sabato 27 giugno 2009

Titanium Grand Prix and Integrated Grand Prix 2009. Obama - Biden presidential campaign.

Go to Cannes Lions Site to watch all the winners in all categories.

"Describe the campaign/entry:
When Sen. Barack Obama announced that he was running for President, he faced the longest odds in election history. As a little known African-American Senator with only two years of Washington experience, he was running against the formidable Clinton political machine, a seemingly endless war in Iraq and economy that everyday squeezed the middle-class. The campaign relied on several tactically imperatives: Only one candidate would emerge as the “alternative” to Clinton – Obama had to own that title; the election would be about change from Bush and the previous eight years – evidenced by the 2006 elections; Obama’s appeal to younger voters and the boom of social networking tools would be integral to his success – OFA sought to create a “movement” for change; to win, OFA would need to expand the “electoral map” – fight hard in states like Virginia, North Carolina, and Indiana that had consistently voted Republican.
Give some idea of how successful this campaign/entry was with both client and consumer:
President Obama won the General Election by the biggest margin of any Democrat in 60 years, save Lyndon Johnson. By bringing millions of new voters into the political process, he won in states that had not voted for a Democrat for President in decades. Today, President Obama’s campaign serves as case-study for how a successfully integrated campaign can mobilize support, influence a population and change the face of government.
Describe how the campaign/entry was launched and executed across each channel in the order of implementation.
Primary strategy hinged upon strong finishes in Iowa and New Hampshire. To introduce voters to Obama’s biography, advertising in both states began early. OFA’s main targets were the older primary voting faithful first. This was especially true in Iowa because of the caucus system. The second focus was on those Independent voters disenchanted with Bush and the Republican Party. In all cases, OFA used television, radio, print, online, and outdoor advertising to transmit the change message. A victory in Iowa and a second place finish in New Hampshire resulted in a series of short and strong advertising campaigns across the nation. OFA put millions of dollars into Television, Radio, and Online to reinforce aggressive earned media and field strategies. Successful, OFA used a similar strategy in the General Election against Senator McCain. Obama’s exposure during the primary allowed OFA to expand the electoral map and compete in historically Republican strongholds."

Film Lions > Grand Prix 2009. Philips Carousel by Tribal DDB Amsterdam.

Go to Cannes Lions Site to watch all the winners in all categories.

"Philips set out to own the idea of a cinematic viewing experience at home. From the start the strategy was to create a film that movie lovers would want to see. The film is hosted within a site that, through interaction, educates the audience about the three main features of Philips televisions – Ambilight, Cinema 21:9 and Picture Quality – and ties these features to the act of film making. So, what would movie lovers want to see? We decided on a seamless tracking shot, one long take that a film loving audience could marvel at and be fascinated by. Within the ‘housing’ of a tracking shot we inserted behind the scenes glimpses where the experts could talk about their craft and the decisions they made whilst filming the shot. The DOP on lighting, the Director on the 21:9 format and VFX supervisor shows why picture quality is so important. To allow for more interaction, we decided that a frozen time film, shot using a state of the art motion control rig, would give the audience control upon interaction allowing them to literally move the camera back and forth frame by frame. This is done intuitively through a ‘grabbing hand’ cursor when the screen is moused over. What makes this interaction really special is the interactive cinematic score. The score, composed by Michael Fakesch, was composed as a linear piece, but was then handed over to a flash music developer to carve up and distort as the user moved back and forth through time, frame by frame – all designed to pull the audience in and hold them there longer whilst they try to unravel the mystery of how the film was made. The second main element of interaction is the way the audience is able to trigger the three behind-the-scenes educational scenes from the film’s timeline. When the user clicks on the timeline, they reveal films within the film. The timeline unfolds and expands, the post production disappears, each expert walks in and the rigging reappears revealing that all along the actors were simply holding their position whilst a state of the art motion rig captured them in frozen time. All this was designed to be as seamless as possible with maximum visual reward ensuring the audience clicked all three of the hotspots. In addition to the interaction within the film, the ratio of the film itself could be changed at anytime through first person interaction. This simple, but effective comparison tool really did get across the spectacle of the new Philips 21:9 TV. The other elegantly simple piece of interaction is Ambilight on and off, in the words of the DOP – “you really miss it when it’s not there.” A final point worth noting is the dynamic title sequence. Instead of a traditional loader, we crafted a title sequence correspond to the speed of the users internet connection. The slower the connection, the longer the sequence."
Executive Creative Director: Neil Dawson
Creative Director: Chris Baylis/Andrew Ferguson
Copywriter: Carla Madden
Agency Producer: John Reardon/Jeroen Jedeloo
Advertiser's Supervisor: Business Director: Neil Robb
Planner: Sean Chambers
Account Supervisor: Client Service Director Integrated Services: Sandra Krstic
Production Company: STINK DIGITAL London, UNITED KINGDOM
Director: Adam Berg
Producer: Daniel Bergmann/Mark Pytlik/Simon Eakhurst
Editor: Paul Hardcastle, Trim
Sound Design/Arrangement: Michael Fakesch
Music: Artist/Title: Michael Fakesch
Art Director: Mariota Essery/Andrew Ferguson
Lighting: Fredrik Backar
Post Production: Richard Lyons, Redrum Stockholm
Other Credits: Colorist: Jean-Clement Soret, Mpc London

