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    Travel often? Use Google Street View? Hell, maybe you'll love Virgin America's Seat View.

    It's exactly what it sounds like: You use the campaign to "stroll" through the Airbus A320 that flies out of all 22 destinations Virgin America serves. Nervous about the leg room in coach? Check out Main Cabin Select. Or wander right past the partitions into First Class, though sadly you won't be able to try the built-in lumbar massagers.

    And it's not just online—you can try Seat View from bus shelters in six markets, too.

    The work results from the insight that some U.S. airlines use ad campaigns to highlight amenities that aren't actually available on all flights, says Abby Lunardini, Virgin America's vp of brand and communications.

    "For travelers who may be new to Virgin America, the Google Street View experience brings our product difference to life in an authentic way," she says. "There is no bait and switch. Flyers can tour the actual product they'll fly on when they book us from any of our cities—just like they experience the rest of their world via Google Maps."

    Seat View was made with help from agency Eleven and Google Street View, making Virgin the first U.S. airline to incorporate Street View technology into an ad campaign (though we didn't realize there had been a race). Its subsite is supported by digital banner ads and includes a quick description of each cabin class, followed by the option to book any of its current routes.

    If you live in San Francisco, New York, Los Angeles, Dallas, Washington, D.C. or Chicago, you might also run into an interactive bus shelter, which gives you a nicer sense of real-life scale: 

    "People have increasingly come to rely on Google Maps and Google Street View to explore their world," says Google Maps Street View program manager Deanna Yick. "We hope launching this Street View imagery will help better inform travelers of what they can expect, and to see Virgin America's award-winning cabins."

    We dig that. The one big setback to the campaign is that it forgets to what degree flying is a tightly packed, intimate experience. Being able to zoom in on Virgin's "amenities"—like the outlets available at every seat—would be useful, too.

    Street View's technology was meant to give you a general sense of much bigger spaces, like, well, streets—so usability isn't really adapted to digging around and getting a closer look at things. That would really help frequent travelers get a jump-start on their trips: The one thing we all do, just before buckling up, is run a quick inventory of everything we have access to, to maximize entertainment for minimum movement. 

    So, maybe there's a reason no airline has ever used Street View before. But let's be optimists: Maybe this use case will help Street View optimize for instances when people need more granular details about what they're about to buy, versus a general sense of what other big items are around—a perk that isn't as useful as Virgin thinks.

    Frankly, zooming in on the TV on somebody else's seatback tells us absolutely nothing about how our legs will feel once seated. Cool mood lighting, though.

    Agency: Eleven Inc
    Chief Creative Officer: Mike McKay
    Creative Director: Ricard Valero
    Art Director: Flavia Gonzalez
    Copywriter: Marisa Millisic
    Director of Client Services: Rob Garnett
    Account Director: Lily Byrne
    Account Manager: Lizzie Imboden
    Print Producer: Jeannine Giordan
    Digital Producer: Leslie Ernst
    Activation Strategy Director: Fiona Su

    Client: Virgin America
    Brand Art Director: Jon Gordon
    Brand Manager: Amy MacEwen

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    Tony Bennett and Lady Gaga make goo-goo eyes at each other and croon "Baby, It's Cold Outside" in this amiable holiday spot for Barnes & Noble.

    "Tony and Gaga are a great mashup of classic and modern," says Amy Sacks, creative group head of Roberts + Langer DDB, which created the commercial. "This juxtaposition makes them a perfect embodiment of the brand. Barnes & Noble has something to inspire everyone, no matter your background, age or interests."

    Tony looks a bit like Regis Philbin these days, and Gaga's a dead ringer for Stefani Germanotta. They've famously recorded and toured together, so the pairing makes some sense. Still, why reunite them for this particular advertiser?

    "Barnes & Noble is more than a place that you buy a book," Sacks tells Adweek. "It's a place that brings people together. There's a certain energy and excitement of being around other people who share your passions."

    B&N chairman Leonard Riggio chose the artists, and also penned the tagline, "You never know who you'll meet at Barnes & Noble." We wish they'd met that Oddbins fox in the aisles; he would've tied their shoelaces together, launching T-man and Gaga on a wacky yuletide trip.

    Kidding aside, the duo exudes considerable charm and good cheer, and the spot's getting plenty of media coverage for Barnes & Noble at the start of the gifting season. Hey, brick-and-mortar booksellers are struggling mightily these days. Why not try Tony Bennett? We sure don't have any better strategic suggestions to stuff in the brand's stocking.

    "We just loved seeing Tony and Lady Gaga working together," says Sacks. "She arrived before he did and began shooting some of her scenes, and then when he arrived we got to witness the familiarity and warmth between them when they greeted each other on set. They're genuinely sweet together."

    Client: Barnes & Noble
    Campaign: "You Never Know Who You'll Meet at Barnes & Noble"
    Agency: Roberts + Langer DDB
    Chief Creative Officer: Andy Langer
    Executive Vice Presidents, Creative Group Heads: Lynn Mercado, Amy Sacks
    Senior Vice President, Account Director: Torrey Plank
    Director: Jonas Akerlund

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    Robert Rodriguez and John Malkovich have made a movie that no one currently alive will ever see—and that's just fine by them.

    The film is called 100 Years, and it was financed by French cognac maker Louis XIII (pronounced "Louie Trez"), whose marketers conceived this unusual, ingenious idea.

    Louis XIII, officially known as Louis XIII de Remy Martin, is a brand that prides itself on craftsmanship. Its cognac is made from wine grapes grown in the Grande Champagne territory of Cognac, France. It is blended from 1,200 eaux-de-vie (brandy) that takes 100 years to craft. Fred & Farid in New York produced the film under head of production Karim Naceur, in conjunction with Moonwalk Films and executive producer Gaspard Chevance.

    Ludovic du Plessis, the brand's global executive director, noted at a press conference with Rodriguez and Malkovich on Wednesday that it takes a century for each bottle of Louis XIII to age. So, why not do the same with a film?

    "Our cellar master is crafting Louis XIII today that will be ready in 2115," he noted. "He will never see his baby. He is working on something for people who haven't been born yet. This is impressive, and this is our source of inspiration. This was the creative source of inspiration for the movie 100 Years."

    Similarly, the cast and crew of 100 Years will never see the final cut of the film, not even Rodriguez, who sent his rough edit out for visual effects to be added and never saw the final cut before it went in the vault.

    A few stills from three futuristic teasers for the film were leaked on entertainment websites earlier this month, but the news that the actual film was to be held for release for another century was only revealed Wednesday.

