Advertising Agency: Ogilvy & Mather, Shanghai, China
Chief Creative Officer: Graham Fink
Executive Creative Director: Sean Sim, Francis Wee
Creative Director: Golf Nuntawat
Client Supervisor : Richard Cotton, Victor Vieira, Ming Alterman
Art Director: Jasphine Chew
Copywriter: Sean Sim
Photographer: Kurt Tang
Account Directors: Martin Murphy, Oli Goulden, Anita Beveridge
Public Relations: Fengmei Liang, Xiufan Huang, Qingxin Li, Lisha Deng, Yanyan Wu
Agency Producer: William Huen
Production House: Carrot Films
Director: William Dhawan
Producer: Steven Ng
Exposure: Print, Digital, Event
Not the best way to end the day, but Holly Brockwell, a London-based digital copywriter’s note to Hyundai and its agency, Innocean, regarding their new ad campaign, had us figuratively chopping onions for a few minutes. If you haven’t seen the campaign, which promotes the automaker’s ix35 in the most awkward of ways, look above (Update: It looks like the videos keep getting taken down, so don’t be surprised if it happens again; We’ll just provide screen grabs if need be. Update 2: And, yes, it’s now been officially pulled by the brand) . Anyhow, the man in the ad survives his attempted suicide thanks to Hyundai’s apparent 100 percent water emissions. Unfortunately, Brockwell’s dad died in the same manner, and after watching the spot, she penned this letter to the brand and agency via her blog. It’s, as mentioned, a heartbreaker and we truly feel for her. Here’s just an excerpt:
“When your ad started to play, and I saw the beautifully-shot scenes of taped-up car windows with exhaust feeding in, I began to shake. I shook so hard that I had to put down my drink before I spilt it. And then I started to cry. I remembered looking out of the window to see the police and ambulance, wondering what was happening. I remember mum sitting me down to explain that daddy had gone to sleep and would not be waking up, and no, he wouldn’t be able to take me to my friend’s birthday party next week. No, he couldn’t come back from heaven just for that day, but he would like to if he could. I remember finding out that he had died holding my sister’s soft toy rabbit in his lap.
Surprisingly, when I reached the conclusion of your video, where we see that the man has in fact not died thanks to Hyundai’s clean emissions, I did not stop crying. I did not suddenly feel that my tears were justified by your amusing message. I just felt empty. And sick. And I wanted my dad.”
Her final note to the parties involved says it all: “My dad never drove a Hyundai. Thanks to you, neither will I.” We obviously can’t blame her. Let’s just see if and when or how agency and/or brand responds.
Updated: Well, that didn’t take long. Barely 90 minutes after this post, Hyundai has offered this to us verbatim:
Hyundai Motor America Statement:
“We at Hyundai Motor America are shocked and saddened by the depiction of a suicide attempt in an inappropriate European video featuring a Hyundai. Suicide merits thoughtful discussion, not this type of treatment.”
Hyundai Motor Company Statement:
“Hyundai Motor deeply and sincerely apologizes for the offensive viral ad.
The ad was created by an affiliate advertising agency, Innocean Europe, without Hyundai’s request or approval. It runs counter to our values as a company and as members of the community. We are very sorry for any offense or distress the video caused. More to the point, Hyundai apologizes to those who have been personally impacted by tragedy.”
(TrendHunter.com) The Spring/Summer 2014 menswear collection recently shown by Reserva at Rio Fashion week gives new meaning to the phrase “off the rack clothing.”
Le réalisateur Cz?owiek Kamera a dirigé ce clip illustrant le morceau « Lose Sight » d’Andrew Bayer. En proposant des personnes en lévitation, cette vidéo très épurée et réussie parvient à coller parfaitement avec l’ambiance aérienne et éthérée du morceau. A découvrir en images dans la suite.
Marissa Mayer’s Yahoo is all about your daily habits. Those apparently include watching classic clips from “Saturday Night Live.” In their biggest content deal in recent memory, Yahoo announced it acquired the rights to current season and nearly 40 years of classic SNL clips from Broadway Video, the production company founded by SNL creator Lorne Michaels. Those clips has been on Hulu and NBC.com, which will continue to have full episodes of current and past seasons.
The deal is a big one for Yahoo, and costly. The New York Times’ Brian Stelter reported that the catalog had cost $10 million a year in the past. But it does give Yahoo something to talk about at its “Newfront” for advertisers next week. Advertisers want to attach their TV ads to TV-like video on the web, and there isn’t a whole lot of that, so the deal gives Yahoo something it can promote and sell at high rates.
