Post pobrano z: 84 Lumber Journey
84 Lumber, a building materials supply company based in Pennsylvania, is using the Super Bowl to run a controversial television commercial featuring Mexican immigrants. A young girl travels with her mother on foot as they head towards the Mexico USA border. As they travel the girl collects red white and blue pieces of fabric. 84 Lumber’s Super Bowl spot is the launch of a national recruiting campaign for the company’s management training program. The 84 Lumber Journey campaign, online at journey84.com, is targeting males’ ages 20 to 29 that want to take control of their careers and embody the entrepreneurial spirit that runs rampant at 84 Lumber.
Chief Creative Officer Rob Schapiro talks about the commercial.
Director Cole Webley speaks about the controversial 84 Lumber Super Bowl commercial.
“For 60 years, this has been a company defined by its people, entrepreneurs who see opportunity where others don’t,” said Maggie Hardy Magerko, 84 Lumber owner and president. “Our next 60 years will be no different. That’s why we’re casting a wider net; we want the world to know 84 Lumber is the place for people who don’t always fit nicely into a box.”
“Our industry is going through a period of extreme disruption,” Hardy Magerko continues. “And I’ve always preferred to be the one doing the disrupting, rather than the one being disrupted. But to do that, we need to hire and train people differently. We don’t need more people interested in doing the same thing that’s always been done. We need more people interested in creating their own path for themselves and for 84 Lumber.”
84 Lumber Journey Credits
The 84 Lumber Journey campaign was developed at Brunner, Pittsburgh, by creative director Dave Vissat, chief creative officer Rob Schapiro, associate creative directors Derek Julin, Kevin Corfield, chief client officer Jeff Maggs, account director Lauren Tedesco, senior account manager Dana Lucas, associate broadcast director Kathy Baldauf, with Fixer Partners executive producers John Noble and Brad Powell.
Filming was shot by director Cole Webley via Sanctuary with director of photography Justin Brown, creative director Matt Wilson, line producer Christopher Cho, executive producer Preston Lee, heads of production Adam Litt, Leopoldo Luisetti, and production designer Christopher Lagunes.
Editor was Jeff Buchanan at Final Cut with executive producer Sarah Roebuck, producer Penny Ensley, head of production Jen Sienkwicz, assistant editor Geoff Hastings and cutting assistant Andre Castiglioni.
Visual effects were produced at Method Studios by executive producer Stuart Robinson, CG supervisor Boaz Livny, VFX supervisor Eliza Pelham Randall, Flame artists Stephen Morris and Jared Pollack, senior VFX producer Bennett Lieber.
Color was graded at Company 3 by colourist Tom Poole.
Sound was produced at Heard City by sound mixer Phil Loeb.
Music was produced Future Perfect by composer Victor Magro and producer Max Gosling.