Hasta La Creative!

Less than a year after seeming to prove the long-term sales effect of TV ad spending is as strong or stronger than ever, Nielsen Catalina Solutions has found some possible caveats to that — which could have implications for both big and small advertisers.

A new study encompassing a group of 31 packaged-goods brands (far larger than the five in the study released last June) reconfirms the old assumption that long-term sales effects from TV ads are double the immediate short-term sales effects. The long-term multiple in the new study, however, averages 2.04 times the short-term effect, somewhat lower and with a narrower range than in the June study.

Nielsen Catalina mashes up data from Nielsen audience-measurement panels and tools with shopper-card purchases to find the sales impact of advertising for packaged-goods brands.Results of the study were presented to the Advertising Research Foundation Re:Think 2015 conference on Tuesday in New York.

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The local charges, one for possession of a firearm as a felon and the other for possession of a firearm and a controlled substance, were brought by the Louisiana State Police.

(TrendHunter.com) Uno Models newcomer Sergi dons a wardrobe of normcore fashion staples in this editorial exclusive for F****** Young! Online. The image series is titled ‘YOUTH’ and features staples that…

Goodby, Silverstein and Partners chose Adweek to break the news about the structure of its new and updated creative leadership team today.

Most importantly, Eric Kallman has been promoted to ECD just over a year after joining GS&P. In case you don’t remember, the shop welcomed him with a Dove sketches parody after he left Barton F. Graf 9000 in late 2013 to move West; Graf “lured [Kallman] away” from W+K back in 2011, when it could still accurately go by the name “startup.” At the time, Kallman had established himself within the industry thanks, in large part, to Old Spice’s “The Man You Wish Your Man Could Smell Like.” Wieden-friendly BFG later replaced him with two other W+K veterans.

Kallman, whose 2014 hiring was notable primarily for inspiring a rare collection of positive comments on this blog (just kidding), will now run the GS&P office along with Margaret Johnson. Johnson got the ECD bump in late 2010 with Christian Haas (current freelancer) and Erik Vervroegen (current Cannes fan/global CD for Publicis), becoming GS&P’s first female partner in 2012.

The move does not include any new hires, and ECD Paul Caiozzo (who joined GS&P last year after freelancing for Droga5 and others) will continue to lead the agency’s New York team.

The agency’s namesakes, however, see it as the next step in their own careers.

Goodby calls the lineup “a true reflection of how we are really working right now” and Silverstein writes that, while the pair are “not retiring,” the new structure “allows us to stay focused on the big picture, which is making this a great place to work with great clients.”

Apenas pontos e linhas dançando em um espaço infinito. Assim é o projeto Asphyxia, um trabalho da produtora musical e dançarina Maria Takeuchi.

Ela capturou sua dança utilizando o Microsoft Kinect e então usou todos esses dados em programas de edição 3D para gerar uma forma de visualização da dança que reduz a dançarina ao essencial. O que vemos são pontos interconectados que se movem e reproduzem uma forma humana, com movimentos graciosos.

São apenas pontos e linhas, mas é humano… demasiadamente humano. Você pode ver como ficou no vídeo acima, e também um making of da produção abaixo.

Post originalmente publicado no Brainstorm #9
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A televisão exerce papel marcante no SxSW. Campanhas de séries aparecem por toda Austin, em ônibus, pedicabs, outdoors e eventos especiais montados por canais como A&E, Showtime, HBO, ABC e NatGeo.

No conteúdo do festival essa influência também é clara, com muitos produtores, roteiristas e criadores participando de seminários. É um cenário bem diferente de anos atrás, como lembrou Christopher Miller no painel “Creating the Shows That We Like”, quando o glamour e o hype eram quase exclusivos do cinema.

Ao lado de Miller, estava Phil Lord, seu parceiro de longa data. A dupla é considerada o novo toque de Midas da comédia. No cinema emplacaram sucessos como a animação “Ta? Chovendo Hambu?rguer” e o excelente filme “21 Jump Street”, ambos com sequências que sobreviveram ao hype. Além, é claro, de “LEGO Movie”, o grande esnobado do Oscar neste ano.

Miller e Lord são produtores executivos e diretores da nova comédia da Fox, “Last Man On Earth”, criada e interpretada por Will Forte, que também participou do painel. John Ridley, produtor e roteirista de “12 Anos de Escravida?o” e do novo drama da ABC, “American Crime”, completou a mesa.

Todos foram taxativos ao comentar a evolução da mídia, revelando que certamente não teriam trabalho hoje sem a nova concorrência que as grandes emissoras estão enfrentando.

Com o sucesso de apostas feitas pela HBO, AMC, Showtime e Netflix, os canais abertos estão dispostos a arriscar mais. É a fórmula feita pela HBO desde a década de 1990: Pagar o preço de uma audiência de nicho em troca de prestígio e hype.

Christopher Miller lembrou ainda que algumas histórias só poderiam acontecer na televisão. Pense em “Game of Thrones”, com seus inúmeras narrativas e centenas de personagens. No cinema, isso seria muito reduzido, incapaz de causar tanto impacto na audiência quanto uma trama contada passo a passo.

A mudança na exigência de longos contratos e temporadas também ajudou para que ideias ousadas saíssem do papel. Phil Lord revelou que “Last Man On Earth” foi criada tendo o fracasso em vista.

