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Prodigy to sponsor the bestads awards night 2006

 FROM BESTADSONTV    April 20, 2006 00:43 (Edited: April 19, 2006 14:43)
It's official ... Prodigy Films will sponsor this year's bestads awards night on May 31st.

More details about the actual night coming soon.

In the meantime, take a look at excerpts from the Prodigy reel:
click ....

Guest comments for featured spot "March of the Penguins"

 GUEST COMMENTS    April 13, 2006 10:16 (Edited: April 13, 2006 00:16)
Some background from the director, Kevin Donovan.

"Oddly, perhaps pathetically, I am one of very few directors who had experience directing penguins- twice even. And both times in South Africa. And I had the worlds best fake penguin maker, Ron Stefanuick, willing to travel half way around the world to help. I am sorry, Ron, that we not only blew the arm off your Emporer Penguin, but also caught him on fire in the Kill Bill-ish blood- spewing scene. We had amazing support from everyone in Africa. We had a minimal crew and everyone was doing at least 3 jobs. I began in wardrobe so that was no problem, but script supervision, or lack there of, was a new thing that I didn't learn very well. We did one day at Tina the Penguin Lady's house then two days in the frozen tundra averaging about forty set ups per day. Two takes of anything was a luxury. 'Not in focus? Fine, it's an art piece.' The explosions were so big that our buffed up Weapons Officer opted out of the last few takes. No one was hurt... badly... A little sun stroke as Ron Stefanuick refused to puppeteer underground fearing that 'the little people were going to attack.' The people at The Big Picture Co. pulled all their favors and worked tirelessly to pull off a job that often seemed insane. And, no penguins were hurt in the filming, although Tina turned her head as Trevor Brown, our fabulous D.P., who somehow made sense of my anxious ramblings, ran mercilessly at a herd of her little birds with a menacing camera. It was one of those projects that we were shooting so fast that I was never really sure what we had. And when Charly at Homestead starting patching it together we had a lot of areas where it looked less like a horde of birds and more like a gaggle. Charly was really amazing in weaving together the footage where many holes existed. Then came the really hard part: making the unruly birds seem like they were an organized army. The guys at SUSPECT, Tim and Rob and the whole crew made this ugly duckling their new little pet. Much of what they did was simply creating birds that never exsited- and miraculously meshing them into the shots where real and animatronic birds already sat. When you have a really good idea like Wes and Mitch and Regina at McKinney had, everyone from the director/wardrobe stylist down to Ron's 12 year old daughter who spun penguin heads, becomes much more vested in the result. My producer, Tara Handley worked for more than a month on this albatross with no pay. You just can't buy that kind of commitment; which is good, because we spent all the money buying fake blood, explosive fuel and Windhoek Lager."

Outdoor / ambient work with a twist

 WORTH A LOOK   UK    April 13, 2006 07:48 (Edited: April 12, 2006 21:48)
Here's a very interesting one-off treatment from Saatchis London for Multiple Sclerosis Awareness Week

From the creatives:
Multiple Sclerosis is a crippling disease that interferes with messages between the brain and the body, causing body parts to suddenly shut down without any warning. Here we used a malfunctioning cinema curtain to get the message across. The commercial is the first of the ad break before the movie. The lights dim and the curtain begins to open. It suddenly stops halfway. A title appears, ‘You never know what will shut down next.’ This fades and is replaced by the MS society logo, web address and ‘MS awareness week 10th – 17th April 2005’

To view this work ....

and a malfunctioning scrolling poster!
To view this work ....

New work for the Tribeca Film Festival

 TV   USA    April 13, 2006 06:54 (Edited: April 12, 2006 20:54)
O&M New York & Hungry Man team up to follow last years Robert De Niro spot.

... and do a very good job of it!

To view the spot click ....

New VW Golf work from DDB London

 TV   UK    April 13, 2006 06:44 (Edited: April 12, 2006 20:44)
Clever little advert this.

From DDB London & RSA director Brett Foraker.

To view the spot click ....


 TV   USA    April 13, 2006 06:31 (Edited: April 12, 2006 20:31)
The Thin Blue Line ... the musical.

