Archiwum kategorii: Video

We Are America – Love has no labels

Post pobrano z: We Are America – Love has no labels

The Ad Council’s “We Are America” commercial, part of the Love has no labels campaign, is one of the nominations for Most Outstanding Commercial at this year’s Emmy Awards. Launched for Independence Day 2016, the We Are America ad featured American professional wrestler, rapper, actor and reality television show host John Cena reflecting on patriotism and love of country. Having invited his viewers to close their eyes and imagine the typical American, he proceeds to walk through the streets, providing statistics on the exceptions to the white male stereotype with representatives of these groups appearing in the background. The commercial celebrates love and acceptance of all communities regardless of race, religion, gender, sexual orientation, age and ability. The commercial was supported by a wide-ranging digital campaign, including an opportunity for people to submit photos to demonstrate the diversity that makes up America.

We Are America John Cena

The Ad Council’s introduction to the YouTube video: “While the vast majority of Americans consider themselves unprejudiced, many of us unintentionally make snap judgments about people based on what we see – whether it’s race, age, gender, religion, sexuality, or disability. The Love Has No Labels campaign challenges us to open our eyes to our implicit, or unconscious, bias and work to stop it in ourselves, our families, our friends, and our colleagues. Rethink your bias at“.

The Ad Council was able to partner with major American brands, including Coca-Cola, PepsiCo, Procter & Gamble, Unilever, State Farm, Google, and Johnson & Johnson.

The We Are America campaign was designed to encourage Americans to define their love of country as love of all Americans and to challenge the assumptions of what defines an ‘average’ American — likely different from the person imagined. The spirit of inclusiveness is evident in the labels that Americans use to define themselves — Latino, disabled, lesbian, Muslim, senior citizen, African American and others.

“At a time when it feels hard for our country to find common ground, we need to remind audiences that to celebrate America is to celebrate all Americans. We’re so proud to continue the Love Has No Labels message as part of the 4 July holiday and throughout the year,” said Lisa Sherman, president and chief executive of The Ad Council.

To ensure that the PSAs represented the right diverse perspectives and addressed the issue of implicit bias, The Ad Council enlisted The Perception Institute, Southern Poverty Law Center and Anti-Defamation League.

“It’s a privilege for us to continue working with The Ad Council. Like last year, the power of the campaign came from its honesty. To celebrate the real America is to celebrate the real people that make up this country,” said Nick Law, vice chairman, global chief creative officer, R/GA. “As someone who moved to the US 22 years ago, I’ve benefited from the openness and generosity of this country. And it’s this inclusive spirit that now makes me proud.”

The We Are America campaign’s online socialisation was supported by Upworthy, Facebook, Twitter, Buzzfeed and WWE, driven by the #WeAreAmerica hashtag. In addition to Cena’s participation, WWE leveraged its global platforms including WWE Network, television broadcasts, live events, and digital and social media to support the campaign.

We Are America site

We Are America Credits

Ad Council staff on the campaign were director of client services Priscilla Natkins, campaign manager Heidi Arthur, campaign director Trace Danicich and Jenn Walters, assistant campaign manager Madeline Miller, PR and social media team Ellyn Fisher and Shirley Yeung.

The We Are America campaign was developed at R/GA by global chief creative officer Nick Law, group executive creative directors Eric Jannon and Chris Northam, associate creative directors Thomas Darlow, Rene Van Wonderen, Lucia Orlandi, Paul Wood, Eduardo Quadra, Shashank Raval, senior visual designer Bethany Kennedy, designer Ria McIlwraith, experience designer Tessa Ndiaye, junior art director Emily Uram, junior copywriter Lukas Pearson, executive production director Cindy Pound, executive production director Cindy Pound, executive campaign producer Jeff Shutnik, digital producer Lucas Dennison, group strategy director Dylan Viner, strategy director Dave Surgan, senior social strategist Emily Kearns, strategist Amy McEwan, executive technology director Micah Topping, lead architect Josh Hansen, senior QA engineer, senior software engineer Wade Wojcak, global chief marketing officer Daniel Diez, PR director Suzanne McGee, business affairs director Stephen Bernstein, executive production director Kat Friis, post producer Leanne Diamond, senior content producer Ashlye Vaughan, business affairs senior manager Joanne Rotella, stills photographer Shima Green, business affairs coordinator Madeline Gioia, art producer William Morel, associate producer Danielle Sessler, and production assistant Shakirah Tabourn.

