TBWA/PHS, Helsinki for Young Director Award (2000/2011) – Born to create a great case history

2000

Natural Born Directors (Poster)

Advertising Agency: TBWA/PHS, Helsinki
Creative Director: Mira Leppanen
Art Directors: Zoubida Benkhellat
Copywriter: Mira Leppanen
Shortlist

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2001

Highchair (Poster)

Advertising Agency: TBWA/PHS, Helsinki
Creative Director: Mira Leppanen
Art Directors: Zoubida Benkhellat
Copywriter: Mira Leppanen

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2002

Hands (Poster)

Advertising Agency: TBWA/PHS, Helsinki
Creative Director: Mira Leppanen
Art Directors: Zoubida Benkhellat
Copywriter: Mira Leppanen

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2003

Cut (Poster)

Advertising Agency: TBWA/PHS, Helsinki
Creative Director: Mira Leppanen/Zoubida Benkhellat
Art Directors: Zoubida Benkhellat
Copywriter: Mira Leppanen

My Idea (Print)

Advertising Agency: TBWA/PHS, Helsinki
Creative Director: Mira Leppanen/Zoubida Benkhellat
Art Directors: Zoubida Benkhellat
Copywriter: Mira Leppanen

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2004

Drool (Poster)

Advertising Agency: TBWA/PHS, Helsinki
Creative Director: Mira Leppanen/Minna Lavola
Art Directors: Minna Lavolat
Copywriter: Mira Leppanen
Year: 2004

Lion Hunter (Commercial)

There’s a nature program on tv with VO. A baby is relaxing in front of the tv. The VO continues and after hearing the word “lion”, the baby begins to stare at the TV with excited eyes. Natural Born Director CFP–E and SHOTS Young Director Award

Advertising Agency: TBWA/PHS, Helsinki
Creative Director: Mira Leppanen/Minna Lavola
Art Directors: Minna Lavolat
Copywriter: Mira Leppanen
Director: Miko Iho

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2005

Alfred/Quentin/Woody (Print Campaign)

Advertising Agency: TBWA/PHS, Helsinki
Creative Director:  Zoubida Benkhellat/Minna Lavola
Art Directors: Minna Lavolat
Copywriter: Mira Leppanen

Swimmer (Commercial)

A pastiche of Tarsem´s Swimmer. The younger you start the better you get.

Advertising Agency: TBWA/PHS, Helsinki
Creative Director:  Zoubida Benkhellat/Minna Lavola
Art Directors: Minna Lavolat
Copywriter: Markku Ronkko
Director: Thomas Ericson
Production Company: Berghs School of Communication, Sweden

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2006

Eisenstein/Chaplin/Coppola (Print Campaign)

Advertising Agency: TBWA/PHS, Helsinki
Creative Director:  Zoubida Benkhellat/Minna Lavola
Art Directors: Minna Lavolat
Copywriter: Markku Ronkko
Shortlist

Jaws (Commercial)

Eisenstein (Commercial)

Advertising Agency: TBWA/PHS, Helsinki
Creative Director:  Zoubida Benkhellat/Minna Lavola
Art Directors: Minna Lavolat
Copywriter: Markku Ronkko

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2007

Balls/Mountain (Poster)

Balls (Commercial)

Advertising Agency: TBWA/PHS, Helsinki
Creative Director:  Zoubida Benkhellat/Minna Lavola
Art Directors: Minna Lavola
Copywriter: Markku Ronkko

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2008

Bunny/Gorilla (Poster)

Advertising Agency: TBWA/PHS, Helsinki
Creative Director:  Zoubida Benkhellat/Minna Lavola
Art Directors: Minna Lavola
Copywriter: Markku Ronkko

Gorilla -Full of Talent (Commercial)

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2009

Accident/Affair (Print Campaign)

Advertising Agency: TBWA/PHS, Helsinki
Creative Director:  Zoubida Benkhellat/Minna Lavola
Art Directors: Minna Lavola
Copywriter: Minna Lavola

Dirty Loundry (Commercial)

A ten-year-old boy sits down in front of a dressing table in a bedroom. He takes one of the lipsticks from the table, and puts it on. He then walks towards the wardrobe in his parent’s bedroom and takes out one of his father’s white shirts. He kisses the shirt collar staining it with red kissing marks. He then carries it to the washing room and drops it next to the laundry machine. As he wipes his mouth clean we cut to text: Born to create drama. Young Director Award by CFP-E/Shots

