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GUEST COMMENTS
Guest comments for the featured spot Some background from Chris Clarke, Leagas Delaney, one of the creatives on featured work "Skateboarder". When you fly to Cape Town in the height of summer, the last thing you expect - or want in the middle of a very tight schedule â is to encounter a force 10 gale. Dummies attached to cranes donât take kindly to it. Then there was the skater, the best in South Africa. Busts his ankle ollying over a childâs trike. Cue MPC. Funny, you go all that way to South Africa, and yet all it takes is a boffin in Soho to make it look real. Still, great seafood. Go to the best TV page or Click here to view this spot Guest Comments for the featured work "My left eye". From Santo Creative Director PABLO MINCES: It was a very interesting project, very different from what we are used to doing. We usually go to the shoot and are very much on top of the whole production aspect, overlooking the castings, asking for storyboards, art references, wardrobe, the protagonistâs voice, the music: exteremely important! Well, for this project our agency did none of these things. The idea this time was to let each director voice their own point of view, without our interference. As for the script, we only asked that they be adjusted to the storyâs spirit. For which, when the time came for the directors presentantions, we knew nothing in respect. We were offline spectators without being able to touch anything. Nonetheless, we are very happy with the final outcome. That is despite that deep feelin inside I still want to make some changes in the editing stages. Click here to view this spot Guest Comments for the featured Nokia spot "The Riddle" A bit of background from Oliver Green & Greg Milbourne, Lowe London, the creative team behind featured spot "The Riddle". The Riddle Once the VO for the riddle was written and in place the shoot itself became a very free flowing and organic process. Director Rupert Sanders of MJZ approached it with as small a crew as possible choosing flexibility over complete control. No actual casting or location scouting was done. We had a couple of vans and some loose areas we wanted to shoot in. And we just went for it. Something in the region of 100 people were shot in the end which made the editing process a long one. It was amazing how much the whole of the film changed when one scenerio was added or dropped. It really was a balancing act. The Harry Dean Stanton VO was a no brainer. He stepped into the booth and just nailed it â a pleasure to hear the man work. The end result is what you see here. Go to the best TV page or Click here to view this spot Guest comments for the featured spot "Log Live the Bubble" Some background from Simon Johnson, DDB Sydney, art director on the featured Hubba Bubba spot. Wrigley's wanted to celebrate the famous Hubba Bubba bubble in a fresh and interesting way. To do this we showed the extreme lengths a child might go to, to keep his bubble alive. As we travel through a house we see all the sharp objects have been mysteriously covered in bubble wrap, oranges, corks and polystyrene. Of course we reveal it's the clever workmanship of an industrious little boy, protecting his most prize possession. Thus 'Long live the bubble'. Go to the best TV page or Click here to view this spot Guest comments for the featured spot "Tide" A few words from CHI creative director Charles Inge: The idea for this commercial was inspired by living in the same house as three shopaholic teenage daughters. Picking Dougal to make this ad was easy. Everyone else we spoke to said it couldn't be done. Based on footage of real waves all he had to do was invent and build a new type of rig, buy a million items and animate each one 960 tiimes. Easy! Go to the best TV page or Click here to view this spot Guest comments for the featured spot "Rock Paper Scissors". from director Tim Godsall: Working with real Shaolin monks was a unique and excellent experience. These guys actually grew up in the monastery depicted in the old Kung Fu TV series. They taught me how to kill a man with a rotation of my finger tip, and I taught them not to look in the middle of the lens halfway through each take. Go to the best TV page or Click here to view this spot Guest comments for the featured Renault Megane spot. Jean Marc Tramoni & Marc Rosier, Publicis Conseil, Paris - men of few words: " We ate well." Go to the best TV page or Click here to view this spot Guest comments for the featured Sony spot "Kiss". Some background from the director, Garth Davis. Kiss" is an idea that pulls the viewer in two directions. The first is it's emotional truth; we witness the tenderness and innocence of a very young couple's kiss ... but as we continue to observe