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American Airlines is running an advertising campaign focused on the airline’s effort to create a seamless travel experience for its customers. Each ad communicates the message that American Airlines and its innovative products and services enable the enlightened, modern traveler to, “Fly without putting your life on pause. Be yourself non-stop.” Modern special effects were used to give the ads a contemporary, cutting edge feel. Shot on-location in the Bahamas and Los Angeles, post-production special effects matched the lead characters’ experiences in their personal lives to their onboard experience. These special effects and seamless transitions required extensive use of a motion-control camera and digital production.
After School opens on a mother and daughter discussing the youngster’s role in the school play as they sit cross-legged in their living room. But something’s a bit off kilter -- as the camera swings around the room, a pair of airline seats, which had been casual living room chairs in the previous shot, appear; then the soft glowing lights of a fasten-seatbelt sign blink on along the wall; and, very faintly, a droning voice states, “This is your captain speaking,” in the background. When the camera makes one final swing from daughter to mother and pans out, the elder is not in the living room with her daughter at all, but in the cabin of an American Airlines jet, engaged in the conversation via instant message on her laptop.
Scuba follows a couple scuba diving through the rays of light, schools of fish and sea turtles off a sprawling reef. The first indications that this is not your standard reef appear in the form of a “Priority Access” sign lodged into the plant life, followed by a bank of screens showing the status of departing flights, which is just one example-in addition to text notifications and mobile boarding passes-of how American Airline passengers receive a streamlined, mobile boarding experience. As a school of fish darts in front of the camera, blurring the panorama, the water evaporates and the couple comes out in an airport terminal. “Fly without putting yourself on pause,” a narrator intones. “Be yourself, nonstop.
Credits
The Non Stop campaign was developed at TM Advertising by creative director Bernard Park, art director Brian Wood, director of broadcast production Hal Dantzler, producer Stephanie Murdoch. Filming was shot by director Gerard de Thame via Believe Media with director of photographyMick Coulter, executive producer Michael McQuhae, producer Fabyan Daw. Editors were Jack Waldrip, Artie Pena at Charlie Uniform Tango with executive producer Mary Alice, audio engineer Jake Kluge Post production and effects were produced at Absolute Post by lead VFX/Flame artist Dirk Greene, VFX artists Warren Paleos, Krissy Nordella, Alex Gabucci, designers/animators Ed Manning, Jim Vidal, executive producer Sally Heath and producer Melissa Stephano. Colorist was Ben Eagleton at Smoke & Mirrors, New York, with managing director Jo Morgan and producer Lauren Shawe
Toyota has launched “It’s Ready. Are You?”, an integrated advertising campaign promoting the 2012 Camry campaign. The campaign demonstrates how the seventh-generation model addresses changes in consumers‟ vehicle needs, expectations and driving habits through the combination of new innovations and improvements to interior and exterior vehicle styling. Six television commercials, print and out of home advertisements are joined by a microsite, the Camry Effect site.
“Built” highlights the Camry‟s new features and visually demonstrate the reinvention of Toyota‟s signature model. As the 2012 model builds around its driver, the spot touches on several of the key aspects midsize car buyers expect to get with their next car purchase.
“Pit Stop” pays homage to the Camry‟s racing heritage with Toyota NASCAR driver Kyle Busch. The ad shows how Toyota‟s excellence carries from the racetrack to the roadway by transforming the car in the speed of a pit stop to highlight the Camry’s performance capabilities and intuitive mobile technology. “Pit Stop” will make its television debut on October 24.
Two additional TV commercials will roll out later in 2011, followed with two further spots in the 2012 Super Bowl and the Toyota Halftime Report.The campaign also includes print ads, digital media, out-of-home boards and social media elements. Additionally, digital billboards featuring Camry imagery will run atop the Walgreens building in New York‟s Times Square to spark the public‟s interest and build intrigue for the 2012 model.
