Sky Television in New Zealand knows that the Rugby World Cup 2011 is imminent. Will the mighty All Blacksbe match fit? More importantly, will Sky TV’s camera and sound crew be match fit? Gunnery Sergeant Cleaver takes the team through its paces, getting ready to show 48 games. The campaign is online atFacebook and Twitter (@sergeantcleaver).
Credits
The Match Fit ad was developed at DDB New Zealand by executive creative director Toby Talbot, creative director Regan Grafton, copywriter Gavin Siakimotu, art director Natalie Knight, agency producer Judy Thompson, account director Danielle Richards, account manager Brad Armstrong, and managing partner Scott Wallace. Filming was shot by director Tim Bullock via Prodigy Films with director of photography Geoffrey Hall, producers Jonathan Samway and Mark Matthews. Editor was Adam Wills. Post production was done atPerceptual Engineering. Sound was produced at Liquid Studios.
Alamo Drafthouse Cinema does not tolerate people talking or texting in their theaters and they take this rule serious. In fact, before every film they give several warnings on screen to prevent such inappropriate theater etiquette. Occasionally however some people don't follow these rules and movie goers have to be escorted out. Case in point is this clever spot that takes an actual voicemail of a customer who was recently kicked out of a Texas theater for her this type of bad behavior. The joke is on her though, as the clever movie chain turned her hilarious customer complaint into a viral video. So watch out the next time you complain to a company, they just might use you in one of their commercials.
"We do not tolerate people that talk or text in the theater. In fact, before every film, we have several warnings on screen to prevent such happenings. Occasionally, someone doesn't follow the rules, and we do, in fact, kick their asses out of our theater. " This video is an actual voicemail from a woman that was kicked out of one of our Austin theaters. Thanks, anonymous woman, for being awesome. Become a fan on Facebook -- www.facebook.com/alamodrafthouse
For more info on the Alamo Drafthouse, visit www.Drafthouse.com.
Problem: How do you make new advertising for a brand that’s been the category leader for over 50 years?
As kids learn to use technology at a younger and younger age, creative toys that allow unstructured free play time are increasingly cut out. Since Play Doh has been around for so long, it tends not to be top of mind.
Insight: Today’s parents grew up with and are still nostalgic for Play Doh. Just the smell of it brings back fond memories.
Solution: Play Doh scented print ads in women’s and parenting magazines reminding parents of the importance of creative free play time for their child’s development.
Tagline: Kids should play like kids.
Tagline: Kids should play like kids.
Tagline: Kids should play like kids.
MY Role: Concept development, copywriting and photography.
AD: Warner Whatley CW: Adam Aceino CD: Wayne Gibson
This week, music download website www.music-master.com. unveils the launch for new website
The campaign idea I am my music. I am music masterencourages consumers to explore their individual musical tastes. The focus of the campaign is on a series of ambient portraits of real people made up from QR codes. Within each of these portraits, live codes link to free downloads of the subject’s top twenty tracks. The user is encouraged to snap the codes with his smartphone and download the free tracks to his computer. The three executions appear in malls around the UAE.
The campaign is also supported in press, on radio and online.
“The idea behind this campaign is beautifully simple. People are defined by the music they listen to. We all have our own unique soundtracks to our histories, and in the case of the ambient posters, consumers are able to explore and download other people’s personal soundtracks for free. What appears to be purely functional technology comes to life to tell a story.
A fresh and intelligent approach for this campaign is produced. It’s something that 16-27 year-olds can really get involved with. Given that the technological know-how and ability to understand this visual language is unique to this target, it has something of the feel of an exclusive club. Beyond the ambient and print, the online banners and radio bring the Music Master message to life in a direct way and tell an engaging story.
CAMPAIGN CREDITS:Project: Reveal phase announcing launch of www.music-master.com Client: Music Master Brief: To drive traffic to www.music-master.com and create buzz and talkability around the site. Creative Agency: DDB Dubai Senior Art Director: Diya Ajit Senior Copywriter: Camilla McLean Group Account Director: Edward Harris Digital support: Navin Ashokan, Najeeb Puthuveettil, Naeem Hussain Retouchers (Ambient/Press): Firstbase London Photography (Ambient/Press): Paul Emous Photography (Online): Natasha Carella Sound Design (Radio): Reiner Erlings, Gayathri Krishnan
It's great to see a print title trying new things in the digital space. Sweden is one of the most exciting creative hot-spots of the moment, and work like this proves that traditional media owners can still be innovative, given the right environment.