this intimate and memorable moment, the young girl ages, and suddenly we are faced with a most challenging image ... the young girl has aged into an old woman, but the passion, tenderness and emotion of the kiss is unchanged, as is the boy. She looks at him as she did as a young girl, and the boy innocently stares back at her ... this moment a kind of strange, lucid memory, that so strongly connects to the payoff; so clear, the memory never fades. It is bold, fresh, beautiful and such a solid idea that connects to real emotion in the leading design of Sony. My biggest challenge was ensuring this kiss was real, innocent and tender. I couldn't allow the fx to dictate our approach, so every step of the way we made decisions based on protecting the performance of this moment. Go to the best TV page or Click here to view this spot Guest comments for the featured Ballantine's spot. From the creatives, Adam Thompson & Dan Glover-James, Publicis UK. A young man has set up some speakers somewhere in the belly of the city, (shot in the wine cellars of the Argentinian President), so he can amplify a piece of music through its network of pipes and tunnels. We chose "La Wally" because it was powerful and would sound different in the various environments. It needed to be able to interrupt people, so that their reactions would be realistic and they wouldnât just look dumbstruck. Go to the best TV page or Click here to view this spot Guest comments for the featured Match.com spot "Love is all" a few words from the creative team - Mickael Zonnenberg & Joseph Dubruque. Love has its cliche's. The most famous ones come from the movies. They convey the strongest love feelings : fast and loud heartbeat, time slowing down, life turning into a symphony... The idea is to make all these cliche's come to reality in order to show the intensity being in love. The resulting situations are absurd and love the only explanation for them : "Love is all". Go to the best TV page or Click here to view this spot Guest comments for the featured Axe spot "Snapshots" Some background from the copywriter, Eric Jannon, Marcel, Paris . We were really happy to have the opportunity to build this new African brand. After we made the corporate film (âlittle menâ available in this site), we started to describe in original ways the products and services available for the very first time in many countries in Africa. Making stewardesses, buses, planes and buildings suddenly disappear is a long but funny process mixing full SFX (plane), tracking, flame and real set (bus, bathroom). We will remember for long the inhabitants of downtown Johannesburg looking at the âopen bathroomâ and the half bus going all along the streets. Once the main post-production work done, we added details such as the water falling of the bathtub or the coffee pouring from the half cup handled by the guy in his bathroom. We liked the fact you can discover more at second or third look. The entire campaign will include 4 films, 4 reasons to thank especially Director Thierry Poiraud, his producer Nicolas Leclercq and agency producer Nicolas Buisset who all helped me a lot in this project. Click here to view this spot Guest comments for the featured Boots spot "Price Gun" From the Director, Mark Gilbert: This was such a simple idea that we just wanted to keep it observational. The characters are in mundane but private moments being interrupted by a price gun in quite an abrupt manner. This is why the toilet scene ended up being so funny. You canÃât even see the price gun but the viewer already has that in mind so it works. And, we had a lot of fun making these films. Of course, the guy who had the worst job on set was the guy in the toilet with the price gunÃâÃæwe tried to make it as painless as possible for him. Fortunately he was a very small chap standing only 2 feet high....with really spindly arms. Click here to view this spot Guest comments for the featured Axe spot "Helping Hand" A few words from the creatives, Jon Randazzo & Adam Reeves, BBH New York. We set out to achieve a rich, paranormal feeling, juxtaposing the silly nature of the spots with lush visuals. Traktor & director of photography Emmanuel Lebezki created a lovingly-told story in a visually relevant, stylized way." Click here to view this spot Guest comments for the featured spot "Existential Dilemma" A few words from Mark Peters, GSD&M, art director on the spot. The toilet featured in this spot is pretty unique considering it has no tank. And we thought about all the classic conceits with toilets and the whole "hide the gun behind the toilet" thing was one of them. We thought it'd be funny to put some gangsters in that situation with this toilet as it would present a kindof.... (drumroll) "Existential Dilemma." It was fun to write and