It's Raining Clowns: See Ronald McDonald Jump Out of a Plane


Ronald McDonald seems to be getting more adventurous.

The McDonald’s spokesclown just posted a video on his Instagram feed this morning with footage of him skydiving in Dubai, part of a larger McDonald’s global marketing effort for Ronald McDonald. The social media effort is the latest in a campaign that started this summer that’s meant to appeal to a wider audience than kids. In July, for example, Ronald made it snow in Kuala Lumpur.

The campaign, “Fun makes great things happen,” was first announced in April in tandem with a Ronald McDonald makeover that was touted as a more modern look. That modern look included yellow cropped cargo pants and a fitted red blazer. For this extreme-sports effort, Ronald went the casual sportswear rout and chose a vest instead of the blazer.

Continue reading at AdAge.com

At Next Cannes Awards, 5 of 15 Jury Presidents Will Be Female


The Cannes Lions Festival of International Creativity is picking up the pace in recognizing the role of women in the creative process: five of 15 jury presidents at the main festival in 2015 will be women. At Cannes, and most ad festivals around the world, women have long been under represented in the jury room.

The five female jury presidents are from the U.S., Canada, Brazil and China:

Judy John, CEO & chief creative officer at Leo Burnett in Canada will be president of the Direct jury.

Continue reading at AdAge.com

Deutsch Los Angeles Picks Up Digital Duties on Taco Bell


Deutsch Los Angeles, the lead creative agency on Taco bell, is adding digital to its duties.

Publicis Groupe’s Digitas in San Francisco had been handling digital for the chain, and just recently helped launch its mobile-ordering and payment app in late October. Deutsch handled the TV creative, but the biggest splash of that campaign was Taco Bell’s blackout of all its social media for a couple of days to draw attention to the announcement. Digitas also created the design of the app, on which it will continue to work.

Digitas will also continue to handle digital media planning and buying. Its sibling agency Spark handles media planning, and WPP’s MEC handles buying.

Continue reading at AdAge.com

The Future of Your Agency Is Not With Creatives — It's With Creative Culture


Some people are creative, some aren’t. It’s a view many of us gain from childhood, and our job titles only confirm this division — if you’re not a “creative,” you’ve no business attacking client briefs. But this view isn’t just wrong, it’s dangerous.

A multitude of once integral industries — photofinishing and movie rental stores to name a few– are being rendered obsolete by digital technologies. In the midst of this turmoil, established brands are turning to agencies to make sense of the disruption. They expect the “creative agencies” to give them an injection of creative thinking at a higher standard than they could achieve on their own. The presumption is that the creative industries are more adept at, and more committed to, building systems that harness the creative abilities of their individual employees.

In a Journal of Consumer Marketing article, Dennis Pitta, Van Wood and Frank Franzak argue that “in reality, the majority of marketing organizations enjoy neither creativity nor innovation. One fault is that these organizations fail to build a culture that values creative or innovative ideas from all of their employees. The result is lost profits, opportunities and a wasting process that may lead to failure.”

Continue reading at AdAge.com

Why Omnicom Bought Another D.C. Agency


Omnicom’s DAS division snapped up a public-affairs agency specializing in digital and social media earlier this week. In purchasing Washington-based DDC, the holding group’s Diversified Agency Services division is continuing a longtime consolidation of small shops serving the political and advocacy markets.

For DAS, the move means one thing in particular: better CRM services for public-affairs clients. In political parlance, the “C” in CRM refers to constituents rather than customers. DAS aims to repurpose DDC’s services for clients outside the advocacy world for things such as corporate investor relations.

“CRM in the public-affairs space is an attractive area for growth around the world, in business and government capitals alike,” stated DAS CEO Dale Adams in an email interview with Ad Age. “We see the huge potential in taking their proven model to other markets where Omnicom does business, including activist shareholder campaigns, labor relations, government and crisis communications.”

Continue reading at AdAge.com

Big Green Egg: Smoke angels, 1

Send your beef to a higher place.

Advertising Agency: 22squared, USA
Creative Director: John Stapleton
Art Directors: John Stapleton, Michael Powell
Copywriter: Kevin Botfeld
Illustrators: Michael Powell, David Burns
Published: December 2014

That Was Swift

Portland agency Swift Collective was founded by Liz Valentine and Alicia McVey in 2007. Thanks to an acquisition by POSSIBLE, the pair have already realized an exit, which points to their skill level, network and the viability of content marketing. @alannaohlala and @therachael got the memo… #swiftstyle #stripes #jailbirds A photo posted by Swift Collective […]

The post That Was Swift appeared first on AdPulp.

