Angélica García crée des oeuvres photographiques autour des thèmes de la solitude et du vide. Les photos ne sont pas retouchées, tout est fait à la main. Angélica prend une photo de son sujet, l’imprime et la manipule pour la transformer en une image de rêve surréaliste avant de reprendre à nouveau une photo du résultat final.
If you don’t know by now, the 87th annual Academy Awards gets underway this Sunday — and ahead of the event we have this campaign from 180LA highlighting the moments when winners actually grab that storied golden statue.
Yes, it’s Hollywood’s annual night of serious self-congratulations — but the agency aimed to create a touching scenario featuring notable Oscar winners including the late Robin Williams, Russell Crowe, Cuba Gooding Jr., and more.
For an international take, this second spot in the campaign, highlights gratitude while emphasizing that “everyone speaks Oscar.”
It’s quick and breezy…but more importantly, who are your picks this year? (“The people” apparently like snipers.)
This week, Gyro is hiring a project manager, as well as a group account director. Meanwhile, Sub Rosa is seeking a producer, and TMG/McMurry is on the hunt for a strategy analyst. Get the scoop on these openings below, and find additional just-posted gigs on Mediabistro.
Find more great NY jobs on the Mediabistro job board. Looking to hire? Tap into our network of talented media pros and post a risk-free job listing. For real-time openings and employment news, follow @MBJobPost.
Today the Manhattan office of BBDO named Danilo Boer, formerly VP/senior creative director, as its first head of art and design.
The release tells us that the purpose of the newly-created role, which Boer assumes effectively immediately, will be “raising the level and quality of work across the board.”
Boer joined the agency’s New York team in 2008 after spending six years as an art director at AlmapBBDO in his native Brazil; the agency promoted him to CD in 2010 and again to VP/senior CD in 2012.
In his time with BBDO, Boer has worked on campaigns for clients such as Visa, Foot Locker, AT&T, Mountain Dew, and more. He also received awards from the ADC and Cannes Lions and served on the One Show jury.
Boer will report to New York CCO Greg Hahn and global CCO David Lubars. Lubars calls him “a great leader and talented as hell,” calling his promotion “a no brainer” while Hahn writes:
“He’ll be doing what he’s been doing since he started here – we’re just making it official.”
Amy Reeder, who created the Image Comics series “Rocket Girl” with Brandon Montclare, spends the day with friends, at the brunch table, podcasting and at karaoke.
(TrendHunter.com) The Samsung Gear S is a smartwatch that blends the functionality and connectivity of a smartphone with the convenience and style of a well-designed wristwatch, boldly evolving the mobile experience…
GSD&M is launching a humorous campaign for PetSmart, entitled “Partners in Pethood,” with broadcast ads debuting during the Academy Awards.
The full-length versions of the spots ere uploaded to the rband’s YouTube page yesterday. Both take a satirical look at how people treat their pets like they are their children. The tone and content should be familiar to anyone who has seen the classic 2000 Christopher Guest mockumentary Best in Show, which is hardly a surprise since Guest directed the spots. One of the ads, “Smoochie and Alamoochie” features a perennial cast member in Guest’s films, Jennifer Coolidge. The other spot, “Stanley is Five” stars Anna Faris as a dog mom throwing a fifth (or 35th) birthday party. Both ads are a lot better than the typical fare in the category, undoubtedly thanks in no small part to Guest’s talents. Here’s hoping GSD&M and PetSmart work with him again in the future.
Featuring a cast of everyday runners and six ASICS-sponsored professional athletes such as: triathlete Gwen Jorgensen, Queen Harrison, Ryan Martin, Rosario Rios-Aguilar, and more, this spot features a
The Energizer Bunny has given birth to a hummingbird. The tiny avian will be the logo of a new company to be born from Energizer Holdings later this year.
Technically, it’s the other way around. Energizer Personal Care, which the company today announced is to be dubbed Edgewell (with a hummingbird logo), is the company that for tax and regulatory purposes will remain after Energizer Holdings, home of the bunny, battery brand and other household products, is spun off later this year.
The company unveiled the new Edgewell name, which will house such brands as Schick, Edge, Playtex, Banana Boat and Stayfree, in a presentation at the Consumer Analyst Group of New York annual conference in Boca Raton, Fla., today.
