BBDO, Team Visa Take ‘The Carpool to Rio’

BBDO launches Visa’s 2016 Rio Olympics campaign with “The Carpool to Rio,” a 105-second spot starring 15 athletes from around the world.

The spot opens with New Zealand shot putter Valerie Adams waking up and throwing her circular alarm clock through the wall. She then uses Visa Checkout to order a couple of morning beverages, drives her mini van to an auto ferry and sets off. U.S. swimmer Missy Franklin swims up to the ferry to join Adams before the two arrive in Canada to pick up synchronized swimmers Jennifer Abel and Pamela Ware. Before long the car pool includes other Olympic athletes such as U.S. decathlete Ashton Eaton, volleyball player Kerri Walsh Jennings, soccer player Carli Lloyd and swimmer Connor Jaeger

The way the atheletes each have a quick introduction reflective of their sport, such as Abel and Ware trying unsuccessfully to shoot for shotgun, is fun, managing to make the predictable carpool premise not overstay its welcome. That women’s Olympic sports are given such a spotlight here is also refreshing and the ad should stoke excitement for the games, while also highlighting how Visa can help you “click, swipe, dip and tap” their way to easier payments. Of course, having Morgan Freeman provide a voiceover never hurts, either.

“We believe this campaign is the most ambitious, best integrated, most multichannel global Olympic campaign we’ve done so far,” Visa’s recently appointed executive vice president, chief marketing and communications officer Lynne Biggar told Adweek. “Our desire was to have it be very inspiring and be very much technology-led and technology-driven and leveraging Team Visa, which is a group of 46 athletes who embody these core values of acceptance, partnership and innovation in a playful, optimistic way.”

She added that “an increasing percentage of [Visa’s marketing spend] is going toward digital, and that’s just our general philosophy when we think about marketing. But we haven’t said ahead of time we want a certain allocation of our dollars to go to digital. We have said that our dollars should go in the places they’re going to drive the biggest and most impactful return for Visa.”

Visa is celebrating its 30th year as an Olympic sponsor this year and is offering its 46 Team Visa athletes the new Visa payment ring to use at the games. 

W+K Portland Celebrates Cavs’ Victory for Nike with ‘Worth the Wait’

Last night, Lebron James and the Cleveland Cavaliers brought home the first professional championship to Cleveland since the 1964 Cleveland Browns shut out the Baltimore Colts in that year’s NFL championship game. To celebrate the event (and Nike athlete James bringing Cleveland the championship he promised upon arrival in 2014), W+K Portland and Nike launched a spot denoting the accomplishment as “Worth the Wait.”

The spot depicts Cavs fans young and old, as well as stars James, Kyrie Irving, J.R. Smith and Kevin Love reacting to the victory. It’s not exactly new territory for a major brand in the wake of an important championship, but Cleveland’s long wait adds emotional weight to the formula.

Reactions of the older, lifelong fans of the team are particularly convincing, illustrating the tagline well, as does a moment when a young boy asks his speechless father “What happened daddy?” before the ad quickly cuts to another stunned fan. The pacing and production of “Worth the Wait” are spot on as well, so while this theme has been rehashed many times before in similar spots, the execution fires on all cylinders. It’s sure to stoke the emotions of exuberant Cavs fans everywhere (and perhaps lead to sales for James’ branded Nike gear, of course).

Ewan McGregor Gives ‘Pep Talk’ in GS&P’s Latest for Cisco

“Congratulations, fellow human beings,” says Ewan McGregor at the beginning of Goodby Silvertstein & Partners new spot for Cisco, “Pep Talk,” leading us to wonder for a second if the actor is, in fact, an alien.

“We made it, we sprouted limbs, we crawled out of the slime. I’m really proud of us.” He goes on to summarize thousands of years of progress with “We built pyramids, invented the mochachino, we created a network that became the internet,” while somehow overlooking humankind’s greatest achievement: beer. McGregor alludes to how quickly that last achievement (the internet) is accelerating progress with line “And then, boom” as a lightning fast train whizzes by.

The point of the extremely optimistic speech seems to be to celebrate the importance of networks, kind of Cisco’s deal, while stoking excitement about what has recently become possible (3D printed ear, growing lettuce in space, buying a goat with a smart phone, robot dog, etc.) and what will be possible in the near future (better robot dog, for one). The connnection to the brand is reiterated with the line “When everything’s securely connected, anything’s possible,” and the tagline “There’s Never Been a Better Time.”

It’s all almost comically optimistic, which might be more excusable if it didn’t come across as so self-congratulatory on Cisco’s part. Still, McGregor’s earnest delivery gives the spot its fair share of charm and peddling optimism is somewhat inherent in most advertising. “Pep Talk” is also not lacking in the eye candy department, with a range of environments and gadgets explored in vivid color and detail by director Dante Ariola

As you may recall, the new effort follows last month’s series of spots launching the “There’s Never Been a Better Time’ campaign, with a more targeted optimism celebrating the empowerment of technology to help people through difficult situations. The campaign launch marked the first work under Cisco’s new CMO, Karen Walker.

BBDO New York Offers ‘Dad Insurance’ for AFI

BBDO New York launched a Father’s Day spot as part of its “Insure Carefully, Dream Fearlessly” campaign for American Family Insurance (AFI) entitled “Dad Insurance for Fearless Dreams.”

The spot follows the story of Mateo, whose father surprises him with a judo uniform. As his father takes him to his first practice they pass a group of boys who taunt Mateo as a “daddy’s boy,” perhaps the reason he wanted to take judo in the first place. We watch as Mateo trains and works his way up the ranks, with his dad surprising him with another gift at the conclusion of the spot.

