(TrendHunter.com) Following up her Fall/Winter 2016 series that was spotlighted on the iconic Naomi Campbell, the latest Rihanna collection reportedly draws on 18th century France, Versailles and Marie Antoinette,…
Philadelphia-based digital agency Bluecadet, which specializes in museum and non-profit clients, launched a New York office. Lillian Preston will serve as managing director of the office, with Brett Renfer holding the role of creative director and Ben Bojko serving as the office’s creative technology director.
The trio has been working with Bluecadet in Philadelphia for the past six months or so, AdAge reports, on projects for clients including the New York Public Library, the Bill & Melinda Gates Foundation and The Smithsonian National Air and Space Museum.
Preston joined Bluecadet as an executive producer last November, following eight months as director, ITP Innovation Lab at NYU. Before that she spent nearly four and a half years with Ralph Appelbaum Associates in New York, as a senior producer and then head of production. While with RAA, she worked on projects including the 2012 London Olympic Gardens and IBM THINK Exhibit at Lincoln Center and EPCOT. She is also currently an adjunct professor for NYU’s Tisch School of the Arts – Interactive Telecommunications Program.
Renfer joined Bluecadet in May after nearly two and a half years as director, experience design for New York-based brand consultancy Collins. Prior to joining Collins he spent nearly six years as a senior technologist for architecture and design firm Rockwell Group, tasked with conceptualizing and designing temporary architectural scale interactive environments as part of Rockwell Group’s Interaction Lab. Before Rockwell Group he spent two years as an interactive designer with Georgia agency Terrance Sullivan.
Bojko joined Bluecadet as a creative developer last December, following a year and a half as a senior developer with design studio potion. Prior to potion he spent nearly four and a half years at Big Spaceship, working his way up from technologist to associate technical director, spending a year in the latter position before leaving for potion.
The stars have been coming out in droves in an effort to encourage U.S. citizens to vote this upcoming election in campaigns from HBO/Rock the Vote, YouTube and Save the Day, the campaign from Joss Whedon starring a self-proclaimed “shit-ton of famous people.” Now, Anonymous Content, the production company behind Oscar-winning films “Birdman,” “Spotlight” and “The Revenant” and many celebrated ads, has mobilized an army of stars for another voter initiative, #VoteYourFuture.
Top Hollywood directors David O. Russell (“Joy,” “American Hustle”), Alejandro Gonzalez Inarritu (“The Revenant,” “Birdman”), Armando Bo (“Birdman”), Tom McCarthy (“Spotlight”) and Mr. Whedon went behind the camera to direct a campaign starring celebrities including Julia Roberts, Robert DeNiro, Samuel L. Jackson, Luiz Guzman, Harvey Keitel, Leonardo DiCaprio, Kendall Jenner, Christian Slater, Rami Malek, Moby, Martin Sheen — as well as social media stars Hannah Hart, Anna Akana and Melvin Gregg. To boot, the effort also tapped top cinematographers Rodrigo Prieto (“The Wolf of Wall Street,” “Argo”) , Emmanuel “Chivo” Lubezki (“Gravity,” “The Revenant”) and Matthew Lloyd (“Daredevil”) on photography.
Many of the actors appear in an anthem film that debuts today, and each will feature individually in nearly 100 separate videos that will be distributed through their own social channels until Nov. 8. Unlike the “Save the Day” film, which was light-hearted and satirical in its approach, the new effort takes a more somber tone as the celebrities express their feelings on issues that matter to them and on the importance of voting. Among the entreaties include Moby speaking about gun control and witnessing firsthand the grief of the families of Sandy Hook victims, Donald Faison on his fear for his sons, Kathy Griffin on LGBT rights, Wilmer Valderrama and Rami Malek speaking of struggles of their families around employment.
(TrendHunter.com) Art-inspired fashion has always been prominent on the runway it seems, however, unless one knows what they’re looking for, it’s not always easy to spot.
In order to make the ways in…
How do you improve a glass of milk?
By improving the glass of milk. (Ba dum—tss!)
With help from DDB Canada, the Dairy Farmers of Canada introduce The Milk Glass™. Because you don’t want to drink milk from just any old thing, and certainly not a clumsy mug that’s as adapted to coffee as it is to dairy.
Lithuanian marketing professional Lukas Yla arrived in San Francisco this summer with a sweet plan to make a name for himself in what may well be the world’s most oversaturated job market.
Yla was able to get his literal foot in the door at 10 of the Bay Area’s top ad agencies and 30 tech companies without hyping a new app or a viral campaign or even a portfolio. He did it with one not-so-weird trick—free donuts.
