Showing posts with label Entertainment and Media. Show all posts
Showing posts with label Entertainment and Media. Show all posts

2.7.20

We’re the Superhumans| Channel 4

http://wearethesuperhumans.com/

This inspiring campaign, launched by Channel 4’s in-house creative agency, 4Creative, to advertise the 2016 Rio Paralympics, is an ideal example of marketing that works, developed from a deep understanding of their audience.
In the lead up to the event, having conducted extensive research into athlete perceptions and audience attitudes, the marketing team launched a campaign called ‘Freaks of Nature’, challenging the perceptions of disability in sport, soon to evolve into the follow-up campaign entitled ‘Meet the Superhumans’.
Veering away from convention, the campaign portrayed Paralympians in a new light, as fearless ‘superhumans’ as opposed to people to pity.
Dramatically changing the way their audience viewed disabled athletes, 64% of viewers stated that the Channel 4 coverage had had a favourable impact on their perceptions of people with disabilities, with 82% agreeing that disabled athletes were as talented as their able-bodied counterparts.
Winning a number of national and international awards, the campaign quickly became the second most shared Olympics-related ad of all time on social media.
“One of the main challenges we faced was overcoming the indifference people felt towards the Paralympics”, says 4Creative Business Director, Olivia Browne. “One of the key ingredients to the idea’s success was the single-minded belief that the Paralympics did not have to be second best to the Olympics and could have its own voice, swagger and attitude.”








Agency: 4creative
Client: Channel 4
Award: Black & Yellow Pencil / Film Advertising Crafts / Direction for Film Advertising, 2013

Channel 4's live broadcast of the opening ceremony on the night of August 29 2012 was watched by 11.8 million TV viewers - its largest audience in ten years. The campaign also successfully raised awareness and understanding of disability in sport and helped the London 2012 Paralympics become the first Paralympic Games to sell out.

When Channel 4 became official broadcaster of the Paralympics, just 14% of the population said they were looking forward to the event. By the time the event closed, 64%* of the population agreed that the Paralympics were as good as the Olympics - a figure that rose to 79% among those who had watched Channel 4's Paralympics coverage. Meanwhile, 69%* of viewers said it was the first time they had made the effort to watch the Paralympics.

Other findings underlined this attitudinal shift. By the games' end, 65%* of viewers felt Channel 4's coverage had had a favourable impact on their perceptions of people with disabilities. 82%* agreed that disabled athletes were as talented as able-bodied - 91% among those who had watched the coverage. 68% felt the coverage had had a favourable impact on their perceptions of disabled people in sport.

Meanwhile 'Meet the Superhumans' was widely-praised for its creativity and impact winning many national and international awards including a D&AD Black Pencil, four D&AD Yellow Pencils and a Nomination at D&AD Awards 2013.


Channel 4 set out to make its coverage of the London 2012 Paralympic Games the biggest event in Channel 4's history and, by doing so, take Paralympic sport to another level. The end result was a powerful and striking campaign at the heart of which sat a 90-second TV ad, 'Meet the Superhumans'.

This film presented a number of Paralympians in 'do or die' training mode with reference to background stories and a climax depicting the intensity of elite sport competition set to a rousing musical soundtrack. Showing Paralympians as powerful warriors rather than people to pity was a striking break with convention.

'Meet the Superhumans' was Channel 4's biggest marketing push in 30 years. The campaign's scale plus its attitude, energy and production values helped create an unprecedented atmosphere of anticipation and excitement in the build up to the games.

The broadcaster's live broadcast of the opening ceremony was watched by 11.8 million TV viewers - its largest audience in ten years. The campaign also successfully raised awareness and understanding of disability in sport and helped the London 2012 Paralympics become the first Paralympic Games to sell out.
The Story


"Working with a broadcaster like Channel 4 was an opportunity for the Paralympics' organisers to take Paralympic sport to a whole new level," says Channel 4 Chief Marketing & Communications Officer Dan Brooke.

Channel 4 has a public service remit set by parliament which requires it to be innovative, distinctive, represent alternative views and bring minority voices centre stage. As a result, its winning bid for the Paralympic broadcast rights was underpinned by a number of important commitments.