It’s a touching spot, with the emotion all the more impactful for the understated relationship between the boy and his father. It may not speak to what benefits the brand actually provides, but the judo class acts as a sort of metaphor for the kind of protection AFI offers to parents. It shares some similarities with its “Free to Dream” predecessor while remaining much more down-to-earth, literally.

We’re not sure the online spot really needed the full 2:30 runtime to get its point across, but it’s still one of the better Father’s Day efforts we’ve seen this year. AFI is promoting the spot, which made its debut on social channels this week, with the “#DadInsurance” hashtag and a ?.

Credits:
Client: American Family Insurance
Agency: BBDO New York

CHIEF CREATIVE OFFICER, WORLDWIDE: David Lubars
CHIEF CREATIVE OFFICER, NEW YORK: Greg Hahn
EXECUTIVE CREATIVE DIRECTOR: Susan Golkin
EXECUTIVE CREATIVE DIRECTOR: Michael Aimette
SENIOR CREATIVE DIRECTOR: Eric Goldstein
CREATIVE DIRECTOR: Lance Vining
CREATIVE DIRECTOR: Gary DuToit

SENIOR PRODUCER: Becky Burkhard
ASST. PRODUCER: Mike Ritchie
MUSIC PRODUCER: Rani Vaz
BUSINESS MANAGER: Maria Elia

SR. ACCOUNT DIRECTOR: Jim Santora / Christine Smith
ACCOUNT DIRECTOR: Kelly Harrington
ACCOUNT MANAGER: Justin Choy

PRODUCTION COMPANY: Smuggler
EXECUTIVE PRODUCER: Drew Santarsiero
DIRECTOR: Jamie Rafn
LINE PRODUCER: Alex Waite
DIRECTOR OF PHOTOGRAPHY: Andrij Parekh

EDITORIAL COMPANY: Cosmo Street Editorial
EXECUTIVE PRODUCER: Maura Woodward
PRODUCER: Anne Lai
EDITOR: Paul Hardcastle
ASSISTANT EDITOR: Nellie Phillips

TELECINE COMPANY: MPC
TELECINE ARTIST: Mark Gethin
EXECUTIVE PRODUCER: Adina Birnbaum
PRODUCER: Adrienne McNeary

CONFORM / FINISH COMPANY: MPC
CONFORM ARTIST: Jonathan McKee, Elijah Lamond, Leslie Chung
PRODUCER: Bindy St. Leger

GRAPHIC DESIGN COMPANY: Suspect
PRODUCER: Rob Appelblatt

VISUAL EFFECTS COMPANY: MPC
VISUAL FX SUPERVISOR: Aleks Djordjevic
ROTO: Vamsi Krishna Reddy
EXECUTIVE PRODUCER: Camila De Biaggi
PRODUCER: Bindy St. Leger, Aiste Akelaityte

MUSIC COMPANY: Beacon Street (original music)
COMPOSER: Andrew Feltenstein
PRODUCER: Leslie DiLullo

MIX & RECORD COMPANY: Sonic Union
ENGINEER: Mike Marinelli
PRODUCER: Justine Cortale

STOCK FOOTAGE/VIDEO: SHOT BY: Koji Yahagi / producer: Mike Gentile
STOCK MUSIC COMPANY: Universal/EVO (publisher)
STOCK TRACK NAME: El Diablo Baby

Jordan Spieth Can’t Stand the Rain in W+K Portland’s New Coke Spot

After signing the professional golfer to an endorsement deal in January, Coca-Cola wanted W+K Portland to make an ad with Jordan Spieth reaching for an ice cold bottle of Coke during a hot day on a Texas golf course. They ran into one big problem though: rain. Lots of it. When they tried to reschedule the shoot, the forecast once again called for lots and lots of rain. So W+K Portland and Coca-Cola rolled with the punches, changing the creative concept on the fly, with the spot’s new framework imitating the real life impediments to their original plan.

“Rain” depicts Spieth in his RV while waiting for the rain to stop to film a commercial. So how does a pro golfer like Spieth kill an hour? By reaching for a cold Coke and sinking a bunch of trick shots, naturally. Set to the Missy Elliott classic ” The Rain (Supa Dupa Fly),” the results are rather charming and fun, all the more so knowing the story behind the ad.

“It was a very high stress environment,” Peggy Loos, vice president of connections activation for Coca-Cola North America, told AdAge in an interview discussing the shoot. “We literally walked in on that shoot day not sure which concept we were shooting. Everyone was monitoring the weather hour-by-hour. Since it was very dark and gloomy we decided to go with the second concept that had just been created within the last 36 hours.”

Funnily enough, once W+K and Coca-Cola committed to the new concept and began filming, the rain stopped. “Wieden & Kennedy had to bring in rain towers to create the rain for that part of the shot,” Loos added. 

The spot made its first appearance on the brand’s social channels today and will make its broadcast debut Saturday during Fox’s coverage of the U.S. Open.

Doner Celebrates ‘The Zoo That Could’

Doner launched a new campaign for the Detroit Zoo, promoting it as “The Zoo That Could.”

Using soft, pastel-hued animation, courtesy of Psyop, and voiceover from a child actor, a pair of spots promote different aspects that set the zoo apart: animal welfare and conservation. “Animal Welfare” alludes to the zoo’s efforts as the home of the Center for Zoo Animal Welfare and focuses on how it’s “a champion for creatures in and outside its care.” The Detroit Zoo, the child narrator claims, is notable for “saving lions from junkyards,” “polar bears from the circus” and “countless others who needed its aid.” 

