Advertising Agency: mono, USA
Production Company: Whitelabel Product
Director: Matthew Donaldson
DP: Gosta Reiland
Executive Producers: Ellen Jacobson-Clarke, Annique Decaestecker, Oliver Hicks
Head of Production: Lynn Zekanis
Line Producer: Amanda Clark
Editorial Company: Final Cut
Editors: Arianna Tomasettig / ?Drummer,? ?Midnight Pop?, Ashley Kreamer / Forklift,? ?Wipe,? Prepared?
Assistant Editor: Betty Jo Moore
Executive Producer: Lauren Bleiweiss
Postproduction Company: Company 3
Colorist: Tim Masick
Visual Effects Company: Pixel Farm
VFX Supervisors: Tony Mill, Kurt Angell
VFX Artist: Jay Holgate
VFX Artists: Mike Kolloen, Luke Braith
Director of Animation: Tom Doeden
Executive Producer: Bill Kruse
Producer: Krystal Lamoureux
Animators: Scott Kassekert, Riley Eastman
Music Production Company: HiFi Project
Executive Producer / Music Supervisor: Chris Heidman
Creative Director: Paul Robb
Executive Producer: Birgit Roberts
Fans of the Doritos Locos Tacos should run for their nearest Taco Bell location soon if they want to try the newest flavor, which will be known simply as “Fiery.”
The chain announced the third version in series on Tuesday, after teasing consumers with the news that the next Dorito Locos Taco would hit restaurants August 22. They had stayed mum on the name of the flavor, though, as part of an effort to generate excitement.
Does Coors Light really come in “the world’s most refreshing can?” And does the brew’s packaging actually produce a “smoother, more refreshing pour?”
Anheuser-Busch InBev says these and other ad claims by its competitor are not true, and has asked regulators to intercede. In a complaint first filed with the National Advertising Division, the brewer took issue with “the implied claim that Coors Light Beer cans are technologically superior to other beer cans, and provide a more refreshing beverage experience,” according to the NAD.
Calling the complaint frivolous, MillerCoors declined to participate in the self-regulatory review, meaning the NAD has now forwarded the ad claims to the Federal Trade Commission for consideration, NAD said in a statement Tuesday. The challenge is an “inappropriate use of NAD’s resources,” MillerCoors spokesman Jonathan Stern said in an email to Ad Age. “All of the statements regarding the can either clearly are intended as acceptable marketing puffery or have been proven through extensive testing as accurate.”
Desde que o mundo é mundo, e ainda até hoje mesmo com inovações das mídias, impera nas agências de publicidade a instituição da dupla de criação. Redator e Diretor de Arte, juntos, responsáveis pela conceituação e execução de uma campanha.
No Braincast 76 discutimos um lado dessa estrutura, a profissão de Diretor de Arte, responsável pela concepção artística e visual de peça. Como começar na área, o que estudar, quais as principais funções e conhecimentos requeridos. Carlos Merigo, Saulo Mileti, e Guga Mafra conversam com Maurício Perussi, e debatem as diferenças entre um Diretor de Arte e um Designer, se o esquema de dupla de criação ainda funciona, e qual o papel do profissional diante dos novos formatos digitais.
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iStockphoto
Esse episódio do Braincast é um oferecimento de iStockphoto.
A iStockphoto não só é um dos maiores banco de imagens do mundo, como também disponibiliza vídeos, com royalty free, que passaram pelo crivo de Diretores de Fotografia. Venha fazer parte da nossa comunidade de colaboradores. Convidamos todos os videomakers, cineastas e artistas de animação a criar e trabalhar conosco: istockpho.to/sejacolaborador
Twenty-First Century Fox has yet to strike deals to get Fox Sports 1 in the channel lineup of three of the biggest U.S. pay-TV companies, days before the challenger to ESPN is scheduled to debut.
So far Comcast, Cox Communications, Verizon Communications’ Fios, AT&T’s U-verse, Cablevision, Charter Communications and Suddenlink Communications have reached deals to carry Fox Sports 1, representing about 45 million subscribers.
But the network, scheduled to arrive on Saturday, has been talking about going live in more than twice as many homes. The new 24-hour sports channel “will be available in up to 90 million homes at launch,” Fox Sports Co-President and Co-Chief Operating Officer Randy Freer said at last week’s Investor Day.
Absolut and The Brand Union come together to redesign the vodka brand’s entire range of flavored drinks. The redesigns, which can all be seen below, eschew traditional notions of using a fruit to signify a fruit flavor, instead playing up symbolism and myths for each flavor’s essence. Peach, for example, gets soft pastels and hand-drawing, while Pears draws upon the fruit’s association with purity and a long life, and delivers a pear shape that doubles up as the symbol for “eternity.”
