BETC Euro RSCG for Sci Fi Channel – Adopt Sci Fi (Integrated Campaign)

In 2008 BETC Euro RSCG created this integrated campaign, which incorporated ambient, radio, press, film and on-line elements, to raise awareness of the Sci Fi Channel in France. The campaign was based around ten alien “children” toys that were placed in different locations acros eight French cities. Fans were then encouraged to search for them by following clues found on a website and in radio ads. Posters were also displayed around towns to advertise the website. The intention was to create an emotional link between the Brand and people who were not already fans of science fiction. Each alien found earned its rescuer a reward of 500 euros. When nine of the figures had been located it was revealed that the tenth had been placed in an orphanage, where it could be interacted with via a website and a page on Facebook.

The treasure hunt apect of the campaign appealed to fans of the Sci Fi Channel, while also attracting new viewers to the brand.


Advertising Agency: BETC Euro RSCG, Paris
Year: 2008


Why is it called “LION” if the ones who always win are “BEARS”?

Budget Car Rental – RANGER

The Budget marketing team considers promoting the Ford Ranger by letting a customer become a forest ranger. Cut to a man dressed as a Ranger in the woods. A bear vomits all over him … The marketing team rejects the idea
Advertising Agency: Cliff, Freeman and Partners, USA
Year: 2000
Gold Lion for the campaign

John West – BEAR

At a river, a man fights a bear for a salmon. Voiceover: John West endure the worst to bring you the best. Super: John West Red Salmon.

Advertising Agency: Leo Burnett, USA
Year: 2001
Gold Lion

Miller Lite Beer – BEAR

In this spot we witness a bear’s candid audition to become the next voice and face of Miller Lite. The audition is taken from that of a real actor.

Advertising Agency: Y&R Chicago
Year: 2006
Bronze Lion for the campaign

Duende Azul (Costume Shop) – BEAR

Advertising Agency: Ogilvy & Mother Santiago
Year: 2007
Gold Lion for the campaign

Alka Seltzer – BEAR

Advertising Agency: CLM BBDO, France
Year: 2009
Gold Lion for the campaign

BIC/Tipp-Ex – A HUNTER SHOOTS A BEAR

To celebrate the back to school period, Tipp-Ex®, BIC Europe Group’s brand, leader on the European market of correcting products, goes on Youtube with an interactive campaign as funny as surprising. In this viral video, french agency Buzzman puts face to face a bear and a hunter, offering the viewers to choose what ending they want to see by changing the title of the vidéo directly on Youtube thanks to the Tipp-ex corrector! More than 50 different hilarious endings can thus be discovered. The campaign is logically signed: Tipp-Ex®, white and rewrite.


Describe the brief from the client: to coincide with the back-to-school period, Tipp-ex, an European correction fluid company, wants to promote online its whiteout Pocket Mouse. The target is pupils, students and customers of Tipp-ex.
The strategy was to turn an ordinary product into a unique and ground-breaking interactive experience on YouTube. Our strategy was to create a specific relation between this target and the brand, and thus virally spread the Tippexperience.

Describe how the promotion developed from concept to implementation: an interactive YouTube rich media campaign. It starts with a video on YouTube featuring a hunter out in the woods and suddenly facing a bear. At the end of the video the viewer decides whether the hunter should shoot the bear or not. Whatever the choice is, the hunter grabs the Tipp-Ex Pocket Mouse from the banner next to the video, whites out the word « shoots » and invites viewers to choose the end of the story by writing their own verbs directly in the title of the video. For each action, there’s a video response.

Explain why the method of promotion was most relevant to the product or service: the interactive campaign drew viewers into a choose-your-own-story-style video journey. The effort broke down the boundaries of YouTube for the first time, utilising the whole screen to exemplify the use of its whiteout product. 42 alternative scenes were shot so anything you write gets a video response. The possibilities are infinite. With the signature « White and Rewrite », the video on YouTube and the interaction, the campaign is very appropriate to the brand and to the target.

Advertising Agency: Buzzman, France
Year: 2011
4 Silver Lion (Media, Promo and Direct)
Bronze Lion for Interactive Film

BUND/Environmental Awareness – BROWN BEAR

Advertising Agency: Scholz & Friends, Berlin
Year: 2011
Gold Lion for the campaign

BIC/Tipp-Ex – Hunter and Bear’s 2012 Birthday Party

It’s a sequel to the  2010 Shoot the Bear Youtube Campaign. Partying away at the Bear’s birthday bash in 2012, the Hunter and his furry friend are faced with an earth-destroying meteor in the sky above them. You can choose to end the party or keep it going by picking a year for the two to travel to, whiting out 2012 and entering the year of your choice. The campaign includes 46 different scenes, eight of which are interactive.

