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Breaking News in Advertising, Media and Technology

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    Lilly Pulitzer once said, "Anything is possible with sunshine and a little pink." With just a touch of pink and some summer rays, Target celebrates its upcoming collaboration with the fashion brand by throwing what looks to be the most epic and elegant pool party ever.

    When news broke in January that Lilly Pulitzer would be the next brand with a Target line, many fans of the vibrant prints and preppy shift dresses rejoiced. Other die-hard Lilly wearers turned their noses up at the idea. Any backlash, however, isn't getting Pulitzer and Target down. Instead, they're celebrating the partnership with the utmost style.

    The 60-second spot from Chandelier Creative—with appearances by Chris Noth, Nick Young, Bella Thorne and Alek Wek—brilliantly pays homage to the legendary Palm Beach parties Pulitzer herself threw in the '60s.

    "The TV and digital creative embrace Lilly Pulitzer's legacy as a woman who lived without boundaries and believed life was a party," Richard Christiansen, founder and creative director of Chandelier, said. "All together, the campaign shows what a vibrant and colorful force Lilly was—inside and out." 

    The spot definitely captures that sense of vibrancy and color. It has all the makings of a Pulitzer blowout, from the monkey serving champagne cocktails to the giraffe holding hats for partygoers. It's a dash of a Gatsby backyard extravaganza, a pinch of a Mad Hatter tea party and a whole lot of inspiration from the woman behind it all. 

    The campaign extends to print (see below—notably, the print work doesn't actually show any product), as well as online with a delightful interactive experience.

    "We invite viewers into a fun-filled party that starts on television and extends into a digital experience where parallax views allow the guests to explore the party from their vantage point and connect them directly with the Lilly product in each room," Todd Waterbury, Target's chief creative officer, told Adweek in an email. 

    The 250-piece line, including print dresses and bathing suits, will be available online and in stores beginning April 19.

    Client: Lilly Pulitzer for Target
    Agency: Chandelier Creative
    Creative Directors: Richard Christiansen, Lena Kuffner
    Art Director: Michael Scanlon
    Account Director: Alanna Lynch
    Broadcast Producer: Antonella Scarano
    Director: Filip Engstrom
    Director of Photography: Matthew Libatique
    Production Designer: Jason Dawes
    Production Company: Smuggler
    Editing House: General Editorial
    Editor: Noah Herzog
    Visual Effects: The Mill
    Color: Color Collective
    Track: KC and the Sunshine Band, "Keep It Comin' Love"
    Music: Heavy Duty
    Mix: Mike Vitacco @ Heard City
    Music Supervisor: Diane Prentice
    Executive Music Producers: Kate Urcioli, Josh Kessler
    Music Production Company: Heavy Duty Projects
    Track Producer: Daniel Nigro; additional vocal production by Kenny Segal

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    Houston, we have a blower.

    French agency Altmann + Pacreau gets cosmic in this ad for Stihl leaf blowers, employing astronaut imagery and the 2001: A Space Odyssey theme to fine effect.

    "Having done many ideas with leaves in the past, we thought we should go for something less expected to stand above the competitors in an allegoric and funny way," Olivier Altmann, the agency's chief creative officer, tells AdFreak. Given the client's premium pricing, "they need to reinforce their positioning about performance and make sure that customers ask for Stihl, instead of being left with just the price as the main criteria for making their decision."

    Other ads have launched products into the void, but few have done so as elegantly as this one. Here, smooth visuals memorably emphasize the leaf blower's power, portraying yard work as the ultimate trip (or something).

    No doubt, in some distant dimension, where the dead live again and, for reasons beyond earthly understanding, really need to tidy up their lawns, Stanley Kubrick is smiling.

    Client: Stihl
    Agency: Altmann + Pacreau 
    Creative Director: Olivier Altmann 
    Agency Management: Edouard Pacreau, Thomas Vigneron 
    Production: The Gang Films 
    Producer: Nathalie Le Caer

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    "Dumb Ways to Die" could be the theme song of Game of Thrones. And now this parody, from Egor Zhgun, brings them together in celebration of the various gory, untimely deaths through the show's first four seasons. Spoilers, obviously.

    The HBO show's fifth season premiered Sunday.

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    Old Spice is tapping into the gamer community, which clearly overlaps with its own target, with an interesting campaign on Twitch—the live social video platform for gamers—in which viewers get to control a real human being dropping in a forest for three days.

