Philips: Breathless Choir


Media, PR
Philips

Advertising Agency:Ogilvy & Mather, London, United Kingdom
Global Executive Creative Director:Gerry Human
Agency Producer:Ruth Darsow
Associate Creative Director:Laura Rogers, Trevallyn Hall
Copywriter:Laura Rogers
Tool of North America Director:John X. Carey
Tool of North America Producer:Nadine Brown
Freelance DOP:Ed David
Freelance Editor:Philip Owens
Soundsquare Sound Engineer:Pavel Rejholec
Universal Production Partners TK Operator:Ondrej Stibingr
Universal Production Partners Flame Operator:Jaime Aguirre
Freelance Music Post Production:Peter Mitchell
Freelance Choir Master and Broadcaster:Gareth Malone
Managing Partner:Craig Burleigh
Business Director:Kate Waugh
Account Director:Orla Mateer
Account Executive:Christy Madden
Planning Partner:Gareth Ellis

Carlsberg: Beer Beauty

Direct Marketing, Design
Carlsberg

Advertising Agency:CP+B, Copenhagen, Denmark
Creative Director:Kristoffer Gandsager, Markus Lindsjo
Managing Director:Mathias Birkvad
Senior Art Director:Mark Rif Torbensen
Senior Copywriter:Gustav Johansson
Designer:Signe Bjerregaard, Mattias Nordenham
Art Director:Kris Bengtsson
Project Manager:Sofia Brockenhuus-Schack

First Words: The ‘Active Shooter’ Is Never Far Away

How the rampaging gunman became a defining feature of 21st-century American life.

Yahoo Promotes a New Content Studio to Marketers at Cannes


With an imminent sale of its core assets looming, Yahoo said Monday at Cannes Lions that it’s increasing the emphasis on branded content creation with an initiative called Storytellers. Brands including JetBlue, Dasani and Farmers Insurance have signed up, according to the company.

Storytellers is a content marketing studio for brands and agencies that gives them access to the company’s editorial team as well as its 165 billion daily data points and native-like advertising through Yahoo Gemini, the company’s programmatic marketplace, according to Yahoo. Storytellers will also offer services such as content consulting, workshops, premium video development, access to social-media influencers, distribution and metrics.

The program appears to be a marshalling and rebranding of existing capabilities more than a creation from scratch.

Continue reading at AdAge.com

Gaucher: Dragon, Volcano, Wasp

Print
Gaucher

Type 1 Gaucher Disease is a Lysosomal Storage Disease characterised by musculoskeletal problems and bone abnormalities. We wanted to give patients a chance to take part in a study that focuses purely on bone pathology. Likened to a ‘heart attack in the bones’, the pain of Gaucher disease is unique. These executions use different techniques to show our patients’ distinctive pain in memorable yet empathetic ways. These concepts also nod to the study’s primary aim of investigating bone pathology in these patients. uses a ‘bone china’ execution to illustrate the fragility of sufferers’ bones, and show the pain they experience within a detailed design.

All UK licensed medicine communications must abide by the Code of Practice. No claims can be made that are unsubstantiated by references, no hanging comparisons are allowed and no use of the definitive article.

Advertising Agency:Langland, Windsor, United Kingdom
Executive Creative Director:Andrew Spurgeon, Brendan Haley, Taylor James
Creative Group Head:Dennis Field
Senior Copywriter:Vickie McGee
Senior Designer:Lee Walsh
Group Account Director:Kate Jones
Account Manager:Fiona Berry
Account Executive:Hamish Clark
Senior Producer:Claire Martin
Business Development Director:Andrew Hall, Taylor James

GSK Zentel: Slums Housing Colonies for Worms


Design, Print
Gsk

Patients and doctors are both aware of worms but still ignore them – so both need focus. Worm infestation affects 1 in 2 Indians, with treatment limited by understanding, not affordability. So, doctor reach was equally wide–GPs (family physicians), consulting physicians and paediatricians with no limitations on consulting fees/demographics.

In India, prescription drugs can only be promoted to doctors. This communication is governed under the Drugs and Cosmetics Act and a self-controlled industry body – ASCI. Doctor-patient communication is also governed by MCI’s ethics policy, which prevents doctor endorsement of brands but allows unbranded information/diagnosis.

Worm infestation is so prevalent in India – 1 in 2 Indians have it – that it is taken for granted or ignored, even though it has serious long-term impact like fatigue, weight-loss, malnutrition and anaemia resulting in poor cognitive function, language and motor skills. This is in spite of long-term government and WHO focus, including a national deworming program. In India, what better way to visualise the worms encroaching, living in, and damaging the intestine than the ubiquitous slums (housing colonies). More than 68 million people live in slums in India, about 20% of the urban population, so Indians are familiar with slums. For anyone with the right cultural context, the similarities are uncanny – slums set up overnight and stay forever, growing in any available shape and space, just like worms in the intestine.

