Usually, when someone sneaks up to a rich guy’s house and drives off with a Porsche, it’s a reason to call the police. This time, it might be a reason to call an auto dealership. In a clever spin on direct mail for Toronto’s Pfaff Automotive, Canadian agency Lowe Roche photographed one of the dealership’s Porsches in the driveways of affluent homes, then used each image to create an ad left at the home where it was shot. The headline: “It’s closer than you think.” The result, according to the agency’s case study video below, was a 32 percent response rate to a site where recipients could schedule a test drive. Direct mail is typically about hitting as many people as possible for as low a cost as possible, but this creative idea shows that for luxury brands, a smaller effort can sometimes go a long way.
Advertising Agency: Lowe Roche, Toronto, Canada
Creative Directors: Dave Douglass, Pete Breton
Art Director: JP Gravina
Copywriter: Simon Craig
Video Production: Motion Pantry
Director / Cameraman / Editor: Dean Vargas
Dodge Charger – Man’s Last Sand
A collection of men refuse to comply with a collection of modern activities. They rebel in their dodge charger. Dodge, an American motoring icon, is currently focused on clarifying and re-energizing its presence in the marketplace. The opening salvo in this effort is this new commercial set to appear during the 2010 Super Bowl, where Dodge will reach its core male target as well as the broader American culture. Based on the simple truth that while men will sacrifice a lot in their daily life to maintain a harmonious relationship with their girlfriend, their wife, their boss, their career—this spot shows there’s ultimately a limit to their chivalry. Especially when there’s a Dodge involved. In this commercial, Dodge re-affirms its relationship to the sort of men that love to drive real American driving cars, and at the same time tells America at large, through the Super Bowl stage, that Dodge is back with renewed energy and focus.
Dodge Grand Caravan – Kittens/Turncoat
Dodge’s advertising, just like its cars, is made “in the defense of driving”—a force against the commoditized “beige boxes” that have become so commonplace across America. In contrast, Dodge celebrates the true spirit of American driving with pride and energy. Starting with the key features of Wi-Fi hotspot, voice-activated navigation and Flo TV, we developed the “Turncoat” and “Alright, Kittens” ads to show the extreme end of how the Grand Caravan could be used and driven. They dramatically bring to life what makes the Grand Caravan a unique vehicle: It has everything, so you can do anything.
Dodge Challenger – Freedom
“Freedom” is a retelling of an important battle in the American Revolutionary War told as grandiose and beautiful as all American folktales. It first ran during the US vs England World Cup game that aired on June 12, 2010.
Though it isn’t a literal retelling of history, it’s a new American folktale about how American freedom was created. Dodge is making a statement about how cars are a very American thing, and how cars like the Challenger can reinvigorate this country’s passion for driving.
Dodge Tent Event – Invisible Monkey Campaign
After getting into some hot water for the original Dodge Tent Event commercial, W+K got creative to appease all parties involved.
Our challenge from Dodge was to create a breakthrough campaign promoting a free, 60-day test-drive. Our solution was not just any tent sale but the Dodge Tent Event, complete with balloons, confetti, a giant red-and-white tent and the kicker, a chimpanzee dressed as a stuntman.
The commercial garnered a lot of views and comments on YouTube, then PETA saw it. PETA demanded that Dodge remove the chimp immediately. Within hours we had literally taken the chimp out of the ad and rerecorded the VO. The “PETA-friendly” spot was back on TV within days.
People were wondering whether the solution was a “middle finger” to PETA. In order to steer the conversation, we asked Next Media Animation World News (NMA), the Internet-famous Taiwanese news-animation company, to help us tell the real story in an organic way that could be seen by an already-captive web audience. So they did, in a day. Actually in five hours. It worked. The story (of the Invisible Monkey) got out. The media was swayed. The collaboration between W+K and NMA was kept under wraps. PETA was happy again with Dodge.