(TrendHunter.com) These Lacoste sportswear innovations range from architectural shoes to futuristic fitness ensembles that will wow active fashion lovers. Founded by in 1933 by French tennis player and business man…
In an effort to keep up with the kids while sticking to its longstanding “Happiness” mantra, Coca-Cola Puerto Rico has found a solution: registering URLs for every emoji that conveys happiness. Hence, we have smiling icons, that were created that direct you, the mobile user, to Coke’s Puerto Rican website.
Regarding the “Emoticoke” effort — which was created by EJE DDB — Coca-Cola brand manager Andrea Puig says:
“Coca-Cola seeks to create emotional connections in an innovative way, evolving according to what consumers adopt to relate to each other, so we saw the opportunity to adopt the popular ‘emojis’ to promote the expression of happiness that sets us apart.”
Yes, even our soft drink overlords have embraced the era of mobile emotional expression. The future will be written in smiley faces.
Client: Coca-Cola Puerto Rico
Agency: EJE DDB
Chief Creative Officer: Enrique Renta
Creative Director: Santiago Cuesta
Associate Creative Director: Ricardo Uribe
Copywriters: Santiago Cuesta, Ricardo Uribe, Juan Romero, Nuria De La Banda
Art Director: Jesse Echevarria, Luis Figueroa
VP Managing Partner: Edgardo Manuel Rivera
Account Executive: Alexandra Ramírez
PR Account Executive: Jennifer González
Digital Director: Janette Robles
Digital Planning: José Ramón González, Anadys Félix
Programmer: Daniel Sáenz
Video: Alejandro Ussa
Goodby Silverstein & Partners New York created a 60-second broadcast spot for Comcast that’s sure to be a hit during this year’s Academy Awards. It’s also the first ad out of Goodby Silverstein & Partners’ New York office, and not a bad debut at all.
“We’re really proud of this one,” Paul Caiozzo, executive creative director of GS&P New York told Adweek. “It’s the first big national spot to come from this office, and it’s great to have this work debut on a big stage like the Oscars. It’s a beautiful moment for GS&P New York.”
The spot shows the world of The Wizard of Oz as imagined by a young blind girl named Emily. She tells viewers how she imagines each of the characters as her thoughts come to life onscreen, with voiceover from Robert Redford near the end of the spot. “Emily’s Oz” promotes Comcast’s new talking guide which, as the spot points out, helps the visually impaired discover their favorite programs. It’s a simple concept, but it makes for an emotionally powerful ad (just try not to get choked up when Emily describes what Dorothy looks like) that accomplishes the seemingly impossible task of making Comcast seem almost human, rather than the corporate monster it is. Now if only they’d stop trying to ruin the Internet.
Credits:
Client: Comcast/XFNITY
Sr. Director, Brand Strategy & Communications: Sherri Davis
Campaign: Emily’s Oz
Campaign website: http://emilysoz.com
Agency: Goodby Silverstein & Partners New York
Creative
Co-Chairmen: Jeff Goodby, Rich Silverstein
Executive Creative Director: Paul Caiozzo
Creative Director: Nathan Frank
Art Directors: Michael Hagos, Peter Jostrand
Copywriters: Josh Chua, Sam Dolphin
Account Services
Managing Director: Nancy Reyes
Account Manager: Laura McWhorter
Assistant Account Manager: Nate Baker
Brand and Communication Strategy
Group Brand Strategy Director: Conner Huber
Brand Strategist: Jane Jun
Business Affairs
Senior Business Affairs Manager: Judy Ybarra
Production
Director of Broadcast Production: Tod Puckett
Executive Broadcast Producer: James Horner
Broadcast Producer: Tess Kenner
Assistant Broadcast Producer: Charlotte Dugoni
Production Company: Biscuit Filmworks
Director: Andreas Nilsson
Director of Photography: Matty Libatique
Production Designer: KK Barrett
Managing Director: Shawn Lacy
Executive Producer: Colleen O’Donnell
Line Producer: Emily Skinner
Editorial/Finishing: Rock Paper Scissors
Editor: Paul Watts
Assistant Editor: Christian Oreste
Assistant Editor: Rhys Hecox
Executive Producer: Eve Kornblum
Producer: Jenny Greenfield
Producer: Jen Milano
VFX: A52
Lead Flame artist: Stefan Gaillot
CG Supervisor: Kirk Shintani
