a new campaign for “De Lijn”, the Flemish public transport company, to emphasize its mission: to be the smartest way to travel throughout Flanders.
The campaign builds on the universal insight that travelling in groups has its advantages.
Agency: Duval Guillaume Brussels
Creative Director: Peter Ampe, Bottez Katrien
Creation: Hans Kerkhoff, Raoul Maris
TV Producer: Emily Rammant, Marc Van Buggenhout
Production Company: Creative Conspiracy
Director: Guionne Leroy
Producer: Luc Van Driessche
Showing posts with label TV ads. Show all posts
Showing posts with label TV ads. Show all posts
RBC: Torch
The campaign rallies all Canadians to "CREATE a better Canada and Carry the Torch” by making a pledge to do something in their community or everyday life that will make Canada a better place to live.
By registering online at rbc.com/carrythetorch, Canadians can win a once in a lifetime experience to carry the Olympic torch when it passes through or near their community.
The animated spot shows RBC’s advisor Arbie beginning the Torch Relay across Canada.
Advertising Agency: BBDO Toronto and Proximity Canada
Guitar Hero's dream band
It's a freaking all-star team of athletes plugging the new Guitar Hero video game. Swimmer Michael Phelps, slugger (and Madonna toy) Alex Rodriguez, skater Tony Hawk and baller Kobe Bryant slide out in their skivvies and dance around to Bob Seger's "Old Time Rock and Roll" a la Tom Cruise in Risky Business. Highlight: a helmeted Tony Hawk rolls out on a skateboard, toy drum set hanging awkwardly from his torso. Lowlight: Michael Phelps, who proves to be as camera-allergic as ever. (Stay in the water, Phelps!) Sadly, a steamy Heidi Klum version of this spot — she rocks out in black lingerie — never made it onto television.
Reference : Time's Top 10 TV Ads by Gilbert Cruz
Reference : Time's Top 10 TV Ads by Gilbert Cruz
Old Spice's meta-humor
This spot lives and dies on Neil Patrick Harris' perfectly smug face. With great faux solemnity, the actor — who as a child starred in Doogie Howser, M.D. — opens the door and says, "Chronic body odor ruins lives." This line alone would be an effective ad. But Harris then goes on to stroll the halls of an odd hospital, full of hot doctors sloppily making out in full view (Grey's Anatomy dig, anyone?). The joke reaches a crescendo when he enters an operating room, holds up his hands for a pair of nonexistent gloves and slaps a stethoscope bulb down on his patient's face. "I used to be a doctor for pretend," he says. Perhaps, but his charisma is very real.
Reference : Time's Top 10 TV Ads by Gilbert Cruz
Scorsese to direct AT&T
How can you not love Scorsese and his fast-talking, heavy-eyebrowed Noo Yawkese? Barging in on a goodnight phone call whose plot he says is "pedestrian," Scorsese directs a darker, more exciting life for the mother tucking in her child. "You're trapped in a loveless marriage. You should be drinking something out of a bottle," he tells Mom. "You have a bottle around?" The golden moment comes when he invents a criminal life for the kid's out-of-town father. A life that will lead the child to murder.
Scorsese: "Can you say vengeance?"
Adorable Five Year-Old Boy: (Long pause) "Vengeance."
Reference : Time's Top 10 TV Ads by Gilbert Cruz
Fate, according to Nike
Can you believe that David Fincher, director of dark, violent fare such as Seven, Zodiac, and Fight Club is behind this rousing, rhythmic, well-lit commercial? Following two football players — the Pittsburgh Steelers' Troy Polamalu and the San Diego Chargers' LaDainian Tomlinson — from the womb to their bone-crushing encounter at midfield, this Nike spot was photographed by Emmanuel Lubezki (the virtuoso cinematographer behind Children of Men) and features a remixed Ennio Morricone piece from The Good, the Bad, and the Ugly. Cinematic cachet aside, the spot tells an entertaining, joyous story in just about 60 seconds. And no dead bodies, either!
Reference : Time's Top 10 TV Ads by Gilbert Cruz
Fed Ex's horror flick
It's a genius idea in these energy-deficient times: carrier pigeons as mail couriers. Smart thinking. But "what about the big stuff?," asks the boss. This is where the ad turns into a mini-disaster flick. Giant pigeons drop packages on the populace below, peck at trucks, and shed windshield-size feathers. It's a witty commercial, made all the better for the directors' decision to stay away from the obvious bird crap joke.
Reference : Time's Top 10 TV Ads by Gilbert Cruz
I'm a PC
PCs have just about had it. Mocked relentlessly as stodgy and passé in those John Hodgman/Justin Long Mac ads, PCs are fighting back! Significantly funnier (and possibly cheaper) than the much anticipated, ultimately flat Bill Gates/Jerry Seinfeld ads, this spot finds real people of all sorts to give PCs a plug. Naturally, Gates is in there somewhere, but he's got nothing on the dude in the shark tank ("I'm a PC. And I'm kinda scared") or the incredibly random gentleman at the end, who just wants us to know that he's a PC and he sells fish. We're sold on this commercial.
Reference : Time's Top 10 TV Ads by Gilbert Cruz
T-Mobile's NBA series
Basketball's Dwyane Wade and Charles Barkley prove themselves to be one of the better comedy duos to grace the small screen in recent years with their series of T-Mobile ads. In this Super Bowl spot, Miami Heat star Wade finally gains entry to Barkley's "Fave Five" after several commercials' worth of trying to curry favor with the Hall of Famer. And boy does Wade come to regret it. The retired Barkley has apparently become one of the idle rich, with nothing to do but call Wade over and over again to ask such urgent questions as, "You like popsicles?" Barkley is wonderfully self-effacing (look at his fridge!) and Wade does exasperated like a pro.
