Hasta La Creative!

The formula has been the same since the beginning of the Internet: a Larry Page, Tom Anderson or Mark Zuckerberg gets inspired and launches a website that takes the world by storm. After that, all their passion, energy and vision is channeled into monetizing the platform. Then, before you know it, the medium that was meant to propel us into a new stratosphere of expression, collegiality and connectivity gets sucked into the vortex to become a next-generation surveillance and meta-marketing tool. And you know that unless we stop them they’re going to monetize every last second of our lives.

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Last month, Ogilvy & Mather New York launched its “Will You?” campaign for Tiffany, attracting attention with print ads depicting a recently-engaged gay couple. Now, Ogilvy has launched the next phase of the campaign with a new ad continuing the trend of inclusiveness.

The real-life couple from the print campaign returns, joined by other modern day couples professing their love for each other. Make no mistakes, Ogilvy aims straight for the heartstrings, attempting to capture both the awkwardness and tenderness of proposing. “Will you…wow, this is weird,” the ad starts. “Will you let me be the one who gets to make fun of you because you take three minutes to butter your toast in the morning?” From here, different couples trade off lines, sometimes completing what another couple started, until finally the spot cuts to the chase with a “Will you marry me?” delivered from, seemingly, all the couples.

While the string-heavy soundtrack may come across as a bit maudlin, and how you feel about the ad will deal a lot to deal with how much sentimentality you can stomach, Ogilvy does a fine job of making the couples in the ad seem realistic. The dialogue expresses the kind of flaws (such as the toast line) which ultimately endear romantic partners to each other, and the inclusiveness of the ad makes it feel like Tiffany is celebrating everyone rather than one demographic.

Credits:

Ogilvy & Mather, New York

Chief Creative Officer, Ogilvy East: Chris Garbutt
Worldwide Chief Marketing Officer: Lauren Crampsie
Group Creative Director: Debra Fried
Group Creative Director: Jackie Leak
Creative Director: John Doyle
Creative Director, Art Direction: David Bradley
Executive Director, Art Content Production: Cindy Rivet
Executive Producer, Art Content Production: Elizabeth Lucas
Jr. Content Producer, Art Content Production: Dagmar Wong
Director Digital Rights Management and Licensing: Gloria Graham Hall
Executive Group Director: Leyland Streiff
Management Supervisor: Jessica Schaevitz Deacon
Account Supervisor: Kat Bear Brown

Account Executive: Aniella Opalacz

Voici une série de clichés réalisée par le photographe basé à Paris, Cal Redback. L’artiste mêle, avec onirisme, humain et flore en proposant des portraits mi-homme mi-arbre. L’homme devient ainsi le réceptacle de plantes qui lui envahissent le corps. A découvrir.

Discovery Communications reported better-than-expected fourth quarter earnings Thursday thanks to international growth, but continues to grapple with weakness in the domestic ad market.

U.S. ad revenue declined 3% in the quarter, worse than consensus expectations of a 1% dip. While Discovery is expecting U.S. ad sales to improve in 2015, as it says it sees modest volume and some pricing strength in the scatter market where advertisers buy time close to air, it’s still forecasting that the ad market will be relatively tepid this year.

Here are the highlights from Discovery CEO David Zaslav on the company’s earnings call with analysts.

Continue reading at AdAge.com

Agency reps are unfortunately prohibited from speaking to us at the moment (which could be due to the comments on this post), but we hear that R/GA carried out a “quiet” shakeup of its tech and quality assurance departments this week.

According to a couple of sources, EVP/CTO Nick Coronges oversaw a reshuffling of related teams in the interest of operational efficiency.

Again, specifics cannot be confirmed because the agency itself has not responded to us, but we hear that the move involved several members of the tech/QA lineup: Executive Director Michael Shagalov, Director Paulie Srinuan, and Senior Technical Director Vinny DiBartolo.

The specific reason for their departures — as well as the total number of staffers affected — remains unclear. But given R/GA’s prominence in the digital realm and its recent Adweek “agency of the year” win, we expect hiring announcements to follow.

On a side note, all your old comments have returned, just like we promised.

Yay?

Franke Group, a Swiss manufacturer of commercial kitchen, bathroom and beverage systems, this week rolls out a global campaign called “Make it Wonderful.”