it was fun to shoot. Todaro was terrific. Go to the best TV page or Click here to view this spot Guest comments for the featured Brother spot "Colours" A few words from Geoffrey Hantson, ECD, Duval Guillaume Antwerp: Three guys in tight colourful suits endlessly making chitchat at the bar about existential (well, kindof) topics. Until late, very late, at night. Colours that stay longer. Somehow we all know what it feels like. No, not the suits. Making chitchat at the bar I mean. Go to the best TV page or Click here to view this spot Guest comments for the featured ask.com spot "Information Droid" A few words from the creatives: No sound. Not a lot of colour. No thirty second time length. And certainly no director's cut. And still it's pretty darn effective. Gotta love that. But, don't be fooled...takes a lot of work to be this low-fi. ali n nicolas Go to the 'best TV' page or Click here to view this spot  some others in the series: Click here to view Information Revolution  Click here to view Evolve Guest comments for the featured Milk spot "Glass" Guest comments from the creatives, Feh Tarty (CD/AD) & Pat McKay (CD/CW), Goodby, Silverstein & Partners. We wanted Milk--something readily available at any local grocerÃâto feel valuable again. One of the thoughts we had was to create a world with only one glass of milk in it. A glass protected in a refrigerated case. Guarded. Like a crown jewel. And, of course, something this precious begs for conspirators. Specifically conspirators who suffer from ailments related to their lack of Milk. Ailments that would actually prevent their successful retrieval of the milk. The ultimate Catch 22. Then we thought to make them a family. A family of thieves named The Adachis. And the idea just kept getting more and more ridiculous. We didn't want to stop at the family. We wanted viewers to really feel The AdachisÃâ desperation for milk. So we made "gettheglass.com" our call to action, a site where viewers play a game while experiencing the ailments of The Adachis. It's a game where viewers basically try to get the glass. If successful, they receive an actual glass. They would "get the glass" in the mail. While supplies last, of course. More of the series further along the news page. Well worth a look! Go to the 'best TV' page or Click here to view this spot Guest comments for the featured Ford spot "Next Generation" Some background from Bjorn Stahl, Executive Creative Director Ogilvy Group Sweden. It's an important subject, global warming, and we wanted to make something that moved and touched people, not just another ad in ad land with a laugh in the end. The shoot was quite complex. First we filmed models in tanks with liquids together with a man who specialized in filming models in tanks, and built his own studio in his garage. That took four days. Then we shot backgrounds of wombs, and floating particles separately. At the same time we built CGI models so that we could add details -like moving tongues and ears, liquid in the umbilical cord and opening of eyes etc. It was then all put together in flame. The production took 9-10 weeks. Go to the 'best TV' page orClick here to view this spot Guest comments for the featured Discovery Channel spot A few words from 300ml - the directors on the featured Discovery Chanel spot. We are so proud to have worked with a client in the scope of Discovery Channel WorldWide. This project from SANTA CLARA Agency in Sao Paulo, we felt that it was very unique right when we got the script. And that's the kind of work we like to invest. After a few weeks of brainstorming back and forth with agency creatives almost day to day, we presented the elements that are in the spot exactly how you see it here, to the client, and she just loved every single moment and element that was brought to the table. The best thing even, was, we shot exactly how it was planned, no stress, just what it is. We felt that this spot could go back to the cable channels roots in a way. That was our goal. And we feel we reached it. We hope everyone enjoys it as much as we did making it. This special assignment was truly special. Thanks HUNGRY MAN RIO. Thanks SANTA CLARA - and Thanks Discovery Channel! Go to the "best TV" page or Click here to view this spot Guest comments for featured Impulse spot "Airport". A few words from the directors, Lemon: This campaign was the come back of Impulse. We had fun working these ironic spots for VOP. We wanted them to look very cinematographic and romantic to have a stronger twist. We worked a lot with the casting. We wanted new faces and a certain acting tone to achieve this romantic mood. We really loved telling such a story.... Go to the "best TV" page or Click here to view this spot Guest comments for the featured spot "Tread Boldly" Some background