It’s always interesting to see another country’s take on American culture. Sometimes they gate it right. Sometimes they get it wrong. Other times, it just causes one to scratch one’s head in bewilderment.
The latter reaction is what we experienced upon viewing this ACW Grey Israel-created ad for VW. Using Elvis — from his skinny days to his fat days — the agency is promoting the brand’s Hill Hold Assist feature. Except, it isn’t doing much for Elvis who is far from holding his ground on the incline.
And the tagline makes no sense either. Yes, we get that it’s an analogy for helping Elvis cease his increasing girth but if Hill Hold Assist really works, why is fat Elvis falling down the incline? Does this mean VW’s Hill Hold Assist only assists non-fat people? If so, that would just be prejudiced, right?
L’israélien Yigal Ozeri a pour démarche de peindre des femmes dans la nature. Ces tableaux en trompe-l’œil sont d’un réalisme à couper le souffle. Au milieu d’une forêt, dans une prairie ou près d’un bois aux couleurs automnales, il dessine des jeunes filles à l’expression mélancolique. Plus de détails ci-dessous.
CBS Corp. will begin selling new commercials in “NCIS,” “The Crazy Ones” and other programs that viewers watch on demand using their cable-TV service, a bid to generate revenue from audiences who watch shows on a delayed basis.
The new commercials will appear three days after a program is broadcast, Jo Ann Ross, CBS’s head of advertising sales, said in an interview. CBS, the most-watched TV network, starts taking orders today, she said.
Broadcast and cable channels are trying to extend ad sales to younger viewers who shun program schedules and watch shows after the three days that advertisers pay for now. NBC and Fox already use so-called dynamic advertising to put spots into shows on demand, giving marketers the flexibility to change commercials on short notice.
Dish Network and Walt Disney Co. announced new carriage agreement on Monday night that lays the groundwork for Dish to introduce a web-based TV service and protect its commercial-skipping technology from legal threat
The biggest takeaway for advertisers is that Dish has agreed to disable its AutoHop tech, which lets viewers skip ads in recorded programming automatically, if playback occurs within the first three days after an episode airs. The C3 window is all advertisers pay for at this point, although CBS Corp. Les Moonves and others have made noise about convincing advertisers to pay for a longer period of viewing.
Dish’s Hopper DVR and its AutoHop feature has been a big point of contention for the Big Four broadcast networks. Disney’s ABC as well as CBS, Fox and NBC have sued Dish regarding the ad-skipping functions, alleging copyright infringement.
On a binge to see just how many awards it can pack into one week on the South of France, Cannes Lions has introduced Regional Network of the Year, replaced Media Agency of the Year with Media Network of the Year and made changes to the Palm d’Or.
The Media Agency of the Year Award will be replaced by the Media Network of the Year award. It will be awarded to the media agency network that obtains the highest score for entries in the Media Lions section. Only media agencies are eligible to compete in this award, which will be based on a points system. Advertising agencies credited on shortlisted and winning campaigns in Media Lions will see their points included in the Agency of the Year and Independent Agency of the Year calculation.
Complementing the global Network of the Year award, for the first time the performance of networks at a regional level – Regional Network of the Year award- will be announced during the final awards ceremony on Saturday, June 21, to honor the most awarded network at the festival in EMEA, Asia-Pacific, North America and LATAM.
The Palme d’Or award, presented to the best performing Production Company, will see changes introduced to bring it in-line with the other special awards. The calculation will continue to be based on a points system awarded as follows: 10 points for a Grand Prix; 7 points for a Gold Lion; 5 points for a Silver Lion; 3 points for a Bronze Lion; 1 point for a shortlist entry.
The changes being introduced are:
– Production companies no longer have to have at least 10 entries in the qualifying categories – Film, Film Craft and Branded Content & Entertainment – to be eligible for the Palme d’Or.
– The Palme d’Or will now consider all shortlisted and winning entries from a Production Company. In previous years, only the best 10 entries from each production company were considered.
– Shortlisted points will now be capped at 10 points, which is in line with the existing Agency of the Year rules.
Of the changes, Lions Festival Chairman Terry Savage said,”As is our usual process when introducing changes at Cannes Lions, we consult extensively with industry leaders to ensure that we continue to be relevant and reflect the changes that are happening in the business around the world. These adjustments to the calculations of the Special Awards are no exception, and as such we are delighted to have the support and endorsement of the key players.”
Did you know that there is a substantial overlap among gamers and yoga aficionados online? That’s just one of the unique tidbits Yuanyuan Pao and her data team have teased out from consumer data gathered by BlueKai, where she works as a software engineer for the recently-acquired digital ad firm’s data science team.
Just 24 years old, Ms. Pao already has a solid resume under her belt. Following her physics undergrad education at MIT, where she worked as a video-game programmer, she focused on statistical signal processing and machine learning while obtaining an M.S. in Electrical Engineering at Stanford University.
While at Stanford, she worked for Bazaarvoice, a company flush with product-review data that branched into advertising around a year ago. There, Ms. Pao focused on natural language processing, or building systems to derive and comprehend meaning from the language of written product reviews.