(TrendHunter.com) Crafted by hand by artisans in Nepal, the ‘KittiKubbi’ cat bed caves are created to offer a cozy, design-conscious space for felines to hang out.
Cats are naturally inclined to nest in…
Independent agency Chandelier Creative promoted Alanna Lynch to the role of managing director and welcomed four new hires. Alexandre Stipanovich joins the agency as culture director; Zachary Sniderman as content director; Justin Solitrin and Adam Okrasinski as associate creative directors the latter focusing on the agency’s Old Navy account.
Lynch joined Chandelier Creative as an account director in October of 2012, and has worked on clients such as Virgin Cruises and Target. In her new role, she will be tasked with overseeing and managing day-to-day responsibilities for the agency’s full client roster. Before joining Chandelier Creative Lynch spent a little over a year as an account director with M&C Saatchi, following a year and a half in that role at Ogilvy & Mather, where she focused on the agency’s St. George Bank account. Prior to that she spent nearly two years as a senior account executive with Adcorp, working with clients including Grace Hotel Sydney, Colliers International, Landmark and DEXUS Property Group.
Stipanovich joins Chandelier Creative in the newly created position of culture director, tasked with driving the culture arm of the agency via influencer partnerships and programming Chandelier’s spaces in New York City, East Hampton and Los Angeles. He joins the agency following a period as a freelance reporter and managing editor of Alldayeveryday. Stipanovich also arrives with a PhD in neuroscience and experience at the Yale School of Medicine.
As content director, Sniderman will be tasked with developing and driving growth for the agency’s content and digital division. He arrives at Chandelier Creative following launching and serving as director of content strategy for New York-based food startup Maple New York. A former journalist (contributing to New York Times Magazine, GQ, Esquire and others), Sniderman also previously spent time at St. Clair Creative, where he worked with clients including The Senator Restaurant and Royal Canadian Honey and Berger & Wild, where he oversaw digital content strategy.
Solitrin arrives at Chandelier Creative after a brief period as a freelance creative director. Before that he spent four and a half years as a creative director with Totem Creative in New York, following nearly a year as an art director with Schawk!, a global brand development company also located in New York. Prior to that he spent two and a half years as production manager for Inked Magazine. That followed nearly a year as a creative director with Factory Magazine and a year and a half in that position with Tokion Magazine before that. While with Tokion Magazine, he was responsible for strategic partnerships in events and advertising with brands including Levi’s, Ray Ban, Swatch, Onitsuka Tiger and Bombay Sapphire.
Okrasinski arrives at the agency following nearly a year and a half as a freelance creative director, working with clients such as Laird + Partners and Michael Kors, and agencies including Stink Digital, iHeart Media and MKG. Before that he spent nearly two years as an associate creative director with Armani Exchange, directing design, strategy, and production of all brand related creative assets. That followed nearly a year and a half as a creative lead at Digitas New York and a year as an associate creative director with Big Fuel Communications before that.
No word on whether all these new staffers will get to go to Japan this year.
In the past few years, countries across the world have experienced a rapid rise in support for political outsiders. The phenomenon includes those on the left, like Labour leader Jon Corbyn in the U.K. and former Venezualan president Hugo Chavez, and those on the right, including Donald Trump in the U.S., National Front president Marine Le Pen and Nigel Farage, the former Independence Party leader in the U.K. who campaigned for Brexit, or Britain’s exit from the European Union.
And it’s not all Twitter hype and news website click-bait: The average share of the vote for populist parties in elections has more than doubled globally since the 1960s, to around 13.2% from around 5.1%.
With significant crossover between the worlds of marketing and politics — at a simplistic level, both appeal to their target audiences with what they hope to be distinctive positioning and compelling messages — this rapid growth provides plenty of learnings for marketeers. Below we outline four of the best.
Kirobo será lançado no mercado japonês em 2017
> LEIA MAIS: Toyota cria robô que age como um bebê para fazer parte da sua família
Mekanism launched its “It’s On Us” sexual assault PSA campaign for the United States government over two years ago, and the agency has enlisted its fair share of celebrities over the course of the campaign. For its latest effort, the agency looked to Adam Devine (Workaholics, Modern Family, Pitch Perfect) and vice president Joe Biden.
Hosted on Funny Or Die, the effort sees Devine and Biden go undercover as college students to spread an important message. After stumbling to keep their cover (Biden mentions the White House and the president while Devine tries perhaps a little too hard to use internet lingo), the pair reveal their true identities to address the issue.
Devine forgets what he’s supposed to be talking about, but soon catches up to Biden. The message, really, is very simple: 1 in 5 women and 1 in 16 men will be sexually assaulted before graduating college, and it’s up to students to change the culture and bring those numbers down.