This is the sister spot to "March of the Penguins", featured on the "latest ads" page this week.

To view the spot click ....

Kiwi's are taking it to the world

 TV   NEW ZEALAND    April 13, 2006 06:24 (Edited: April 12, 2006 20:24)
New work from MTC & Robbers Dog, for the Kiwibank.

With a creative departmment of five (5), and a TV department of one (that's 1), MTC keep turning out good work.

To view the spot click ....

"New Canadians" learn English from "The Score" sports channel.

 TV   CANADA    April 13, 2006 06:16 (Edited: April 12, 2006 20:16)
new from Leo Burnett Canada & production company Brown Entertainment.

... and a unique presenter style!

To view the spot click ....

Guest comments for featured Playstation2 spot "rooftop"

 GUEST COMMENTS    April 13, 2006 06:14 (Edited: April 12, 2006 20:14)
A few words about the featured ad "Rooftop" from the creatives, Michael Burke & Steve Williams, TBWA London.

The brief was to launch the latest title and expand the Singstar audience. Everyone has some bit of rock star inside them and karaoke is a way of living that dream, even for a few minutes. We wanted to dramatise this by taking it a little bit further, so we had two blokes stage their own impromptu performance on a roof overlooking a busy street. Ron Scalpello at Rogue auditioned to be one of the singers, but we turned him down. Dejected, he thankfully still agreed to direct the ad.

Any resemblance to The Beatles gig on the roof of the Apple building or U2’s shindig on a roof in LA is entirely coincidental.

The new Glue Society Arthritis spot.

 TV   AUSTRALIA    April 13, 2006 05:10 (Edited: April 12, 2006 19:10)

To view the spot click ....

... and here's what we posted about this a week or so ago:

For Arthritis Week this year (Sunday April 2 - 9) Arthritis Australia has opted to avoid the traditional approach to Community Service Announcements that use celebrities or other sympathy grabbing conventions in favour of a decidedly more frightening approach.

Says Ainslie Cahill, CEO of Arthritis Australia:
“The objective of our campaign this year is to snap people out of inaction - and encourage people who have arthritis to optimize their general wellbeing and health into the future – by seeing their doctor and contacting us for information and advice.”

To achieve this aim, they approached The Glue Society for a creative solution which would, like much of their work, create immediate public notoriety and attention.

Rather unexpectedly, they discovered that Jonathan Kneebone, founder of The Glue Society, was himself hospitalised with rheumatoid arthritis for a year at the age of five – and as a result it became a particularly pertinent project for both him and the other writers and directors on the project from Glue Society, Matt Devine and Luke Crethar.

Jonathan Kneebone says: “Arthritis can be profound in its impact on many people young and old. I have seen how it debilitates and slowly destroys someone’s liveliness. And because of my own experiences as a child with this disease, this project took on a particularly personal edge.

We were able to use my own insights to create what we feel is one of the most provocative commercials we’ve ever written or directed. But we have done this in the knowledge that it is being provocative for all the right reasons. Our creative idea is very much in tune with the way arthritis affects people.”

The actual content of the commercial is being kept under wraps in order that it has a very real impact when people do see it on air. But suffice to say, it is designed to scare people into action – and shows a typically ambivalent middle aged man being forced to consider the impact arthritis is having on his – and his partner’s - life.

“In order to pull off what was a very ambitious idea required a production team of the highest quality – and we were thrilled that so many wonderfully talented people agreed to donate much of their time to this particular project. As a result I feel it is one of our most compelling and effective pieces of work to date.” Kneebone added.

Guest comments for featured spot "Go Wild!"

 GUEST COMMENTS    April 06, 2006 07:30 (Edited: April 05, 2006 21:30)
Go Wild!
A few notes by Stephane Allender, VFX Supervisor/Inferno Artist, Framestore CFC.

Rexona was a very ambitious project indeed, which is not to say that it wasn’t fun to make. In fact, the whole project had a slight air of making a student film for us, such was the latitude for creative and input given us by Noam Murro, the director, and Lowe London, the agency.

