Wonderbra in the UK has unveiled its first 3D billboard poster that marks the launch of an integrated campaign by iris to promote its new 'Full effect' bra. The 48-sheet poster kick starts a range of brand engagement initiatives to span digital, experiential, media partnerships and PR, which will work together to put the brand directly in touch with its female target audience. The poster, at Waterloo Road London, features a model wearing the bra and can be viewed with specially designed 3D glasses in the shape of the bra. The guerrilla stunt was created by iris to generate buzz around the new bra, which can boost busts by up to two-cup sizes. The campaign, called 'Full effect your life', will see Wonderbra give three girls the opportunity to win one of three life-enriching experiences**: Become a fashion journalist with a week's internship at Cosmopolitan.co.uk; discover the secrets of a fashion stylist by shadowing Grace Woodward of 'Britain's Next Top Model'; or delve into the mind of a fashion buyer on a trip to Paris with leading vintage site WeLoveVintage. An online and PR campaign kick off the nationwide competition today, with an exclusive feature in The Sun including a giveaway of the limited edition 'Full effect' 3D glasses, as well as social media content to go live on Facebook and Twitter. All activity will drive traffic to the campaign's dedicated competition website within www.wonderbra.co.uk, created by iris. The site was sourced by MPG.
Wonderbra Full Effect Bra 3D Billboard in the UK
Wonderbra in the UK has unveiled its first 3D billboard poster that marks the launch of an integrated campaign by iris to promote its new 'Full effect' bra. The 48-sheet poster kick starts a range of brand engagement initiatives to span digital, experiential, media partnerships and PR, which will work together to put the brand directly in touch with its female target audience. The poster, at Waterloo Road London, features a model wearing the bra and can be viewed with specially designed 3D glasses in the shape of the bra. The guerrilla stunt was created by iris to generate buzz around the new bra, which can boost busts by up to two-cup sizes. The campaign, called 'Full effect your life', will see Wonderbra give three girls the opportunity to win one of three life-enriching experiences**: Become a fashion journalist with a week's internship at Cosmopolitan.co.uk; discover the secrets of a fashion stylist by shadowing Grace Woodward of 'Britain's Next Top Model'; or delve into the mind of a fashion buyer on a trip to Paris with leading vintage site WeLoveVintage. An online and PR campaign kick off the nationwide competition today, with an exclusive feature in The Sun including a giveaway of the limited edition 'Full effect' 3D glasses, as well as social media content to go live on Facebook and Twitter. All activity will drive traffic to the campaign's dedicated competition website within www.wonderbra.co.uk, created by iris. The site was sourced by MPG.
Google – “Google Instant with Bob Dylan” by Johannes Leonardo
http://google.com/instant | Search as fast as Bob Dylan sings with Google Instant.Credits:
Instant lyrics. Instant results…Sing or type along with Bob Dylan as Google gives a demonstration of its new platform.
Country: United States
Agency: Johannes Leonardo
Brand: Google
Advertiser: Google
Blonde Models in the Product Testing Institute for the Sony Ericsson Xperia X10
Well what can we say about this spot for the new Sony Ericsson Xperia X10 smart phone?
That's right......nothing.
Ray-Ban Sunglasses Static Wizard Viral Ad
Never Hide Films is back with yet another viral spot for Ray-Ban, this one titled Static Wizard, enjoy.
Credits:
Production Company: Tool of North America
Shoot Location: Los Angeles
Post-Production Co.: Cosmo Street
Master Recording: Stonesthrow
Creative Director: Travis Britton
Art Director: Devin Gillespie
Copywriter: Derek Szynal
Producer: Mai Huynh
Director: Jason Zada
DP: Ketil Dietrichsen
Editor: Asako Ushio
Line Producer: Kelly Christensen
Colorists: Kevin Buck
Director of Broadcast: Jennifer Golub
Business Manager: Monica Pasternak
Account Person: Christian Navarro
Visual Effects Co.: Ring of Fire
Exec. Creative Director: Chuck McBride
Executive Producer: Brian Latt
Credits:
Production Company: Tool of North America
Shoot Location: Los Angeles
Post-Production Co.: Cosmo Street
Master Recording: Stonesthrow
Creative Director: Travis Britton
Art Director: Devin Gillespie
Copywriter: Derek Szynal
Producer: Mai Huynh
Director: Jason Zada
DP: Ketil Dietrichsen
Editor: Asako Ushio
Line Producer: Kelly Christensen
Colorists: Kevin Buck
Director of Broadcast: Jennifer Golub
Business Manager: Monica Pasternak
Account Person: Christian Navarro
Visual Effects Co.: Ring of Fire
Exec. Creative Director: Chuck McBride
Executive Producer: Brian Latt
GE Capital and Polaris TV Spot
In a collaborative showcase between their top-flight color-grading and VFX departments, full-service post studio Nice Shoes just finished work on the latest stunning spot for GE Capital's ongoing co-branding campaign, this time spotlighting the company's relationship with Polaris.