2D VFX Artist(s): Stefan Gaillot, Matt Sousa, Andy Bate, Enid Dalkoff, Steve Wolf, Tiffany Germann
3D Artists: Jose Limon, Joe Paniagua, Jon Balcome, Christian Sanchez, Adam Carter, Paulo Mauro, Vivian Su
Producer: Scott Boyajan
Executive Producer: Patrick Nugent, Jennifer Sofio Hall
Telecine: Company 3 New York
Colorist: Tim Masick
Colorist: Rob Sciarratta
Executive Producer: Angela Lupo
Color Producer: Rochelle Brown
Mix: Heard City
Sound Engineer: Keith Reynaud
Sound Engineer: Jeremy Siegel
Managing Director: Gloria Pitagorsky
Senior Producer: Sasha Awn
Sound Design: Jafbox Sound
Sound Designer: Joseph Fraioli
End Treatment Graphics: Elevel Post
Animator: Jessica Gibson
Executive Producer: PJ Koll
Producer: Samantha Liss
—Behind-the-Scenes Documentaries
Director: Cassie Jaye
Directors of Photography: Margaret Parus, Sertac Yildizhan
Editorial Company – Main Documentary
Production Company: Rock Paper Scissors
Editor: Parker Whipple
Producer: Jenny Greenfield
Producer: Jen Milano
Editorial Company – Mimi Documentaries
Production Company: elevel (Goodby Silverstein & Partners)
Editor: Graham Willcox
Assistant Editor: Lori Arden
Producers: Carley Ridgway, Samantha Liss
We cannot confirm names or titles at present because the agency and its PR firm have yet to respond to repeated requests for comment, but a source tells us that New York’s Figliulo & Partners let several high-level staffers go last week.
The source claims that the employees who left the agency primarily held senior positions, that most hadn’t been with the company long, and that they were hired while Figliulo still ran the Sprint account.
Before we reported on Deutsch LA’s then-pending win in the Sprint pitch in November, sources told us that Figliulo had been involved (along with Arnold) in the latter stages of the review; since Sprint was the first and largest client signed by the then-new agency in 2013, some changes were inevitable.
While the total number of staffers departing Figliulo did not reach double digits, the source claims that the shift affected nearly 25 percent of the workforce at an agency currently employing less than 50 people.
Figliulo posted a big win last month in the form of Virgin Atlantic, for which it will serve as North American creative AOR. New campaigns should launch soon.
Again, we have repeatedly reached out to the agency and its representatives for a statement.
Updates if we receive them.
Alors qu’il explorait les lacs autour de St. Joseph dans le Michigan, le photographe Joshua Nowicki est tombé sur un phénomène surprenant : des dizaines de tours de sable miniatures se sont formées naturellement sur toute la plage. Le vent est à l’origine de ces formations : les rafales disposent les couches de sable en les gelant. A découvrir en images.
“Mad Men” returns for its final season on AMC on April 5. The network released its first on-air promo titled “The Party’s Over,” for the critically acclaimed drama. Diana Ross’ “Love Hangover,” which was released in 1976, is the soundtrack for the spot. While it isn’t clear exactly when the final season of “Mad Men” will be set, the promo video and images hint that the characters have finally escaped the ’60s.
Many observers have called this year’s race for the Best Director Oscar a toss-up between Richard Linklater (“Boyhood”) and Alejandro Gonzalez Inarritu (“Birdman”). But the analytics team at Interpublic’s Mithun in Minneapolis said the prize will be Mr. Inarritu’s, with 99% odds.
The agency has been picking winners in the four biggest Oscars categories — best film, best director, best actor and best actress — mostly for fun over the last 13 years.
But it’s also “a demonstration of something real and relevant in the marketing and advertising world right now,” spokesman Andrew Hokenson said in an email to Ad Age. “Predictive analytics have become a key driver for marketing.That is, the prevalence of machine learning and predictive analytics, and their ability to drive for marketing.”
Too cold or lazy to visit a newsstand to buy Vogue’s March issue? Well, lucky for you, cold, lazy person, a startup called Postmates will deliver the issue to your door “in minutes” if you live in New York City and, starting next week, L.A.
