Post pobrano z: Humanium Metal melts guns for good

The Humanium Metal Initiative, developed in Sweden for IM Swedish Development Partner has won a Yellow Pencil for Good at the D&AD Awards. Humanium is a new material made of recycled metal from weapons destruction programs. The metal is melted and molded into certified units, and is now made available for commercial production. By using Humanium in their production, brands, artists and designers can help the world become a more peaceful place. With every Humanium product sold, new funds are generated to help support the victims, expand weapons destruction programs and rebuild conflict-torn societies. So far IM Swedish Development Partner has worked with weapons destruction programs in El Salvador and Guatemala, and started partnerships with watch manufacturer TRIWA, Swedish bike brand BIKEID, architectural firm Oscar Properties, design company Skultana and menswear company A Day’s March. See the Humanium Metal Initiative site online at humanium-metal.com.

Humanium Metal Certification

The Humanium Metal initiative is based on maintaining close involvement cooperation with public authorities and local organisations. The metal comes from seized firearms, in the control of relevant public authorities and cleared for destruction by competent legal representatives. Principles for agreed fair trade policies are applied in all levels of the operations, as formulated by the World Fair Trade Organisation. Technical specification of metal can be provided for each single batch of melted firearms, in accordance with the documentation handed out by the melting plant.

Humanium Metal Initiative Credits

The Humanium Metal Initiative was developed at Great Works and Akestam Holst by executive creative director Johan Pihl, creative directors Kalle Soderquist and Magnus Jakobsson, creatives Johan Ohrn, Karl Sundin, Kenna Magnusson, Magnus Magnusson, art director/designer Harald Hammar, copywriters Adam Reuterskiold, Fredrik Dahlberg, Randy Gosda, developers Alex Picha, Alexander Svensson, Cristoffer Overgaard, Kalle Peterz, Peter Norbeck, CTO Daniel Skantze, agency producer Julia Staberg, planner Kaj Bouic, photographers Erik Hagman and Johan de Verdier, client director Jacob Odqvist, and PR team Digge Zetterberg and Ida Persson.

Post pobrano z: Netflix “Five Came Back” Main Titles

Post pobrano z: Dove Image Hack for #EqualWomen in Denmark

Mindshare Denmark and Dove have created “Image Hack” a interactive campaign aimed at the advertising industry, challenging the stereotypical imagery associated with “beautiful women”. Mindshare collaborated with advertising photographers to take photographs of strong, independent and original women in non-stereotypical situations. The images were uploaded to Shutterstock and tagged to change the page algorithm, so searches on the site provide a realistic picture of women in today’s society. Advertising agencies and advertisers were then invited to use these images to produce women in a non-stereotypical way. The images were uploaded onto Shutterstock around Jan. 18. The site, ImageHack.org, went live in February. And on March 8, International Women’s Day, a series of outdoor ads appeared outside major agencies in Denmark, encouraging them to use these new images with the hashtag #EqualWomen. Advertisers and agencies from all over Denmark scooped the photos up and used them in their own advertising — 42 brands in all, including Ford, Frisko, GFB Pension, Panorm and Any Mac.

Kenneth Kaadtmann, creative director at Mindshare Denmark, talks about the origins of the Image Hack campaign:

“The inspiration came out of a search on a stock site, where we had to browse through several pages until we found an image that was actually not in some way offensive,” Kaadtmann goes on. “That led to the question, ‘What if we could hack this site?’ which led to ‘What if we could hack this site, legally?’ That was how the idea was born. We narrowed it down to two target groups—advertisers and advertising/media agencies. One group we needed to inspire to brief differently, and one group we need to inspire to recommend differently.”

Michael Hansen, Account Director at Mindshare, also explains the Image Hack concept:

“If we as industry change our production of women, we can help influence women’s self-perception. Everyone in the industry has a responsibility in relation to the beauty standards we set up for women in the world. By hacking the industry from within, we can influence that image. That’s what we want to achieve with this campaign.”

The Dove Global Beauty and Confidence Report 2016 reported that 7 out of 10 women believe that media and advertisements set an unrealistic standard of beauty that most women can never achieve. Claus Mølholm, Marketing Manager at Unilever, explains the thinking behind Dove’s support of the Image Hack campaign:

“Dove has been working on this agenda for many years, so we did not doubt that we wanted to support the campaign, which goes hand in hand with our messages. For many years, we have been working to create a more nuanced image of women in advertising. For example, we never use professional models in our advertisements, but ordinary women whose purpose is to present women’s diversity.”