It’s an important message and one that current and future college students need to hear discusssed. Unfortunately, the spot, which clocks in at three and a half minutes, takes a little too long to get to the point. That might be more forgivable if the attempts at humor didn’t almost invariably miss the mark. Still, there is a certain charm in seeing a political figure like Biden in this kind of format, even if it doesn’t live up to Barack Obama and Hillary Clinton‘s appearances on Funny Or Die’s Between Two Ferns.
Did you know that the energy sources of the future could involve transforming old coffee grounds into low-carbon biofuel, or harnessing kinetic energy from human footsteps? These are just a couple of the themes featured in this week’s top video campaign, Shell’s “#makethefuture” effort using animation and a rendition of American Authors’ 2013 hit “Best Day of My Life” performed by Jennifer Hudson, Luan Santana, Pixie Lott, Steve Aoki, Tan WeiWei and Yemi Alade.
Other new video campaigns on this week’s top ten list include “Roadtrip,” a short vignette from H&M featuring Kevin Hart and David Beckham; an Audi ad that was released in time to capitalize on interest around the first presidential debate; and a promotion for Pizza Hut’s grilled cheese stuffed crust.
A new campaign video from Lane Bryant that promotes body positivity also got 6.4 million views, and Microsoft, T-Mobile, Apple, Lyft and LG made repeat appearances.
Drones fazem de tudo. Tiram fotos, resgatam pessoas, gravam vídeos e são capazes de executar toda a sorte de acrobacias aerodinâmicas. A operadora Norueguesa Telia colocou essa capacidade à prova no seu novo comercial, que você pode assistir acima. No anúncio, os drones são usados para montar e decorar um delicioso bolo de três camadas, […]
> LEIA MAIS: Drones montam e decoram um bolo em anúncio da operadora Telia
(TrendHunter.com) The top October 2016 gaming ideas explore a range of concepts in form, entertainment, education as well as condensing games into a format that’s as compact as they can be.
As gamers look for…
Anomaly launched a new Halloween spot for Kit Kat, featuring Chancellor Johnathan Bennett, better known as Chance the Rapper. In the punning spot, Chance meets Chance the Wrapper, which is just his face on a Kit Kat wrapper.
After getting Chance the Rapper’s attention, Chance the Wrapper sings a version of the Kit Kat jingle, which turns thirty this year (about seven years older than Chance). The spot concludes with Chance the Rapper declaring, “That’s a good song.”
That’s pretty much all there is to it, but then what more do you really need? The Halloween-themed spot is simple fun, an ode to the classic jingle supported by a memorable pun. That’s something most audiences can appreciate, fans of Chance the Rapper or not. And if even if you don’t care for the approach, there’s a good chance you’ll remember it the next time you see a Kit Kat wrapper.
Looking to finally enter the smartphone hardware business, Google is going after a familiar foe: Apple.
The maker of the Android mobile operating system unveiled new smartphones on Tuesday: the Pixel and a larger Pixel XL, that compete head on with the iPhone.
The Pixel phones feature thin aluminum and glass frames that come in black, silver, or blue (a limited edition for the U.S.). The smaller model, which starts at $649 for 32-gigabytes of storage, features a 5-inch screen, while the bigger model, priced at $769, has a 5.5-inch screen to match the iPhone 7 Plus. A 128-gigabyte storage option is also available, with the larger device topping out at $869 — also in line with the equivalent iPhone 7 Plus.
Working with toddlers in commercials can be tough. Sometimes, the wee thespians just can’t take direction. In these cases, alas, the kid most definitely does not stay in the picture. David Bernstein, chief creative officer at The Gate Worldwide, and his team faced just such a challenge as they shot new spots for iconic children’s clothing brand Garanimals.
The apparel has been sold exclusively by Walmart since 2008, and the new ads introduce the line “Big on cute. Small on price,” because Garanimals items start at less than $4.
“Everybody remembers Garanimals” from the brand’s 1970/’80s heyday, Bernstein says. In that era, the colorful tops and bottoms could be easily mixed and matched by youngsters based on which critters appeared on the items’ hangtags. (Those tags were discontinued when the label began specializing in clothes for newborns and the 5T set.)
“Even first-time moms have probably been exposed and maybe even have worn the brand as a child,” says Bernstein. “Part of our target audience live in multi-generational homes. The media strategy and selected programming allows one generation to remind the other about the brand and to speak of its virtues.”
To facilitate production when working with kids, “You always cast several actors for the day of the shoot,” he adds, “because they don’t always want to act on the day of the shoot.”
