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Breaking News in Advertising, Media and Technology

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    Commercial directors have been bringing formidable formal techniques to PSAs lately. Freed from the constraints of regular brand advertising, they can use camera and editing tricks to build tension—and leave a memorable, often shocking impression on the viewer.

    Partizan director Martin Stirling is particularly skilled at this. Eighteen months ago, his Save the Children "Most Shocking Second a Day" spot highlighted the effect of the Syrian crisis on kids. More recently, he made this beautifully bleak PSA, which used a looping technique to devastating effect.

    Now, his latest video is here:



    Spoilers below.

    A follow-up to the "Don't Look Back" spot, "Anatomy of a Split Second" uses a similarly hypnotic visual trick to show how dangerous a split second of texting while driving can be.

    The opening backyard scenes are ordinary but still unsettling, largely because of the music. As the action shifts to the road, we sense that it's only a matter of time—a split second, in fact—before disaster strikes. And when it does, it's horrifically choreographed—reminiscent in some ways of BBDO New York's latest "It Can Wait" PSA for AT&T, addressing the same topic. The on-screen text at the end reads, "Your mobile—would it kill you to put it away," which is a truly great line.

    The new Irish spot is also a BBDO production, created by Irish International BBDO. It broke Monday on Irish TV.

    "Mobile phone use is killing people on Irish roads," says Brian Farrell, communications manager at the client, the country's Road Safety Authority. "We know for a fact that making a call while driving will make you four times more likely to crash. However, most people are not aware that you are a staggering 23 times more likely to crash when texting while driving. With our new advertising campaign our message is very clear—when you use your mobile phone behind the wheel, taking your mind and eyes off the road for just a split second can destroy everything forever."

    CREDITS
    Client – Road Safety Authority Ireland
    Brian Farrell – Communications Manager, Road Safety Authority
    Annette Regan – Communications Department, Road Safety Authority

    Agency – Irish International BBDO
    Dillon Elliott - Copywriter, Irish International BBDO
    Clayton Homer - Art Director, Irish International BBDO
    Dylan Cotter - Executive Creative Director, Irish International BBDO
    Ken Kerr - Account Director, Irish International BBDO
    Dave Power - Account Manager, Irish International BBDO
    Noel Bryne - Production Director, Irish International BBDO

    Martin Stirling - Director, Partizan
    Miranda Johnstone - Producer, Partizan
    Carl Burke - DOP, Partizan
    Kevin Konak - Editor
    Post Production – Smoke & Mirrors
    Sophie Harrison – Post Producer, Smoke & Mirrors
    Jon Clarke – Sound, The Sound Factory
    Silas Hite – Music


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    The Pureit water purifier works so well that it can turn grimy canal water—or a murky rural stream—totally clear. At least, that's what Unilever's latest print campaign seems to say.

    In this soft, almost impressionist work by Lowe Indonesia, two ads provide a water's-eye view of rural and urban surroundings. On the "surface" of the water, a tin can—and the business end of a duck—highlight just how clear the water is.

    Click the ads to enlarge.



    Unilever and Lowe won a well-deserved Grand Prix for Print at the recent Spikes Asia awards for its efforts here. Both ads make smart use of the print medium's advantages: It's clear they're meant to be stared at for a while.

    To be fair, though, the surreal level of water transparency in each is a little disturbing. It seems like water that clear would be dangerous; you'd almost have to litter just to keep people from drowning.

    CREDITS
    Client Pureit
    Agency: Lowe Indonesia, Jakarta
    Chief Creative Officer: Roy Wisnu
    Creative Group Head: Rizky Wisnu
    Art Directors: Rizky Wisnu, Vinsensius Seno
    Copywriter: Roy Wisnu
    Illustrator: Adhe Saelani
    Photographer: Clarissa+Peddy Photography
    Digital Imaging: Tanda-Seru Detailed Imaging
    Producers: Audrey Aristanty, Fien Juharyati
    Account Team: Nanda Rahmanu, Eby Karsono


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    In an unusual promotion, ARCO surprised its biggest fan—yes, retail gas-station brands have fans, too—with a gift that clearly meant the world to him and his girlfriend.

    It all began when ARCO agency RPA in Santa Monica, Calif., noticed Alfredo Garcia posting numerous selfies from ARCO stations on social media. They soon realized they'd discovered a bonafide superfan. Intrigued by Garcia's brand love and backstory (the former Air Force lieutenant colonel runs marathons and loves comic books and cosplay), the agency decided to acknowledge him in a special way. And it didn't hurt that Garcia is a natural in front of the camera.

    Steve Curcuru of 310 Artists, who writes and illustrates his own comics, created the gift based on images of Garcia and his girlfriend, Idalia Mejia, found online.



    What was Garcia's reaction when ARCO surprised him with the gift?

    "The sight of the poster-size comic-book cover gave me goose bumps!" he tells AdFreak. "The geek inside of me was saying, 'Awesome sauce! My very own superhero character!' "

    How did he get to be an ARCO fan in the first place?

    "My Tacoma has 125,000 miles on it, and most all of it has been with ARCO gas because it always had the lowest prices in the neighborhood," he says. "One day I decided to take a selfie putting in ARCO gas at a local station. Well, I wanted to share the prices with friends, so I started taking more selfies or just pics of the prices and sharing them."

    Who says ordinary folks don't really want to interact with brands?

    The timing of "ARCOMAN" coincided with last weekend's Comic-Con in Long Beach, which Garcia and Mejia attended, but RPA claims there was no specific brief to tie in with the convention. This was just a feel-good one-off, which ARCO is promoting across social with a time-lapse video of the artwork's creation and a behind-the-scenes clip that shows Garcia being presented with the cover.



    Garcia has followed comic-book superheroes for years—Green Lantern and the Avengers are his favorites—but never thought he'd be one himself. "What self-respecting geek would not like to be a superhero?" he says. "One of the reasons we cosplay is to emulate our superheroes, and now that I am my own superhero, I am unique!"

    On the downside, after all this publicity, everyone will know the true identities of ARCOMAN and the Red Spark. How will they fight the forces of injustice—and presumably keep OPEC from raising oil prices—now?
     
    "Identity known or not, we will fight evil in or out of costume," Garcia says. "It's just what superheroes do."


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    Now that Moe's Southwest Grill has taken to calling its free queso day "Quesopalooza," it's entirely logical that it would build a playable electric guitar out of a giant tortilla chip.

    No wait, that's totally insane. No wonder this spot is so much fun!



    "We started talking about how cool it would be to create an actual guitar out of chips," says Moe's creative director Brandon Friedman. "Then we said, what if it could actually play? And finally, we felt like we needed to give it that extra rock touch by smashing it, which gave us the perfect transition to promote the queso and the event."

    Moe's called on Atlanta Props to construct three real chip guitars, and the man doing the Pete Townshend job on it is their main prop expert. Makes sense. We thought he seemed too confident in his craft to be an actor.

    It's possible some might see the painstaking work of constructing a crunchtastic edible guitar—at least for the reasons shown in the video—to be a waste. We respectfully disagree. This is an unorthodox, right-brain concept that does a really good job promoting Quesopalooza, and the visual is cool enough to justify the bizarre effort behind it.

    CREDITS
    Agency: Focus Brands
    Client: Moe's
    ECD: Jon Gordon
    CD/CW: Brandon Friedman
    AD: Dave Taylor
    Designer: Mindy Post
    VP, Global Marketing: Dominic Losacco
    Director of Marketing: Lauren Barash

    Production Company: Unit 3C (Moxie)
    Director: Chris Bailey
    Group CD: Erik Hostetler
    Editor: Christopher Boyle
    Producer: Wendy Wheless
    Project Manager, Cortney Boyd
    Project Coordinator, Matthew Dougherty

    Color: Crawford Communications

    Sound Design: Michael Wynne,

    Props: Atlanta Props


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    Three campaigns from R/GA have picked up a total of four golds across the Clio Awards' digital and social categories, as all gold, silver and bronze winners in those contests were announced Thursday.