We started with a three-day shoot in funky Buenos Aires for the background plates. Then there was the four-day blue screen shoot at Universal Studios in LA for the live action animals. We then had to populate a complete empty 60 second edit with blue-screen and CG animals. I should add that the blue screens provided by DOP Toby Irwin were perfect every time, which made our job so much easier.

It took us 5 months to complete the job: 25 people, 18 workstations, 1 Inferno, 3 Shakes, up to 800 processors from our render farm, 1 trip to the zoo in a van (for references), 840 coffees, 1512 teas, 26 litres of sweat. All very much worth it!

As I said, the trust we experienced from Noam and Lowe London contributed greatly to the success of the effects - thanks again to them for that fabulous cooperation.

New Coke work from W+K Portland.

 TV   USA    April 06, 2006 06:11 (Edited: April 05, 2006 20:11)
Good new Coca-Cola work from W+K & director Dante Ariola.

(the quality's not great on this one ... if we get a better file we'll replace it ASAP.)

To view the spot click ....

"Ode to testosterone" - from Kessels Kramer, Amsterdam

 TV   EUROPE    April 06, 2006 06:06 (Edited: April 05, 2006 20:06)
Men just have to be men in this anonymous content @ Independent production. Must be one hell of a beer.

To view the spot click ....

Another one from Grey Germany.

 TV   EUROPE    April 06, 2006 05:59 (Edited: April 05, 2006 19:59)
A nice simple product demonstration.

To view the spot click ....

New from George Patterson Y&R & Independent Films (Sydney)

 TV   AUSTRALIA    April 06, 2006 04:29 (Edited: April 05, 2006 18:29)
An intro to radio station Triple M's Breakfast Show, The Cage.

To view the spot click ....

New Peugeot work from BETC EuroRSCG, Paris

 TV   EUROPE    April 06, 2006 04:22 (Edited: April 05, 2006 18:22)
Be good to nature, and .....

To view the spot click ....

New BBC work from UK agency RedBee

 TV   UK    April 06, 2006 04:18 (Edited: April 05, 2006 18:18)
Directing duo Zac & Dan from Stink achieve a stylish look for the new BBC spot.

To view the spot click ....

New from Y&R Chicago and Miller Lite

 TV   USA    April 06, 2006 04:12 (Edited: April 05, 2006 18:12)
Amusing stuff from Y&R Chicago.

To view the spot click ....

We don't get much work from Japan, but ....

 TV   ASIA    April 06, 2006 04:00 (Edited: April 05, 2006 18:00)
Don't try this at home.

To view the spot click ....

More balls ...

 TV   UK    April 06, 2006 03:56 (Edited: April 05, 2006 17:56)
A bit of a laugh from WCRS London.

To view the spot click ....

inside the head of an animation company head .. huh?

 INSIDE THEIR HEADS   UK    April 06, 2006 03:42 (Edited: April 05, 2006 17:42)
A chat with Chris O’Reilly - joint MD/co-founder of Nexus Productions.

bestads: You started in London & have since opened in Paris. Is this the road the world domination? What’s the history of nexus & where do you see it going?
Chris O’Reilly: Charlotte Bavasso and I started Nexus eight years ago. Originally we were a division of a Japanese company, but then we bought them out and separated off.

Opening in Paris was a natural evolution for us. Charlotte is French and we’ve always had French directors on our reel. The talent in France is excellent and there are interesting projects coming from there too. Not sure about the road to world domination! We’re enjoying the winding back routes.

bestads: Any plans to move into non-animated areas?
Chris O’Reilly: Our company plan was to focus on the new generation of filmmakers and artists who had embraced digital film making techniques, with a strong focus on animation. However we always had broader filmmaking interests. Live-action and animation hybrid work has been a massive part of our repertoire, and quite a lot of live-action only work too. Right now we’re involved in three totally live-action projects. Ultimately our interest is in talent not techniques.

bestads: We’ve featured 8 Nexus spots on bestads. That’s got to be a record for an animation company for our site. Any interesting work in the pipeline (that you’d be allowed tell us about)?
Chris O’Reilly: We’ve got quite a few projects going through that I’m excited about. Hopefully some will surprise and delight enough to make it on again!