Scandinavia's largest newspaper, Aftonbladet staged groundbreaking series of live online concerts to promote the Rockbjörnen Music Awards, giving away 140,000 free tickets to music fans around the world.
Previous Rockbjörnen award winners include legendary names from the music industry such as ABBA, Coldplay and Duffy, and Rockbjörnen Live is Aftonbladet's prize to the best live music of the year; celebrating festivals, concerts, artists and songs across eight categories.
Live-Löpet (or Live A-Board), saw a traditional newspaper develop a unique app to create an interactive digital live arena to present concerts from some of Scandinavia's hottest artists.
The artists performed live from the studios of Aftonbladet, and the performances were streamed live online at http://livelopet.aftonbladet.se/ and were accessible via unique fan access codes.
This digital concert format was designed as much as possible to replicate a traditional live recording. In order to secure a place in the audience, Aftonbaldet readers and music fans had to apply for tickets. Ticket holders were assigned a "seat". Just like at a regular concert, the audience could interact with one another, and the artist "on stage".
By pressing buttons on the Flash app users could applaud for an encore, take pictures to share via Facebook or email or call out to the artist or friends in the virtual arena. Concertgoers could see what their Facebook friends were up to during the concert. The artists could interact with fans through cues received on a large screen placed back in the studio.
Each of the seven concerts had capacity to entertain 20,000 fans, of which 8,000 were VIP tickets, which allowed viewers to see the concerts in HD. Concert tickets could be sent and posted on Facebook to invite friends along to the gig.
A series of video-enabled Aftonbladet headline A-Boards were placed around Sweden announcing the concerts, complete with countdowns to the event. These boards also screened the actual concerts.
Live-Löpet featured appearances by Mando Diao, Robyn, The Ark, Eric Saade, Salem Al Fakir, Ola and Anna Bergendahl. Samuel Giers, drummer, Mando Diao said: "This is definitely a move in the right direction and it's so cool to be a part of Live-Löpet. We have a lot of international fans and many of them can't get to our ordinary concerts, so this format suits us very well."
Nils Franchell, communications director, Aftonbladet said: "The Rockbjörnen Music Awards has been an institution in Sweden since its launch in 1979. Over the last decade we have seen massive shifts in the way people consume and enjoy music. CD sales have taken a hammering and digital music has become inextricably woven into the fabric of our lives. We asked: what is the relevance of our awards in an environment where our customers have already changed their buying behaviour?"
"We thought, given the massive shifts towards online buying, that the Rockbjornen Awards should reflect how people are enjoying their music right now rather than a retrospective look at last year's sales of CDs to decide who the winners are. So we shifted the timing of our awards from the traditional "awards season" in February/March to catch the end of the festival season just after the Summer and put the focus on awarding the best "live" performances."
"The technical mechanics of putting 20,000 people in a small room is something we could not have done without the guys from Prime. What they have produced, as people will see for themselves, is an experience that is amazing, just like actually being at a concert with one of these music stars."
Results:
45,000 fans from 63 countries logged in for the seven live concerts
2.4 million digital interactions took place across the total 105 minutes of broadcast (7 concerts of 15 minutes)
Outside Aftonbladet's own channels, Live-Löpet reached 2.1 million users. Previously, Rockbjörnen's homepage has averaged 85,500 unique visitors during the most intensive period. During the Live Löpet activity, this number reached 337,000 unique visitors - an increase of almost 300%.
