Blind Item: About that ‘TV vs. Integrated’ Debate

Here, via an anonymous member of our audience, is yet another hot take on the division between old school and new as embodied by traditional TV spots versus the dreaded (by some) buzzword “integrated” campaigns.

The writer seems to be a bit younger than some of our favorite curmudgeons, and he (wisely?) opted for gigs in which he would create integrated campaigns over TV-focused work when the time came to make that choice…over a decade ago.

It would seem, however, that the conventional wisdom is a bit off on this point.

While integrated work allowed for more gigs, the people who actually run creative departments are closer to many of our readers in that they see it as something of a crutch. They want their [M]TV.

We’ll let Mr. Anonymous explain:

Quick response to recent post on integrated work vs. TV spots: When I started my career over a decade ago, I was advised that I should focus on finding jobs where I could work on a mix of traditional & interactive because that is where the future was going.

That’s what I did. I worked at agencies where I got to produce really interesting work but not much TV. And honestly I’ve gotten to do a lot of cool stuff, including some broadcast and TV, that is quite unique compared to what most other creatives do. However, I don’t have the colossal, big budget broadcast reel that would make me a respectable creative in the eyes of many ad agencies.

You see, that advice I got early in my career? It was terrible advice. Because if you don’t have big TV in your reel, you’re not fit to shine shoes in the eyes of many creative directors.

We can kick and scream and tell them they’re old school, but they’re calling the shots and they’re not going anywhere. So at this point I’m probably looking at a career where, no matter how many cool projects I do or how many awards I win, I’m going to be relegated to the JV league team of creatives.

So to you youngsters starting your career? Go to an agency where you’ll get to produce TV. If your ad school is telling you to focus on integrated work and not worry about TV, they’re lying. Until you get those TV spots in your reel, you’re a neophyte in the eyes of decision makers in this business. No matter how smart you are or how many awards you win, you’re crap until you have a bunch of TV.

We know you have some thoughts on this topic, readers.

HelloFlo Introduces ‘The Period Fairy’

HelloFlo CEO Naama Bloom once again teamed up with production company Senza Pictures and Sara Saedi, the copywriter behind “Postpartum: The Musical,” for the mockumentary ad “The Period Fairy,” promoting the brand’s Period Starter Kit.

The real star of the ad isn’t the titular magical maven of menarche but rather the young feminist telling her story, Lilian Dyer, who attempts to track down the “vagical” creature and interviews former friends and colleagues such as The Tooth Fairy, Santa Claus and Cupid. She examines how the shero, who originally went by Flo White and then The Lord of the Strings, broke through the glass ceiling at The Department of Mythical Creatures (characterized as an old boys club) to gain success before selling a period tracking app and retiring to Boca (where no one gets their period). Lilian concludes the vagical creature “may have been lost to history but not herstory,” and decides that instead of looking for a shero, she’ll be one herself. The spot ends with a shot of the Hello Flo Period Starter Kit and the hashtag #MakeItVagical.

If the young investigative journalist brings to mind Rachel Maddow, that’s not an accident. “She reminded us of Rachel Maddow, and we thought that was a perfect archetype for our feminist-in-training, Lilian Dyer,” Bloom told Adweek, referring to the young actress cast in the spot. “When I think about creating video content,” she added, “the most important element for HelloFlo is that we have strong female characters who are both relatable and culturally aware.”

Credits:

Client: HelloFlo
Production Company: Senza Pictures
Written by: Sara Saedi
Produced by: Brandi Savitt
Casting by: Wulf Casting
Music by: Found Objects
Director of Photography: Mark Schwartzbard
Editor: David Fishel
Art Director: Ally Nesmith
Costume Designer: Deirdra Govan
Sound Mixer: Wil Masisak
Production Coordinator: Julia Brady
Hair & Makeup: Rebecca Levine
Script Supervisor: Elizabeth Stern
Gaffer: GT Womack
Key Grip: Ben Hunt
Swing/Driver: Joe Chiofalo
Set Costumer/Tailor: Olivia Fuks
Assistant Editor: Elizabeth Theis
Assistant Camera: Noelle Kandigian
Boom Operator:  Matt King
Assistant Art Director: Nelson Mestril
Production Assistant: Jordan Floyd

These 'Cancer Sutra' Posters Show How to Check Your Partner During Sex

Ad agency The Bull-White House’s “Cancer Sutra” campaign was a provocative idea in search of a sponsor—until Stupid Cancer, a nonprofit dedicated to helping young adults with cancer, signed on.

Central to the effort, which coyly suggests you can spot signs of cancer while having sex, is a series of colorful posters, designed by Brooklyn artist John Solimine, showing couples in the act. Sales of the posters will raise money for Stupid Cancer, and Bull-White House hopes to turn some of them into wild postings. There’s also an e-book, website and video.

Agency founder Matthew Bull discovered Solomine on Behance.net and was drawn in particular to “Strongman Love,” an illustration of a man with his arm wrapped around a woman that Solimine made about four years ago. That visual style defined the new campaign. (There are lots more images here.)

