McDonald’s lance une gamme de produits Big Mac qui comprend une ligne de vêtements, de la literie et même du papier peint. Dévoilée mardi au défilé de mode McWalk en Suède, cette collection fait partie de la campagne I’m Lovin It 24, une promotion événementielle dans 24 villes à travers le monde en 24 heures.
Every weekday, we bring you the Ad Age/iSpot Hot Spots, new and trending TV commercials tracked by iSpot.tv, a company that catalogs, tags and measures activity around TV ads in real time. The New Releases here ran on TV for the first time yesterday. The Most Engaging ads are showing sustained social heat, ranked by SpotShare scores reflecting the percent of digital activity associated with each one over the past week. See the methodology here.
Among the new releases, Taco Bell releases the latest in its Breakfast Defectors series, while rich people who already own “all the stuff” don’t appreciate Sprint’s wireless deals that free up money so you can spend it on, say, chicken fries from Burger King (which also had a new spot last night). Meanwhile, Shaq takes umbrage when Julius Erving compares a dunking to “reaching for vanilla extract on the top shelf.”
As always, you can find out more about the best commercials on TV at Ad Age’s Creativity.
The Economist — a dense, erudite weekly magazine based in London — is opening up shop on Apple Watch, where subscribers to the magazine’s digital edition will be able to listen to Economist articles.
In a statement this morning, the magazine said: “Subscribers to The Economist app will be able to control playback of the audio edition using the newly launched Apple Watch. These functions include the ability to play, pause, skip ahead to the next track, rewind for 15 seconds, modify playback speed, and change to a different weekly edition.”
The Economist’s audio edition — which is read with a charming British accent, naturally — is already available on other devices. (German Chancellor Angela Merkel reportedly listens to the digital edition.)
Executive producer CL Weaver and award-winning editors Kirk Baxter, Eric Zumbrunnen, and Matt Murphy join forces to launch Santa Monica, CA based post-production boutique EXILE. Foxcatcher editor Conor O’Neill and versatile editor Paul Kumpata round out the all-star roster.
Following the launch of a world-class VFX and finishing division, global post-production studio Nomad hires Tommy Murov as Executive Producer in their Los Angeles office. Murov joins the studio with extensive industry experience spanning ad agencies and production studios including Final Cut, Radical Media, and Spot Welders.
A private investigator making inquiries about a professor who criticized the exploitation of migrant workers building the university’s Abu Dhabi campus won’t say whom she is working for.
After a series of “Cut Your Plan in Half” shorts and a Super Bowl ad filled with sardonic apologies delivered by a goat, Deutsch LA launched its first campaign for new client Sprint this week.
The series, called “Too Rich to Care,” essentially brings the “Rich Kids of Instagram” page to life via caricature.
Here’s “Layover,” the first in a series of four :30 spots:
The official release says the campaign, directed by Wayne McClammy of Hungry Man, marks “a completely new creative direction” for Sprint. Its core message, though, sticks to positioning the client as a cheaper alternative to its rivals — a service provider for the Everyman, if you will.
The work aims to satirize “people who are out of touch with the need to save money” and promises to document their increasingly lavish lifestyles in order to demonstrate how far their day-to-day lives are from those of hard-working Sprint customers.
In addition to the larger campaign, Deutsch will continue to produce more directly promotional work like this hamster-free ad, which began running earlier this month to hype the client’s family plan:
More “Too Rich to Care” spots to debut in the coming weeks.