Reference : Time's Top 10 TV Ads By Gilbert Cruz
Stoli Blakberi: Airship
Advertising Agency: Publicis, London, UK
Creative Director: Adam Kean
Art Director: Alistair Ross
Producer: Sharon Joyce
Production Company: Stink / Psyop
Directors: Todd Mueller & Kylie Matulick, Psyop
Executive Producers: Neysa Horsburgh, Lucia Grillo
Producers: Mungo Maclagan (Stink), Luisa Murray (Psyop)
Technical Director: David Chontos
Lead Composite: Matt Lavoy
CG: Reeves Blakeslee, Angie Jones, Joon Lee, Grace Lee, Sarah Bockett
2D: Chad Howitt, Ash Wagers, Brendan Smith
Designers: Kylie Matulick, Jon Saunders
Music: Gabriel Prokofiev, Composer
Mix Studio: 750mph, London
Mini Cooper: Demon Carts
Advertising Agency: Butler, Shine Stern & Partners, USA
Executive CD: John Butler
Associate CD: Steve Mapp
EP: Adrienne Cummins
Sr. Producer(s): Kat Friis
Prod Company: Tool of North America
Director: Geordie Stephens
DP: Richard Henkels
EP(s): Jennifer Siegel, Brian Latt
Producer: Joby Ochsner
Production Supervisor: Brendan Kling
Production Coordinator: Brian Armstrong
1st AD: Mike Curtis
2nd AD: Joe Gray
Post/Effects: Asylum
VFX Supervisor/Lead Compositor: Sean Devereaux
Inferno Artist: James Allen
EP: Michael Pardee
Producer: Darcie Muangman
Bidding Producer: Michael Hanley
Coordinator: Jennie Burnett
Editorial: Cosmo Street
Editor: Christian Jordan
Telecine: Complete Post
Audio Post: Lime Studios
Music Company: Beacon Street Studios
Aired: September 2008
Fuse TV: Time travel
Agency: Brooklyn Brothers
Art Directors: Stephen Rutterford, Clarissa Patrianova Valaeys
Writers: Guy Barnett, Mike Pierantozzi
Agency Producer: Shana Bellot
Production Company: Blacklist
Blacklist Executive Producer: Adina Sales
Blacklist Producers: Rich Rama, Karen Lawler
Directors: Nanospore
Creative Directors: Ben Lee, Paul Hwang
Cell Animators: Juliana Park, Omar Ruiz
Assistant Animator: Dave Creek
After Effects: Aaron Bjork
Compositor: Matthew Encina
Toolkit: C4D, After Effects, Illustrator, Photoshop, Flash
Music: Composed and Performed by Rahzel
Produced by Leo Sidran and Eugene Cho (Amber Music)
Executive Producer: Patrick Oliver (Amber Music)
Sound Design: Carl Mandelbaum, audioEngine
Sound Design: Gloria Pitagorsky, Executive Producer, audioEngine
1984 Apple's Macintosh Commercial
In the third quarter of the 1984 Super Bowl, a strange and disorienting advertisement appeared on the TV screens of the millions of viewers tuned in to the yearly ritual. The ad opens on a gray network of futuristic tubes connecting blank, ominous buildings. Inside the tubes, we see cowed subjects marching towards a cavernous auditorium, where they bow before a Big Brother figure pontificating from a giant TV screen. But one lone woman remains unbroken. Chased by storm troopers, she runs up to the screen, hurls a hammer with a heroic grunt, and shatters the TV image. As the screen explodes, bathing the stunned audience in the light of freedom, a voice-over announces, "On January 24th, Apple Computer will introduce the Macintosh. And you'll see why 1984 won't be like "1984."
This commercial, designed by the advertising agency Chiat/Day to introduce Apple's Macintosh computer and directed by Ridley Scott fresh off his science fiction classic Blade Runner, has never run again since that Super Bowl spot. But few commercials have ever been more influential. Advertising Age named it the 1980s' Commercial of the Decade. You can still see its echoes today in futuristic ads for technology and telecommunications multinationals such as AT&T, MCI, and Intel.
The 1984 commercial was a critical moment in the development of the American public's conception of the proper uses and cultural implications of personal computers. PCs were introduced in the 1970s as tools - utilitarian objects designed to facilitate specific tasks. In the 1980s, they became full-fledged commodities - shiny consumer products defined not just by their use value, but by the collection of meanings, hopes, and ideals attached to them through advertising, promotion, and cultural circulation. With the 1984 ad, Apple identified the Macintosh with an ideology of "empowerment" - a vision of the PC as a tool for combating conformity and asserting individuality. And while Apple's own fortunes have waned of late, its vision of the power and potential of the personal computer has triumphed, becoming the ideological underpinnings of techno-boosterism in the 1990s.
Before going any further, let's now look at the ad itself.
Directed by Ridley Scott
Produced by Chiat/Day
Written by Lee Clow Steve Hayden
Starring Anya Major David Graham
Distributed by Apple Computers
Release date(s) 22 January 1984 (only daytime televised broadcast)
Running time 60 seconds (final cut)
Subscribe to:
Posts (Atom)
