Sagami Original Condoms has filmed animal courtship rituals as performed by humans, and the results are both strange and seductive. 

Talented dancers, dressed in the colors of the respective animals, do an amazing job of recreating the hops, wiggles and foot wobbles of our bestial brethren. See how many of the animals you can guess before the reveal at the end. (I only got three.) 



The spot was directed by Greg Brunkalla of Stink, with creative by White Briefs. But it's more than just a great video. You can also visit the website, Act of Love, which has some amazing dancing icons and descriptions for 73 different animals. And if you're really, really into it, buy the coffee table book, Act of Love—billed as the world's only visual dictionary of animal courtship rituals.

But the real question is, why did a condom brand film humans pretending to be animals?

Above and beyond the encouragement to go and do it like animals, Sagami Original seems to have seized upon the realization that love is a verb. As they put it on the site, "Perhaps humans talk too much. We use too many words and misunderstand each other. We think too much and end up feeling afraid. But animals don't worry over their decisions. They act out of need and express themselves instinctively. This is pure strength, and primal love. Whether human or animal, loving means taking action."

And if you're getting some action, you're going to need some condoms.

Distracted driving is a serious problem. But while the stats are staggering—3,100 dead and 424,000 injured in crashes involving distracted drivers in the U.S. in 2013—they remain just numbers, without much visceral pull.

SR22Agency.com wanted to change that—to show distracted driving in real time. So, it set up cameras over I-95 in Florida, filmed for 20 minutes and examined the footage to see how many drivers weren't fully focused on the road.

Some 2,151 cars were filmed in all. Check out the disturbing footage here.



It's a pretty great experiment. And the way it's been shot and edited, making the road look like a raceway—which, let's face it, it is, however insulated you feel going 70 in your glassed-in vehicle—has a chilling effect.

Here are the numbers from the experiment: Of the 2,151 total drivers, 185 of them (8.6 percent) were distracted. Of those 185 drivers, 81 percent were talking on the phone; just over 9 percent were texting; more than 6 percent were eating; and more than 3 percent were otherwise distracted.

SR22Agency.com has lots more info about the problem of distracted driving on this website. One caveat: It is legal in Florida to talk on the phone while driving. If you don't consider talking on the phone to be distracted driving, the numbers go down significantly.

SR22Agency.com is an organization that creates original research around issues concerning drivers around the country. It also provides resources to those seeking information about an SR22, a vehicle liability insurance document required by most state DMV offices for high-risk insurance policies.

Equal Pay Day is happening Tuesday in the U.S., thanks to the American Association of University Women. And you don't have to attend the 3 Percent Conference to know that the gender gap is painfully real both within and beyond the American advertising industry. 

But the professional divide between men and women is even more stark in certain societies.

According to a recent study by the World Economic Forum, Romania ranks very close to last among European Union countries on matters of gender equality despite passing a "Law for Equality of Opportunity among Men and Women" in 2002. 

The Bucharest offices of MRM/McCann recently partnered with French-style bakery chain Paul to bring attention to this ongoing struggle with some sweet treats bearing a very sharp message—real pies that double as pie charts outlining the problem. 

The project includes such delicacies as "The Misrepresentation Cake," which notes that men make up 88 percent of Romania's parliament, and a "Startup Exclusion Cake," revealing that the number of Romanian entrepreneurs who are women (13 percent) is almost as shamefully small as the number who serve in government. There's also the "Extremely Rich Cake," which shows that just one of Romania's 25 wealthiest people is a woman. 



"The bittersweet project takes a mission to spread the data, create awareness, and spark conversation in every household in Romania about the importance of closing this gap," says MRM/McCann CEO and chief creative officer Nir Refuah, noting Romania's poor showing in the World Economic Forum study.

The pattiserie, Paul, claims that the "bittersweet" pies are the world's first-ever "social desserts line." "The CSR project has started from a social issue every Romanian woman faced at least once in her life," says the company's CMO, Monica Eftimie. "Knowing from research data that sweets are more often consumed by women than by men, we are launching a range of cakes to spark the conversation about gender inequality, inviting women to take the necessary steps for having the same rights as men have." 

Those steps will involve far more than a series of conversations over dessert, but all progress is welcome. As the 2015 U.N. Women "He for She" project's tagline put it, "Gender equality is not just a women's issue; it's a human rights issue that benefits everyone."

Five percent of the cake project's revenue goes to the FILIA Foundation, a nonprofit that will use the funds to train rural women to compete more effectively in the modern job market.

Specs
Who CEO and ecd Matt Faulk
What Brand design agency
Where San Diego

Matt Faulk founded the agency Basic to help lifestyle, fashion and entertainment brands tap into youth culture. It sure can't hurt that the 30-person agency is comprised of a room full of 20-somethings. As a millennial himself, Faulk acknowledged it can be challenging working with experienced Fortune 500 CEOs and telling them how to run their businesses, but he knows how to win them over. "We go in and try to sell the personality of our team," Faulk said. "We're confident in our work and will put it up against anybody's." That strategy has helped win BB Dakota, Nixon watches and Incase. Basic in February worked with fashion brand BB Dakota, launching a new website, complete with videos and articles aimed at millennial women. By positioning BB Dakota as a lifestyle brand, Basic helped boost sales and attract more customers to the website.

This story first appeared in the April 11 issue of Adweek magazine. Click here to subscribe.

Specs
Current gig Head of marketing and partner solutions, Viacom
Previous gig Head of sales and marketing, music and entertainment, Viacom
Age 52
Snapchat mainchair2323

Adweek: You've been in sales at Viacom for 11 years—a year in this new role. Where have you left your mark? 
Jeff Lucas: When I started with the entertainment group [in 2007], I made it client centric. And then when I got to the music group, I made that client centric. Prior to that, all the different channels [had separate sales forces]. And what I found was we had about 10 different sales forces based on whatever networks they covered competing with each other. It's not really all about competing for money; you're competing for time. And it's very hard when you're going to clients that have over 100 paid cable networks coming to them, plus radio, plus digital, which can be ad networks' platforms, plus print, newspaper.

How are your clients reaching millennials?
We put content on a constant basis every day across all those platforms. We also allow an advertiser to go for a ride along those platforms. We have a very big component called Viacom Velocity, which is our integrated marketing arm. And that is also our content creation arm—we've built an entire creative agency within our house. The No. 1 thing the clients are looking for is how to appeal to millennials in that authentic voice that will resonate with them.

