Post pobrano z: Edeka Eatkarus learns to fly

German supermarket brand Edeka is running “Eatkarus”, the story of a boy (Joseph Harmon) who dreams of flying and discovers the significance of food choices. The Edeka Eatkarus commercial was inspired by the Greek myth of Icarus and Daedalus, whose escape from the labyrinth of Crete was made possible with wings of feathers and wax. The story of Eatkarus shows the boy raised in an environment of obesity fuelled by gray splodge. His discovery of a bird through the window sparks a dream of flying. In the mountains he discovers the bird’s secret. “Iss wie der, der du sein willst”, is translated in English as “Eat like the one you want to be”. Edeka’s action site, edeka.de/issso, provides daily tips for diet, a body mass index calculator, and the Eatkarus film.

Edeka Eatkarus Credits

The Edeka Eatkarus campaign was developed at Jung von Matt/Alster, Hamburg.

Filming was shot by director Alex Feil via Tempomedia with director of photography Carlo Jelavic.

Music is “All I Can Do”, by Ben Kendrick.

All I Can Do Lyrics

Why does life sometimes feel so wrong
like running in circles and you don’t belong?
I always knew that this day would come
It’s time to break free, meet me on the run.
But what am I really running from?
And I look up to the open sky,
hopes in my heart,
dreams in my eye.
Will I ever make it right this time?

And all I can do
And all I can do
And all I can do is try

I hear the sound of change,
it’s everywhere they’re tryin’ to hold me down,
but I don’t care whatever they say, I believe in me.
Why am I the only one to see?
I won’t give up and I won’t give in.
Where it ends is where I begin
But am I really, am I really strong enough?

And all I can do
And all I can do
And all I can do is try

Post pobrano z: Order from Chaos

Post pobrano z: Pause Fest: OCULAR

Post pobrano z: Michael K Williams asks Am I Typecast?

Is Michael K Williams being typecast? Are you? The Atlantic invites audiences to question their assumptions in a short film starring an actor known for the nuanced complexity of the characters he portrays. The film is the centerpiece of Question Your Answers, a new campaign from American magazine The Atlantic, built on The Atlantic’s 160-year legacy and the idea of of questioning conventional wisdom. In the two-and-a-half-minute film, “Typecast,” we see Michael K Williams, known for such roles as Omar Little in The Wire and Chalky White in Boardwalk Empire, wondering aloud if he’s being typecast. But we soon discover that he’s not alone: He’s debating this complicated question with four versions of himself, all representing different aspects of who he’s been and who he is today.

“Question Your Answers” arrives at a moment of great conversation and debate about the state of media. On social media and at TheAtlantic.com, the campaign urges audiences to break down their information silos, challenge established answers, and embrace a lifestyle of continuous interrogation and exploration.

In a note introducing the campaign, The Atlantic’s President Bob Cohn writes: “The central premise of the campaign is that The Atlantic has a 160-year tradition of questioning established answers. We scrutinize our own (and others’) opinions; we challenge the received wisdom; we’re open to ideas that mess with our assumptions. We do all this as part of our commitment to bring clarity and original thinking to the most consequential issues of the day.”

“It seems like everywhere you look, people are shouting their opinions,” says Wieden+Kennedy creative director Jaclyn Crowley. “The Atlantic respects introspection and the vulnerability that comes with exploring and questioning your beliefs. This kind of thinking is not only refreshing, but necessary.”

The film’s director, David Shane of O Positive Films, says: “The idea is so smart and so simple—The Atlantic allows and encourages you to look at all sides of an issue. We tried to create the vibe of four dudes, four friends just hanging out and having this kind of thoughtful discussion. The degree of difficulty of this performance is actually hard to fully understand. He was playing, in effect, four characters, and trying to keep track of them.”

Michael K Williams Am I Typecast Credits

The QuestionsAnswers campaign campaign was developed at Wieden+Kennedy New York by executive creative director Karl Lieberman, creative directors Jaclyn Crowley and Al Merry, copywriter Brock Kirby, project manager Danielle Rounds, head of integrated production Nick Setounski, media director David Stopforth, executive producer Alison Hill, media strategist Sophie Novick, social media director Jessica Breslin, strategist Brian Ritter, account team Sara Jagielski, Patrick O, Lindsey Tim, PR and publishing director Teressa Lezzi, and management supervisor Samantha Wagner.

Filming was shot by director David Shane via O Positive with director of photography Maryse Alberti, line producer Marc Grill, executive producer Ralph Laucella,

Editor was Gavin Cutler at MackCut with producer Gina Pagano and assistant editor Pamela Petruski.

Visual effects and colour were produced at The Mill by executive producer Verity Grantham, producer Clairellen Wallin, production coordinator Kate Aspell, shoot supervisor/2D lead artist Antoine Douadi, colour producer Natalie Westerfield, colour coordinator Elizabeth Nagle, colourist Josh Bohoskey, colour assistants Daniel Moisoff, Nate Seymour, Amanda Bernhardt, Zack Wilpon.

