of the year, 'Gangnam Style' is the most-watched YouTube video, and Wonderful Pistachios is the top-selling snack nut item on the market," said Marc Seguin, Paramount Farms vice president of marketing. "It's a powerhouse combination."

Directed by Grammy-Award-winning director Mathew Cullen, the official PSY "Get Crackin'" commercial will debut during Super Bowl XLVII. The spot will continue to air on cable channels and primetime television after the premiere and can be seen online at www.getcrackin.com and www.youtube.com/wonderfulpistachios, where viewers can also watch previous "Get Crackin'" commercials featuring talent such as Manny Pacquiao, Honey Badger, and Keyboard Cat.

Fans can get in on the action by uploading a picture of how they "Get Crackin' Gangnam Style'" for a chance to win a 12-month lease of a 2013 Mercedes Benz SLK 250 — the same model convertible driven by the now notorious "Yellow Suit Guy." Full Wonderful Pistachios sweepstakes details can be found at www.facebook.com/wonderfulpistachios.
via: PR Newswire

Floria Sigismondi brings her avant-garde artistry to the advertising world to showcase the beauty of Samsung’s Curved UHD television. High fashion meets high cinema in the spot, as Sigismondi crafts a bold visual story that explores the color, depth and detail of the Curved TV experience.

Sigismondi calls upon her fine arts background to create a world where hyper-real detail mixes seamlessly with a fantasy palette of cinematic vfx. Surrounded by the curved screen displays, several models interact with kaleidoscopic moving images, guiding and lifting waves of stunningly iridescent color out from the television. The flowing movement and luminous color combine in perfect harmony, accentuating the subtle contours of the screen.

As only she could do, Sigismondi crafts an otherworldly campaign that mesmerizes the senses, perfectly capturing the stunning picture quality and immersive viewing experience of the Samsung Curved UHD TV.

Floria Sigismondi, who is represented by Believe Media in the US and Quad in Europe, is renowned for her gorgeous, painterly visuals – a signature aesthetic that has made her one of the most acclaimed and awarded directors of today.

Production Company US: Believe Media
Production Company France: Quad
Director: Floria Sigismondi
DP: Alexandre Lamarque
Executive Producers: Liz Silver and Mark O'Sullivan for Believe Media
Executive Producer: Martin Coulais for Quad
Executive Producers: Yoon Seok NAM and Brigitte Slama for Keystone Films

The UK based Co-Operative Food launches a new Christmas advert campaign directed by Peter Cattaneo entitled "Here For You For Life". The ads are heart warming and food-a-licious focusing on typical family scenarios. Full press below.

The Co-operative Food is launching its Christmas offering in a new multi-million pound festive campaign. Unveiled today (1 November), the campaign, created by Leo Burnett, marks a change in direction for the community retailer and highlights how the Co-operative is helping families keep the show on the road this Christmas.

In a series of television ads, many of them to be screened at prime time over the next eight weeks, The Co-operative Food will focus on the quality and availability of its products in moments of family need during the festive season, using a new strapline “Here For You For Life”.

The first 30-second brand commercial, directed by Oscar-nominated Peter Cattaneo of Full Monty fame, will appear on advertising breaks tonight. The ads will set key seasonal products against a backdrop of family situations at Christmas – for example, an unexpected guest arriving for Christmas dinner or the sudden need for a forgotten present – providing viewers with instantly recognisable scenarios and highlighting the retailer’s breadth of range and convenience.

There are 27 different executions of the commercial in all and the campaign will also be backed by national print advertising.

Steve Murrells, Chief Executive of The Co-operative Food, explained: “This Christmas, more than ever, people will be looking for real value close to home and, with a food store in every UK postal area, The Co-operative is perfectly placed to deliver.”

“However, rather than simply concentrating on price and product, this campaign will bring home the essential part The Co-operative Food can play in fulfilling those needs we all have in everyday life and especially at Christmas. It also has the added benefit of stressing the longevity of, and trust in, The Co-operative.”

The campaign, represents the first fruits of the partnership between The Co-operative Group and Leo Burnett, which was appointed as lead advertising agency earlier this year.

Justin Tindall, Executive Creative Director of Leo Burnett commented: "This new campaign is all about looking through the window of British life at Christmas. Real life, relatable situations in which The Co-operative can always be depended upon to have the right product at a fair price."

Peter Cattaneo has a wide range of ad credits to his name including work for Audi, KitKat, Volkswagen, Camelot and McDonald’s. He is also the director of the award-winning BBC 2 comedy ‘Rev’ about the tribulations of a vicar running an inner city parish.

Katherine Kelly, known to Coronation Street fans as Rovers Return barmaid Becky, has done the voice over for the campaign. Kelly has also recently won rave reviews for her performance in “She Stoops to Conquer” at the National Theatre.

