Les équipes d’Ogilvy 12th floor ont imaginé pour British Airways un panneau publicitaire installé à Piccadilly Circus et Chiswick qui interagit en fonction de l’avion qui passe au-dessus. Une initiative insolite et sympathique montrant de jeunes enfants pointant du doigt l’avion à découvrir en vidéo dans la suite.
“Olhe pra cima” (Look Up) é o nome da campanha que convida pessoas em Londres a olharem pro céu e descobrirem qual é aquele avião que está voando por cima do painel digital da British Airways.
Instalado no oeste da cidade britânica, o painel que fica a caminho de Heathrow (o maior aeroporto da Europa), mostra em tempo real quando um avião da companhia sobrevoa aquela área, dizendo qual é o número do vôo e de onde ele vem.
Em breve um outro painel será instalado no famoso e cobiçado espaço publicitário da Picadilly Circus, no centro da cidade.
A criação é da Ogilvy UK.
P.S.: como a criação ainda é muito nova, não consegui boas imagens para publicar aqui. Assim que mais imagens ou vídeos aparecerem eu atualizarei o post.
Post originalmente publicado no Brainstorm #9
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Unilever asks a heavy question—"Why bring a child into this world?"—in a four-minute video touting Project Sunlight, its new global sustainability initiative. The consumer-goods titan created the short film in collaboration with acclaimed director Errol Morris and many of the same folks from Ogilvy's South American office who created the award-winning "Real Beauty Sketches" for Unilever's Dove brand.
Actually, this is a film within film, as real expectant parents share their hopes and fears about the world their kids will inherit. They also react as they watch a movie that mixes footage of violence and despair with hopeful messages about the future. The tone is emotional, but positive, backed by a pensive piano cover of The Pixies' "Where Is My Mind?"
"Your child could have more possibilities of having a healthier heart than any living person today—and the same chance of a broken heart," the narrator says. "No one can escape that. … And by the time they find the right person, our children will have better chances of meeting their great-grandchildren than we ever did."
Nearing 2.5 million YouTube views in just two days, the clip clearly resonates with many viewers, such as this commenter on Unilever's Facebook page: "I cried at this video. … Righteous work! I hope more people see this video and are inspired."
Of course, not all viewers were won over. One YouTube commenter scoffed at the premise of a consumer brand helping save the world: "So they claim they 'save lives?' They make soap, people. Look, if they really cared they would invest all the billions of euros they make in profit into cancer research or something … Unilever is once again trying to take credit for something they have no business taking credit in by putting together some overdramatic commercial to fool people into thinking they are not in business to make those billions of euros."
The existential implications of the central question—"Why bring a child into this world?"—are so intense, I give Unilever points for having the guts to go this route in the first place.
But do we really need a big company to ask such questions? Is it Unilever's place to curate such a conversation which, no matter how well intentioned, is ultimately designed to improve the image of its brand and boost the bottom line?
Via Mashable.
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Unilever, the international conglomerate producing over 400 products, hasn’t always had a sterling environmental and social record. In 2007, Greenpeace targeted the corporation for the deforestation of Indonesian rainforests linked to its sources of palm oil. The UN Environmental Programme called palm oil plantations the leading cause of deforestation in Indonesia. Then, in 2011, Unilver partnered with Proctor and Gamble in a European washing powder price-fixing scheme. About the best thing you could say about Unilever was “at least they’re not Nestlé.”
But in recent years Unilever has been doing a lot to change public perception and at least appear to work toward sustainability. They were a founding member of the Roundtable on Sustainable Palm Oil and in 2012 announced that its sustainable palm oil target would be reached three years ahead of schedule, as well as promising “100% palm oil from certified traceable sources by 2020.” But a report issued last week by the International Labor Rights Forum and Sawit Watch found ”flagrant disregard for human rights at some of the very plantations the RSPO certifies as ‘sustainable.’” These human rights violations included “labor trafficking, child labor, unprotected work with hazardous chemicals, and long-term abuse of temporary contracts.”
So here we are a week later, on Universal Children’s Day, and Unilver has a new campaign called “Project Sunlight,” which it describes in a press release as appealing to everyone, but particularly parents, “encouraging them to join what Unilever sees as a growing community of people who want to make the world a better place for children and future generations” and “a new initiative to motivate millions of people to adopt more sustainable lifestyles.”
At the center of Ogilvy London’s campaign is the video, directed by Academy Award-winning director Errol Morris, and scored with the worst Pixies cover you’ve ever heard, ”Why Bring A Child Into This World?.” which answers that question by stating that our grandchildren will live in a better place than we do. It’s a slick, well-produced 4:26 clip charged with sentimentality and promise, especially if you’re a new or expectant parent.