Filming was shot by director Rocky Morton via MJZ with director of photography David Lanzenberg, executive producer Emma Wilcockson, line producer Larry Shure.

Editor was Dan de Winter at Rock Paper Scissors.

Visual effects were produced at Nice Shoes by colourist Chris Ryan and Flame artist Jason Farber.

Sound was mixed at Nylon studios by Dave Robertson. Music was supervised by Wool & Tusk. Original music was by Phillip Glass at Human.

Squarespace Calling John Malkovich

Post pobrano z: Squarespace Calling John Malkovich

Squarespace commercial “Calling John Malkovich” is one of the nominations for Most Outstanding Commercial at this year’s Emmy Awards. The Super Bowl commercial is a continuation of the Squarespace campaign in which John Malkovich sets out to establish an online fashion design business. Things get tricky when he discovers that a namesake has already got the domain name,, to host the ultimate fishing site. “Who is John Malkovich” shows John’s discovery of the competitor and the drafting of an expletive-filled email. There’s a reference to the film, “Being John Malkovich”. And then, “Calling John Malkovich”, with a 30 second Super Bowl commercial and a 50 second director’s cut, we get the sense that John Malkovich and the owner of JohnMalkovich both have a temper that’s hard to control. The campaign is online at, with the message, “Search for your domain and grab it before someone else does. The domain name, has been with John since 2004, when it promoted the online performance art site, the menswear collection site and design agency site But the Squarespace connection has been live since January 2017, as seen on our earlier post, John Malkovich on Squarespace.

Squarespace Calling John Malkovich

“In contrast to the over-the-top Super Bowl ads, we wanted to cut through with simplicity,” says John McKelvey, executive creative director and co-founder of New York advertising agency John X Hannes.

“An intimate, relatable moment of panic. The creative was designed so we first experience John discovering his domain is taken in the pre-game spot. Then we all get to enjoy John Malkovich calling John Malkovich to ask for it back during the in-game commercial. Inspired by real world events and the domain”

“No one knows an identity crisis better than John Malkovich, nor could there be a better actor to communicate the emotion and humor of this modern dilemma,” says Hannes Ciatti, executive creative director and co-founder.

“Get your domain before it’s gone plays with the universal fear of discovering you’re not the only one with your name and your online identity is taken by someone else.”

Calling John Malkovich Credits

The Calling John Malkovich campaign was developed at John X Hannes by executive creative director Hannes Ciatti and John McKelvey, senior art director Conor Hagan, senior copywriter Matt McCarron, executive producer Kristine Ling, head of client management Verena Zannantoni, senior planner Iain Newton, operations director Karen Lo.

Business affairs were produced at Waving Cats Productions.

Filming was shot by director Miles Jay via Smuggler with director of photography Chayse Irvin, executive producers Allison Kunzman, Patrick Milling Smith and Brian Carmody, production designer Carly Reddin, stylist Jurgen Doering, US line producer Alex Orlovsky. Production in Paris was by producer Catherine Guillot at Premiere Heure.

Editor was Chan Hatcher at NO6.

Ad Council Fans of Love – Love has no labels

Post pobrano z: Ad Council Fans of Love – Love has no labels

“Fans of Love”, the Ad Council Love Cam commercial launched on Valentine’s Day 2017, has been nominated for Most Outstanding Commercial in the Emmy Awards. The Fans of Love commercial, part of the Love Has No Labels advertising campaign, began as a live stunt at the 2017 NFL Pro Bowl in Orlando in January, taking the kiss cam game feature, the jumbotron, to a new level. The unbiased camera centred on a range of people, celebrating many forms of love – friendships, families and romantic relationships – across race, religion, gender, sexuality, ability and age.