from the creative team: Beaurepaires sell tyres. It's a highly competitive, skinny margin, distress-purchase category strewn with high-octane, screaming, stack-it-high-sell-it-cheap retail advertising. Vince Martin has been the front man for Beaurepaires for 23 years - yes 23, the upside of this is the moment he appears everyone knows it is a Beaurepaires ad, the down side is trying to find new ways to invigorate and refresh the campaign. We have always given Vince an understated, tongue-in-cheek swagger. He is a bit of an anti-hero, so the film noir feel really works well. and hats off to a cool client who said, "I just want it to look like quality." Concepts by Hugh Walsh and Martin Hermans of Clemenger BBDO Wellington New Zealand. Go to the best TV page or Click here to view this spot Guest comments for featured spot "LAW OF GRAVITY" A bit of background from one of the directors, Armando Bo: It was pretty hard to do it in just four days, especially when we shot people hanging, because they couldn't move like pendulums. We should create the idea of people floating without gravity. We shot the commercial in Buenos Aires and Uruguay. We shot between leading actors and extras and 70 stunts that fell on to the ground from high positions. We used green screen long cushions but when the stunts fell some got really hurt. We shot miniature cars and other things for the backgrounds: all going up and down. We didn't use cables for the stunts only because we had to make every detail (as clothing and hair) fly too. They were almost puppets. Everything had a cable, even the ears of a dog. The most important thing for us was to create the idea that a city like that could exist. We wanted to show that people live their lives in this city with normality. They are used to the punches. That's why it was important the depth of the shots: because we wanted to show how this city works with all those people and cars and things going up and down and up again. It was essential to create a whole city, not just a bunch of people floating. A few words from the agency: From Juan Oubina, Creative Director, Grupo Gallegos ... The Agency's idea was to keep modernizing milk, talk about unknown benefits it has, and place milk as an incredible beverage with incredible benefits for everybody. The idea was to shoot in places where we never shot before and that they were not so well known to everybody. We were lucky to have two directors of the caliber of Luciano and Armando co-directing and even splitting to shoot different scenes at the same time. from Carlos Barciela the Agency Producer ... The special FX and the complex logistics of the project were a challenge for the resources we had. Luckily Rebolucion teamed with Che Revolution post to deliver a seamless post. It was a tough production but the team we lined up between client, agency, directors, production company and post production house worked perfectly and we even had fun in the process, which is always gratifying. Go to the best TV page or Click here to view "Law of Gravity" Guest comments for featured spot "CHASE" A few words from Lowe NZ Creative Director, Josh Moore: Imagine a 6 litre V8 stunt truck, laden with cameras, lights, lighting crew, stunt driver, director, DOP and creatives towing a 7 series BMW. Add a couple of actors playing the bad guys from a bond flick, clouds of petrol fumes, speed, a narrow tunnel, loose gravel .... and the instruction "keep your arms within the vehicle". Good times. Go to the "best TV" page or Click here to view this spot Guest comments for featured spot "TRAIN" Some background from the creative team, Piper Hickman (writer) and Judy Robinson (art director), Saatchi & Saatchi NY. The big challenge here was making everyone disappear without CG trickery or sneaky editing. Thanks to some great choreographers, patient directors (si&ad) and burly body guards, the feat was accomplished. The second biggest challenge was trying to figure out why si&ad dress identically considering they aren't twins...we figured it was so they could find each other on set. The third biggest challenge was finding a broadcast of the National College Football Champanionship in Buenos Aires. It was ugly, but we found it. Go to the "best TV" page or Click here to view this spot Guest comments for featured spot "THE LEGEND" Background from the creatives Claudia Southgate and Verity Fenner, BBH London It is a fart. But it's a beautiful fart. (Nick Gill Pre prod talking to Mr. Perfetti our Vigorsol client) Ultimately, this was how it was sold in and this was how it had to look. A film so beautiful that you would never see the gag coming. We still can't quite believe that we made an advert about a farting chipmunk. (NOTE: it is not a squirrel!) It was one of those adverts you write and quite