Post pobrano z: Battle of Evony King’s Return

Top Games US ran “The Battle of Evony”, a Super Bowl commercial promoting the mobile game Evony: The King’s Return. George Washington (Aaron Eckhart), King Arthur (Jeffrey Dean Morgan) and Empress Wu Zetian (Fan Bingbing) are brought together from pivotal beginning points in Cornwall, Virginia and Shaanxi in an online two-minute cinematic film, their paths of alliance converging over time in an epic battlefield. The culminating battle was featured in a 30-second ad shown during the third quarter of the Super Bowl on Sunday, February 5th. Eleven additional ads will air later in the year, expanding the story line with forge and broken alliances.

“The Super Bowl is the ultimate test of today’s warriors, so it is a fitting place for us to showcase our free-to-play mobile game, Evony: The Kings Return” said Top Games CEO Lu Lu. “Having such spectacular talent literally leading the charge will help bring the game to life and drive interest.”

The campaign was directed by Henry Hobson of Furlined in stunning locations from New Zealand to Romania. “Being given the opportunity to pit historical figures against each other in a vast world is a hugely exhilarating and creatively rewarding experience,” says Hobson. “The world allowed me to shine a cinematic lens on both character and location, from battlefields to birthplaces, mountain tops to medieval villages. It brought all the areas I love to explore – character, performance, cinematic visuals, storytelling, tension, mood and intrigue – together.”

Battle of Evony King’s Return Credits

The Battle of Evony King’s Return campaign was developed at BSSP, San Francisco, by chief creative odficer John Butler, executive creative directors Keith Cartwright and Tom Coates, creative directors Mark Krajan, Chris Toffoli, associate creative directors Sinan Dagli and Luke Zehner, senior art director Lydia Dunay, senior copywriter Nick Zacher, director integrated production Vince Genovese, senior producer Lori Pisani, group account director Cristiano Alburitel, account supervisor Danielle Patipa, account executive Patrick Gregory, business affairs Nihad Peavler.

Filming was shot by director Henry Hobson via Furlined with president Diane Carter, executive producer Ben Davies, producer Aris McGarry and director of photography Alwin Kuchler, production designer Dominic Watkins, storyboard artist Mark Bristol, working with local production companies Goodoil Films and Icon Films.

Typography was by Me&theBootmaker.

Editor was Stewart Reeves at Work Editorial with assistant editor Josh Sasson, producer Lynne Mannino and executive producer Marlo Baird.

Visual effects were produced at Method Studios by VFX supervisor Ben Walsh, producer Mike Zavala, senior executive producer Stephanie Gilgar, CG supervisor Lee Carlton, compositing suprevisor Chris Bankoff, compositing lead Toma Bowen and VFX coordinator Kyle Leonard.

Colorist was Tom Poole at Company 3.

Sound and music were produced at Q Department. Sound was mixed at One Union by Eben Carr.

Music is “Keyboard suite in D minor (HWV 437), Sarabande” by George Frederic Handel.

Post pobrano z: Battle of Evony King’s Return

Top Games US ran “The Battle of Evony”, a Super Bowl commercial promoting the mobile game Evony: The King’s Return. George Washington (Aaron Eckhart), King Arthur (Jeffrey Dean Morgan) and Empress Wu Zetian (Fan Bingbing) are brought together from pivotal beginning points in Cornwall, Virginia and Shaanxi in an online two-minute cinematic film, their paths of alliance converging over time in an epic battlefield. The culminating battle was featured in a 30-second ad shown during the third quarter of the Super Bowl on Sunday, February 5th. Eleven additional ads will air later in the year, expanding the story line with forge and broken alliances.

“The Super Bowl is the ultimate test of today’s warriors, so it is a fitting place for us to showcase our free-to-play mobile game, Evony: The Kings Return” said Top Games CEO Lu Lu. “Having such spectacular talent literally leading the charge will help bring the game to life and drive interest.”

