Nothing complements flame-grilled perfection better than golden fries, right? The problem is, it's too much work to eat a burger, then put it down, and then pick up, dip and eat a french fry. It's madness really. (Lightbulb!) Thankfully, Burger King has answered our prayers with the "French Fry Burger." It's a burger topped with, you guessed it, delicious french fries. The chain will be offering the flame-grilled masterpiece starting Sept. 1 through the fall for $1 in an effort to push back against McDonald's Dollar Menu. Now, if only Burger King could manage to work out a burger, fry and drink sandwich. Now, that would be impressive.
Le photographe Massimiliano Sarno réalise depuis 2010 des portraits en utilisant de longues expositions. Dans cette nouvelle série, ce sont les cyclistes et autres riders qui deviennent des fantômes éclectiques, immortalisés alors qu’ils passent de façon rapide dans les rues.
Facebook will pay out $20 million in a settlement over a privacy battle about users “likes” being used as endorsements for sponsored ads without their permission.
Quirky retail and spa brand Bliss appeared on the last episode of AMC’s “The Pitch” seeking an agency to create a print campaign for its new lip waxing product, Fuzz Off.
The brand boasts 21 spa centers around the world offering massages, facials and its products — with playful names like “Fabulips” lip gloss and the “Lovehandler” slimming gel — are sold in over 3,000 retail stores in 30 countries. Yet it’s historically done most of its promotions inhouse and hasn’t devoted much in the way of paid advertising. If you’re watching the reailty show, though, you know that Bliss turned to Los Angeles-based agencies, Innerspin and MC Squared to compete for a print campaign assignment.
Bliss President Mike Indursky talked to us about why he decided to participate, just how “real” the show is, why print is still relevant and why an agency with a funny bone is appealing.
The National Park Foundation has launched an impressive website to celebrate the March on Washington, led by Martin Luther King, Jr. 50 years ago today. Created by Organic in partnership with Google, “We Are Still Marching” captures images, news and radio footage from that historic day in 1963. Upon entering, users will hear a recording of King giving his “I Have a Dream” speech.
They’re also invited to record their own renderings of the famous speech.
Be careful what you say about Taco Bell in Canada. The chain is liable to etch your angry rants on taco shells and force them down your throat. That's what happened in this stunt from ad agency Grip Limited in Toronto, which marked the long-awaited arrival of the celebrated Doritos Locos Tacos in the country by using a special laser to burn exasperated tweets from impatient customers right on the first batch of shells—and then invited those same customers to a "special fan event" where they literally ate their words.
Back in the U.S., meanwhile, Taco Bell has rolled out the new Fiery Doritos Locos Tacos, and is promoting them with two new spots from Deutsch LA. The first, titled "The World's Most Hottest Idea," shows various people discussing the spicy taco's flavor, oblivious to actual fires erupting around them. (Note the movie marquee in the last frame, "Gordy and Brian Take on Delaware," which refers to the creative team who created the spot.)
The other new spot, "No Pican," is the first commercial from the Deutsch LAtino multicultural marketing practice, and will target Latino audiences.
See those two spots, and credits for all three, below.