Advertising Agency: TBWA/PHS, Helsinki
Creative Director: Minna Lavola
Art Directors: Minna Lavola
Copywriter: Minna Lavola
Director: Lourens Blok
Production Company: Caviar, Amsterdam

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2010

Pool (Poster)

Advertising Agency: TBWA/PHS, Helsinki
Creative Director: Minna Lavola
Art Directors: Minna Lavola
Copywriter: Mira Ollson

Drama Queen (Commercial/Promo/Digital)


A thirty-something woman is driving a car while her 5-year-old daughter is peacefully sitting in the back seat.
The woman is being pulled over by a policeman for speeding.
The policeman notices the girl in the back seat, and comments with a friendly voice:
“Mummy a bit in a hurry, was she?”
The girl looks at the policeman with serious eyes and answers in a monotone voice:
“She’s not my mommy.”
She then lifts up a drawing pad where she has scribbled the word: HELP, and adds articulating: “Help me.”
“Step out of the car Madam!” The policeman orders strictly.
The girl looks mischievously towards the camera and a text appears: Born to create drama. Young Director Award by CFP-E/Shots


Describe the objective of the promotion.
To establish Young Director Award by CFP-E/SHOTS as THE competition for aspiring commercial film directors and to get as many entries as possible to the 2010 competition. (To be eligible, entries must be one of the first four commercials a director has directed.)
Describe how the promotion developed from concept to implementation
The concept, born to create drama, puts emphasis on the unique talent of young directors.
We felt the best way to promote a young director award show was to lead by example and give an inexperienced director an opportunity to shoot a script with strong viral-potential, and seed it out to aspiring commercial directors.
The film was broadcast on youth oriented programs, seeded to production companies and film schools and posted on facebook-sites and on youtube. To add interest among our target group, we also posted a making-of of the commercial on the youngdirectoraward.com-blog.
Describe the success of the promotion with both client and consumer including some quantifiable results
The link was sent to 1500 email-addresses including production companies and film schools. This led to over 265 000 hits on youtube in a few weeks (and counting). The film was discovered by traditional broadcast as best commercial of the month and got six free air times on prime time television, it was also picked up by over 30 online sites publishing the newest and the freshest of the industry and beyond.
The Youngdirectoraward.com site immediately received 76% new visitors with an average of 48 minutes on site.
Within a month, YDA received around 400 entries from young commercial directors around the world.
Explain why the method of promotion was most relevant to the product or service
The entry deadline was getting closer and it was the quickest way to make a strong impact and get a response from our target group. Young commercial directors live and breath quality commercials. That is their passion.
It was crucial to be a fast success on youtube, which is the place where young directors seek references and inspiration on a daily basis. Writing a script with strong viral potential and shooting it with an inexperienced young director (24-year old Rogier Hesp) inspires other young and up-coming directors to fulfill their own dreams.
Supporting and inspiring talent is the sole purpose of Young Director Award by CFP-E/Shots.

Advertising Agency: TBWA/PHS Helsinki
Copywriter: Mira Olsson
Art Director: Minna Lavola
Production Company: L-A-D-A, Amsterdam
Director: Rogier Hesp

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2011

Time for dinner (Poster)

Advertising Agency: TBWA/PHS, Helsinki
Creative Director: Minna Lavola
Art Directors: Minna Lavola
Copywriter: Mira Ollson
Year: 2011

Pool Guy/Grandpa/Closet (Print Campaign)

Advertising Agency: TBWA/PHS, Helsinki
Creative Director: Minna Lavola
Art Directors: Minna Lavola
Copywriter: Mira Ollson
Year: 2011

Double Life (Commercial)

A 5-year-old girl is sitting in a swing, while her dad is pushing her. Her dad’s mobile rings and he steps away to take the call. The girl spots a couple that are having their wedding picture taken close by: they look besotted by each other and gladly take different poses while the wedding photographer directs them. Suddenly the little girl runs joyfully to the newlywed man and shouts:
“Daddy, daddy!“  Hugging the confused mans leg, she looks up to him and innocently continues: “Where’s mommy?”
The bride is in shock. We zoom closer to the little girl, as she looks into the camera with a mischievous smile.
Cut to text: Born to create drama.