For example, it committed to significantly increasing broadcast coverage - it eventually broadcast 500 hours, 400% more than the BBC's Paralympic coverage from Beijing in 2008. It also pledged to make the games more accessible to a wider audience; ensure at least 50% of the event's TV presenters were disabled; and explain disabled sports in new and more engaging ways.

"We knew from the outset editorial and advertising would need to work hand-in-hand if we were to achieve our goal of representing the event and its athletes as elite and world class with unique ability beyond their disability," Head of Marketing James Walker adds. "The challenge was: how?"
The Strategy


An internal, cross-departmental team was assembled spanning marketing, editorial and Channel 4's in-house creative agency / production company 4Creative which develops and produces creative campaigns for Channel 4 programming. "As both the marketing team and 4Creative report to me, the relationship is more equal partners than client and agency," Brooke explains.

Research into athletes' perceptions and audience attitudes was commissioned to help inform from the outset the overall vision and tone for both Channel 4's Paralympic editorial coverage and marketing. On-going attitudinal tracking was also put in place to gauge shifts over time and help feed into the early stages of creative development.

In August 2010, two years before London 2012, Channel 4 broadcast a documentary called 'Inside Incredible Athletes' - its first Paralympic-themed programming. This was supported by a marketing campaigned called 'Freaks of Nature' designed to challenge perceptions of disability in sport and encourage viewers to question their own prejudices.

"The intention was to change people's attitudes and to do that we needed to take them on a journey," Walker says. "'Freaks of Nature' was intended to challenge by turning the meaning of the phrase on its head. The idea was that if great athletes are considered exceptional and different, why not apply the same standard to Paralympians?"

The concept and the attitude it encapsulated provided an important part of the foundation for the campaign that would become 'Meet the Superhumans.'


In late 2011, work began in earnest on the London 2012 Paralympic Games launch marketing campaign at the heart of which would be a TV commercial. "The commercial was always going to be the centrepiece because TV is the strongest medium," Walker says. "And TV is the best medium to sell TV."

4Creative's starting point was the idea that Paralympic athletes are 'superhuman' - an evolution from the 'Freaks of Nature' campaign. "The line is the idea - I can't separate the two," explains Tom Tagholm, Channel 4's former Network Creative Director, who conceived and directed the 'Meet the Superhumans' campaign. "I'll normally try to write a visual idea and end in a line that sums up the thought in a strong way. It's what happened here."

What was needed was a creative execution that would make people both watch and think again about what they were watching - to wonder at who would win, rather than wonder that a disabled athlete can compete at all.


Tagholm's idea was for a film depicting the pain and joy involved in the intense preparation for and participation in elite, world-class competition with reference to some of the Paralympians' back stories - an explosion, a car crash, a mum in hospital. Its success would depend on conveying the emotional intensity, energy and attitude of the athletes themselves.

A decision was made to shoot live sports footage at Paralympian test events and storyboard iconic shots which selected athletes would then be asked to recreate.

"One of the main challenges we faced was overcoming the indifference people felt towards the Paralmypics. One of the key ingredients to the idea's success was the single-minded belief that the Paralympics did not have to be second best to the Olympics and could have its own voice, swagger and attitude," says 4Creative Business Director Olivia Browne.

"We absolutely embraced the athletes: their stance, the ways they've adapted to their sport, the ways they use their bodies. We sought to capture their 'take us as we are' spirit in a way that hadn't been done before - to celebrate the ability beyond their disability."

Led by producers Gwilym Gwillim and Rory Fry, the 4Creative production team spent 16 days shooting Paralympians all over the country but only for limited periods of time due to their intense training regimes. At all times the emphasis was on the need to find camera angles that were new and felt special. "On some occasions up to ten cameras were used - a mixture of formats including Phantom, Alexa and Canon 5D," Browne adds. "We even invented rigs that didn't exist to get right to the heart of the action."


Striking the right balance in the created scenes between footage that was both natural and shot from the heart of the action was also a challenge. Meanwhile, the back story scenes were storyboarded then shot as a "flashback moment" that would appear only briefly to provide an emotional jolt in the middle of the film.