Client: Sprint
CEO: Marcelo Claure
CMO: Jeff Hallock
Director of Brand and Advertising: Tracy Palmer
Marketing Communications Specialist: Sara Mozingo
Agency: Deutsch LA
Chief Creative Officer, North America: ?Pete Favat
Chief Digital Officer: Winston Binch
Executive Creative Director: Gavin Lester
Executive Creative Director: Matt O’Rourke
Creative Director: David DeRoma
Creative Director: Nathan Dills
Art Director: Max Hendren
Copywriter: Adam Aceino
Director of Integrated Production: Vic Palumbo
Executive Integrated Producer: Dan Kaplan
Integrated Producer: Zach Zutler
Integrated Producer: Kelli Espinoza
Music Director: Dave Rocco
Associate Music Producer: Eryk Rich
Group Account Director: John McGonigle
Account Director: Adam Blankenship
Account Director: Ian Phillips
Account Supervisor: Eneida Mejia
Account Executive: Chelle Toulouse
Assistant Account Executive: Wendy Kleinberg
Chief Strategy Officer: Colin Drummond
SVP, Group Planning Director: Kelsey Hodgkin
Director of Integrated Business Affairs: Abilino Guillermo
Executive Business Affair Manager: Jimmy Gutierrez
Sr. Business Affairs Manager: Saeyoung Kim
Director of Broadcast Traffic: Carie Bonillo
Sr. Traffic Manager: Gus Mejia
CEO, North America: Mike Sheldon
President, Los Angeles: Kim Getty
Production Company: Hungryman
Director: Wayne McClammy
Director of Photography: Bryan Newman
Head of Production: Jacki Sextro
Executive Producer: Mino Jarjoura
Producer: Dave Bernstein
Editorial House: Cut+Run
Editor: Steve Gandolfi
Executive Producer: Carr Schilling
Producer: Amburr Farls
Online, Color, and Finish: MPC
Creative Director: Paul O’Shea
Colorist: Mark Gethin
Head of 3D: Jason Schugardt
Mike Lori: Tracking Supervisor
Executive Producer: Lexi Stern
Producer: Diana De Vries
Music: Elias
ECD: Vincenzo LoRusso
CD: Michael Goldstein
EP: Vicki Ordeshook
Head of Production: Katie Overcash
To celebrate Gatorade’s 50th anniversary, TBWA/Chiat/Day is celebrating the brand’s most iconic campaign, “Be Like Mike.”
A series of three new broadcast spots pay homage to the 90s classic, utilizing footage from the original or paying homage to it, while also resurfacing the “Be Like Mike” tagline (okay, it gets the hashtag treatment this time around) and song, which gets the remix treatment from Animal Music with a different version for each ad. In the 90-second spot, “Move Like Mike” (featured above), two young athletes train while watching footage of the classic commercial and listening to the song, recreating certain shots along the way, showing how even today athletes are inspired to “Be Like Mike.” At one point, the rim is raised to a level marked as “Like Mike” as a challenge designed to push the duo to new limits.
The campaign also includes two 60-second spots, “Groove Like Mike” and “Dream Like Mike.” In “Groove Like MIke,” TBWA/Chiat/Day echos the feeling of the original ad, with animation. Scenes from the original are recreated with the retro-feeling animated style, ending with the animated Jordan turning into footage from the original. “Dream Like Mike” pictures a young basketball player practicing in his yard and imitating Jordan. Over the course of the spot, he is inserted, in place of Jordan, into footage from the original spot, with Jordan lifted from the ad to appear in the new footage — a clever way to show how his routine is fueled by dreams of being like Michael Jordan.
The campaign has already proved to be tremendously popular online, racking up over 7 million views combined since being uploaded to YouTube. With the growing trend of nineties nostalgia, it’s easy to see why, but beyond its obvious appeal it really is the ultimate anniversary celebration for the brand.
Credits:
Advertising Agency: TBWAChiatDay Los Angeles, USA
Creative Director: Renato Fernandez
Art Director: Pierce Thiot
Copywriter: Scott Cleveland
Producer: Garrison Askew
Music Production Company: Animal Music
A l’occasion de L’Art Basel de Hong Kong, un spectacle de lumières inspiré par les jeux d’arcade est projeté sur le plus haut gratte-ciel de la ville. Intitulé « Same Old, Brand New », ce projet réalisé par l’artiste Cao Fei sera diffusé cinq fois par nuit pendant les cinq jours de l’exposition. Les visuels projetés incluent le classique Pac-Man ou encore Tetris.
A listinha suspensa com as opções de qualidade de vídeo no YouTube está prestes a subir mais alguns patamares. Depois de experimentar com exibições em 4k, e com vídeos que mostravam 60 frames por segundo, agora, o YouTube quer combinar as duas coisas em uma só: exibir vídeos 4k com 60 fps.
Ou seja, de repente seu YouTube poderá ter uma qualidade de dar inveja para muita TV por aí. O único problema nessa história vai ser se você terá banda larga o suficiente pra fazer streaming do vídeo, e se o seu dispositivo terá capacidade suficiente para exibir uma qualidade ultra HD (3840 x 2160 de resolução).
O Engadget frisa que nem vale a pena você tentar assistir o vídeo nessa qualidade se seu dispositivo não tiver capacidade para tanto, já que a imagem vai ficar bem pior que a encomenda.
Aqui a gente embeda duas opções para você testar, caso tenha um computador matador por ai – mas para acessar a opção é preciso assistir ao vídeo direto no YouTube.
