Aliança Francesa Floranópolis: Tongue

French on the tip of the tongue.

Advertising Agency: Toró Comunicação, Florianópolis, Brazil
Creative Directors: Maurício Peixoto, Roberta Beck
Art Directors: Maurício Peixoto
Copywriters: Roberta Beck, Vital Sezanowski
Photo: Shutterstock
Published: June 2014

Aliança Francesa Floranópolis: Pout

Pout everyone does. But real French is with us.

Advertising Agency: Toró Comunicação, Florianópolis, Brazil
Creative Directors: Maurício Peixoto, Roberta Beck
Art Directors: Maurício Peixoto
Copywriters: Roberta Beck, Vital Sezanowski
Photo: Shutterstock
Published: June 2014

Red Lobster Names Publicis Lead Creative Agency

Red Lobster has named Publicis Kaplan Thaler as its lead creative agency, reports AdAge.

The appointment follows a review, which Red Lobster started in April, after Darden decided to sell off the brand. Grey had been the brand’s creative agency after winning agency of record duties from The Richards Group back in 2010. According to AdAge, Grey did not participate in the review process, but retains creative duties for Darden brands Olive Garden and LongHorn Steakhouse. They also report that Olson, Barkley, and Interpublic’s Martin Agency were the other finalists in the review process, which was overseen by Pile & Co.

Mark Gilley, senior vice president, marketing at Red Lobster told AdAge that “the chain chose Publicis Kaplan Thaler because of its creative pitches, its existing work and digital and social strategy, the last of which is [a] particularly important element for Red Lobster as it moves more marketing dollars into digital,” adding that he admired how the agency’s recent work for Wendy’s “‘broke conventions’ in the fast-food category.”

Publicis Kaplan Thaler’s first campaign for Red Lobster, which spent around $156 million on measured media in 2013, is expected in the first half of 2015.

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Old Geezers Battle Young Whippersnappers at Basketball in Centrum's Short Film

Sometimes experience proves more powerful than youth. That’s certainly true in this new long-form spot for Pfizer’s Centrum from Leo Burnett in Chicago, which pairs middle-aged basketball players against a group of twenty-something guys.

We won’t spoil what happens, but you can probably guess.

Yep, it’s not surprising that in a film made for a multi-vitamin, we’d see the older gents have still got game. Though that doesn’t make it any less entertaining to watch the young punks get schooled.

The film was shot in Goat Park in Harlem and has already garnered half a million views online. Maybe the appeal of watching real people play basketball has something to do with it. Or maybe we’re a bit sick of the soccer.

Credits below.

CREDITS
Client: Pfizer/Centrum
Agency: Leo Burnett Chicago
Ad or Campaign: Stay on Top of Your Game
Chief Creative Officer: Susan Credle
Executive Creative Director: Jeanie Caggiano
Creative Directors: Amanda Butts, Nuno Ferreira
Associate Creative Directors: Dave Derrick, Stephanie Simpson
Creative Team: Roberto Blanco, Javier Valle, Lauren Wetula
Digital Strategist: Ian Beacraft
Executive Producer: Juan Woodbury
Producer: Mark Phan
Production Company: Greenpoint Pictures
Directors: Michael Kuhn & Niles Roth
Executive Producer: Tatiana Rudzinski
Producer: JP Bouchard
VFX/SPX: Utopic
Editorial: Utopic
Editor: Tim Kloehn
Music Company: Jira Productions
Composer: Dejion Madison
Director of Photography: Nate Corbin

Candymaker Mars Names Sandler Chief Health Officer


Debra Sandler is leaving her post as president of Mars Chocolate North America to take a global role overseeing the company’s health initiatives.

The newly created position, called chief health and well being officer, exemplifies the emphasis big consumer packaged-food companies are putting on nutrition in the face of increasing scrutiny by consumers and health activists.

Tracey Massey, who is currently chief financial officer for Mars Global Chocolate, will take over as acting president for Mars Chocolate North America. Ms. Massey, a longtime Mars employee, is expected to be approved to take over the position on a permanent basis, said Mars spokeswoman Renee Kopkowski.

Continue reading at AdAge.com

Grunge Androgyny Marketing – The Kristian Steinberg Spring/Summer 2015 Campaign is Effortlessly Cool (GALLERY)

(TrendHunter.com) Niall Underwood and Harry Curran star in the Kristian Steinberg Spring/Summer 2015 ad campaign. The faces from FM and AMCK London are captured by photographer Florian Renner’s lens while…

Normals, finalmente um fone de ouvido realmente feito para você

Ajustar um fone de ouvido interno pode ser um pesadelo. Apesar das borrachinhas em diversos tamanhos, que supostamente deveriam ajudar a fazer a sua experiência ser mais confortável, a verdade é que raramente elas funcionam, deixando muito espaço vago (e fazendo o fone cair) ou ficando muito apertado (e te obrigando a removê-lo, devido ao incômodo).

