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Trends and Insight in association withSynapse Virtual Production
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The 2016 Work That These Ad Folk Were Most Proud Of

22/12/2016
Publication
London, UK
505
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Varied, global and eclectic – the campaigns that these creatives, directors and producers were thrilled to be a part of












Maltesers – ‘Look on The Light Side’
Chosen by: Clay Weiner, Director, Biscuit Filmworks

"2016 was an absurdly rich year of inspired ideas and this is not an easy decision. Usually I look back at a year and say that a campaign was the most hilarious, that one the most daring, and that one the most socially inspiring. It's rare that you can say all that about one campaign – and for that reason I'd choose the Maltesers work. It made me laugh in the gut and it reminded me that we are only disabled by our own prejudices. Sensational cast with writing that was a gift from a great mind and a brave client daring enough to get them on air." 





WWE – ‘Suplex City’
Chosen by: Todd Eisner, Creative Director, barrettSF

"I non-ironically love pro wrestling. My dog is named Andre after Andre the Giant. So to be able to play in that sandbox was a dream come true. 2K and WWE have such a devoted, insane fan base that it made it even more fun. And they really care about the advertising. They got so excited about a dream match we teased in the commercials that the WWE actually booked the match in real life."



Paralympics – ‘We’re The Superhumans’
Chosen by: Leland Music

"Working on this campaign was not only a proud moment for 2016, but perhaps the proudest of our careers. Being part of the team that brought The Superhuman Band to fruition, from proposing the song ‘Yes I Can’ to supervising the musical arrangement, coordinating rehearsals, organising the recording and following up the campaign with live events, the whole process has been a humbling and inspiring experience. The will, skill and determination of the musicians, the collective collaboration of everyone involved restlessly poured into the production, and the public impact the final film received, culminated in a project we’ll never forget being a part of."



Pink Ribbon – ‘Check it before it’s removed’
Chosen by: Myles Lord, Managing Creative Director, DDB Berlin

"We received so much positive feedback and support all the way though this project from people on social media through to journalists who spread the story in mainstream media. So many people got behind this idea and helped in pushing it forward. In the end the juries really liked the work – making this project the most awarded project in Germany even though we only entered it into four award shows. I had dinner with Facebook the other day and they were so very complimentary about what we had done – they said, “hey man, you hacked us!” Then they told me that at Facebook “hack” was a very positive term – and this was a huge compliment." See more from the campaign here.


John Lewis – ‘Buster the Boxer’
Chosen by: Luke Rafferty, Head of Production, MPC London

Something on this scale is a huge technical and creative CG challenge. Crafting photo-real animals is challenging in any ad, but creating six animals in detail, and allowing each of them to have a hero moment as well as interact with one another on a fluid surface really pushes the boundaries of VFX. At a glance it may seem simple, but the complexity is absolutely mind-boggling. The equivalent of five and a half years of manpower was poured into the edit – into just a four-month schedule –  to bring the animals to life. The team is always proud to be pushing VFX into new unchartered territories. 



Nike – ‘ProGenius’
Chosen by: Answers by Duan Evans, Int. Executive Creative Director, AKQA

"For me, the work that best demonstrates all of our capabilities is Nike ProGenius – a service that helps young footballers train the mental side of their game. We wanted to complement the physical training with the same scientifically proven tools and techniques that the pros get – all delivered in the Nike Football app. We created all of the content, the game design and programming, and the social campaign that launched it. It’s great to work with Nike to be the first brand to provide such tools to develop a huge part of any athlete’s world." 



adidas – ‘Glitch’
Chosen by: Daniel Chu, Global Chief Creative Officer, POSSIBLE

"This is breakthrough from a culture and technology perspective because it realized our vision of mobile as a behavior, not a device. We created a mobile-first experience with social, commerce, and content built-in to an app experience. When you consider that today, we’re using apps to run our lives; from hailing cabs and finding places to eat and rooms to rent, to ordering dinner and sharing real-time content with friends, Glitch was an opportunity for us to demonstrate how blending our online and offline worlds into one frictionless experience can lead to a brand engagement that’s personal and human. It’s where we see mobile fitting into our vision of the future of customer experience."    



Target – ‘Holiday 2016’
Chosen by: Amburr Farls, EP, Cut+Run 

"We've done a lot of great work this year, but one project that I am very proud of is the holiday campaign for Target with Andres Nilsson at Biscuit and 72andSunny. It was an on-set edit with five editors from both our LA and London offices, combining all of the elements from our global network. It incorporated heavy animation with live action made for a very complex and intense process. However, being an in-the-trenches EP, putting together such a successful and creative campaign was quite an accomplishment for the entire team and a major highlight for me personally."  



