The attorneys general of New York and Connecticut are investigating Apple’s negotiations with music companies in search of potential antitrust violations.
Mr. Lack has returned to network news, a place where he is said to be comfortable. But that doesn’t mean he isn’t still facing some uncomfortable decisions.
(TrendHunter.com) It wouldn’t be surprising if a person mistook the Triumph of Form series as a collection of retro paintings rather than the fashion photographs they really are. Not only are the looks…
Crystal Pepsi appears headed for a comeback, that much is clear. But details on when and how the 1990s-era cola will return remain murky.
The clear cola was first introduced in 1992 but lasted only a few years. Despite its short lifespan, the drink apparently gained a loyal following of consumers who have lobbied PepsiCo to bring it back.
On Tuesday, the cola giant sent its strongest signal yet that Crystal might soon be available again by responding to one of its biggest fans, competitive eating star Kevin Strahle. Mr. Strahle, who goes by the name L.A. Beast on Twitter, tweeted an image of a message he said he received from Pepsi that stated: “We definitely hear you and all your followers and we think you’ll all be happy with what’s in store.”
Leiss, both an accomplished VFX artist and successful entrepreneur, launches the studio with a strong emphasis on an artist-driven culture and design-centric executions. Award-winning multidisciplinary Executive Creative Director Atilla, formerly of Mirada and Motion Theory, brings a rich, diverse portfolio that includes commercial work for major global brands such as IBM, Nike, Lexus, HP, and Hershey’s; music videos including Weezer’s Grammy award-winning “Pork and Beans”; and interactive campaigns like IBM’s Centennial installation at Lincoln Center in New York City. His unique creative vision and conceptual, out-of-the-box ideas have earned him an impressive collection of awards and honors over the years, including Icograda’s “International Young Designer of the Year,” awards from the Art Director’s Club, AICP, D&AD, and AIGA.
Leading the production charge is Cortney Haile, who comes over directly from ArsenalFX. She brings over a decade of experience in the content space producing commercials, TV shows, and feature film content. She entered the post-production world in the mid 2000s working at Lionsgate Entertainment. Following, she went on to work in business development at 2G Digital Post, before joining ArsenalFX in 2011 as an account executive. Her resume includes highlights from a variety of high-profile clients including: Amazon, Beats by Dre, Microsoft, and Samsung to name a few.
“It is becoming more evident as our industry continues to expand into new markets,” notes Leiss. “The need for specialized and centralized talent will continue to grow with it. This new creative company will offer clients an even stronger toolset along with world class artists in a new boutique environment.”
About ArsenalCreative:
ArsenalCreative, an ArsenalFX company, is a design-driven multidisciplinary content creation studio based in Los Angeles. Specializing in groundbreaking design, branding, animation, high-end visual effects, and finishing, ArsenalCreative makes one-of-a-kind content for the commercial and entertainment industries. Fiercely collaborative, they are committed to providing an unparalleled client experience, pairing veteran creatives with modern technology to deliver premium results.
Le réalisateur Koya Kamura signe une nouvelle création, intitulée « Bruises » dans laquelle il met en image la tradition de la ville de Florence en Italie qui consiste en un affrontement violent entre quatre districts. Le personnage central se bat pour le compte des Bianchis afin de perpétuer la tradition et défendre sa fierté.
(TrendHunter.com) Mirrored architecture is an interesting way to create an optical illusion. While mirrors are used in fun houses at carnivals to exaggerate or compress someone’s reflection the same method can…
(TrendHunter.com) Luxurious campers allow users to take a five-star resort on the road. These mobile hideaways feature sleek design, modern interiors and swank amenities.
Opulent opera-styled campers are made for…
Whether selling skillets, cookbooks, lobster or hot dogs, David Venable, QVC’s top food pitchman, is a culinary tower of power. Especially when he does his happy dance.
With the summer officially less than two weeks away, Havas Worldwide New York has launched “Luna Rising,” the latest campaign in its ongoing “The Most Interesting Man in the World” series for Dos Equis.
Three new spots tread familiar territory for the character, with Havas delivering what viewers have come to expect. There’s the comically exaggerated claims such as “If he were to mispronounce your name, you’d feel compelled to change it” and “Therapists open up to him,” as well as the nonsensical “When the odds are 50-50, they’re 80-20 in his favor.” For some reason, two of the three spots end with the character performing the ding-dong-ditch maneuver (which is not something anyone over the age of 14 generally does, let alone someone “interesting). And then there’s the casual sexual objectification of the brief “The Most Interesting Man in the World on Making the Most of Summer Night” which stoops lower with “The Most Interesting Man” telling viewers it’s their job to find the dark side of “even the brightest moon” while implying an impending threesome with two much younger women (basically the same formula as “The Most Interesting Man in the World on Cinco de Mayo”).
