(TrendHunter.com) Fashion photographer Patrick Demarchelier is truly a luminary in his field. He is one of the most well-known photographers in fashion and has shot for pretty much every style magazine that matters…
OK, then. This Anomaly-created Super Bowl Budweiser commercial, Puppy Love, is bound to bring tears to the eyes of those easily moved by puppies and cheesy love stories. Reprising his role from last year’s Brotherhood spot, Don Jeanes in the role of Clydesdale trainer, is visited by the puppy of a neighbor, model Melissa Keller, who runs an adoption center.
You see the puppy has a thing for Jeanes’ clydesdale and simply cannot stay away. In the end, the clydesdales gang up on the puppy’s would be adopter and force him allow the puppy to return to his love.
It’s all very Clydesdale-esque with Passenger’s Let Her Go fueling the spot’s emo qualities.
Issui Enomoto est un chauffeur de taxi mais aussi photographe. Traversant les villes japonaises, notamment la nuit, ce dernier parvient à capturer des moments uniques, jouant sur les multiples expositions avec talent pour délivrer des clichés d’une grande sensibilité, à l’esthétique toujours recherchée.
When a period TV series from the 1960s closely resembles today’s agency and client staff model, perhaps it’s time for a change.
Today, real-time marketing has become one of the most powerful methods of storytelling for brands. With new digital trends also comes a new set of expectations. For brands, the two critical consumer expectations for content are immediacy and relevance. In order to engage in a conversation, or start one, a brand needs to understand these two expectations. Unfortunately, today’s agency and brand infrastructure is not conducive to the requirements of real time marketing.
NewsCred worked with six DigitasLBi leaders to compile wisdom on what it takes to get real-time marketing right. According to DigitasLBi’s Eric Korsh, VP/Group Director of Brand Content, here are the four things that need to change.
Lindsay Pattison, chief executive of WPP’s Maxus UK and global chief strategy officer, is the chairperson for this year’s annual industry gathering, Media360.
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| THE ORIGINAL? Suva accident prevention – 2011 Source : Cannes archive online Agency : Ruf Lanz (Switzerland) |
LESS ORIGINAL Green Cross Hand Sanitizer – 2014 Source : Adsoftheworld Agency : Datviet Riverorchid (Vietnam) |
This note went to everyone at Sainsbury’s earlier this morning about Justin King’s decision to step down in July with Mike Coupe taking over as CEO.
In an industry that’s obsessed with tapping into the Zeitgeist, we talk about mobile as though it’s the bright and shiny new object in marketing. Are we kidding? This year, smart phone penetration in the United States will hit 80%, tablets will overtake sales of PCs, and already about half of online traffic is taking place on the mobile web. Come on marketers consumers and manufacturers are way in front of us. Let’s kill off talk about developing a mobile plan. Our marketing plan needs to be our mobile plan and so too do our communications.
It’s Mobility, Not Mobile. Mobile is primarily about the devices and platforms, but mobility is a bigger idea. Mobility is very much at the heart of culture right now. It is about fulfilling consumers’ desire to stay constantly connected and helping people to get tasks done on the move. Mobility in marketing is going beyond mobile advertising, to adding mobile functionality and targeting across your marketing efforts, such as how Chipotle’s mobile app helps to facilitate dining on the go by allowing you to order and pay for your burrito on the way to their restaurant to avoid the wait. Instead of allocating a separate budget to mobile alongside other media channels, we should be applying mobility solutions to our print, video, search, out of home and website. For example, how many of us have plans to add voice navigation to our website? My bet is that consumers are going to respond to added mobility in your marketing programs as they have to mobile devices super-fast.
Le photographe canadien Benoît Paillé, après plusieurs séries sur Fubiz, nous propose de découvrir des clichés réalisés près de chez lui pendant des ballades de nuit, cherchant à réinterpréter son environnement. Des clichés au rendu étranges, jouant sur les couleurs pour donner une impression de peintures.
Portfolio de Benoit Paillé
Em novembro passado, Ken Block fez o sexto vídeo da série Gymkhana, em uma ação promocional para o “Need for Speed Rivals” da Electronic Arts.
Agora você pode assistir a mesma performance através dos olhos das cameras GoPro, filmado em HD com o modelo HERO3+.
Talvez seja só um exemplo da publicidade reciclando material, mas certamente os fãs do piloto-viral não se importam em assistir de novo.
Post originalmente publicado no Brainstorm #9
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Dudes, strap yourselves in and get ready for the most righteously rad 1980s-style flight safety video ever.
Delta graces Gen X nostalgiasts with this five-and-a-half-minute opus from Wieden + Kennedy in New York, packed with sweet memories celebrating the finest of the decade. Spoiler alerts ahead: It's got Alf, Atari and the Rubik's Cube. It's got the Energy Dome (better known as that ridiculous hat the guys from Devo wore). It's got tons of glam hair, and pastels and spandex. It's even got a poor sucker trying to wind a cassette tape back into the cartridge—and for you Airplane! fanatics, a nice little easter egg.
Overall, it doesn't quite have the insane '90s-esque vim of Virgin's song-and-dance flight-safety number, but it is a nice addition to Delta's growing collection of offbeat videos—and at least everyone isn't dressed like a Lord of the Rings extra.