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The latest in Dubai-based Memac Ogilvy & Mather’s campaign for United Nations Women is the affecting 1:30 video, “The Autocomplete Truth.” This short video comes on the heels of the virally successful print/online campaign launched this September that attempted to “start a conversation on the major barriers that are in place of women’s economic, political and social empowerment across the globe” — issues central to UN Women.
“The Autocomplete Truth” began, according to the Memac Ogilvy announce, when the team did a search for the term “women should” and were astounded by the sexist autocorrect results: “women should stay at home,” “women should be slaves,” “women should be in the kitchen,” “women should not speak in church.” The short video begins positively, with a montage of women’s rights achievements from women’s suffrage to Sarah Attar‘s appearance in the 2012 Summer Olympics. Then the video poses the question of where we are today, before answering with the troubling autocomplete results. It comes as a bit of a shock following the optimistic portrayal of women’s rights successes that precedes it, a perfect way to disrupt the impression that society has somehow advanced beyond sexism and illustrate the continued importance of women’s rights campaigns.
Although I don’t question the veracity of the team’s March 9, 2013 Google searches (location obviously has a significant impact on results), I wondered what my own Google search for “Women should” would bring up. The results were a bit more optimistic, with the top results: “women shoulder bags,” “women should be in combat,” “women shoulder exercises,” and “women should be allowed in combat.” I’ll take “shoulder bags” over “should be slaves” any day, of course. However, when I repeated the experiment with some of the other search terms from the print campaign, my results were pretty much in line with the those of the campaign. My “women shouldn’t” search had “go to business school” as the top result, go figure. Pretty depressing stuff, and ample evidence that discrimination against women is still a dominant force in 2013. Misogynistic commenters of AgencySpy, please stay the fuck out of this one.
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UN Women sparked a global debate last month, surprising even the group itself, when their modest print campaign, The Autocomplete Truth, went viral across the Web. Now, the organization and agency Memac Ogilvy & Mather Dubai are back with a video extension of the campaign, as they hinted at in a recent interview with AdFreak. The clip is mostly a collection of great moments in the history of female empowerment, and I was a bit disappointed to see just one of the Google autocomplete examples at the end. It feels like this could have been an opportunity to truly expand the campaign, showing new examples of search suggestions worldwide or even just highlighting the countless blog posts, articles and online conversations generated by the print ads. Still, it's good to see UN Women building on that initial success and creating something—including the hashtag #womenshould—that gives fans more content and context to share.
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Wow. Google’s advertising has always been solid, irrespective of agency and market. But Ogilvy Mumbai’s new spot “Google Search: Reunion” for Google India has taken it to the next level. I’m a pretty sensitive guy, but this is probably the first spot I’ve ever seen that makes me so emotional that I actually have to hold back tears. It makes Pereira & O’Dell’s recent “Stay Together” spot for Skype seem tame in comparison. Not only is the spot emotionally affecting, it manages to address the India-Pakistan partition, “a moment that has left a deep imprint across many generations on both sides of the border.”
“Google Search: Reunion” begins with a man telling his granddaughter about his long-lost childhood friend Yousaf. The pair would fly kites together every day, and steal candy from the candy shop run by Yousaf’s family. The old man, Baldev, misses his friend, who he was separated from during the partition of India and Pakistan. It would appear hopeless that Baldev and Yousaf would ever see each other again.
But Baldev’s granddaughter, Suman, does the seemingly impossible. She uses Google to track down the sweet shop still run by Yousaf’s family, using clues from her grandfather’s stories of his childhood. Suman then arranges for Yousaf to reunite with her grandfather for his birthday. When the two see each other for the first time since their childhood, it’s so overpoweringly emotional that it’s almost too much to take. This is advertising as storytelling, and it puts to shame so many lesser attempts to do so. It’s sentimental (in a good way) without being melodramatic, and positions Google as the tool that makes the whole incredible episode possible.
According to Google India director of marketing Sandeep Menon, “India has well over 150 million Internet users, and most of them use Google in various formats, be it from desktops, or mobile devices. We wanted to strike up a conversation to showcase the different uses of Google, and at the same time, tell magical stories that show why ours users love the product. One of our core philosophies is that our users are smart and intelligent. Hence, the attempt was to have a conversation and tell users that they can do a lot more, and a lot quicker, by showcasing some of the innovations that allow the product to be used in different ways.”