The campaign was directed by Henry Hobson of Furlined in stunning locations from New Zealand to Romania. “Being given the opportunity to pit historical figures against each other in a vast world is a hugely exhilarating and creatively rewarding experience,” says Hobson. “The world allowed me to shine a cinematic lens on both character and location, from battlefields to birthplaces, mountain tops to medieval villages. It brought all the areas I love to explore – character, performance, cinematic visuals, storytelling, tension, mood and intrigue – together.”

Battle of Evony King’s Return Credits

The Battle of Evony King’s Return campaign was developed at BSSP, San Francisco, by chief creative odficer John Butler, executive creative directors Keith Cartwright and Tom Coates, creative directors Mark Krajan, Chris Toffoli, associate creative directors Sinan Dagli and Luke Zehner, senior art director Lydia Dunay, senior copywriter Nick Zacher, director integrated production Vince Genovese, senior producer Lori Pisani, group account director Cristiano Alburitel, account supervisor Danielle Patipa, account executive Patrick Gregory, business affairs Nihad Peavler.

Filming was shot by director Henry Hobson via Furlined with president Diane Carter, executive producer Ben Davies, producer Aris McGarry and director of photography Alwin Kuchler, production designer Dominic Watkins, storyboard artist Mark Bristol, working with local production companies Goodoil Films and Icon Films.

Typography was by Me&theBootmaker.

Editor was Stewart Reeves at Work Editorial with assistant editor Josh Sasson, producer Lynne Mannino and executive producer Marlo Baird.

Visual effects were produced at Method Studios by VFX supervisor Ben Walsh, producer Mike Zavala, senior executive producer Stephanie Gilgar, CG supervisor Lee Carlton, compositing suprevisor Chris Bankoff, compositing lead Toma Bowen and VFX coordinator Kyle Leonard.

Colorist was Tom Poole at Company 3.

Sound and music were produced at Q Department. Sound was mixed at One Union by Eben Carr.

Music is “Keyboard suite in D minor (HWV 437), Sarabande” by George Frederic Handel.

Post pobrano z: BBC Education “Every Element of Wonder”

Love the insane amount of detail and variety that went into this BBC spot from Flink. More details on the project page.

Post pobrano z: Bright Opener

Post pobrano z: Snickers Live at Super Bowl with Adam Driver

Mars connected the “Not yourself when you’re hungry” theme with Snickers Live, a Super Bowl advertising campaign featuring actor Adam Driver. Adam known for his role as Star Wars villain Kylo Ren, was the lead character in a Western commercial that went wrong. “Hunger was the root cause of an off-the-field fumble during the Snickers live Super Bowl LI commercial last night as Adam Driver missed his mark to begin the spot. The mishap demonstrated once more the effects of what can happen when you’re hungry and off your game.”

The Snickers Live Buildup

The Snickers Live Super Bowl ad was heralded with a series of curtain openers, with more and more detail on the Showdown, pointing to Adam Driver, other less known actors, stunt horses. Short casting videos feature a horse and a dead cowboy.

The Snickers Live campaign had a 36 hour live stream countdown, with appearances from Adam Driver, Betty White, Tyler Oakley, Kandee Johnson and many more.

The Snickers Live Apology

Allison Miazga-Bedrick, Snickers brand director said, “Just as life often imitates art, hunger got the best of Adam Driver. We recognize the Snickers Live Super Bowl Commercial did not go as planned, so we’re issuing a buy one get one free offer for regular Snickers or Snickers Crisper bars at retailers nationwide to help fans prevent hunger mishaps of their own.”

Adam provided his own apology…

Snickers Live Credits

The Snickers Live campaign was developed at BBDO New York by chief creative officers David Lubars and Greg Hahn, executive creative directors Gianfranco Arena, Peter Kain, creative directors Scott Mahoney and Dan Oliva, head of TV production Devon Clark, music producer Melissa Chester, planner Sean Stogner, director of integrated production David Rolfe, executive director Amy Wertheimer, planning director Annemarie Norris, group account director Susannah Keller, account manager Blake Maraoui, account directors Lisa Piliguian and Tani Corbacho, account executive Dance Fields, and president Kirsten Flanik.