BRAND:Rockbjörnen Music Awards BRAND OWNER:Aftonbladet CATEGORIES:EntertainmentPublishing &Broadcasting REGION:Sweden DATE:August - August 2010 AGENCY:Prime MEDIA CHANNEL:Branded Content,Digital,Events,Online,Out-of-Home,PR,Print
To promote the book by Elizabeth George, a thriller called This Body of Death (In Dutch Lichaam van de Dood), we came up with this easy to retweet, easy to email and Facebook-friendly approach. We let the readers experience the first part of Elizabeth George's book 'live': the discovery of a dead body on a cemetery. It started out on Twitter and Facebook with messages like ' Is that a dead body over there? Check the live webcam!' And we let curiosity (and social media) do the rest...http://www.stokenewington-london.co.uk/index.html Advertising Agency: Houdini, Amsterdam, The Netherlands Creative Directors: Boris Peters, Wilbert Leering Art Directors: Boris Peters, Jonathan van Loon Copywriter: Wilbert Leering Production: Area25 Online programming: Kitty van der Gijp Published: July 2010
Media is one of the most exciting and fast moving forces in the world.
People spend more time consuming media than almost any other activity.
On average 18-24’s globally spend
-over 3 hours a day watching TV
-over 2 hours a day listening to the radio
-purchase 2 magazines a month (Source – Synovate, 2009)
The average UK Mum clocks up over 26 hours of time online per month (Yahoo, 2009)
2/3 of Europeans stream or download video content at least once a week (Future Foundation Entertainment Futures, 2008)
Media fulfils multiple roles and needs in people’s lives:
Entertainment, Information, Self expression, Relaxation, Belonging, Me Time, Communication
Media has become more complex – we think about the transformation of media in three ways - –technology, people and content.
Today’s media landscape is almost unrecognisable from 30 years ago.
Technology, people and content have all TRANSFORMED.
Technology has changed – There are new devices, and more devices
iPod – 2001
Sky Plus - 2001
Nintendo DS – 2004
X-Box 360 – 2005
PS3 – 2006
Wii – 2006
iPhone – 2007
iPhone 3G – 2008
Nexus One – 2010
iPad – 2010
Web applications which are part of our daily lives are still in infancy….
Facebook – 2004
YouTube – 2005
Twitter – 2006
iPlayer – 2007
Hulu – 2008
iPhone App Store – 2008
“In the last few years Facebook has been the most important thing in my free time activities.” (Source - Synovate, 2009)
People have changed
In 1950 29% of the world’s population lived in cities – now it’s more than 50% (Source – UN Dept of Economic & Social Affairs, 2005)
In 1960 the average age for a woman in America to marry was 20 – now it’s 26(Source – The Rise of the Real Mom, Advertising Age, 2009)
In 1960 38% of women in America went to college – not it’s 66%(Source – The Rise of the Real Mom, Advertising Age, 2009)
The number of single person households in the UK has doubled between 1971 and 2008 (Source – Social Trends, ONS, 2009)
The average French midday meal now lasts 38 minutes, less than half the time taken in the 1970s (Source – Datamonitor, 2006)
In 1997 34% of women in Spain worked; in 2008 it was 55% (Source – Eurostat, 2006)
In 1960 Americans spend 24% of their income on food – in 2002 it was 12% (Source – US Department of Labor / VisualEconomics 2009)
Content has changed:
Content can be consumed any time, any place, any device Channels have fragmented Content has become social in new ways
In 1979 there were 3 UK TV channels; in 2009 there are 512 (Source – Aegis)
The number of channels available on Pay TV in Italy is rising: from 120 in 2003 to 199 in 2009 (Source – Aegis)
Formats are proliferating in TV – 445 original programme formats were exported globally in 2006-8, twice the number from 2002-4 (Source – The Format Recognition and Protection Association (FRAPA) 2009
Online videos have driven broadband uptake, and led the demand for cheap access devices
Talent shows have increased interactivity with media, for example through texting
Social networks have driven mobile internet adoption, and daily internet usage
24 Hours of video were uploaded to YouTube each minute in March 2010, up from 6 hours per minute in 2007 (YouTube, 2010)
Content is “always on” – there is more content available and more ways to consume it
Understanding how people choose, engage, create and interact with content has become more complex
Media is transforming, communications are transforming….
“The world will go faster. Something that takes 30 minutes today will take 10 minutes tomorrow. We’ll save time.” Italian male
