Pois bem, o mundo não vai mais acabar em 2012. Sério.
Eu nunca tinha sequer cogitado a hipótese dessa história idiota de calendário maia proceder. Se eles fossem mais avançados que a gente, teriam skates voadores e facas ginsu que realmente fatiam carros.
Por outro lado, acho que bem podia ser o fim do mundo. Pelo menos pro deputado Jair Bolsonaro e pro flato do CQC que liberou a veiculação do precipício “ato falho” em relação à pergunta da Preta Gil e sua consequente resposta.
O Bolsonaro é um lixo de pessoa, mas permitir que uma ofensa daquele grau aos negros do Brasil inteiro fosse pro ar daquele jeito, dando brecha pra possibilidade do cara “ter entendido errado” a pergunta, foi errado.
Ou ninguém aprova os VTs antes deles irem pro ar?
Alguém errou. E não foi só o deplorável deputado.
O CQC segue sendo o fôlego que anima a TV brasileira, mas precisa respirar fundo quando tiver um material desses nas mãos. A responsa do programa é grande, o carinho de todos também, e seria uma situação de merda ver Jair Bolsonaro sapatear sobre o querido show de Tas e seus intrépidos companheiros.
Em tempo, antes que alguém fale que pra mim que acho oquei falar de gays e de negros não e outras palhaçadinhas desse naipe, estou com a Zélia Duncan.
A Carlsberg da Suécia está com uma missão para “desengarrafar” a coragem que está dentro das pessoas. Não é qualquer tipo de coragem, mas aquela que as pessoas precisam em situações sociais.
Geralmente, o povo da Suécia é muito cauteloso e reservado, por isso a agência Akestam Holst, de Estocolmo, criou para a Carlsberg uma competição por meio de um aplicativo móvel para iPhone e Android que pode mudar tudo isso. O objetivo é encontrar e premiar o mais corajoso da Suécia.
O aplicativo contém mais de 500 missões. Cada uma representa um desafio social. Muitas missões requerem a utilização de recursos do próprio celular e mídias sociais para um melhor desempenho.
A competição começa no dia 5 de abril e vai até 17 de abril de 2011. Em seguida, a pessoa poderá continuar a usar o aplicativo e desafiar seus amigos em um divertido jogo social.
Assista o trailer abaixo:
Aproveito para parabenizar o Diretor de Criacão da Akestam Holst, Martin Cedergren, que me enviou a dica.
Terence D’Costa is a very dear friend and a top-notch creative in the Himalayas.
THE BIG COVER UP
Don’t judge a book by its cover. You were told that. I was told that. The world and his brother was told that. And we all nodded in agreement to get past third grade grammar but went back to doing just that. The problem with this old saying is not the book. It’s the cover. Let’s talk about that cover today. Let’s talk about how we weren’t encouraged to see past the obvious imagery of wisdom-filled books in melancholic covers versus the sham glam of penny press tabloids. Let’s talk about how we’ve unanimously settled for a superficial understanding (i.e. the cover) of the saying (i.e. the book). Let’s talk about us not talking about this before. Better still, let’s figure where this figures in an article on advertising.
The book is the agency head. The cover is his membership at your golf club. The book is the agency. The cover is the decor that swings from eclectic to hushed minimalist. The book is the account director. The cover is his limited edition blackberry resting on a mahogany bookshelf mandatorily populated with impeccably bound brand bibles. The book is the account manager. The cover is the android and the natty suit. The book is the creative director. The cover is his ipad with hypno-surrealist desktop art. The book is the art director. The cover is his mop of dreadlocks. The book is the visualizer. The cover is his tribal tattoo. The book is the copy intern. The cover is her battered copy of Atlas Shrugged. The book is the graphic designer. The cover is his daily ritual of downloading as many ads of the world artworks, free brushes and unprotected illustrations as the agency broadband can allow in one overtime shift.