    The agency's "Love Has No Labels" work for the Ad Council won gold in Digital and Social Media. And its campaigns for Hammerhead Navigation and Equinox both picked up golds in Digital Technique.

    Crispin Porter + Bogusky was next with two golds for its Domino's emoji ordering—one in Digital and one in Social Media. Grow, Droga5 and The Martin Agency were the U.S. agencies also winning golds in Digital. Goodby, Silverstein & Partners picked up a gold in Digital Technique. And Leo Burnett added a gold in Social.

    See all the gold, silver and bronze winners in those three categories below, plus all of this year's winning student work.

    The Grand Clios will be announced at the Sept. 30 awards gala, which will be held at the American Museum of Natural History in New York City. (Adweek and the Clio Awards are both owned by affiliates of Mediabistro Holdings LLC.)

    Clio Winners - Digital

    Gold winners

    • L'Oreal Paris, New York, "Makeup Genius," L'Oreal Paris (Apps)
    • L'Oréal Paris, Paris, "Make Up Genius," L'Oréal Paris (Apps)
    • Grow, Norfolk, "EA Sports Madden Giferator: A Google Art, Copy & Code Project," EA Sports / Google (Banners & Rich Media Advertising)
    • CP+B, Boulder, "Emoji Ordering," Domino's (Other)
    • Wieden+Kennedy, London, "The Other Side," Honda (Other)
    • Leo Burnett Argentina, Buenos Aires, "Samsung Safety Truck," Samsung (Other)
    • Droga5, New York, "Gisele Bündchen - I Will What I Want," Under Armour (Website)
    • R/GA, New York, "Love Has No Labels," Ad Council (Other)
    • The Martin Agency, Richmond, Va.,, "Unskippable," GEICO (Campaign)
    • M&C Saatchi, Sydney, "Clever Buoy," Optus (Other)

    Silver winners

    • R/GA + Qol Devices, New York, "Alvio," Qol Devices (Apps)
    • Cheil Worldwide, Seoul, "Look At Me," Samsung Electronics (Apps)
    • Y&R Team Red Istanbul, Istanbul, "Vodafone "Between Us"," Vodafone (Apps)
    • Marcel, Paris, "#HandsOff," Marc Dorcel (Microsite)
    • MUH-TAY-ZIK | HOF-FER, San Francisco, "Spoil Yourself," Netflix (Microsite)
    • R/GA, New York, "The Pursuit by Equinox," Equinox (Other)
    • DENTSU INC., Tokyo, "Pepper," SoftBank Mobile Corp./SoftBank Robotics Corp. (Other)
    • CLM BBDO, Boulogne Billancourt, "Trip Out to Sea," Guy Cotten (Microsite)
    • DENTSU INC., Tokyo, "Reviving Legends," Japan National Stadium (Other)

    Bronze winners

    • R/GA + Hammerhead Navigation, New York, "Hammerhead," Hammerhead Navigation (Apps)
    • R/GA + Owlet Baby Care, New York, "Owlet," Owlet Baby Care (Apps)
    • GAME, London, "Christmas Shopper Simulator," GAME (Games)
    • POSSIBLE CEE, Budapest, "Adventures of Poco Eco: Lost Sounds," iamyank (Games)
    • BETC, Paris, "Being the BEAR," CANAL+ (Microsite)
    • AKQA, San Francisco, "The Last Shot," Jordan Brand (Other)
    • Rethink, Toronto, "Uber Safe," Uber (Other)
    • Red & Co., Portland, "Google Made with Code," Google (Website)
    • SID LEE, PARIS, "Assassin's Creed Unity," UBISOFT (Website)
    • Work & Co, Brooklyn, "Redefining Digital Travel," Virgin America (Website)
    • Eric Mower + Associates, Charlotte, "Project Learning Curve," Domtar (Apps)
    • R/GA, New York, "LA Dodgers Digital Trading Room," LA Dodgers (Other)

    Clio Winners - Digital Technique

    Gold winners

    • Goodby, Silverstein & Partners, San Francisco, "Dream On," Adobe (Graphic Design)
    • Factory, London, "The Other Side," Honda (Sound Design)
    • R/GA + Hammerhead Navigation, New York, "Hammerhead," Hammerhead Navigation (User Experience)
    • R/GA, New York, "The Pursuit by Equinox," Equinox (Other)

    Silver winners

    • BBDO New York, New York, "The MSSNG Project," Autism Speaks (Graphic Design)
    • AKQA, San Francisco, "The Last Shot," Jordan Brand (User Experience)
    • DENTSU INC., Tokyo, "Reviving Legends," Japan National Stadium (Other)

    Bronze winners

    • GREY Germany GmbH, Duesseldorf, "The Berlin Wall of Sound," SoundCloud (Sound Design)
    • R/GA, New York, "LA Dodgers Digital Trading Room," LA Dodgers (Other)
    • Droga5, new york, "Gisele Bündchen - I Will What I Want," Under Armour (Other)

    Clio Winners - Social Media

    Gold winners

    Adweek responsive video player used on /video.

    • Leo Burnett Chicago, Chicago, "Social Savvy Burglar," Allstate (Social)
    • R/GA, New York, "Love Has No Labels," Ad Council (Social)
    • CP+B, Boulder, "Emoji Ordering," Domino's (Social)

    Silver winners

    • Grow, Norfolk, "EA Sports Madden GIFERATOR: A Google Art, Copy & Code Project," EA Sports / Google (Social)
    • DDB Group Melbourne, Melbourne, "Radiant Return," Radiant (Social)
    • LDV United, Antwerp, "Would You Still Be a Fan?," Special Olympics Belgium (Social)
    • Ogilvy & Mather Singapore, Singapore, "Mums & Maids," Transient Workers Count Too (TWC2) (Social)
    • IMPACT BBDO Dubai, Dubai, "Give Mom Back Her Name," UN Women (Social)
    • Grabarz & Partner / GGH Lowe, Hamburg, "Nazis against Nazis- Germany's most involuntary charity walk," ZDK Gesellschaft Demokratische Kultur gGmbH (Social)

    Bronze winners

    • Ogilvy & Mather Argentina, Buenos Aires, "Beer Tooth Implant," CCU (Social)
    • CP+B, Boulder, "Plastique," Fruit of the Loom (Social)
    • TBWA\Chiat\Day, Los Angeles, "Sweat It to Get It," Gatorade (Social)
    • BBDO New York, New York, "Tap Thru," Lowe's (Social)
    • Marcel, Paris, "#HandsOff," Marc Dorcel (Social)
    • WME | IMG, New York, "Zoolander Returns to the Runway," Zoolander 2 (Social)
    • Publicis Kaplan Thaler, New York, "More Than A Costume," Doctors of The World (Social)
    • BBDO Pakistan, Lahore, "Not A Bug Splat," Reprieve / Foundation for Fundamental Rights (Social)
    • Forsman & Bodenfors, Gothenburg, "805 Million Names," World Food Programme (Social)

    Clio Winners - Student Work

    Design winners

    • Pratt Instittue, New York, "Tiny Feather," Tiny Feather, Silver (Packaging)
    • Miami Ad School, Miami Beach, "Erase Extinction," WWF, Bronze (Direct Marketing)
    • School of Visual Arts, New York, "CHARGE-ROPE," CHARGE-ROPE, Bronze (Other)
    • Chung-ang University, Seoul, "Ice disappears, they also disappear," WWF, Bronze (Other)

    Digital winners

    • Filmakademie Baden-Württemberg GmbH, Ludwigsburg, "FIVE MINUTES," G-SHOCK, Silver (Games)
    • Berghs School of Communication, Stockholm, "Subkey," Sweden's National Television, SVT, Silver (Other)
    • Hankuk University of Foreign Studies, Seoul, "Plan A," Expedia, Bronze (Apps)
    • School of Visual Arts, New York, "Projected Digital," The Lenovo Projector Tablet, Bronze (Banners & Rich Media Advertising)

    Digital Technique winner

    • Filmakademie Baden-Württemberg GmbH, Ludwigsburg, "FIVE MINIUTES," G-SHOCK, Silver (User Experience)