Comprar um par de fones customizado também pode ser um desafio financeiro. Todo o processo, que inclui um molde da sua orelha feito por um especialista, pode levar 6 semanas para ser concluído, e custar entre 500 e 2 mil dólares.

Felizmente, podemos contar com a tecnologia de impressão 3D e a criatividade da Normals, uma nova marca de fones de ouvido intra-auriculares que é feito com base na curvatura da sua orelha. Lembrando que ‘um tamanho único não serve para niguém’, o slogan da marca destaca a importância de customizar um item feito para uma região tão única do corpo.

normal-earphones-2-730x195

Para fazer o seu Normals, é preciso apenas tirar uma foto de cada uma das suas orelhas e enviar para a empresa, tudo através de um aplicativo próprio. Um software vai avaliar cada uma das curvas da cartilagem da sua orelha e imprimir um suporte feito especialmente para você. Tudo isso em no máximo 48 horas, e por apenas 199 dólares.

Para quem ficou curioso, o reconhecimento da imagem da sua orelha é feito através de comparação de tamanhos. O aplicativo pede que a pessoa segure uma moeda de 25 centavos de dólar próximo da sua própria orelha, o que serve como uma espécie de escala para o reconhecimento das proporções da foto.

normals-app

Uma loja da marca deve ser inaugurada no bairro Chelsea, em Nova Iorque, em agosto, permitindo que os clientes conheçam o produto e até mesmo recebam apoio para customizar o seu próprio fone. Ainda que, com uma etiqueta de 199 dólares, os Normals não sejam exatamente fones baratos, eles certamente capitalizam na tendência da exclusividade e no valor único de algo feito especialmente para uma pessoa.

normals-fone-verde

Brainstorm9Post originalmente publicado no Brainstorm #9
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Sugru divulga um ótimo uso para os minifigs da Lego: organizar cabos

A massinha de borracha Sugru, que promete grudar em quase qualquer coisa, está divulgando uma divertida ideia de uso útil para os minifigs da Lego, aqueles bonequinhos batutas que fizeram parte da infância de muita gente.

Além de serem chaveiros ou ímãs de geladeira (ao menos aqui em casa), os bonequinhos tem o encaixe perfeito para segurar os mais diversos tipos de cabos, em especial os cabos de energia da Apple.

sugru-e-lego
legogif

A sugestão da Sugru é, portanto, usar a massinha de borracha adesiva na parte das costas dos minifigs e fixa-los nos lugares onde você precisa deixar alguns cabos, para colocar um pouco mais de ordem no ambiente e ainda manter o fácil acesso ao equipamento.

LEGO-Minifig-As-Cable-Holder

O autor da ideia, Andreas, também deixa uma outra ótima dica de organização – ao invés de fixar o minifig, ele fixou uma daquelas plaquinhas de Lego, bem fininhas, e prende o bonequinho ao encaixar as pernas dele na placa. Além disso, ao passar uma pecinha perfurada pelo elo da chave do carro, ele também pode encaixá-la no cantinho da mesa e mantê-la sempre à mão.

lego-sugru-minifig-cable-holder-by-2spinout-620x647

Brainstorm9Post originalmente publicado no Brainstorm #9
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Credit Foncier: It's yes

Advertising Agency: Gyro, Paris, France
Executive Creative Directors: Sebastien Zanini, Pierre-Marie Faussurier
General Manager: Amelie Ouzouf
Group Account Manager: Berengere Bonfils
Head of Strategy: Evelyne Bourdonne
Director: Elisabeth Marre
Music: The Lumineers
Production Company: Les fils de
Published: June 2014

Three Mobile: We're sorry

Advertising Agency: W+K London, UK
Creative Directors: Scott Dungate, Graeme Douglas
Copywriter: Anthony Atkinson
Art Director: Greg Kouts
Producer: Michelle Brough
Group Account Director: Nick Owen
Account Director: Sophy Woltman
Executive Creative Directors: Tony Davidson, Kim Papworth
Agency Executive Producer: Danielle Stewart
Production Company: Hungryman
Director: Ric Cantor
Executive Producer: Matt Buels
Line Producer: Jack Beardsley
Director of Photography: Mike George
Editorial Company: Ten Three
Editor: Billy Mead
Post Producer: Ed Hoadley
VFX Company: Time Based Arts
VFX Supervisor: Jim Allen
Flame Artist: Matt Shires
VFX Producer: Chris Aliano
Music+Sound Company: Finger Music
Composer: Brian Englishman
Mix Company: Factory
Mixer: Tom Joyce
Producer: Becs Bell
Creative Directors: Scott Dungate, Graeme Douglas
Copywriter: Anthony Atkinson
Art Director: Greg Kouts
Designer: Victoria Kochowski
Art Buyer: Laura Barker
Released: July 2014

