Com novo aplicativo, banda mescla as novas tecnologias de vídeo
> LEIA MAIS: Conheça a casa dos personagens do Gorillaz usando realidade virtual e aumentada
The job of studio chief has become corporate in the extreme, one reason Hollywood is very predictable when it comes to who gets hired for those jobs.
San Francisco integrated agency Duncan Channon welcomed MJ Deery as director of its new social purpose practice. In the newly-created role, Deery will be tasked with creative and strategic leadership of the new practice, developing social purpose programs and strategies for clients while reporting to Duncan Channon partner, chief creative officer Michael Lemme.
“In an increasingly connected world and our current political climate, a brand’s values, actions and social impact matter more to consumers and employees than they arguably ever have,” Lemme said in a statement. “We’ve always pushed for brands to matter more by building deeper, trusting relationships between our clients and their customers, so creating a dedicated purpose practice is a natural evolution for us. For our clients, it’s no longer optional or a side project. It’s a vital component of a healthy brand.”
“We’ve always marveled at MJ’s gift for strategic insight, creative leadership and artful storytelling, but it became clear we needed to create a purpose-driven role for her when she revealed a deep personal passion and understanding of how consumer expectations, social media and politics are transforming the role of brands as citizens,” he added.
Deery previously worked with Duncan Channon as a freelance creative director and has also freelanced with agencies including mono and Chemistry Club and Whirled, as well as client-side with Samsung. Before going freelance in April of last year, she spent two years as a creative director with Mekanism, where she worked with clients including Nordstrom, Jim Beam and Alaska Airlines. She has had additional client-side experience as a copywriter with Gap and Levi’s. Deery earned an MFA in creative writing and literature from Emerson College and has published short fiction in various literary journals.
“The agency’s campaigns to call out big tobacco for the California Tobacco Control Program and to herald doctors who actually listen for John Muir Health showed me they make work that matters,” Deery said in a statement. “Duncan Channon was the first agency I pitched to create this role because of their work and our shared perspective on how human connections, transparency and values shape our experience.”
Veteran creatives Hunter Simms and Thompson Harrell have launched their own independent agency, named Hunter S. & Thompson after the “nomenclatural coincidence” of their combined names.
Of course, the moniker very closely resembles that of the late “Fear and Loathing in Las Vegas” author whose ashes were famously fired out of a cannon by some guy named Jonny (who spent $3 million for the privilege).
The agency’s website describes Hunter S. & Thompson’s focus as “design, tech and purpose.” It also includes many projects the two partners have worked on while employed by other organizations (as these things tend to do). Examples include Office Max’s Elf on the Shelf, a New York Times app and a bunch of work for Spotify.
Simms joined AKQA as a creative director last August following two years as an associate creative director with Razorfish. At Razorfish he worked with clients including Dove, Mercedes-Benz, Spotify and Smart Car (hence the portolio). Before joining Razorfish, he spent around four years as an associate creative director with Tribal Worldwide, working with brands such as Reebok, the NFL and Pepsi.
Harrell served as an art director at BBH New York for three years beginning in 2006, working with clients including AXE, Johnnie Walker, Miller Lite, Levi’s, Vaseline, All, LG, Miller Lite, SoBe, and British Airways, before leaving to go freelance in 2009.
During that period he worked with agencies including R/GA, TBWAChiatDay, BBDO and Deutsch, and clients such as Nike, American Express, Nissan, LG and Jameson, later spending a year as in-house creative director at tech startup Skillshare Company before once again venturing out on his own.
So what makes Hunter S. & Thompson unique? They do have an office in the same Lower East Side building that once housed the late Gawker. They’ve collectively won lots of plaudits, and yet they “remain humble, focused and ready to cross land, sea, air and Internet to work for you.”
We reached out yesterday hoping to hear more about their new venture but have yet to hear back. As Thompson himself once said, “I hate to advocate drugs, alcohol, violence, or insanity to anyone, but they’ve always worked for me.”
“Nos relate um problema e no?s vamos arrastar sua bunda pra fora da aeronave :)”
> LEIA MAIS: United Airlines ganha novo e sincero vídeo de segurança após expulsar passageiro de voo
Our weekly run-down of the most-viewed video campaigns as tabluated by Visible Measures deliberately bans movie and video game trailers because otherwise they would often swamp the chart.
But in a testament to the marketing muscle that goes into promoting big releases, movies often make their way onto our scoreboard anyway. Witness this week’s Viral Video Chart, which includes not one but two tie-ins for “The Fate of the Furious,” the latest installment in the mega-grossing “The Fast and the Furious” franchise. One helps out Comcast Xfinity with a pitch to consumers, and the other plays up Castrol motor oil (a pretty natural fit).
The rankings as always reflect not only “organic” views initiated by consumers who want to watch the clips but paid views that surface as pre-roll or other ad placements online.
