Hasta La Creative!

The Situation??
Supremo – one of the largest producer of canned goods and food products in the country is struggling to reach its target audience, as young housewives simply don’t care for traditional advertising.??Our research shows, they are mostly attracted to soap operas and scrolling cute things on social media.?
Brand needed to group all of its products: pasta, rice, beans, sweet corn, buckwheat, mushrooms, olives, sugar, flour and etc. – under one slogan – “It’s delicious for whole family”.
?The Solution
??Soap operas + cute videos = the Hungry Hungry Hamsters!??We launched online show series about the lovely family obsessed with food:??The Father – who loves politics and eating.?The Mother – who’s working at a food store and tastes everything around.?The Son – who’s struggling with insomnia and eats day and night.?The Daughter – who’s constantly working out and eats to stay fit.??For this, we created an entire miniature town that consisted of 1350 tiny details and made sure whatever happened in real life, happened in the show as well. With one short episode per week posted on Supremo’s Facebook page, we quickly built up a hardcore fan-base. Storyline and cliffhangers of each episode left viewers intrigued and encouraged them to engage with specially crafted Facebook content.

?Results:?? 86% of Target Audience reached?, 2 657 671 Total Video Views, ?141% Increased Sales?

In the craft field of advertising film and production, creative production studio Ambassadors is leading in an innovative and creative way. They speak the language of motion graphics, visual e ects, sound, music and VR seamlessly with projects for Strongbow, Nissan, Asics, Tele2, Exact and UNStudios. This combination of di erent specialties located under one roof plays to their strong dynamic. One of their most recent projects, the animated film ‘Creature of Habit’ for ASN Bank is praised nationally and internationally with golden wins at the Dutch ADCN, European Design Awards, London Creativepool and a platinum award at the Malaysian Muse Awards. There is no shortage of ambition since their founding 10 years ago.

Amsterdam, and more specifically the canals, are becoming a central beacon of national and international creativity. This growing demand hasn’t gone unnoticed, Ton Habraken, Founding Partner and Visual E ects Director of Ambassadors: “We are always looking for new challenges and want to keep expanding our horizon. That you can’t do while standing still. We like to take the lead, as we did 10 years ago when we were the first to combine di erent craft disciplines as one whole package. Now we would like to do the same with the international market. There is no time like the present with a growing demand of qualitative creative content through the use of new technology. Everyone is looking for more exciting moving images.”
Intimate atmosphere
Stimulating innovation and challenging creativity is the biggest incentive for this second location. Halbo van der Klaauw, Founding Partner and Managing Director of Ambassadors: “We want to give our new customers the soul and grandeur of Amsterdam when they come to our Herengracht studio. Inside is an intimate and creative atmosphere, that allows our teams to work closely together as one family, which is distinctive for Ambassadors.”

The family is expanding with Heidi Baltzer as Managing Director, who is bringing the energetic pace of New York to Amsterdam. “Amsterdam has always inspired me. Their is so much creative talent in advertising or design, art or architecture. The city is a true melting pot of cultures and ideas. On top of that, the presence of international companies makes for a dynamic challenge. I love that I can bring both of these worlds together, while creating the opportunity to stimulate creative renewal and conjunction in a growing international world.”

“Or rather… Spandau vs Speedcore?” And so begins the soothing tunes of Spandau Ballet’s ‘True’ for the calm scenes, while the harsh speedcore was composed in house by Richard Devine. The films cut back and forth between idyll and disaster, the rose tinted-train travel vs a calamity car journey. With tunes like these, the choice seems obvious. Plus, you don’t want to end up as a warning on youtube as security carries you away.

Commenting on the process, music supervisor Chris Phelps says: “We worked closely with Anomaly from the beginning to ensure we found the perfect tracks for this spot. It was important we chose music that would work in harmony with the fast cut but would be completely opposing to each other in both mood and speed. We worked with the creatives and post audio house to edit the tracks so that they flowed nicely with the scenes. It was great fun working with the Anomaly guys and we were thrilled to be bought back on board with Virgin Trains once again.”

Oli Beale, Executive Creative Director and Partner at Anomaly says: “It’s just great that the Speedcore genre is finally getting the public recognition that it’s so long deserved.” Indeed, Oli, we all hate it.

See also Valerie: Train Vs Plane which has even more speedcore in the way of TSA.

Every July 1st in Québec, thousands of residents pack up and move out of their apartments. It’s called “Moving Day,,” and it’s the busiest day of the year for tenants to move within the province and it can make a large city like Montreal chaotic. Even worse is the fact that every year, more than 1,600 pets are left behind by their moving owners.

See the second claim is firmly in the routers capabilities, not in BT internet, so the ASA slapped the company with a ban for this ad. The ASA geeked out and checked the claim thoroughly first.

“We considered that it was sufficient for BT to test only the three top-performing hubs in order to demonstrate that the same results could be achieved in a representative real home setting. However, it was not sufficient to substantiate the claim as it would be understood by consumers, as a comparison with the whole market.”