Advertising Agency: Buzzman, France
Year: 2012
Lion?

Canal + – The Bear


Advertising Agency: BETC EURO RSCG, Paris
Year: 2012
Lion?


Cannes Alternative Grand Prix (2001/2011)

Grand Prix 2001 – FOX Regional Sports (Turkey/China/Russia/India)

A Turkish sports reporter is at a cliff-diving tournament. A diver jumps off a steep cliff, goes into a ‘swan dive’ and lands on dirt. Turkish peasants clap politely. Super: Sports news from the only region you care about. Yours. Fox Sports Net.

A Chinese sports reporter is showing highlights of a ‘tree catching’ competition. We see two lumberjacks chop down a giant 200-ft tree for an athlete to catch. He is not successful. Super: Sports news from the only region you care about. Yours. Fox Sports Net.

A Russian sports reporter is covering a ‘slapping contest’ in a smokey, seedy bunker. Two large men take turns slapping each other in the face. Suddenly, an impressive slap causes the drunken crowd to erupt. Super: Sports news from the only region you care about. Yours. Fox Sports Net.

The host of a Mumbai sports show is interviewing the National Clubbing Champion. Two blindfolded men chase each other with clubs in front of a large crowd. They swing wildly at each other … but miss. Then one loses his bearings and starts pounding a gentleman in the crowd. Super: Sports news from the only region you care about. Yours. Fox Sports Net.

Advertising Agency: Cliff Freeman and Partners, USA
Creative Director: Eric Silver
Copywriter: Dan Morales
Art Director: Rossana Bardales
Production Company: Partizan NY
Director: Traktor

Alternative Grand Prix – John West (Bear)

At a river, a man fights a bear for a salmon. Voiceover: John West endure the worst to bring you the best. Super: John West Red Salmon.

Advertising Agency: Leo Burnett UK
Creative Director: Mark Tutssel
Copywriter: Paul Silburn
Art Director: Paul Silburn
Production Company: Spectre UK
Director: Daniel Kleinman

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Grand Prix 2002 – Nike (Tag)

A young man is tagged in an elaborate game, involving the entire city. He races off to tag someone else, and they elude him to the very end.

Advertising Agency: Wieden + Kennedy, USA
Creative Director: Dan Wieden, Hal Curtis, Jim Riswold
Art Director: Monica Taylor, Andy Fackrell
Director: Frank Budgen

Alternative Grand Prix – Levis (Odyssey)

A man and a woman hurtle through a string of solid walls. They crash out of the building, land on a tree, and run up it into the night sky.

Advertising Agency: BBH, UK
Creative Director: Stephen Butler
Art Director: Gavin Lester
Production Company: Academy, UK
Director: Jonathan Glazer

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Grand Prix 2003 – IKEA (Lamp)

An old lamp is thrown out to make way for a new one from Ikea.

Advertising Agency: Crispin Porter + Bogusky, USA
Creative Director: Alex Bogusky, Paul Keister
Art Director: Mark Taylor, Steve Mapp
Copywriter: Ari Merkin
Production Company: MJZ, Los Angeles
Director: Spike Jonze

Alternative Grand Prix – Honda (Cog)

Cog is a two-minute chain reaction using only parts from a Honda Accord. Each car part cleverly triggers off the next, showing the beauty and precision of the pieces, and the ingenuity of the engineers who built it, prompting the V/O to comment “Isn’t it nice when things just work?”.

Advertising Agency: Weiden + Kennedy, London
Creative Director: Tony Davidson, Kim Papworth
Art Director: Matt Gooden
Copywriter: Ben Walker
Production Company: Partizan, London
Director: Antoine Bardou-Jacquet

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Grand Prix 2004 – Playstation 2 (Mountain)

Hundreds of thousands of people are forming a human mountain higher than any of the other buildings in the city. At it’s zenith a variety of people enjoy a moment of exhilaration before others scramble over them and take their place.

Advertising Agency: TBWA/London
Creative Director: Trevor Beattie
Art Director: Tony McTear
Copywriter: Paula Marcantonio, Tony McTear
Production Company: Gorgeous Enterprises, UK
Director: Frank Budgen

Alternative Grand Prix – Lynx 24-7 (Getting Dressed)

A man and woman wake up in bed. They start getting dressed. We soon discover that their clothes are scattered right across the city. The last shoe sits by two opposite-facing shopping trolleys in a supermarket. The couple met there only hours ago. The man was wearing Lynx 24/7 bodyspray.

