The news is like the ocean. On the surface, everything might seem pretty, but the further down you go, the worse things look.
That, at least, is the metaphor behind a new ad from Veja, a popular right-leaning (if not right-wing) Brazilian magazine that featured President Obama as Che Guevara on its cover in 2014.
Imagine if there were an easy way for people who can’t read and write to share their life experiences with the world. HP and agency AlmapBBDO took a crack at coming up with one, focusing on some of the 13 million illiterate individuals in Brazil, as part of a touching new campaign called “Magic Words.”
First, AlmapBBDO sourced 30 such people from around the country, including rural areas and big cities like São Paolo and Rio de Janeiro. Then, it used Google Speech’s voice-recognition software to transcribe their stories, and publish them in a paperback book, created using an HP printer. A documentary followed the effort, and retold it in documentary format.
How can marketers with modest budgets—local home renovators and heating-system installers, for example—create “epic” advertising without going broke? Brazilian agency AlmapBBDO suggests tapping into the royalty-free video and image library of iStock by Getty Images. And it offers three amusing and effective spots to illustrate its point.
Almost everything about the mock ads below—for faux clients Lewis & Sons Heating Installations, Miracle Mike Contractors and Cosmo Cable and Satellite Services—is loathsome, from the cheesy, throbbing music cues to cheap-jack logos and annoyingly pulsating phone numbers.
In each case, however, the iStock visuals—of a tornado destroying a house, a snow-capped mountain range and a satellite orbiting the earth—are, well, epic.
“Creativity and visual accomplishment doesn’t have to come with a heavy price tag,” notes Andy Saunders, svp of content at Getty. Saunders says the campaign is designed to communicate the “quality, diversity and strength” of imagery available to advertisers at affordable prices through iStock.
Indeed, the images are so compelling, it may take a few beats before the commercials’ less-impressive aspects—and the fact that they are parodies—even register. (Though the absence of breathless testimonials from client CEOs is a dead giveaway.)
Getty’s stock has risen with AlmapBBDO before, notably in “85 Seconds” (which used 105 archived clips to tell a decades-spanning love story) and “From Love to Bingo” (conveying the saga of a single life using disparate 873 stills). Also, for Getty’s 20th birthday, agency and client showed famous faces aging through the years to demonstrate that great visuals are timeless.
We find this new work from AlmapBBDO of Brazil interesting for a couple of reasons: it features the music of Colin Stetson and it highlights the challenges of journalistic credibility for client Veja News.
In another twist, the work deals with the issue at hand through metaphor involving the work of a visual artist.
The idea: the more layers of communication between a “source” and the person who delivers the source’s messages, the further from reality the final product will be.
The release tells us that the ad “aims to show how information gets distorted as it traverses mediators” just as each reproduction of a given piece of art will be further from the original. It’s a very roundabout way of making the point, which is appropriate given the nature of the campaign’s purpose.
ECD Bruno Prosperi says:
“One by one, each artist’s interpretation of what they saw had gradually fled from the concept of the original image.”
The work is currently airing on the client’s digital media channels and in theaters around Brazil.
Credits
Advertiser: Editora Abril
Title: “Distorted Fact”
Product: VEJA
Co President of the board: Marcello Serpa
Chief Creative Officer: Luiz Sanches
Executive Creative Director: Bruno Prosperi, Renato Simões
Creative Director: Bruno Prosperi, Andre Gola, Benjamin Yung Jr, Marcelo Nogueira, Pernil
Copywriter: Cesar Herszkowicz,
Art Director: Luciano Lincoln
Producers: Bossa Nova Films
Executive Producer: Eduardo Tibiriça
Producer Account Executive: Kiska Kaysel and Renata Prado
Direction: Vitor Amati
Photography: Walter Carvalho
Editor: Oswaldo Santana
Finish: Bossa Nova Films
Finisher: Rosana Felix
Audio Producer: Satelite Audio
RTVC: Vera Jacinto, Diego Villas Boas, Adriana Kordon, Fernando Yamanaka
Account Executive: Fernanda Antonelli, Mariana Silveira, Beatriz Almonacid
Planning: Cintia Gonçalves
Media: Wanderley Jovenazzo, Denise Lavezzo, Juliana Monte, Kauê Cury, Livia Novaes, Rogério Beraldo
Photography Coordinator: Teresa Setti and Stephanie Biekarck
Approval: Rogério Gabriel Comprido, Simone Sousa, Ícaro de Freitas, Rafael Cescon
If you don’t have time to watch this whole new commercial for Volkswagen Trucks, you can just skip to the end for a quickie version—no matter where you are in the story—and it will still make sense.