CREDITS Client: Taco Bell Canada Campaign: "DLT Eat Your Words" Agency: Grip Limited, Toronto Creative Directors: Ben Weinberg, Pat Andrews Copywriter: Trevor Gourley Art Director: Julia Morra Social Content Strategist: Patrick Tomasso Director of Client Services: John Miller Account Director: Cheryl Gosling Business Manager: Liliana Coimbra Producer: Liz Crofton Production House: Data Armada Editor: Duane Vandermeulen Music, Sound: Imprint Music Postproduction: Grip Limited Chief Marketing Officer: David Vivenes Director of Marketing: Michael Van Horne Marketing Manager: Veronica Castillo
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Client: Taco Bell Spot: "The World's Most Hottest Idea"
Client Credits President: Brian Niccol Chief Marketing, Innovation Officer: Chris Brandt Brand Creative Director: Tracee LaRocca Senior Manager, Brand Experience: Aron North Manager, Brand Experience: Ashley Prollamante
Agency: Deutsch, Los Angeles Group Creative Director: Brett Craig Creative Directors: Jason Karley, Josh DiMarcantonio Senior Art Director: Gordy Sang Senior Copywriter: Brian Siedband Director of Integrated Production: Vic Palumbo
Executive Producer: Paul Roy Senior Producer: Mila Davis Music Supervisor: Dave Rocco
Production Company Arts and Sciences, Los Angeles Director: Matt Aselton Director of Photography: Nigel Bluck Executive Producer: Marc Marrie Managing Director: Mal Ward Line Producer: Scott Kaplan First Assistant Director: Craig Pinckes
Editorial Company Cut and Run, Santa Monica, Calif. Editor: Jay Nelson Assistant Editors: Luke McIntosh, Sean Stender Senior Producer: Amburr Faris Executive Producer: Carr Schilling
Post Facility MPC, Santa Monica, Calif. Colorist: Ricky Gausis
Visual Effects Company Method, Santa Monica, Calif. Visual Effects, Online Artist: Jason Frank Visual Effects Assistant Artist: Patrick Vollkommer Creative Director: Claus Hansen Producer: Stephanie Alllis
Music, Composer Massive Music (Music festival scene only) AFM Stock Music (Airbrushing scene only)
Sound Design Company 740 Sound Design, Los Angeles Sound Designer: Rommel Mollina Associate Producer: Jeff Martin Executive Producer: Scott Ganary
Audio Post Company Lime Studios, Santa Monica, Calif. Mixer: Rohan Young Assistant: Patrick Navarre Executive Producer: Jessica Locke
End Tag Mnemonic: Method Studios, Santa Monica, Calif. Executive Producer: Robert Owens
Additional Deutsch Credits: Chief Executive Officer: Mike Sheldon Account Management Credits: Group Account Director: Walter Smith Account Directors: Amanda Rantuccio, Christi Johnson Account Supervisor: Steve Scutellaro Account Executive: McKenna Pickett Account Planners: Chief Strategic Officer: Jeffrey Blish Group Planning Director: Christian Cocker Traffic, Business Affairs: Director of Business Affairs: Abilino Guillermo Senior Business Affairs Manager: Ken Rongey Business Affairs Manager: Nestor Gandia Director or Broadcast Traffic: Carie Bonillo Broadcast Traffic Manager: Sarah Brennan
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Client: Taco Bell Spot: "No Pican"
Client Credits: President: Brian Niccol Chief Marketing, Innovation Officer: Chris Brandt Brand Creative Director: Tracee LaRocca Senior Manager, Brand Experience: Aron North Manager, Brand Experience: Ashley Prollamante
Agency: Deutsch, Los Angeles Group Creative Director: Brett Craig Creative Directors: Jason Karley, Josh DiMarcantonio Art Director: Luis Farfan Senior Copywriter: Armando Samuels Senior Copywriter: Natalia Cade Director of Integrated Production: Vic Palumbo Executive Producer: Paul Roy Producer: Ilene Kramer Music Supervisor: Dave Rocco
Production Company Cortez Brothers, Marina Del Rey, Calif. Director: Esteban Sapir Director of Photography: Travis Cline Executive Producer: Ed Rivero Head of Production: Ashlee Cohen Line Producer: Asori Soto First Assistant Director: Mariano Andre
Editorial Company Beast LA, Santa Monica, Calif. Editor: Kevin Garcia Assistant Editor: Gabriel Ordonez Executive Producer: Jerry Sukys Head of Production: Darby Walker Producer: Mary Stasilli
Post Facility CO3, Santa Monica, Calif.; Method Studios, Santa Monica Colorist: Sean Coleman @ CO3 Online, Visual Effects Artist: Tim Rudgard @ Method Studios Assistant: Louis Schachte @ Method Studios Executive Producer: Robert Owens @ Method Studios Producer: Stephanie Allis @ Method Studios
Visual Effects Company Method Studios, Santa Monica, Calif. (graphics adapted from previous Taco Bell spots) Visual Effects Artist: Tim Rudgard Visual Effects Assistant Artist: Louis Schachte Producer: Stephanie Allis
Music, Composer Elias Arts, Santa Monica, Calif. Executive Producer: Ann Haugen Producer: Katie Overcash Composer: Jack Shenker Creative Director: Brett Nichols
Sound Designer 740 Sound Design & Mix, Los Angeles Sound Designers: Rommel Molina, Nicholas Interlandi, Michael Dillenberger Executive Producer: Scott Ganary Associate Producer: Jeff Martin
Audio Post Company Tono Studios, Santa Monica, Calif. Mixer: Juan Felipe Valencia Executive Producer: Noel Miranda Producer: Monica Sotelo
Additional Deutsch Credits: Chief Executive Officer: Mike Sheldon Account Management Credits: Group Account Director: Walter Smith Integrated Account Supervisor: Steve Scutellaro Account Directors: Amanda Rantuccio, Mildred Grijalva, Christi Johnson Account Executive: McKenna Pickett Account Planners: Chief Strategic Officer: Jeffrey Blish Senior Account Planner: Pearl Owen Traffic, Business Affairs: Director of Integrated Business Affairs: Abilino Guillermo Senior Business Affairs Manager: Ken Rongey Director of Broadcast Traffic: Carie Bonillo Broadcast Traffic Manager: Sarah Brennan
Photographe aujourd’hui reconnu et gagnant de nombreux prix, le finlandais Kai Fagerström publie dans le National Geographic une série de photo intitulée Once Upon a Home dans laquelle des animaux prennent possession d’une maison abandonnée. Une série de photos intemporelle à découvrir dans la suite.
