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Seen and noted

Guest comments for featured Lux spot "Balloon".

 GUEST COMMENTS    August 09, 2006 12:39 (Edited: February 17, 2023 05:19)
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A bit of "the making of" ... from Agosto producer Toni Moreno:

Any problems encountered?

The usual ones: casting of the main character was decided 5 days before of the shoot after 3 months of casting everywhere. We had a weather day: there was no rain predicted for our shooting day and during the night there were big thunderstorms that ruined the location. it was the biggest day out of 11 shooting days. we were shooting out of Barcelona with more than 200 extras. all dressed and with big make up and hair... it took us 4 days to get the location back to good conditions to shoot and had to change all the rest of our shooting plan.

What was the script and what did you bring to it?

we added the scene of marrakesh, we thought it was necessary to shoot something in Africa if we wanted to explain the balloon was flying all over the world. then we improvised a lot of acting and the agency was constantly inventing new gags on the shooting set. the most challenging part of this script was to find the right balance between the humor and the esthetic, as it was a very funny script but you had to bring some “cosmetic” look into it. we were very afraid to make something too cheesy... so we worked really hard to make it look beautiful and keep the sense of humor at the same time.

Can you explain about how you shot the spot?

we shot all the locations by real... we shot the girl on the bathtub on a real location (we hung the girl and the bathtub about 30mtrs. high) pretending she was flying attached to the balloon so we could have the real skies and the right light to match it with the different situations. we shot one day in the studio (the last day of all the shooting) to have some reactions of the girl and to shoot few things on blue screen. it was difficult because we needed to match the lighting of all the different situations we shot previously so it was a big lighting job.
the bathtub is of course real. We made two bathtubs with the proportions we needed for the shoot. the balloon is always cgi

Any problems shooting?

not really, besides of the weather. the first day we shot with the girl in the bathtub was a little more difficult: she stayed in the bathtub for many, many hours and at the end of the end it was very windy and cold. she was a real hero and did not complain at all. the most difficult part of this project was to coordinate the number of extras and all the talent of the different scenes. nacho wanted to portray women of all ages and conditions: we had 200 extras on the launching scene, all completely dressed in different periods of the XXth Century. Wardrobe did an excellent job (with only three people) and make up and hair as well.
We were shooting for 11 days over 3 weeks with some of the crew travelling to the different locations while the rest of the crew (based in Barcelona) were working on the preparation of the rest of the scenes.

Where was it shot?

different areas in Spain, russia, Marrakesh, and we sent a 2nd unit to Shangai.

How much post was involved?

... all the balloon was created cgi (glassworks did the post production) and we need to work quite a lot on the backgrounds , adding the skies in most of the scenes.


Click here to view it on the main page.

Guest comments for featured spot "Plane".

 GUEST COMMENTS    August 09, 2006 11:50 (Edited: February 17, 2023 05:19)
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A bit of background for ‘Plane’, the new Boag’s St George beer commercial, by AJF Partnership creative team, Glenn Dalton and George Freckleton.

It’s not too often that the creative you present in the pitch is the creative that ends up on TV - usually something falls off along the way. So we’re pretty happy to see the ad that’s on air now is the ad we presented back in February (except we got rid of George’s drawings). For that we must thank the client, and Tim Bullock and his team at Prodigy for throwing everything at this project, including the wrap party drinks that we’re both still recovering from.

Click here to view it on the main page.

Guest comments for featured Sunlight spot

 GUEST COMMENTS   SOUTH AFRICA    August 09, 2006 11:43 (Edited: February 17, 2023 05:19)
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A few words from Velocity director, Slim, on the featured Sunlight spot from Lowe Bull South africa:

We shot for 2 days in Villiers 120kms from Jozie as we needed the feel of a small town.

All our extras were cast in Villiers and utilised their own wardrobe to retain the authenticity of small-town life. Our lead couple were cast in Joburg. Samson (hero character) did a brilliant job of carrying heavy piles of plates repeatedly for the 2 days without once complaining.

We used 2 camera units as we only had 2 days in which to cover the numerous shots - 64 setups, including some stop-frame animation which were required to deliver the lengths our hero goes to, to gather 5500 plates from around the town.

The Villiers locals were amazing to work with and get to know, most going out of their way to help us and accommodate our location needs by simply inviting us into their homes with open arms (and always a cup of coffee).