O Natal sempre fica melhor com filhotes… ou biscoitos

mcvities

Quem consegue resistir a lindos e charmosos filhotinhos? A agência Grey, de Londres, tenta provar mais uma vez o que todo mundo que usa internet já sabe: filhotes fofinhos são capazes de tornar tudo melhor. Até mesmo um entediante dia de Natal.

É claro que, neste caso em especial, gatinhos, cãezinhos e outros bichinhos adoráveis são uma espécie de metáfora para os produtos da marca de biscoitos britânica McVitie’s. 

Como se não bastassem eles simplesmente existirem, despertando o lado Felícia de todos nós, neste comercial eles ainda compõem um coro (meio bizarro, admito) para interpretar Only You, sucesso dos anos 1980 da banda Yazoo – não, amigos, felizmente não tem nada a ver com a brasileira Yahoo.

mcvities

Brainstorm9Post originalmente publicado no Brainstorm #9
Twitter | Facebook | Contato | Anuncie

Top 10 TV and cinema ads

1. Sainsbury s, Christmas is for sharing
Sainsbury s staked its claim on high-concept Christmas ads last year when it funded a 48-minute documentary, Christmas In A Day . This year, the supermarket decided to use its big TV spot to publicise its partnership with The Royal British Legion. The ad retells the story of the legendary Christmas football match between German and British forces in World War I. Sainsbury s and Abbott Mead Vickers BBDO should be commended for a beautiful and poignant film. Agency: Abbott Mead Vickers BBDO Creative: Tim Riley Director: Ringan Ledwidge Production company: Rattling Stick
//
2. Ikea, beds
The Ikea body of work is among Mother s strongest and “beds” is a worthy addition. The spot shows a woman falling through the air with her descent softened by a succession of different beds before she finally lands in her own. It aims to convey the message that people sleep better in their own bed. Prunella Scales provided the voiceover with a reading from William Shakespeare s The Tempest , beginning: “Our revels now are ended.” Agency: Mother Creative: Mother Director: Juan Cabral Production company: MJZ
//
3. John Lewis, Monty the penguin
John Lewis has a tried-and-tested formula. In “Monty the penguin”, Adam Eve/DDB recreated the magic of “the long wait” as part of a well-thought-through multimedia campaign. The ad tells the story of a boy who realises that his toy penguin is lonely and so buys him a female penguin as a Christmas present. Other elements of the campaign include an interactive storybook and an in-store experience using technology that bring children s toys to life. Agency: Adam Eve/DDB Creatives: Daniel Fisher, Richard Brim Director: Dougal Wilson Production company: Blink
//
4. The Sunday Times, icons
Grey London produced consistently strong work for The Times and The Sunday Times this year its “icons” spot is the best. The Us-directed ad promotes the revamped culture section of the News UK newspaper and depicts two actors recreating six major artworks in a single take. To demonstrate the breadth of coverage in the supplement, the spot honours Michelangelo s The Creation Of Adam , Daft Punk, Reservoir Dogs , Rodin s The Thinker , Mad Men and Forrest Gump . Agency: Grey London Creatives: Jonathan Rands, Johan Leandersson Directors: Us Production company: Academy
//
5. Guinness, Sapeurs
This stylish spot tells the story of the Society of Elegant Persons of the Congo, depicting men getting dressed to meet their friends and then enjoying themselves in a local bar. In line with the Diageo brand s “made of more” positioning, the ad s message is: “It s not the cost of the suit that counts, but the worth of the man inside it.” Agency: Abbott Mead Vickers BBDO Creative: Nicholas Hulley, Nadja Lossgott Director: Nicolai Fuglsig Production company: MJZ
//
6. Imperial War Museum, flight of the stories
This powerful animated spot for the Imperial War Museum s World War I gallery was to encourage people to find out about the soldiers who did not make it home from the trenches. In the ad, the stories of those who died emerge from the ground in the form of animated speech marks and fly across the Channel. They make their way across the south of England through London and to the Imperial War Museum. Agency: Johnny Fearless Creatives: Pia Knight, Paul Domenet Director: Darren Dubicki Production company: Aardman Animations
//
7. Beats, the game before the game
Beats stood out among the myriad brands trying to align themselves with the World Cup in Brazil with a global brand campaign depicting the rituals footballers and fans go through before a match. In the ad, Neymar calls his dad for some reassurance, Luis Su rez kisses the tattoo of his children s names on his wrist and Cesc F bregas kisses a ring his girlfriend gave him. Agency: R/GA London Creatives: Edwin Latchford, Ciaran McCarthy Director: Nabil Elderkin Production company: The Sword Fight
//
8. Three, #SingItKitty
Wieden Kennedy was always going to be under pressure after the success of “the pony”. But with a girl cycling through her neighbourhood with her cat both miming Starship s We Built This City the agency produced another viral success for Three. The spot was supported by a website that enabled people to make personalised versions of the ad with their own photos. Agency: Wieden Kennedy Creatives: Chris Lapham, Aaron McGurk Directors: Traktor Production company: Partizan
//
9. BBC Music, God Only Knows
To launch the new multiplatform BBC Music brand, Karmarama created an epic ad featuring a gamut of stars, including Brian Wilson, Sir Elton John and Stevie Wonder, singing the Beach Boys classic God Only Knows . The track was sold to raise money for Children in Need and proved a worthy successor to ” Perfect Day “. Agency: Karmarama Creatives: Morgan Kennedy, Sarah Kane, Melissa Broker Director: Fran ois Rousselet Production company: Red Bee Media
//
10. Canon, gladiator football
Amid declining sales and competition from smartphones, Canon launched an ambitious campaign filmed under the umbrella title “come and see”. The first TV spot was Jonathan Glazer s stylish portrayal of calcio storico , a violent early form of football that is still played in Italy. Agency: JWT London Creatives: Jonathan Budds, Anita Davis Director: Jonathan Glazer Production company: Academy
//