    Beginning Thursday at 10 a.m. PT, visitors to twitch.tv/oldspice will use the site's chat feature to send commands to the man to perform. Users will work together to unlock achievements or activities for Nature Man. ("Arm wrestle an obviously fake bear? Hear stories from a wise tree? Stumble across interesting and good smelling characters? The scenarios are endless—and completely up to the participating gamers," says Wieden + Kennedy, which built the experience.)

    Beyond that, well, we'll just have to see how it unfolds.

    "Old Spice is thrilled to bring an outdoor gaming experience like no other to our fans and the Twitch community," Kate DiCarlo, communications manager for P&G beauty care, tells AdFreak. "We're always looking for new ways to entertain and build brand loyalty with our fans, and Twitch is the perfect partner to help us reach the gaming and live streaming culture in an authentic way. Plus, with scent names like Timber, Amber and Citron, we couldn't think of a better way to celebrate our new nature-inspired Fresher Collection."

    The stream will run from 10 a.m. to sundown PT on Thursday, Friday and Saturday.

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    "Rock out in comfort" is a headline that will horrify rock 'n' roll purists—but Ringo Starr doesn't care. The Beatles drummer is relaxation personified in his first campaign for Skechers, as the brand continues its association with aging legends following the Pete Rose ad on the Super Bowl.

    Check out the commercial and print work below.

    "I love to be relaxed," Ringo says in a statement. "I don't know why people think because you're a well-known pop star that we relax differently. We don't—we hang out at home, we have dinner, go to the movies. I like to actually sit on a beach in the sun and listen to the waves. But you can't do that every day, can you?"

    Ringo released his 18th solo album, Postcards from Paradise, on March 31 and will be inducted into the Rock and Roll Hall of Fame as a solo artist this Saturday.

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    Who Jason Jeffries, CEO, and Sarah McLoughlin, creative director
    What Full-service interactive agency
    Where Brooklyn, N.Y.

    A marriage of technology and design describes both Blenderbox's approach to building websites for the likes of American Express, Lincoln Center and the New York Blood Center and the husband and wife team that runs the agency. CEO Jason Jeffries was a lead developer at Razorfish before opening Blenderbox in 2000, while Sarah McLoughlin, its creative director, is a former art director at Firstborn. Together, they have "attracted designers that understand code and developers that understand design, which has served us very well in the marketplace," said Jeffries. Located in the Williamsburg section of Brooklyn, N.Y., the agency has deep local roots. The partnership began when Jeffries and McLoughlin met at Jeffries' Verb Café in Williamsburg in 1999. Today, the agency operates its own retail business in the area, the Bedford Cheese Shop. It also employs 19 and generates more than $3 million in annual revenue.

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    Nike's newest commercial captures the inner dialogue of a woman stuck behind a row of models during spin class; a runner through a half-marathon; and a beginner yogi unsure of her surroundings.

    The spot, by Wieden + Kennedy, launches a campaign called #betterforit, which Nike says is its largest initiative yet in supporting and motivating women's athletic journeys. It's about "powering [women] to be better through services, product innovation and athlete inspiration, motivating each other to push to the next level," the company says.

    It's a light, fun approach in contrast to more motivational Nike spots of the past, and it seems to be resonating with the average athlete. From the YouTube comments: "It's not often I love commercials. But this one reminds us that everyone has insecurities and that we can accomplish anything, and I think that's a really special thing to focus on in an ad."

    This first spot, "Inner Thoughts," aired during the MTV Movie Awards on Sunday night. It looks like Nike is positioning "Better for it" as the less aggressive (but maybe equally motivating) alternative to "Just do it."

    More videos and images below, plus credits.

    Adweek responsive video player used on /video.

    Adweek responsive video player used on /video.

    Adweek responsive video player used on /video.

    Adweek responsive video player used on /video.

    Adweek responsive video player used on /video.

    Adweek responsive video player used on /video.

    Adweek responsive video player used on /video.

    Client: Nike
    Project: "Better for It"

    Agency: Wieden + Kennedy, Portland, Ore.
    Creative Directors: Alberto Ponte / Ryan O'Rourke / Dan Viens
    Copywriters: Heather Ryder / Darcie Burrell
    Art Director: Patty Orlando
    Producers: Molly Tait / Julie Gursha
    Executive Agency Producer: Matt Hunnicutt
    Interactive Strategy: Jocelin Shalom
    Strategic Planning: Tom Suharto / Irina Tone
    Media / Communications Planning: Emily Dalton / Destinee Scott / Emily Graham
    Account Team: Karrelle Dixon / Alyssa Ramsey / Marisa Weber / Jim Zhou
    Business Affairs: Anna Beth Nagel
    Executive Creative Directors: Mark Fitzloff / Joe Staples

