Category: Advertising

Advertising

Pedigree Slow-Mo Focus

By Delphine Hirasuna |

This commercial for Pedigree dog food is beautiful for its pure simplicity. Shot at 1000 frames per second using a Phantom camera, the slow-motion video captures every movement and feature of each dog, from the twitch of the ears, the attentive eyes, the loose tongue, the tensed muscles and flying fur as the dog leaps for the Pedigree treat. The plain studio backdrop and lighting eliminate superfluous environmental distractions, making the dogs the sole point of focus. Viewers can’t help but marvel at what expressive and unique creatures dogs are. TBWA/Toronto made this commercial for Pedigree Petfood Canada, with film direction by Bob Purman of Imported Artists Film Company and sound by Joey Serlin at Vapor Music.

Advertising

Nepia Tissue Animals

By Delphine Hirasuna |

When the product is as commonplace as facial tissue, there’s no need for advertising to explain its benefits and uses. Civilized people know. So, Japanese ad agency, Dentsu, found a more compelling way to promote the Nepia paper brand by making origami animals out of Nepia tissue. The video performance feels like a magic act, with sheets of tissue transformed before your eyes into elephants, snakes and frogs and back into tissue. The white tissue and austere background help to suggest the clean, soft and feathery lightness of the product. This stop-motion animation was directed by Fuyu Arai with creative direction by Hitoshi Sato.

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Advertising

Mercedes-Benz’s Poultry in Motion

By Delphine Hirasuna |

Luxury carmaker Mercedes-Benz demonstrated how its amazing Magic Body Control suspension system offers passengers a smooth ride through the use of placid chickens funky dancing to Diana Ross’s “Upside Down” disco tune. For those of you who have never met a chicken that wasn’t already baked, grilled or fried, you should know that live chickens have the natural ability to keep their heads perfectly still even when their bodies are moving. For German ad agency Jung von Matt/Neckar Stuttgart, this chicken analogy seemed like a much more memorable and fun way to explain how Mercedes’s suspension system offers awesome motion stability. Daniel Warwick directed the dance number. No CGI was used in the making of this video; the chickens did it all with a few helpful hands.

Advertising

Day of the Dead – Canadian Style, eh!

By Delphine Hirasuna |

Corona Canada is going all out to celebrate the Day of the Dead (Dias de los Muertos), an annual Mexican holiday (November 1 and 2) commemorating the lives of loved ones who have passed away. It has just issued special limited edition designs for its tall-boy cans, further extending its “Live Mas Fina” (Live the good life) campaign launched in March. Toronto-based design agency, Zulu Alpha Kilo, created the concept and design for the marketing promotion, which features artwork inspired by Day of the Dead sugar skull candy treats. Illustrated by Jenny Luong, the decorative skull artwork integrates a line of text that urges people to live life to the fullest.

The Canadian Day of the Dead campaign encompasses more than special packaging. Zulu is promoting the Day of the Dead design in out-of-home and print ads, magazine inserts and on social media. In addition to giving out tear-away posters at select locations across Canada, Corona is staging a social media contest that offers fans the chance to win a numbered, limited edition silkscreened print of the sugar skull posters. The Day of the Dead Corona cans are available in stores across Canada for one month only.

Advertising

Freddy’s Kaleidoscope of Motion Design

By Delphine Hirasuna |

The symmetrical patterns and multiple reflections created by a kaleidoscope served as the perfect metaphor for the art of dance and gymnastics – and a means to demonstrate the ease of movement offered by the dance and fitness apparel manufactured by Freddy Wr.UP of Italy. For the making of the video, DLV BBDO Milan collaborated with Abstr^ct:groove production company to build a simulated kaleidoscopic view of performers in motion. Considerable storyboarding preceded actual production. Abstr^ct:groove producer Mauro Mastronicola says, “To understand how to achieve the graphic patterns we wanted, we started by studying small scale models and then we went into CGI simulations. All the effects were obtained in camera without the use of added post-production.”

Not everything happened in camera, however. Abstr^ct:groove designed and built four thaumascopes of different sizes and shapes, the biggest being about 30 feet long with an triangular opening of about 8 feet and the smallest being about 5 feet in length with a square opening of about 2 feet. The Italian National Team of Rhythmic Gymnastic ‘le Farfalle’ was asked to perform the gymnastic movements which were choreographed by their trainer Emanuela Maccarani. Luigi Pane directed the film and Franky B (aka Cryptic Monkey) produced the music.

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