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Work It Kitty, a great multi-phase campaign for the Temptations cat treat full press and credits below:
TEMPTATIONS TREATS LAUNCHES THE PURRFECT CAT WORKOUT: WORK IT KITTY

The cat’s out of the bag! The makers of TEMPTATIONS® treats, the irresistible snack cats love, is shaking up the feline fitness world in order to encourage Canadians to get more active with their cats. The leading Canadian cat treat brand quietly soft-launched its WORK IT KITTY™ campaign with the release of a cat workout/music video and www.workitkitty.com microsite.
The WORK IT KITTY™ video is the exclusive meowzercise workout for cats and features fictional characters Kate and George— cat hotel owners and premier cat workout professionals. Reminiscent of a 1980s workout, sweatbands included, cathletes Banjo, Fritz, Harley, Pumpkin and Tom, demonstrate the hottest feline fitness moves, including ‘paw rotations’; ‘jumping box squats’; and ‘paw extensions’.
“The TEMPTATIONS® All Natural treats brand wants to encourage Canadians to find simple ways to keep their cats active in a fun way,” says Brittany Compton, Senior Brand Manager, TEMPTATIONS®, Mars Canada Inc. “The WORK IT KITTY™ campaign video and microsite have generated great consumer response, and we’re thrilled that the campaign is gaining so much organic attention.
The WORK IT KITTY™ campaign, created by the TEMPTATIONS® treats’ creative agency DDB Chicago, officially supports the TEMPTATIONS® All Natural treats product portfolio.

Created in partnership with Ultra Music and produced by Biscuit Filmworks, the WORK IT KITTY™ video features the song I Don’t Wanna Dance by Alex Gaudino ft. Taboo. The video was seeded out to consumers through Ultra Music’s YouTube channel and encourages viewers to visit www.workitkitty.com. The video and microsite are currently supported with public and media relations by Fleishman-Hillard Toronto, and Proximity Canada is communicating the campaign through the TEMPTATIONS® treats Canada Facebook page.
The WORK IT KITTY™ campaign officially launches mid-July 2013 and targets Canadian cat owners and lovers, ages 18-49 years old. It will feature the video repurposed into a national, English and French 15 second ad by DDB Chicago that will run on a national television and pre-roll media buy co-ordinated by MediaCom. Match Ignite developed and will execute an in-store UPC collection and redemption promotion and in-store display tools as well as mass direct-to-target consumer sampling.
Agency Credits:
Title: WORK IT KITTY™
Client: Mars Canada Inc. TEMPTATIONS® All Natural Treats
Creative Ad Agency: DDB, Chicago
Production Company: Biscuit Filmworks
Director: Andreas Nilsson
Managing Director: Shawn Lacy
Music Video Seeding: Ultra Music
Public Relations: Fleishman-Hillard Toronto
Media Buy: MediaCom
In-Store Marketing / Direct-to-Consumer Sampling: MatchIgnite
Facebook: Proximity, Canada

Right on the heels of three extraordinarily successful projects — garnering record breaking ratings for their clients — BIGSMACK unveils a new promo campaign for the National Geographic Channel. The energy-packed, mind-tickling campaign for the channel’s newest series “Brain Games” broke earlier this week in anticipation of the series launch on Monday, April 22nd at 9 p.m. (ET/PT).

Under the creative leadership of Founder/Head Creative Andy Hann and Senior Creative Director Matt Hall, BIGSMACK collaborated with National Geographic’s in-house creative team to complete the creative concepting. BIGSMACK wrote, produced, and created extensive CGI and graphics for the new launch campaign. http://www.bigsmack.tv/work/nat-geo-brain-games/

Hosted by Filmmaker and TED Talks icon Jason Silva, the new television series will use illusions, mind games and interactive experiments to reveal the inner workings of the human brain. Each episode of “Brain Games” will explore a different topic. These will include attention, fear, perception, sense of time and memory. Silva is a self-professed "wonder junkie," who has spoken widely about neurology, the human brain, and technology. The timing of the show is perfect, as President Obama announces a broad new research initiative to invent and refine new technologies to understand and map the human brain. Silva is joined on “Brain Games” by “The Gentleman Thief” Apollo Robbins, a deception specialist.

“National Geographic Channel has been a great, long-term client of ours,” says BIGSMACK’s Hann. “We worked on the promo for the “Brain Games” special last year, and it was so popular and successful that Nat Geo decided to turn it into a series. We were thrilled when they came back, and asked us to work on the promo campaign for the new series. We have a very collaborative relationship with Nat Geo. They really utilize us as a collaborative creative agency, and we work very well with their in-house team. They have a great deal of creative trust in us, which we really appreciate. This was a hugely fun campaign for the BIGSMACK team to work on. One of the biggest challenges was the research that we needed to do in order to find fun, and thought provoking examples of brain puzzles and teasers; as well as the choreography of the spots which required the cameras, experiments, and the on-screen talent to be in sync. Many of the shots were all done in one-take, which was quite a feat.”

Hann shared the director’s chair on set with BIGSMACK’s Senior Creative Director Matt Hall, since a great deal of the work was done in CGI and post, after the studio production wrapped. “The series host, Jason Silva, is renowned for his ability to improv,” explains Hall. “So we gave him an outline, but he added a lot of the material on his own while we were shooting. Because of the improv, most of the CGI/effects were added in the postproduction phase, without a lot of pre-planning. The creative process was truly an evolution, with BIGSMACK working with the in-house team at Nat Geo. At every stage, something new was added on-screen, continually making the spots that much better, and leading to a great end result.”

