THIS NEW BCR CATEGORY FEATURES THE BRANDS AND EVENTS THAT LIVEN UP OUR DOWN TIME.
As you might expect, the leading campaigns in this sector were hugely entertaining – starting with a powerful message of support for Paralympic athletes. Amazon takes second and third place the list with work from different agencies – CYW in Madrid and Ogilvy in Italy. One of these is a film that could hardly be more classic, while the other is an innovative outdoor event. Part of its emotional impact comes from the crowd scenes: the event must have felt cathartic after the pandemic. Contrasting pieces complete the top five – lively storytelling that transports us to Ghana, and a social campaign that takes us somewhere far more dangerous.
As you might expect, the leading campaigns in this sector were hugely entertaining – starting with a powerful message of support for Paralympic athletes. Amazon takes second and third place the list with work from different agencies – CYW in Madrid and Ogilvy in Italy. One of these is a film that could hardly be more classic, while the other is an innovative outdoor event. Part of its emotional impact comes from the crowd scenes: the event must have felt cathartic after the pandemic. Contrasting pieces complete the top five – lively storytelling that transports us to Ghana, and a social campaign that takes us somewhere far more dangerous.
Most awarded
campaigns, brands &
agencies in
Entertainment & Leisure in
2022
Most awarded
campaigns, brands and
agencies in
Entertainment & Leisure in
2022
CAMPAIGNS
| Brand, Title, Agency | |
|---|---|
| 1 |
4Creative, London |
| 2 |
CYW, Madrid |
| 3 |
Ogilvy Italy, Milan |
| 4 |
Droga5, New York |
| 5 |
72andSunny, Brooklyn |
| 6 |
FCB Lisbon, Lisboa |
| 7 |
FCB Lisbon, Lisboa |
| 8 |
AKQA, São Paulo |
| 9 |
adam&eveDDB, London |
| 10 |
BBDO New York |
| 11 |
72andSunny, Los Angeles |
| 12 |
Hakuhodo, Tokyo |
| 13 |
DAVID, Madrid |
| 14 |
FCB Canada, Toronto |
| 15 |
McCann London |
| 16 |
Wieden + Kennedy, Portland |
BRANDS
| Brand | ||
|---|---|---|
| 1 |  |
Amazon Prime Video |
| 2 |  |
Netflix |
| 3 |  |
Channel 4 |
| 4 |  |
Netflix / Stranger Things |
| 5 |  |
Microsoft XBox |
AGENCIES
| Name | ||
|---|---|---|
| 1 |  |
4Creative, London |
| 2 |  |
Tiny Hero, Burbank |
| 3 |  |
Trailer Park, Hollywood |
| 4 |  |
BOND, Los Angeles |
| 5 |  |
Ogilvy Italy, Milan |
Watch
1. Channel 4 / Super. Human. | Tokyo 2020 Paralympic Games Trailer
| Titolo | Super. Human. | Tokyo 2020 Paralympic Games Trailer |
| Agenzia | 4Creative |
| Campagna | Super Human. Tokyo 2020 |
| Cliente | Channel 4 |
| Marca | Channel 4 |
| Data di Prima Diffusione/Publicazione | 2021 / 7 |
| Settore | TV, Radio |
| Tipo di Media | Televisione |
| Lunghezza | |
| Colonna sonora | So you want to be a boxer |
| Cinematografia | Bradford Young |
| Actor / Celebrity | Kadeena Cox |
2. Amazon Prime Video / An Unlikely Friendship
| Titolo | An Unlikely Friendship |
| Titolo (Lingua Originale) | Una Amistad Improbable |
| Agenzia | CYW |
| Campagna | An Unlikely Friendship |
| Cliente | Amazon |
| Marca | Amazon Prime Video |
| Data di Prima Diffusione/Publicazione | 2021 / 11 |
| Settore | Media/Editoria |
| Tipo di Media | Televisione |
| Lunghezza | |
| Casa di Produzione | Outsider |
| Advertising Manager | Helen Cowley |
| Creative Director | Xuan Pham |
| Campaign Manager | Krysha Shahi |
| Campaign Manager | Fiona Mukherjee |
| Producer | Hannah Povey |
| Executive Creative Director | Willy Lomana |
| Executive Creative Director | Carmelo Rodríguez |
| Creative Team | Lucas Siewert |
| Creative Team | Eva Fernández |
| Creative Team | Marta Horcajo |
| Copywriter | Carmelo Rodríguez |
| Copywriter | Willy Lomana |
| Brand Manager | Miguel Remis |
| Casa di Produzione | BLUR Films |
| Director | Chris Balmond |
| Executive Producer | Mario Forniés |
| Executive Producer | Zico Judge |
| Direttore della fotografia | Rob Hardy |
| Production Company Producer | Laureana Ferrucci |
| Post Production | Daniela Borges |
| Assistant Director | Tirso Díaz |
| Production Manager | Foncho Rodríguez |
| SFX Supervisor | Cesar Alcaide |
| Editor | Marc Soria |
