Hasta La Creative!

Marketers with aspirations to become CEOs must think about matters other than marketing and “adopt a CEO mindset”, according to William Hill CMO Kristof Fahy and former Virgin Media marketing boss Jeff Dodds.

Heat and their production partner Hungry Man have released a new spot for Xbox One crown jewel exclusive and E3 critical darling Titanfall, which just had its North American release yesterday.

The new, 60 second spot (there’s also a 30 second version), entitled “Shadow,” imagines what it would be like to constantly be shadowed by a 25-foot Titan that obeys your every command. Following in the recent trend of inserting gamers into the real world, the spot attempts “to capture the ear-to-ear grinning invincibility you feel when you first climb into your very own Titan and start dominating the world.” “Shadow” follows a man with a shit-eating grin walking through a city trailed by his own personal Titan. Everything is just peachy until he runs into another Titan owner, at which time, as you might expect, shit goes down.

The spot manages to capture the overall “Life is Better with a Titan” theme of the campaign, while also demonstrating Titanfall‘s unique features, like verticality. What really makes the spot work, though, is the perfect transition to gameplay footage during the final 15 seconds. While there’s nothing revolutionary about Heat’s approach here, they find a balance between live action and gameplay footage that a lot of similarly minded ads miss. And they certainly succeed at making the game look like a lot of fun. Stick around for credits after the jump. continued…

New Career Opportunities Daily: The best jobs in media.

The Seattle Mariners considered Robinson Cano to be a heavenly catch this off-season, and there's a divine aura about him in the team's first ad with its $240 million second baseman.

Seattle's Copacino + Fujikado, now its 20th season handling ads for the Mariners, welcomes the 31-year-old with the 30-second spot below, in which Cano doesn't have to utter a word to communicate just how awesome he is.

Agency co-founder and creative chief Jim Copacino tells AdFreak he felt a fair amount of pressure to produce a special debut commercial with Cano. C+F almost got Ken Griffey Jr. to do a spot with Cano (it would have been about how they both wear No. 24, though actually Cano is switching back to his original Yankee number, 22), but Griffey had a conflict and couldn't make the Arizona shoot. So, they went with this spot instead, and Copacino says the shoot couldn't have gone smoother.

"With a guy of this magnitude coming in, we didn't want to trivialize him or be too cute," he says. "A writer here, Andy Corbett, a very funny guy, came up with this notion that Cano has this charismatic aura that follows him everywhere he goes—slow motion and music. It was an easy spot to shoot. The first time we worked with him, we didn't want to burden him with too much responsibility in terms of lines and acting."

Four more new ads focus on three other players and on Henry Chadwick, who invented the baseball box score in the 1860s and came up with the letter K for strikeout.

One particularly amusing ad celebrates the old-school style of third baseman Kyle Seager. "Kyle is a quiet, soft-spoken guy from North Carolina," says Copacino. "He says 'Yes, sir' and 'No, sir.' He's quietly becoming one of the better third basemen in baseball. He's fundamentally sound. And to me, he just seems like he was plucked from the '50s and put down into modern baseball. It was fun to create this fiction about him being kind of a throwback."

At one point, Seager is seen tweeting from a typewriter. "He said, 'You know, I don't actually tweet,' " says Copacino. "And we said, 'That's fine! In fact, that's perfect!' "
 

C+F also put together the highlight reel below of its 20 years of Mariners spots. At least in its advertising, this is a team that's on a long winning streak.

CREDITS
Client: Seattle Mariners
Agency: Copacino + Fujikado
Executive Creative Director, Writer: Jim Copacino
Creative Director, Writer: Mike Hayward
Writer: Andy Corbett
Art Director: Andy Westbrock
Production Company: Blue Goose Productions
Director: Ron Gross
Executive Producer: Bill Hoare
Account Supervisor: Cole Parsons
Account Manager: Melissa Figel
Broadcast Producers: Kris Dangla, Patti Emery
Editor: Troy Murison, Dubs Inc.
Digital Postproduction: Kevin Adams, Workbench
Music: Chris White, Comrade

Como parte do projeto Autonomos Machines, a designer Echo Yang transformou objetos analógicos e obsoletos em “robôs-artistas”.

Autonomos Machines é uma resposta ao processo moderno de design generativo, onde computadores sozinhos criam intermináveis variações de um tema, sem input algum do ser humano.

Com a simples ideia de prender pincéis carregados de tintas (e outros materiais como cerdas e cotonetes) nas máquinas e então ligá-las, surpreendentes desenhos e texturas se formam no papel.

Uma resposta ao design generativo moderno, onde computadores sozinhos criam intermináveis variações de um tema, sem input algum do ser humano, Yang resolveu repensar esta técnica transferindo a automatização do processo de criação para máquinas analógicas.

Cada objeto, dependendo do seu tamanho, movimento, cor e tipo de tinta, resultou em diferentes padrões e criação artística.

TinToy (Chicken)

Batedeira

Barbeador Elétrico

Walkman

[/expandido]

Relógio de Corda

Aspirador de Pó

Passando longe de complexos códigos de programação, os desenhos formados poderiam ter vindo de qualquer mão talentosa. Mas o uso das máquinas aqui reflete justamente esta interação entre tecnologia e arte, levantando questões sobre o processo de criação e a impressão do artista, do meio e das ferramentas, estampadas na arte contemporânea.

Outros vídeos do Autonomos Machines podem ser vistos aqui.

Post originalmente publicado no Brainstorm #9
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