Post originalmente publicado no Brainstorm #9
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Last October, GSD&M launched a popular campaign for Southwest Airlines, positioning the airline as the perfect partner for wedding season.
With wedding season now on the horizon, GSD&M has brought back the “Wedding Season” pitch with a new campaign of that title. Choosing not to mess with success, the approach is largely the same as last time in “Weddings 2.0.” The spot shows a woman (who appears to be the same actress as in the last spot) humorously dancing at a series of weddings. “Southwest is having a sale,” says the voiceover, “because wedding season is getting started.” It’s a simple yet effective way to show how Southwest can help those faced with an overwhelming gauntlet of weddings to attend save a little bit of cash. The spot debuts tonight during March Madness broadcasts and will run nationally through May on CBS and Turner Networks, with supporting social media initiatives launching in the coming weeks.
“Southwest is an airline that knows exactly who they are – an airline with a heart,” Jay Russell, chief creative officer at GSD&M, said in a statement. “This campaign brings that heart to life and celebrates the employees and legendary low fares that grew the company.”
Credits:
Agency: GSD&M
Client: Southwest Airlines
Title: Weddings 2.0
Launch Date: 3/26
President: Marianne Malina
Chief Creative Officer: Jay Russell
Sr. VP/Group Creative Director: Brent Ladd
Group Creative Director: Lara Bridger
Creative Director/AD: Nikki Baker, Tim Eger
Creative Director/Writer: Leslie Shaffer, Tom Hamling
SVP Production: Jack Epsteen
Executive Producer: Marianne Newton
Senior Producer: Natalie Lum Freedman
Business Affairs: J.J. Gaines
Account Leadership: Adrienne Walpole, Amy Lyon, Kate Rutkowski
Project Management: Elizabeth Stelling
Experience and Insights: Jennifer Billiot
Production Company: Smuggler
Director: Jun Diaz
Producer: Alex Waite
Editorial Company: Beast Editorial
Editor: Sam Selis
Graphics: Beast
VFX Supervisor: – NA
VFX/Online: Jim Reed
Audio: Pony Sound
Engineer: Corey Roberts
Music Supervision: Hum Music
Music: Apache – Jump On It/The Sugarhill Gang licensed from Rich Clique Entertainment, Inc.; Poison/Bel Biv Devoe licensed from Universal Music Group; Funky Cold Medina/Tone Loc licensed from The Bicycle Music Company; Get Down Tonight/KC and the Sunshine Band licensed from Warner Music Group.
This week, FCB West is hiring an interactive designer, and Sterling-Rice Group is looking for an art director. The Ad Council needs a data manager for its digital media analytics department, while Factory Design Labs is seeking a vice president of human resources. Get the scoop on these openings and more below, and find additional just-posted gigs on Mediabistro.
Find more great advertising jobs on the AgencySpy job board. Looking to hire? Tap into our network of talented AgencySpy pros and post a risk-free job listing. For real-time openings and employment news, follow @MBJobPost.
Remember when you were in middle school and you would doodle the logo of your favorite band on your Trapper Keeper? The Led Zeppelin logo, or Tupac’s face, or the Grateful Dead bears? You’d feel like a badass when came even remotely close to the original.
In that same spirit, here’s a series of time-lapse Instagram videos from Sebastian “Seb” Lester—an English designer and calligrapher who’s got some prettty impressive clients under his belt.
Watch below as Seb magically re-creates the logos and marks of iconic brands like Google, Adidas, Star Wars and Converse with pen and ink and a steady hand. Lester says of his passion for language and lettering: “I find the Latin alphabet to be one of mankind’s most beautiful and profound creations.”
Via Design Taxi.
La Maison de Moggy est un café pour chats qui a récemment ouvert à Edinburgh. L’intérieur a été pensé par les designers de chez SPLINTR ; il fallait concevoir un endroit qui puisse être confortable à la fois pour les 12 félins résidents et les clients. Il s’agit du premier « cat cafe » d’Ecosse.
Omnicom’s TBWA Worldwide is undergoing a large global reorganization, a major move to be a “less traditional model” by CEO Troy Ruhanen, who’s been in charge less than a year.
The reorganization will involve a “global client market structure,” a departure from the traditional regional setup many networks have that’s meant to better serve multinational clients. The move will include what the agency says is more-focused senior global executives, rather than more traditional generalized roles.
To achieve that, TBWA is appointing three executives — Perry Valkenburg, James Vincent and Emmanuel Andre — to the role of international president, each focusing on different disciplines.
