Rekindle your love of a real book.
Advertising Agency: RKCR/Y&R, UK
Executive Creative Director: Mark Roalfe
Creative Director: Tim Brookes
Art Directors: Tim Brookes, Lee Aldridge
Copywriters: Tim Brookes, Phil Forster
Photographer: Andy Green
Illustrator: Punkture
Typographer: Lee Aldridge
Rekindle your love of a real book.
Advertising Agency: RKCR/Y&R, UK
Executive Creative Director: Mark Roalfe
Creative Director: Tim Brookes
Art Directors: Tim Brookes, Lee Aldridge
Copywriters: Tim Brookes, Phil Forster
Photographer: Andy Green
Illustrator: Punkture
Typographer: Lee Aldridge
In the early 2000s, the rapid growth of mobile and the debut of social media set the stage for life as we now know ita world where multimedia content is searched and served on-demand, where images trump text and where consumers play a central role in marketing.
The decade begins with the bust of the dot-com bubble in early 2000, marking the demise of many high-flying Internet companies and ad icons such as Pets.com and its sock-puppet mascot. In that year’s Super Bowl, 17 dot-com advertisers pay $44 million for spots; the following year, only three dot-com companies run ads during the big game. But despite the economic recession, the Sept. 11 attacks and the ensuing war on terrorism, rapid tech advances continue and advertisers roll out notable campaigns such as Budweiser’s “Whassup,” McDonald’s “I’m Lovin’ It” and Dove’s “Campaign for Real Beauty,” while Subway’s Jared and Geico’s Gecko become household names.
Over the first half of the decade, consumers continue to move onlineand onto their cell phones. In 2000, 46% of American adults use the Internet; five years later, 66% are online, according to Pew Research Center. Their access to the Internet gets easier and faster, too, with 33% of households having broadband in 2005, up from 3% in 2000. Enabled by more sophisticated Web development and design, consumers increasingly perform everyday tasks online, from browsing products to making travel reservations. E-commerce revenue sees significant growth, from $7.4 billion at the middle of 2000 to $24.1 billion in the third quarter of 2005, according to Census Bureau figures.
Media, Outdoor
Smart
Advertising Agency:Contrapunto BBDO, Madrid, Spain
Executive Creative Director:Carlos Jorge, Félix Del Valle
Creative Director:Gonzalo Urriza
Art Director:Aurora Hidalgo
Copy:Roberto López
Client Services Manager:Paco Ribera
Account Manager:Lorena Landau
Account Supervisor:Sofía Calonje
Account Executive:Verónica Félez
Production Manager:Gema Crespo
Wal-Mart Stores’ planned competitor to the Amazon Prime service will have a price advantage, but catching up with its e-commerce rival won’t be easy.
Wal-Mart announced plans yesterday to give online customers unlimited free shipping for $50 a year, half the cost of Prime. What it lacks is Amazon’s speed of delivery, along with the bevy of other perks that come with a Prime account.
“Prime is about so much more than shipping,” Matt Nemer, an analyst at Wells Fargo & Co., said in a report on Thursday. It offers digital music, e-books, TV shows, photo storage and other benefits, helping keep customers loyal. And Wal-Mart is late to the party, he said. “Frankly, we’re surprised it took Wal-Mart this long to launch any sort of loyalty program.”
Outdoor, Print
HITCASEPRO
Where no phone photos have gone before.
Advertising Agency:Grey, Mexico City, Mexico
President:Pedro Egea
Executive Vp Creative:Jose Aguilar
General Creative Director:Luis Guillén, Víctor Figueroa
Group Creative Director:Raul Rivera, Miguel Angel Ottati
Creative Director:Manuel Vera A.K.A Sr. Peligro, Sergio “El Papayo” Dominguez
Art Director:Laura Alcala, Melissa M. Borrell
Copywriter:Roselyn Reynoso
Account Director:Mariana de Pina
Photographer:Ignacio Auditore
Producer Photo Agent:Joanna Schatz
Production:Gordon McBryde from Featherwax
Dentsu Inc., the world’s fifth-largest agency company, has crossed a threshold to becoming a more international player: Now more than half its revenue comes from outside its historic market of Japan.