Fans of Love Cam - Ad Council Love Has No Labels ad

Faces of Love Site

The Fans of Love campaign directs audiences to, which features a quiz to help people examine their own biases and resources on how to take actionable steps to rethink those biases. An interactive “Fans of Love” video presents relevant campaign facts and links to educational content to audiences as they are watching the film. The campaign taps into the expertise of six leading non-profit organisations including, Anti-Defamation League, Southern Poverty Law Center, Human Rights Campaign, American Association of People with Disabilities, AARP and Perception Institute. To show their support for creating a more accepting and inclusive community visitors can use the “Faces of Love” tool by adding the iconic Love Has No Labels frame to their photos and purchasing Love Has No Labels merchandise in the campaign shop.

Fans of Love Cam - Ad Council Love Has No Labels Faces of Love site

Creating the Campaign

Most Americans agree that people should be treated respectfully and fairly. Yet many people in the United States still report feeling discriminated against. One of the main reasons is because we’re actually discriminating unintentionally. We do 98% of our thinking in our subconscious mind, and that’s where we collect and store implicit biases. Implicit bias influences how people are treated and how they interact with each other. It can also perpetuate disparities by altering someone’s ability to find a job, secure a loan, rent an apartment or get a fair trial. To end bias, we need to become aware of it first, especially in ourselves. The Love Has No Labels campaign targets all Americans and aims to combat bias, by flooding culture with messages that are inherently non-bias. They aim to normalize all types of love and relationships simply by integrating these types of love into the content they produce. Our message of love quickly spread through culture, starting a conversation about bias, and what love looks like in America. So much so, that we are rolling out Love Cam partnerships with every major sports league in America (NFL, NBA, NHL, MLS) to transform their Kiss Cams into Love Cams. Meaning, we didn’t just insert our message into culture, we changed culture.

By partnering with the NFL (known for having more traditional and conservative fans), we were able to appeal to both right and left winged media and viewers: with our message of love being a featured story by the likes of Fox TV and Breitbart News Network, all the way to the New York Times, USA Today, Huffington Post and even Ellen DeGeneres.

“On Valentine’s Day ‘Fans of Love’ highlights that love has the power to bring people together regardless of our differences – a message that is more important now than ever,” said Lisa Sherman, president and CEO of the Ad Council. “We hope that this new creative will encourage all of us to reflect on our own biases and the role we can play in creating a more accepting and inclusive world.”

The fully integrated campaign also included support and activations from key partners including NFL, social platforms and publishers. In addition to debuting the “Fans of Love” cam at the Pro Bowl, NFL will used its platforms including donating time on NFL Network, as well as other fan-facing vehicles, to support the campaign. Upworthy, a 2015 campaign launch partner, continued its support for Love Has No Labels by featuring “Fans of Love” on its social channels. Tumblr supported “Fans of Love” by sharing the video with their Post It Forward community to amplify the campaign’s call to action to the user base at large, as well as hosting an Issue/Answer time in the upcoming months. Facebook, Kargo, ESPN, VOX, Bauer and Little Things extended the campaign message through donated media support on its respective platforms. Hearst shared “Fans of Love” through Seventeen’s and Cosmo’s social channels, and SheKnows and Fatherly are supporting through its respective social channels as well. Publicis Media conducted donated media outreach on behalf of the campaign. Jack Morton Worldwide, a global brand experience agency, has joined the campaign to help extend the “Love Has No Labels” message through social activations on the campaign’s social communities.

