No novo Cinemático, Carlos Merigo, Matheus Fiore, Robson Bravo, Virgilio Souza e Alexandre Maron conversam sobre “Baby Driver”, dirigido Edgar Wright, e sobre “Dunkirk”, dirigido por Christopher Nolan. Spoilers de “Baby Driver” a partir de 23:00. “Dunkirk” começa em 35:10, com spoilers a partir de 55:46. > OUÇA Download | iTunes | Feed ======== Edição […]
> LEIA MAIS: Cinemático – Baby Driver; Dunkirk
Criação da Mcgarrybowen de Londres
> LEIA MAIS: Honda faz karaoke com seus carros em um comercial filmado por drones
Conversas francas com os profissionais mais influentes do mercado, suas grandes ideias e o que pensam sobre o futuro da mídia, da tecnologia e da comunicação
> LEIA MAIS: Código Aberto – Ana Cortat, Co-Fundadora, Hybrid Colab
Concurso “Doritos Garage Rock in Rio” dá espaço para bandas anônimas
> LEIA MAIS: Rock in Rio: Doritos vai levar 7 bandas independentes para tocarem no festival
Mais de 80% do público de séries como “13 Reasons Why” preferem os episódios sem legenda
> LEIA MAIS: Segundo a Netflix, jovens brasileiros preferem conteúdo dublado
No dia 31 de julho a HBO foi hackeada. Cerca de 1.5 terabytes de dados caíram nas mãos erradas. Na manhã desta quarta aconteceu o que mais se temia. Episódios da 7ª temporada de Game of Thrones foram disponibilizados para download na Internet. Quem confirma a informação é o Hack Read, site especializado em segurança […]
> LEIA MAIS: Após ataque a HBO, conteúdo inédito de “Game of Thrones” aparece na Internet
-Director Riccardo Salvi and art director Christian Longh were the creatives behind this U.K. spot for Infinite TopBox (video above).
-Oh look, another creative campaign that’s pretty much exactly like an earlier campaign. This time, Tiffany’s is the offender.
-Director Jake Dypka and poet Hollie McNish teamed up to create a “Pink/Blue” short film taking on gender stereotypes as part of Saatchi & Saatchi’s new director showcase.
-CCO and partner Joe Parrish of The Variable (remember them?) argues that “big brands are increasingly putting small agencies on their radar.”
-AdAge examines the marketing dilemma that has Under Armour promising “more consistent storytelling.” What does that mean for Droga5?
–LBB talks with Serviceplan Group CEO Florian Haller about overseeing the Munich-based company’s international expansion. Also, skydiving.
In news that involves two of our favorite topics—gaming and shopper marketing—Ubisoft has picked Texas’ Shoptology as its shopper agency of record after a competitive review.
The French game developer, responsible for series like Assassin’s Creed and Far Cry, chose the Project Worldwide shop to work on unspecified projects related to its slate of 2018 titles.
“Shoptology’s strategic approach, creativity, and retail knowledge will make the agency a valued addition to the team,” said the client’s associate director of shopper marketing and insights Linda Murphy, adding, “We aim to deliver original and memorable gaming experiences across all popular platforms and Shoptology will help us get our rich portfolio of world-renowned brands into consumers’ hands through ideal retail experiences.”
Agency CEO Charlie Anderson (pictured) noted that his company’s capabilities are “based around where shopping is headed” but didn’t elaborate. Group account director Ryan Karlstrom will manage the business.
This is the latest in a series of reviews for Ubisoft, which most recently picked UM to handle its media work in the U.S. According to Kantar, the company spent $10 million on domestic paid media during the first quarter of 2017, though it’s not clear how much of that total will be dedicated to shopper-side efforts.
On the creative side, Ubisoft works with a wide variety of shops to promote its titles. A simple search of this here web log reveals recent campaigns by 360i, Omelet and Mistress, and a January spot by DDB Paris for Ghost Recon: Wildlands marked the return of Die Hard director John McTiernan.
Sid Lee Toronto expanded its creative ranks with the arrivals of creative directors Jennifer Rossini and Laura Stein.
“We are proud to add this level of talent and integrity to our leadership team,” Sid Lee Toronto partners and executive creative directors Tom Koukodimos and Jeffrey Da Silva said in a statement.
In her role at Sid Lee, Rossini (pictured above) will work with clients including Netflix, Molson, Samsung, President’s Choice Financial, MyPakage, and DAZN. She arrives from Red Urban Toronto, where she has served as a creative since October of 2012 and worked on the recent McDonald’s “There’s a Big Mac for That” campaign.