Absolut’s intrinsically artsy approach isn’t a new one. The brand recently partnered with artists in Brooklyn to redesign a street in that NYC borough and famously created millions of unique bottles with unique package designs to promote its newest vodka flavor, “Unique.”
For more exciting ideas in brand creativity, tune in to Creativity-Online.com, follow @creativitymag on Twitter or sign up for the Creativity newsletter.
(TrendHunter.com) Protecting yourself during any sexual encounter is a serious subject, however these funny condom wrappers are designed to be a humorous take on the topic.
Open Road Films keeps on releasing promotional clips from “Jobs,” the Ashton Kutcher star vehicle that finally hits theaters across the U.S. this Friday. And every time it does, I have an acute sense of what seems to be missing from the Steve Jobs biopic: Jackie. And Hyde. And Fez. And Eric and Donna and the rest of the “That ’70s Show” gang.
Because, I’m sorry, but Kutcher in what I’ve seen of “Jobs” so far may kind of, sort of look like a young Steve Jobs, but he sounds nothing like Steve Jobs. He does, though, sound eerily like Kelso from “That ’70s Show” — i.e.., like a petulant, goofy teen with a Wisconsin accent.
Secret Weapon Marketing's latest terrifically tacky effort for Jack in the Box features big-ass chickens, highway smash-ups and sexting—though, perhaps sadly, not in the same commercial. Three spots tout the impressive size of various menu items in the brand's patented sophomoric style.
To promote Really Big Chicken Combos, "Big Chickens" rehashes familiar comic tropes, spoofing giant-monster flicks and fuss-pot Hollywood directors by staging a film-set sissy fight between two actors dressed as humongous hens. Wags might suggest that the spot lays an egg, though in doing so they'd display more creativity and original thought than the commercial itself. In "How'd I Do It?" the chain's freakish, cue-ball-headed Jack mascot reveals his inspiration for the sausage, eggs, cheese, bacon and other stuff piled high on the Waffle Stack: a highway pile-up of big rigs, each carrying the food items in question. Wags might say that Jack in the Box advertising resembles not mere car crashes, but full-blown train wrecks. I'd never stoop so low.
A third clip shows two young women lounging in bed while texting. One tells the other, "He just said, 'It's big … really big.'" Her friend responds, "Tell him to send a pic." A photo of the Big Stack sandwich arrives, and both women, suitably impressed, say, "Whoa!" The scene then shifts to a restaurant booth, where Jack tells a pal texting on his behalf, "Tell her I'm easy. 'Cuz of the drive-thru." Hmm, who's more unappealing as a sexter, Jack or Anthony Weiner? It's a pretty close call.
"Texting," posted several weeks ago, generated some mild complaint for its sleazy scenario. It vanished from Jack in the Box's website and YouTube channel yesterday. A client rep explained, "The spot had a limited run due to the limited-time-only nature of the product and promotion … Knowing the spot would have a limited run, talent fees were negotiated so that Internet usage would expire when the promotion concluded. But again, this spot ran its full planned schedule."
If Jack in the Box for any reason whatsoever also makes "Big Chickens" and "How'd I Do It?" disappear—or obliterates those hyper-annoying "Nugging" ads from the face of the Earth—I'd be OK with that, too.
(TrendHunter.com) Alicia Martin’s evolution artwork has that amazingly eerie feel to it that so often is associated with surreal art. The difference between traditional surreal art and Martin’s is that…
Despite Time Warner’s blocking of CBS in New York, Los Angeles and Chicago, the network beat its rivals in total viewers and in important ratings categories.
After nearly three and a half years as DDB Chicago’s chief creative officer, Ewan Paterson has resigned. The move comes amid leadership changes at the Windy City outpost of the Omnicom Group agency.
Last month, Peter McGuinness left his CEO post to move back to New York to be chief marketing and brand officer at Chobani. His successor is Paul Gunning, a longtime veteran of the agency who previously ran DDB’s digital arm, Tribal Worldwide.
Mr. Paterson and Mr. Gunning are acquainted from having worked together in the past. Although Mr. Paterson joined DDB Chicago in 2010 following a short stint at London’s CHI & Partners, before that, he spent a decade at DDB London.
It’s rare at agencies to make the transition from creative to CEO, but Judy John did just that at Leo Burnett Toronto. With a background as a copywriter, she joined the agency in 1999 as chief creative officer, and in March 2011, was tapped for the top job running the shop. Under her, the agency has earned lots of accolades, including winning the first-ever D&AD Black Pencil in the Digital category, and being recognized as the world’s most awarded Canadian agency at the One Show in 2011 and 2012.
That’s the worky side. But there’s also a quirky side to Ms. John, as you’ll see in this week’s installment of Creativity Online’s Six Things series.
