Kwality brand new identity

Above are the old dull outdated brand however a lot of markteers are debating about why to launch an ice-cream rebranding in Winter??

its obvious that their return on investment measurement is not placed yet and they have some extra dollars that no need for. Typical case "CEO of arabia".

wherever the reason, its stupid and reflect how non planned brand you are .

As for the positioning, good luck next time in uniting generations Y & Z.

Gaddafi in Advertising

American Airlines |Seamless

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.

Credits

The 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

Toyota has launched “It’s Ready. Are You?”, an integrated advertising campaign promoting the 2012 Camry campaign. The campaign demonstrates how the seventh-generation model addresses changes in consumers‟ vehicle needs, expectations and driving habits through the combination of new innovations and improvements to interior and exterior vehicle styling. Six television commercials, print and out of home advertisements are joined by a microsite, the Camry Effect site.

“Built” highlights the Camry‟s new features and visually demonstrate the reinvention of Toyota‟s signature model. As the 2012 model builds around its driver, the spot touches on several of the key aspects midsize car buyers expect to get with their next car purchase. 

“Pit Stop” pays homage to the Camry‟s racing heritage with Toyota NASCAR driver Kyle Busch. The ad shows how Toyota‟s excellence carries from the racetrack to the roadway by transforming the car in the speed of a pit stop to highlight the Camry’s performance capabilities and intuitive mobile technology. “Pit Stop” will make its television debut on October 24. 

Two additional TV commercials will roll out later in 2011, followed with two further spots in the 2012 Super Bowl and the Toyota Halftime Report.The campaign also includes print ads, digital media, out-of-home boards and social media elements. Additionally, digital billboards featuring Camry imagery will run atop the Walgreens building in New York‟s Times Square to spark the public‟s interest and build intrigue for the 2012 model.

Beginning in November, consumers will have the opportunity to get behind the wheel of the 2012 Camry at over 125 events through March 2012. The Toyota Drive Center national ride and drive tour, along with activations at select Life Time Fitness locations across the country, will give the public a chance to experience the vehicle first hand.
The Camry Effect website is designed to connect the nearly seven million Camry drivers in the United States through an intuitive, interactive, online experience. The Camry Effect provides past and present Camry owners a platform to share stories, moments, memories and milestones of first dates, road trips, soccer games, interviews and college days while witnessing the collective “effect” each has.

Credits

The Ready campaign was developed at Saatchi & Saatchi Los Angeles by executive creative directors Margaret Keene and Chris Adams, creative director John Payne, art director Verner Soler, copywriter Graham McCann, director of integrated production/multimedia Tanya LeSieur, senior broadcast producer Gil DeCuir, project managers Angela Montoya, account director Andrew Corpman, management supervisor Erica Baker, account executive Kejal Crosson-Elturan, strategic planning director Evan Ferrari, strategic planners Skylar Wallace and Allison Farquhar, broadcast media director Gwen Conley, working with product information supervisor Paul Watson, business affairs managers Cara Orlowski and Ivy Chen, Toyota corporate manager Ed Laukes and advertising manager Colin Morisako.
Filming was shot by director Phil Joanou via MJZ with executive producer Jeff Scruton, president David Zander, director of photography Mauro Fiore and line producer Paul Manix.
Editor was Rick Lawley at The Whitehouse Post with executive producer Sue Dawson, senior producer Joni Williamson and assistant editor Brian May.
Special and visual effects were produced at The Mill, Los Angeles, by executive producer Sue Troyan, colorist Adam Scott, senior producers Melanie Wickham and Arielle Davis, 3D lead Andrew Proctor, 2D lead Paul O’Shea, 3D artists Yorie Kumalasari, Michael Panov, Lu Meng Yang, Kiel Figgins, 2D artists Gareth Parr, Steve Cokonis, Dag Ivarsoy, Nicholas Kim, Shane Zinkhon, Brinton Jaecks and Jen Stavish.
Music was produced at Mophonics by executive producer Michael Frick, head of production Shelley Altman and creative director Stephan Altman. Sound was designed at Trinitite Studios by designer Brian Emrich, and recorded and mixed at Lime Studios by Loren Silber.

KLM gets live and personal with Twitter

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.

Results

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.

