The first, full line of all natural nutrition designed specifically for CrossFit athletes. All Natural Nutrition. Supernatural Results.
Advertising Agency: BOLD Worldwide, New York, USA
Creative Director: Brian Cristiano
Art Director: Ahab Nimry
Photographer: Brian Kuhlmann
Published: March 2013
The first, full line of all natural nutrition designed specifically for CrossFit athletes. All Natural Nutrition. Supernatural Results.
Advertising Agency: BOLD Worldwide, New York, USA
Creative Director: Brian Cristiano
Art Director: Ahab Nimry
Photographer: Brian Kuhlmann
Published: March 2013
Damn you, hot hunks of advertising! Damn you to hot, hunky hell! Your Grecian glutes mock me as I polish off another nacho platter, and your six-pack abs shame me as I knock back my six-pack of beer! Shirtless Josh Button is the latest addition to the ad-hunk trend, rising seductively from the sea in Deutsch L.A.'s new tongue-in-cheek commercial for Diet Dr Pepper. (They make diet soda now?) "Millions of guys are born good looking," Button's voiceover begins, as the number 70,611,600 flashes on screen. "But not many are really good looking." The number 64,891 appears. "Even fewer are really, really, really, really, really good looking. At least, that's what I'm told." The number 45 zips by. "I'm Josh Button, and I'm one of a kind." We then get a full-on view of his chiseled torso as the red number 1 appears, thrust like a dagger into my cholesterol-clogged heart. (Hey, I'm at least one of the 70 million fairly OK-looking dudes, right?!) "We're poking fun at ourselves and the trend of hot guys in advertising," Dr Pepper svp of marketing Jaxie Alt tells USA Today, alluding to hunk sightings in spots for brands like Kraft Zesty Italian dressing and Diet Coke. After decades of impossibly trim bikini babes making women feel insecure, I guess it's men's turn to suffer. At least one advertiser out there is providing a more realistic depiction of the male form. But when you consider the state of that beach bum's liver, and his life expectancy, it's cold comfort indeed. Credits below.
CREDITS
Client: Dr Pepper Snapple Group
Brand: Diet Dr Pepper
Agency: Deutsch, Los Angeles
Chief Creative Officer: Mark Hunter
Group Creative Director: Brett Craig
Creative Director: Xavier Teo
ACD, Art Director: Erick Mangali
ACD, Copywriter: Chris DiNinno, Lehr E. Ryan
Director of Integrated Production: Vic Palumbo
Executive Producer: Lisa K. Johnson
Director of Content Production: Victoria Guenier
Ken Rongey: Senior Business Affairs Manager
Directors: Craig Brett/Mangali Erick
Director of Photography: Greig Fraser
1st A.D.: Anthony Dimino
Editorial Company:
Spot Welders, Santa Monica, CA
Editor: Patrick Murphree
Executive Producer: David Glean
Senior Producer: Carolina Wallace
Producer: J. Patrick McElroy
Post Facility – Color Only:
Company 3, Santa Monica, CA
Colorist: Dave Hussey
Visual Effects:
Arsenal FX, Santa Monica, CA
Post Production Company: Arsenal F/X
Executive Producer: Ashley Hydrick
VFX Supervisor/Design: Lauren Mayer-Beug
Flame: Mark Leiss and Terry Silberman
Designers/Animators: Andrew Schreiber
Post Producer: Pravina Sippy
Production Coordinators:
Music/Composer:
Elias Arts, Santa Monica, CA
Creative Director-Dave Gold
Executive Producer-Ann Haugen
Composer-David Wittman
Producer-Kiki Martinez
Audio Post Company/City/State:
Play Studios, Los Angeles, CA
Mixer:John Bolen
Executive Producer: Lauren Cascio
Others:
Mnemonic and End Tag
Wood Shop, Culver City, CA
CD/Product Director: Trevor Shephard
DP: Tom Lazarevich
Live Action Producer: Christy Lindgren
Post Producer: Sabrina Elizondo
Nuke Compositors: John Weckworth, Forbes Hill, Jon Lorenz, Ned Wilson, Thomas Horne
3D Artist: Forbes Hill, Cody Smith CD
Client Credits
Director of Creative: Shaun Nichols
Brand Manager – Diet Dr Pepper: Angela Snellings
Director of Marketing: Leslie Vesper
SVP, Director of Brand Marketing and Sponsorships: Jaxie Alt
SVP, Marketing: Andrew Springate
EVP, Marketing: Jim Trebilcock
Advertising Manager: Sharon Leath
Additional Deutsch Credits:
Mike Sheldon, CEO
Account Management Credits:
David Dreyer, Group Account Director
Helen Murray, VP Account Director
Andrew DuBois, Account Supervisor
Kate DeMallie, Assistant Account Executive
Account Planners:
Jeffrey Blish, Chief Strategic Officer
Aileen Russell, Group Planning Director
Business Affairs
Abilino Guillermo: Director of Integrated Business Affairs
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Advertising Agency: McCann, London, United Kingdom
Executive Creative Directors: Rob Doubal, Lolly Thomson
Art Director: Matt Statham
Copywriter: Chris McDonald
Account Director: Richard Pike
Account Manager: Michael Burgoyne
Account Executive: Saminder Khaneka
Managing Partner: Tom Rothenberg
Project Manager: Francois Camillieri
Producer: Danielle Connolly
Ever forget to record a TV show and wish there was another way to do it? Brazil’s largest satellite provider, Sky, is testing a way for subscribers to record shows via Twitter.