1. She’s obsessed with Kidrobot toys. Designed by artist Frank Kozik, the rabbit is an urban vinyl toy that became big in the U.S. when the phenomena came stateside in 2003. These cute little guys are known for being addicted to (candy) cigarettes and hating work in all its forms. “I love rabbits,” said Ms. John. “But even more when they’re smoking.”
Travel site Hotels.com is on the hunt for a new creative agency of record to oversee its North American business.
The incumbent on the account is WPP’s Y&R in Chicago. Spots currently airing for Hotels.com use claymation, a campaign which appears to have gone stale. Y&R Chicago declined to comment on the pitch and whether it will defend the business, while Hotels.com did not return a request for comment by press time.
MDC Partners-owned TargetCasthas been the media agency of the record for Hotels.com since 2007 and is not impacted by the creative review.
The proposed merger of Publicis Groupe and Omnicom to create the biggest ad giant the industry’s ever seen threatens the fate of one of the most coveted honors given out every summer in the South of France: the holding company of the year award.
Issues of unfair advantage have surrounded the honor since the Cannes Lions International Festival of Creativity created it three years ago. But the creation of this new behemoth ad group is likely to force festival organizers to either scrap the award or drastically rethink how it will be tabulated going forward.
The award is meant to recognize the most creatively celebrated ad conglomerate of the festival, via the number and prestige of Cannes Lions it earns in a given year.
This is, perhaps, the most interesting TV commercial you will see in a very long time. And by TV ad, we mean a TV ad for a TV. In this case, a Samsung TV. Created by 72andSunny and called Meet the Family, this ad introduces us to a family that just got a new SmartTV from Samsung.
But first…OMG! This family is interracial! Yes. Interracial. Call the cause groups! This one could get ugly! My God, the wife is Asian! And she’s married to…OMG…a white guy! Good God, the interwebs are going to light up with this one.
Anyway, it is on of the most well-paced commercials of any kind we have seen in a very long time. Dad, mom, daughter, son and grandfather all get great lines and all interact with one another perfectly! And with awesome dialog like, “I don’t know, calling girls and hanging up” and “Which one of you yahoos put our TV on the curb,” It’s like they’re a real family. But that couldn’t be true because, as we all know, no one wants interracial families in advertising, right?
Se você perguntar para uma mulher o segredo da felicidade instantânea, há grandes chances de ela responder que é o chocolate. No caso do novo filme da JELL-O, a felicidade instantânea é, claro, um pudim de chocolate. E não é uma mulher quem diz isso, mas um homem que explica ao filho as razões de ele gostar tanto do produto. É aí que a história começa.
“Imagine acordar toda manhã com um pouco menos de cabelo. Depois, dirigir para o trabalho no trânsito pesado. Apenas para descobrir, quando chegar lá, que o projeto que você trabalhou durante um ano de repente foi cancelado…”
É claro que o pudim de chocolate faz tudo isso valer a pena no final das contas, mas o verdadeiro destaque deste comercial é o garotinho, que ouve o pai atentamente e coloca tudo sob sua perspectiva.
Ótima produção, com doses de fofura capazes de deixar o dia de qualquer pessoa melhor. A criação é da CP+B.
So how do you get a bunch of drunken Germans in Hamburg’s St. Pauli red light district to clean up their mess after a long night of drinking? You give they a Coke Happiness Machine, of course. Oh wait, it’s not a Coke machine and it delivers an entirely different kind of happiness.
German beer brand, Astra, borrowing from the much-loved, much-mimicked vending machine advertising trend, upped the usual offering for returning a used beer bottle thereby encouraging people not to litter but to stick their bottle in a machine for a reward.
The reward came in the form of live entertainment from live performers who performed inside the vending machine. From singers, to folk guitarists to dancers (fully clothed), those who chose not to litter were rewarded with a bit of fun.
WPP CEO Martin Sorrell has joined LinkedIn as part of its Influencer program, using his first post on the social media site to note Jeff Bezos’ watershed purchase of The Washington Post and criticize competitors’ moves (in a reference that sounds a lot like he’s talking about the recent Publicis Omnicom merger proposal).
“If anyone needed a reminder of how profoundly the media world has changed in the last 15 to 20 years, they received it in the form of an era-defining announcement that Amazon founder Jeff Bezos had purchased the journalistic institution, the Washington Post,” he wrote. “We’ll have to wait to see how the Washington Kindle fares, both commercially and editorially, and whether an Amazon treatment can turn analog dimes into more than digital pennies — but the point is made: a new breed of media owner has very much arrived.”
He went on to stress WPP’s strategy — new markets, new media, data investment management and “horizontality,” which essentially means getting varied parts of WPP to work together on client accounts — and offered a not-so-subtle dig at the competition and its recent moves.
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