    Film Winners

    • Fabian&Fred, Hamburg, "The Coup," Cleptomanicx, Silver (Short form - between one minute and five minutes)
    • Filmakademie Baden-Württemberg, Ludwigsburg, "Wet Dream," LBS, Bronze (Commercials between 30 seconds and sixty 60 seconds)

    Film Technique winner

    • Netherlands Film Academy, Amsterdam, "Tableau Vivant," Polaroid, Bronze (Student Film Technique)

    Innovative winners

    • Miami Ad School, Miami Beach, "The Re-Kindle Project," Amazon Kindle, Gold
    • Westerdals Oslo ACT, Oslo, "SafeSound," Apple, Gold
    • Fondazione Accademia di Comunicazione, Milan, "UberFIRST-AID," Uber, Silver
    • Miami Ad School, Mumbai, "Watch for Nepal," YouTube, Silver
    • Kaywon School of Art & Design, Ansan-si, "Connecting the Dots," Benetton, Silver
    • Miami Ad School, Miami Beach, "Lantern," Metropolitan Transit Authority (MTA), Silver
    • Dongguk University, Seoul, "Charge Your Life," Samsung Life, Bronze

    Out of Home winners

    • Haus, Buenos Aires Capital Federal, "Fiction meets Fiction," LEGO, Gold (Campaign)
    • School of Visual Arts, New York, "Who Will Win?," FIFA WORLD CUP, Silver (Billboard)
    • Miami Ad School, Miami Beach, "Tackle the Spectacle.," NFL International Series, Bronze (Transit)
    • Miami Ad School Europe, Hamburg, "Bring them home," UNHCR - The UN Refugee Agency, Bronze (Billboard)
    • School of visual Arts, New York, "A Stronger You," Gold's Gym, Bronze (Campaign)

    Print winners

    • Haus, Buenos Aires Capital Federal, "Fiction meets Fiction," LEGO, Gold (Campaign)
    • Miami Ad School Europe, Hamburg, "Make Sure Good News Sounds Like Good News," Ricola, Gold (Campaign)
    • Miami Ad School, Miami Beach, "MEAD Get Bored," Mead, Silver (Campaign)
    • School of visual Arts, New York, "The Pest Control Experts," Orkin, Silver (Campaign)
    • Miami Ad School / ESPM, Sao Paulo, "Speeches," Twitter, Silver (Campaign)
    • Brother Santo Domingo escuela para creativos, Santo Domingo, "Heimlich mujer," Durex, Bronze (Student Print)
    • School of Visual Arts, New York, "Predators," SAVE THE CHILDREN, Bronze (Campaign)


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    Coca-Cola kicks off National Hispanic Heritage Month (which runs from Sept. 15 to Oct. 15) with a line of temporary-tattoo cans, targeted to Hispanic and Latino Americans.

    Based on the insight that Latinos have a particular pride in their family names, which reflect their history and heritage—and maybe also on the (shaky) anecdote that every Latino (including me, and I'm only one-quarter) has at least one family member with a heritage-related tattoo—the cans feature common family names... in reverse!

    After exercising your sharp deduction skills, you peel the sticker off, place it on your person and use the moisture from the (hopefully cold) can to affix the name onto your skin.

    A charming video highlights the work, as well as reflections from Latinos about what their heritage means to them. If it feels a bit syrupy, it's probably because we're ad people who see a lot of Coke executions and, daily, wrestle with the weird incongruity of punting happiness, connectivity and emotional equilibrium with non-nutritive cans of sugar whose work in your body achieves precisely the opposite over time.

    But that's just griping. The campaign bears hallmarks of sincerity and care in approaching its target, and its thoughtful means probably justify its banal end (long-term loyalty). Coke is, after all, 100 years old, so it knows what it's doing.



    The work is accompanied by the hashtag #OrgullosoDeSer, Spanish for "proud to be," and was created by ad agency David—which, incidentally, markets itself as a "first-name agency" that "believes in the personal." Do with that minor irony what you will; it's only one more, after all.

    If you're into the campaign, order a 12-pack of bottles at the Celebrate Heritage subsite, which gives you the option of personalizing your own label or choosing from a selection of common givens.

    Happy Hispanic heritage, all!


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    Days before the opening match of the Rugby World Cup, Heineken surprised a Dublin pub chock-full of rugby fans with the coolest prize machine ever.

    In exchange for their names and emails (handy!), users who approached the machine played fairly simple rugby-related games. When someone won a prize, the machine distributed an autographed rugby ball, complete with a creepily customized message from former All Black star Jonah Lomu, arguably the Michael Jordan of the sport.

    Messages included things like, "To Karl. Like the beard. Jonah," which suggests either a super-intelligent machine, or the presence of the star somewhere in the pub (within signing distance, at the very least).



    From the opening moments of the branded video, it's clear Lomu is hiding inside the machine, eagerly anticipating the big reveal. (He groans in his dark confines when an unsuspecting player selects John Smit, and not himself, as the "greatest player of all time"... though it isn't shown what prize that person got. Maybe a deflated ball with a huge slash along the seam.)

    But even for the most discerning fans, the reveal must nonetheless have come as a surprise: Some time later, former Irish player Shane Horgan walks into the bar with a fresh batch of balls. He approaches the machine, then waves Lomu out for a shift change.

    This moment in rewarding fandom is brought to you by Rothco, which previously developed other super-elaborate rugby campaigns for Heineken, like "Run With It" and "The Kick."


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    A new installment in Chipotle's "Cultivating Thought" campaign—which prints original short stories from successful writers on the sides of its paper bags and cups—has more high culture to go with your salty burrito and soft drink.

    This time, Chipotle wants talented souls to review those ditties with a degree of pith equivalent to less than two-thirds of a tweet: 103 characters, to be exact. (Not unlike that time it asked people to write haiku.) In exchange, it's giving away three year-long free-burrito passes and 500 free Kindle Paperwhite readers. 

    Earlier iterations in the unlikely fast-food-publishing mashup included Toni Morrison, Judd Apatow, Michael Lewis and Jonathan Safran Foer, who conceived and curates the project. Now they're joined by Jonathan Franzen, M.T. Anderson, Anthony Doerr, Stephen J. Dubner, Laura Esquivel, Lauren Hillenbrand, Sue Monk Kidd, Lois Lowry, Tom Perotta, Mary Roach and Colson Whitehead.

    Some are charming bits of rumination, perfect for the medium. Doerr, for example, toys with familiar themes like the vastness of geological history and the insignificance of humans, but includes the right kind of empathetic twist: "Pascal said, 'When I consider the short duration of my life, swallowed up in the eternity before and after… I am frightened.' People say, 'Who wants to feel so small? Let me eat my burrito.' "

    Best-selling novelist and internet punching bag Franzen, on the other hand, tediously complains that road signs are confusing (they're not), people are in too much of a hurry (they are, welcome to the rat race), trees are dying to make paper cups (true), nobody cares (they don't, see exhibit B, rat race) ... but aw shucks, that's just the way things are.

    Franzen's observations obviously aspire to be mildly subversive—they're printed on paper bags and cups, after all—and insightful in a conveniently disposable way. But they also manage to be overseasoned and yet somehow still bland, much like a Chipotle burrito with everything on it.

    But that's too long for the contest itself. Here's my official 83-character review of Franzen's two-paragraph whinge on life:

    Jonathan Franzen hates road signs. Likes trees and burritos. Not sure about humans.

    Now give me free burritos. Or don't.

    The full text of Franzen's paper bag missive appears below.


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    Twofifteenmccann indulges in some delicious meta humor with four fun ads touting Hulu's ad-free option, announced a couple weeks back and priced at $11.99 a month.

    Three of the commercials are specifically about commercials—or more accurately, Hulu's potential lack thereof. Each derives an absurdist and oddly apocalyptic vibe from an urban wasteland setting, complete with elevated trains clacking by overhead.