frankly think that there is not a hope in hell it will ever make it through to the other side. But there you go, nice things happen when clients are as brave as the Perfetti client. We wanted it to feel like an old piece of animated footage that had been found showing the great Miracle of the 1910 Wyoming Forest fire. We wanted it to feel believable and historic and that the chipmunk (not squirrel) had really been a miraculous and almost biblical presence in this story. There has been a slightly old grade applied to the film to create this look. Music was scored to picture in Prague. Quite simply we could never have made this film without the brilliance of Ben Dawkins and the magic minds and fingers at MPC. They worked around the clock to put every whisker and frosty glint on this ad. And also a huge thank you goes to the wonderful Nick Gill. We hope you like it, and him. And he's not a squirrel. Did we say that already? Go to the "best TV" page or Click here to view this spot Guest comments for featured spot "CHOIR" A bit of background from the creatives, Stine Hole and Marie Ronn, TBWA London. NIVEA Goodbye Cellulite We were asked to produce a viral campaign for Nivea, to promote their new product Goodbye Cellulite. We wanted to make it stand out from the category, and not be like any other beauty ad. And because it's a viral, we had to make it as funny and entertaining as possible, to make people pass it on. This is the first viral that Nivea have aired, and it gave both them and us the opportunity to produce something a little bit different from their other advertising. We wanted to make the campaign uplifting, and show women celebrating their smooth behinds. And who would be greater to praise their good-looking butts than a loud and charismatic gospel choir? They have the right attitude, and would be surprising and outrageous enough to capture an audience. So, with some help from professional musicians and singers, we created a gospel song honouring "our sweet behinds". The ad was shot over 2 days in a community hall in central London with Partizan director Leslie Ali. Go to the "best TV" page or Click here to view this spot Guest comments for featured spot "Banana Hands" A few words from Tim Godsall, director on this week's featured spot "Banana Hands" I was just so happy for the actors, to be honest. There arenÃÃÃât a lot of good roles out there for people with blowholes in the back of their necks or with bananas for hands. So when an opportunity like this comes along it's gratifying. And the dog was such a cool dog...I ended up keeping him. Go to the best TV page or Click here to view Banana Hands Guest comments for featured spot "Day Rider" Some background from Cummins and Partners creatives Carolyn Davis and Matthew Page. This spot was shot on location in Los Angeles, near the docks. The talent were difficult to deal with. No one could understand the Hispanic guy and the lead kept hassling the client for her number. We didn't want to use special effects, so running the poor guy over with the car at the end required lengthy contractual negotiations. People say it looks spookily similar to a TV show from the 80's. For this, we blame the lighting. The Director Anthony Farac, from Firehorse Films in Auckland was truly brilliant and said lots of interesting things, but we can only remember this: "Working on an advertising project for an international client was a refreshing change from producing the cartoon series bro' Town. We spent the best part of three months designing, developing, stylising and ultimately bringing this world to life and we're all really proud of the result." Got to the best TV page or Click here to view this spot Guest comments for featured spot "Dream" Some background from Lead VFX artist, Adam Watson, Rushes. This spot was a pleasure to work on, being highly technical and creative. Working closely with Director Simon Burrill from Infinity, we created the amazing dream world you see in POV from the start of the commercial. From the outset there were several technical hurdles to overcome. All the main shots needed 3D tracking to integrate all the set extensions, background replacements and other tweaks and trickery we did. Flame's 3D capabilities were pushed to the limits, creating all the environments in a 3D space and utilising 3D objects throughout most of the scenes. A huge amount of rotoscoping was done by Joe Dymond to give us the latitude to replace, chop, warp any part of the image we wanted to. The change from the shot plates to the final image is dramatic. Technical aspects aside, the rest of the job was about experimentation. We began two weeks of creative collaboration to push the project into the surreal world you see on screen. The concept was set, but the creative brief was open. The