No real incidents on set as the whole job was a pleasure to do, from pre-production to finish. It is an enjoyable, simple story which entertains and revolves purely around the brand/product.

It is a rare demonstration advert that communicates the product benefit in an entertaining, narratively-driven manner. Rather than the typical style of trying to shove bland statistics and figures down the viewers throat.


Click here to view it on the main page.

Guest comments for featured spot "Speeding Pictures"

 GUEST COMMENTS   USA    August 09, 2006 11:27 (Edited: February 17, 2023 05:19)
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A bit of background from Mark Bernath, Ogilvy NY, Group CD & Copywriter on the Time Warner work:

In “Speeding Pictures” we struck out to show the technology without
actually showing it. We’re so accustomed to the instantaneous nature of sending things online. There is the departure and the arrival. But we never really consider the trip in between. What does the information we send go through en route to its final destination? And what does that look like. Sending pictures of important life moments seemed to be the most relatable and accessible for the audience. From the beginning we knew we wanted only the people’s faces to be affected. The rest of the image would remain as still as it is in the original snapshot. Francois (Vogel) was brought in because he has the unique ability to execute fairly complicated things in a way that makes them seem simple and charming. The technical elements never overtake the human ones. He really plussed the spot with some subtle touches in each situation and by creating the pictures flying away in the end, an idea which (thankfully) replaced our original ending. We shot each situation and then put green screen behind the actors, stabilized their heads a bit and then blasted them with an air canon from a few feet away. Depending on the speed, we got looks that ranged from humorous to painful
and then quickly veered into downright hideous. We settled on somewhere between humorous and painful. Jun Diaz, our editor, suggested the track and it just felt right. We tried to beat it for a few weeks but couldn’t get past it. Sadly, the idea of having the fish fly out of the fisherman shot and land a few scenes later in the archival shot of the Spanish family did not make the final cut.


Click here to view "Speeding Pictures".


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For digital phone service, the basic benefit was unlimited long distance in the US, Canada and Puerto Rico. This is the brief that sends you straight out to see Wedding Crashers. When we got back we settled on the thought that what that really meant was there was no such thing as long distance anymore. So we had the idea that someone could effortlessly visit their friends and family no matter where they lived. Feeling close to these people is what we wanted to dramatize, not just talking on the phone. Just being able to say “Hi” is a big deal and tonally felt like the right thing to show. Francois had great ideas about how to transition from scene to scene and did several tests. We basically put the spot together before we shot it and then matched the timings so that we knew it would work in
thirty seconds. And we had Jun there to check our math and help us make it as smooth as possible. We were listening to Doc Watson when “Doors” came about. The impossibility of the journey in the spot seemed to go with the ridiculous skill that Doc displays on guitar. It was light, charming and inspired the way the actor moved through the commercial. In the end, we actually decided to speed up the whole spot ever so slightly to give it a more playful feel. Not quite Chaplin, but somewhere in that direction.



Click here to view "Doors" ... the other spot in the series.

Here's the TV work to go with the featured print from Mother NY.

 TV   USA    August 09, 2006 11:14 (Edited: February 17, 2023 05:19)
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You can see the print for this on "latest print". Now .... one of the TV spots:


Creative Commentary
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As like-minded lovers of Lincoln, it is our mission to bring the penny back from its lifeless and idle state of disregard and give it the power that it deserves.

No longer will we allow pennies to waste away jammed in the dark corner of an underwear drawer or be eternally trapped in a preppy loafer. We won’t stand idly by and watch pennies lay lifeless in the bottom of public fountains or be shunned by shopkeepers who get ticked when a fella pays for his beverage with a stack of the sacred copper. We pledge to do everything in our power to break the chain society has placed around the penny’s circumference. We will give the power back to the penny by putting them to good use with Penny Texting from Virgin Mobile. So that they will not only rise up as a useful denomination, but coins to be reckoned with.

We followed the television effort up with a series of out of home postings, print ads, and a full website devoted to the cause [STGG.com].

Click here to view this spot

Here's the TV spot that goes with our featured print work

 TV   USA    August 09, 2006 11:09 (Edited: February 17, 2023 05:19)
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Over on the "latest print" page we're currently featuring some "NON-NATIVE SPECIES" by Goodby Silverstein & Partners. Here's the TV / viral that goes with it:


Click here to view this spot

New Bacardi campaign from Y&R London.