Advertising Agency:Medulla Communications, Mumbai, India
Managing Director:Mr. Praful Akali
Chief Creative Officer:Mr. Amit Akali
Creative Director:Mr. Vinayak Shinde
Creative Supervisor:Mr. Ajay Takalkar
Art:Mr. Ajay Takalkar
Director:Mr. Apurva Parikh
Pharma:Mr. Apurva Parikh
Senior Specialist:Ms. Tanvi Parkar
MedicoMarketing:Ms. Tanvi Parkar
Art Director:Mr. Prashant Hande
Content and Creative Director:Mr. Huzefa Roowala
Design Agency:Cocktail Art

How did a non functioning app end up on the Cannes Lions shortlist?

In the Cannes Lions promo and activation shortlist the judging rules are simple: they’re judged on 20% strategy; 30% idea; 20% execution; and 30% impact & results. The rules regarding scam ads are also simple, spec ads are not allowed. In the case of print it is as simple as having the print ad run somewhere, in the case of an app… Well maybe it’s OK if it’s just a concept app as long as it get tons of press? And if the app works in theory, but is not quite ready for prime-time yet?

The iSeaApp which is currently on the Cannes Lions promo and activation shortlist is a non-functioning app. The idea is possible to do, but this app isn’t actually doing it. Not right now. This didn’t stop Reuters, Wired, Mashable, CBSNews, Huffingtonpost, Newsweek, The Boston Globe and many more news outlets to write about the app though. Some sort of award for PR is deserved.

The idea is as simple to think up as it is technically resource intense to do. While the MOAS boats have drones that fly around scanning the sea, the app claims that satellites send sea images realtime to the app. The sea is spliced into sections and app users get a little piece of blue sea to scan for boats. If you find a boat you can flag it, and a rescue mission will be launched. Save the world! Download from the app store now! Satellites? Isn’t that a bit costly? Why yes, it can be. And why does the app want your passport number? Hmm? Also, it’s not original, Colorado-based satellite company DigitalGlobe uses crowdsourcing in their project Tomnod to identify earthquake damage, population mapping, vehicles and other stuff around the globe.

iSea App Help Find Migrants at Sea

MOAS (Migrant Offshore Aid Station), a Malta registered charity, actually do save migrants that are sailing the seas in dangerous vessels. This is good, because it relieves the overworked and underpaid Greek, Maltese, Libyan, Turkish and Italian coast guards and several other countries rescue charities. What would be even better, of course, is if people didn’t cram onto small boats and risk theirs and their children’s lives just to be able to claim asylum in EU once they touch EU territory. I would also like peace on earth, ktx.

MOAS does have drones and two ships, the M.Y. Phoenix and the Responde, active in the search for migrants. Together these drones and ships cover 2.5 million km² of sea in a 9 hour span. Monitoring all that blue is impossible for the crew alone. This is when Grey Singapore stepped in and Low Jun Jek, executive creative director, says the idea was simply to “crowdsource the monitoring of the vast seas through satellite images and the millions of smartphone users around the world.” I think I found a buzzword bingo being filled. It’s not a bad idea, it’s just not actually being done.

When you hit up the website iSeaapp, you’ll find that the login doesn’t work, and was never intended to. The login function only has one response, and that is “Invalid Username / Password!”

$(‘#log-in’).on(‘submit’, function () {
alert(‘Invalid Username / Password!’);
return false;
});

But to be fair, logging in on the website isn’t the same as using the app. What happens when you use the iPhone app? The app has been updated on a near daily basis since it went live in April, so this all depends on which version you have. A lot of people have noticed that they’re getting a static image of the sea, the same as used in the iTunes app description. The bigger question is, why use the crowd of humans and not some hyper-sensitive image recognition software on the live drone feed being gathered by MOAS? Oh right, for the virtual signalling feelgood factor, because humans talking to each other about this app will do more for the migrants who survive the passage than a computer speedily flagging areas that may contain boats in danger. This is high level PR. Very clever.

We’ve reached out to Cannes Lions to get an official statement regarding this entry in the promo and activation category but have not heard back yet. It’s far more likely that DDB Berlin’s “check it before it’s gone” wins in this category, as the removal of the naked breasts from Facebook and Instagram was the entire point. It ‘didn’t work’, as Facebook bans nipples, and that was the whole idea.

It’s not a bad idea, it’s just not actually working. We should just make an award for best case studies of ideas and call it a day at this point.

To be clear; MOAS accepts donations and takes Reuters journalists with them out to sea to help save migrants. They are actually scanning the sea for migrants, just not with this app. At least not yet. As it says in the Wired article, they need to get it financed, hopefully this will be solved before the Android version goes live.