    Though specifics about 100 Years were not disclosed, the filmmakers describe it as set in the current world.

    "It's set today, it's very elegant, it's emotionally charged, and it's John's writing," said Rodriguez, dressed casually in dark clothes and a leather jacket, referring to Malkovich. "You have to touch people's hearts if they're going to show it in the future, so it has to be honest. The teasers are what we imagine the future would be to grab your attention. I'm proud of it, even though nobody I know will ever see it."

    Malkovich plays the hero, Chinese actress Shuya Chang (Revenge of the Green Dragons, the upcoming Crouching Tiger Hidden Dragon: The Green Legend) plays the heroine, and Chilean actor Marko Zaror, who appeared in Rodriguez's Machete Kills, plays the villain.

    Though few details about the plot are known, du Plessis described it as Malkovich's vision of the next 100 years. "It's the delicate relationship between the past, the present and the future," he said. "It's really, for us, a tribute to the mastery of time."

    He would not disclose the genre of the film or its budget, although when pressed, he said it was in "the seven figures."

    "It's not a drama; it's not a comedy," he added. "It's in between these two. Some moments are more drama, and some are more comedy. We do not put it in a certain category."

    Du Plessis said choosing Malkovich to write and star in the film was an easy decision. "He is the best actor of his generation" and "a creative genius," du Plessis said. He joked that the two-time Oscar nominee (Places in the Heart, In the Line of Fire) speaks better French than he (a native of France) does.

    "I've watched him work, and I've seen the creativity in his eyes," he said.

    The completed film was to be placed in a safe specially designed by Fichet-Bauche, a two-centuries-old French security company, at the Sheats Goldstein Mansion in Hollywood. The safe, fitted with bulletproof glass and a state-of-the-art timer that records the time and date and will mark the countdown, is slated to travel around the world under high security for an international tour beginning in Hong Kong on Dec. 11, before it reaches its final destination at the House of Louis XIII in Cognac, where it will remain until it will automatically open in the 22nd century. Louis XIII is giving 1,000 silver-plated movie tickets to certain "influencers" around the world so their descendants can one day view the film.

    Asked whether there is product placement of Louis XIII in the film, Rodriguez responded, "Yes, there is a bottle there. But it's about John's vision of the future."

    Quipped Malkovich, nattily dressed in one of his own designer suits, "I thought it was a little fantastic idea; I wish it would have happened to some of my other films."

    He went on to say, "I liked the idea. … When they showed me the plans Robert had, it seemed exciting to imagine."

    Photographed by renowned director of photography Claudio Miranda, whose credits include Tomorrowland and Life of Pi, the film is one of Rodriguez's proud achievements. He is best known for action films including From Dusk Till Dawn and Sin City, as well as the family friendly Spy Kids movies. He said working with Malkovich and the Louis XIII team has been a creative and exciting experience.

    "I've worked with John before, and the idea to work with him again was great," he added.

    Of his association with Louis XIII, he complimented the brand's ambition, although he admits he didn't initially realize the film would be locked away for 100 years when he signed on.

    "It speaks to the product," he said. "It's about craftsmanship and about doing something sight unseen for future generations. The more I thought about this project, the more I couldn't say no. I want to make something that's going to open in 100 years."

    Rodriguez says he is looking forward to his great-grandchildren seeing the film one day, along with his clone.

    As for his thoughts about the future, Malkovich was philosophical.

    "I don't think about it so much," he said. "I try to fill the time I have left with things that interest me. As I'm not an inventor or scientist, I don't know how much I can contribute to the future."

    For those who can't wait a century to see 100 Years, you can still get a sneak peek—an exclusive trailer and three teasers can be viewed at on YouTube. Viewers are invited to join the conversation on social media with #notcomingsoon and follow Louis XIII on Instagram,Facebook and Twitter.

    Agency: Fred & Farid New York (FF GROUP)
    Client: Louis XIII
    Title of ad: 100 Years
    Brand supervisor: Ludovic du Plessis, Caroline Sarrot Lecarpentier, Ingrid Gnanadicom
    Chief creative officers: Fred & Farid
    Creative director: Laurent Leccia
    Copywriting, art direction: Laurent Leccia
    Agency supervisors: Francois Grouiller, Dushan Karageorgevitch
    Head of Social Media: Matthieu Bouilhot
    Social Media Manager: Allison Fendrick
    Assistant Art Directors: Radouane Guissi, Anthony Bober 
    Head of Production (agency): Karim Naceur
    Digital agency Producer: Jim tran
    Production company: Moonwalk Productions
    Producer: Gaspard Chevance
    Director: Robert Rodriguez
    Photographer: Eddy Briere
    Music, sound design: Kouz Production
    Music supervisor: Léo Copet
    Post-production: Mikros
    Post producer: Christophe Huchet, Stephane Allender

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    We've seen a few clever marketing campaigns over the years that had to be activated by two people in order to work. Coca-Cola has done a lot of this, promoting its subtheme of togetherness with stunts like the virtual vending machine that only appeared for couples, and the Coke bottle that could only be opened by another Coke bottle.

    Now, Smart car has created an interesting Instagram experience designed for two people—promoting the 2016 Smart Fortwo, a vehicle whose very name suggests a commitment to being good for pairs.

    Smart and agency Razorfish created two separate Instagram accounts, @fortwo_jake and @fortwo_jill, that each tell half of a story. After placing your mobile devices side by side, you and your favorite sidekick can scroll through "a story of the two characters' missed connection," the brand says, along with some tappable photos that reveal more about the vehicle. The hashtag is #journeyfortwo.

    Here's a video teaser for the project:

    "The smart fortwo is the perfect size for two people, just like this Instagram experience," says Mark Aikman, general manager of marketing services at Smart designer Mercedes-Benz. "Through interactive storytelling, Instagram users must come together to experience the story of the fortwo unfold by using a familiar platform in an unexpected way."

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    Stock photo humor is the gift that keeps on giving, in this case thanks to Scion, which has rolled out two new spots in its "Weird, right?" campaign from Droga5—one of which features a group of stock-photo businesspeople driving a Scion iA.

    As the spot points out, it's weirdly they would drive an iA, or any vehicle at all really, given that they're not human. And nor is second spot's brooding, clichéd star—a teenage vampire with a man bun (aka, two things that won't die).

    The spots follow the celeb work that Scion launched in September with James Franco and Jaleel White, though they're more in line with a third spot from that first raft of ads—the one with the Recently Liberated Car Dealership Tube Man.