External links

KLM YouTube channel

BRAND: KLM

BRAND OWNER: Air France KLM

CATEGORY: Travel/Airlines

REGION: The Netherlands

DATE: September - September 2011

MEDIA OWNERS: Twitter ,Facebook ,Hyves

MEDIA CHANNEL: Digital,Online,PR

Sephora Sensorium – Lucid Dreams from the Sensory World

Beauty retailer Sephora and fragrance manufacturer Firmenich have commissioned The Sensorium: Lucid Dreams from the Sensory World, an interactive, multimedia experience set in a pop-up museum, designed to explore the emotions and instincts behind scent. The Sensorium features interactive and immersive installations First Scent and Lucid Dreams, developed and produced by experience design and production company The Department of the 4th Dimension (The D4D) to transport visitors into the realm of the perfumer’s imagination. The Sensorium, located in a 3,700 warehouse in New York’s Meatpacking District, launched to the public on October 15 and runs through to November 27th, 2011. Tickets are available through the Sephora website.

Upon entering First Scent, visitors are surrounded by motion picture media inspired by custom fragrances emitted throughout the room that trigger collective emotion and connections. Dreamlike films of cutting grass, a morning breakfast and a visit to the beach correspond to fragrances Weekend Splendor, 6:01 am and Summer Vacation designed by such superstar perfume creators as Harry Fremont and Honorine Blanc. Here, elemental and unforgettable moments are manifested in an evocative cocktail of sight, smell and sound.

Next, in the museum’s marquee event Lucid Dreams, visitors can affect beautiful suspended images inspired by Firmenich’s master perfumers. Using a high tech flower sculpture, the images transform based on the power of the individual’s sniff – triggered by the unique sound transmitted by the physical act of smelling. The D4D created each room’s architecture, including the short films, beautiful floor-to-ceiling images, glowing sniff-registering flowers and the software that drove the entire soul-stirring experience.

Credits

The Sensorium project was developed at The D4D (The Department of the 4th Dimension) led by creative director Matt Checkowski and executive producer Ron Cicero, along with a team of architects, designers, technologists and writers.

During the production and design of First Scent and Lucid Dreams, The D4D team worked on the visual experience with the custom designed perfumes on hand, to ensure the visual and auditory elements were a perfect fit for each scent and would combine in a journey of heightened perception. The perfumers and The D4D creative team collaborated throughout, with imagery and scent choices and changes influenced by the other during the process. The technical production of the interactive elements involved significant research and development including an examination of wind velocity and other triggers before landing on the auditory solution.

Absolut Vodka: Absolut Vodka

“If you saw your life flash before your eyes, would you change the way you live it? Absolut Vodka thinks so, and to ensure people don’t get behind the wheel drunk, they introduce Absolut Life: a platform that allows people to watch a video of their Facebook lives flash before their eyes.”

Advertising School: Miami Ad School, New York, USA
Creative Director: Tara Lawall
Art Director: Lisa Zeitlhuber
Copywriter: Nick Partyka

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).

Take This Lollipop

For several days, circulating on the net " Take This Lollipop , "an interactive film seems very disturbing that warn about possible dangers arising from our unbridled desire to share.

What hides behind this exciting teaser campaign?

The thesis is that more can be supported in promoting a horror film. In my opinion, may lie instead with a social initiative.

Jason Zada has released a haunting live-action interactive site, takethislollipop.com, a chilling warning to people who upload personal information to their Facebook profiles. With permission from a Facebook user, Take This Lollipop trolls through their photos, friend lists, news feeds and other personal information. The site then plugs the data into a web video starring a sweaty, disheveled degenerate, (played by Bill Oberst Jr.) who sits in a shade-darkened room staring at a computer screen. To a swirl of haunting sounds and suspenseful music, he logs in to Facebook under the user’s name to troll through reams of their information, including, at the end of the video, their location. With an ominous gleam in his eye, the cyber-stalker takes to his car, exiting at an indistinct location that could very well be almost any place, even right around the corner from where you are now… The action then fades to a countdown clock and the name of one of the user’s Facebook friends, stating that they’re next.

The site has attracted over 5 million unique hits and more than 600,000 ‘likes’ from around the world.
“I’m a huge fan of horror and of Halloween, and I really felt like this was a great opportunity to focus on Halloween and mix it with the underlying fear of privacy that we have nowadays with Facebook and other social networking sites,” stated Zada.

Credits

The Take This Lollipop project was developed by director Jason Zada at Tool of North America with executive producers Brian Latt, Oliver Fuselier, executive producer digital Dustin Callif and developer Jason Nickel.

Philips Wake-up Light| 'Make me a morning person'

Marketers like dealing with universal human truths. You can normally rely on the insight section of a case study to feature phrases such like “people like to upload and share content”, “visitors want to engage with their favourite brands” and the awards-season favourite: “Young people love music”.