Project name: The Co-operative Food Christmas 2012 campaign
Client: Steve Murrells, Chief Executive The Co-operative Food
Brief: The campaign positions The Co-operative Food as helping people keep the show on the road this Christmas.
Creative agency: Leo Burnett http://www.leoburnett.co.uk/
Creative Director: Justin Tindall
Copywriter: Phillip Meyler/Darren Keff
Art director: Darren Keff/Phillip Meyler
Planner: Tom Roach
Media agency: Rocket
Media planner: Ben Harrison
Production company: Academy
Director: Peter Cattaneo
Director of Photography: Stuart Bentley
Editor: Scot Crane — The Quarry
Post-production: MPC
Music: Juri Seppa
Exposure: National television

Style Icon: Audrey Horne

My most recent style icon just so happens to be a fictional character - Audrey Horne from the television show Twin Peaks! The show, created by David Lynch and Mark Frost, ran from 1990 until 1991. It follows an FBI agent's investigation of a young woman's murder in the small town of Twin Peaks. I started watching the show on Netflix this summer and I was hooked from the start! There's all kinds of great drama, as well as lots of humor, too.

Audrey, the daughter of a wealthy hotel owner, was played by the super beautiful Sherilyn Fenn. Ah, just look at how perfect those brows are! Who wouldn't want to be this girl?

Audrey's look is all about the sweater. She's often seen sporting tight-fitting sweaters in soft colors: perfect for fall! The addition of the saddle shoes to this outfit make it so perfect. Sweet and fun. For anyone who thinks that a sweater and skirt combo is "too stuffy", or "too preppy", just take a gander at this next photo:

Um, hello! How sexy is that look? She looks great - super polished and very classy. Now if only I could learn to tie a cherry stem with my tongue... (Oh yeah, she looks great in a Little Black Dress, too!)

Aside from having great fashion sense, Audrey Horne is cool, intelligent, and confident. I think that makes her a pretty great style icon, wouldn't you say so?

IBM breaks a series of new television ads that evolve the Smarter Planet campaign with a new creative look and feel. The television advertising provides a very different creative look for IBM, one that is a bit more visually distinctive. The smarter analytics campaign.

“All in the Cloud”, the most ambitious of the commercials, tapped 32 animators, illustrators, designers and modelers who worked for eight weeks to create a world that one could imagine in the clouds. Everything in the spot was painted by hand and then mapped onto 3D wireframes to create the completely bespoke look. Each character has a back story which sparked the animators’ imaginations. Every “location” was extensively researched to make sure the transformed world looked like the real one.

Credits:
Ad Agency: Ogilvy & Mather
Mike Hahn, Art Director/Group Creative Director
Ryan Blank, Copywriter/Group Creative Director
Susan Westre, Worldwide Executive Creative Director
Steve Simpson, Chief Creative Officer, North America
Fred Kovey, Copywriter
Andrew Mellen, Copywriter
Jillian Abramson, Art Director
Lee Weiss, Executive Producer
Jess Latour, Production Coordinator
Dave Lambert, Assistant Producer
Karl Westman, Executive Music Supervisor

Production Company: Psyop/Smuggler
Director: Psyop
Psyop Creative Directors: Marie Hyon, Marco Spier
Executive Producer: Lucia Grillo
Senior Producer: Crystal Campbell
Associate Producer: Kay Chen
Storyboard Artist: Ben Chan
Design: Ben Chan, Laurean Indovina, Eunice Kim, Sam Ballardini, Mara Smalley, Paul Cayrol
CG Lead: Mark Rohrer
CG: Kitty Lin, David Han, Roman Kobryn, Dan Fine, Todd Daniele, Soo Hee Han, Rie Ito, Rick Fronek, Vadim Klyaev, Sylvia Apostol, Shuchen Lin, Denis Kozyrev, Fabio Piparo, Dave White, Rie Ito Gregory Ecker, Eric Chou, Consuelo Macri, Chang-Pei Wu, Joerg Liebold, Bogdan Mihajlovic
Lead Compositor: Manu Gaulot
Compositor: John Loughlin, Herculano Fernandes, Carl Mok
Flame: Jamie Scott
Editors: Cass Vanini, Jonathan Flaum
Music: Pulse Music

Chuck Norris didn't break a sweat filming the newest World of Warcraft television spot. Instead, he made the director cry and then cooled himself with the tears.

This World of Warcraft television commercial debuted on CBS during the first half of the Chargers-Bears NFL game Sunday, November 20, 2011.

via: youtube

The new “Vikings” exhibition at Discovery Times Square is, in a sense, built around something that isn’t there.

The exhibition, which opens on Friday, was organized by the Swedish History Museum in conjunction with MuseumPartners in Austria, and the people behind it really want you to know that during the 350 years (750 to 1100) that Viking culture flourished, horned helmets were never a thing. They have amassed 500 artifacts — some copies; many the genuine article — to make the point.