Ad Age “Media Guy” columnist Simon Dumenco’s media roundup for the morning of Monday, April 10:
Toyota repackages long-planned investments to try to get on President Trump’s good side (No. 3). A group of Twitter users want to try to rework Twitter as a sort of co-op (No. 4). A veteran TV producer repositions Stephen Colbert — and it works (No. 5). And professional scold Bill O’Reilly suddenly has a big branding problem (Nos. 6 and 7). Anyway, let’s get started …
1. The front page of this morning’s New York Daily News:
We’re all aware kids play PlayStation or Xbox in their spare time. We may know that they play online with their friends. Some of us may know they sometimes watch gamers playing on YouTube. But for many of us, all this really means is that kids have too much screen time.
In fact, gamers are the most followed influencers on YouTube, where three of the top five YouTubers are gamers.
While marketers, parents and everyone else were heads-down trying to figure out what to post on Instagram or how to use Snapchat, gamers were amassing huge followings. From this phenomenon, a new industry emerged: esports.
Our weekly run-down of the most-viewed video campaigns as tabluated by Visible Measures deliberately bans movie and video game trailers because otherwise they would often swamp the chart.
But in a testament to the marketing muscle that goes into promoting big releases, movies often make their way onto our scoreboard anyway. Witness this week’s Viral Video Chart, which includes not one but two tie-ins for “The Fate of the Furious,” the latest installment in the mega-grossing “The Fast and the Furious” franchise. One helps out Comcast Xfinity with a pitch to consumers, and the other plays up Castrol motor oil (a pretty natural fit).
The rankings as always reflect not only “organic” views initiated by consumers who want to watch the clips but paid views that surface as pre-roll or other ad placements online.
Chipotle has been struggling to recover from drops in sales following a series of E.coli outbreaks at some of the chain’s restaurants in 2015.
In January of 2016, Chipotle ended its relationship with PR firm Edelman. Despite selecting Vice-owned Carrot as its social media agency of record the preceding month, the chain initially avoided choosing a creative agency of record, although it did work with CAA Marketing on “A Love Story” last July. Then in October, Chipotle announced it had bitten the bullet and launched a creative review. At the beginning of the year, the chain selected Venables Bell & Partners as its creative agency of record, with VB&P reportedly beating out finalists W+K, GSD&M and mono for the role in a review that initially included as many as 20 shops.
This week VB&P debuted its first work for the brand, enlisting comedians Sam Richardson (Veep), Jillian Bell (Curb Your Enthusiasm, Workaholics) and John Mulaney (The Oh, Hello Show) for a surreal campaign set inside a Chipotle burrito, where things get “As Real As It Gets.”
The comedians each seem to take a slightly different approach to the concept. Bell initially resists the “getting real” idea, lying and embellishing information about her “Husband,” before admitting she’s actually talking about the chiropractor she has an appointment with.
Mulaney discusses topics including his childhood fear of crowds, his sweater and upcoming book, while Richardson tackles his ornithophobia, distrust of balloons and other issues. Both are interrupted and disparaged by the burrito in the process.
It’s a bit of a strange approach for a variety of reasons, as you’d think living things inside of a burrito is the last thing Chipotle would want people thinking about. Yet it’s also open-ended enough to allow for a variety of iterations going forward, even if the initial efforts fall a little flat, like a vegetable burrito without guacamole.
“We set out to avoid all the conventions of fast-food advertising,”VB&P executive creative director and partner Will McGinness told Adweek in a statement. “Using humor and a commitment to telling it like it is, we cut through the clutter of confusing claims, limited time offers or farmers holding produce and created a campaign that is very true to who they are.”
Credits:
Client: Chipotle Mexican Grill
Agency: Venables Bell + Partners
Founder/Chairman: Paul Venables
Executive Creative Director: Will McGinness
Creative Director: Tom Scharpf
Art Directors: Amanda Younger, Avery Oldfield and Mark Lawson
Copywriters: Jimmy Burton, Adam Wolinsky and Eric Boyd
Head of Strategy: Michael Davidson
Senior Brand Strategist: Jake Bayham
Director of Digital Strategy and Analytics: Jeff Burger
Group Communication Strategy Director: Gavin Jones
Director of Integrated Production: Craig Allen
Producer: Gabby Gardner
Group Brand Director: Kammie Sulaiman Dascola
Brand Manager: Mikaela Kearns
Assistant Brand Manager: Ursula Reichle
Project Manager: Madi McCallum
Director of Business Affairs: Quynh-An Phan
Business Affairs/Talent Manager: Yelena Kompaneyets
Senior Traffic Manager: Jermelia Holling
Assistant Traffic/Business Affairs Manager: Malcolm Konner
Production Company: O Positive
Director: David Shane
Director of Photography: Maryse Alberti
Executive Producer: Ralph Laucella
Producer: Ken Licata
Production Designer: Maia Javan
Editorial Company: Arcade Edit
Managing Partner: Damian Stevens
Executive Producer: Crissy DeSimone
Head of Production: Kirsten Thon-Webb
Editor: Geoff Hounsell