Another universal truth, and one that has been recognised by Philips, is that people generally dislike getting up in the morning. Philips has attempted to offer an alternative to early morning alarm clock in the shape of its Wake-up Light, a kind of bedside lamp that supposedly mimics the effect of a natural sunrise.

Philips recognised that people generally dislike getting up in the morning. Philips has attempted to offer an alternative to early morning alarm clock in the shape of its Wake-up Light, a kind of bedside lamp that supposedly mimics the effect of a natural sunrise.

The light was tested last year in the Norwegian town of Longyearbyen, where there is no sunshine for three months of the year, and its effect on the community was recorded in an excellent short film by Doug Pray. But while the lamp had demonstrated its effectiveness in the Arctic, a more relevant angle was required for the European consumer.

The 'make me a morning person' campaign kicks off late-September with a recruitment drive to search for the world's worst grumps, snoozers and zombies. Consumers can nominate themselves, their friends and family, or even a colleague, on Facebook to take part in the challenge. They can also take a quiz on Facebook to find out which of the seven morning types they are - The Grump, The Grunter, The Snoozer, The Zombie, The Corpse, The Early Bird or The Chirpy. Hundreds of entrants will then be selected to receive a Philips Wake-up Light and take part in the 21 day challenge.

The social experiment

From mid-October 2011, participants of the challenge will chart their progress via the dedicated iPhone 'Wake-app' that has mini-games to test them on alertness, mood and ease of getting out of bed, and will determine whether a 'non morning person' has truly become a 'morning person' by waking up naturally with the Philips Wake-up Light. The mini-games were designed with the help of Philips light therapy experts and the Wake-app is the first consumer-facing app to feature tests undertaken in sleep laboratories and clinical studies. Non-participants can also download the free iPhone app and take the challenge themselves.

The Longyearbyen experiment

Results

Full results to follow. Campaign launches across October 2011.

External links:

Facebook Wake-up Light app: http://apps.facebook.com/wakeupchallenge(6/10/11: not live yet)

BRAND: Philips

BRAND OWNER: Philips

CATEGORY: Electronic Goods

REGION: The Netherlands

DATE: September - October 2011

AGENCY: Tribal DDB

MEDIA CHANNEL: Experiential,Online,PR

Dove | Uncontrolled women

BRAND: Dove

BRAND OWNER: Unilever

CATEGORIES:FMCG, Toiletries/Cosmetics

REGION: Argentina

DATE: May - May 2011

AGENCY: Initiative

MEDIA CHANNEL: Branded Content, Digital,Online, PR

Dove wanted to re-launch its hair care range in Argentina and earn credentials amongst consumers as an expert hair care brand that women would trust. Dove wanted to refresh the promise that women who chose the Dove Damage Therapy range could reclaim control of their hair.

This re-launch featured new product formulas, new packaging, a new brand positioning and a fresh new tone in Dove marketing messages. But to achieve a successful re-launch, Dove needed to develop and distribute content to help generate awareness of the new 'control or uncontrolled messaging.

A series of videos were created that explored the idea of 'control and uncontrolled'. Well known female comedians discussed the things in their lives that bring chaos and stress, in a series of comedy monologues that tackled issues of control for women at work, at home and in their relationships.

Dove wanted to get involved in the online conversations of its consumers by providing them with some entertaining content they would feel compelled to share. Viewers are more likely to share content that engages them, which meant that Dove had to take advantage of the earned media potential of relevant, shareable content by ensuring that it was distributed effectively.

The resulting video series 'Stand Up Descontroladas' was seeded across multiple online platforms. Dove enlisted the support of key opinion formers in the blog space and launched a robust PR campaign on Facebook, Twitter and fashion aspiration sites. The key opinion formers spread the videos by posting entries on their blogs and Twitter feeds that discussed the difference between '#stable women' and '#uncontrolled women'. By the end of the first day, '#uncontrolled' was a trending topic in Argentina. Most of the tweets were linked to one of the Dove branded videos. Videos were hosted on a branded YouTube channel.

Descontroladas - Maria Freytes from CSquared on Vimeo.

Results

'Stand Up Descontroladas' achieved more than 500,000 views during the nine week campaign. 30% of visitors came from Twitter, Facebook, Dove.com.ar and paid media initiatives. 70% of views were counted in Youtube, coming from YouTube search or related video suggestions.

The mix of earned and paid media investment was split 10 % earned + 90 % paid.

The campaign contributed to a 10% increase in Dove's market share. (Source: CCR)

This campaign was shortlisted at the 2011 Festival of Media Latam Awards in the 'Best Use of Digital Landscape' category.

External links

Dove Argentina Twitter

Dove Facebook