Advertising Agency: BBH, UK
Creative Director: Rosie Arnold
Art Director: Nick Gill
Copywriter: Nick Gill
Production Company: Small Family Business, UK
Director: Ringan Ledwidge

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Grand Prix 2005 – Honda (Grrr)

Can hate be a good thing? Honda ‘Grrr’ sets out to prove just that. A tranquil world is invaded by flying, dirty old Diesel engines. However, the population get angry and even, using their hate for the better, destroying every last one. Finally, they herald the brand new Honda Diesel.

Advertising Agency: Weiden + Kennedy, London
Creative Director: Tony Davidson, Kim Papworth, Chris O’reilly
Art Director: Sean Thompson, Michael Russoff, Richard Russell
Copywriter: Sean Thompson, Michael Russoff, Richard Russell
Production Company: Nexus Production, London
Director: Adam Foulkes, Alan Smith

Alternative Grand Prix – Adidas (Hello Tomorrow)

Adidas 1 is the first shoe with a computer. “Hello Tomorrow” demonstrates that with every step these magical shoes can create an entirely new world out of nothing. It is a story of rebirth and
taking your first steps – again.

Advertising Agency: TBWA/Chiat/Day, San Francisco
Creative Director: Lee Clow, Chuck McBride, Joe Kayser
Art Director: Joe Kayser
Copywriter: Chuck McBride
Production Company: MJZ, Los Angeles
Director: Spike Jonze

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Grand Prix 2006 – Guinness (Noitulove)

Three young men at a bar drink Guinness. Suddenly the action pauses and the film starts to play in reverse. The men walk backwards out of the bar. As they walk they seamlessly go back down the evolutionary chain through hundreds, thousands, millions of years. Super: GUINNESS. Good things come to those who wait.

Advertising Agency: Abbott, Mead, Vickers, BBDO, UK
Creative Director: Paul Brazier
Art Director: Matt Doman
Copywriter: Ian Heartfield
Production Company: Kleinman Productions, London
Director: Danny Kleinman

Alternative Grand Prix – Sony (Balls)

Dropping 250,000 brightly coloured bouncy balls down the streets of San Francisco for real = colour like no other.

Advertising Agency: Fallon London
Creative Director: Richard Flintman
Art Director: Juan Cabral
Copywriter: Juan Cabral
Production Company: MJZ, London
Director: Nicolai Fuglsig

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Grand Prix 2007 – Dove (Evolution)

We created a film that exposed the manipulation of the female image in the media. The objective was to encourage discussion around the subject of real beauty and lead people to the campaignforrealbeauty website.”

Advertising Agency: Ogilvy & Mother Toronto
Creative Director: Janet Kestin, Nancy Vonk
Art Director: Tim Piper, Mike Kirkland
Copywriter: Tim Piper
Production Company: Reginald Pike, Toronto
Director: Yael Staav, Tim Piper

Alternative Grand Prix – Epuron (Power of Wind)

Wind has a strong nature. Better keep him busy…

Advertising Agency: Nordpol + Hamburg, Germany
Creative Director: Lars Ruehmann
Art Director: Bjoern Ruehmann, Joakim Reveman
Copywriter: Matthew Branning
Production Company: Paranoid Projects, USA
Director: The Vikings

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Grand Prix 2008 – Cadbury (Gorilla)/Microsoft (Halo 3 Campaign)

We hear ‘In the air tonight’ by Phil Collins as we realize we’re in front of a calm looking gorilla. ‘I’ve been waiting for this moment for all of my life…’ The ape stretches its neck like a heavyweight boxer would do before a fight. He’s sitting in front of a massive drum kit as the best drum fill of the history of rock is coming. The Gorilla knows this. He smashes the drums phenomenally – feeling every beat. The camera leaves the ape and his drum. United, the way they are meant to be.

Advertising Agency: Fallon London
Creative Director: Richard Flinthan, Juan Cabral
Art Director: Juan Cabral
Copywriter: Juan Cabral
Production Company: Blink, London
Director: Juan Cabral

On-line, the Halo 3 website served as a virtual museum, providing an interactive fly through of the entire John 117 monument and putting visitors right in the middle of the fight. They could also learn more about our enemies and hear first hand stories from the men who were there. For that we filmed interviews with surviving veterans of the battle who served with Master Chief. They talked about their experiences and spoke with reverence and awe about what it was like to serve with mankind’s greatest hero.

Advertising Agency: T.A.G. San Francisco/McCann Worldgroup
Creative Director: Geoff Edwars, Scott Duchon
Art Director: Ben Wolan
Copywriter: Rich Herrera
Production Company: Go Film, Hollywood/RSA Films Los Angeles
Director: Simon McQuoid, Rupert Sanders, Neil Blomkamp

Alternative Grand Prix – Nike (Next Level)

“Next Level” is new take on Football from Nike. Made to inspire football obsessed teens, the film is a first-person journey up the football ranks–from being discovered by Arsenal in a youth match to a life-defining moment playing for our national side. Along the way we experience success (finishing a cross from Cesc Fabregas) as well as frustration (getting burned by Ronaldinho). The film celebrates playing the game with purpose and passion. It shows what it takes to become a modern, brilliant fofotballer – to take your game to the next level.