As Bull explained, “Curvaceousness, hard angles, a playful approach to negative space—all of these were critical in differentiating the Cancer Sutra from any other Kama Sutra we’d seen before.”

Adweek responsive video player used on /video.

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AdFreak asked Solimine about the making of the posters.

When did you first get the call for this?
It was late last year when I got a call from Bull-White House. It was funny because upfront, from the call, I had no idea what the project was.

What was the initial brief?
They started off with the statistic that a huge amount of people who find out they have cancer actually discover it before, during or after sex. … When you tell people about it and use that as an intro, people are like, “Wait a second.” Just the words cancer and sex in the same sentence—probably you’ve never heard that before, you know?

Why did you want to do this?
The scope of it, the size of it. They said, “We’re going to need between 20 and 40 illustrations” at the beginning of the whole thing. And just the subject matter I thought was great. When it was pitched to me, I was like, “Wow, I’ve never heard that idea before.” So, I found it unique. And I’ve had family members who were stricken with cancer.

What inspired the look and feel of your posters?
An old poster that I had done for Fab, that website fab.com. … They would partner with various artists and have that artist come up with half-dozen or so unique pieces that were just for the Fab sale. And then you could sell anything else you wanted of your previous work on there. But one of the posters I created for my Fab sale (“Strongman Love”)—Bull-White House had seen that on my website and they kind of pulled that out stylistically and said, “We really like what you’re doing with this one.”

What was it about that poster?
I don’t think they wanted it to be anatomically [correct] or lean too much on that. They wanted it to be playful, have interesting body shapes and not go for Ken and Barbie or Penthouse and Playgirl, that kind of thing, and not have it be too porny in any way.

It must have been tricky to straddle that line.
At that first meeting, just to clarify what we were going to be doing, I was like, “So, I’m going to be drawing people actually having sex in various ways, right?” And I think in the beginning everybody though that yeah, you are, and it’s going to get pretty graphic—like there’s really no way around it for what we’re talking about.

But then when we actually started doing the illustrations, working on them and being collaborative, we all realized that there was a way that we were going to be able to pull it off without actually showing anything, which I actually think became the trick of it, like, “OK, how can we show pretty graphic descriptions of sex without actually showing anything at all, really?” I think all you really see graphically are like two or three nipples maybe. So, I think the suggestion of it is the strength of it.

I could see this on T-shirts. Could you?
Oh, yeah, definitely. I think there are a lot of cool applications. They were jokingly talking about turning the pattern into sheets, pajamas or something like that.



Max Greenfield Helps the Hipster Hamburglar Push McDonald's Sirloin Burgers

The Hamburglar got the Internet’s attention last week—the jury is still out on whether he’s hot or creepy—but he won’t be pitching the Sirloin Burger on TV, at least not this month. That job has been taken by New Girl’s Max Greenfield, whose cute—dare we say, adorkable—ads debuted Monday. 

The actor shot 25 spots in a single day, says McDonald’s vp of marketing Joel Yashinsky, telling Burger Business that the campaign is part of the brand’s mission to be transparent.

“That’s what really led to our doing 25 different TV commercials,” Yashinsky says. “They talk about different attributes and the flavors, about it being sirloin and North American sourced. That’s what the overall campaign is designed to get across to the customer. From everything we’ve seen, we think it will connect with customers.” 

Check out some of the new work, by Leo Burnett, below.

CREDITS
Client: McDonald’s
Agency: Leo Burnett Chicago
Campaign: “Sirloin Third Pound Burger Lovin’ Reminders”
Chief Creative Officer: Susan Credle
Executive Creative Director: John Hansa
Senior Creative Director: Tony Katalinic
Creative Directors: Michael Porritt, Frank Oles
Associate Creative Director: Gloria Dusenberry
Art Director: Scott Fleming
Copywriters: Brandon Crockett, Chris Davis, Leigh Kunkel
Head of Production: Vincent Geraghty
Executive Producer: Denis Giroux
Senior Producer: Scott Gould
Business Manager: Shirley Costa
Senior Talent Manager: Linda Yuen
Music Supervisor: Chris Clark
Managing Account Director: Jennifer Cacioppo
Account Directors: Josh Raper, Jennifer Klopf
Account Supervisor: Dave Theibert
Account Manager: Sue Rickey
Planning Directors: Claudia Steer
Legal: Carla Michelotti, Laura Cooney
Clearance: Michelle Overby
Editorial Production: Cutters Studio
Post Production: Flavor Chicago
Audio: Another Country



Pantone Football Club T-Shirts

Paulo Oliveira, graphiste originaire de Lisbonne au Portugal, a imaginé différents maillots de célèbres clubs de foot s’ils étaient sponsorisés par Pantone. Ainsi, on retrouve les codes couleurs du Bayern Munich ou encore du FC Barcelone, légendés et labellisés par la marque.

footballpantone-11
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footballpantone-9
footballpantone-8
footballpantone-7
footballpantone-6
footballpantone-5
footballpantone-4
footballpantone-3
footballpantone-2
footballpantone-1