It’s a merciful approach that all brands should probably mimic in all commercials, given this is the age of skip-happy Internet viewers. But Brazilian agency AlmapBBDO created the ad specifically to reinforce VW’s claim that its rigs, like the ad, are themselves customizable. In that context, the video slider at the bottom of the website might be the best part—it takes the shape of a truck that just keeps getting longer and longer.
The story itself—spoilers ahead—is about a young truck driver who runs into an ex-girlfriend at a market. Told in a stilted monologue, it’s a bit like a Mad Lib with a single punch line—structured into clauses so you can jump to the last scene at any point, by clicking a button in the lower right hand corner. But the last words are always “My grand-aunt.”
That makes for some odd combinations, like “I satisfied my hunger eating… a taco made by… my grand-aunt.” It also makes for some surprisingly dark outcomes for a big advertiser—like skipping the part about the taco and delving straight into ancestral cannibalism. There’s at least one notable hidden variation—hit the button at certain times, and the grand-aunt is a goateed, shirtless young man, instead of a little old lady.
Overall, it’s an intriguing approach, but maybe a little too eager to be inventive, with a takeaway that seems more about the copywriting team’s ability to write a cascading script than about the product’s benefits. It was nice for them to include an eject lever, but if the idea is to get the message in quickly, and extend the entertainment for those who want it—Geico’s simpler approach takes the cake.
Plus, it has a better dog.
Via PSFK.
The people at Droga5 recently discussed literal bullshit with New York magazine–but a new campaign by AlmapBBDO offers a very different take on cows and their poop.
The client in this case is Kiss FM, which teamed up with BBDO’s Brazilian team to “recycle shitty songs that get stuck in people’s heads” and somehow turn them into “100% organic, chemical-free fertilizer.”
It’s not quite clear how the tunes become food for the cow, but we’ll just have to let that one go.
Here’s a print piece illustrating what can become of those shitty songs and all the poop they inspire:
Advertising Agency: AlmapBBDO, Brazil
Chief Creative Officer: Luiz Sanches
Executive Creation Directors: Bruno Prosperi, Renato Simões
Creative Directors: André Gola, Benjamin Yung Jr, Marcelo Nogueira Pernil
Art Directors: Fabiano de Queiroz Tatu, Marcelo Tolentino
Copywriter: Marcelo Pignatari
Image Producer: FatBastards
Executive Producers: Fernando Carvalho, Andre Pinho
Direction: Alaska
Photography: Daniel Belinky
Editor: Alaska
Director: Gustavo Amaral
Producer: Oca Filmes
Finish: Nash
Finisher: Elton Bronzelli
Image Producer: Henrique Danieletto
Audio Producer: Satélite Áudio
Producer: Equipe Satélite
Maestro: Equipe Satélite
Audio Producers: Fernanda Costa, Marina Castilho
VO: Marco Antônio
RTV: Vera Jacinto and Elisa Mello
Digital Production Manager: Paulo Henrique Bazeggio
User Experience: Caroline Ruschi Vicentini Kayatt
Programming: The GoodFellas
Digital producer: The GoodFellas
Account Executives: Cristina Chacon, Ricardo Taunay, Daniela P. Gasperini, Mariana Bottura, Beatriz Almonacid
AlmapBBDO celebrates Getty Images’ 20th birthday with this fun campaign that looks at how four famous people—Scarlett Johansson, Prince William, Serena Williams and Bill Clinton—have changed in appearance, using Getty photos of them over those 20 years.
There are 111 photos of each of them, but that’s actually just a tiny fraction of what’s available on Getty. For example, the agency had to comb through 32,246 photos of Clinton to choose the ones for his ad. Once chosen, the photos were arranged chronologically, showing the transformations in each of the four figures.