Ele não está sendo humilde ao dizer isso. É apenas encarar com naturalidade que algo pode não dar certo, fazer como os independentes sempre fizeram. Um pensamento que parece mais claro do que nunca, mas antes ninguém venderia uma ideia pra Fox, CBS, ABC ou NBC com esse discurso. Todas sonham com o sucesso garantido.

Falando em fracasso, Lord respondeu uma pergunta do público sobre como alcançaram o sucesso. Simples:

Falhando durante 10 anos seguidos”

No início da carreira, Miller e Lord propunham dez novas séries por semana, na tentativa de propositalmente gerar hits. Apenas quando decidiram focar em uma ou duas ideias que realmente acreditavam, pensando em qualidade e não em sucesso, é que emplacaram as primeiras produções.

Respondendo também uma questão da audiência, John Ridley disse que os novos criativos devem acreditar na força da comunidade para não ficar à mercê da engrenagem de Hollywood. Produções de cinema e TV são essencialmente trabalho em equipe. Quando unidos, cineastas independentes conseguem de fato furar o bloqueio do mainstream.

Antes do fim do painel, Will Forte cantou a música que lhe deu um emprego no Saturday Night Live:

Post originalmente publicado no Brainstorm #9
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(TrendHunter.com) The AutoMobil might not have been put on the market just yet, but at this year’s SXSW, CEO Juraj Vaculik announced that soon after it is, a self-flying car will follow hot on its heels….

Strongbow Hard Apple Ciders, the highest selling brand globally in the rapidly increasing hard cider market, launched a new phase of its “Cider at its Bestest” campaign from creative agency of record featuring Patrick Stewart.

Stewart takes his usual self-deprecating humor to new levels, playing a podium in the 15-second “Award.” He holds up an award Strongbow won at the 2014 World Beer Championships as the voiceover states “All we need to sell Strongbow Hard Cider is ice…and an award for best tasting hard cider” (that award was actually for “Best Tasting Common Cider” at the 2014 World Beer Championships). When Stewart peeks out from behind the award to ask if the director got the shot, he’s asked, “Remember that thing about keeping your face behind the award.”

While the style of humor certainly gels with Stewart’s persona, he’s also a longtime cider drinker and fan of the brand (see the video below). “As a cider fan, the idea of working with Strongbow was very appealing, and the tone of their creative idea paired perfectly with my own,” Stewart said in a statement. “We had a great time filming the spots, and I’m looking forward to my continued support of the campaign in the months ahead.”

The 15-second spot began broadcasting yesterday, with an alternate version of the same length, with a different ending, airing later in the year. In addition to the new ads, Strongbow is also launching two new flavor varieties — Strongbow Red Berries and Strongbow Ginger — which will be featured in a new variety pack launch.

Credits:

Agency: Droga5 NY

Creative Chairman: David Droga

Chief Creative Officer: Ted Royer

Creative Directors: Rick Dodds & Steve Howell

Copywriter: Matt McCarron

Art Director: Conor Hagan

Chief Creation Officer: Sally-Ann Dale

Broadcast Producer: Bill Berg

Global Chief Strategy Officer: Jonny Bauer

Head of Strategy: Chet Gulland

Strategy Director: Dan Neumann

Communications Strategist: Kevin Wang

Group Account Director: Dan Gonda

Account Director: Nadia Malik

Account Manager: Ashton Atlas

Client: Strongbow Hard Ciders (Heineken USA)

Senior Brand Director: Charles Van Es

Brand Director: Alejandra de Obeso

Brand Manager: Eric Markus

Production Company: Caviar Content

Director: Ruben Fleischer

DOP: Dion Beebe

Executive Producer: Jasper Thomlinson

Executive Producer: Luke Ricci

Producer: Luke Thomlinson

Editorial: Work Editorial

Edito: Ben Jordan

Assistant Editor: Adam Witten

Executive Producer: Erica Thompson

Senior Producer: Sari Resnick

Post Production: The Mill

L’agence Bleublancrouge a lancé une campagne de prints pour la station de radio CHOM 97,7 sur la signature « One song is not enough. Listen the whole vinyl album on Chom », afin de mettre en lumie?re l’absurdite? d’e?couter des chansons en dehors du contexte de l’album. Ils ont découpé des pochettes de vinyles de OMS, Led Zeppelin, The Beatles, ACDC et U2, pour en faire ressortir une tranche afin de représenter une chanson.

Credits :

Creative Director: Jonathan Rouxel
Art Director: Sébastien Lafaye
Copywriter: Cédric Audet
Photographer: Hans Laurendeau
Retoucher : Shoot Studio.

Brad Bobenmoyer was promoted as VP-marketing to lead Young & Laramore’s new-business development efforts. Mr Bobenmoyer will also maintain his current role as account director for clients including Allegion, Schlage and Indiana Farm Bureau Insurance.

Sarah Scranton has been tapped as account manager at Y&L. Ms. Scranton was previously account manager at Exact Target (now Salesforce Marketing Cloud).

Deidre Lichty has been hired as a writer to work on the KraftMaid business. Prior to Y&L, she was a copywriter at the Cutwater agency.

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