Post pobrano z: “Monnaie de Paris” Jean-Paul Gaultier

Post pobrano z: Public voting for The Motion Awards

It’s your turn to vote on two special categories for The Motion Awards: Best New Talent and Best New Studio.

Post pobrano z: “My Moon” trailer and kickstarter

Post pobrano z: IKEA Best Day is Everyday

IKEA Australia is promoting the Autumn 2017 catalogue with “The Best Day Is The Everyday”, an advertising campaign featuring the LUDDE sheepskin rug family and their playful puppy BOLMEN step stool. Narrated by Swedish actress Lena Endre, the IKEA Best Day is Everyday commercials are designed to inspire Australians to rediscover the fun and happiness in everyday life at home. The DEKAD alarm clock, Charmtroll squeaky toy, DJURA rubberwood bed tray, the ÄNGSLILJA queen quilt cover set, GJORA bed frame, VARV table lamp, MALM set of 6 drawers, SALTBAK rug, FLADIS basket, POÄNG rocking chair, IKEA 365+ mug, are all props in this Saturday morning lie-in scenario. LUDDE provides seven tips for good sleep and great mornings, including the one featured in the commercial, making coffee for your loved ones. The Autumn campaign follows on from the 2016 Summer campaign using the same concept promoting outdoor living, this time with the THORINE guitar cushion, ÄPPLARÖ reclining chair, VARDAGEN carafe with lid and glasses, SOCKER plant pot and GESTALTA artist’s dummy.

IKEA Best Day is Everyday Credits

The IKEA Best Day is Everyday campaign was developed at The Monkeys by chief creative officer Scott Nowell, creative director Barbara Humphries, senior copywriters Tim Pashen and James Harvey, creative team Katyana O’Neill and Renee Bryant, group content director Humphrey Taylor, senior content director Kelly Howard, senior content manager Lauren Shelley, head of planning Michael Hogg, planner Charlotte Marshall, head of TV Thea Carone and senior producer Penny Brown, working with IKEA Australia national marketing manager Kristin Bengtsson, national external communications & media manager Peter Moore, marketing communications specialist Joanna Roberts, interior design leader Christine Gough, interior design leader Melissa McInnes.

Media was handled at Mindshare.

Filming for the Autumn commercial was shot by directors/puppeteers Jonny&Will (Jonny Sabbagh and Will Harper) via BlinkInk and Finch with model maker/puppeteer Alexander Berchert, director of photography Lachlan Milne, executive producers Bart Yates and Corey Esse, producer Kev Harwood, line producer Marge McInnes, production manager Daisy Bray, storyboard artist James Coe, and set designer Arthur De Norman. Editor was Ryan Boucher at The Editors with senior producer Daniel Fry. Visual effects were produced at Finch Post with VFX producer Hazel Gibson, Head of VFX Andy Timms, on-set VFX supervisor Quade Biddle, VFX artist Jonte Wendt, and colourist Tristan La Fontaine.

Filming for the Summer 2016 commercial was shot by director Lachlan Dickie via Rabbit with director of photography Geoffrey Simpson, executive producers Lucas Jenner and Alex Hay, and puppeteer Paul Trefry at Creature NFX Workshop. Editor was Drew Thompson at ARC EDIT with executive producer Joseph Perkins. Visual effects were produced at Blackbird by VFX supervisor Nicholas Ponzoni, executive producer Sam Hall and colourist Scott Mclean.

Sound and music were produced at Song Zu by sound designer Abby Sie (Autumn 2017), sound designer Myles Lowe (Summer 2016), composer Ramesh Sathiah and executive producer Katrina Aquilia.

Music, “Boyfriend (Repeat)” by Brisbane band Confidence Man, was licensed at Level Two Music.

