The Beetle Cabriolet Karmann. A classy affair.
Advertising Agency: DDB, Berlin, Germany
Creative Director: Anika Kempkensteffen
Art Director: Christoph Stender
Photographer: Özgür Albayrak
Postproduction: POP
Published: July 2014
The Beetle Cabriolet Karmann. A classy affair.
Advertising Agency: DDB, Berlin, Germany
Creative Director: Anika Kempkensteffen
Art Director: Christoph Stender
Photographer: Özgür Albayrak
Postproduction: POP
Published: July 2014
Audi is the Proud sponsor of the 46th Blue Ribbon sailing race.
Advertising Agency: Café Communications, Budapest, Hungary
Creative Directors: Zoltan Simon, Ervin Sallai
Art Director: Miklos Zsengeller
Copywriter: Gabor Szucs
Account Director: Miklos Kocsenda
Published: August 2013
The idea of exclusive games, or exclusive downloadable content deals, have been commonplace in gaming for years. But less well known are deals that stop a rival console manufacturer from promoting the fact that a game has been released on their format. One of these is in place for Destiny, which Sony are treating almost like a first party game – despite the fact that it’s also being released on Xbox 360 and Xbox One as well.
So another Xbox product had to be created and advertised that just happened to have the same name. Readers could then visit a campaign microsite (has been pulled since) or use the Blippar app to reveal the true story, as well as link to retailers to buy the Xbox version of the game. In just the first few hours, the site had more than 50,000 unique users, but more importantly, with one quick hit just days before the game’s launch, a strong link was forged between the names ‘Xbox’ and ‘Destiny’ in the audience’s mind.
Twenty bucks says college students around the U.S. will be racing to their computers at 3 p.m. ET this afternoon. Why? Because Olive Garden, purveyor of sort-of Italian food, has—in a fit of PR genius—announced a Never Ending Pasta Pass.
And that’s when it goes on sale online.
For $100, you can get unlimited pasta, salad, breadsticks and soft drinks for seven entire weeks. That’s right—49 days in a row of all-you-can-eat carbs, more carbs and bunny food. Alcohol and gratuity not included. Food coma and chocolate mints likely are.
I did the math, and this is cheaper than eating two packs of Ramen noodles for every meal for those 49 days (that would be $133 if you Amazon Prime it).
But you’d better act fast right at 3 p.m. The chain is selling only 1,000 of these pasta passes. (It’s a kickoff to the annual “Never Ending Pasta Bowl” promotion, running Sept. 22 to Nov. 9., which lets you eat all the pasta you want for $9.99.)
Clever move from Olive Garden, even if all their Facebook fans are super weird.
To sell us the idea of GE Industrial Internet, GE spends two minutes telling the story about the boy who beeps. He doesn’t speak, opting instead to communicate to machines around him via modem-like sounds.
Southwest Airlines is unveiling an unprecedented brand refresh as it grows up and out of the U.S.
The carrier is revamping its campaign, tagline, in-airport signage and even the aesthetic of its planes — everything Southwest that’s seen by the public is part of the effort, which will emphasize the company’s heart and the hospitality of its employees. The initial effort breaks today with a commercial unveiling the new plane design themed, “Without a heart, it’s just a machine.”
The effort comes as Southwest tries to position itself as a more professional and mature airline. It’s 2011 deal to acquire AirTran is expected to be completed by the end of the year and the carrier has begun offering international flights and broadening its U.S. footprint to hubs like New York and Washington D.C. In July, Southwest announced plans to resume a list of 50 potential international cities the former “peanuts airline” may expand into.
« Une approche féministe », c’est le titre d’une fantastique série d’images imaginée par l’artiste londonienne Nikita Gill. Ici, des princesses et des héroïnes Disney telles que la Petite Sirène ou Pocahontas, se retrouvent seules au beau milieu d’un paysage qui rappelle intimement leurs histoires. Une palette scintillante de bleu, teintée de rose et de violine à découvrir dans la galerie.