Before joining Red Urban she spent a year and a half as an associate creative director and copywriter for Y&R, following four years as a senior copywriter with Toronto agency john st.
Stein will be tasked with leading design initiatives for clients including MaRS, TJX, and Maple Leaf Foods. She joins Sid Lee from Bruce Mau Design, where she has spent over twelve years as a creative director, working on branding and visual identity for clients such as Sonos, the Smithsonian Institution, OCAD, Harvard University and the Kennedy Center for the Performing Arts.
Prior to joining Bruce Mau Design she spent a year as an art director with Ziccardi Partners Frierson Mee.
Last month, you all heard about MillerCoors’ third agency switch in less than two years. But what about the brewing behemoth’s events marketing work?
AgencyEA, a 100-strong indie shop in Chicago, recently picked up that part of the business after a competitive review that included several other unnamed agencies. They won a two-year contract to handle event duties for the MillerCoors Distributor Convention, the annual gathering at which MC toasts its business partners around the country.
“We’re always looking to work with bigger brands that have perennial commitments to getting themselves out there to the public in various, experiential ways,” said AgencyEA CEO Fergus Rooney, who founded the company as Experience Architects in 1999.
He explained that the agency will be designing and building the event space, which includes “pavilions” dedicated to each of MillerCoors’ 16 brands. Agencies will be familiar with the sort of setup in which attendees make the rounds and meet representatives for each brew.
“There’s lots of competition between the 16 brands, and we have to highlight them with atmospheres that are reflective of their brand purpose,” said Rooney. There will, of course, also be digital elements integrated into the larger effort via AgencyEA’s in-house creative, digital and production departments.
The agency, whose most prominent client is Hilton but has worked with groups ranging from GE and Under Armour to the Obama administration, also recently won an ongoing contract with Clif Bar and managed that brand’s presence at last month’s Pitchfork Music Festival in Chicago.
That event involved the very sorts of things you would expect from the former kings of indie rock creative writing, as per the photos in this post: attendees could sample Clif products while swinging in hammocks, charging their smartphones via solar panel and exploring the world of temporary (but longer-lasting) tattoos. The event was co-sponsored by old school environmental advocacy organization The Alliance for the Great Lakes.
“That relationship is in the building phase,” Rooney told us.
He also shared some thoughts on the widely publicized shift toward experiential work that has inspired several years’ worth of competing headlines. “It’s not just people standing outside and giving you vouchers,” he said, calling that sort of basic man-on-the-street practice “what used to pass for experiential.”
“The brands we’re working with are really rebelling against the 30-second spot,” he said, adding, “More and more it becomes a bit redundant because we tend not to pay attention unless it’s very, very unique. With experiential marketing, which is very pervasive now because more brands are putting more money into it, you get to engage and create a memory for someone who relates the brand to a place and time … it leads to brand loyalty, but it can’t just be something for the sake of it.”
We can tell you’re skeptical.
Yet Rooney said that more and more corporate clients like Hilton are looking to “unconference” their events; he mentioned one recent gathering at which employees answered questionnaires about their well-being and work environments that might do wonders for the ad industry. “The feedback was most incredible,” he said, noting that attendees “went to a conference and no one quoted a statistic.”
He also told us he’s witnessed a big upsurge in experiential RFPs and requests for related in-house digital services. That may seem a bit self-serving, but we’ve heard the same sort of thing from several agencies in this space. And given the fact that clients like P&G are making a big deal about cutting their overall ad budgets (especially on the “largely ineffective” digital-first side), “traditional” creatives are probably right to be a little nervous.
Back in June, Coca Cola concluded a review for its Minute Maid brand by selecting Anomaly. Doner had served as the brand’s AOR since 2002 and began working with Minute Maid on project work in 2001.
According to Kantar Media, Minute Maid spent around $31 million on measured media domestically last year. The loss of the client appears to have had enough of an impact on the agency to lead to a round of layoffs in its Detroit office.
“We are realigning our team in Detroit following some recent shifts in our business, which includes a small staffing reduction by less than 3%. It is never easy to make these decisions, and we are doing everything we can to ensure those impacted part with our gratitude and support,” an agency spokesperson wrote in a statement. “We remain confident in our recent new business momentum and the strategic investments we are making in the future of the agency, which will allow us to better serve the evolving needs of our clients.”
Another party told AgencySpy that Doner let go of between 10 and 20 employees in the office.