Big Green Egg: Smoke angels, 2

Send your pork to a higher place.

Advertising Agency: 22squared, USA
Creative Director: John Stapleton
Art Directors: John Stapleton, Michael Powell
Copywriter: Kevin Botfeld
Illustrators: Michael Powell, David Burns
Published: December 2014

Matt Anderson Is A Writer At The Helm

“Is this great enough? Because if it’s not, sooner or later we’ll turn into one of those small regional agencies that does ads for oil changes.” -Matt Anderson Linda Baker of Oregon Business spoke to Matt Anderson of Struck, following his recent promotion from creative director to CEO of the Salt Lake City-based agency. Here […]

The post Matt Anderson Is A Writer At The Helm appeared first on AdPulp.

Mexico Tourism Board "Unstoppable" (2014) :30 (Mexico)

Los Cabos was hit by a hurricane on September 14th, 2014. But Los Cabos is as unstoppable as ever. This spot features real life locals getting ready for the day, just like always. The resilient spirit and dedication to friendly tourism is still very much alive and well.

Country: 

Commercials: 

Fictitious Insects Illustrations

Polygonia est le nom d’une planète mystérieuse imaginée par Chaotic Atmospheres, auteur de cette superbe série d’illustrations digitales. Sur cette planète lointaine grouille des colonies d’insectes aux formes polygonales et aux couleurs luisantes dans la nuit. Des créatures aussi sublimes qu’étranges, à découvrir dans la suite.

Fictitious Insects Illustrations-20
Fictitious Insects Illustrations-19
Fictitious Insects Illustrations-18
Fictitious Insects Illustrations-17
Fictitious Insects Illustrations-16
Fictitious Insects Illustrations-15
Fictitious Insects Illustrations-14
Fictitious Insects Illustrations-13
Fictitious Insects Illustrations-12
Fictitious Insects Illustrations-11
Fictitious Insects Illustrations-9
Fictitious Insects Illustrations-8
Fictitious Insects Illustrations-7
Fictitious Insects Illustrations-6
Fictitious Insects Illustrations-5
Fictitious Insects Illustrations-4
Fictitious Insects Illustrations-1
Fictitious Insects Illustrations

2015 will be the year of context for OOH, says Stuart Taylor

As out of home ad revenue looks set to soar through the £1 billion mark, 2015 will bring much to strengthen the growing confidence of a medium transforming itself at a rate of knots, says Stuart Taylor, chief executive of Kinetic UK.

Big Green Egg: Smoke angels, 3

Send your chicken to a higher place.

Advertising Agency: 22squared, USA
Creative Director: John Stapleton
Art Directors: John Stapleton, Michael Powell
Copywriter: Kevin Botfeld
Illustrators: Michael Powell, David Burns
Published: December 2014

Último capítulo de “O Hobbit” tropeça, mas encerra sua jornada com competência

Hobbit

[AVISO: Contém spoilers menores]

Para além de qualquer discussão mercadológica, mesmo sendo impossível dissociar a concepção desta nova franquia de seu potencial de arrecadação, a intenção de Peter Jackson ao transportar “O Hobbit” das páginas de J. R. R. Tolkien para os cinemas era compreensível. A experiência bem-sucedida com “O Senhor dos Anéis” deu ao cineasta a possibilidade de buscar novas tecnologias, explorar campos e nuances diversas daquele universo e retornar à Terra Média para uma nova aventura.

