The Long Fight / Gender Gap| The New York Times

Agency: Droga5 New York

Client: The New York Times

Country: United States


The New York Times has a history of providing unparalleled coverage on gender in sports. When 2019 saw female athletes fighting a public battle for equality, it used the US Open as a backdrop to demonstrate how its journalism has been there at every step. This film takes 50 years of archival headlines and shows how hard women had to fight to level the playing field. 

As the rally unfolds, each word brings viewers through the years. The sound design mimics the setbacks and breakthroughs, bringing you to the headlines of the present day. Online, readers got a deeper look into the featured article.

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

Newsweek's last print issue before go all-digital features a hashtag on the cover: #LastPrintIssue!

The Story of Keep Calm and Carry On

Barter Books created a short film that tells the story behind the iconic ‘Keep Calm and Carry On’ poster. From it’s creation to it’s rediscovery to it’s meteoric rise to global icon.

France 24 Birds

French international news channel France 24 highlighted the power of internet freedom in “Birds”, an advertising campaign inspired by Alfred Hitchcock’s 1963 film The Birds. A commercial and print/outdoor advertising campaign featured a Gaddafi-like dictator and other powerful figures threatened by the Twitter-like birds of revolution. Three posters, emulating the style of the original 1963 Birds movie posters, feature Gaddafi, Mubarak and Ben Ali.

Online social networks played a significant role in spreading revolutions in Tunisia, Egypt and Libya earlier in 2011. France 24′s Arabic language version broke all audience records during this period. But the channel as a whole has benefited from an increase in audience. In March 2011 france24.com experienced a peak in traffic with nearly 14 million visits and about 59 million page views. The channel’s Twitter following grew quickly due to a large amount of tweets dedicated to the Arab Spring topic.

Credits

The Birds ad was developed at Marcel Worldwide, Paris, by executive creative directors Anne De Maupeou, Veronique Sels and Sebastien Vacherot, art director Souen Le Van, copywriter Martin Rocaboy, agency producers Cleo Ferenczi and Fleur Laruent-Bruzy, art buyers Jean-Luc Chirio and Aurélie Lubot, account manager Cécile Henderycks, account manager Michel Kowalski, working with France 24 communications director Nathalie Lenfant.
Filming was shot by director Philippe Grammaticopoulos via Mister Hyde, Paris, with producer Hervé Lopez.
Music is by Christophe Julien.
Illustrators were Marie Morency (Gaddafi), Souen Le Van (Mubarak), and K.I.M. Florence Lucas (Ben Ali).

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). 

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.

10 Cool Uses of LED Sign in Times Square

When American Eagle opened its Times Square store in late 2009, most of the attention was on the retailer's sprawling 25,000-square-foot, four-story floor plan. But in the year and half since then, it's the brand's towering building-side LED display that's had the most noticeable impact, even in one of the world's most notoriously cluttered visual landscapes. By the numbers, this digital ziggurat is 15,000 square feet of LED, climbing 25 stories above Broadway and playing animations 18 hours a day. It's one of the nation's premium ad spaces, not only for American Eagle but for the brands and charities that buy (or are given) space there. We've compiled 10 of the more interesting ways the display has been used. Check them out after the jump.

1. '15 Seconds of Fame'
   
   A signature use of the display comes from American Eagle itself—actually, its in-store photo studio, which lets customers pose for pictures that are then displayed on the LED tower, granting them a raucous "15 seconds of fame." Check out the finished product below, and R/GA's case study for more details: American Eagle - 15 Seconds of Fame (case study) 
2. Foursquare
   
   It's not every day that an advertising display itself gets free advertising, but that's essentially what happened when American Eagle's space became home to a massive ad celebrating Foursquare. Sure, it was a great deal for Foursquare, which reportedly didn't pay a dime, but the flood of photos and blog coverage were also great publicity for the Times Square display itself.
3. 'Hear to Help' Haitian Relief
   
   After the devastating Haiti earthquake in 2010, American Eagle partnered with Filter magazine to sell a compilation CD, "Hear to Help," with all proceeds going toward Oxfam's relief efforts.
4. Experience China
   
   This video featuring the people of China was commissioned by the Chinese government to help pave the way diplomatically for President Hu Jintao's visit earlier this year.
5. Mexico: 'The Place You Thought You Knew'
   
   Rounding out our trio of international executions is this colorful tourism display for Mexico, which used the ad as part of a campaign aimed at convincing Americans and Canadians that their southern neighbor has more than just beaches.
6. Milus
   
   Now here's a classy way to show the current time. The watch in the ad is accurate in real time and is shown as part of a video loop. You can see it in action here:
   
7. 'Harry Potter and the Deathly Hallows, Part 1'
   
   Here's a nice wraparound video execution, made to promote Blu-ray sales for the first-last Harry Potter film. Luckily, some wandering muggle snagged a video:
   
8. Fleet Week
   
   American Eagle ratcheted up the patriotism for Fleet Week. Not a bad idea when you've got thousands of sailors and Marines in town looking to check out Times Square.
9. 'Mary Poppins' on Broadway
   
   A photo doesn't do this one much justice, so check out the full animation for the Broadway revival ofMary Poppins here:
   
10. Audi
    
    What, no augmented reality? Audi seemed to pack every other hot bit of mobile tech into this display, which featured QR codes, SMS and location-based check-ins via Facebook Places or Foursquare. By scanning the QR code, you could access a mobile site that let you tweet a message to Times Square. Or learn about the new Audi A7, I suppose.