The 114-year-old Tokyo-based company said it generated 50.7% of gross profit from outside Japan in the year ended March 31, up from 46.7% in the year earlier. Before the company acquired U.K.-based Aegis Group in 2013 for nearly $5 billion, only about 15% of revenue came from beyond its home market. The company has baptized its ad businesses outside Japan as the Dentsu Aegis Network, with agency brands including Carat, Isobar, iProspect, McGarryBowen and Vizeum.
Leading up to 2017, Dentsu set targets of going more international and also more digital. Digital accounted for 30% of revenue in 2014, up from 27% the year before.
Amazon’s subscription-video service will drop several Viacom shows, including “Teen Mom” and “Mob Wives,” people with knowledge of the matter said, evidence that viewer fatigue with reality shows is spreading online.
Amazon Prime Instant Video will spend more on original programming and buy shows from other suppliers, said the people, who asked not to be identified discussing the matter. Viacom’s more popular shows, such as “Dora the Explorer” will stay on the $99-a-year service, they said.
Amazon this year also declined to renew a deal with A&E Networks, which supplied “Pawn Stars” and “Storage Wars,” the people said. Some of the Viacom shows are still in production.
Outdoor, Print
Dramamine
Motion sickness relief.
Advertising Agency:JWT, Mexico City, Mexico
Vp Creative:Gabriel Vazquez
General Creative Director:Luis Gaitán
Creative Director:Raul Pineda, Saul Cruz, Antonio Cué
Art Director:César Pável Méndez
Copywriter:Rafael Hidalgo
Photographer:Diego Arrigoni
Agency Producer:Sebastián Zash
Planning Director:Sofia Ontiveros
Account:Karen Wohler, Alejandra Chávez, Irving Romero
SC Johnson, the marketer of global brands including Pledge and Ziploc, has consolidated its media buying duties with Omnicom’s PHD.
“We are pleased to partner with PHD for global media buying,” said Fisk Johnson, chairman and CEO, SC Johnson, in a statement. “After an extensive assessment, we are confident that PHD has the capability and global footprint to help us drive greater efficiencies and reduce complexity.”
The move follows a review of SC Johnson media shops PHD and WPP’s Maxus. “Earlier this year, in partnership with a third-party consultancy, the company undertook a media buying analysis in nearly a dozen markets globally,” the company wrote in the statement.
Outdoor, Print
SKULL CANDY
Advertising Agency:Grey, Mexico City, Mexico
President:Pedro Egea
Executive Creative VP:Jose Aguilar
Client Services Vp:Ivan Babic
General Creative Director:Luis Guillén, Víctor Figueroa
Creative Director:Alejandro Cisneros Ibarra, Bernardo Rodriguez Pons
Art Director:Pola Sanchez
Copywriter:Diego Angeles
“Thanks to 3D techniques we were able to emphasize existing details and turn it into even more of an animal, exaggerating all the facial expressions, mouth, eyes, teeth and eyelids. We think we found the right balance between realistic meat and something which would fit our design,” says Pierre + Bertrand.
The additional characters will be seen in future TVCs, print campaigns and product packaging together, launched under brand name, BIFI in Germany and in the launch of Pork Juice, the next big thing in your juice bar. 100% Peperami, 100% juice, 100% spoof.
On Sunday, after 92 episodes, the series and the story of Don Draper come to an end.
Instant articles shift the relationship between publications and readers, by ceding an essential element of control. But that is already happening.
Three teams of scientists looked at the perceptions that led to the viral phenomenon of the blue and black (or was it white and gold?) dress.
TBWAChiatDay’s latest ad for Gatorade officially launched yesterday, and it has a few key elements in common with the agency’s past work for the brand: Michael Jordan and sweat. Lots of sweat.
As Jordan himself clarifies in his role as narrator, however, Gatorade doesn’t love all sweat:
The point made by Jordan with the help of fellow athletes Serena Williams, Usain Bolt, April Ross and JJ Watt is that Gatorade helps athletes deal with the good kind of sweat–the kind that comes after a hard workout rather than, say, the kind that stems from anxiety about the legal status of your startup.
Unlike TBWA’s last campaign for the client, this one does not lean on classic taglines. It does, however, reinforce Gatorade’s key message: that its product serves as the fuel on which the world’s top athletes run. As the release tells us, the ‘ade has “been fueling athletes for over half a century” and will continue to do so.
