Loved this article - very thought provoking. Not sure about the long term brand damage associating with porn might c…http://t.co/2A0VumOf4W
Nov 26th at 5:14pm
This is a cross media campaign for the BBC called ‘Where Next?’ which is the broadcaster's first brand campaign for 6 years. The brief was to demonstrate the broadcaster’s continued commitment to innovation for public benefit across its 90 year history, taking the viewer on a journey of broadcast, technological and creative advances from 1922 to the present day.
We used a combination of footage from the BBC archive, adapted and shot scenes as well as animation and CGI to demonstrate key moments of innovation, seguing from one frame into the next, as each character moves from one scene of innovation to another.
We searched through archive footage to find clips that would match up and worked with Aardman to recreate Morph, Matthew Herbert of the BBC’s Radiophonic Workshop to create the soundtrack, and The Mill post production house to blend scenes and mash together The Ministry of Silly Walks’, Ceefax and Johnny Ball presenting microcomputers on Newsround.
The campaign runs on TV and radio across the BBC’s channels and stations and points to a ‘Where Next?’ site on bbc.co.uk featuring an interactive timeline of the BBC’s innovations. The campaign will be renewed throughout 2013 with shorter TV trails that demonstrate on-going innovation.Advertising, Animation, Visual Effects2013
D Love is the diminutive new star of a fully integrated campaign which launches across BBC TV, BBC Radio, commercial radio, online and in store on 17 November to highlight the benefits of digital radio.
He is a 15-inch tall, smooth dressing soul puppet, from Stockport - although in his mind that’s just outside Detroit. Think of him as somewhere between Lionel Richie, Isaac Hayes and a Thunderbird puppet.
The TV ads depict the diminutive soul man spreading the love for digital radio with his pet dove and encouraging others to join the movement. He is always accompanied by his faithful pet dove, played by a real life pigeon that had been reared around the puppet since it was a chick.
The campaign will also feature a music video starring D Love, interviews with his dove, posters, online banners, in store, digital radio guides, and radio ads which will be aired across the BBC Radio network and on over 60 commercial radio stations. He will be interviewed by BBC Radio DJ’s Fearne Cotton, Richard Bacon, Suzie Klein and Clive Anderson as part of his launch.
Advertising, Character Design2012
The Olympic games was set to be the biggest moment in the nations’ sporting history and our objective was to ensure audiences appreciated the value that the BBC brought to this momentous occasion through its coverage of the Games across TV, radio, online, mobile, red button and HD, demonstrating its innovative approach to pan-media coverage.
We aimed to showcase the innovative multi-channel accessibility of the Olympics coverage and firmly establish the BBC as ‘THE Olympic broadcaster’, by focussing on the insight that the BBC made the Olympics a truly inclusive experience, ticket or no ticket, because with the BBC ‘You’re all invited’ wherever you are in the UK.
We created a cutting-edge 3D animation, directed by Pete Candeland and scored by Elbow to showcase modern Britain. We took the Olympic sports out to the far reaches of the UK to demonstrate that wherever you were in the UK, the BBC gave you a front row seat to the Olympics.Advertising, Animation2012
Our objective was to build excitement around the Torch relay on a national and local level, galvanising the nation around a moment in sporting history and cementing the BBC’s status as the exclusive Olympic broadcaster.
We were tasked with creating a national marketing campaign pointing to the start of the journey on 18th May, local activity to promote all BBC coverage of the Torch across the whole country and a visually impactful graphic world and branding to unite all of the Torch programming across the BBC from Local Radio road shows to BBC News editorial.
The resulting campaign was based on the premise of the Olympic Torch lighting up the darkest parts of the UK and illuminating everything and everyone in its path.
The graphic route came from the torch itself. It is a beautiful, jewel like object made with the very latest cutting edge technology. It is a symbol of not only the Olympic spirit but also every torchbearer.
Each hole in its striking design represents one of the special individuals who had the honour of carrying it throughout the country to its final destination of the stadium. The torch is very iconic because of them.
