Hasta La Creative!

Quem nunca passou por uma situação (às vezes até um pouco constrangedora) de ser abordado por alguém que aparentemente sabe tudo sobre você, mas que você simplesmente não faz ideia de quem é. Às vezes você tenta puxar pela memória ou pelo menos finge que reconheceu, como acontece com as “vítimas” de uma encenação armada pela agência Abundance para a Experian no Reino Unido, com o objetivo de provar o quanto nos expomos online.

Basicamente, foram selecionadas 5 pessoas que foram abordadas por estranhos que pegaram informações sobre elas na internet e as usaram para se aproximar e obter novos dados.

A ação faz parte do The People’s ID Bot Project da Experian, e conta com um hotsite que promete ajudar os britânicos a se protegerem.

Vale lembrar que, no ano passado, o banco belga Febelfin já havia mostrado bem isso com um  “vidente” e um ladrão de identidade. 

Post originalmente publicado no Brainstorm #9
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BookExpo America is taking a page from other entertainment conventions as it seeks to promote itself as welcoming and fun, and less inclined to look inward.

Two weeks ago, fashion brands were dominating the weekly VideoWatch/Shareablee top 10 chart for  Instagram videos.

Well, sports have take over the action, with seven of the spots in the rankings going to a wide range of sports/entertainment-oriented brands. We admit that the WWE is more “entertainment” than “sports,” but the plastic facemasks, tights and kneepads seem to fit in here well enough with the likes of theatrics-embracing UFC and flop-happy pro basketball. And then there’s Vans: appearing with clips from a skateboarding competition.

But then there’s Major League Baseball, making its first appearance in the rankings by repurposing a funny-minded clip from Whistle Sports’ “Bad British Announcing” series.

Instagram continues to be dominated by brands that leverage action-packed social videos. But GoPro and Red Bull are not on the charts for once, and other companies are starting to flex their 15-second muscle.

Voici une série de photographies réalisée par le photographe Baixiang Chen, intitulée « Grace ». L’artiste photographie une danseuse classique en plein travail dans une salle de danse. Les clichés sont à la fois naturels et gracieux et présente tout l’univers de la danse classique.

We’re only 16 days away from the start of the World Cup. And ESPN—which will present all 64 matches of the quadrennial tournament across the ESPN, ESPN2 and ABC networks—released its latest teaser commercial on Tuesday, this one devoted to the time warp that happens for viewers around the world every four years.

The spot, by Wieden + Kennedy in New York, feels like the beginning of an action movie, where the team is getting together before a big heist—except here, we’re seeing how different people around the world are getting ready for the World Cup. And wherever they are in the world, day or night, they’ll be setting their countdown clocks to Brazil time.

The spot moves seamlessly from metropolis to metropolis, with business executives, children, fisherman, etc., getting ready for the event. It opens on a favela rooftop in Rio and goes around the world—to a pub in England, a social club in Ghana, a fishing boat off Spain, an apartment in Russia, a car heading to Tehran, a bar about open at dawn in Japan, an office in Seattle, a family barbecue in Mexico and a research station in the Andes—before returning to Brazil.

“Every 4 years the world has one time zone,” says the end line. (That follows a spot earlier this month that said, “Every 4 years the conversation starts again.”)

Thanks to our longitudinal proximity to Brazil, Americans will see the matches at exceedingly humane hours, with kickoffs generally scheduled for noon, 3 p.m. or 6 p.m. ET. That’s a lot better than other recent World Cups—in particular, the 2002 tournament in Japan and South Korea, whose daily slate of matches began at 2:30 a.m. and wrapped up shortly after breakfast.