Editor: Nick Rondeau
Assistant Editor: Gustavo Roman
Assistant Editor: John Gallagher
Producer: Alexa Atkin
Visual Effects: Timber
Creative Directors/Partners: Jonah Hall, Kevin Lau
Executive Producer: Sabrina Elizondo
Head of Production: Melody Alexander
Senior Producer: Tita Poe
Associate Producer: Brack Hightchew
Lead Flame Artist: Miles Kinghorn
Flame Artists: Chris DeCristo, Tim Miller, Chris Homel, Todd Mesher
Flame Assist: Austin Lewis
Comp Artist: Michael Loney, Jason Forster, Geronimo Moralez
Animator: Zach Carnes
VFX: Jeff Willette
Color: Company 3
Colorist: Dave Hussey
Color Producer: Liza Kerlin
Final Mix: Lime Studios
Audio Mixer: Zac Fisher
Audio Assistant: Lisa Mermelstein
Executive Producer: Susie Boyajan
Music: Human
Producer: Kamela Anderson
Composers: Gordon Minette, Matthew O’Malley, and Aaron Kotler
Creative Leads: Gareth Williams and Craig DeLeon
OOH Work
Agency Founder/Chairman: Paul Venables
Executive Creative Director: Will McGinness
Creative Director: Tom Scharpf
Design Director: Cris Logan
Copywriters: Jimmy Burton, Adam Wolinsky and Sharath Varghese
Head of Strategy: Michael Davidson
Senior Brand Strategist: Jake Bayham
Director Art Production: Jacqueline Fodor
Photographer: Maren Caruso (agent: DS Reps)
Retouching: Toby Moore, Versatile Studios
Retouching/Prepress: Pacific Digital Image
Group Brand Director: Kammie Sulaiman Dascola
Brand Manager: Mikaela Kearns
Project Manager: Jennifer Zhu
Digital
Agency Founder/Chairman: Paul Venables
Executive Creative Director: Will McGinness
Creative Director: Tom Scharpf
Art Directors: Amanda Younger and Avery Oldfield
Copywriters: Jimmy Burton and Adam Wolinsky
Design Director: Cris Logan
Designer: Nicole Berman
Head of Strategy: Michael Davidson
Senior Brand Strategist: Jake Bayham
Director of Digital Strategy & Analytics: Jeff Burger
Senior Digital Producer: Sarah Betts
Social Content Producer: Kimberly Lewis
Social Content Production Generalist: Alexis Hazelwood
Social Content Designer: Paul Rice
Social Content Copywriter: Sarah Wagner
Group Brand Director: Kammie Sulaiman Dascola
Brand Manager: Mikaela Kearns
Assistant Brand Manager: Ursula Reichle
Project Managers: Madi McCallum and Jennifer Zhu
Development and Rollout: Tooth & Joe Mease Creative
The world’s largest media companies returned to the negotiating table Monday with Hollywood screenwriters, seeking to avert a strike that could cost the entertainment industry billions of dollars and take popular TV shows off the air indefinitely.
Hollywood is bracing for the worst-case scenario after the Writers Guild of America warned advertisers and investors of the financial fallout and said members will most likely walk out May 2 if the new round of talks fail. Major TV programmers, such as Comcast Corp.’s NBC and CBS Corp.’s flagship network, are scanning their slates of upcoming shows to determine which ones can air without guild writers.
Negotiators on both sides are counting on cooler heads to prevail as they seek to avoid a repeat of the 100-day work stoppage in 2007-08 that cost the entertainment industry more than $2 billion, according to Milken Institute estimates. Yet the entertainment business, specifically TV, has undergone myriad changes that are creating new sticking points since the last strike almost a decade ago, and the writers say they haven’t benefited.
On the way to work, I often passed a homeless guy, who’d made a tiny home out of a sheltered nook in a building being renovated. Along the edge of his mattress, he kept a neat row of spices for seasoning meals, and would often sit up on sunny afternoons to feed the pigeons. Sometimes…
Ford Spain has made a mind-blowing futuristic baby crib that lets you record your baby’s favorite sleepytime car ride and simulate it, complete with engine noise, at home–so your baby can fall asleep without having to take a drive every night. The Max Motor Dreams baby crib is a novel way to advertise the Ford…
Ad Age “Media Guy” columnist Simon Dumenco’s media roundup for the morning of Tuesday, April 11:
Having ejected Kendall Jenner and Pepsi from TV, we must now all focus on forcibly injecting United Airlines into every tweet, update, post, meme and gif for … two more days? Three? Hard to say how leggy this story will ultimately be, but given that at one point early this morning half a dozen posts on Reddit’s homepage were United Airlines-related, it’s clear that the internet commentariat is operating at or near peak capacity. Anyway, let’s get started with might just be an all-United Airlines edition of your morning media scan …
1. Just in case you’re joining us late, here’s my colleague Lindsay Stein’s take on what went down and what happens next: “United Airlines’ Passenger Ejection May Cause Permanent Brand Damage, Experts Say.”
Bad news for telco marketers will be welcome good news for airline passengers:
U.S. Federal Communications Commission Chairman Ajit Pai wants to scrap a move to allow mobile-phone calls on flights, suspending a proposal that drew scornful comments from thousands of people aghast at sharing space with chattering seatmates.
Mr. Pai asked his fellow commissioners on Monday to join him in terminating the proceeding begun in 2013. One of the other three commissioners had previously voted with Mr. Pai against allowing calls, suggesting the measure will pass and end a debate that’s simmered for years.
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