Advertising Agency: TBWA/PHS, Helsinki
Creative Director: Minna Lavola
Art Directors: Minna Lavola
Copywriter: Mira Ollson

Directort: Ben Brand
Producton Company: Caviar, Amsterdam


Advertising goes to Hollywood

GODZILLA




Advertising Agency: Saatchi & Saatchi UK
Year: 1999
Shortlist

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Jurassic Park 3

 


Advertising Agency: Young & Rubicam Thinking, New Zealand
Year: 2002

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REIGN OF FIRE


Advertising Agency: Giovanni FCB, Brazil
Year: 2003

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HULK


Advertising Agency: DY&R Wunderman, Singapore
Year: 2004


Advertising Agency: Amsterdam Advertising
Year: 2004

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FINDING NEMO


Walt Disney had one of the biggest challenges ever: launch “Finding Nemo”, the much – anticipated fourth movie from Pixar Studios. It had been launched already in America and the box office of the opening weekend was the highest ever for an an animation movie. We were under a lot pressure to equal this success.

“Finding Nemo” is a movie for the whole family, but its main target audience is children. Thinking of that, we created a way of “playing” with the kids through the movie’s name. We create an activity where we had a stand with a girl handing over empty “fish bags”. The child would look inside the fish bag and notice that there were no real fish, only ones saying “Finding Nemo – July 4th only in theaters” The stands were set places such as shopping malls, playgrounds, schools, parks and kids’ birthday party venues. The name of the movie worked as a teaser itself, so we found a media that enhanced the impact on the target, because it was where the kids were and offered them a “gift”. We caught the attention of the target audience and aroused the curiosity of the kids to look for the fish called “Nemo”. We worked with two guaranteed things for children: awareness (everybody knows.) and curiosity (I need to find out..)

It was a specific media idea, which impacted the target audience in different atmospheres, without any dispersion, urging them to look for “Nemo”. It supported the mass media campaign and helped us to have a closer, and more effective, contact with our target. Also, it generated a lot of “free media” through magazine, newspaper and internet news.
The action had a low absolute cost, and an even lower CPT (cost per thousand) person impacted by the communication. The CPT of this action was lower than ony other medium used in the media plan. It was the more profitable one.
The movie had a wonderful opening weekend and became the number 1 Animation Movie here in Brazil too

Advertising Agency: Giovanni FCB, Sao Paulo
Year: 2004
Shortlist

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LADYKILLERS


Advertising Agency: Giovanni FCB, Sao Paulo
Year: 2005

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SPIDERMAN 2


 Advertising Agency: Contract Advertising, Mumbai
Year: 2005

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COLLATERAL


 Advertising Agency: Mediaedge:cia, Singapore
Year: 2005

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THE INCREDIBLES


Advertising Agency: Giovanni FCB, Sao Paulo
Year: 2005

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PIRATES OF THE CARIBBEAN


Advertising Agency: Unknown
Year: 2007

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BATMAN BEGAN



Stickers were placed on footpath lights around central Auckland. At night when the lights were on, beams of light shone upwards, creating the Bat Signal.

Advertising Agency: Saatchi & Saatchi Auckland
Year: 2007

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SUPERMAN RETURNS


Advertising Agency: JWT Brasil
Year: 2007
Bronze Lion

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V FOR VENDETTA


Advertising Agency: JWT Brasil
Creative Director: Ricardo Chester
Year: 2007

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CARS

Disney•Pixar Studios was looking for an innovative way of promoting their big hit in 2006. The communication strategy for promoting the feature film Cars was to be as fun and powerful as the film itself. The idea was to reach the public inside movie theaters in an unique way. We chose an icon from the film’s universe, the airbag, and turned the seats in big movie theatres, like Cinemark and UCI, into veritable car seats.

The objective was to immerse the public into the movie’s atmosphere yet creating great anticipation of the release. It was also necessary to find an unusual way to convey the message to the public in an time in which they were receptive to such message. Disney invaded the main movie theaters in the city by attaching airbags on the backs of the seats. It was a fun teaser announcing the movie’s release.
Like many of the Disney-Pixar movies, the expected audience in Cars were children, adolescents, parents, and adults who like animation and fun. The purpose of the campaign was to captivate adults and instigate children. Due to the fairly high price of tickets, the targets were people from classes A, B, and C.
The concept was a success. The campaign became the talk of the town, kids left the sessions charmed, many of them were asking to take the airbags home. Tickets were sold out in all theaters and the movie ran for more than 5 months.

Advertising Agency: B/Ferraz Full Promoton
Year: 2007

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KING KONG



Advertising Agency: Colenso BBDO, Auckland
Year: 2008

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KILL BILL



Advertising Agency: Saatchi & Saatchi, New Zealand
Year: 2008

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THE DUKES OF HAZZARD



Advertising Agency: Saatchi & Saatchi, New Zealand
Year: 2008

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TERMINATOR SALVATION

The objective of the promotion: To promote the new film TERMINATOR SALVATION.
The Idea: The story behind the entire Terminator saga is that in the near future machines will turn on humans and aim to destroy us all.
To promote the new film ‘TERMINATOR SALVATION’, we created early signs of attacks on humans by the everyday machines that we all interact with inside the malls.