bestads: So ‘Grrr’ is being submitted to the Guinness book of records! What’s the thinking there?
Chris O’Reilly: We’ve been told this... It has won a lot of awards - pretty much everything it entered. It’s been at a disadvantage being animated as it can’t win quite so many craft awards (editing, art direction, cinematography etc) so I don’t know whether it will get that honour.

bestads: Smith & Foulkes, Smith & Foulkes, Smith & Foulkes ... Do the other directors get a bit peeved at all of the attention these guys have been getting?
Chris O’Reilly: They have been pretty hard to avoid of late, but the other directors here all hold their own against them pretty well! I think we have a diverse roster, and I think the directors all have similarly diverse ambitions.

bestads: Maybe now’s a good time to mention the feature film title sequences you’ve done. I remember sitting in the cinema being mightily impressed by these!
Chris O’Reilly: These have been great fun projects to work on. Feature titles get a global exposure that commercials rarely get. Kuntzel + Deygas’s work for Catch Me If You Can was even parodied on The Simpsons. Now that is an accolade Grrr! never had!

bestads: Where do you see animation ( & advertising for that matter!) heading from here?
Chris O’Reilly: We’re in a time of exciting change. I think its important for companies like ours to be flexible and recognise which strengths are universal and enduring. Where ever there is excellent design with strong storytelling, we want to be there. That’s what I’m backing for the future.

bestads: Any tips for creatives ... if they’re thinking about writing for an animated treatment?

Chris O’Reilly: I think it’s always good when a creative team get the animation company in early to develop the project. With animation you have to create a whole coherent universe and working with the directors who understand their techniques and styles inside out, can make the script work better. Almost all our good work comes from these co-operative trusting relationships.

(see all of the work at

Guest comments for featured spot "Big Win"

 GUEST COMMENTS    April 06, 2006 03:26 (Edited: April 05, 2006 17:26)
A few words from Peter Souter, Graham Storey and Phil Cockeral, AMV BBDO Lodon, creators on the National Lottery "Big Win" advert.

“A tip for all lazy but ambitious creatives. Scribble out a half decent script and then e-mail it to Mark Craste at Studio AKA in London. Leave him alone for five months while he spins layer after layer of beautiful drawings onto a bank of thirty computers, broadcast the results and then claim all the credit.”

Guest comments for featured spot "Organ transport"

 GUEST COMMENTS    April 06, 2006 03:15 (Edited: April 05, 2006 17:15)
A few words from the Florian Meimberg, CD Grey Düsseldorf, & one of the directing duo on the "Organ Transport" spot.

I directed the ad together with my copywriting partner Torsten. We work as a creative director team for grey worldwide in Düsseldorf. A couple of years ago, we also started directing some of the commercials we create for the agency. That's also what we did with the Toppits ad. One night of shooting and one day of post production, and we were done!

As directors, we call ourselves FLOTO.

Greetings from germany!


Guest comments for the feature spot "Reconstruction"

 GUEST COMMENTS    April 06, 2006 03:08 (Edited: April 05, 2006 17:08)
Some background to this week's featured spot "reconstruction" from Nigel Dawson, CD, Grey Melbourne.

Sgt Peter Bellion has attended over 1000 fatal and serious crashes. This was the first time he had watched the crash happen. Nobody was hurt, though director Bruce Hunt’s brain was severely knocked about while trying to come to grips with filming a slow motion car hitting a pedestrian in reverse at 32 km/h while in the same frame Peter Bellion was walking forwards in real time.

And it all looked so simple on paper. We wanted to revisit the “Slo-Mo” spot of two years ago, in which a crash expert compared cars travelling at two different speeds, but his time showing the trauma suffered by an innocent pedestrian.

Three days on a quiet street in Williamstown turned into four when the weather Gods turned on such a blow that an army of grips couldn’t stabilise the massive green screen.

Five cameras covered the crash, with dummy, stuntie and a very game young actress. After a weekend of assembling, the chosen footage was fed into a motion control camera on the Monday to incorporate the walking policeman.

Then things got really difficult. We wanted a spot that was so seamless that nobody could see where the dummy stopped and the live actress began. FIN spent two weeks working on Drew Thompson’s edit, boldly CGIing into places they’d never CGIed before. It took Richard Lambert a week working to complete one shot of the girl falling back (or was it forward?) from the bonnet of the car.