Dodge Charger – Period Piece
Dodge set out to prove that car chases make movies better. To do this, they’ve taken a stuffy Merchant & Ivory-type period love story full of costumes and haughty British accents, and turned it into something we all would stand up and cheer for.
More cars and more driving make for a better movie. In a spot titled “Fast Five—Period Piece,” Dodge and director Steve Rogers take a turgid period film and give it some much-needed horsepower. This spot pays homage to Dodge’s partnership with Universal Pictures for the fifth installment of the Fast&Furious franchise,Fast Five, a film that has a lot of high-stakes chases and a lot of cars, including the 2011 Dodge Charger.
Dodge Charger – The Future of Driving
In today’s day and age, we are surrounded by technology – right from the air-conditioners, television and refrigerators in our homes to the laptops, PDAs and smartphones at work. The dependency on technology is so much in our lives that it no longer aids us but controls us and sometimes takes out the fun in doing things manually. This is exactly what Dodge Charger portrays in The Future of Driving 2011 Commercial. According to the 2011 Dodge Charger The Future of Driving Commercial, robots can take our food, our clothes and our homes, but they will never take our cars.
Dodge Journey – Search Engine for the Real World
The 2012 Dodge Journey was built to be a search engine for the real world – a perfect vehicle for adventurous people who actually explore the world instead of just reading about it online. To get people to explore the world wide world, Dodge hid three 2012 Dodge Journeys across America. You find it, you keep it..
|Describe the brief from the client|
|The Dodge Journey was built to help people to explore the worldwide world. But we wanted to do more than just tell them this, we wanted to get them off the couch and actually out there.|
|We brought together all the chatter surrounding the campaign onto our YouTube page, combining the conversations from Twitter, Facebook and YouTube into one place.|
|Describe the creative solution to the brief/objective.|
|We started with a series of TV commercials. But unlike other car ads, the final heroic shot of the car was a challenge: the Journey they’ve just seen is still waiting at that same beautiful location. If the viewer went there, they could have it. The commercials themselves contained clues and a 24/7 live camera feed showed people exactly where it was – encouraging them to start looking.|
|Describe the results in as much detail as possible.|
|Even though only a few people got to drive home in a new Journey, everyone involved got to experience an exciting real-world adventure that inspired them to get out there.|
Dodge Grand Caravan – The Right Tool for the Job
The majority of Americans are driving the wrong car. One that doesn’t fit their lives, or their needs. So they end up having to do things like mount a cargo bin to the roof just to take a weekend trip with the family. Or rent a U-Haul to run to IKEA. In this campaign, we hold a mirror up to all those people who are trying to get by with cars that don’t fit their lives and highlight the Dodge Grand Caravan.
Dodge Dart – How To Change Cars Forever
What do you need to create a groundbreaking compact car? Smart people, great ideas—and a healthy sense of humor.
That’s according to this entertaining 90-second spot from Wieden + Kennedy in Portland, Ore., for the 2013 Dodge Dart, offering a easy step-by-step instruction guide for designing and engineering a worthwhile entry in the competitive compact-car segment. Basically, you need lots of coffee, not a lot of other commitments, not a lot of committees or finance guys, and a whole lot of refining and refining and refining. The playful rapid-fire presentation is vintage W+K, which has built reserves of wry humor into the Dodge brand for several years now. In a nice touch, the Dart spot—directed by Christopher Riggert of Biscuit Filmworks—also features a celebrity endorsement by Tom Brady, in the form of Brady questioning whether he’s even right for the role. The spot’s energy is derived largely from a solid choice of soundtrack: the Jay-Z and Kanye West track “No Church in the Wild,” from their Watch the Throne album. The spot, titled “How to Change Cars Forever,” also introduces the tagline “New rules,” to emphasize that Dodge is redefining what a compact car can be. “Adding a dose of fun, creative license and Dodge brand humor, ‘How to Change Cars Forever’ captures the meticulous process of starting with a simple idea and developing it into a revolutionary new car, including the angst and pressure of a blank page, trials and errors of the early stages, and molding, shaping and testing the Dodge Dart until it was right,” says Olivier Francois, marketing chief at Chrysler Group. “We wanted to provide a peek inside what it takes to bring a new car to fruition.”