The 3:32 video is tremendously popular, going viral on YouTube, where it’s already approaching two million views. We really can’t say enough good things about this spot. This is how you win at advertising. (Impending firebombing of comments section with bile hatred and jealousy to commence in an estimated five seconds.) Credits after the jump. continued…
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I grew up reading the classic Choose Your Own Adventure book series, so Ogilvy’s new Choose Your Own Adventure video series “Yourope” for British Airways has brought on a welcome rush of nostalgia.
The initial video positions you at a British Airways terminal with a choice of four destinations which you can choose to visit: Barcelona, Paris, Berlin, and Rome. The “choose your own adventure” aspect doesn’t end with choosing a destination, however. When you choose Barcelona, you’re given a choice between night and day; when you choose Rome you get to choose between “old” and “new”; in Berlin the choice is between “punk” and “posh”; and in Paris it’s “classic” and “curious.” A different video, each directed by Brandon LaGanke, will play based on which side of the destination you choose. Once it’s complete, you can choose to explore the other side of your destination or to travel somewhere new. For example, if you chose night Barcelona you could then check out daytime Barcelona.
It’s a fun idea, and the execution is well done. Not stopping at choosing a destination, but adding different aspects of the same city creates depth and really adds to the illusion that you’re choosing your own destiny. That each side of each city is given not only its own video, but a different feel — complete with a unique music selection — is the icing on the cake. I’m sure we’ll have haters in the comments section decrying this as a lame, digital gimmick, but I found it to be good fun. If this series left you hungry for more Choose Your Own Adventure style shenanigans, check out this kickass Freaks and Geeks interactive game. Credits after the jump. continued…
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This is not what I needed on a Monday.
Ogilvy Johannesburg’s new spot for KFC, “Separation,” opens with a father picking up his son for a day. “Guess I’ll have him back by six,” he tells the mother. He asks his son what the plan for the day is, and the son says he doesn’t know. The two spend some time at the beach, until it starts to rain, and try to catch up. “You hungry?” the boy asks, and they drive to KFC, where the boy orders the “family treat” which elicits a questioning look from the father. When they drive back to the house, the boy asks again, “You hungry?” as the father accompanies him inside. The hashtag #familytime closes the spot.
While I appreciate Ogilvy and KFC highlighting a non-traditional family in their advertising, this one is just depressing. The poor kid uses a KFC meal to get his parents to eat a meal together? Aww man, that’s just so sad. Too sad for an advertisement, maybe? Perhaps? I don’t know, because it’s certainly a memorable spot. I’m going to remember this one for a while. But the next time I drive by my neighborhood KFC I’ll be tearing up, not thinking about how much I want fried chicken. Credits after the jump. continued…
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This memo, courtesy of OgilvyOne New York president Dimitri Maex announces the arrival of a bit more Aetna biz for the agency.
“ALL NEW YORK STAFF
AETNALast year Aetna appointed us as AOR for all their B2B communications. They have now decided to give us the consumer brand business. This is a terrific win and we owe it mainly to the Aetna team who has been working tirelessly to, first, onboard a very complex business and then, quickly turn it into a well oiled machine. A couple of weeks ago they launched Aetna’s first corporate campaign, “Our Healthy,” which was written up in the New York Times. The team’s work was the main reason Aetna awarded us the consumer brand work. A huge congratulations to Rebecca Barnard, Ben Levine, David Korchin, Stephanie Wai and the rest of the team for making this happen.
With the Affordable Care Act now in effect and the growing importance of public and private health exchanges, the health insurance industry is rapidly transforming from a pure B2B business to one that is primarily consumer driven. Consumer brand advertising, therefore, has become crucially important for Aetna and we couldn’t be more excited to be their main agency partner in this transformation. “
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Ogilvy Chicago’s latest spot in their “People Who Get It” campaign for CDW features Charles Barkley, Doug Flutie, and a technologically advanced stadium without a team.
In the spot, Jim Gordon takes you on a tour of Gordon and Taylor stadium, a domed football stadium he touts as “the most technologically advanced stadium in the world,” thanks to CDW. Features include “3,000 screens, stadium-wide wi-fi, seamless POS systems and a cloud infrastructure solution.” The funniest moment of the spot comes right after this list of features. “Do I know what those are? Not exactly,” Gordon admits. “But they sound impressive.” This should hit home with a lot of people who fall a good deal short of IT expert, myself included.