The book is the pitch brief or more correctly, the RFP. The cover is its peripatetic loquacity, reminiscent of Dickensian payslips. The book is the agency presentation on brand strategy. The cover is a host of picturesque (albeit soul-less, brazenly plagiarized or brand-dissonant) print artworks batting their eyelashes oh so coquettishly at you. The book is the agency presentation on creative strategy. The cover is covertly identical to the other presentation. The book is pitch evaluation. The cover is only remembering how much media commission the agency was willing to share.
The book is your logo. The cover is an uncanny representation of another, more famous, one. The book is the colour proof. The cover is presenting the same in RGB. The book is the print advertisement. The cover is the size of your logo on it. The book is the commercial. The cover is the product close-up. The book is the production house. The cover is who their clients were (no one notices why this is in the past tense). The book is the shoot. The cover is the photographer’s unmatched equipment (his mind doesn’t count). The book is the commercial film director. The cover is his signature graphic overlay on anything he’s touched. The book is the footage. The cover is the camera no one else has used yet. The book is the radio jingle. The cover is humming the tune but not realizing you’ve actually heard it in a Bollywood flick. The book is the brand ambassador. The cover is someone’s soft spot for her. The book is the launch event. The cover is not knowing it’s been done by T-mobile, last summer. The book is five hundred words in the communication stratosphere. The cover is a phrase in an obsolete tongue.
The truth is life and the cover’s just been blown. Don’t tell anyone.
Para o lançamento do Focus Titanium – a versão completa do modelo, que parte de R$ 71.660 – a Ford criou uma ação no Facebook que segue o conceito da campanha, “Quem dirige, indica” [assista o comercial].
Sendo assim, é selecionado para um test drive quem é indicado pela pessoa anterior, e para participar basta comentar ou dar um “like” no último vídeo publicado.
O conteúdo dos vídeos – pelo menos do inicial – não é espontaneo como deveria, repetindo a sensação de opinião ensaiada que esteve presente no conteúdo online da campanha do New Fiesta. Porém, mostra mais uma vez o Facebook como ferramenta essencial para o lançamento de um carro da marca.
Advertising Agency: Supernormalvoice, Seoul, South Korea
Account Executive: Saeyoung Kim
Creative Directors: Swan Song, Saeyoung Kim
Art Director: Swan Song
Copywriters: Saeyoung Kim, Swan Song
Photographer / Filming : Kisam Kim
Others: Junghyun Kim, Youngtae Lee, Yeonyi Yoo
Published: August 2010
‘First Floor Bar and Restaurant’ is a little known beer bar located in Asia’s largest IT hub, Nehru Place, New Delhi, India. They approached to Mccann Ericson India with their problem of not being able to attract too many customers to the bar – their presence getting lost amongst the millions of electronic shops and signboards around. So the people at Mccann Ericson India came up with an unique…
The advertising watchdog has upheld seven complaints against the Officers Club store chain for displaying a poster for a “lads holiday” promotion, which features a woman in a bikini and the caption “awesome views”.
Brands talk about trying to turn their fans into brand advocates through nifty marketing techniques, games or viral pass-along coupons. But the real way to shape an influencer is exactly how Volvo approached my true-life scenario.
Get Racing! Cadbury Spots v Stripes has launched Race Season and created 9 new Guinness World Records for everyday things like Tea-making and Mouse Scrolling. Katy Brand, Roger Black and some of the world’s fastest people race off to become the first ever record holders.
They gathered video bloggers, internet superstars and viral video darlings in a room and got them to set some pretty weird w…
‘It was in my third standard (of primary school) that the village I lived in, in Gujarat, got its electricity. I remember staring at lights, bulbs and fans for the first time. I consider it fortunate that I could experience living in a variety of units of habitation – from that village of 2000 people to Mumbai, and several in between. These varied habitats ensured that my experiences were colorful.