“Conservation” takes a similar approach in championing the zoo’s conservation efforts, which have included saving the federally endangered Great Lakes piping plover and reviving the Partula nodosa Tahitian land snail species. While the ad, aimed at children, doesn’t mention either of these accomplishments specifically, it does allude to the zoo “reviving species living on the brink” and concluding that “extinction, we think, should be extinct.”

While both spots are admirable in highlighting aspects that set Detroit Zoo apart, they suffer from a similar problem. Between the soft colors of the animation, the storybook-like cadence of the words and gentle lull of the background music, they both come across as a bit too sleepy. That’s too bad, as it will make it all to easy for audiences to tune out their message. On the other hand, at least there aren’t any rap battles.

Credits:
Client: Detroit Zoo

Doner
Rob Strasberg, Co-CEO, Chief Creative Officer
Karen Cathel – EVP, Executive Creative Director
Michael Stelmaszek – EVP, Executive Creative Director
Jason Jakubiak – SVP, Group Digital Creative Director
Phil Foster – Associate Creative Director
Kyle Duda – Senior Copywriter
Megan McDonald – Copywriter
Nick Pavlak – Manager, User Experience
Laurie Irwin – Executive Production Consultant
Wendy DeWindt – SVP, Brand Leader
Stefanie Harbour – Brand Leader
Amy Hallochak – Assistant Account Executive
Sheryll Kollin, SVP, Director of Business Affairs
James Jakubiec – Senior Talent Manager

Music
Composed by John Connolly & Adam Hochstatter
Produced by Future Perfect
Mix and SFX – Gold Sound
Clint Stuart

Psyop
Executive Producer: Lydia Holness?Director: Eben Mears?Producer: Chelsea Hyon?Designers: Pedro Lavin, Kevin Li, Kim Dulaney, Eunice Kim
Storyboard: Ben Chan?2D Animation: Norlum ?Flame Artists: Aska Otake, Evan Schoonmaker

Deutsch Launches Father’s Day Effort for Angel Soft

Last year Deutsch launched its “Be Soft. Be Strong” campaign for Georgia-Pacific toilet paper brand Angel Soft with “Happy Father’s Day, Mom,” which celebrated single moms.

A year later, Deutsch takes a different approach to the holiday as part of the same campaign, focusing on one self-sacrificing father, Melquiades Rayos, who immigrated to the U.S. from the Philippines and works three jobs to support his nine children. Apart from the daughter he lives with, all of the children are still back in the Philippines, with Rayos working three jobs to speed up the petition process so that his family can join him in the United States. Over the course of the two-minute spot, Deutsch introduces viewers to Rayos and his daughter, allowing them to tell their story in their own words, before surprising them with tickets for a flight to the Philippines, so that the family can celebrate Father’s Day together. 

It’s another example of the “sadvertising” that has been the hallmark of this campaign, but it’s a bit more successful than past efforts. While the spot still has little if anything to do with toiler paper, the brand steps in here to make a difference in someone’s life, earning them goodwill with viewers with the support of a good cause, in this case one hard-working man and his family. This whole approach would make a lot more sense for a tissue brand, as viewers reach for something to wipe their eyes after the spot gives them a case of the onions. That said, this particular spot is probably the best example of the “Be soft. Be strong” brand positioning thus far, as well as a timely release, even if the brand reveal will still come as something of a head-scratcher to viewers unfamiliar with the campaign. The “Happy Father’s Day” messages in different languages at the conclusion of the spot is a nice touch as well.

Credits:
Client Credits:
Chief Marketing Officer: Douwe Bergsma
Senior Vice President, General Manager, Bath Tissue: Vivek Joshi
Senior Marketing Director, Brand Center: Shari Neumann
Director, Brand Building: Aviral Singh
Senior Brand Director: Joe Stempien
Senior Brand Manager: Todd Wingfield
Brand Manager: Jeannie Chacko
Associate Brand Manager: Brian Harrison
Social Media Manager: Gisela Carapaica

Deutsch Credits and Titles:
Creative Credits:
Chief Creative Officer, North America: Pete Favat
Chief Digital Officer, North America: Winston Binch
Chief Creative Officer: Jason Bagley
Executive Creative Director: Karen Costello
Creative Director: Melissa Langston-Wood
Copywriter: Ashley Milhollin
Art Director: Dan Rosenberg
Director of Integrated Production: Vic Palumbo
Executive Integrated Producer: Rachel Seitel
Integrated Producer: Justin Polk
Music Creative Director: Dave Rocco
Music Supervisor: Eryk Rich

Account Management Credits:
Group Account Director: Steve Sanders
Account Director: Lauren Pollare
Assistant Account Executive: Bianca Brittain

Account Planning:
Executive Planning Director: Jeffrey Blish
Group Planning Director: Kelsey Hodgkin
Account Planner: Daniel Spadaro
Digital Strategist: Janet Shih
Junior Strategist: Joe Simek

Business Affairs/Traffic:
Director of Integrated Business Affairs: Abilino Guillermo
Senior Business Affairs Manager: Terry Miglin

Executives:
CEO, North America: Mike Sheldon
President, Los Angeles: Kim Getty

Live Action
Production Company: Steelhead
Director: Eric Kaufman
Executive Producer: Ted Markovic
Associate Producer: Jim Brattin
Line Producer: Chris Fox

Editorial Company
Production Company: Steelhead
Editor: Ian Paxton
Executive Producer: Ted Markovic
Associate Producer: Jim Brattin

