The BBC has launched its Olympic Torch Relay campaign with an animated film highlighting the design of the torch itself and the 8000 holes in the design that represent the 8000 torch bearers. The trail opens on the DNA of the Olympic Flame and then pulls out to reveal the beautiful golden Olympic Torch, created in graphical dots. These dots begin to make up forms and characters. We see animated runners holding the torch and people coming together in celebration. As it reaches the end of the trail it pulls out to reveal celebrations taking place across the United Kingdom.
For Argentina, having the Olympics take place in London this year is a matter of national pride — and not just in a sports context.
The Falkland Islands, which are officially a British overseas territory but have been claimed by the Argentine government for years, are the setting for a controversial new spot by Y&R Buenos Aires.
The WPP-owned agency and the Argentine president’s office sent Fernando Zylberberg, an Argentine athlete, to train on the Islands for a week without anyone noticing and filmed everything to create the commercial. The ad ends with the tagline: “To compete on English ground, we train on Argentine ground.”
The stunt has generated plenty of controversy, with WPP chief Sir Martin Sorrell saying he was “appalled and embarrassed” by the work. In a statement, Y&R said it strongly condemns the work that its Argentine agency has done, and has asked the government there to pull the spot. “While we don’t believe it was ever the intention of the ad’s creators to desecrate a war memorial, they behaved in a manner that is unacceptable to our company,” the statement said.
Promoting the release of limited-edition Nike MAG sneakers, which are modeled on the kicks Marty McFly wore in 2015, Nike’s “Back for the Future” spot debuted at No. 1 this week with nearly five million views. The Wieden + Kennedy ad stars Christopher Lloyd reprising his role as Dr. Emmett Brown, who materializes in a 2011 Nike store looking for shoes. When shown the Nike MAG, he asks if they have power laces; and when told no, he figures out he’s not in 2015 and takes off in his DeLorean.
“Saturday Night Live”‘s Bill Hader and NBAer Kevin Durant also star, and Nike designer Tinker Hatfield and Donald Fullilove (who played Goldie in the original movie) make appearances. Mr. Hatfield designed the shoe worn by Michael J. Fox’s character in the 1989 sequel to “Back to the Future” and embarked on re-creating it, along with footwear designer Tiffany Beers, in 2005.
Nike placed 1,500 pairs of the finished product – featuring an electroluminescent outsole and a rechargeable internal battery, but no automatic lacing – on auction on eBay, and all proceeds were to benefit the Michael J. Fox Foundation for Parkinson’s Research. The auction ended on Sept. 19. The retailer uploaded more than 10 original creatives onto their YouTube channel – some featuring Mr. Fox – for the campaign.
Elsewhere on the chart, Kia’s latest spot featuring the dancing hamsters held onto second place, and Evian’s long-running video featuring roller-skating babies climbed a spot to No. 3.
New on the chart at No. 8 is Toyota’a latest, “Prius Goes Plural,” promoting the new family of Toyota Priuses. And at No. 10 is “Search Engine” by Dodge, where the automaker announces a cross-country scavenger hunt giving clues for people to find and claim a new Dodge Journey. Two have been found so far; the East Coast Journey goes up for grabs on Sept. 24.
Vauxhall is promoting its support for Britain’s home nations football teams in a new advertising campaign launched during the England v Bulgaria European Championship qualifying match. The new TV commercial is designed to capture how football brings people together. As football fans spill out onto the streets, covering the length of the UK, through offices, towns and beaches leading up to Wembley Stadium. The advert culminates with the camera panning down the England team line up at Wembley, passing the faces of Frank Lampard, Wayne Rooney, Jack Wilshere and Ashley Cole, Jack Charlton and Peter Shilton, alongside football fans and Vauxhall staff. The campaign is online at vauxhallfootball.co.uk and Vauxhall Football Facebook page.
Puma’s “After Hours Athlete,” a poignant, moody spot featuring night owls in the throes of evening fun and created out of Droga 5, New York, earned the Film Craft Grand Prix at the Cannes Lions International Festival of Creativity. The film jury crowned the winner not for one particular aspect of its production, but for the sum of its expertly executed parts.
What it is: The commercial, directed by Smuggler’s Ringan Ledwidge, celebrates a new kind of athlete and features vignettes of young people experiencing the thrill of victory and agony of defeat of “after-hours” sports, from bowling and foosball to pool and karaoke. The spot, devoid of the typical jukebox track that would accompany such activities, features instead an uplifting, symphonic score created by Woodwork Music’s Phil Kay, with voice-over by Urge Overkill vocalist/guitarist Nash Kato, that together give a nostalgic tinge to each scene. The commercial also features photography by Ben Seresin, editing by Spotwelders’ Rich Orrick, sound design by Elias Arts and postproduction out of The Mill.
