Post pobrano z: Skittles Romance the Rainbow

Mars has released Skittles Romance, a commercial designed for viewing during the 2017 Super Bowl game. The Skittles Romance commercial features a lovesick young man using Skittles to get a girl’s attention through her bedroom window. Katie is in her room making the most of his persistence, along with her parents, and some unexpected guests.

Skittles Romance Credits

The Skittles Romance campaign was developed at adam&eveDDB by chief creative officer Richard Brim, creative director Dan Fisher, creative Till Diestel, head of integrated production Matt Craigie Atherton, agency producer Cat Reynolds, head of planning Jessica Lovell, senior planner David Mortimer, managing partner Fiona McArthur, business director Robbie Black, account director Brittany Lippett, account director Matt Dankis, account managers Holly Fletcher and Josh Edwards.

Media was handled at Mediacom/Starcom.

Filmming was shot by director Harold Einstein via Outsider with director of photography Glynn Speeckaert, executive producer Richard Packer and producer Eric Liney.

Editor was Mark Edinoff at Work Editorial with assistant editor Jamie Hodgson.

Post production was done at The Mill by executive producer Alex Fitzgerald, producers Kirsty Ratcliffe, Tim Lyall, Anastasia von Rahl, shoot supervisor Tim Davies, 2D lead artists Gareth Brannan, Gary Driver, 2D artists Joseph Tang, Jeanette Eiternes, Brad Wood, Online Artists: David Wishart, George Rockliffe, motion graphics team Rajinder Davsi and Kwok Fung Lam, colourist Seamus O’Kane, producers Alex Fitzgerald and Kirsty Ratcliffe.

Audio post production was done at Factory Studios by audio engineer Jack Hallett.

Post pobrano z: Risky Drinking

Post pobrano z: Open Annual Awards

Post pobrano z: What makes a good producer?

There can be many misconceptions behind what a producer does. The short answer is, they do a lot! Thankfully, in this month’s Guest Post we have Hana Shimizu and Zack Kortright of Hornet to offer some insight into what it is that makes a great producer.

Post pobrano z: Mercedes Easy Driver

Mercedes has released “Easy Driver”, a 30-second commercial designed for screening during the 2017 Super Bowl. Filmed by the Coen Brothers, the Mercedes Easy Driver features a motorcycle gang at a Route 66 roadhouse whose parked bikes have been blocked in by a Mercedes-Benz high-performance sports car, the AMG GTC Roadster. 76 year old actor Peter Fonda’s cameo appearance, along with the Steppenwolf soundtrack, “Born to be Wild”, make clear the reference to the 1969 movie Easy Rider. “Nice rides,” Fonda tells the gang, nodding toward their bikes as he jumps into the sports car and speeds off. The Mercedes Easy Driver commercial will be played in the fourth quarter of the Super Bowl 51 game.

The Mercedes Easy Driver commercial celebrates the 50th anniversary of AMG and salutes the spirit of freedom, independence and sheer love of the open road that is the hallmark of the AMG brand. The campaign includes an extended cut and behind-the-scenes footage for online platforms, four 10-15 second teasers, a Mercedes-AMG GT C Roadster video brochure as well as digital and social media components. MBUSA will also activate on February 4 as a co-sponsor of Rolling Stone Live: Houston, as the brand prepares to celebrate its own 50th anniversary this year.

“The AMG brand, over the past decades, has gained a phenomenal following among true performance enthusiasts and we pay that off with a continuous stream of new products leading up to this year’s much anticipated Mercedes-AMG GT C Roadster,” said Drew Slaven, vice president of marketing for Mercedes-Benz USA (MBUSA). “So the goal with the spot was to pay homage to the history that brought us to this point with something iconic but authentic that would resonate with people who have a passion for open air driving, who live for the call of the road and who share a little of that rebellion from the norm. This film, which came out late in the ’60’s, as did AMG, was the perfect vehicle for a fast drive down memory lane.”