Filming was shot by director Jim Jenkins via O Positive with director of photography Mauro Fiore, executive producers Ralph Laucella, Marc Grill, and producer Blake Morrison.

Editor was Geoff Hounsell at Arcade Edit with executive producer Crissy DeSimone, head of production Kirsten Thon-Webb, senior producer Adam Becht, assistant editors Laura Sanford and Tessa Malsam, managing partner Damian Stevens.

Post production was produced at Squad 47 by executive producer Steve Greenstein.

Sound was designed at One Thousand Birds by producers Andres Velasquez + Andrew Tracy. Music was produced at Emoto by composer John Adair, producers Paul Schultz and Laura Dopp.

Post pobrano z: Snickers Live at Super Bowl with Adam Driver

Mars connected the “Not yourself when you’re hungry” theme with Snickers Live, a Super Bowl advertising campaign featuring actor Adam Driver. Adam known for his role as Star Wars villain Kylo Ren, was the lead character in a Western commercial that went wrong. “Hunger was the root cause of an off-the-field fumble during the Snickers live Super Bowl LI commercial last night as Adam Driver missed his mark to begin the spot. The mishap demonstrated once more the effects of what can happen when you’re hungry and off your game.”

The Snickers Live Buildup

The Snickers Live Super Bowl ad was heralded with a series of curtain openers, with more and more detail on the Showdown, pointing to Adam Driver, other less known actors, stunt horses. Short casting videos feature a horse and a dead cowboy.

The Snickers Live campaign had a 36 hour live stream countdown, with appearances from Adam Driver, Betty White, Tyler Oakley, Kandee Johnson and many more.

The Snickers Live Apology

Allison Miazga-Bedrick, Snickers brand director said, “Just as life often imitates art, hunger got the best of Adam Driver. We recognize the Snickers Live Super Bowl Commercial did not go as planned, so we’re issuing a buy one get one free offer for regular Snickers or Snickers Crisper bars at retailers nationwide to help fans prevent hunger mishaps of their own.”

Adam provided his own apology…

Snickers Live Credits

The Snickers Live campaign was developed at BBDO New York by chief creative officers David Lubars and Greg Hahn, executive creative directors Gianfranco Arena, Peter Kain, creative directors Scott Mahoney and Dan Oliva, head of TV production Devon Clark, music producer Melissa Chester, planner Sean Stogner, director of integrated production David Rolfe, executive director Amy Wertheimer, planning director Annemarie Norris, group account director Susannah Keller, account manager Blake Maraoui, account directors Lisa Piliguian and Tani Corbacho, account executive Dance Fields, and president Kirsten Flanik.

Filming was shot by director Jim Jenkins via O Positive with director of photography Mauro Fiore, executive producers Ralph Laucella, Marc Grill, and producer Blake Morrison.

Editor was Geoff Hounsell at Arcade Edit with executive producer Crissy DeSimone, head of production Kirsten Thon-Webb, senior producer Adam Becht, assistant editors Laura Sanford and Tessa Malsam, managing partner Damian Stevens.

Post production was produced at Squad 47 by executive producer Steve Greenstein.

Sound was designed at One Thousand Birds by producers Andres Velasquez + Andrew Tracy. Music was produced at Emoto by composer John Adair, producers Paul Schultz and Laura Dopp.

Post pobrano z: National Geographic Genius Bad Romance

National Geographic is running “Bad Romance”, a Super Bowl TV commercial promoting GENIUS, a television series focusing on the life of Albert Einstein. Einstein (Geoffrey Rush) appears in his study, tuning his violin. In a nod to Lady Gaga’s half-time show Einstein launches into a beautiful arrangement of her hit “Bad Romance”. Einstein plays the song with tremendous passion and emotion, exactly the way we imagine he would — while at the same time reflecting a sense of his tumultuous love life. The violin sings out harmoniously; there are moving rapid flashes of handwritten scientific equations symbolizing his rebellious, no-holds-barred approach to science. Einstein then abruptly stops, and as he sticks out his tongue, Einstein’s signature gesture, the National Geographic Genius ad reveals the series premiere date of Tuesday, April 25.