The first professional turning point in my life happened after I joined work in a construction company that was building roads in the Gujarat State Fertilizer plant, after completing my Civil Engineering like my elder brother. I was expected to follow my brother’s footsteps and become an engineer. I instinctively and subliminally realized that this was not the career for me. It could not be my ultimate destination. While I knew that this wasn’t my final destination, I could not identify what was. My knowledge of options was limited.’
Why are you into Advertising?
Because I was a lousy Civil Engineer. As an engineer I was thinking to construct a building using egg-shaped bricks. Which could have been a disaster.
Did you attend school for fine art or design or Communications?
Yes, Bachelor of Fine Arts (Applied Arts), Faculty of Fine Arts, Maharaja Sayajirao University of Baroda.
You started your career as a site engineer at Gujarat State Fertilizer Corporation Plant and then you decided to enter a complete different industry called advertising- how did this happen?
Engineering was too methodical and I realized that I was a creative person within. I had to do something which gave me day to day satisfaction. Being in the midst of chimneys and machinery helped me arrive at a decision faster.
I was looking at disciplines like interior design or architecture, logically building on my engineering qualification. Much to my dismay, I realized that I could not get exemptions on any of the papers one needed to complete on the basis of my existing degree, to qualify in those streams.
It was then that I passed by the Fine Arts faculty of the University of Baroda. I got the right vibes. I knew nothing about Fine Arts. I walked into the office and asked them what the most sought after course there was, and applied subsequently. At the time, and even during the process of admission, I had no clue that this was a prestigious course and institute and quite difficult to get in. Fortunately, I did.
Share your working experience with leading brands like Tata Indicom, AegonReligare… etc Tata Indicom: was involved in repositioning the brand… “ SunoDilkiAwaaaz “ Campaign. (Running Girl). I always believe that communication can become immortal if it creates long term property… e.g. Tata Indicom wanted to do a Gujarat Specific Campaign. Being a Gujarati, I written a song & created a music video sung & performed by 25 Celebrities of Gujarat, where brand thought “ SunoDilkiAwaaz” woven in the lyrics. The song has become popular as An Anthem Gujarat…established as a property for Gujarat State forever where the brand philosophy was woven in. If you type Gujarat Anthem in Google you will find many pages referring this song.
AegonReligare: AegonReligare was 23rd entrant in Insurance Category in India. Our launch Campaign KILB using Irfan Khan not only established the brand with high recall. But during the teaser phase of the campaign, KILB became the 6th most searchedword in Google. KILB & Pension Plan campaign generated record breaking leads for the brand (more than 50000 calls in 3 weeks in comparison with biggest spender competitors’ 3000 calls in 3 weeks.
Cadbury Celebrations Diwali specific LALTEN film featuring Amitabh Bachchan &Sachin Khedkar was one of the successful and highly recalled campaign for Cadbury.
“Budget Wedding” TVC featuring Vijay Raaz and Atul Kulkarni is again highly recalled Campaign for Asian Paints.
My experience in Hair care category specifically Parachute, helped Contract Advertising in not only retaining Dabur Vatika Portfolio in a pitch, but we got the complete Vatika Portfolio.
I was involved in the launch of Essar Mobile Store. (Nude man TVC)
Again “ Shalini Chopra /Telescope TVC of Nerolac using Om Puri’s voice was one of the highly recalled Nerolac TVC.
“Wedding Night” TVC not only won international accolades like Shots Cannes Contenders, Lurzer’s Archive, Adfest, but made America’s no.1 undergarment brand Hanes popular no.2 brand in premium segment where consumers ask for “Kenchiwala underwear dena?”
Our Wonderbra Car film is selected in SHOTS and few other AWARDS, WONERBRA “COMIC” PRESS AD HAD GOT MULTIPLE NOMINATIONS IN CANNES.
I was involved in the launch of the Vaseline Summer Lotion which was one of the most successful launches of 2006 byUnilever India. ( aamchori TVC )
You have also worked in leading ad agencies of India – which agency was the best learning school for you and in what terms?