Due to the outstanding success of promo and show launch campaigns created and produced by BIGSMACK in the last 6 months, the team has been hard at work in the studio. “I couldn’t be more proud of the quality of work that continues to come from Andy and our BIGSMACK team” says Head of Marketing Andrew Kobliska, “The idea generation is endless, and this team truly understands how to create a successful campaign for our clients.”

Credits:
Project: Multi-spot promo campaign for the launch of new series “Brain Games”
Client: National Geographic Channel
SVP/Group Creative Director: Andy Baker
CMO: Courteney Monroe
Design Director Marketing & Creative: Carla Daeninckx
Director Ad Sales & Cause Marketing: Allison Mitchell
VP Creative & Consumer Marketing: Emanuele Madeddu
Producer: Valerie Carrillo
Agency, Production & Post Company: BIGSMACK/New York & Philadelphia
Head of Creative: Andy Hann
Senior Creative Director: Matt Hall
Head of Marketing: Andrew Kobliska
Executive Producers: Heidi Erney, Kevin Lahr
Senior Producer: Rich DiNublia
Senior Writer/Producer: Laura Gillespie
Production Coordinator: Meg Hughes
Director: Andy Hann
EFX Director: Matt Hall
DP: Andrew Turman
Line Producer: Larry Schwartz
Design/Animators: Jason Harmon, Rick Malwitz
Graphic Artist: Dan Hoffman
Editor: Mark Farkas
Mixers: Bob Schachner, Mike Taylor
Colorist: Janet Falcon

Supply & Demand director Gerard de Thame has wrapped the director’s cut of “Forever Faster” for Puma, work that continues to separate the brand from the sporting pack with an open invitation to join its rebellious cause.

“One of the main things Puma wanted to get across was a different message than the likes of Nike and Adidas whose athletes often tow the line and take themselves far too seriously,” say de Thame on Puma’s new branding platform. “Puma’s whole approach is: ‘we are different, we are individuals’ in work that is told in a very unique way.”

“Forever Faster” sidesteps convention by striking a rebellious pose using the world’s fastest man – all to prove that when you set the pace, you’re the one to chase. Rather than mimic serious-minded pleas we are introduced to the wise cracking persona of Usain Bolt, who instead revels in impatience, hostility and a bevy of impossible odds.

De Thame’s director’s cut sees a more rhythmic spot than the agency’s earlier version, focusing on the world’s fastest man as he speaks of Puma’s primal call. “It was a great collaboration between Gerard and the agency,” explains Tim Case, Supply & Demand’s Founder / Managing Partner. “Matt Anderson and Jeff Benjamin were fantastic, it was fun to be around and watch them develop this with Gerard. Usain Bolt turned out to be a terrific guy.”

The campaign was a competitive pitch, the commercial forming after different machinations of the original idea. “At one point we almost went with Usain hopping fences and jumping into people’s swimming pools,” de Thame reveals. “That was quite interesting, but the idea was eventually dropped.”

A desire to reference branding from the 70s was also examined before production, a move recalling one of Puma’s greatest marketing moments when Pele wore their black and gold Puma King boots, specially-crafted for Pele during the 1970 World Cup. In a beautiful piece of marketing excellence, Pele effortlessly pushed the brand by asking the referee to stop a game moments before the final whistle – just to tie up his Puma laces as everyone watched enthralled.

Shooting on location in Italy with Oscar-winning cinematographer Mauro Fiore (Avatar, Training Day, Smokin’ Aces), de Thame shot most of the football footage on green screen. Additional material was also garnered with supporters at real football games:

“Mauro’s work is phenomenal and we had complicated lighting and green screen work to achieve,” explains de Thame. “As always we were limited to the time the athletes gave us, but that served to keep us on our toes. We managed to capture everything we needed while Usain was a pleasure to work with. He has the perfect persona to encourage the use of rebellion and defy social norms, is such an interesting guy, and definitely breaking barriers like Puma.”

Asked why he finds himself in the US more often than Europe of late, de Thame responds that creativity and budgets are simply more attractive here. “The American market is more vibrant,” he explains. “There’s more going on, the reverse of how it used to be with better creative in England and money to go with it.”

De Thame wraps up by mentioning that post on the spot was also productive, giving props to both The Mill and Final Cut on the look of the final product – The Mill creating full CG stadiums with crowd differentiation between various football players on the pitch, while matte painters also created various custom landscapes.

“The agency really let us get on with it,” says de Thame on wrapping the work. “I supervised both the edit and the post effects. Joe Guest over at Final Cut did an amazing job, flying in from London to give us the right flow.”

Production Company: Supply & Demand Integrated
Executive Producer: Tim Case
Executive Producer: Charles Salice
Executive Producer: Jeff Scruton
Senior Head of Production: Rika Osenberg
Director: Gerard De Thame
Producer: Fabyan Daw
Director of Photography: Mauro Fiore

Editing Company: Final Cut NY
Editor: Joe Guest

Post: The Mill, NY
Exec Producer: Melanie Wickham
Producer: Veronica Ware
Shoot Supervisor: Andrew “Barnsley” Wood
2D Lead Artists: Westley Sarokin
3D Lead Artists: Wyatt Savarese
Colourist: Mick Vincent

Italy's iconic Riace Bronzes will return to their home at the Reggio Calabria National Museum later this year after lengthy restoration work.