 TV   UK    August 09, 2006 11:02 (Edited: February 17, 2023 05:19)
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RKCR/Y&R have completed a new campaign for Bacardi. Two in the series:



Click here to view "Salmon"



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Click here to view "Sunset"

LIVE CINEMA AD

 TV   SOUTH AFRICA    August 09, 2006 10:55 (Edited: February 17, 2023 05:19)
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Back in the not so good 'ol days in South Africa black people couldn't go to the movies. So township entrepreneurs got creative and created their own movies. We paid an actor to perform our live cinema ad, just like the township entrepreneurs of old used to, but this time on a far larger screen. These one-man cinemas acts would take American movies and add a South African spin to them. They only used their skilled voices to perform the parts of all the characters and sound effects.


Click here to view this spot

New Lynx work from BBH London

 TV   UK    August 09, 2006 10:51 (Edited: February 17, 2023 05:19)
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Cheeky stuff from BBH London.


Click here to view this spot

IT'S SONY IN DUBAI

 TV   MIDDLE EAST    August 09, 2006 10:48 (Edited: February 17, 2023 05:19)
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New Sony work from Velocity.


VIEW THE SPOT

More from George Patterson Y&R, Melbourne.

 TV   AUSTRALIA    August 09, 2006 10:39 (Edited: February 17, 2023 05:19)
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GPY&R are currently ranking number 1 in Australia / NZ, and finished in equal 1st position in last years rankings. Here's another one hot off the press.

Description
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A haunting image emerges from the static of the viewer's tv.

Creative Commentary
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We were lucky enough to get a pro bono score from NYC music gun, J Ralph, composer of VW "Squares" and "Big Day".


Click here to view this spot

BESTAD OF THE WEEK ... TV and PRINT / OUTDOOR

 GUEST JUDGE /BEST AD OF THE WEEK   ASIA    August 09, 2006 10:27 (Edited: February 17, 2023 05:19)
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Farrokh Madon, ECD BBDO Singapore, will be this week's guest judge. Farrokh has chosen the "bestad of the week" from last week's featured TV & print /outdoor.







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bestad of the week TV

Best Ad: Mexico Red Cross (Saatchi & Saatchi, Mexico)

Killing Death. Its a simple, yet strangely unexplored idea. The very thought of giving the Grim Reaper a kick up the you-know-where is universally appealing. Using animation is a nice touch. It adds the necessary humour to bring alive a concept that any good creative would die for.

Click here to view this spot

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bestad of the week Print / outdoor


Audi RS6 (Ogilvy Johannesburg)

Its simple. Its fast. Its engaging. Most importantly, it puts a smile on your face.

Click here to view this ad

DDB London's new work for Hovis (bread)

 TV   UK    August 02, 2006 12:34 (Edited: February 17, 2023 05:19)
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"Hovis for life" from DDB London & Helen Langridge Associates.
From the agency:
In new brand work for Hovis, DDB London has produced an emotionally engaging TV spot, using simple editing techniques to tell the story of a young boy and girl growing up in a wheat field.

The ad begins as a five year old boy and girl run through the field, chasing each other, playing tag. Suddenly they transform into twelve year olds. As they continue to run and play they grow taller, stronger and older until eventually we see them as adults with children of their own. A tagline appears ‘Hovis is for life’.

Commenting on the new work, the creative team Dylan Harrison and Feargal Ballance said;

“We chose the director Simon Rattigan of HLA for both his photographic eye and ability to tell a human story. To engage the audience at a more emotional level, we told the story of their growth through beautiful images and simple transformations in camera. Rather than shoot something gimmicky or with special effects, we wanted something more timeless. Something that people could connect with. We’re trying to appeal to a wider audience, to achieve a deeper emotional resonance. Or at least as much as that is possible in an ad for bread.”

They continued;

“We wanted the communication to reflect the wholesome, natural properties of Hovis bread, in the voice of a brand leader. It felt right to appeal to people’s emotions. Hopefully at least some of the audience will think ‘I wish my family had experiences like that’”

On the relationship with the Hovis Client, they said;

“…hat’s off to the Hovis client who challenged us to come up with something that felt much bigger than a conventional food ad and then had the courage of their convictions when it came time to make it.”