Student Flights: Grandma

Advertising Agency: TBWAHuntLascaris, Johannesburg, South Africa
Executive Creative Director: Justin Wright
Creative Directors: Shane Forbes, Vincent Osmond
Agency Producer: Sandra Gomes
Art Directors: Melanie Moore, Thereza Norton, Michael Blakey-Milner
Copywriters: Harry Mackensie, Natalie rose
Production Company: Bouffant
Director: Dean Blumberg
Producer: Lindsay – Jane Barnard
Published: June 2014

Student Flights: Grandpa

Advertising Agency: TBWAHuntLascaris, Johannesburg, South Africa
Executive Creative Director: Justin Wright
Creative Directors: Shane Forbes, Vincent Osmond
Agency Producer: Sandra Gomes
Art Directors: Melanie Moore, Thereza Norton, Michael Blakey-Milner
Copywriters: Harry Mackensie, Natalie rose
Production Company: Bouffant
Director: Dean Blumberg
Producer: Lindsay – Jane Barnard
Published: June 2014

SKYY Vodka: Attraction

Advertising Agency: Venables Bell & Partners, San Francisco, USA
Executive Creative Directors: Paul Venables, Will McGinness
Creative Director: Will McGinness
Associate Creative Director: Eric Boyd
Art Director: Alex Rice
Copywriter: Daniel Bonder
Director of Integrated Production: Craig Allen
Agency Executive Producer: Joyce Chen
Account Director: Robert Woods
Account Manager: Katie De La Hoya
Design Director: Cris Logan
Designer: Angie McDonald
Production Company: Biscuit Filmworks
Director: Mike Maguire
Director of Photography: Nigel Bluck
Executive Producer: Colleen O’Donnell and Shawn Lacy
Line Producer: Tracy Broaddus
Editing Company: Final Cut
Editor: Matt Murphy
VFX: The Mill
VFX Producer: Kiana Bicoy
Telecine: Sean Coleman / Company 3
Sound Design: Barking Owl
Sound Designer: Michael Anastasi / Barking Owl
Music: Mophonics
Mix: Loren Silber / Lime Studios

SKYY Vodka: Tipping

Advertising Agency: Venables Bell & Partners, San Francisco, USA
Executive Creative Directors: Paul Venables, Will McGinness
Creative Director: Will McGinness
Associate Creative Director: Eric Boyd
Art Director: Alex Rice
Copywriter: Daniel Bonder
Director of Integrated Production: Craig Allen
Agency Executive Producer: Joyce Chen
Account Director: Robert Woods
Account Manager: Katie De La Hoya
Design Director: Cris Logan
Designer: Angie McDonald
Production Company: Biscuit Filmworks
Director: Mike Maguire
Director of Photography: Nigel Bluck
Executive Producer: Colleen O’Donnell and Shawn Lacy
Line Producer: Tracy Broaddus
Editing Company: Final Cut
Editor: Matt Murphy
VFX: The Mill
VFX Producer: Kiana Bicoy
Telecine: Sean Coleman / Company 3
Sound Design: Barking Owl
Sound Designer: Michael Anastasi / Barking Owl
Music: Mophonics
Mix: Loren Silber / Lime Studios

SKYY Vodka: Toast

Advertising Agency: Venables Bell & Partners, San Francisco, USA
Executive Creative Directors: Paul Venables, Will McGinness
Creative Director: Will McGinness
Associate Creative Director: Eric Boyd
Art Director: Alex Rice
Copywriter: Daniel Bonder
Director of Integrated Production: Craig Allen
Agency Executive Producer: Joyce Chen
Account Director: Robert Woods
Account Manager: Katie De La Hoya
Design Director: Cris Logan
Designer: Angie McDonald
Production Company: Biscuit Filmworks
Director: Mike Maguire
Director of Photography: Nigel Bluck
Executive Producer: Colleen O’Donnell and Shawn Lacy
Line Producer: Tracy Broaddus
Editing Company: Final Cut
Editor: Matt Murphy
VFX: The Mill
VFX Producer: Kiana Bicoy
Telecine: Sean Coleman / Company 3
Sound Design: Barking Owl
Sound Designer: Michael Anastasi / Barking Owl
Music: Mophonics
Mix: Loren Silber / Lime Studios