     
    First, we meet a commercial director who turns his camera on the viewer in a bid to break through the fourth (or maybe fifth or sixth?) wall:

     
    Next, we get a "jingle-free jingle" that's off-key and pitch-perfect at the same time:

     
    Finally, a fireside commercial for Hulu's ad-free service that doesn't go by the book:

     
    There's also a fourth spot, with a different vibe. Now, most folks won't shed any tears for lost commercials. Yet there's not a dry eye in the house as the binge-watcher in "Weepy" turns on the waterworks:

     
    Overall, this cerebral yet silly brand communications really delivers. The surrealist trappings aren't just for show. They draw viewers in, effectively reinforce the ad-free message and don't overstay their welcome.

    The ultimate irony: If more commercials were this clever and entertaining, maybe Hulu wouldn't need a no-commercial policy.

    CREDITS
    Client: Hulu
    Spots: "Fireside" :15, "Director" :15, "Jingle" :15

    Agency: twofifteenmccann
    Chief Creative Officer: Scott Duchon
    Art Director: Steve Couture
    Copywriter: Kyle Davis
    Director of Integrated Production: Alex Spahr
    Senior Producer: Kacey Hart
    Business Affairs: Mary Beth Barney
    Managing Director: Kelly Johnson
    Group Account Director: Charlie Byron
    Account Director: Julie Sinclair
    Account Supervisor: Bhumieka Patel
    Director of Strategy: Gabrielle Tenaglia

    Production Company: Park Pictures
    Director: Nathan Price
    Line Producer: Gabrielle Yuro
    Executive Producer: Scott Howard
    Executive Producer: Jackie Kelman Bisbee
    Head of Production: Anne Bobroff

    Editorial: Rock, Paper, Scissors
    Editor: Carlos Arias
    Editor: Christjan Jordan
    Assistant Editor: Pieter Viljoen
    Producer: Helena Lee
    Executive Producer: Angela Dorian

    VFX: Method Studios
    EVP, Global Production: Gabby Gourrier
    Executive Producer: Stephanie Gilgar
    Producer: Pip Malone
    VFX Supervisor: Ben Walsh
    Coordinator: Julie Osborn
    Flame Artist: Mark Renton

    Colorist: Siggy Ferstl
    Company: Company 3

    Mixing: Lime Studios
    Sound Design: Rohan Young


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    LinkedIn is frequently described as one of the world's top social networks, even though its user base is far less active than that of, say, Instagram. But brands have had trouble coming up with creative ways to promote themselves to its 380 million members, many of whom fall into a marketer's sweet spot of affluent professionals under 35.

    Yes, LinkedIn can be great for publishing your thought leadership pieces and not quite stalking your colleagues and rivals. But how can brands effectively use it to raise consumer awareness and drum up new business?

    Virgin Atlantic and lead creative agency Figliulo & Partners recently figured out a way: a not-quite-real job listing.

    To promote its Premium Economy cabin offering among would-be jet-setters who make purchases based on purpose over price, the airline and agency came up with an unusual idea. They've challenged "Evolved Travelers" to submit a job application for a "Freelance Flyer" position along with a 1,500-character micro-essay explaining how a free flight from the U.S. to London would be just the thing to help their career/life goals clear the runway.

    Virgin claims to be the first brand to leverage LinkedIn's job search feature for promotional purposes. And its vp of marketing for the Americas, Simon Bradley, says the response has been quite positive to date, with nearly 200 applicants at the time of this posting. Bradley has bigger plans for the campaign; he tells AdFreak that the work is "very exciting for us, and we'll be starting to seed it in our social campaigns very soon."

    Here's an example:

    Agency founder and CEO Mark Figliluo echoes that sentiment, saying, "This has been a playful way of communicating the benefits of the brand, and they really love Virgin coming to the forefront" of so many users' LinkedIn experiences.

    Regarding the history behind the work, Bradley tells AdFreak: "We were the first airline to introduce Premium Economy," adding, "This fits very much into the needs of our target audience right now."

    The listing is only the beginning, and Bradley calls it "the teaser, if you like, for a more organic social-first campaign." In the coming weeks, Virgin will introduce more elements in a strategic mix of paid media, PR, CRM and social content. And yes, fans and followers will soon get to meet the lucky winners of the 1,500-character contest as they travel from the U.S. to London and beyond.

    The most interesting aspects of this campaign are the nontraditional concept and the fact that Virgin's initial spend was negligible (think the price of a LinkedIn job listing and a freelance flyer microsite).

    Will more brands follow Virgin's lead in utilizing LinkedIn? "It is a tremendous medium with lots of organic content and opportunities for brands," Bradley says, "but [related campaigns] have to be done in an authentic way."

    On that note, Figliulo tells AdFreak that all options were on the table, conceptually speaking. "I think it's up to creative agencies to help these platforms do things differently, and we are helping LinkedIn think out of the box a bit," he says.

    In the case of Virgin Atlantic's Premium Economy cabin, it's a well designed and reasonably priced box.

    CREDITS
    Client: Virgin Atlantic
    Project Name: "Freelance Flyer"
    Senior Vice President, North America: Chris Rossi
    Vice President, Marketing, North America: Simon Bradley
    Marketing Communications Manager, North America: Jenna Lloyd
    Creative Agency: Figliulo & Partners
    Founder, CEO: Mark Figliulo
    Founding Partner, President: Judith Carr-Rodriguez
    Partner, Head of Production: Robert Valdes
    Partner, Head of Strategy: Caroline Krediet
    Copywriter: Chris Baker
    Senior Art Director: Jay Wee
    Art Director: Casey Isaacson
    Account Director: Emily Lalime
    Agency Producer: Sam Pasquesi
    Strategist: Meghan Luck
    Digital Production Company: Hungry
    Exposure: Digital


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    David in Miami has added two more golds for Burger King's "Proud Whopper," while three U.S. agencies—Commonwealth//McCann, Wieden + Kennedy New York and R/GA—each won gold in the Integrated Campaign category of the 2015 Clio Awards.

    The BK work won in Design and Innovative. Golds, silvers and bronzes were announced Friday in those two categories, plus Integrated Campaign.

    Also winning golds in Design: Brazil's F/Nazca Saatchi & Saatchi and Ogilvy & Mather in London. In Innovative, golds went to The Martin Agency for Geico's "Unskippable" and Google for Google Cardboard.

    In Integrated Campaign, Commonwealth//McCann won for Chevy work; W+K for Jordan Brand's "RE2PECT"; and R/GA for the Ad Council's "Love Has No Labels."

    The Clio Awards also announced two Hall of Fame winners Friday: Epuron's "Mr. Wind" spot in Film and T-Mobile's "Dance" in Out of Home.

    See all the gold, silver and bronze winners for these categories below.

    The Grand Clios will be announced at the Sept. 30 awards gala, which will be held at the American Museum of Natural History in New York City. (Adweek and the Clio Awards are both owned by affiliates of Mediabistro Holdings LLC.)

    Clio Winners - Integrated Campaign

    Gold winners

    • Commonwealth//McCann, Detroit, "Technology & Stuff," General Motors- Chevrolet (Integrated Campaign)
    • Wieden+Kennedy New York, New York, "RE2PECT," Jordan Brand (Integrated Campaign)
    • R/GA, New York, "Love Has No Labels," Ad Council (Integrated Campaign)
    • Grabarz & Partner / GGH Lowe, Hamburg, "Nazis against Nazis- Germany's most involuntary charity walk," ZDK Gesellschaft Demokratische Kultur gGmbH (Integrated Campaign)
    • Y&R Team Red Istanbul, Istanbul, "Between Us," Vodafone (Integrated Campaign)

    Silver winners

    • Leo Burnett Chicago, Chicago, "Social Savvy Burglar," Allstate (Integrated Campaign)
    • TBWA/Media Arts Lab, Los Angeles, "World Gallery," Apple (Integrated Campaign)
    • Goodby, Silverstein & Partners, San Francisco, "Emily's Oz," Comcast (Integrated Campaign)
    • Marcel, Paris, "The Freshest Orange Juice Brand," Intermarché (Integrated Campaign)
    • adamandeveDDB, London, "Monty's Christmas," John Lewis (Integrated Campaign)
    • BBDO New York, New York, "Twix Bites Integrated Campaign," Mars Chocolate North America (Integrated Campaign)
    • Ogilvy & Mather Japan GK, Tokyo, "Lights," ADOT.COM (Integrated Campaign)