    Production Company: Iconoclast
    Director: Matthew Frost
    Executive Producer: Charles-Marie Anthonioz
    Line Producer: Caroline Pham
    Directors of Photography: Darren Lew / Joost Van Gelder

    Editing Company: Rock Paper Scissors
    Editor: Angus Wall ("Inner Thoughts" :60, :30) / Grant Surmi (:30, :15s)
    Post Producer: Jared Thomas
    Executive Post Producer: Angela Dorian

    Visual Effects Company: A52
    Visual Effects Supervisor: Jesse Monsour
    Flame Artists: Brendan Crockett / Matt Sousa / Steve Wolf / Dan Ellis / Richard Hirst
    Visual Effects Producer: Jamie McBriety
    Color: Paul Yacono

    Music Supervision: Nylon Studios
    Artist: Apollo 100
    Track: Joy
    Sound Designer: Barking Owl

    Mix Company: Lime Studios
    Mixers: Matt Miller / Dave Wagg
    Producers: Jessica Locke / Susie Boyajan

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    Yo, Adrian! Sylvester Stallone is in this British commercial for Warburtons bakery. Guess he didn't make enough dough in Hollywood.

    Sly rises to the occasion, though, in this wry-humored spot from WCRS that finds the actor pitching Warburtons management on The Deliverers, his idea for an action movie about a gung-ho, Rambo/Rocky-esque bread delivery guy.

    Why cast Stallone in the two-minute ad?

    "Warburtons goes to heroic lengths to deliver to 16,000 stores every day, so we needed someone who could represent that," WCRS senior account director Tim Boxall tells Adweek. "Sly is famous for playing heroes with steely determination and a never-say-die attitude, so he was the obvious choice."

    Veteran TV and film director Declan Lowney gives the proceedings an appropriately slick, cinematic feel. There are lots of great one-liners—"When it comes to delivering fresh bread on time, the oven gloves are off," "Time to earn my crust"—which Sly delivers in his trademark deadpan style. Cute sight gags include Stallone waking up to Survivor's "Eye of the Tiger" (the infuriatingly catchy theme from Rocky III) and hesitating in the cab of a delivery truck before Sly-ding over to the wheel on the right side (this is England, after all).

    "It took a brave client with huge ambition to buy the work," says Boxall, "which of course we were delighted with." In fact, Jonathan Warburton, chairman of the family business, does a nice turn playing himself, and even gets in the last word. (Sorry, Sly, client's prerogative.)

    Marketers have been on a roll with commercials starring fading movie hunks of late, and this one's generating lots of publicity. Look for Stallone, Schwarzenegger and Van Damme to keep appearing in ads—while brands savor the sweet rewards.

    "We'd always hoped the campaign would be good enough that U.K.-based journalists would want to write about it," says Boxall, "but since Warburtons' core business is U.K.-based, we'd never set our ambitions globally. To have people inquiring from around the world is a great added bonus."

    Client: Warburtons
    Agency: WCRS, London
    Executive Creative Director: Billy Faithfull
    Creatives: Andy Lee, Jonny Porthouse
    Agency Producer: Sally Lipsius
    Account Handling: Louise Davidson, Tim Boxall
    Planning: Liz Baines
    Media Agency: Mindshare
    Production Company: Another Film Company
    Director: Declan Lowney
    Producer Simon Monhemius
    DOP: Haris Zambarloukos
    Editor: Leo King
    Production Designer: Clare Clarkson
    1st AD: Chris Kelly
    Editor: Leo King/Stich
    Postproduction: Jason Watt/Finish
    Colorist: Paul Harrison
    Lead Flame: Jason Watts
    Flame: Andy Copping
    Flame: Steve Murgatroyd
    Lead 3D: Harin Hirani
    3D: Alaric Holberton
    Postproducer: Louise Unwin
    Audio: Ben Leeves/Grand Central

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    Comedy Central's Inside Amy Schumer is back for another season on April 21, but instead of a boring promo, she made a satirical music video offering an important cultural perspective on booty anthems, with the help of Method Man and Amber Rose.

    If you don't know the childhood rhyme about bodily fluids—"Milk, milk, lemonade, round the corner fudge is made," where kids dance about the playground gleefully pointing to the relevant body parts—then I'm sorry. You missed an important part of American culture.

    But your sad excuse for a childhood aside, we can all appreciate Schumer bringing back this delightfully crass little jingle for a booty anthem that's almost good enough to actually make it to the charts.

    I think Schumer or Method Man or Rose or somebody realized it was a little too good, though, about halfway through, when you really get an urge to shake your rump along. So they decided that if you didn't get that this is humor, they would start chanting, "This is where my poop comes out."