After last week’s launch of the Rugby World Cup 2015 campaign starring Charles Dance, BBH Sport executive creative director explains how it all happened.
Mr. Corden, a British actor and comedian, is virtually unknown in the United States, but has amassed a long list of credits in England.
(TrendHunter.com) This printed onesie from Beloved celebrates eccentric film star Nicholas Cage. Though countless Nick Cage parodies have flooded the internet in past years, the hilarious actor’s antics refuse…
Advertising Agency: Publicis, Montreal, Canada
Creative Director / Art Director: Bogdan Truta
Copywriter: Johan Af Strom
Account Services: Mélina Tessier
Production House: Roméo & Fils
Director: Jean-Luc Della Montagna
Director of photography: Ariel Methot
Producer : Martin Henri
Mix sound: Alexis Demers
Editing: Philippe Gariépy
Post-Production: Thierry Sirois
Original Music & composition: Olivier Salazar
Published: July 2014
Advertising Agency: Svensson, Stockholm, Sweden
Creative Director / Art Director: Filip Lindquist
Copywriter: Tomas Carrfors
Photographer / Director: Dag Svensson
Editing and post production: Edward Heinmets
Editing: Niklas Nilsson
Published: September 2014
Advertising Agency: 72andSunny, USA
Executive Creative Directors: Jason Norcross, Bryan Rowles
Group Creative Director: Nate Morley
Creative Director: Jason Pollock
Senior Copywriter: Jack Jensen
Designer: Gerardo Ortiz
Group Brand Director: James Townsend
Brand Director: Matt Rohmer
Brand Manager: Ryan Warner
Brand Coordinator: Rochelle Farnum
Director of Film Production: Sam Baerwald
Senior Film Producer: Jessica Friedman
Producer: Thomas Martin
Business Affairs Manager: Cecilia Prins
Business Affairs Coordinator: Noah Winter
Post Production: Studio 72
Editor: Aaron Leichter
Editorial Post Producer: Becca Purice
Finishing: Ntropic
Audio Post: Play
Audio Engineer / Mixer: John Bolen
Executive Producer: Lauren Cascio
We’ve seen plenty of ads that use KIDS to illustrate the power—and limits—of technology. But rarely does it translate in a way that doesn’t seem hokey or freakishly dystopian.
GE and BBDO are on a roll lately, making some of advertising’s more conceptually profound spots. But their latest collaboration is one of the year’s most poignant. In “The Boy Who Beeps,” we follow the life of a child who has an unusual birth defect—instead of normal human speech, he emits a robot-like language and communicates more effectively with machines than people.
GE argues that this is perhaps more of an advantage than a handicap, as emphasized by the on-screen line at the end.
Perhaps advertising’s sequel to “Her,” the spot subtly creates a reality that could go down a subversive path. Instead it weaves today’s languages, human and machine, into a charming scenario to which many in our industrial society can relate, despite the bizarre premise.
You have to wonder why Mom was fooling around with the modem, though.
CREDITS
Client: GE
Spot: “The Boy Who Beeps”
Agency: BBDO New York
Chief Creative Officer, Worldwide: David Lubars
Chief Creative Officer, New York: Greg Hahn
Executive Creative Director: Michael Aimette
CD/Copywriter: Tim Roan
ACD/Art Director: Lance Vining
Director of Integrated Production: David Rolfe
Executive Producer: Diane Hill
Producer: George Sholley
Junior Producer: Sasha White
Head of Music Production: Rani Vaz
Executive Music Producer: John Melillo
Omnicom’s PHD has hired Nathan Brown from rival media agency UM to become its CEO, PHD said today. Mr. Brown succeeds Robert Habeck, who was moved up to a new role as president-global accounts, North America, at Omnicom Media Group.
Mr. Brown’s departure from UM, where he was exec VP and managing director, is the latest management change at IPG Mediabrands, the media division of Interpublic Group. Jacki Kelley, former CEO for North America and president of global clients, left in June to join Bloomberg Media. She had been offered a new role within parent company Interpublic in May.
