Univision is launching a digital arm called La Fabrica, a Spanish and English-language initiative that will produce original Web video series. While Boris Gartner, vp of La Fabrica, told Adweek that brand sponsors were lined up, he wouldn't disclose names.
However, his team's first program, Medicina Desconocida (translates as Strange Medicine), has six 23-minute episodes already live, and 15-second pre-roll ads for Kmart appear before each video. (There will be six more episodes of the drama available in two weeks.) So retail appears to be a category Gartner's sales division is targeting for the endeavor.
A dedicated staff in New York and Miami is expected to create, script and produce several other series in the coming weeks.
"We believe there's a need in the market in terms of content for Hispanic digital natives," the vp said. "La Fabrica expands on our initiatives from the past couple of years."
It is designed to complement Univision's other multimedia, millennial-focused efforts such as UVideos (user-generated vids), Flama (English-language video content) and Uforia (digital music). Univision subsidiary, Fusion, will carry La Fabrica's English-language versions of its shows.
"There's a need for long-form content in digital," Gartner said. "There are a couple other initiatives we will be launching in Q2, which will entail articles and galleries but will be mostly video."
The Olympic athletes in this Dos Equis ad may just be actors (the Olympics won't let non-sponsors use legit athletes for advertising), but they still end up being the stars of this ad ostensibly about the Most Interesting Man in the World.
It's less an ad for beer and more of an ad for female bobsledding, since the women at the start of this video have gotten a lot of the attention. Gross, creepy attention, especially in the comments of the YouTube clip or whichever website is drooling over them, but attention all the same.
Far be it for me to say that the Most Interesting Man in the World has been upstaged, but he's definitely got some competition.
If any unexpected flames of love start flickering in Paris for Valentine's Day today, the Cupid-shot lovesick fools will be ready. That's because the Flower Council of Holland (an industry group that helps florists build their businesses) has installed 1,500 cute little red boxes that are modeled after emergency boxes—but contain single red roses. "In case of love at first sight, break glass," the boxes say. It's a cute idea, and not as dangerous as it sounds. The "glass" is actually cellophane. Agency: Kingsday.
CREDITS Agency: Kingsday, Amsterdam Production Company: Chocolat Rouge Films Parijs Client: Flower Council of Holland
Have you been waiting for someone to come up with a Jamaican Bobsled Team reggae song synced with the course in Sochi, fitting the exact shape of the racetrack with all its twists and turns?
Well wait no more, because Draftfcb New York and the Jamaica Tourist Board have done just that. According to Draftfcb, "If you press play at the exact moment the Jamaican Bobsled Team starts its run down the actual racetrack in Sochi on Sunday, you'll have your very own authentic soundtrack to one of the most anticipated moments of the Winter Olympics."
The song's got a catchy groove—"To the right! To the left! It's bobsled time!"—with an appealing animated promo clip that recalls old-school video-game graphics. ("Mon" appears just once in the lyrics, in case you were wondering.)
This marks Draftfcb's second recent tuneful foray, following the Kmart/Joe Boxer "Jingle Bells" spot from the agency's Chicago office. The reggae song's cute, but that ballsy yuletide classic set an extremely high bar for inspired musical silliness. Sorry, bobsledders, I'm afraid it's all downhill from there.
You have a weird, ineffable obsession with your cast-iron skillet. You carry it with you everywhere like a safety blanket. You believe like it could make you feel joy, but it does not, because something is missing.
Velveeta appeals to the kitchenware creeper segment with a new pair of spots from Wieden + Kennedy for the brand's Cheesy Skillets dinner kits. It's a new twist on the agency's oddball approach to the product, with some of the dramatic flavor of Old Spice still in the voiceover and epic positioning, "It's liquid gold," but sight gags balancing it out.
In some ways, it's the American cheese of advertising—comfort food that's pleasing at first but ultimately a little too processed to leave you feeling entirely good about having eaten it. If you can get past the slightly overdone copy, though, there's some pretty rich comedy in the dumb facial expressions of the actors.