SKYY Vodka: Coaster

Advertising Agency: Venables Bell & Partners, San Francisco, USA
Executive Creative Directors: Paul Venables, Will McGinness
Creative Director: Will McGinness
Associate Creative Director: Eric Boyd
Art Director: Alex Rice
Copywriter: Daniel Bonder
Director of Integrated Production: Craig Allen
Agency Executive Producer: Joyce Chen
Account Director: Robert Woods
Account Manager: Katie De La Hoya
Design Director: Cris Logan
Designer: Angie McDonald
Production Company: Biscuit Filmworks
Director: Mike Maguire
Director of Photography: Nigel Bluck
Executive Producer: Colleen O’Donnell and Shawn Lacy
Line Producer: Tracy Broaddus
Editing Company: Final Cut
Editor: Matt Murphy
VFX: The Mill
VFX Producer: Kiana Bicoy
Telecine: Sean Coleman / Company 3
Sound Design: Barking Owl
Sound Designer: Michael Anastasi / Barking Owl
Music: Mophonics
Mix: Loren Silber / Lime Studios

SKYY Vodka: Friend request

Advertising Agency: Venables Bell & Partners, San Francisco, USA
Executive Creative Directors: Paul Venables, Will McGinness
Creative Director: Will McGinness
Associate Creative Director: Eric Boyd
Art Director: Alex Rice
Copywriter: Daniel Bonder
Director of Integrated Production: Craig Allen
Agency Executive Producer: Joyce Chen
Account Director: Robert Woods
Account Manager: Katie De La Hoya
Design Director: Cris Logan
Designer: Angie McDonald
Production Company: Biscuit Filmworks
Director: Mike Maguire
Director of Photography: Nigel Bluck
Executive Producer: Colleen O’Donnell and Shawn Lacy
Line Producer: Tracy Broaddus
Editing Company: Final Cut
Editor: Matt Murphy
VFX: The Mill
VFX Producer: Kiana Bicoy
Telecine: Sean Coleman / Company 3
Sound Design: Barking Owl
Sound Designer: Michael Anastasi / Barking Owl
Music: Mophonics
Mix: Loren Silber / Lime Studios

SKYY Vodka: Text

Advertising Agency: Venables Bell & Partners, San Francisco, USA
Executive Creative Directors: Paul Venables, Will McGinness
Creative Director: Will McGinness
Associate Creative Director: Eric Boyd
Art Director: Alex Rice
Copywriter: Daniel Bonder
Director of Integrated Production: Craig Allen
Agency Executive Producer: Joyce Chen
Account Director: Robert Woods
Account Manager: Katie De La Hoya
Design Director: Cris Logan
Designer: Angie McDonald
Production Company: Biscuit Filmworks
Director: Mike Maguire
Director of Photography: Nigel Bluck
Executive Producer: Colleen O’Donnell and Shawn Lacy
Line Producer: Tracy Broaddus
Editing Company: Final Cut
Editor: Matt Murphy
VFX: The Mill
VFX Producer: Kiana Bicoy
Telecine: Sean Coleman / Company 3
Sound Design: Barking Owl
Sound Designer: Michael Anastasi / Barking Owl
Music: Mophonics
Mix: Loren Silber / Lime Studios

Can Advertising Change ‘Fauxsumerism?’

One thing posting on AgencySpy has taught us: marketers and creatives love a robust conversation.

On that note, we’d like to bring your attention to an alarming trend that doesn’t seem to show signs of fading away anytime soon: “Fauxsumerism.”

Essentially, those super-valuable Millennials would rather spend countless hours browsing online than ever actually buying anything. Numerous surveys and thought leadership gatherings have been dedicated to turning these perpetual browsers into buyers–but is it really possible?

(more…)

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BMW Goes for a Spin on the World's Most Insane Racetrack: an Aircraft Carrier

It’s one thing to drive at breakneck speeds around a barren salt flat or abandoned airport, but the pucker factor goes up a few notches when you’re teetering on the edge of an aircraft carrier.

In BMW’s questionably real “Ultimate Racetrack” ad for the BMW M4, we see the typical anonymous, black-gloved stunt driver fishtailing and drifting around a course built on what looks like the redesigned deck of an aircraft carrier.

Several YouTube commenters believe it’s fake, and Jalopnik points out some pretty compelling reasons to be dubious, such as the inconvenient fact that aircraft carriers don’t have rounded edges. We’ve reached out to Cundari, BMW’s agency in Canada, and will update with more information if we hear back.

That said, it sure doesn’t feel fake when you’re watching the car cut around those edges and risk a drop into the ocean. 

If nothing else, the ad highlights the fact that the only three differences between one high-adrenaline car ad and all the others like it: location, location, location.