    Bronze winners

    • The Cyranos//McCann, Barcelona, "Homeless fonts," Arrels fundació (Integrated Campaign)
    • R/GA London + R/GA Los Angeles, London, "The Game Before the Game," Beats By Dr. Dre (Integrated Campaign)
    • Grey Argentina, Buenos Aires, "The Salt You Can See," Fundación Favaloro (Integrated Campaign)
    • Heat, San Francisco, "Madden NFL 15," Madden NFL 15 (Integrated Campaign)
    • DDB Group Melbourne, Melbourne, "Radiant Return," Radiant (Integrated Campaign)
    • Leo Burnett Melbourne, Southbank, "#MyFamilyCan," SPC (Integrated Campaign)
    • Leo Burnett Beirut, Beirut, "Lebanon4Sale," Anti-Corruption Project (Integrated Campaign)
    • Publicis London, London, "Spot 4 Sale," Depaul UK (Integrated Campaign)
    • RKCR/Y&R, London, "Every Man Remembered," Royal British Legion (Integrated Campaign)
    • Forsman & Bodenfors, Gothenburg, "805 Million Names," World Food Programme (Integrated Campaign)

    Clio Winners - Design

    Gold winners

    • F/Nazca Saatchi & Saatchi, São Paulo, "SoundLab Box," Leica (Direct Marketing)
    • David, Miami, "Proud Whopper," Burger King (Packaging)
    • Ogilvy & Mather, London, "Sweden," 28 Too Many (Posters)

    Silver winners

    • Saatchi & Saatchi Design Worldwide, Auckland, "Identity Design," Atamira Dance Company (Corporate Identity)
    • Landor, Paris, "Branding," FEDORA (Corporate Identity)
    • DM9DDB, São Paulo, "Tell My Story," Amor Exigente (Direct Marketing)
    • IMPACT BBDO Dubai, Dubai, "The Tribal Rapport Field Guide," Mercedes-Benz (Direct Marketing)
    • Kolle Rebbe GmbH, Hamburg, "The Weddinglope," Rosenthal (Direct Marketing)
    • Johannes Leonardo, New York, "Original Superstar," adidas Originals (Logo)
    • The Cyranos//McCann, Barcelona, "Homeless Fonts," Arrels fundació (Other)
    • serviceplan, Munich, "BMW xWalk," BMW Group (Other)
    • McCann Erickson Japan, Tokyo, "Tire Kimono," Toyo Tire & Rubber Co Ltd. (Other)
    • Scholz & Friends, Berlin, "The Dumbbell Headphone Packaging," Panasonic (Packaging)
    • Kolle Rebbe GmbH, Hamburg, "The Weddinglope," Rosenthal (Packaging)
    • Marcel, Paris, "The Freshest Orange Juice Brand," Intermarché (Point of Purchase)
    • Dentsu Inc., Tokyo, "Get Back, Tohoku.," East Japan Railway Company (Posters)
    • F/Nazca Saatchi & Saatchi, São Paulo, "Celebrating 50 Years in Brazil - 1965 The Arrival," Nissin - Ajinomoto (Posters)

    Bronze winners

    • Dentsu Inc., Tokyo, "Honda.Beautiful Engines.," Honda Motor Co.,Ltd (Brochures)
    • iyamadesign inc., Tokyo, "MT Brand Book," Masking tape (Brochures)
    • DesignStudio, London, "Airbnb Rebrand," Airbnb (Corporate Identity)
    • lg2boutique, Montréal, "Item / Corporate Identity," Item (Corporate Identity)
    • The Partners, London, "Silversea Cruises," Silversea Cruises (Corporate Identity)
    • The Partners, London, "Tusk Conservation Awards," Tusk Trust (Corporate Identity)
    • Jones Knowles Ritchie, New York, "Wheaties Redesign," Wheaties (Corporate Identity)
    • Leo Burnett France, Saint-Denis, "The Cube," Atlantic Group (Direct Marketing)
    • Young & Rubicam, Dubai, "10 Hot Stories," Global Export Co. (Direct Marketing)
    • AKQA, Portland, "Your Year. Directed by Nike+," Nike (Direct Marketing)
    • VML, Kansas City, "I'm Not No One," Youth Ambassadors (Direct Marketing)
    • Kolle Rebbe GmbH, Hamburg, "LSTea. A Trip In The Cup," Haelssen & Lyon (Other)
    • Lucky Iron Fish, Ontario, "The Lucky Iron Fish Project," Lucky Iron Fish (Other)
    • Moroch, Dallas, "Fry Gloves," McDonald's (Other)
    • TBWA\HAKUHODO, Tokyo, "True Wetsuits," Quicksilver Japan (Other)
    • BBDO Pakistan, Lahore, "Not A Bug Splat," Reprieve / Foundation for Fundamental Rights (Other)
    • ROSAPARK, Paris, "Sounds of the City," Thalys Train Network (Other)
    • Bold, Stockholm, "Lilla Hjärtat," Apotek Hjärtat (Packaging)
    • zünpartners, Chicago, "Kolossos Olive Oil," Kolossos (Packaging)
    • Publicis Impetu, Montevideo, "Nike Free Box," Nike (Packaging)
    • Wieden+Kennedy New York, New York, "Jeff Bridges Sleeping Tapes," Squarespace (Packaging)
    • Kolle Rebbe GmbH, Hamburg, "Clean the Ocean," The Deli Garage (Packaging)
    • Jones Knowles Ritchie, New York, "Wheaties Redesign," Wheaties (Packaging)
    • Scholz & Friends, Berlin, "The Dumbbell Headphone Packaging," Panasonic (Point of Purchase)
    • the community/la comunidad, Coconut Grove, "Never Stop Riding," City of Buenos Aires (Posters)
    • McCann Worldgroup India, Mumbai, "Musical Instruments," Dabur (Posters)
    • Y&R Malaysia, Kuala Lumpur, "Cut a Tree. Kill a Life - Tapir," Malaysian Nature Society (Posters)
    • HEREZIE, Paris, "Long Lasting Sharpness," MIYABI - ZWILLING J.A. HENCKELS (Posters)
    • Target, Minneapolis, "Target Global Brand Campaign," Target (Posters)

    Clio Winners - Innovative

    Gold winners

    • David, Miami, "Proud Whopper," BURGER KING (Innovative)
    • The Martin Agency, Richmond, "Unskippable: Family," GEICO (Innovative)
    • Google, Mountain View, "Cardboard," Google (Innovative)
    • Grabarz & Partner / GGH Lowe, Hamburg, "Nazis against Nazis- Germany's Most Involuntary Charity Walk," ZDK Gesellschaft Demokratische Kultur gGmbH (Innovative)

    Silver winners

    • FCB Brasil, Sao Paulo, "NIVEA Doll," BDF NIVEA BRASIL (Innovative)
    • AKQA, London & Shanghai, "House of Mamba," Nike (Innovative)
    • Sid Lee, Montréal, "Sky Swatches," Réno-Dépôt (Innovative)
    • Leo Burnett Argentina, Buenos Aires, "Samsung Safety-Truck," Samsung (Innovative)
    • DigitasLBi, New York, "Taco Bell Blackout," Taco Bell (Innovative)
    • R/GA, New York, "Love Has No Labels," Ad Council (Innovative)
    • Sancho BBDO - OMD Colombia, Bogotá, "Radiometries," Exito Group (Innovative)
    • BBDO Proximity Thailand, Bangkok, "The Message from the Lungs," Thai Health Promotion Foundation (Innovative)

    Bronze winners

    • Leo Burnett Chicago, Chicago, "Social Savvy Burglar," Allstate (Innovative)
    • BBDO Group Germany GmbH, Duesseldorf, "The Dancing Traffic Light," Daimler AG, smart/MM (Innovative)
    • Grey Argentina, Buenos Aires, "The Salt You Can See," Fundación Favaloro (Innovative)
    • BBDO Group Germany GmbH, Duesseldorf, "smart POP UP Billboards," Mercedes-Benz Cars Vertrieb Deutschland (Innovative)
    • Leo Burnett México, México, "Intimate Words," Procter & Gamble (Innovative)
    • GREY Germany GmbH, Duesseldorf, "The Berlin Wall of Sound," SoundCloud (Innovative)
    • Memac Ogilvy, Dubai, "Handle on Hygiene," Unliver (Innovative)
    • Colenso BBDO, Auckland, "Reduce Speed Dial," Volkswagen (Innovative)
    • Publicis London, London, "Spot 4 Sale," Depaul UK (Innovative)
    • Leo Burnett London, London, "Suffocation," Karma Nirvana (Innovative)
    • CHI & Partners, London, "Learn the Hard Way Campaign," The Prince's Trust (Innovative)

    Clio Winners - Hall of Fame

    Film winner

    • INTER+-POL, Hamburg, "Mr. Wind," Epuron/German Ministry for the Environment

    Out of Home winner

    • Saatchi & Saatchi, London, "Dance," T-Mobile


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    Goodby, Silverstein & Partners just released one of the most playful, infectious and eye-catching ad campaigns of the year—five online spots for eBay that cleverly combine music and design to show off the vast array of merchandise on the site.

