It would seem at the rate CoverGirl plows through celebrities for its ad campaigns there'd be none left to fill the company's ravenous appetite for new faces. Not that Drew Barrymore is a new face but she's the latest to step into the CoverGirl campaign and, thankfully, one that doesn't seem as fake as the parade of supermodels CoverGirl and other fashion brands have used in the past.
In the spot, which is very simple but visually very beautiful, Drew dances around for the photographer in what was supposed to be a teaser trailer to show the client. The client liked it so much they went with it. Created by Erricson Fina, produced by HSI and edited by Version2, the post is airing now.
Maybe we're stupid. Maybe we're dumb. Maybe we're old school but we simply can't understand why the creators of Firebrand believe it will amount to anything more than a great resource for the ad community to see each other's commercials. Really. Do you know anyone outside of advertising that would actively seek out a website or a cable channel to view commercials, the very thing they are so blissfully skipping with their DVRs? Please. Tell us. We want to meet one of these gluttons for punishment.
We've seen this Guinness ad. Have you? it falls squarely into the Honda Cog category. We're not saying it was a one take shot like Honda Cog was but it's pretty spectacular in its own right. It's said to have cost $21 million. That's a lot of money for a short lived commercial but one assumes it costs what it costs to make detail like this happen. We're not sure we like this spot or not. We admire its effort but it just doesn't seem as clever as the Honda Cog spot.
Some, though, might argue it's far more clever due to it's expansive nature as compared to the laboratory-like setting in which the Honda Cog spot was shot. As with anything, it's a matter of opinion. But $21 million is a lot of money to spend on a commercial. Especially one that isn't original. Then again, neither was the Honda Cog spot. But we're nitpicking here. It's a good spot. It's fun to watch. AMV/BBDO created.
Maybe sensing that Mini Me appealed to a quiet universal longing, Goodby, Silverstein & Partners put together a Sprint effort called More Yous.
The ad is meant to drive multi-taskers into the arms of the speedy Palm Centro but it feels a little like a Doublemint Gum spot from hell.
See it at AdWeek.
So yes, we're in catch up mode but we can't let this excellent Wonderbra commercial which spoofs the Cadbury Gorilla commercial in which a gorilla patiently waits for the drum section of the Phil Collins In the Air Tonight song to begin.
Wonderbra has replaced the gorilla with a model wearing a bra who, like the gorilla, patiently awaits the drum section. Once the section begins, the Wonderbra-clad model begins playing which, of course, causes a significant amount of breast bounce to occur. The camera zooming in and out on her breasts accompanied with the lyrics "well I've been waiting for this moment all my life, oh Lord, I can feel it coming in the air tonight" isn't lost on us one bit. Nice job.
Psyop, the production company behind Coke's Happiness Factory spot, is back with more ad magic in a TV effort for GPS device Navigon, entitled More Real.
Watching something get put together in fast-forward is a pretty cliched technique. But "More Real" is worth watching since it's:
a) showcasing the art of set design
b) quick and to the point
c) about a really cool new toy for your car
Chicago-based agency TwoXFour created the ad.
In the press room at ad:tech I met a guy called Frank Nein of OrionsWave, who observed the ad and marketing sectors are falling into turmoil -- spinning uncontrollably into hell, sifting through the din in search of equilibrium in a world gone self-publish and multi-platform.
And I can't stop thinking about Chris Franklin of Big Sky Editorial, who laughed at the idea of a viral ad. "All ads are viral!" he'd said. The point he made was that in order for an ad to succeed, it should be watchable again and again.
How many of our frenetic new manifestos are ideas that have always been there, or at least should have been?
With that, and as a kind of tribute to the future, I give you the Tootsie Roll ad. I couldn't count on my fingers and toes how often in childhood I saw this spot.
What's awesome about it is, most everyone I've met who's roughly my age still knows all the words to the song. We enjoyed watching it then; a lot of us still do.
And in our lifetimes, we ate a hell of a lot of Tootsie Rolls.
Here's a new ad for the 40 gigabyte Playstation 3. It was put together by TBWA\Chiat\Day, LA. The song is called Ladies and Gentlemen by Saliva.
Nice way to showcase the visually arresting aspects of the console, but let's face it, the PS3 will never be the Wii. And to be honest, all this uber-sleek metal shit lacks the confidence PS3's ads demonstrated before Sony knew it would be a flop. You know, like that scary baby spot. There was also a pretty good one involving a Rubik's cube.
And here are some EyeWonder ads for the same campaign: 1, 2. We're not really fans of EyeWonder spots but if they were all as visually interesting (and as quiet) as these ones, we might feel differently.
What with everyone using their TiVos and DVRs to skip ads, we really can't see why Dolby had to go out and actually spend time creating a technology that levels the volume of programming and commercials on TV putting a top to advertiser's trickery that makes their ads louder than the programming. Personally, the few times we haven't skipped ads, any change in volume is so insignificant it seems foolish a company would actually spend time and resources on a problem that really isn't a problem. But, this is about geeks in a technology company and they simply can't help themselves.
"One market. Infinite possibilities." That's the going slogan for the NYSE, a brand so big and so embedded in the American financial subconscious that seeing an ad for it almost confuses us.
This pair of spots -- dubbed Market Conditions and One Destination -- are chock-full of NYSE listed companies and glorify the speed and interconnectedness so necessary to business today. The agency responsible is Fallon Worldwide, but the smooth production comes from Stardust.
We were really fond of the last spot, which moved slowly and did a better job of illustrating a blooming world of "infinite possibilities."
All in all, these do a serviceable job of keeping the NYSE salient in ad land, but they're not especially resonant. It could just be the new narrator. He has a smack of fresh 90s dot-com-ness to him.