first scene takes a few viewings before you see every change we made, from subtle colour changes to floating post boxes. A lot of work was done on colour grading at the end of the job to push that dream idea even further. Coloured light leaks and refined selective grading were the final touches to lead your eye around the image. All in all it is an interesting and beautiful commercial for a household favourite. Click here to view this spot Guest comments for featured spot "Paperwork" A bit of background from from Assoc. Creative Director/Copywriter Reuben Hower and Assoc. Creative Director/Art Director Gerard Caputo, BBDO NY ... creatives on the featured spot "Paperwork". Our assignment was to show how AMP energizes your day. In this case, we tell the story of how a guy overcomes a rather aggressive form of writer's block. Things kind of all fell into place rather wonderfully. The client bought off on the idea, and somehow we got Dante Ariola to direct, and Angus Wall to edit. We shot in a redressed warehouse in LA. They say you can cast anyone in LA, but most of the paper monsters were too good looking (made of stationary), or too LA (synthetic fibers). So they were created from various sketches and implemented with the use of CGI. Thanks to Digital Domain for their tireless efforts in bringing the monsters to life. Big thanks to all involved, especially Dante. Go to the best TV page or Click here to view this spot Guest comments for featured spot "Damaged Goods" A few words from the director, Michael Geoghegan, from The Pink Film Company. Human trafficking is an odious reality of our world; with "Stop The Traffik" we wanted to explore the natural conclusion of this trade if we allow it to continue. Shooting this film in an understated, everyday, matter of fact manner felt like the most effective way of getting us all to relate to and hopefully connect with this problem. Click here to view this spot Guest comments for featured spot "Surgery" Some background from Andy Beach, ATTIK, & writer on the featured spot "Surgery": The campaign is for the Scion xB, which is known for its boxy shape. So we took the idea of the box shape and ran crazy with it. "Surgery" was shot in Bucharest, Romania, because of the locations. As a bonus, using local talent and subtitling the dialogue worked out very nicely. As far as the heads go, there was really no way we could foresee exactly what they would look like, but the results were adequately twisted. The heads were prosthetic, then the tops of the actors' heads were removed, and the faces added in post. Lola Special Effects did a great job. Also props to Director James Rouse who gave the spot a great new layer in suggesting that we have a guy whose surgery fails and is furious about it. It really brings home the point that these guys actually WANT to look like this. Boxy is king. This is actually just one of about 20 great and crazy box head themed videos that are on want2Bsquare.com site, which is the center of the campaign. Go to the BEST TV PAGE or Click here to view this spot Guest comments for featured spot "Rodney Heals"
GUEST COMMENTS
March 07, 2007 10:52 (Edited: February 17, 2023 04:19)
 The director's on a plane to Bangkok, so here's some background from the film company: Giving agencies in Europe a run for their money Exile Films in New Zealand pitched for, won and produced the latest global branding campaign for MTV Networks International beating out heavyweight agencies from London and Amsterdam. Taking a tonal cue from previous MTV campaigns, Exile Films director Gaysorn Thavat wrote a series of crazy scripts that would appeal to the irreverent branding style of MTV. The winning script was a story about an air guitarist turned new age healer called Rodney. A hero was born. Rodney's story was captured on 16mm over 3 days in Auckland - NZ. From the King's Arms to the Lincoln Green the crew followed Rodney and his devotees tracking his progress from rock legend to international air healer. Exile presented the campaign of 5x commercials, a two minute air guitar rock video and 'Rodney Heals' doco which were all received with no client changes, a strange occurrence in today's market. Exile also developed and produced the Rodneyheals.com website and associated content under the direction of Gaysorn Thavat and Exile's interactive director,Kentaro Yamada. The Rodney heals campaign will be broadcast in over 52 countries. Go to the "Best Interactive" page for the online work. or click ... HERE Click here to view this spot Guest Comments for featured spot "Follow the Light" Nokia 6288 Follow The Light Some background from Steve McCabe, Deputy Creative Director, Y&R Auckland. Bringing this script to life was easy. We got Darryl Ward to shoot it. Having a director make it look simple (when