So now, it's almost time for them to return to their permanent home.

According to the superintendent for archaeological and cultural heritage of Calabria, Simonetta Bonomi, restoration work should be completed near the end of the year and the two warriors "will be back home again" in time for Christmas.

The celebrated bronzes were found in August 1972 off the coast of Calabria and quickly captured worldwide attention. They were so highly prized that they are rarely allowed to travel from their home, despite repeated requests.

Even former Italian premier Silvio Berlusconi was turned down twice after seeking to borrow the statues for Group of Eight summits.

During the current restoration work, the Riace Bronzes, last let out in 1981 for a triumphant round-Italy tour, have been kept inside a purpose-built area with a glass front allowing visitors to watch the delicate restoration work.

Meanwhile, the Reggio Calabria museum has been undergoing restorations itself while the bronzes have been away. Approximately six million euros have been earmarked for that project, and regional authorities have released the final funds need to complete the work before year end.

The Bronzes were discovered in 1972 by a Roman holidaymaker scuba diving off the Calabrian coast and turned out to be one of Italy's most important archaeological finds in the last 100 years.

The statues are of two virile men, presumably warriors or gods, who possibly held lances and shields at one time. At around two metres, they are larger than life.

The 'older' man, known as Riace B, wears a helmet, while the 'younger' Riace A has nothing covering his rippling hair.

Both are naked.

Although the statues are cast in bronze, they feature silver lashes and teeth, copper red lips and nipples, and eyes made of ivory, limestone and a glass and amber paste.

Italy has the world's biggest trove of archeological treasures but the Riace Bronzes attracted particular attention.

This was partly due to their exceptionally realistic rendering and partly to the general rarity of ancient bronze statues, which tended to be melted down and recycled.

Stefano Mariottini, the scuba diver who first spotted one of the statues some 300 meters off the coast and eight metres underwater, said the bronze was so realistic that he initially thought he'd found the remains of a corpse.

A million people came to see them in 1981 and the pair are even featured on a commemorative postage stamp.

The statues usually pull around 130,000 visitors annually to the Reggio Calabria National Museum.

Source: AnsaIT [August 14, 2012]

An exhibit of American Indian art at the Metropolitan Museum of Art throws the connection between art and collector into unusually sharp relief.

"The exhibit honors Coe and the role he played in the acceptance and understanding of the Native American work," said Julie Jones, head of the museum's Department of the Arts of Africa, Oceania, and the Americas.

The show includes about 40 objects representing a wide range of materials, from stone to animal hide, as well as time, place and distinct peoples.

Most of the Coe collection dates from the 19th to early 20th century when Native Americans came in contact with outsiders ranging from traders to missionaries to the U.S. army.

"Coe had some particular interests, one of them being objects that have come to be called souvenir art," Jones explained.

Souvenir art melded Native American art with European art, such as mocassins embroidered with European-like floral designs. Work from the people of the Great Plains evokes the men on horseback wearing feathers and buckskin.

Masks and head dress ornaments, sometimes used in theatrical ceremonies and story-telling, are another aspect of the exhibit.

An imposing sculpture of a Noble Woman by the Northwest Coast Haida artist Robert Davidson, dated to 2001, is a contemporary expression of a long tradition of carving wood. Most of the objects were made by artists who were schooled by their predecessors.

"Traditions were handed down," Jones said.

The man behind the collection

Born in 1929 in Cleveland, Ohio, Coe grew up in a home with filled with works by Renoir, Pissarro, Monet and Manet, all collected by his father, a trustee of the Cleveland Museum of Art.

"Coe came from a solidly Eurocentric point of view. He grew up in a house full of European paintings and learned to love them," Jones said.

But a book by Miguel Covarrubias, a Mexican artist and amateur archaeologist sympathetic to tribal art, was a catalyst for Coe to turn his attention to the art of Native Americans.

Soon after reading it, Coe bought a carved model of a totem pole, his first work of American Indian art that would eventually form part of the Coe Collection, a group of more than 1,100 objects, some dating from prehistoric times.

He became a champion of American Indian art, a mutualism that continued for the next half-century.

By 1962 Coe, a curator at Kansas City's Nelson-Atkins Museum of Art, organized "The Imagination of Primitive Man," an exhibit designed to illuminate the creative imagination of tribal peoples.

The most ambitious campaign Coe waged on behalf of this art resulted in "Sacred Circles: Two Thousand Years of North American Indian Art," shown in London as part of the United States Bicentennial in 1976, and in Kansas City one year later.

Its nearly 700 objects revealed the Indian approach to nature and nature's relationship to man, myth, time and space to a public that was unfamiliar with it.

"'Sacred Circles' changed the popular presentation of American Indian art and influenced a generation of collectors and museum professionals," Jones said.

For his last large exhibition — "Lost and Found Traditions: Native American Art, 1965 -1985" — Coe crisscrossed North America, seeking works of art that used traditional forms and materials, but were redefined by contemporary visions.

It marked Coe's transition from art historian to an advocate for the new, larger world of North American Indian contemporary art, and was shown in several museums in 1986.