venerdì 26 giugno 2009

Ads of the week. Virgin Mobile - McVities - Dos Equis - Mercedes - Fiat - AMF - Doritos - CLimate Change - Enel

Virgin Mobile: Virgin

Agency Producer: Danielle Sandler
Creative Director: Mark Roalfe
Creative: Paul Angus; Ted Heath
Director: Sam Brown
Production: Rogue
Producer: Kate Hitchings
Post Production: MPC

McVities: English but

Agency: Fred & Farid
Agency Producer: Robin Accard; Alexandra Marik
Creative Director: Fred & Farid
Creative: Laurent Leccia; Thomas Raillard
Director: Trevor Cornish
Production: Spy Films Inc; Stink

Dos Equis “Making an Entrance”

Agency: Euro RSCG, New York
Chief Creative Officer: Conway Williamson
Associate Creative Director: Andy Currie
Creative Director: David Weinstock
Copywriter: Thom Woodley
Senior Producer: Dan Fried
Production Company: @radical media, London
Director: Phil Lind
DP: Simon Reay
Executive Producer: Jason Kemp
Editorial Company: Outside/New York
Editor: Jeff Ferruzzo
Post Producer: Elizabeth Fitzpatrick
Executive Producer: Sila Soyer
Music Supervisor: Adam Lawrence
Post-Production Company: Outside/New York
Graphics: Riccardo Sinti
Audio Post Company: Berwyn Audio/New York
Mixer: Eric Thompson
Music Production Company: Associated Production Music LLC

Mercedes “Museum”

Agency: Merkley + Partners, New York
Creatives: Chris Landi, Tom Quaglino
Agency Producer: Chris Ott
Production Company: Outsider, London
Director: Dom & Nic
Producer: John Madsen
DP: John Lynch
Editor: Andrea MacArthur @ Peepshow
Post-Production: The Mill New York/London
Producer: Georgie Uppington (NY), Nic Barnes (NY), Chris Batten (UK)
Colorist: Fergus McCall
Lead Flame: Alex Lovejoy (NY), Barnsley (UK)
2nd Flame: Naomi Anderlini
Flame Assists: Melissa Graff, Albert Cook, Keith Sullivan,
VFX Supervisor: Angus Kneale (NY), Jonathan Westley (UK)
3D Supervisor: Hitesh Patel
Matte Painter: Can Y Sanalan

Fiat “eco:Drive”

Agency: AKQA, London
Chief Creative Officer: James Hilton
Group Creative Director:
Nick Turner
Associate Creative Director: Chris Williams
Lead Creative Developer: Rick Williams
Technical Manager: Stuart George
Technical Architect: Adam Creeger
User Experience Architect: Paul O Neil

AMF “Caterpillar”