O fato de os 48 quadros por segundo terem sido abortados no meio do caminho não tornou o projeto menos ambicioso – à distância, parece ter sido a decisão mais acertada, o reconhecimento de que o formato não se fazia indispensável. Assim, pela força das circunstâncias e por uma clara reverência ao conteúdo literário originário, o que se confirmou foi uma série ainda mais ancorada nas bases já erguidas pela trilogia anterior, carregando os traços positivos e negativos desta herança.

“Uma Jornada Inesperada”, filme inaugural da nova tríade, trazia, além da distração tecnológica, um conjunto simples de elementos. Construído de modo tradicional como primeiro ato de uma história mais extensa, apresentava os personagens centrais e definia a importância de sua missão (que viria a ser reafirmada insistentemente nos longas seguintes) com um olhar inocente e curioso.

“A Desolação de Smaug”, por sua vez, apresentava novas provações a Bilbo (Martin Freeman) e companhia, dava a eles contornos mais bem acabados e tornava a ação mais constante, mas ao mesmo tempo se alongava e interrompia a resolução de alguns eventos e da própria jornada para forçar o capítulo derradeiro.

Peter Jackson e Ian McKellen no set

Peter Jackson e Ian McKellen no set

Hobbit

“A Batalha dos Cinco Exércitos” carrega várias das características de seus dois antecessores. Em termos de trama, retoma os acontecimentos do ponto imediato em que foi armado o cliffhanger anterior. Os anões recuperaram sua terra com a ajuda de Bilbo, mas Smaug ainda aterroriza a Cidade do Lago. Se o trecho inaugural traz humanos lutando contra a ameaça e oferece um forte indício de que a ação será ainda mais intensa nesta etapa da trilogia, a postura da companhia parece revelar não o contrário, mas uma posição mais conservadora.

Comandados por Thorin Escudo de Carvalho (Richard Armitage), eles agora precisam guardar a montanha e assegurar que ela não será tomada por novos invasores – que, de imediato, o líder suspeita serem homens e elfos em busca de sua recompensa. A conduta defensiva do grupo gera alguns desdobramentos importantes, tais como a oposição de forças entre Bilbo e o filho de Thrain e uma sensação de espera até que a ameaça verdadeiramente maligna se apresente.

O atraso para que o segundo elemento surja é marca típica de Jackson, que novamente aposta em um arco narrativo tradicional antes de colocar as forças em batalha. Faria sentido se esta fosse uma história isolada, divorciada de uma mitologia anterior.

Por uma clara reverência ao conteúdo literário originário, o que se confirmou foi uma série ainda mais ancorada nas bases já erguidas pela trilogia anterior

A despeito de já terem sido apresentados os combatentes e suas motivações, o filme dedica uma significativa fatia de seu tempo de duração retratando a montagem do acampamento dos humanos, a chegada dos elfos, a recuperação de Gandalf (Ian McKellen) e a obsessão de Thorin por ouro e pela Pedra Arken – supostamente visando conferir certa dimensionalidade ao personagem, para no fim fazê-la desmoronar num estalar de dedos na busca por um momento de reconciliação mais emotivo.

O aspecto visual, no entanto, não acompanha e aproveita este período de preparação para o conflito final. A familiaridade com aqueles cenários, por exemplo, parece fazer com que o filme não mais os explore com tamanha curiosidade e fascínio – a ida de Legolas e Elfa ao encontro dos Orcs é sinal desse esgotamento, dado o desperdício de um local que outrora seria tratado com maior atenção.

Hobbit

Hobbit

É evidente que livro e filme são obras distintas e que devem ser avaliadas separadamente, mas a sensação seria similar se Tolkien trabalhasse seu universo repetindo sempre a mesma construção frasal, os mesmos termos, ou se descrevesse ambientes novos e inexplorados apenas em inexpressivas notas de rodapé.

São também problemáticas a movimentação e o preenchimento dos espaços: a câmera se move por campos abertos, vilarejos e por cima de montanhas sem que se crie sensação de profundidade, valendo apenas para dimensioná-los em sua óbvia grandiosidade. Jackson, tão seguro no controle de sequências como estas em “O Retorno do Rei”, aqui parece confundir uma boa e segura direção com uma imensidão de planos de maior escala, mas que no limite pouco significam.

O constante movimento, sobretudo nas tomadas aéreas, é ainda prejudicado pela tecnologia 3D, de efeito similar ao dos outros dois longas – igualmente carente de criatividade -, e os melhores momentos ocorrem justamente quando a câmera se aquieta e retorna ao nível do solo – destaque para a queda de Galadriel (Cate Blanchett) e o momento em Bilbo se despede de Gandalf.