Advertising Agency: 72 And Sunny, USA
Creative Director: Glen Cole, John Boiler, Bryan Rowles, Jason Norcross
Production Company: Anonymous Content, USA
Director: Guy Ritchie

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Grand Prix 2009 – Philips (Carousel)

Philips set out to own the idea of a cinematic viewing experience at home. From the start the strategy was to create a film that movie lovers would want to see.

The film is hosted within a site that, through interaction, educates the audience about the three main features of Philips televisions – Ambilight, Cinema 21:9 and Picture Quality – and ties these features to the act of film making. So, what would movie lovers want to see? We decided on a seamless tracking shot, one long take that a film loving audience could marvel at and be fascinated by. Within the ‘housing’ of a tracking shot we inserted behind the scenes glimpses where the experts could talk about their craft and the decisions they made whilst filming the shot. The DOP on lighting, the Director on the 21:9 format and VFX supervisor shows why picture quality is so important. To allow for more interaction, we decided that a frozen time film, shot using a state of the art motion control rig, would give the audience control upon interaction allowing them to literally move the camera back and forth frame by frame. This is done intuitively through a ‘grabbing hand’ cursor when the screen is moused over.

What makes this interaction really special is the interactive cinematic score. The score, composed by Michael Fakesch, was composed as a linear piece, but was then handed over to a flash music developer to carve up and distort as the user moved back and forth through time, frame by frame – all designed to pull the audience in and hold them there longer whilst they try to unravel the mystery of how the film was made.

The second main element of interaction is the way the audience is able to trigger the three behind-the-scenes educational scenes from the film’s timeline. When the user clicks on the timeline, they reveal films within the film. The timeline unfolds and expands, the post production disappears, each expert walks in and the rigging reappears revealing that all along the actors were simply holding their position whilst a state of the art motion rig captured them in frozen time. All this was designed to be as seamless as possible with maximum visual reward ensuring the audience clicked all three of the hotspots.

In addition to the interaction within the film, the ratio of the film itself could be changed at anytime through first person interaction. This simple, but effective comparison tool really did get across the spectacle of the new Philips 21:9 TV. The other elegantly simple piece of interaction is Ambilight on and off, in the words of the DOP – “you really miss it when it’s not there.”  A final point worth noting is the dynamic title sequence. Instead of a traditional loader, we crafted a title sequence correspond to the speed of the users internet connection. The slower the connection, the longer the sequence.

Advertising Agency: Tribal DDB Amsterdam
Creative Director: Michael Fakesch, Chris Baylis, Andrew Ferguson
Art Director: Mariota Essery, Maximilliano Chanan
Copywriter: Carla Madden
Production Company: Stink Digital, London
Director: Adam Berg

Alternative Grand Prix – T-Mobile (Dance)

On 15th January at 11am, a single commuter started dancing in the middle of a train station. The dance grew as more dancers joined in, until there were over 300 people perfectly choreographed. The excitement caused hundred’s of genuine unsuspecting members of the public to join in and share the moment.

Advertising Agency: Saatchi & Saatchi, London
Creative Director: Paul Silburn, Kate Stanners
Art Director: Rick Dodds
Copywriter: Stephen Howell
Production Company: Partizan, London
Director: Michael Gracey

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Grand Prix 2010 – Old Spice (The Men Your Man Could Smell Like)

This TV commercial was created to appeal to men as well as women, showing them both how great a man can smell when they use Old Spice Body Wash.

Advertising Agency: Wieden + Kennedy, Portland
Creative Director: Mark Fitzloff, Susan Hoffman
Art Director: Craig Allen, Eric Kallman
Copywriter: Craig Allen, Eric Kallmacanal
Production Company: MJZ, Los Angeles
Director: Tom Kuntz

Alternative Grand Prix – Canal + (Closet)

Canal+ launched its new ‘Original Creativity’ campaign in September 2009. The objective highlight to Canal+’s showcase of original programming, consisting of series, documentaries and fictions, created exclusively by and for Canal+, scripted by prestigious writers such as Olivier Marchal and Jean- Hugues Anglade. To launch this new campaign, we produced THE CLOSET. The film unites quality, humour, originality and a touch of impertinence inherent to the brand’s communications: ‘Never underestimate the power of a great story”

Advertising Agency: BETC EURO RSCG, Paris
Creative Director: Stephane Xiberras
Art Director: Eric Astorgue
Copywriter: Jean Christophe Royer
Production Soixan7e Quin5e, Paris
Director: Matthijs van Heijningen

