In the plots created Volcano Advertising for a toy shop, it is easy to guess known films.
Without restraint popular thanks to the effective marketing policy the network of toy shops Toys R Us represents to the USA to attention of target audience the media department. Shops Toys R Us in which computer games, and entertaining DVD are on sale not only toys, but also, now has filled up the counters with cinema classics.
A Disney Toy Soldier puts himself through a vigorous training in a great new ad for Disneyland's Very Merry Christmas Party in the hopes of being including in the parade. The spot features some nice cameo appearances, see if you can spot them all, I'll give you one, the "trainer" is Brian Stamper who played for the New Orleans Saints.
Watch as Dreams Come True for your favorite Disney Toy Soldier! Performing during Mickey's Very Merry Christmas Party on select nights from Nov. 9th — Dec. 21 at the Magic Kingdom.
Credits:
Advertising Agency: Yellow Shoes
Brand: Disneyland
Advertising Agency: Yellow Shoes Creative Group, Orlando, USA
Creative Director: Will Gay
Art Director: Matt Stewart
Copywriter: John McCall
Producer: Paul Chase
Under the creative leadership of Producer/Composer Chris Heidman, the Minneapolis office of HiFi Project was called on recently by ad agency Peterson Milla Hooks for a whimsical, new Spring 2013 campaign for The GAP. HiFi Project collaborated closely with popular DJ/Electronic Artist KI:Theory to add just the right musical color to the new ad.
When it comes to music, GAP is known as a forward-thinking brand,” explains HiFi Project Creative Director/Co-Founder Paul Robb. “When we were presented with the striking imagery for the ‘Skimmers’ campaign, we knew we would have to provide music that was just as bright, fresh, and new as the picture. In addition to our original tracks, we approached Ki:Theory, the cutting-edge DJ/Electronic artist and friend of HiFi; and it was his track that succeeded in capturing the mood of the spot perfectly.”
“Using toy pianos, manipulated vocals, and a wide variety of ‘cut-and-paste’ production techniques, Ki:Theory was able to take a pretty traditional group of instrumental sounds and combine them into something that sounds newer than new, but still somehow sounds familiar,” adds Chris Heidman, who oversees the Minneapolis office of HiFi.
“HiFi Project was great to work with on this new, spring campaign for The Gap,” concludes Daron Walker, Music Supervisor for Peterson Milla Hooks. “They have access to a truly diverse and talented group of artists. I was familiar with Ki:Theory, and when HiFi suggested him, I knew he was going to be the perfect fit for this project. I gave them a broad idea of what we were looking for, and we really worked well through the creative process together.”
Credits:
Agency: Peterson Milla Hooks
Executive Creative Director: Dave Peterson
Head of Production: Aldo Hertz
Broadcast Producer: Sean Healey
Music Supervisor: Daron Walker
Account Supervisor: Liz Sudit
Account Representative: Erica Lachat
Production Company: Bees and Honey
Directors: Alexander Dynan/Dave Peterson
DP: Alexander Dynan
Line Producer: Bianca Cochran
Editorial: Channel Z/Minneapolis
Editor: Brett Astor
Producer: Kelly Thaemart
VFX/Finishing: Pixel Farm
VFX Supervisor: Kurt Angel
VFX Producer: Krystal Lamoureux
Music Company: HiFi Project
Creative Director: Paul Robb
Executive Producer: Birgit Roberts
Producer: Chris Heidman
Composer: Ki:Theory
Penelope Cruz unveils her first collection for Agent Provocateur: "L'Agent" by directing and producing this new ad A/W 2013 Collection. Model Irina Shayk and Javier Bardem star in the film which is basically a luxurious home full of lingerie clad women and Javier, of course it's all just a dream.
Behind the scenes...
Delve behind the scenes of L'Agent's Autumn Winter 2013 Campaign — Penelope Cruz's directorial debut starring Mónica Cruz, Miguel Angel and Irina Shayk.