“The app is currently reliant on access to satellite images from a select group of partners, and there is a cost in taking and processing them, admits Low. But he the app will “showcase the power of the idea” and perhaps drum up more financial support.”

Off coast of Libya @moas_eu ship Topaz Responder. Sea too rough for migrants to attempt crossing #migration pic.twitter.com/17fMosxFRh— Darrin Zammit Lupi (@darrinzl) June 19, 2016

A Jeep Wrangler Gets a Crazy Desert Stunt Drive in Pennzoil's Latest Engine Test

Pennzoil—if it’s good enough to keep an engine cool while tearing through the desert in a souped-up Jeep Wrangler, it’s probably good enough for commuting to work in your late-model sedan.

read more

iSea app – Help find migrants at sea with this app (case study) 2016- Singapore

The idea of the MOAS app, created by Grey Singapore, is to help find migrants at sea by looking at realtime satellite images of the ocean. Except it’s not realtime, nor a functioning app at all. But t’s the thought that counts, they say.

Essay: What Do This Season’s Political Books Tell Us About the Election?

The divisions on display in this election year are not unique in our history. This season’s books offer insights on how we got here.

Riddhi Parekh : Photography

DesiCreative
DesiCreative – Indian Advertising Creative Blog and Community (beta 1.4)

Riddhi sees frames everywhere, not just because she is a photographer, she always saw them. She see people, their expressions, gestures, the play of light and shade and a profusion of colours – slivers of magic, and she try’s to capture it all! The opportunities are endless for someone who sees an image in any situation.

Having begun as a clueless teenager Riddhi found my true calling only after having dabbled in the Ad world. Her tryst in photography began with assisting ace photographer Nrupen Madhvani and her resolve to become a name to reckon with became even strong. After which she joined Shari Academy of Digital photography where my passion grew by leaps and bounds and she went onto becoming the Master Craftsmen of the year and also bagged the Best Fashion Photography and Food Photography Award, Luxoculus.

Why are you a photographer?
I am a photographer because I am terrible at math and have an attention span of a gold fish.

Do you remember any decisive moment when you felt ‘I want to be a photographer’?
Yes, very vividly actually. It was my 6th month in my first proper job in an advertising agency as a brand planner and I was cribbing about how much I hate it to one of my colleagues. I was always good at arts and wanted to get into the creative side of ad making. I was trying desperately to find a way to get in to graphic designing and it seemed more and more impossible everyday. My colleague asked me a simple question: If there were no criteria or any restrictions what would you want be? I answered either a pilot or one of those cool National geographic wild life photographers. He said here you go bingo. Not sure about the pilot bit but photography seems like a good transition. And the next day I was researching about photography and within next 2 months I left my job and became a photographer.

Were there any particular role models for you when you grew up?
I decided to be a photographer pretty late in life so it wasn’t a story of oh I wanted to be a photographer since I was 14.

Who was the most influential personality on your career in photography?
A lot of people and legendary photographers and artists inspire one as you move along but the most influential I would say is my mentor and my teacher Nrupen Madhvani whom I assisted before I went on to study photography. What he instilled in me as a photographer is priceless. His way of seeing the world and photographing, his passion and discipline guides me till date. I still go back to him time and again to get my work reviewed.

How has photography changed over the course of the last couple of decades? Is execution/art direction more important than it used to be?
A lot has changed and a lot is coming back. It’s like fashion you see. The transition from film to digital was huge. Photography now is so accesible and its so easy to be a photographer. Phones are promoted as camera phones and Instagram and Facebook are more impactful than magazines.

Also its more about digital image making than photography. It’s easier to creative more whimsical backdrops on photoshop than to recreate things on sets.Things have changed for sure but a lot of people are moving back to the older and simpler ways of shooting.

What do you think of the current state of Print Advertising photography in India? Is it at par with the work done worldwide?
Most of the work now is going digital. The ratio is quite staggering and I don’t think its just India its all over the world that print media is sinking. Having said that we do not lack talent in India. The artists here can create the same quality of work created abroad but the biggest difference is no one wants to spend money on good ideas and creativity. It’s all about instant gratification now. There aren’t many ads, jingles or imagery that I are iconic anymore like they used to be 10 years ago.

Where do you get your inspiration?
Photography is a visual medium and everything that I see on tv or in books, magazines, paintings, travel; all of it stimulates your visual senses and works as an inspiration. Though one thing that really gets my creative juices flowing is Travelling. I travel every year twice for 2 months to some new country or a new city. Every new place I visit is so unique and culturally rich that it automatically creates a bank of visual ideas.