The reaction from the average punter has been outstanding. ‘Compelling’ is the most commonly used descriptor and many have said that it’s the best of the 112 TAC ads made by Grey thus far.

Guest comments for featured LAFA spots from Sweden.

 GUEST COMMENTS    April 06, 2006 03:03 (Edited: April 05, 2006 17:03)
Some background from ESTER Stockholm ... the creators of the LAFA condom spots.

About The Trilogy

The Trilogy is the third film in the very successful campaign "Condom. Still the
easiest way to avoid anxiety.", which earlier have won Sweden’s highest advertising
awards the Golden Egg and 100-wattaren.

Today young people are less afraid of getting sexually transmitted diseases.
According to that fact, that young people don´t care much if they get infected
or not, we decided to focus on the hard and "anxiety causing" things that occour
surrounding an infection. We want young people to consider the consequnces of
the disease rather than the disease itself, and with this tactic get the young
people to use condoms. The campaign illustrates in a humorous way the dangers
of unsafe sex.

The Trilogy is the third film in an long-term campaign with two earlier films made. All three
films communicate at the same theme and with the same pay-off "Condom. Still the
easiest way to avoid anxiety." The idéa and pay off permeates all communication.
The earlier films showed how unpleasant and "anxiety causing" it can be, to be forced
to call up all your former sex partners, telling them that you have been infected with an
sexually transmitted disease.

In the Trilogy we want to illustrate that there's always someone else's version of the
same occurrence and that things never are as they seem. Things are connected in the most
unpleasant and unexpected ways, situations that are guaranteed to cause you anxiety.

The idea to illustrate one and the same story from different persons point of view
we got from the film Pulp Fiction and it was interesting to test if it could work
as a commercial. It was exciting to brake up the stories in time so the first
film starts where the last film ends. The Trilogy format became a natural result
of these ideas. In addition to that, it felt like a new way to make a film in three
parts - in one and the same commercial break.

art director seeking senior writer

 PEOPLE    April 05, 2006 21:03 (Edited: April 05, 2006 03:41)
We don't often run employment ads, but this one's interesting.

To view ....

make sure you click on "Click here for the campaign file" when you get there - the single page jpeg is too small to read.

Guest comments for featured spot "Hands"

 GUEST COMMENTS   EUROPE    March 30, 2006 07:29 (Edited: March 29, 2006 20:29)
A few words from Leon Sverdlin, Creative Director, Mark BBDO, Czech Republic, and copywriter on this spot.

Finding a pair of hands that had the looks as well as the acting ability wasn’t easy. The winning hands belong to an actress in a puppet theatre. After spending all day and most of the night “walking the streets”, she almost regretted getting the role…

New spec spot from Group 101 & A BAND APART

 TV   USA    March 30, 2006 04:09 (Edited: March 29, 2006 17:09)
Prepare for the biting taste of Altoids!

Production company A Band Apart has put together this spec spot with LA agency Group 101.

To view the spot click ....

From DDB Paris

 TV   EUROPE    March 30, 2006 03:53 (Edited: March 29, 2006 16:53)
There's been a LOT of great work coming out of France lately ... & here's a new one from DDB Paris.

To view the spot click ....

... more from France!

 TV   EUROPE    March 30, 2006 03:48 (Edited: March 29, 2006 16:48)
One of the new Pepsi Max spots from CLM BBDO, Paris, with the fimiliar line "don't worry ... there's no sugar".

To view the spot click ....

And from Canadian agency bleublancrouge

 TV   CANADA    March 30, 2006 03:37 (Edited: March 29, 2006 16:37)
This new Burger King work from blueblancrouge isn't exactly mainstream corporate burgers.

Once again proving you don't have to have a million dollar budget to get on bestads.

To view the spot click ....

Serious SFX from Saatchis Sydney

 TV   AUSTRALIA    March 30, 2006 03:31 (Edited: March 29, 2006 16:31)
The new Toyota Yaris spot out of Saatchi & Saatchi Sydney gives the SFX departments (pics & sound) a bit of a workout.