The Autumn Winter 2013 campaign is a highly--charged, voyeuristic experience from the viewpoint of our leading man Miguel Angel. When he dons his L'Agent sunglasses he's instantly gratified with a view of the party as everyone would wish to behold it — sans clothes. As he cruises from one room to the next, suddenly every woman at the party is seen just as God intended: wearing only L'Agent lingerie.
Suddenly the music drops and something catches our handsome protagonist's eye. Slowly, sensually descending the stairs in vertiginous heels is the hottest girl at the party — Irina Shayk.
Music is Sexy Toy,(FM) Original By Optimist.
McDonald's currently works with over 17,500 British and Irish farms to source all its whole cuts of beef, all its pork products, all bottled organic milk and all free-range eggs. Here we see a group of children happily playing with their toy farmyard to highlight each ingredient's story.
Credits:
Creative agency: Leo Burnett
Copywriter: Graham Lakeland
Art director: Richard Robinson
Planner (creative agency): Sarah Sandford
Media agency: OMD UK
Planner (media agency): Grace Cowey
Production company: Rattling Stick
Director: Sara Dunlop
Editor: Bill Smedley at Work Post
Post-production: The Moving Picture Company
Audio post-production: Wave Studios
Music: John Altman & Jeff Wayne Music
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
The new NBA Finals 2013 ad campaign, "FOREVER is BIG" celebrates Dirk Nowitzki in "Forever Dirk."
The first to celebrate current NBA players who are on their way to becoming legends because of successful Finals moments that live on and resonate in pop-culture forever. In this commercial, we see Dallas Mavericks superstar Dirk Nowitzki make an incredible signature fade away jump shot in Game 6 of the 2011 NBA Finals against the Miami Heat. Dirk remains suspended in time as we see this same iconic moment depicted all over the world in various ways, from cardboard cutouts to toy figurines, representing the different ways the moment is remembered in our collective consciousness. The spot ends by returning to the scene of the play to find Dirk suspended forever in place where this game-changing moment happened. "FOREVER is BIG."
Credits:
Ad Agency: Goodby, Silverstein & Partners, USA
Executive Creative Director: Jeff Goodby
Creative Directors: Nick Klinkert, Adam Reeves
Copywriter: Nick Morrissey
Art Director: Tim Green
Producer: Benton Roman
All around the hull of the longest Viking warship ever found there are swords and battle axes, many bearing the scars of long and bloody use, in an exhibition opening in Copenhagen that will smash decades of good public relations for the Vikings as mild-mannered traders and farmers.
The exhibition, simply called Viking, which will be opened at the National Museum by Queen Margrethe of Denmark on Thursday, and to the public on Saturday, will sail on to to London next year to launch the British Museum's new exhibition space.
In contrast to recent exhibitions, which have concentrated on the Vikings as brilliant seafarers, highly gifted wood- and metal-workers, and builders of towns including York and Dublin, this returns to the more traditional image of ferocious raiders, spreading terror wherever the shallow keels of the best and fastest ships in Europe could reach, armed with magnificent swords, spears, battleaxes and lozenge-shaped arrows. "The arrow shape did more damage," Pedersen explained, "the wounds were bigger and more difficult to heal than a straight-edged slit."
Other powers employed the fearless warriors as mercenaries, including Byzantium and Jerusalem, but some were anxious to keep weapons of mass destruction out of their hands: a Frankish law forbade selling swords to Vikings. They got them anyway, as the exhibits prove.
A skull from a grave in Gotland bears the marks of many healed sword cuts, but also decorative parallel lines filed into the warrior's teeth, like those recently found on teeth from a pit of decapitated bodies in Dorset, in what must have been an excruciating display of macho bravado.
"Probably only a small percentage of the Vikings ever went to sea on raiding parties, but I think those who stayed home would have told stories of great warriors, great ships and great swords they had known," Pedersen said. "It was very much part of the culture."