Advertising Agency: DDB South Africa
Year: 2010

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ALICE IN WONDERLAND


Advertising Agency: Auge, Milan
Year: 2011
Bronze Lion

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SAW VII


The Hoyts Corporation distributes films across its 55 cinemas in Australia and New Zealand. With the release of SAW VII fast approaching, Hoyts were at a loss on how to create genuine excitement for what was being viewed as ‘yet another SAW film’.
With only a month to go before the prelaunch promotion needed to kick off, our brief was clear:
- Reinvigorate the ageing SAW franchise ahead of its final release.
- Hit the box office target of $2.5m AUD.
Having never run an activation before, Hoyts required a cut through campaign that would justify their decision.

With a tight timeline and a budget of under $50k, we needed to develop a campaign that not only punched above its weight in terms of reach and engagement, but was also quick to market.
Cue the ‘SAW PhotoBooth’. Placed into Hoyts cinema foyers, film-goers were given the opportunity to view the SAW trailer and have a free photo taken. After the trailer finished, the photo countdown began, 3… 2… 1 photo.

Before the photo was taken however, SAW’s frightening antagonist Jigsaw would stick his head into the booth just in time for the photo to capture the terrified reactions!
With the SAW franchise in decline, our focus was to give audiences a taste of what the film had to offer.
Given we were dealing with a Gen Y audience that practically lives online, we felt that by bringing the film to life in a fantastically horrifying way and capturing audience reactions, the reactions themselves would provide the best showpiece for the film.
Our strategy was to develop a micro activation and use the physical engagements from the activation as content for the wider social media campaign, using Facebook and YouTube in particular to carry the conversation across Australia.

The key campaign results from a consumer perspective were as follows:
- 4035 scary cinema experiences (50% over target).
- 111,426 YouTube views (345% over targe

Advertising Agency: Play Communication, Sidney
Year: 2011

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GREEN LANTERN


This campaign had a bunch of bicyclists riding around town with custom wheels that rotated glowing messaging about the movie opening in the area.

Advertising Agency: Lorem, Sao Paulo
Creative Director: Icaro de Abreu
Year: 2011

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THE HOLE

Launch of the movie The Hole in 3D directed by Joe Dante. (A pair of brothers stumble upon a mysterious hole in their basement that leads to the darkest corridors of their fears and nightmares.)

Step 1: 2 weeks before: GUERRILLA. Floorstickers with a man falling into an hole were placed all over metro stations in Rome and Milan and in hundred of movie theaters.
Step 2: 2 weeks before WEB. Website about the movie with extra content (trailer, bills, phobias etc..).
Step 3: 10 days before: AMBIENT. Fake legs were added at the floorstickers and at special Billboards.
Step 4: 1 week before: EVENT. A black container was placed in the center of Milan and people were invited to challenge their fears. An infrared-cam recorded people’s reactions and the videos were uploaded on youtube and facebook.
Step 5: PROMOTION. Limited edition t-shirts (showing different fears to fight) were produced. People could win them entering the container.
Step 6: GADGETS. Fluorescent bracelets were given during the days of the event.
Step 7: 2 days before: 3D PRINT. Special 3D print was published on free press “On Stage”. 3D glasses were distributed with the magazine.

Advertising Agency: Auge, Milan
Year: 2011

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Hollywood sign in advertising

Turner Classic Movies

Turner Classic Movies is a movie channel that only shows movies from the golden age of movie making: The Classics. 
TCM dedicated the month of November to the “History of Hollywood: Moguls and Movie Stars”. So they paid tribute to all its legends by creating one image of them working together where they build the iconic Hollywood sign.

Google Earth

Subaru

All Star Shoes

Dormimundo Mattresses

Fiat Dealers

Kmart

BCP Credit Card

Planet Hollywood

MINI Young Directors Project

Headline: In the cinema nobody is born big.

Playstation

Absolut


Share a Coke Campaign – A Coca-Cola with your name on it

Coca-Cola is putting Aussies front and centre by printing people’s names on millions of bottles (for the first time ever) as a social invitation to find the names of friends and family and encourage them to connect and ‘Share a Coke’ together.