Post pobrano z: Pedigree Child Replacement in NZ

Pedigree in New Zealand is promoting adoption with a campaign that pairs abandoned dogs with abandoned parents. The Pedigree Child Replacement program aims to connect adoption dogs with parents who find themselves alone after their kids move out. The integrated campaign drives parents to replacethem.co.nz where they can find the perfect canine substitute for their child, cheekily suggesting, ‘When your kids move out, move on’. Parents who adopt can even send in their child’s old possessions and PEDIGREE® will turn them into new possessions for their dog. Empty nesters (parents who find themselves living alone) often suffer from a sense of grief and loneliness when their children leave home. The Pedigree Child Replacement program gives parents the chance to bring the companionship, admiration, and unconditional love back into their lives just by adopting a dog. The campaign is presented through television (“Treehouse”, “Scared” and “Hard Man to Impress”), digital, radio, and press, as well as having a presence at the departure terminal of Auckland’s International Airport.

Says Cormac van den Hoofdakker, Marketing Manager of PEDIGREE®, “A dog can bring so much love, laughter and affection into a house. They bring out the best in you and fill your life with joy, just like kids do, only unlike kids they won’t grow up and move to London for work. We really hope we can get more dogs out of shelters and into homes that need them”.

Animal shelters around the country are full of dogs needing a home. At the same time, thanks to the country’s aging population, more than half of all New Zealanders are living in a household of two or less.

“All over the country there are parents sitting in quiet houses lamenting how quickly their kids grew up. At the same time there are dogs sitting in shelters longing for homes. We’re excited to connect the two.” Says Ahmad Salim, Business Director at Colenso BBDO.

Pedigree Child Replacement Credits

The Pedigree Child Replacement campaign was developed at Colenso BBDO, Auckland, with creative chairman Nick Worthington, executive creative director Steve Cochran, creative group head/art director Andre Sallowicz, creative group head/copywriter Simon Vicars, business director Abbi Barker, planner Ed Gunn, head of broadcast Jen Storey, senior producer Serena Fountain-Jones, senior activation & PR account manager Jaimie Crighton, executive digital producer Tim Freeman, digital producer Will Thorat, digital designer Dean Pomfrett, digital developer Dave Arcus, account manager Alice Sopwith and group business director Ahmad Salim working with Mars NZ marketing director Oliver Downs, PET marketing manager Cormac van den Hoofdakker, dog & specialty brand manager Maria Granados.

Photography by Will Bailey was retouched by Reks Kok.

Filming was shot by director Adam Gunser via Exit Films with producer Declan Cahill

Sound was designed at Franklin Rd.

Media was handled at Starcom NZ.

Post pobrano z: Ford MAX Motor Dreams

Ford in Spain is promoting the Max vehicle range with “Max Motor Dreams”, a baby crib that reproduces the movements, lights and sounds of a parent’s car. Parents are able to use an app to collect data from different routes as they drive, to be replicated later for the sake of their sleeping children at home. Online at fordmaxmotordreams.com, the campaign invites potential customers to take a test drive in a Max and go in the draw for their crib. “When it seems that everything is lost, we have that last wildcard we trust, the run-run of the engine, the movements, the curves, the lights of the roads. But why move from the living room if we can do it in a click? Imagine that your baby’s crib, controlled by an app, was able to reproduce the most calming routes to your baby. The route of going to the village to see the grandparents, the tour of when we go to see the cousins, wander through the center…”

Ford MAX Motor Dreams Credits

The Ford MAX Motor Dreams project was developed at GTB España and Ogilvy & Mather by executive creative director Paulo Areas, creatives Javier Martínez and Pablo Fernández, production assistant Fernando Albor, experience design director Paloma Adrién, digital team Rubén Martín, Celia Fernández, account executives María Alcalá and Yoyes Peruyero, account manager Paula Vizcaíno, account supervisor Marta Baquero,

Development and technology was produced at Espadaysantacruz Studio, powered by Raspberry Pi, Python & Dynamixel motors.

Music is by TDL Music.