    The "Shop a Song" spots, directed by Robert Bisi of Brand New School, are built around the soundtracks. As each song plays, products pop up that match the lyrics in some way—either literally or figuratively (which is sometimes more fun). This results in mini music videos that are impeccably designed, and great fun to watch.

    The songs are:
    • "Riptide" by Vance Joy
    • "Tik Tok" by Ke$ha
    • "Only the Good Die Young" by Billy Joel
    • "Shine On" by Florida Georgia Line
    • "My House," a brand-new track by Warren G.

    Check out the spots here:



    Margaret Johnson, executive creative director at GS&P, tells Adweek that it took a while to find the right soundtracks. "We waded through hundreds of songs to find our five favorites," she says. "We needed songs that had great momentum and that mentioned the right kind of items to show off eBay's vast inventory. It certainly wasn't easy to find the perfect tracks."

    From there, it was a matter of choosing the products to match the lyrics. This was also very involved, but the end results are delightfully playful—beautifully made set pieces, one after another, that nicely frame the products but with enough flexibility and surprises to keep the viewer enthralled.

    "It was involved, but it was also a lot of fun," says Johnson. "We wanted to play with the way lyrics can be interpreted, not just stick to products that matched literally. Licensing was a pretty interesting can of worms, but overall we landed in a great place."

    Of the visual style, Johnson adds: "We wanted each song to have a distinct visual personality. The guys at Brand New School did an amazing job with the animation, giving every single product a little wink even if it only appeared on screen for a second."

    "The beauty of this campaign is how flexible it is," says the director, Robert Bisi. "The tempo of the songs can vary greatly, so we did a lot of testing to see which lyrics would work best against the visuals and which lyrics would act like a catalyst, spurring the visuals."

    He adds: "It was a lot of seeing [which props] would work well and then deciding on how best to art direct them, and whether or not to create them using CG or to shoot them practically. The lyrics became a really fun catalyst for ideas when we looked at them more like commercial scripts as opposed to just song lyrics. Each lyric was a puzzle to solve, and we love figuring out these sort of brain teasers."

    It was important not to be too literal with it, Bisi says.

    "The songs have an inherent feel and vibe to them already, which made designing against them a real pleasure," he says. "We made a point to try and design in an unexpected way that supported the songs' personalities but also pushed beyond what would be obvious and delve deeper into an unexpected place. By making the spots less obvious, I wanted to try and give them a personality of their own that was inspired by the songs, but wholly unique as stand-alone pieces."

    The campaign has a fun on-site element, too. Each YouTube video has a link to an eBay collection of all the items from the song. Check out those collections here:

    Riptide Collection
    Tik Tok Collection
    Only the Good Die Young Collection
    Shine On Collection
    My House Collection

    CREDITS
    Client: eBay
    Senior Brand Marketing Manager: Carey Malloy

    Campaign: "Shop a Song"

    Agency: Goodby, Silverstein & Partners, San Francisco
    Executive Creative Director: Margaret Johnson
    Creative Director: Kate Catalinac
    Associate Creative Director: Kristin Graham
    Broadcast Producer: Conor Duignan
    Account Director: Ed Allt-Graham
    Account Manager: Melissa Buck
    Assistant Account Manager: Rosie Breen
    Business Affairs Manager: Heidi Killeen
    Business Affairs Associate Manager: Kelli Cline

    Production Company: Brand New School
    Director: Robert Bisi
    Designers: Waka Ichinose, Sakona Kong, Yoon Lee, Scott Uyeshima
    Computer Graphics Generalists: Andy Kim, Youn Kwack, Haozheng Cui
    Computer Graphics Rigger: Vinh Chung
    2-D Animators, Compositors: Scott Uyeshima, Andrew Soria, Maithy Tran, Simon Chan, Cameron Walser, Matt McLelland
    Storyboard Artists: Max Forward, Tristyn Pease
    Editor: Sean Uren
    Managing Partner: Devin Brook
    Executive Producer: Paul Abatemarco
    Head of Production: Amy Russo
    Senior Producers: Greg Heffron, Beth Vogt

    Sound Design: Lime studios
    Final Mix: Joel Waters


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    Twitter, Coke and Wieden + Kennedy are clinking ice-cold bottles of Coca-Cola today after teaming up to create the site's first branded emoji that's actually a paid ad placement.

    If you type #shareacoke into a tweet, two cute little Coke bottles, leaning toward each other in a gesture of multinational commercial affection, will automatically appear. TechCrunch broke the news, and reports that the Coke emoji—unlike previous custom emojis for branded properties like Star Wars and MTV's Video Music Awards—is part of an ad deal.

    "Coca-Cola is a massive global partner of Twitter and they have been pushing us for some time on building a custom emoji (along with the creative agency of W+K)," says Ross Hoffman, senior director of global brand strategy at Twitter. "We know that people love using emojis and usage has been significantly increasing over time on our platform. This was a perfect opportunity to work with a nimble and smart marketer to make this happen."



    Hoffman says Twitter's brand strategy team worked with Coke and W+K "on design, creation and strategy on launching this the emoji around the world." He adds: "We have been working with Coca-Cola for years and this muscle memory in terms of relationships, brand positioning and KPIs allows us to move quickly on something of this scale."

    How will they gauge whether the emoji is a successful ad?

    "We can't speak for what Coca-Cola key metrics are," Hoffman says, "but what we generally think about for large campaigns like this are engagement, sentiment, adoption of the hashtag/emoji and total reach."


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    Using the Ashley Madison hacking scandal as a humorous linchpin, DigitasLBi has unleashed a pro-bono campaign for Rescue Dogs Rock NYC featuring two videos that will appear on the organization's website.

    "We wanted to take the gossip-worthy incident of the day and use it to direct people's attention to a cause that deserves a bit more gossip," DigitasLBi creative chief Ronald Ng tells AdFreak.

    The premise: Many of the AM cheaters whose identities were revealed by hackers, as well as the livid cheatees, are now, for obvious (if opposite) reasons, in the market for better and more loyal companions—the kind who never call you needy, and don't mind if you double up your partners. At the end of each spot, users are driven to the Rescue Dogs Rock NYC site and shown profile-style images of dogs in the market for owners. 

    The first spot, "Dogs Don't Judge," stars a cheater.

    "Well, according to a group of hackers that broke into a certain cheating website, I'm an asshole," he begins. "And now my identity has been leaked in a breach that has left countless other fornicators very much alone. Fortunately, I was able to fill this significant-other-shaped void in my life with a new friend."



    Well, dude, if you run around sniffing other gals' virtual butts, what do you expect?

    Meanwhile, "Dogs Don't Cheat" stars a cheatee. "If you're like me, one of the spouses, you're better off," she says. "You've got time on your hands, and some prime real estate in your bed. So why not fill it with someone who knows how to sit … and stay?"



    She says she wants a pooch, but—stereotype alert!—that maniacal laugh is the stuff cat ladies are made of.