    Droga5 has mocked stock photos before, of course, notably for Newcastle Brown Ale and, more recently, belVita breakfast biscuits. But this year's best stock-photo campaign was certainly the Fox/Getty Images work for the movie Unfinished Business, with Vince Vaughn and his co-stars posing for stupid pics you could download for free.

    Client: Scion
    Campaign: Weird, Right?
    Titles: 'Vampire With a Man Bun,' 'Stockphoto Business People'

    Agency: Droga5
    Creative Chairman: David Droga
    Chief Creative Officer: Ted Royer
    Executive Creative Director: Neil Heymann
    Associate Creative Director: Lisa Fedyszyn, Jonathan McMahon
    Senior Copywriter: Spencer LaVallee, Ben Bliss
    Senior Art Director: Evan Schultz, Jen Lu
    Senior Designer: Kiem Vu
    Chief Creation Officer: Sally-Ann Dale
    Head Of Broadcast: Ben Davies
    Producer: Rob Marmor
    Integrated Production Business Manager: Librado Sanchez
    Global Chief Strategy Officer: Jonny Bauer
    Strategy Director: Katy Alonzo
    Strategist: Dakota Green
    Senior Communications Strategist: Hillary Heath
    Group Account Director: Blake Crosbie
    Account Director: Pat Rowley
    Account Manager: Monte Hawkins
    Associate Account Manager: Leo Wong
    Project Manager: Connor Hall

    Client: Scion
    Group Vice President: Doug Murtha
    Corporate Manager: Mark Angelacos
    National Marketing Communications Manager Nancy Inouye
    Advertising & Media Manager: Pamela Park
    Advertising & Media Analyst: Brett Keckeisen
    Advertising & Media Planner: Richard Hernandez

    Production Company: Smuggler
    Director: Randy Krallman
    DOP: Nigel Bluck
    Executive Producer: Carole Hughes
    Producer: Ian Blain

    Editorial: Mackenzie Cutler
    Editor: Erik Laroi
    Assistant Editor: Brendan Hogan
    Executive Producer: Sasha Hirschfield

    Post Production: The Mill
    Executive Producer: Sean Costelloe
    Producer: Georgina Castle
    Telecine:  : Mikey Rossiter
    2D Lead Artist: Jade Kim
    2D Artist: Caio Sorrentino
    Shoot Supervisor: Eric Pascarelli

    Sound: Heard City
    Mixer: Eric 

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    Julia Louis-Dreyfus scores some new co-stars in her latest for Old Navy, and the ensemble suits her well.

    The Veep and Seinfeld actress ties up rapper and marijuana poster boy Snoop Dogg in an attempt to strip him of a million dollars in this heist-themed ad for Old Navy's Black Friday sweepstakes, which promises the same sum for its prize. Her getaway driver? Comedian Kumail Nanjiani, whose credits include Silicon Valley. 

    The centerpiece ad, a 2:20 film, is given the cringe-inducing (if accurate) title "Snoopin' Around." But the spot is plenty entertaining, with enough absurd dialogue to keep it moving at the right clip. Nanjiani steals the show with winning ineptitude, including a nod to Dogg's best-known work, the 1994 hit "Gin and Juice."

    Louis-Dreyfus is hard-pressed to improve on her last performance for the clothing retailer, where she played an overbearing mother for back-to-school season. But she doesn't slack off here, displaying an incompetence that makes it unclear whether she's trying to intimidate or seduce Snoop, culminating in a mostly-ridiculous—yet perfect—insult: Calling him "Daddy Long Legs."

    The approach expands on the brand's recent drive to emphasize female comedians, which include Amy Poehler. Wayne McClammy, adept with both celebrity stars and humor, directs to good effect.

    A :30 cut aired Sunday on TV, but it's not as strong as the full version, partly because it doesn't have Snoop's takeaway from the experience: That he needs to get off Instagram, stat (which is sound advice for anyone). 

    The outtakes below also fall short of the ad itself, a rare deviation from the norm. Snoop Dogg will also be doing radio spots for the brand (a smart choice, given his distinctive voice).

    Client: Old Navy
    Agency: Chandelier Creative
    Creative Directors: Richard Christiansen, Lena Kuffner
    Executive Producer: Sara Fisher
    Account Director: Eileen Eastburn
    Producer: Gulshan Jaffery
    Production Coordinator: Camilla Rothenberg
    Production Company: Hungry Man
    Director: Wayne McClammy
    Executive Producers: Mino Jarjoura, Dan Duffy
    Line Producer: Dave Bernstein
    Director of Photography: Phedon Papamicheal
    Editorial: Final Cut
    Editor: Patrick Coleman & Crispin Struthers
    Head of Production: Suzy Ramirez
    Producer: Mackenzie Alexander
    Telecine: Color Collective
    Colorists: Alex Bickel, Mike Howell
    Executive Producer: Claudia Guevara 

    Audio Post: Sonic Union
    Mixer: Mike Marinelli
    Visual Effects Studio: Significant Others
    Finishing Producer: Alek Rost

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    Great. Greater. Greatest. Those are your viewing choices in RPA's new interactive video for the Honda Civic, which lets you toggle between a couple's three date scenarios and check out vehicle features along the way. 

    You have to watch it here on the Honda website.

    The story in all three versions is essentially the same: A dude driving a 2016 Honda Civic sedan picks up his gal for a night on the town. They travel the same route, visit the same places and have similar experiences in each clip. The details, however, are markedly different, and the contrasts between the three dates are sometimes extremely amusing. 

    Some differences are subtle. For example, the sunlight goes from bright, to brighter, to brightest depending on how "great" the date is (sadly, this is not the case in real life). Other variations are more obvious. The spot recalls Honda U.K.'s famous The Other Side interactive film, though the RPA work is more cartoony. 

    On the "Great" date, the couple wear T-shirts and jeans, and they high-five as the woman slides into the car. "Greater" finds them more dressed up; the guy hands her flowers before they drive off. In "Greatest," they're attired like the king and queen of a sitcom prom, as our hero presents his lady-love with a fluffy pooch as a date-night present.

    The greater the date, the more self-consciously zany the action becomes. 

    "The typical online demo video is a valuable tool for someone who is getting close to buying a vehicle and wants to get a closer look at the specifics," Jason Sperling, executive creative director at RPA, tells AdFreak. "And up to now, it's all followed a similar formula. By creating a unique piece of entertaining content that invites deeper levels of interaction, it makes it more than just a utilitarian tool for a select few. It makes it memorable, sharable and a worthwhile piece of content."