Freeman e McKellen provêem traços distintos a Bilbo e Gandalf, respectivamente, e cumprem suas jornadas com a habitual competência

O gigantismo também traz danos à condução das sequências de batalhas, que mais parecem uma réplica pouco inspirada da primeira trilogia. A luta pelo chão é filmado com proximidade, mas sem maior entusiasmo, tendo méritos apenas em se ater aos diferentes estilos dos envolvidos, à forma como cada um deles combate.

Nesse sentido, a coreografia funciona, mas a decupagem das cenas – um corte por golpe – tem efeito contrário do habitual: a ação se torna confusa e repetitiva, e sua dispersão em diversas frentes, em especial pela longa duração das sequências, é mais cansativa do que intensa ou dinâmica.

Hobbit

A impressão final do conjunto é mais satisfatória do que a soma das partes parece sugerir

A inserção de novas criaturas intriga pouco e suas habilidades são descritas antes mesmo que possamos vê-las na prática, o que elimina um possível efeito surpresa e contribui para a impressão de que a quantidade de personagens sem personalidade torna o filme bastante desequilibrado quando tira o foco de seus principais elementos.

Hobbit

O núcleo central, por sua vez, é novamente dono das melhores atuações. Freeman e McKellen proveem traços distintos a Bilbo e Gandalf, respectivamente, e cumprem suas jornadas com a habitual competência. Os líderes dos exércitos humano e de anões, Thorin e Bard (Luke Evans), são marcados por tons semelhantes de autoridade, não indo muito além da superfície, de “figuras masculinas importantes”.

Outros nomes relevantes, como Legolas (Orlando Bloom) e Tauriel (Evangeline Lilly), são afetados não apenas pela costumeira dificuldade de Jackson em construir romance de maneira natural, mas também pela insistência em forçar um triângulo amoroso e fazê-lo descer goela abaixo apenas por uma impressão de completude ao levar o filme numa toada sentimental.

As mesmas figuras, porém, são recuperadas pelos elos um tanto nostálgicos estabelecidos entre “O Hobbit” e “O Senhor dos Anéis”, realizada tanto em pontos simples, como a menção a Aragorn, quanto de modo mais explícito, principalmente no desfecho, quando recupera os minutos iniciais de “A Sociedade do Anel”.

Após uma jornada trôpega e instável, a impressão final do conjunto é mais satisfatória do que a soma das partes parece sugerir – e, se esta é mesmo a despedida de Peter Jackson da Terra Média, talvez o gosto que resta não seja tão amargo.

Brainstorm9Post originalmente publicado no Brainstorm #9
Twitter | Facebook | Contato | Anuncie

Three Words Kids Should Never Hear: “Lockdown Drill Complete”

When I grew up, gun violence had yet to rear its ugly head in our schools. Frankly, I can not imagine how scared American kids are to go to school today, to say nothing of the fears of their parents. As the two-year anniversary of the Newtown tragedy on December 14th approaches, Moms Demand Action […]

The post Three Words Kids Should Never Hear: “Lockdown Drill Complete” appeared first on AdPulp.

Thinkbox – Harvey & Harmony – (2014) :60 (UK)

Thinkbox - Harvey & Harmony - (2014) :60 (UK)

Earlier this week we brought you the news that Harvey, Thinkbox’s loveable dog was returning in a third and final ad to premier on Boxing Day in the UK. Adland is very happy to bring you that ad earlier than expected – and wow, it’s a scorcher.

Country: 

Commercials: 

Inside Innocean Office

Voici les bureaux de l’agence de pub Innocean située à Francfort en Allemagne. Comme on peut le constater, la structure du lieu est assez variée tant sur le mobilier, les installations et la gestion des éléments qui constituent cet espace de travail. Un endroit dynamique, qui met en avant la sensibilité et le bien-être des employés comme des visiteurs. À découvrir dans la suite.

Inside Innocean Office-8
Inside Innocean Office-7
Inside Innocean Office-6
Inside Innocean Office-5
Inside Innocean Office-4
Inside Innocean Office-3
Inside Innocean Office-2b
Inside Innocean Office-2

Why Selfies Could Tank Your Job Search

Category: Career Oxygen
Summary: The recent buzz in the media regarding selfies and narcissism, and the fact that most employers will now Google their prospective employees, begs the question of whether the selfie can harm your job search. It’s a great question, and while it would be difficult to predict or study, as with anything related to your career, it’s better to err on the side of caution. Here’s why and what to do about it.