“The idea of depicting the passage of those 20 years through the images of globally relevant celebrities gave us the opportunity to not only observe the changes they underwent, but also provided a creative glimpse at what was going on in the world during that time, with the certainty that we were present during all the important moments across these two decades,” says Renata Simões, marketing and content manager at Getty Images in Brazil.
See the ads below. Click to enlarge.
CREDITS
Client: Getty Images
Project: 20 Years
Agency: AlmapBBDO
Chief Creative Officer: Luiz Sanches
Executive Creative Director: Bruno Prosperi
Creative Director: André Gola, Benjamin Yung Jr., Marcelo Nogueira, Pernil
Art Director: Andre Sallowicz
Copywriter: Daniel Oksenberg
Photographer: archive Getty Images
Art Buyer: Teresa Setti, Ana Cecília Costa
Client Services: Cristina Chacon, Daniela P. Gasperini
Media: Flavio De Pauw, Patrícia Moreton
Advertiser’s Supervisor: Renata Simões, Susan Smith Ellis, Carmen Cano
“You save a dog. A dog saves you.”
That’s the poignant message of “First Days Out,” a four-minute online film for Pedigree by Almap BBDO in Brazil that follows Joey and Matt, two former inmates who begin to turn their lives around after they adopt rescue dogs.
Joey, who served 12 years for armed robbery, finds the world transformed, and in some ways unrecognizable, after his release. At first he’s alone, confused and frightened about his future, but a trip to the pound changes everything.
“Having a dog with me in this house was so much better,” he says. “Sadie became my family.” Soon, he’s training kennel dogs for adoption.
Matt, who served two years for burglary, is initially estranged from his father and reluctant to connect with others. At one point, he draws a heartbreaking parallel between his own life (inside and out of prison) and the lives of the dogs in the animal shelter: “They all looked kind of sad, just like I was—just caged in.” After adopting Jeanie, he feels as if his “future’s bright again,” and he starts going on job interviews and brings the dog to meet his dad.
The immensely moving documentary, directed in a relaxed, naturalist style by Ricardo Mehedff via Hungry Man, is part of Pedigree’s new “Feed the Good” campaign, its first global push in several years.
“By nourishing the lovable innocence in every dog, Pedigree helps feed the good they bring to the world,” explains Leonid Sudakov, CMO of Mars Global Petcare.
That same theme informs all campaign elements, which include TV, print, online, in-store and social media. Of course, interpretations will vary. For example, a 30-second spot by Colenso BBDO in Australia, titled “Good Fight,” feels more like a typical “commercial” than “First Days Out.” Still, its quirky take on an a street fight about to happen is far from typical pet-food ad fare.
We chatted about “First Day Out” with Mehedff and his brother Alex, who produced it.
AdFreak: “First Day Out” sort of takes the “cute puppy” commercial in a fresh, more meaningful direction. Can you speak to that a bit?
Alex: Advertising is moving into this new territory of content storytelling. A more emotional engagement. With this in mind, we need to approach the narrative of the film differently. The creative [idea] behind this film is just brilliant. That moved us in a big way to get involved and tell a moving story.
Anytime you move away from the “typical” creatively—and hats off to the agency for this brilliant idea—it becomes a golden strategy. We’re happy to have been able to deliver up to par with the idea. We hope it will move people, engage emotionally with the audience … and place the brand in a very special place.
Take me through the process of putting the project together.
Alex: The process is just deep character research, where you cast real people and see what they can bring to the story. You definitely need a couple of weeks. If you rush this phase, you’re dead in the water.
Ricardo: We started nationwide, and were able to get many candidates. Some were inmates who had participated in dog training programs while in prison. This is how we found Joey. He’d done 12 years, and in the last four, he got into the dog training program that, in his owns words, changed his life. When he got out, he was truly alone, and since he spoke so well about dogs, Pedigree helped him adopt a dog for himself. And the incredible thing is, you could really see the change in his spirit and mood. Sadie really brought a smile to his face. The job he got as a dog trainer was directly related to his experience in the dog training programs in prison.