Back in May, Doner’s Detroit office announced the addition of eleven employees to its creative department, attributing the hires to “new business momentum.”
In other recent accounts changes, the agency picked up lead creative and strategic duties on another Coca-Cola brand, fairlife milk, in December of 2016 after being named agency of record for Beaumont Health the month prior. And in March, Doner lost AOR duties on Food Lion to GSD&M without a review.
Do you want an agency gig? Of course you do. Why else would you be reading this blog??
As we all know, people go to great lengths to land a paying job—hopefully with benefits—in this industry. There was the Lego application, the cover letter in cookie form, and, of course, the guy who posed as a donut delivery man. (Never did hear back from him…)
Young copywriter Billy Lucas has bigger plans. Since May, he been working on “A Creative’s Guide to the Galaxy,” or the kind of thing one does with a good amount of free time.
In short, it is an ambitious attempt to list pretty much every notable creative in the country by city and agency, including links to each individual’s portfolio and email address. And Lucas acknowledges that it could make things a little weird.
“If you want to land that dream creative job, you’ll probably have to write some awkward introduction emails to creative directors,” he told us. “Compliment their work, leave a link to your portfolio, cross your fingers, and keep refreshing that inbox.”
It’s true. We can’t imagine how many such emails prominent CDs get every week. Lucas continued, “The Creative’s Guide to the Galaxy is a place where young creatives can go to click around and see who is making the kind of work they want to make, where they work, and a link to email them. All that’s left for you to do is nail down that email subject heading and some clever body copy.”
This may sound a little extreme, but Lucas made sure to give each of the dozens and dozens of people on this list an “opt-out” button in the form of a disclaimer encouraging people to email him if they want their names removed.
“As the website expands into more cities, the hope is it becomes a tool and a resource for everyone in the industry,” he said. “The more feedback it gets, the more useful it can be for all of us.”
In conclusion: “If this website only helps just one person land their dream job, well then, hopefully it’s me.”
The site remains a work in progress, but it does include quite a few listings for New York and Los Angeles.
And we are happy to report that Billy did, indeed, score a gig as a junior copywriter at Phenomenon in L.A. No word on whether this Guide was the deciding factor.
California’s state lottery system is officially seeking a general market vendor for “lead agency advertising services,” as per an RFP issued at the end of last week.
Independent El Segundo shop David&Goliath has been creative and media agency of record on the account since late 2010, when it beat out Omnicom’s Alcone Marketing Group and McCann’s since-shuttered L.A. office.
BBDO San Francisco had been the Lottery’s agency of choice since 2004 before being “eliminated early in the process.”
This most recent review comes about not due to any specific client demands but, rather, the fact that David&Goliath’s current contract expires on August 18, 2018. The Lottery group, which was founded in 1984 to help fund public schools without raising taxes, seeks one agency to handle both creative and media duties but will also “consider proposals from partnerships and joint ventures, for example, a creative advertising agency and a media agency.” (Shout out to Havas.)
The RFP does, however, note that “The Lottery’s goal is to become the largest lottery in the U.S.” It currently trails New York.
As with past reviews, the contract will last five years with up to two separate, one-year extensions issued at the client’s discretion.
Of course you’ve all seen RFPs before, but this one is pretty close to universal. It touches on tech “disrupting” the ad landscape, an increased need for ROI and planning services, and a greater alignment of creative, media and social. The client seeks “a strategically-based, highly creative Agency with best-in-class capabilities in media planning, buying, and analytics across all channels,” which is pretty much how every “full-service” organization describes itself. And yes, there’s a line about “think[ing] outside the box.”
Questions that agency reps must answer in the intent to bid round include “How should the Lottery communicate with and reach California’s diverse population through marketing and advertising efforts” and “How can the Lottery ensure that it continues to be relevant in the ever-changing consumer landscape and with new generations of California adults?”
This list of qualifications is also fun.
In 2010, Nielsen estimated that the Lottery spent approximately $35 million per year on its marketing efforts, and that pattern has largely held up. The latest numbers from Kantar Media have the group spending around $30 million in each of the last two years.
This means that the contract, with two extensions, could ultimately be worth more than $200 million. Agencies have to submit their answers and written questions by August 16.
Beyond D&G, the Lottery’s current agency lineup includes Casanova//McCann for Spanish-language efforts, Muse Communications for African-American consumer marketing, Alcone for shopper, Time Advertising handling “Asian in-language” advertising and Olson, which won a review in late 2015, on digital.