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Grand Prix 2011 – Nike (Write the Future)

Every four years, the keys to football heaven are dangled in front of the international elite. One goal, one pass, one game saving tackle can be the difference between fame and forgotten. What happens on the pitch in that split second has a ripple effect that goes beyond the match and the tournament.
‘Write the Future’ was a messaging platform that allowed Nike to show how football creates this ripple effect. It allowed us to give a glimpse into the future to see what the players were really playing for, in their own lives and the lives of those that follow them. Our goal was to weave the brand into the conversations around this major tournament in a way that celebrated the participating teams and athletes and engaged football fans around the world.

Advertising Agency: Wieden + Kennedy, Amsterdam
Creative Director: Jeff Kling, Mark Bernath, Eric Quennoy
Art Director: Stuart Harkness, Freddie Powell
Copywriter: Stuart Harkness, Freddie Powell
Production Company: Independent Films, London
Director: Alejandro Gonzales Inarritu

Alternative Grand Prix – Volkswagen (The Force)/Crysler (Born of Fire)

For the all-new 2012 Passat , Volkswagen brings Star Wars™ to one of TV’s most talked about events. Accompanied by John Williams’ iconic “The Imperial March,” the spot features the most infamous villain in the galaxy, a pint-sized Darth Vader who uses the Force when he discovers the all-new 2012 Passat in the driveway. The two iconic brands leverage humor and the unforgettable Star Wars score to create an emotional spot and make Super Bowl ad history.

Advertising Agency: Deutsch, Los Angeles
Creative Director: Eric Springer, Michael Kadin
Art Director: Ryan Mclaughlin, Craig Melchiano
Copywriter: David Povill
Production Park Pictures, Santa Monica
Director: Lance Acord

Of the big three American car companies, Chrysler was in the most danger of failing. Had there not been a last-minute vote of confidence from the U.S. Government, they would not exist. This was public knowledge, debated throughout the country—should we have loaned Chrysler the money?  When it came time to introduce a new product, we had a car to sell and also had to win back America’s confidence. To do this, we took the unlikely position of embracing Chrysler’s Detroit heritage when every other American car company was distancing themselves from the city.  We created a 2-minute homage to Detroit, a city primed for a comeback, and ran the spot only once, on Super Bowl Sunday.

Advertising Agency: Weiden + Kennedy Portland
Creative Director: Mark Fitzloff, Susan Hoffman, Aaron Allen
Art Director: Jim Lasser
Copywriter: Mark Fitzloff, Joe Staples, Kevin Jones, Greg Rutter, Dan Kroeger
Production: Serial Pictures, Culver City
Director: Samuel Bayer


Evian – Baby Dance Campaign

With this new campaign, Evian is reasserting its vision of youth as a positive, universal value that everyone shares. The Live young spirit shines through in the new commercial, and features portraits of people wearing Evian’s popular ‘baby inside’ t-shirts edited together into a flipbook-style commercial that brings the babies to life with their best moves yet. To further bring the campaign to life, an interactive, user-generated version of the commercial will be released on the web. This fun, innovative application, accessible now online and soon through an iPhone application (available week of 4/25), will invite users into the Live young universe, where with just a few clicks they can become actors in the video and grab their own four frames of fame.

“The relationship consumers have with brands has changed. People want to communicate, interact and co-create with them. We saw this with the roller babies commercial that generated more than 300 spontaneous remixes online,” said Jérôme Goure, vice president of marketing for Danone Waters of America, the exclusive importer and marketer of Evian in North America. “That’s why Evian is releasing more than just an advertising campaign. This time, we are promoting the Live young spirit with an immersive brand experience that allows consumers to become a part of the new campaign and show that youth is not just a question of age, but more importantly, a state of mind.”

The Commercial
Developed by BETC Euro RSCG and produced by Legs from the famous MILK Studios in New York, the commercial uses stop-motion technology and is based on the simple principle of childhood flipbooks. Men and women, wearing a t-shirt printed with babies in different poses, appear one by one to the beat of the music, creating the illusion that the babies are dancing. The people in the video were found through a street casting in NYC where the directors asked charismatic people of different ages and styles to participate. The music, which expresses the energy and freshness of youth, plays an essential role in this commercial designed to look like a music video. A version of “Wordy Rappinghood” by Tom Tom Club was selected, remixed by DJ Mehdi with Uffie for the online version. In tribute to the “Roller Babies” film, the TV version will be broadcast with a new remix of “Rapper’s Delight”.