    It is this transcendent moment, my friends, where this promo becomes a viral piece in the making that you know you are going to send to all your friends. In fact, the video probably doesn't need all the star power it's got, which also includes Amber Tamblyn (Two and a Half Men) and Jemima Kirke (Girls).

    Regardless of how many rump-shaking celebrities you witness in this three-minute masterpiece, your main takeaway will be an unending refrain of "This is where my poop comes out," stuck in your head for the rest of the day. You're welcome.

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    A lot of brands attempt space-related stunts. But for all the wonder inherent in the heavens, many of these campaigns forget that just being up there isn't enough. You need a human connection for any of it to matter to viewers. (This is why Felix Baumgartner's Red Bull stunt was such a juggernaut—it was all about testing what it means to be human. It's also why a lot fewer people cared when Jose Cuervo mixed a margarita in space.)

    Hyundai just released its own little space movie, and it's a great addition to the category. The automaker found a 13-year-old girl from Houston whose father is an astronaut. He's away a lot, and she misses him. So, Hyundai orchestrated a sweet and pretty otherworldly stunt—using a fleet of Hyundai Genesis sedans to write a giant version of her message of love, in her own handwriting, across Nevada's Delamar Dry Lake, so her dad could see it from the International Space Station.

    It's a pretty grand production. The resulting image—almost three and a half square miles in total—has been approved by Guinness World Records as the largest tire track image ever made. There's also a pretty extensive online tie-in at amessagetospace.com.

    Predictably, the film stumbles only when it tries to explicitly tie back to the Hyundai brand. (The on-screen line "Your stories inspire our innovative thinking" is just silly and should have been cut.) The vehicles speak for themselves, as they nicely become the instrument that makes the whole thing possible. (If you must know more, the press materials say the stunt "required a vehicle with outstanding engine performance, precise handling, a proven powertrain, and excellent driving stability to cope with the rough surface while creating the elaborate message.")

    It's not meant to be a hard sell, though. Scott Noh, head of the overseas marketing group for Hyundai Motor Company, is right when he says the video is mostly about "demonstrating our caring vision to our customers."

    See the behind-the-scenes below.

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    Actress and artist Jemima Kirke, best known as Jessa on HBO's Girls, terminated a pregnancy while she was in college in 2007. In this new PSA for the Center for Reproductive Rights, she shares that story. It isn't sensational or scandalous. In fact, her story seems rather common—and that's exactly why the PSA is affecting. 

    Speaking candidly about abortion is often met with stigma and shame, even embarrassment, according to Kirke, who is looking to combat the taboo nature of abortion stories by opening up about her own.

    In the three-minute PSA, the mother of three (including two daughters, whom she mentions) notes the hurdles she had to clear to gain access to the legal procedure.

    "It's these obstacles and it's this stigma that makes these things not completely unavailable," she says. "And that's the tricky part, is that we think we do have free choice and we are able to do whatever we want. But then there are these little hoops we have to jump through to get them."

    The actress is one of many telling her story, no small task given the inherently political nature of the topic. The Center for Reproductive Rights' "Draw the Line" campaign looks to cement Americans' access to reproductive care in a political environment that has steadily worked to restrict it.

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    When you're moving, you're so beset by cardboard boxes that your life might as well be made of them. And now, Century 21's new ad campaign actually is.

    The new stop-motion campaign from Mullen uses cardboard cutouts to tell three stories about the travails of relocation. In the first ad, an emo cardboard kid in a red cap gets all broke up when his cardboard dad tells him they're moving from one cardboard house to a bigger cardboard house. Luckily, there's a cardboard real estate broker with a sunny yellow scarf to introduce the kid to another kid, with a blue cap.

    In the second spot, a Century 21 agent saves the day by showing an elderly man who's just moved to the city that there's a nearby park where he can go hang out with the birds, without having to worrying about his lovely wife driving her boat of a car into the bushes.

    The third spot manages a sideways dig at the enemy of real estate brokers everywhere—Craigslist—labeled not entirely inaccurately here as Creepslist. But the yellow-garnished hero helps a young single woman meet the rather fantastical criteria of a place that's not infested by rats and has a roof with a view of red-hatted water towers (apparently enough to make the young woman cry).

    The visuals, hand-cut by artist Elizabeth Corkery, are plenty endearing—simple without being boring, with nice, minimal use of color to highlight the emotional subtext. It also helps that the scenarios are all reasonably credible, and that moving, in general, really does suck. Then again, it's all just part of modern life on this little spinning cardboard planet we call Earth (twee soundtracks not included).