    The Civic's features are well integrated into the story line, and it's a hoot to toggle between date variants during product demos. For instance, when the dude cranks up some tunes via Apple CarPlay on the "Great" date, he and his companion share a quick smile; on the "Greater" date, they righteously bop their heads to the beat. And in the "Greatest" version, a groovy '70s-style sax player appears in the back seat for a live performance.

    Still, we never do make it to the date that tops them all. The "Greatest" scenario still features a Civic rather than, say, a Ferrari. (Hey, they could have at least upgraded to an Accord!) 

    Separately, RPA has also released this year's Happy Honda Days TV campaign. Five lovely spots were each melded from three layers—live action, miniature sets and matte paintings. Check out that work below.

    Client: American Honda Motor Company
    Project: Happy Honda Days TV

    EVP, Chief Creative Officer: Joe Baratelli
    SVP, Executive Creative Director: Jason Sperling
    VP, Creative Director: Alicia Dotter Marder
    Associate Creative Director: Jeni Stewart
    Senior Art Director: Leo Borges
    Sr. Copywriter: Peter Megler
    Jr. Art Director: Dennis Haynes
    Jr. Copywriter: Megan Lienfelder
    Jr. Copywriter: David Bassine
    SVP, Chief Production Officer: Gary Paticoff
    VP, Executive Producer: Isadora Chesler
    Senior Producer: Fran Wall
    Broadcast Production Coordinator: Jeanette Howes
    EVP, Management Account Director: Brett Bender
    SVP, Group Account Director, HRM: Fern McCaffrey
    Account Supervisor: Alison Bickel
    Account Executive: Matthew Boyer
    Account Assistant: Kendall Rouse

    Production Company/Effects: Brand New School
    Director: Ben Go
    Managing Partner: Devin Brook
    Executive Producer: Paul Abatemarco
    Head of Production: Amy Russo
    Line Producer: David Wolfson
    Director of Photography: Shawn Kim
    VFX Supervisor & 2D Lead: Todd Mesher
    CG Supervisor: Bryant Rief
    Post Producers: Sabrina Elizondo, Alex More
    Matte Painter: George Fuentes
    Designers: YoonSun Lee, Ben Yonda, Brandon Lee Smith, Ken Gun Lee, Matt Hollister
    Asst. Editor: Austin Lewis
    3D Artists: Slavik, Amy Vatanakul, Matt Bauer, Sam Baese, Ian Mankowski, Cameron Walser
    Flame Artist: Elad Offer
    Nuke Artists: Josh Studebaker, Lori Weiss
    Compositors: Maithy Tran, Laury Santoso, Ben Hurand
    Storyboard Artist: Judah Dobin
    Editors: Erik Barnes, Mark Imgrund
    Colorist: Loren White

South Music and Sound
    Audio Post: Lime
    Mixer: Dave Wagg
    Assistant Mixer: Adam Primack
    Executive Producer: Susie Boyajan

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    Foldable bike brand Brompton Bikes has launched #MyUnseenCity, a worldwide effort to commission videos exploring the hidden parts of people's cities. Created for the launch of its limited-edition Brompton Black Edition, of which only 5,000 will be made, the competition draws inspiration from moments you can experience only on the seat of a two-wheeler. 

    With help from Oldie, agency Corke Wallis launched a two-minute video to inspire users. In it, bikers unfold their Bromptons and ride the town, their spokes and reflective gear lit by the moon and the city. Together they traverse subway stations, open fields, abandoned buildings and canals (because their bikes, when folded, fit nicely in little boats).

    Submitted videos can last up to 15 seconds and can be posted on Instagram using the hashtag #MyUnseenCity. The 10 most-liked ones will be presented to a panel of judges, which include Guy Ritchie (best known for Lock, Stock and Two Smoking Barrels, some cool ads for Nike and H&M, and his marriage to Madonna), producer Lionel Wigram (Harry Potter, Sherlock Holmes), Warner Brothers U.K. chief Josh Berger and Brompton Bikes CEO Will Butler-Adams.

    The winner gets a weekend in London, entry into the Brompton World Championships (July 2016) and a Black Edition bike—which two runners-up will also receive, and that's probably motivation enough. We'd be hard-pressed to say this work is targeted to us, but it did leave us with a wanderlusty thirst for some night riding and city secrets. 

    One of the best things about living in a city is how often it changes underneath you, and how much of it is accessible only to those willing to explore its narrow sidestreets. That's plenty of fuel for unlocking creative juju. And if successful, the campaign could yield footage worthy of GoPro-level marketing: crowdsourced, inspired and total share-bait.

    Learn more about the promotion on Brompton's website.

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    Britain was the country that turned Christmas into an advertising showcase. But this year, a Spanish ad from Leo Burnett Madrid might just beat anything the U.K. turns out.

    The holiday season in Spain unofficially kicks off with the much-anticipated annual ad for the Christmas lottery. A national tradition since 1812, the Christmas lottery is more of a group affair than other lotteries—it's traditional for people to share the winnings by buying shared tickets with colleagues, friends and family.

    The new Burnett spot captures this sentiment beautifully through the story of Justino, a lonely overnight security guard at a mannequin factory. Justino passes the time by playing with the mannequins, and setting them up in poses for the factory's daytime staff to enjoy. And in the end, they repay his kindness in an unexpected way.

    The three-and-a-half-minute film is like a little Pixar short—gorgeous and moving. But this year, the film is just one part of the story. You can follow Justino's nights in real time via his Instagram account @justino_vigilante.

    If the theme seems familiar, that's because it's essentially the same one as last year's live-action spot. The tagline again is, "There's no bigger prize than sharing."

    "They say that the key to a good story is to have a good protagonist who has a particular goal, which they fail to achieve, so that the reader or viewer roots for the main character to get their wish in the end," said Juan García Escudero, creative director of Leo Burnett.

    Other 2015 Christmas ads have a higher profile—John Lewis' "Man on the Moon," for example, has more than 17 million YouTube views and almost 1 million online shares, per Unruly. But Burnett's film is its own mini masterpiece, and could well be the season's best.