Author: Ellen Freilich | Source: Reuters [January 17, 2012]

Egg Films’ Bruno Bossi recently directed two spots for Mercedes-Benz. Hair and Colleague are follow-ons to Net#work BBDO’s award-winning radio campaign for Mercedes’ Attention Assist.

“Mercedes-Benz seldom makes TV ads for the South African market,” says Bruno, “so it was a great opportunity to work on an iconic brand. The subtle tone of the humour in these savvy scripts was also really appealing.”

Speaking about executive creative directors Jenny Glover and Brent Singer, he says, “It was great to work with a team who were really collaborative and I enjoyed bringing their scripts to life for them.”

Paul Gilpin shot the commercials, which were edited by Matthew Swanepoel at Priest.

Credits:
Title: Hair
Client: Mercedes-Benz
Length in seconds: 30
First flight date: 25 April 2013
Advertising agency: Net#work BBDO
Agency producer: Caroline Switala
Exec creative director: Jenny Glover
Exec creative director: Brent Singer
Production co: Egg Films
City & country: Cape Town, South Africa
Director: Bruno Bossi
Director of photography: Paul Gilpin
Production producer: Kirsten Clarence
Executive producer: Colin Howard
Post production co: Black Ginger
Editing company & city: Priest Cape Town
Editor: Matthew Swanepoel
Music Company: Pulse Music
Composer: Doug Katsaros
Exec Producer: Marc Algranti

Two new feel good TV ads from the automaker Subaru feature the a mother and her daughter and the second (below) is all about the dedication a young man has for his women as she battles threw a bike race, and it's all about the Love.

Take your daughter to work day. For most, it means paper clip necklaces, fun with post it notes, and an unproductive day at the office. For this Subaru mom and her daughter, however, it means getting things done.
The Subaru Take Your Daughter To Work Day commercial features the music by the band "By Lightning" and the song is called "Future History".

The second spot in the campaign entitled "Moral Support".

Ever signed up for something only to find yourself regretting it later? Such is the case here with a young woman on a charity bike ride. Fortunately her faithful spouse and his Subaru are there to lend a hand in the way only a hopeless romantic, a pizza, and a Subaru can.
Subaru "Moral Support" features the music of Tim Myers and the song "Wonderful Life".

Credits:
Advertising Agency: Carmichael Lynch, USA
Chief Creative Officer: Dave Damman
Exec Creative Director: Randy Hughes
Copywriter: Conn Newton
Writer for "Take Your Daughter to Work Day": Jim Nelson
Art Director: Michael Rogers
Director of Integrated Production: Joe Grundhoefer
Exec Senior Producer: Brynn Hausmann
Business Manager: Vicki Oachs
Account Services: Andy Gorski, Kristen Stengel
Production Company: Gorgeous
Director: Vince Squibb
Executive Producers: Paul Rothwell, Jeff Baron
Line. Producer: Rupert Smythe
Director of Photography: Alwin Kuchler
Edit House: The Whitehouse
Editor: Rick Lawley
Assistant Editor: Shane Reid
Online Artist: Steve Medin / Volt
Telecine: Sean Coleman / Company 3
Audio Mix: Carl White / BWN
Sound Design: Carl White / BWN

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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Think Work Play (http://think-work-play.com/), the webzine that charts the creative process in London. A recent interview with Kate Moross, a well-acclaimed London-based illustrator/designer who has done work on Cadburys, Topshop and Samsung ad campaigns, as well as the who’s who of music and culture (Kate has just finished the latest music video for the electronic duo Simian Mobile Disco). In the video, Kate talks about how a certain company approached her about designing a bong, her favourite colours and her admiration of the Queen Mother’s fashion sense.

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.”

After success branding the hotelier last year, Grey re-approached Holm to direct its latest campaign, this time shooting in Istanbul. Supply&Demand flew Holm over early to allow an extra week of scouting before the job awarded. That gamble paid off:

“David’s earlier work ended up becoming our style guide for the shoot,” acknowledges creative director Denise O’Bleness on Holm’s eagerness to continually shape ideas. “His images, ideas and research went as far as Marriott’s global print campaign that also uses his beautifully composed shots.”

Holm, a director of photography himself, directed for five days, shooting footage alongside cinematographer Justin Henning, visiting multiple locations to attain the right feel for the brand – the allure of travel, the need for comfort and the security of trusting in Marriott Hotels & Resorts no matter your destination or itinerary.

“It’s great to have an agency like Grey trust us and hire David on a project of this magnitude,” explains Tim Case, Supply&Demand’s Founder / Managing Partner. “We were excited to direct, shoot and also have the opportunity to bring design and animation to the campaign. Trust with an agency is always critical, in this instance to create a world of beautiful destinations for Marriott International's flagship brand.”

Editing was handled by Marco Perez at Union, NY, while Design and Animation took place at ODD (Office of Development and Design) with Holm acting as Creative Director – effects neatly tying in Marriott’s branding iconography, as designed by Grey after winning the account from mcgarrybowen:

“We’ve been working with Marriott to update elements such as the company logo and brand voice,” O’Bleness explains. “David used topographical lines, lens flair and various graphics elements that were taken directly from our designs.”

As for re-hiring Holm for the second campaign, O’Bleness admits there’s plenty of directorial talent out there – but why bother when Holm continues to deliver:

“Lots of good directors to choose from with incredible talent,” she explains, noting how Holm won the work over other heavy hitters. “You never go back to a director unless there are compelling reasons. David is incredibly gifted, quick on his feet and works with what he’s given. He went above and beyond our expectations, as he did in the first campaign. We couldn’t have asked for more.”

