Hasta La Creative!

While Google remains the dominant search engine, its grasp on the mobile market is slipping in the face of increased competition from “native” applications designed for pocket-size devices.

L’artiste français Gilles-Alexandre Deschaud a réalisé le premier court métrage, intitulé « Chase Me » uniquement constitué de 2500 pièces imprimées à l’aide de l’imprimante 3D Form 1+. Le résultat sera projeté lors du Festival International du Film d’Animation d’Annecy en Juin 2015. Le court métrage sera également inclus dans la sélection du Short Film Corner durant le prochain Festival de Cannes.

O que pesa mais para se atingir a felicidade no trabalho?

> LEIA MAIS: Braincast 145 – Carreira: Dinheiro vs. Diversão

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Michigan-based agency Doner debuted its first work for Highmark Health since winning the account in February.

Doner lost its first campaign with a 60-second anthem ad, shot in Pittsburgh and Erie, Pennsylvania by Society director Austin Wilson, promoting the company’s Highmark Blue Cross Blue Shield insurance business and provider Allegheny Health Network. The ad seeks to position Highmark as above the “insurer vs. provider, patient vs. plan, health vs. healthcare” squabbles that often seem to mar healthcare. “Let’s fix that,” the voiceover promises around the 20-second mark, followed by illustrations of who the company wants to help. If Highmark’s stated mission weren’t already clear, the spot closes with the line, “It’s time, together, to make healthcare better.” Additional broadcast spots will roll out as the campaign unfolds, supported by radio, print, outdoor and online executions.

Credits:

Client: Highmark Health
Agency: Doner
Chief Creative Officer: Rob Strasberg
Executive Creative Diretor: Randy Belcher
Creative Directors: Michael Stelmaszek, Matt Swanson
Chief Account Leadership Officer: Craig Conrad
Brand Leaders: Christie Fromm, Larry Deangelis
Account Management Director: Pete Spende
Account Executive: Kelsey Ransdall

EVP, Business and Strategy: Alison Taubman
VP, Strategic Planning: Barb Walker

Dans le cadre de la Semaine du Design de Milan, le constructeur automobile Mazda s’expose avec un fixie. Le vélo est single speed minimaliste avec un cadre en acier fabriqué à la main Il dispose d’un guidon nu virage, un cuir de selle cousu main et de roues super slim en fibre de carbone. Plus de détails dans la suite de l’article.

Digital industry vet Nada Stirratt, most recently chief revenue officer and exec VP and Acxiom, has landed in a CEO role. Ms. Stirratt will serve as CEO of Verve Mobile, a location-based mobile ad firm. She was with Acxiom for around three years following jobs with MySpace, MTV and AOL.

During her stint with marketing-data giant Acxiom, the firm formed a partnership with Starcom MediaVest Group and acquired data onboarding outfit LiveRamp.

The Wall Street Journal reported:

Continue reading at AdAge.com

In case you missed it, Publicis Groupe folded Rosetta into the Razorfish Global Network last November in a move that saw quite a few executive changes within the agency: its chief creative officer, managing partner, tech lead, and others departed as Tom Adamski became Razorfish Global CEO and Eric Healy was promoted from managing partner to CEO at Rosetta.

CCO Lars Bastholm was among those who left; he’s now joined several other veterans of the agency world like Scott Lange of Team Detroit and Rudi Anggono of TBWA in accepting a creative role within Google’s “agency for agencies,” The Zoo.

We hear that Rosetta went through another, smaller round of staffing changes this week.

Since Razorfish/Rosetta has no interest in communicating via anything but boilerplate statements, this is the best we can do in terms of an official response:

“A small number of staff adjustments have been made in 2015 consistent with regular business cycles.”

Here’s how we hear it from several sources:

• The agency let “several” employees go this week after reviewing its Q1 performance in light of the revised goals mentioned in the November memo
• ECD Frank Iqbal, who joined the agency in 2008 and was promoted to partner in 2011, was among those let go (along with at least one account director)
• One source claims that the cuts affected approximately two percent of total North American staff within Rosetta (but not the larger Razorfish organization)

One thing is clear: the North American org is hiring for “close to 40? open positions at the moment.

Update your portfolio.

As Yanks, we don’t quite appreciate the ins and outs of rugby — but that doesn’t mean we can’t enjoy a good pranking of its fans a la this ambitious effort from Heineken and Irish indie creative agency Rothco.

Promoting the beer giant’s sponsorship of the European Rugby Champions Cup, the three-pronged prank utilized actors, Twitter, a fake image and fake press conference to turn the tables on some punks who had some unkind things to tweet at rugby star Neil Back.

Back allegedly cost team Munster its first tournament victory in 2002 in what was then the Heineken Cup thanks to “illegal use of hands.” So, as part of the ERCC marketing campaigns, Heineken and Rothco decided to resurrect the image that also included what appears to be Back’s phone number. Out came the wolves, followed by calls from Back’s “personal assistant” to several respondents saying there was a mix-up with a sportswriter’s number and offering them complimentary tickets to a Champions Cup game to be picked up at a local hotel.

While we won’t spoil what happens next in this cringeworthy but ultimately good-natured stunt, Rothco art director Paddy Thunder (his real name, apparently) explains its scope in a statement, saying:

“The amount of planning involved in this project surprised all of us. While the idea seemed relatively simple on paper initially, the amount of scenarios that we ended up having to plan for blew us away. For the initial Twitter ‘leak’ phase alone, over twenty possible scenarios were written up and planned for. What if two of the people we called back knew each other and tweeted that something fishy was going on? What if the level of abuse for Neil crossed the line? The list was endless, and that was before we even got to the hotel. Like with any idea though, entering the unknown is just a sign that you’re doing something new, which is what made the project so exciting to work on.”