The Online User Experience
Fans will have the chance to grab their own four frames of fame in the interactive, online version of the commercial. All that’s needed is a plain white t-shirt and a visit to www.LetsBabyDance.evian.com or the evian® Let’s Baby Dance iPhone App. After participating, users can search by country, name or city to see which friends have joined the evian® Live young® BabyDance movement. And maybe, we all together can create the world’s longest music video…

By popular demand among Internet users after the print campaign was released, and after an exclusive release at the legendary Paris concept store Colette in 2010, the baby inside T-shirt will be for sale worldwide. The 3 different models, Nicolas, Ornella and Fred, are available at shop.evian.com 


The print advertising campaign
The campaign designed to flow on naturally from the world famous “Rollerbabies campaign”. Eight portraits by fashion photographer Nathaniel Goldberg show adults wearing t-shirts with the screen printed image of a baby’s body, giving the impression of what they looked like as babies. Each carries a bottle of Evian. The “Live Young” strapline, strengthens the message of the Rollerbabies film by symbolising the effect of evian on the bodies of adults of all ages.

Interactive Bus Shelter Project
From July 19 to August 16 and working with JCDecaux, evian outfitted five bus shelter units in downtown Chicago with its iconic Baby Inside creative, but with an unexpected twist. Instead of a static image, each unit featured a fully integrated screen that, when pressed, allowed the baby body featured in the creative to start dancing, complete with music bringing to life evian’s “Live young” concept. A QR code on the shelter gave consumers an opportunity to further engage with the campaign through the evian mobile website, where they could watch the full Baby Inside video and download the “LetsBabyDance” IPhone application. Once downloaded, the application allows consumers to join in and be part of a user-generated version of the video.

The screens are the biggest ever undertaken by JCDecaux. The video had sound and ran for 30 seconds total, but consumers could start and stop the animation at any time. Over 20,000 total screen activations or nearly 5,000 per location throughout the campaign. The busiest bus shelter had nearly six hours of daily playing time. There was an average of 178 daily hits per site. Throughout the entire campaign, there were nearly 500 hits from QR codes across all locations in Chicago. The interactive bus shelters were part of a larger out of home advertising campaign that also included 40 standard bus shelter panels in select Chicago neighborhoods.
“Evian has always been ahead of trends and unexpected in the way we engage with consumers. Typically, at a bus shelter, you expect to sit and perhaps read the paper or check your cell phone while passing the time,”
said Jerome Goure, VP Marketing of Danone Waters of America, Inc. “The idea here was to shake it up a bit and bring something new and exciting to people’s every day commute. After all, evian wants to help people live in the moment and to ‘Live young,’ no matter what the setting.”

Advertising Agency:BETC Euro RSCG, Paris
Creative Director: Rémi Babinet,
Art Director: Agnès Cavard
Copywriter: Valérie Chidlovsky
Year: 2010/2011
Silver Lion for the campaign
Shortlist (viral video)

Related Post:

The Evian Rollerbabies Campaign

Evian – Waterboy


BETC Euro RSCG for Canal+ | Never underestimate the power of a great creativity

VISIGOTHS/BLACK BANDS
A spectacular battle scene between two tribes, featuring thousands of warriors. We are on a film set. The take has to be re-shot, which will help us understand why actors are so good at playing dead.
This is a humorous spot revealing that the black bands you often see within the television viewing box are actually created, they are not the filming format which has not been adapted to the televisio
Creative Director: Stephane Xiberras
Copywriter: Marc Rosier
Art Director: Jean Marc Tramoni
Production: Premiere Heure/Harvest, Santa Monica
Director: Baker Smith
Year: 2003
Shortlist

MARCH OF EMPEROR
March of the penguins but with actual emperor’s not emperor penguins.
Creative Director: Stephane Xiberras
Copywriter: Pierre Riess/Luc Rouzier
Art Director: Romain Guillon/Eric Astorgue
Production: @radical.media, New York
Director: Glue Society
Year: 2006
Gold Lion

BROKEBACK MOUNTAIN
A woman tells her friend about a really good film that she had seen on CANAL+ ‘Brokeback Mountain.’ From this description, her friend interprets a totally different, totally absurd, scenario.
Creative Director: Stephane Xiberras
Production Partizan, Paris
Director: Les Elvis
Year: 2007
Shortlist

HOLD UP

Creative Director: Stephane Xiberras
Copywriter: Nathalie Dupont
Art Director: Francis de Ligt
Production Company: Sonny PH
Director: Fredrik Bond
Year: 2008
Shortlist