Post Facility
Production Company: Company 3
Senior Producer: Liza Kerlin
Senior Colorist: Dave Hussey

Post/VFX:
Production Company: Steelhead
Executive Producer: Ted Markovic
Director Of Visual Effects: Austin Meyers
Motion Design Director: Dennis Kang

Licensed/Composed Music, Credits and Track Info:
Track: Along The Coastline
Composed by Daniel Louis Rosen (ASCAP) – 100%
Publisher: ScoreAScore (ASCAP) – 100%
Master: Score A Score, LLC
Company Name: Score A Score

Audio Post Company:
Production Company: Steelhead
Executive Producer: Ted Markovic
Mixer: Chase Butters

Jane Lynch and Bobby Lee Star in W+K Portland’s Latest for Booking.com

W+K Portland launched the latest chapter in its “Jordan & Chelsea’s Booking Wedding” campaign for Booking.com with a pair of spots starring Jane Lynch and Bobby Lee.

The 40-second “Romantic Escape” sees the comedic pair playing a couple, with Lynch feeling some guilt about missing Jordan and Chelsea’s destination wedding due to their vacation. Lee lets her know that, thanks to Booking.com’s free cancellations, they can go to the wedding after all. “I love it when you take charge,” Lynch tells him. And then things get…uncomfortable.

The 15-second “Sushi” is a little lighter on the cringe humor shock tactics. It features a voiceover claiming that “With Booking.com’s range of accommodations, the world is your oyster…or sashimi, really, whatever you’re into” as Lynch and Lee dine on sushi laid out on his body.

The new ads follow a pair of spots last month featuring Rebel Wilson and Keegan-Michael Key. Like those efforts, the latest installments might not live up to the comedic expectations created by its cast but are memorable enough all the same. Once again W+K uses Booking.com’s free cancellation as a key selling point differentiating the brand in “Romantic Escape,” effectively tying it to the larger narrative of “Jordan & Chelsea’s Booking Wedding” with two more friends deciding to attend. The more ambiguous nature of “Sushi” and its appeal to the variety of options the site offers makes it somewhat less effective at making Booking.com stand out from the competition.

The campaign will conclude with a final installment next month, which we’re told will be “centered around the theme of brocations (bachelor parties).” So expect some more comedians and another take on travel humor for W+K Portland some time in July. 

Credits:
W+K PORTLAND
Creative Director: Micah Walker
Copywriters: Nick Morrissey/Mike Egan
Art Director: Jon Kubik/Meaghan Oikawa
Producer: Hayley Goggin Avila
Art Producer: Andrea Bakacs
Account Service: Regina Keough/Tristan Harvin/Mimi Kim/Thomas Harvey
Comms Supervisor: Destinee Scott
Strategic Planning: Eugee Krasnopolsky/Nicole Brandell
Business Affairs: Karen Roche
Interactive Producer: Blake Carrillo
Studio Design: Dana Beaty/Grey Jay
Studio Manager: Sally Garrido-Spencer
Retouchers: Kyle Pero/Saskia Thomson
Motion Designer: Adam Sirkin
Motion Producer: Sarah Gamazo/Tori Herbst

PRODUCTION
Production Company: SMUGGLER
Director: Randy Krallman
Executive Producers: Patrick Milling Smith/Brian Carmody/Shannon Jones/Andrew Colon
Line Producer: Ian Blaine
Director of Photography: Darko Suvac
Production Designer: Jason Schuster

EDITORIAL
Editorial Company: Cartel
Editor: Andy McGraw
Assistant Editor: Eddie Mikasa
Post Producer: Meagen Carroll
Post Executive Producer: Lauren Bleiweiss

PHOTOGRAPHY
Photographer: Emily Shur
Line Producer: Tricia Sherman
Production Company: Bauerfeind Productions

VFX
VFX Company: Joint
On Set Supervision: Brad Hayes
Lead Flame: MB Emigh
2D Artists: Leif Peterson/Noah Poole
VFX Producer: Gail von Dedenroth
VFX Coordinator: Nathanael Horton
VFX Executive Producer: Alex Thiesen

MIX + SOUND DESIGN
Mix Company: Lime
Mixer/Sound Design: Sam Casas
Producer: Susie Boyajan

TELECINE
Telecine Company: The Mill
Color Producer: Diane Valera
Colorist: Adam Scott

Star Athletes ‘Never Lose the Love’ in TBWAChiatDay L.A.’s Latest for Gatorade

TBWAChiatDay L.A. launched a new spot for Gatorade featuring Serena WilliamsUsain BoltApril Ross and Paul George training hard with some help from their younger selves.

The spot opens with Williams waking up to an alarm and Young Serena saying “It’s time to play” before heading for the court. Viewers are then introduced to young versions of the other stars, who continue to push their respective older selves through rigorous training throughout the spot, set to Jimmy Durante‘s “Young at Heart.”

The message is underscored with the line “The Best Never Lose That Love” at the ad’s conclusion, gelling nicely with the overall “For the Love of Sports” brand message. In addition to the 60-second spot, the campaign also includes “Fuel the Love Forward” spots featuring Bolt, Williams and Ross telling their own stories. Additionally, Gatorade is furthering the youth sports connection by asking visitors to the campaign landing site to vote for which youth athletic charities the brand should donate to.

Leo Burnett, Allstate Foundation Want You to Help Fund ‘America’s Largest Prison Break’

Leo Burnett launched a new campaign for the Allstate Foundation’s Purple Purse initiative entitled “#FreeToWalk” with a harrowing PSA spot about domestic abuse, “America’s Largest Prison Break.”

