Post pobrano z: Claudio Salas updates and NYC gains one of the best

Post pobrano z: Sprint Vector Trailer

Post pobrano z: INTRA

Post pobrano z: A long time ago there was someone, and they were alone

Buck takes us on a mixed media journey through man and womankind’s epic history and eternal struggle to couple… and do other things…

Post pobrano z: TREE9 – Ma Ydoum Hal

Post pobrano z: Don’t You Forget About Me – State Farm

State Farm is running “Don’t You (Forget About Me)”, a commercial featuring the 1985 Single Minds hit in the context of a soup kitchen, supporting the insurance company’s Neighborhood of Good movement. The holidays are a popular time to get involved and give back, but when the decorations come down and the season of giving ends, there are still people in need in the community. The commercial reminds viewers that the season of giving never ends, and highlights the importance of giving back regardless of the time of the year. In one seamless camera movement, the creative tells a story that emphasises the need for volunteers year-round.

“I think a lot of us can relate to finding ourselves being more generous during the holidays—to finally finding the time to act on the good intentions we have throughout the year. But once they’re over, we often go back to our normal day-to-day… until the next holiday season. This piece dramatises what that reality looks like for many shelters and places of need. And hopefully motivates people to stay involved, well after the lights and decorations of the holidays come down,” said Mel Routhier, SVP and Group Creative Director at DDB about the work.

The film is part of a 360 campaign that supports State Farm’s Neighborhood of Good movement. Creative running across national broadcast, online video, social media, and digital display will drive people to neighborhoodofgood.com where they are able to easily discover and connect with charitable opportunities in their communities. PR and influencers will provide additional support.

Willis Earl Beal, the singer featured in the commercial, experienced homelessness while living in Albuquerque, New Mexico. Here he reflects on the experience of recording for the commercial.

Don’t You Credits

The Don’t You campaign was developed at DDB Chicago by chief creative officers Ari Weiss and John Maxham, group creative director Mel Routhier, copywriter Katie Bero, art director Brian Culp, group strategy director Jesse Bayer, executive producers Scott Kemper and Amy Turner, executive art producer Suzanne Koller, chief production officer Diane Jackson, associate producer Jon Frazza, production manager Zoe Grubbe, music producer Linda Bres, group account director Ben Gladstone, account supervisor Oliver Glenn, account executive Kamerin Elsasser and account director Veronica Zamiar.

Filming was shot by director Aiofe McArdle via Anonymous Content and Somesuch & Co, with director of photography Tom Townend, executive producer Nicky Barnes and producer Debbie Ninnis.

Editor was Joe Guest at Final Cut with executive producer Suzy Ramirez, assistant editors Kit Wells and Megan Marie Connolly, and producer Barbara Healy.

Post production was done at MPC by VFX supervisor Peter Smith, producer Liz Thuvanuti, executive producer Jesse Kurt, colour producer Amy Richardson, colourist George Kyriacou, colour assistants Phil Hambi, 2D lead artists Timo Huber, Steve Koenig, Rob Walker, 2D lead Matt Tremaglio.

Sound was designed at Marshall Grupp by producer Becca Falborn. Sound was mixed at Sound Lounge by mixed Tom Jucarone, executive producers Mike Gullp and Nick Nash. Music was produced at Tin Drum Music by David McEwan.

Music is “Don’t You (Forget About Me)”, written and composed by producer Keith Forsey and Steve Schiff, performed by Willis Earl Beal.

Post pobrano z: BBC One – The Supporting Act

BBC One’s Christmas 2017 campaign featured an animated short film, “The Supporting Act”, illustrating the joy of a shared moment. The 2 minute film follows a 10-year-old girl who practices day in and day out to give the most important dance performance of her life. Her dad is always with her but he’s busy, and getting even busier as Christmas approaches. He remains distracted up until the moment that really matters, when father and daughter come together in a wonderful moment of ‘oneness’. The film will be accompanied by four idents and a range of digital assets that will continue the theme at other times during the day. The Supporting Act builds on the idea of ‘oneness’ that the channel has been focussing on throughout 2017. Since the start of the year BBC One has showcased idents created by photographer Martin Parr highlighting the interests and passions that bring people together.

Charlotte Moore, BBC Director of Content said: “Christmas is a time when people come together to enjoy shared experiences, and special moments. We wanted to reflect that in our Christmas campaign this year and we hope this film will touch hearts and make you smile over the festive period.”

Kerry Moss, Portfolio Head of Marketing, BBC One said: “BBC One brings millions of people together each week around shared moments of entertainment. Building on the message at the heart of the channel’s ‘oneness’ idents, the Christmas film illustrates the joy that can be sparked through a shared moment. Through its depiction of a busy dad and dance-loving daughter, the film draws on the insight that the pressures of life can often get in the way of the things that really matter, particularly at Christmas.”

Behind the Scenes

The creation of the film has also broken new ground in the animation techniques it has used. The characters were animated using the traditional British stop-motion technique but the facial expressions were created and mapped on the puppets using CGI. This approach gave the film the human touch and imperfections of stop motion but the emotional richness of CGI.