The fact that the client extended its contract with David&Goliath twice strongly implies that it has been happy with the agency’s work. Representatives for both D&G and the Lottery have not yet responded to queries regarding the review and the former’s presumed plans to defend its business.
In one summer, Dwayne “The Rock” Johnson has graced the cover of GQ, flirted with the idea of a presidential run and generally seemed to appear everywhere at every moment. There was was on billboards, on HBO, in song credits and front and center for a “Baywatch” revamp that even his biceps couldn’t save.
But The Rock saved his greatest achievement for last: Hitting the top spot of the weekly Ad Age Viral Video Chart, with his performance in Apple’s “The Rock x Siri Dominate the Day.”
Ok, maybe it’s not his premier Summer ’17 achievement but it definitely tops “Baywatch.”
Park Pictures has signed South African director Terence Neale for U.S. and U.K. commercial representation. Neale’s recent directorial work includes the Adidas spots “Your Future is Not Mine” and “Original is Never Finished,” out of Johannes Leonardo’s global campaign for Adidas Originals. The spot recently won the Cannes Lions’ Grand Prix in Entertainment for Music. He has also helmed ads for Coca-Cola, and music videos including Skrillex’s “Ragga Bomb,” which has taken in over 100 million views online. He was previously signed to RSA.
Ad Age “Media Guy” columnist Simon Dumenco’s media roundup for the morning of Tuesday, August 1:
Among the subject lines of the various email alerts I got from Us Weekly over the past 24 hours: “‘Teen Mom 2’ Recap: Kailyn Lowry Talks About Third Pregnancy,” “Amanda Stanton and Robby Hayes Are Still Dating Despite Split Rumor” and “Anthony Scaramucci Out as White House Communications Director.” Makes total sense, because Scaramucci basically was a reality TV character, so why shouldn’t Us Weekly treat him like any other marginal celebrity? Anyway, let’s get started …
1. Who wore it best? Morning-after tabloid newspaper coverage of the latest drama from the tabloid-optimized White House:
In one summer, Dwayne “The Rock” Johnson has graced the cover of GQ, flirted with the idea of a presidential run and generally seemed to appear everywhere at every moment. There was was on billboards, on HBO, in song credits and front and center for a “Baywatch” revamp that even his biceps couldn’t save.
But The Rock saved his greatest achievement for last: Hitting the top spot of the weekly Ad Age Viral Video Chart, with his performance in Apple’s “The Rock x Siri Dominate the Day.”
Ok, maybe it’s not his premier Summer ’17 achievement but it definitely tops “Baywatch.”
Ad Age “Media Guy” columnist Simon Dumenco’s media roundup for the morning of Wednesday, August 2:
Today’s accidental theme, dear reader, is spin — as in deft spin (No. 6), inept spin (Nos. 3 and 4), spin about “transformation” (No. 1) and counterspin (No. 7). Feeling dizzy and nauseous? That’s normal. (Take two aspirin and read me in the morning.) Anyway, let’s get started …
1. “Time Inc. is about to name a new C-suite executive — a chief transformation officer,” Keith Kelly reports in his “Media Ink” column in this morning’s New York Post. “The move is expected to be made by next week’s earnings report, according to well-placed sources. … The CTO will be charged with implementing many of the recommendations made by consulting giant McKinsey & Co., sources said, including shaving $300 million in costs.”
Cartoon faces of bears, rabbits and cats are plastered on any imaginable product in the 4,600 square-foot Times Square store: plush toys but also slippers, coffee mugs, luggage tags, coin banks, mousepads, fans and tote bags. There are 11 characters in all, including Cony the rabbit and an alien named Moon who has a crush on Cony.
But the store itself is an unexpected marketing move for a very different product: Line, the Japanese messaging app established in 2011.
After taking over messaging in Japan, Line is trying to globalize its business and tap into the U.S. market. It hopes Line Friends, as the store is called, could be the in that it needs.
Apple soared to a record after giving a revenue forecast that highlighted resilient demand for the iPhone ahead of the introduction of its new models and the growing significance of the company’s supporting businesses.
New iPhones typically go on sale in mid- to late September, which produces a few weeks of revenue that are included in the company’s fiscal fourth-quarter results. Some analysts had reduced their estimates on concern that the new high-end iPhone may be delayed, but Apple’s projections on Tuesday — and increasing sales of other products and services — calmed those fears.
Revenue will be $49 billion to $52 billion in the three months through September, the Cupertino, California-based company said in a statement. Analysts had predicted $49.1 billion.
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