    Ashley Madison is never mentioned by name, though its tagline (the delightfully blunt "Life is short. Have an affair") is tweaked to read, "Life is short. Have a dog." It's all for a great cause, though the concept sometimes has to stretch to accommodate its message.

    "We figured the category was screaming for an effort that didn't take itself seriously," Ng says. "Hopefully, we can have Rescue Dogs Rock NYC receive donations to help with costs associated with taking care of rescues."

    Actual rescue dogs, cuties all, star in each spot. (Wanda, the pit-bull-type beastie in the cheater ad, has already been adopted.)

    "The dogs were way more chill than we expected [on set]," Ng says. "We figured they'd be barking and running around, but they just kind of curled up on our actors' laps and went to bed. We actually had to stop shooting because people couldn't stop laughing at how cute the dogs were being."

    Well, if dating websites have taught us anything, it pays to play to your audience.

    CREDITS

    Chief Creative Officer: Ronald Ng

    Executive Creative Director: Atit Shah

    Associate Creative Director: Spencer Black

    Associate Creative Director: Dave Roth

    Associate Creative Director: Justin Nuttall

    Creative Director: Jennifer Awasano

    SVP, Social Strategy: Jill C. Sherman

    SVP Producer: Steve Torrisi

    Senior Producer: Lisa Young

    Account Manager: Syril Smith

    Social Strategist: Geoff Brownell

    Editor: Jared Kaplan

    Production Company: Magnet Media

    Composer: Skip Haynes


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    For the launch of its new Scarf Bar, where users both online and in-store can customize their own scarves, Burberry decided to educate people on what goes into making one.

    When a brand launches a customization service, people (rightfully) assume their options are limited and at least somewhat automated to ensure fast service to the most customers possible. In other words, it can cheapen and commodify—the opposite of luxury.

    But this video succeeds in illustrating, beautifully, what a total headache it is to produce a Burberry scarf, while reminding you of its premium value—or, as one YouTube commenter put it, "why it's expensive."



    The scarf you customize with such ease and glee will be woven on a traditional loom in Scotland, in one of just two mills that do it. It will be brushed by natural teasels (a prickly purple plant), washed in "fresh Scottish waters," hand-finished and hand-checked for errors.

    It's a common refrain to hear that the problem with our culture is that we've become too materialistic, and a Burberry scarf can easily be seen as a symptom of this disease. They're pricey but not out-of-reach, making them easy to consume and collect without considering—or even appreciating—the natural toll it takes to make them.

    But there's also a school of thought that asserts that the real problem is that we're not materialistic enough. If we were, we would actually care about how things are made, who makes them, and how the act of buying connects us with a wider ecosystem of natural resources, culture and labor. If these things mattered to us, we'd buy fewer things but with more attention, and care for those acquisitions with the same devotion we demand of their makers.

    So, whether you dig this ad or not, we like that it represents a step in this direction: It doesn't just educate people about the history of one brand and one scarf; it cultivates an interest that might carry over to everything we invite into our lives.

    That kind of sensibility can help us appreciate the sensation of enveloping your neck in freshly-"teaseled" cashmere in a whole new way.


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    Instead of watching a Facebook ad that makes you long for a langorous night playing guitar by the firepit, why not just buy a house? That's the mental leap Century 21 asks you to make in its new set of cheeky 15-second Facebook ads.

    Each of the four videos, created by agency Sleek Machine, will autoplay on Facebook automatically, without sound, until people click on them. Playing with that feature, they include subtitles that describe the sounds users are missing—guitar playing, bacon sizzling, wind chimes or children playing.

    You can enjoy these charming domestic soundtracks by clicking on the video to activate its audio. Or, the ads says, you can just buy a home. (Then you can fill it with actual cooking bacon, or kids.)



    Sleek Machine says client frustration with Facebook autoplay's silence-before-clicking convention inspired the campaign, titled "Sounds of Home."

    But this kind of medium-specific messaging, used to manipulate and play with the medium itself, is what helped make Geico's "Unskippable" pre-roll ads such a smash: If viewers get frustrated with advertising, it's often because they're being broadcast the same message, in the exact same way, across platforms. So, making the medium itself a creative constraint both acknowledges users' frustration and potentially makes them more receptive to the spirit of the work.

    In the case of Century 21, the leap from activating audio to dropping $20,000 (add a zero if you live in New York City) on a down payment for a house is a pretty big one to ask audiences to make, even if the prompt is winking hard. But the idea has charisma, especially for a short window.

    Then again, for people who love bacon—and waking up to the smell of it—there are probably easier, more affordable solutions.


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    Those who were disappointed that animator PES wasn't hired for this Ikea spot will rejoice today upon seeing the Oscar nominee's latest brand work—a remarkable two-minute Honda spot from RPA that tells Honda's entire history though an intricate paper-flipping journey.

    The spot, titled "Paper," which took months to make, broke Sunday during CBS's NFL games. It features thousands of hand-drawn illustrations from various artists—filmed by stop-motion wizard PES—that show Honda's mobility products through the years. It opens with founder Soichiro Honda's use of a radio generator to power his wife's bicycle, and continues through the company's development of motorcycles, outboard motors, CVCC vehicles, automobiles, race cars, robotics and more.

    The film, while devised in CGI, was shot practically, with a few scenes stitched together.



    Honda has told its history many times before—notably in spots out of Wieden + Kennedy London like 2013's "Hands" and, going back a decade, "Impossible Dream." Much like the "Hands" spot, "Paper" aims to embody—rather than just tell—the Honda brand promise, by being as impeccably engineered as the products themselves.

    "The goal is for the marketing itself to become a demonstration of Honda thinking and all the people that touch our wide range of products along the way," said Tom Peyton, assistant vice president of marketing for American Honda Motor Co. "This commercial stands for the courage and conviction to imagine and make dreams a reality and speaks to Honda's innovative nature and respect for personal achievement and contributions."

    Conceptually, "Paper" is about as stripped down as you can get—every complex vehicle, after all, starts with a few sketches on paper. And the details pay off the lofty concept, as we move from the sepia-toned early scenes to modern graph paper by the end.

    The tagline is, ""You never know where a dream will lead you."

    The spot will get further full two-minute airings on network shows including Dancing with the Stars, Rosewood, Minority Report and Blue Bloods, and on ESPN next weekend during Saturday College Football. A 60-second version will air throughout October on NBC, CBS, Fox and ABC. It's also on Facebook and YouTube.

    Check out the behind-the-scenes video below, including commentary from PES himself.



    CREDITS
    Client: American Honda Motor Co., Inc.
    Title: "Paper" :117
    First Air: 9/20/15

    —TV

    Agency: RPA
    EVP, CCO: Joe Baratelli
    SVP, ECD: Jason Sperling
    VP, CD/Art Director: Chuck Blackwell
    VP, CD/Copywriter: Ken Pappanduros
    Senior Copywriter: Chris Bradford
    Art Director: Laura Crigler
    Copywriter: Josh Hepburn
    SVP, Chief Production Officer: Gary Paticoff
    VP, Executive Producer: Isadora Chesler
    Producer: Matt Magsaysay

    SVP, Group Strategic Planning Director: Christian Cocker
    VP, Director of Business Affairs: Maria Del Homme

    EVP, Management Account Director: Brett Bender
    VP, Group Account Directors: Adam Blankenship & Jeff Moohr
    Management Supervisor: Rose McRitchie
    Account Executives: Susan Kim & Paul Sulzer
    Product Information Manager: Marco Fantone

    Production Company: Reset Content
    Director: PES 
    Managing Director: Dave Morrison 
    Executive Producers: Jen Beitler & Jeff McDougall 
    Head of Production: Amanda Clune 
    Producer: Stan Sawicki 
    DP: Eric Adkins 
    Production Supervisor: Mario D'Amici 
    Production Designer: John Joyce 
    Motion Control Operator: Mark Eifert 
    Motion Control Assistant: Calvin Frederick 
    Animation Supervisor: Eileen Kohlhepp 
    Animators: Amy Adamy, Sihanouk Mariona, David Braun, Julian Petschek, Javan Ivey, Jen Prokopowicz, Brandon Lake, Ranko Tadic & Quique Rivera
    Illustrators: Jerrod McIlvain, Nicole Cardiff, Vincent Lucido, Arwen King, Meghan Boehman, Monica Magana, Kei Chong, Trevor Brown & Alex Theodoropulos
    Set Dresser/Painter: Veronica Hwang
    Illustration Coordinator: Evan Koehne
    Art Department: Nate Theis, Ellen Ridgeway, Melissa Quezada