The spot opens on a woman in a small prison cell, symbolic of the real, wall-less prison she faces due to domestic abuse. As the VO delivers verbal abuse, understood to be from her partner, she reaches for a tampon box where she has hidden away money. “America’s Largest Prison Break” is based on the story of an abused wife and mom in Michigan who spent two years hiding away money in such a fashion, in order to escape her abuser.

Warning: the spot contains instances of domestic abuse and may be upsetting/triggering to some viewers. It’s a downer.

The spot makes its point, that many domestic violence victims can’t “just leave” because of financial dependence and financial abuse, near its conclusion, after the woman leaves the house. Text reading “The #1 reason domestic violence victims can’t ‘just leave’  is because they’re being abused financially” appears onscreen as the camera pans out to reveal a barbed wire fence surrounding the suburban home.

The spot concludes by asking viewers to “Help fund the largest prison break in America” by donating at purplepurse.com.

Credits:
Client: Allstate Foundation
Agency: MSLGROUP/Leo Burnett
Campaign: Purple Purse
Name of Ad: America’s Largest Prison Break
CCO: Britt Nolan
Executive Creative Director: Charley Wickman
Creative Director: John Kistner, Scott Smith, Mikal Pittman
Art Director: Denison Kusano, Lindsay Stevens
Copywriter: Jeremy Adams, Melanie Sawyer
Group Executive Producer: Veronica Puc
Producer: Leah Karabenick
Production Company: Comrade
Director: Mikal Pittman
DP: Paul Cameron
Line Producer: Jonathan Becker
Editorial: Greenhouse
Editor: Greg Somerlot
Color: Filmworkers
Colorist: Jeff Altman
VFX: Ang Puglise
Music: Human
Recording Studio: Another Country
Account: Varsha Kaura, Sheila Berlman, Kelly Chuipek, Josh Crost
PR: Amy Cheronis, Lynsey Elve, Lily Merritt

Publicis Campaign for Garnier Very Closely Resembles a Year-Old Project by Agencia Raya

Last week, Publicis Conseil released a campaign for client Garnier that was created to solve a perpetual problem: how does one keep track of one’s stuff while at the beach?

Its solution was elaborate and very specific: a set of free shore-side lockers which sunbathers can use to store their belongings while getting a tan. The hook? Users must create a password to lock the storage units, and they subsequently receive a sample of the client’s (branded) product in the process to better ensure that they do not sit on the beach sans sunscreen.

Listen to a woman with a British accent explain.

Interesting work that happens to have been released right before a certain awards festival.

Now check out “Lockers Protectores,” released more than a year ago by Agencia Raya, a shop based in Santiago Chile. The client is Simond’s, a top Chilean skin care brand.

To objective viewers like ourselves, the only discernible difference between these two projects is the placement of the sunscreen dispensers.

Readers will know that this is hardly the first example of questionable agency behavior during awards show season. Remember last year’s McDonald’s print campaign that only ran in one super-obscure Australian paper the day before the deadline for Cannes entries? And what about the Lucky Iron Fish, which won a Cannes Grand Prix before WPP’s Geometry Global had to clarify that they did not actually design the winning product?

It’s unclear whether the Garnier project will be a Cannes entry for Publicis this year, though the timing works. We reached out to both Publicis PR and Raya to ask whether the former had been influenced by the latter’s work. Publicis said they would get back to us, but we have yet to receive a statement.

Raya seems to think that Publicis Conseil blatantly ripped them off, and we can see why they might come to that conclusion.

DigitasLBi Boston, Ellen Brennan Go on ‘The World’s Fastest Dunkin’ Run’

DigitasLBi pushes the limits of the term “fast food” with its new spot promoting Dunkin’ Donuts new on the go ordering app.

The agency teamed up with wingsuit base jumper Ellen Brennan to show off the new service. Brennan addresses the camera from atop a lofty mountain perch on the Aiguille de Varan in Chamonix, France, saying, “Watch how fast I can get my Dunkin’” before ordering with the tap of a screen, pulling on a helmet and jumping. She descends to grab a Dunkin’ Donuts bag, suspended in the air outside a pop-up shop further down the mountain before enjoying a donut. 

It’s kind of a fun way to show off the new app, demonstrating how easy it is to use by displaying it at work in just about the most extreme circumstance possible. The spot arrives quickly on the heels of Hill Holliday’s “Keep On” effort for the brand, which launched earlier this month.

The stunt, of course, wasn’t as easy it looks. Brennan was outfitted with a velcro doohickey (official term) on the arms of her wingsuit so that she could easily intercept the Dunkin’ Donuts bag without using her thumbs, which made it less of a distraction from the task of staying in the air on not crashing into a rocky cliffside. For more on how Brennan, Digitas LBi and Dunkin’ Donuts pulled it off, check out the behind-the-scenes footage below (it turns out it took Brennan a few tries to hit the mark). There’s also a 360-degree video from the perspective of one of the cameramen.

Nike and AQKA Will Train Your Brain to Help You Play Football Like a Genius

Playing football is a lot like playing video games in that it’s really all in your head.

On that point, the world’s biggest footwear company has made its first foray into “mental training” via Nike Football Pro Genius, a series of features within the Nike Football [Don’t Call It Soccer] App, now available for download on your usual app stores.

Today the company launched a campaign promoting this new suite with the help of agency partner AKQA, which helped Nike develop all major aspects of the service including the underlying concept, the design, the programming and the films/animations involved.

