Hasta La Creative!

Marketers’ video campaigns surrounding the 2014 FIFA World Cup attracted an unprecedented amount of views, beating out commercial views for both the recent Super Bowl and Olympic Games.

With 97 campaigns in total, branded videos related to the tournament reached a staggering 671.6 million views, exceeding that of this year’s Super Bowl spots by 30%, according to a new study by Visible Measures. That’s partly to be expected, considering the World Cup’s month of play and global fascination, compared with the Super Bowl’s mere hours of game time and uniquely United States base. But there is still a considerable run-up to the Super Bowl, when marketers release web videos ahead of time seeking views. And the World Cup video campaigns outperformed a variety of prior campaigns on many fronts.

Marketers averaged 6.9 million views per campaign, compared with the average 2 million views per campaign in 2013 as a whole. Visible Measures said viewership for World Cup-related ads was the equivalent of 8% of the total branded video views last year.

Continue reading at AdAge.com

« Web Popularity Products » est une série originale créée par le photographe anglais Valerio Loi. La série met en scène différents réseaux sociaux sous la forme de vrais produits alimentaires exposés sur des étagères de supermarchés. Facebook devient une pâte à tartiner et Instagram se transforme en boite de conserve. Le tout avec des étiquettes intelligentes.

Today we confirmed that BBDO is in the process of enacting staffing changes in its Atlanta office. An unspecified number of employees are no longer with the agency as of this afternoon.

Specifics are very light, though we hear that hirings may follow these dismissals and that the purpose of the larger reconfiguration, which involves personnel changes across departments, is to better align the agency’s offerings with the needs of its current and future clients.

Tips mention both digital creatives and senior staffers, so this looks to be part of an office-wide strategic shift.

For context, the most visible recent move at the Atlanta office was the departure of President/CEO Gill Duff and subsequent appointment of Drew Panayiotou to replace him. The move was significant in that Panayiotou was then new to the agency game, having previously served as SVP of US marketing at Best Buy after running in-house marketing and media buying teams at  Walt Disney, Coca-Cola and others.

Updates as we receive them.

New Career Opportunities Daily: The best jobs in media.

ESPN is promoting the slick new presentation for “SportsCenter” — entailing more than 100 video monitors in a sprawling set, a revamped design and graphics, and even a retooled theme song — with an ad in which the old ESPN set gets “picked” by the antique hunters on History Channel’s “American Pickers.”

Created by ESPN’s in-house creative agency CreativeWorks, the commercial opens with ESPN host Scott Van Pelt helping “American Pickers” hosts Mike Wolfe and Frank Fritz lift and shove the old “SportsCenter” desk into the American Pickers van. It was retired earlier this month after more than 32,000 shows.

“Whole lotta memories buried in that desk,” Mr. Van Pelt tells the camera.

Continue reading at AdAge.com

Depois de estrearem nas carreiras de cinegrafista aéreo e de entregadores de encomendas, existe uma nova indicação de uso dos drones: assistente de iluminação.

A ideia é que os robozinhos voadores seriam perfeitos ajudantes para fotógrafos, já que teriam como se posicionar com perfeição para obter um conjunto de luz e sombra que seja ideal para a imagem a ser registrada.

Os cientistas do MIT estão empenhados em criar drones que possam ser facilmente direcionados a uma determinada angulação, e que possam se manter ali pelo tempo necessário, calibrando seu sistema de forma a se manter estável e a uma distância fixa entre a câmera e o fotógrafo.

Além disso, existe a intenção de melhorar ainda mais esse ajudante, tornando-o não apenas um robô, mas um auxílio inteligente, que poderia detectar, através de câmeras, como está a iluminação atual de um objeto ou pessoa a ser retratada, e mover-se de forma autônoma para uma posição que propicie uma melhor luz para aquela foto.

Além de ser uma mãozinha para os fotógrafos, um drone desses pode ser a aquisição perfeita para as selfies do futuro.

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The World Cup has been over for nearly twenty-four hours, but, knowing a tiny bit about sports, we’d guess that many in Germany, Brazil and Argentina are still celebrating/consoling themselves with the appropriate spirits.

On that note, the creative team at Leo Burnett London wants to remind footie fans around the world that driving under the influence is never an appropriate response–no matter whose team won or what the final score happened to be.

While the spot for road safety charity client Brake is, of course, very of-the-minute, its message is timeless: most cases of drunk driving have absolutely nothing to do with any given sporting event.

Also: fans will never forget that spray foam.

(more…)

New Career Opportunities Daily: The best jobs in media.

To help expand its reach in Canada, Netflix has released a series of new ads that play off the streaming video service’s role as a sort of cultural watering hole from which we can draw endless references.

Created by DDB Vancouver, two of the spots continue the vibe of the “Pep Talk” spot from earlier this year by showing how citing movies and shows on Netflix can help you in tough situations like asking someone to marry you or sharing a hospital patient’s prognosis. 

A third spot takes a pretty different approach, although the setup’s quite similar. I’ll let you watch without spoiling it, though.

CREDITS:

Agency: DDB Canada Vancouver
Executive Creative Directors: Dean Lee, Cosmo Campbell
Creative Directors: Dean Lee, Josh Fehr

“AIRPORT”
Associate Creative Director: Daryl Gardiner
Art Director: Daryl Gardiner
Copywriters: Daryl Gardiner, Jessica Schnurr, Geoff Vreeken

“PROPOSAL”
Associate Creative Director: Daryl Gardiner
Art Director: Daryl Gardiner
Copywriters: Daryl Gardiner, Jessica Schnurr, Geoff Vreeken

“TEST RESULTS”
Associate Creative Director: Daryl Gardiner
Art Director: Daryl Gardiner
Copywriters: Daryl Gardiner, Geoff Vreeken

Agency Producer: Karen Brown
Account Team: Patty Jones, VP Client Services Director; Roger Nairn, Account Supervisor
Project Manager: Matthew Sy
Strategy: Rob Newell

Production Company: Steam / Anonymous Content
Director: Brian Billow
Senior Executive Producer-Anonymous Content:  Eric Stern
Executive Producer-Steam:  Krista Marshall
Executive Producer-Steam:  Tony DiMarco
Director of Photography: Dion Beebe
Line Producer: Kelly King
Post-Production Company: Cycle Media http://www.cyclemedia.net/
Editor: Matthew Griffiths
Visual Effects/Animation: Peter Debay at Cycle Media http://www.cyclemedia.net/
Colorist: Stefan Sonnenfeld at Company 3
Audio House: Vapor Music
Audio House Creative Directors: Joey Serlin, Andrew Harris
Audio House Producer: Natalie Schnurr
Casting Agency in LA: Ryan Bernstein
Casting Agency in Toronto: Andrew Hayes http://powerhousecasting.com/

Talent/Lead Roles only:
“PROPOSAL”
Jake: Chris Smith
Kate: Cali Fredrichs

“AIRPORT”
Stephen: Gary Smith
Elizabeth: Abigail Marlowe

“TEST RESULTS”
Patient: Mike Beaver
Doctor: Richard Waugh

Hearst Magazines, the publisher of Cosmopolitan and Elle, has sold a big Revlon campaign including a 10-episode digital-video series called “#GoBold.”

A spokeswoman for Hearst said the campaign’s price tag is a “healthy seven figures” and includes not only the video series but also print pages, digital-display ads and social media promotions.

Hosted by Laverne Cox, a cast member on Netflix’s “Orange is the New Black,” contestants on “#GoBold” compete in challenges, such as creating a magazine spread to communicate their personalities. Revlon products are integrated into the episodes.

Continue reading at AdAge.com