| VFX Company | The Mill London |
| Sound | Ballad |
3. Amazon Prime Video / Staraoke
| Titolo | Staraoke |
| Agenzia | Ogilvy Italy |
| Campagna | Staraoke |
| Cliente | Amazon Prime Video |
| Marca | Amazon Prime Video |
| Data di Prima Diffusione/Publicazione | 2022 / 4 |
| Settore | TV, Radio |
| Trama | How to launch the film about one of the greatest Italian singers in the world? With the voice of 2000 fans and 500 drones synced with the original soundtrack from the film.To do so, we created “Staraoke”, an unprecedented karaoke in the sky of Rome. The lyrics were synced to the music and reached 130mt width and 60mt height, making the sky the biggest karaoke screen ever. |
| Filosofia | To launch “Laura Pausini - Pleased to meet you” out on Prime Video since Aprile 7, the singer's fans were the real protagonist of the show, singing the lyrics from the song “La Scatola”, original soundtrack of the film. |
| Problema | To organize the show, 500 drones were synced with the music of the song, ,creating 130mt large and 60mt tall lyrics. The drones flew over the Archeological Park of Colosseum reaching 100 mt height, to make the show visible from around 1 km. The experience that combined the latest trend technology with a unique cultural environment was created after more than 3 weeks of programming by Roman innovation agency agency T3kne, in collaboration with Artech and Dronisos, a French agency specialized in automatic drones technology. |
| Risultato | 2000 people joined the show to sing together in an unprecedented singalong, with Laura Pausini herself joining the crowd to take part in the experience. |
| Tipo di Media | Eventi |
| Lunghezza | |
| Colonna sonora | Laura Pausini "Scatola" |
| Chief Creative Officer | Giuseppe Mastromatteo |
| Creative Director | Lavinia Francia |
| Creative Director | Francesco Basile |
| Senior Art Director | Stefano Summo |
| Senior Copywriter | Antonio Mitra |
| Client Services Director | Claudio Grandi |
| Account Supervisor | Eleonora Guidolin |
| Account Junior | Michela Galazzo |
| Head of TV production | Melina Mignani |
| Creative Producer T3KNE | Leonardo Bazzucchi |
| Head of Production T3KNE | Valentina Calabrese |
| Project Manager Artech FX | Luca Toscano |
| Drones Choregrapher Dronisos | Pierre Minaud |
| Drones Coreographer - Dronisos | Charlie Pantel |
| Show Manager - Dronisos | Gaël Fournier |
| drones shoot | Skyters Drone |
| On site shoot and Editing | Maikid Michele Lugaresi |
4. Facebook / Skate Nation Ghana
| Titolo | Skate Nation Ghana |
| Agenzia | Droga5 |
| Campagna | Skate Nation Ghana |
| Cliente | Meta |
| Marca | |
| Posted | Novembre 2021 |
| Settore | Community Website |
| Tipo di Media | Branded Content |
| Lunghezza | |
| Footage | Framestore |
| Creative Director | Thom Glover |
| Creative | Nico Baumann |
| Art Director | Inna Kofmann |
| Agency Executive Producer | Leah Donnenberg |
| Agency Producer | Imani Dixon |
| Casa di Produzione | Love Song |
| Director | Bafic |
| Director | Elliott Power |
| Director | Justyna Obasi |
| Senior Executive Producer | Daniel Wolfe |
| Senior Executive Producer | Kelly Bayett |
| Executive Producer | Jewel K. Estephanos |
| Direttore della fotografia | Deepa Keshvala |
| Direttore della fotografia | Robbie Ryan |
| Casa di Produzione | The Mill London |
| VFX Producer | Matthew Squires |
| VFX Producer | Clare Melia |
| Flame Artist | Carl NORTON |
| Editing Company | Cut+Run |
| Editor | Paul Watts |
| Editor | Scot Crane |
| Assistant Editor | Eli Beck-Gifford |
| Editorial Producer | Marcia Wigley |
| Colorist | Simon Bourne |
| Sound Design Company | Barking Owl |
| Sound Designer | Gus Coven |
| Sound Producer | Ashley Benton |
| Music | Curation Music |
| Music Supervision | Sunny Kapoor |
5. Activision Blizzard/ Call of Duty / Warzone in Paradise
| Titolo | Warzone in Paradise |
| Agenzia | 72andSunny |
| Campagna | Warzone in Paradise |
| Cliente | Activision |
| Marca | Activision Blizzard/ Call of Duty |
| Posted | Aprile 2022 |
| Settore | Consolles per Video Games |
| Tipo di Media | Interattivo |
| Lunghezza | |