Holm continues focusing on new work, currently in the midst of shooting another global campaign for a large multinational brand soon to be announced – all projects allowing him to continually push boundaries as a director:

“I need to take chances, to diversify my work,” says Holm. “It’s about growing as a director – finding the story, setting the bar higher each time I go out there and making it happen the best that I can. Grey really trusted in me on this job, and because of that it really shows in the final product.”

Creative Credits:  
Director / Cameraman David Holm
Executive Producers / Managing Partners: Tim Case & Charles Salice
Executive Producer / Managing Director: Jeff Scruton
Producer: Ari Hakim
Cinematographer: Justin Henning
Head of Production: Nathan de la Rionda

Agency // Grey Group
CCO: Tor Myhren
ECDs: Jan Egan & Ron Castillo
CD: Denise O'Bleness
Copywriter Emily Goldenberg
Director, Broadcast Production Bennett McCarroll
VP / EP: Kim Kietz
AP: Sophia Pellicoro
Casting Director: Nina Pratt
Senior Music Director: Zack Pollakoff
EVP: Chris Hinkaty
VP: Hope St. Clair
AE: Ben Krame
AAE: Joe Colandrea

Post Production // ODD, NY
Creative Director: David Holm
Executive Producer(s): Tim Case & Charles Salice
Head of Production: Matthew Turke

Editorial // Union
Editor: Marco Perez
Senior Producer: Sara Mills

Emily Hodgson and Emilie Riis, the duo currently lobbying Nike to make its coolest men’s trainers available in women’s sizes, have been invited by Reebok to collaborate on its women’s trainers.

Hodgson and Riis (who work together at ad agency 18 Feet & Rising) launched a campaign last month to shake up the predominantly pink and girly women’s trainers market under the name Purple Unicorn Planet (PUP), with a website disguised as a fantasy trainer shop at www.purpleunicornplanet.com

Following the vast amount of press coverage and support PUP received since launch, sportswear giant Reebok got in touch to ask the two Emilies to collaborate with its team.

Press:

Nike lobbyists to work with Reebok to shake up the women’s trainers market

15.08.13: Emily Hodgson and Emilie Riis, the duo currently lobbying Nike to make its coolest men’s trainers available in women’s sizes, have been invited by Reebok to collaborate on its women’s trainers.

Hodgson and Riis launched a campaign last month to shake up the predominantly pink and girly women’s trainers market under the name Purple Unicorn Planet (PUP), with a website disguised as a fantasy trainer shop at www.purpleunicornplanet.com

The pair, who work together at ad agency 18 Feet & Rising, sent a letter to Nike with their requests. Purple Unicorn Planet has its own hashtag #pleasejustdoit and Twitter feed @PunicornP

Following the vast amount of press coverage and support PUP received since launch, sportswear giant Reebok got in touch to ask the two Emilies to collaborate with its team.

Meanwhile, Nike’s response to the campaign has been met with frustration and disappointment at PUP HQ. Nike sent a representative to meet with the pair to discuss PUP and subsequently issued the following statement:

"We have been in touch with Emily and Emilie and we find their campaign very interesting. We have always been and will continue to be supportive of feedback from our consumers. NIKE is committed to our sneaker community and will continue to work on offering new and exciting products."

Despite Nike’s stated commitment to the sneaker community, the brand has given no explanation to Purple Unicorn Planet and its supporters on why the women’s range is so limited, and there is no response to PUP’s goal.
Emily Hodgson said: “It’s great to see someone step up. We’ve been delighted and amazed by the response we have received since we launched PUP. The fact that the people at Nike haven’t yet given us the answers we’re looking for is a disappointment.”

Emilie Riis said: “This is a big opportunity and failing to see it means you will be missing out. We want to collaborate with a brand that is taking the shortage in the category seriously. It’s great to see that we’ve struck a chord with so many women round the world who feel the same way we do, and we are driven by giving them a better trainer selection in smaller sizes.

Egg Films director Terence Neale’s latest ad for Chicken Licken Slyders will leave audiences asking, “Please, sir, can I have some more?” The concept for this commercial, devised by Net#work BBDO, involves a gloomy orphanage, a cheery couple, and a delightful twist — think M. Night Shyamalalalalalaalan.

Terence jumped at the chance to work on Chicken Licken, with its trademark off-centre approach to humor, again: “Chicken Licken is an amazing brand to work on,” says Terence, “You can feel the trust between the agency and the client. It creates an environment where everyone is working to produce the best possible outcome.”

His knack for directing performance shone through in all of the carefully chosen cast. He shared a special insight on working with children: “I think kids get intimidated when they feel like they are surrounded by people smarter than them, but thanks to the creatives and me, that wasn't a problem at all.”

Credits:
Title: ‘Orphanage’
Client: Chicken Licken
Agency: Net#work BBDO
City & Country: Johannesburg, South Africa
Agency Producer: Caroline Switala
Executive Creative Director: Rob McLennan & Graeme Jenner
Copywriter: Cara Messias
Art director: Clayton Swartz
Director: Terence Neale
Production Co & City: Egg Films, Cape Town
Producer: Rozanne Rocha-Gray
Director of Photography: Paul Gilpin
Post Production & City: Pudding (grade) Blade (online) BFX (3D)
Editor & Company: Evi Katz / Left
Music & Music Publisher: Robroy Music

Creative ad agency Wunderman has created one of the UK’s biggest ever train station takeovers as part of a new integrated campaign for Microsoft Office 365, across Euston, St Pancras, Glasgow, Paddington, Edinburgh, Manchester and Canary Wharf.