Mercedes Easy Driver Credits

The Mercedes Easy Driver campaign was developed at Antoni, Berlin, by chief creative officer André Kemper, managing partner Tonio Kröger, creative directors Marcell Francke and Stephan Schaefer, executive producer Mark Róta, account directors Guelcan Demir and Moritz Pfingsten, and at Merkley + Partners, by chief creative officer Andy Hirsch, CEO Alex Gellert, director of broadcast production Gary Grossman, senior producer Alex Kobak, business affairs director Diane delisa, chief client officer Cynthia Davis, group account directors Lisa Mannarelli-Puleo and Beth Liss.

Filming was shot by the Coen Brothers Joel Coen and Ethan Coen via Company Films with director of photography Dan Hainey, line producer Ron Peter, executive producers Robin Benson and Richard Goldstein, head of production Ari Schneiderman.

Editor was Rick Russell at Final Cut with producer Jen Sienkwicz, executive producer Sarah Roebuck, UK loading assistant Mike Radforth and NY cutting assistant Geoff Hastings.

Visual effects were produced at Blacksmith by VFX lead Tom Bussell, lead compositor Iwan Zwarts, compositors Daniel Morris and Liz Lyons, CG FX artist Michael Dunkey.

Rotoscoping was done at Trace VFX by tracking artist Bogdan Mihajlovic, producer Megan Sweet, executive producer Charlotte Arnold.

Colorist was Tom Poole at Company 3.

Audio post production was done at Heard City by mixer Phil Loeb and at Trinitite Studios by sound designer Brian Emrich.

Music is “Born To Be Wild” by Steppenwolf.

Post pobrano z: Snow: Sami the Yeti

Post pobrano z: ROG Space Rocks!

Post pobrano z: Dove Chinese New Year Reconciliation

Mars China is promoting Dove (De Fu) chocolate in a commercial connecting Chinese New Year with intergenerational relationships. The 5-minute film tells the story of a young woman (Guan Xiao Tong) and her mother, their annual Chinese New Year ritual, and their changing relationship as they grow older. Their family greeting, “Nian nian de fu”, could be heard as “Good Fortune every year” or “Dove every year”. The commercial culminates in a touching reunion in which Dove chocolate and calligraphy is used to express their love.

The campaign was inspired by insights which revealed a growing emotional disconnect within families as Chinese people struggle to show affection and emotion, especially to their parents. The campaign sees a shift in strategy for Dove, which usually targets young independent women with its advertising. This campaign aims to drive growth in volume and penetration for the brand by appealing to a broader audience.

Arthur Tsang, CCO, BBDO Beijing, said, “This year, we wanted to tell the story of everyone; the importance of family love and how it lingers no matter how distant we become as life carries us away from our parents. Being headstrong, feisty and independent is one thing, but what is it as young people that we are really rebelling against? Our goal was simply to touch upon this nerve and remind our audience, there’s always someone that loves you back home.”

Thomas Delabriere, vice president, marketing, Mars China said, “This Chinese New Year, Dove wants to be the most talked about campaign for a spot that really touches people’s hearts.”

BBDO Beijing ECD Howard Mok said, “We have created the “Dove Girl” for more than 2 decades; she has always been an independent, witty and charming girl. However, this year, she misses home. We changed the Dove girl’s image to make it a reflection of everyone; she connected the family and the ritual of Chinese New Year. Through the Dove chocolate box, which contained all of the “Fu” calligraphy over the years, it not only deeply connected the brand and ‘Nian nian De Fu’, but also created a unique symbol of blessing Chinese New Year with chocolate.”

Credits

The Dove New Year campaign was developed at BBDO Beijing by chief creative officer Arthur Tsang, executive creative director/art director Howard Mok, group creative director/art director Gin Tee, copywriters Arthur Tsang, Bi Rui Zhang, Ray Xu, art directors Kevin Ni, Roy Yang, managing director Yeat Mung Koo, executive producer Max Lee, account director Joshua Teong, senior planner Jasmine Lai, account management team Jamie Wang, Sophie Hou, working with Mars China marketing VP Thomas Delabriere, marketing directors Jelina Wan and Bobo Chen, and marketing manager Lu Fu.

Filming was shot by director David Tsui via Moviola Productions with producer Christine Ip.