| Special Effects / VFX | Blacksmith |
| Chief Marketing Officer (CMO) | Fernando Machado |
| Chief Creative Officer | Pelle Sjönell |
| VP Head of Marketing | Tyler Bahl |
| VP Consumer Marketing | Carolyn Wang |
| Director Consumer Marketing | David Cushman |
| Manager Consumer Marketing | Kellen Laker |
| Senior Director Head of Digital | Matt Gilhooley |
| Senior Marketing Manager Digital | Brian Shanahan |
| Social Engagement Marketing Manager | Grace Dustin |
| Chief Creative Officer | Matt Murphy |
| Executive Creative Director | Zach Hilder |
| Freelance Creative Director | Paul Roberts |
| Freelance Creative Director | Ted Kapusta |
| Group Brand Director | William Nader |
| Senior Brand Manager | Annie King |
| Kate Morrison | |
| Producer | Sam Davenport |
| Executive Strategy Director | Bryan Smith |
| Strategy Director | Eddie Moraga |
| Comms Strategy Director | Thomas Steiner |
| Music Production | Human |
| Sound Design Company | Post Human |
| Executive Producer | James Dean Wells |
| Sound Designer | Sloan Alexander |
| Production Company Producer | Joshua Green |
| Production Company Producer | Rob Suchecki |
| Executive Producer | Perry Tate |
| Lead Artist | Iwan Zwarts |
6. Penguin Books / Portuguese (Re)constitution
| Titolo | Portuguese (Re)constitution |
| Brief | Penguin Random House wanted a project capable of showing its knowledge and love for the Portuguese culture. Capable of generating engagement with Portuguese readers and awareness through earned media.Instead of making an advertising campaign, we decided to launch a book that addresses the most crucial moment in the country’s democracy.On the Carnation Revolution’s anniversary, Penguin Books offered blue pencils to contemporary artists. Inspired by the blackout poetry technique, they could re-invent the fascist constitution with poems using words selected from the historical document and illustrations covering the remaining ones. A symbol of repression turned into an art manifesto celebrating freedom. |
| Agenzia | FCB Lisbon |
| Campagna | Portuguese (Re)constitution |
| Cliente | Penguin Books |
| Marca | Penguin Books |
| Data di Prima Diffusione/Publicazione | 2022 / 4 |
| Settore | Giornali, Libri, Periodici |
| Trama | The book 'The Portuguese (Re)Constitution' is a reformulation of the Portuguese Constitution of 1933, released on April the 25th 2022, on Portugal's "National Freedom Day'. 'The Portuguese (Re)Constitution' uses the 'blackout poetry' technique. Several poets and illustrators passed the blue pencil over this constitution until some words were highlighted, celebrating the freedom of expression. It is now part of the permanent collection of the Museum of Aljube, for Resistance and Freedom, in Lisbon. Named 'ReConstituição Portuguesa' in Portuguese, this unprecedented book is described by its editor (Companhia das Letras, part of Penguin Random House Portugal) as “A manifesto that transforms a symbol of fascism – the blue pencil – into poetic cries of freedom." In the video, we are invited to go back in time, more specifically to the period between 1933 and 1974, decades in which Portugal lived under a dictatorial regime. Using the technique of blackout poetry, the design project applied the famous blue pencil (symbol of fascism) to words from the 1933 Constitution, giving rise to poems and illustrations that extol the values of April. This work had the participation of several Portuguese authors and artists, including: Filipe Homem Fonseca, Gilson Barreto (Dela Mantra), Gisela Casimiro, DJ Huba, João Silveira, Jorgette Dumby , José Anjos, Li Alves, Lila Tiago, Lucerna do Moco, Luís Perdigão, Maria Giulia Pinheiro, Marina Ferraz, Miguel Antunes, Nilson Muniz, Nuno Piteira, Paola D’Agostino, Rita Capucho, Rita Taborda Duarte, Sérgio Coutinho. |
