(TrendHunter.com) Keeping things cool is easy with these blue fashion finds that exude the truest sense of the shade and feeling. Blue isn’t just relatively neutral, but the shade that many would choose as…
It isn’t even Game Day yet and, much like last year, many brands have already released their Super Bowl commercials. A few days ago, Taco Bell released a teaser, Grandpa Goes Wild, in which a grandfatherly man, Bernie Goldblatt, decides to tear it up on the gridiron with a motor scooter.
Today, the brand has released the commercial it will air during the game and it’s a good one. The spot, created by Deutsch LA and directed by Biscuit Filmworks’ Noam Murro, begins with Mr. Goldblatt going to bed at The Glencobrooke Retirement Home. Well, that is until the nurse leaves his room and he decides sleeping is for pussies.
Goldblatt sneaks out of the home to meet up with some fellow octogenarians for a night of shenanigans, clubbing, bathroom stall action, juvenile pranks and, yes, some late night snacking at Taco Bell all to the tune of Fun’s ode to Millennials, We Are Young…in Spanish.
Of the Spanish version of the song, senior copywriter Brian Siedhand said, “We went for very literal, word-for-word, simple translations. In general, literal Spanish translations have way more syllables than in English, so it’s awkward in places. In some cases we had to simplify or cut down a few words so it was singable.” Siedhand’s creative team used Google Translate to create the new version, Nosotros Somos Jovenes, which was ultimately recorded by Elias Music.
The work, which follows the usually-always-humorous strategy of old people doing young things, appeals to a broad demographic swath in that younger folks can chuckle at their own antics as actioned by the octogenarians. And older folks can vicariously relive their own youthful antics from back in the day.
Of the approach, Deutsch CEO Mike Sheldon said, “There’s a common misconception that to appeal to Millennials you have to show Millennials. The reality is to appeal to them you simply need to entertain and engage them. We’ve all had an epic night out on the town followed by a trip to Taco Bell. ‘Viva Young’ is a surprising and fresh way to remind people of that.”
In addition to Viva Young, Taco Bell will also have a 30-second ad supporting a new Steak Burrito, pat of its new Cantina Bell menu. The spot, entitled Grande Papi, will be set to the 1994 hit song entitled “Big Poppa,” and will also be sung in Spanish.
In the commercial, a young father leaves his home with his infant child in his front baby carrier, headed to Taco Bell to purchase the new Cantina Bell Steak Burrito, getting favorable looks and smiles from female passersby.
In addition, the Viva Young spot will direct consumers to the brand’s Facebook page to learn more about Live Mas Monday, a post-game giveaway for a free churro with any purchase on Monday, Feb. 4.
Teaser:
Hello Lamp Post!, um projeto de arte que deixará a cidade de Bristol mais interativa, foi o vencedor do Playable City Award deste ano. Criado pelo estúdo de design PAN, de Londres, a ideia é convidar as pessoas a conversarem com os objetivos inanimados da cidade enquanto esbarram por eles.
Cada objeto terá um código único, identificável ao público. Por exemplo: caixas postais em Bristol terão um código de 6 dígitos, bancos de 7 e bueiros de 14.
Com isso, o usuário poderá enviar a mensagem “Hello + nome do objeto + seu código” para um número de telefone especial e o objeto instantaneamente ganhará vida, mandando uma mensagem de texto de volta ao usuário, com perguntas como “Onde estou?”, “Como eu me parece?” e “Qual a coisa mais interessante aqui por perto?”. As respostas serão armazenadas em um banco de dados, que alimentará novas perguntas.
“Eu amo os sussuros das ruas, humanizando nossa cidade cujos olhos e ouvidos agora tem voz. Uma conversa em evolução, nos conectando. Eles estavam lá o tempo todo!” – Imogen Heap, no site do projeto
O projeto, a ser lançado no meio deste ano, reflete o conceito de internet das coisas de maneira simplificada, transformando a forma como as pessoas interagem com o mundo físico e inanimado, apenas com uma mensagem de texto.
Post originalmente publicado no Brainstorm #9
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LBi has promoted Paolo Yuvienco to the role of global chief technology officer, with responsibility for developing and leading a technology strategy across key international territories.