Agency: Wieden + Kennedy, Portland, Ore. Creative Directors: Karl Lieberman, Eric Baldwin Digital Director: Pierre Wendling Copywriters: Heather Ryder, Darcie Burrell Art Director: Matthew Carroll Interactive Producer: Ryan Adams Event Producer: Victoria Semarjian Account Team: Ken Smith, Rachel Parker, Danica Jones, Sarah Augustine Media Director: Alex Dobson Head of Broadcast: Ben Grylewicz Broadcast: Shelley Eisner, Nicole Kaptur, Yamaris Leon Art Production: Stacie Balzer, Eugenie Frerichs, Denise Hanggi, Rainier Goubault Project Manager: Megan Nugent Studio Manager: Anna Gatewood Studio Artists: Leslie Warra, Thomas Bradley Executive Creative Directors: Mark Fitzloff, Susan Hoffman Business Affairs: Amber Lavender, Anna Beth Nagel, Pam Atkinson Content Services: Zoe Hoetze, Anders Lund
Production Company: Smith & Jones Films Director: Ulf Johansson Executive Producer: Philippa Smith Executive Assistant: Tori King Line Producer: Justine Madero Postproduction Company (Editorial): Spot Welders Editor: Haines Hall Producers: Carolina Wallace, Lisa English Visual Effects: A52 Executive Producer: Megan Meloth Producer: Meredith Cherniack
Pancreatic Cancer Action has issued a thoughtful, heartfelt defense of its controversial U.K. awareness campaign that shows sufferers saying they wish they had other types of cancer with higher survival rates.
One print ad in the series uses a quote from 24-year-old pancreatic cancer patient Kerry Harvey—"I wish I had breast cancer"—as its headline and notes that the survival rate is only 3 percent, the lowest among all 22 common cancers.
"With a limited budget, it was vital that the advert would stand out and provoke thought and initiate discussion among members of the public, the media and influencers," PCA chief executive Ali Stunt writes in the Daily Mail. Stunt says the work, from Team Darwin, "reflects the genuine insight of many pancreatic cancer patients upon diagnosis, and how it feels to be diagnosed with a disease that leaves you with no hope at all."
The effort, which includes a video that focuses on the troubled faces and intense emotions of those diagnosed with the disease, has drawn significant fire:
• Breast Cancer Campaign CEO Delyth Morgan says she was "shocked and saddened" by the initiative. "While the intention of the campaign is great, the adverts are hugely upsetting and incredibly insensitive and divisive."
• Breakthrough Breast Cancer chief Chris Askew said his organization would "strongly dispute any message which suggests that one type of cancer is preferable to another," adding, "I've yet to meet a man or woman with breast cancer who would consider themselves in any way fortunate to have received a diagnosis."
• Writing on cause-marketing blog Osocio, Reuben Turner, whose grandfather died of pancreatic cancer, calls the ads "the last resort of the desperate," though he concedes this: "Maybe that's the point. Maybe these people are desperate. Desperate for attention. Desperate for funds. Desperate for a cure."
PCA executive Stunt has known such desperation firsthand: "When faced with a 3 percent chance of surviving more than five years, it is not unreasonable to wish for a cancer with a better survival rate. This is exactly how I felt when I was diagnosed with the disease in 2007."
"The attention this campaign has received," she adds, "has also paved the way for a symptoms-awareness campaign that we launched on the London Tube this week. Our aim is to save lives, and that is achieved by early diagnosis, which come from creating awareness wherever and whichever way we can."
Cadbury and Fallon London, the pair that brought us the Internet's legendary drumming gorilla, are back with a charming spot called "Yes Sir, I WILL Boogie in the Office."
As many of us have likely done while stuck on a call, logistics manager Keith decides to just roll with it and jam out to the hold music, "Yes Sir, I Can Boogie" by '70s disco duo Baccara.
That's pretty much the whole thing, at least in the :60 cut for TV. In the extended version created for cinema, which you can watch below, Keith goes on a roll and takes his moves across the office.
It's not the most elaborate spot ever, but with 730,000 views of the 60-second version already, it's clearly winning over its share of chocolate lovers and boogie bosses.
Ikea planted lots of LED lamps in the woods for this 60-second commercial for the U.K. and Ireland touting the home-furnishing company's commitment to sustainability.
Created by Mother London and director Martin Krejci, the ad's surreal aura is enhanced by Menomena's pop-etheral "Wet and Rusting" on the soundtrack. (Soundtree Music found the song.) Check out Mr. Squirrel's reaction as the lights blaze. Yeah, he's screwed—every predator can spot him now.
"Forest" is part of Ikea's "Wonderful Everyday" campaign, which focuses on how small things can make a big difference. A voiceover notes that by 2016, Ikea will sell only energy-efficient LED lightbulbs. (Indeed, the European Union has been moving in this direction for some time.)
The work provides "an opportunity to explain a little about who we are and what we stand for as a brand, and sustainability is a big part of this," says Ikea marketing manager Peter Wright.