| Risultato | - The book grabbed the media's attention, being showcased on prime TV, the country's biggest radio stations, newspapers, and podcasts. With zero euros invested, the Portuguese (Re)Constitution gave 1 million in earned media to the Penguin Random House brand. - It is now part of the permanent collection of the Aljube Museum, which is based in a former political prison. - The book was incorporated into the National Reading Plan of the Portuguese Government, being used at Portuguese schools to teach students the history of the revolution through art. - It was adopted as a mandatory reading bibliography in the second year of the degree in Portuguese Studies at the Dalarna University . - The first edition sold out within the first few months of release. The second arrived in bookstores in early December. |
| Tipo di Media | Case Study |
| Lunghezza | |
| Art Director | Diego Tórgo |
| Creative Director | edson athayde |
| Creative / Art Direction | Diego Tórgo |
| Copywriter | Viton Araújo |
7. Penguin Books / Portuguese (Re)constitution Board
| Titolo | Portuguese (Re)constitution Board |
| Brief | Penguin Random House wanted a project capable of showing its knowledge and love for the Portuguese culture. Capable of generating engagement with Portuguese readers and awareness through earned media.Instead of making an advertising campaign, we decided to launch a book that addresses the most crucial moment in the country’s democracy.On the Carnation Revolution’s anniversary, Penguin Books offered blue pencils to contemporary artists. Inspired by the blackout poetry technique, they could re-invent the fascist constitution with poems using words selected from the historical document and illustrations covering the remaining ones. A symbol of repression turned into an art manifesto celebrating freedom. |
| Agenzia | FCB Lisbon |
| Campagna | Portuguese (Re)constitution |
| Cliente | Penguin Books |
| Marca | Penguin Books |
| Data di Prima Diffusione/Publicazione | 2022 / 4 |
| Settore | Giornali, Libri, Periodici |
| Trama | PORTUGUESE (RE)CONSTITUTION CONTEXT_ Penguin Random House is one of the most respected publishers in the world. However, despite having published influential Portuguese authors, Penguin is not yet seen as a brand connected with the local culture. The publisher wanted a project capable of showing its knowledge and love for the Portuguese culture. Capable of generating engagement with Portuguese readers and awareness through earned media. On the Carnation Revolution’s anniversary, Penguin Books offered blue pencils to contemporary artists. Inspired by the blackout poetry technique, they could re-invent the fascist constitution with poems using words selected from the historical document and illustrations covering the remaining ones. A symbol of repression turned into an art manifesto celebrating freedom. IMPACT_ - The book grabbed the media's attention, being showcased on prime TV, the country's biggest radio stations, newspapers, and podcasts. With zero euros invested, the Portuguese (Re)Constitution gave 1 million in earned media to the Penguin Random House brand. - It is now part of the permanent collection of the Aljube Museum, which is based in a former political prison. - The book was incorporated into the National Reading Plan of the Portuguese Government, being used at Portuguese schools to teach students the history of the revolution through art. - It was adopted as a mandatory reading bibliography in the second year of the degree in Portuguese Studies at the Dalarna University . - The first edition sold out within the first few months of release. The second arrived in bookstores in early December. |
| Risultato | - The book grabbed the media's attention, being showcased on prime TV, the country's biggest radio stations, newspapers, and podcasts. With zero euros invested, the Portuguese (Re)Constitution gave 1 million in earned media to the Penguin Random House brand. - It is now part of the permanent collection of the Aljube Museum, which is based in a former political prison. - The book was incorporated into the National Reading Plan of the Portuguese Government, being used at Portuguese schools to teach students the history of the revolution through art. - It was adopted as a mandatory reading bibliography in the second year of the degree in Portuguese Studies at the Dalarna University . - The first edition sold out within the first few months of release. The second arrived in bookstores in early December. |