Credits:
Chief Creative Officer: Jason Peterson
Group ECD/Managing Director: Jason Musante
Executive Creative Director: Jim Hord
Creative Director: Paul Fix
Creative Director: Jamie Overkamp
Associate Creative Director: Matthew Hock
Associate Creative Director: David Fredette
Writer: Marty Bonacorso
Art Director: Melissa Ploysophon
Junior Writer: Andrew Niemira
Junior Art Director: Melissa Stammer
Global Chief Content Officer: Vin Farrell
Co-Head of Production: Dave Evans
Co-Head of Production: Sylvain Tron
Executive Producer: Jill Meschino
Director of Broadcast Business Affairs: Cathy Pitegoff
Senior Broadcast Business Manager: Deborah Steeg
Senior Talent Specialist: Yvette Aponte
Group Account Director: Chris Budden
Account Director: Jamie Sundheim
Account Supervisor: Sara Heller
Account Executive: Jenny Maughan
Production Company: @radical.media
Director: Steve Miller
Director of Photography: Bryan Newman
Executive Producer: Gregg Carlesimo
Producer: Barbara Benson
Editorial Company: Arcade Edit
Editor: Jeff Ferruzzo
Executive Producer: Sila Soyer
Post Production: Studio 6
VFX Supervisor / Flame Artist: Johnny Starace
Executive Producer: Melati Phohan
Audio Engineer: Eric Thompson
Music Composer: Brett Fuchs
Colorist: Company 3
Colorist: Tom Poole
Audio: Sound Lounge
Partner/Mixer: Peter Holcomb
L’illustrateur Polonais Kamil Bia?ogrzywy ré-imagine des pochettes d’albums connus en illustrations étonnantes. Le portrait de David Bowie sur la couverture d’Aladdin Sane et celui de Michael Jackson pour Thriller sont par exemple transformés en portraits de monstres graphiques et colorés.
Aladdin Sane – David bowie.
The Man Machine – Kraftwerk.
Thriller – Michael Jackson.
Roxy music – Country Life.
Hallelujah The Hills – We Are What We Say We Are [Official Video] from Ryan Walsh on Vimeo.
Read more on Adbusters.org
W+K Portland continues exploring (creating) the Dodge origin story, with a series of new ads directed by Adrien Brody, promoting the Dodge Dart, Durango, Challenger and Charger.
“First Dodge,” easily the best of the bunch (featured above) tells the story of how the Dodge brothers’ “competitive spirit and engineering prowess” preceded the making of the first car. The old-timey scene instead depicts the “First Dodge” as a different vehicle entirely. While it ostensibly promotes the Dodge Dart, any of the vehicles in the campaign could have been used at the end of the ad with as much (or little) relevance.
Other spots in the campaign are considerably less involved. “Drive By” promotes the Durango’s Beats Audio integration by showing the Dodge brothers cranking the bass and rattling a genteel country club as they drive by. The meta “Discovery” for the Challenger and Charger asks, “Do you know how hard it is to do a commercial with a Dodge and not do a burnout?” while “Morse Code” trolls viewers with a message (flashed with the headlights of a 2015 Dodge Charger) that, according to a YouTube commenter (never the most reliable source, so take that with a grain of salt) translates to, “You just spent five minutes decoding a morse code message from a dodge YouTube description.”
Sources tell us today that Goodby, Silverstein & Partners will soon be closing its New York City office.
GS&P has so far declined to give us an official statement after multiple requests this week, but more than one party close to the matter tells us that the change is already official within the agency.
The most recent news regarding Goodby’s Manhattan location concerned The New York Post: the agency won the classic Murdoch tabloid back in October of 2014, and its copy-heavy OOH ads adorned the subways for several months through late 2014/early 2015. They were really quite good, and the “If you don’t want it on Page Six, don’t do it” line was particularly fitting given certain stories that appeared in that very publication several months later.
The office made some staffing changes last year as well. Last May, GS&P NY hired Paul Caiozzo, a freelancer and creative director who’d been with Twofifteenmccann, CP+B and others to run the New York team; when the agency promoted Eric Kallman to ECD earlier this year amidst a larger shift in responsibilities, they indicated that he would stay in that role. Caiozzo replaced ECD Christian Haas, who left the shop last May and currently sits on the IAB advisory board while freelancing for various parties in the New York area.
On the cause of the closing, Caiozzo was hired in part to lead the Comcast/XFINITY account, and Jeff Goodby’s internal memo announcing layoffs in the San Francisco office last month specifically named the failed Comcast/Time Warner merger as the reason that the New York office “will now be smaller.”
When GS&P first announced its New York expansion in January 2013, Stuart Elliott gave it a full New York Times writeup. At the time, Goodby said, “I don’t think Rich and I felt we needed a New York office. In fact, it was more unique to not have one.”
Goodby would follow Leo Burnett, another well-established agency whose New York office never quite took off and officially closed in February.
Pour la cérémonie d’ouverture du Croisement Festival à Guangzhou, Visual System (dont nous avons déjà parlé) a imaginé le « VS Carre X » : un cube interactif de 3 mètres de côté, construit par Grand, et projetant de la lumière réagissant selon le son. Cette installation est animée par une bande-son originale de Thomas Vaquié qui maximise l’immersion du public de ce grand dispositif extérieur.
Mr. Musetto, as an editor at The New York Post, wrote the most anatomically evocative headline in the history of American journalism.
This is site is run by Sascha Endlicher, M.A., during ungodly late night hours. Wanna know more about him? Connect via Social Media by jumping to about.me/sascha.endlicher.