Fans of Love Credits

The Fans of Love Love Cam campaign was developed at R/GA by chief creative officer Nick Law, executive creative directors Chris Northam and Eric Jannon, creative directors Chris Joakim and Mike Donaghey, creatives Alberto Portas and Alfredo Adan, content producer Ashlye Vaughan, executive producers Jeff Skutnik, Kat Friis, and Cindy Pound, chief marketing officer Daniel Dies, business director Stephen Bernstein, business affairs coordinator Melissa Naimi, strategy director Dave Surgan, strategist Amy McEwan, group strategy director Dylan Viner, group account director Shawn Zupp.

Filming was shot by director Floyd Russ via Tool of North America with director of photography Gregory Wilson, line producer Elyciphus Siler, executive producers Sarah Di Leo and Nancy Hacohen.

Editor was Robert Ryang at Cut + Run with edit assistant Dan Gutterman, executive producer Lauren Hertzberg and producer Ivannah Flores.

Visual effects were produced at The Mill, New York, by colourist Damien Van Der Cruyssen, colour producer Natalie Westerfield, executive producer Dee Allen, colour coordinator Elizabeth Angle, colour assist team Nate Seymour, Zack Wilpon and Daniel Moisoff, VFX artists Joseph Grosso and Matt Dolven, producers Ivannah Flores and Wendy Gardner.

Sound and music were produced at Nylon Studios by executive producer Christina Carlo, sound mixer Rob Ballingall and producer Halle Petro.

Music is “Show Me Love (feat. Chance the Rapper, Moses Sumney, and Robin Hannibal) [Skrillex Remix]” – Hundred Waters

IKEA Lion Man – Relax into greatness

Post pobrano z: IKEA Lion Man – Relax into greatness

IKEA UK’s latest advertising campaign features Lion Man, a symbol of the importance of relaxing and recharging in one’s living room so we can go on to do great things. Based on the fact that lions spend up to 18 hours a day at rest, the campaign follows the story of a Lion Man as he recharges in his living room before springing to life and revealing himself to be a father in costume preparing for his child’s party. The IKEA Lion Man campaign aims to highlight the importance of recharging our bodies and minds and inspire people to relax more, by celebrating the living room as the one room in the home where we can unashamedly rest and relax. The online film connects viewers with the Wonderful Everyday site .

IKEA Lion Man

Shot in a style that parodies a wildlife documentary, the film follows the Lion Man relaxing languidly in his living room. We see him stretching on a cushion-filled sofa in front of the TV, then reading a book on an armchair, sprawling on a rug before peaceful yoga practice. The Lion Man is constantly at rest. But as he naps and light fades, he hears a wild rumble outside in a faux dreamlike sequence. We’re given a visual cue of an antelope, perhaps the Lion Man’s prey. Fully recharged, the Lion Man springs to the ready: it’s time for action! The door flies open and he is greeted by the energetic stampede of his daughter and her friends at her birthday party. The recognisable voice of Rikard Wolf then encourages the audience to “relax into greatness”.

Laurent Tiersen, IKEA UK and Ireland Marketing Manager, said, “Modern lives often leave us with the feeling that we should always be on the go, making enjoying downtime feel a bit indulgent. We work around the clock, consuming information 24/7 and are ‘always on’ which puts a toll on us all. We’ve all forgotten how to relax, especially in the living room.

Our hope is that “Lion Man” – the latest instalment of the Wonderful Everyday campaign – helps and inspires the nation to reclaim their living rooms. Challenging everyone to think of it as a personal sanctuary to relax and recharge – because when you feel fresh, great things will follow.”

Created by Mother London, the campaign leads in press, TV, cinema, digital and outdoor media, with additional filmic content optimised for social and mobile. The campaign reaches its peak with a 60” online and cinema film along with 60” and 20” TVC across the UK and Ireland on 15th July, before going live across print, digital and outdoor. The campaign has full support of PR, social and CRM.

IKEA Lion Man
IKEA Lion Man
IKEA Lion Man

IKEA Lion Man Credits

The IKEA Lion Man campaign was developed at Mother London by executive creative directors Hermeti Balarin and Ana Balarin, creatives Roberto Kilciauskas and Pedro Rosa, and agency producer Carol Oakley.