| Tipo di Media | Case Study |
| Creative Director | edson athayde |
| Copywriter | Viton Araújo |
8. Free Fire / The Real Air Drop
| Titolo | The Real Air Drop |
| Agenzia | AKQA |
| Campagna | The Real Airdrop |
| Cliente | Garena |
| Marca | Free Fire |
| Posted | Giugno 2022 |
| Settore | Computer software e Multimedia |
| Tipo di Media | Case Study |
| Lunghezza | |
| Art Director / Concept | Leticia Tercini |
| Casa di Produzione | Evil Twin |
| Casa di Produzione | Stink Films |
| Chief Creative Officer | Diego Machado |
| Chief Creative Officer | Hugo Veiga |
| Post Produzione | Fujocka Creative Images |
9. International Paralympic Committee / #WeThe15
| Titolo | #WeThe15 |
| Agenzia | adam&eveDDB |
| Campagna | WeThe15 |
| Cliente | International Paralympic Committee |
| Marca | International Paralympic Committee |
| Data di Prima Diffusione/Publicazione | 2021 / 8 |
| Settore | Cultura, Tempo libero e Sport |
| Filosofia | The movement, #WeThe15, takes its name from the 15% of the global population who have a disability: the world’s largest marginalised group forgotten by the inclusivity agenda. For these 1.2 billion people, access to basic human rights such as healthcare, education and employment, are at best limited and at worst non-existent, making it harder for people with disabilities to live, work, thrive, or even survive. |
| Tipo di Media | Integrated Media/360 Activation |
| Lunghezza | |
| Casa di Produzione | Pulse Films |
| Editing Company | Tenthree |
| Audio Post Production | 750mph |
| Chief Creative Officer | Richard Brim |
| Campaign Creative Team | Edward Usher |
| Campaign Creative Team | Xander Hart |
| Film Creative Team | Selma Ahmed |
| Film Creative Team | Genevieve Gransden |
| Social Director | Sophie Chaytor-Grubb |
| Social Media Manager | Matthew Osbourne |
| Creative Technology Director | Hash Milhan |
| Agency producers | Rebecca Holt |
| Agency producers | Hannah Needham |
| Integrated Assistant Producer | Richard Bailey |
| Senior Project Manager | Alice Southam |
| Strategy Director | Claire Strickett |
| Senior Planner | Sarah Benson |
| Joint CEO | Mat Goff |
| Managing Partner | Polly Dedman |
| Business Director | Louis Lunts |
| Account Director | Charlie Simpson |
| Account Director | Charlotte Ellison |
| Account Director | Rosie Snowball |
| Account Director | Pablo Arango |
| Account Manager | Irina Patrichi |
| Head of Communications | Phil Dorward |
| Brand Campaigns Coordinator | Elliot Forward |
| Digital Partnerships Manager | Mariel Avalos |
| Designer | Tanja Aurand |
| Brand Campaigns Assistant | george doman |
| Campaign Consultant | Dana Robinson-Slote |
| Head of Partnership Services | Nael Ogden-Smith |
| Partnership Services Manager | Kiriah Crane |
| Partnership Services Manager | Fiona S |
| IPC Board Member | Juan-Pablo Salazar |
| Broadcasting Rights Manager | Daphne Chan |
| Design agency | Pentagram |
| Managing Partner | Harry Pearce |
| Graphic Designer | Johannes Grimmond |
| Graphic Designer and Animator | Tom Walker |
| Production | Daren Howells |
| Graphic Designer | Romilly Winter |
| Graphic Designer | Richard Clarke |
| Project Manager | Tiffany Fenner |
| Project Manager | Jane Kemp |
| Global Creative Director | Laura Rogers |
| Executive Producer | James Sorton |
| Executive Producer | Lucy Kelly |
| Executive Producer | Davud Karbassioun |
| Production Company Producer | David French |
| Director | Sam Pilling |
| Direttore della fotografia | Alex Barber |
| Direttore della fotografia | Chloë Thompson |
| Assistant Director | James Sharpe |
| Casting | Anna Stark |
| Production Manager | Kishan Patel |
| Production Manager | Tom Nutting |
| Line Producer | Ellie Saunders Wright |
| Location Manager | Rupert Bowkett |
| Production Designer | Beck Rainford |
| Costume | Hannah Hopkins |
| Production Service Company | Gathouse Commercials |
| Executive Producer | Beverley Wynne |
| Line Producer | Karin Tanchel |
| Direttore della fotografia | Shaun Harley Lee |
| Assistant Director | Jaco Nel |
| Location Manager | Bhut Gladstone |