The service is called Vogue On-Demand and runs while supplies of the March issue last. For $15, the issue, which normally costs $4.99, is delivered by hand and comes with a six-month print and digital subscription to Vogue. Subsequent issues are delivered via the U.S. Postal Service.
Readers are paying a premium for the quick, personal delivery. A promotion on Vogue.com offers six issues plus digital access for $6.
Située à Bucarest en Roumanie, cette librairie, joyaux de l’art architecturale du XIXème siècle semble tout droit sortie d’un conte de fée. Comme l’abbaye d’Admont en Autriche, ce lieu majestueux enchante par sa grandeur et son élégance. À découvrir en images.
Depois do Vine Kids, o mais recente serviço a criar uma versão infantil é o YouTube. O site irá lançar na próxima segunda-feira na Google Play um aplicativo infantil que funciona como uma espécie de interface entre o site de vídeos e os conteúdos especialmente criados para crianças.
Com um design bem simples, com pouca rolagem, imagens e botões maiores, a interface do YouTube Kids foi pensada para mãos pequeninas e que às vezes têm pouca precisão no clique. Os ícones remetem a quatro seções de conteúdos – programas, músicas, aprendizado e descoberta – que vão ajudar os pequenos a navegarem por conteúdos apropriados para suas idades, e a busca vai permitir buscar conteúdos criados por canais especializados no público infantil, como o National Geographic Kids.
O foco nesse tipo de conteúdo não acontece à toa. Além do crescente pedido de pais por uma interface de acesso segura para as crianças, o YouTube tem percebido um grande aumento nas visualizações de vídeos infantis – enquanto o crescimento geral das visualizações no YouTube tem uma média de 50%, conteúdos infantis ou feitos para a família tiveram um crescimento de 200%. Nem precisamos dizer que a capacidade das crianças de assistirem o mesmo conteúdo infinitas vezes pode ter sua boa parcela de influência neste número, né?
Até o momento, não se sabe ao certo como o YouTube pretende monetizar esse aplicativo. O Wall Street Journal especula que foi discutida a possibilidade de exibir publicidade para as crianças, mas como esse é um tópico muito polêmico, provavelmente os executivos preferiram deixar para mexer nesse vespeiro mais tarde.
Post originalmente publicado no Brainstorm #9
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Desde 2012 acontece no Twitter o Fiction Festival, um festival que reúne escritores e amadores para criar ficção no ambiente da rede social. Eram 5 dias voltados à uma celebração da literatura de ficção, com criação de personagens, roteiros e contos narrados em tempo real.
A segunda edição do Fiction Festival só veio a acontecer em 2014, apoiada por editoras e associações de publicações, fomentando o surgimento de narrativas ficcionais dentro das possibilidades do Twitter.
Neste ano, o Twitter Fiction Festival acontece pela primeira vez em um ano ímpar, entre os dias 11 e 15 de maio, novamente com a parceria da Associação das Editoras Americanas e da editora Penguin Random House. Nesta terceira edição, alguns autores de renome, como @MargaretAtwood e @LemonySnicket, farão parte do festival, tuitando ficções originais, pensadas para circularem no Twitter.
It’s time! Announcing #TwitterFiction Festival 2015: May 11-15! Check out http://t.co/61LCpYP1nJ to learn more! https://t.co/mxuKYHVJaZ
— Fiction Festival (@TWfictionfest) February 18, 2015
Os formatos serão dos mais variados – valem textos, vídeos, imagens, personagens, histórias narradas por tuítes sequenciais e o que mais os escritores conseguirem criar.
Epitáfios ficcionais
Ficção em 140 caracteres
Ficção com vários personagens virtuais
O Twitter Fiction Festival também convida autores amadores do mundo todo a participarem com as suas ideias. No geral, o festival funciona majoritariamente em língua inglesa, o que não impede que os interessados tuítem contos e ficções em outros idiomas.
O Fiction Festival está organizado ao redor da hashtag #TwitterFiction e do perfil @TwFictionFest.
Quem se interessar já pode começar a trabalhar nas suas ideias. As melhores ficções feitas para o Twitter Fiction Festival serão selecionadas por um juri, e poderão ser divulgadas através da conta oficial do festival.
Uma oportunidade para desenvolver muito ficcionista amador de gaveta que conhecemos por aí. Tira da contracapa do caderninho ou do app de anotações e põe no Twitter!
Post originalmente publicado no Brainstorm #9
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