Have you even dreamed of walking into one of your favorite paintings? How about staying the night? In this creative campaign to generate publicity for the Art Institute of Chicago's Van Gogh exhibit in 2016, Art Institute of Chicago partnered with Airbnb to create a unique, immersive experience for art lovers.
TNT Express is a division of TNT. The TNT Express company was formed when the TNT Group separated in 2011, creating two separate companies Post NL and TNT Express.
TNT Express kept the TNT name as part of the deal and TNT Post, (a Post NL company) agreed to rebrand by the end of 2014.
Design Bridge has rebranded delivery company TNT, positioning it as The People Network and creating a circular device which represents “perpetual motion”.
Design Bridge says it was asked to define a new strapline that would convey TNT’s new strategy and culture, and to design a new logo and brand expressions, which would “reflect TNT’s vision”.
A new strapline, “The People Network”, reflects the company’s aim to connect people and businesses in a “truly personal, rather than purely professional manner”, according to Design Bridge.
The consultancy hopes the new strapline will help “galvanise the ‘challenger’ spirit of those working internally at TNT”, as well as TNT customers.
TNT chief executive Tex Gunning, says: “Customers are not barcodes and we are not robots. We all relate to what drives our customers: business growth with a personal touch. Taking time to understand what customers really need distinguishes us from others. We are The People Network.”
The new identity is held within a cropped circle device giving the impression of being part of a journey and of “perpetual motion moving through the world” says Design Bridge.
TNT Post rebranded earlier this month in a project led by Sutcliffe Reynolds Fitzgerald.
Postal service TNT Post rebrands as Whistl
The TNT Group separated in 2011creating two separate companies, Post NL – Whistl’s (TNT Post’s) parent company – and TNT Express. The deal meant TNT Express retained the TNT brand name and TNT Post agreed to rebrand by the end of 2014.
Sutcliffe Reynolds Fitzgerald managing and creative director John Sutcliffe says the consultancy has worked with TNT for 25 years and won the work on the strength of this.
Sutcliffe says that Whistl wanted its new brand to be “much more human, friendly and consumer facing”.
Whistl is already rolling out an expansion plan increasing its “end-to-end” delivery service, which it says means more postman on the streets making domestic deliveries as the company shifts its focus from a pure business-to-business service.
Whistl hopes to increase staff levels from 3,000 now to 20,000 by 2019.
“That’s why Whistl needed to be softer and more approachable”, says Sutcliffe – “There are postmen walking up people’s drives.”
Senior designer Simon Grigg says that the name Whistl is musical and evokes “a posty’s whistle”. The identity is based on the Tondo typeface and the typeface for headlines is a version of Gotham Rounded, which Grigg says works well for screen and print.
Sutcliffe says that the orange brand colour is being kept from the TNT Post brand as Whistl “wanted to keep something from the past” and because “orange fits – it’s bright, warm and human”.
Unlike other Australian destinations, Melbourne is not known for its iconic buildings or amazing natural landmarks. Instead, it’s more about ‘experiences’ – food, fashion, music, the famous laneways and its overall creativity. In fact, the best bits of Melbourne are hidden away. They are things that take time to discover - but once you do, your curiosity is rewarded.
The primary objective for this campaign was to highlight the fact that Melbourne is a very different destination that is constantly changing, and there’s much more to it than initially meets the eye. Its main focus was to give the domestic audience new reasons to visit Melbourne – whether they had visited previously or never considered coming.
So Clemenger BBDO Melbourne created the Remote Control Tourist – a way to let people from anywhere in world explore the hidden secrets of Melbourne before they visit in person. To literally let them ‘go before they go’. Remote Control Tourist is a tourism marketing world-first; a real-time web experience which allows visitors from around the world to truly experience the depth of all Melbourne has to offer, in the closest way possible to actually being there. They could ask the Remote Control Tourists to explore anything: stepping on to the MCG, drinking coffee in a laneway, checking out a designer store or sampling one of Melbourne’s gourmet restaurants.