Filming was shot by Us directors Chris Barrett and Luke Taylor via Academy Films with director of photography Patrick Duroux, executive producer Lizzie Gower, producer Lucy Gossage, production designer Drogo Michie, wardrobe artist Rebecca Hale, and Lion Man costume artist Andy Gent at AMS.

Editor was Bill Smedley at Work Post.

Post production was done at MPC by colourist Jean-Clément Soret.

Sound was produced by Sam Ashwell at 750mph.

Music is “By The Sleepy Lagoon”, by Eric Coates, with additional production by Paul Sumpter.

Vauxhall Pyjama Mamas

Post pobrano z: Vauxhall Pyjama Mamas

Vauxhall is running Vauxhall Pyjama Mamas, an advertising campaign promoting the Crossland X SUV. The campaign features Vauxhall-driving mums who defy the glares of their peers to wear their stylish pyjamas all day. They’re seen at the supermarket, in the cafe, and picking up their children from school. Features showcased include the 180˚ rear-view camera, “Cause mamas need eyes in the back of their heads” and versatile room for everyone, except pyjama haters. The Vauxhall Pyjama Mamas advert, directed by music video director Jake Nava, is supplemented by digital, PR, social, CRM, press and out of home elements, including photography by Rankin. A content partnership with Channel 4 consists of short videos featuring humorous conversations between actresses Jessica Hynes and Sally Phillips about being a mum.

Vauxhall Pyjama Mamas

Simon Oldfield, Marketing Director for Vauxhall Motors said, “Pyjama Mamas is a punchy and upbeat campaign for our newcomer, the Vauxhall Crossland X. Our brief was to bring something very different to our burgeoning SUV offering, which is due to grow still further in 2017 with the launch of the larger Grandland X later in the year. Our optimistic take on life as well as the, ‘Isn’t life brilliant’ brand positioning have been incorporated throughout the campaign.”

Katie Mackay, Head of Strategy at Mother added, “In a sea of SUV sameness, it’s been a joy to give the Crossland X a platform that befits the swagger and style of the car and its future drivers, while giving Vauxhall a contemporary voice in British culture.”

Vauxhall Pyjama Mamas
Vauxhall Pyjama Mamas
Vauxhall Pyjama Mamas
Vauxhall Pyjama Mamas

Vauxhall Pyjama Mamas Credits

The Vauxhall Pyjama Mamas campaign was developed at Mother London by creative director Mark Waites, creatives Charlie Lanus and Lucas Reis, agency producer Natalie Kozlowska, production assistant Amber Lauder, business lead Jonathan Thornton and account director Jo Goldberg.

Filming was shot by director Jake Nava via Cherry Studio, with producer Benedict Cooper, director of photography Manel Ruiz, production manager Russell Hasenberg, production assistant Sera Bal, and photographer Rankin.

Post production was done at The Mill by 2D lead Brad Wood, 2D artists Sole Martin, Nick Sze, James Pratt, Gavin Marler, Eileen Chan, Matt (Wispy) Clarke, David Wishart, colourist Dave ‘Luddy’ Ludlam, colour assists Brendan Buckingham and Thomas Mangham, executive producer Misha Stanford-Harris, production assistant Rosalien van der Bom.

Editor was Ben Stephens at Final Cut with assistant editor Elyse Raphael and producer Frankie Elster.

Sound was designed at Grand Central by Munzie Thind. Music, “Pajamas All Day”, the 2015 track by Hardnox (Las Vegas based MC/DJ brothers Dan and Jim Kehoe), was supervised by Dave Bass at Theodore.

Pajamas All Day Lyrics

I’m a hot mamma jamma
I jam in my pajamas
I put on my pajamas
And then I go bananas
I’m a hot mamma jamma
I jam in my pajamas
I put on my pajamas
And then I go bananas
I’m in…
Pajamas, pajamas, pajamas all day!

