Sony Cyber-shot |Photos Better Panoramic

Sony’s Cyber-Shot digital camera, with its capacity for panoramic sweep, is presented in a print and television advertising campaign featuring Albert Einstein and Marilyn Monroe. The famous photograph of Einstein’s tongue, taken by UPI photographer Arthur Sasse in 1951, is given a new take with the addition of envelopes and postmen. A photograph of Marilyn Monroe, taken at the home of Laurence Olivier and Vivien Leigh in 1956, is placed in the context of a car accident. Click on the images below to see the full ads. The ads, originally shown in Spanish, are embedded here with English language voiceovers.

See the Spanish version.

See the Spanish version.

Credits

The Panoramic campaign was developed at Del Campo Nazca Saatchi & Saatchi, Buenos Aires, by executive creative directors Maxi Itzkoff, Mariano Serkin, creative directors Diego Medvedocky and Ignacio Ferioli, art directors Ignacio Ferioli and Mariano Espagnol, copywriter Diego Medvedocky, agency producers Adrian Aspani, Ezequiel Ortiz, account team Joseph Baide, Ana Bogni, Reinier Suárez, and Josefina Tuzinkevicz, working with Sony marketing team Kim Allard and Takashi Ashida.Filming was shot by director/photographer Marcelo Burgos via Garlic with executive producers Alvaro Gorospe and Irene Nuñez Palma. Post production was done at Serena. Sound was designed at Sonomedia. Music was produced at Swing Musica.

Peugeot 3008 Crossover Could Fly

The Peugeot 3008 Crossover is being promoted in the UK as the car with so much technology you would expect it to fly. The campaign is centred around Peugeot cars appearing to have landed on tall buildings, special build poster sites, and on top of buses, backed up with broadcast, press, posters, radio sponsorship, test drives and an online panoramic view of London. 3008s have landed on significant high footfall buildings in London, Birmingham, Manchester, Glasgow and Bristol. Peugeot 3008 vehicles are on display in Westfield, Bull Ring, Trafford, Silverburn and Cabbot’s Circus shopping malls, with a bus (Peugeot 3008 attached) driving around each venue promoting test drives and competition entries.

The campaign includes a digital experience, online at www.spot3008.com, using an 80 giga pixels 360 degree panoramic image of London to hide twenty Peugeot 3008 cars for people to find. At stake is the prize of a totally unique flight into space. Clues and teasers are being run through the Peugeot 3008 Facebook page, Peugeot 3008 Twitter channel and a specially designed Peugeot 3008 Tumblr site.

Credits

The Spot the 3008 campaign was developed at Wand Agency, London.

Panoramic photography was by Jeffrey Martin at 360 Cities.

هاي قلة حيا و سرقه علي عينك يا تاجر من بنك الاسكان.... الله يقرفقوا فضحتونا... السرقه تكون بالعقل مش هيك

هاي قلة حيا و سرقه علي عينك يا تاجر من بنك الاسكان.... الله يقرفقوا فضحتونا... السرقه تكون بالعقل مش هيك...

  اعلان بنك الاسكان المنسوخ

 

Agency: Promoseven Kroma

Client: Future Vision Productions

Director: Bilal Alsurri

Post-Production: Nine Productions

Music: Qasim Sabonji

اعلان فودافون الاصلي

 

Heineken |This Is the Game

Heineken is celebrating its sponsorship of the Rugby World Cup, being held in New Zealand, September 9 to October 23, 2011, with “This is the Game”, a television commercial focusing on the code handed down from warriors of old. “Yes we wear dresses and yes we dance but this will never be drama class. We will respect a man’s anthem even he murders it. Never question the bounce. Who knows where this odd ball will go. Listen to the whistle man no matter how much he blows. Sleep when we are dead…” The 60 second “This is the Game” ad is supported by 10 second commercials ideal for play during the games, and an iPhone app “Kick Live Goals”.

Credits

This is the Game was developed at Wieden+Kennedy Amsterdam by executive creative directors Eric Quennoy and Mark Bernath, copywriter David Smith, art director Craig WIlliams, and agency producer Cat Reynolds.
Filming was shot by director Steve Rogers via Revolver, Sydney, and Cherokee Films, Auckland, with director of photography Geoffrey Simpson, producers Katie Smith and Ian Iveson, executive producer Michael Ritchie.
Post production was done at Glassworks, Amsterdam. Editor was Bernard Garry at The Editors.
Music is “A Soldier’s Chorus”, from Gounod’s Faust, produced at Extreme Music, Berlin.