Yet not everyone is waiting until the votes are in. Kmart began airing an ad starring characters resembling Santa and an elf last month. The 30-second commercial, which promotes the long-struggling brand’s layover program, has already aired roughly 1,200 times, according to real-time TV ad tracker iSpot.tv, which lists the creative agency as Draftfcb. Sears-owned Kmart typically begins its holiday campaigns in September.
Working with toddlers in commercials can be tough. Sometimes, the wee thespians just can’t take direction. In these cases, alas, the kid most definitely does not stay in the picture. David Bernstein, chief creative officer at The Gate Worldwide, and his team faced just such a challenge as they shot new spots for iconic children’s clothing brand Garanimals.
The apparel has been sold exclusively by Walmart since 2008, and the new ads introduce the line “Big on cute. Small on price,” because Garanimals items start at less than $4.
“Everybody remembers Garanimals” from the brand’s 1970/’80s heyday, Bernstein says. In that era, the colorful tops and bottoms could be easily mixed and matched by youngsters based on which critters appeared on the items’ hangtags. (Those tags were discontinued when the label began specializing in clothes for newborns and the 5T set.)
“Even first-time moms have probably been exposed and maybe even have worn the brand as a child,” says Bernstein. “Part of our target audience live in multi-generational homes. The media strategy and selected programming allows one generation to remind the other about the brand and to speak of its virtues.”
To facilitate production when working with kids, “You always cast several actors for the day of the shoot,” he adds, “because they don’t always want to act on the day of the shoot.”
Dollar Shave Club launched an in-house campaign promoting Wanderer, its new body wash line by mocking the over-the-top ads of competitors.
You know the ones. While the approach may have fell out of favor in recent years, certain brands have certainly been guilty of their fair share of ridiculous and/or hyper-sexualized brovertising in the past.
Dollar Shave Club’s main pitch for its latest product is as an alternative to such brands. In “Massive Hero,” for example, a guy is out shopping with his girlfriend, when she suggests he pick up some Massive Hero bodywash. A living example of the product’s target demographic, a muscle-bound, possibly steroid-enhanced meathead, grabs a bottle and squeezes it until it bursts all over the floor. That’s when the voiceover asks, “How about a shower product that’s more you?” and suggests Wanderer as a less-testosterone-fueled alternative.
Other spots take a similar approach, with “Deep Midnite” taking aim at a product promising “24-hour pheromone release” and the club-hopping jerk who sprays it down his pants and a Neon Groove brand offering “relentless scent bursting” purchased by a guy who shotguns a bottle of water.
The approach works for the brand, as the pivot to the promise of “honest fragrances like mint and cedar” sells the idea that Dollar Shave Club offers a more grown up, down-to-earth product. There’s also the implicit argument that the brand doesn’t rely on gimmicky ads the way certain others do. While there’s a certain irony in that message being delivered in an advertisement, the in-house productions sell the brand’s no-nonsense approach well, making the alternatives look a bit silly in the process.
Credits:
Client: Dollar Shave Club
CEO: Michael Dubin
Assistant to CEO: Kristina Kovacs
CMO: Adam Weber
Assistant to CMO: Alex Danzer
VP of Brand Marketing: Nick Fairbairn
Director, Brand Marketing: Chrissy Cartwright
Sr. Manager, Brand Marketing: Oscar Weis
Agency: Dollar Shave Club In House
Creative Director, VP of Creative: Alec Brownstein
Creative Director: Matt Knapp
Creative Director: Matt Orser
Senior Producer: Matt Sausmer
Producer: Candice Vernon
Agency Director: Raechelle Hoki
Project Manager: Christine Melloy
Project Coordinator: Kristen Moran
VFX: Peter Quinn
Business Affairs: Ingenium
Legal Affairs: Allison Buchner & Vahid Redjal
Production Company: AMD Films
Directors: Spielbergs
DP: Zachary Galler
Producer: Clint Caluory
Editorial: Arcade Edit
Managing Partner, Executive Producer: Damian Stevens
Producer: Rebecca Jameson
Editor: Sean Lagrange
Animation: The Craft Shop
Score by: John Vella Music
Color Grade & Finishing: Moving Picture Company
Colorist: Ricky Gausis
Flame Artist: Mark Holden
Executive Producer: Mike Wigart
Executive Producer: Meghan Lang
Producer: Colin Clarry
Sound Mixing: Beacon Street Studios
Producer: Kate Vadnais
Associate Producer: Christa Jayne Sustello
Mixer/Sound Designer: Rommel Molina
Assistant Mixer: Aaron Cornacchio
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