Every agency had role to play in my learning curve.
After a stint of about six months in Capital, I got a break into Contract Advertising, again in Delhi. A nine-month stint at Bates (Clarion, 1997) was followed by a move to O&M Delhi. I wasn’t spending too many years at one agency till then, but I was convinced that the restlessness had to do with the opportunity to learn and stay on top of the learning curve. It was not about the money. In 2000, I moved to O&M Mumbai, with a brief stint on a project to the Kuala Lampur office during the time.
Right at the beginning of my career, when I moved to Contract, I met my copy partner and now agency partner RaghuBhat. He wanted to build a portfolio, and wanted to work with an art partner. We did work on the portfolio. And we’ve been working together ever since.
We realized back then, in 1995, that we’re making a good team. We have our differences but there are commonalities in our outlook towards several things of consequence. On multiple fronts, we realize as we look back on our 15-year partnership, that we’ve complimented each other.
They say ‘A rolling stone gathers no moss’, but it didn’t apply in our context. The exposure to multiple agencies and therefore multiple styles of functioning, multiple styles of leadership, helped groom us as advertising professionals. Our Contract and Bates stints could be labeled as our training period in print advertising. At Ogilvy, we got to apply what we learnt in print on clients like Lotus IBM, Satyam Cineplex, American Express, KFC and others. That stint helped us hone our print expertise. There were hordes of accolades from clients and awards too.
At O&M, there was Pushpinder Singh, Rajiv-Mahesh, Abhijit Awasthi, Ramanuj Shastri, and more; and Pixyish and Parson were pretty hands-on too. After a point, we felt that there were too many people sharing the pie (of coveted work). We didn’t want to embarrass the leadership by standing outside their cabin looking for work that everybody obviously wanted. There were also lots of fresh talented people hired, and they wanted a go too.
We’re grateful that the urge to learn never stopped. We also wanted to work on mediums other than print, and on mass brands. We were getting branded as ‘that award-winning print creative team from Delhi’. We needed to move on. What also prompted us was that until that point, we were doing an annual tally of the work we’d done, and evaluating what had worked and what hadn’t. We were rating our own work. Until that year, we’d been well over break even every year. That particular year, there was a lull. Something was wrong, we felt. That’s when we moved to Ambience.
On the face of it, Ambience looked like a ‘print agency’. But the truth wasn’t that. There were some clients who we craved to work on – Nerolac, Tata Press Yellow Pages, Parachute, Bisleri and the like. Electronic media exposure was high, and the opportunity was also well divided within. Our desire to learn the nuances of lifestyle advertising was also fulfilled through clients like Lakme.
Somewhere along the way in our advertising journey, we started taking ownership of clients. We had a free hand and could create our own way of doing things, our own methodology.
The exposure to different agency cultures helped. We observed that at Contract, where we learnt the craft of print, every piece of work had to meet a certain set quality standard. It was an everyday battle that the agency was engaged in to ensure this quality. In the process, they were not the best at turning around the communication for a brand and taking it to a completely new level. O&M on the other hand, had a very practical approach. We wouldn’t fight over every dangler or poster with the client beyond a certain limit. That enabled us to keep the work going, while we created that game changing TVC or campaign for the brand. It was a new school of thought.
At Ambience, we put this experience to work even as we were learning to deal with clients. If there were three good scripts approved, and we felt there was a fourth that could work, we worked with the production house and made the film and showed it to the client. Often, the client bought it after seeing the film. We had to devise little enterprising ways of doing work, strike a balance and create our own ecology. That was the initial mini-experience of running our own agency, in a sense.
You have been either nominated or awarded for more than 5o international and above 100 national awards – how does it feel?
Creative person working without award is like AR Rehman singing in the empty Royal Albert Hall of London “Every artist needs applause of appreciation. The value of the award is as much as how reputed is the jury. A person with great caliber officially certifies your work that it is Metal- worthy… it definitely flatters.