The launch of the new multi-million dollar summer campaign, Share a Coke, will see the country’s 150 most popular names appear on labels this summer, encouraging them to ‘Share a Coke’ with one another.
This is the first time Coca-Cola has made such a major change to its packaging and the first time any brand in Australia has launched this type of campaign.  Share a Coke with Matt, Josh, Luke, Rebecca, Nicole, Kate messaging was designed to encourage Aussies to connect with each other this summer. All the executions of the fully integrated ‘Share a Coke’ marketing campaign act as an invitation for consumers to share a bottle or can of Coke with someone they know, or want to know.

Says Lucie Austin, marketing director, Coca-Cola South Pacific: “We are using the power of the first name in a playful and social way to remind people of those in their lives they may have lost touch with or have yet to connect with.  We’ve put names on Coca-Cola bottles so consumers will have fun finding their friends and family members’ names and then enjoy sharing a Coke together.”

Coca-Cola Australia is betting on a viral hit for ‘Share a Coke’ via social media. Facebook fans can create their own Coke commercials with pictures from their Facebook albums, share a virtual Coke, and be eligible to win $50,000 to share with their friends. TV screens will be blanketed with 30-second ads promoting the campaign and inviting people to create and share their own Coke commercials on YouTube and Facebook.

We are using the power of the first name in a playful and social way to remind people of those in their lives they may have lost touch with or have yet to connect with,” said Austin.

Consumers are able to download one of 150 ‘name songs’, produced in partnership with Southern Cross Austereo via the Coca-Cola Australia Facebook page. And come December, the campaign will flip over to “share a Coke with Santa,” with cans rolling out featuring “Rudolph” and other reindeer names. It’s all part of the brand’s Open Happiness campaign, as Coke looks to deliver happiness and a unique brand experience … one personalized can at a time.

Advertising Agency: Ogilvy & Mather Sydney
Digital Agency: Wunderman
PR: One Green Bean
Channel Planning: Naked Communications
Media: IKON Communications
Activation: Urban Communication
Year: 2010


Costumes Shop in advertising (the perfect post for Carnival)

Duende Azul Costumes

Headline: You, but funnier than you.

Headline: Really Real Costumes.

Special Posters were placed at Santiago’s Metropolitan Zoo pointing that the animals were actually disguised.

The Costume’s House

Abracadabra Costume Superstore

Kostum Jager (Zurich)

First Scene Costumes

Christian Dell (Make-Up Artist and Costume Design)

Housz of Costumez

The Costume Shop

Abracadabra Costume’s House

GEM Costumes

Franz Karl Weber Toys & Costumes

“We designed a simple tool to combine with ordinary objects found in each town and make them look like a person dressed up in a costume: A weather-proof speech bubble which says “Don’t recognize me, do you?” which can be easily attached to any object. We applied speech bubbles within 750m of the FCW store and at some more busy public transport hubs. “

http://www.rent-a-costume.com (Online Shop)

Mardigras Costume Company

Maskworld

Brief: The objective was to demonstrate Maskworld’s costume and transformation competence, at first contact with potential customers such as make-up artist and property masters from film, theatre and advertising.
Objectives: The design objective was to create not only a visual, but also usable certification of Maskworld’s core competence.
Goals: Thanks to the costume-covers for the business cards of Maskworld’s management this metamorphosis competence can be proved at first meetings. They show, how easy and quick one can switch into the role of others, no matter whether it’s a demon lord, a gladiator, the Pope or the U.S. President.

Carlos Costume Shop

The objective of the promotion
Because of all the new costume shops that had recently opened in the centre of Madrid, Carlos’ Costume Shop needed to increase awareness and traffic to their store.

The Idea
Our idea was simple: we needed to convince people that we were the true masters of disguise. How? We handed out flyers in the street disguised as the typical people who hand out flyers in the street: a pizza guy, a Hare Krishna monk, a nun and the classic “We buy gold” ad man. All of them had a specific “disguised” flyer too.


Leo Burnett India for Maneland Jungle Lodge – Wild Creativity

Receptionist/Waiter/Welcome (2006)

What Kaushik Mitra, (copywriter at Leo Burnett, Mumbai) has to say about “Receptionist” and “Waiter”

To start off with, I think it’s important to understand that over 50% of the population in India is below 25 years of age and when they seek a holiday, they’re seeking either complete inactivity and laziness, or they’re seeking adventure and fun. Now the Maneland Jungle Lodge is a resort right at the edge of Gir Forest, an area famous for its lion population in Gujarat. And an area that’s certainly not meant to attract the break-from-work-by-lazing holiday seeker. For us within the agency, it meant an opportunity to create something adventurous and bold, and that’s precisely how I remember my art partner, Harshad descibing the brief. Maneland had never advertised before in a big way, and it was our turn to pounce upon an opportunity to create a big, wide splash in the marketplace for holidays and tours in India.

