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Merkley + Partners launched a new campaign for detergent brand all, featuring Peanuts characters portrayed in a commercial by real kids for the first time ever.
The Peanuts-themed campaign, which promises to be an integrated, multi-year effort, kicks off this week with a national broadcast spot and “user generated content-focused social campaign with an interactive Buzzfeed program.” It will also be supported by print, digital, retail, consumer promotions and PR initiatives.
all decided to leverage the familiar Peanuts characters because of the brand’s close assocation with families. “all skews more towards households with kids than any other laundry brand, so our connection with Peanuts is a natural fit,” explained Lora Van Velsor, vice president of marketing for all, in a statement.
Of course, the character Pig Pen makes that connection even more obvious, and he is indeed the focus of the first broadcast spot. Running in both 15 and 30-second versions, the spot depicts the character (complete with ever-present cloud of dirt) meeting up with Charlie Brown. The pair then run into Linus and Lucy, with the latter pulling a familiar prank on Charlie Brown. Pig Pen then returns home while his mother (who talks in incomprehensible adult Peanuts character fashion) uses all to remove grass stains from his shirt. While seeing Peanuts characters depicted in live action may initially come as a bit of a shock, the pairing certainly fits the brand and its target demographic.
The campaign will ramp up in September, timed to coincide with the lead-up to the release of Fox/Blue Sky Studios release The Peanuts Movie in November. At this point, broadcast spots will switch from depicting the characters in live action to CGI, to better coincide with the film launch. all is also using the campaign and Peanuts partnership to launch new products, including all Radiant, all free clear OXI and all OXI laundry booster.
Credits:
Agency: Merkley + Partners
Client: all® Laundry
ECD: Andy Hirsch
CD: Abi Aaron and Aaron Eiseman
Production Company: Durable Goods
Director: Rene Villar-Rios
Producer: Donovan Green
Who else but Jay-Z could wrangle the likes of Madonna, Jack White, Daft Punk. Kanye West, Chris Martin, Nicki Minaj and more to help him promote a product? The all-star musical summit you see above serves as a quick yet somewhat tense precursor to Hova’s new Tidal music streaming service, which the hip-hop mogul announced this week and is aimed at taking on Beats and Spotify among others. Described by Alicia Keys herself as “a platform owned by artists” that’s intended to “reestablish the value of music,” the hi-fi Tidal service offers two paid subscription options: $19.99 a month for high-fidelity audio, and $9.99 for standard quality audio. It can be streamed on the web and downloaded on iOS and Android devices.
Speaking to Billboard about his ambitious endeavor, which is ultimately focused on properly compensating artists, Jay-Z says, “We didn’t like the direction music was going and thought maybe we could get in and strike an honest blow and if, you know, the very least we did was make people wake up and try to improve the free vs. paid system, and promote fair trade, then it would be a win for us anyway.” He continues, “People are not respecting the music, and [are] devaluing it and devaluing what it really means,” Jay Z added. “People really feel like music is free, but will pay $6 for water. You can drink water free out of the tap, and it’s good water. But they’re OK paying for it. It’s just the mind-set right now.”
As for the :30 Tidal promotion (we’re still trying to gather any sort of credits), the clip is already being met with controversy. Just a day after launching, Pitchfork reports that musician/producer The Haxan Cloak, who’s worked with the likes of Bjork, has accused Jay-Z and crew of ripping off two of his tracks for the spot. No word yet from Jay’s camp on the matter.
Need a lift? Take this cool 90-second Pennzoil spot from J. Walter Thompson for a spin.
Stunt driver Rhys Millen hurtles through the streets of Cape Town, South Africa, in a canary yellow 707 horsepower Dodge Challenger Hellcat for much of the film, called “Airlift Drift,” promoting the client’s synthetic motor oil made from natural gas. Ultimately, his wild ride hits dizzying heights as four helicopters hoist the vehicle on a specially designed asphalt-topped platform. The car continues to drift and burn rubber like mad as it soars through the night sky, past glittering downtown skyscrapers.
That’s one breathtaking aerial exhibition. Suck it, Jaguar!
In fairness, Jag’s high-wire stunt last week above the River Thames, while less riveting, was 100 percent real. Pennzoil’s sky driving—well, obviously, not so much.
“Everything from the get-go was rooted in the idea of realism,” JWT Atlanta ecd Jeremy Jones assures AdFreak. “The load capacity of the helicopters, the chains, the shape of the platform and support beams. It’s all mathematically and theoretically possible.”