Post pobrano z: Will winning the lottery make you happy?

Allen Laseter has set the bar quite high on what someone can produce on their own. In this Motionographer Q&A, we find out about the production of Allen’s new film for Ted-Ed as well as what the animation scene is like down in Nashville.

Post pobrano z: STZAP #4

Post pobrano z: Grammys It Was You Taylor Swift

The Recording Academy is promoting the Grammy Awards with “It was You”, a 60 second commercial featuring the words of Taylor Swift’s acceptance speech for the 58th Album of the Year award in 2016. Girls from a range of walks of life are shown reciting Taylor’s words as they work hard at achieving their dreams in theatre, music, sport and dance. Finally we cut through to Taylor herself delivering her last line, “And that will be the greatest feeling in the world”. The speech’s beginning reference to people who undercut success or take credit for accomplishments or fame is taken by fans and detractors to be a reference to Taylor’s ongoing rift with Kanye West and Kim Kardashian. However the Grammys It Was You commercial celebrates the positive power of music, and its ability to give us strength. We connect with certain artists, and their music speaks to our hearts. Their words can inspire, shift opinions, promote change and drive culture. The Recording Academy believes that Taylor’s passionate message of empowerment has inspired young women to reach for their dreams, and to not let anyone, or anything, get in their way. It gave young women everywhere something to believe in, and reminded us that music is sometimes bigger than just music.

“Music both reflects and advances culture, so we try to do the same with our annual GRAMMY Award brand campaigns. I think our campaigns tap into the dominant theme of what’s happening in society, and this year, The Recording Academy felt it right to highlight music’s uplifting aspects,” said Evan Greene, Chief Marketing Officer of the Recording Academy. “Although most of the spots carry the message with humor, as a father of two young girls, it was important to me to also create something that would speak specifically to them—and all women—using music’s inspirational language to help them feel empowered.”

Taylor Swift’s Acceptance Speech

“And as the first woman to win Album of the Year at the Grammys twice, I want to say to the young women out there, there are going to be people along the way who try to undercut your success or take credit for your accomplishments or your fame. But if you just focus on the work and you don’t let those people sidetrack you, someday when you get where you’re going, you will look around and you will know it was you and the people who love you who put you there, and that will be the greatest feeling in the world.”

Grammys It Was You Credits

The “Grammys It Was You” film was developed at TBWA\Chiat\Day Los Angeles by creative chairman Stephen Butler, executive creative director Linda Knight, creative director Jason Karley, art director Stephanie Johnson, copywriter Paula Henzel, director of production Brian O’Rourke, executive producer Anh-Thu Le, senior producer Kaitlin Moore, chief strategic officer Neil Barrie, director of digital strategy Rohit Thawani, social strategist Renee Vafa, and data strategist Justin Karch.

Filming was shot by director Rachel McDonald via Tool of North America, director of photography Tucker Korte, managing partner Oliver Fuselier, executive producer Nancy Hacohen.

Editor was Lauren Brown at NO6 with assistant editor Josh Hayes, executive producer Carr Schilling, producer Michelle Dorsch. Visual effects were produced at NO7 by lead Flame artist Verdi Sevenhuysen.

Color was produced at Framestore by colourist Beau Leon, senior producer Andrew McLintock.

Sound and music were produced at Barking Owl by creative director Kelly Bayett, composer Houston Fry, sound designer and mixer Patrick Navarre, and producer KC Dossett.

Post pobrano z: Febreze Bathroom Break with Odor Odes

Febreze, Procter & Gamble’s odor elimination brand, was promoted in “America’s Halftime Bathroom Break”, featured towards the end of the second quarter of the 2017 Super Bowl game. Kathryn Hahn (Parks and Recreation, Happyish, Transparent) provides a voiceover to a humorous look at the always-anticipated Halftime bathroom break, in which football and ad-loving fans rush to the bathroom during the ten minutes between halftime whistle and the halftime show. An extended version of the Febreze Bathroom Break commercial unpacks the factors associated with high frequency usage of the toilet. Research in the United States reveals that more toilets are flushed between the second and third quarter of the Super Bowl than at any other time during the year. The Febreze Bathroom Break commercial is an extension of Febreze’s “Odor Odes” marketing campaign, also voiced-over by Kathryn Hahn, which is centered on how the things we love the most, can also stink.

“I had so much fun working with Febreze in making this spot, which really is a humorous take on that squirm-in-your-seat moment we can ALL relate to,” said Hahn. “Whether we are tuning into the Super Bowl for the ads, the halftime show or even the game, let’s face it, any working mom can you tell you the real MVP is your bathroom!”