How do you know what will resonate?
[Viacom has a proprietary measurement tool called Echo Social Graph] that's all about sentiment analysis. When content starts to go viral, we want to know what's what. We just created for you something to share with your friends; when you share it, you're going to get comments back, and we want to know what those comments are. So we track those comments in part with social tech platform Canvs, which measures 56 different emotions for that sentiment analysis. And of the 56 different emotions, the No. 1 emotion you want is brand love. And you want that to be true brand love. If you can resonate so much that a client loves that piece of content, wants to share it and really believes in it, that's going to be someone who's going to use that product, someone who's going to buy that product. And you're not going to get much closer to someone's heart on that product.

What's some recent millennial-geared content Viacom has produced?
The Hershey's What's Up Moms holiday campaign. We found that the What's Up Moms [a troupe of funny moms with a YouTube channel] resonate better than anybody with millennial moms. With Hershey's it was holiday cheats. So all these different ways like you can influence your decoration, your creativity for the holidays through things around the house. One was making a really cool thing with a sled and candy canes, putting the Hershey bar right on it as the part of the sled.

How is Viacom adapting to what millennials want?
MTV News is coming back, because all the research shows that millennials want to know about the news and they don't necessarily trust nor like traditional news services. They want to find news digitally.

Is Kurt Loder back?
No, it's so funny you say that, though. I did say once maybe we should do promos with him leading into the new guy—Dan Fierman, who came from Grantland.

Last question—looking toward Gen Z, what are you doing?
I think Gen Z is top of mind right now.

So millennials are over?
Well, no, no, no. But you always have to look where you're going. You have to look where you are and look where you're going. You have to look ahead.

This story first appeared in the April 11 issue of Adweek magazine. Click here to subscribe.

Last week, we looked at a project from a Brazilian photographer who invited friends over and took their photos after one, two and three glasses of wine. That seemed like a fun exercise in shedding inhibitions.

This week, we're featuring a project from Trinidadian-born, New York City-based photographer Patrick Struys that was surely a lot more awkward for the people involved.

For the "Porn Portraits" series, Struys had his subjects sit in a viewing booth and watch five and a half minutes of pornography—a video he assembled personally—and took their photos by positioning the camera lens through a peephole. The reactions are pretty amusing, ranging from laughter to shock to sheer embarrassment.

Check out a bunch of the photos here: 

The subjects knew they were being photographed, which was part of the concept. And that created a complex dynamic—the subjects are reacting to being watched watching porn, as much as they are reacting to the porn itself. This makes them charmingly vulnerable, which they each deal with in their own way. 

"Being photographed for the whole duration of the film addressed head on the way the subjects expressed themselves when faced with sex in a nonsexual or 'public' situation," Struys tells AdFreak.

Struys says he tried to make the video as inclusive as possible to every person's sexual orientation and/or tastes. The subject themselves appear to be naked, too, though actually they weren't. "The women were actually wearing tube tops, and the men were shirtless," Struys says. "The intention to have them appear naked was driven by the fact that people usually are in some 'state of nakedness' when they are being sexual—whether that is participating or watching in private."

Laughter was a very common reaction to the awkward situation. "The reactions were great," Struys says. "Obviously, initially people did laugh or smile. However, usually about two or three mins in is when I would get their more 'honest' or 'natural' reactions.' "

Struys believes his presence as a straight man heavily influenced the results.

"It became very obvious to me that women and gay men were much more comfortable showing their interest or expressing their sexuality in front of a straight man behind the camera," he says. "That was something I hadn't really taken into consideration when I first started. I wasn't expecting to encounter as many of those moments. However, all the straight men seemed very uncomfortable watching the film with me present and expressed this by laughing, joking and talking throughout the entire shoot."

See lots more of the photos below.

HelloFlo, famed for its comic, disruptive ads about feminine hygiene products—see "Camp Gyno" and "First Moon Party"—has released another long-form spot.

Playing off the phrase "Aunt Flo's in town"—code for "I have my period," for any of you who have never been a teenage girl—the spot brings Aunt Flo to life (dressed in all red, natch). Instead of fresh-faced tweens staring down their first periods, the new spot seeks broader appeal—highlighting a girl waiting to get her first period, a woman kissing it goodbye with the advent of menopause, and a couple who experience the anxiety that comes with Aunt Flo showing up six days late.



HelloFlo is known for defying the ad norms around feminine hygiene (no mysterious blue liquid pouring from a glass beaker into a maxipad here), and this spot is no different. At one point, the tween asks about vaginal discharge—or "white crusty stuff," as she puts it—which is a long way from Woman Wearing White Along the Beach in a tampon spot.

"My goal is to show and normalize the confusing stuff, too," Naama Bloom, founder of HelloFlo, tells Adweek. "One of our most popular articles is about vaginal discharge! This spot is definitely ambitious for us, as we've used these vignettes to showcase transitions in women's lives."

The spot ends comically, with Aunt Flo showing up, unwelcome, in the midst of a would-be steamy backseat scene. There's plenty of product placement in this one, as "A Visit From Aunt Flo" kicks off a year-long partnership with U by Kotex and Poise. It also comes on the heels of the announcement this month that SheKnows Media is acquiring HelloFlo.

CREDITS
Client: HelloFlo
Director: Max Sherman
Copywriters: Jacob Greer, Chris Murphy
Art Director: Denver Eastman
Production Company: OPC
Producer: Isil Gilderdale
Executive Producers: Harland Weiss, Donovan M. Boden, Liz Dussault
Director of Photography: Rob Scarborough
Production Designer: Zazu Meyers
Casting: Mann Casting, Wulf Casting
Editor: Melanie Hider, Saints Editorial
Audio: Grayson Matthews
Post: The Vanity

Pages Jaunes—the French Yellow Pages—just launched an interactive music video for Breakbot's latest single, "My Toy." This may sound like a weird combination. But think about how much creative, local and artisanal color gets involved in productions like this. If you never have before, that's fine; it's usually hidden in the background. 

Not this time. 

The non-interactive video, which kicked off the #BreakbotxYellowPages campaign, went live in a global Pitchfork exclusive last week (we'll get to the content later): 



On Breakbot.pagesjaunes.fr, you can watch the whole thing with a layer you can play with. To the top left of your screen, you're told how many small-business professionals worked on each scene, VH1 Pop-Up Video style. 

When you click on the screen, the action freezes and little interaction bubbles guide you to videos about who did what—everyone from makeup artists, to a custom umbrella maker, to a neon vendor are showcased in about 34 videos. (They're all in French, natch, but some videos with subtitles appear below.) 