TBWA will also continue to help spread that message: last month the agency promoted Renato Fernandez, the creative who’s been working on Gatorade for years (first at AlmapBBDO) to the position of worldwide creative director “with responsibility for the Gatorade brand.”
Readers were slightly confused by the promotion because TBWA told us that the role played by its global CD for the Gatorade account will not change in light of Fernandez’s promotion. The point, though, is that the sports drink will continue to be one of the Omnicom shop’s marquee clients for the foreseeable future.
Just look at all these credits!
Agency: TBWAChiatDay
Client: Gatorade
Chief Creative Officer: Stephen Butler
Executive Creative Director: Brent Anderson
Worldwide Creative Director: Renato Fernandez
Copywriter: Scott Cleveland
Art Director: Pierce Thiot
Executive Producer: Sarah Patterson
Producer: Lacy Plunk
Managing Director: Peter Ravailhe
Brand Director: Simon Nicholls
Brand Manager: Robyn Morris
Sports Marketing AE: Erika Buder
Associate Brand Manager: Samantha Sabine
Group Planning Director: Scott MacMaster
Global Planning Director: Martin Ramos
Planner: Matt Bataclan
Director of Business Affairs: Linda Daubson
Senior Business Affairs Manager: Laura Drabkin
Talent Payment Manager: Mirielle Smith
Traffic Manager: Judy Brill
Executive Project Manager: Karen Thomas
Production Company: Imperial Woodpecker
Director: Mark Zibert
Executive Producer: Charlie Cocuzza
Producer: Matt Wersinger
DP: Mattias Rudh
Editorial: Whitehouse Post
Editor: Charlie Harvey
Assistant Editor: Devon Bradbury
Producer: Jonlyn Williams
Executive Producer: Joni Williamson
Post EFX: The Mill
Senior Exec Producer: Sue Troyan
Exec Producer: Enca Kaul
Senior VFX Producer: Kait Boem
Shoot Supervisor: John Leonti
Executive Creative Director: Phil Crowe
Creative Director : John Leonti
2D Lead: Narbeh Mardirossian
3D Lead: Simon Brown
2D Artists: Tim Bird, Scott Wilson Edward Black, Jale Parsons, Tara DeMarco
3D Artists: Josh Hatton, Kelvin Liang, Krystal Sae Eua, Monique Espinoza, Richard Fallat, Robert Chapman, Jenna Kind, Steven Olson, Thom Price, Bridget Warrington, Juan Zavala, Katie Yancey, Mike Di Nocco, Ashraf Ghoniem, Phill Mayer, Koen Vroeijenstijn, Ed Boldero, Brett Angelillis, Berk Hakguder
Matte Painting: Itai Muller, Chris Goodrich
Motion Graphics: Justin Sucara
VFX Coordinator Daniel Midgley & Greg Dupree
Colorist: Adam Scott
Color Exec Producer: Thatcher Peterson
Color Producer: Antonio Hardy
Post EFX End Card: The Mill
Music Supervision:
Music Supervisor: Andrew Kahn, Good Ear Music
Music Licensing: Mega, Inc.
Madeline Adami
Danny Socolof
Sound Design & Final Mix:
Mixer: Rohan Young
Assistant Mixer: Jeff Malen
Music:
Song: “Step Up”
Artist: Mapei
When IPG folded Lowe into Mullen, everyone wondered where the man who supposedly engineered the deal would go next. Now we know. Former Lowe CEO Michael Wall, who helped “create the roadmap” for Mullen Lowe Group, has been appointed as Mother’s global CEO. He will work out of Mother’s London office alongside existing Mother Holdings partners, Matt Clark, Andy Medd, Robert Saville and Mark Waites, leading Mother’s business across all offices as well as expanding Mother to new markets and sectors.