Over the course of the spot it’s revealed that Gordon has the perfect stadium, a half-time show, cheerleaders, a mascot, Charles Barkley and Doug Flutie on board — basically everything he needs, except a team. He seems to get more and more panicked about this as the spot goes on. Looks like Flutie may have to QB himself. The spot is fun and lighthearted, although I wish Barkley had more lines as he has a good comic presence. I wouldn’t be too surprised to see a follow-up spot
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Advertising Agency: Ogilvy, India
National Creative Directors: Rajiv Rao, Abhijit Avasthi
Executive Creative Director: Joono Simon
Creative Director: Shamik Sen Gupta
Art Director: Vinci Raj
Copywriters: Sraman Majumdar
Photography: Koppula Photography
Illustrators: Jhona, Anil, Siva
3D: Zoetropeican
Retoucher: Image Rom studio, Irfan
Account Management: Simi, Ramanan, Sandeep, Varun
Production: Vinayan
Additional Credits: Nidhin, Ramji, Ayelin, Leo, Raghu
The post Bangalore Traffic Police by Ogilvy appeared first on desicreative.
Ogilvy and Mather NY’s latest spot for Time Warner Cable Sportscast, “Crazy,” directed by David Gray, asks if it’s crazy to love football so much that you do things that might be a little…unusual.
The simple :33 spot highlights a series of super-fan behaviors as a humorous way to advertise how missing a game is what would really make you crazy. The spot may have been more effective if they had went a little further out there with the “crazy” fan behaviors though, as most of them are pretty tame. The touchdown dance one, in particular, could have been replaced with something a little “crazier.” A lot of people don’t know how to dance.
Wearing the same outfit every game day? Setting up your daughter’s Brownie troop in shotgun formation? Growing a lucky beard?
No, Time Warner, that’s not crazy. But accidentally broadcasting porn on a children’s channel is. Credits after the jump. continued…
New Career Opportunities Daily: The best jobs in media.
Stimorol Sensations, a South African gum that appears to be the same thing as Trident Layers, claims to be the most indulgent gum in the universe. In its latest spot by Ogilvy Cape Town, an office drone pops the layered gum, slips away into an indulgent fantasy of synchronized swimmers and fruit waterfalls that cop a feel, and, of course, walks across water to play a saxophone duet with a parrot. The whole thing was put together using an indulgent set that included 30 tons of pink goo. Check out the behind-the-scenes video for shots of the set and a delightfully unenlightening interview with the quirky director, Trevor Clarence. Credits below.
CREDITS
Client: Stimorol Sensations
Agency: Ogilvy & Mather, Cape Town, South Africa
Executive Creative Director: Chris Gotz
Associate Creative Director: Tommy Le Roux
Creative Group Head: Prabashan Panther
Agency Producer: Anthea Beylis
Art Directors: Reijer van der Vlugt, Matthew Pullen
Copywriters: Justin Osburn, Dean Paradise
Production Company: Your Girlfriend
Director: Trevor Clarence
Executive Producer: Linda Bogle
Postproduction: Black Ginger
Sound Design: We Love Jam
Voiceover Artist: Adam Behr
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A ideia de ir pra Itália nesse exato momento, sem se preocupar com malas, aeroportos e passaportes, parece irresistível, certo? E pode ser realizada. Mesmo que por apenas 3 minutos, e também sem poder sentir a brisa do verão ou desfrutar do melhor gelato do mundo.
Uma ação da San Pellegrino no Facebook permite o controle remoto de um robô presente na cidade de Taormina, na Sicília, equipado com tablet para conexão em vídeoconferência e software de tradução automática do inglês para o italiano.
Criada pela Ogilvy de Nova York, em parceria com o estúdio Deeplocal, a campanha “Three Minutes in Italy” acaba no dia 17 de agosto, e mais do que a possibilidade de bater um papo com os sicilianos, é sua chance de virar o Johnny 5.
Post originalmente publicado no Brainstorm #9
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For the second time in as many months, Ogilvy Chicago has had to make some reductions. Here’s the statement from the agency: “Today Ogilvy Chicago reduced our staff by 1-2%. While we regret having to say goodbye to even one employee, this move is part of a plan to restructure the agency and serve our clients more efficiently.” From what we’re hearing from tipsters, anywhere from 10-20 staffers were affected by today’s move. Like last time, though, details including departments affected and reason for the matter have not been clarified, but we’ll surely let you know if and when we hear more.
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Advertising Agency: Ogilvy, India
National Creative Directors: Rajiv Rao, Abhijit Avasthi
Executive Creative Director: Joono Simon
Creative Director: Shamik Sen Gupta
Art Director: Vinci Raj
Copywriters: Devanand, Sraman Majumdar
Photography: Koppula Photography
Retoucher: Irfan- Studio6
Account management: Simi, Ramanan
Production: Vinayan
Other credits: Nidhin, Ayelin, Sanjeev, Jerry, Neha, Leo, Raghu
The post HCG by Ogilvy appeared first on desicreative.