    Editorial: Rock Paper Scissors
    Editor: Stewart Reeves
    EP: Angela Dorian
    Producer: Leah Carnahan-Dogruer
    Assistant Editor: Jasmina Zaharieva

    VFX & Finishing: A52
    VFX Supervisor & Lead Flame: Andy Rafael Barrios  
    CG Supervisor: Kirk Shintani  
    EP: Patrick Nugent 
    Producer: Lusia Boryczko 
    Head of Production: Kim Christensen 
    Executive Producer: Patrick Nugent 
    2D VFX Artists: Michael Plescia, Enid Dalkoff, Chris Moore, Cam Coombs, Michael Vagilenty
    CG Artists: Aaron Baker, Mike Bettinardi, Michael Cardenas, Jon Belcome, Joe Chiechi
    Pre-Viz: Ranko Tadic, Ingolfur Guomundsson, Benito Vargas
    Colorist: Tommy Hooper
    Online Editor: Dan Ellis
    Color/Online Assist: Gabe Sanchez, Chris Riley, Erik Rojas
    Roto Artists: Cathy Shaw, Robert Shaw, Tiffany Germann

    Sound Design: Factory UK – Sound Design Studios
    Sound Designer: Phil Bolland
    Head of Production: Lou Allen

    Mix: Lime Studios
    Re-Recording Mixer: Dave Wagg
    Assistant Re-Recording Mixer: Adam Primack
    Executive Producer: Susie Boyajan

    —Social

    VP, Creative Social Media Director: J Barbush
    VP, CD/Art Director: Chuck Blackwell
    VP, CD/Copywriter: Ken Pappanduros
    Senior Copywriter: Chris Bradford
    Art Director: Laura Crigler
    Copywriter: Josh Hepburn
    Producer: Matt Magsaysay
    Editor: A'sia Horne-Smith

    EVP, Management Account Director: Brett Bender
    VP, Group Account Director: Adam Blankenship
    Account Supervisor: Renee Egizi-Finger
    Account Executive: Kaelin McGill

    VP, Associate Director, Digital Marketing: Aaron Dodez
    Supervisor, Digital Content Strategy: Mike Dossett
    Sr. Specialists, Digital Content Strategy: Tyler Sweeney & Hartman Wong
    Associate Digital Producer: Connor Gomez
    Program Manager: Melissa Heitman

    —Behind The Scenes

    Senior Copywriter: Chris Bradford
    Art Director: Laura Crigler
    Copywriter: Josh Hepburn
    Producer: Matt Magsaysay
    Associate Digital Producer: Connor Gomez

    VP, Group Account Director: Adam Blankenship
    Management Supervisor: Rose McRitchie
    Account Executive: Susan Kim

    Post Production: Bo's House of Visual Arts @ RPA
    Post Producer: Eddie Granado
    Editor: Wendy Sandoval
    Lead Cameraman: Zach Grant 
    Cameraman/pick up shots: Mark Tripp
    Graphics: Michael Kelley
    Color: Augie Arredondo

    Final Mix/Audio: Lime Studios
    Mixer: Mark Meyuhas

    —Interactive

    Video Technology: WIREWAX
    Business Development & Creative Services: Bea DiCarlo
    EVP, CCO: Joe Baratelli
    SVP, ECD: Jason Sperling 
    VP, Digital Design Director: Michael Takeshita 
    VP, CD/Art Director: Chuck Blackwell 
    VP, CD/Copywriter: Ken Pappanduros 
    Art Director: Jesse Echon 
    Copywriter: Michael Chen 
    VP, Director of Digital Production: Dave Brezinski 
    Executive Digital Producer: Linda Kim 
    Associate Digital Producer: Connor Gomez 

    EVP, Management Account Director: Brett Bender 
    VP, Group Account Director: Adam Blankenship 
    Management Supervisor: Rose McRitchie 
    Account Executive: Susan Kim 
    Program Manager: Melissa Heitman


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    The trend toward more personalized packaging continues, with a twist, as Snickers is replacing its brand name on packaging with 21 hunger symptoms.

    The twist is that, instead of being life-affirming or otherwise uplifting—like Coke's names-on-bottles campaign has been—there's dark comedy behind the Snickers packaging, in keeping with the Mars brand's edgy "You're not you when you're hungry" vibe.

    Yes, Snickers wants you to share the new "Hunger Bars" with friends, but preferably when they're being annoying because they haven't eaten.

    Among the 21 customized bars, there are some clearly disparaging ones. For example, you can give friends bars emblazoned with the words Cranky, Grouchy, Confused, Irritable, Impatient, Complainer, Whiny, Curmudgeon, Ornery, Testy and Snippy. Those 11 are balanced out by 10 other bars which are a bit less insulting—Rebellious, Feisty, Sleepy, Loopy, Goofball, Forgetful, Drama Mama, Dramatic, Princess, Spacey.

    As part of the campaign, the brand has released this online spot from BBDO New York, starring a loopy goofball of a hotline operator who takes calls and dispatches bike messengers to deliver the insulting candy to those in need.



    A percentage of bars will remain in the original packaging. Print advertising for the campaign launches later this month. "We believe the new bars will inspire people to not only quickly identify their own symptoms and satisfy their hunger, but give them a new, fun way to call-out friends and family on who they become when they're hungry, too," says Snickers brand director Allison Miazga-Bedrick.

    This isn't the first time Snickers has tweaked its famous parallelogram logo. A print and outdoor campaign from 2006 replaced the word Snickers in the logo with hunger-related words like "Hungerectomy," "Satisfectellent" and "Nougatocity."


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    Would you like your television to look like a tastefully designed piece of furniture, rather than a hideous black slab of high-resolution escapism?

    Samsung is bucking the trend of just racing toward bigger and better technical specs with Serif, a new framed boob tube that looks like it would more likely be sold at Sharper Image than Best Buy (assuming brick and mortar stores actually still exist anywhere).



    French designers Ronan and Erwan Bouroullec created the product, Samsung's second such collaboration after hiring Yves Behar's firm Fuseproject to create a sleek, iMac-style (but curved) pedestal screen earlier this year.

    Serif, which comes in white, dark blue and red, is more subtly surprising, though, with a "I" shape when viewed from the side. A back cover hides cables. Mostly, it's a stark reminder that pretty much all other TV sets look the same today—ugly, in a functional kind of way.

    Samsung has yet to announce a price, but the piece will go on sale in Denmark, France, Sweden and the U.K. on Nov. 2. It's sure to find a market in the U.S., too, even if just among people who prefer to look at it while it's turned off—possibly with a cat on top.


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    Any Brazilians who hadn't already read Paulo Coelho's famous 1988 novel The Alchemist could do so for free last Monday. All they needed was a copy of that day's Metro newspaper—along with, probably, a powerful magnifying glass.

    That's when Saõ Paulo agency Loducca published the entire novel (about 175 pages in the original Portuguese) in a single newspaper spread to celebrate a recent milestone for the book—a total of seven cumulative years on The New York Times bestseller list.

    Copy on the ad reads: "The Alchemist. Seven years among the bestsellers in The New York Times. Thanks to the 70 million who read the book. If you are not one of them, read this ad. —Paulo Coelho."

    Here's the full ad. Click to enlarge:



    Loducca tells AdFreak that the newspaper ad was printed in 4.1-point type. An outdoor version of the ad—with the text in a single giant block, in relatively humane 12-point type—is also running. The 68-year-old author himself was the client on the project.

    This isn't the first time Loducca has published a Coelho book in its entirety as a promotional stunt. In 2010, it recreated his book The Aleph with series of tweets on alephtweets.com.

    Here's the outdoor ad. Click to enlarge:


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