“Mutilated lodge staff” was the first thought that emerged in the brainstorm to follow. While I admit it was I who was guilty of coming up with the idea first, it couldn’t have been possible without Harshad and the rest of the team saying what they did. Soon after, our brainstorm got interrupted because there was another urgent brief we had to do immediate justice to, and while presenting the idea to the rest of the creative directors within the agency, we realised that that was the only idea we were left with.

But luckily for us, Pops (or KV Sridhar, as our National Creative Director is otherwise known), Agnello Dias (the Executive Creative Director) and Santosh Padhi (National Art Head), all fell in love with the idea. And saw to it that it was executed perfectly and released in good time, before the holidays began. Luckily the client also had a sense of humour and loved what we created. Of course, we had no idea then that a resort meant to show off the last lions in India would get us one!

Creative Director: K.v Sridhar/Santosh Padhi/Agnello Dias
Copywriter: Agnello Dias/Kaushik Mitra
Art Director: Santosh Padhi
Photographer: Shekhar Phalke
Bronze Lion for the Campaign

Waiter/Cook/Reception (2007)

Creative Director: K.v Sridhar/Santosh Padhi
Copywriter: Santosh Padhi
Art Director: Santosh Padhi
Photographer: Shekhar Phalke
Shortlist

Cavemen Search (2007)

The brief
The insight here is that nowadays you hardly get the ‘Jungle’ jungle i.e. the authentic, untouched jungle. It is very difficult to gain this experience first-hand due to thie fast moving world we live in. The objective was to present Maneland Jungle Lodge as a truly exotic and never before seen jungle experience.

The concept
Everybody would love to stay in one such place as, they are too tired of the monotony of this concrete world, To help people gain this experience Maneland jungle lodge is located in the interiors of the jungles of Gir forest in Gujarat, a state of India and demanded the creative to convey the same.
We decided to use models dressed as cavemen, going around shopping malls & travel agents offices with their business cards. The campaign had to be executed in a manner to make the best out of the small budget and create a buzz.

Results
The month following the campaign, traffic to maneland.com website went up by 300% and bookings were up 40%

Creative Director: K.v Sridhar/Santosh Padhi
Copywriter: Santosh Padhi
Art Director: Santosh Padhi
Photographer: Shekhar Phalke

Welcome Drink/Lost & Found/Regular Visitor (2007)

Creative Director: K.V. Sridhar
Copywriter: K.B. Vinod
Art Director: B. Ranmathker
Photographer: Vinay Mahidhar

Check in Form (2007)

Creative Director: K.V. Sridhar
Copywriter: K.B. Vinod
Art Director: B. Ranmathker

Period/Gay (2008)

Headline: One Week Honeymoon Package. How Will Your Story Unfold?

Creative Director: K.v Sridhar/Santosh Padhi
Copywriter: Santosh Padhi/Russell Barrett
Art Director: Santosh Padhi


Creatives in Love (Valentine’s Day in advertising)

1 – Axe Deodorant

2 – Dom Francisco Reastaurant

3 – Tide

4 – Volkswagen New Beatle

5 – Volkswagen

6 – Wonderbra

7 – McDonalds

8 – Kolner Zoo

9 – Pasta Adria

10 – Heineken

11 – Miller Beer

12 – Yemeksepeti.com (food delivery)

13 – Straps Lingerie Store

14 – British Airways

15 – Tampax

16 – Puma

17 – NW Nutrient Water

18 – Sexy Avenue.com

19 – Levi’s

20 – New Scientist

21 – Nissan Micra

22 – Playstation

23 – After Eden Lingerie

24 – Camper

25 – Predector (Pregnant Test)

26 – Is Kultur Bookstores

27 – Renault

28 – Parmalat Yogurbelt 0% fat

29 – Toyota

30 – Swatch

31 – SpotG Sexy Shop

32 – Canal+

33 – BMW Motorrad

34 – HOG Singapore Valentine Ride

35 – Brave Heart Fund – Children Heart Center

36 – Brasil Telecom

37 – Valentine’s and Coronary Patient Day

38 – Kiss Radio 102.1 fm

39 – Barrashopping – Shopping Mall

40 – DeBeers

41 – DIM Underwear

42 – Chevrolet

43 – Sedal Shampoo

44 – Bavaria Beer

45 – Nescafè

46 – Motorola

47 – Ducati

48 – Alfa Romeo

49 – Nakshatra Diamond

50 – Absolut Vodka

51 – Oreo

52 – Conrad Treasury Casinò

53 – McCann Helthcare

54 – Orkoss Restaurant

55 – La Benedicta Restaurant

56 – Wilkinson

57 – Seat

58 – Durex

59 – Wurst

60 – Avon

61 – Wellington Zoo

 


Electrolux – The Art of Performance

The Art of Performance Track is a true manifestation of the promise that Ergorapido is the most stylish and most effective handheld vacuum cleaner in the world. It allows Electrolux to talk to consumers and press about performance in an emotional and engaging way. The outcome became a mobile art installation/vacuum cleaner product test that will be on display on different venues around Europe.

