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Advertising Agency: Crispin Porter + Bogusky, Stockholm, Sweden
Copywriter: Henrik Düfke
Art Director: Felipe Montt
Client Service Director: Cecilia Steenberg Forsberg
Account Manager: Ellen Alm
Executive Creative Directors: Björn Höglund, Gustav Martner
Production Company: Hobby Film
Directors: Oskar Bård, Carl Sundemo
Director of Photography: Stickan Olsson
Producer: Frida Alexandersson
Executive Producer: Niklas Adolfsson
Published: April 2015

Pedigree: First Days Out

Advertising Agency: BBDO, Brazil

Orange Leaf Frozen Yogurt: Life is better with moms

Moms are Orange Leaf’s primary demographic, making up approximately 70% of their market share. The campaign, which is part of Orange Leaf’s larger Life is Better platform that reflects the relationship the brand is building with its customers, will recognize moms by providing them with free froyo on Mother’s days.

Advertising Agency: ICG, Oklahoma City, USA
Creative Director: Doug Farthing
Production company: Filmyard
Producer: Les Wells
Director/DP: David Morrison

Huggies usa impressora 3D para ajudar gestantes com deficiência visual a “verem” seus bebês

Mood_Huggies_Conhecendo Murilo_1

Ação tem criação da agência Mood

> LEIA MAIS: Huggies usa impressora 3D para ajudar gestantes com deficiência visual a “verem” seus bebês

Brainstorm9Post originalmente publicado no B9
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Twitter KO'd 30 Periscope Streams of Mayweather-Pacquiao Fight


Twitter holds the belt as the go-to social network for live TV events. But Twitter’s live-streaming video app Periscope took the title during Saturday night’s championship bout between Floyd Mayweather and Manny Pacquiao.

Instead of paying $99.95 to HBO or Showtime to watch the fight on their TVs, some people “pirated” the program by tuning in to Periscope, where other people were pointing their phones’ cameras at their TV screens or laptops to broadcast the fight for free within the Twitter-owned app.

Those tuning in may have delighted at being able to sidestep the pay-per-view fee. But the companies that paid for the rights to broadcast the fight, HBO and Showtime, were likely less than happy at the idea of Periscope’s streams cutting into the estimated $300 million they stood to make from pay-per-view buys in North America alone.

Continue reading at AdAge.com

Pampers – #Everybaby is a prince or princess – (2015) :90 (UK)

Pampers - #Everybaby is a prince or princess - (2015) :90 (UK)
Pampers realized that on May 2nd 2015, the world (or at least the UK) celebrated the birth of a very special baby. They wanted to get involved in the celebrations too, but they wisely celebrated the births of a handful of other special babies – because as we all know, #everybaby is a prince or a princess to their family. Nice insight, and very true, Pampers.

Association of National Advertisers, 4As Tackle Project Work

The Association of National Advertisers and the 4As recently created a joint committee addressing the issues arising from the increased popularity of project-based work and how that relates to conflicts of interest for agencies involved.

Brands foregoing the agency of record model for more transient project-related relationships with agencies has become an increasingly popular trend, with Chobani and Best Buy just the latest examples. In addition to the obvious shortcomings of less stability and a smaller payout, there’s also the problem of conflicts of interest, with brands asking agencies not associate with competing brands — sometimes even after their project-based assignment is over.

“There’s much more project work going on now than ever before, and it’s up to the individual client to analyze their respective policies,” Bill Duggan, a group executive vice president at the Association of National Advertisers responsible for managing its agency relations committee, told Adweek. “But clients that don’t have flexibility are limiting their options. That’s the big negative that a client needs to consider.”

John Butler, executive creative director of Butler, Shine, Stern & Partners, recalled that the agency was forced to turn down an invitation to pitch Netlix in 2013 when it was working on a single campaign for Roku. He likens the agency-client relationship to dating, saying, “It’s like if we’re going to date, then we’re dating, you know what I mean? We [should be able] to see other people.”

The phenomenon of project-based work is particularly prevalent at independent agencies. Goodby Silverstein & Partners, for example, derives around 40 percent of its revenue from project-related business, according to co-chairman Jeff Goodby, an increase of 30 in the past five years. While such agencies appreciate the efforts the Association of National Advertisers and the 4As have made with the committee, Goodby remains skeptical that much will change. “I don’t think it will loosen up as long as agencies are willing to sign things that enjoin them from doing this,” he told Adweek. “And I don’t think it’s going to loosen up as long as the marketing people are insecure about relationships and what’s going to happen next.”

