Hasta La Creative!

Fresh off reminding us that Nepal needs donations and that we can recycle our bathroom products, the Ad Council is back with another take on an always-topical subject: domestic violence.

The new campaign, created by RSA Films to support the nonprofit Futures Without Violence, includes TV, radio, digital, and outdoor elements. They’re based around the web resource microsite “Teach Early,” which includes a manual on how to prevent your own kids from growing up to be abusers.

The TV spot equates the act of teaching respect to that of turning one’s kid into a competent athlete:

There’s research behind this campaign: a survey conducted by the Futures Without Violence organization found that, while nearly 90 percent of men say they feel like they should talk to young boys about violence committed against girls and women, less than one in three did so over the past six months.

These numbers seem to apply to all men rather than just those with children, but the larger, more important point is that one in four women become victims of violence perpetrated by a loved one within their lifetimes.

The campaign also encourages men to share images of “teachable moments between men and boys” along with the #TeachEarly tag. We’re told that several famous people will run pics of themselves either mentoring or being mentored, but that part of the campaign doesn’t seem to have launched yet.

iHeartMedia did the radio ad and Clear Channel did the outdoor.

Lucky magazine, once a blockbuster, genre-defining title for owner Conde Nast, has suspended its print operations, halting a plan to shift from publishing 10 times a year to quarterly, according to a person familiar with The Lucky Group, which publishes the magazine. The person did not know when or even whether the company would continue its quarterly print plans.

About 14 people were laid off as a result, the person said. Some of the people who worked on print were absorbed into Lucky Group’s digital operation, which continues unimpeded, this person added.

A spokeswoman for Lucky did not respond to Ad Age’s repeated emails and calls seeking comment.

Continue reading at AdAge.com

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RPA created a campaign for Honda highlighting the brand’s promotion of Little League Baseball, NHL, IndyCar, Honda Classics and music performance series Honda Stage. The campaign focuses on five children, tracing back the steps from professional success to childhood dreams of stardom. “Slapshot” and “Finish Line,” the first two spots in the series, focus on the dreams of a young hockey player and IndyCar car racer.

Both spots make use of intriguing device, focusing on a single action, but using continuous camera action to give the illusion of time passing from one moment of the subject’s career to the next. To accomplish this, “a combination of high-speed motion control dollies and camera array systems were used to create a sense of depth and angle change within each near-frozen moment.” In all the rig made use of “over 75 cameras in order to move further through space in less time than any dolly physically could.” The result is the impression of slowly reversing time to capture the moment a child first dreamed of future greatness. It’s an interesting effect, even if the message and overall approach of the ads is a bit on the tired side.

Credits:

Agency: RPA
EVP, CCO: Joe Baratelli
SVP, ECD: Jason Sperling
Creative Director/Art: Nik Piscitello
ACD/Copy: Jeff St Jean
Sr. Art Director: Suzie Yeranoysan
Copywriter: Ramiro Ramirez
SVP, Chief Production Officer: Gary Paticoff
VP, Executive Producer: Isadora Chesler
Sr. Producer: Eva Ellis

VP, Director of Business Affairs: Maria Del Homme
EVP, Management Account Director: Brett Bender
Sr. VP, Group Account Director, Honda Regional Marketing: Fern McCaffrey
Account Supervisor: Alison Bickel
Account Executive: Donny Menjivar
Account Assistant: Corinne Loder

Production Company: Laundry
Live Action
Production Company: Laundry Design
Directed by: Anthony Liu, PJ Richardson
Director of Photography: Christopher Mably
Executive Producer: Michael Bennett
Producer: Nadav Streett
Pitch Producer: Dan Masciarelli
Executive Line Producer: Jan Wieringa
Production Supervisor: Tim Nolan

Post Production and Visual Effects
Production Company: Laundry Design
Creative Director: Anthony Liu
Creative Director: PJ Richardson
Executive Producer: Michael Bennett
Post Producer: Nadav Streett
VFX Supervisor: Elad Offer
Editor: Justin Freedman
Assistant Editor: Erik Anderson
Post Coordinators: Kirsten Collabolletta, Cody Shelley
Matte Painter: Dark Hoffman
3D Animation: Mike Koh, Steve Sprinkles, Brad J Hayes, Yas Koyama
Particle Effects: Yang Liu
Compositors: Robert Hubbard, Lior Weiss, Claudia Yi Leon, Raphael Mosley, Nicole Choi, Eran Barnea, Peter Beak, Tahira Ali

Telecine: The Mill
INDY CAR/”Finish Line”
Colorist: Gregory Reese
NHL/”Slapshot”
Colorist: Adam Scott

Music: Massive Music
INDY CAR/”Finish Line”
Music and SFX: MassiveMusic
head of Production: Jessica Entner
Creative Director: Tim Adams
Composer: Nate Morgan
SFX: Peter Lauridsen

NHL/”Slapshot”
Music and SFX: MassiveMusic
head of Production: Jessica Entner
Creative Director: Tim Adams
Composer: Patrick McArthur
SFX: Peter Lauridsen

Honda Stage/”Drums”
Music and SFX: MassiveMusic
head of Production: Jessica Entner
Creative Director: Tim Adams
Composer: Tim Adams/Nate Morgan

Mix: Lime Studios
Engineer: Dave Wagg
Producer: Susie Boyajan

Le studio de design graphique espagnol Muokkaa, vu précédemment, signe une nouvelle série de nombres très colorés, spécialement créée pour la deuxième édition des 36 Days of Type, qui encourage les illustrateurs et les graphistes à partager leur propre interprétation des nombres et des lettres.