The campaign strategy was built around the idea of allowing people in other cities to experience Melbourne’s depth first hand. By harnessing the power of social media and combining it with some clever streaming video technology, the Tourists truly became the users’ eyes and ears in Melbourne. Part guide, part humble servant, the Tourists helped the audience explore the twists and turns of the city.
Potential visitors simply had to tweet or message via a specifically designed website, and the most interesting suggestions would be actioned by a Remote Control Tourist. The campaign included a number of distinct phases of activity – from pre-launch and the five-day live period, right through to a calendar of promotions and assets that can be used for a number of purposes. The strategy relied on the creation of first person video content that told the deeper and more interesting stories of Melbourne. This content is essential to provide information and to help people explore Melbourne in the future.
As the Remote Control Tourist was a world first campaign, Tool had to do a lot of work behind the scenes to work out how to even make it happen. It had no blueprint for it. The campaign itself was run on a custom built platform that allowed people from anywhere in the world to watch and control the Remote Control Tourists live as they were on the ground in Melbourne. The Remote Control Tourists were controlled by requests made on the website, Twitter and Facebook. Live requests were moderated and then fed to the website and in turn, to the Remote Control Tourists on the ground. Aside from the real-time HD video stream, viewers could also follow the journey on an interactive Google Map that provided information on the nearby places of interest.
To enable the constantly moving Tourists to stream HD footage in real-time, their backpacks contained cutting edge technology that enabled the digital video data to be split across four 4G LTE Mobile data connections. The four streams were then received at the RCT headquarters and stitched back into a single stream and then encoded for the various devices (desktop computers, smartphones, tablets) and distributed across the Internet via the Akamai network.
The resulting experience was a website that delivered a real-time HD video stream, map-based location tracking and a social feed of the user-generated requests and dialogue. The teaser campaign was launched the week before the campaign live period that incorporated bespoke designs from respected artists, Craig and Karl. The teaser campaign and live period consisted of press, outdoor posters, digital screens and banners but was complimented with a large scale social media and PR presence.
From October 2 – November 20:
- Estimated unique reach of media coverage: 150,980,058
- Twitter impressions: 41,464,450
- Facebook impressions: 7,906,130
- Total visits to site: 138,980
- Unique visits to site: 107,830
- Return visitor: 22.40%
- Average visit duration: 6:18
- Cities: 5324
- Countries interacting with the website: 171
- Positive sentiment: 96%
- Twitter impressions: 41,464,450
- Facebook impressions: 7,906,130
- Total visits to site: 138,980
- Unique visits to site: 107,830
- Return visitor: 22.40%
- Average visit duration: 6:18
- Cities: 5324
- Countries interacting with the website: 171
- Positive sentiment: 96%
- Tourism Victoria
- Government/Public Sector
- October - October 2013
- Clemenger BBDO
- MEDIA CHANNEL:
With any product, branding and building influence is a key component for the
development of airlines – especially in today’s competitive world with new lowcost carrier entrants. When combined with the pressures of the rising costs of
operating an airline and increasingly lower consumer price expectations, the
market is ultracompetitive. Airlines are awakening to the need to build their
brands to maintain and shape their market position, which can create loyalty
Is this great ad by
An airline brand is essentially the sum of the experiences that passengers have when they fly with that carrier
This ad -at least- was not horse driving although it appears in a scene or two however the ad and treatment presented a story i hope the brand can meet and deliver.
Building brand value and influence in the airline industry means constructing
communities around the product, the service and the experiences that lead to a
strong, trusted relationship. This includes much more creative, and often less expensive, methods to further shared interests and drive innovation.
American Airlines is running an advertising campaign focused on the airline’s effort to create a seamless travel experience for its customers. Each ad communicates the message that American Airlines and its innovative products and services enable the enlightened, modern traveler to, “Fly without putting your life on pause. Be yourself non-stop.” Modern special effects were used to give the ads a contemporary, cutting edge feel. Shot on-location in the Bahamas and Los Angeles, post-production special effects matched the lead characters’ experiences in their personal lives to their onboard experience. These special effects and seamless transitions required extensive use of a motion-control camera and digital production.