If the concept seems familiar, that’s because “Airlift Drift” director Ozan Biron, working here through production firm The Embassy, also directed last year’s “Ultimate Racetrack,” which showcased a BMW M4’s tread-tearing trip around the deck of an aircraft carrier. “We learned he was the magician behind ‘Ultimate Racetrack,’ and we had to have him,” Jones says. “He’s a complete car guy, and pushes the driving to crazy levels. It’s so raw and uncommercial.”
Pennzoil has worked especially hard to avoid category clichés in recent campaigns. “We believe cars have evolved. So should your oil—and oil commercials, for that matter,” says Jones. “There are no product claims, no V.O. bottle pours. We want people to be moved and have a visceral reaction to the film, hear nothing but the sound of the engine being pushed to the limit.”
He adds, “The problem with our category is most people outside of enthusiasts don’t care enough about cars to care which motor oil to use. With this film, we’re hoping to wake people up … to become that little ripple in pop culture and get people to think differently about our brand.”
CREDITS
Client: Pennzoil
Agency: J. Walter Thompson Atlanta
Perry Fair: Chief Creative Officer
Jeremy Jones: Executive Creative Director
Dustin Tamilio: Group Creative Director
John Huddleston: Copywriter
Erin Fillingam: Art Director
Daryll Merchant: Producer
Erin McGivney: Account Director
James Robbins: Senior Planner
Production Company: The Embassy, Vancouver
Director: Ozan Biron
Executive Producer: Trevor Cawood
Editor: Ozan Biron
Assistant Editor / Conformist: Brendan Woollard (Cycle Media)
Director of Photography: Manoel Ferreira
Visual Effects: Imagine Engine
Visual FX Supervisor – Bernhard Kimbacher
Onset Supervisor – Neil Impey
Precision Driver: Rhys Millen
Content Production Company: Lemonade Films
Executive Producer: Ted Herman
Production Supervisor: Philip Fyfe
South African Service Company: Uncle Morris Films
Line Producer – Steven St Arnaud
Production Manager – Herman Warnich
Prod Coordinator – Andrea Scott
Colorist: Dave Hussey, Company 3
Sound Design: Charles Deenen, Source Sound LA
Pour le printemps, la marque allemande Festo a introduit ses eMotionButterflies : des drones qui ont la forme de papillons bleus et qui possèdent un système de caméras infrarouge leur permettant de se positionner et de se déplacer en groupe. Un travail qui allie poésie et technologie à découvrir en images.
Politics was apparently not enough to entice Wendy Clark away from Coca-Cola Co., at least for now.
Ms. Clark, the marketer’s president for sparkling brands and strategic marketing in North America, will return to that role on April 6 after a three-month leave, the company confirmed in a statement to Ad Age. “As announced in January, she chose to take an unpaid leave to support an outside project of personal importance to her but planned to return to her role in April. We look forward to welcoming her back,” Coca-Cola stated.
Ms. Clark and Coca-Cola never confirmed the nature Ms. Clark’s outside project. But it was widely reported that she left to work in some capacity for Hillary Clinton, who is expected to soon announce her candidacy for president. When the leave was announced, Coca-Cola said that Ms. Clark would return on March 31.
Medium — the publishing platform founded by the guys who started Twitter — is getting more aggressive in its bid to attract brand advertising dollars. The site just raided digital publisher Vox Media, hiring Joe Purzycki, the company’s head of ad sales, to lead brand partnerships at Medium.
That means Mr. Purzycki will essentially build Medium’s nascent advertising business.
Medium, which lets anyone publish to the site, has hired journalists to curate sections on various topics — including sports, tech and design — which it calls publications. But Medium has mostly left brand partnerships to Nativ.ly, a company that pairs brands with startups. Nativ.ly helped land Medium’s first ad campaign last summer in the form of a sponsored section for BMW. In December, the site rolled out a similar section for Marriott International.
Condom-maker Durex continues to dominate both bedroom and social media. Its #Connect effort, which encourages intimacy by turning social media off, has kept the top spot for the third straight week in our weekly Viral Video Chart, which tracks views of campaigns in the week ending each Sunday, as compiled by Visible Measures.
Gatorade earned the second spot on the chart by luring fans of vintage Michael Jordan. Celebrating its 50th anniversary, the sport-drink maker restored and relaunched its “Be Like Mike” campaign from the ’90s.
Wacoal’s “My Beautiful Woman,” which was originally released in January 2014, returned to the chart after generating significant viewership. The three-part series by the Japanese lingerie-maker celebrates what really makes women beautiful — selflessness.