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    Tax Day isn't usually a time for great brand creativity, but BBDO New York goes the extra mile this year with a short documentary about an Arizona woman who tried to write off a Snickers bar in 2005.

    She was audited, and the authorities took a dim view of her audacity.

    Also, it's a true story. BBDO found the woman's case online, pitched her the concept and flew to her hometown in Arizona to shoot the film.

    Client: Snickers
    Spot: "The Snickers Write-Off"

    Agency: BBDO New York
    Chief Creative Officer, BBDO Worldwide: David Lubars
    Chief Creative Officer, BBDO New York: Greg Hahn
    Executive Creative Directors: Gianfranco Arena, Peter Kain
    Creative Director: Peter Alsante
    Associate Creative Director: Matthew Zaifert
    Managing Director: Kirsten Flanik
    Global Account Director: Susannah Keller
    Account Director: Joshua Steinman
    Account Manager: Dylan Green
    Account Executive: Jocelyn Choi     
    Director of Integrated Production: David Rolfe
    Group Executive Producer: Amy Wertheimer
    Producer: Mona Lisa Farrokhnia
    Music Producer: Julia Millison
    Group Planning Director: Crystal Rix
    Senior Planner: Alaina Crystal

    Director: Evan Bernard
    Director of Photography: Joseph DeSalvo
    Line Producer: Koji Yahagi
    Production Supervisor: Renee Haar
    Projects Lead: Michael Gentile
    Audio Engineer: Corey Bauman
    Illustrator: Kieran Bergin

    Editing: NO6
    Editor: Ryan Bukowski
    Executive Producer: Corina Dennison
    Producer: Malia Rose
    Colorist: Stephen Picano

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    It was a popular stunt, to say the least. Last year's "Share a Coke" campaign, featuring personalized names on bottles, helped Coca-Cola achieve the largest year-over-year growth in 20-ounce packaging in it history—more than 19 percent.

    So, of course they're bringing it back, in a much-expanded format.

    The campaign returns this month with 1,000 popular names replacing the Coke logo on 20-ounce bottles of Coca-Cola, Diet Coke and Coke Zero. That's four times as many names as last year. The new names (not available last year) include Annie, Candace, Adriana, Clay, Krista, Nichole, Desi, Marty, Art, Dennis, Colleen, Shay, Larry, Emmanuel, Angelina, Sheena, Bruce, Cal, Destiny and Eddie.

    The ShareaCoke.com site also gets an upgrade, becoming an e-commerce platform that offers 8-ounce glass bottles for purchase with "nearly limitless naming options," according to the brand. (You can imagine the sorts of names they might reject.)

    Also, 1.25- and 2-liter plastic bottles, eight-ounce glass bottles, aluminum bottles and more will feature nicknames like "Better Half," "Sis," "Class of 2015."

    The packaging idea, which started in Australia in 2011, has inspired lots of shenanigans in social media, with people hacking the idea in all sorts of ways.

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    Ikea nicely contrasts its colorful design sense with the drabness of the world at large in these print ads from TBWA in Portugal. Apparently, going with Ikea means you get a balcony in buildings that otherwise don't have any.

    The approach recalls Jung von Matt/Elbe's outdoor ads for home-improvement chain OBI. A splash of color in a gray landscape is so good at communicating a freshness of vision.

    Full ads below. Via Ads of the World.

    Click the images to enlarge.

    Client: Ikea
    Agency: TBWA, Lisbon
    Creative Director: Leandro Alvarez
    Art Director: Julliano Bertoldi
    Copywriter: Joao Ribeiro
    Photographer: Yves Callewaert
    Retouch: Whitelab

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    Canada is a great country for cycling, but the bikes aren't going to ride themselves. Well, actually they do in this inventing and intense spot for Cycling Canada from ad agency Innocean, Sons and Daughters director Mark Zibert and effects house Alter Ego.

    The goal is to inspire Canadians to get active. The tagline: "Hop on."

    Check out the spot and Alter Ego's behind-the-scenes clip below.