W+K Portland Tells Story of ‘Man & Dog’ for Coca-Cola

W+K Portland teamed up with production company Psyop to create the animated 60-second broadcast spot “Man & Dog.”

“Man & Dog” tells the story of a hyper, happy dog and his mopey owner. We see both of their perspectives as the dog manages to drag the man out of the apartment and to the local park. With much effort, and with the help of a Cole machine, the dog is finally able to change the man’s point of view. The spot utilizes hand-drawn animation to evoke emotions and perspectives in ways that would be difficult to accomplish with computer animation. Not only does the hand-drawn style look good, but the way it switches the perspectives from the man to he dog and back are really what make the ad work.

“Sure, occasionally one dials 911 or wins America’s Got Talent, but for the most part, dogs are idiots. That’s why we love them,” animation director Todd Mueller told The Inspiration Room. “Dogs don’t see a heap of two-week old laundry; they see a castle ready to be defended, then napped in.”

“To truly appreciate the unique feeling of looking at the world through a dog’s eyes, we had to make sure that his moments really set themselves apart from the rest of the spot,” added animation director Kylie Matulick. “To achieve this, we did as much as we could to shift the feeling of the moment, from unique camera moves, the look and sound of the action. Things become brighter, more fanciful, and it’s clear that you’re seeing things in a new way.”

Meet the Couple Who Quit Their Ad Jobs to Take the Most Creative Trip Around the World

You’ve dreamed about it. But Chanel Cartell and Stevo Dirnberger are doing it.

After a decade in advertising, the South African couple—inspired by a talk by Stefan Sagmeister—recently quit their agency jobs and hit the road for an epic adventure. They’re traveling the world for a year and documenting the experience. But this isn’t some Lost in America-style escape plan. The How Far From Home project is intended to be a grand creative exercise that will hopefully recharge their batteries.

You can follow the project on their blog, Instagram, Twitter, Pinterest, and Vine. We spoke to Cartell and Dirnberger via email about how they got started and where they’re headed.

What was your advertising background? Did you both have agency jobs?
Yes, we were both in advertising at the time of departure. Steve worked at Joe Public (in our opinion, the best [above-the-line] agency in South Africa) as an art director, and Chanel was the creative director at Cerebra, the best social business agency in Africa (we would argue). We were basically at the top of our game, at the best agencies South Africa had to offer. It didn’t get better than Joe Public and Cerebra, and after a combined stint of 15 years in advertising and marketing, we felt we needed a change, and to re-energise our creativity.

0 kilometers // Johannesburg // South Africa

Did you reach a breaking point where you knew you had to quit?
We wouldn’t call it a breaking point, but after nearly a decade in the industry, your feet start to itch (not literally, of course). We were both lucky enough to attend the 2014 Design Indaba in February last year. We went to (the godfather of creative sabbaticals) Stefan Sagmeister’s talk, and it was after hearing his theory of “time off” that we knew it was what both our creative minds needed. On a scale of 1 to 10, Stefan rates taking a creative sabbatical as a 12. Every seven years, Stefan closes his New York design studio for 365 days to pursue “little experiments” that are difficult to complete while working full time.

After hearing his talk, and knowing that we couldn’t spend the next 30 years simply doing the same thing every day, we made a conscious decision to spend the next year saving every last cent, so we could also enjoy time off to pursue our own experiments, and not live how society says we should. We wanted to challenge ourselves to see how we could excel creatively, and what better time to do that, then right now?

As neither of us had traveled extensively before, we saw this as the perfect opportunity to sponge other cultures, experiences, languages and people, while taking a year to experiment and create. We’d always dreamed of doing strange things like sleeping in igloos, fishing in Alaska (more Steve than Chanel :), and visiting designer cities like Berlin and Copenhagen. With enough savings and smart research, we could travel and experiment simultaneously.

6,292 kilometers // Abu Dhabi // United Arab Emirates

How did Up by Jawbone get involved as your sponsor?
A friend of Chanel’s imports the product into South Africa, and after hearing about the journey and our focus on creative challenges, he offered us each a band and challenged us to live the #GetUp way (10,000 steps and eight hours of sleep a day). We accepted the challenge, and are completely ecstatic to promote the product in any way we can. It aligns to the How Far From Home vision of staying healthy and creatively stimulated, so it was the perfect partnership.