There’s not a horned helmet among them (unless you count an amusing sight gag as you exit), because no such headpiece has ever come out of an archaeological dig. The ubiquitous headgear often associated with Vikings, we’re told in the exhibition, actually came out of the imagination of an 1876 costume designer staging a Wagner opera. And that’s not the only misperception this exhibition is intent on correcting.

The first thing you see in the introductory film as you enter is a farming scene. Raiding was certainly part of what Vikings did, but it is de-emphasized here — perhaps too much so — in favor of displays that highlight social and religious life and try to give women their due.

Countless fictional portrayals might have left the impression that Viking culture was somehow 90 percent male, wild-haired and sword-wielding, but of course it wasn’t, as the jewelry and many other women’s artifacts here attest. The now-rusted keys on display, we’re told, were often carried by women, because with men frequently on the road, they ran the farm.

What’s most interesting about the exhibition, though, is the way it places Vikings within the evolving world. It includes, for instance, a shell found on Gotland, the Swedish island, that came from the waters off distant Cyprus, because one thing Vikings were good at was getting around.

From Scandinavia, the Vikings vikinged far and wide, encountering other emerging cultures. The exhibition is organized by themes rather than chronologically, and the cross-cultural pollination is especially clear in a section on religion. Norse gods and Christian symbolism combine on brooches and pendants, tangible evidence of the kind of slow cultural conquest or merging that is harder to dramatize than a plain old military invasion but fascinating to contemplate.

The ships that made all this roaming possible are well represented. There’s a reproduction of a Viking boat, but just as compelling is a display that speaks to the archaeologist’s frustration: So many materials, including wood, deteriorate in a harsh climate. The display — “We call it the ghost ship,” Ms. Hejll said — consists only of what might be left of a ship at an archaeological dig: the metal hardware that held it together. Dozens of weatherworn rivets and other pieces of ancient hardware dangle from strings, creating the shape of a vessel; only the actual vessel is missing.

The exhibition is geared toward a general audience, with several interactive features likely to appeal to children. One especially illuminating one involves shipbuilding. It presents a graphic display of a landscape, then asks you to select what you’d need to build a Viking ship. Rope? Sure — make that choice and all the horses in the landscape lose their tails, because horsetail hair was used for rope. Wood? Of course — make that selection and all the trees disappear. Deforestation, it turns out, was not just an Industrial Age problem. The Viking commitment to a seafaring life was also a commitment to expend a lot of natural resources.

The Vikings Exhibition runs from Feb. 5 – Sept. 5, 2016, at Discovery Times Square: 226 West 44th Street, Manhattan, NYC.

Author: Neil Genzlinger | Source: The New York Times [March 02, 2016]

The trail is based around the concept of 'Stadium UK' — bringing the nation together in a huge Olympic Stadium to enjoy the BBC's comprehensive coverage of the London 2012 Games. Designed to be used across all the BBC's television, radio and digital Olympic content, it features the specially commissioned music First Steps by Elbow.

BBC comes under fire recently for their animated ad promoting the 2012 Olympics for copying the Lloyds TSB ad. Ironically both promotional spots were created by the ad agency Rainey Kelly Campbell Roalfe Y&R. The BBC’s trailer features the UK as a huge stadium with athletes preparing and competing for the Games which start on July 27.

Lloyds TSB’s ‘For the Journey’ adverts are known for their animated characters and utopian landscapes set to the classical piece Eliza's Aria by Elena Kats-Chernin.

The BBC advert featured cartoon swimmers in lanes created by buoys cast out by a fisherman, a BMX rider on a cliff edge and track cyclists racing around quarries.

Here's our new London 2012 TV ad (above). The ad brings together some of the favourite characters from previous Lloyds TSB adverts and shows how we're bringing London 2012 closer to communities all across the UK.

And, the ad features a new version of Eliza Aria, the great piece of music that's become as synonymous with Lloyds TSB TV adverts as the familiar voice of Julie Walters.

BBC 2012 marketing head Louisa Fyans said: ‘Animation enabled us to deliver to this brief and helped us create something really special for the BBC's London 2012 campaign.’

It was seen by millions – as Gary Lineker and his cohorts pulled in a peak of 15.5 million, averaging 13 million for the game.

The advert — which uses the tagline ‘wherever you are, never miss a moment with the BBC’ — will be used in the title sequence for the BBC’s Olympics TV coverage.

A Rainey Kelly spokesman said: ‘It is the culmination of a lot of hard work and we are very excited to feel part of the inspiration that this summer will bring.’

Oreo Cookies celebrates the first video game for television by creating it's augmented reality game app — Catch the Oreo. The catch the cookie app is available for both Google Play for Android devices and at iTunes via Denmark's ADtomic.

Credits:
App developed for Oreo by ADtomic.
Film produced by ADtomic and 360 Productions.