We used the 8,000 circles found on the torch which represent the torch bearers to form the basis of the graphic animation.
This print work is a result of a winning pitch I led for RKCR's former award winning digital agency - Saint.
iStockphoto has a larger and more passionate creative community contributing images than any other online stock library.
You could say it is powered by creatives, for creatives.
To highlight this we created long copy print ads that used iStockphoto stock photography and talked to creatives in their own language about amusing issues every creative can relate to.
The ads ran in industry publications such as Creative Review and Campaign.
This campaign was designed to tackle the highly political issue of the national increase in tuition fees for Students. Research showed that we needed to clearly present the core facts which burst the bubble of unmanageability.
This would then in turn prompt people to want to know more.
We wanted to create a campaign which felt clean, modern and aspirational, with a simple and user friendly site experience.
The campaign produced great results. Notably the percentage of parents who felt benefits of university were not worth the cost fell by 7 percentage points and post-campaign 9% more students were aware of the availability of financial help.Advertising, Web Design2012
Having marketed Shreddies to mums as a way of keeping kids’ concentration up at school, Shreddies had lost a huge amount of volume due to a decrease in family appeal (in fact it is largely dads that eat Shreddies). We needed to re-engage families.
Shreddies are weird, brown squares with little culinary and no aesthetic appeal, but are designed to make wholegrain more delicious to eat.
We wanted to create a story around Shreddies to instil them with a charm that would appeal to children and families as a whole.
We produced a campaign fronted by the Knitting Nanas; the idea being that a group of grandmothers lovingly knit the Shreddies. In order to engage with the audience, we launched an online competition to nominate people’s own Nanas to appear on the Shreddies box.
The campaign has achieved over 470,000 likes on Facebook (and counting). Over 5,000 Nanas were nominated for the competition and over 200,000 votes were cast. Additionally pack sales increased by 13%.Advertising2012
This was the first mobile response campaign at a sports event in the UK that I led whilst at McCann Erickson.
Research had shown that in order for people to understand the difference between Microsoft Office 2003 and 2007 we need to demonstrate the product.
How could we create an interesting product demo? We decided to demo Microsoft Office live at Twickenham - on the big screens for the England rugby internationals.
We asked the 70,000 people in the stadium questions like 'Who do you think is the best player on the pitch?' with a free short code to text. We then showed the responses in bar and pie charts, using Powerpoint formatting.
The campaign was a massive talking point for everyone in the stadium and received national attention for being the first of its kind.Advertising2012
Xbox needed to reach the people who didn’t like Halo, or didn’t care about Halo, or had never heard of Halo.
And get them to buy a copy. If we were going to do this, the conventions of the category were irrelevant - loud explosions, pounding music, gameplay footage, guns, blood and gore would merely reinforce the perceptions people had of Halo.
We needed to rewrite the rules of a video game campaign and show more of the characteristics of the movies we wished to compete against.
1. We sought to embrace the Halo Nation’s love of all things Halo, & understand why they had such passion for this franchise.
2. We interrogated this passion to see if it could be spread to a wider audience, once we were to start talking about Halo in a different way.
Speaking to Halo fans they told us that Master Chief was a heroic figure, and the story of this hero was the main reason they wanted to play this game.
He has been the star of each instalment and is Halo’s equivalent of Peter Parker or Harry Potter...a central figure the audience can rally around.
But...In campaign's for the previous Halo games the action and special effects have been key selling points. Master Chief was portrayed as a lead character in a video game, but Halo fans portrayed him as the hero of a story.
This campaign needed to focus on our ‘movie lead’. Master Chief represents the very tenets of a hero – bravery, sacrifice, duty, and selflessness.
These themes are consistent with the qualities of real heroes, and classic storytelling throughout history – they are universal and timeless themes that speak to all of us.
Instead of telling people about the action they were going to experience, like most video games, we needed to emotionally engage them is this potentially epic story that they could come and play a part in themselves.Advertising2012