Matt never had any contact with dog training programs in prison. He was just a kid going through a rough patch with his father and having a hard time getting adjusted to life on the outside. Pedigree suggested that he adopt a dog and see what would happen.
What were the biggest challenges in making the film?
Ricardo: We found many other good characters in our research, but were limited to only shooting two of them. Then, shooting in a way that could capture the emotion and truth of their stories and experiences. I found that the best way to do this was to shoot them in the most naturalistic way, with as little interference as possible.
What surprised you most?
Ricardo: How the dogs really helped these guys. I thought it would be strong, but their connections were really intense.
From the first day I met Joey, he was always a very serious, soft-spoken guy. He was really nice, but very quiet. Almost never smiled. Sometimes I would kindly ask him to smile, but it just didn’t look right. The moment he adopted Sadie, he was became a different person, a natural smile formed. This guy truly loves dogs. And his facial expressions show this.
It must be tough not to make this kind of material seem overly manipulative.
Ricardo: That was my goal in making this film. I have a strong background in documentary filmmaking, having worked closely with Eduardo Coutinho, one of the most important doc filmmakers in Brazilian cinema. I direct and edit my films, so that really helps in the storytelling process. As I’m directing, I’m usually editing the film in my head.
This film was about capturing the magic that occurs between man and dog. I knew this magic exists. I just wanted to shoot it in a way that was non-invasive and let their relationship flourish and grow naturally.
CREDITS
Advertiser: Mars
Agency: AlmapBBDO
Title: First Days Out
Product: Pedigree
General Director Creation: Luiz Sanches
Executive Director Creation: Bruno Prosperi, Renato Simões
Creation Director: André Gola, Pernil
Digital Creative Director: Luciana Haguiara
Creation: Pernil, André Gola, Fabio Cerdeira, André Sallowicz, Felipe Cirino, André Leotta
Rtvc: Vera Jacinto, Ana Paula Casagrande, Diego Villas Bôas
Producer: Hungry Man
Managing Partner: Alex Mehedff
Executive Producer: Rodrigo Castello e Renata Corrêa
Direction: Ricardo Mehedff
Photography: Grant Weiss, Mike Alex and Ricardo Mehedff
Line Producer: Mariana Barbiellini
Track: Big Foote
Assembler / Editor: Ricardo Mehedff
Post-production Supervisor: Rodrigo Oliveira
Finishing: Great Studio
Color Grading: Psycho N’Look
Assistance: Fernanda Antonelli, Pedro Fragata, Samantha Kechichian and José Maria Fafe
Planning: Cintia Gonçalves, João Gabriel, Daniel Machado, Augusto Veríssimo and Marília Rodrigues
Media: Flávio de Pauw, Brian Crotty, Fábio Cruz, Juliana Melo and Carolina Pimentel
Digital Media: Kaue Cury, Livia Novaes e Rogério Beraldo
Business Director: Rodrigo Andrade
Approval: Leonid Sudakov, Marina Sachs, Oduvaldo Viana, Fernando Manoel
Almap BBDO launched a global campaign entitled “Feed The Good” for Pedigree with the online documentary spot “First Days Out.”
“First Days Out” tells the inspiring story of how rescue dogs helped two former inmates rehabilitate following their release from prison. Matt, who served two years for theft in Las Vegas, found life on the outside lonely. Unable to reunite with his father, who severed ties, until he got his life in order, Jeanie provided the companionship he needed. “I feel Jeanie brought light to my future,” he said. Joey, meanwhile, served twelve years for armed robbery in Florida. While he was in prison, his mother and grandmother died and Sadie became his only family, bringing companionship to an otherwise empty home. He then got a job training dogs for adoption at the kennel. After telling both of these stories, the spot ends with the tearjerking line, “You save a dog. A dog saves you.”
“Feed The Good” marks Pedigree’s first global campaign in years, and rolls out in Australia, Brazil, New Zealand and the U.S. with broadcast, print and online ads, as well as additional markets later in the year and in 2016. It is built around the insight that dogs help bring out the inner good in people. “Studies attest how the companionship of animals transforms and improves people’s lives,” said Leonid Sudakov, chief marketing officer, Global Petcare, Mars, Inc. “By nourishing the loveable innocence in every dog, Pedigree helps feed the good they bring to the world.”