The b-to-b campaign, created by Gyro London, is designed to unify the Franke brand under one theme and is targeted at restaurant owners, architects, designers and other professionals in the hospitality and commercial kitchen business.

“Too often emotion is ignored in our space, but our products exist in some of the most intimate of spaces,” said Renato di Rubbo, CMO of Franke. “We are encouraging our customers — big and small — to make those spaces wonderful.”

Continue reading at AdAge.com

Muitos dos que assistiram ao filme “50 tons de cinza” não estão perdoando um erro crasso do continuista: como assim Anastacia Steele tem iMessage em um celular flip?

A cena em específico acontece durante um trecho em que Ana esta visitando seus pais, e conversa com Grey via mensagem. A impressão que se tem é que Christian Grey usa um iPhone 5S, e as mensagem de texto aparecem em balõezinhos azuis, o que seria virtualmente impossível considerando que Ana não estava usando um iPhone também.

Isso porque dentro do iOS, quando ambos os usuários são proprietários de dispositivos da Apple, as mensagens de texto são enviadas via iMessage, e mostram o texto dentro de balões azuis. Caso contrário, as mensagens são enviadas via SMS, e daí os balões passam a ser verdinhos.

E temos que concordar com Julia La Roche, do Business Insider – o cara vai e dá um Macbook pra garota fazer pesquisas, mas se ~esquece~ de atualizar o smartphone dela? Tsc, tsc, Christian Grey.

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(TrendHunter.com) Whenever you’re experiencing a chocolate craving, Nestle treats are the obvious go-to solutions. The multinational Swiss company has done deliciously well for about 150 years, churning out the…

Goodby, Silverstein & Partners launched a new ad celebrating 25 years of Photoshop for Adobe, entitled “Dream On.”

The 60-second spot will make its broadcast debut this Sunday during the Academy Awards. “Dream On” is set to the Aerosmith song of the same name, and takes more than a few cues from the track’s lyrics. Celebrating Photoshop’s use in art, design and especially film, the spot is colorful, vibrant and overall a great demonstration of what the program can do. Given the content of the ad, and the ubiquity of the editing software in Hollywood, its placement during the Academy Awards couldn’t be more appropriate.

“It’s a tribute to the amazing creatives who have used this product and helped us evolve it and conceive of even greater uses,” Alex Amado, Adobe’s senior director of creative and media, told Adweek. “And we want to challenge the next generation of designers and artists and photographers and moviemakers to dream even bigger, and we’ll help them get there.”

Credits:

Client: Adobe
Project: Photoshop 25th Anniversary – “Dream On”
Length: 60 seconds

Product: Adobe Photoshop

Agency: Goodby, Silverstein & Partners
Co-Chairman/Creative Director: Rich Silverstein
Creative Director: Adam Reeves, Patrick Knowlton, Will Elliott
Associate Creative Director: Sam Luchini, Roger Baran

Executive Producer: Tod Puckett
Producer: Timothy Plain
Director of Graphic Services: Jim King
Business Affairs Manager: Heidi Killeen

Account Director: Joel Giullian
Account Manager: Cassi Norman
Account Manager: Chelsea Bruzzone

Brand Strategy Director: Anne Faricy

Director of Communications Strategy: Christine Chen
Senior Communications Strategist: Joe Gruchacz
Communications Strategist: Victoria Barbatelli
Jr. Communications Strategist: Tara Hughes

Production & Postproduction

Director: Brady Baltezore, Mike Landry

Editorial Company: Rock Paper Scissors
Executive Producer: Angela Dorian
Producer: Cristina Matracia
Editor: Grant Surmi
Asst. Editor: Arielle Zakowski

Color: Chris Martin @ Spy Post

Graphics Company: eLevel Studios
Executive Producer: PJ Koll
Creative Directors: Brady Baltezore, Mike Landry
Producer: Luke Dillon

Artists: Nathan Shipley, Kyle Westbrook, Chad Ford, Jessica Gibson, Karim Fawzy, Jon Corriveau, Devin Earthman

Final Mix: Dave Baker

Photoshop Effects Artists: Sam Nordemann, Kleber Lacher, Philip Chudy