Facebook UK is set to generate more than £300 million in ad revenues this year, up more than a third on 2012, according to upwardly revised forecasts following better than expected results in Q2.
From Mayo Draftcb Peru, the agency behind the amazing water generating billboard for UTEC, comes a truly awe-inspiring campaign for the Peruvian Cancer Foundation.
The Peruvian Cancer Foundation was truly in need of help, having failed to reach its fundraising goal for the past three years. This year, they launched their campaign among the prisoners of Castro Castro Penitenciary, the most dangerous prison in Peru. They gathered the representatives of each pavilion in the prison, showed them video of children struggling with cancer, and asked them to raise as much funds among the other prisoners as they could. The results exceeded expectations, and news of the prisoner’s compassion spread throughout Peru, helping the Peruvian Cancer Foundation break previous fundraising records. Perhaps most inspiring is the positive effect the campaign had on the inmates of the prison. But words can’t really do it justice, check out the video for yourself. There really aren’t enough stories like this one out there. continued…
(TrendHunter.com) The Zip Zester is the perfect tool to aid in creating an aromatic and flavorful collection of lemon zest. When it comes to adding an impactful kick, nothing beats the fresh flavor of lemon zest. It…
It’s a varied week for Chris Pelekanou, commercial director, Clear Channel UK, as he talks digitisation of out of home, lunches at Roku, and dons a questionable amount of Lycra.
Le studio Bito TV a imaginé cette superbe vidéo d’animation d’une grande fraîcheur pour la conférence TEDx qui aura lieu à TaiPei les 28 et 29 septembre 2013. Une création reprenant visuellement les 6 thèmes abordés durant cet évènement à découvrir en vidéo dans la suite de l’article.
Lenovo has moved on (at least for the moment) from comparing itself to Apple to having Kobe Bryant play Beethoven on the piano with symphonic accompaniment for no reason. Really. There's barely a connection made between Lenovo's product line and Kobe in this Chinese spot, though there are worse things in life than gratuitous piano playing. For those of you who are surprised that Kobe had this talent, check out his six-second video that was the inspiration for the ad. He has said the Moonlight Sonata, in particular "calms me down when I reach my breaking point."
We’ve received word that Jeff Puskar, who’s spent the last two years at BBDO New York and the last nine months as its VP/user experience design, is parting ways with the agency. No word yet on his last day at BBDO NY, but we’re hearing on the Spy line that Puskar is heading west and joining up with Deutsch LA. Prior to BBDO, where he’s worked with clients including AT&T and FedEx, Puskar spent several years as a UX design lead and/or director at Schematic.
L'Oréal's Dermablend cosmetics brand got 13 million YouTube views for its 2011 "Go Beyond the Cover" video starring the über-tattooed Rick Genest. So, it's no surprise they've reunited, this time for an iOS app that tells the story behind the Canadian artist and model's body illustrations while touting Dermablend products.