    Advertiser: The Spanish Lottery
    Clients: Eva Pavo, Federico Fernández, Margarita Moreno
    Product: Christmas Lottery
    Campaign: "El Mayor Premio Es Compartirlo" / "The Greatest Prize Is Sharing"

    Agency: Leo Burnett Iberia (Madrid)
    Chief Creative Officer: Juan García-Escudero
    Executive Creative Director: Jesús Lada
    Digital Creative Director: Iñaki Martí
    Creative Supervisors: Ignacio Soria, Arturo Benlloch
    Art Directors: Javier López Canle, Sergio García

    Client Service Director: Ricardo del Campo
    Account Manager: Sara Cubillo
    Account: Jesús Álvarez
    Head of Digital: Tania Cavada
    Account Executive: Sandra Arán
    Tech Team: Víctor Moreno, Horacio Panella, Luis Marcano
    Producers: Nico Sánchez, Esther García

    Production Company: Blur – Passion Pictures
    Director: Against All Odds
    Executive Producer: Mario Fornies
    Producer: Pablo García Acon
    Site: www.fabricademaniquies.es
    Media: Press, Radio, Outdoor, Cinema, Display, Social Networks

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    It must be frustrating to be a brand whose product is so closely associated with a single holiday that it seems odd to have it any other time. Stove Top stuffing is in that boat, but it tends to take out its frustrations through comedy—including a raft of new spots starring the "Artisanal Hipster Pilgrim," a millennial character who defies his Pilgrim forebears by encouraging rather than forbidding the eating of stuffing on days other than Thanksgiving.

    The campaign, by CP+B, includes four online videos (two have been released so far) as well as wild postings. And AHP is also, of course, on Instagram. The approach is almost the exact opposite of a 2012 campaign in which a Pilgrim patriarch got all ornery about non-Thanksgiving stuffing eating, despite claiming he was otherwise quite a modern dude.

    The spots are pretty amusing. The character is well cast, and the Kimya Dawson-esque music bookending the ads completes the faux-twee vibe. Check out the wild posting, along with credits, below.


    Client: Stove Top Stuffing
    Campaign Title: "Artisanal Hipster Pilgrim"
    Agency: CP+B
    Chief Creative Officer: Ralph Watson
    Executive Creative Director: Adam Chasnow
    Creative Directors: D'Arcy O'Neill, Adam Calvert
    Senior Art Director: Tyler Gonerka
    Senior Copywriter: Emily Salas
    Art Director: Jessica Decter
    Copywriter: Samantha Mindich
    Director of Video Production: Kate Hildebrant
    Executive Integrated Producer: Deb Drumm
    Integrated Producer: Jamie Slade
    Production Company: Hungry Man, Culver City, Calif.
    Director: Chris Woods
    Director of Photography: Marten Tedin
    Line Producer (Production Company): Darrin Ball
    Executive Producer (Production Company): Mino Jarjoura
    Editorial Company: The Now Corporation, New York
    Editor: Owen Plotkin
    Assistant Editor: Jessica Farmer
    Editorial Executive Producer: Nancy Finn
    Typographer: Yomar Augusto
    Mix Company: Audio Engine, Phoenix
    Audio Engineer: Bob Giammarco
    Music Company: JSM Music, New York
    Executive Integrated Music Producer: Joel Simon
    Telecine Company: Plus Productions, Boulder, Colo.
    Colorist: Chadwick Shoults
    Group Account Director: Evan Russack
    Account Director: Anne Catherine Feeney
    Content Manager: Christina Wilder
    Group Director, Planning: Kaylin Goldstein
    Cognitive Anthropologist: Fabiana Brown
    Business Affairs: Daphne Papadopulos
    Traffic Manager: Katie Hare

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    Santa abuse is not a common theme of Christmas commercials, but it certainly leaves a mark in this amusing Coach spot from Droga5 and director Matt Aselton of Arts & Sciences.

    Claus is seen kicking back in his North Pole home at the opening of the spot, when he gets an unexpected visitor. Before he can utter a word, the uninvited guest makes her own greeting—much to the old man's chagrin. As he struggles to recover, the woman scopes out his place, eager to right an injustice that's left her without a coveted Coach Swagger bag at the holidays.

    And what is the Coach Swagger? According to the brand:

    • The Swagger Family of bags explores a new elegance—a dressier sophistication, worn with the ease and modernity representative of downtown New York City.
    • The Coach Swagger plays with the archive signature, "Turnlock", and a new frame construction lends itself to easy formality.
    • The adjustable 3–way Coach Swagger shoulder bag can be worn in multiple ways, riffing on the functionality that's fundamental to Coach.

    Evidently it's worth fighting for.

    Client: Coach
    Chief Executive Officer: Victor Luis
    Executive Creative Director: Stuart Vevers
    President, Global Marketing, Digital & Customer Experience: David Duplantis
    Senior Vice President, Creative Services: Patti Day 
    Vice President, Global Marketing: Tom Jarrold 

    Agency: Droga5 NY
    Creative Chairman: David Droga
    Chief Creative Officer: Ted Royer
    Creative Director: Felix Richter
    Creative Director: Alexander Nowak
    Copywriter: Spencer LaVallee
    Art Director: Jen Lu
    Junior Art Director: Giulia Magaldi
    Junior Copywriter: Frank Garcia
    Chief Creation Officer: Sally-Ann Dale
    Head of Broadcast Production: Ben Davies
    Broadcast Producer: Bill Berg
    Head of Strategy: Chet Gulland
    Strategy Director: Will Davie
    Junior Brand Strategist: Quinn Morrissey
    Chief Operations Officer: Susie Nam
    Group Account Director: Steven Panariello
    Account Manager: Belle Bonar
    Project Manager: Dean Farella

    Production Company: Arts & Sciences
    Director: Matt Aselton
    DOP: Corey Walter
    Managing Director/Partner: Mal Ward
    Executive Producer/Partner: Marc Marrie
    Producer: Zoe Odlum

    Editorial: Arcade Edit
    Editor: Jeff Ferruzzo
    Assistant Editor: Chris Angel
    Executive Producer: Sila Soyer
    Producer: Gavin Carroll

    Post Production: Arcade Edit
    Flame: Tristian Wake
    Producer: Gavin Carroll

    Color: Company 3
    Senior Colorist: Tom Poole

    Sound: Sonic Union
    Mixer: David Papa
    Producer: Pat Sullivan

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    Hold on, Samantha Bee is a Jedi?

    Fans of The Daily Show already know Bee, of Jon Stewart's dear departed Best F#@king News Team, as an intellectual badass. But now she's laying waste to an entire bar full of space aliens in a parody of the Star Wars cantina scene. 

    In truth, it's less menace than pratfall, in service of her new TV project, Full Frontal with Samantha Bee, premiering in February on TBS. Her attempt at shameless self-promotion in a creature-filled nightclub—yes, that's James Earl Jones, Lord Vader himself, doing the voiceover—goes horribly wrong when she ends up slicing, dicing, vaporizing and otherwise murdering the grog-swilling monsters with her unpredictable lightsaber. 

    But she's real sorry about the carnage, especially since there's no one left standing to hear her pitch her "smart, edgy satire about world events." But as for her loyalists, message received, Sam.