So how does it work? By getting inside YOUR BRAIN.

Are they geniuses, though, or are they just athletically equipped individuals who have trained themselves, through endless practice, to respond in a nearly subconscious way to given stimuli?

So how does it work? Seems the app includes a series of games (we knew it!) that were “developed working closely with the world’s best footballers” to help would-be superstars warm up before games, make split-second decisions on the field, determine the physics of football movement without actually delving into any science-like stuff, “imagine in-game scenarios successfully and in vivid detail” and, perhaps most importantly, pump themselves up with a bit of the old rah rah.

Here’s another, slightly more specific spot starring German midfielder Mario Götze.

Can an app make you a great football player? Obviously not. But this is a super-competitive field, and if the U.S. military can train soldiers using video games then there’s very obviously something to the practice.

We still couldn’t help but imagine these footballers as a bunch of professional video gamers.

Credits

Agency: AKQA (London)
Client: Nike
VFX: VisualAssembly and DBLG
Sound Production: String and Tins
Film Production Partner: Archer’s Mark

Karmarama Introduces a Cobra Beer Glass That’s ‘Made of Science’

Karmarama launched a campaign for Molson Coors brand Cobra introducing branded glassware that’s “Made of Science.” 

So, what exactly does that mean?

Karmarama claims to have teamed up with professors at England’s Birmingham University and Imperial College, as well as other hydrodynamics and fluid mechanics specialists, to create the purportedly ground-breaking glass.

The glass contains “a unique channel in the interior facia” allowing beer to flow smoothly around the body to the base, in turn creating a whirlpool effect which releases aroma and flavor and allows for the formation of the perfect head. With prototypes already out, the glass is currently in production for release this summer. Here’s the video:

Karmarama is promoting the invention with digital, OOH and print ads, demonstrating the pour in action and claiming it’s “The biggest innovation in pouring since gravity.”

“It’s been great to work with Karmarama on such an exciting innovation,” said Alison Pickering, brand director, portfolio, at Molson Coors. “The glassware we think is industry-defining, will help create reappraisal of Cobra, adding visual drama at the bar, and ensuring the best possible pint. This is turn should help with our crucial distribution push to list Cobra in the On Trade as we expand into more bars.”

OTOH, it’s Coors.

Credits:

—Glass
Creative Director: Dickie Connell
Head of Creative Production: Danny Baylis
Senior Planner: Matthew Waksman
Professor of Hydrodynamics at Imperial College London: Professor Chris Swan

—Advertising
Creative Director: Dickie Connell
Copywriter: Luke Ramm
Head of Creative Production: Danny Baylis
Senior Planner: Matthew Waksman
VOD Production Company: Kream
Producer: Debbie Impett
DoP: Phil Ashley
Print/Outdoor Photographer: Andy Rudak

Ron Foth Advertising Stages a Rap Battle for Columbus Zoo and Aquarium

Columbus-based Ron Foth Advertising launched a campaign for the Columbus Zoo and Aquarium with a “Carnivores vs. Herbivores” rap battle. It’s about as ridiculous as it sounds.

The spot pits staff representing the zoo’s carnivorous animals against a similar group representing the zoo’s herbivores. Each group spits rhymes about why carnivores or herbivores are the best, dropping some elementary food chain knowledge in the process. It’s ridiculous almost beyond description, but in a way that, we suppose, may appeal to the target audience of elementary school aged children home for the summer and on the lookout for fun activities. Some of the zoo’s many animals make appearances in the ad as representatives of either Team Carnivore or Team Herbivore, which allows the spot to show off a lot of what the zoo has to offer. Jack Hanna, who serves as the zoo’s director emeritus, even makes an appearance near the conclusion of the spot, showing off his breakdancing moves.

“A group of us were visiting the zoo looking for inspiration for this year’s campaign,” Ron Foth Advertising creative director David Henthorne explained to AdFreak. “One of our kids asked a sweet old volunteer what the alligator eats. She went into a fantastic answer about the alligator being a carnivore, and what that meant, and the difference between carnivores and herbivores. Her answer had this amazing flow. Almost like a rapper. That got us thinking about old-school hip-hop rap battles.”

“We brought in an Emmy-winning choreographer to teach these zookeepers how to groove,” he added. “They spent days rehearsing various routines, all incorporating bushels of veggies and protein.” 

In addition to the “Carnivores vs. Herbivores” online spot, the campaign also includes broadcast and radio ads, digital and OOH components.

Credits:

Client: Columbus Zoo and Aquarium
Agency: Ron Foth Advertising, Columbus
Creative Directors: Ron Foth, Jr., David Henthorne
Copywriters: Ron Foth, Jr., David Henthorne, Megan Small
Art Directors: Gene Roy, Mike Wilson, Nikki Murray
Director: Ron Foth, Jr.
Producers: Martin Nowak, Lisa Bauer
Editor: Martin Nowak
Audio: Doug Edwards
Music: Walker Hayes, Nashville

Rokkan and Glenfiddich Want You to ‘Rethink Whiskey’

Rokkan launched a new campaign for whisky brand Glenfiddich that marks its first work since winning agency of record duties for parent company William Grant & Sons in April. 

The campaign promotes Glenfiddich Bourbon Barrel Reserve 14 Year Old with a series of digital spots asking to “Rethink Whiskey,” challenging perceptions and assumptions about scotch and bourbon. In the first spot, “Scotland, KY,” a glass of Glenfiddich Bourbon Barrel Reserve 14 Year Old is slowly poured into an empty glass as the voiceover asks, “Think America’s next big whisky is from Kentucky?” before the footage reverses and the golden liquid makes its way back into the bottle.