Was there any time when you wanted to quit photography?
I think that happens every 2 months to me. It’s not more like I want to quit photography but I am stuck and uninspired or having a mental block. The more of commercial work you do the less you are creating something new and unique. You tend lose a sense of your photography voice fulfilling the clients needs while they use you merely as some one who operates camera and nothing more. But I always bounce back cause there is nothing more I love or enjoy doing than photography.

Any current work in Indian Advertising that you find exciting? Especially Print?
I have personally loved all the Fevicol ads Tv or print. It will always be one of my favourite.

Whats your dream project?
My dream project would be documenting amazing cultures and location all across the world and infusing an element of fashion or fine art into it.

Who would you want to spend a dinner with?
Salvador dali. Always found him to be like a mad scientist but with a heart of an artist. We would dine in a table setting in the middle of a lake filled with swans and eat eggs for dinner.

Whats on your iPod?
Randomness. I have extreme mood swings so you can find some old world charms like Sinatra to 90’s Bollywood dance numbers for the happy days.

Mac or PC?
Once a Mac always a Mac.

Whats your Twitter Handle?
@riddhiparekh but it would only say refer to my Instagram account riddhi_parekh

Riddhi can be contacted via her website here.

Riddhi Parekh Photography

Riddhi Parekh Photography

Riddhi Parekh Photography

Riddhi Parekh Photography

Riddhi Parekh Photography

The post Riddhi Parekh : Photography appeared first on DesiCreative.

Zing! 40 – Que Fim Levou o Blog?

zing40_cover_b9

Por quase uma década, os blogs foram a plataforma de expressão pessoal que lançou diversos nomes no cenário mundial. As redes sociais e o Youtube tiraram esse protagonismo dos blogs. Quem nos ajuda a destrinchar esse assunto é o sempre divertido e certeiro Guga Mafra, o convidado da semana do Zing! E quando o Guga […]

> LEIA MAIS: Zing! 40 – Que Fim Levou o Blog?

Brainstorm9Post originalmente publicado no B9
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Nike celebra o título do Cleveland Cavaliers dizendo que “valeu a pena esperar”

Nike

LeBron James cumpriu sua promessa e acabou com a espera de 53 anos do time de Ohio

> LEIA MAIS: Nike celebra o título do Cleveland Cavaliers dizendo que “valeu a pena esperar”

Brainstorm9Post originalmente publicado no B9
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Mediator: Mike Allen, Politico’s Newsletter Pioneer, Is Handing Over the Reins

Mr. Allen’s Morning Playbook column influences many in Washington and beyond, but now he’s moving on — mid-election, at that — to a new project, leaving his legacy to be refreshed by the new guard.

Cannes Lions 2016: As apostas da equipe B9

Cannes Lions 2016

O festival já começou. Acompanhe a nossa cobertura.

> LEIA MAIS: Cannes Lions 2016: As apostas da equipe B9

Brainstorm9Post originalmente publicado no B9
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Cannes Lions 2016: GP for Good vai para “Tetas x Tetas” da David de Buenos Aires

Tetas

Campanha fez provocação sobre a censura de seios femininos nas redes sociais

> LEIA MAIS: Cannes Lions 2016: GP for Good vai para “Tetas x Tetas” da David de Buenos Aires

Brainstorm9Post originalmente publicado no B9
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Advertising: Tribune Publishing’s New Name, ‘tronc,’ Puzzles Marketing Experts

Companies are moving toward real-word brand names that won’t be automatically corrected on smartphones, adding to the reasons “tronc” was a surprising choice.

Books of The Times: Review: Natashia Deón’s ‘Grace,’ a Tale of Slavery, Its Ghosts and Legacy

With her debut novel, Ms. Deón has announced herself beautifully and distinctively. She has delivered something whole, and to be reckoned with, right now.

Parqueo Publico: Faces

Print
Parqueo Publico

Advertising Agency:FCB Crea Costa Rica
Creative:Carlos Arias
Art Director:Carlos Arias
Copywriter:Fernando Solórzano
Graphic Designer:Allan Sánchez
Illustration:Allan Sánchez

Heineken: The Search – Karl LaMorte, The Search – Chase Lovage


Film
Heineken

Advertising Agency:Rothco, Ireland
Art Director:Stephen Rogers
Copywriter:Alan Kelly
Executive Creative Director:Alan Kelly
Finished Art:Gerry Cole
Account Director:Eva Nash
Business Director:Aoife Moore
Strategy:Shane Doyle, MCCP
Digital Strategy:Kathleen Healy
Music:Mutiny
Production Company:Radical Media
Director:Steve Miller
Executive Producers:Greg Carlesimo, Ben Schneider
Producer:Alexis Carlesimo
Post Production:Spot Welders NYC, Screen Scene Dublin
Producers:Amanda Slamin, Peter Greene
Postproduction supervisor:Allen Sillery
Editor:Dick Gordon
Sound:Mutiny