W+K continues to make such glimpses worth your while.
Peugeot Panama has launched a Pinterest-based competition that asks people to complete puzzles by repinning images of its cars.
Last week the brand created several boards depicting different models with pieces missing.People can search for and find these pieces, pin them on their own boards and share it with Peugeot. The first five people to complete their boards win prizes.
Though a visit to the brand’s Pinterest page leaves you somewhat confused at first, since several boards have been used as placeholders – separating the cars into different price brackets. One such board is titled ‘Starting at 35,000us’ and is toally blank, with no content pinned. It’s an interesting way to use the space, but isn’t immediately obvious.
People are asked to click any board to find out where to look, which is explained as follows:
This is a 5 piece puzzle of a Peugeot 3008, as you can see there are 4 pieces missing. Look for them in our website (peugeot.com.pa) or in our Facebook fan page (www.facebook.com/profile.php?id=1797346790), pin them in your own board and share it with us. The first 5 people to complete their boards win!”
Using boards as placeholders is certainly one of the most creative uses of Pinterest we’ve seen so far, but sadly it’s overshadowed by the fact that the puzzle itself isn’t very clear. It’s difficult to work out how you’re supposed to get involved, and even the brand itself has had to step in to inform a participant that the goalposts had been changed:
Hi Julia!, thank you for participating in the Peugeot Puzzle Contest, sadly as you may know, Pinterest changed our layout so we were forced to adapt the contest again. Please feel free to leave your board and start pinning again. Best Luck!”
That said, Peugeot Panama uses a conversational tone in its outreach above and is trying something new – so should be applauded for doing so. However, it might transpire that a simpler competition, with mechanics that are easier to understand, might be more successful in driving participation in the long run.
A great and impressive use of this very young network. Of course it takes a bit of courage and passion to start such an experiment – and it IS an experiment that started to work well. The mechanic of the puzzle picks up the main idea of Pinterst, which makes it feel integrated on one hand, and explains the great user feedback on the other hand.
Advertising Agency: Tribal DDB Colombia (?)
The new, integrated ad campaign for Nissan, which launches in Europe in March 2012, reflects the adrenaline junkie inside anyone who enjoys getting behind the wheel of the Juke.
A 60-second television spot heads the extreme sports-themed campaign from TBWA\London, named “Built to Thrill”, which conveys the high-energy of the sporty Nissan model and features a driver’s car built around him as he performs just about every daredevil stunt known to man. The Juke is shown being assembled by a variety of people as it skydives, jumps ramps and scuba dives before emerging out of a tunnel, set to a musical backdrop, composed by ‘The Horrors’.
The spot was shot in South Africa with most of it as live action. “We first had a guy skydive with a fake car seat strapped to his body inside which was his parachute,” explains Alasdhair Macgregor Hastie, European Creative Director, TBWA\G1.
“The guys building the car in mid air were tied to a crane hanging 100 metres above the ground and we model-made the heavier car parts in the art department. The landing scene was shot outside Cape Town and again, we used a crane to drop the car body onto the ramp, which was all real. We then built the stadium in post. The scene featuring the bikers is also all real and we had stuntmen jumping from bikes and hanging on to the roof of the car. The water scene was shot in a pool, with real divers. Nobody got hurt – although it aged me ten years!”
Alasdhair says the ad was “very” expensive to make, “but worth every cent.”
“Unlike all other car brands Nissan (and Infiniti) has a very talented core Marketing, Advertising team and a central agency to handle all comms for Europe, Russia, and other regions so the budgets are centralised and therefore more efficient. Instead of doing 5 different campaigns to launch a car, we only do one. Which is more cost effective and gives us access to top talent.”