VERSAILLES/MAFIA
We are taken back in time to a period film set in the Chateau de Versailles where the characters are all bizarrely huffing and puffing through their lines. Final scene cuts to a woman jogging, recounting the plot to another woman, and huffing and puffing as she recounts it. The signature reveals “CANAL+ Movies are made to be seen”
We see a stereotypical scene from a mafia movie where all the characters have a strange tick. Final scene cuts to a boy recounting the plot to his friend, constantly flicking his hair as he does so. The signature reveals “CANAL+ Movies are made to be seen”
Creative Director: Stephane Xiberras
Copywriter: Nathalie Dupont
Art Director: Francis De Ligt
Production Company: Irene, Paris
Director: Xavier Gianolli
Year: 2009
Shortlist

CLOSET
Canal+ launched its new ‘Original Creativity’ campaign in September 2009. The objective highlight to Canal+’s showcase of original programming, consisting of series, documentaries and fictions, created exclusively by and for Canal+, scripted by prestigious writers such as Olivier Marchal and Jean- Hugues Anglade. To launch this new campaign, we produced THE CLOSET. The film unites quality, humour, originality and a touch of impertinence inherent to the brand’s communications: ‘Never underestimate the power of a great story’.
Creative Director: Stephane Xiberras
Copywriter: Jean-Cristophe Royer
Art Director: Eric Astorgue
Production Company: Soixan7e Quin5e, Paris
Director: Matthijs van Heijningen
Year: 2010
Gold Lion and 2 Bronze Lions

THE INCLINATION (IPHONE)
The agency created a campaign that fits in with the advertising success story of Canal+: diving into the world of TV programmes with the now classic disrupting phenomenon, played out here through the characteristic functionalities of the iPhone. In the TV ad, it is the iPhoneʼs trademark tipping to the side into landscape format that completely disrupts the romantic scene of a great Hollywood film. A couple are about to kiss, when suddenly the entire set falls over to one side.
Creative Director: Stephane Xiberras
Copywriter: Benjamin Sanial
Art Director: Raphael Halin
Production Company: Moonwalk Film, Paris
Director: The Glue Society
Year: 2011
Shortlist

CARLOS

The trailer begins with a car bomb exploding. As the clip goes backwards we discover that the scene takes place in the middle of a tranquil Paris. Ending with a characteristic “Tick Tock” sound the trailer is designed to intrigue the viewer to watch the series and find out more about the character behind the bomb – Carlos – the terrorist who threatened the world. We wanted to pitch the right tone, a suitably sober approach across all media, to avoid controversy and to avoid falling into the trap of eulogising a character that is, after all, a murderer.
Creative Director: Stephane Xiberras
Copywriter: Charles Lefort
Art Director: Viken Guzel
Production Company: Wanda, Paris
Director: Wilfrid Brimo
Year: 2011
Bronze Lion

FLOWCHART CAMPAIGN: ACTION/ANIMATED/HORROR/PORN/SHORT FILM
Learn how to deal with tight budgets, hung over cameramen, actors not showing up and grumpy directors. TV Channel, Canal+ supports those who make movies simply because making a movie isn’t easy.





Executive Creative Director: Stéphane Xiberras
Creative Director: Olivier Apers
Art Directors / Copywriters: Gregory Ferembach, David Troquier
Illustrator: Les Graphiquants
Year: 2011
Silver Lion for the Campaign

THE BEAR


Canal+  has always been committed to cinema. It is more than a mere broad- caster. It has always sought to go the extra mile for its subscribers and portray the film industry as no one else has done: emphasising the diversity of the genres, deciphering current and future trends, empowering actors and directors, and in general, transmitting the passion of all those who work in the film industry to its subscribers.
Thanks to its varied and cutting-edge program- ming – from blockbus- ters to art films. Thanks to the unique, quality insight that it provides into what goes on in front and behind the camera. Thanks to the unique ties that it maintains with the film industry (Studio CANAL, partnerships, financing, Cannes Festival, the César awards, etc.).
Canal+ and BETC have now come up with a film, The Bear, to remind audiences of the channel’s continuing commitment: to transmit the passion of film- making to its subscribers.
The more you watch Canal+, the more you love cinema.
To make this film, BETC chose to work with Matthjis van Heijningen, who also directed The Closet, which was the most awarded film in 2010 (The Gunn Report).
The tone remains unique, enhanced by the use of 3D to make the bear as expressive as possible. The same creative team, which worked on The Closet, Éric Astorgue and Jean-Christophe Royer, under the supe vision of President and Chief Creative Officer of BETC, Stéphane Xiberras, once again contribute to the distinguishing tone that is so familiar about the ma- jor advertising campaigns of Canal+.

Global Creative Director: Stéphane Xiberras
Art Director: Eric Astorgue, Julien Schmitt
Copywriter: Jean-Christophe Royer
Production Company: Soixante Quinze
Director: Matthijs Van Heijningen
Year: 2011


Evian – WaterBoy

Waterboy, a little character made of water, goes through various situations symbolising the element of water. On his adventures, he meets a gorgeous girlfriend who is also made of water. Together, they start a family.