After School opens on a mother and daughter discussing the youngster’s role in the school play as they sit cross-legged in their living room. But something’s a bit off kilter -- as the camera swings around the room, a pair of airline seats, which had been casual living room chairs in the previous shot, appear; then the soft glowing lights of a fasten-seatbelt sign blink on along the wall; and, very faintly, a droning voice states, “This is your captain speaking,” in the background. When the camera makes one final swing from daughter to mother and pans out, the elder is not in the living room with her daughter at all, but in the cabin of an American Airlines jet, engaged in the conversation via instant message on her laptop.
Scuba follows a couple scuba diving through the rays of light, schools of fish and sea turtles off a sprawling reef. The first indications that this is not your standard reef appear in the form of a “Priority Access” sign lodged into the plant life, followed by a bank of screens showing the status of departing flights, which is just one example-in addition to text notifications and mobile boarding passes-of how American Airline passengers receive a streamlined, mobile boarding experience. As a school of fish darts in front of the camera, blurring the panorama, the water evaporates and the couple comes out in an airport terminal. “Fly without putting yourself on pause,” a narrator intones. “Be yourself, nonstop.
CreditsThe Non Stop campaign was developed at TM Advertising by creative director Bernard Park, art director Brian Wood, director of broadcast production Hal Dantzler, producer Stephanie Murdoch.
Filming was shot by director Gerard de Thame via Believe Media with director of photographyMick Coulter, executive producer Michael McQuhae, producer Fabyan Daw.
Editors were Jack Waldrip, Artie Pena at Charlie Uniform Tango with executive producer Mary Alice, audio engineer Jake Kluge
Post production and effects were produced at Absolute Post by lead VFX/Flame artist Dirk Greene, VFX artists Warren Paleos, Krissy Nordella, Alex Gabucci, designers/animators Ed Manning, Jim Vidal, executive producer Sally Heath and producer Melissa Stephano.
Colorist was Ben Eagleton at Smoke & Mirrors, New York, with managing director Jo Morgan and producer Lauren Shawe
Airlines and Twitter have a chequered history. Some airline brands have embraced the immediacy that the micro-blogging platform has to offer, while others have come in for very public floggings from disgruntled passengers.
This stunt is the latest example of KLM's social media expertise. Unusually, this strategy publicised KLM's readiness to embrace customer conversations through social media, rather than promoting ticket sales.
Rather than using Twitter to promote a new ticket offer or service, KLM wanted to let customers know about its commitment to customer service in the social media space. KLM's social media policy was to answer every customer message personally within one hour, twenty-four hours a day, seven days a week. The results was a Twitter response campaign that was people powered in more ways than one...
KLM wanted to let customers know about the service that KLM offered in the social media space. KLM's social media policy was to answer every customer message personally within one hour, twenty-four hours a day, seven days a week.
In a move designed to demonstrate its commitment to customer service through social media, KLM decided to spend a day replying to Twitter messages in person, or at more accurately, with 450 people.
Live reply involved the deployment of 450 KLM volunteers working in three shifts to answer tweets, Facebook posts, or Hyves 'scraps' using 140 characters at a time.
Followers and friends of the brand could reach KLM through social media channels in Dutch or English and ask anything regarding their travel or tickets. KLM also informed its followers about the latest airline news.
The human tweets were streamed live on a dedicated site, and archived on the KLM YouTube channel.
This stunt is one of a number that KLM has staged on Twitter. Live reply saw approximately 70 videos were uploaded onto the KLM YouTube channel, each achieving between 200 and 6,500 views.
