(TrendHunter.com) These carnivorous creations spotlight the many ways humans have transformed their relationship with meat. Individuals have moved away from meat as a source of sustenance to a new material for…
Advertising Agency: Leo Burnett, Lisbon, Portugal
Executive Creative Director: Erick Rosa
Creative Director: Luciana Cani
Art Director: Luciana Cani, Thiago Cruz
Copywriter: Erick Rosa, Steve Colmar, Carolina Markowicz and Pedro Pinho
Agency Production Director: Cristina Almeida
Production Company: Albiñana Films
Director: Ramses Albiñana
Cinematography: Ramon Grau
Executive Producer: Paola Maluf
Production Coordinator: Elisa Coelho
Production Director: Pedro Louro
Post-Production: Jimmy Egreja
Video Post-Production: Lightfilms
Audio Post-Production: Dizplay
Voices: Adelaide de Sousa and Albano Jerónimo
Music/Author: “Hours Last Stand” from Elvis Perkins (Courtesy of XL Records and BMG Crhysalis)
Client Contact: Patricia de Sousa Cipriano, President of Direction APCD.
Pack shot Image: Courtesy of VMI/Corbis
Advertising Agency: Tribu DDB, Panamá
General Creative Director: Manuel Bordé
Art Director: Diego Florez, Gabriel Arosemena, Juan Camilo Galindo, Andres Rivera, Manuel Cortés.
Copywriter: Manuel Bordé, Ioannis Kalormakis.
Account Supervisor: Argelis Barahona
Bravo sees ratings lift for "social reruns" and marketers Capital One, Bing tap co-viewing apps to make the most of TV sponsorships.
Diageo has been forced to apologise to BrewDog after the drinks giant was accused of using its influence to prevent the self-styled Scottish “punk brewer” from winning a drinks industry award.
Kumho Tires has a thing for hot women.
It would be a big surprise if one of the major publishers were to follow Stylist magazine and launch a mainstream free women’s title, according to Lisa Smosarski, editor of Stylist, who believes such a move would be a “big step”.
A typical workday at a B2B public-relations firm isn't what it used to be, based on this video.
Uma brilhante campanha das Forças Armadas da Suécia envolveu ação offline com integração nas mídias sociais, porém, sem que ninguém pudesse interagir de verdade a partir da internet.
A intenção era provar se as pessoas estavam dispostas a sair da zona de conforto para ajudar alguém desconhecido, não se atendo apenas ao “protesto de sofá”, tão popular nos dias de hoje.
Dentro de uma caixa, no centro de Estocolmo, uma pessoa foi presa. Através de uma transmissão ao vivo na web e num outdoor próximo, qualquer um poderia assistir o que acontecia dentro da sala.
A porta da caixa se abriria de hora em hora, esperando por alguém disposto a trocar de lugar com o cidadão encarcerado.
Qual você acha que foi a reação das pessoas? O case abaixo explica toda a campanha, mostrando como a Swedish Armed Forces conseguiu fazer com que as pessoas se importassem com as novas vagas abertas para alistamento.
A criação é da DDB Stockholm.
Post originalmente publicado no Brainstorm #9
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(TrendHunter.com) Polaroid and lomography fanatics will be salivating over the Instagram Socialmatic Camera by ADR Design. Although the design is still just a concept, Instagram diehards would jump at the opportunity…
Here’s some interesting work from Dare Vancouver for Honda.
A giant Sprite dispenser placed in one of the most crowded beaches in Brazil, where people could have a cold refreshing shower during Brazilian summer, where temperatures reach close to 40ºc. With more then 1,500 showers everyday, together with a sampling strategy around the machine. Sprite Shower was able to leverage the brand above all others in the field and consumers more than merely hearing about Sprite’s refreshing power, felt it directly all over their bodies.
Advertising Agency: Ogilvy, Sao Paulo, Brazil
Chief Creative Officer: Anselmo Ramos
Executive Creative Director: Claudio Lima, Fred Saldanha
Creative Director: Danilo Janjacomo
Art Director: Fernando Saú
Copywriter: Luiz Vicente “Batatinha”Simões
Head of Production: Nana Bittencourt
Account Director: Ana Paula Perdigão
Account Supervisor: Fabiana Amorim
Approved by: Gian Martinez, Guido Rozales, Javier Lamelas, Javier Meza, Ana Paula Castelo Branco, Andrea Mota, Flavia Buchman, Rodrigo Gameiro
Production Company: HungryMan
Executive Producer: Alex Mehedff
Producer: Renata Dumont
Director: Gualter Pupo
Director of Photography: Fernando Young
Editor : Jair Peres
VFX House: HungryMan
VFX Technician: Rodrigo Oliveira
Post-Production: Hungry Man, Fullframe
Audio: S de Samba
Music Production: Dimi Kireeff, Marcio Chavemarin, Fernando Fesztock
Music Composer: Dimi Kireeff, Marcio Chavemarin
AOL beat Wall Street estimates on first-quarter revenue and profit, but its core display-ad business dropped 1% year-over-year in the U.S., while traffic to AOL sites fell 4%.
We invited people to experience the shock absorbing effect of the EVOC protective backpack.
Advertising Agency: Publicis, Munich, Germany
Executive Creative Director: Stephan Ganser
Art Director: Michèle Imhof, Manfred Feiger, Michael Heindl, Andreas Peischl
Copywriter: Victor Haffling
Account Supervisor: Jens Goldmann
Although print accounts for 80% of Hearst’s revenues, the publisher is spending 80% of its time on the “huge potential” of digital, according to Ella Dolphin, publishing director of Hearst Magazines UK’s young women’s group.
Mark Wood, chief executive, Future Publishing, speaks to Media Week about readers’ increasing preference for paying for content on a tablet, rather than on a website.
Tim Brooks, the former managing director of Guardian News & Media, identifies a new sense of optimism setting into the publishing industry, after two years of concern amid sweeping change.
This week, Henry Daglish, deputy managing director of Arena Media, gets into a bit of a negotiation, goes to both ends of the spectrum at Pret and the Ivy Club, and is shocked that he’s not as down with the agency kids as he used to be.
Para marcar o 20º aniversário do game que mudou tudo, a Bethesda Software colocou no ar uma versão in-browser do clássico “Wolfenstein 3D”.
Criado por John Carmack na então novata id Software, o jogo foi o primeiro a permitir que os jogadores percorressem um ambiente 3D em primeira pessoa.
Lançado como shareware em 5 de maio de 1992, “Wolfenstein 3D” tornou-se um hit seminal, definindo o que seria o gênero mais popular da indústria de games nas próximas décadas e abrindo caminho para diversas franquias milionárias.
Com cerca de 200 mil cópias vendidas, o título não foi apenas a origem dos FPS’s, mas também responsável pela solidificação de um dos mais eficientes modelos de distribuição de software da época, provando que os sharewares eram uma estratégia rentável de negócios.
Abra o link no seu navegador e acabe com a sua produtividade de hoje: wolfenstein.bethsoft.com
Post originalmente publicado no Brainstorm #9
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(TrendHunter.com) When the heat of the summer sun becomes unbearable, donning a pair of sassy summer shorts is far more preferable than sweating it out in the full-legged trousers of the colder months.
The warm…
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