CREDITS
Client: ESPN

Agency: Wieden + Kennedy, New York
Creative Directors: Brandon Henderson, Stuart Jennings, Gary Van Dzura, Caleb Jensen
Art Director: Mathieu Zarbatany
Copywriter: Andrew Jasperson
Producer: Luiza Naritomi
Executive Producer: Temma Shoaf
Account Team: Casey Bernard, Katie Hoak, Alex Scaros

Production Company: Imperial Woodpecker
Director: Stacy Wall
Executive Producer: Doug Halbert
Line Producer: Terry Shafirov
Director of Photography: Corey Walter

Editorial Company: Final Cut
Editor: Jeff Buchanan
Assistant Editor: Geoff Hastings
Post Producer: Beth Fitzpatrick

VFX Company: MPC
Senior Producer: Matthew Loranger
Production Asst.:
Lead Flame Artist/Creative Director: Gigi Ng

Mix Company: Heard City
Mixer: Philip Loeb
Producer: Sasha Awn

Music Company: Travis + Maude
Creative director: David Wittman
Producer: Kala Sherman

L’Oreal USA has named a veteran of its L’Oreal Paris brand as CMO to replace Global CMO Marc Speichert, who left last week for a post in Google’s client-and-agency-solutions division.

Ms. Gulin has over 15 years’ experience directing communications and digital marketing strategies, most recently as global head of integrated marketing communications for L’Oreal Paris. She has worked extensively in digital marketing and e-commerce roles for the company, mainly for L’Oreal Paris but also for the Vichy division, according to her LinkedIn profile.

“L’Oreal is fortunate to have developed for itself a deep bench of dynamic global marketing talent and was able to identify an immediate replacement,” the company said in a statement. Mr. Speichert had been recruited into L’Oreal in 2010 from Colgate-Palmolive Co.

Continue reading at AdAge.com

« A Rather Lovely Thing » est un court dessin animé réalisé par Cesar Martinez qui raconte l’histoire du chagrin d’un personnage ayant perdu sa petite amie. Sur une belle musique de I Monster – « Heaven », nous le suivons dans un deuil qui nécessite un petit tour dans l’espace.

Los Angeles-based production company Gentleman Scholar teamed up with Motionpoems, “a non-profit that pairs up-and-coming poets with award-winning design, production and visual effects studios,” to create a visualization of Dora Malech’s poem “Working Order.”

Art directors Jordan Lyle and JP Rooney took the lead on the project, leading their team through the process, “from conceptualization to storyboarding to animation.” Lyle and Rooney were given complete creative freedom on the project and arrived at an intriguing visual interpretation of the poem.

“We wanted to do something that matched the personality of Gentleman Scholar, so we focused on making it risky and unique, while allowing it to remain accessible to a wide audience,” Rooney said. “Creating the imagery was really fun. It had to feel haunting, but not haunted.”

The project took several months to complete, as Lyle and Rooney painted each image by hand “before combining them with 2D and 3D techniques to create the stunning set of motion graphics featured in the video.” Stick around for full credits following the jump. continued…

New Career Opportunities Daily: The best jobs in media.

TBWA/Chiat/Day L.A. has appointed two new creative teams including one from Brazil’s AlmapBBDO. The latter, Marco Monteiro and Ana Carolina Reis, move from Sao Paulo while Guy Helm joins from Mistress; and Chris Rodriguez joins from FCB L.A. The appointments follow the promotion of Stephen Butler to Chief Creative Officer, with Fabio Costa and Brent Anderson as ECDs. At AlmapBBDO, Monteiro and Reis worked together for over two years on brands including Volkswagen, Visa, PepsiCo, Bayer and Pedigree. They won awards including a Gold and two Silver Lions from Cannes 2013. Helm was the lead creative at Mistress, working with brands including Hot Wheels, Disney, KIND Snacks, Jagermeister and Playboy. Rodriguez joins from FCB LA Bowen, where he held the position of Senior Art Director. He has worked on Allstate’s “Mayhem” in addition to work for brands including Kraft, Hallmark, Bounty and Nike.

Continue reading at AdAge.com

A paltry 16% of North American b-to-b companies use marketing automation technology, according to new study by SiriusDecisions.

The study, released at the research firm’s annual summit last week, shows that while marketing automation may be one of b-to-b marketing’s hottest terms, the software’s adoption lags behind its buzz.

“I always knew the adoption rate was low but I didn’t think it was that low, to be quite frank,” said SiriusDecisions technology practice director Jay Famico in an interview.

Continue reading at AdAge.com