The technology, which was developed by Sky’s digital agency in Brazil, AgenciaClick Isobar, generates a Twitter hashtag that works like a record button. According to the agency, the concept is a response to noticing that consumers were turning to Twitter and other sources for information about TV shows rather the schedule of programming on Sky’s website.
Sky, which is majority owned by DirecTV, is rolling out the service to subscribers starting today.
The most glaring question regarding Yahoo’s Tumblr acquisition is how it will generate more advertising revenue from a platform that, to date, has taken a minimalist approach to incorporating advertising.
Yahoo CEO Marissa Mayer is going to change that, however. Ms. Mayer said Monday morning that Yahoo would introduce more “native advertising” formats to Tumblr. She also said that advertising will eventually appear on an individual’s original Tumblr “with the blogger’s permission.”
“I would expect any ad units to be very native and to follow the form and function of Tumblr,” Ms. Mayer said.
She recovers in a gold wheel chair.
Publinews Braille Edition.
Advertising Agency: el Taier/ Tribu DDB, Guatemala
Creative Director: Jorge Solórzano
Art Directors: Maido Roca, Victor Pardo
Copywriter: Jorge Solórzano
Published: February 2013
Sets new record.
Publinews Braille Edition.
Advertising Agency: el Taier/ Tribu DDB, Guatemala
Creative Director: Jorge Solórzano
Art Directors: Maido Roca, Victor Pardo
Copywriter: Jorge Solórzano
Published: February 2013
Threatens nuclear attack.
Publinews Braille Edition.
Advertising Agency: el Taier/ Tribu DDB, Guatemala
Creative Director: Jorge Solórzano
Art Directors: Maido Roca, Victor Pardo
Copywriter: Jorge Solórzano
Published: February 2013
Habemus Papam.
Publinews Braille Edition.
Advertising Agency: el Taier/ Tribu DDB, Guatemala
Creative Director: Jorge Solórzano
Art Directors: Maido Roca, Victor Pardo
Copywriter: Jorge Solórzano
Published: February 2013
Loses fight against cancer.
Publinews Braille Edition.
Advertising Agency: el Taier/ Tribu DDB, Guatemala
Creative Director: Jorge Solórzano
Art Directors: Maido Roca, Victor Pardo
Copywriter: Jorge Solórzano
Published: February 2013
(TrendHunter.com) People enjoy seeing their favorite Disney characters conceptualized in different ways, which is what Dan LuVisi’s Disney designs offer to fans.
The Disney design concepts showcase a…
Coca-Cola’s long experimented with its vending machines, trying to make them more technologically advanced than the average soda-spitter-outer.
In the past, they’ve been known to give you a beverage only if you give them a hug, or if you dance or sing in front of them. Now, the beverage giant is attempting a much loftier goal: world peace.
Along with agency Leo Burnett, Coke created “Small World Machines”, two vending machines, one placed in India, and the other in Pakistan, that turned into communication portals. The idea was to let citizens of both countries — long embroiled in a bitter political and religious battle — see and interact with each other, even complete shared tasks. Once those tasks were accomplished, the machines dispensed a Coke.
An innocent kid asks his parents awkward questions and appears to walk in on his parents having sex before being given a child-friendly Windows Phone.
Another year, another round of PETA’s “Great Ape Pledge” PSA campaign which aims to bring awareness of the plight of primates that suffer physical/psychological abuse at the hands of the entertainment industry. BBDO New York, which has taken the “Pledge” before with its nifty auto-correct effort from two years ago, joins forces with PETA once again for the spot above, which also features VO services from Oscar-winner Adrien Brody and VFX/production work from The Mill. If you stick around for the end, you’ll see that no real ape was used in the above PSA, which reemphasizes PETA’s whole purpose for launching “The Great Ape Pledge” in the first place.