Grand Large has signed directors Julie Taymor and Brad Furman to its roster. Ms. Taymore, who is behind the super-hit Broadways musicals “The Lion King,” and “Spider-Man: Turn Off the Dark,” has also worked on feature firms like “The Tempest,” “Titus” and “Frida.” She’s the first woman to win a directing Tony for a musical. Mr. Furman is the man behind the Matthew McConaughey-starring legal thriller “The Lincoln Lawyer,” and has also worked on numerous music videos for hip-hop stars. He also directed, wrote and produced “Buried Alive in the Blues,” a documentary that features B.B. King, Buddy Guy, Sam Lay and other blues greats.
Le site Life on White, recensant des images d’animaux, a eu l’idée de faire sa promotion en anticipant la Coupe du Monde 2014 de Football, en proposant des photo-montages de chiens de différentes races affublés du maillot correspondant à un pays participant à la compétition. Plus de détails dans la suite.
American Express has teamed up with actress, comedian and writer Tina Fey to promote its new EveryDay no-fee rewards-based credit card, with a TV ad campaign that broke during coverage of last night’s Academy Awards.
Sabe quando você lê ou ouve o nome de um filme e tenta imaginar aquele título de maneira literal? O designer indiano Danish Ahmed resolveu ir um pouco além e, além de imaginar, criou também uma série de pôsteres que retratam literalmente o que foi pensado, a princípio, como uma metáfora.
São 18 filmes, que vão de O Lobo de Wall Street a Kick-Ass, passando por Homem de Ferro e Avatar. Ficou, no mínimo, divertido.
No perfil de Ahmed no Behancehá, ainda, uma outra série mostrando os estilos nomeados a partir de super-heróis, que também vale a pena conhecer.
In the way the tagline, "You're on," and logo are positioned, the brand's new ads seem to refer to drug use—appearing to spell out the phrase "You're on coke."
The campaign, by Droga5 in New York, has been building considerable, um, buzz in the media and from consumers flocking to social media with mocking comments. (Gothamist has collected some prime tweets along these, er, lines.) And while one imagines no such connection to cocaine is implied, you can understand the snarky reaction.
A commercial shows various people downing the product to get psyched up before speeches and performances. Taylor Swift takes a—how shall I put this?—hit backstage, then says, "Great. Let's go." Hey, that's nothing like drugs at all. In The New York Times, a Coca-Cola exec says the ads show how the drink provides "uplift for those moments when you really need to be on." Hey, that's nothing like drugs at all.
The campaign's wording is so obvious, I'd bet client and agency went this route on purpose. The ads are certainly getting extra attention, and it's not so offensive as to cause the brand harm. Plus, there's plausible deniability.
And here's a sobering thought: "Drogas" is Spanish for drugs!
I reached out to Coke and Droga5 for clarification. Oddly, they weren't on (no response yet), but I'll update this post with any uplifting comments they choose to provide.
UPDATE: Coca-Cola responds: "This advertising is one part of the new campaign for Diet Coke, which is called 'You're On.' It celebrates ambitious young achievers from all walks of life and reminds them that Diet Coke is there to support them in the moments when they are at their best. Every single day, young people around the world experience 'You're On' moments big and small. It could be a job interview or a national TV interview, a first date or a final exam, a presentation to your boss or a performance in front of thousands. The Diet Coke logo is the centerpiece of the ad campaign. Diet Coke in no way endorses or supports the use of any illegal substance."
Avec son Canon T1i, Shawn Knol dévoile avec de nombreuses nuances de couleurs une vidéo timelapse de la fonte cristaux de glace fondant, photographiés en utilisant différentes lumières polarisées. Un rendu macro impressionnant, quasi-hypnotique, à découvrir sur la musique de Jani R – And The Faded Notes Play.
Creative Agency: AMV BBDO, London, UK
Copywriters: Richard McGrann, Michael Hughes
Art Directors: Andy Clough, Dalatando Almeida
Agency Planner: Lucy Howard
Agency Accounts: Sam LeCoeur, Anne Benveniste, Bogi Horvath, Oli Stogdale
TV Producer: Rebecca Holt
Media Agency: Zenith Optimedia
Media Planner: Matt Skelding
Production Company: Prettybird, Marshmallow Laser Feast
Production Co. Producer: Margo Mars
Guardian Media Group (GMG), publisher of theguardian.com and the Guardian and Observer newspapers, provided a fuller picture of its financial health today as its nears its full year trading and completes the sale of Trader Media Group.
(TrendHunter.com) Cubicles and conference rooms are still abundant in a typical office, but the modern workspace allows for much more of an open concept, collaborative and relaxing environment. To enhance that…
Ahead of International Women’s Day on 8 March, we publish the first in our series of interviews with leading women from the advertising and media industries.
A quarter of a century ago, Tim Berners-Lee filed a proposal for what was simply a better way to manage information. Marking 25 years since the birth of the World Wide Web, Pete Markey, chief marketing officer of RSA Group, shares his experiences of how the internet changed the shape of his career.
MediaCom UK has appointed Danny Donovan, its managing partner and managing director of MediaCom Retail, and Luke Bozeat, another managing partner and joint head of client services, as joint managing directors of MediaCom London.
The Advertising Standards Authority (ASA) has launched an investigation into Paddy Power’s latest campaign, after receiving 46 complaints over an ad guaranteeing to refund losing bets if South African athlete Oscar Pistorius is acquitted of murder.
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