Some bright lights might point out that the ad displays enough timber to sustain hundreds of impossible-to-assemble dinette sets. (The company reportedly uses 1 percent of the world's wood supply each year.) But in fairness, Ikea has been working to meet ecologically prudent logging standards. So it's not like the company can't see the forest for the trees.
Performance artist Maria Luisa Portuondo Vila has been putting "Missing Love" posters in subway stations all over New York City, trying to find some guy in a top hat.
Apparently it was love at first sight when she saw him on the subway back in November, and rather than go to Craigslist Missed Connections like every other heartbroken human being, she created 300 posters that vaguely describe their fleeting moment.
If that's true, how hard could it be to find someone walking around in a top hat in 2014? Oh wait, he was headed to Brooklyn. Probably pretty hard, then.
In Cadillac's latest commercial from ad agency Rogue, airing during the Olympics, we take a tour of the souped-up American dream while our host (played by Neal McDonough) waxes poetic about the virtues of working hard and owning stuff—and manages to throw a few digs at other countries for living more leisurely lifestyles and being less industrious.
"Other countries, they work. They stroll home. They stop by the cafe. They take August off. Off. Why aren't you like that? Why aren't we like that? Because we're crazy-driven, hard-working believers, that's why."
He concludes: "As for all the stuff, that's the upside of only taking two weeks off in August. N'est-ce pas?"
Outside of this guy being painfully annoying, here's a question: Does taking two fewer weeks of vacation guarantee upper-middle-class wealth? I bristle when I think about how many people toil all over the world—here and abroad—and don't enjoy the same opportunities as, you know, this guy.
It's also a curious choice for the Olympics, which is supposed to be a celebration of different countries and cultures—not a repudiation of them. I certainly take no issue with owning things, and I think we should be lauding hard work, big dreams and supporting one's family, but even if this ad is meant to be tongue-in-cheek, it's still obnoxious and poorly timed.
Unless it's completely awesome—which is the other view espoused by some YouTube commenters. In fact, the debate over there is pretty black and white. Point: "How insensitive, egocentric, and repulsive.?" Counterpoint: "Hey butthurt foreigners in the comments: instead of crying, take notes. This is why our country is the greatest in the world and yours isn't.?"
I personally think the spot is visually lovely but could be seriously improved if they cut out the speaking parts and had the Space Jam theme song playing instead.
Credits below.
CREDITS Client: Cadillac Agency: Rogue Chief Creative Officer: Lance Jensen Executive Creative Director: David Banta Group Creative Director: Kevin Daley Copywriters: Lance Jensen, David Banta Art Director: Kevin Daley Agency Producer: Paul Shannon (Executive Producer) Account Team: Clifford Stevens, Megan Wiggin, Emily Shahady, Kalyn Barnum Director of Project Management: Paul Pantzer Project Manager: Christy Costello Assistant Agency Producer: Tim Mollen Production Company: Interrogate Executive Producer: Jeff Miller Producer: George Meeker Director: Brennan Stasiewicz Cinematographer: Max Malkin Line Producer: Dave Bernstein Editing House: Bug Editorial Editor: Andre Betz Licensed Music: "You're Gonna Miss Your Candyman" Music Performed by: Terry Callier Sound Engineer: Mike Secher Visual Effects Company: Brickyard VFX
Fifteen months and 71 million YouTube views after its storied premiere, McCann Melbourne's "Dumb Ways to Die" train-safety campaign is back with this cute, grotesque little spot for Valentine's Day. Turns out the greedy little blue blob who sold both his kidneys on the Internet now has easy access to other vital organs through the stitched-up wounds. Despite his best intentions, death, naturally, ensues. "Be safe around Valentine's Day … and trains," says the on-screen copy.
This is just the second new "Dumb Ways" video released since the staggeringly successful original—following a 15-second promo made for the Melbourne International Film Festival last July. For those who have to sing it loud, though, there is also the official karaoke version of the original.
There's a lot going on in this 60-second Valentine's Day commercial, but it would probably spoil things to reveal either the product or the plot. Suffice it to say there are several surprises here, though it all adds up to quite a heartwarming commercial.
"We felt this view of life was a story that was not being told with the authenticity and compassion it deserved," the company's CEO said in a statement. The spot will air on Bravo and E! in seven major U.S. markets.