Why it won: Jury President Keith Rose explained: “It’s effortlessly done yet carries a lot of impact and emotion. It wasn’t one particular craft. It was made up of a flawless number of parts that became a total. It wasn’t run by maybe one big technique that became the overall winner. This was incredible casting, great lighting, great editing, great soundtrack, really good voice-over. The sum of the parts became the total. It’s just the ultimate filmmaking craft done at its simplest best.”
Controversy, or clear winner? Mr. Rose said the decision to award Puma was unanimous.
Other standouts: Other Gold Lion winners were Nike’s “Write the Future” from Wieden & Kennedy, Amsterdam, directed by Alejandro Gonzalez Innarritu and produced out of Independent Films, London, and Anonymous Content; Heineken’s “The Entrance,” directed by Sonny London’s Fredrik Bond, also from Wieden, Amsterdam; Chrysler’s “Born of Fire” Super Bowl spot, by Wieden, Portland, Ore., directed by Serial Pictures’ Sam Bayer; Drill Tokyo’s “Xylophone” for NTT Docomo, directed by Seiichi Ishikawa and produced out of Engine Plus/Drawing and Manual Tokyo; Loducca Sao Paulo’s “Balloon” spot for MTV, directed by Duldicio Caldeira out of Paranoid Brazil; “Above Everything Else” for Silestone, a direct-client piece created by Alex Roman, Madrid; and “Train,” an Indian Railways corporate film created out of Ogilvy Mumbai and directed by Prakash Varma of Nirvana Films.
Total Lions: 12 Gold Lions went to the above eight spots; 17 Silver and 24 Bronze were also awarded.
The jury: Mr. Rose, director and founding partner of South Africa’s Velocity Films, led a 10-person jury made up of a mix of production and creative executives, including Landia director Andy Fogwill, of Argentina; Indian director Prasoon Pandey of Corcoise Films; Naoki Ito, co-founder and creative director of Tokyo and New York agency Party; and Brian Carmody, co-founder and managing partner of Smuggler, whose company produced the Grand Prix winner (Carmody did not participate in the vote for the award).
Trends observed: Gone are the days of blatant big production value. “I think there is postproduction value evident in all the work, it’s just not as obviously in your face as it was before,” Mr. Rose said. “It’s kind of buried and hidden. And production values seem to have gone into the craft of the filmmaking. One particular spot, [for] Chrysler, launched during the Super Bowl, was very devoid of any kind of postproduction, and again, it’s the ultimate craftsman’s piece.” Mr. Rose also noted that the “biggest change is that the 30-second format seems to be dead and gone.” Shorter spots were scarce, while the jury saw an abundance of longer pieces, some even lasting 30 to 40 minutes.
Nike focuses on action sports in a night-time setting with its new global ‘Just Do It’ campaign, The Chosen, featuring 25 athletes including skateboarder Paul Rodriguez, surfer Laura Enever, snowboarder Danny Kass and freestyle BMXer Garrett Reynolds. The ad was shot over the course of two years at seven locations – Whistler, Aspen, Bali, Hawaii, Florida, New York City and Los Angeles – at night, with pyrotechnics and stunts reminiscent of a rock concert.
The campaign, which will be shown in 23 different markets, debuted on Facebook and and can now been seen on www.nike.com/chosen. It will also air on Sunday, June 5 during game three of the NBA Finals.
Alongside the ad, Nike is running a video contest via Facebook inviting skaters, surfers, BMX riders, snowboarders and skiers to submit a video of their crew. The winners, selected by fans, athletes and Nike, will have the chance to travel with the Nike team while getting access to exclusive Nike products and experiences.
Saucony, a performance athletic footwear and apparel company in the United States, has launched “Find Your Strong”, an advertising campaign with print, online, retail and event-marketing components, as well as the brand’s first-ever television spot. The 60 second television commercial features athletes featured in print and other multi-media elements feature images from famed sports photographer John Huet.
“The Saucony concept of ‘Strong’ is unique and somewhat intangible,” explains Mechanica creative director Libby Delana. “It’s a sense of what the human soul is… it’s the runner, but also the environments explored. It’s more who you are than what you do. In essence, the struggle is what reveals ‘Strong,’ and those human experiences are what we set out to distill and showcase in this campaign.”
The Find Your Strong campaign was developed at Mechanica by creative director Libby DeLana, creative director/copywriter Ted Jendrysik, brand director Arabella Plum, producer Mary D. Hanifin, working with Saucony chief marketing officer Chris Lindner.
Filming was shot in Marin County and San Mateo, California, by director Andre Stringer via Shilo, with director of photography Max Goldman, editor Cassidy Gearhart, assistant editor Hedia Maron, rotoscopers Paul Daniel and Djeison Canuto, associate producer Sheina Dao, line producer Jeremy Yaches, head of production Julie Shevach and executive producer Tracy Chandler.
Colorist was Tom Poole at Company 3. Music was composed by Darrin Weiner. Sound was designed and mixed at Penny Lane by Joseph Miuccio.