If Yahoo promotes the archive as they say they will, it will get a lot easier to find and watch some really great, but long lost, TV. Here’s a bit of it:
Well, as those in know are telling us, a few tipsters may have received some mixed signals. Jon Flannery is NOT replacing Draftfcb Chicago CCO Todd Tilford but instead has been promoted from EVP/group creative director to EVP/executive creative director and will still report to the latter exec. Tilford in fact offers a statement with a little reveal, saying, “Jon is an exceptional strategic thinker and creative talent, and he knows how to engineer a collaborative environment where great work happens. We are in the process of turning the Chicago office into an open source creation studio, and Jon will play a critical role in making it happen. The path we are taking is going to be a an exciting one.”
Flannery has been with DFCB Chicago for over four years and was promoted, according to the agency, as a result of his work with clients including Kmart (he led creative on the recent viral hit for the brand, “Ship Your Pants”), Dow Chemical and The Shelter Pet Project. Prior to Draftfcb, the Chicago agency vet spent seven years as a senior creative at Element 79 (which was folded into Omnicom sibling DDB Chicago last fall), where he worked on Gatorade among other clients. Prior to E79, Flannery spent nearly a decade at Leo Burnett.
The New York Times plans to introduce new subscription products at lower prices later this year, the company said today.
New offerings in development include a lower-priced paid product providing The Times’s “most important and interesting stories”; lower-cost packages focused around subjects such as politics, technology, opinion, the arts and food; and a more expensive product that would include “extras” such as access to Times events.
Earlier this week The Times said it is exempting its online videos from its pay wall, suggesting that they aren’t driving enough subscriptions or attracting enough views under the current system.
Para falar sobre a crescente segregação econômica e social em Nova York, o The New Yorker criou a página Inequality and New York’s Subway. Através de um infográfico interativo, é possível ver as diferentes rendas que se cruzam nas linhas do metrô da cidade ao longo de uma viagem, colocando lado a lado pessoas da mais alta à mais baixa classe social.
Para chegar a esse complexo resultado, o infográfico analisa dados de renda anual e localização dos americanos residentes em Nova York registrados no Censo EUA de 2011. A partir destes dados, é calculada a renda média de cada estação de metrô, ou seja, dos nova-iorquinos que residem próximos a estas estações.
Com isso, é possível cruzar cada linha com cada estação que esta percorre, obtendo uma visão geral de “entra e sai” de diferentes níveis de renda em uma mesma viagem de metrô.
É interessante ver, por exemplo, como algumas linhas vão de uma renda anual de $36,691 (nas estações no Bronx) para uma de $205,192 (em estações no Upper East Side). A linha G, de menor variação deste números, é a única que a renda não passa dos $100,000 anuais em nenhum ponto, justamente porque não vai até Manhattan.
Indiretamente, os gráficos dizem o que já se sabe, mas de uma forma diferente. A visualização de dados, além de esclarer a situação econômica e social da cidade, pode transformar a informação em uma história e gerar novos olhares sobre ela.
Aqui, talvez como singularidade dessa cidade tão heterogênea, vemos que por mais desigual que seja sua distribuição, no fim do dia, todas as diferentes classes e rendas se encontram no mesmo vagão.
“If you’re a smart actor you will look at the digital side of things,” former “Desperate Housewives” star Eva Longoria said during a session at the Ad Age Digital Conference in New York last week. So will smart private equity investors eyeing the entertainment business, said Hulu acting CEO Andy Forssell.
Watch them lay down the line here:
Ms. Longoria stars in “Mother Up,” a 13-episode series making its debut this fall on Hulu and on Canada’s City Television.
Gollog Express is Gol Airlines’ delivery service that finds recipients fast, no matter where they are. To prove this in digital magazines we created an ad that combined geolocation with the Google Street View API. In the ad, the reader saw the street view image of the exact location he or she was at, followed by an animated hand delivering the Gollog package.
Advertising Agency: AlmapBBDO, Sao Paulo, Brazil
Chief Creative Officer: Marcello Serpa
Executive Creative Director: Luiz Sanches
Creative Director: Marcos Medeiros, Andre Kassu, Bruno Prosperi, Renato Simões
Art Director: Guiga Giacomo, Tiago Pinho
Copywriter: Ricardo Wolff
Quem navega pelo YouTube já deve ter se deparado diversas vezes com o famoso 301 views. Vídeos novos, populares, e que já tem trocentos mil likes (ou dislikes) ficam presos no 301.
Isso não é o YouTube manipulando ou não sabendo fazer contas, como muitos acreditam, é apenas um sistema de segurança do algoritmo do site. Para evitar que a audiência dos vídeos seja inflada artificialmente, através de bots ou o que for, o número de visualizações de vídeos populares congelam em 301, até que a qualidade desses views seja verificada.