Credits:
Advertiser: Mars
Agency: AlmapBBDO
Title: First Days Out
Product: Pedigree
General Director Creation: Luiz Sanches
Executive Director Creation: Bruno Prosperi, Renato Simões
Creation Director: André Gola, Pernil
Digital Creative Director: Luciana Haguiara
Creation: Pernil, André Gola, Fabio Cerdeira, André Sallowicz, Felipe Cirino, André Leotta
Rtvc: Vera Jacinto, Ana Paula Casagrande, Diego Villas Bôas
Producer: Hungry Man
Managing Partner: Alex Mehedff
Executive Producer: Rodrigo Castello e Renata Corrêa
Direction: Ricardo Mehedff
Photography: Grant Weiss, Mike Alex and Ricardo Mehedff
Line Producer: Mariana Barbiellini
Track: Big Foote
Assembler / Editor: Ricardo Mehedff
Post-production Supervisor: Rodrigo Oliveira
Finishing: Great Studio
Color Grading: Psycho N’Look
Assistance: Fernanda Antonelli, Pedro Fragata, Samantha Kechichian and José Maria Fafe
Planning: Cintia Gonçalves, João Gabriel, Daniel Machado, Augusto Veríssimo and Marília Rodrigues
Media: Flávio de Pauw, Brian Crotty, Fábio Cruz, Juliana Melo and Carolina Pimentel
Digital Media: Kaue Cury, Livia Novaes e Rogério Beraldo
Business Director: Rodrigo Andrade
Approval: Leonid Sudakov, Marina Sachs, Oduvaldo Viana, Fernando Manoel
Vender seu carro pode ser uma tarefa frustrante, principalmente na hora de fazer uma avaliação de quanto ele vale e ter que ouvir uma oferta muito menor do que se esperava.
A Audi criou uma ação para pular esse processo. Não que isso evite a decepção financeira, mas pelo menos facilita a vida do motorista, ao mesmo tempo que incentiva a troca por um novo.
Um avaliador da marca registrou informações e valores estimados de carros que estavam em estacionamentos VIP’s (é, isso existe) de shoppings, tudo colocado em um RFID e preso no vidro traseiro.
Quando o motorista saia do local, um painel do lado da cancela exibia as informações personalizadas de seu veículo, e quanto seria o valor da parcela na troca por um Audi A3 Sportback 2014.
A criação é da AlmapBBDO.
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A Pedigree tem um histórico bacana em diversos países, no que se refere a incentivar a adoção de cães abandonados. Um exemplo recente é Share for Dogs, pedindo que o público do YouTube assistisse a um vídeo para arrecadar fundos para o abrigo de animais comandado pela marca. Agora, a ação é nacional, com criação da AlmapBBDO: um screensaver que mostra imagens de cães que aguardam adoção, com o contato da ONG Cão Sem Dono, de São Paulo.
Disponível para PC e Mac, o descanso de telas virtual Screen and Dog Saver é um aplicativo que deve ser baixado e instalado normalmente. Cada vez que um cachorro é adotado, ele é imediatamente substituído por outro que aguarda um dono.
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Donald Trump, Bill Gates and Mark Zuckerberg get reincarnated as an owl, a llama and a sheep, respectively, in AlmapBBDO's unusual campaign for Top Magazine, a luxury fashion and lifestyle title in Brazil.
"In his next life, even Donald Trump could come back as an owl," we're told. "The time to enjoy your money is now."
The visuals are most amusing. Gates keeps his trademark glasses, while Zuck's wooly locks and dental work survive the transformation. And of course, Trump's hair is still atrociously—wait for it, because it's worth the wait, here it comes—feathered. (OK, it wasn't worth the wait.)
Belgium's TMF channel tried a similar theme in 2008, showing Amy Winehouse as a sad sheep in a most unsavory barnyard scenario. And a South African employment site once suggested that lawyers, tobacco execs and paparazzi would return as ticks, maggots and dung-heap flies. By comparison, Top's beastly trio really don't fare so badly at all. C'mon, Zuck, why the long face?
Credits below. Via Ads of the World.