it clearly isnt) is of course what we all hope for. Darryls photographic eye combined with his great technical knowledge made him the perfect choice for this script. A certain amount of post-production was always going to be needed, but the plan was to get as much in camera as possible. A great location was crucial too, and there arent too many old mansions in New Zealand. All that was needed then was an interesting collection of beautiful shiny objects, some fantastic art direction and a way of controlling the sun (a big light on a crane.) Fortunately this all came together on the day and it only took one (very long) day of special effects at Fin Design in Sydney to complete the magic. Of course, not content with merely being director and DOP Darryl also produced the music with a muso mate. And all on an incredibly tight budget, even by New Zealand standards. Easy. ... and from the director, Darryl Ward: Due to time constraints, lack of cents & some common sense it was pretty clear from the outset that we would need to work very quickly & embellish the light flares in post to assist the story telling & fortunately Fin design were really, really accommodating. I had a great location in mind but it was not available so we ended up at this guest house where Keith Richards had recuperated after his recent fall & brain surgery, it is normally full to the brim, cluttered with all sorts of furniture & the walls are plastered with 'interesting' art, i dont know why anyone with a sore head would go there. But we emptied a room did a quick re-dress & pushed the button. It was a nice open brief & it all happened so fast, but I think it worked out Ok & I appreciate the agency trusting me from the outset when i said it would make more sense in the online. Go to the MAIN PAGE or Click here to view this spot Guest comments for featured spot "Human Skateboard" A few words from the Luca Grelli, Creative Director, MFP New York, one of the creators of the featured spot "Human Skateboard". I wanted to work with PES since I first saw his work on eatpes.com and this Sneaux project was the perfect occasion to work together. Not only because hes the master of stop motion animation, but also because the script and the idea were different from anything hes done before so when I sent him the script (a paragraph, actually) I was really hoping that the project would excite him. And it did, big time. There is something inherently hypnotic about any highly entertaining stop motion piece: you just cant stop watching it, over and over, frame by frame, to discover the tiniest detail (have you noticed how the lens flare moves in stop motion during the 360?). Which is what people are doing right now on youtube or on Pes site with this Human skateboard video. And really, there is nothing better that a brand could ask for. Another reason this is happening is that it doesnt look or feel like an ad. Despite being 30 sec long like a traditional commercial, Human skateboard is actually a piece of branded content and thats how people online rightly perceive it. Go to the MAIN PAGE or Click here to view this spot Guest Comments for featured spot "Dress For it" Some background from Scott Lambert, Creative Director, Draftfcb ... one of the creaives on the featured spot "Dress for it": The idea was simple. A guy walks out of a building wearing a suit. As he walks down the street, he changes clothes from a suit to a casual outfit, then a tuxedo, and finally into beachwear. Each outfit represents a part of the guys varied life, and, ultimately, the flexibility of the new CR-V. The challenge was, How the fuck are we going to do that? Enter Patrick Hughes from @Radical along with the talented team from Animal Logic and one incredible steady-cam operator. After a gruelling month of tests and rehearsals, we were ready to go. A cast of 80 extras joined us for two long days in downtown Melbourne. The shoot went without a hitch, with a great result from the exceptionally talented (and non-too ugly) actor. The final imagery is something truly special. The guys at Level Two supplied us with a number of great tracks for the spot which made our final choice very difficult. After hours of repeat viewing, we all agreed that the sexy Le Disco by Shiny Toy Guns was the winner. We are all thrilled with the spot. It rocks. Go to the MAIN PAGE or Click here to view this spot  And for the print work .... Click here. Guest Comments for featured Touran spot A few words from Faustin Claverie, Agence.V./DDB, and art director on this spot. When you are 30 and single, being a father looks like a nightmare. That's why we were very involved in this project. We thought that building a kind of "ghost train roller coster" was the funniest way to express all our fears. Let's forget the Volkswagen real