Hot Wheels has done a lot of cool advertising lately, but you have to love the wonderful simplicity and craft of this new poster from Ogilvy & Mather in Mumbai for the toy carmaker's Safari series. It was written and art directed by Pramod Chavan. Credits below.
CREDITS
Client: Hot Wheels
Agency: Ogilvy & Mather, Mumbai, India
Chief Creative Officers: Abhijit Avasthi, Rajiv Rao
Executive Creative Directors: Vijay Sawant, Manoj Shetty
Creative Director: Minal Phatak
Art Director, Copywriter: Pramod Chavan
Photographer: Avadhut Hembade
Account: Ajay Mehta, Konkana Ghosh
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By now, word is out and widespread that Ogilvy has taken the reins on the E*Trade account, which WPP sibling Grey NY of course resigned at the end of June. Whether they keep the baby or not is a story yet to be told, but according to the Spy line, O&M was one of the frontrunners on the business from the get-go. Anyhow, we’ve read recently installed E*Trade CMO Liza Landsman‘s perspective. Now, let’s pass the mic and read Ogilvy’s courtesy of New York COO Lou Aversano. Read on below and after the jump.
“ALL NA STAFF
July 23, 2013
E*TRADE
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As you may have just heard, OgilvyOne has emerged victorious in the review for Weight Watchers’ digital account. We’ve obtained the full memo from OgilvyOne managing director Dimitri Maex to staff regarding the news. As you’ll see below, said agency beat out the likes of Havas Digital, incumbent Razorfish and 360i for Weight Watcher digital AOR duties, which span everything from digital media buying/planning to social media to analytics. McCann, meanwhile, serves as lead creative agency for Weight Watchers. Anyhow, read on:
I’m incredibly excited to announce our newest addition to the client list. Weight Watchers, the market leader in weight loss, announced today that OgilvyOne has been appointed as the digital agency of record.This news follows an extensive competitive search in which OgilvyOne won against some of the best digital agencies out there, beating the likes of R/GA, 360i, Havas Digital and incumbent Razorfish.We’d like to share a few words from our new clients on why they chose OgilvyOne: “The scope of our engagement is broad, and includes digital media planning and buying, social media, advanced analytics, and search engine marketing,” said Sarah Kleinhandler, Director of Digital Strategy and Marketing, Weight Watchers. “Digital is a core channel for us to connect with and engage consumers, and we believe that OgilvyOne will be an important strategic partner in evolving how we fully leverage this critical marketing pillar.”“Weight Watchers is a social business at its core, and there is a huge opportunity to continue to evolve and unlock the power of social for our brand,” said Lee Hurley, Vice President of Advertising and Social Media, Weight Watchers. “We selected OgilvyOne because of their strategic firepower, innovative creative ideas, digital media acumen, and incredibly passionate team.”I could not be more proud of the Weight Watchers pitch team who made this happen. The ideas and the depth of our digital capabilities across OgilvyOne and Neo blew the clients away. And it was the energy and spirit of the team and the chemistry with the clients that made the real difference. The only way to win a pitch like this is to go all out and that’s exactly what we did. Our unbelievable new business team under Daniel Korn’s leadership was the real driving force. Thanks to Abigail Lacey, Juan Luna, Charlotte Spatcher, and Keith Smolar we shot our credentials video on a treadmill, we did a company-wide hackathon and we pledged to lose more than 50 pounds as a team during the pitch process.With every pitch there are so many people to thank and this one was no different. I can’t possibly list everyone who contributed to this win in this email. But I do want to call out the core team who rehearsed relentlessly until the early hours before every pitch presentation: our creative leaders Jim Thompson, Edu De la Herran, Alfonso Marian and Jan Leth, the incredible Gemma Craven and Caroline Chianese who were the backbone of this pitch which focused heavily on social and digital media, our planning team with Jonathan Rigby and Alvaro Cabrera and our gentle but firm pitch general Billy Aymami. The team would also like to thank all 115 hackathon participants and especially the winners: Brett Pollack, Chris Heydt, Madeline Malachowski, and Samantha Levine. And finally we want to thank the many people who came up to us throughout this process to express their concerns about our health. What can we say? Weight Watchers works! But you can stop worrying now — the pitch is over so we will all stop losing weight.This latest win comes on the heels of a year of great momentum for New York and for OgilvyOne New York, with our most recent wins of the iShares Relationship Marketing business and the Brown Shoe Customer Engagement AOR assignment. Let’s not take our foot off the gas and let’s keep our momentum going throughout the second half of this year!
New Career Opportunities Daily: The best jobs in media.
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