Elliot Dear from Blinkink said: “The story is about an emotional connection between a girl and her dad. We wanted to make a film that had the charming, handmade qualities of stop-motion animation, the tiny imperfections that let you know it’s been done for real. The aim was to combine this with CG animation – which we used for the faces – in order to capture the tiny nuances of human facial expressions, enabling the characters to be very emotive without the use of dialogue.”

BBC One Supporting Act Credits

The BBC One Supporting Act campaign was developed at BBC Creative by executive creative directors Aidan McClure and Laurent Simon, creatives Amar Marwaha and Arvid Harnqvist, agency producer Ken Rodrigues, agency project managers Astrid Reiner and Jenny Broad, working with BBC One portfolio head of marketing Kerry Moss, marketing manager Harriet Gunning and marketing executive Claire Grainger.

Animation was produced at Blinkink by director Elliot Dear, executive producer Bart Yates, senior producer Benjamin Role, production manager Alex Holberton, puppet makers MacKinnon & Saunders, set builders Clockwork Frog, lead animator Dan Gill, director of photography Toby Howell, and lead CGI artist Rune Spaans.

The soundtrack for the campaign was by Clean Bandit featuring Zara Larsson with Symphony, re-arranged by producer Steve Mac.

Post pobrano z: Time Machine for Breast Cancer Now

Breast Cancer Now – the UK’s largest breast cancer charity, is running “Time Machine”, a commercial raising awareness of a goal of defeating breast cancer by 2050. The Time Machine commercial follows a young girl on a secret mission – the purpose of which isn’t revealed to the viewer until the very end. Over a series of days, we see the tiny trooper determinedly studying complex science textbooks, watching quantum theory videos, and raiding the house for objects to use in her special project. In the final reveal, the girl wakes up her mother, who has breast cancer – and leads her inside a ‘time machine’ that she has made from cardboard and household items. As mother and daughter sit in the makeshift machine together, the girl turns the dial from 2017 to 2050. The film closes with Breast Cancer Now’s aim that by 2050, everyone who develops breast cancer will live. The message of the film is that for some, including the family portrayed in this film, the year 2050, can’t come soon enough. The YouTube video links viewers to the Breast Cancer Now page Our Time is Now.

Great Guns’ Duncan Christie directed the bittersweet film, skilfully striking the perfect balance in tone between heart-breaking and empowering. Commenting on the project, Duncan says: “My aim was to build up a sense of intrigue to draw in the audience, making the final reveal all the more impactful. We kept the visual tone hopeful as we wanted to focus on the optimism of our young hero. We also felt the story would benefit from a naturalistic approach. In order to capture off-the-cuff, ‘snatched’ moments in the life of this family, we chose to improvise at times, leaving room for spontaneity during the shoot.

“In order to tell this story truthfully, we had to get into [actor] Jessica’s mind-set,” Duncan continues. “As one expects for a film so heavily reliant on a child actor’s performance, our casting process was exhaustive. We saw a lot of great young actresses but Jessica had that spark which ultimately made her the only choice. She has the emotional intelligence and charisma to a carry a film of this weight.”

‘2050’ was unveiled in November at the 2017 A Bigger Bounce fundraising event at The Roundhouse, held in aid of Breast Cancer Now. Sponsors included Viktor & Rolf, ITV, The Roundhouse, Hearst Magazine, Cucumber Productions Ltd., Moet Hennessy, Phil Mcintyre Television, Talon, Quantum, JamVans, Rhubarb and Great Guns. During the event, hosted by Alex Jones, generous prizes were donated and auctioned off. A Raffle saw prizes ranging from a brand-new car, to an overnight stay at the Dorchester, tea at the Wolseley with Dame Barbara Windsor and dinner at restaurant ‘34’ with Bruno Tonioli.

CEO of Great Guns, Laura Gregory comments: “Breast Cancer Now is making progress towards the 2050 goal, but reaching it is dependent on continued public awareness and raising money for vital and much needed breast cancer research. The committee for A Bigger Bounce worked tirelessly to produce the third event. Co-Chairs, Carolyn McCall and Philippa Brown did a superb job pulling the committee together and harnessing everyone’s strength to deliver a top-notch night of fun and entertainment. The committee gathered prizes that were truly out of this world and worthy of the amounts raised. I lost my mother to breast cancer and will always give time to raise money for continued research to beat the disease.”

Time Machine Credits

Filming was shot by director Duncan Christie via Great Guns with director of photography Sy Turnbull, executive producer Laura Gregory, producer Tim Francis, production designer Francesca Massariol, and casting director Kharmel Cochane.

Cast were Jessica Newton, Kate Rawson and Garry Summers.

Editor was James Rosen at Final Cut.

Post production was done at Absolute Post by producer Belinda Grew, colourist Matt Turner, 2D lead Lora Nikolaeva and 2D artist Owen Saward.

Sound was mixed at Jungle Studios by Ben Leeves. Music, “The Great Escape” by Patrick Watson, was supervised by Soho Music.

Post pobrano z: Travel Channel Little Journeys

Post pobrano z: ICYMI: Lucky Holidays by Parabella

In case you missed it, enjoy this amazing animation by Parabella which is guaranteed to warm even the coldest of hearts.