Here's a scene for an interaction point about an esthetician: 



You probably think the Yellow Pages, whose fat yellow books would make a brick cower in fear, are the perfect symbol for the world we left behind in our race toward bionic supremacy. But in France, Pages Jaunes is still going strong—and remains among the top 10 French media sites, scoring a whopping 15 million unique visitors per month.

Pages Jaunes started going digital deep in the '90s. The company is super mobile and tablet-friendly—its app has been downloaded 21.9 million times—and has made it a mission to bring small-business owners to digital, even going so far as to build them white-label websites (making it the No. 1 website creator for French professionals). 

So, it's managed to keep up with the times. 

But it's still hard to understand how Sid Lee, a young agency best known for its work on Adidas, sold the world's most old-school phone directory on a music video about a lady who builds her own sexbot. (Unlike his Ex Machina counterpart, who went rogue, this android looks terrified... at least until the orgy.) 

We went to Sid Lee's Paris offices on Tuesday morning to find out what this madness was all about. Executive creative director and partner Sylvain Thirache and managing director and partner Johan Delpuech were nice enough not to throw us out. Here's a nice picture of them, so you know whose faces to imagine while they talk: 



Asked how the client managed to stay hip with the flowering conglomos of tomorrow, especially in a country that prides itself on wary tech adoption, Delpuech explained: "Pages Jaunes maintains a very close relationship with small-business owners. And when their business started changing, it adapted fast to respond to their needs." 

But faced with competitors like Airbnb, Google, TripAdvisor and food delivery services like Deliveroo and AlloResto, Pages Jaunes is under pressure to attract a younger target under constant assault. In fact, according to Delpuech, Pages Jaunes considers itself a competitor to any and all Uberization of French services. 

That's a lot of enemies. 

"People think it's still a book," admitted Thirache. "It needed to modernize its image to compete."

"We wanted to do something that would feel modern but still relatable," Delpuech said. "Breakbot is part of Ed Banger records, which launched French electronic bands like Justice, Sebastian, and DJ Mehdi. It's helped share French artists throughout the world, and is a modern expression of our culture. For us, Breakbot anchored that modernity." 

Thus a collaboration was born. But how'd they punt the idea? 

"We wanted something emotional that would showcase the beautiful and unique work of local small businesses," said Thirache. "We told them we wanted to respect the artist's vision."

Even if that vision, Delpuech noted, "is an erotic dream. It's a woman who makes a toy that can bring the Kama Sutra to life!" 

To their surprise, Pages Jaunes got it immediately. "It's tricky for agencies to surprise their clients, but they felt it was strategically sound," Delpuech said. "Each scene was built from the ground up by a small-business owner. Normally at a shoot, you want to work with a minimum of people. But we had to turn that around—we needed to find the maximum number of people to get involved."

Over the course of four months, Sid Lee scoured the country to round up the most interesting collaborators. This is the result of that. 

"What we like about Pages Jaunes is that they kept small, local businesses central to their mission," Delpuech said. "One in two French people don't make a doctor's appointment because they don't want to wait. And most people don't know that, like TripAdvisor and Expedia, it contains reviews. Unlike them, those reviews are certified. They're purists. And to help advance small business, 1,900 local commercial counselors exist to help with everything from SEO to building websites."

French hipsters can expect to catch #BreakbotxYellowPages on Elle.fr, Glamour, Rock en Seine and Facebook, not to mention on the sites and videos of influencers. Radio stations are talking about it, too—and rarely play the song without talking about the overall campaign, Delpuech proudly added.

Below are a few subtitled videos of the French businesses that helped make this randy robot tale happen. 

Neon light manufacturers from Chaville:

The Parisian dry cleaner (because it pays to stay fresh):

The costume seller from Soissons:

Anémone, the swimwear designer from Biarritz—because where else would you get your swimsuits, and isn't her name perfect?!

The clothing designer from Paris:

The Parisian florists:

As Breakbot so melodically put it, "Break the rules. Let's do something we never do." 

CREDITS

Client: Pages Jaunes

Agency: Sid Lee Paris:
Executive Creative Director: Sylvain Thirache
Creative Directors: Céline et Clément Mornet Landa
Art Directors: Yoann Plard, Jules Jolly
Managing Partner: Johan Delpuech
Deputy General Manager: Bruno Lee
Account Director: Jean-baptiste Destabeau
Account Manager: Thomas Lec'hvien
Production Director: Thomas Laget
Producer: Pauline Couten
Digital production Director: David Bismut
Digital producer: Clément Cassajus
Brand Management PagesJaunes:
Executive Director: Christophe Pingard
Deputy Executive Director: Julien Ampollini
Brand and Advertising Director SoLocal Group: Gérard Lenepveu
Advertising and Media Manager SoLocal Group: Yann Drumare
Communication Manager: Isabelle Druesne

Production:
Artist: Breakbot
Label: EdBanger Records
Record Company: Because music

Director "My Toy" clip : AB / CD / CD
Production "My Toy" clip: Partizan
Director Brand Content: Dimitri Pailhe
Digital Production: 60fps

Fashion designer: Xénia Gasull
Choreographer: Catherine Ematchoua

Laser-beam blue and spray-tan orange.

Those are the scary shades of common household cleaning products that make Maya Rudolph uncomfortable, as she describes them in a new campaign for Seventh Generation.

The actress and comic—an alum of Saturday Night Live and movies like Idiocracy, Bridesmaids and Sisters—stars in three ads for the environmentally friendly packaged goods marketer. It's the first work for the master brand from 72andSunny's New York office. 

In "Weird Dyes," Rudolph laments the Day-Glo nature of conventional soaps—including one she describes as "Yippee ki-yay yellow," a moment that can't help but evoke Die Hard (though John McClane's filthy tanktop is nowhere to be seen, even if it could serve as a fitting product demo). 



In "Common Scents," she takes aim at the fake smells that grace the labels of the same products, indicting fantastical offenders like "Fiji Funk," "Cabo Clean" and "Siberian Sunbeam" (because nothing says warm and welcoming like the tundra). 



And in "Not Blue Goo," she sets her sights on traditional laundry detergents, dinging them for distorting the colors of the clothes they're meant to clean. (Competitors would likely counter that the effect is actually meant to counteract natural yellowing, and is therefore desirable—but that's for the chemists to duke out.) 



Overall, Rudolph—a mother of four and an actual user of Seventh Generation products, according to the company—is a reasonable fit for the strategy. Highlighting the impossible, industrial colors of less natural soaps is a relatively clean and clear way to emphasize Seventh Generation's core proposition.