Coca-Cola Egypt – Say Like

Coca Cola Egypt has launched an online campaign called ‘Say like’. The new initiative includes a video on YouTube – with various people explaining the benefits of liking something – and a Facebook app called the Like ‘O’ Meter.

Project Say Like
Client Coca-Cola Egypt
Creative agency Elephant Cairo
Copywriters Maged Nassar, Ali Ali
Directors Ali Ali, Maged Nassar
Producer Hossam Fawzy
Exposure YouTube, Facebook

Letterhead Evolution

Long before people have been sending messages to one another. Before paper was invented,  people used different materials for their letters, they used leather, clay, plant leaves and papyrus.  As time went by and paper was discovered, people began creating their letters in a more formal way. It was not until the Industrial Revolution during the 19th century that letterheads that we know today came to life.

The existence of printing presses and the advent of Industrial design – which could’ve been a precursor to the minimalist movement of the 1960s – caused the ubiquity of letterheads among prominent people and businesses during that time. It may have also caused the departure from the bourgeois and intricate style of Art Nouveau and the Victorian style of design.

The departure from Victorian style and Art Nouveau led to a change of heart in design. With the guiding philosophy of Industrial design – functionality over form – people began adopting simpler designs that was easier to produce and cheaper.

It was during the 20^th century that we saw the bloom and importance of the letterhead. It allowed people and, especially, companies to create an identity for for their business. It gave way to different ideas and application of advertisements and new art movements that came after the 19^th century.

Early Part of the 20^th Century

During the advent of the 20^th century, people and businesses used varying designs on their letterheads. With most prominent people using simple and minimalist designs, and businesses used differeng images that can be attributed to their industry.

Latter part of the 20^th Century

We saw the rise of radio and television during the latter part of the 20^th century. With the rising advertising industry, the need for a corporate identity becomes more apparent. During this period we saw different changes and the rise of rebellious youth, which could’ve influenced the different design styles that were used during this period.

The 21^st Century

The current designs of letterheads has evolved – from the functional minimalist to the radical post-modern style of design. Designers today have a knack for combining different influences derived from past art movements; from Minimalism to conceptual art to post-modern styles of design.

Letterheads has become played a pivotal role for a lot of people – from personalities to businesses – it has allowed people to create an identity for other people to know who they are, and what they do. It has provided an avenue for businesses to explore and reach out to the people.

McDonalds Baby»»»I nominate this Ad for Most Outstanding Commercial

McDonalds “Baby” is one of the nominations for Most Outstanding Commercial at the Primetime Emmy Awards being held on September 18 in Los Angeles. The commercial, launched in April 2010, features a dad whose attempts to keep his baby asleep involve driving around in the car in the night. He manages to get an order into the McDonald’s Drive Through attendant, but only by circling a few times.

Credits

The McDonalds Baby ad was developed at TBWA\Chiat\Day by chief creative officer Mark Figliulo, copywriter Erik Fahrenkopf, art director Anthony Decarolis, executive producer Matt Bijarchi, senior producer (Media Arts) David Fisher.

Filming was shot by director Fredrik Bond via MJZ, Los Angeles, with director of photography Joost Van Gelder, executive producer Eric Stern and line producer Anita Wetterstedt.

Editor was Gavin Cutler at Mackenzie Cutler with assistant editor Mona Salma and executive producer Melissa Miller.

Music was produced at Human Worldwide.

Brands Now Direct Their Followers to Social Media

By ANDREW ADAM NEWMAN

MARKETERS promoting their products online have followed a fairly standard arc historically, first buying digital ads and building their own Web sites in the early years of the Internet, and more recently amassing followers on social networks like Facebook and Twitter.

Published: August 3, 2011

Now, companies increasingly are running online ads that focus less on pitching their products than promoting their Facebook pages and Twitter accounts.The ads, which have menu tabs and increasingly resemble mini-Web sites themselves, allow users to click within the ad to see a brand’s Twitter messages or Facebook wall posts in real time, or to watch a brand’s video content from YouTube — all without leaving the Web page where the ad appears.

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Ritz crackers, a product of Kraft, used in-text ads to highlight its Facebook contest promotion with the television show “Glee. A recent online ad for Mrs. Meyers, the cleaning brand, for example, said, “Clean should smell better” and instructed users to “Hover to expand.” When a cursor is placed over the ad, it extends downward to expose an area that, depending on what button is clicked, displays real-time Facebook wall posts, Twitter users posting about Mrs. Meyers, or a video from the brand about Thelma Meyer, for whom the brand is named.

Although Internet users rarely click on an ad to be taken away from a page — only one in a thousand do so, according to Google — they could engage with all those tidbits in the Mrs. Meyers ad without leaving the Web page they were visiting.