Instead, the parties involved hammer home the message that primates shouldn’t be used as actors by creating a photo-real CG chimp that’s seemingly at its wit’s end. If the stark message touched a nerve or inspired you to pledge (it’s perhaps a bit more effective than auto-correct messaging), you can go here. Credits after the jump.
New Career Opportunities Daily: The best jobs in media.
Já ouviu uma daquelas piadas contadas à exaustão, mas, que por alguma razão mágica (ou maluca), continua sempre engraçada? Algumas histórias são assim. Elas fascinam, encantam, divertem e inspiram sem precisar de muito espetáculo. A fácil identificação com qualquer ser humano tende a ser o fator principal nesse tipo de mensagem efetiva. Conectamos. Sentimos. Torcemos. Especialmente por imaginar que, se algo assim acontecer com a gente, queremos o mesmo final feliz da ficção ou algo que o valha. Assim se constroem histórias eternas e parte disso existe nos contos de fada nos quais se baseiam a sociedade ocidental e, inevitavelmente, as histórias em quadrinhos.
De forma bem simplificada, cheias de dualidades nos confrontos entre Bem e Mal, as HQs tomaram o lugar dos contos de fada para a molecada moderna e ainda o fazem com classe, entretanto, seus ícones são reflexos de um passado ancestral – e cafona – existente antes da elevação dessa arte a “cultura pop”, quando artistas precisavam desbravar um novo formato, alimentar incontáveis edições e sempre ter algo novo para contar. Entretanto a natureza rasa de alguns desses personagens os amaldiçoou (enviando a maioria deles ao limbo) e ainda os persegue. O Homem de Ferro é um dos sobreviventes. Ele é cool; faz muito sucesso; fez todo mundo adorar Robert Downey Jr (com razão!); e ele não tem mais gás.
Depois de assistir a “Homem de Ferro 3”, pergunto: será que, de fato, já teve?
Culpa do roteiro: uma amálgama de conceitos desorganizados, personagens pouco definidos e diálogos esquisitos
O primeiro filme é um marco por diversos fatores. Realizou o levante da Marvel, tirou os super-heróis (de vez) da esfera da cafonice, revitalizou a carreira de Robert Downey Jr e deu ao, agora popular, mundo nerd um novo ícone. Vários elementos dão força ao primeiro ato dirigido por Jon Favreau, foi a combinação certa e o timing perfeito. O entretenimento precisava daquilo e funcionou. Tony Stark fez a transição de playboy irresponsável e indiferente à vida alheia para bom-samaritano e herói, certo? Mas fez por razões primordialmente egoístas (ou fazia, ou morria) e precisou lutar contra outro milionário louco por poder (Iron Monger) por isso.
O espetáculo da construção da armadura e a definição de quem seria o Tony Stark do cinema (dane-se o que os leitores pensam, era um filme, logo a linguagem era outra todo mundo sabe que o pensamento foi esse), como ele pensaria, o que ele faria, etc. Da segunda vez, Tony Stark se torna o filantropo e segue os passos do pai. Então, precisa lutar contra um milionário com sede de poder e enfrenta um vilão obscuro, imbuído por vingança e disposto a matá-lo para fazer justiça (Whiplash). Mas nada disso importa, pois, na verdade, o maior inimigo são os exageros e as alusões ao vício. Ou seja, ele continua em foco. O que ele precisa. Ah, no final ele fica com a garota! As ameaças nunca foram para o mundo, sempre contra ele, interessante notar.
Aí vem o terceiro filme. Não dá para saber ao certo sobre o que ele trata. Faz menos de 30 min que saí da sessão e muita coisa já se foi. Culpa do roteiro, uma amálgama de conceitos desorganizados, personagens pouco definidos, diálogos esquisitos e, claro, o Homem de Ferro lutando contra um milionário disposto a tudo para controlar… o que mesmo? Ah, ele queria vender um produto… e ficar mais milionário, talvez? Enfim, esse não é o ponto.
Diretor Shane Black assumindo o comando da franquia
A Marvel vai ficar dependente da molecada que só liga para explosões e efeitos especiais
Desinteresse foi a palavra que veio a mente. Desinteresse por uma persona que se tornou um eco das duas anteriores, ou melhor, três, afinal de contas, Os Vingadores são referenciados à exaustão ao longo da exibição (talvez um lembrete de que o herói ainda pode ser legal?). Os dramas pessoais de Tony Stark são interessantes, mas só no papel. A primeira encarnação conquistou justamente por ser despirocada e, evidentemente, espontânea por conta do “controle” exercido por Downey Jr. sobre o personagem. Dessa vez foi impossível sentir qualquer coisa por ele. E justamente onde havia a maior de todas as motivações: salvar a mulher que ama.
