Post pobrano z: Buick Not So Pee Wee Football

Buick’s 2017 Super Bowl advertising campaign “Not So Pee Wee Football”, features NFL most valued player Cam Newton and supermodel Miranda Kerr alongside two teams of Pee Wee football players and their supporters. The Buick Not So Pee Wee Football spot takes place at a Pee Wee football game where two dads are in the stands watching their kids play. As a Buick Sport Red Cascada ST pulls into the parking lot, one of the men says, “Check out that Buick!” with delight. The other dad says, “If that’s a Buick, then my kid is Cam Newton.” The football game, of course, picks up with a new injection of muscle and experience. A Buick Encore SUV arrives toward the end of the commercial, with the coach of the “Sharks” saying, “If that’s a Buick, then I’m a supermodel.” He then turns into Kerr. The campaign, online at buick.com/biggame, is designed to reset expectations about Buick’s modern vehicles, particularly the Encore SUV and Cascada convertible and provokes viewers with its “That’s a Buick?” theme.

“Buick is experiencing unprecedented sales success and consumer awareness backed by remarkable third-party quality and reliability validation,” said Duncan Aldred, vice president of Global Buick Sales, Service and Marketing. “Our latest vehicles like the Encore and Cascada belong in the spotlight on a global stage only the Super Bowl can offer.”

“Every time I take the field, I aim to shatter traditional expectations of the quarterback position,” said Newton. “Buick’s doing the same thing with this ad, and I think everyone watching will love it. It was so fun going back to the Pee Wee field with such great kids.”.

Buick Not So Pee Wee Football Credits

The Buick Not So Pee Wee Football campaign was developed at Engage M-1 / Leo Burnett Detroit, by creative directors Steve Glinski, Tim Thomas, Christopher Handyside, associate creative director/art director Stephen Kerry, associate creative director/copywriter Matt Perry, group account directors Brian McCallum and Yanlin Sun, director if integrated production Brian Dooley, executive producer Tom Hillebrand.

Filming was shot by director Erich Joiner via Tool of North America.

Editor was Paul Martinez at Arcade Edit with executive producer Crissy DeSimone, managing partner Damian Stevens, head of production Kirsten Thon-Webb, senior producer Rebecca Jameson and assistant editor Pete D’Andrea.

Visual effects were produced at Timber by creative directors Jonah Hall and Kevin Lau, executive producer Sabrina Elizondo, senior producer Megan Kennedy, lead Flame artist Christopher DeCristo, Flame artist Mark Loso, Flame assistant Austin Lewis, nuke artists Nick Hiegel, Eric Almeras, Robert Williams, Eduardo Anton. CG tracking was done at Match the Motion LLC by Matthew Merkovich. Rotoscoping was done at Rotomaker LLC. Colour was produced at Shed.

Sound was produced at Eleven Sound by sound designer and mixer Jeff Payne, executive producer Melissa Elston, assistant mixers Jordan Meltzer and AJ Murrillo.

Post pobrano z: Buick Not So Pee Wee Football

Buick’s 2017 Super Bowl advertising campaign “Not So Pee Wee Football”, features NFL most valued player Cam Newton and supermodel Miranda Kerr alongside two teams of Pee Wee football players and their supporters. The Buick Not So Pee Wee Football spot takes place at a Pee Wee football game where two dads are in the stands watching their kids play. As a Buick Sport Red Cascada ST pulls into the parking lot, one of the men says, “Check out that Buick!” with delight. The other dad says, “If that’s a Buick, then my kid is Cam Newton.” The football game, of course, picks up with a new injection of muscle and experience. A Buick Encore SUV arrives toward the end of the commercial, with the coach of the “Sharks” saying, “If that’s a Buick, then I’m a supermodel.” He then turns into Kerr. The campaign, online at buick.com/biggame, is designed to reset expectations about Buick’s modern vehicles, particularly the Encore SUV and Cascada convertible and provokes viewers with its “That’s a Buick?” theme.