| Production Art Director | Willow Howell |
| Production Service Company | Indochina Productions |
| Executive Producer | Nicholas Simon |
| Line Producer | Atrachariya Pinitsanpirom (Bird) |
| Direttore della fotografia | Nicholas Axelrod |
| Assistant Director | Napon Limsomwong (Kwan) |
| Casting | Sarawanee Yodnoon |
| Executive Producer | Giorgio Testi |
| Line Producer | Giulia Negretto |
| Assistant Director | Tobia Passigato |
| Direttore della fotografia | Diego Indraccolo |
| Editor | Ellie Johnson |
| Editor | Liam Bachler |
| Editor | Elyse Raphael |
| Post Produzione | Untold Studios |
| Grading/Online | Simon Bourne at Framestore |
| Post Production | Tomek Zietkiewicz |
| Audio Engineer | Sam Ashwell |
| Audio Engineer | Mark Hellaby |
| Kirsten Troy | |
| Martin Critchely | |
| Music Production | Soundtree Music |
| Jay James | |
| Accessibility, Disability and Inclusion Consultant | C Talent |
| Production Company | Pulse Films |
| Managing Director and Executive Producer | James Sorton |
| Executive Producer | Lucy Kelly |
| Executive Producer | Davud Karbassioun |
| Producer | David French |
| Director | Sam Pilling |
| DOP | Alex Barber, Chloë Thompson |
| 1st AD | James Sharpe |
| Casting Director | Anna Stark |
| Production Manager | Kishan Patel & Tom Nutting |
| Production Assistant | Ellie Saunders Wright |
| Location Manager | Rupert Bowkett |
| Production Designer | Beck Rainford |
| Costume Designer | Hannah Hopkins |
| Service Production in South Africa | Gathouse Commercials |
| Executive Producer | Beverley Wynne |
| Line Producer | Karin Tanchel |
| DOP | Shaun Harley Lee |
| 1st AD | Jaco Nel |
| Location Manager | Bhut Gladstone |
| Art Director | Willow Howell |
| Service Production in Bangkok | Indochina Productions |
| Executive Producer | Nicholas Simon |
| Line Producer | Atrachariya Pinitsanpirom (Bird) |
| DOP | Nicholas Axelrod |
| 1st AD | Napon Limsomwong (Kwan) |
| Casting Director | Sarawanee Yodnoon |
| Service Production in Milan | Pulse Films Italia |
| Executive Producer | Giorgio Testi |
| Line Producer | Giulia Negretto |
| 2nd Unit Director | Tobia Passigato |
| DOP | Diego Indraccolo |
| Editing Company | TenThree |
| Editor | Ellie Johnson, Liam Bachler, Elyse Raphael |
| Post Production | Untold Studios |
| Grade | Simon Bourne at Framestore |
| Post Producers | Tomek Zietkiewicz |
| Audio Post Production | 750mph |
| Audio Engineer | Sam Ashwell, Mark Hellaby |
| Audio Producer | Kirsten Troy, Martin Critchely |
| Music Company | Soundtree |
| Music Supervisor | Jay James & Neil Athale |
| Head of Language | Sarah Mrowicki |
| Senior Transcreation Account Manager | Veronica Viudas Garcia |
| Transcreation Account Manager | Maria Dilena |
| Adaptation Agency | cain&abel |
| Managing Partner | Mike Turnbull |
| Account Director | Theo Tsangarides |
| Senior Production Account Manager | Sophie Duncan |
| Account Manager | Kate Morrow |
| Producers | Rachel Lodge, Nicola Shanks, Mandy Amoah, Charlotte O’Reilly |
| Senior Producer | Laura Frischke |
| Editor | Adrian Scanlon |
| QC | Stuart Moore, Chloe Maudsley |
| Post Producer | Olivia Hards |
| Senior Post Producer | Martina Trlik |
| Resource Manager | Aleksandra Bulkowska |
| Creative Lead | Tom Lockwood |
| Edit/Animator | Gabi Mascarenhas, Meena Ayittey |
| Researcher | Beth Hill |
| Head of Production | Marc Dolby |
| Print producer | Jay Tijani |
| Senior Integrated Producer | Gareth Evans, Matt Thompson |
| Studio Artworker | David Pluckrose |
| PR Agencies | FleishmanHillard, Porter Novelli and Portland |
| Media agency | Omnicom Media Group |
10. The Academic / Not Your Summer
| Titolo | Not Your Summer |
| Agenzia | BBDO New York |
| Campagna | Not Your Summer |
| Cliente | Capitol Records |
| Marca | The Academic |
| Data di Prima Diffusione/Publicazione | 2021 / 8 |
| Settore | Editoria Audiovisiva |
| Trama | After crafting a story utilizing unique google features, we assigned each action to a live animator, and rehearsed endlessly to sync everyone up.Once the music started, our animators typed, drew shapes, added and deleted pages and images, and dropped in gifs in sync with the song. All In front of a live audience of fans who freely moved around the document. |