Post pobrano z: adidas One in a Billion here to create

adidas has launched “One in a Billion”, a commercial released in anticipation of Chinese New Year. The adidas One in a Billion commercial is an expression of the “Here to Create” advertising campaign developed in the USA, celebrating athletes who defy conventions, tackle challenges and express themselves as they use creativity to take their game to the next level. Here we see a new generation of athletes unleash their creativity across China, sparking a movement to inspire individuals of every sport to become one in a billion. Featured athletes are China national volleyball team player Hui Ruo Qui, China Olympic swimmer Ning Ze Tao and former football player David Beckham. “Among a billion in China, there is only one you. Your creativity is what sets you apart in sport and in life.”

The adidas One in a Billion commercial’s mass basketballer scenes poke fun at the 2015 Under Armour “Rule Yourself” campaign which focused on athletes repeating their actions over and over again to perfect their skills.

adidas One in a Billion Credits

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The adidas One in a Billion campaign was developed at 72andSunny, Los Angeles​ and New York, by chief creative officer Glenn Cole, group creative director Frank Hahn, creative director Wei Wei Dong, creative director Matthew Carey, creative technologist Tim Grover, copywriter Ben Wiley, designer Brandon Mai, chief production officer Tom Dunlap, executive producer Kerli Teo, producer Jenny Jones, group brand director James Stephens, brand director Ryan Warner, brand manager Brian Kim, brand coordinator Brittany Allen, group strategy director Sudeep Gohil, strategy director Ginger Xiang, senior strategist Marc Pardy, strategist Bogart Avila, partnerships and legal director Christina Rust, partnerships and legal manager Kelly Ventrelli, junior partnerships and legal manager Noah Winter, working with adidas VP, Global Brand Communications Ryan Morlan, global brand communications director Jenny Chen, creative production and shoot senior manager Eleanor Fitzgerald, adidas China sports performance brand director Marc Leroux, brand activation VP Philip Ho, brand communications senior director Josephine Tsai, brand communications director Lorna Leo, brand communication training manager Amy Fan.

Filming was shot by director Max Malkin via Prettybird with director of production Tracy Hauser, producer Matt Wersinger, executive producers Kerstin Emhoff and Ali Brown.

Editor was Bruce Herrman at Lost Planet, New York, with executive producer Krystn Wagenberg and producer Paolo Solarte.

Sound was designed at Barking Owl by sound designer Michael Anastasi, executive producer/creative director Kelly Bayett and producer Ashley Benton.

Finishing/VFX were produced at The Mill NY executive producer Melanie Wickham, senior producer Eliana Carranza-Pitcher, production coordinator Ashley Goodwin, shoot supervisor Eliza Randall, 2D lead artist Ilia Mokhtareizadeh, 2D artists Vi Nguyen, Andre Vidal, Mikey Smith, and Kyle Zemborain, motion graphics team Laura Nash and Chris Mennuto.

Color was produced at The Mill NY by colorist Mikey Rossiter, color assistants Nate Seymour and Elias Nousiopoulos, executive producer Dee Allen, producer Natalie Westerfield and colour coordinator Evan Bauer.

Sound was mixed at Heard City by audio mixer Eric Warzecha, producer Andi Lewis, and executive producer Sasha Awn.

Music, “Ash/Black Veil” by Apparat (Sascha Ring), was supervised by Daniel Cross.