Post pobrano z: Dole “The Process”

Noah Harris has an incredible knack for creating in-camera effects and novel solutions to design challenges, as his latest ad for Dole shows.

Post pobrano z: Clouds

Post pobrano z: Halifax Thunderbirds Penelope & Parker

Halifax Bank is featuring two characters from the Thunderbirds stop motion animation TV series in their advertising campaign promoting Halifax Savers Prize Draw Superdraw. British aristocrat Lady Penelope Creighton-Ward and her butler/chauffeur Aloysius Parker are shown driving through town in the pink bulletproof armoured FAB 1 limousine. Parker asks if he can make a quick stop at a Halifax branch. He goes into the branch with a letter and is amazed to discover he has won the top prize of £500,000 in the Halifax Savers Prize Draw Superdraw. When asked by a bank employee what he’ll spend the money on, Parker thinks hard. Then we see him on a beach, cocktail in hand, while his boss Lady Penelope, is back at the mansion ringing the bell for attention with him nowhere to be seen! Filmed in the Halifax branch in Marlow, Buckinghamshire, the Halifax Thunderbirds advert features Halifax colleagues as extras.

This is the fourth in a series for Halifax bringing fictional animated characters to life and place them in the real world. The series began with Top Cat followed by Flintstones, Scooby Doo and now, Thunderbirds.

Parker and Lady Penelope will also feature on in-branch promotion, on outdoor posters and in digital advertising. Other characters from the series will appear on social media, including top tips for saving from Brains, aimed at encouraging young people to save. There will also be a special mobile savings game which will tour shopping centres in the UK, giving people the chance to play on a big screen and win prizes.

Halifax Thunderbirds Credits

The Halifax Thunderbirds campaign was developed at adam&eveDDB, London, by chief creative officer Richard Brim, group executive creative director Ben Tollett, agency producer Catherine Cullen, copywriter Jonathan John, art director David Mackersey, and chief strategy officer David Golding, account director Chloe Harding, head of account management Charlotte Wolfenden, account manager Katie Gough and acount executive Olivia Adamson.

Filming was shot by directors Dom & Nic via Outsider, with producer John Madsen, production manager Steve Elgar, director of photography Alex Barber, and Thunderbirds consultant Stephen La Riviere.

Puppetry was produced at Century 21 Films by puppeteers Andrew T. Smith, Geraldine Donaldson, Richard Gregory, Elliot Pavelin, Toby Chamberlain, and Hilton Fitzsimmons.

Editor was Struan Clay at Final Cut with producer Frankie Elster.

Visual effects and design were produced at The Mill by executive producer Alex Fitzgerald, producer Kirsty Ratcliffe, shoot supervisor/executive creative director Neil Davies, 2D lead artist Fergal Hendrick, shoot supervisor/3D lead artist Jonathan Wood, 3D lead artist Alex Hammond, 2D artists John Thornton, Gavin Marler, Nick Sze, Federico Ghetta, Zoe Cosh, James MacLachlan, Olivia O’Neil, Jose Caballero, Greg Spencer, Rebecca Clay, Adam Maynard, George Rockliffe, David Wishart, Richard Payne, Dan Adams, Gary Driver, Georgina Ford, Richard De Carteret, Sal Wilson, 3D artists Ashley Tilley, Giacomo Cavalletti, Sergio Xisto, Hitesh Patel, Peter Agg, Will Burdett, Matthew Kavanagh, Jasmine Ghoreishi, Tom Hales, Alberto Lara, Alain Thay, Adam Droy, Finlay Crowther, Arnau Gilabert, Joshua Barlow, Roberto Costas Fernandez, Andrew Bartholomew, matte painting team Rainer Stolle, German Casado, and Jiyoung Lee, art director Aurelien Ronceray, colorist David “Luddy” Ludlam, colour assist team Thomas Mangham and Brendan Buckingham.

Sound was produced at 750mph by engineer Sam Ashwell.

Post pobrano z: “Here’s the Plan” (Short Film Trailer)