Some of the objects assembled from collections in 12 countries, such as a heap of walnut-sized pieces of amber, or jewellery made to incorporate Islamic and Byzantine coins, probably did come through trade. Others, such as a pair of brooches from the grave of a Viking woman made from gold intricately twisted into tiny animals, originally panels chopped up from a shrine made in Ireland to hold the relics of a saint, certainly were not.
One magnificent silver collar found in Norway has an inscription in runes saying the Vikings came to Frisia and "exchanged war garments with them" – but that may be a black joke. Iron slave collars from Dublin confirm that the wealth they sought wasn't always gold and silver.
This is the largest Viking exhibition in more than 20 years, bringing together loans from across Europe, including hoards from Yorkshire, Norway and Russia, a silver cross and a diminutive figure of a Valkyrie, a mythological battlefield figure, both found in Denmark only a few months ago. Loans from Britain include some of the famous Lewis chessmen carved as fierce Viking warriors, biting on the edge of their shields in an ecstasy of rage.
The most spectacular object, fitting into the gallery with just 1.7 metres (5ft6in) to spare – the new space in Bloomsbury has already been measured carefully – is the sleek, narrow hull of the longest Viking warship ever found, specially conserved for the exhibition and on display for the first time. Just over 36m in length, it was built to hold at least 100 men on 39 pairs of oars.
The ship was found by accident at Roskilde, home of the famous Viking ship museum. The museum was built 50 years ago to hold a small fleet of Viking boats that were deliberately sunk 1,000 years ago to narrow and protect the approach to the harbour. In the 1990s, workers building an extension chopped through the massive timbers of what turned out to be nine more ships, including the awesome length of the warship, estimated to have taken around 30,000 hours of skilled labour to build: only a king could have afforded such a vessel.
Recent scientific tests show it was built from oak felled in 1025 near Oslo, probably for King Cnut the Great – the sea-defying Canute to the English – who conquered England in 1016, and Norway in 1028. Only a quarter of the timbers survived, but they included the entire length of the keel.
Although the exhibition includes sections on Viking politics, strategic alliances through marriage and trade, and beliefs including the contents of the grave of a sorceress with her iron magic wand and little pots of narcotic drugs, the warlike tone was dictated by the ship, which was itself a weapon of war. Vikings sang about ships – one refers to a new ship as "a dragon" – played as children with toy ships and, if rich enough, were eventually buried in ships.
The displays and some of the contents will change in London, but in Copenhagen the ship is spectacularly displayed against an animated backdrop of stormy seas and a ferocious raid that leaves the target settlement in flames.
The animation was made in the United States and the Danish team was initially dismayed as it appeared to show raiders attacking a much later medieval walled town. Eventually, curator Peter Pentz said, a Hampshire site saved the film: they agreed it was plausible that the towers and curtain walls could represent the ruins of a Roman shoreline fort, such as Portchester castle near Portsmouth.
As well as the swords, some bent like a folded belt to destroy their earthly use as they went into a warrior's grave, there is one unique weapon, a battleaxe with an intricately decorated golden shaft. Such golden axes are described in the sagas, but this, from a settlement in Norway, is the only real example ever found.
"I think the main point was to impress, not to kill somebody," Pedersen said, adding with satisfaction: "but you can kill somebody with it if you want.
Viking, National Museum of Denmark, Copenhagen, until November 17 2013
Author: Maev Kennedy | Source: The Guardian [June 19, 2013]
You’ve seen on TV how they make mega factories and gigantic machines – now a new online film shows how LEGO Technic shrank a giant Volvo wheel loader into a miniature model.
A new video from LEGO® Technic shows the lengths the world’s largest toy maker’s design team were prepared to go to in order to perfect their latest mini marvels.
With 1,600 individual pieces and the largest individual element ever created for the brand, the remote-control Volvo L350F wheel loader can lift more than 1kg in its bucket and drive over challenging terrain day in, day out – just like the real thing.