The "Work From Here" campaign is on a vast scale, incorporating a wide range of media book by UM London, including every digital display in the stations, lawn art, benches with built-in Wi-Fi, paper cups and sandwich bags, traditional outdoor, and special ambient placements on ticket gates, poles, and the tables of several trains.

Remarkably, the work involves over 300 bespoke executions as each one is tailored to suit every media placement, with no digital display, billboard, lawn, table or bench using the same creative.

The creative brings humour and personality through references to local vernacular and landmarks in vicinity of the media such as cafés, exits, waiting areas, or timetable boards, to demonstrate the ability to seamlessly work on the go from any location with Microsoft Office 365.

The campaign, which launches this week, also introduces a medium that has never been used before – train tables. Wunderman will be the first ever agency to pioneer this new medium across three rail services, on the Stanstead Express and Greater Anglia and Southern railway lines. With free Wi-Fi and tables labelled as 'Boardoom One' or 'Conference Room', commuters could trial Office 365 while hurtling across the country.

A number of Google employees wrote, produced and starred in the Santa Google Search Tips Rap video.

Credits go out to the following for this great video:
Lyrics by Matt Kane, Google Content and User Education Specialist and hip hop enthusiast
Music by Ranidu, Google Business Systems Integrator and musician: http://raniduonline.com/album/
Video produced with the help of our friends at Seedwell: http://seedwell.com

Lyrics:
Yo, I run a few searches before the big flight,
To save me more time on this magical night.
I type [sunrise and city] of my last stop,
I got plenty of time before my last drop.

If I don't know the time in a certain city,
I peep it on search before my chimney shimmy.
Tyle [time and town] before I come into town,
To see if Johnny's in bed before I hit ground.

Go Santa, Santa work it!
Go Santa, Santa search it!

But before I go flying through the frosty air,
I do a weather search to decide what to wear.
Mrs. Clause, should I bring my extra warm down jacket?
[Mrs. Clause]: Hmmm, yes. You should definitely pack it.
And please pack these cookies that I baked for you.
Shhhhh! I researched the recipe with recipe view,
And used the low cal filter, I must admit:
I wanna make sure that jacket still fits!

Go Santa, Santa work it!
Go Santa, Santa search it!

Check one, check two: yes I check twice.
Santa's Google Doc called 'Naughty and nice.'
With control+F, I find a name in the doc n',
I hope I don't have to put coal in a stockin'

When I'm cruising in my sleigh with my hands on the reigns,
Voice input is handy, 'cause typing is a pain.
If on a wish list I spot a gift I never heard: schlittschuhe,
I use the translate app to speak the foreign word.

Go Santa, Santa work it!
Go Santa, Santa search it!
Go! Go! Go! Go! Go! Ho, Ho, Ho, Ho.

Go Santa, Santa work it!
Go Santa, Santa search it!

Go! Go! Go! Go! Go! Yeah!

Toronto-based animation and design studio Crush has launched another wonderfully paper craft-inspired spot, this time for Seattle's Woodland Park Zoo via creative agency Wong, Doody, Crandall, Wiener, Seattle.
Working with the creatives at Wong, Doody, Crandall, Wiener, this spot for the Woodland Park Zoo builds on the work Crush did last year for "Emily's Story", for the Children's Wish Foundation, For this spot, Crush used a lot of classic illustration as reference for their designs and colour palette, but then developed them into something very contemporary.
Crush designer Jullian Ablaza developed the look of the animals and with the help of artist and children’s book illustrator Ashley Barron brought each animal to life. Once the animals were created, Jullian designed the environments to be simple but to compliment the animals as the film flowed from scene to scene. Crush Senior Designer and Animator Yoho Hang Yue put together the animatic and ultimately the animation. To keep the project streamlined and cost efficient, Yoho created the entire project in After Effects, adding textures to the final piece.
"We wanted a very tactile feel, which we would have done in camera if the budget and timeline allowed," said Gary Thomas, Creative Director, Crush. "The end result was very close to that and allowed for a lot of flexibility. The creative team at Wong, Doody, Crandall, Wiener were a dream to work with. They were totally on the same page and brought great insight to the work. We are incredibly pleased with the final result."
Check out Crush's "Emily's Story" http://glossyinc.com/?p=11420

Credits
Title: "Alive — Lion Clubs"
Client: Woodland Park Zoo, Seattle
Director, Marketing & Corporate Relations: Jim Bennett

Agency: Wong, Doody, Crandall, Wiener, Seattle
Creative Director: Monkey Watson
Copywriter: Peter Trueblood
Art Directors: Caitlin Finn, Daoust Huertas
Sr. Graphic Designer: Ramon Vasquez
Producer/EP: Steph Huske
Account Supervisor: Heidi Brown

Design and Animation: Crush, Toronto
Creative Director: Gary Thomas
Senior Designer & Animator: Yoho Yue
Designer & Illustrator: Jullian Ablaza
Illustrator: Ashley Barron
Senior Producer: Janice Rebelo
Executive Producer: Jo-ann Cook

William Hill begins 2013 with a humorous campaign created by start-up agency Fabula. The TV and print campaign is Fabula's first work for the UK's biggest bookmaker since winning the account in October 2012.