“Last week we launched our toughest Febreze formula to date and an all new brand marketing campaign. With over 100 million fans expected to watch the Super Bowl this year — and the anticipated spikes in halftime bathroom usage — we felt it was the perfect time and place to unveil our first-ever Super Bowl ad,” said Martin Hettich, Vice President of P&G Home Care North America and Brand Franchise Leader for Global Air Care. “We’re capturing the experience of millions of game watchers as they sit cross legged, squirming and holding it until halftime. It’s a witty and relatable moment that Febreze is uniquely poised to own on game day.”

Febreze Bathroom Break Credits

The Febreze Bathroom Break campaign was developed at Grey New York by chief creative officer Andreas Dahlqvist, executive creative directors Jeff Stamp and Leo Savage, creative directors Lance Parrish and Stephen Nathans, associate creative directors Patrick Conlon and Will Gardner, copywriters David Mattera, Cuanan Cronwright, Leo Barbosa, project director Hank Romero, strategy director Justine Feron, strategist Toni Dawkins, global account directors Rick Reilly and Mercedes Campos, account director Kelly Norris, account supervisor Tim Carpenter, account executive Stephen Koepp, assistant account executive Hannah Byrne.

Filming was shot by director Rob Leggatt via Knucklehead with executive producer Cathleen Kisichs, director of photography Ben Davis, and Grey Group’s Townhouse by president Bennett McCarroll, head of integrated production James McPherson, executive integrated producer James McPherson, executive integrated producer Tania Salter, integrated producer Emily Darby, music producers Zach Pollakoff and David Lapinsky.

Editor was Joe Guest at Final Cut with executive producer Sarah Roebuck, head of production Jen Sienkwicz, producers Brad Wood (UK) and Frankie Elster (NY), assistant editors Dan Berk (NY) and Kit Wells (UK).

Postproduction was done at Significant Others by creative director Dirk Greene, lead VFX artist Dirk Green, VFX artists Betty Cameron and Eric Gelgand, GFX artists Phillip Brooks and Will Kim, VFX producer Alex Rosa.

Colorist was Alex Bickel at Color Collective with executive producer Claudia Guevara.

Content curation and clearances were provided by Catch&Release.

Post pobrano z: Honda Yearbooks celebrate 20 Years of Dreams

Honda’s 2017 Super Bowl commercial, “Yearbooks”, features cameo appearances by the younger versions of Tina Fey, Amy Adams, Jimmy Kimmel, Steve Carell, Viola Davis, Missy Elliott, Earvin “Magic” Johnson, Stan Lee and Robert Redford. Real-life year book photos of the stars are brought to life with their own voiceovers. The Honda Yearbooks commercial was designed to promote the 2017 Honda CR-V and the 20th anniversary of the SUV brand. The release of the Honda Yearbooks ad online coincided with “Throwback Thursday,” the weekly social-media phenomenon that celebrates all things retro.The ad was supported online by homepage takeovers on ESPN, Amazon and Yahoo. The campaign will continue on TV and in out-of-home, radio, print and social media. Honda has arranged for some of the ad’s stars to interact with fans on social media.

Honda considered a variety of ad concepts but landed on the yearbook idea because it hit on the theme of “always chase your dream and never give up,” Ms. Rossick said. The first-generation CRV appeared on the Super Bowl in 1997. The 2017 edition is “a culmination of our engineers and our designers dreams,” she added. “It all just fell into place.”

Some dreams are bigger than others, of course. There are dreams of success — and there are dreams of best-in-the-world, top-of-the-game success. For Honda’s engineers, their dream for the completely redesigned CR-V was the latter. The CR-V was already Honda’s best-selling vehicle, but they wanted to make it even better. To stand out in the big game, we wanted to connect with that passion for chasing dreams. It’s easy to forget that with every incredible success story, at one point they were just another person with a dream. What if we could capture the spirit that drove and inspired them back before they were successful? That was the creative spark that led to “Yearbooks.” School yearbooks capture that moment in time when our whole lives are ahead of us. So we recruited an A-list collection of celebrities and imagined their school yearbook-selves offering advice to the audience.

Photographs of the stars were inserted into shots of real yearbooks, collected from various staffers at RPA, Elastic and A52 and Honda. The students’ names were changed to follow alphabetization in the lineups. The final result is a composite of each celebrity’s original school photo, a 3-D scan of the celebrity today, motion capture as they performed their lines, and a stand-in performer re-creating the original photo.

Credits

The Honda Yearbooks campaign was developed at RPA, Los Angeles, by executive creative director Jason Sperling.

Filming was shot by director Angus Wall via Elastic with executive producer Jason Sterman, designer Leanne Dare.

Visual effects were produced at A52 by VFX supervisor Urs Furror, CG supervisor Adam Newman, rigging lead Adam Carter, on set supervisor Andrew Wilkoff, colourist Paul Yacono. Editor was Zoe Mougin at Rock Paper Scissors.

3D head scans were produced at SCANable.

Music was by Jeremy Turner.

Post pobrano z: Desktop backgrounds, dated technology and MTV