Can you tell me what expenses they’re covering?
As the sponsorship is only a challenge with no set contract or promotion, no expenses are covered by them and no content is obligatory. We received the Up bands for free, and promote the brand when we feel inclined to do so, and when it aligns to a content idea.

8,365 kilometers // Salzburg // Austria

You wanted see “how far from home” you could get, figuratively speaking. Is this to challenge yourselves again and reignite your passion for life and work?
Yes, absolutely. The How Far From Home concept is a literal one (to see how far we can get from Johannesburg) as well as a figurative one (to see how far we can push ourselves creatively, and challenge ourselves daily). We dreamt of a journey that allowed us to live outside of the comfort zone, and would give us the opportunity to say “yes” to a whole bunch of crazy cool experiences, while fueling our creative needs. Life at home was very comfortable—friends, family, amazing jobs, shiny cars, a beautiful home—we wanted something that would shake it up a little.

8,678 kilometers // Vienna // Austria

In what sense is this a “creative” trip, and how can people follow along and contribute to the creative project?
Being two creatives, our need to create is strong. When we’re not cramming kilometers in busy cities, we’re finding every opportunity to experiment, brainstorm and create. Steve loves to illustrate, Chanel is design obsessed, and we both love photography. With the blog, we’re experimenting with creative writing, and sticking to our 7-to-9 schedule, we’re left with plenty of time to brainstorm projects.

We encourage the community to send us challenges and give us things to do. So far, the challenges we’ve received have been purely travel-related, but creative challenges would be golden. Since we began our journey, we’ve shifted from seeing ourselves as ex-advertisers, to problem seekers and content creators. No challenge is too big, and we’re hungry to brainstorm and create, no matter who the challenge comes from.

9,245 kilometers // Untersberg // Austria

You have 63 items on your “Wanderlist.” Do you want to cross all of them off by the end?
Our Wanderlist is currently sitting on 63, and we’ve recently received a ton more from our community (which we are sifting through to add soon). As challenges come in, we’ll keep adding them. Although we know the trip has to end sometime, we want to see how long we can keep going for. Financially, we don’t think we’ll be able to afford to do all 63 this year (and the rest that have come in from the community), so we’ll try squeeze in as many as we can, and maybe “take a break” to work for a bit to make the rest happen. If finances weren’t an issue, we would absolutely do all 63 (and more).

10,027 kilometers // Berlin // Germany

What do you think you’ll do after it’s all over? Head back to advertising?
We have only planned until the end of December 2015. After that, who knows? We might decide to catch the next flight to see where we end up. We like that it’s unknown, and we’ll let it be another challenge we have to solve then 🙂

11,185 kilometers // Oslo // Norway

Via Design Taxi.



2015 National Geographic Traveler Photo Contest

Voici les photos sélectionnées pour le mois d’Avril dans le cadre du concours National Geographic 2015, dont les inscriptions s’arrêteront le 30 juin. Des photos remarquables parmi lesquelles le gagnant du grand prix pourra partir une semaine au Costa Rica et au Panama Canal pour une semaine d’expédition National Geographic.

Lighting up the Night. Photo and caption by Manish Mamtani.

Ocean World. Photo and caption by Chris Schmid.

Frozen in Time. Photo and caption by Shane Wheel.

Jal Mahal during Sunrise. Photo and caption by Ravikanth Kurma.

Colours of earth. Photo and caption by Maja Bednas.

Camping On The Diving Board. Photo and caption by Matthew Saville.

When Conditions Are Right. Photo and caption by Lee Scott.

Tribal Make-Up Artist. Photo and caption by S. Ram.

Last Light on Godafoss, Iceland. Photo and caption by Ed Graham.

White Rhinos. Photo and caption by Stefane Berube.