"I didn't know these scenes would come in the middle of the ad until I got a little way into the edit," Tagholm says. "It just seemed the right place to not dwell on or over-dramatise these moments, but ensure they are felt in a vivid way."

The importance of attitude and emotional intensity made 4Creative editor Tim Hardy's role critical. Pace was essential - each shot had to be high energy, with nothing slow or moody. It was about being unapologetic with every aspect of the production - including the choice of music. Which is why when early on in the edit Hardy suggested Public Enemy's 'Harder Than You Think' all involved agreed the fit was perfect.

"I wrote 'Meet the Superhumans' to a hip hop track and this is where we looked first," Tagholm explains. "'Harder Than You Think' has the energy and the swagger and happens to work lyrically so it's got a few things going for it."

What did the Judges Have to say about Meet the Superhumans?

Watch our D&AD Black Pencil Judging film to find out.


Throughout the campaign's development, Channel 4 was in regular and close contact with Olympic organiser LOCOG, the Paralympic authorities and local sports governing bodies as well as its own sponsorship partners: Sainsbury and BT. "The big discussion with our external partners was about the unconventional way we proposed promoting the sport," Brooke explains. "But we were confident in our approach and the knowledge that we had won the broadcast rights because of (not despite) our commitment to handling them in a Channel 4 way."

Another challenge was when to launch 'Meet the Superhumans' to maximise its potential impact, Walker adds: "The question was whether to start it before, during or after the Olympics. Before seemed the right option allowing us both more time to build reach and to show clearly that the Paralympics can be the equal of the Olympics."

So 'Meet the Superhumans' was mass-launched simultaneously across 78 TV channels on Tuesday July 17 2012 at 9pm to reach at least 50% of the UK TV audience in one fell swoop. The film was supported by a series of posters continuing the 'Superhumans' theme and a stunt - 'Thanks for the warm up' - in which Channel 4 used Twitter and outdoor media in the final days of the Olympics to thank that event for preparing the audience for the Paralympics.

Looking back, Brooke believes Channel 4 creative culture played a central role in the campaign's success. "Our remit to be innovative and distinctive is so deeply engrained when I turn down ideas it's more likely to be because they are too conservative," he says.

"Some might question whether a cross-departmental committee is the best way of developing creative ideas. But it works for us because more people in a room allows more stress testing and sharpening of ideas, not less. 'Meet the Superhumans' typifies the importance of being bold while staying true to your core brand values and demonstrates the value of taking a creative risk."

Tagholm agrees: "The thinking was to go big and never be apologetic. You can't do this in an organisation if people are scared."

Credit:
Channel 4 is proud to present the 3-minute trailer for the Rio 2016 Paralympic Games. Signed & Subtitled and Audio Described versions are available in the playlist. Download the track at http://wearethesuperhumans.com from Sat 16th July, with all profits going to the British Paralympic Association. Writers: Strouse/Adams Publisher: Warner/Chappell Music Publishing Ltd Hannah Cockcroft – ParalympicsGB Wheelchair Racer 00:32 Mel Nicholls – ParalympicsGB Wheelchair Racer 00:34 Joren Teeuwen - Netherlands Paralympics High Jumper 00:37 Matt Stutzman – USParalympics Archer 00:49 ParalympicsGB Wheelchair Rugby Team 1:00 & 2:24 Iaroslav Semenenko – Ukrainian Paralympic Swimmer – 1:26 Richard Whitehead – ParalympicsGB Athlete 1:27 & 2:09 ParalympicsGB Women’s Wheelchair Basketball Team 1:32 Piers Gilliver and Dimitri Coutya - ParalympicsGB Fencers 1.35 & 2:11 Ellie Simmonds – ParalympicsGB Swimmer 1:54 Libby Clegg – ParalympicsGB Sprinter 1:55 Sam Ruddock – ParalympicsGB Shot Put 1:56 Jody Cundy – Paralympics GB Cyclist 1:57 David Weir – ParalympicsGB Wheelchair Racer 1:57 Will Bayley and Kim Daybell – ParalympicsGB Table Tennis 2:07 Jessica Jane Applegate – ParalympicsGB Swimmer 2:10 Ali Jawad – ParalympicsGB Powerlifter 2:11 Natalie Blake – ParalmypicsGB Powerlifter 2:11 Micky Yule – ParalympicsGB Powerlifter 2:12 Chris Skelley and Jack Hodgson – ParalympicsGB Judokas 2.30