She gets that point across well enough, even if the moments she has to play her delivery straight feel the most contrived, and the least entertaining—as if the copy might be trying a bit too hard to charm viewers. 

By contrast, the ads work best when Rudolph's oddball side shines through, with her left-field kickers clocking in as the best parts. Take the brilliantly creepy "Clear as an angel's giggle" punch line in "Weird Dyes." Or the moment when she throws her voice while dangling a T-shirt with her own face on it at the end of a 15-second cut of "Not Blue Goo." It's one of the more entertaining attempts to play up a campaign hashtag ever (even if the :30 sadly takes it in a different direction).

All in all, it's a solid showing, building on 72andSunny's strong send-up of millennial advertising for Seventh Generation's reusable water bottle brand, Bobble, last fall.

It's probably worth noting, though, that brightly hued soaps are nowhere near as disconcerting as the sports drinks that also look like window cleaning fluid—even if Gatorade is what plants crave.

CREDITS

Client: Seventh Generation, Inc
General Manager & Chief Marketing Officer: Joey Bergstein
Senior Brand Manager: Julian Blazewicz

Agency: 72andSunny New York
Managing Director: James Townsend
Executive Creative Director: Guillermo Vega
Director of Production: Lora Schulson
Director of Strategy: Tim Jones
Creative Director/Designer: Wei Wei Dong
Creative Director/Writer: Matthew Carey
Designer: Rob McQueen
Writer: Matt Vitou
Executive Producer: Kerli Teo
Sr. Producer: Ryan Chong
Strategy Director: Marshall Ball
Sr. Strategist: Jennifer Lewis
Strategist: Carol Chan
Group Brand Director: Marianne Pizzi
Co-Brand Directors: Brittni Hutchins & Lauren Smith
Brand Manager: Jonathan Weiss
Interactive Producer: Vishal Dheiman
Jr. Art Producer: Brigitte Bishop
Business Affairs Director: Julie Balster
Business Affairs Manager: Marissa Burnett
Jr. Business Affairs Manager: Laura Fraser

Production Company: Pretty Bird
Director: Matt Piedmont
Executive Producer / Vice President: Ali Brown
Producer: Bernard Rahill

Editorial
Editor: Patrick Colman
Assistant Editor: Andre Castiglioni
Executive Producer: Sarah Roebuck
Head of Production: Jen Sienkwicz
Producer: Penny Ensley

VFX Production Company: Method NY / Company 3
Executive Producer: Angela Lupo
Sr VFX Producer: Heather Saunders
Lead Flame: Tom McCullough

Colorist: Tom Poole

Sound Design & Mixing
Nylon Studios NY
Sound Engineer: Rob Ballingall
Sr Producer: Halle Petro

Procter & Gamble's Secret deodorant is launching an interesting campaign from Wieden + Kennedy that looks at larger, generational reasons why young women sweat—often because of political, gender-based struggles—and not just their more random individual reasons.

The new brand campaign, themed "Stress Tested for Women," begins with the 60-second spot below, titled "Raise." The plot is simple: A young professional woman is psyching herself up in the bathroom at work to ask her boss for more money.

Check out the spot here: 

It's nicely shot (by Aoife McArdle) and very well acted. The scene is full of real drama, as our heroine tries out different approaches in the mirror—and suffers through a horrifying moment when she realizes she isn't alone (though her potential enemy thankfully turns out to be an ally).

Janine Miletic, brand director for North America deodorants at P&G, said the approach here isn't exactly new—that Secret has always shown women's evolving role in society through its advertising. The new campaign, she added, is based around an insight into "stress sweat," which P&G says is biologically different than physically induced sweat.

"We understand the stress that comes with challenging cultural norms and are committed to providing women with high-quality products that can stand up to today's stressors—big and small," Miletic says. "Secret was the first antiperspirant brand made specifically for a woman's needs. We've continued to be on the forefront of innovation for women and that's why we developed product technology designed specifically to fight stress sweat, which is more unpredictable and worse-smelling than normal sweat."

Justine Armour, creative director at W+K in Portland, said the creative team approached the assignment by thinking big—about what it means to be a young woman today.

"What are women still not really 'allowed' to do? What are the barriers they're still up against? What roles and situations still make them feel uncomfortable?" Armour asked. "These are the areas where they're really feeling the stress, and where Secret is going to step up for them in a way that other deodorants can't."

The political bent of the new spot is interesting, and raises familiar questions about how, when and to what degree brands should engage in political causes—and whether tying those causes to particular product benefits engenders loyalty from like-minded consumers or just trivializes the whole thing.

The gender pay gap works nicely as a creative hook here, but of course it would be nice to see the brand take things further by offering resources to women who want to learn more and obtain tools to actually fight the pay gap. (Nothing like this has yet been announced by the brand, or appears on the website.)

On the other hand, the pay gap isn't a particularly polarizing political cause. It's one that many brands could get behind without fearing any backlash, or feeling an obligation to make a more extended commitment. It's also probably good to bring up the issue whether or not the brand really cares deep down about it.

In other words, perhaps the creative hook, on its own, is all Secret needs to worry about.

In any case, it will be interesting to see how this particular campaign develops, and how, exactly, P&G plans to help young women—beyond not wanting to see them sweat. 

CREDITS
Client: Procter & Gamble/Secret
Project: Secret Stress-Tested for Women

Agency: Wieden + Kennedy, Portland, Ore.
Creative Directors: Justine Armour / Caio Lazurri
Art Director: Johan Arlig
Copywriter: Justine Armour
Producer: Jessica Staples
Strategic Planning: Angela Jones
Media/Comms Planning: Stephanie Ehui
Account Team: Dana Borenstein / Alexina Shaber

Production Company: Anonymous Content
Director: Aoife McArdle
Executive Producer: SueEllen Clair / Eric Stern
Executive Producer Somesuch: Sally Campbell / Tim Nash
Producer: Christopher Gallagher
Director of Photography: Alexis Zabe

Editorial Company: Final Cut
Editor: Paul Zucker
Assistant Editor: Betty Jo Moore [Editor on 'Three Dots']
Exec Post Producer: Eric McCasline
Head of Production: Suzy Ramirez
Producer: Sarita White

VFX Company: MPC Los Angeles
Exec Producer: Elexis Stern
Shoot Supervisor: Ben Persons
Colourist: Mark Gethin
VFX Lead: Susanne Scharping
VFX: Sandra Ross / Vincent Blin / Warren Paleos
Designer: Kathleen Kirkman

Music Company: Marmoset
Composers: 'Proposal' by Will Canzoneri / 'Raise' by Jeffrey Brodsky / 'Three Dots' by Kerry Smith
Producer: Tim Shrout
Sound Design Company: Barking Owl
Sound Designer: Michael Anastasi
Exec Producer: Kelly Bayett

Mix Company: Lime Studios
Mixer: Sam Casas

Three years ago, a young deaf girl named Shaylee Mansfield met her idol, Tinkerbell, and discovered that Tink could sign. The Mansfield family must have shared that magical moment with Disney, because the park flew them back to Disneyland to meet with a Minnie Mouse who had just started learning American Sign Language—and made the family the subject of one of its "Unfortgettable Stories" videos.