CREDITS
Client: Top Magazine
Agency: AlmapBBDO, Brazil
General Creative Director: Luiz Sanches
Creative Directors: André Kassu, Marcos Medeiros, Bruno Prosperi
Art Director: André Sallowicz
Copywriters: Dudu Barcelos, Filipe Medici
Illustrators: Surachai Puthikulangkura, Supachai U-Rairat
Photographer: Surachai Puthikulangkura
Graphic Producers: José Roberto Bezerra, Alberto Lago
Account Executives: Gustavo Burnier, Filipe Bartholomeu, Johana Quintana, Matheus Trigo
Em julho do ano passado, a Volkswagen anunciou que iria encerrar a produção da Kombi, o que de fato ocorreu no final do ano. Isso não aconteceu, entretanto, antes que o mítico veículo fosse coberto de todas as homenagens possíveis, em campanha criada pela AlmapBBDO. Agora, a agência assina um documentário dirigido por Fernando Gronstein Andrade, da Spray Filmes, que revela os últimos desejos do carro aposentado.
Com criação de Benjamin Yung Junior, Marcelo Tolentino, Marcelo Nogueira e Marcelo Pignatari Rosa – autores da campanha – o filme nos leva por uma emocionante jornada pessoal da Kombi, narrada em primeira pessoa. Coube à atriz Maria Alice Vergueiro emprestar sua voz ao veículo, que revela histórias compartilhadas ao longo de sete décadas. E, sem vergonha nenhuma, confessa que está muito “rodada”.
Os seis meses necessários para a produção do documentário se devem à herança deixada pela Kombi a algumas pessoas especiais para ela, não só no Brasil, mas também nos Estados Unidos – o designer Bob Hieronimous, que ajudou a fazer do veículo um dos símbolos da cultura hippie -, e na Holanda, onde vive Ben Pon Jr., filho do criador do carro, a quem ela chama de irmão.
Dê o play e prepare-se para a poeirinha que vai entrar nos seus olhos…
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A AlmapBBDO é a 3ª agência mais premiada do mundo e a 4ª agência digital mais premiada do mundo em 2013. A informação é do Gunn Report, que analisa a performance das agências nos principais festivais globais, regionais e locais de publicidade a partir de 1998. Desde o primeiro estudo, publicado em 1999, ela é a agência brasileira mais premiada. Foi a primeira em 2004, 2005 e 2010 e esteve entre as top5 nos últimos 5 anos.
Em 2013, as primeiras colocadas foram a McCann, de Melbourne, e a Wieden+Kennedy, de Portland e New York, com 63 pontos. Em seguida está a Almap, com 47. Entre as digitais, a AlmapBBDO é a 4ª colocada, atrás da R/GA, de NY, a Forsman & Bodenfors, de Gotemburgo, e a McCann, de Melbourne, respectivamente.
Mas não foi apenas nos rankings de agências que a AlmapBBDO marcou presença:
– Entre os comerciais, “Do Amor ao Bingo” ficou em 9º., e “85 Segundos”, em 28º lugar. Os dois foram criados para Getty Images.
– Na lista das melhores campanhas digitais, o filme “Do amor ao Bingo”, para Getty Images, conquistou o 7º lugar, e, em 28º, está “The Original Click”, criado para Volkswagen.
– Entre as campanhas impressas, CafiAspirina (Views, Chart e Texto) é a 35ª do ranking. Pedigree (Cachorro 1, 2 e 3) é a 41ª e Caminhões Volkswagen (Cozinha, Supermercado e Loja) é a 46ª.
– Marcos Kotlhar, diretor de arte da AlmapBBDO, é o 5º diretor mais premiado do mundo e o brasileiro melhor colocado desta categoria.
Em 2013, o Brasil se destacou como o 4º país mais premiado do mundo, atrás apenas dos Estados Unidos, Austrália e Reino Unido, respectivamente. Pela 8ª vez consecutiva – e pela 11ª vez -, a BBDO foi a rede mais premiada do mundo.
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[Esse post é trazido a você por AlmapBBDO. Texto de responsabilidade do anunciante.]
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Sucesso lá fora, a Volskwagen acaba de lançar no Brasil o modelo compacto up!, o carro mais acessível da marca no país. É o conceito de popular, mas com algo a mais.
