Advertising Agency: Deutsch, USA
Chief Creative Officer: Pete Favat
Chief Digital Officer: Winston Binch
Executive Creative Director: Brett Craig
Group Creative Director: Tom Pettus
Creative Directors: Scott Clark, Pat Almaguer
Senior Copywriter: Chris Pouy
Senior Art Director: Jeremiah Wassom
Advertising Agency: Deutsch, USA
Chief Creative Officer: Pete Favat
Chief Digital Officer: Winston Binch
Executive Creative Director: Brett Craig
Group Creative Director: Tom Pettus
Creative Directors: Scott Clark, Pat Almaguer
Senior Copywriter: Chris Pouy
Senior Art Director: Jeremiah Wassom
Advertising Agency: Deutsch, USA
Chief Creative Officer: Pete Favat
Chief Digital Officer: Winston Binch
Executive Creative Director: Brett Craig
Group Creative Director: Tom Pettus
Creative Directors: Scott Clark, Pat Almaguer
Senior Copywriter: Chris Pouy
Senior Art Director: Jeremiah Wassom
Advertising Agency: Deutsch, USA
Chief Creative Officer: Pete Favat
Chief Digital Officer: Winston Binch
Executive Creative Director: Brett Craig
Group Creative Director: Tom Pettus
Creative Directors: Scott Clark, Pat Almaguer
Senior Copywriter: Chris Pouy
Senior Art Director: Jeremiah Wassom
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, Walmart and Kohl’s want to get you Easter-ready with treats and clothing deals, AARP promotes its senior-friendly RealPad, and Wilson brings the game of golf back to its simple, unfussy roots. Also, it turns out the redesigned Ford Mustang can maintain its coolness even when paired with Dan Hill’s cheesy hit “Sometimes When We Touch.”
As always, you can find out more about the best commercials on TV at Ad Age’s Creativity.
For years Facebook has considered itself a mobile-first company, so it’s perhaps not surprising that the company’s first attempt to automate the sale of ads running outside of Facebook will be limited to mobile.
Mobile app publishers can now sell their in-app display and video ad inventory through real-time auctions run by LiveRail, the company’s video ad exchange. To boost sales prospects, Facebook will also open up some anonymized user data to target those ads, as well as the browser-based video ads that LiveRail has historically helped sites sell.
Bloomberg and Ad Age had reported details of Facebook’s plans earlier this month.
Category: Beyond Madison Avenue
Summary: Many of us have always operated under the assumption that when we adopt a business name and brand, much of our activities will be protected through use; if another company or entity tries to infringe upon our markings, we would stand as victors due to avid use through advertising and the like.
A recent legal case sheds some light on our assumptions, and tells us that there is some error in our thinking.
Yes, just because you may be advertising your business and brand before getting a federal service or trademark, you are legally not protected under the commerce clause.
Why, you ask? Because in the legalese sense, no commerce has occurred…
WPP CEO Martin Sorrell said that the proposed merger between Heinz and Kraft Foods is “cost-driven, not revenue-driven,” and suggested that short-sighted marketers are “focus[ing] on their boots, not on horizons,” during a session at Advertising Week Europe in London today.
Mr. Sorrell said, “Growth is tepid and clients don’t have pricing power in the U.K. we are down to zero inflation. In those circumstances, cost is king and efficiency is king. We need to try and get clients to focus on potential growth opportunities.”
In answer to a question about his rivalry with Publicis Groupe Chairman-CEO Maurice Lvy, who earlier this week compared Mr. Sorrell to a scorpion, the WPP leader said of his rival, “I think it’s becoming an obsession from his point of view and that’s probably unhealthy… Last year was a really difficult year for him in the sense that he lost out on a grand vision.”
The BBC said it would not renew the contract of the host of the popular car-based TV show, who was suspended after a “fracas” with a producer.
(TrendHunter.com) Next’s Naty Chabanenko stars in ‘Paradise Motel’, a neo-noir editorial that is captured for the pages of Amica magazine. Gracing the publication’s April 2015 issue, the shoot…
To help hype up their hometown team, bi-coastal production company The Famous Group follows what they’ve done for a variety of teams including the Brooklyn Nets, the New York Knicks, and the Dallas Cowboys by unveiling a short, sweet piece of eye candy for the LA Clippers.
3D court projection is nothing new — check out what various NBA teams have done here — but it remains a quick, compelling way to get fans involved before player introductions even get underway.