The sculpture shows how Ergorapido manoeuvres around obstacles and even under tables with a twist of the handle, thanks to its double-jointed floor nozzle. Tobias used magnets to show how the handheld unit snaps out to clean furniture, tables or the interior of the car.

The latest performance test for AEG-Electrolux Ergorapido was conducted by Swedish artist and set designer Tobias Allanson. Experienced in working with the overlap of art and technology, he built a machine to take Ergorapido through a number of challenges.

With Electrolux  test labs as a benchmark, he put together a test track that any good instant cleaner should pass. “Pick up, easy handling and flexible steering are three important qualities we have developed to excellence”, says Christer Månsson, Product Manager for the Ergorapido at Electrolux. “With this exciting experiment we wanted to see how Ergorapido performs in a test situation outside laboratories.”

“Building a moving piece around a vacuum cleaner was an unusual assignment”, says artist and set designer Tobias Allanson, who has created works for among others Urbanears, WESC, Modart and Freitag. “The biggest challenge for the machine was to show the two in one function, since the movements are more complex and I really went through some struggles with strong magnets. But my favourite one is the one where a bunch of shoes draggle the floors and Ergorapido picks it up right away.”

The machine was filmed and is now touring Europe at different exhibitions.

“I have never been this close to a vacuum cleaner before and after the project decided to get the yellow one myself. It just seems weird to not have one around anymore.”

When artist Tobias Allanson was commissioned to illustrate Electrolux Ergorapido’s performance in real-life situations, he decided to create a kinetic sculpture using a real Ergorapido vacuum cleaner. His sculpture showcases Ergorapido’s effective dust pick-up, manoeuvrability, LED headlights and 2-in-1 function in four situations in the home environment. This is a behind the scenes film about building the Ergorapido test machine.

Advertising Agency: Great Works, Stockholm, Sweden
Creative Director: Frederic Sebton
Art Director: Karl Sundin, Jakob Nielsen
Year: 2011


Scholz & Friends Berlin for Jobsintown.de – The Wrong Job Campaign

Have you ever wondered what really goes on inside everyday machines? A clever recruitment agency in Germany has created a series of adverts depicting just what they think goes on when you use an airport scanner, ATM, washing machine, kiddie ride and petrol pump. In the airport scanner a man appears to be hunched over a suitcase shining a torch on a pair of pants. In another ad, a child rides a toy truck while a man pedals underneath. And in a laundrette, a woman appears to hide inside an industrial washing machine cleaning clothes by hand on an old-fashioned washboard. The ads are for German recruitment company jobsintown.de and were first shown in 2009. But they proved so popular they have now become a worldwide viral internet hit. The wording on the ads simply reads, ‘Life’s too short to be in the wrong job’.

The wrong working environment campaign (2005)


The Brief
The task was to increase the brand awareness and to communicate it as a serious challenger to the established competitors. Regarding the small media budget, we had to reduce losses due to non-selective advertising, by exactly targeting people who are willing to change their job or employer.

The Media Strategy
Only 13 % of employees in Germany are satisfied with their job (Source: Gallup Organization, 2005). So we decided to show bad working conditions by a surprising insight and provoke a “this is exactly how I feel” emotion. By pointing out Jobsintown.de as a perfect solution for such a condition we stayed in the mind of our target group. We even managed to reach potential customers when they are already dealing with the topic involved: on their way to work. That, combined with a new use of media – service machines – had a strong impact on the target group.

The Creativity
By providing a surprising insight to cash machines, photo booths and coffee dispensers, we created an interaction with the medium it was placed on. Showing really bad working conditions in a humorous and innovative way, we provoked the recipients’ identification with our motives (in case they are dissatisfied with their jobs). Thus we provided the recipients with the idea of changing their jobs and pointed out Jobsintown.de as the best solution to do so.
The full-sized billboards on the side of service machines were situated on highly frequented subway stations and their nearby environment. Thus we could reach our primary target group effectively: commuters on their way to work. This anchored Jobsintown.de as a relevant portal in the mind of the target group.