Cards Against Humanity's promotions are as bitingly sarcastic as the game itself—whether they're charging more for the game on Black Friday, experimenting with a "Pay what you want" model (which outright insulted anyone who chose to pay less than cost) or teaming with Netflix just this week for an already sold out House of Cards pack.
But the card game's recent "12 Days of Holiday Bullshit" promotion was truly something special. In December, 100,000 people paid $12 for 12 gifts from CAH, with no idea what they'd get. They sold out in less than six hours. And then, incredibly, they really did give 100,000 people 12 gifts each (and then some).
AdFreak caught up with Ben Hantoot, one of the founders of CAH and the design force behind Holiday Bullshit, for a postmortem.
AdFreak: Start at the beginning. How did you come up with this bullshit? Ben Hantoot: As you may know, in 2012 we did a pay-what-you-want expansion pack for the holidays. We donated all the profit to Wikimedia—about $70,000—making us a "major benefactor," which made us feel important. We also got a very healthy press response, and the fans loved it. For 2013, we had to one-up ourselves. We'd thought about doing another pay-what-you-want pack, or some other similar gag, but ultimately we decided to do almost exactly the opposite—you pay us $12, and we won't even tell you what you're getting. We came up with the name "12 Days of Holiday Bullshit" very suddenly … no one even remembers how that happened, but it sounded great and we stuck with it.
Did you expect it to sell out as fast as it did? Among the eight of us, everyone had their own opinions about how long it would take to sell out, but most people were predicting more like two to five days. Six hours was much faster than anyone thought. Watching the counter was kind of terrifying. We were amazed the website didn't crash.
Would you have pulled it off without getting 100,000 people on board? Everything was already manufactured by the time we started selling the $12 slots, so if we ended up selling less than 100,000, we just would have lost even more money on this giant thing.
Speaking of money, how much money did you make on Black Friday when you increased the price of your card game by $5? It worked so well! We had about the same jump in sales we had in 2012, normalized versus the previous Friday, but then if you look at Saturday to Monday, we did much, much better than 2012, thanks to silly publications like Adweek who posted all about it.
Back to the Holiday Bullshit. What kind of feedback did you get from fans? Most of the feedback fell into one of two categories: "OMG THIS IS SO AMAZING AND WORTH MORE THAN $12" and "WTF MY ENVELOPES ARE LATE YOU SHOULD DIE."
The "Tell Santa CAH what you want for Christmas" section that appeared after you paid your $12—what function did that serve? We also asked people the nicest and naughtiest things they did in 2013. Then we sorted through the responses and picked out the ones that were either really funny or really sweet, and actually sent people what they asked for.
A very enthusiastic fan for whom you bought a Lord of the Rings card game contacted me personally on a crusade to get you some press in return for her gift. What else did people get? We sent one guy a few trillion Zimbabwe dollars, another some beef jerky, a few others a Roku or fresh socks or Space Jam on VHS. Some people who had good stories but stupid requests got books and DVDs by the artists we worked with on the comics page. It was a lot of fun.
How far in advance did you start planning all the shenanigans? I started working on production in June. Concepting started way back in March and April. We had the 12 days idea nailed down a long time before we decided exactly what each day was going to be. A few discarded ideas for days: an envelope containing 10,000 Vietnamese dong; an essay ripping apart American holiday culture by Slavoj Žižek; a sachet of live crickets; loose, ambiguous white powder.
What you ended up going with was interesting. Days 1, 3, 5, 7 (NSFW), 9 and 11 (NSFW) were additional cards to expand your CAH game, and each one came with a low-budget online video featuring online stars like ukulele nerd Molly Lewis, Song a Day guy Jonathan Mann and even comedy nerd-core band Paul and Storm. How did you get all of those Internet celebrities to buy into your bullshit? And how did you keep them quiet? We've made many friends over the years going to conventions and supporting other indie gaming businesses online and offline. Plus, we've built up a brand for ourselves over the years that is very no-B.S. and generally trustworthy. Basically, we just asked people to be part of this, and almost all of them said yes!
Day 2 was a lump of coal. You mailed us a real, albeit minute, lump of coal, and made a ridiculous trailer for it. A lot of people got Day 2 as their first mailing and thought it was the only thing they were getting. We shipped out the coal as Day 2 basically to mess with people and upset them and make them feel like they wasted their $12. But it turns out USPS gives timing estimates that are so far off base as to be useless. And Canadian customs also didn't like the coal at all.