Above is the latest effort from Famous Group for the Clippers, which ran prior to the team’s March 20 game against the Washington Wizards at the Staples Center. Most surprisingly, it appears that the players remain unfazed by the technical wizardry (complete with Lil’ Jon soundtrack) unfolding around them as they continue their pre-game warmup.
According to Famous Group executive producer Andrew Isaacson, “We wanted to provide the Clippers with an explosive opening video that takes court projection to the next level. The combination of our big 3D animation coupled with the physical LED balls allow fans to literally become part of the show.”
For what it’s worth, the 3D intro was probably worth the price of admission, but the fact that the Clippers beat the Wizards 113-99 sweetened the deal.
Client: Los Angeles Clippers
President, Business Operations: Gillian Zucker
Vice President, Marketing: Matt Paye
Game Entertainment Director: Marianne Bogoyevac
Spirit Dance Team Director: Audrea Harris
Production Company: The Famous Group, LA/NY
Executive Creative Director: Greg Harvey
Executive Producer: Andrew Isaacson
Creative Director: Hemu Karadkar
Managing Director: David Kwan
Producer: Brandon Grabowski
Producer: Ben Baisden
Editor: Steve Davis
Designers/Animators: Mike Cahill, Tyler Hayward
Designers: Jose Guardado, Tin Tran
Animators: James Kim, Josh Pierce, Troy Chrisman
Live Video Capture & Editing: Steve Davis, Tony Rago
Sound Design: 740 Sound
Owner: Scott Ganary
Producer: Jeff Martin
Designer: Chris Pinkston
Court Projection: Benchmark Productions
Consultants: Chris Tardiff and Josh Bachman
Arena Support: AEG Worldwide
Director: Wade Loewe
Lighting Designer: Tad Inferrera
Music: DJ Snake, Lil Jon
LED balls: Chaos
Saatchi & Saatchi Canada launched a campaign for Canadian Centre for Gender & Sexual Diversity (CCGSD) introducing the world’s first “Gay Sweater.”
The spot aims to curtail the derogatory use of the word gay (if you’ve ever been to middle school, you know what they’re talking about), because, as one woman puts it, “Gay is already taken and it doesn’t mean anything negative.” So Saatci & Saatchi Canada teamed up with a team of knitters and collected donations of hair from over 100 LGBT people to create the first and only “Gay Sweater,” along with the video above documenting the process.
“The idea for the sweater was born from a desire to educate and encourage everyone to use ‘gay’ the correct way,” said Jeremy Dias, director of the CCGSD, in a statement. “We want the conversation that surrounds the gay sweater to inspire those who are using ‘gay’ in a detrimental way to both realize the negative impact their words and actions are having and change their behaviour.”
Credits:
Advertised Brand: The Canadian Centre for Gender and Sexual Diversity
Advert title: The Gay Sweater
Advertising Agency: Saatchi & Saatchi, Toronto, Canada
Agency Website: saatchi.ca
Executive Creative Director: Brian Sheppard
Group Creative Directors: Matt Antonello, Joel Arbez
Art Directors: Joel Arbez, Rachel Kennedy
Writers: Matt Antonello, Shauna Roe
Head of Production: Michelle Orlando
Producer: Rebecca Adams
Director: Reynard Li
Development: TPM Communications
Additional Photography: Rob Butterwick
Editors: Chris Murphy (Relish), Dylan O’Donnell, Ryan Denmark
Sound: Dustin Anstey, RMW Music
Post Production: 567
Colour: Smith
Advertising Agency: Resource/Ammirati, New York, USA
President: Gabriel Miller
Brand Strategy: Kristen Rumble
Executive Creative Director: Todd Wender
Group Creative Director: Rory Braunstein
Art Director: Andrew Haynes
Copywriter: Michael Gil
Account Director: Chip Coderre
Senior Account Executive: Mara Spece
Assistant Account Executive: Francis Brown
Executive Producer: Kate Treacy
Producer: Vincent Lin
Director of Project Management: Steve Gaskill
Director of Print Production: Michael Troast
Senior Production Designer: Kevin Gillespie
Production Designer: Michael Foss
Executive Director, Interactive: Giles Hendrix
Interactive Producer: Nick Kinling
Production Company: Ranch Exit Media
Director: Chris Patterson
Music Supervisor: Good Ear Music Supervision
Color Correct: Color Collective
Colorist: Alex Bickel
VFX/Editorial: AMMO Productions
Editor: Nathan Scholtens
Advertising Agency: Resource/Ammirati, New York, USA
President: Gabriel Miller
Brand Strategy: Kristen Rumble
Executive Creative Director: Todd Wender
Group Creative Director: Rory Braunstein
Art Director: Andrew Haynes
Copywriter: Michael Gil
Account Director: Chip Coderre
Senior Account Executive: Mara Spece
Assistant Account Executive: Francis Brown
Executive Producer: Kate Treacy
Producer: Vincent Lin
Director of Project Management: Steve Gaskill
Director of Print Production: Michael Troast
Senior Production Designer: Kevin Gillespie
Production Designer: Michael Foss
Executive Director, Interactive: Giles Hendrix
Interactive Producer: Nick Kinling
Production Company: Ranch Exit Media
Director: Chris Patterson
Music Supervisor: Good Ear Music Supervision
Color Correct: Color Collective
Colorist: Alex Bickel
VFX/Editorial: AMMO Productions
Editor: Nathan Scholtens
Paving to be proud of.