    Client: Cycling Canada
    Agency: Innocean Worldwide Canada

    Production Company: Sons and Daughters
    Director, Director of Photography: Mark Zibert
    Executive Producer: Dan Ford
    Producer: Neil Bartley

    Editing: Saints Editorial
    Editor: Mark Paiva
    Assistant Editor: Red Barbaza
    Executive Producers: Michelle Rich, Stephanie Hickman

    Postproduction, Design, Visual Effects: Alter Ego
    Visual Effects Supervisor: Andres Kirejew
    Visual Effects: Darren Achim, Steve McGregor, Andrew Thiessen
    Computer Graphics Lead: Sebastian Bilbao
    Animation: Eileen Peng, Edward Deng, Rob Fisher, Brandon Fernback
    Producer: Caitlin Schooley
    Executive Producers: Cheyenne Bloomfield, Greg Edgar
    Color Grading: Alter Ego
    Colorists: Wade Odlum, Eric Whipp, Clinton Homuth

    Music, Sound: RMW Music
    Producer, Music Composer: Mark Rajaković
    Sound Design: Kyle Gudmundson
    Associate Producer: Kristina Loschiavo
    Executive Producer: Jeff Cohen
    Media Services: Sebastian Biega, Chris Masson

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    Holy mackerel, this octopus can use a camera!

    Sony and FCB Auckland trained a female octopus named Rambo (no relation) to take pictures with a Cyber Shot TX30 camera for this captivating minute-long video.

    This particular sea creature was used to promote the water- and shock-resistant camera because octopuses are among the most intelligent denizens of the deep. (Besides, clams can't take direction, and lobsters are too darn tasty.)

    A special rig helped Rambo push a shutter button to capture images of visitors outside her tank at Kelly Tarlton's Sea Life Aquarium in New Zealand. Rambo's trainer, Mark Vette, says it took her just three attempts to understand the process, though at times she behaved like an eight-armed diva, smashing several cameras to bits during a two-month training process. (Elsewhere, this little dude mastered octo-selfies in no time!)

    Sony's "Octographer" ad has gotten nearly 400,000 YouTube views in a week and lots of media play. Still, the brand message, while present in most coverage, has been somewhat overshadowed by the sheer novelty of a photo-taking octopus, especially in casual social mentions. For many, Rambo is the breakout star, while the camera is an afterthought. Props to the cephalopod for playing her mammalian, land-lubbing overlords for suckers.

    FCB group account director Toby Sellers answered some of our questions about the stunt.

    Why use an octopus?
    We wanted to show the world that even an amateur photographer can take amazing underwater photos with Sony's TX30. That led us to the idea of using a photographer who actually lives underwater.

    They are one of the most intelligent underwater creatures, so we felt they would be a really good fit with our amazing underwater camera. We enlisted the help of Mark Vette, the animal expert behind our hugely successful "Driving Dogs" campaign (for Mini and the SPCA). He was really excited about the chance.

    Was the concept a tough sell?
    FCB Auckland had a lot of success with the "Bottled Walkman" campaign, so Sony was keen to see what we could do with their TX30. Their first reaction to the idea was amazement that it could be pulled off. We talked them through the plan we had developed with Mark, and they got very excited.

    Was it more difficult than you imagined?
    This project was far harder than any of us imagined it would be. Rambo got her name because the first few times we put the rig in the water she wanted to fight it. You could say she drew first blood. Despite the reports that it only took three tries [to learn the process], Rambo and Mark worked their way through 10 rigs and nearly as many cameras.

    What would you say to activists who disapprove of using animals in ads?
    Mark Vette and Kelly Tarlton only agreed to be involved because the process was enriching for the octopus. These creatures thrive in an environment where they are being mentally stimulated. When you have nine brains, you need to keep yourself occupied. So the project was not only fun for the octopus involved, it was also a chance to show the public how amazing these creatures are. The money people paid to have their photos taken goes to Kelly Tarlton's Marine Life Trust.

    Tell me about the April 10 photo event at the aquarium.
    Rambo had a great time. She photographed over 100 visitors. Many were there because they had seen the story on TV, but a few foreign tourists just walked in and lined up. They were blown away to have their photos taken by the world's first Octographer, and we were happy to give them a unique memento of their visit.

    Client: Sony
    Agency: FCB Auckland, New Zealand
    Regional Executive Creative Director: James Mok
    Executive Creative Directors: Tony Clewett, Regan Grafton
    Writer: Peter Vegas
    Art Directors: Leisa Wall, Christiaan Van Noppen
    Head of Content, Executive Producer: Pip Mayne
    Head of Art: Nick Smith
    Director, Director of Photography: Michael Braid
    Group Account Director: Toby Sellers
    Account Director: Hannah Downes
    Account Executive: Laura Little
    Lead Behaviourist, Animals on Q: Mark Vette
    Assistant Handlers, Animals on Q: Jazmin Vette dal Bello, Rosie Miles
    Curator, Kelly Tarlton's Sea Life Aquarium: Andrew Christie
    Marketing Manager, Kelly Tarlton's Sea Life Aquarium: Claire Wheeler
    Rig Developers, Harrison & Watkins Ltd.: Harry Harrison, Blair Muchamp
    Director of Photography, Event Coverage, Traction Films: Nic Fay
    Editor, 6Twenty: Simon Wade
    Editor, FCB: Grant Nicholson
    Media Director: Rachel Leyland
    Media Planner, Buyer: Erin McCaughley
    General Manager, Public Relations: Angela Spain
    Senior Account Director, Public Relations: Kimberley Kastelan
    Digital Director: Kate Grigg
    Customer Experiences Director: Ele Quigan
    Music Composer: Peter van der Fluit
    Music Composition: Liquid Studios
    Studio Producer: Sarah Yetton