How did you get all that coal into tiny baggies? We wrote a whole blog post about that, actually. Basically, we shopped around for a coal supplier that already offered tiny broken-up lumps. When we found it, we had a fulfillment center sort it all into 100,000 dime bags each containing three pieces of coal less than a quarter inch thick (any thicker than that and we'd have to mail it as a parcel, which would have cost five or six times as much). This took a whole team of people over a week to do. Sorting the coal was one of the most expensive and time-consuming parts of the whole process.
Which brings us to Day 4, which was an entirely new self-contained card game called ClusterF*ck, where the objective is to give your friends chlamydia. You gave it to everyone in the promotion, but people can also download it for free. We made Clusterf*ck Day 4 to make up for the coal. We think Clusterf*ck was probably the best gift. Throughout the whole process, we had to keep in mind the restrictions of USPS's definition of a "letter"—no larger than 11.5 by 6.125 inches, no thicker than a quarter inch, no heavier than 3.3 ounces, and tightly packed within the envelope. If we messed up anywhere, we'd lose a ton of money on postage. It also directed a lot of the design of Clusterf*ck, which we think turned out super well. To meet the weight restrictions, we used mini cards instead of normal cards.
To meet the thickness restrictions, we packed the cards into three small piles instead of one big one. And to make the whole thing reusable, we put the cards in a closeable plastic pouch within a sturdy card-stock folder that doubles as the instructions. We're super proud of having designed a whole game with over 40 cards that can be manufactured, shipped from China and then mailed to a person's house for less than $1.
Day 6 was mini-posters of popular CAH cards created by The Post Family. Pretty self-explanatory. But each day also had artwork on the envelopes. Who was the artist there? This awesome dude named Mare Odomo. We just gave him the very basic direction to make some jokes based on the 12 Days of Christmas, and he killed it. "Two turtle doves" is probably my favorite.
Day 8 was a zine of comics from some of the most popular and generally awesome Web comics online, including Hyperbole and a Half, Dinosaur Comics and many, many more. How did you pull that one off? The USPS's restrictions were also super important for some of the bigger days, like the posters and the funny pages. It meant the posters had to be smaller and thinner than they originally were, and it meant we had to cut the funny pages down to a totally custom newspaper size.
For Day 10, CAH donated $100,000 to charity funding 299 public school projects on DonorsChoose.org. I thought the charity gift was inspired. Why did you pick DonorsChoose? DonorsChoose is an incredible charity. Your dollar really goes a long way, and you know the money isn't being wasted. We made a fun infographic outlining how many kids we were able to help for just $100,000.
Finally, on Day 12, you gave everyone a CAH card with their name on it. Sorting the name cards was also a crazy process. Remember that each individual card had to be connected to a specific address. The mailing house wanted us to print a number on each card, but there was no way we were going to do that, so instead we came up with a convoluted system where the cards were divided into hundreds of smaller batches and each insertion of a card into an envelope was individually checked.
To be honest, I'm slightly worried about including the card with my name on it when I play the game. Did you put your name card in with your deck? Oh, hell no. Terrifying!
It's flashback week for fans of 1990s hip-hop, with Sean "Puff Daddy" Combs and Snoop Dogg making advertising cameos that would have seemed inconceivable 15 years ago.
Combs, known these days as Diddy, headlines a new 60-second spot from Fiat and ad agency Doner. In the ad, we see two men wandering the desert in a delirious haze, unsure if they're really being saved by a celebrity or just imagining a mirage.
Meanwhile, Snoop, who has gone by Snoop Lion lately, has popped up in, of all places, a British auto insurance ad from agency Mother. He narrates the story of a dorky white guy named Phil who saved money by getting insurance from MoneySuperMarket and now feels "epic." Feeling epic, in this case, means driving an invisible car and hanging out at inner-city street parties.
It's not exactly jarring to see these two iconic rappers in ads, since both have been frequent marketing mouthpieces in recent years. But it's still entertaining to imagine how they would have reacted to the words "Fiat" and "MoneySuperMarket" in 1997.
Hey, professional truth-benders. Here's a sweet mockumentary-style PSA about professional truth-bending. Extra bonus if you also happen to be a tree hugger.
In addition to fairly broad swipes at snake oil salesmen (you must have known the advertising industry was a popular punching bag when you got into it), the spot—funded by organic businesses—is aimed at illustrating how the use of the word "natural" on food labels is pretty much meaningless. It makes its point well, if a bit repetitively—at four-and-a-half minutes long, the script manages to work in enough sharp moments and little twists to keep it interesting. And in case you're wondering, the gist of its argument is true.