Results
In 2005 visits on the website Jobsintown.de increased by more than 25 % compared to 2004. The feedback from the target group was very positive. Moreover, jobsintown were able to increase their brand awareness among other companies, as they received a great amount of enquiries.

The wrong working environment campaign (2006)

The Brief
The task was to increase the brand awareness and to communicate Jobsintown.de as a serious challenger to the established competitors. Only 13 % of employees in Germany are satisfied with their job (Source: Gallup Organization, 2005). Regarding this fact we decided to dramatise bad working conditions with a surprising use of media: Full-sized billboards on the sides of service machines located in public spaces that are highly frequentated by working people.The Creative Execution
We placed billboards in public areas where people would least expect them: On the sides of petrol pumps, cigarette automats and washing machines. This interactive use of media provides a surprising insight into these machines. Instead of the expected machinery there are people working under hair-raising conditions. This provokes a ‘this is exactly how I feel’-reaction. So Jobsintown.de stayed in the mind of the target group: As a perfect solution to change ones personal job-situation.The media Strategy
The target audience is everyone who is dissatisfied with his actual job. The billboards where placed in three different environments, to reach the target group when it’s allready dealing with the topic involved. On their way to work (petrol pumps), or after work in bars and clubs (cigarette automats), as well as in laundromats (you’ve got a lot of time to think about your future while waiting for your laundry).Results
The campaign anchored jobsintown.de as a relevant portal in the mind of the target group. In 2006 visits on their website increased by more than 20 % in comparison to 2005. Moreover, jobsintown increased their brand awareness among other companies, as they received a great amount of enquiries.

The wrong working environment campaign (2007)

The Brief
The target was to increase the brand awareness of the employment agency Jobsintown.de and to communicate it as the best solution for a job-related improvement. Considering the fact, that only 13% of employees in Germany are satisfied with their job (Source: Gallup Organization, 2005), we decided to deal with the dissatisfaction of our target group. We surprised them with an unexpected placement and motives they could identify with.
The Creative Execution
We dramatized the situation of having the wrong job: We converted service machines into advertising media. Billboards on the side of jukeboxes, ice-cream machines and kiddie-rides provided surprising insights into these machines. Instead of the expected machinery there are people working under hair-raising conditions. This humorous way of advertising not only provided the target group with the idea of changing their jobs, but also pointed to Jobsintown.de as the best solution to do so.

The Media Strategy
We created an interaction with the medium it was placed on. Service-machines are doing mundane and unpopular work. So they are the best medium to provoke the recipient’s identification with our motives. It’s an analogy with their own dissatisfying job-situation. Thus we provided the recipients with the idea of changing their jobs when they are already dealing with the topic: After work in bars and clubs as well as in shopping malls.

Results
The campaign anchored Jobsintown.de as a relevant portal in the mind of the target group. Moreover, Jobsintown.de increased their brand awareness among other companies, as they received a great amount of enquiries.

The Screensaver Project (2007)

The Brief
The target was to increase the brand awareness of the employment agency Jobsintown.de and to communicate it as the best solution for a job-related improvement. Considering the fact, that only 13 % of employees in Germany are satisfied with their job (Source: Gallup Organization, 2005), we decided to deal with the dissatisfaction of our target group. We surprised them with an unexpected placement, they could identify with.
The Creative Execution
We dramatized the situation of having the wrong job: In your own computer. A downloadable screensaver first looks pretty normal, but it turns out to be hard work as well, when we get a look behind the scenes. Instead of the expected software, a real man is carrying the visual effect of the screensaver on a lantern across the room. The screensaver can be downloaded at Jobsintown.de.

The Media Strategy
The screensaver provided the recipients with the idea of changing their jobs when they are already dealing with the topic: Every day while working in an office staring bored on their computer monitor. The downloaded file could also be shared with friends and colleagues, to suggest in a humorous way, that it might be time to think about a job-related improvement.

Results
The innovative use of media anchored Jobsintown.de as a relevant portal in the mind of the target group. Moreover, Jobsintown.de increased their brand awareness among other companies, as they received a great amount of enquiries.

The wrong working environment campaign (2008)

Advertising Agency: Scholz & Friends Berlin
Creative Directors: Matthias Spaetgens
Copywriters: Daniel Boedeker, Axel Tischer
Art Directors: David Fischer
photographer Hans Starck
2 Silver Lions, 2 Bronze Lions and 3 Shortlist


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