Disney Parks has released a number of online videos about family stories in the "Unforgettable Happens Here" campaign, but this one has gone viral. (It has more than 11 million views across Facebook and YouTube—a solid No. 2 among Disney Parks' recent ads, behind its famous mall stunt, which has 27 million view and counting.)



What is it about this family moment, out of a million moments of Disney family magic, that made it more special than the other magic moments? It's the fact that it's the kind of magic we need as a nation right now—inclusive magic.

Disney has persevered with magic that lets generations come together in the same place, for the same—yet somehow singular and special—Disneyland experience, regardless of their differences.

How? The magic of their storytelling. Not just the ones they tell about the brand, but the ones we can tell about our families. The moment when Tinkerbell signs her name for the little girl and she turns to her parents in surprise, that perfect look of joy etched on her face—that is what you shuttle your kids onto the plane for, schlep your way to the enormous parking lot for, bustle into the park that's bursting at the seams for, pay the expensive entry fees for, and walk around all day in the sweltering heat for. That one small moment that makes every other day worth it.

And when we see the Mansfield family's moment, we feel that same joy in ourselves. Hearing is not required. And so we press forward, happy for their moment, remembering our own moments at Disneyland as kids, and wondering when the right time will be to pass that magic on to our own kids. 

From the days when he would pop up, unannounced, in your bed in the morning, Burger King's King character has never actually spoken a single word, preferring to let his creepily silent visage speak for him. But now, to celebrate National American Sign Language Day this Friday, the King is speaking up—by signing.

And he's asking BK fans to come up with an official sign for the Whopper sandwich.

Check out the announcement of the project in the video below, from David in Miami and Bullitt director Josh Greenbaum. It's creatively noteworthy in part because the entire 2:27 video is completely silent, which lends it a certain poignance that it wouldn't have otherwise.



"The Burger King brand is built not only on including everyone, but celebrating everyone," Fernando Machado, the fast-food chain's svp of global brand management, said in a statement. "National ASL Day felt like a perfect opportunity for the King to extend our brand mantra and engage with the ASL community on such a great day."



BK has also created an ASL version of its logo, and is making a scholarship donation benefiting students who are dedicating their studies to ASL language and interpretations.

It also has the King interpreting a recent TV spot in ASL, as you can see below. 



CREDITS

Client: Burger King
Senior Vice President, Global Brand Management: Fernando Machado
Chief Marketing Officer, North America: Eric Hirschhorn
Senior Director, Media and Communications: Adam Gagliardo
Field Marketing Director: Elizabeth Greenberg

Project: Whopper Sign

Agency: David, Miami 
Client: Burger King
Chief Creative Officer, Founder: Anselmo Ramos
Creative Directors: Russell Dodson, Tony Kalathara
Head of Art: Carlos "Panza" Lange
Art Director: Ricardo Casal
Copywriter: Juan Peña
Head of Global Production: Veronica Beach
Associate Producer: Marina Rodrigues
Junior Producer: Calvin Beach
Business Manager: Ann Marie Turbitt
Creative Manager: Katia Ramos
Managing Director: Paulo Fogaça
Group Account Director: Carmen Rodriguez

Production Company: Bullitt
Director: Josh Greenbaum
Executive Producers: Todd Makurath, Luke Ricci
Producer: Jon Dawes
Head of Production: Elícia Laport
Bidding Producer: Victoria Curtis
Director of Photography: Matthew Woolf
Coordination: Michael Cheng
Production Supervisor: Cindy Miller
Assistant Production Supervisor: Megan Peason
Art Director: Chris Ashley
Stylist: Bebe Ferro
Gaffer: Ted Ayd
Key Grip: Rhett Blomquist

Editing: Cosmo Street Editorial
Executive Producer: Yvette Cobarrubias-Sears
Editor: Stephen Berger
Post Producer: Marie Mangahas
Assistant Editors: Zack Winick, Rich Gonzalez

Agency: Code and Theory 

Senior Art Directors: Kate Bergquist, Jeremy Stein
Senior Copywriter: Mike Latshaw
Copywriter: Conor Champley
Visual Designers: Daniel Nosonowitz, Chris Szeto
Junior Visual Designer: Riley Walker
Senior Community Manager: Carlos Matias
Junior Community Manager: Hallie Martin
Digital Analyst: Jon Leavitt

Public Relations: Alison Brod Public Relations

Media Agency: Horizon Media 

It's a fundamental choice for online video marketers: Should you hit viewers with a quick, memorable pitch that's (hopefully) less skippable? Or should you engage them with longer-form content that's more captivating but runs the risk of being tuned out?

Clearly, it depends in part on what you're selling, to whom, and what your immediate business goals are for the content. But are there general lessons to learn from shorter- vs. longer-form online video?

Google thinks so, and recently partnered with Mondelez International to try some tests.

They took three different cuts of the same Honey Maid graham cracker commercial—a 15-second version, a 30-second version and a 2:17 extended version—and tested them using TrueView, YouTube's skippable preroll ad format. Then, they measured how viewers responded in two separate ways—how much of each version of the spot they watched; and how each version affected ad recall and brand favorability.

The spot being tested was made for National Hispanic Heritage Month in 2015 and explored what it means to be American through the eyes of a Dominican family of immigrants. Here's how Google described the three versions of the spot, and the theories, going into the experiment, about how each one might perform: 
 

The 15-Second Cut:
The shortest version of the ad, with a voiceover from the father, includes scenes of the family together and ends with the brand's logo and tagline. The product appears at the six-second mark, and either product or logo is present for a total of five seconds, or 33 percent of the total runtime.

The Theory:
The short length of this YouTube ad will make it less skippable, without sacrificing the narrative or brand lift effectiveness. The balance of story and brand in a concise format will hold the viewer's attention and create a connection to Honey Maid.
 