    In another recent promo, Bee gave us a peek at her "10-pound lady balls" via the strategic use of computer-generated effects and pixellation, playing up her near-singular role as a woman hosting a late-night talk show. Maybe she's the Chosen One after all.

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    H&M has hired the perfect celebrity endorser for its over-the-top, candy-coated holiday spectacular: Katy Perry. 

    The pop star and walking acid flashback anchors a new two-minute commercial for the clothing chain, grinning and prancing through every imaginable Christmas trope while her new single, "Every Day Is a Holiday," plays in the background.

    Perry is a natural fit for the ad's gaudy, upbeat tone. She opens with her best fairy godmother impression, rounding out the role with manically wide eyes before shapeshifting through other costumes as the ad progresses. Her backup dancers are dressed as gingerbread men, nutcrackers, snowflakes, elves, reindeer, Rockettes, candy canes and Christmas trees, to name a few.

    The song itself, a disco soul mashup, isn't exactly about Christmas. Like most broad pop records, it's about love, and the holidays are just a convenient metaphor (also traditionally good for selling records). 

    But ironically—or perhaps just unconvincingly—the lyrics include an anti-materialistic streak: "Don't need a thing under the tree," Perry sings as teddy bears in ugly sweaters dance around stacks of giant presents. "You give me all that I need." 

    Regardless, the general theme is topical, and most people will just hear the hook: "Every day is a holiday ... when you're the reason to celebrate." For eye candy, we even get a glimpse of the guy to whom Perry is supposedly referring: A shirtless hunk rolls out, posed on the hood of a car.

    That casting is particularly savvy. The model, it turns out, is Sean O'Pry, who also appeared in Taylor Swift's "Blank Space" video. Thus, the H&M spot capitalizes on the public feud between the pop divas—marketing genius in its own right.

    The campaign's title, "Happy & Merry," is another clever play on the fact that nobody really knows (or cares) what H&M stands for. (The answer, Hennes & Mauritz, is far less evocative, at least for English speakers: "Hennes" means "hers" in Swedish, and "Mauritz" is a name.)

    In a behind-the-scenes interview, Perry is similarly bubbly in her praise of director Jonas Åkerlund, who has shot music videos for a who's who of big-name acts that include Beyoncé, Coldplay, Lady Gaga, Madonna, U2 and more.

    The whole production—from the relentlessly bright visuals to its shimmering track—is a bit like getting punched in the face with a fistful of glitter. But lots of folks are into that sort of thing. For the grinches eager to run for the hills, there's always this more honest Christmas ad, which makes a good palate cleanser. 

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    Beanie Babies, introduced in 1991, were once the hottest toys in the world. Yet they managed to get so popular without benefiting from a single TV commercial (aside from a McDonald's Happy Meals tie-in).

    But now, Beanie Babies maker Ty Inc. is launching a new line of plush animals, with a uniquely modern twist—and has hired Leo Burnett to promote the line with the company's first-ever TV spot, beginning with Black Friday this week.

    The new plush toys, called Peek-A-Boos, show you how completely—some might say how depressingly—smartphones have come to dominate children's play. The Peek-A-Boos aren't so much toys as toy holders. They're designed to hold phones upright so kids can play on them more easily. (They also have a microfiber bottom that doubles as a screen cleaner.)

    The spot itself is memorable, mostly because of the song—a stick-in-your-head tune from music agency Comma that features the product name being repeated over and over. It's almost like a Japanese commercial in its cartoony repetition. And Burnett has no doubt it will win kids over.

    "From early on, we felt we had something special," says agency associate creative director Brandon Crockett. "Lots of kids broke into dance during the auditions, and much of what made the final cut was improvised on set. We made an effort to create a song and performances that would appeal not only to kids, but their millennial parents, who were the original Beanie Baby collectors."

    Peek-A-Boos will retail for around $5 to $6 each and are available in four styles: Penni the penguin, Chimps the monkey, Uni the unicorn and Pups the dog. The spot will air on national cable and broadcast throughout the holidays. The product will also be promoted in paid social and on Ty's social media channels.

    "Kids love plush animals and they love technology, and the Peek-A-Boos change the way they interact with both," says Ty Inc. founder Ty Warner. "Peek-A-Boos appeal to all ages and can hold all phones and mini tablets while playing games, talking on FaceTime or watching videos hands free."

    Client: Ty Inc.
    Campaign: Peek A Boos
    Spot: "Peek A Boo"

    Agency: Leo Burnett Chicago
    Associate Creative Directors: Brandon Crockett, Angela Paris
    Art Director: Jill Solarcyk
    Senior Vice President Executive Producer: Denis Giroux
    Producer: Kimberly Cowie
    Senior Business Manager: Elvena Dowd
    Senior Talent Manager: Linda Yuen
    Talent Manager: Regina Gomez
    Managing Account Director: Catherine Davis
    Vice President Account Director: Jennifer Klopf
    Account Supervisor: Meredith Metzl
    Account Executive: Abu Ngauja
    Account Manager: Sue Rickey
    Vice President, Senior Attorney: Laura Cooney
    Director, Commercial Clearance: Thomas Clark

    Production Company: Slim Pictures
    Director: Karen Cunningham
    Executive Producer: Tom Weissferdt
    Producer: Pat Harris
    Chad Gray: Office Manager

    Post production: Optimus
    Producer: Tracy Spera
    Editor: Aaron Porzel

    Audio Production: Comma
    Senior Composer Creative Director: Pete Schmidt

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    Nothing says friendship over the holidays like a heaping bucket of KFC chicken.

    That's the premise, more or less, of BBH London's "Friendship Bucket Test" for the brand's U.K. and Ireland operations. The quiz challenges BFFs to prove how well they really know one another by answering a series of questions. The prize, of course, is KFC chicken.

    "Casting was critical," BBH creative director Hamish Pinnell tells Adweek. "We used a specialist street casting company and scoured the U.K. for weeks to find best friends from all walks of life—people that would be engaging and endearing to an audience."

    Alas, in the clip below, none of the people queried point to their pals when asked, "What would you save from a fire?" ("Myself" and "nunchucks," however, were righteous replies.)

    The test is meant to serve as "a gentle reminder to spend some quality time together over an informal meal," says Pinnell. 

    Some commenters have noted the similarity between this campaign and The Newlywed Game, but the latter didn't include drumsticks or even biscuits, as far as we can recall.

    The next ad asks, "What's the nicest thing you've done for me?" Since they're dining at KFC, don't expect "Taught me about nutrition" as an answer:

    Below, the buddies describe their dream man/woman. Alas, no one lovingly points across the table at his or her bestie—or cheekily shouts, "Colonel Sanders!" 