“Buick is experiencing unprecedented sales success and consumer awareness backed by remarkable third-party quality and reliability validation,” said Duncan Aldred, vice president of Global Buick Sales, Service and Marketing. “Our latest vehicles like the Encore and Cascada belong in the spotlight on a global stage only the Super Bowl can offer.”

“Every time I take the field, I aim to shatter traditional expectations of the quarterback position,” said Newton. “Buick’s doing the same thing with this ad, and I think everyone watching will love it. It was so fun going back to the Pee Wee field with such great kids.”.

Buick Not So Pee Wee Football Credits

The Buick Not So Pee Wee Football campaign was developed at Engage M-1 / Leo Burnett Detroit, by creative directors Steve Glinski, Tim Thomas, Christopher Handyside, associate creative director/art director Stephen Kerry, associate creative director/copywriter Matt Perry, group account directors Brian McCallum and Yanlin Sun, director if integrated production Brian Dooley, executive producer Tom Hillebrand.

Filming was shot by director Erich Joiner via Tool of North America.

Editor was Paul Martinez at Arcade Edit with executive producer Crissy DeSimone, managing partner Damian Stevens, head of production Kirsten Thon-Webb, senior producer Rebecca Jameson and assistant editor Pete D’Andrea.

Visual effects were produced at Timber by creative directors Jonah Hall and Kevin Lau, executive producer Sabrina Elizondo, senior producer Megan Kennedy, lead Flame artist Christopher DeCristo, Flame artist Mark Loso, Flame assistant Austin Lewis, nuke artists Nick Hiegel, Eric Almeras, Robert Williams, Eduardo Anton. CG tracking was done at Match the Motion LLC by Matthew Merkovich. Rotoscoping was done at Rotomaker LLC. Colour was produced at Shed.

Sound was produced at Eleven Sound by sound designer and mixer Jeff Payne, executive producer Melissa Elston, assistant mixers Jordan Meltzer and AJ Murrillo.

Post pobrano z: 84 Lumber Journey

84 Lumber, a building materials supply company based in Pennsylvania, is using the Super Bowl to run a controversial television commercial featuring Mexican immigrants. A young girl travels with her mother on foot as they head towards the Mexico USA border. As they travel the girl collects red white and blue pieces of fabric. 84 Lumber’s Super Bowl spot is the launch of a national recruiting campaign for the company’s management training program. The 84 Lumber Journey campaign, online at journey84.com, is targeting males’ ages 20 to 29 that want to take control of their careers and embody the entrepreneurial spirit that runs rampant at 84 Lumber.

Chief Creative Officer Rob Schapiro talks about the commercial.

Director Cole Webley speaks about the controversial 84 Lumber Super Bowl commercial.

“For 60 years, this has been a company defined by its people, entrepreneurs who see opportunity where others don’t,” said Maggie Hardy Magerko, 84 Lumber owner and president. “Our next 60 years will be no different. That’s why we’re casting a wider net; we want the world to know 84 Lumber is the place for people who don’t always fit nicely into a box.”

“Our industry is going through a period of extreme disruption,” Hardy Magerko continues. “And I’ve always preferred to be the one doing the disrupting, rather than the one being disrupted. But to do that, we need to hire and train people differently. We don’t need more people interested in doing the same thing that’s always been done. We need more people interested in creating their own path for themselves and for 84 Lumber.”

84 Lumber Journey Credits

The 84 Lumber Journey campaign was developed at Brunner, Pittsburgh, by creative director Dave Vissat, chief creative officer Rob Schapiro, associate creative directors Derek Julin, Kevin Corfield, chief client officer Jeff Maggs, account director Lauren Tedesco, senior account manager Dana Lucas, associate broadcast director Kathy Baldauf, with Fixer Partners executive producers John Noble and Brad Powell.