SUMMARY
In order to sustain Evian’s premium price in a commoditized market, Evian’s “We will rock you” campaign adopted a whole new advertising approach: no longer consider Evian to be just a water brand, following the rules of the category, but change the brand’s status and transform it into a badge of youthfulness. To achieve this goal, the campaign went beyond advertising, conceiving a global “advertainment” in which adults singing a mythical song with children’s voices were the basis for a global entertainment program. Despite a modest advertising budget the campaign succeeded in reaching all of the goals set and achieving considerable market share gain.

CAMPAIGN OBJECTIVES
Add value to the brand by claiming a specific and motivating benefit which justifies Evian’s premium price and thus helps stabilise Evian’s market share.

CREATIVE STRATEGY
The strategy was to transform Evian into a “Badge of Youthfulness”. Youth is one of the strongest consumer aspirations, an aspiration that drives added value in most markets. An international TV commercial was launched, “Voices” : the revival of “We will rock you” by Queen, sung by adults with children’s voices expressing the inner youth inside us all and connecting Evian with a young spirit and powerful energy. This served to show that drinking Evian every day helps people feel young in body and mind.

RESULTS
– The campaign successfully changed the brand perception and increased the brand value. In France, Belgium and the UK substantial progress was achieved on all youthfulness indicators, as well as on price perception.
– Beyond the objective of stabilising market share, significant market share was gained in all markets, the UK for instance seeing a 3.5% volume share increase over the year.
– The ad itself was welcomed positively by the audience, achieving likeability scores 11% above the norm.
– Substantial free media coverage was gnerated with the launch of the “We will rock you” single and through radio broadcasting of the song.
– The campaign became a “social phenomenon”, especially in France.

Agency: BETC Euro RSCG
Creative Director Rémi Babinet/Fabrice Brovelli
Art Director: Sophie Deiss/Jean-Christophe Saurel
Copywriter: Sophie Deiss/Jean-Christophe Saurel
Director: Soandsau
Production Company: Quad Prodoctions, Paris


The Evian Rollerbabies Campaign

Insights, Strategy & the Idea
Context: the Natural Mineral Water Market is under pressure in Europe because of sustainability, and economical issues.
With the cheapest water option, tap water, on the rise.
Marketing objectives: To justify evian’s premium status. Evian is 3 times more expensive than other brands of spring water in France. The gap can be even broader in the rest of Europe, e.g. in the UK, Germany and Belgium.
Communication objectives : Turn evian into a truly global brand, with a consistent territory worldwide. Strengthen evian’s equity, therefore fueling its emotional appeal, to reconnect with its consumers. Create a global event on the brand, at low-investment levels, to get the brand back to the forefront.
Idea: Use youth –more specifically babies, a traditional concept for evian – to valorise the values of evian – one of man’s greatest aspirations, and an attitude, a mindset that creates engagement from consumers, cross-generation and cross-geographies.
Creative Execution
Spectacular & entertaining babies at the heart of the execution : The evian campaign stages a group of babies roller skating and dancing a hip-hop freestyle. A unique idea, implemented across an extensive media mix, to appeal to a maximum number of people, to encourage them to appropriate and propagate the campaign themselves.
Maximising complementarities between media for maximum results
• Digital – A full entertainment programme was created online, with 2 pre-launch viral movies, a Premiere, a Making Of, and interviews with the babies on YouTube, blogs and the new evian LiveYoung website.
• PR – to activate the world’s media and stimulate general interest around the campaign and the brand.
• Events – Berlin Fashion Week, US Masters etc – to engage consumers locally.
• TV & Cinema – to leverage the entertainment dimension
• Print – To complete the message of the campaign, 7 months after the launch of the first film.
• The Live Young Training Website – to continue engaging consumers with the brand.
Results and Effectiveness
Massive, positive PR noise, buzz, virality around the brand:
• Over €5m in free airtime, 102m views for the campaign– with Rollerbabies becoming the most-viewed ad on the web ever (Guinness World Records).
• Time Magazine advert of the year, #1 for the Wall Street Journal, Guardian Top 5.
• Internet users watch the ad 3 times on average. Ad viewers are 3 times more likely to go to the evian website than average.
• One of the top 20% most-effective ads ever – source GfK France, Belgium, Germany
With impressive sales results so far:
• France: +7% in sales
• UK: +13% in market share
• Canada: +7% in market share

Advertising Agency: BETC Euro RSCG
Executive Creative director: Rèmi Babinet
Art Director: Agnès Cavard
Copywriter: Valèrie Chidlovsky
Production Company: Partizan
Director: Michael Gracey


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