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    Your inner barbarian tells you it's quite all right to use your mobile phone anytime, anywhere. Play that dice game at the urinal? Sure, even though it requires vigorous arm-shaking motions that make you look like a perv in such a setting. Schmuck don't care! Unlimited data, people!

    Boost Mobile encourages all manner of loutish phone behavior with new digital ads from 180LA that use a suggestive tagline, "Come to data," along with a creepy, salacious "voice in your head" narration. Or maybe the brand is just acknowledging what's already happening when users can't tear themselves away from their devices even long enough to tinkle without distraction or listen to a confession. (Who has to do the penance in the latter case—the sinner or the priest?)

    There are Vines and short videos in the campaign, which may serve as inspiration for the uncouth or cautionary tales for the mannerly, and could've been called, "Decorum is so overrated."

    Adweek responsive video player used on /video.

    Client: Boost Mobile
    Director, Sprint Prepaid Group: Peiti Feng
    Manger of Brand Advertising and Creative, Wally Fox
    Brand Manager, Social Media and Brand Integration, Jill Johnson
    Advertising Manager, Mario Cardenas
    Social Media and Brand Integration, Bre Cohen

    Campaign: Come To Data

    Agency: 180LA
    Managing Partner, CCO: William Gelner
    Creative Directors: Mike Bokman and Jason Rappaport
    Copywriter: Chris Elzinga / Daniel Chen
    Art Director: Marcus Cross / Jenny Kang
    Head of Account Management: Chad Bettor
    Associate Account Director: Paul Kinsella
    Social Media Account Manager: Olivia Watson
    Head of Production: Natasha Wellesley
    Senior Producer: Lindsey Wood
    Associate Producer: Lauren Prushan
    Business Affairs Manager: Ivy Chen

    Production Co: Treefort
    Director: Shillick
    Producer: Mike Begovich
    DP: Max Gutierrez

    Editorial Company: Treefort (Web Films) / Melvin (Vines)
    Editor: Josh Hegard (Web Films) / Dave Groseclose (Vines)
    Color/ Online Finishing: Sam Maliszewski / Melvin
    Sound Design / Mix: Eddie Kim / Therapy

    0 0

    If you thought Coke Zero's drinkable billboard was impressive, Carlsberg would like to serve you some outdoor advertising with a bit more kick.

    The Danish brewer, with help from ad agency Fold7 and design company Mission Media, unveiled a beer-dispensing billboard at The Old Truman Brewery on Brick Lane in London. The billboard was emblazone with the headline, "Probably the best poster in the world." The brand was on hand to monitor the drinkers, making sure no one was under 18.

    "We want to get the Carlsberg brand in front of as many beer drinkers as possible," says Dharmesh Rana, senior brand manager at Carlsberg U.K. "To do this, we have to think differently with our approach and can't just rely on great TV advertising."

    0 0

    Guitar Hero Live isn't a virtual reality experience, but in terms of immersion, it's the next best thing, according to the just-released game trailer from 72andSunny.

    The game and the trailer were both created with live-action film. You perform in a real band, in front of real crowds who react in real time to your playing. (As lead guitarist, you play in a variety of venues, from the smallest clubs to the main stage of an outdoor festival.) And you'd better play well—or as you can see in the ad, you might catch some grief from bandmates and fans.

    The trailer is amusingly Spinal Tap-y at the beginning, indulging in the clichés of the backstage rock 'n' roll experience. Soon, though, you're led to the stage, where you'll either triumph or fail in front of a giant crowd.

    "The creative center of both Guitar Hero Live and the trailer for the game is about bringing to life the visceral thrill and terror of being up there in front of thousands of people," says Tim Ellis, chief marketing officer of Activision Publishing.

    Indeed, the trailer was made from the same building blocks as the game. 72andSunny, along with director Giorgio Testi and co-director/game developer Jamie Jackson, shot additional footage from the live-action shoots for the game—and used them for the trailer.