Agency Rothco
Agency Producer: Jessica Derby
Art Director: Paddy Thunder
Copywriter: Connor O’Hare
Executive Creative Director: Alan Kelly
Strategy: MCCP
Account Director: Eva Nash
Account Manager: Susan Nelis
Production Company: Motherland
Director: Finn Keenan
Producer: Ellen Kenny
Executive Producer Ross Killeen
Social: Eric Gasparro
Post House: Motherland
Photographer: Piotr Dybowski
Digital: Rothco
Grade: Windmill Lane
Motion Graphics: John Cutler

Somebody get this kid a bike! (And snowshoes, while you’re at it.)

Orri, the plucky little dude in this fanciful 90-second ad from Wieden + Kennedy London introducing Arla’s Skyr Icelandic yogurt to the U.K., Germany and the Netherlands, really has it rough. Most of the action takes place in 1968, as the boy braves storms and covers vast distances, always on foot, to deliver messages that arrive via his remote village’s only telephone. (Often, these communications are of a less-than-urgent nature, such as, “Your trousers are ready for collection.”)

Does he even draw a salary? Or get tips?

On the plus side, Orri enjoys heaping bowls of Skyr to power his travels.

The low-key, humorous film, W+K’s first work for the brand, is expertly directed by Dougal Wilson, who placed two spots (“Monty the Penguin” for John Lewis and “Adventure Awaits” for Lurpak) among Adweek’s top 10 ads of 2014.

This Skyr ad, “The Messenger,” really delivers, subtly touting the brand as a hearty snack or meal while keeping viewers engaged and smiling. W+K’s Thom Whitaker, who wrote and art directed the work with Danielle Noël, chatted with us about the commercial:

Where did the idea come from?
Skyr’s full of protein, so we wanted to tell a story of extraordinary Icelandic strength, but one which people weren’t familiar with or had heard before. We’d heard about young Icelandic kids working as telephone messengers back in the ’60s—which we thought could be the perfect story to tell.

Why go this route with the creative?
Because of Iceland’s tradition for Viking sagas, it felt right to create our own epic story for this Icelandic yogurt. We wanted to go back to the old tradition of classic storytelling—a bit like the old Stella Artois work.

Skyr has got a pretty wide appeal. It’s very much Scandinavia’s answer to Greek yogurt, and in Iceland it’s part of everyone’s daily diet, so we thought the story of the little boy was universal enough for everybody to enjoy.

Why keep the product mostly in the background?
We wanted to weave Skyr into the story in the natural way, while giving as much screen time as possible to the boy’s epic journey, so that the final payoff becomes even stronger.

Some have likened the approach to Wes Anderson. Agree or disagree?
It does have a bit of a Wes Anderson vibe to it, but that wasn’t really intentional. The brightly colored houses and the retro wardrobe might have something to do with it. We should have set the titles in Futura!

Any amusing anecdotes from the shoot?
The lighthouse scene was pretty interesting—a full-on Icelandic storm was battering the cliffs and it felt like we could be swept away at any second. I don’t think we’ve ever been so happy with a first take.

Skyr’s got more work coming out soon?
Short films [not by Dougal Wilson] are out next week on YouTube and Facebook and are called “Skyr Guides.” They’re also from W+K, but Toby Moore and Selena McKenzie are the brains behind them, not us [Thom and Danielle].

They’re basically two short portraits of modern-day Icelanders who exhibit the same sort of strength as Orri does in our film: Kolla, a cyclist who braves the Icelandic climate every day, and Joi, a modern-day Viking who’s a doorman at one of Reykjavik’s oldest nightclubs and who’s not averse to putting Skyr on his steak. They’re all about introducing us Brits to Skyr—the history of it, what it’s good with, how it’s pronounced.

CREDITS
Client: Arla Foods
Project Name: Arla Skyr
Media Channels: TV, OOH, DOOH, Online Films
Lead Client Name: Sam Dolan
Agency: Wieden + Kennedy London
Creative Directors: Dave Day, Larry Seftel
Copywriter: Thom Whitaker, Danielle Noel
Art Director: Thom Whitaker, Danielle Noel
Executive Creative Directors: Tony Davidson / Iain Tait
Agency Executive Producer: Danielle Stewart
Group Account Director: Katherine Napier
Account Director: Will Hunt
Account Manager: Maria Kofoed
Head of Planning: Beth Bentley
Planning Director: Theo Izzard-Brown
Planner: Rachel Hamburger
TV Producer: Matthew Ellingham
Creative Producer: Michael Winek
Production Company: Blink
Director: Dougal Wilson
Executive Producer: James Studholme
Line Producer: Ewen Brown
Director of Photography: Karl Oskarsson
Editorial Company: Final Cut
Editor: Joe Guest
Post Producer: Julie Evans
Post Executive Producer: Julie Evans
VFX Company: MPC
VFX Supervisor: Bill McNamara
Flame Artist: Tom Harding
VFX Producer: Julie Evans
Colourist: Jean-Clément Soret
Titles/Graphics: MPC
Music+Sound Company: Alex Baranowski
Composer: Alex Baranowski
Sound Designer: Anthony Moore
Producer: Becs Bell
Mix Company: Factory
Mixer: Anthony Moore
Producer: Becs Bell
Online Films:
Art Director: Toby Moore, Selena McKenzie
Copywriter: Toby Moore, Selena McKenzie
TV Producer: Greg Hemes
Production Company: TrueNorth
Editorial Company: WracK
Print Production:
Art Director: Thom Whitaker, Danielle Noel, Kelly Satchell
Copywriter: Thom Whitaker, Danielle Noel
Head of Design: Karen Jane