From there the spots get a bit more specific in promoting the product, which is aged at a Scottish distillery in American oak casks formerly used for bourbon, resulting in a flavor combining elements of bourbon and Scotch. “Scotch with Dad” presents the brand as an answer to the question “Think it’d be nice if dad looked up to you for a change?” as a daughter offers her guitar-crafting dad a glass of ourbon Barrel Reserve 14 Year Old.

Another ad compares the notes of vanilla, brown sugar and apple in the drink to “Aunt Evie’s cobbler,” as Evie sits down for a glass while patting the head of her dog statue. While “Scotch with Dad,” positions the brand as a spin on tradition old-fashioned Scotch drinkers and the younger generation can appreciate, “Aunt Evie” shows that the drink can also appeal to those who typically wouldn’t reach for a Scotch while also noting some characteristic flavors that set it apart. “Pairings,” meanwhile, challenges the notion that Scotch is for stuffy, formal events or pairing with haute cuisine. It tackles the assumptions directly via voiceover as a guy pours glasses of the whisky for friends at a barbecue.

“[The campaign] is sort of leaning into where you expect Scotch to come from and the types of people drinking Scotch and the flavors you expect it to have or the occasions you would drink it at,” Rokkan CCO Brian Carley told Adweek. “We wanted to turn those on their head a little bit.”

“Overall, we will elevate the brand and create an instance where the brand becomes more top of mind for everybody but also for people that have specific palates and specific tastes,” he added. “It allows us to lean into those too.”

Credits:

Agency: Rokkan
Chief Creative Officer: Brian Carley
Chief Strategy Officer: Sean Miller
SVP, Chief Delivery Officer: Joe Tao
SVP, Client Partnership: Matt Garcia
Creative Director: Jeffrey Samson
Creative Director: Anthony DiPaula
Art Director: Jacqueline Mellow
Copywriter: Mike Maher
Executive Producer: Greg Tharp
Producer: Sarah Donnenberg
Producer: Tina Lam
VP Client Partnership: Kaitlyn Brenner
Account Supervisor: Zack Stoller
Associate Director, Strategy: Emily Garvey
Strategist: Rafael Ramirez

Production: Decon
Executive Producer: Misha Louy
Head of Production: Brian Turner
Director: JEAN
Producer: Mark Miner

Post: Fluid
Editor: Peter Sabatino
Executive Producer: Laura Relovsky

CP+B Miami Wins Vonage, Launches #ItsAboutTime Campaign

Disruption!

Your least favorite buzzword can finally apply to video calls…according to Vonage and its newest creative agency partner, Crispin Porter + Bogusky Miami.

The client, long known as a phone service provider, wants to become more than that. In its own words, it would rather be seen as an “an industry-leading cloud communications company for business.”

When The Young People want to communicate with the greatest convenience and intimacy, they usually turn to such ostensibly free services as FaceTime or Google Hangouts. But what about those of us who work for a living?

Two new ads by CP+B promote the Vonage Business offering by playing off a very true fact: personal methods of communication almost always outpace those we use at the office after our bosses sign multi-year contracts with the companies behind the software.

The first spot “Mars Landing” focuses on making that quick switch to video.

The next spot “Intelligent Office” concerns every agency creative’s favorite pastime: scheduling and attending internal meetings.

As the tagline puts it, using better business software is about (saving) time.

CP+B isn’t the first agency to help this client redefine itself in recent years. Vonage last launched a review in December 2014, leaving JWT to go with what was then known as FCB Garfinkel last April.

The account stayed with FCB Garfinkel for only one year, leaving before the office rebranded itself as FCB New York. CP+B won the business in a competitive review but does not have AOR status as the client has declined to name an agency of record at this time. It’s not currently clear which agencies competed against CP+B in the review.

As a Forbes post about the campaign notes today, one key to marketing success lies in making fun of the industry you’re disrupting even if your own service confirms all related stereotypes. It remains to be seen whether Vonage’s product will actually be demonstrably better than the many, many mediocrities flooding the b2b software/communications technology market.

Credits

Client: Vonage
Chief Marketing Officer: Ted Gilvar,
VP, Brand Strategy: Duane Smith

Agency: CP+B
Executive Creative Director: Gustavo Sarkis
Associate Creative Director (CW): Jeff Siegel
Associate Creative Director (AD): Alvaro Ramos
Associate Director of Content Production: Sloan Schroeder
Integrated Producer: Jackie Maloney
Strategy Director: Samantha Alonso
Strategist: Natalia Davila
Account Director: Adam Barger
Content Supervisor: Tatiana Estrada
Sr. Business Affairs Manager: Lisa Gillies
Executive Business Affairs Manager: Natalie Greenman

Production Company: Moxie Pictures
Director: Frank Todaro
VP / Executive Producer: Karol Zeno
Head of Production: Paula Benson
Producer: Laura Heflin
Filmgroup: Service Company
Executive Producer: Nathan Miles
Editorial Company: Work Editorial
Editor: Bill Smedley
Executive Producer: Marlo Baird
Producer: Jamie Perritt
Method Studios: Post EFX
Lead Compositor: Noah Caddis
VFX Supervisor: Ben Walsh
Executive Producer: Robert Owens

DDB Chicago Goes Right Again with State Farm’s New Tagline

After retaining lead duties on the account for a brand revival in January following an unofficial creative review, DDB Chicago launched a campaign for State Farm earlier this month introducing the new tagline “Here to help life go right.”