Polaris opens on a panoramic shot of a stunning, jagged-edged dunescape. A Polaris dune buggy streaks across the screen, tossing a trail of sand behind and adding a flash of red color to the brown-and-tan-hued land. A voiceover extols the merits of GE Capital's intensive client relationship with Polaris before the spot ends with the occupants leaping from the buggy and dancing joyously across the sand.
The naturally beautiful color palette, the epic landscape, the contrasting shades, and the sand trail stirred up by the dune buggy called for special cooperation between Nice Shoes' powerful color-grading and VFX units. "More than anything, the finished product shows how well Nice Shoes' various departments unite," noted Nice Shoes Colorist Ron Sudul. "Plus we have done so many of these spots now for GE that we are particularly tuned in to their desired look and style."
Nice Shoes took the 35MM footage, scanned it in at 2K, and color corrected in Baselight to capture the unique tint of light reflecting on sand. The VFX department contributed with Autodesk Flame, taking advantage of its ability to composite within a 3D workspace.
The crew faced myriad challenges, from trying to reproduce accurate looking sand to maintaining the integrity of the pristine desert scenery. Nice Shoes enhanced the natural lines and shading in the sand dunes to really bring out the contrasts and contours. In nearly every shot, the VFX crew then removed tracks from the dune buggy and the film crew and recreated clean sand to fill the space.
"We had a very short turnaround for this project, so it was important that each group cooperated with the other," noted Nice Shoes VFX Artist Jason Farber. "Luckily we have a long history of collaborating not only internally, but also with the agencies and production companies we work with, so we were able to come together and turn out a beautiful final spot."
Credits:
Client: GE Capital
Spots Title: Polaris :30
Agency: BBDO/NY
Creative Group Head: Don Schneider
Art Director(s): Rick Rabe, John Cornette
Copywriter(s): John Kenney, Daniel Bremmer
EP: Regina Ebel
Music Producer: Rani Vaz
Producer: Regina Iannuzzi
Prod Company: @radical.media
DP: Anthony Wolberg
Director: Lenny Dorfman
Editorial: Crewcuts
Editor: Nate Taylor
Telecine: Nice Shoes
Colorist: Ron Sudul
Post/Effects: Nice Shoes
CD: Aron Baxter
Flame Artist(s): Jason Farber, Andrew Granelli, Bryan Rosen Blum, Vin Roma, Russ Bigsby, Rich Schrek
Producer: Dave Moore
Music: Black Iris
Sound Design: Sonic Union
Attribution: Written content created by TRUST: http://www.trustcollective.com
Under Creative Commons License: Attribution Share Alike
V Energy Drink Ads Mothball and BeetleBall Commercials
The Colony (www.the-colony.com) director James Rogers recently lensed two new advertisements for the Australian energy drink V Energy in collaboration with Post Modern Sydney.
The national campaign, released in Australia and New Zealand, gives a new
spin to V Energy's familiar brand theme of extreme sports and insects in
their spots. In the first spot, Rogers animated bug characters invent a
new game called Mothball (inspired by baseball). This game uses actual
moths as balls that are hurtled through the air squeaking and squealing.
Rogers says "We needed to be family friendly but at the same time
tongue-in-cheek to keep with the energy drink's branding. We looked to
famous baseball films such as Bull Durham and The Natural as inspiration
for setting the scene. I wanted to nod to the powerful visual language in
those films, there are some very distinctive camera angles and framing we
wanted to salute without directly copying."
Rogers continues, "The most fun part of the collaboration was working with
the animators. They brought a lot of nice, unexpected moments to each scene
little things like the insects eyeball movements and odd hand gestures
that affect the pacing."