Image Hack Credits

The Dove Image Hack campaign was developed at Mindshare Denmark by creative director Kenneth Kaadtmann, art director Sune Overby Sørensen, copywriter Anne Ingevold, digital designer Andreas Berglund, head of social strategy Mette Bierbum Bacher, media buyer Henrik Welling, and account director Michael Hansen.

Photography on the Image Hack site is by Atli Thor, Magnus Ekstrom, Irfaan Khan.

Post pobrano z: Nescafé Hello Bench narrows gap

Nescafé Italia is promoting the role of coffee in building relationships, with the “Nescafé Hello Bench, a specially designed red bench. Creating new relationships it’s harder than we think, even when we are in the midst of hundreds of thousands of people. To do so, we need a spark, a new opportunity and, of course, a red mug. During the Salone del Mobile in Milan pedestrians were offered a cup of coffee and a chant to sit on the Nescafé Hello Bench, a bench that gets shorter when two people sit on it. Two sensors activate the bench and let two strangers get closer: an unexpected way to break the ice and start a conversation and a connection.

Nescafé Hello Bench Credits

The Nescafe Hello Bench campaign was developed at Publicis Italia by global Chief Creative Officer Bruno Bertelli, executive creative director Cristiana Boccassini, art directors Alessandro Candito, Maxime Damo, copywriters Lina Akbarzadeh, Paolo Bartalucci, creative directors Alessandro Candito, Paolo Bartalucci, Geert De Rocker, Tom Berth, digital creative directors Azeglio Bozzardi, Martino Lapini, social media team Diletta Sala and Arya Alfieri, strategic planner Guglielmo Pezzino, TV producers Luana Strafile and Matilde Bonanni, account team Barbara Pusca, Filippo D’Andrea, Florence De Lophem and Roberta Scotti, working with marketing manager Matteo Cattaneo.

Media was handled at MediaCom.

Filming was shot by director Murphy via H+ with executive producer Stella Orsini.

Post pobrano z: Giffgaff Big Swim – Free To Go Free to Stay

UK mobile phone company Giffgaff is running “The Big Swim”, an integrated advertising campaign celebrating the concept of freedom for mobile phone customers. A woman in a canary yellow swimsuit readies herself atop a diving board, surveys the sunny lido below and then launches herself into space, gliding through the stars, leaving a trail of magical star dust behind her. On her way she passes space satellites and even interacts with an astronaut, all still whilst wearing her swimming cap and costume, before landing back in the pool with a big splash.

Credits

The Giff Gaff campaign was developed at Who Wot Why, by executive creative directors Sean Thompson, Matt Gooden, Ben Walker, producer Tracy Stokes, with Giff Gaff head of advertising Abi Pearl Ward and brand director Tom Rainsford.

Filming was shot by director Sean Thompson via Like Minded Individuals and Dark Energy Films, with director of photography Tim Maurice Jones, producer Dominic Wilcox and executive producer Matt Brown.

Editor was John Mayes at Marshall Street Editing with assistant editor Oliver Morgan.

Post production was done at The Mill by Flame artist Grant Connor, colourist James Bamford, assistant colourist Thomas Mangham, executive producer Reece Ewing, production coordinator/assistant Jomana Ayoub, shoot supervisor Naomi Anderlini, 2D lead artist Grant Connor, 3D lead artist Nico Domerego, 2D artists Jorg Schulz-Gerchow, Rebecca Clay, and Sal Wilson, 3D artists Jon Wood, Joshua Barlow, Audun Ase, Vaclav Cizkovsky, Ashley Reemul, Lucie Martinetto, Finlay Crowther, James Hansell, Sergio Xisto
Matte Painting: Jiyoung Lee, Henrik Holmberg.

Sound was designed at Wave Studios by Dugal McDiarmid.

Music, “Stay with Me Baby”, by The Walker Brothers, was licensed at Eclectic Music.