3-D technology lets users "Uncover Zombie Boy" by clicking on his tattoos. (You can demo the app on the web here.) For example, Genest informs us that he holds world records for the 178 bugs and 138 bones emblazoned on his skin, and that getting his hands done at age 19 was a "point of no return" because "you can't really get a job at a coffee shop anymore." The app lets you turn Genest's corpse-like image this way and that, and zoom in and out, but I was kind of hoping it would give me complete control of him, so I could make him my zombie slave to do my evil bidding. Maybe next time.
Oh, you can also overlay the deep, dark eyeholes and exposed teeth and gums of his skull tattoo on a photo of your own face to see what you'd look like if you, too, never wanted to get a job at a coffee shop again. When I tried it, I basically looked the same. Too many late nights reviewing ads and apps, I guess.
Now, on one level, "Uncover Zombie Boy" provides a fascinating interactive portrait of Genest's outer and inner self. But of course, this isn't a purely creative endeavor. It exists to sell Dermablend's concealing makeup, which was famously used in the viral hit video two years ago to cover up Genest's tattoos and make it look like his skin had never know the sting of the needle. In the new app, large letter D's that appear beside his image yield information about the Dermablend products that correspond to his various body parts.
Some have pointed out the incongruity of a fierce nonconformist like Genest, who, needless to say, really stands out in a crowd, shilling for an outfit that brags about being "the No. 1 dermatologist recommended camouflage brand." Still, the guy's gotta make a living. If he's satisfied that he hasn't "sold out," who are we to draw conclusions?
Mention “native advertising” to a media buyer these days, and he or she will ask what exactly you mean by it. Advertorials? Promoted Tweets? Search ads? Sponsored content?
The term has become industry shorthand for any ad product that isn’t a banner and looks like the content around it, or anything the Interactive Advertising Bureau hasn’t standardized. It’s the ad industry’s latest salespitch, and not without reason. Banner ads are broken, so marketers and ad-sellers alike have a good reason to at least attempt to move beyond them.
Publishers have created some really interesting innovations in the name of “native” advertising, but can we agree that we should all stop calling them “native?”
Parece difícil de acreditar que, a esta altura do campeonato, com a tecnologia tão presente em basicamente todas as áreas das nossas vidas, que a indústria de brinquedos ainda mantenha algumas tradições. Mas é exatamente isso o que mostra The Secret Story of Toys, curta dirigido por Anthony Ladeisch que explora os estágios iniciais da produção de figuras de ação e os artistas por trás deste trabalho.
Antes de chegar ao PDV acompanhado por uma publicidade maciça, tornando-se objeto de desejo de crianças e adultos, antes de ganhar a embalagem mais bacana, colorida e atraente, antes até de ir para a linha de produção, todo brinquedo passa pelas mãos de um artista que o esculpe a partir da massa disforme da argila. E são estes escultores e designers de protótipos que falam sobre seu processo criativo neste documentário curioso e imperdível, que responde às perguntas que a gente nem sabia que tinha.
O trabalho é meticuloso, nenhum detalhe pode ser esquecido. Afinal, aqueles brinquedos não são apenas para crianças, mas também objetos para colecionadores exigentes, como os próprios artistas que os criam. Como todo trabalho criativo, a prototipagem é cercada de paixões e frustrações, erros, acertos e muitos recomeços.
Mas apesar de responder a muitas perguntas, The Secret Story of Toys também levanta outras. É o caso, por exemplo, de como uma impressora 3D pode afetar o trabalho destes artistas. Será que esta tecnologia é uma ameaça à arte? Espero que não.
It would be hard to find a hotter buzz-term in marketing than so-called “native advertising,” which means a lot of things to different people but boils down to ads that look and feel like the content that surrounds them. At this point, everyone is latching onto the term, even when they shouldn’t.
Criticisms of the concept include: it’s just a re-brand of “sponsored content;” they’re labor intensive to make; and, most damning, they just don’t scale. A beautifully-compiled sponsored list on BuzzFeed may reach an audience of 100,000, but billions of banner ads are served each day, so the notion that native even comes close to the display’s scale is a pipe dream.
“To be completely native, you must match the user experience of each individual publisher deploying the technology, so in essence, native advertising does not scale.” wrote Darren Herman, Chief Digital Media Officer at The Media Kitchen, in an email to Ad Age.
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We’ve received word that 
