Also featuring the kangaroo mascots that just refuse to go away, the spot finds the three athletes deciding to head back to college after misunderstanding a conversation about watching live college football anywhere with DISH’s app. This is about as painful as the rest of DISH’s recent advertising, with the involvement of Leinart, Shuler and Bosworth the only thing really differentiating it. Hardcore college football fans might get a kick out of seeing the trio, but for the rest of us this is just another annoying DISH ad. Credits after the jump. Read more
Posts Tagged ‘Brian Carmody’
Continuing a rather ambitious storyline that kicked off late last year, Samsung, with the aid of Cheil Worldwide and Psyop, has unveiled the next installment of its soccer stars vs. aliens saga to promote the Galaxy S5. While not technically a World Cup tie-in, “The Training” (nearly 42 million views and counting–yeah, we know it’s been out for a bit) features two of the event’s biggest (and best) participants, Cristiano Ronaldo and Lionel Messi, who have also been making the rounds in spots for Nike and Adidas, respectively, that are officially attached to the event. In this campaign, though, real-life Ken doll Ronaldo and his archrival Messi, along with other notable footballers like Wayne Rooney, join forces and evolve from mere athletes to sci-fi superheroes in order to combat an alien invasion…with their S5s in tow, of course.
Psyop director Laurent Ledru, who shot this four-minute short in two months across cities including London, Barcelona, Madrid, Munich, Prague and Manchester, explains the process of working with the stars. “Because of the athlete’s varying schedules we had to shoot each player separately. It was very important that each performance felt authentic to that athlete yet interacted seamlessly with the others.” Ledru, who met the players in the varying aforementioned locales, where they would execute the acrobatic stunts and moves for the real shot, adds, “Each player was given instructions and guidance but we needed to capture them acting as naturally as possible in front of the green screen despite the CG elements that were to come later.”
Like the previous clips that have encompassed this campaign, the Samsung Galaxy branding is kept to a minimum, save for the occasional highlighting of a feature (heat sensor! fast auto focus!). It’s the stars, story and special effects that take center stage here, and now, with training said and done, we’ve only the big final showdown to look forward to. Consider us involved. Game on.
Credits after the jump.
FCB San Francisco gets a bit suggestive in their latest spot for online residential real estate site Trulia.
The 30-second spot, “Shower” shows a couple deciding whether or not they want to make an offer on a house. Said couple is in the bathroom admiring the tub when the woman makes a push for them to submit an offer. The guy isn’t so sure, but she reminds him that he was crazy about the garage, and also that the mortgage is the same as their rent. She adds that it’s in a great school district, which is important because they’re going to “start making babies,” and then adds “Let’s do it.” The guy, understandably mistakes her meaning and points out that the owner is right in the other room. It all feels a little forced, as if FCB wanted to break out of the usual real estate advertising rut but wasn’t quite sure how to go about it. The claustrophobic spot (feeling like you’re in a bathroom with two other people doesn’t exactly make for a pleasant viewing experience) also doesn’t do much to differentiate Trulia from the competition. “Shower” ends with the “That’s your moment of Trulia” tagline and an announcement of a $50,000 giveaway. Stick around for credits after the jump. Read more
BBH New York continues its PS4 onslaught with a live-action spot at the center of their new campaign for Infamous: Second Son, the third game in the best-selling Infamous series and Sony PS4 exclusive (you might consider it Sony’s answer to TitanFall, which we reported on yesterday).
The entirely live-action (although there is some silent gameplay footage on the end screen before the Playstation logo), :75 spot “depicts a locked-down city of Seattle where the superhuman protagonist, Delsin Rowe, fights back against the oppressive Department of Unified Protection (DUP).” Rowe is depicted in the ad by a somewhat passable lookalike in his trademark red cap, trailed by the DUP. The new ad teases the kind of action players can expect from the game, while avoiding revealing anything about the story. It should draw interest from both fans of the series and newcomers.