Post pobrano z: Carry Illinois “Electric Charm”

Post pobrano z: Likely the most ridiculous explainer video you’ve seen [NSFW]

Post pobrano z: RRRRRAAAAAMMMMM

Post pobrano z: The Confidante (Directors Cut)

Post pobrano z: Easter Surprise – The Real Easter Bunny

German food retailer Netto Marken-Discount has launched “Die Oster Überraschung — Der Wahre Osterhase,” (The Easter Surprise — The True Easter Bunny). The Easter Surprise commercial explores the question, “Where did the Easter Bunny come from?” The concept of a hare or rabbit distributing decorated eggs on Easter Sunday can be traced back to customs found in Lutheran Germany. This animated film provides a fantasy take on the custom. The Easter Bunny’s origins are explained in a marital union between a hen and rabbit who give life to a bunny that can lay coloured eggs. After his egg-laying skills are ridiculed by other forest creatures, the bunny runs away to the human city in the distance, leaving his worried parents behind with nothing more than a newly laid easter egg on his bed. He is soon picked up by a young girl and made famous in the human world, making headlines with the uniqueness that had previously left him feeling isolated. However, before long, he begins to miss his parents and his old world, leading him back to his family and providing the viewer with a fairytale, perfect ending. The Easter Surprise campaign is online at www.netto-online.de/ostern.

“I have a love of old fairy tales and spent a lot of time watching animated features with my kids, so when Jung von Matt approached us with this quirky script, I knew we could make something special,” says Mill+ director Jimmy Kiddell. “We knew the characters would be created in CG, but their location provided a different challenge,” Kiddell continues. “I have a fondness for puppetry and worlds with unusual scales, so the thought of building the interiors and a forest in a studio was too hard to resist. The plethora of characters, settings and story points meant this project resembled the scope of a short film.”

Easter Surprise Easter Bunny Credits

The Easter Surprise campaign was developed at Jung Von Matt by executive creative director Dörte Spengler-Ahrens, creative director Andreas Hilbig, senior art director Andreas Ristau, junior copywriters Adel Abouelfetouh and Clemens Wolff, junior art director Vlad Tarziu, senior project managers Julia Matczak and Alexandra Schöne, managing director Stephan Giest, producers Dennis Wendt, Christopher Kehrhahn, account directors Natalie Hoffmann and Natalie Martens.

The Easter Surprise commercial was produced at Mill+ by director Jimmy Kiddell, director of photography Tim Green, head of content Josh Davies, producer Terri Wood, production manager Jo Coombes, 1st assistant director Marc Wilson, production designer Dan Betteridge, and lead model maker Kate McConnell.

VFX, design, editing and colour were produced at Mill+ and The Mill by creative director/concept artist Jimmy Kiddell, executive producer Reece Ewing, producers Rebecca Perry, Justin Stiebel, head of animation Jorge Montiel, 2D lead artist Pete Hodsman, 3D Lead/VFX Supervisor: Jonathan Wood, 3D lead animator Alberto Lara, art director Melanie Climent, 2D artists Gianluca Di Marco, Jorg Schulz-Gerchow, Rafael Vormittag, Eleanor Risdon, Charles Dockerill, 3D artists Ashley Reemul, Jasmine Ghoreishi, Sauce Vilas, Antoine Mariez, Philippe Moine, Aziz Kocanaogullari, Luca Cantani, Ashley Tilley, Clement Granjon, Margaux Huneau, Jacob Gonzales, Nico Domerego, Anthony Bonnard, Antonio Filippin, Pavel Mamichev, Vladamir Venkov, Hugo Jackson, Jacques Leyreloup, Josh Docherty, Andreas Graichen, Thomas Bourret, Lucie Martinetto, Perrine Renard, Alain Thay, Walter How, Francesco Pelosi, Andrew Bartholomew, Lavan Kumar, Vittal Kuntla, Sivasubramanian, concept artists Melanie Climent, Andrew Brooks, Grant Berry, matte painter Cameron Johnson, R&D officer Craig Davies, colourist Seamus O’Kane, editor Hugo Vaughan-Hughes.

Music is “Beautiful, Always”, composed by Stephan Altman, Roisin Malone, Simon Heeger, Christian Vorländer at 2WEI with executive producers Simon Heeger & Christian Vorländer, sung by Tal Altman. Sound was designed by Thomas Muis at 2WEI.