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Post pobrano z: ASDA Best Christmas Ever

Asda has launched its 2017 festive campaign, “Best. Christmas. Ever.”. “Imaginarium”, the commercial at the heart of the Asda Best Christmas Ever campaign, gives viewers a behind-the-scenes glance into the magical world where Asda Christmas treats are created. Set to the iconic track ‘Don’t Stop’ by Fleetwood Mac, the 60” TVC follows a young girl and her grandfather, who sneak into the Christmas Asda headquarters, the Imaginarium, revealing the secrets behind the iconic seasonal ranges and products available in store this festive season. As we follow their journey through weird and wonderful rooms, we discover magical machines, enchanting experiments and the imaginative ways in which Asda will ensure the Best. Christmas. Ever.: from reindeers powering a ginormous food mixer to make Christmas puddings, to canapés and mince pies being assembled by tiny Asda Imaginarium workers, and Christmas Smash Igloo cakes being tested by strapping weightlifters – the ranges offer creativity, innovation and quality. A captivating place with a surprise in every corner – a giant pop-up Christmas cookbook snaps opens to reveal two real life Asda chefs preparing the iconic Christmas meal of roast turkey with all the trimmings, including this year’s special Wagyu dripping roast potatoes. We also catch a glimpse into a futuristic gin room where truffles are being infused with gin by a giant ‘gin laser’. Their expedition comes to its fruition when Walter, the factory’s security guard shows them what other adventures lie in store for them, revealing the whole of the Imaginarium in all its glory.

Four further 30” adverts will be rolled out over the festive period, which will reveal more mysteries of the Asda Imaginarium. These spots will focus on four key festive shopping moments: Gifting, Home Decorations, Parties & Gatherings and ‘the Big Shop’. The Gifting film will also feature a panel of children selecting toys either as ‘fun’ or ‘boring’, highlighting the ‘Chosen by Kids’ range at Asda, where only the little ones have a say in what makes the cut. Each of the 30” spots will be supported on TV with 10” ads that focus on the essential Christmas staples such as turkey and vegetables and party food. These ads will highlight Asda’s amazing prices and deals, echoed in 6” YouTube bumpers.

Asda will engage dynamic technology to create tailored Trueview videos, taking audience search terms and linking them thematically with relevant Asda messaging. These will bring contextual relevance to the 6” YouTube Christmas bumpers, and will be supplemented with short-form 2” content and carousel ads on Facebook. The campaign will also feature an innovative, gamified Snapchat filter, where people can become the striped weightlifters from the ad.

Behind the campaign

Andy Murray, Chief Marketing Officer at Asda, said: “Earlier in the year we held sessions with our customers to get feedback on our Christmas range. As we talked to them about Christmas we could see how much joy and happiness planning their Christmas brought them – we knew we wanted to reflect that in our ad. When we saw their reactions to our food – the way it surprised them and made them smile – as well as the incredible pride and attention to detail our product developers had put into creating it, the inspiration for the Imaginarium was born.”

Eilidh Macaskill, Asda’s Vice President Creative and Media, explains: “By Combining CGI animation and some spectacular real life venues, the ad and the wider campaign is a love letter to our customers and products.”

Sara Rose, Group Creative Director at Saatchi & Saatchi London added: “Although the campaign has a fantastical element to it, our stories are firmly rooted in what Asda has to offer shoppers this Christmas, from old favourites to inventive new treats like gin infused chocolates and massive Christmas puddings. Our first thought was “how do they come up with these things?” And the campaign just grew from there.”

Asda Best Christmas Ever Credits

The Asda Best. Christmas. Ever campaign was developed at Saatchi & Saatchi London by chief creative officer Kate Stanners, group creative director Sara Rose, art director Cece Chu, copywriter Ryan Price, designer Teresa Goncalves, planning director Paul Hackett, account team Danny Josephs, Andy Chisholm, Jennie Gundill, Natasha Griffiths, Patrick Boyce and Walter Bayliss, agency producers Maja McIntosh and Georgie Ford.

Media was handled at Blue 449.

Filming was shot by duo Los Perez via Blink with producer Ewen Brown.

Editor was Joce Hockings at TenThree with producer Zoe Hockings.

Post production was done at MPC by VFX supervisor Bevis Jones and producer Annabel Bennett.

Audio post production was done at 750mph.

Music, “Don’t Stop”, performed by Fleetwood Mac, was licensed at One More Music Company.

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Post pobrano z: Uber Boxes campaign to unlock cities

Uber is highlighting the absurdity of the traffic situation in Asia’s biggest cities as part of its first ever brand purpose campaign. Using cardboard boxes to represent cars, the film humorously shows the reality of how people get around currently and ends with images of a city being overrun by boxes. The film was shot on the streets of Bangkok with around 200 extras. The Uber boxes commercial was filmed in Bangkok with 200 extras, set to the track “Bare Necessities” from the 1967 Disney film The Jungle Book. The film is a reminder of just how serious the traffic crisis enveloping our cities is becoming. Uber-commissioned research show that people in Asia are stuck in congestion for 52 minutes every day, in addition to the 26 minutes they spend trying to find parking spots. Forty three percent of millennials are considering getting rid of their cars all together.

Ridesharing companies like Uber are part of the solution to traffic congestion because they can create a viable alternative to private car ownership by giving people access to an affordable, reliable and safe ride. Together with good public transit, they make it easier for cities to move to a car-lite future.

“We use boxes as a way to dramatise the traffic situation and highlight some of the funny, absurd and occasionally annoying situations that we face on daily basis in traffic,” says Esh Ponnadurai, Marketing Director, Uber, Asia Pacific. “We also hint at the need for solution, of which ride-sharing plays an important role.”

Uber used two sources for the statistics underpinning this campaign. Firstly, a consumer survey of 9,000 people in nine Asian cities on attitudes towards traffic and parking. Secondly, Uber commissioned the Boston Consulting Group (BCG) to assess the potential benefits that greater ridesharing adoption may bring to Asian cities. The results are online at unlockingcities.com

Uber Boxes Credits

The Uber Boxes commercial was developed at Forsman & Bodenfors by copywriters Jacob Nelson, Rikke Jacobsen, art director John Bergdahl, designers Emelie Lindquist, Johan Fredriksson, planners Tobias Nordström, Leo Bovaller, music supervisor Jenny Ring, producer Alexander Blidner, account supervisor Sanna Fagring, account manager Helen Johansson, account director Alison Arnold, and PR director Bjarne Darwall, working with Uber Asia Pacific marketing director Esh Ponnadurai and rider marketing lead Kunal Gupta.

Activation strategy and orchestration were by Mano Copenhagen. Distribution was through Oath.

Filming was shot by director Adam Berg via Indio with director of photography Mattias Rudh, executive producer Johan Lindström, producer Ben Croker, 1st AD Tony Fernandez and production manager Kate Wynborne.

Editor was Paul Hardcastle at Trim.

Visual effects were produced at Swiss by VFX supervisor Leo Wilk, executive producer Emma Rosas Host, producer John Thorstensson, VFX coordinator Jonas From, VFX artists Peter Marin, Jon Wesström, Nicklas Bühlman, John Svensson, Markus Bergqvist, Marcus Krupa, Mattias Josefsson, Benjamin Kraft, Mattias Lind, and Anne Isaksson.

Colourist was Mark Gethin at MPC Los Angeles.

Sound was designed at Redpipe by sound engineer Joakim Kristensen.

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