16.11.16

Adobe Stock Apparel SS16 Lookbook

If you're a marketer, you've experienced the pain of sorting through seemingly endless pages of bad stock photos in search of one that just isn't too awful. To promote their new stock photo service Adobe Stock, Adobe partnered with Swedish agency Abby Priest to develop a tongue-in-cheek fashion line that features outdated, overused stock photos.

You can see the full Adobe Stock Apparel lookbook here.


The Art Institute of Chicago and Airbnb

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.



12.9.16

Marvel| Ant-Man Mini Billboards


To build hype for their upcoming movie, the marketing team behind Ant-Man placed tiny billboards in Australian cities.
Naturally, people reacted in the only way you would expect in 2015 when seeing something out of the ordinary, they posted pictures of it on social media. This is a genius way to get people talking about your brand, without asking them to.

11.9.16

National Geographic | My Nat Geo Covershot

National Geographic launched a Facebook contest where their fans had a chance to have their own photo featured on the cover of the magazine and win two tickets for a free vacation. All the fans had to do was upload their photos and caption it and they were automatically entered to win.


23.2.13

Hitchcock as a movie marketing



Hitchcock wasn’t only a master of moviemaking, he was pioneer of movie marketing. Psycho was a low budget film ($800K) that could have easily tanked.

When Hitchcock finished the movie, the studio refused to premiere it. Which forced him to come up with his own marketing strategy. He filmed this message to moviehouse managers across the country to show them how to “sell” Psycho, which (brilliantly) advised them to forbid anyone entrance after the movie started. This resulted in long lines of ticket-holders outside theaters and drive-ins, jittery with anticipation, which translated into great WOM, much harder to achieve when social media required social contact. Psycho became one of the hit movies of 1960 and was nominated for an Oscar.

21.3.12

The drunk thief | Mahiki Night Club / Anti Drink and Drive – 2012





THE ORIGINAL? 
Antral Taxi Company  / Anti Drink and Drive – 2007
Source : Cannes BRONZE LION
Agency : DraftFCB Lisbon (Portugal)

The Drunk Thief
Mahiki Night Club / Anti Drink and Drive – 2012
Source : Adsoftheworld
Agency : Bates Pangulf (UAE)

Mahiki, Dubai's newest and hottest nightclub, wished to promote the use of taxis instead of drinking and driving, as one of their social responsibility initiatives so Bates PanGulf created this idea

Category: Public interest
Client: Mahiki
Agency: Bates PanGulf
Country: United Arab Emirates
Creative Director: Richard Nugent
Creative Director: Prasanna Hegde
Art Director: Haja Mohideen
Art Director: vidhu pv
Art Director: Abdul Shafeek
Copywriter: Sheldon Serrao
Creative Group Head: rajaram ojha

9.9.11

Sky TV Match Fit for Rugby World Cup

Sky Television in New Zealand knows that the Rugby World Cup 2011 is imminent. Will the mighty All Blacksbe match fit? More importantly, will Sky TV’s camera and sound crew be match fit? Gunnery Sergeant Cleaver takes the team through its paces, getting ready to show 48 games. The campaign is online atFacebook and Twitter (@sergeantcleaver). 


Sky TV Match Fit Challenges

Sky TV Get Match Fit

Sky TV All Blacks Crew





Credits

The Match Fit ad was developed at DDB New Zealand by executive creative director Toby Talbot, creative director Regan Grafton, copywriter Gavin Siakimotu, art director Natalie Knight, agency producer Judy Thompson, account director Danielle Richards, account manager Brad Armstrong, and managing partner Scott Wallace.
Filming was shot by director Tim Bullock via Prodigy Films with director of photography Geoffrey Hall, producers Jonathan Samway and Mark Matthews. Editor was Adam Wills. Post production was done atPerceptual Engineering.
Sound was produced at Liquid Studios.