The 30-Second Cut:
The longer cut gives more detail and dimension to the story, with scenes of the father headed to work and the family playing together. While the longer format adds more Honey Maid product shots, the relative amount of explicit branding is roughly the same as the 15-second version. The product first appears at the 11-second mark, and either product or logo is present for 10 seconds, or 30 percent of total runtime.

The Theory:
This video will draw viewers in with a more in-depth story, and is still relatively short. It is the best of both worlds—short enough to keep viewers entertained and long enough to create a meaningful impression. 
 

The Long Cut (2:17 runtime):
The longest version adds further depth to the family's story. In addition to the father, the viewer hears from the mother, daughter and grandmother (who speaks in Spanish). Like the other ads, the themes of family and celebration are highlighted. The product does not appear until 1:17, and either the product or logo are present for only 12 seconds or just under 9 percent of the overall runtime.

The Theory:
The long-form version builds tension by illuminating some of the Gomez family struggles, which adds a richness to the final scenes of celebration. The layered story that reveals more facets to the family will pull viewers in and keep them engaged. 

 
For years, Google has preached about power of longer-form content on YouTube, pointing out that there's a consistent relationship between how long an ad is viewable and increases in brand awareness and consideration. Also, viewers are clearly willing to watch long ads on the platform, as Adweek and Google's monthly YouTube Ads Leaderboard regularly shows.

But the Honey Maid experiment offered more nuanced results.

• The :15 was the most skipped of the three versions, and the least effective in lifting brand favorability. But it was the most effective of the three in driving ad recall. Thus, this kind of short format would seem like a good choice for brands focusing more on awareness and less on favorability.

• The :30 was watched all the way through more than either of the other versions. (It was 30 percent higher than the :15 in that regard.) It was also better than the :15 at lifting brand favorability. As the initial theory suggested, the ad was short enough to keep viewers entertained yet long enough to create a meaningful impression.

• The 2:17 was skipped less than the :15 but more than the :30. Only about 15 percent of viewers watched the 2:17 all the way through. While this about double the typical benchmark for consumer-packaged goods videos of this length, it still meant many viewers never saw the Honey Maid branding at all—since it didn't appear in any form until 1:17. Like the :30, the 2:17 also was good at lifting brand favorability. But Google suggested weaving the brand into the storytelling earlier for best results.

In its final analysis of the experience, Google still argued more for value of longer-form video, despite the bright spot in the research for the :15 (its stronger ad recall) and the limitations evident in the extended cut (the loss of branding opportunity in this example.)

Google summed up the tests this way: "The challenge is the same now as it was in the beginning of advertising: to figure out how to blend story and brand successfully. This has never been tougher, as we're now competing to reach people who are hit with thousands of messages a day from every direction. This media pressure can lead brands to feel like everything needs to be faster faster faster. But, as this experiment showed, making ads shorter doesn't get them more attention—it may get them even less. With a great story, brands can take the time to create a connection, and change a mind." 

Love and hate is Nike's big theme around the retirement of Kobe Bryant, who will play his 1,346th and final NBA game on Wednesday night. We saw this last week in this Nike spot from Wieden + Kennedy Shanghai in China, where Bryant is revered (but where, in the spot, he urged fans to consider hating him instead of loving him).

There's a similar polarizing feel in Nike's U.S. farewell to Bryant, which gets the player's friends and foes (the ones who are also Nike endorsers) to sound off about the the Lakers star. Nike has also declared April 13 to be "Mamba Day," a reference to Bryant's nickname, Black Mamba.

The stars in the black-and-white ad are asked which words come to mind in thinking about Bryant. They mostly end up saying positive things about him, with some respectful insults thrown in. Kevin Durant even calls Bryant an asshole, though it's bleeped out. (And Roger Federer, in a charmingly awkward moment that's typical of him, proudly tells of the Kobe emoji he came up with.)



There's a digital element to the campaign. If you visit nike.com/mambaday on a mobile device, you can choose "Love" or "Hate," enter a word you think best describes Kobe, and then build a poster of the word superimposed on any photo you upload.

Nike certainly got its endorsers in line for this project. The video features Kyrie Irving, Russell Wilson, Allyson Felix, Elena Delle Donne, Odell Beckham Jr, Paul George, Rafael Nadal, Paul Rodriguez, Natalie Anchonwa, Kirani James, Michelle Wie, Richard Sherman, LeBron James, Neymar Jr, Serena Williams, Roger Federer, Phil Jackson, Sanya Richards-Ross, Tiger Woods, Clay Mathews, NaVorro Bowman, Brooks Koepka, Kevin Durant, Rob Gronkowski, Ali Krieger, Rory McIlroy, Gerard Pique, Eric Koston, Shao Ting, Javier Mascherano, Yi Jianlian, Andres Iniesta, Marcus Mariota and Mo Farah. 

Adobe has long excelled at comically portraying the disastrous consequences of not managing one's marketing properly. But in its latest spot, it literally becomes a matter of life and death.

The commercial, by Goodby Silverstein & Partners, features a couple of buddies out hiking together, when one of them is suddenly bitten by a snake. Luckily, they have their mobile phones with them, and seem to be getting a good signal. But it all goes downhill from there.

Check out the spot here:



The brand's earlier comic spots for its Adobe Marketing Cloud services encouraged marketers to look at the data—to know their audiences and understand the performance of their marketing efforts. This spot goes further by encouraging marketing to look more broadly.

"This new spot reminds us that we can't just look at data in a silo," Alex Amado, vp of experience marketing at Adobe, tells AdFreak. "Everything we do as marketers culminates in an experience for our customers. Even if some of the numbers look good, the overall experience may still be poor. We want to help marketers think in terms of experience, not just performance."

The tone of many previous spots was dark—"Mean Streets" is a good example—but not quite this dark. "Marketing gone wrong can have disastrous consequences for a brand," Amado says. "We hear about it all too often. The campaign dramatizes worst-case scenario, but hopefully it does it with enough good-natured humor to be cautionary yet still entertaining.

Ultimately, he adds, "your customer experience is your brand. More and more customers are connecting with you through digital channels, and they expect high-quality content and a seamless experience on mobile. They want what they want, when they want it, and the stakes are higher than ever for marketers—get the experience right or risk losing your customers."

The spot will be running on various business, media and marketing news sites, and in targeted placements on Hulu and addressable TV. 