Demorou para fazer, mas o YouTube finalmente incluiu um indicador ao lado do número de visualizações para evitar qualquer questionamento. Agora aparece um + ao lado do 301, com um link para o FAQ do site, explicando que o número será validado e atualizado em breve.
When it comes to branded content, the better the content, the better the branding. And so it goes with Desire (below), a short film from ad agency The Brooklyn Brothers and Ridley Scott's production company, touting Jaguar's F-Type sports car.
Of course, Jag is a vehicle of excess, and the clip's 13-minute length, like the car's $92,000 price tag, is pretty darn excessive. I usually can't concentrate on anything for 13 minutes. Still, Desire held my attention all the way through with solid storytelling, visual panache (props to director Adam Smith) and strong performances from its three leads.
Homeland's dapper Brit, Damian Lewis, who would make a great James Bond, plays a "delivery man" tooling around the Chilean desert in search of the new owner of a red F-Type. He picks up perky, gun-toting Shannyn Sossamon, who is on the run from her psychopathic, drug-dealing husband. Jordi Molla just about steals the show as the scruffy gangster, spitting out lines like "Shut your face or I'll rip it into pieces" with just the right mix of humor and menace, and breathing into a paper bag in a fruitless attempt to keep his rage in check.
Desire is basically an extended car chase punctuated by zippy dialogue, a twisty plot and lots of gunfire. The film makes good use of its running time without overstaying its welcome.
As content, it works on par with the similar BMW Films series a decade ago. That comparison is inevitable—everyone else is making it, and I didn't want to feel left out!—but also pretty pointless. Art informs art, and ads inform ads. A more salient question is: Does Desire succeed as advertising?
I'd say it performs better than expected. The Jag appears in almost every shot, but that makes sense in the context of the story, so it never feels gratuitous—more like an extended product placement. The key test comes near the finale, when Lewis rattles off a litany of F-Type technical specs, at gunpoint, to prove he really is in the desert to deliver the car. The speech doesn't sound forced or out of place, and the scene would be amusing if this were an unsponsored action flick that just happened to feature a Jag.
I'm betting prospective Jaguar owners like to believe they're sorta special—and for 92 grand, who can blame them?! So, a long-form, cinematic blockbuster ad seems well suited to this particular audience. (Leave the jokey 30-second cable spots for those of us on Honda Civic budgets.) Viewers can sit back and enjoy the wild ride, ogling the F-Type's impressive design and road handling. It never feels like we're being taken for a spin by an advertising vehicle.
At the crossroads of content and commerce, Desire, like its enigmatic hero, delivers.
Olá, anticadesigners e brainstormers!
Neste programa, Ivan Mizanzuk e Marcos Beccari recebem os convidados Felipe Ayres e Vini para conversarem sobre Sound Design! Como o cinema e o video-game criam sons que não existem para criar emoções? Como deixar a realidade ainda mais real através do som? Quem são os grandes caras da indústria? Como funciona essa maluquice?
>0h7min55seg – Pauta Principal
>1h12min42seg – Leitura de comentários
Assine o Feed do AntiCast que é feed.anticast.com.br
iTunes
Ouça o AntiCast no iTunes aqui ou então manualmente:
Assine no seu iTunes da seguinte forma: Vá no Itunes, na guia Avançado > Assinar Podcast e insira o nosso feed feed.anticast.com.br
À essa altura do campeonato, algumas pessoas já se acostumaram com aqueles cinco segundos obrigatórios de propaganda que o YouTube exibe antes de alguns vídeos. Daí entra aquele desafio das agências, de criar algo que prenda a atenção do internauta nestes cinco segundos iniciais, antes que ele tenha a chance de clicar em pular. Isso ou criar uma propaganda que diga em cinco segundos o que outras precisam de 30 segundos ou mais. Foi o que a DDB Espanha fez para o Golf GTI da Volkswagen.
Em Click if You Can, a DDB apresenta um comercial rápido para um carro veloz, que o usuário pode até tentar pular, mas terá de alcançá-lo. Se o internauta ficasse curioso em saber mais, bastava clicar no banner sobre o vídeo para ser levado a um site com informações sobre o carro.
No ano passado, mostramos uma ação interessante dos chilenos da MayoDigital, que também usava os cinco segundos obrigatórios para sugerir que as pessoas mudassem de atitude.
This is site is run by Sascha Endlicher, M.A., during ungodly late night hours. Wanna know more about him? Connect via Social Media by jumping to about.me/sascha.endlicher.
Well, as those in know are telling us, a few tipsters may have received some mixed signals. 