Wall served as CEO at Lowe and Partners beginning in September of 2009, when he filled a role left by the departure of Stephen Gatfield, who agreed in 2006 to take the role for three years. Prior to joining Lowe, Wall was best known as one of the founding partners of Fallon, where he helped oversee the agency’s rise to prominence and became president international in 2005 before leaving the agency two years later. He briefly served as CEO of BBDO Portugal before becoming global CEO at Lowe. Wall began his career as a graduate trainee at DMB&B, where he worked on accounts including Budweiser, P&G and COI. In 1992 he joined Lowe Howard Spink, where he worked on the agency’s Coca-Cola and Tesco accounts. He became a board account director for start-up Simons Palmer (who later merged with TBWA) in 1995, working on the Sony Playstation launch.
“We have been chasing Mr Wall for years,” said Robert Saville. “He is not an easy man to catch. He wasn’t an easy man to beat either as Mother and Fallon faced up against each other over the years. Mother has needed Michael’s skills in business leadership for a while.But more importantly we welcome a genuinely good person with the same passion for the transformative power of creativity into the family. I suspect Michael will make us all better.”
Fallon London appointed Gareth Collins as its new CEO, Campaign reports. He will begin the new position this summer, after leaving AMV BBDO, where he currently serves as a managing partner. Upon arrival, he will lead a management team including executive creative director Nick Bell and chief strategy officer David Hackworthy. The news coincides with the departure of managing director James Townsend, who is leaving to become CEO of 360i London.
Collins began his position at AMV BBDO in March of last year, following over five years in Australia with Clemenger BBDO, most recently as a managing partner. He first joined Clemenger BBDO as a group account director, becoming a client service director the following year and managing partner in April of 2012. Prior to that he spent five years as a board account director with AMV BBDO. He also spent three years with Ogilvy & Mather as an account manager and served a brief stint as service manager with Guy’s and St. Thomas’ NHS Foundation Trust.
Magnus Djaba, chief executive of Saatchi & Saatchi Fallon UK Group, told Campaign, “When Pat Fallon picked a management team to start Fallon London, he chose people who didn’t know the rules but just wanted to create new ones. Gareth has that same spirit and attitude.”
In “Shed the Monster,” the brief, pleasingly silly film below, some guy in a brutish latex mask—he looks like Geico’s caveman—grunts a lot in pissed-off fashion, as all of life’s little challenges conspire to get him down.
Discovering an empty milk carton in the fridge, and no car in the garage, he grabs his bike and angrily peddles to the market. (Note how he signals and stops at the stop sign. Good monster!) But along the way, his tension—and beastly makeup—start to fade. By the time he arrives at his destination, he looks and feels human again. (It’ll be tough getting those groceries home without a bike basket, but whatever.)
Evan Fry, creative development chief at Crispin Porter + Bogusky, and photographer Jamie Kripke crafted the video, about the transformational power of cycling, to promote People for Bikes, an enthusiast organization.
“I know this will sound corny and pretentious as hell,” Fry tells AdFreak, “but ever since I was a little kid, cycling in one form or another has been my therapy, my church, my athletic pursuit, my trusted friend and my main vehicle for growth.”
With that in mind, Fry and Kripke concocted a shaggy-man story that portrays biking as a therapeutic activity for the harried masses.
“I’ve always felt that jumping on a bike, no matter how long the ride, really does help you ‘Ride away the grrrr,’ ” says Fey. “It’s awesome to see it resonate with so many folks. For a dot-org to get that many views—32,000 in a month on YouTube—and shares without any paid media to speak of, it is really gratifying.”
See the behind-the-scenes story of the spot here.
CREDITS
Writer/Director: Evan Fry
Writer/Director/DP: Jamie Kripke
Producer: Corey Bartha
Monster: Darin Toonder
Edit: Beast
Editor: Sam Selis
Producer: Erin Dykman
Executive Producer: Ron Rendon
VFX/Online Artist: Jim Reed
Colorist: Dave Ludlam
Executive Producer, Color: Thatcher Peterson
Color Producer: Antonio Hardy
Color Coordinator: Diane Valera
2D Lead: Tim Robbins
VFX Producer: Kiana Bicoy
VFX Coordinator: Jillian Lynes
Music: Beacon Street Studios
Composers: Andrew Feltenstein & John Nau
EP/Head of Production: Leslie DiLullo
Mix and Sound Design: Beacon Street Studios
Mixer: Mike Franklin
Assistant Mixer: Aaron Cornacchio
Monster FX: AFX Studio
Producer: Kate Vadnais
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