After putting “Like a good neighbor, State Farm is there”–which was a staple for the brand for over 40 years–into semi-retirement, the agency has launched a pair of follow-up spots reiterating the message.

Both ads play up the similarities in very positive and negative situations, showing how the brand can help you prepare for both the best and worst of outcomes. “Furniture,” for example, shows two women fawning over a blue suede couch one of them just purchased. “This piece is so you,” one of them says, smiling, to a response of “I know, right? I saw it and I was just like, ‘I have to have it,’” delivered while holding up the State Farm rewards credit card.

The scene is contrasted with a pair of robbers having a remarkably similar conversation while stealing the very same couch.

The spot uses the comparison to promote both the rewards card and renters insurance, an illustration of how the brand is “Here to help life go right” in multiple ways.

A definite improvement on the “boy daydreams about the future of an insurance company in a utopian future” premise of the anthem ad launching the campaign, the spot manages to illustrate the tagline more convincingly. While the repetition in dialogue works towards that end, it does become a bit grating upon repeated viewings.

“Jacked Up” relies on that most enduring of advertising cliches: parents gifting a new driver with an expensive new car. Still, it does hammer home the tagline with an illustration of the aforementioned rewards card and insurance, contrasting the new driver’s elation with the exasperation of a man whose tires get jacked (hence the punning title).

The Internet is Mocking Carl’s Jr. Over this Spot Featuring Todd Gurley Biting Into a CGI Burger

Los Angeles Rams running back Todd Gurley starred in a spot 72andSunny launched for Carl’s Jr. promoting the chain’s California Classic Double Cheeseburger that is receiving a fair bit of attention online — only not the kind the brand was probably hoping for. 

In the spot, Gurley bites into the burger, except it’s incredibly obvious that the California Classic Double Cheeseburger in question is a CGI creation. So where’s the beef? And why swap it out for CGI? Adweek wonders if Gurley is actually a vegetarian. (But then wouldn’t he be opposed to promoting the chain in the first place?) So many questions. The “chomping down on a burger” sound effect deserves some attention as well.

“Welcome to Cali” focuses on Gurley arriving in California, met by his agent. The stereotypically slimy character asks if he’s hungry before shouting for a burger and then demanding 20 percent of the cut (of beef). It’s not so bad as far as Carl’s Jr. spots go, definitely a step above the brand’s previous approach of hiring a model and showing as much skin as possible.

But all anyone is going to remember is that CGI burger. And, indeed, the YouTube comments are pretty brutal. One viewer asks “If you can’t even doll up a real burger for the ad, how can we trust you to make any burger look good?” while another claims “That CGI burger is as inflated as your prices.” Ouch. 

JWT Atlanta Launches ‘Joyride Circuit’ Sequel

Back in March, JWT Atlanta debuted “Joyride Circuit” for Pennzoil, promising the digital spot was part one in a three part series.

Like its predecessor, “Joyride Baja” is aimed squarely at the automotive geek. Only while “Joyride Circuit” was catnip for Ferrari fanatics, “Joyride Baja” is more for the offroading enthusiast. The spot features the Jeep Wrangler Rubicon taking on the blistering heat of the Mexican desert, courtesy of precision driver Rhys Millen, to show that Pennzoil can handle such extreme conditions. 

While displaying some truly impressive driving, Millen raises engine temperatures to over 200 degrees in the 130 degree heat. It’s an impressive display, tying the onscreen action to product benefits more convincingly than its predecessor. The three minute runtime is a tad excessive, though, especially considering that Millen doesn’t even enter the car until around the 60-second mark.

Production in such conditions presented its fair share of challenges, requiring “a one-of-a-kind Ford Raptor Pursuit Systems vehicle a retrofitted Polaris RZR buggy, a GoPro Freedom 360 Explorer Rig and an Octocopter drone to take the viewer along for a 4×4 joyride.” Check out the behind-the-scenes footage below to learn more.

“It’s critical for a motor oil to perform at extreme temperatures,” explained Fernando Morales, campaign lead, Pennzoil. “We want people to understand that if the motor oil can perform under harsh conditions like this, it’s going to perform even better when you’re at home.”

Wait, at home?

Credits:
AGENCY: J. Walter Thompson Atlanta
Executive Creative Director: Jeremy Jones
Group Creative Director: Dustin Tamilio
Associate Creative Directors: Derek Kirkman, Troy Leyenaar, Daniel Prado
Account Director: Erin McGivney
Producer: Daryll Merchant

PRODUCTION COMPANY: Lemonade Films
Director: Ozan Biron
Producer: Trevor Cawood
Executive Producer: Ted Herman
Production Supervisor: Philip Fyfe
DP: Macgregor

EDITORIAL: Cycle Media
Editor: Matthew Griffiths

VISUAL EFFECTS: The Embassy
VFX Supervisor: David Casey

SOUND DESIGN: Source Sound Inc. LA
Sound Supervisor & Mixer: Charles Deenen
Sound Recordists: John Fasal, Travis Pratert, Charles Deenen
Sound Designers: Csaba Wagner
Sound Editing: Braden Parkes

ORIGINAL MUSIC: Generdyn Music
Composer: Joshua Crispin
Colorist: Dave Hussey, Company 3

SERVICE COMPANY: Tonic Films
Exec Producer: Susie Neill
Producer: Victor Albarran

CONTENT PRODUCTION TEAM: Grain & Glass
Director: Michael Nielsen
Editor: Dan Luce
Producer: Joey Fisher