Post pobrano z: adidas Original is never finished

adidas Originals is running “Original is never finished”, a commercial tying the Frank Sinatra classic song “My Way” with arty performances by visionaries from the worlds of music, skate, sport, style and art. adidas Originals is introducing EQT footwear, a celebrated icon from the 1990s, redefined for a new generation. The “Original is never finished” film explores the idea of reinventing the past to create meaning for a new generation. ‘Original is never finished’ delivers a visual representation bringing to life the idea that recreating in your own way will always be entirely original. In the scene “The Birth of Venus”, artist/photographer Petra Collins reinvents a symbolic icon of beauty. Collins’ subversive, striking visual sequence creates a new relevancy for Botticelli’s infamous work of art. In another scene, rapper and songwriter Snoop Dogg recreates his very own “Doggystyle” album cover with a trippy chase scene, while also making a statement on gender equality in hip hop culture by swapping the roles of his iconic protagonists. Skate legend Gonz appears alongside French professional skater Lucas Puig in “Lucas & The Gonz”, who both take to the streets in their own way. Legendary basketball icon, Kareem Abdul-Jabbar passes the torch to one of the future, Brandon Ingram in “Raining Basketballs”. Dev Hynes provides a nod to reflections of the past in his choreographed sequence in “Mirrors”. The brand’s iconic product, NMDs, is repurposed into masks by Anonymous to create new meaning as seen in “Sneakerheads”. The underlying theme remains the same — Original is never finished.

“Everything we do for adidas Originals is a work in progress, as true creativity is never finished”, says Alegra O’Hare, VP of Global Communications adidas Originals & Core. “We are constantly challenging ourselves and breaking down the boundaries that limit imagination; we hope to inspire all creators to do the same. We first raised this idea in 2015 through our superstar work, questioning the very meaning of the word. We then continued with the notion of the current dystopian future, by motivating consumers to take future into their own hands and create it. Now with original, probably the most important and centric concept to our brand’s ethos, we elevate the trefoil’s storytelling, as we look into what it really means to be original, questioning its very essence.”

adidas Original is never finished Credits

The adidas Original is never finished campaign was developed at Johannes Leonardo by chief creative officers Jan Jacobs, Leo Premutico, creative directors Ferdinando Verderi, Wesley Phelan, Matthew Edwards, copywriter Jeph Burton, art director Hunter Hampton, head of integrated production Dana May, executive producer Maria Perez, producers Tina Diep, Stine Moisen, sr, Doug Moffitt, production coordinator Alexandra Olivo, head of strategy Mark Aronson, and strategist Mine Cakmak, group account director Sam McCallum, account director Dom Dalton, account supervisor Gulru Soylu.

Filming was shot by director Terence Neale via RSA Films with executive producers Jules Daly and Paul Kawasaki, producer Rozanne Rocha-Gray, director of photography Alexis Zabe. Local work in Cape Town was produced at Egg Films by executive producer Colin Howard and producer Roxanne Rocha-Gray.

Editing was done at Exile by lead editor Shane Reid, editors Jay McConville, Travis Moore, executive producers Sasha Hirschfeld, Carol Lynn Weaver, and head of production Melanie Gagliano, head of production.

Visual effects were produced at Blacksmith by VFX supervisor/2D lead Iwan Zwarts, 2D compositors Daniel Morris, Liz Lyons, 3D lead artist Tom Bussell, 3d artist Ylli Orana, executive producer Charlotte Arnold, and producer Megan Sweet. Rotoscoping was done at Trace VFX.

Colorist was Tom Poole at Company 3 with producer Clare Movshon.

Sound was designed at Q Department by executive producer Zack Rice and producer Guin Frehling. Audio post was done at Sonic Union by sound engineer Steve Rosen, executive producer Justine Cortale, and producer Patrick Sullivan.

The soundtrack, “My Way”, was written as a French song, “Comme d’habitude” by Claude Francois, Jacque Revaux, and Gilles Thibaut before being written for Frank Sinatra by Paul Anka, published by BMG, and released by Universal Music Enterprise. Music was supervised by adidas global music manager Daniel Cross, remixed at Human by creative lead/music director Morgan Visconti, creative lead/sound designer Michael Jurasits, executive producer James Dean Wells, composer/arranger James Leibow.

Photography was by Hayden Phipps, Cape Town, Dan Regan and Atiba Jefferson, Los Angeles.

Snoop Dogg in “Doggystyle”, Stormzy in “Trap Syrup”, Mabel in “Tunnel”, Kareem Abdul-Jabbar & Brandon Ingram in “Raining Basketballs”, Dej Loaf in “Inflated”, Dev Hynes in “Mirrors”, Gonz and Lucas Puig in “Lucas & The Gonz”, Petra Collins in “The Birth of Venus”, “Sneakerheads” and “Essential Squad”.