    In addition to GH Live, in front of crowds, the game also introduces GHTV, a mode that lets you play along to a continually updated collection of official music videos across various genres. In all, it's quite a leap forward for a console franchise that was the quickest in gaming history to reach $1 billion dollars in sales in North America and Europe, and was played by over 40 million people.

    "Guitar Hero is a franchise that so many people love. Figuring out how to bring it back with true breakthrough innovation has been years in the making, and a labor of love," says Eric Hirshberg, CEO of Activision Publishing.

    "Guitar Hero Live lets people rock real crowds with real reactions. Our goal was literally to give people stage fright. And with GHTV, we have created the world's first playable music video network. All of it is playable on consoles, or mobile devices. Guitar Hero is back and better than ever."

    Film Credits
    Client: Activision Publishing
    Product: Guitar Hero Reveal Trailer
    Title: It's About to Get Real

    Chief Executive Officer Activision Publishing:  Eric Hirshberg
    Chief Marketing Officer Activision Publishing:  Tim Ellis
    VP of Global Brand Marketing, Head of Digital:  Jonathan Anastas
    Consumer Marketing Manager: Orlando Baeza
    Consumer Marketing Manager: Karen Starr

    Partner, Chief Creative Officer: Glenn Cole
    Partner, Chief Strategy Officer: Matt Jarvis
    Group Creative Director: Frank Hahn
    Creative Director/Writer: Tim Wolfe
    Creative Director/Designer: Peter Vattanatham,
    Lead Designer: Garret Jones
    Lead Writer: Evan Brown
    Designer: Ryan Dols
    Writer: Jack Lagomarsino
    Director of Film Production: Sam Baerwald
    Film Producer: Kara Fromhart
    Business Affairs Director: Amy Jacobsen
    Business Affairs Manager: Kelly Ventrelli
    Junior Business Affairs Manager: Amy Shah
    Group Brand Director: Mike Parseghian
    Brand Director: Torie Gleicher
    Brand Coordinator: Laura Black
    Group Strategy Director: Bryan Smith
    Group Strategy Director: John Graham

    Production Company - Pulse Films UK
    Director: Giorgio Testi
    Co-Director: Jamie Jackson of Freestyle Games
    Director of Production: Claire Wingate
    Line Producers: John Bannister & Isabel Davis

    Game Developer – Freestyle Games
    Jamie Jackson – Co-Director (co-director under Production and Creative Director under FSG)
    Jonathan Napier – Projects Director
    Mike Rutter – Art Manager
    Joel Davey – Producer
    Gareth Morrison – Assistant Art Director
    Andy Grier – Lead Audio Designer
    Jon Newman – Senior Audio Designer
    Mike McLafferty – Audio Designer / Licensed Equipment Liaisons
    Neil Watts – Lead Animator
    Jason Pickthall – Lead Concept Artist
    Phil Bale – Lead Environment Artist
    Pete Nicholson – Lead Character Artist
    David Moulder – Lead Technical Artist
    Neil Dodd – Lead UI Artist

    Editorial - Spotwelders
    Editor: Robert Duffy
    Assistant Editor: Sophie Kornberg
    Executive Producer: Carolina Sanborn
    Producer: Lisa English

    Game CG & VFX- Framestore UK
    Pedro Sabrosa - VFX supervisor
    Alan Woods - CG supervisor
    Russell - Horth - Compositing supervisor
    Kate Windibank - Compositing supervisor
    Robin Reyer - Lead Technical Director
    Liz Oliver - Senior Producer
    Helen Kok - Line Producer

    Color Grade - Framestore UK
    Colorist: Edwin Metternich

    VFX & Online Finishing - Framestore LA
    Executive Producer: James Razzall
    Senior Producer: James Alexander
    Production Manager: Eric Kimelton
    Flame Artist US: Bruno De la Calva

    Sound Design - Human
    Sound designer: Gareth Williams
    Producer: Jonathan Sanford

    Audio Mix - Lime Studios
    Executive Producer: Susie Boyajan & Jessica Locke
    Engineer: Zac Fisher
    Assistant engineer: Kevin McAlpine

    Logo Mnemonic Animation - Blind
    Tobin Kirk - Executive Producer
    Amy Knerl - Head of Production
    Greg Gunn - Creative Director
    Scott Rothstein - Producer
    Daniel Zhang - Animator
    Shawn Kim - Animator
    Henry Pak - Animator
    Ash Wagers - Compositor
    Lawrence Wyatt - Designer
    Ayla Kim - Designer

    Logo Mnemonic Sound Design - Barking Owl
    Sound Designer: Michael Anastasi
    Head of Production: Whitney Fromholtz
    Creative Director: Kelly Bayett


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