Advertising Agency: Gyro, Manchester, UK
Creative Director: Peter Davis
Art Directors: Adam McGowan, Matthew Crosby
Copywriters: Michael Herbert, Bill Davies
Photographer: Tim Ainsworth
Published: March 2015
Paving to be proud of.
Advertising Agency: Gyro, Manchester, UK
Creative Director: Peter Davis
Art Directors: Adam McGowan, Matthew Crosby
Copywriters: Michael Herbert, Bill Davies
Photographer: Tim Ainsworth
Published: March 2015
Advertising Agency: Saatchi & Saatchi, Toronto, Canada
Executive Creative Director: Brian Sheppard
Group Creative Directors: Matt Antonello, Joel Arbez
Art Directors: Joel Arbez, Rachel Kennedy
Copywriters: Matt Antonello, Shauna Roe
Head of Production: Michelle Orlando
Producer: Rebecca Adams
Director: Reynard Li
Development: TPM Communications
Additional Photography: Rob Butterwick
Editors: Chris Murphy, Dylan O’Donnell, Ryan Denmark
Sound: Dustin Anstey / RMW Music
Post Production: 567
Colour: Smith
La graphiste portugaise Sofia Ayuso a fait une série d’illustrations de personnages issus de célèbres thrillers et films d’horreur. Horror Related Characters présente des portraits réalisés avec des lignes noires, sous formes d’icônes sans visage. A vous de deviner les noms qui correspondent à chaque buste.
Characters : The Addams Family, Dracula, Frankenstein, Wicked Witch of the West, Billy The Puppet from Saw, Edward Scissor Hands, Death, Freddie Krueger, Samara from The Ring, Chucky, Zombie, Mummy, Michel Myers, Sweeney Todd, Patrick Bateman from American Pyscho, Dark Knight’s Joker, Red Queen, Ghostface, Hannibal Lecter and the twins from The Shining.
Se você sempre achou que os bancos eram um mercado seguro, que não iria ser revolucionado (e quem sabe substituído) por novos processos tecnológicos, saiba que os Millenials não concordam com você. Em uma pesquisa realizada pela Goldman Sachs, 33% dos Millenials entrevistados afirmaram acreditar que não vão precisar de um banco em um futuro próximo.
A crença deles é que novos processos e novas tecnologias poderão promover uma disrupção do sistema financeiro, trazendo novos formatos de pagamentos. Ou seja, os jovens acreditam em outros jeitos de fazer o dinheiro circular, que não dependa da necessidade de ter uma conta no banco.
Um desses novos formatos, segundo a própria pesquisa, é a chegada do BitCoin. Com ele, quem perde relevância no mercado de forma muito rápida são intermediadores de pagamentos como o PayPal, devido aos altos custos cobrados pelas transações. Além disso, a liberdade de fazer pagamentos de forma mundial, com menores taxas e até imune a possíveis bloqueios econômicos faz do BitCoin uma moeda mais livre do que a que utilizamos hoje em dia.
O que a Goldman Sachs já conseguiu vislumbrar é que mais do que o Dólar ou o Euro, talvez a BItCoin seja a verdadeira moeda corrente internacional dentro de alguns anos, e conseguindo driblar controles econômicos de governos e regulamentações bancárias.
Se um terço dos Millenials estiver mesmo certo, é bom se preparar: seu cartão do banco poderá ser em breve um item de museu.
Post originalmente publicado no Brainstorm #9
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