Verse 1:
Do I wanna go somewhere?
No way, no school no work got none today
Frosted Flakes and champagne with my OJ
Pajamas all night pajamas all day
Girls wanna hit the club, I don’t care
Bring your pjs to the crib my beds right there
Pajamas in the studio while the beat hits
Waking’ up with Victoria’s Secrets
Cuz all I wanna do is stay home don’t call send a text I won’t answer my phone
My Jammie’s feel fuzzy like a rabbit
Don’t judge me or my junk food habit
Yea! I wanna lay in bed and do nothin’
No plans for the day except to go do nothin’
24 hrs straight lazy and it’s tight
Pajamas all day, pajamas all night


Verse 2:
Pajamas all day yup all day
Got fireball in my pumpkin spice latte
Pajami jam I need some models on my runway
I put my slippers on & slide down the hallway
Pajamas all day text the squad ay! Come in dress code or u can go away
I put On My pajamas and go bananas let me see it girls get out ur cameras
Got a girl comin over and I’m hopin that I can get some and not have to watch frozen
Bathtub rubber duckys on a boat and, pajamas back with my drink time to float man/
Yea! I wanna lay in bed and do nothin’
No plans for the day except to go do nothin’
24 hrs straight lazy and it’s tight
Pajamas all day, pajamas all night

Google Home of the Whopper

Post pobrano z: Google Home of the Whopper

Burger King’s Google Home of the Whopper campaign won the Grand Prix for Direct at Cannes International Festival of Creativity 2017, for use of broadcast. Burger King managed to activate Google Home devices through its commercial by asking the question, “OK, Google, what is the Whopper burger?”. Google Home assistants and Android phones with voice search enabled automatically proceeded to read out the answer from the Burger King Wikipedia page. The 15-second commercial, first launched on the Burger King Youtube channel, featured a Burger King attendant trying to describe a Whopper and its fresh ingredients. Running out of time, he ended by asking Google the question, “Ok Google, what is The Whopper burger?”. Complications set in. Internet trolls managed to edit the Burger King Wikipedia entry, adding ingredients like “100% medium sized child” and cyanide. Editors reinstated the original wording. Google then found a way to prevent the ad’s activation of Google Home devices, not long before it was due to be broadcast on TV screens. New versions, with extra audio edits, were launched. Within days after the spot aired, Google Home changed its software to recognize up to six voices only.

Google Home of the Whopper Burger Question

According to Miami advertising agency David, the Google Home of the Whopper idea earned 9.3 billion global impressions. It became a global trending topic on YouTube, Facebook, Twitter, and Google Trends, making it Burger King’s most talked about TV spot and most engaged video in the brand’s history. The spot earned $35 million in US media, and created a 500% increase in brand mentions. Within 48 hours of initial launch, the spot was viewed organically 10 million times online. It totaled 15 million online-only views, vs. the 700,000 Google Home devices it targeted. Burger King became the first brand ever to use voice-activated tech to advertise a product, and started a debate around the limits of advertising and invasive technology.

Google Home of the Whopper Credits

The Google Home of the Whopper campaign was developed at David, Miami, by chief creative officer Anselmo Ramos, creative director Antony Kalathara, art director Ricardo Casal, junior art director Richard Cruz, copywriter Juan Javier Peña Plaza and junior copywriter Dan Flora, producer Renata Neumann, strategy director Jon Carla, head of global production Veronica Beach, managing director/head of account Paulo Fogaça, senior account director Carmen Rodriguez, account supervisor Rafael Giorgino, senior business affairs manager Barbara Karalis, account planner Matías Candia, account supervisor Diandra Garcia, account executive Jenny Gobel, working with Burger King global chief marketing officer Fernando Machado and marketing communications lead Diego Suárez.

Filming was shot by director Kris Belman via Caviar LA with executive producer Jasper Thomlinson, director of photography Chris Saul. Editor was Jeff Grippe at Cosmo Street with assistant editor Habib Semaan, producer Chelsea Spensley and artist/colourist Shinya Sato.