Para que as pessoas pudessem descobrir o passado dos lugares por onde passam, seja em sua terra natal ou durante viagens, Asma Jaber criou o aplicativo Pivot.
Espelhados pelo banco de dados do sistema do aplicativo estão os chamados “pontos Pivot” – lugares no mapa que revelam algum conteúdo sobre seu passado como imagens e vídeos navegáveis. Usando realidade aumentada combinada à geolocalização, o usuário pode apontar seu celular e enxergar os conteúdos.
Em fase de protótipo, Pivot foi premiado pelo Harvard Innovation Lab e também busca financiamento coletivo pelo Kickstarter.
O principal foco é melhorar seu sistema de realidade aumentada (hoje se baseia em ícones impressos e posicionados nos lugares que contém conteúdos em RA do seu passado). Além disso, também colocará no ar uma plataforma para que qualquer pessoa possa colaborar com conteúdos históricos ao redor do mundo.
Projeto quer preservar digitalmente a história dos lugares e também promover o aprendizado cultural.
Pivot nasceu com a missão inicial de ajudar a preservar patrimônios culturais de lugares muitas vezes inacessíveis, mas ainda sim carregados de histórias, como Palestina, Iraque e Síria. Hoje também pretende adicionar destinos turísticos populares como Roma e Paris, incluindo rotas especiais e temáticas dependendo da época e história que o usuário se interessar.
Há diversos lugares ao redor do mundo que podem desaparecer em pouco tempo e até cair no esquecimento. Mesmo as cidades em que vivemos hoje já tiveram grande parte de seu passado substituído ou reconfigurado. Principalmente em tempos de futurismo, a história que o passado deixou em cada elemento urbano vai se esvaziando aos poucos, com o passar dos anos e o avanço das modernas construções. Aqui, Pivot parece ser um projeto que faz sentido.
O aplicativo será lançado em abril de 2015 como um projeto global. Por enquanto, essa janela para o passado pode ser acessada em beta por quem estiver na área do campus de Harvard.
Post originalmente publicado no Brainstorm #9
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Inspirado na recente coleção de LEGOs de “Os Simpsons”, que trabalha com corpos padrão e acessórios e cabeças não tão padrões assim, o artista inglês Chris Malec resolveu criar a sua própria coleção de LEGOs da “Hora de Aventura”.
O resultado são bonequinhos muito divertidos e que passam bastante realismo, como é o caso do minifig de Finn, o humano.
Não é a primeira vez que Malec faz algum trabalho com os personagens, mas o mais bacana é que ele ainda pretende completar a coleção de bonequinhos, chegando a 16 personagens – exatamente o mesmo número de cidadãos de Springfield que a coleção original da LEGO tem.
Além de Finn, do Mágico, do Rei da Festa, Grob Gob Grob Grod, dois Condes de Limãograb e de um Guarda Banana, Malec pretende adicionar à sua coleção também os personagens Marceline, Princesa Jujuba, Princesa de Fogo, Rei Gelado, Beemo, Lich e Hunson Abadeer.
E a gente fica por aqui, ansioso para a LEGO contratar logo o Chris Malec e trazer essa coleção para o mercado.
Post originalmente publicado no Brainstorm #9
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Acura is appealing to the musical tastes of millennials in a new social-media campaign that expresses the energy of the sporty ILX sedan through sound.
Acura asked eight up-and-coming artists each to craft a custom piece of music for the entry-luxury car. Each of the eight songs is inspired by one of the gears of the ILX’s eight-speed, dual-clutch transmission.
Acura says the songs increase in velocity and intensity as listeners move up the playlist. The artists include Kisses, Bear in Heaven, starRo and Bit Funk.
DDB’s New York office continued to fulfill its earlier promise that “big changes” were coming in 2015 by hiring Madison Wharton as its new chief production officer.
After Chris Brown took over CEO duties last June, he hired Icaro Doria of W+K Sao Paulo to lead creative for the agency’s Manhattan office and — in a move that proved somewhat controversial to our readers — named Hannah Fishman, previously with PR agency Edelman, as GCD and content director.
Wharton left Momentum for Barbarian Group in August 2012 after spending two years with the former agency and developing production processes later adopted by its various US and UK offices; she previously ran integrated production for CP+B. In the new role, she will be “responsible for creating a new operational model and new capabilities for the integrated needs of the agency.”
In the release, Doria says that Wharton “has done amazing things everywhere she’s worked” and Brown calls her “A-list talent” who will “add real value to the leadership team.”
Wharton reports directly to Brown. No word on Barbarian’s plans to replace her.
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