12.6.11

Drafthouse Cimema :::Angry Customer Voicemail

Alamo Drafthouse Cinema does not tolerate people talking or texting in their theaters and they take this rule serious. In fact, before every film they give several warnings on screen to prevent such inappropriate theater etiquette. Occasionally however some people don't follow these rules and movie goers have to be escorted out. Case in point is this clever spot that takes an actual voicemail of a customer who was recently kicked out of a Texas theater for her this type of bad behavior. The joke is on her though, as the clever movie chain turned her hilarious customer complaint into a viral video. So watch out the next time you complain to a company, they just might use you in one of their commercials.





"We do not tolerate people that talk or text in the theater. In fact, before every film, we have several warnings on screen to prevent such happenings. Occasionally, someone doesn't follow the rules, and we do, in fact, kick their asses out of our theater. "
This video is an actual voicemail from a woman that was kicked out of one of our Austin theaters. Thanks, anonymous woman, for being awesome.
Become a fan on Facebook -- www.facebook.com/alamodrafthouse

For more info on the Alamo Drafthouse, visit www.Drafthouse.com.

9.5.11

Playboy Interview Garage Tour






Advertising Agency: Grey, Buenos Aires, Argentina
Executive Creative Directors: Pablo Gil, Sebastian Garin
Creative Directors: Daniel Fierro, Gonzalo Ricca
Copywriter: Hernan Kritzer, Rodrigo Greco
Art Director: Lisandro Cardozo, Tomas Duhalde
Btl Creative Director: Esteban Lorenzut
Production Company: Rebolucion
Director: Nicolas Nubile
Producer: Jorge Larrain
Agency Producer: Topo Barrios, Sergio Bonavia
Web Designer: Martin Bekerman












30.4.11

Play Doh| free play time


Problem: How do you make new advertising for a brand that’s been the category leader for over 50 years?

As kids learn to use technology at a younger and younger age, creative toys that allow unstructured free play time are increasingly cut out. Since Play Doh has been around for so long, it tends not to be top of mind.
Insight: Today’s parents grew up with and are still nostalgic for Play Doh. Just the smell of it brings back fond memories.
Solution: Play Doh scented print ads in women’s and parenting magazines reminding parents of the importance of creative free play time for their child’s development.
Tagline: Kids should play like kids.
Tagline: Kids should play like kids.
Tagline: Kids should play like kids.
MY Role: Concept development, copywriting and photography. 
AD: Warner Whatley
CW: Adam Aceino
CD: Wayne Gibson

15.2.11

music-master.com campaign


This week, music download website www.music-master.com. unveils the launch for new website


The campaign idea I am my music. I am music masterencourages consumers to explore their individual musical tastes. The focus of the campaign is on a series of ambient portraits of real people made up from QR codes. Within each of these portraits, live codes link to free downloads of the subject’s top twenty tracks. The user is encouraged to snap the codes with his smartphone and download the free tracks to his computer. The three executions appear in malls around the UAE.


The campaign is also supported in press, on radio and online.

“The idea behind this campaign is beautifully simple. People are defined by the music they listen to. We all have our own unique soundtracks to our histories, and in the case of the ambient posters, consumers are able to explore and download other people’s personal soundtracks for free. What appears to be purely functional technology comes to life to tell a story.

 A fresh and intelligent approach for this campaign is produced. It’s something that 16-27 year-olds can really get involved with. Given that the technological know-how and ability to understand this visual language is unique to this target, it has something of the feel of an exclusive club. Beyond the ambient and print, the online banners and radio bring the Music Master message to life in a direct way and tell an engaging story.




CAMPAIGN CREDITS:Project: Reveal phase announcing launch of www.music-master.com
Client: Music Master
Brief: To drive traffic to www.music-master.com and create buzz and talkability around the site.
Creative Agency: DDB Dubai
Senior Art Director: Diya Ajit
Senior Copywriter: Camilla McLean
Group Account Director: Edward Harris
Digital support: Navin Ashokan, Najeeb Puthuveettil, Naeem Hussain
Retouchers (Ambient/Press): Firstbase London
Photography (Ambient/Press): Paul Emous
Photography (Online): Natasha Carella
Sound Design (Radio): Reiner Erlings, Gayathri Krishnan

30.10.10

Aftonbladet|Digital concert experience

It's great to see a print title trying new things in the digital space. Sweden is one of the most exciting creative hot-spots of the moment, and work like this proves that traditional media owners can still be innovative, given the right environment.

