Hasta La Creative!

Os benefícios da função Park Assist, que automatiza a tão detestada baliza, são muitos. Porém, nenhum vai interessar mais para uma mãe do que esse apresentado no comercial acima.

Com mais tempo para despedidas, a Volkswagen espera convencer as famílias de como esse opcional é fundamental. Só falta um sensor para encontrar vagas de estacionamento bem em frente ao local que você deseja ir.

Criação da DDB de Bruxelas.

Post originalmente publicado no Brainstorm #9
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Via the tips line, we received what appears to be a memo from Doner top dog Rob Strasberg that goes a little something like this:

“Great news! We’ve landed a big, colorful fish from San Francisco – Chad Ackerly.
Not only a super talent but a super good guy, Chad comes to Doner with tons of experience doing great work for all types of clients – not to mention a stellar new biz track record.
I’m super pumped and stoked and jazzed (not really sure about jazzed – but my toes are tapping) for him to start at the start of June.

Check out some of his work and his bio.

http://cargocollective.com/chadackley/

http://cargocollective.com/chadackley/Bio
Rob

–

Rob Strasberg
Co-CEO/ Chief Creative Officer”

We’re trying to get official confirmation from the MDC-owned, Southfield, MI-based agency, but in the meantime, Strasberg might want to get the spelling of his new hire’s name right as it’s actually Chad Ackley (yeah, we know, calling the kettle black, blah blah). Anyhow, Ackley has spent the last decade at DDB San Francisco, where he primarily served as group creative director  on several campaigns for various Clorox Company brands such as Tilex, Pine-Sol and, yes, Clorox. Ackley started out as an art director at DDB SF but was soon elevated to one of the first creative director roles at the agency. Prior to his time at DDB, Ackley spent nearly a decade as well at Leo Burnett. We’ll update if and when we find out what his new title is. 

New Career Opportunities Daily: The best jobs in media.

We’ve just received confirmation that Joe Cianciotto, who’s spent well over nine years at DDB and works out of the New York office, has been appointed to the newly created position of chief digital officer at the agency. Along with his new CDO title, which he will take on effective immediately, Cianciotto will also maintain his position as executive creative director, a role he’s held at DDB for the last six years (he also served as director of digital integration for the last three). During his career, the senior creative also spent over six years at Publicis, where he last served as an ACD. Cianciotto will continue to work out of DDB’s NYC office.

New Career Opportunities Daily: The best jobs in media.

KLM Royal Dutch Airlines, which famously flies from The Netherlands to the Nether Lands™, is giving regular schmucks like you and me a chance to float around in outer space for a while. What this has to do with flying to different locations on Earth is unclear, but KLM along with agencies RAPP and Tribal DDB Amsterdam probably figured, “Hey, Axe is giving away a trip to outer space. We should do that too.” And do that too they are.

Of course, a campaign doesn’t begin and end with just giving away tickets to space. As every advertising veteran knows, the difficult part is determining  who actually gets the tickets. Ever the pragmatists, KLM have decided that this makes the most logical sense: They are launching a balloon with space tickets inside of it from Area 51 on April 22, with viewers of a live stream predicting at what altitude the balloon will pop. Should you guess correctly, you get the space tickets.

Should advertising ever be lauded for any one attribute, it should be its practicality. Credits after the jump.

continued…

New Career Opportunities Daily: The best jobs in media.

A televisão há muito tempo deixou de ser a primeira tela para algumas pessoas, mas em determinadas situações ela ainda mantém a preferência, com alguns avanços é claro. Literalmente. Com a televisão digital, é possível gravar seus programas favoritos (coisa que no século passado algumas pessoas faziam com o videocassete) e escolher o horário mais conveniente para assisti-los. Para o mercado publicitário, entretanto, surge um grande desafio: se as pessoas estão vendo programas gravados, elas têm a opção de avançar a imagem durante os comerciais. Na Bélgica, 1 em cada 3 telespectadores gravam seus programas, sendo que 90% pulam os comerciais. A solução da Volkswagen para apresentar o novo Beetle veio da DDB Bruxelas: o Slowmercial.

O comercial nada mais é do que uma imagem praticamente estática, em que a única ação é a capota sendo abaixada lentamente. Se visto com a velocidade normal, há um narrador falando sobre as vantagens do produto e o canto de passarinhos. Em velocidade acelerada, o efeito é praticamente o mesmo. O “filme” foi inserido nos intervalos de séries como Homeland e Bones. Segundo a DDB, uma vez que o Slowmercial atingiu os dois tipos de audiência, a expectativa é de que ele tenha um impacto 50% maior do que os comerciais tradicionais.

Duas perguntas surgem, então: será que esta expectativa é real e comprovável? E mais: será que o Slowmercial funcionaria para outros produtos? O jeito é aguardar para ver se a ideia vai se confirmar como uma tendência ou desaparecer completamente…

Post originalmente publicado no Brainstorm #9
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Capital One pitchman Alec Baldwin gets an assist from Charles Barkley in new ads from DDB Chicago and Tool director Erich Joiner timed to the NCAA's March Madness tournament, of which the financial firm is a prominent sponsor. In one spot, the pair perform goofy schtick during a sports broadcast, with the Round Mound's tent-size underpants held up to ridicule. In another, they attend a basketball game, where Sir Charles keeps snacks warm inside his jacket and reveals, "It's like a little hot-dog steamer in there"—which is frankly something I never needed to know. All this sporty-bro-bonding is kind of strained and silly, but overall the tone is probably in tune with the target audience. Besides, Baldwin's slimy smile and smug delivery never get old. And Barkley's dazed and indifferent acting style is a hoot—it's as if he can't collect his check and get off the set fast enough. They're like a puffy, middle-aged Odd Couple, and their combined charisma—though not much else—keeps the proceedings from becoming the commercial equivalent of an air ball. More spots and a behind-the-scenes clip after the jump.

A DDB Helsinki , Otto Production e Piñata Helsinki criaram um filme poético e envolvente para a marca de tintas Tikkurila. The Four Seasons mostra a passagem das estações – e as cores características de cada uma delas-, a partir de uma imagem inicial, utilizando live-action, stop-motion, time-lapse e uma trilha sonora perfeita. É interessante ver na tela o que às vezes deixamos de perceber no dia a dia.

Aqui, a versão estendida, com 40 segundos a mais.

Post originalmente publicado no Brainstorm #9
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Advertising Agency: DDB, India
Creative Director: Ravinder Siwach
Copywriter: Ravinder Siwach
Photographer: Mukul Raut

Esse comercial para o Reino Unido, prova que a Volkswagen está repetidamente batendo na tecla da “segurança” de forma global. Seja de maneira bem humorada, realista ou emocional.

Criado pela DDB de Londres, esse filme conta a evolução da relação entre pai e filha, desde o nascimento até o dia em que ela sai de casa. É a partir daí que o Polo entra em ação.

Aqui pro Brasil, basta traduzir a assinatura que a campanha pro Dia dos Pais já está pronta.

Post originalmente publicado no Brainstorm #9
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Afin de montrer son état d’esprit, la radio le Mouv se veut positive et ouverte d’esprit avec sa campagne “Non, ce n’était pas mieux avant”. Une série de visuels pensée par DDB Paris reprenant des éléments comme les inégalités du passé prouvant que notre époque est signe de progrès.

Previously on Fubiz

• Lego Imagine
• My Little America Photography
• Vorwerk Campaign

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