| Tipo di Media | Music Video |
| Lunghezza | |
| Advertising Manager | Tom Paul |
| Advertising Manager | Alia Aldeghather |
| Vocal | Craig Fitzgerald |
| Musician | Matthew Murtagh |
| Musician | Dean Gavin |
| Advertising Manager | Carl Brogan |
| Chief Creative Officer | David Lubars |
| Creative Director | Bart Mol |
| Creative Director | Pol Hoenderboom |
| Director | Mike Woodall |
| Producer | Mike Woodall |
| Animator - Animation | Mike Woodall |
| Head of Content Production | Andrew Osborne |
| Head of Digital | James Young |
| Director of Content Production | Alex Gianni |
| Agency Producer | Chava Quinn |
| Copywriter | Benner Rawley |
| Art Director | Maya Iwata |
| Post Production | Allie Kolb |
11. Tinder / Swipe Night: Killer Weekend
| Titolo | Swipe Night: Killer Weekend |
| Agenzia | 72andSunny |
| Campagna | Swipe Night: Killer Weekend |
| Cliente | Tinder |
| Marca | Tinder |
| Data di Prima Diffusione/Publicazione | 2021 / 11 |
| Settore | Other Online Services |
| Trama | While Tinder had been a household name for years, its cultural clout was starting to be poached by rising competitors like Bumble and Hinge. Tinder needed a (positive) cultural splash to establish its spot as the premier dating app.At the same time, Tinder was facing user fatigue, particularly among Gen Z. Users were browsing through profiles mindlessly, just to pass the time and had no real intention of connecting with other people.Thus, our objectives were as follows:1) Create cultural momentum for the brandSpark excitement: measured by total earned media impressionsIncrease social conversation: measured by related social activity on TwitterEnhance brand sentiment: measured by Tinder’s brand sentiment on Twitter2) Generate meaningful activity inside the appDrive engagement: measured by total views of our original contentCompel users to connect more: increase the number of likes and matchesInspire users to chat more: increase the number of messages |
| Tipo di Media | Case Study |
| Lunghezza | |
| Sound Design / Music Company / Music | Q Department |
| VFX Company | MPC LA |
| Sr. Film Producer | Leah Karabenick |
| Director | Sasie Sealy |
| Casa di Produzione | Bullitt Entertainment |
| Editing Company | Cabin Edit |
| Editor | Taylor-Tracy Walsh |
| VFX / Finishing | Shape + Light |
| Footage | Company 3 |
| Colorist | Jill Bogdanowicz |
12. Playstation / Play Has No Limits Feat. Kenshi Yonezu
| Titolo | Play Has No Limits Feat. Kenshi Yonezu |
| Agenzia | Hakuhodo |
| Campagna | Play Has No Limits |
| Cliente | Sony Interactive Entertainment Inc. |
| Marca | Playstation |
| Posted | Giugno 2022 |
| Settore | Consolles per Video Games |
| Tipo di Media | Interattivo |
| Lunghezza | |
| Agency | Six Tokyo |
| Agency | Hakuhodo Kettle Inc |
| Post Produzione | Geek Pictures |
| Post Produzione | Imagica Lab |
| Post Produzione | KHAKI |
| Post Produzione | MARK |
| Post Produzione | OMNIBUS Japan |
| Music | Reissue Recrods |
| Music Publisher | Sony Music Entertainment |
13. Activision / Scratchboards
| Titolo | Scratchboards |
| Agenzia | DAVID |
| Campagna | Scratchboards |
| Cliente | Activision |
| Marca | Activision |
| Posted | Giugno 2022 |
| Settore | Giornali, Libri, Periodici |
| Tipo di Media | Esterna |
| Lunghezza | |
| Board Production | Bait Shoppe |
| Casa di Produzione | 900 Films |
| Chief Creative Officer | Pancho Cassis |
| Chief Operating Officer (COO) | Sylvia Panico |
| Executive Creative Director | Saulo Rocha |
| Executive Creative Director | André Toledo |
| Copywriter | Guilherme Pinheiro |
| Art Director | Pedro Gabbay |
| Art Director | Rafael Ochoa |
| Art Director | Camilo Jiménez |
| Illustrator | Pedro Gabbay |
| Illustrator | Fabio Vido |
| Illustrator | Rafael Ochoa |
| Head of Production | Brenda Morrison Fell |
| Head of Production | Alejandro Falduti |
| Producer | Thiago Zveiter |
| Producer | Santi Lardín |
| Editor | Cristian Migueliz |
| Head of Account Management | María García Herranz |