Scandinavia's largest newspaper, Aftonbladet staged groundbreaking series of live online concerts to promote the Rockbjörnen Music Awards, giving away 140,000 free tickets to music fans around the world.

Previous Rockbjörnen award winners include legendary names from the music industry such as ABBA, Coldplay and Duffy, and Rockbjörnen Live is Aftonbladet's prize to the best live music of the year; celebrating festivals, concerts, artists and songs across eight categories.
Live-Löpet (or Live A-Board), saw a traditional newspaper develop a unique app to create an interactive digital live arena to present concerts from some of Scandinavia's hottest artists.
The artists performed live from the studios of Aftonbladet, and the performances were streamed live online at http://livelopet.aftonbladet.se/ and were accessible via unique fan access codes.
This digital concert format was designed as much as possible to replicate a traditional live recording. In order to secure a place in the audience, Aftonbaldet readers and music fans had to apply for tickets. Ticket holders were assigned a "seat". Just like at a regular concert, the audience could interact with one another, and the artist "on stage".

By pressing buttons on the Flash app users could applaud for an encore, take pictures to share via Facebook or email or call out to the artist or friends in the virtual arena. Concertgoers could see what their Facebook friends were up to during the concert. The artists could interact with fans through cues received on a large screen placed back in the studio.
Each of the seven concerts had capacity to entertain 20,000 fans, of which 8,000 were VIP tickets, which allowed viewers to see the concerts in HD. Concert tickets could be sent and posted on Facebook to invite friends along to the gig.
A series of video-enabled Aftonbladet headline A-Boards were placed around Sweden announcing the concerts, complete with countdowns to the event. These boards also screened the actual concerts.
Live-Löpet featured appearances by Mando Diao, Robyn, The Ark, Eric Saade, Salem Al Fakir, Ola and Anna Bergendahl. Samuel Giers, drummer, Mando Diao said: "This is definitely a move in the right direction and it's so cool to be a part of Live-Löpet. We have a lot of international fans and many of them can't get to our ordinary concerts, so this format suits us very well."
Nils Franchell, communications director, Aftonbladet said: "The Rockbjörnen Music Awards has been an institution in Sweden since its launch in 1979. Over the last decade we have seen massive shifts in the way people consume and enjoy music. CD sales have taken a hammering and digital music has become inextricably woven into the fabric of our lives. We asked: what is the relevance of our awards in an environment where our customers have already changed their buying behaviour?"


"We thought, given the massive shifts towards online buying, that the Rockbjornen Awards should reflect how people are enjoying their music right now rather than a retrospective look at last year's sales of CDs to decide who the winners are. So we shifted the timing of our awards from the traditional "awards season" in February/March to catch the end of the festival season just after the Summer and put the focus on awarding the best "live" performances."
"The technical mechanics of putting 20,000 people in a small room is something we could not have done without the guys from Prime. What they have produced, as people will see for themselves, is an experience that is amazing, just like actually being at a concert with one of these music stars."

Results:

45,000 fans from 63 countries logged in for the seven live concerts
2.4 million digital interactions took place across the total 105 minutes of broadcast (7 concerts of 15 minutes)
Outside Aftonbladet's own channels, Live-Löpet reached 2.1 million users. Previously, Rockbjörnen's homepage has averaged 85,500 unique visitors during the most intensive period. During the Live Löpet activity, this number reached 337,000 unique visitors - an increase of almost 300%.
BRAND:Rockbjörnen Music Awards
BRAND OWNER:Aftonbladet
CATEGORIES:EntertainmentPublishing &Broadcasting
REGION:Sweden
DATE:August - August 2010
AGENCY:Prime
MEDIA CHANNEL:Branded Content,Digital,Events,Online,Out-of-Home,PR,Print

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