(TrendHunter.com) Today’s trends were dominated by products and creations that were something to behold. Visually striking posters, editorials and architecture all found a place in the top 20, and seemed to…
Le photographe hongrois Bence Bakonyi a eu l’idée avec la graphiste Kira Koroknai de réaliser une série de clichés autour de la possibilité d’imaginer des corps flottants dans des lieux impressionnants. Une réalisation et une mise en scène superbe avec cette série « Floating Series » dans la suite de l’article.
Dans le même genre : Floating Series
(TrendHunter.com) It has been eagerly anticipated by the tech world and with the iOS 6.1 release, savvy users will have access to some seriously innovative features. As such, this collection of accessories are…
Após três décadas colecionando homens bonitos em suas propagandas, a Diet Coke comemora seus 30 anos com um novo garoto-propaganda. No filme Gardener, o modelo britânico Andrew Cooper encarna um jardineiro bonitão que é provocado por um grupinho de mulheres desocupadas… até que o feitiço se vira contra o feiticeiro.
A assinatura é da BETC London.
Post originalmente publicado no Brainstorm #9
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There’s been a lot of discussion lately about “programmatic premium”- using machines to fully automate the purchase of premium advertising inventory. It seems like every conference lately has someone from Kellogg’s on a panel saying programmatic premium is GR-R-REAT with very impressive statistics to support their claims.
The Ad Exchanges, DSPs, DMPs, SSPs, and various other TLAs (three letter acronyms) you see on Terry Kawaja’s Display Lumascape have certainly been successful at automating the buying and selling of remnant inventory. But remnant inventory represents only a small slice of advertising spending. According to Mike Leo, CEO of Operative, only 18% of digital media advertising budget is spent through exchanges.
Advertising technology stack vendors are now hungrily eyeing the other 82% of the pie that is currently being spent on premium advertising inventory through guaranteed contracts. Their story is their technology will work just as well for premium inventory as it has proven to be for remnant inventory. However, in practice, they face three very significant challenges.
First and foremost, today’s exchange-based technologies are not well-suited for buying guaranteed inventory. Exchange-based technology was built to optimize bids on an impression by impression basis in real-time. The lifecycle of the process is literally 30 milliseconds and does not involve humans. It’s just a simple transaction between two computers based on pre-programmed bidding algorithms.
In contrast, buying guaranteed inventory today is a messy 42-step process spanning weeks involving humans from multiple organizations, RFPs, dinners, ballgames, proposals, contracts, negotiations, reviews, signatures, and such. The big problem/opportunity with buying guaranteed inventory is not in optimizing bids, but rather in optimizing the workflow. Optimizing workflow within the agency and among trading partners requires a very different set of technologies than an algorithm for optimizing bid prices on a transaction.
To avoid all this messy workflow, some ad tech vendors ignore it and try to force-fit premium inventory into exchanges. They want to move the inventory into the game they are already good at playing.
That leads to the second problem: premium publishers don’t want to put their inventory in exchanges because it drives down the value of their inventory. Publishers joke that RTB really stands for “race to the bottom.” According to Walter Jacobs, EVP of Sales at Turner Digital “We don’t participate in any real time bidding or private exchanges at this point. It’s a very funny thing, because to the untrained eye, we might seem like an unsophisticated old media company that is scared to embrace technology. The opposite couldn’t be much closer to the truth. […] We believe the downside of RTB and private exchanges is that it fragments audiences.”
Ad tech vendors need to respect the needs of the premium publisher. Publishers are certainly keen to streamline their workflow, lower their transaction costs, and to make it easier to buy from them. However, they will never do that in an environment that commoditizes their inventory and creates channel conflict with their ad sales teams.
A third problem that is rarely mentioned, but perhaps trumps them all is the dirty secret that advertising agencies are making a ton of money on the old way of buying guaranteed inventory. Starting around 1990, agencies have moved from media commission models to hourly (or “cost plus”) pricing models. According to the 4A’s Labor Billing Survey Report, 91% of proposals today are priced based on hourly rates (despite scoring lowest among alternatives on the Grossman Grid). In other words, the more time they spend on a job the more they get paid for the job.