    The seasonal tie-in is mostly muted, with just a sparkly yuletide tree lurking in the background. "We have done families connecting over KFC in the past, but this is a very crowded space for brands at Christmas time in the U.K.," Pinnell says. "So we chose to focus on connecting friends instead. And we knew that the best way to celebrate real friendships was not to create a traditional narrative TV ad." 

    Nonetheless, in the commercial below, KFC goes full Kringle, asking, "What's your favorite thing about Christmas?"

    In addition to the spots, there's an online version of the game and a roadshow that travels to KFCs in the U.K., allowing players to win bucket upon bucket of crispy, crunchy, deep-fried hen parts.

    Cool—as long as nobody asks, "Who's your best friend?" That could get awkward.

    Client: KFC
    Meghan Farren, KFC Marketing Director
    Evgeny Bik, KFC Marketing Manager
    Mette Jensen, Brand Manager
    Agency: BBH London
    BBH Creative Team: Dan Dehlavi, Drew Haselhurst
    BBH Creative Director: Hamish Pinnell
    BBH Strategist: Lucian Trestler
    BBH Strategy Director: Tom Roach
    BBH Business Lead: Sian Cook
    BBH Account Manager: Jamie Kisilevsky
    BBH Account Director: Leo Sloley

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    Coca-Cola isn't releasing a new Christmas commercial for the U.S. market this year, choosing instead to recycle the "Make Someone Happy" spot from last year. But to make up for it, the soda giant is rolling out some festive packaging—putting holiday-themed names on bottles as an extension of its popular "Share a Coke" campaign.

    Coke's new holiday bottles will encourage people to share a Coke with "Santa," "Someone Nice," "Someone Naughty," "Under the Mistletoe," "Elves," "Secret Santa" and (femvertising!) "Mrs. Claus." Aluminum bottles, meanwhile, will feature reindeer names such as "Dasher & Dancer," "Prancer & Vixen" and "Comet & Cupid."

    Print and out-of-home ads will promote the new packaging, and include a couple of nice new shots of Santa. (Coke, of course, has a fairly robust claim to the modern-day image of Santa Claus, having been among the first companies—though not the first—to feature the red-and-white version of St. Nick in its ads, back in the 1930s.)

    Check out the imagery below. 

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    If Busby Berkeley were alive today and choreographing commercials for tech products, he might have come up with something like this two-minute mini-movie by R/GA for Samsung's Gear S2 smartwatch. 

    About 150 performers—musicians, yogis, dancers and athletes—make geometric patterns with their bodies in the aerial-perspective video, dubbed "Human Kaleidoscope," serving as the living, breathing embodiment of the new smartwatch's features. 

    Among other things, the Gear S2 has a round shape (groundbreaking for the rectangular smartwatch category) and a rotating bezel with a trademarked operating system. 

    The competitor of Apple Watch and Android devices touts its music, S Health and notifications by keeping its performers constantly on the move. Weight lifting! Warrior pose! Jam session! Quick question: Who is that little drummer boy? If he's not already, that kid's destined to be a star.

    The infectiously happy soundtrack, also a highlight, is "Kiss the Sky" by Cash Cash, and the short film has already snagged nearly 5.5 million YouTube views. The Gear S2 is rolling out in the U.S. and other markets just ahead of the holidays.

    Client: Samsung Electronics
    SVP, Global Branding & Marketing: Pio Schunker
    Senior Manager: Jay Kim
    Manager: Stella Lim
    Assistant Manager: Christine Kim
    Cost Consultant: Caroline Reed

    Agency: R/GA, New York
    Executive Creative Director: Chris Northam
    Executive Creative Director: Eric Jannon
    Associate Creative Director: Eduardo Quadra
    Senior Copywriter: Paul Wood
    Director Film Production: Kat Friis
    Senior Film Producer: Lyra Rider
    Executive Producer: Lisa Greenleaf
    SVP Managing Director: Robin Forbes
    Account Director: Elizabeth Bourke
    Group Planning Lead: Dennis Claus
    Director Operations: Erin Rabasca
    Director Business Affairs: Nancy Espinal
    Director Business Affairs: Jennifer DeCastro

    Production: Partizan Entertainment
    Director: Michael Gracey
    Exec. Producer: Jennifer Gee
    Line Producer: Russell Curtis
    Director of Photography: Denzil Armour-Brown
    Choreographer: Cheyenne de Miranda
    Editor: Stuart Bowen
    Production in Prague: Stillking Films
    Executive Producer: Michal Skop
    Production Manager: Michal Cerveny
    Production Coordinator: Vojta Ruzicka

    Post Production: Union Editorial
    Executive Producer: Caryn MacLean
    Senior Producer: Susan Motamed
    Assistant Editor: Joseph Garst
    Motion Graphics/Animation: Nadine Müller
    Senior Flame Artist: Jason Ortenberg
    Additional VFX: Adam Stockett
    Flame operators: Kirk Balden, Todd Gutridge, Steve Koenig
    Flame assistant: Molly Tomecek

    Music Supervision: Beta Petrol
    Music Supervisor: Bryan Ray Turcotte
    Sound Designer: Peter Lauridsen
    Executive Producer: Dayna Turcotte

    Color Correction: Company 3
    Colorist: Tim Masick

    Audio Mix: Heard City
    Mixer: Keith Reynaud

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    Around the holidays, one item you'll find in a British home is a Quality Street tin, packed with chocolates whose flavors vary by wrapper color. The appearance of the tin—developed in the 1930s, when only the wealthy could afford fancy varietal boxes of chocolates (how they'd turn in their graves now!)—with the first chill wind has become as much a tradition as the tall, three-variety popcorn tin that always appears in your house when the tree goes up. 

    "The proper start of Christmas is when the Quality Street tub appears. It's as magical as the first snowflake," says J. Walter Thompson London creative director David Masterman.

    So what did they do to ensure the brand got its rightful recognition this holiday season? "We made Quality Street a wonderful place where it snows wrappers." 


    In the ad below, the fabled "Quality Street" is made into a real, charming neighborhood where families stroll tranquilly homeward—that is, until the wrappers begin to fall. 

    It's hard for us to picture what the normal reaction to a snowfall of 45,000 cellophane wrappers would be, probably because if you drop even one by accident, some enraged human comes after you like an attack dog. 

    But Quality Street is a different kind of place. Here, people literally stop in their tracks and dance around the snow trying to catch them—empty wrappers!—as though they're something worth taking home (though, like the family that the ad does follow home, they probably have an actual tin full of them already, with actual chocolates inside). 