Filming was shot by director Cole Webley via Sanctuary with director of photography Justin Brown, creative director Matt Wilson, line producer Christopher Cho, executive producer Preston Lee, heads of production Adam Litt, Leopoldo Luisetti, and production designer Christopher Lagunes.

Editor was Jeff Buchanan at Final Cut with executive producer Sarah Roebuck, producer Penny Ensley, head of production Jen Sienkwicz, assistant editor Geoff Hastings and cutting assistant Andre Castiglioni.

Visual effects were produced at Method Studios by executive producer Stuart Robinson, CG supervisor Boaz Livny, VFX supervisor Eliza Pelham Randall, Flame artists Stephen Morris and Jared Pollack, senior VFX producer Bennett Lieber.

Color was graded at Company 3 by colourist Tom Poole.

Sound was produced at Heard City by sound mixer Phil Loeb.

Music was produced Future Perfect by composer Victor Magro and producer Max Gosling.

Post pobrano z: 84 Lumber Journey

84 Lumber, a building materials supply company based in Pennsylvania, is using the Super Bowl to run a controversial television commercial featuring Mexican immigrants. A young girl travels with her mother on foot as they head towards the Mexico USA border. As they travel the girl collects red white and blue pieces of fabric. 84 Lumber’s Super Bowl spot is the launch of a national recruiting campaign for the company’s management training program. The 84 Lumber Journey campaign, online at journey84.com, is targeting males’ ages 20 to 29 that want to take control of their careers and embody the entrepreneurial spirit that runs rampant at 84 Lumber.

Chief Creative Officer Rob Schapiro talks about the commercial.

Director Cole Webley speaks about the controversial 84 Lumber Super Bowl commercial.

“For 60 years, this has been a company defined by its people, entrepreneurs who see opportunity where others don’t,” said Maggie Hardy Magerko, 84 Lumber owner and president. “Our next 60 years will be no different. That’s why we’re casting a wider net; we want the world to know 84 Lumber is the place for people who don’t always fit nicely into a box.”

“Our industry is going through a period of extreme disruption,” Hardy Magerko continues. “And I’ve always preferred to be the one doing the disrupting, rather than the one being disrupted. But to do that, we need to hire and train people differently. We don’t need more people interested in doing the same thing that’s always been done. We need more people interested in creating their own path for themselves and for 84 Lumber.”

84 Lumber Journey Credits

The 84 Lumber Journey campaign was developed at Brunner, Pittsburgh, by creative director Dave Vissat, chief creative officer Rob Schapiro, associate creative directors Derek Julin, Kevin Corfield, chief client officer Jeff Maggs, account director Lauren Tedesco, senior account manager Dana Lucas, associate broadcast director Kathy Baldauf, with Fixer Partners executive producers John Noble and Brad Powell.

Filming was shot by director Cole Webley via Sanctuary with director of photography Justin Brown, creative director Matt Wilson, line producer Christopher Cho, executive producer Preston Lee, heads of production Adam Litt, Leopoldo Luisetti, and production designer Christopher Lagunes.

Editor was Jeff Buchanan at Final Cut with executive producer Sarah Roebuck, producer Penny Ensley, head of production Jen Sienkwicz, assistant editor Geoff Hastings and cutting assistant Andre Castiglioni.

Visual effects were produced at Method Studios by executive producer Stuart Robinson, CG supervisor Boaz Livny, VFX supervisor Eliza Pelham Randall, Flame artists Stephen Morris and Jared Pollack, senior VFX producer Bennett Lieber.

Color was graded at Company 3 by colourist Tom Poole.

Sound was produced at Heard City by sound mixer Phil Loeb.

Music was produced Future Perfect by composer Victor Magro and producer Max Gosling.

Post pobrano z: Your favorite designer’s favorite designer has a new website

The legendary Justin Fines, also known as DEMO, has a new site full of beautiful work. Click the image above to see more of Justin’s timeless style.