The Genius series charts how Albert Einstein, an imaginative, rebellious patent clerk who struggled to land an academic post in his early years, went on to become the greatest scientific mind of the 20th century, all while juggling volatile, passionate and complex personal relationships. Geoffrey Rush appears alongside Emily Watson (Elsa Einstein) and Johnny Flynn (the younger Einstein).

The song “Bad Romance” ­subtly teases Einstein’s little-known lothario ways. In fact, Einstein once said, “Lasting harmony with a woman [was] an undertaking in which I twice failed rather disgracefully.”

“We are excited to take this opportunity to promote our first-ever global scripted series, GENIUS, starring Geoffrey Rush and Emily Watson during one of America’s most-watched television events,” said Courteney Monroe, CEO, National Geographic Global Networks. “It’s a simple and engaging commercial that not only tapes into the zeitgeist of Lady Gaga’s highly anticipated Super Bowl halftime performance, but also perfectly represents the surprising side of Einstein the series captures. We hope it will cut through the noise, force viewers to take notice and give this broader audience a glimpse into the National Geographic brand of premium content.”

“We wanted to create a beautiful commercial that was true to the character of Albert Einstein,” said Eric Silver, Chief Creative Officer, North America, McCann. “We knew Einstein frequently played violin as a brainstorming technique. The timing of our placement immediately after Lady Gaga’s halftime performance felt like serendipity, giving us the perfect platform to bring the adored physicist to life in a memorable way.”

National Geographic Genius Credits

The National Geographic Genius Bad Romance commercial was developed at McCann New York by chief creative officer Eric Silver, co-chief creative officer Tom Murphy, senior art director Johan Leandersson, chief production officer Nathy Aviram, broadcast producer Danielle Korn, executive music producer Eric Johnson, global account director Rob Rawley, account director Jennifer Prieto, senior project manager Steven Marchione, account executive Patrick Glaser, assistant account executive Sarah McCollom, working with National Geographic Global Networks CEO Courteney Monroe, chief marketing officer Jill Cress, creative director Chris Spencer, global creative director Andy Baker, global communications and talent relations executive VP Chris Albert, head of global scripted development and production Carolyn Bernstein, strategy and consumer marketing executive VP Dennis Camlek.

Filming was shot by director Ivan Zacharias via Smuggler with executive producers Patrick Milling Smith, Brian Carmody and Allison Kunzman, head of production Andrew Colon, and producer Nick Landon.

Editor was Filip Malásek at Robota, Prague. Post production was done at UPP, Prague. Sound was produced at Soundsquare, Prague.

Music was superved at JSM Music, arranged and performed by Oli Langford.

Post pobrano z: Michelob Ultra Our Bar in Fitness Club

Anheuser-Busch is running “Our Bar”, a Super Bowl TV commercial placing the Michelob Ultra light beer in the context of fitness communities. Set to the theme tune from the 1980s sitcom Cheers, the Michelob Ultra Our Bar commercial features real fitness enthusiasts going through a tough workout together and sharing cold beers afterwards to celebrate. “Our Bar” follows on from the fitness-focused 2016 Super Bowl commercial, “Breathe” but this time adds in the camaraderie of the fitness club.

Azania Andrews, VP Marketing for Michelob Ultra, explains the thinking behind the commercial:

“We recognized that the social lives and beer-drinking occasions of the Michelob Ultra consumer extend beyond gathering at the bar or at home with friends. Communities forming around fitness activities represent a new type of socializing. ‘Our Bar’ emphasizes that beer is a part of this new world, grounded in celebrating accomplishments.”

Michelob Ultra Our Bar Credits

The Michelob Ultra Our Bar campaign was developed at FCB Chicago by chief creative officer Liz Taylor, global EVP, Content & Creative Development Todd Tilford, creative directors Josh Hurley and Andy Kohman, associate creative directors Anthony O’Neill and Rony Castor, senior producer Chris Wickman, director of music Stump Mahoney, manager of business affairs Kelly Lenthe, group management director Melanie Hellenga, management director Kiska Howell, account supervisor Julie Crimmins, and strategic planning director Tom Hehir.