BRAND OWNER: Air France KLM
REGION: The Netherlands
DATE: September - September 2011
MEDIA OWNERS: Twitter ,Facebook ,Hyves
MEDIA CHANNEL: Digital,Online,PR
DHL Express, the international express services provider, is running “International Specialists”, an advertising campaign translated into 25 local languages in 42 key markets worldwide with television, print, outdoor, digital and radio features. Two television commercials, “Grow” and “Runway”, introduce the “Speed of Yellow” concept, showing how key events are made possible by DHL, from creating a concept car in Paris, to receiving a circuit board in space, and putting the finishing touches to a designer dress in New York. The focus is on DHL’s expertise in logistics so it can deliver to its customers on time, every time, anywhere in the world. The TV and radio spots are accompanied by a modern cover of the classic anthem “Ain’t No Mountain High Enough,” which first featured in DHL adverts in 1991, now re-recorded by award winning producer Paul Epworth. This re-mixed version is available to download from iTunes.
A scientific breakthrough is made in Hong Kong. The next day it’s aiding research in Tromso.
A dress is stitched in Hong Kong. The next night it’s applauded in Paris.
A contract is signed in London. By 10.30 am the next day it touches down in Wall Street.
A bearing sits in a box in Guangzhou. By the end of the next day it’s in a chassis in Frankfurt.
The International Specialists campaign was developed at 180 Amsterdam by creative director Stephen Hancock, executive creative director Al Moseley, creative director Galen Graham, art director James Sadler, copywriter Dan Brooks, account directors Nicole Reid and Audrey Lefebvre, planner Mandy Graham, client team director Wolfgang Giehl, and agency producer Eline Bakker
Filming was shot by director Antoine Bardou-Jacquet via Partizan with director of photography Damien Morisot, producer David Stewart, executive producer Joe Togneri.
Post production was done at MPC (The Moving Picture Company). Visual effects were produced by Flame artist Karmen Markov. Editor was Bill Smedley at Work Post.
Sound and music were produced at P&S.
Creative Director / Copywriter: Luc Du Sault
Art Director: Vincent Bernard
Account Managers: Sandie Lafleur, Eve Boucher
Production Company: Nova Film / David Poulin, Charles Burroughs, Dominik Beaulieu
Production: Quatro Design / Enseignes Otis Image In
Australia Post has released “Zing Your Thing”, an advertising campaign designed to promote parcel services to small and medium businesses that trade online. The campaign, online at zingyourthing.com.au, uses “Zing”, a red furry ball that comes in any size, a metaphor representing the different products and services that small businesses may provide.
Click on the image below to play the Introducing Zing video in YouTube (HD)
Click on the image below to play the Zing Yoga (Balanzing) video in YouTube (HD)
Click on the image below to play the Zing Fashion video in YouTube (HD)
Click on the image below to play the Zing Bo video in YouTube (HD)
CreditsThe Zing campaign was developed at Marmalade, Melbourne, by creative director Neil Mallet, creatives Frank Trobbiani and Brian Thacker, agency producer Beaver.
Filming was shot by director Trent O’Donnell via Jungleboys with director of photography Simon Chapmanand producer Nicola Patterson
Digital work was by Amnesia Razorfish.
Shangri-La Hotels and Resorts, the international hotel chain based in Hong Kong, ran an integrated advertising campaign with the tag line, “It’s In Our Nature”, expressing the hotel’s distinctive philosophy of hospitality lived out over 40 years. The campaign takes the viewer to epic locations to communicate a simple, universal truth – “There’s no greater act of hospitality than to embrace a stranger as one’s own.” The television commercial at the heart of the campaign introduces us to an exhausted traveller alone in an overwhelming and unwelcoming landscape. As night falls and the traveller gives into exhaustion, the wolves appear, not to add to his danger, but to live over him in order to give him warmth, embracing a stranger as their own.
Click on the image below to play the 3-minute In Our Nature video in YouTube (HD)
Inspired by conversations with thousands of employees, partners and guests, the campaign focuses on the essence of the Shangri-La culture ‘embracing people from the heart and treating them like family’. “What is truly distinctive about the kind of Asian hospitality that Shangri-La offers is our colleagues’ genuine care and respect for our guests and each other. For us, this is more important than talking about palatial buildings or beautiful locations, which is why we choose this dramatically different and powerful style of campaign. It conveys the value of genuine kindness, something that is very relevant in today’s society,” said Greg Dogan, president and CEO of Shangri-La Hotels and Resorts.