Building a skydiving car looks surprisingly easily in this Nissan Juke TVC directed by Lieven Van Baelen, with visual effects by Mikros Image. At Mikros, Christophe Huchet was VFX producer, with Antoine Carlon and Laurent Creusot acting as VFX shooting supervisors as well as CG lead and 2D/Flame artist, respectively. We talk to the studio about the ad’s main challenges.
The spot begins with an intrepid driver jumping out of a plane and buckled into a car seat. Soon enough, he is positioned into a car body by skydivers, who get to work – mid-air of course – adding a roof, tires, engine and steering wheel. These plates were filmed against bluescreen with the parachutists and car suspended on wires and the action following detailed storyboards.
“There were two cameras on the set (in South Africa),” says Christophe Huchet, VFX producer of Mikros, “one was with a cameraman standing on track or on a cradle and the other one on a remote jointed arm controlled by three operators. There were a lot of wires to clean up as there were up to nine parachutists shot at the same time. Each of them was hung by four wires plus the car. We had to deal with ‘restore’ on their faces and clothes. We completed an urban matte painting behind the clouds for high-angle shots. To add realism to the shot, we had to add cameras shakes and vibrations to simulate a real skydive, inspired by real shots references.”
Mikros also created CG parachutes for the skydivers, before the half-finished vehicle drops safely in a stadium – landing on a ramp as motor-cross riders add panels and spray paint a red finish. The stadium was populated using Golaem Crowd geometry instancing, generating up to 12,000 spectators at a time. Clothes, shaders and motions for the animated digi-double crowd were established in Maya, with a particle system used to place characters in seats. Mikros then built its own procedural rendering plug-in for Arnold based on a beta version of the Golaem Crowd IO library to render the scenes.
The nearly formed Nissan Juke launches out of the stadium via another ramp and splash-lands in water. Here, scuba-divers secure a windscreen and finishing touches before the car enters a tunnel. Filmed in a tank, Mikros graded the car for readability and added digital bubbles.
Finally, the Juke exits a tunnel before continuing into the city. The tunnel did not exist, so a make-shift surrounding for the car was built at street-level and filmed with tracking markers. “That shot was pretty difficult to tune as there were two opposite camera directions,” says Mikros. “The car is coming towards us and the camera is going the other way. We had to do some research to find a speed that suited the director. We also paid attention to light as the crossover is coming out of a tunnel and is going from dark to light. During the shooting, a truck rode along the crossover with many spotlights to light the car properly.”
The campaign also includes an art installation that aims to show off the Juke as it is being assembled using a variety of sports equipment that inspired its design. A dune buggy (originally chosen for its high arched wheel design) and a motorbike (the inspiration for the interior design and console) are combined to build a 3D image of a Juke. The car seat fabric was inspired by neoprene wet suit material, while a canoe and snowboard are also featured to appeal to the Juke’s target excitement-seeking audience.
“We originally planned to have a travelling installation and may well do so,” says Alasdhair. “The campaign is being picked up by countries not originally interested in a Juke flight (Canada airs it at the end of March) because it is so impactful and brings a whole new perspective to Nissan and the way people see the brand. When we showed the TVC to the Nissan board, the head of Design pointed at the screen and said ‘That’s it, that’s my car!’.”
Nissan and TBWA have also released behind the scenes footage showing how the installation was brought together. This film will also be accessible via QR codes on the outdoor and print executions of the campaign.
“The focus on human emotion plays into the new strategy,” says Ewan Veitch, President of TBWA\G1.“Previously, communications have concentrated on the car and how it interacts with its environment. This campaign has been developed to communicate the excitement and thrill that the driver gets from a premium and high performance, yet accessible, model. ‘Built To Thrill’ celebrates both the truth of the car’s design DNA and the resultant excitement from owning and driving one.”
“Built to Thrill” will also be supported by retail, social media, digital and experiential activity.
Advertising Agency: TBWA/G1, London
Creative Director: Alasdhair MacGregor-Hastie
Creatives: Fabio Abram & Braulio Kuwabara
Director: Lieven Van Baelen
Composer: The Horrors