A typical digital media plan costs an agency $40,000+ in labor to create and execute. These costs plus a profit margin are the revenue for the agency. As such, agencies are reluctant to adopt technologies solely on the basis of efficiency because it will cut their revenue. As an engineer, it kills me there’s a disincentive to be more efficient. But that’s the cruel reality of the situation. Any new technology has to have value beyond just efficiency to give the agency a really good reason to break rank and to go through the painful process of establishing a new compensation model that preserves their revenue.
There’s a billion dollar opportunity for automation in premium inventory. Ad tech stack vendors have proven that automation works in remnant inventory. Now it’s time to raise the bar and evolve the automation to support the more sophisticated needs of the buyers and sellers in premium advertising inventory.
This guest post was witten by Joe Pych, Founder and CEO of NextMark, a software services company that enable marketers to reach their market more effectively and efficiently
(TrendHunter.com) Boasting over one hundred thousand calories, you can probably gain weight just by smelling the Boss Bacon Burger.
Epic Meal Time’s love for bacon was taken to a whole new level with this artery-…
Voici les derniers travaux du studio américain McNabb & Co, basé à Philadelphie. En effet, ils ont imaginés cette magnifique collection de sculptures en bois appelée « City Series » sous différentes formes. De superbes représentations d’immeubles de manière artisanales sont à découvrir dans la suite de l’article.
LEGO Happy Holiplay is a global digital social campaign that engages young and old all over the world in a new kind of play with the well known LEGO bricks.
Objective: To create positive attention around the LEGO brand and get people to have fun together with LEGO during December 2012. And notably without promoting specific products or season presents.
Strategy: Adding an extra layer of imagination to playing with LEGO through a simple digital campaign. The LEGO brand and its products are all about creativity and imagination. With Happy Holiplay we encouraged and challenged people to take their imagination one step further and share the results via digital media.
Results: The campaign ran for three weeks and LEGO fans from 119 countries participated actively by uploading pictures to the campaign website. The campaign films have had more than 150.000 views on YouTube and comments, likes and shares on LEGO’s Facebook page have been overwhelming.
Advertising Agency: Konstellation, Copenhagen, Denmark
Creative Director: Thomas Pries
Art Director: Rasmus Høgdall
Client Service Director: Claus Leinø
Planner: Paul Hertz
Design: Bas Meister
Creative Technologist: Morten Barklund
Motion Graphics: Daniel Sondrup Hansen
Web Development: Rasmus Schlünsen, Sanne Didriksen
Backend: Mads Sülau
Advertising Agency: Havas Worldwide, Paris, France
Creative Director: Christophe Coffre
Creatives: Florian Roussel, Guillaume Blanc
Consultants: Thomas Crouzet
Strategic Planning: Benoît Loze
Producer: Fabienne Meric-Rougier
Tv Producer : Virginie Meldener
Direction: Everynone (Julius Metoyer/William Hoffman)
Production House: Henry De Czar
Executive: Smile
Producer: Jean-Luc Bergeron
Head Of Production: Yannick Dupas
Chief Operator: Jean Poisson
Sound Production: Kuskus
Music Title: Mac Casse Croute
Music Composer: Mathias Pothier
Music Editor: Ultraschmooze
In the second part of Media Week’s salary survey for 2013 in association with recruitment specialist Sylex, director Alex Michaels lays bare salaries at UK media agencies, and finds the highest earners have taken the biggest hit as the economy continues to bump along the bottom.
Cancer Research has appointed The Communications Agency (TCA) to handle the marketing activity around The Bobby Moore Fund.
Wi-Fi on the London Underground will only be free to customers of Virgin Media, Vodafone and EE from today, as a result of deals that were announced last year.
Volkswagen has unveiled this year’s Super Bowl TV spot that it will run during Sunday’s big game in the US.
Unruly, the global platform for social video advertising, has unveiled an algorithmic tool that allows brands to predict the “shareability” of their video content even before launch.
The price of sugary drinks should rise by as much as 20p a litre, with the money going towards improving children’s health, a report claims.
(TrendHunter.com) For people who enjoy the water, these waterproof cameras might satisfy your creative urges when under the surface. Some of the most interesting views on the planet come when you’re underwater….
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