Credits below.
CREDITS
Client: Delta
Agency: Wieden + Kennedy, New York
Executive Creative Directors: Scott Vitrone, Ian Reichenthal
Creative Directors: Sean McLaughlin, John Parker
Copywriter: Greg Rutter
Art Director: Alan Buchanan
Head of Content Production: Lora Schulson
Producer: Cheryl Warbrook
Account Team: Nathan Stewart, Dipal Shah, Jasmina Almeda
Director of Business Affairs: Sara Jagielski, Quentin Perry
Production Company: Arts & Sciences
Directors: Matt Aselton, Azazel Jacobs
Executive Producer: Marc Marrie
Managing Director: Mal Ward
Line Producers: Zoe Odlum, Dina Oberly
Director of Photography: Corey Walter
Editorial Company: Mackenzie Cutler
Editor: Ian Mackenzie
Post Producer: Evan Meeker
Editorial Assistant: Nick Divers
Visual Effects Company: MPC
Lead Flame, Compositor: Marcus Wood
Producer: Philip Whalley
Telecine Company: Company 3
Colorist: Tim Masick
Mix Company: Mackenzie Cutler
Sound Designer: Sam Shaffer
Song: Black Iris
Artist: Chill Pill 80s
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Budweiser won most of the Super Bowl ad contests last year with a Clydesdales spot called “Brotherhood” that chronicled the bond a colt has with its trainer. The Anheuser-Busch InBev brand is trying to recapture the magic this year by using the same trainer character, along with a Clydesdale and a 10-week-old puppy.
The ad, called “Puppy Love,” was released this morning. The agency is Anomaly and it was directed by Jake Scott, the same team that did last year’s ad. The soundtrack is “Let Her Go” by Passenger.
(TrendHunter.com) When the word snow drawing gets thrown around it typically means snow angels or something yellow created by a dog. These snow drawings are a little bit more involved and complex than those two and…
(TrendHunter.com) The 2 Bandits Northern Lights Collection for Spring 2014 is magical. The jewelry and accessories are created by the label’s designer Tamar Wider. The latest collection was inspired by a trip…
Interessado pela visão e pelo poder de “escolha” de uma máquina, o artista Ben Grosser colocou seu computador para assistir à grandes filmes – e com narrativas e visual bastante diferentes entre si – como Matrix, A Origem, 2001: Uma Odisséia no Espaço, Táxi Driver, Beleza Americana e Annie Hall.
Uma máquina sem nosso senso de narrativa, visão e padrões históricos assiste ao mesmo que nós?
Para isso, Grosser escreveu um software com algoritmos de visão computacional que ficassem de olho em áreas como padrões, cores, proeminência e outros aspectos relevantes de cada quadro em um filme, a fim de identificar e rastrear itens interessantes – como rostos, prédios, sinais e elementos de paisagens.
Porém, a diferença deste experimento para qualquer outro programa de reconhecimento de imagem é a seguinte: aqui, o próprio computador (no caso, a inteligência de algoritmos) que “escolhe” no que focar. E é justamente este ato de “procurar por algo” da máquina que representa o estado de “assistir”.
Todo esse sistema pode ser visualizado através de um sketch interativo que é realizado de forma temporal pelo software, e representa o processo pelo qual a máquina passa ao “assistir” a um filme.
A Origem
Beleza Americana
Matrix
Táxi Driver
Sem comando algum, o sistema desenha o que “escolhe” ver.
Nas obras resultantes, é possível ouvir o áudio original do filme sobreposto ao canvas branco, que vai sendo desenhado aos poucos até preencher a tela por completo.
Para Grosser, a intenção era analisar o que uma máquina “faria” se não houvesse uma necessidade tão importante e instrumental para o seu usual processo de intensificação e rastreamento, ou seja, sem comando algum do ser humano.
No clipe sobre o filme A Origem, é possível ver uma análise da diferença entre a visão humana e a do computador. Por exemplo, quando a máquina assiste às explosões, ela enxerga uma série de pequenas e rápidas mudanças no campo visual. Assim, sua representação ganha pequenos rabiscos voando pela tela e contemplando seus movimentos. Já nós, humanos, focamos nos atores e em suas reações perante às explosões.
Todas as análises e peças finais podem ser vistas aqui.
Post originalmente publicado no Brainstorm #9
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Andrea Galvani, une photographe italienne basée à New York et au Mexique, a fait cette série de photos intitulée : « A Few Invisible Structures ». Elle intègre des éléments cachés dans le décor et joue avec des structures et figures telles que des formes symétriques, triangulaires, circulaires ou linéaires.
Argos has opened a “digital hub” office in London with space for up to 50 staff as it seeks to lure the UK’s best digital talent to the business.
The UK Internet Advertising Bureau is forming a working group to look into best practice and self-regulation for trading around native advertising.
Martin Riley, the chief marketing officer of Pernod Ricard and president of the World Federation of Advertisers, took time out from the company’s Innovation Day yesterday to speak to Marketing about his company’s innovation strategy and his thoughts on brand-building in a decentralised business.
As Sainsbury’s charismatic leader Justin King announces he is stepping down in July, Rachel Barnes takes a look back to the start of his reign and the legacy he leaves.
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.