Click here to view this spot

New from DDB Sydney & film company aht

 TV   AUSTRALIA    August 02, 2006 12:29 (Edited: February 17, 2023 05:19)
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aht director, Perry Westwood's latest for Kettle chips & DDB Sydney:


Click here to view this spot

Adidas Spec spot

 TV    August 02, 2006 11:53 (Edited: February 17, 2023 05:19)
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Winner of Best Spec Spot at the 2006 AICP Awards ...

& it looks like some serious money (favours) were put into this one!

... a few words from Jerry Brown, the director:

This story is based on what I think is an amazing truth - with the supremacy
that Africans have achieved in distance running, so far there has been no
African American high schooler that has ever run the mile under 4 minutes.
Ever. Four white kids have broken the barrier, but no African Americans.
In talking to some leading track coaches about this, I learned that there
are many reasons why this is so, some cultural, some not. The one thing the
coaches agree on is that there are kids out there that have the ability to
do it, and it's just a matter of time before this barrier falls. It's
unbelievable to me that it hasn't already. And I wanted to tell this story
before the event actually took place.
What if a kid has already done it and we just don't know about it because of
where he lives? To me it's the story of a barrier that's about to fall.

We shot this in South Central LA because I wanted the texture and
authenticity of the neighborhood this kid could emerge from. We shot it in
one quick day, then added the helicopter aerials in about an hour's worth of
helicopter shooting later. Adding that extra layer of scale with the
helicopter shots was critical for us because it helped the story become
bigger and capture the immensity of what is to overcome in distance both
figuratively and literally to say nothing of the implication that it's a
police helicopter keeping an eye on this running kid.
The setting is intentionally hard and real, but it's still a neighborhood
with good people that live there. In ways, this neighborhood has more hope
and life than a suburban cul de sac. The neighbors, his friends, are
positive and hopeful and want to see this kid succeed.

Jerry Brown


Click here to view this spot

Guest comments for featured spot "The Orange Project"

 GUEST COMMENTS    August 02, 2006 11:44 (Edited: February 17, 2023 05:19)
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I couldn't help noticing that the guest comments from Sam Walker,Mother London, came back with some very relevant questions that i suspect were asked by SHOTS, so if you're reading this Pat, sorry about nicking your questions .... beamo.

Where did the idea come from?

The Animals packages are about observing how different people do things differently so we wanted to do something about the way people behave that wasn’t contrived or set up. Many ads feature ‘real’ people but they’re almost always actors. We wanted to create something that would challenge people, take effort, and ultimately be a collective rewarding experience. This was about creating and capturing genuine emotion and experience.


There's something quite reality TV meets art installation about the whole thing - what inspired it?

People keep mentioning the whole reality TV thing and to be honest, that never even crossed our mind. Our intention was to create an event in which the public could participate and interact. The art side of it was much more where our heads were at – the best works of art are the ones where normal people are as excited by it as the art establishment. Anthony Gormley’s Angel of the North for example is loved by everyone and is such a magnificent spectacle within a public landscape. Ultimately, this is an event media ad as opposed to a genuine art installation done purely for art’s sake but we do feel that we managed to achieve and push what is expected from a traditional advertising campaign.


It's a refreshing and much more honest way of presenting people and an idea. What do you think that added and how do you think people will react?

The way we shot it was of huge importance to us. It featured real people and all we did was record how they were reacting. The whole idea lives or dies on the credibility of the footage. We knew that if we manipulated the situation and cast actors the entire project would crumble very quickly – the integrity of the project is its reality. It is also a very democratic approach to advertising; we just wanted to document what was happening and the journey people were going on. We had two master 35mm cameras leading the shooting but there were also six other HD cameras given to the different people within the different groups to try and capture their own unique perspectives. The idea was to have many different takes on the same event, again to show how different people approach the same experience. TV exposure will feature one launch ad and four 30s ads for each of the animal groups, while the internet will provide a forum for the rest of the participants footage and photographs.



Were you ever worried about what would happen?

Yes, I think everyone was a least a little bit worried particularly before we actually got out to Spain. Nobody really knew what was going to happen which in many ways was the beauty of the project. Until the inflatables were erected on the first day of shooting we didn’t know how they would sit within the landscape and we had no idea how people would react to working hard and to the actual spectacle of the installation. Weirdly though, when the process got under way, everyone became much more relaxed – the inflatables looked as we had hoped and the people involved reacted better than we could have hoped for. As long as the actual event went as planned all that was left to do was to document it as well as possible.