LEGO’s hands-on research
The film talks to the development team behind LEGO Technic’s biggest machine for 2014 – from both LEGO and Volvo – charting their passion for getting their latest model as close a representation of the real machine as possible. It also follows LEGO® Technic’s Niels Henrik Horsted, head of marketing and design manager Jeppe Juul Jensen as they conduct hands-on research, visiting the Volvo factory and a construction site and operating a L350F themselves.
“We tried to make it as realistic as possible, so it drives, steers and lifts the load just like the real thing,” says Jensen. “You can also remove the oil filters, the radiator-door swings out, pistons move and the engine is painted green, just like in the real thing.”
The meticulously detailed and fully remote control Volvo model LEGO 42030 is available from LEGO Shop and all participating retailers.
Credits:
Ad Agency: Toy, Paris, France
Creative Director: Nicolas De Dampierre
Art Director: Giselle Navarrette
Productors: Soixante-Quinze
Hornby, the model/toy railway and train maker releases their first advert in three years, the ad was created by sassy Films. The heart-warming ad, "Hornby generations", launched on Friday and focuses on the generations of children that have enjoyed playing with a Hornby train set.
The 30-second spot starts in black and white, before showing one man growing up using a Hornby train set as a young boy, through to becoming a grandfather. The strapline reads: "A passion for every generation and the next". The spot will be shown before this years Christmas blockbusters in cinemas around the UK, including Hugo, Happy Feet 2, Puss In Boots, Alvin & The Chipmunks.
Nat Southworth, marketing director at Hornby Hobbies, commented: "This campaign is the beginning for Hornby. We focus on the generational love for Hornby trains and our proud history. The closing frame focuses on our future."
Credits:
Created by Sassy Films
Media planning & buying by Arena Media
Creative and art director: Steve Kemsley
The new ad for Norfolk Southern: "City of Possibilities," showcases the transformative power freight shipping. Using a balance of cutting-edge visual effects and whimsical charm, the spot seamlessly blends mesmerizing CGI characters into a live action world. The ad features a young boy playing with his model train set before going to bed, once asleep the toy train and the rest of toys come to life transforming his bedroom into a whimsical paradise...awesome ad, makes feel like a kid again.
Below, a look behind the scenes at what went into the process of creating the epic Live-Action/CGI commercial.
Credits:
Produced, designed and directed entirely by The Mill, NY
Ad Agency: RP3, Maryland.
Hartley’s Jelly has launched its first ever TV ad, with a comically surreal new spot for its Hartley’s Jelly Pots brand featuring a group of mischievous jellies trying to escape toys who are working together to put them into their pots.
The ad, created by Karmarama, shows the jellies wobbling around whilst lots of different toys, including a big orange teddy bear, a giraffe, a dinosaur and toy diggers, chase after them.
The jellies that appear in the ad are the real thing and were made to wobble and move through puppeteering techniques. The weird and wonderful jelly voices were provided by both professional beatboxers and comedians.
The toys were brought to life via a combination of stop motion and puppetry. Both were combined to produce a visually arresting and entertaining piece of action.
The ad was created by Tom Woodington and Robin Temple at Karmarama. It was directed by Chris Cairns through Partizan.
Sam Walker, Executive Creative Director at Karmarama, said: "For Hartley’s TV debut, we wanted to create something really memorable and entertaining. We had a lot of fun on this shoot and I think it shows in the final film. ”
David Atkinson, Managing Director, Hain Daniels, said: “Not only have Karmarama managed to literally capture our mischievous jellies into pots but they’ve captured them in a funny, unique and entertaining way that will really resonate with our audience. Jelly has never had so much personality.”
Production Company credits:
Production Company: Partizan
Director: Chris Cairns
Producer: Monica Domanska
Production Manager: Daisy Gautier
Director of Photography: Matt Day
Offline Editor: Gus Herdman @ Trim
VFX Post House: Finish
VFX Artist: Judy Roberts
VFX Producer: Vittorio Giannini
Colourist: Paul Harrison
Sound Design: Will Cohen @ String and Tins