Tienda Inglesa - 'Mother's Day 2016'
Chosen by: Nacho Vallejo, CEO, Amén Uruguay

"We have been working with a supermarket brand in Uruguay, called Tienda Inglesa, for more than a decade and therefore we have created and produced more than a dozen Mother’s Day ads, back to school ads, Christmas ads, and ads for other events that are repeated every year. This year for Mother’s Day our creative team found a good insight, but I thought it wasn’t popular enough. So I asked them to solve specifically its popular engagement, and they found something really powerful. They found something really interesting in the recent story of a Uruguayan goalkeeper – he was the backup goalkeeper of one of the most outstanding clubs of the country. The mother of this player called a popular sports radio show publicly criticised the main goalkeeper of the club, exclaiming that he wasn’t good enough and asking for him to leave the ownership to ‘Frascarelli’, his backup. The radio host, with a bit of wisdom and a bit of psychology, managed to expose live that the person who called them was the mother of Frascarelli. That was a well known funny story here and we managed to make it work perfectly for the Mother’s Day spot and the insight of what a mother can do for a son. So we negotiated with the football player, got the authorisation of the mother and ‘another Mother's Day commercial’ turned into one of the most shared contents of the year. People enjoyed so much and shared it on social media and WhatsApp. I love it when the day-to-day work turns into a masterpiece."



Tom Ford – ‘Nocturnal Animals’
Chosen by: Duncan McWilliam, CEO, Outpost VFX

"The pace and volume of this kind of project was a daunting challenge and to work under the scrutiny of Tom Ford’s keen eye made it all the more so. In the end we delivered 200 shots in four weeks and the pride I had in the team here on the day that Tom Ford signed off the last batch of shots has been unparalleled since starting the company. To see Nocturnal Animals go on and win The Golden Lion at Venice sealed the deal. This kind of work, de-aging two iconic actors by 20 years without the use of any 3D modelling, is a true reflection of the artistry we have here at OutpostVFX. A real milestone project in the short history of our company."



‘Nick’
Chosen by: Dave Snyder, SVP ECD, Firstborn

"Our holiday VR game, Nick, was the most exciting and rewarding thing we’ve worked on in a while. Developing the gameplay and backstory felt a lot like what I imagine a late-night writing room for a TV show feels like. We just spit-balled ideas based on this looser concept of a drunk Santa who’s on the run. We created things on the fly and ran with what felt right. Things that, in turn, directly informed the world we wanted to create. From the killing capabilities of the robotic elves to Nick’s tattoos, we brainstormed with no brief or creative limitations. The backstory we created allowed us to wrap a relevant and fun gameplay around the larger, if not absurd, concept. And because we actually gave ourselves time (and us manager-types stayed out of the way) the creative/dev team, who had complete ownership, went on to create something amazing in just a little over a month. The final experience is pretty epic and the team is pumped. We all felt like we were creating the future - like Arnold and Dr. Ford in Westworld…and the future is looking bright." Check it out here.



Agent Provocateur – ‘Naughty or Nice?’
Chosen by: Dominic Goodman, ECD, CORD

"Working on the Agent Provocateur Xmas campaign was a real highlight for me. I've worked with the brand and creative director, Sarah Shotton, for a number of years and have reached a place where I have a good understanding of their aesthetic. Director George Belfield did an amazing job creating the two worlds for the interactive film and with the music being such an important device to tie them together it was great to see that the end result turned out so well." 



Nextel – ‘Omnipresent’
Chosen by: Gabriel Huici, ECD, Don Buenos Aires

"The agency did a good job this year, but I’m going to highlight the Nextel Omnipresent campaign because we managed to convey a simple idea in a novel way and with a level of craft that we had a lot of fun doing. It also had recognition at many national and international festivals."



Nutchello - ‘You Time: #drinkyoursnacks’
Chosen by: NOMINT

"Our directors have created some amazing work over 2016, however we feel that our Nutchello TVC by owners/directing duo Christos and Yannis that was completed through Fallon U.S stands out for its tongue in cheek comedy value really tapping into the duo's deadpan humour and eccentric directorial style."



Strellson – ‘Make Yourself Unstoppable’
Chosen by: Matthias Harbeck, Managing Director, Serviceplan Campaign

"This is a music video based on a new version of Queen’s ‘Don’t Stop Me Now’. A victory of style over rigidness. Of madness over logic. And yet very successful. Or exactly because of that."



Alabama Tourism Department - ‘This Is Alabama’
Chosen by: Keith Otter, ECD at Birmingham, Alabama’s Intermark Group

"Here we showed the people of New York how they could slow down, relax and savour a vacation in Alabama through three sensory experiential stunts. First, we let them feel how soft the Alabama beaches are by bringing 1,000 pounds of sugar-white sand straight from our coast and setting it down right in the heart of the city for them to enjoy. Next we gave locals a taste of Alabama, giving them the opportunity to taste Alabama’s spin on a New York classic — cheesecake. We delivered it though a unique food dispenser, a giant box with a button on it. When passersby pressed the button, a hand emerged from a slot giving them their dessert. Finally, people got the opportunity to hear all about Alabama when we hijacked a city tour bus and gave surprised passengers a guided tour of New York with a very unique Alabama twist, including a band from Muscle Shoals providing a soundtrack to the tour. We’re proud to say that the work gained over 45,000,000 impressions around the world."


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