It's a brave concept - how was it to sell to the client?

Strangely no, because the basic idea behind this was to simply create a situation where we could observe and understand humanity, Orange bought into it very easily. It’s perfect for their brand values and to actually achieve genuine emotions within an ad context was a perfect fit.

Any funny incidents or problems while shooting?

There were lots of incidents while shooting but what was great about this project was that as long as we managed to get the inflatables up how we intended within the landscape everything else just added to the drama and spectacle. Nothing was off limits for filming, the strength of this film is its honesty. Everyone signed release forms, everyone from the director, to the creatives, to the clients, to the cast, to the catering staff, to the drivers, to the helicopter pilot – we didn’t want to hide anything. While we were out in Spain, we had to change locations the day before the shoot, the helicopter broke down, the wind got up making the balloons difficult to manage, the water level dropped after we had set the huge platform in place, vans got stuck in the mud, generators overheated and balloons ripped and had to be repaired – all things that on any normal shoot would be seen as problems but in this case were simply filmed and helped make for more dramatic, more authentic footage.



Where was it shot and how long did it take to shoot?

The location for the Orange Project was a remote area of Spain about an hour and a half from Malaga. The idea of the installation was to take an already beautiful landscape and add to it rather than dominate it. It had to look complementary which was partly why the balloons had to be opaque – we wanted the viewer to sense the people and scenery through the surface of the Animal. We also wanted people to feel like they had to travel a distance before they actually got to the location to make them feel like what they were doing was unusual and would take a joint effort from everyone involved.

The actual event took place over three days, shooting from before dawn (5am) to dusk and beyond (11pm). They were long days but the experience and footage was worth it.


Click here to view it on the main page.

Guest comments for featured spot "Choices"

 GUEST COMMENTS    August 02, 2006 11:30 (Edited: February 17, 2023 05:19)
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A few words from THEO FERREIRA, Executive Creative Director at TBWA Hunt Lascaris, on the Stanlib spot:

Given that Stanlib is newly formed large investment house, and that most of Stanlib’s competitors chose to communicate with exaggerated and esoteric messages, our objective was simply demonstrate the importance of choosing the right investment. Therefore we employed a split screen execution mirroring the actions of the same 55 yr old man, with the same job but different investment. The man on the right invested wisely. The man on the left increasingly shows us all the desperate qualities of a man who has not invested wisely. Less assets, less comfort and, of course, less to look forward to. The delicate juxtaposition of the self same man, ostensibly living in two investment worlds, lets us ask the imperative question," Have you ever considered the difference the right investment will make in your life?"

I believe that work in this category is far too esoteric and filled with puffery rather than substance. The challenge was therefore to develop a commercial that demonstrated the difference that Stanlib could make in your life. Furthermore, this demonstration needed an air of believability. Investing is not a lottery ticket, it's about planning to win. This we demonstrated through the same man, with the same job and the same wife. The only difference being the investments he'd chosen. To this end, we succeeded in addressing the correct mindset of an investor and raising the importance of investing.

... and from art director CAMILLA HERBESTEIN:
Developing the synergy of the two worlds, and executing the split
screen effect, was made easier due the fact that most viewers can
identify with both men. Most will readily understand the plight of a
fifty year-old man who has not invested up to his potential. There is a desperate quality found in his confidence and how he chooses to spend the remaining years of employment. By delicately juxtaposing these two scenarios, the young and old investor alike should immediately realize the importance of a proper investment. In doing so, Stanlib's pay-off line 'Make the right investment choice' not only resonates as a message to all, but brings considerable meaning to the role that Stanlib will personally have in your own life. Considering how other institutions seem to shirk any and all responsibility whatsoever, this message carries that much more substance and meaning.

... and from copywriter JONATHAN SMITH:
Creating awareness of a financial institution is rather tricky, especially where the norm is simply to brag that one is bigger or better. Stanlib is, by the by, the largest of its kind in Africa. Yet the client's feeling, along with our own, was simply to demonstrate the value of a Stanlib investment in your life [minus the expected brag advertising]. I suspect viewers appreciate the fact that Stanlib simply asks a question that no other institution cares to ask. In a country where most give little thought to saving, much less investing, this advertisement goes all out to ask the individual to think about how an investment will change their life. To this end, it is the most powerful message out there simply because other financial institutions are telling people what to think about their organization. Poppycock. Because, think about it, every investor is wise.