    To prep for this holiday experience, Nestlé changed its factory production line for several hours to produce 45,000 empty cellophane wrappers for the set without wasting chocolate. A trio of runners crumpled and flattened them again so they would catch the light in a specifically magical way. Some 300,000 more were added in postproduction.

    It all must have made for a very merry Christmas indeed for the street cleaners. But this is a fictional world, so we don't have to worry about them; the colored cellophane probably just evaporates into the surrounding snow, like cotton candy.

    Check out the behind-the-scenes below, where director Joanna Bailey exclaims, "There's wrappers falling from the sky! It's a bit mad—it's fun!" 

    In the event that you yearn for moments like these, an interactive projection and installation will transform London's Covent Garden into a "Quality Street-inspired Christmas wonderland" on Dec. 3. Select movie theaters will also sprinkle real wrappers onto audiences while the ad airs, and a Facebook campaign will push this further still. 

    This one-minute ad will be cut down to a shorter TV commercial. It will be followed by another that lets viewers dive deep into Quality Street, providing insights on what people's lives there are like.

    "Opening Quality Street signals that Christmas is here," says the brand's marketing manager, Rob Brown. "We want to make sure mums and families can create many memorable moments that they will cherish for a long time to come." 

    Brown might have a different definition than we do of moments worth cherishing. But to test the theory, keep your wrappers around until Christmas day, bring them to the painstakingly decorated home of your host, then fling them majestically upward. Let us know how that goes.

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    If you live in Minneapolis, Milwaukee, Cleveland or Charlotte, N.C., you're about to get a major dose of happy vibes, thanks to Slack's new effervescent outdoor ad campaign.

    The workplace communication company has grabbed 680 advertising units in those four cities for its "Euphoria" campaign, created by Nashville, Tenn., agency redpepper. And the ads are bubbly indeed, featuring cartoony images of people surrounded by rainbows, kittens, ponies, balloons and more—to show just how happy you'll be if you use Slack to become more productive, and less bogged down in useless tasks, at work.

    Slack is less than 2 years old but already has a valuation of almost $3 billion. Its CEO, Stewart Butterfield, outlined his plans for mass-market advertising at the Web Summit conference for startups this month.

    "We are switching from trying to keep up with growth to trying to generate growth," he told Reuters."Slack can afford to pay a pretty high price to acquire paid users. If we are able to grow this company through advertising, that is my preference."

    Click the ads to enlarge.

    Slack did research on its user base over the summer to gather the eye-opening data in the ads—that Slack led to a 32 percent increase in team productivity, 48.6 percent fewer emails and a 25.1 percent reduction in meetings.

    For the colorful, somewhat hipstery ads, in keeping with the brand persona, that data was then presented in the context of how joyful it presumably makes Slack users. 

    "If you run a large company, it's almost impossible to make a change that improves productivity 30 percent—so that kind of result can be transformational," Brad Morris, marketing director at Slack, tells Adweek. "We wanted the campaign to express the very real benefits of Slack to people who have never heard about us, while also addressing the aspects of working life that everyone can relate to in a playful way that was in keeping with our brand."

    The company did not elaborate on why these four cities were chosen in particular. The campaign includes billboards, airport signage and train and bus wraps. In addition, the company is running digital banners, web banners and national/global print ads. 

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    There's a lot to look forward to during the holiday season, but waiting in a long line to ship your presents isn't one of them.

    Former software engineer Kevin Gibbon launched Shyp in 2013 to change the way people think about shipping, and this week his very new-school company launched a rather old-school approach to getting the word out: a holiday season ad campaign, with creative by the San Francisco office of brand consultancy Collins.

    Shyp operates on a very basic premise: you have an object you need to send to someone else, and the company wants to help you do it as simply as possible. Just take a picture of the item in question and the company promises to come to you and pick it up within 20 minutes. From there, they'll handle transportation, packing and negotiations with shipping providers FedEx, UPS, and the U.S. Postal Service.

    Shyp has earned a generous share of coverage in tech and business media. But the company, like other such "disruptors" before it, will also introduce itself to the public by way of a campaign designed to get New Yorkers to spend less time in the Post Office and more time roasting chestnuts this year.

    The company's app is currently available in five cities: New York, San Francisco, Los Angeles, Miami and Chicago. But to make the most of its ad dollars, the startup will be largely focusing its ad buy, especially outdoor, on New York.

    Here's the anthem spot "We'll Take It From Here," which will run on Facebook and YouTube throughout the holiday season:

    Shyp's head of marketing, Lauren Sherman, tells Adweek "the brand's story wasn't being told," despite all of its earned media through news coverage.

    "We wanted to raise awareness of Shyp before the holiday season," she said, "and we thought the best route was to focus on our personality as a different kind of shipping company and a serious competitor in the space."

    The company launched a redesign last month, and it chose Collins West as its marketing partner thanks to a connection from another digital disruptor: Airbnb.

    Before helping to launch Collins West last month, creative director Matt Luckhurst served as graphic design lead at the room-sharing company, where he connected with Sherman. The Collins and Shyp teams understood one another immediately, he said.

    "Shipping is a problem that everyone has," Luckhurst said. Minimizing related headcahes can help consumers "get back to being the strangest, best version of you instead of waiting in the Post Office and losing a bit of your heart and your love for the world in the process."

    In addition to the above spot, Shyp has planned an extensive out-of-home campaign focused on New York City with subway placements and "wild" posters all the way from Wall Street to Greenpoint, Brooklyn.

    "It's pretty rare for a company of our size to do a big brand spend, so we're focusing on New York so we can do a power test," Sherman said.

    Shyp has coverage in 10 percent of the city's subway system, so even typically preoccupied New Yorkers will know the brand's name by New Year's Day after the tiered out-of-home rollout ends.

    Shyp and its agency, Collins, plan to continue working together, and Luckhurst calls the partnership "a safe place for us to play as creatives." Sherman tells Adweek that the two teams often joke about a future merger.

    But will they ship each other gifts this Christmas?




    Client: Shyp

    Vp of Marketing: Lauren Sherman
    Creative Director: Everett Katigbak
    Strategy and Copywriting: Brian Simpson

    Agency: Collins

    Creative Direction: Matt Luckhurst, Nick Ace
    Strategy and Copywriting: Rob Smiley
    Design Lead: Christian Widlic
    Production: Joanna Hobson
    Direction: Nic Heller, Nick Ace
    Photography: Mari Juliano
    Film Production: Heller Films


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