life tone and imagine the scariest attraction ever (for us)! Go to the MAIN PAGE or Click here to view this spot you can see "the makin of" here: http://www.dailymotion.com/visited/search/making%2Bof%2Btouran/video/x16meq_making-of-vw-touran Guest Comments for featured Snickers spot "Stop and Go" Some bakground from Jennie Morris, Group CD, Impact BBDO, United Arab Emirates. The ad is the ultimate battle between stop and go. It is the new regional spot for Snickers in the Middle east where the positioning is Dont Stop We made the spot in Amsterdam through a great post company called Valkeiser Capitol Images. Our director was Joeri Holsheimer and Porducer Soren Schmidt. They were a great team and spending a few weeks in Amsterdam wasnt half bad either! It was very important to me that the red and green men seem totally real. So the ad was created with the use of motion capture. Joeri had five chinese martial artists who performed over 500 moves. The live action was all shot in Jeddha Saudi Arabia. I was not permitted to attend the shoot by the Saudi government who refused to give me a visa (Wrong sex and religion). It was shot on 35mm hand held and the Amsterdam guys faced many hurdles while shooting including a camera assistant who had never used 35 mm and Joeri getting arrested by Saudi police for taking a stills picture of his own shoot! The music is a local hip hop act from Kuwait. Go to the MAIN PAGE or Click here to view this spot Guest comments for featured spot "Take Over" Some background from the creatives, Scott Hayes & Bekah Sirrine, W&K. : When we think of MJ and his legendary career, we think of all of his buzzer-beaters. But while we celebrate and glorify all of his legendary moments what we tend not to think about is that every game-winning shot he hit was a game losing shot for his opponents. We wanted to capture what its like to be on the wrong side of greatness, on the wrong side of the XX2 -- what it truly means to take over. The shoot itself was pretty intense. Fill a small high school gym with numerous principals and 200 to 300+ extras, all acting completely devastated, pouring their hearts out, crying, yelling, and screaming in agony. All the while, the Lacrimosa movement from Mozart's Requiem blared from ten-foot-high speakers over and over and over again. Now do that for three days. It was consuming. There were a few times the camera would just keep rolling and it got to the point you couldnt take it anymore -- you really wanted it to end, for Romanek to say cut. But he didnt. Go to the main page or Click here to view this spot Guest comments for featured spot "Train" A few words from the good people at BBH, on the making of Vodafone Train Introduction to the film Train is a very emotive, compelling, exciting, memorable realisation of make the most of now. The most successful advertising goes in through the heart this film certainly does do that. Its a film that makes the hair stand up on the back of your neck, hopefully. Its a film that makes you tap your feet and feel good. Its all about if you are having fun even the slowest journey can literally fly by. It was a challenging film to produce, predominantly because it is a period piece so every detail needed to be authentic. Heres how it was produced. Studio In a studio in Prague, just after the Bond film left, we re-created a 1910 steam train. We recorded the specially composed music prior to the shoot so our hero, a genuine violinist, could bow in time ensuring the takes appear genuine. As our violinist begins to play the passengers spring from their seats, inspired by the music, and begin stomping their feet, clapping their hands and spinning one another around. The carriage rocks back and forth. Well actually, two crew members give it a good push. Location The next two days were spent in a cabbage field a few kilometres outside of Prague. Not a sign of modernity anywhere. Jammed in next to the crane camera we hurtled along in front of the steam train to capture its beauty and speed head on. We spent hours filming this magnificent steam engine accelerate from painfully slow to full steam. We needed to shoot all of this action for real to ensure we captured even the tiniest details. Making the train fly The magicians at Glassworks spent weeks building a computer generated image of our train from hundreds of stills taken on location, in order to make it fly. This is the climax of our adventure. The excitement inside the carriage is so intense our train takes off, rocketing over the countryside. The station Sadly every journey has to end. The last day was spent filming our train pulling up into the station. Go to the main page or Click here to view this spot « First « Previous Next » Last » 2 of 7 |
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