Subsequently, Kristi Argyilan — then North America President of Magna Global, Mediabrands’ digital buying arm — moved to a VP-media and guest engagement position at Target.
Last season might have gone well but that was last season. Eagles running back LeSean McCoy waxes philosophical about football w hile simultaneously demonstrating all the ways you can watch NFL Countdown, including on your mobile.
Desde que surgiram, drones e Google Glass são mostrados como tecnologias sensacionais, mas também existe o outro lado da moeda: a invasão de privacidade alheia. Quando se percorre as ruas com uma câmera que pode ser ativada com um piscar de olhos, as pessoas ao redor não necessariamente estão sendo notificadas que fazem parte de uma gravação, atitude que desrespeita o direito de privacidade de todo cidadão.
Assim também é com os drones, que fazem registros visuais ao sobrevoar áreas, e que podem por acaso acabar gravando alguém mais desavisado na janela do seu apartamento, por exemplo.
Para garantir esse direito ao espaço privativo, foi criado o Cyborg Unplug, uma espécie de ‘roteador reverso’, que sinaliza a presença de Google Glasses, drones, ou dispositivos que possuam câmeras ou microfones escondidos, impedindo também que eles se conectem à rede Wi-Fi local.
Além disso, o Cyborg Unplug conta também com um modo ‘desligue tudo’, que evita que esses aparelhos se conectem com quaisquer redes Wi-Fi dentro da área em que o sinal dele alcança. Contudo, essa prática de ‘bloqueio’ de conexão pode ser considerada ilegal em algumas localidades, e o próprio desenvolvedor sugere o uso com cautela dessa função especial.
O Cyborg Unplug detecta gadgets que possam invadir sua privacidade e impede que eles se conectem à rede Wi-Fi
Não é exatamente a solução para o problema de privacidade causado pelos gadgets de vestir, já que impedir a conexão deles com a web não evita que eles façam gravações de áudio ou vídeo que não tenham sido autorizadas pelas pessoas do local, mas pode ser um formato interessante para ao menos sinalizar a presença deles em um determinado ambiente. Cada Cyborg Unplug vai custar 100 dólares, com entregas a partir do fim do mês de setembro, mas infelizmente não existe opção de envio para o Brasil.
Post originalmente publicado no Brainstorm #9
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Quem já passou pela adolescência sabe que não é uma época fácil. Especialmente se você opta por seguir um caminho um pouco diferente da maioria, como é o caso da garota gótica que protagoniza este comercial da loja de materiais de construção Hornbach. Durante pelo menos dois terços deste comercial, ela tem de aguentar os olhares de desprezo e até mesmo o bullying não só de seus colegas de escola, mas até mesmo das pessoas com quem ela cruza na rua.
Isso até ela chegar em casa e descobrir que, o que parecia ser mais uma brincadeira de mal gosto é, na verdade, um gesto incrível de apoio por parte de seu pai.
É mais um trabalho bacana que resulta da parceria entre a agência HEIMAT, de Berlim, com a Hornbach. Sem lágrimas, esse comercial faz a gente sorrir.
Post originalmente publicado no Brainstorm #9
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It’s easy to fall prey to the lure of so-called “premium” advertising. Fancy awards are given out in the south of France every year commemorating the largesse and beauty of big, flashy ads. Brands looking to increase awareness and brand lift often think that bigger is better. Regrettably, this is rarely the case, especially when it comes to advertising.
With traffic sources increasingly uncertain, paying a higher CPM for large-format advertising hasn’t translated into guaranteed human audience or effectiveness for modern marketers. While ad size was once considered a leading determinant of campaign success, the data tell a different story: Larger ads are more likely to be avoided or flat-out ignored, significantly decreasing the likelihood that consumers will pay attention, let alone remember the message.
What’s more, larger ad units should deliver enhanced viewability, but mostly they don’t — bots eat up as much as 60% of the impression load that advertisers spend so much of their budgets on every year, wreaking havoc on effectiveness metrics and creating lasting inefficiencies. To add insult to injury, big ads that are, in fact, seen by real living, breathing people typically fail to achieve cognition.
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