To view the spot click ....

and from Egg Films & Ogilvy Johannesburg

 TV   SOUTH AFRICA    March 30, 2006 03:25 (Edited: March 29, 2006 16:25)
The latest from South Africa ....

To view the spot click ....

Publicis Mojo NZ & Curios Film.

 TV   NEW ZEALAND    March 30, 2006 01:36 (Edited: March 29, 2006 14:36)
A new feelgood Glassons spot for the Breast Cancer Research Trust ... from Curious Film & Publicis Mojo New Zealand

To view the spot click ....

Independent Films with Saatchi & Saatchi Simko, Zurich

 TV   EUROPE    March 30, 2006 01:29 (Edited: March 29, 2006 14:29)
Director Laurent Bourdoiseau from Independent films London, creates a chocolate city in this new film for Cailler chocolate.

To view the spot click ....

New Wonderbra work from Leo Burnett, Sydney

 TV   AUSTRALIA    March 30, 2006 01:22 (Edited: March 29, 2006 14:22)
With 2 Wonderbra print ads featuring in "latest print" this week, we thought this new TV work for Wonderbra would be well worth a look.

To view the spot click ....

A unique strategy for a supermarket.

 TV   EUROPE    March 30, 2006 01:07 (Edited: March 29, 2006 14:07)
Another unusual spot from Fakta, shot by Godman for Uncle, Denmark

The lengths these guys will go to to keep you in the store just a little longer.

To view the spot click ....

guest comments for featured spot Slim vs Slim

 GUEST COMMENTS    March 30, 2006 00:47 (Edited: March 29, 2006 13:47)
Some background from the creative team, Senthil Kumar, Hital Pandya & Karan Amin, JWT India.

We were staring at stick figures for so long that we started believing that they existed in a parallel universe, between the lines of the obsessive compulsive human doodler. Do they fall in love, do they flirt with each other, do they indulge in raw sex, do they die? These and a thousand other quizzing explorations resulted in a story that was lapped up by E Suresh, the animation director, who put his team to the stick treatment for over 30 days at famous house of animation and we had fights, debates, and even pulled out a few daggers before we got done with the visual content. We finally fell in love with the sticks that we once drew on a dirty graffiti wall, somewhere in an Indian toilet.
Then came the sound and heck, we wanted to make a music video now.
So there were fights again and three different music directors were given the task of creating a sound that would rock the charts, create a billion downloads on the world wide web and most importantly not be bombed by Bruce, our Chief Creative Officer. We got there finally and it was a good 60 days of sticking to the idea. As slim as a stick figure.

(bestads: we featured the print for this campaign a little while back ..

To view the print click ....

Guest comments for featured spot "the funeral"

 GUEST COMMENTS    March 30, 2006 00:37 (Edited: March 29, 2006 13:37)
Some behind the scenes info from the creatives, Jean-Marc Tramoni
& Marc Rosier, Publicis Conseil, Paris

If you look carefully, you can just make out an old lady falling down the stairs, like a pancake falling to the ground. It's not a stuntman wearing an ugly dress and a wig.
It was actually a seventy year old lady having an accident on set.
She said she felt fine. She told us she does yoga.

And from the creative director, Herve Plumet:
With this film we learn two things: first, we're all going to die, secondly, you can keep on pissing everybody off if you have a good product ... even beyond the grave.

 GUEST COMMENTS    March 30, 2006 00:27 (Edited: March 29, 2006 13:27)
A few about the new Honda Jazz spot from Scott Lambert, CD, FCB Melbourne , Australia.

Production of the spot was put into the exceptional hands of Michael Cusack and Richard Chataway of Anifex. Their Adelaide studio was transformed into a beautiful English Village by a team of 22 dedicated model makers, over a period of four months. One of the sets used for the spot, was 30m2 and came complete with specially crafted water-wheel, houses, shop-fronts, cobbled streets and tiny one centimeter high tulips.

To give the spot a truly international feel, Tony Robinson (Best known as Baldrick from the “Black Adder” series) was chosen as the narrator. His brilliant sense of timing really makes the spot.
(the spot is due to air this weekend).

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