Click here to view this spot

Guest comments for featured spot "Don't follow suit"

 GUEST COMMENTS    August 02, 2006 11:22 (Edited: February 17, 2023 05:19)
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Some bacground from Matt Page & Carolyn Davis, Cummins & Partners, Melbourne Australia, creatives on the featured spot "Don't Follow Suit".

This commercial was directed by Steve Rogers at Revolver. He did the opening sequence all in one shot.

In rehearsals at Fox Studios, Steve mapped out the intersection and all the landmarks on the floor, positioned the talent, and let Dean Perry from Tap Dogs choreograph the action. Dean’s motivational talk to the extras went something like, ‘None of you wants to be the one guy who fucks up the whole thing’.

At the shoot the extras who sucked were relegated to the bus, but of the entire 220 people, most were spot on. Best suits we’ve ever worked with anyway.


Click here to view it on the main page.

The world of animation ...

 August 02, 2006 11:09 (Edited: February 17, 2023 05:19)
Following on from the featured animated spots "Happy Entrails" & "Killing Death" on the main page, here's a quick look at at some other new animated work:

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Here's MTV's Barrio 19 Titles from animators Bermuda Shorts, London:


Click here to view this spot





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Also from Bermuda shorts ... "History of Animation":


Click here to view this spot







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And from from new Nexus Productions director Caroline Melis ... PSP Locoroco:

Click here to view this spot

Motion Theory working overtime for this new HP spot.

 TV   USA    August 02, 2006 10:59 (Edited: February 17, 2023 05:19)
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One of the new Hewlett Packard spots from Goodby, Silverstein & Partners.


Click here to view this spot

New TV promo from AMV BBDO London

 TV   UK    August 02, 2006 10:56 (Edited: February 17, 2023 05:19)
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Red Bee media & AMV BBDO's new promo for the TV show "Dragon's Den".




Click here to view this spot

New Panasonic batteries TV work from New Zealand

 TV   NEW ZEALAND    August 02, 2006 10:41 (Edited: February 17, 2023 05:19)
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Clemenger BBDO NZ's new spot for Panasonic batteries.



Click here to view this spot

New Honda work from Rubin Postaer and Associates

 TV   USA    August 02, 2006 10:33 (Edited: February 17, 2023 05:19)
https://www.bestadsontv.com/news/http://www.bestadsontv.com/files/thumbnails/2006-Jul/Honda_unleashed.jpg

One of a series of spots for Honda brief out to several directors. The entire brief: "unleashed".




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BESTAD OF THE WEEK ... TV and PRINT / OUTDOOR

 GUEST JUDGE /BEST AD OF THE WEEK    August 02, 2006 05:46 (Edited: February 17, 2023 05:19)
https://www.bestadsontv.com/news/http://www.bestadsontv.com/blog/upload/John_Norman_1.jpghttps://www.bestadsontv.com/news/http://www.bestadsontv.com/blog/upload/Al_Moseley.jpg

Al Moseley (pictured on left) and John Norman, executive creative directors at Wieden+Kennedy Amsterdam will be this week's guest judges. Al & John will be choosing the "bestad of the week" from last week's featured TV & print /outdoor.




bestad of the week TV

https://www.bestadsontv.com/news/http://www.bestadsontv.com/files/thumbnails/2006-Jul/Xbox_standoff.jpg

If it wasn't in the family, we'd quite like to have voted for Swing Portrait. Music plays a big role. The consolidated athlete-brand-product message reflects an honest Nike spirit. However, we're going with Standoff for its sheer playfulness. Sure we've seen the formula before. And it should have been set in a bank. But the little details - spinning tray in a still cafe; the taxi driver's delayed death throes - won us over.

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bestad of the week Print / outdoor

https://www.bestadsontv.com/news/http://www.bestadsontv.com/files/print/2006-Jul/tn_3053_netflorist--get the hint.--poster.jpg

Netflorist wins print. Even though all the shortlist was of a high standard Netflorist stood out. It was just different from the other work; a simple observation which didn't feel too addy.

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