Beginning in November, consumers will have the opportunity to get behind the wheel of the 2012 Camry at over 125 events through March 2012. The Toyota Drive Center national ride and drive tour, along with activations at select Life Time Fitness locations across the country, will give the public a chance to experience the vehicle first hand. The Camry Effect website is designed to connect the nearly seven million Camry drivers in the United States through an intuitive, interactive, online experience. The Camry Effect provides past and present Camry owners a platform to share stories, moments, memories and milestones of first dates, road trips, soccer games, interviews and college days while witnessing the collective “effect” each has.
Credits
The Ready campaign was developed at Saatchi & Saatchi Los Angeles by executive creative directors Margaret Keene and Chris Adams, creative director John Payne, art director Verner Soler, copywriter Graham McCann, director of integrated production/multimedia Tanya LeSieur, senior broadcast producer Gil DeCuir, project managers Angela Montoya, account director Andrew Corpman, management supervisor Erica Baker, account executive Kejal Crosson-Elturan, strategic planning director Evan Ferrari, strategic planners Skylar Wallace and Allison Farquhar, broadcast media director Gwen Conley, working with product information supervisor Paul Watson, business affairs managers Cara Orlowski and Ivy Chen, Toyota corporate manager Ed Laukes and advertising manager Colin Morisako. Filming was shot by director Phil Joanou via MJZ with executive producer Jeff Scruton, president David Zander, director of photography Mauro Fiore and line producer Paul Manix. Editor was Rick Lawley at The Whitehouse Post with executive producer Sue Dawson, senior producer Joni Williamson and assistant editor Brian May. Special and visual effects were produced at The Mill, Los Angeles, by executive producer Sue Troyan, colorist Adam Scott, senior producers Melanie Wickham and Arielle Davis, 3D lead Andrew Proctor, 2D lead Paul O’Shea, 3D artists Yorie Kumalasari, Michael Panov, Lu Meng Yang, Kiel Figgins, 2D artists Gareth Parr, Steve Cokonis, Dag Ivarsoy, Nicholas Kim, Shane Zinkhon, Brinton Jaecks and Jen Stavish. Music was produced at Mophonics by executive producer Michael Frick, head of production Shelley Altman and creative director Stephan Altman. Sound was designed at Trinitite Studios by designer Brian Emrich, and recorded and mixed at Lime Studios by Loren Silber.
Airlines and Twitter have a chequered history. Some airlinebrands have embraced theimmediacythat themicro-blogging platform has to offer, while others have come in for verypublic floggingsfrom disgruntled passengers.
This stunt is the latest example of KLM's social mediaexpertise. Unusually, this strategy publicised KLM's readiness to embrace customerconversations through social media, rather than promoting ticket sales.
Rather than using Twitter to promotea new ticket offer or service, KLM wanted to let customers know about itscommitment to customer service in the social media space. KLM's social media policywas to answer every customer message personally within one hour, twenty-fourhours a day, seven days a week. The results was a Twitter response campaignthat was people powered in more ways than one...
KLM wanted to letcustomers know about the service that KLM offered in the social mediaspace. KLM's social media policy was to answer every customer messagepersonally within one hour, twenty-four hours a day, seven days a week.
In a move designed todemonstrate its commitment to customer service through social media, KLMdecided to spend a day replying to Twitter messages in person, or at moreaccurately, with 450 people.
Live replyinvolved the deployment of 450 KLMvolunteers working in three shifts to answer tweets, Facebook posts, or Hyves'scraps' using 140 characters at a time.
Followers and friendsof the brand could reach KLM through social media channels in Dutch orEnglish and ask anything regarding their travel or tickets. KLM also informedits followers about the latest airline news.
The human tweets werestreamed live on a dedicated site, and archived on the KLM YouTubechannel.
Results
This stunt is one of a number that KLM hasstaged on Twitter. Live reply saw approximately 70 videoswere uploaded onto the KLM YouTube channel, each achieving between 200 and6,500 views.