Ogilvy & Mather New York launched a new spot in its ongoing “Built for it Trials” campaign for Caterpillar, entitled “Driving Range.”

For the spot, the agency created a driving range, utilizing the Caterpillar 793F, featuring a 250-ton payload and 2650 HP, and other Caterpillar vehicles as  makeshift greens. Then they asked professional golfers Erimo Ikeuchi and Marimo Ikeuchi to try to sink a hole-in-one. To make things more interesting (and infinitely harder on the golfers), they made the green portable, moving it around as the golfers try their best to sink the shot.

Eventually, one of the golfers finally sinks a shot, with a little help from the Caterpillar driver. Launched in time for the U.S. Open, the spot was designed to highlight “the capabilities and maneuverability of five different Caterpillar machines” in an entertaining way. Although it runs a bit long at over two-minutes in length (spending perhaps too long on establishing shots), it should largely succeed at delivering its message in a way golf fans find entertaining.

Credits:

Agency: Ogilvy & Mather New York
Creative: Chris Curry, Jerry Dugan, Todd Goodale, David Marino, Emily Clark, Gavin Breyer
Chief Creative Officers: Steve Simpson, Chris Garbutt
Account: Kurt Lundberg, Kate Prescott, Bret Emerson
Planning: Bryan Smith, Liz Sparkman
Chief Production Officer: Matt Bonin
Producer: Damon Webster

Client: Caterpillar, J. Archie Lyons, Deanna Dean
Executive Producer/Creative Director: J. Archie Lyons

EYEPATCH PRODUCTION
Director: Brandon LaGanke
Executive Producer: Joanne Golden
Line Producer: Daniel Lubell
DP: Paul McCarthy

EYEPATCH POST-PRODUCTION
EyePatch Executive Producer: Jay Cagide
Post Producer: Laura Shackelford
Editor: George Gross
Sound Engineer: Ken Meyer
Music Supervisor: Chris Mazur
Color/On-Line: Method/Co3
Assistant Editors: Wes Latta, Andrea Podaski

DDB & Tribal Worldwide, Amsterdam launched a new digital campaign promoting the TomTom Bandit action camera with introduction of “Baaadass Bill,” a 2’9? mountain hero (and, uh, mountain goat).

A 1:45 spot called “King of the Mountain” goes all-in on the internet goat phenomenon, introducing the character and his unique dilemma: he’s been recording great footage for years but has no way to share it with the world. The solution, of course, is the Tom Tom Bandit action camera, which lets users edit footage by simply shaking their phone. And the footage that Baaadass Bill gets? It’s completely ridiculous, of course, featuring the mountain goat snowboarding, base-jumping, skiing and wing suit flying. There’s also a mobile site where visitors can learn more about Bill’s adventures as well as social content and a Facebook competition giving participants the chance to win an “action trip” to Whistler, Canada.

“Everyone knows that mountain goats can do amazing things, but it’s never been clear how amazing until now” said Gary Raucher, senior vice president, marketing, TomTom.  “The TomTom Bandit makes it so easy to edit and share, that now anyone can share their skills with the world.”

Credits:

Title: King Of The Mountain
Client: TomTom

Client: Gary Raucher, Austin Simms, Patrick Stal
Product: TomTom Bandit Action Camera
Length in seconds: 01.45
Agency: DDB & Tribal Amsterdam
Client Service Director: DDB & Tribal Amsterdam
Project Director: DDB & Tribal Amsterdam
Concept : DDB & Tribal Amsterdam
Creative Director: DDB & Tribal Amsterdam
RTV Producer: DDB & Tribal Amsterdam
Production Company: Brenninkmeijer & Isaacs
Producer: Oskar Bård, Sebastian Hedin
D.O.P.: Kjell Lagerroos
Producer: Sander Brenninkmeijer
Editor: Fiona Fuchs
Grading: Hectic Electric
Online: Hectic Electric
Soundstudio: Kaiser Sound Amsterdam
Music: MassiveMusic Amsterdam

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An Indian clothing company is out with an ad that news reports are billing as the socially conservative country’s first to feature a lesbian couple.

Anouk and Ogilvy & Mather Bangalore created the spot, in which the couple get ready to meet—and, the ad suggests, come out to—the parents of one of the women. Three and a half minutes long, the spot aims for a casual tone, showing the women in their apartment, putting on makeup and chatting about clothing, hairstyles and their relationship.

While LGBT themes in ads are increasingly common and overt in the U.S, homosexuality is illegal in India. Two years ago, the country’s Supreme Court reinstated the ban after a lower court had ruled it unconstitutional.

The tagline, “Bold is beautiful,” risks conflating putting on a bright-colored dress with being open about one’s sexuality in a highly hostile environment. But the brand deserves credit for aligning itself with a progressive message—the ad seems to be mainly garnering support on YouTube (where it has more than 1.6 million views), even if the spirit of it is lost on the obligatory bigots yelling in all caps in the comments section of articles.

Yogurt brand Chobani, meanwhile, is out with its own lesbian-themed ad that’s much more explicit—and ridiculous—because why not play to base instincts, too?