| Account Supervisor | Irene León |
| Chief Marketing Officer (CMO) | Fernando Machado |
| Client Chief Creative Officer | Pelle Sjoenell |
| Advertising Manager | Oliver Cook |
| Advertising Manager | Joyce Chang |
| Public Relations | Katy Marshall |
| Creative Lead | Evan Starkman |
| Lead Producer | Remy Groh |
| Content | Keith Brady |
| Fabrication Lead | Remy Groh |
| Designer | Madelyn Veller |
| Production Account Support | Alyson Galuppo |
| Director | Jared Prindle |
| DP | Cameron Sanchez |
| Producer | Galina Cooper |
| Gaffer | Chris Andrus |
| Key Grip | James Allen |
| Swing | Dylan Melly |
| VTR/Stream | Rico Molder |
| HMU | Prell Chaurusanti |
| Location Manager | Cierra Javier |
| Production Assistant | Alim Ahamad |
| Photographer | Davit Ruiz |
| Executive Producer | Irene Paz |
| Producer | Leti Duarte |
14. Lotto Max / DREAM DROP
| Titolo | DREAM DROP |
| Agenzia | FCB Canada |
| Campagna | Dream Drop |
| Cliente | Ontario Lottery and Gaming Corporation |
| Marca | Lotto Max |
| Posted | Giugno 2022 |
| Settore | Intrattenimento vario |
| Tipo di Media | Interattivo |
| Lunghezza | |
| Media Agency | Mediacom |
| Music | Grayson Music |
| Casa di Produzione | Common Good |
15. Xbox / Therapeutic Play
| Titolo | Therapeutic Play |
| Brief | The charity Gamers Outreach partnered with Xbox to create ‘Therapeutic Play’, a reinvention of gaming as a tool to help aid recovery for children in hospitals. It was all made possible by an innovation – part console, part hospital equipment – that made gaming in the medical environment a reality, and one that was impossible for regular consoles to achieve due to cost and hygiene. The kart, powered by Xbox, was specially designed for the hospital setting, with medical-grade materials for sanitation, ergonomic trays for hospital devices, swivel wheels to transport around the wards and a shape that would work with other hospital furniture. Suddenly, gaming became not just a bit of fun, but part of the recovery process, aiding children’s mental health through connecting with others in similar situations, and playing a part in their physical recovery by keeping them engrossed as medical staff treated them. |
| Agenzia | McCann London |
| Campagna | Therapeutic Play |
| Cliente | Microsoft |
| Marca | Xbox |
| Posted | Novembre 2022 |
| Settore | Consolles per Video Games |
| Trama | Gaming gives everyone a way to escape, but some people have more to escape than others. Children who spend long periods in hospital can feel not just isolated, but their conditions can actively worsen due to the trauma and anxiety that the hospital environment can cause. The objective was to help these children thrive in the toughest of circumstances. |
| Tipo di Media | Case Study |
| Production | Hungry Man |
| Post Produzione | Company3 |
| Post Produzione | Native Music |
| Chief Creative Officer | Rob Doubal |
| Chief Creative Officer | Laurence Thomson |
| Executive Creative Director | Jamie Mietz |
| Executive Creative Director | Sanjiv Mistry |
| Creative Director | William Cottam |
| Creative Director | James Crosby |
| Chief Client Officer | Jessica Tamsedge |
| Global Business Lead | Sailesh Jani |
| Business Director | Melanie Vickers |
| Business Director | Oscar Flintoft |
| Account Director | May Sinlapa |
| Account Director | Katie Hawker |
| Account Associate | Sophie Toy |
| Project Manager | Clare Prager |
| Project Manager | Georgia Wettenhall |
| Project Manager | Vicki Lam |
| Project Manager | Nora Weber |
| Strategy Director | JJ Bender |
| Chief Production Officer | Ben Clark |
| Executive Producer | Alec Christie |
| Senior Producer | Doug Wade |
| Post Produzione | Alex Blowers |
| Editor | Xavier Perkins |
| Sound Designer | Gurdeep Singh |
| Mix | Gurdeep Singh |
| Editor | Andy Williams |
| Business Affairs | Monique Naraina |
| Colorist | Yoomin Lee |
| Casa di Produzione | Hungry Man |
16. Meow Wolf / Convergence Station
| Titolo | Convergence Station |
| Agenzia | Wieden + Kennedy |
| Campagna | Convergence Station |
| Cliente | Meow Wolf |
| Marca | Meow Wolf |
| Data di Prima Diffusione/Publicazione | 2021 |
| