Le designer Daniel Ramirez Perez, basé à Berlin, a conçu ce très beau calendrier pour l’année 2015. Des multitudes de couleurs et de formes dégoulinantes, géométriques ou organiques s’inspirant du design scandinave défilent à travers les 12 mois. Ce calendrier est disponible sur son shop en ligne.
While we’ve yet to receive official word from agency PR, sources within the Ogilvy camp confirmed this morning that the agency has lost the TV portion of the E*Trade account to R/GA. No review was announced.
For context, Ogilvy won the business in July 2013, as evidenced by an internal memo from COO Lou Aversano; incumbent Grey New York, or the party responsible for the brand’s once-ubiquitous baby, resigned the account earlier that year.
In early 2014, the client signed a new CEO and dropped the baby for a new approach, with its CMO telling Fast Company that “the baby ate the brand.” Ogilvy’s following “Type-E” campaign starred Kevin Spacey and others.
A recent AdAge profile piece noted that R/GA, which has worked on E*Trade digital for some time, planned “a new emphasis on TV work” for 2015; this win marks a major step in that direction.
Sources say that, while Ogilvy may retain parts of the E*Trade business, R/GA will be behind all upcoming TV campaigns.
UPDATE: R/GA has no official comment on the news. Sources close to the matter also claim that the client didn’t just change agencies — it also dumped CMO Liza Landsmen, the very executive who discussed its new creative direction with Fast Company last year.
DDB Worldwide announced today that Icaro Doria has been named chief creative officer of its New York office, effective as of March. Doria will report directly to Chris Brown, who assumed the role of president and chief executive officer of DDB New York in September. He will be responsible for overseeing the entire creative department and maintaining the agency’s overall creative direction.
Most recently, Doria was a founding executive creative director at W+K São Paulo, spending the last four years with the agency and working with clients such as Coca-Cola, Nike, Heineken and Smirnoff. Before returning to his native Brazil, Doria served as creative director with Saatchi & Saatchi New York, global creative director for Dell and Bacardi at Young & Rubicam and group creative director at Goodby Silverstein & Partners, working on Hewlett Packard and Sprint. In 2007, while Doria was still with Saatchi & Saatchi New York, Creativity named him “Most Awarded Copywriter in the World.”
“DDB New York is on a mission to blaze new trails and therefore finding the right creative partner and leader was really key. I’ve been describing DDB New York as the ‘original boutique’ agency and that is why I am so excited about Icaro joining,” said Chris Brown in a statement. “His appointment helps solidify our singular mission to create game-changing work and business ideas for our clients, and I’m confident he will be the perfect partner to help lead DDB New York into the future,” he added.
Americans love to keep score. On Feb. 1, Super Bowl Sunday, every advertiser, marketer and ad-minded consumer in America will go to bed elated (or maybe depressed), bellies full of too many nachos, wings and beer. The next day, they’ll wake up and log on to find out the winners of the USA Today Super Bowl Ad Meter, an annual survey of TV commercials conducted in a live poll during the Super Bowl broadcast.
Sadly, these inquisitive minds will get less than half the story.
Online, Not TV, Is the Smart Move
When it comes to Super Bowl advertising, the data is clear: The smartest brands know the real game is won online, specifically on YouTube — not on TV. In fact, the best ads that kick proverbial USA Today Ad Meter butt are often not the same ads that do well online.
Let’s start with a seemingly simple example: Among last year’s Super Bowl commercials was a spot about a dad who kept saving his son from accidents. It showed that there comes a time in a boy’s life when dad simply can’t do what this brand’s automobile can do. It was a big consumer hit and a definite top 10 USA Today winner.
We hired a national research firm to survey over 1,000 Super Bowl viewers to ask which car company made the ad: Chrysler, Ford, Toyota or Hyundai. The most common answer was Ford–and it was wrong.
Of respondents who said they had watched last year’s Super Bowl ads, only 15% correctly identified Hyundai as the advertiser. This is a shame — Hyundai found a simple, heartfelt way to convey a salient attribute about a car: automatic emergency breaking.
Of course, chances are, the likelihood of purchasing a Hyundai just after the game increased. And that is just great if you’re buying a car two days after the Super Bowl. But the real key is to stay in the consumer’s consciousness longer than it takes for those nachos to digest.
By contrast, we asked the same respondents if they remembered two other automotive spots that had bigger, longer-running YouTube campaigns: one about British villains converging in London (Jaguar) and a spot about music legend Bob Dylan (Chrysler). Of those who remembered watching the Super Bowl ads, respondents identified “British Villains” as a Jaguar ad 40% of the time and “Bob Dylan” as a Chrysler ad 28% of the time–a whopping two times or greater recall than that of the USA Today winner, Hyundai.
These marketers obviously get that YouTube gains special powers when it comes to the Super Bowl.
YouTube Gives the Super Bowl Broadcast A Run for Its Money
More than 100 million people will watch the Super Bowl for a little more than three hours. But according to the YouTube Trends dashboard, ad viewers will watch Super Bowl spots online more than 265 million times, totaling 3.2 million hours. In a world where the scarcest resource is human attention, consumers who watch an ad multiple times on multiple screens are more likely to engage and recall your brand.
Combining TV with a defined YouTube strategy increases awareness and engagement. But the target rating points online are vastly cheaper than game day TV ads. Plus, online distribution makes your Super Bowl spend work harder. Even brands that don’t advertise on the Super Bowl know this is the best time to promote their brands online–sometimes even weeks before the game. New Castle, McDonald’s, Tide and eSurance all created terrific “fake punt” strategies last year.
Tips to Up Your Pre-Super Bowl Online Advertising Strategies
We analyzed last year’s ads and found at least a dozen Super Bowl advertisers that did not have a sustained, targeted, well-planned YouTube strategy. Based on our analysis, we identified a few Super Bowl sins, including:
Advertising at the channel level vs. the URL level: It should be an advertising sin to buy on YouTube using keywords, cookies or channel. Targeting at this aggregate level is fraught with brand challenges.
The NFL faced a PR firestorm regarding its handling of sexual assault and domestic violence cases involving players. As an advertiser, the last thing you want is your Super Bowl ad featuring cute, talking puppies, for example, appearing next to any content connected to the Ray Rice elevator assault video.
“Precise digital targeting is the holy grail of digital marketing,” says Paul Calento, the co-founder of TriVu Media, a firm specializing in helping brands target ads on YouTube. “Media buyers should punt any YouTube provider who cannot ensure videos are targeted down to the actual video [URL] level.”
Failure to advertise early and often: Take a lesson from Budweiser’s cuteness overdose featuring a Clydesdale and a bunch of Labrador puppies. The beer maker released its 100% adorable “Puppy Love” ad on Jan. 29–days before the game. The result? “Puppy Love” was the most shared Super Bowl ad, with close to 1.14 million shares before the game even kicked off.
The spot ran on national TV 75 times and on local affiliates another 1,200 times prior to the game. In fact, Super Bowl spot pre-release is becoming something of a trend, with consumers watching one in five Super Bowl ads before the game last year.
Overall, we found nearly 18% of all 2014 Super Bowl advertisers made unnecessary mistakes when planning their YouTube strategies.
Ben Legg, CEO of Adknowledge and former senior executive at powerhouse brands Coke and Google, puts it this way: “Any agency that isn’t developing a robust YouTube strategy along with its Super Bowl TV ad plan should be fired.”
Harsh? Yes.
True? Probably.
This guest article was written by Anita Newton, VP-corporate marketing at Adknowledge. She’s a proud Kansas Jayhawk (Rock Chalk!) and has an MBA from Harvard Business School. Follow her at @AnitaBNewton on Twitter.
In 2004, a 17-year-old British-Pakistani woman named Shafilea Ahmed was suffocated and murdered by her parents, in front of her siblings, after she refused an arranged marriage.
Shafilea’s death is referenced clearly and heartbreakingly on limited-edition covers of the February issue of Cosmopolitan magazine in the U.K. to raise awareness about so-called honor killings—in which a person is murdered by a family member for bringing what the killer believes is shame upon the family.
Leo Burnett Change, Leo Burnett’s specialist arm dedicated to social change, designed the cover, which features a plastic wraparound encasing an image of a woman appearing to be suffocated. It’s part of a campaign for Karma Nirvana, the U.K. charity that helps victims of honor-based violence.
The campaign also includes a 7-second online film, also by Leo Burnett, showing the plastic wrapping being ripped open, signifying the release of women from violence.
Karma Nirvana and Cosmo, in partnership with the Henry Jackson Society, are organizing an inaugural Day of Memory for Britain’s Lost Women, which will take place July 14—the date of Shafilea Ahmed’s birthday.
brightcove.createExperiences();
Le photographe Andre Elliott a capturé des mains dans des positions majestueuses et placées sous des néons multicolores à travers sa série intitulée « Acoluthic Redux ». Il livre des dégradés de couleurs vibrantes et des jeux d’ombres délicats. Sa série complète est à découvrir en images dans la galerie.
Flappy Bird provavelmente é um dos jogos mais odiados e viciantes de todos os tempos. Foram tantas horas perdidas e tantos comentários raivosos na internet que nem o criador do jogo aguentou mais e o tirou das lojas de aplicativos. Foi o fim, certo? Bom, não para a Bay Tek Games…
A empresa de máquinas arcade construiu uma versão gigante do jogo, com uma tela de 42 polegadas e operada por moedas. Para jogar, é simples: você só precisa apertar repetidamente o botão vermelho, até o Flappy Bird dar de cara com o primeiro tubo e você xingar muito enquanto coloca mais uma moeda na máquina.
Post originalmente publicado no Brainstorm #9
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R/GA has been tapped to handle TV advertising for E-Trade, according to people familiar with the matter.
TV has been handled recently by WPP’s Ogilvy & Mather, E-Trade’s creative agency of record since 2013. Ogilvy debuted the current “Type E” campaign for the brand last April, the effort that replaced E-Trade’s long-running talking baby campaign.
E-trade has been working with R/GA, part of Interpublic Group, on digital efforts for more than a year.
Asda has announced chief customer officer Steve Smith is departing to rejoin parent group Walmart and will be replaced by head of merchandising for food, Barry Williams.
Confirming rumors that began circulating Monday night, Y&R has approved the press release announcing the promotion of Ronny Northrop to chief creative officer of its California office.
Northrop’s ascent within the Y&R organization was particularly swift: while he joined the agency in February 2014 as freelancer, his promotion to the ECD position only went public in late October.
Earlier in his career, Northrop spent more than three years writing copy for CP+B and nearly six years as a copywriter and creative director within the GS&P organization. After leaving GS&P in 2011, he spent several years as a full-time freelancer writing copy for 72andSunny, Butler, Shine, and others.
In announcing Northrop’s promotion, the agency also confirmed the departure of now-former California CCO Mimi Cook (to whom Northrop reported). The official word holds that she is “leaving to pursue other interests” with no additional information forthcoming, but the fact that Cook spoke to Digiday about industry trends as recently as last October implies that the decision to promote Northrop was part of Y&R’s New Year’s reshuffling.
A quick refresher on that point: this week has seen the departure of New York CCO Jim Elliott (who went to Arnold Worldwide) and the promotion of Leslie Sims to his old position. Last week also brought major changes in the agency’s Chicago team, with CCO Bill Cimino departing and two co-ECDs replacing him.
Virgin Atlantic has awarded North American creative duties to Figliulo & Partners, following the conclusion of a review run through Creativebrief, Campaign reports.The agency succeeds incumbent Y&R New York, who did not defend in the review.
Figliulo & Partners will work with Virgin Atlantic’s lead global agency, Adam & Eve/DDB, and has already been tasked with developing a strategy to bring the Virgin’s “Let It Fly” campaign to the US, with “a heavy focus on digital.” Virgin named Adam & Eve/DDB its lead global agency back in August, ending a 20 year relationship with Rainey Kelly Campbell Roalfe/Y&R, following a five month review process. New work from Figliulo & Partners is expected within the next couple of months.
In a statement, Simon Bradley, vice president of marketing, North America, Virgin Atlantic, cited Figliulo & Partners’ “exemplary strategic thinking” as a key factor in the decision. He added, “F&P is uniquely positioned in the industry, having big creative experience coupled with the entrepreneurial spirit of a boutique. We feel confident that their collaborative, agile, and data-driven approach is exactly what we need to drive our brand forward.”
Following in the footsteps of other omnipresent consumer brands with something arty to prove, Pepsi MAX made a huge mess with mousetraps and Ping-Pong balls for a video it calls “Chain Reaction.”
With the help of London filmmakers HarrimanSteel, a perfect grid of mousetraps was laid out, with a Ping-Pong ball balanced on each one. After all that work, a single ball was launched under some of the most dramatic lighting I’ve ever seen to upset the whole display. The ball then rolls down a big science-museum funnel into another Ping-Pong ball/mousetrap installation, this one with colored spheres.
All this happens to the beat of music that sounds like Alvin and the Chipmunks’ take on dubstep, and I don’t know how to feel about that at all.
I shouldn’t like the more pretentious visual choices being made here, but I do, because it’s fun to watch huge companies clutch their pearls at the thought of being a constant, low-humming presence in the back of consumers’ minds. I’m not sure it justifies the filmmakers hugging at the end like they’ve landed a rover on Mars, though.
If you’ve arrived at this ad without having seen Ogilvy’s previous work for Thai Life Insurance, take a minute or two to get familiar—here and here. Oh, and grab some tissues first, you old softie.
OK, now that we’re up to speed, here’s the latest spot from the wizards of weeping, the sultans of sobbing, the ballers of bawling.
In the perfect short-film-style vignette, we follow the life of our unlikely hero, Pornchai Sukyod: a husky schoolboy with unusual superhero aspirations. Despite its three-and-a-half-minute run time, it’s a flawlessly shot and edited spot that presents a concise, poignant narrative—with a reveal that feels nothing at all like an insurance commercial.
Park Pictures has signed directing team The Mercadantes for U.S. commercial and worldwide representation. The duo, consisting of directors Daniel Mercadante and Katina Mercadante, has directed spots and branded films for the likes of Apple, Volkswagen, Levi’s, Netflix and Chevrolet. Daniel Mercadante, as founder/member of the directing collective Everynone, co-directed the Prudential campaign, “Day One Stories,” that was awarded a Gold Lion at the Cannes Lions festival in 2012 and was featured on TED Ads Worth Spreading. Other work includes the recent “Find Your Fitbit” and “Watch Together” campaigns, the latter for Netflix. They move to Park Pictures from Epoch.
Over at Adage comes the earth shattering news that Havas is partnering (how I love that smarmy buzzword) with Universal Music Group to launch something called the Global Music Data Alliance. This new super company is purporting to create new revenue streams for UMG. How? Through data mining and monitoring consumer behavior.
People travel to someplace that they’re been before, but where’s the fun in that, asks Expedia as they offer 20% savings on package deals. Joining two girls for a night out at the robot disco, set to Grimes‘ song “Genesis” from the album Visions. Where is this robot disco?
Nestor Canavarro est un illustrateur argentin basé à Buenos Aires. À l’aide de crayons de couleur, il dessine des portraits hyper-réalistes de personnages célèbres tels que Dr House ou Walter White. Une technique difficile qu’il maîtrise avec brio, en prêtant une attention toute particulière aux textures comme celles du grain de peau et des cheveux. Un travail impressionnant à découvrir en images.
Um reconhecido manipulador de bonecos morre, deixando para trás um mundo repleto de criaturas curiosas que ele criou ao longo de sua vida. Mas enquanto a vida profissional foi bastante produtiva, a vida pessoal foi marcada pela relação fracassada com seu filho, que agora terá a oportunidade de descobrir quem era o pai em What Lives Inside.
Com direção de Robert Stromberg, o social film da Intel e Dell tem a participação de Colin Hanks, J.K. Simmons e Catherine O’Hara, e tem estreia prevista para 25 de março no Hulu. Até o dia 9 de março, entretanto, o público terá a oportunidade de ajudar na criação de personagens para o filme, que viverão no mundo fantástico do manipulador de bonecos. Para participar, os interessados devem enviar seus desenhos no site oficial. Por lá também é possível ver alguns dos projetos enviados pelo público.
Não vou mentir: pelo menos pela sinopse do filme – e as poucas cenas que os vídeos mostram – What Lives Inside parece ser uma mistura de Peixe Grande com Os Fantásticos Livros Voadores do Sr. Morris Lessmore, seja no roteiro, seja na estética. No final, melhor mesmo é esperar para ver e torcer para que seja um projeto bacana.
A criação é da Pereira O’Dell.
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E-commerce giant Alibaba has bought a majority stake in one of China’s biggest ad tech companies, adding more muscle to its already massive advertising business.
Alibaba said it would become a majority shareholder in AdChina, a Shanghai-based programmatic company that built and runs a digital ad tech platform. Founded in 2007, AdChina has 540 employees.
Alan Yan, AdChina’s founder and CEO, said that “Alibaba has acquired a lot of mobile players, but this is its first investment in the ad tech space.”
Some people still aren’t allowed to use Facebook at work. But the social network wants people to use Facebook *for* work.
Facebook has begun testing a work-only version of the social network called Facebook at Work so that companies can use Facebook as an internal communications tool without employees boring their families or oversharing with their bosses.
People use Facebook to keep up with friends and family, but they may opt for other services like LinkedIn, Microsoft’s Yammer or upstart Slack to wall off communications with colleagues. Instead of surrendering people’s attentions to those other services, Facebook has decided to roll out its own that will keep them firmly within Facebook.
This is site is run by Sascha Endlicher, M.A., during ungodly late night hours. Wanna know more about him? Connect via Social Media by jumping to about.me/sascha.endlicher.