Before we wrap up, I wanted to show some love to the people behind the scenes. To build the display, American Eagle hired the Barnycz Group to design it, with the screens provided by Barco and the computer systems set up by Activate the Space LLC. R/GA creates much of the content, and the ad space is sold by ABC Regional Sports & Entertainment Sales (which we also thank for providing much of the art for this post).

Cape Times Newspaper| Medics -|- Police -|- War -|- Parliament

“Immerse yourself in the news first thing every weekday morning. Know all about it.”

Advertising Agency: Lowe Bull, Cape Town, South Africa
Executive Creative Director: Kirk Gainsford
Creative Director: Alistair Morgan
Art Directors: Lisa Hodgkiss, Brendan Hoffman
Copywriter: Alistair Morgan

Consumer Engagement| media evolution

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

Why you should not pay me 15% media commission !?!?

[MBU] listen before its too late

• Media planning & buying rising cost. MBU are media incentive driven not brand objectives.
• MBU's  recommend expenditure in a medium that would best benefit them by ignoring emerging new media. Stands very true when you see the portion of innovative media or special operation in any media plan.
• To reduce costs on all fronts, cut the additional layer. Buy media directly and have the balls to commit to 12 months investment and get your AVR (4-8%).
• Use ATL and focus on initiating a dialogue with your users . Something MBU's don’t believe in, they think hammering MASS audience will get brands somewhere... it does not.
• Lack of ‘value add’ in planning.. get your own media audit and analysis software’s/ links.
• To me most important is return on investment on each $ spent and why I don’t get an army of journalists as my brand advocators as long I am paying their salaries with my ads.

CNN Go beyond borders Tape Art Project - Case Film

Yellow Pages 'Hidden Pizza Shop'

To raise awareness of Yellow Pages as both an effective way of finding businesses, and an effective way of growing business. The campaign is centred around Hidden Pizza Restaurant, a temporary pop up store in Fitzroy, Melbourne with living breathing basil wall, run over two weeks in April by Tony Fazio. 500 pizzas a night were served in sturdy bags made from hand-stitched recycled paper along with a glass of home-made lemonade in a recycled jam jar.




Fazio sent out the message online with the message, “We’ve hidden a new pizza restaurant somewhere in Melbourne. If you can find us, the pizza is free. One pizza per order, per day”. The location of the restaurant was only placed on Yellow Pages online. “Finding the restaurant is easy, just look it up the way you would any other business from April 12 – April 25 and the pizzas are free. Make sure you phone ahead to order as no pizza orders are taken at the door. And get in quick, our restaurant fills up fast.” *Limit one per day. Melbourne callers only. Subject to availability.



The Hidden Pizza site now serves as a case study for potential Yellow Pages clients, building opportunities for participants in the free pizza case to connect through Facebook and tag themselves in the 14 day timeline. User participation was built on the Hidden Pizza Facebook page.

Credits

The Hidden Pizza campaign was developed at Clemenger BBDO Melbourne by creative chairman James McGrath, copywriter Ant White, art director Russel Fox, executive producer Sonia Von Bibra, producer Karolina Bozajkovska, interactive producer Dean Wormald, interactive director Tommy McCubbin.
Media was placed by OMD.
Filming was shot by director Patrick Hughes via Radical Media with director of photography Cameron Barnett, executive producer Karen Bryson, producer Victoria Conners Bell and editor Nigel Karikari.
Post production was done at Iloura and Digital Pictures.
The Hidden Pizza restaurant, constructed mostly from recycled materials was designed by Joost Bakker. Bakker recruited Tony Fazio, formerly of Stokehouse and I Carusi, who had just sold his pizza restaurant Porcino in Collingwood. The yellow-and-black vinyl covering on the stools came from recycled Yellow Pages billboards.

Mecal International Short Film Festival|Bladder-friendly film festival

Advertising Agency: Atletico International, Barcelona, Spain

Avatar : 3D billboard

Stretching 60 metres across and featuring blue halo lighting, sculptured front-lit lettering 2.5 metres tall and a variety of 2D cut-out characters exploding out from the poster, the interlinked billboards are the longest advertising face in the UK. This is the first time in more than a decade that the opportunity to dominate one of London’s most famous outdoor locations has arisen. Located between Heathrow and the West End, this campaign will deliver almost 6 million impacts, according to data from the Department of Transport .


Advertiser name: Twentieth Century Fox Product: Avatar Campaign dates: December - four week campaign Format and weight: Clear Channel Create special build Creative Agency: TEA Media Agency: Vizeum and outdoor specialist Posterscope