BBH New York’s campaign rolls out with “TV advertising based on the short film,” as well as additional “complementary online advertising.” Gameplay developer Sucker Punch, meanwhile, has released a trailer showcasing gameplay features players can expect in the new game. Infamous: Second Son will be released on globally on March 21st. Stick around for credits after the jump. Read more
Twofifteenmccann’s new campaign for Xbox One exclusive “Ryse: Son of Rome” is cinematic in approach and scope.
At the heart of the campaign is the 60 second TV spot “Path of Vengeance” (featured above) which sees the game’s protagonist, Marius, “fight his way from the wilds of the Roman frontier in Brittania, across the Coliseum floor and into the Imperial Palace itself.” In one of the spot’s more interesting touches, the action is accompanied by whispers from Roman citizens spreading his legend. Twofifteen wanted to represent how in ancient Rome “deeds of epic heroism were quickly spread by word of mouth, and the story changed based on who was doing the telling,” which they mimicked with the differing accounts of Marius in the spot. It’s a nice, immersive little detail that’s telling of the overall approach to the campaign.
In addition to the TV spot, Twofifteenmccann, in conjunction with production company Smuggler, created a web series featured on Machinima. Entitled “The Fall,” the series features four, five-minute mini-epics detailing Marius’ backstory, history and motives. The agency claims that each installment is a “mini epic film unto itself.” While that may be overstating a point, this is a very large-scale approach to market the game, and “The Fall” is a solid accomplishment in its own right. It also succeeds quite well at making the game look badass, with what appears to be a pretty compelling story. You can check out the first installment of “The Fall” after the break, along with campaign credits. Read more
In 2012, a creative director fell into Herman Melville’s 720-page trap and reimagined Ahab as a tow truck driver, madly chasing his white whale, an Audi Quattro. “Sometimes, I actually think it’s mocking me,” Ahab says in a gruff voice, anxiously twisting his thermos as he waits in the arctic tundra.
Said creative director then got distracted by Cetology, but has now resurfaced to produce “Ahab Redux,” in which, obviously, our automotive whale has yet to meet his driver. Ahab has retired on an island “most folks would call paradise,” but he can’t escape his all-wheel drive demon. “There isn’t a road on earth that can stop it.”
Thankfully this ad is a departure from the old winding-mountain-road glamour reel, and I appreciate the attempt at literary allusion. We’re all familiar with Moby Dick, whether we became obsessed like Ahab or SparkNoted its entirety. “Ahab Redux” is a bit of a cop-out due to its repetition, but the general idea probably gives Audi’s target affluent audience a twinge of self-satisfaction: “Oh, I know that story!”
Credits and original Ahab after the jump Read more
CP+B originally ran with the idea of a blow-up doll lunch decoy last year, suggesting that people could secure more time at Applebee’s by tricking their bosses. In 2013, the same old bag of tricks comes in the form of a longer ad – 102 seconds – showing various worker bees running out of the office to indulge in some Applebee’s. I’ve never been a fan of the fine dining cuisine at such establishments, but I’m told customers can enjoy hundreds of lunch combos starting at $6.99. If you can get a restaurant combo for that cheap, you may want to think twice.
The spot itself isn’t digging much into new ground. There is one interesting bit, when a black construction worker uses a white lunch decoy. I’m not sure what that is trying to say, if anything at all, but the man’s boss must not pay very good attention to his staff if the lunch decoy can be effective while using a different skin color than the man who is jolting to Applebee’s (Ed. update: CP+B clarifies that it did use the likeness that most resembles of its construction worker as part of the campaign. Go here). Maybe the man’s boss is using his own lunch decoy, at which point the men would run into each other at an Applebee’s and ruin the trick for everyone. Credits after the jump.