And engage they did, according to Flite, the media and technology company that produced the ad.

Consumers on average spent 30 seconds interacting with the ad, compared with an average of what, according to Google, is just 11 seconds. In addition to spending more time on the ad, consumers were more likely to click on a “learn more” button to go to Mrs. Meyers’ own Web site, with 35 of every 1,000 users clicking through, compared with an average, again, of just one in 1,000.

“Brands are building a great presence on social networks and are looking at ways of making it more accessible,” said Giles Goodwin, president for product and technology at Flite.

The company refers to its technology as a “cloud-based ad platform” because it infuses ads with live content from other sites including Facebook and Twitter, and it has produced such ads recently for brands including Coca-Cola, Lancôme, Volkswagen and AT&T.

Another media and technology company, Kontera, is taking a similar approach with in-text advertising, where advertisers pay for keywords to be hyperlinked within an article or blog post. While clicking such words often takes users to an advertiser’s Web site, with Kontera, ads pop out in a window on the same page, and many ads that Kontera is doing these days highlight advertisers’ social networks over their products.

In recent ads for Ritz crackers, the Kraft brand, for example, the brand wanted to highlight a promotion with “Glee” that included a sweepstakes to win a trip to meet the cast of the Fox show on their set in Los Angeles.

On the Kontera network of sites — which include those for the magazines U.S. News & World Report, Shape and Men’s Fitness — words in content likely to relate to the show, including of course the word “glee” and the names of both the characters and the actors who play them, were highlighted. Positioning the cursor over those words caused an ad to pop out in a window that promoted the sweepstakes and highlighted posts on the Ritz Facebook page about the show and contest.

“Social media is not a tactic that stands alone from your advertising campaigns,” said Chris Karl, a senior vice president at Kontera.

The “Glee” in-text ads presented themselves to fans of the show when they were most likely to be reading about it, then ended up signing them up as followers of the brand on Facebook, which was required in order to enter the sweepstakes.

As for why Ritz aligned itself with the television show to begin, the crackers, often served at social occasions, share the show’s spirit of being “all about fun and a champion of fun,” said Sheeba Philip, the marketing director for Ritz.

“A program like Kontera’s is really effective for reaching consumers with common and shared passion points,” Ms. Philip said. “It really was a push to drive people to Facebook to learn more about the brand.”

For other in-text ads by Kontera for Verizon, the brand did not even promote its own social network account, but rather that of Will Power, the race car driver who competes in the Indy Racing League, and whom Verizon sponsors. While Mr. Power is not, of course, likely to send Twitter messages with Verizon slogans, in the photo of the driver posing alongside his car on top of his Twitter page, the Verizon logo is prominent on both his uniform and car.

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Andy Smith, a co-author (with Jennifer Aaker) of “The Dragonfly Effect: Quick, Effective, and Powerful Ways to Use Social Media to Drive Social Change,” said incorporating live content from Facebook and Twitter allows online ads “to feel less static,” and even to be “at least as current if not more current” than adjacent editorial content.

Even if those live snippets in ads include brands apologizing about missteps or customers griping, it still could benefit advertisers because in an era when consumers actually become friends with companies on Facebook, those consumers may expect some warts-and-all human characteristics.

“There is transparency in being willing to say, ‘This is what people are saying about us,’ ” Mr. Smith said. “And with the relationships that people have with brands today, the more honest and human they seem, the more likely consumers are to like them and stick with them.”

A version of this article appeared in print on August 4, 2011, on page B3 of the New York edition with the headline: Brands Now Direct Their Followers to Social Media.

iPhone 5 Website Leaked

Beach-Volleyball Stars| QR code Assvertising.

Here are two QR codes that might not get lost in the shuffle. Zara Dampney and Shauna Mullin, the British champion beach-volleyball players, have struck a five-figure deal to give gambling company Betfair sponsorship rights to their butts. Specifically, the pair will have QR codes on the backs of their bikinis—which will send people to the Betfair website when they take a photo of the players' backsides with a smartphone. The not-at-all-skeevy client rep Andy Lulham explained: "As far as we're aware, this is the first time QR codes have been used in in-play sports advertising, and what better way to test its effectiveness than by putting them on one of the places that is likely to get photographed the most." This seems like an OK idea—except Dampney and Mullin recently complained about people sexualizing beach volleyball. "Here in England we are still stuck at the stage where people think beach volleyball is about sex, not a sport," said Mullin. (She has a marketing degree and probably just couldn't help herself with the Betfair deal.) Dampney and Mullin will represent England at the London Olympics next summer, but they'll have to restrict their marketing to other events—any form of sponsorship is banned at the games.