CREDITS
Client: Adobe
Title of Creative Work: "Snake Bite"
Agency: Goodby Silverstein & Partners

Creative
Co-Chairman: Jeff Goodby and Rich Silverstein
ECD: Margaret Johnson
Creative Director: Will Elliot
Creative Director: Patrick Knowlton
Art Director: Carlo Barreto
Copywriter: Jonathan Pelleg

Production
Director of Content Production: Tod Puckett
Senior Producer: Benton Roman

Account Services
Account Director: Theo Abel
Account Manager: Chelsea Bruzzone
Assistant Account Manager: Aliza Niewood

Brand Strategy
Group Brand Strategy Director: Bonnie Wan
Brand Strategist: Etienne Ma/Andrew Mak

Communication Strategy
Director of Communication Strategy: Christine Chen
Group Communication Strategy Director: Dong Kim
Senior Communication Strategist: Victoria Barbatelli
Communication Strategist: Tara Hughes
Jr. Communication Strategists: Catherine Kim/ Nicole Bruno

Research & Analytics
Group Research & Analytics Director: Margaret Coles
Research & Analytics Director: Cassi Husain

Business Affairs
Business Affairs Manager: Heidi Killeen

Production Company
Company name: MJZ
Director: Matthijs van Heijningen
President: David Zander
Sr. Executive Producer:  Eriks Krumins
Producer: Betsy Oliver

Director of Photography: Linus Sandgren
Production Designer: Floyd Albee

Editorial Company
Company name: WORK Editorial
Editor: Jono Griffith
Assistant Editor: Jasmina Zaharieva
Executive Producer: Marlo Baird
Producer: Jamie Lynn Perritt

Telecine
Company name: MPC
Colorist: Mark Gethin

VFX/Finishing
Company name: MPC
Senior Producer: Juliet Tierney
Shoot Supervisors: Michael Gregory, Jason Schugardt
2D Lead: Michael Gregory
3D Lead: Jason Schugardt

Sound Design and Music
Music: Stimmung
Sound Design: Stimmung
Sound Designer: Gus Koven

Mix
Company name: Eleven Sound
Mixer: Jeff Payne 

Ice Breakers breath mints are actually unicorns that will help millennials squeeze extra perks out of job negotiations, according to a new campaign by Crispin Porter + Boguksy for the Hershey's-owned brand. 

In a 15-second ad, a young woman gets her future boss to agree to three weeks of vacation (rather than the standard two) after the candy she pops into her mouth summons a mythical beast rearing its hind legs to kick in the office's glass wall. 

It's not entirely clear whether the supervisor makes an awestruck concession more out of love or fear, but either would be reasonable. (Maybe the woman from yesterday's Secret ad should invest in some breath mints.) 



A 30-second ad, released as a teaser for the series—which will include more shorts—sheds more light on the concept. A song introduces the glittering horned creature—which appears to have Ice Breakers embedded in its fur—as the "unicorn of your confidence." 

In other words, fresh breath will help you feel more comfortable asking for things you probably haven't earned but could get anyway.



It's an entertaining enough concept, with a reasonable connection back to the product, even if the scenario is absurd: Any self-respecting member of Gen Y would have insisted on four weeks off per year, at least. 

And yes, a unicorn would be a good sidekick in most situations, assuming it's not busy running around powering British seaside towns or defecating rainbow ice cream.

CREDITS
Client: Hershey
Agency: CP+B
Product: Ice Breakers
Campaign: Break Through
Chief Creative Officer: Ralph Watson
Creative Director: D'Arcy O'Neil
Associate Creative Director: Quinn Kathermann
Art Directors: Mackenzie Gire, Tyler Gonerka
Copywriters: Mariangela McMurray, Josh Shelton
Agency Producers: Aymi Beltramo, Jake Burnett, Rachel Noonan
Client Service Director: Danielle Whalen
Account Director: Kevin Sypal
Account: Neylu Longoria, Amy Denton
Social Strategy Director: Kristen Fox
Social Strategists: Jillian Hart, Devon Dickson
Planning Director: David Nottoli
Senior Planner: Brian O'Connell
Production Company: MJZ
Director: Craig Gillespie
Executive Producer: Emma Wilcockson
Line Producer: Martha Davis
Editorial: Plus Productions
Editor: Lawrence Young
Assistant Editor: James Bedford
Editorial Producer: Dre Krichevsky
VFX/Post Production: Method Studios
Executive Producer: Robert Owens
VFX Supervisor: Ben Walsh
Lead Flame Artist: Noah Caddis
Producer: Karena Ajamian
Telecine: Company3 LA
Telecine Colorist: Stefan Sonnenfeld
Telecine Executive Producer: Rhubie Jovanov
Music/SoundDesign/Mix: Beacon Street Studios
Musicians: Andrew Feltenstein, John Nau, Dewey Thomas
Executive Producer: Leslie DiLullo
Producer: Lindsey Lerman
Audio Mixer: Rommel Molina
Mix Producer: Erin Reilly 

States United to Prevent Gun Violence and Grey New York have made celebrated gun-control PSAs together for years. Now, they back with another powerful video, following up 2015's famous "Gun Store" experiment with another sobering real-world prank.

This time, they invited self-professed action movie lovers to a screening of a film Gun Crazy, which was billed as the latest big-budget blockbuster. But when they got into the theater, with hidden cameras rolling, they were sickened to see real footage of gun violence, including unintentional shootings, suicides, incidents of domestic violence and homicides.

Check out the spot below.

Warning: The video contains graphic footage of real gun violence. 



It's a pretty sadistic way of illustrating the gap between American culture's glorification of guns and the actual consequences of real gun violence. But then, SUPGV believes it's important to shock audiences back to reality, if necessary, who have been desensitized by fictional depictions of gun death.

"In 2015 alone, there were almost as many mass shootings as there were calendar days," Julia Wyman, executive director of States United to Prevent Gun Violence, said in a statement. "Our goal with #GunCrazy is to showcase the need for society as a whole to re-sensitize themselves to the gruesome consequences of gun violence. We encourage people to watch and share this educational PSA featuring first-hand reactions to real footage. Help us continue to bring widespread awareness to this issue and reignite the dialogue about our national crisis."

The message, revealed on screen at the end of the video, is this: "We need to change the way we look at guns. We would be crazy not to." 

Advertisers have been saying goodbye to Kobe Byrant, who plays his final NBA game on Wednesday night, with either comedy or drama.

But Nike, which has always prided itself at balancing both, offers a mix in "The Conductor," a just-released spot that portrays the retiring 37-year-old Laker as an orchestra conductor fully in control of an arena of players, coaches and unruly fans—lovers and haters alike.