A motivação estava lá, mas a história se esqueceu dela ao investir a maior parte do tempo num vilão previsível e infantil (lembrou muito daquele tempo no qual os quadrinhos eram tolos e qualquer argumento valeria). Nunca há ameaça. Nunca há dúvida. Nunca há nada com que se importar. E o próprio roteiro banaliza esse fato durante o “festival da amadura maluca”.
Gostava tanto do herói no cinema e fui vendo aquela empolgação inicial se esvair. Ela voltou em “Os Vingadores”, mas foi lá para o fundo do poço do Sarlacc depois de “Homem de Ferro 3”. O comando sempre questionável de Kevin Feige, da Marvel, começa a ceder na estratégia de longo-prazo para os personagens principais. Se o objetivo da companhia é criar espetáculo, é bom que tenha roteiros espetaculares ou a Marvel vai, rapidamente, ficar dependente da molecada que só liga para explosões e efeitos especiais.
Radicalismo? Não, realismo. O cinema de super-heróis vem crescendo há anos e o próprio Stan Lee disse que “vão parar de crescer quando a mensagem se perder”. Bem, começo a temer pela proximidade desse momento. A hora de Kevin Feige poderia estar se aproximando, mas os resultados dos últimos filmes (inclusive de “Homem de Ferro 3”) é bom demais para ameaçar a carreira de qualquer executivo de estúdio.
Filmes desse gênero exigem a desconexão com a realidade, mas, nesse caso, conseguiram me desconectar da história em si. Pouco antes de ir ao cinema, fiquei emocionado ao ver o terço final de “Campo do Sonhos”. Um filme que já revi inúmeras vezes. Posso recitar o último monólogo de James Earl Jones, mesmo sem não ter a mínima paixão pelo beisebol, mas sou incapaz de lembrar qualquer diálogo relevante nesse Homem de Ferro. O final do filme define tudo muito bem: é um show de fogos de artifício.
Podem explodir milhares deles e você sempre vai ter a impressão de que já viu aquilo antes e que, depois de certo ponto, todos são exatamente iguais. Quando o show acaba nada mudou.
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Fábio M. Barreto é jornalista, cineasta e autor da ficção científica “Filhos do Fim do Mundo”.
Post originalmente publicado no Brainstorm #9
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Advertising Agency: BBR Saatchi & Saatchi, Israel
Chief Executive Officer: Yossi Lubaton
Chief Creative Officer: Nadav Pressman
Creative Directors: Amir Arieli, Tomer Gidron
Art Director: Nathan Freifeld
Copywriter: Liron Cohen
Account Group Head: Nir Federbush
Account Supervisor: Yogev Atoon
Account Executive: Shir Herman
Planning Supervisor: Nir Avraham
Planner: Nir Levlovi?h
Production: Odelia Nachmias
Today, everyone does everything. You have actor-writer-rappers (Donald Glover, Jamie Foxx), dancers turned actors (Jennifer Lopez, Channing Tatum), pro athletes attempting to rap (Shaq, Allen Iverson), and so on. So, when Rafael A. Perez, a San Diego realtor, decided to produce a rap video to "express the state of real estate" there, who was going to stop him? Yes, the housing market in the U.S. collapsed a few years ago, but R.A.P. (Rafael A. Perez's emcee moniker) is here to tell you that it's BACK! Along with the American dream! At least in San Diego! The YouTube video, titled "Welcome to the 619," is a hopeful and amusing bid to get people excited about the area again. It's filled with bad lip-syncing, a barely conscious Perez, zooms of Google images, MLK Jr. quotes, and of course American flags. I don't know about you, but I think it's about to get real crowded in the 619.
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Tyler, the Creator. Rick Ross. Lil Wayne.
Brands like Mountain Dew and Reebok have turned on a dime on the recording artists they’ve struck deals with and dropped talent in light of a small group of critics making a lot of noise. I don’t want to defend any of the content that was deemed offensive. But it’s important to examine how that content got attached to a brand and subsequently made its way into the world.
In other words, marketers must take a step back and examine their own culpability in these crises.
Oh how this Rooster Worldwide self-promo video harkens the days of old when Agency.com made fools of themselves with their Subway Pitch Video. First off, it’s all well and good for people to have interests outside of their daily jobs but would you really hire an agency that answered the question, “Are you a production company or an ad agency?” with “Oh, you mean that shit we do to pay the bills when we’re not skating?”
Or a creative director that describes himself “I’m a creative director, a writer, an actor, a dad. But mostly, I’m just another fucking skater”?
The video is categorized as comedy on YouTube. We hope that’s actually what Rooster intended.
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