Agency: Forsman & Bodenfors, Stockholm
Art Director: John Bergdahl
Copywriter: Jacob Nelson
Agency Producer: Magnus Kennhed
Production manager: Linda Hymèr
Production Company: Camp David, Stockholm
Director: Filip Engström
Executive Producer: Peter Kydd
Producer: Anna Adamson
DP: Linus Sandgren
Editor: Noah Herzog @ General Editorial
Post-Production: The Mill
Producer: Asher Edwards
CG Supervisor: Robert Sethi
Shoot Supervisor: John Leonti
CG: Jamie O 'Hara, Steve Beck, John Leonti, Chris Cushley, Matt Longwell
Lead Compositor: Becky Porter
Compositing: Zach Lo, Tara DeMarco, Giles Cheetham, Chris Knight, Phil Crowe
Telecine: Damien Van Der Cruyssen

Doritos “Another Place”

Doritos “First Kiss”

Agency: BBDO Argentina
Executive Creative Directors: Ramiro Rodriguez Cohen, Rodrigo Grau
Art Director: Bruno Acanfora
Copywriter: Ariel Abramovici
Head of Production: Veronica Zeta
Agency Producer: Peli Soutric
Production Company: Rebolucion, Buenos Aires
Director: Luciano Podcaminsky
Producer: Patricio Alvarez Casado
DP: Atahualpa Rojas
Editor: Diego Panich
Post-Production: Metrovision
Sound: No problem
Music: Supercharango

Climate Change PSA (Spec) “Moving Day”
Watch the ad here

Director: Gregg Casson
Producer: Gregg Casson
Cinematographer: Stefan Silvers
Editor: Christopher James Harris
Sound: Christopher James Harris
Visual FX: Jeff Skrimstad
Production Designer: Frank-Joseph Frelier

Enel “Light”

Agency: Saatchi & Saatchi, Milan
Creative Directors: Agostino Toscana, Alessandro Orlandi
Art Director: Luca Pannese
Copywriter: Luca Lorenzini
Production Company: The Family, Milan
Director: Federico Brugia
DP: Pedro Del Rey

Short film of the week. "Last Day Dream"

Production Company:, New York/Los Angeles
Director: Chris Milk
Producer: Samantha Storr
DP: Chris Milk
Editor: Livio Sanchez
Production Designer: Matthew Holt
Casting: James Levine
Telecine: Dave Hussey
Sound Designer: Eddie Kim
Post-Production: Outpost Digital

In the memory of Michael Jackson.

Film Lions 2003
Publications & media
Executive Creative Director: Tim Sutton
Creative Director: Trevor Beattie
Copywriter: Trevor Beattie
Art Director: Bil Bungay
Agency Producer: Lucy Wood
Account Supervisor: Dan Worrell
Advertiser's Supervisor: Tamsin Denbeigh
Production Company: BUGGG FILMS, London, UNITED KINGDOM
Director: Stephen Ward/Bil Bungay
Producer: Trevor Beattie
Date Of 1st Transmission: 16/09/2002

Outdoor Lions 2003
Silver Lion
Publications & media
Creative Director: Trevor Beattie
Copywriter: Trevor Beattie
Art Director: Bil Bungay
Account Supervisor: Dan Worrell
Advertiser's Supervisor: David Pullan
Typographer: Richard Kennedy
Type Of Ad: Non Standardized Outdoor
Date of First Appearance: 01/09/2002

giovedì 25 giugno 2009

Press Lions. The Grand Prix 2009.

Here you can watch the winners of the other categories, waiting for saturday for Film, Integrated & Titanium Lions.

There are also two commercials for this campaign. Will they win something on saturday?

Type of Entry: Newspaper and Magazine
Type of Entry: Press
Category: Clothing, Footwear & Accessories
Advertiser/Client: WRANGLER
Product/Service: WRANGLER
Entrant Company: FRED & FARID Paris, FRANCE
Advertising Agency: FRED & FARID Paris, FRANCE
Creative Credits
Chief Creative Officer: Fred/Farid
Executive Creative Director: Fred/Farid
Creative Director: Fred/Farid
Copywriter: Fred/Farid/Juliette Lavoix/Pauline De Montferrand
Advertiser's Supervisor: Giorgio Presca
Account Supervisor: Daniel Dormeyer/Paola Bersi/Vassilios Bazos
Art Director: Juliette Lavoix/Pauline De Montferrand
Photographer: Ryan Mcginley