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Centraal Beheer Achmea: Welcome

Advertising Agency: DDB & Tribal Amsterdam, Netherlands
D.O.P.: Philip van Volsem
Producers: Arjan Oosterveer, Vanessa Janssen
Editor: Marc Bechtold
Grading / Online: Captcha
Sound Studio: Studio de Keuken

Milka Biscuit: Milka Biscuit Saga

Advertising Agency: Brand Station, Paris, France
Creative Director: Loic Chauveau
Art Director: Olivier Zelen
Copywriter: Alexis Bernière
Account Planner: Magali Pasquiers
Production: Playsoft
Published: January 2015

São Lázaro Nursing Home Care: Missing, 1

Advertising Agency: Morya, Bahia, Brazil
Creative Director: Bruno Cartaxo
Art Director: Ricardo Campelo
Copywriters: Bruno Cartaxo, Gabriela Martinez
Photographer: Eduardo Moody
Published: June 2014

São Lázaro Nursing Home Care: Missing, 2

Advertising Agency: Morya, Bahia, Brazil
Creative Director: Bruno Cartaxo
Art Director: Ricardo Campelo
Copywriters: Bruno Cartaxo, Gabriela Martinez
Photographer: Eduardo Moody
Published: June 2014

São Lázaro Nursing Home Care: Missing, 3

Advertising Agency: Morya, Bahia, Brazil
Creative Director: Bruno Cartaxo
Art Director: Ricardo Campelo
Copywriters: Bruno Cartaxo, Gabriela Martinez
Photographer: Eduardo Moody
Published: June 2014

São Lázaro Nursing Home Care: Missing, 4

Advertising Agency: Morya, Bahia, Brazil
Creative Director: Bruno Cartaxo
Art Director: Ricardo Campelo
Copywriters: Bruno Cartaxo, Gabriela Martinez
Photographer: Eduardo Moody
Published: June 2014

Subaru BRZ: Selfie

Advertising Agency: Red Urban, Canada
Executive Creative Director: Christina Yu
Senior Creatives: Patrick Shing, Pete Gardiner
Copywriter: Philip Hahn
Art Director: Brendan McMullen
Producer: Anna Tricinci
Director, Digital Strategy & Social Media: Nicole Milette
Director, Client Services: Caroline Kilgour
Group Account Director: Trevor Byrne
Senior Account Executive: Tim Simpson
Production Company: Untitled Films
Director: Mark Gilbert
Line Producer: Tom Evelyn
Executive Producer: Lexy Kavluk
Director of Photography: John Houtman
Editorial Company: Rooster Post
Editor: Marc Langley
Assistant Editor: Spencer Shiffman
Executive Producer: Melissa Kahn
Transfer: Alter Ego
Colourist: Eric Whipp
Online: Fort York VFX
Flame Artist: Paul Binney
Assistant Flame Artist: Joe DiClemente
Audio Production Company: RMW Music
Producer: Mark Rajakovi?
Sound Designer/Engineer: Kyle Gudmundson
Executive Producer: Jeff Cohen?

Subaru BRZ: Paparazzi

Advertising Agency: Red Urban, Canada
Executive Creative Director: Christina Yu
Senior Creatives: Patrick Shing, Pete Gardiner
Copywriter: Philip Hahn
Art Director: Brendan McMullen
Producer: Anna Tricinci
Director, Digital Strategy & Social Media: Nicole Milette
Director, Client Services: Caroline Kilgour
Group Account Director: Trevor Byrne
Senior Account Executive: Tim Simpson
Production Company: Untitled Films
Director: Mark Gilbert
Line Producer: Tom Evelyn
Executive Producer: Lexy Kavluk
Director of Photography: John Houtman
Editorial Company: Rooster Post
Editor: Marc Langley
Assistant Editor: Spencer Shiffman
Executive Producer: Melissa Kahn
Transfer: Alter Ego
Colourist: Eric Whipp
Online: Fort York VFX
Flame Artist: Paul Binney
Assistant Flame Artist: Joe DiClemente
Audio Production Company: RMW Music
Producer: Mark Rajakovi?
Sound Designer/Engineer: Kyle Gudmundson
Executive Producer: Jeff Cohen?

Nunca foi um vestido – campanha usa símbolo do banheiro para empoderar mulheres em carreiras de tech

nunca-foi-um-vestido

Impossível desver

> LEIA MAIS: Nunca foi um vestido – campanha usa símbolo do banheiro para empoderar mulheres em carreiras de tech

Brainstorm9Post originalmente publicado no B9
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Garrafa equipada com GPS leva os mais ousados para a cervejaria Heineken Experience

Heineken-GPS-Bottle-breakdown

A tampinha girava para indicar a direção a seguir

> LEIA MAIS: Garrafa equipada com GPS leva os mais ousados para a cervejaria Heineken Experience

Brainstorm9Post originalmente publicado no B9
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