But we here at Scarecrow, know that every creative person needs expression of their creativity… And when if he/she does not get the outlet to express their creativity in their day to day regular work. Then he/she gets desperate to express through work specially created for awards. But we think Award being only alternative outlet to express theircreativity is a problem…To tackle the problem so, we here at Scarecrow, experiment with 2 initiatives – Scarecrow Art Gallery & Scarecrow Designs.
What is your take on winning national awards like Goafest and CAG?
We think acclaimed Indians are the best judges to understand the excellence in Indian context, and I think , Marcello Sepra may not be the right judge to understand power of Indian nuances, So Indian award judged by Indian juries like Goafest & Cag are necessary.
Scarecrow communication has recently bagged the creative duties for Margo- what is your plan to make this work effectively?
Soap is a highly competitive segment of beauty category. Also Beauty Category follows very string category codes. Doing something clutter breaking here is a sheer challenge. We think our past experience in this category will help us doing something fresh.
How did you name your outfit ‘Scarecrow’?
We all 3 founders (me Raghu & Joy) hail from villages, so, wanted something rooted there to be associated with the name of the company hence ‘Scarecrow’.
Also, Scarecrow is a very effective Communication Device being used to communicate to birds to stay away from the crop. By simple yet creative use of a pot, some old clothes, hay and wooden sticks, a scarecrow visually conveys the message to everyone without any language barrier. Every field of every country has different looking Scarecrow, though everyone recognize it is Scarecrow. We think this the power of communication.
It has proven successful name for us, as it starts discussion in every meeting we go to. Because it is disruptive & sticky in nature.
Your film Hostel (Eye Bank Association of India) is the most viewed TVC on YouTube- what made you create such piece of work?
I saw blind children playing Holi in Nagpur by a happy accident. And thought there is a very powerful communication lying in this experience. It took 2.5 years to convince the director to execute this. But when me & my partner penned down the final Screenplay of the TVC, since then there is no looking back… not only Cannes ,Ad fest & Cup award jury rewarded it, but organizations like UN, Commonwealth Parliamentary Association, WHO etc appreciated and thousands of people from across the world pledged their eyes including many Bollywood Celebs.
‘Respect for national anthem’ is another popular public service communication done by you- share the making of this TVC starting from cracking the idea to actually make it happen?
We saw people never used to bother standing up while National Anthem being played in theatres of Mumbai. Again this bad experience evoked us to do something about it. WE casted Theatre actor Surendra Rajan who played the Role of Gandhi often and looked dignified freedom fighter as the main character of one-legged Old cobbler. We also casted few real street children as cobblers and we added rain element to enhance the original idea. And created the Indian typical street life situation. Tagore’s creation Jana Gana Man anyway has enormous musical power to enhance further we roped in renowned classical singer Shubha Mudgal & popular Composer Shantanu Moitra. After creating the film we thought we need authoritative voice to convey the message heavy as respecting the national anthem… so we shown the film to Amitabh Bachchan. He said “film ko dekh ke rongte khade ho jaate hai.” He lent his voice free of cost to help the cause. All the possible channels ran the film free for couple of month .We still gets calls from channels to re run even after many years. Many schools still play this film on Independence days & republic day. Many theatres also ran the film long period. It is the most viewed Indian on YouTube with film in National Anthem Genre with close to 15 lakh vies on YOUTUBE.
Scarecrow communication recently celebrated its 1st anniversary- how was the party?
It was well attended by 400 people including Ad fraternity, clients, media & art fraternity.
Tell us something about Scarecrow Art gallery!
At the completion of Scarecrow’s successful first year, we launched an initiative called Scarecrow Art Gallery. Where we dedicated half of our office walls to primarily display the creativity / pure art created by young artists. Started with a show called “landscape of new Desires” by 20 artists from Baroda Art Circuit created by Niyatee Shinde & Yogesh Mahida. Objective of this initiative is already been covered by earlier answer. See ScareCrow Art Gallery Catalogue here.