Some complainers noted that the hanging-off-a-helicopter scenario wasn’t likely to get you any wifi at 200 meters up, and protested that claim. But the ASA scoffed at that, noting; ” it depicted a fantastical situation that did not reflect the way consumers were likely to use Wi-Fi.”

Diaz-Matos is more than familiar with the commercial landscape. Prior to opening Bonfire Collective, she worked at McGarryBowen as Executive Music Producer for the Verizon Wireless account and was a founder of Search Party Music, where she worked on Lost, The Vow and Grey Gardens.

In addition to Diaz-Matos’ experience in advertising and beyond, the leadership of Bonfire Collective now includes Eric Stamile, who composed House of Z, which premiered at the Tribeca Film Festival, and who will be taking on responsibilities as lead composer/creative for Bonfire Collective’s commercial division; and Sarah Bromberg, who started as Associate Director of music and talent at Creative License. There she worked on spots for Walmart, Subaru, and Budweiser and handled several Super Bowl commercials, which lead to work on film and TV projects including Smash, Pitch Perfect 2, and The Affair.

Until this announcement Bonfire Collective has mostly focused on music supervision for television and film. Fresh off of Diaz-Matos’ two wins at the 7th Annual Guild of Music Supervisors Awards for season one of the Netflix series The Get Down, Act 2 of Season 1 Premiered on Netflix on April 7th, with the 2nd soundtrack installment released on April 21st.

On working with Baz Luhrmann on The Get Down, Diaz-Matos said, “It’s an incredible experience to work within this genre of music with a director like Baz, who is an artist with an inspiring and unique creative process, and to be able to work on a show that at its core is about the power of music.” As to the mission of Bonfire Collective, Stephanie says we “strive to create strong creative bonds with all of our partners that result in compelling and timeless work.”

With a focus on collaboration, and over 20 years of experience between them, Bonfire Collective’s multi-talented creatives have expertise in all aspects of the music world, and can operate in an advisory capacity or manage the entire project from inspiration to end. Deeply passionate and inspired by their work, Bonfire Collective’s artistic sensibilities resonate throughout all of their projects.

When the Bola Pra Frente Institute needed to attract 600 kids to their open spots in their sports & education after school program, they had one rather large problem. Operating in one of the most violent favelas in Rio de Janeiro, Favela do Muquiço, there were no advertising billboards to advertising on. No poster sites, no direct mail.

Working directly with UBER drivers, Revolver found in the feedback from driver community several reasons they drive: engaging with people, helping others, financial support, freedom and enabling personal growth. From this Revolver crafted these stories.

Now, in a twist that reminded me of the castrated Lion for the Nordic Battlegroup, some of the new lions in the center of Stockholm city are female. Personally, I think the female lion looks better because I was never a fan of the troll-like designed mane on the lions, and I can see how kids would have an easier time climbing the lioness. See, when these cement lions aren’t busy defending pedestrian streets from cars, they are climbed on by adventurous kids. Functionality-wise though, these lions are meant to be heavy and I wonder how much less the lioness weigh. They are also slimmer than the males, so would that make it easier to bypass with a smaller truck? Why aren’t there three in a row, like a pack? Wouldn’t that make it impossible for a truck to drive though?

I didn’t, however, think they added lionesses due to some sort of gender quota in public art. But on Swedish Twitter, where @Sakpol_SE shared the image above of these lions, the discussion has centred on that. “New and more concrete lions have begun to be deployed on the Stockholm pedestrian streets – these days equality and gender correct even here.” he tweets, sarcastically. He says he finds it quite comical, the whole “gender thing”, as the people who made the call to create female lions would be the ones seriously pre-occupied with gender representation. All over Swedish Twitter people are chiming in on whether this is progressive, a necessary gender representation, or just silly because “who cares about a lion’s gender?” The debate is sadly not centred on how to prevent terrorist attacks, which is what brought these lions into the national spotlight in the first place.

Nya och fler betonglejon har börjat placeras ut på Stockholms gågator – numer jämställt och genuskorrekt även här pic.twitter.com/jXzXO4GnMm— Säkpol_SE (@Sakpol_SE) June 14, 2017

What’s missing from the current discussion on Twitter is the fact that the lioness has existed as a concrete animal for well over 15 years. The southern suburbs of Stockholm is where she’s normally found. If you play Ingress a lioness is even a portal in Skärholmen. The only thing that’s “new” here is that the lioness had made it to the inner city.

The lion’s creator, Anders Årfelt, is a sculptor and illustrator born in 1934. He created a concrete sheep in 1993 for Gotland to protect pedestrian streets, and later he created two different types of lions, one for Stockholm and another for Linköping. He also created concrete apples “Säfstaholmsäpplet”.
Many cities in Sweden have executed the idea of a concrete animal instead of just a boring block, so in Luleå you will find bears, in Gävle you will find goats, and so on. You can see images of some of our Swedish cities concrete animals at the Wikipedia. And now, even in the center of Stockholm, we have lionesses. Since you can buy tiny copies of the Lion at Designtorget, I wonder if we soon can buy the female version there too.