The spot, created by Wieden + Kennedy in Portland, Ore., and directed by Mark Romanek, also features Phil Jackson, Paul Pierce, Rasheed Wallace, Benny the Bull and fans representing nine basketball teams.

Check it out here:



As in Nike's earlier tribute to Bryant, starring the brand's other endorsers, the theme here is the love and hate that Bryant has experienced over the years—depicted in the new spot by the "symphony of cheers and jeers" across the stadium, as Nike puts it.

The spot has a goofy theatricality to it that actually recalls W+K's Old Spice work, particularly the "Momsong" and "Dadsong" spots, which were also musicals. But while it walks that line, "The Conductor" is also clearly not a parody—but rather illustrates "how hate has manifested into respect and admiration for Bryant," Nike says. 

Beginning at tipoff tonight, fans will also be able to customize and purchase a limited-edition of the KOBE 11 Mamba Day NIKEiD shoe. The final NIKEiD shoe of his pro career will feature a graphic highlighting eight notable career stats (see below).



We'll have more on Bryant's retirement, and marketers' handling of it, later today.

CREDITS
Client: Nike

Project: The Conductor

Agency: Wieden + Kennedy, Portland, Ore.
Creative Directors: Alberto Ponte and Ryan O'Rourke
Copywriter: Josh Bogdan and Nathaniel Friedman
Art Director: Jacob Weinstein
Producer: Matt Hunnicutt /Molly Tait Tanen/Mauricio Granado

Director: Mark Romanek
Production Company: Anonymous Content
Executive Producers: SueEllen Clair, Eric Stern
Producer: James Graves
Director of Photography: Greig Fraser

Editorial Company: Exile
Editor: Eric Zumbrunnen
Post Producer: Brittany Carson
Post Executive Producer: CL Weaver

VFX Company: MPC LA
VFX Supervisor: Michael Gregory
Lead Compositor: Brian Williams
Executive Producer: Lexi Stearn
VFX Producer: Brian Friel
Colorist: Mark Gethin

Music+Sound Company: Beacon Street Studios
Composer: Andrew Feltenstein & John Nau
Sound Designer: Rommel Molina
Song (if applicable): "I've Been Hating You Too Long To Stop Now"
Producer: Leslie DiLullo

Mix Company: Beacon Street Studios
Mixer: Rommel Molina

Innocence in Danger, the organization that gave us online predator emojis, returns with an equally disturbing ad that transforms youthful symbolism into something tragic. 

For International Children's Day this year, it released "The Witness." Created by French agency Rosapark and flanked by Radiohead's "Exit Music," the ad features a girl falling asleep while a male family member reads her a bedtime story. As she drifts off, he reaches under the covers.

The camera thankfully drifts off, panning to a teddy bear, the sole witness to the crime. 

Warning: The spot may be particularly disturbing to incest survivors. 



The piece ends with a strong tagline: "He can't talk. You can."

Innocence in Danger reports that there are 4 million victims of incest in France, and four out of five of those cases occur before age 18. Only one-third of those complaints are heard.

"It is the duty of every citizen to do what they can to apply the law to these crimes so they can be stopped," says Innocence in Danger president Homayra Sellier, alongside manager Christine Djamila Allaf. "We must intervene in order to protect these children." 

Picking up the mantle, co-founder Jean-Patrick Chiquiar of Rosapark adds, "As a communications agency, it is our duty to intervene, to spread the word about this cause to the maximum number of people, to bring these taboos to light in order to solicit the collective conscience."

The ad certainly does its job in striking emotional chords, but besides raising awareness and potential donations, it does little to teach adults how best to earn the trust of children who may be suffering. Often it is hard to tell; when a guardian or protector is the danger, a child can't gauge who can really help, and may protect herself by behaving in ways that other authorities consider reasonably normal. Symptoms of the trauma may make themselves visible only years later, when they are no longer within reach of the predator.

For its part, Radiohead was so moved by the work that it donated the rights to "Exit Music" and waived compensation.

The campaign is currently running online and on French TV.

CREDITS

Rosapark:
Co-Founders: Jean-Patrick Chiquiar, Gilles Fichteberg, Jean-François Sacco
Creative Directors: Mark Forgan, Jamie-Edward Standen
Account Director/TV Producer: Fanélie Martin

Film Production:
Production Company: Troopers
Director: Josh Patrick Dawson
Producer: Amandine Le Drappier

Sound Production:
Grabuge Productions

Music:
Radiohead "Exit Music"

Innocence in Danger Campaign Coordinator: Dr. Gilles Iazimi

For the second time in as many months, Porsche is taking innovation for a spin with an unusual magazine placement. 

As you may recall, the automaker and its agency, Cramer-Krasselt, ran ads in April issues of Fast Company that brought the new Porsche 911 to life as a floating hologram.

Now, in May issues of Inc., the client-agency team employs LED technology to let readers gaze "beneath" the metal skin of a 911 and inspect its high-tech features. Pressing buttons on the ad reveals graphics and information about the car's sophisticated aerodynamics, connected digital systems and turbo-charged engine. 

The insert, created with Americhip, will run in 10,000 Inc. print issues, about 10 percent of the magazine's subscriber run. Those issues will target readers living in affluent areas near Porsche dealers. 

Check out the ad in more detail below. Click to enlarge.



Of course, LEDs have graced print ads before, but Porsche's implementation stands out "because in this case, the LEDs are not just illuminating the message, they're part of the message itself," C-K creative director Rick Standley tells Adweek. "It rejects the ordinary. Every contact with the brand should be the antithesis of mundane—because that's what every Porsche is designed and engineered to be." 

Porsche's April hologram ad in Fast Company—unusual for mainstream magazine spreads, though the approach has been used before—included a small acetate prism. Placing the prism atop a tablet computer, while it runs a special video, unlocked 3-D footage of the car. It's proven fairly popular, generating more than 17,000 video starts (with average time on site of about eight minutes), and 8.6 million Twitter impressions. 

To get the LED ad up and running, "the team tested various print materials—papers and plastics—different image layering effects, and both colored and white light diffusers to come up with the right mix," says Standley. "Other challenges included keeping internal car components from showing when buttons aren't pressed and the ability to light up precise areas of the car." 

At the very least, the ad should drive engagement; it's certainly more enticing than most passive print placements, and represents yet another attempt by legacy marketers and media to move into the interactive fast lane.

Now, if you could push one of those buttons for a whiff of that new car smell, then Porsche would really be firing on all cylinders.

CREDITS
Client: Porsche
Agency: Cramer-Krasselt