What made you decide upon the current partners for Scarecrow?
I & Raghu are one the longest ongoing ART – COPY partnership I Indian Ad world for as long as 14 years. . So, Raghu was a natural choice.
People started approaching us and we did approach people too. We were on the lookout for the right people to partner with to set up shop.
Me & Raghu Believe that Advertising is neither a solo show nor a duet… it is rather an orchestra… it needs combination of left & right brains. Fundamentally, we believed that the agency is a full service entity. We did not want to set up a ‘creative shop’. Such phrases are creations of the industry – the client needs his advertising. So we roped in Arunava Sengupta, our Client servicing partner at Contract. We had a successful working relationship with him and it was a proven match. The bigger task was to align ourselves with a partner.
Like they approached a lot of people, Naked, WPP and Strawberry approached us too. There were also others we were speaking to. The global economic recession slowed down the process considerably, but things started moving again slowly. Big names and designations had never intimidated or awed us, be it of people or agencies. It was at the peak of our careers that we moved to Ambience. So we evaluated things neutrally.
Thinking calmly, we decided that we did not want to be ‘another agency’ in a network of agencies, which would fight for clients in the same market as ‘sister’ agencies. We also wanted to offer clients services as a full service agency, something we couldn’t do if we became a network agency.
We wanted to align with an agency that was complimentary to our business, not one competing with it. There were some media agencies, some digital agencies which were interested. Conversations were on.
That’s when we decided to partner with Concept Communications and Vivek Suchanti. We were actually complimenting each other. He needed someone with our skill sets and we had a lot to gain from his areas of operations. We had a good portfolio in the financial category, for instance, and his portfolio of clients in the space is also substantial. We were convinced that the synergies would work, giving clients a more comprehensive offering, and giving us an edge in the market. Since the launch of Scarecrow Communications in February 2010, we have been proven right.
You have won at Cannes, Clios, One Show, D&AD London, Goafest etc. How has that impacted your career?
Awards are a booster dose for a creative person. It has a limited role in my career. But I know that award can’t drive career. Successful real work plays the largest role. I know few people who built their career on only awards and they are having difficulty to get a senior job in India.
You have also been honored with the Super Achiever Award by Indira Group of Institute Pune- how does it feel?
Every award reassures you that you are doing right thing in your career as far as it does not impact your learning attitude. If you feel that you are arrived in life…the decline starts.
You always say that scarecrow is a reflection of everything you believe in- what exactly do you believe in?
We believe as we earlier said that the advertising should have longer shelf life. It should go into popular culture. I we also believe in new media, use of technology… we believe in change. We believe Idea is bigger than media, we believe in media neutrality in its true sense.
Name a brand that although did well in the market but did not appeal to you and why?
Any brands which takes shortcuts like sex or any other gimmick without relevance doe not appeal… are recent campaign using ORGY as a sale theme for diesel India … I think was a shortcut. You can be creative without using shortcuts…
Were there any particular role models for you when you grew up?
Many… Amitabh Bachchan & Naseeruddin shah in Cinema… Ameensayani in VO… Sunil Gavaskar in Cricket… Kishore Kumar in Singing… Vivekanand & Osho in spirituality… Narendrra Modi & Sardar Patel & Gandhi in politics…
Who was the most influential personality on your career in Advertising?
Many … Neil French, Lee Clow, Helmut Crone, Eric Kessels, Dave Dye, Sean Doyle, Bernbach, Egene Cheong, Alok Nanda, Piyush Pandey.
Where do you get your inspiration from?
Every Experience of life, Short Stories, Movies.
Tell us something about the work environment at scarecrow communications…
Scarecrow office is unlike ad agency.
Far away from currently popular Ad World’s cliché tic
Suburban Locations like Andheri East and Goregaon East…
Located amidst the Heritage Architecture of D N Road, Fort.