The strategy is new and created in collaboration with The London Strategy Unit. It brings to life the fact that as the UK's biggest and most trusted bookmaker — William Hill people are full of passion and knowledge of the subject and betting.

The TV campaign consists of a series of ads depicting what it might be like inside William Hill, the Home of Betting. The films give an insight into how dedicated and knowledgeable William Hill is about all sport and betting. Two ads primarily focus on football and horse racing, followed by four ads that push particular offers.

Three main characters feature in the ads – a manager, a trader, and a ‘mobile’/tech expert. The characters and colleagues are as passionate about sport as the viewers and suggest they “unleash your mobiles” and “fire up your ipads”, encouraging betting fans to download the William Hill app and bet online. A horse that finds its way into the office even has its name – “Download the app” – emblazoned across its horse blanket.

Each film ends with new William Hill strapline “You know where to come. William Hill, the Home of Betting”. The spots were directed by Peter Lydon, of production company 76 Ltd.

Says Yan Elliott and Luke Williamson, Fabula founders: “We are very excited to have created this new campaign for William Hill. Since winning the business less than three months ago we have created a series of seven ads straight out of the traps!”

Kristof Fahy, CMO, William Hill plc, adds: “I have always admired the work of Yan and Luke and with this campaign they continue to show the talent that they have. They quickly understood that it's the people and our passion that makes William Hill the UK's number one and have brought that to life through the new campaign.”

Credits
Client: Kristof Fahy, CMO, William Hill
Creative Ad Agency: Fabula http://fabulalondon.com/
Creative Directors: Yan Elliott, Luke Williamson
Art Director: Luke Williamson
Copywriter: Yan Elliott
Agency producer: Tania Kane
Planning: London Strategy Unit
Photographer: Mat Holyoak
Director: Peter Lydon
Producer: Cathy Hood
DOP: Lukas Strebbel
Production company: 76 Ltd
Editor: Spencer Ferszt
Editing company: Marshall Street Editors
Post production: The Mill
Sound design: Wave

LIMEY Directorial duo KN+SAW (Katrine Naleid and Stephen Austin Welch) have just completed a new TV commercial for Elmer’s Glue titled “Let’s Bond.” Comprising both the live action and a print campaign also shot by KN+SAW the project gave the directors their first opportunity to collaborate with the creative team at SBC Advertising on a national campaign in both mediums.

"Working with Katrine and Stephen through LIMEY was a pleasure from start to finish,” says Neil Widerschein, Chief Creative Officer, SBC Advertising. “They were exceptional collaborators throughout the process, helping us perfectly capture the fresh direction we're taking the Elmer's brand. The entire production — courtesy of LIMEY — was refreshingly absent of drama or unpleasant surprises. As a team, they were focused on our project from the very beginning all the way through editorial. We all absolutely loved working with them and would do it again in a heartbeat."

When SBC Advertising first brought their concept to KN+SAW, they were thrilled about directing a piece that would go from talking about glue to talking about creating memories that last a lifetime. “We were tasked with making very genuine moments, watching families bond over bonding. We directed these scenes to capture authentic moments — memories in the making — filled with a child’s pride and excitement, as well as moments Mom’s and Dad’s will cherish and enjoy forever,” relates Stephen and Katrine.

What KN+SAW achieved was capturing those moments and allowing the viewer to witness playful scenes when parent and child truly connect as they share valuable time making artistic creations enabled by Elmer’s glue. Allowing the viewer to identify and relate to that cherished, quality, family time of genuine, feel-good moments — a time and place of concentration, intrigue and laughter.

SBC Advertising had the ambition to shoot both the broadcast spot and a tandem still campaign. By hiring Katrine and Stephen to shoot both the motion and stills, they were able to give the client more production while saving time and money.

KN+SAW created a combo-shoot production that was not only cohesive but maintained all of its momentum and performances. The shoots were seamless, back- to-back productions (without the costly stop-and-start that that can take a toll on budgets.)

“We played to the strengths of the actors and crew,” explains Stephen and Katrine. “We created a calm vibe on-set, which was great for the child-actors and allowed for their natural enthusiasm to come through, thereby creating great imagery."

“When it came time for the still shoot, we already knew what would and would not work concerning the lighting, blocking and performance,” continues the Directors. “So we already had a head start on the day.”

The print division at SBC Advertising had actually wanted to work with Katrine as a still shooter for quite some time. They were huge fans of her lifestyle and kids imagery. Proving that all roads lead to KN+SAW, when the ad agency presented Katrine and Stephen to the client, Elmer’s, they were already familiar with the directing duo’s work and had actually even seen an internal presentation of the duo's directing reel to show the stylistic direction the agency wanted their TV commercial to take.

The advertising agency and directors were very keen to cast actual families, as well as professional actors to create the on-set families in order to make the moments and the performances as genuine as possible. The age range of the kids was from 4 to 8 years old, a particularly challenging but wonderful age. KN+SAW shoot a lot of kids and always make sure the perfect environment is created allowing the actors, both adult and child to develop this close and unique relationship with the directors.