Se você já quis saber qual roupa que o personagem de série de TV estava usando naquele episódio para poder comprar uma igual – ou pelo menos uma alternativa semelhante – então o Spylight é para você.
O aplicativo permite literalmente comprar o que está na sua tela. Você pode fazer isso ao segurar o celular perto da TV (ou tela do computador, tablet, etc) para que, de forma automática, o app sincronize o áudio do que você está assistindo com as roupas disponíveis naquele momento.
Se preferir explorar outras séries e filmes, também pode simplesmente acessar o enorme banco de dados da empresa e selecionar os programas ou personagens que lhe interessam – e consequentemente as roupas que eles usam. Além do app, essa busca também pode ser feita pelo site da empresa.
Por exemplo, no momento em que um novo episódio de Better Call Saul sair no Netflix, as peças de roupas usadas ficarão disponíveis no Spylight. Ao clicar na opção que interessa, é possível ver mais detalhes do produto como preço e também um botão para compra direta via loja indicada. Caso o item escolhido estiver esgotado, for de brechó ou de acervo pessoal, a ferramenta também indica peças semelhantes.
Para que essa mecânica funcione com precisão, Spylight trabalha diretamente com os estúdios para identificar cada item usado pelos atores durante as filmagens. Logo em seguida, quando o episódio ou filme for ao ar, estas roupas ficam disponíveis para o público.
No fim, a ferramenta acaba funcionando tanto para o usuário – que pode comprar ou se inspirar com as peças usadas – quanto para as marcas, que recebem reconhecimento e se beneficiam de suas contribuições aos filmes e televisão.
O aplicativo é simples de usar, com uma interface que facilita a busca pelas infinitas peças de roupas disponíveis. Um recurso interessante também é a possibilidade de seguir seus personagens preferidos e acompanhar os itens usados ao longo do tempo.
Spylight é gratuito e está disponível apenas para iOS. Por enquanto, não há confirmação sobre uma versão para Android.
Post originalmente publicado no Brainstorm #9
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The online censorship and strange, if fleeting, mea culpa open a window into the Chinese media’s spotty record on transparency and trust, especially where it applies to the Uighur minority.
As potential audience members scoured Mr. Noah’s past work and social media, they uncovered many posts on his Twitter account that they deemed to be offensive to women or Jews.
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Anomaly has promoted Executive Creative Director Eric Segal and Chief Strategy Officer Gareth Goodall to roles as managing partners of its New York office, while still retaining their current responsibilities.
Segal arrived at Anomay in July of 2013, and oversaw creative on such highly visible campaigns as Budweiser’s Super Bowl effort and Dick’s Sporting Goods, earning recognition in AdAge‘s 2015 “40 Under 40? list. Prior to joining Anomaly, he spent over four years as an executive creative director at Grey New York, working on accounts such as the NFL, TNT and TBS networks and Mike’s Hard Lemonade. Before that, the Miami Ad School graduate served as creative director at mcgarrybowen for over three years.
Goodall has served as chief strategy officer at Anomaly for around a year and a half, following a year as head of planning at Saatchi & Saatchi New York. Prior to that, Goodall spent over seven years as a managing director at Fallon London, working with clients including Sony, Ben & Jerry’s, Cadbury, Budweiser and Eurostar. Fallon named him head of planning in 2008 and a partner in 2010. Before Fallon, he spent six years as a planner with Ogilvy & Mather, working with clients such as Unilever, The Wall Street Journal and Coca Cola.
It’s somewhat surprising to hear that 180LA hasn’t had executive creative directors at the helm up this point, but the agency has fixed that by bringing in the duo of Rafael Rizuto and Eduardo Marques. The newly appointed ECDs, who will report to 180LA CCO William Gelner, arrive from San Francisco-based Pereira & O’Dell, where they spent the last two-and-a-half years first as ACDs, then creative directors, leading work for clients including Airbnb, Skype, Corona and Mattel. The pair’s relationship actually dates back to 2011 when they both worked in the creative department at Ogilvy Brazil. Some of their notable projects include Pereira & O’Dell’s debut “Birdbnb” effort for Airbnb and their “Whopper Face” stunt for Burger King while at Ogilvy Brazil.
Rizuto and Marques’s hiring marks the second major additions to 180LA’s creative department in less than a week, following that of creative directors David Povill and Dave Cuccinello. From what we’ve been told, 180LA’s moves in creative come as part of a retooling in said department and an effort to win new business in the wake of losing Adidas Sport to 72andSunny earlier this month.
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.