Hornbach: Spring collection

Advertising Agency: HEIMAT, Berlin, Germany
Production: Trigger Happy Productions
Director: Carl Erik Rinsch
Camera: Bjorn Chapentier
Editor: Ben McCambridge

Hornbach: Designed by your projects, 1

Advertising Agency: HEIMAT, Berlin, Germany

Hornbach: Designed by your projects, 2

Advertising Agency: HEIMAT, Berlin, Germany

Hornbach: Designed by your projects, 3

Advertising Agency: HEIMAT, Berlin, Germany

Volvo / Avicii: New beginning

The creative collaboration between Swedish artist/producer Avicii and Volvo Cars for their new brand campaign features a reworking of the classic song Feeling Good. Filmed on location in Stockholm and Osterlen, southern Sweden, the video visits places of personal significance for Avicii and tells his own story of renewal, following several years of hard touring. The video also features members of his family and close friends. The song Feeling Good was initially picked as a proposal by Volvo Cars. The arrangement has been produced by Avicii, with Audra Mae on vocals.

Advertising Agency: Forsman&Bodenfors, Sweden

World Vision: What happens next?

Advertising Agency: Don’t Panic, London, UK
Creative Director: Richard Beer
Copywriter: Joe Wade
Creatives: George McCallum, Mark Santos
Production company: Monogrande

Hair Max Shampoo: Fight your age

Don’t let age win.

Advertising Agency: JWT, Bangkok, Thailand
Regional Executive Creative Director: Tay GuanHin
Chief Creative Officer: Satit Jantawiwat
Creative Director: Supachai Toemtechatpong
Associate Creative Director: Napapatch Kantasil
Art Directors: Nattakorn Samintharapunya, Annop Khunwong, Supachai Toemtechatpong
Copywriters: Warunyoo Sorasetsakoo, Napapatch Kantasil
Account Manager: Supaluck Luangwilaiwan
Photography Producer: Kiatsuda Chumjaijit
Production House: Visionary Bangkok
Published: April 2015

Dell: Beat again

Advertising Agency: Y&R, New York, USA
Global Creative Director: Jim Othmer
Art Director: Yuni Son
Copywriter: Tom Jackson
Senior Content Producer: Bobby Jacques
Global Client Leader: Joe Rivas
Global Client Director: Ron Carroll
Strategic Planning Director: Jenna Rounds
Account Director: Lesli Bilgor
Account Executive: Dean Alcott
Creative Director: Hunter Eshelman / VML New York
Group Account Director: Ria Spencer / VML New York

Leaning Trikes – The Trivek Lets You Sit Tall While Reading

(TrendHunter.com) The Trivek is a trike, developed by Australian manufacturer Hiele, that is essentially a semi-recumbent trike. This trike allows riders to sit back in a comfortable, secure seat while sitting tall…

Waste-Reducing Bottle Caps – Use Every Last Drop of Lotion with the Zero Waste Cap (GALLERY)

(TrendHunter.com) The Zero Waste Cap now offers a solution to help you use every last drop of lotion from a pump bottle with its waste-reducing bottle caps. According to Consumer Reports, “17%-25% of the…

Sherwin-Williams usa pintores famosos para apresentar a nova “lenda” do segmento

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Criação é da BBDO de Nova York

> LEIA MAIS: Sherwin-Williams usa pintores famosos para apresentar a nova “lenda” do segmento

Brainstorm9Post originalmente publicado no B9
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Mupoca #024 – A era da infraestrutura

b9format

Segundo um texto publicado no Gizmodo, a era da informação acabou e começou a era da infraestrutura. Será? Luiz Yassuda, Gabriel Prado e Tales Cione discutem sobre o texto e sobre as tecnologias abordadas – desde a bateria da Tesla às maravilhas da internet das coisas. A edição ficou novamente por conta do amigo Jefferson […]

> LEIA MAIS: Mupoca #024 – A era da infraestrutura

Brainstorm9Post originalmente publicado no B9
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Ad-Tech, not Content, Is King in the Verizon-AOL Deal


The deal of the year may be upon us.

Today, Verizon announced it has reached an agreement to buy AOL for $4.4 billion. The move, expected to be completed this summer, is likely to realign the power balance in the ad-tech ecosystem and will be felt in the advertising industry as a whole.

Here, a few takeaways on the coupling, starting with the meat of the deal, ad-tech.

Continue reading at AdAge.com

Helsinki Region transport wants us to start biking

To celebrate bike week, my favorite Finnish agency, Agency 358 made these tasty looking posters. Fun stuff. And ironic, too. If everyone started biking, Helsinki Region Transport would have a lot of empty seats on its trains and buses.

Monocole "The woman who chose too much" (2015) 2:00 (Portugal)

Monocle Magazine chose Portugal to host its Quality of Life conference. To honor the fact they were chosen, FCB came up with a character who can never choose anything in this mockumentary. To me the woman represents an average Monocle reader, so in that sense it’s also a deep satire.