"From a food science perspective, it is difficult to define a food product that is 'natural' because the food has probably been processed and is no longer the product of the earth," says the FDA in its explanation of the subject, which goes on to declare what's more or less a nonposition.
The spot includes industry easter eggs like an art director hovering over a designer, telling him to make the natural logo BIGGER. But the real treat is the performance of Josh Childs in the lead, who's something like a cross between Dr. Leo Spaceman and Michael Scott if they ran an ad agency.
Caribou Coffee, whose previous out-of-home ad stunts have included heated bus shelters in Minneapolis, is back with another special campaign—a giant, five-story-tall Pinterest board built (with help from ad agency Colle+McVoy) at the Mall of America in Bloomington, Minn.
Caribou used pinned images from fans as inspiration for its new Real Inspiration Blend variety of coffee. That sounds like a stretch, but the giant Pinterest board is pretty impressive. It includes two large screens that feature inspirating photos from fans on Instagram and Twitter that are tagged with the hashtag #CaribouInspires.
When it comes to sex, a reluctant "yes," "OK" or "sure" doesn't qualify as a green light, according to a Canadian campaign encouraging "enthusiastic consent."
"Real consent is mutual and sure. It is not muted, frail, hesitant, or afraid. It is never uncertain, assumed, or silent," the campaign explains on its website, MoreThanYes.ca.
Created by Students Nova Scotia, a coalition of campus organizations, the ads feature large swaths of white space with small, one-word headlines like "Fine" and "Sure." The text at the bottom reads, "If it's not loud and clear, it's not consent. It's sexual assault."
The ads were inspired by a recent regional study that found 95 percent of sexual assaults involving students occurred between acquaintances.
"We hope this campaign will be informative about everyone's responsibility to receive clear consent from their partner, without coercion, before engaging in sexual activity," Students Nova Scotia executive director Jonathan Williams said in a statement. "Seeking consent is not about avoiding a 'no,' it's about receiving an enthusiastic 'yes.' "
Check out three of the campaign's ads below. Hat tip to campaign coordinator @Allisomething on Twitter.
Thanks to the country's anti-gay laws, the 2014 Winter Olympics in Russia have turned into a de facto platform for LGBT marketing. Earlier, we had the Canadian ad that said the two-man luge is "a little gay." Now, we have this crazy spot from Norwegian sports apparel retailer XXL.
It's an over-the-top, absurd blockbuster of an ad, with overly slick visuals, overly cheesy music and a "twist" ending you could spot from Moscow. And yet … somehow you have to love it. Its heart is generally in the right place, even if it plays out like a male fantasy. (And no, they probably wouldn't do the same ad with two men at the end.)
The ad premiered during Norway's broadcast of the Opening Ceremony last week.
CREDITS Client: XXL
Agency: Schjærven Reklamebyrå Account Director: Ole Marius Simonsen Creatives: Jon Erik Skiælder, John Draleke Agency Producer: Gard Andreassen
Production Company: Camp David, Stockholm Producer: Kalle Wessblad Directors: Bjørn Stein, Måns Mårlind
Location: Lleida Airport, Spain Filming: Dec. 15-18, 2013 Line Producer: Dominic Bolus, Widescope Productions Postproduction: The Chimney Pot, Stockholm
Sweden's One Hour Agency is the brainchild of interactive art directors Ben Langeveld and Ingmar Larsen, who, along with a half-dozen other creatives from the Hyper Island program, want just 60 minutes of your time. "You give us one hour. We generate quality ideas," they say.
At typical client-agency meetings, awkward pauses and efforts to reboot PowerPoint can last longer than an hour, but this startup remains undeterred. "It's not that you deliver a final solution," says Larsen, who believes 60 minutes is plenty of time to "build relationships by showing how you work, who you are and what you can do." OHA's approach seems more genuine than some previous gimmicky models—like "World's Fastest Agency" or "Pay What You Want"—because it doesn't overpromise. "If the meeting works from both sides, then we offer different kinds of packages depending on the brief," says Larsen. The crew is currently working on a project for Swedish Public Radio.
OHA has a handy pie-chart that breaks down the first hour: 10 minutes each for greetings, evaluation and presentation, and 30 minutes for ideation. That's pretty packed. Demands for bigger logos and "guaranteed viral" videos presumably require buying more time.
This is site is run by Sascha Endlicher, M.A., during ungodly late night hours. Wanna know more about him? Connect via Social Media by jumping to about.me/sascha.endlicher.