The television advertisement was launched as a 90-second film, followed with a 60 and 30 second cut down versions for television, in-flight, online and cinemas. A three-minute version is available online atwww.shangri-la.com. The campaign includes a set of magazine advertisements, featuring wolves, dolphins and a swan.
CreditsThe campaign was developed at Ogilvy & Mather, Hong Kong, by executive creative directors Simon Handford and Sandy Chan, creative director/art director Pierre Desfretier, art director Genevieve Hardy, copywriters Kwei Chee Lam, Edgard Montjean, Troy Sullivan, account team Adam O’Conor and Laura Le Roy, planner Catherine Moustou, and producer James Brook-Partridge.
Filming was shot by director Bruno Aveillan via Quad Productions, Paris, with director of photography Patrick Duroux, producers Martin Coulais, Claudia Traeger and Helene Karson.
Post production was done at Wizz, Paris, by editor Fred Olszak and producer Francois Brun. Sound was designed and arranged at Chez Jean, with music composed by Bruno Coulais.
A great new print and TV ad campaign from luxury hotel The Brown Palace brings classy back to advertising. The ambitious campaign from the historic hotel located in Denver, Colorado beckons to it's days of past with it's stylish font and cocky yet clever copywrite over the beautiful images of the hotel providing the backdrop.
CD/AD: Sean Topping
CD/CW: Matt Ingwalson
AD: Camille King
CW: Karen Morris
AS: Lindsey Jacobsen
AC: Marissa Loken, Jackie Batts
MUSIC: Matt Nasi, Karen Morris, Kelsey Wittenberg
PRINT PRODUCTION: Shirley Richter
PHOTO & FILM: Bryce Boyer
EDITOR: Tom Welborn
Wild Jordan is running a Jabal Amman photo treasure hunt on May 21st. There are clues hidden to help competitors find “some of our city’s
Registration fee is 60JDs per a 4-person team, and it starts at 9:00 AM (the money will be used to protect the wild life in Jordan).
The first three prizes are:
- Accommodation for four at Feynan Ecolodge and a gift vouchers from The Nature Shop for the amount of 25JD/person for all of the members of the first winning group.
- Gift Voucher of 100JD for lunch at The Café (Wild Jordan)
- A trip for four to the Wadi Mujib water trail
IDEA/Challenge: How to communicate the most attractive prices of KLM when people are bored from tactical campaigns and they are ignoring price communication. Instead of an AD let’s give people ART!
Strategy/execution: Hungary’s most talented young artists created several artworks inspired by our destinations, and we turned the whole city into an urban gallery. This is how a tactical campaign turned into a cultural event.
• More than 500.000 people visited the exhibition during the campaign.
• More than 80.000 Euro free PR was produced
• And we almost doubled the sales requirements.
Advertising Agency: Leo Burnett, Budapest, Hungary
Creative Director: Vilmos Farkas
Art Director: Peter Vagvolgyi
Copywriter: Gergely Horvath
Account dir: Krisztina Szabo
Account executive: Dora Horvath
Account assistant: Kata Filep
PR manager: Emese Juhasz
Print prod manager: Katalin Dengelegi
Web developer: Roland Izso
Published: September 2009
Rukiya & Zabulu, are proud to announce the arrival of their beautiful baby boy, Jelani, born 6.00am Friday, March 5th at their home. Mum and baby are doing well.Advertising Agency: Ogilvy, Auckland, New Zealand
Come see our new baby giraffe. Auckland Zoo.
Executive Creative Director: Damon O'Leary, Basil Christensen
Art Director: Freddie Coltart
Copywriter: Matt Williams
Account Manager: Hannah Downes
Published: April 2010
Executive Creative Director: Marc Lineveldt
Creative Director: Danny Higgins
Copywriter: Neil Harrison
Advertiser’s Supervisor: Sara Mohammed Al Mudharreb
Account Manager: Hema Patel
Account Supervisor: Chandresh Rughani
Art Director: Darren Jardine
Photographer: Tara Atkinson
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