“One of the on-set lines that cracked us up was a 4-year-old boy who said to us while rolling, ‘You know, I’m just really not a morning person!’ He then went on to deliver a great glue bottle squeeze! We were able to capture these real emotion moments and made footage that is truly authentic and fresh,” notes Stephen and Katrine.

“The agency showed great trust in letting us imagine and invent the specific props the kids and parents worked on,” conclude the Directors. “Everything we shot was 3-dimensional; and worked very well with the product and appeared quite textured to the camera and lighting. We created fish with fins and flowing tails; an octopus out of a paper towel core; the button art is priceless. Getting the biggest fanfare are the masks — robot for dad and the cutest little fire-breathing dragon you ever did see for the girl. We are collaborative directors by nature and creating our crafting props for this spot is a place this really shined.”

CREDITS
Advertising Agency: SBC Advertising, Columbus, Ohio.
Creative Director: Neil Wilderschein
Art Director: Ian Brown
Copywriter: Ian Brown

Production Company: LIMEY, Los Angeles CA http://www.limey.tv

Director: KN+SAW
DP: David Schnack
Executive Producer: Andrew Denyer

Location:
Minneapolis, MN

Editorial Company: Optimus, Santa Monica
Editor: Erin Nordstrom
Asst. Editor: Annie Carey
Executive Producer: Therese Hunsberger
Colorist and Online Editor: Dan Swierenga

Music Company: Catfish Music, Chicago, IL
Music Composer: Jeff Boyle

Platige Image’s game division, led by Director Tomek Bagiński, follows the success of their epic The Witcher 2 cinematic with a stunning game teaser for CD Projekt RED’s Cyberpunk 2077, a follow up to Mike Pondsmith’s successful Cyberpunk 2020 games of the 1990s. A showcase of Platige Image’s design and execution capabilities, the snapshot of a violent far-future dystopia is building enormous momentum for the game’s September release, earning a Silver CLIO and nearly six million hits on YouTube.

That the cinematic scooped up a Silver CLIO is just the latest positive development for Warsaw based Platige Image, which recently opened a new branch in New York. “This CLIO is a testament to the skill set that defines Platige Image’s team, especially with such fierce competition from the best studios out there,” noted Platige Image NY Managing Director Julian Cdae. “We are revved up to serve the US market with similar projects built with our ingenuity, technical innovation and competitive rates covering all aspects of postproduction.”

The cinematic, which Platige not only created but helped to write, is a compelling masterpiece of the slow reveal, set in a still-framed world that at first shows only what appears to be a woman’s face, then a bullet smashing to bits upon impact with her cheeks as police fire at her, followed by progressive frames that reveal her to be a killer cyborg surrounded by piles of dead bodies. News cameras hover over the violent scene, evoking the 24-hour channels of today in order to create a visceral connection between the viewer and the futuristic footage.

In a departure from the formulaic videogame heroines so commonly cobbled together from banal component parts, Platige Image built their character from an actress captured on IR’s 72×18 megapixel camera system, a state-of-the-art setup that captures 1.27 gigapixels of 3D color data from 360 degrees in a single shot. So vivid were the images that only the actress’ scanned hair follicles had to be recreated from scratch.

“Ever since we set out to create it, we knew the promo would work only if the female protagonist engendered a serious emotional response in the viewers and pushed the boundaries of the typical female videogame form,” notes Bagiński. “The ability to work with a real actress and Platige Image’s access to IR’s outstanding camera thoroughly transformed the film, as the scanning enabled us to capture this fleeting element of authenticity, to use the beauty of a real person.”

Platige Image faced considerable challenges in creating the cinematic, setting to work on the project while CD Projekt RED was still in the game’s core development stages. As Platige Image sketched out dozens of ideas for the teaser, the game developer honed the concept, style, look and feel of the game itself. Each influenced the other in a highly productive creative seesaw. “Developing the game and promo simultaneously made the film a logistical and organizational challenge, but it also imbued it with much more spontaneity and creativity,” notes Bagiński.

Credits:
Director / Story: Tomek Bagiński
CG Supervisor / Animation Director: Maciej Jackiewicz
Executive Producers: MarcinKobylecki, Jarosław Sawko, Piotr Sikora
Producer: Marta Staniszewska
Concept Artists: Damian Bajowski, Jakub Jabłoński, Maciej Kuciara, Maciej Rębisz
Additional Concept Artists: Jakub Bogaczyński, Adam Trędowski, Rafał WojtunikCD PROJEKT RED
Concept Artist: Robert Adler

From Italy comes this heart warming love story of a beautiful young couple for the Italian magazine "La Cucina Italiana" (the Italian Kitchen). The ads message is simple: "Where there is love, any match can work", La Cucina would love for us to open our pallets to the idea of a lobster dish served with potato and the message is served to us via this couple in turmoil. The woman, aka the potato feels that she is not good enough for her lover, the man, aka the lobster, our lobster man opens his heart to his lover, the potato woman and makes her understand that their love is real and strong enough to work together forever...or until someone eats them.

But wait, there are more couples foods food dishes in crisis, below is the second commercial from the campaign, in it onion woman and yogurt man are on the verge of ending it all...

Credits:
Creative Ad Agency: BBDO, Milan, Italia
Creative Directors: Federico Pepe, Stefania Siani
Art Director: Christian Andrea Longhi
Copywriters: Georgia Ferraro, Samantha Scaloni
Director: Luca Lucini
Production company: Filmini
Music: Dadomani Studio