Filming was shot by director Derek Cianfrance via Radical Media with executive producers Gregg Carlesimo and Frank Scherma, and producer Barbara Benson.

Editor was Kirk Baxter at Exile with assistant editor Zaldy Lopez, executive producer Carol Lynn Weaver, head of production Jennifer Locke, head of production Jennifer Locke, producer Remy Foxx.

Post production was done at Lord + Thomas by executive producer Rene Steinkellner, producer Clare Deady, colourist Roman Mendez, online editor Justin Orr.

Audio post production was done at Another Country by executive producer Tim Konn, sound engineer David Gerbosi and assistant Alex Paguirigan.

Music, “Where Everybody Knows Your Name” (Cheers Theme) was co-written by Gary Portnoy and Judy Hart-Angelo, and performed by Gary Portnoy.

Post pobrano z: Kia Niro Hero’s Journey with Melissa McCarthy

Kia is running “Hero’s Journey”, a commercial featuring comedic actress Melissa McCarthy, during the 2017 Super Bowl. The commercial promotes the new Kia Niro’s record-setting fuel economy with a series of perilous situations in which McCarthy responds to the call to save the planet. She braves the open ocean to save the whales, climbs high into the treetops to save the forest, heads to the Antarctic to save the ice caps, and runs in the African savannah to sort the endangered rhinoceros. “It’s hard to be an eco-warrior, but it’s easy to drive like one”. During the big game on Sunday, consumers engaging with the interactive NiroBot for Messenger will have the opportunity to win MPGs (“Melissa’s Precious Gear”), including more than 40 props and assorted items from the set of the commercial.

“People will go to great lengths to support the causes they are passionate about, and the Niro is a ‘smarter kind of crossover’ for those looking to go green without making sacrifices,” said Michael Sprague, chief operating officer and EVP, Kia Motors America. “The Niro is like nothing consumers have seen before, and with an audience of over 100 million people tuning in, Melissa McCarthy is the perfect partner to tell the world about Kia’s uniquely alluring yet practical new crossover.”

“For years, I’ve been trying to find the perfect project that combined the real threat of me breaking every bone in my body, with my desire to help save the environment. Thanks Kia!!! XOXO Love, Melissa,” said McCarthy.

Kia Niro Hero’s Journey Credits

The Kia Niro Smarter Way campaign was developed at David&Goliath, Los Angeles, by chairman David Angelo, chief creative officers Bobby Pearce, Colin Jeffery, executive creative director Gustavo Sarkis, executive creative director/copywriter Ben Purcell, copywriter Mark Monteiro, creative director John O’Hea, associate creative directors Courtney Pulver, Robert Casillas, executive broadcast producer Curt O’Brien.

Filming was shot by director Matthijs Van Heijningen via MJZ with director of photography Joost Van Gelder, executive producers David Zander and Eriks Krumins, and producer Donald Taylor.

Editor was Jono Griffith at Work Editorial with assistant editors Keith Hamm and Ben Foushee, executive producer Marlo Baird, and producer Lynne Mannino.

Visual effects were produced at The Mill by creative directors/VFX supervisors Robert Sethi, Chris “Badger” Knight, executive producer Pete King, telecine executive producer Thatcher Peterson, senior producer Anastasia Von Rahl, sr.

Sound and music were produced at Stimmung by creative director Rory Doggett, executive producer Ceinwyn Clark, and sound designer Gus Koven. Audio post production was done at Margarita Mix, Santa Monica by sound engineer Nathan Dubin, and executive producer Whitney Warren.

Music, “Holding Out for A Hero”, was performed by Bonnie Taylor.

Celebrity talent acquisition was managed at The Marketing Arm by managing director Chalcea Park.

Photography by Matthias Clamer, via Stockland Martel, was produced by Brooke Ludi at Brooke Ludi Productions, and retouched at TheLab by Rick Navarro and Gabriel Apodaca.

Post pobrano z: MTV Awards 2016