Regarding the technical process, he says,"We worked primarily in Maya 3D,
Nuke 2D and finally in Flame. I also added quite a few real elements such as
dust in the air and actual shot lens flares. We then worked a lot with
shaders to make sure we got the light just right for the characters. I think
you can see this atmospheric grittiness in the final spot."
Rogers uses insect-themed branding again in his second spot for V Energy,
titled Beetleball. This time we are introduced to Barry "The Bullet"
Kowalski, an athletic bull ant who drinks V energy for strength to play with
his ball, a slater beetle.
Rogers remarks, "The spot apes overly slick sport-endorsements with much
inspiration coming from the 1980¹s." Key lighting was essential in achieving
this effect, he says. "I looked to light it in a way you don't often see CG
characters lit. I approached the lighting like you would a real set in that
situation, as I imagined one would in the 80s."
He continues, "The chance to make an animation piece which pretty much
revolves around a single character was fun. There are odd challenges in
that, such as not being able to edit around a scene as much. To create a
compelling character and establish him in 15 seconds was important too."
The national campaign, released in Australia and New Zealand, gives a new
spin to V Energy's familiar brand theme of extreme sports and insects in
their spots. In the first spot, Rogers animated bug characters invent a
new game called Mothball (inspired by baseball). This game uses actual
moths as balls that are hurtled through the air squeaking and squealing.
Rogers says "We needed to be family friendly but at the same time
tongue-in-cheek to keep with the energy drink's branding. We looked to
famous baseball films such as Bull Durham and The Natural as inspiration
for setting the scene. I wanted to nod to the powerful visual language in
those films, there are some very distinctive camera angles and framing we
wanted to salute without directly copying."
Rogers continues, "The most fun part of the collaboration was working with
the animators. They brought a lot of nice, unexpected moments to each scene
little things like the insects eyeball movements and odd hand gestures
that affect the pacing."
Regarding the technical process, he says,"We worked primarily in Maya 3D,
Nuke 2D and finally in Flame. I also added quite a few real elements such as
dust in the air and actual shot lens flares. We then worked a lot with
shaders to make sure we got the light just right for the characters. I think
you can see this atmospheric grittiness in the final spot."
Rogers uses insect-themed branding again in his second spot for V Energy,
titled Beetleball. This time we are introduced to Barry "The Bullet"
Kowalski, an athletic bull ant who drinks V energy for strength to play with
his ball, a slater beetle.
Rogers remarks, "The spot apes overly slick sport-endorsements with much
inspiration coming from the 1980¹s." Key lighting was essential in achieving
this effect, he says. "I looked to light it in a way you don't often see CG
characters lit. I approached the lighting like you would a real set in that
situation, as I imagined one would in the 80s."
He continues, "The chance to make an animation piece which pretty much
revolves around a single character was fun. There are odd challenges in
that, such as not being able to edit around a scene as much. To create a
compelling character and establish him in 15 seconds was important too."
Google Chrome and Arcade Fire I Used To Wait
Brilliant new song by Arcade Fire titled We Used To Wait, and a promo for Google Chrome, takes full advantage of HTML 5 combined with Google Chrome and Google resources, this website (http://thewildernessdowntown.com) allows you to input the address of the home you grew up in and make it a full interactive video clip.
Credits & Description:
Agency: Google Creative Lab
Creative Director: Aaron Koblin; Chris Milk
Director: Chris Milk
Production: @radical.media USA
Interactive Production: B-Reel
Chris Milk and Aaron Koblin reunite to once again blow the traditional promo out the water with this interactive film for Arcade Fire track We Used To Wait.
The commercial titled We Used To Wait was done by Google Creative Lab advertising agency for GOOGLE MAPS in USA. It was released in the September 2010.
Credits & Description:
Agency: Google Creative Lab
Creative Director: Aaron Koblin; Chris Milk
Director: Chris Milk
Production: @radical.media USA
Interactive Production: B-Reel
Chris Milk and Aaron Koblin reunite to once again blow the traditional promo out the water with this interactive film for Arcade Fire track We Used To Wait.
The commercial titled We Used To Wait was done by Google Creative Lab advertising agency for GOOGLE MAPS in USA. It was released in the September 2010.
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