Hardee’s/Carl’s Jr. seems to be in a constant marketing tug-of-war between using half-naked girls to sell their menu and attempting to move away from sexualizing their products entirely. When David & Goliath won the biz at end of 2010/beginning of 2011, the agency starting producing spots for the fast-food chain that seemingly mocked the company’s usual over-the-top, sex sells approach while, simultaneously, not skimping on the bikini-clad models.
It seemed as though everyone was happy, that is until David & Goliath stopped putting sexy girls in the ads altogether. Rumor has it that this angered higher-ups at Carl’s Jr./Hardee’s parent, CKE, who were all like, “Where are the sexy ladies, dudes?” So, in less than a year, D&G lost the business. 72andSunny, which took over on the CKE account almost immediately, has proven their loyalty to the topless-girl-eats-a-sandwich-in-slow-motion style of execution with their ongoing TV spots. However, the above ad, “No Tomorrow,” seems to again be moving away from sexy people in favor of sexy ingredients.
As someone who tries to avoid fast-food UNLESS we’re talking about breakfast, Hardee’s Pork Chop ‘N’ Gravy Biscuits actually look very mouthwatering in this spot. I understand that Hardee’s advertising usually is a bit more conservative than Carl’s Jr.’s, but I wonder if this is the kind of execution that the latter could benefit from as well. As history has shown, a lack of sexy girls is a risky move for any agency working for these brands in particular. However, I hope this works out for 72andSunny, as they are able to do for Hardee’s what McGarryBowen tried (and failed) to do for Burger King. Credits after the jump.
John Cusack wants to know: “Why just go from A to B when imagination can take you everywhere?” It’s a valid question, especially coming from the guy who played Lloyd Dobler. Would the boombox move from Say Anything exist with conventional thinking?
The tagline is the adspeak centerpiece of Commonwealth’s new Chevrolet campaign titled “Find New Roads.” The 90-second spot premiered last night alongside irresponsible tweets about Katy Perry‘s cleavage and Justin Timberlake‘s bad haircut. Chevy’s ad acts as a trailer for what’s to come, showing off the Volt, Spark, Sonic, Impala, and Stingray. There’s also a robotic pet dog and a doe interacting, which may be awkward symbolism for combining technology and nature, but we can just pretend that part doesn’t exist. The response thus far has been positive, and the ad already racked up a six-figure view count on Youtube.
It makes sense for Commonwealth to jump outside the box. The agency, which unites folks from Goodby and McCann, was born thanks to unconventional thinking from ex-GM CMO Joel Ewanick, who didn’t want to waste money on Super Bowl ad space. One could easily see “Find New Roads” debuting during last week’s game, but it didn’t have to compete with farmers and sloppy kissing noises. GM fired Ewanick last summer, but his auto agency and some of his ideas are still in play, apparently.
I guess he didn’t try the boombox move with GM’s senior leadership. Credits after the jump.
Audi and VB+P are traditionally all about appealing to consumers’ inner-adolescent with their Super Bowl ads. Remember when vampires were a big deal? Audi remembered, so they put vampires in their Super Bowl spot last year. However, as the Twilight film series has ended, Audi and VB+P are telling a bit more of a timeless story with this year’s installment, “Prom (Worth It).”
We open on a classic American pastime, a young lad about to go to prom who, judging by his lack of date, is a loser. His dad, in a surprising move, allows him to take his sleek Audi A6 to the big dance. This isn’t the only unrealistic part of the spot, as the boy ends up making out with his crush and getting a shiner from her boyfriend. It’s not exactly the kind of bold move I support, especially as the boy doesn’t seem to ask permission from his female victim. But, according to Audi, who cares? He took what he wanted, and was rewarded. There’s nothing more American than that.
The campaign, which uses the #BraveryWins hashtag, doesn’t seem to be targeting suburban high-schoolers like the protagonist in “Prom,” and instead aims at fathers who are fearful that their spawn may never get any action. In any case, it’s cute enough to be a crowd-pleaser, but I hesitate to think that this will be one of the Super Bowl’s most talked-about ads. Credits after the jump.
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