Seguindo essa ideia, a campanha de lançamento do up! também é recheada de elementos pop. Com uma versão da música oitentista “Girls Just Want To Have Fun”, da Cyndi Lauper, o comercial mostra que o carro é feito pra todo mundo que quer se divertir. Até fãs de “Star Wars” merecem, com aparição de personagens da série.
A tentativa da Volkswagen é criar um novo ícone no Brasil e, se depender da publicidade, começou bem.
Criação da AlmapBBDO.
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A Visa, mesmo sendo patrocinadora global da Copa do Mundo, fugiu das imagens clichês de jogadores em campo, torcida gritando, bola rolando e mensagem ufanista.
Em seu novo comercial, a marca traz dois carrascos da seleção brasileira, nos Mundiais de 1982 e 1998, respectivamente: Paolo Rossi e Zinedine Zidane. Tem aquela locução desnecessária no meio do filme, a tal exigência do cliente, mas ainda assim trata o tema com bom humor e divertida ironia.
Uma boa lição para todas as outras marcas que não detém os direitos de usar propriedades da FIFA em suas campanhas temáticas para a Copa do Mundo, e que acabam apelando para termos, times e torcidas genéricas, com resultado final tão amargo quanto uma eliminação pela Itália ou pela França.
A criação é da AlmapBBDO.
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Em julho deste ano, muita gente ficou triste quando a Volkswagen anunciou o fim de uma era, com o encerramento da fabricação da Kombi no Brasil, em dezembro. Idealizado pelo holandês Ben Pon nos anos 1940, genial carro de três portas que estará “em breve, em nenhuma concessionária perto de você” terá um adeus à altura de sua importância, com campanha assinada pela AlmapBBDO.
Para literalmente marcar o fim desta linha, produzida no país desde 1957, a Volkswagen lançou a Last Edition, uma edição limitada da Kombi que terá apenas 1,2 mil unidades. O modelo é azul, com teto, colunas e para-choques brancos e inúmeros detalhes com pegada retrô, além de adesivos onde se lê “56 anos – Kombi Last Edition”.
Um anúncio impresso, criado no estilo de outras campanhas clássicas da Kombi, será veiculado em algumas revistas. Nele, vemos uma Kombi branca partindo, com um título que diz: “Vai aí a Kombi. Em breve, em nenhuma concessionária perto de você”. Abaixo, um texto explica que apenas um carro tão importante poderia ter uma campanha de “deslançamento”.
Mas o mais legal desta história toda é mesmo o hotsite, onde os fãs da boa e velha “kombosa” podem contar suas histórias, compartilhar fotos e vídeos. Há alguns dias no ar, já é possível encontrar alguns depoimentos por lá, com lembranças incríveis, de diferentes épocas, mas com uma incrível nostalgia em comum.
Ao meu ver, este é o verdadeiro ponto alto desta campanha toda: valorizar a experiência do consumidor com o produto, deixando que ele mesmo a compartilhe. No final das contas, este realmente é o “deslançamento menos esperado da indústria automobilística mundial”. 🙁
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Dando continuidade ao premiado “Do amor ao bingo” – não coincidentemente também lançado em um mês de maio – a Getty Images lança uma nova campanha, dessa vez voltada para promover seu acervo de vídeos.
105 vídeos editados em 85 segundos formam a história de um casal que se conhece na infância, se separa na adolescência e volta a se encontrar quando adultos. Assim como na campanha anterior, o filme foi feito com material disponível para compra no banco de imagens, que atualmente totaliza 63.103.983 segundos de vídeo.
A criação é da AlmapBBDO, com produção da ZOLA.
Post originalmente publicado no Brainstorm #9
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Uma ação da Antarctica durante o carnaval no Rio de Janeiro, inovou com uma catraca diferente no metrô. Não era preciso comprar passagem, apenas passar uma latinha vazia de cerveja.
A ideia era incentivar o uso de transporte público, evitando que as pessoas bebessem e dirigissem durante o feriado. A catraca foi notícia na época, e acima você assiste o video-case.
A criação é da AlmapBBDO.
Post originalmente publicado no Brainstorm #9
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