Walking distance from Mumbai’s famous landmarks like
Gateway of India, Tajmahal Palace, Victoria Terminus, Flora
Fountain, Kala Ghoda, JJ School of Art, St. Xavier’s
College, Jahangir Art Gallery, BMB and Chemould Art Gallery.
Workstations are designed like pool tables. Because we think work is play & fun.
It is also designed to feel like home.
Do you have any kind of a program to nurture and train young talent?
Scarecrow art gallery are is designed to double up as a mini auditorium where we are planning to arrange sessions by proven talent from the industry other creative fields interacts with potential talent within office & from industry..
What about new and young film makers/photographers? Do you consciously keep looking for newer talent and try someone completely new?
We objectively look at showreels & folios. If it fits the bill why not try them. Many of the director’s first film turned out to be award winning were scripted by us. Code Red film’s first film was Respect the National Anthem. Chrome Picture’s first film was Hanes Wedding Night. Naren Multani’s first large scale film is DNA India positive World Cup TVC. Deepuanthikad’s first large film was Gujarat Anthem. We want to continue exploring even here at Scarecrow.
What do you think of the state of Print advertising right now? At least here in India, the released work is most often too sad? Why do you think it has lost the shine? Why are the younger lot more interested in TV?
It is the change in viability of medium to reach out mass & media habit of consumer. Consumer reads less due to fast paced life. But a print ad with relevant copy is still read. E.g. 2.5 lakh in 3 weeks had blown horn at the Shiram transport Microsite www.okhorn please.com after reading a long body copy print ad in newspaper created by Scarecrow.
More and more young people are web savvy and want to work on the internet or on more entrepreneurial ventures. Has that affected the quality of people advertising has been getting? Do you think brands whose advertising wins awards, do well in the market?
Advertising is now segregated in many mediums. So is the talent. The change in media habit will always impact the talent pool. Advertising has to earn its respect back. Advertising specially created for awards may or may not work in the market. But genuinely good award winning work should work in the market as well.
Can you remember the first brand you worked on and where?
Logo for Apollo Tyres in Capital Advertising…
What advice do you have for aspiring creative professionals?
To youngsters, explore more outlets to express creativity apart from awards…
To senior Creative people, to help youngster exploring above…
What is your dream project?
To work towards making Scarecrow an advertising hub/capital for some renowned International brands.
Who would you like to take out for dinner?
What’s on your iPod?
Mac or PC?
Commercial for ‘Religare Broking ‘ (Financial Services Category)
‘Another commercial for Religare Broking ‘(Original Music sung by Mamta Sharma – singer of ” Munni Badnam of Dabangg)
On 9th feb, My Company Scarecrow Communications Ltd. ( India’s one of the youngest & fastest growing ad agencies ) launched ‘Scarecrow Art Gallery’ within the company premises at D N Road, Fort… primarily to promote young artists… with a show by 20 artists from Baroda…
About Scarecrow Art Gallery:
Scarecrow Art Gallery, though generic in its nomenclature, aims not only to promote young artists but also hopes to encourage artists to move from established methods and experiment with their work, thus nurturing the crossover appeal that all interdisciplinary arts possess.
About the Opening Show: Landscape of New Desires by 20 artists, on view till 11th March 2011
Our opening exhibition brings together the work of 20 artists, primarily from Baroda—the hotbed of the country’s contemporary art presence. It attempts to suggest the role of desires that set the new artistic landscape. This eclectic body of work, engaging in rich diverse content, articulates a new language for an informed connoisseur. Through Landscape of New Desires, the maturity of the established artists enjoys classical syntax sequenced with charming and refreshing text of young artists, who are guided by an inherent nifty ingenuity.
Une belle expérience et réalisation avec ce mapping 3D sous la forme d’un Zoetrope : une technique optique permettant de donner l’illusion de mouvement. Une projection sur le titre du groupe Battles “IPT2″ et un concept de VJing par Retchy basé à Dundee, en Ecosse.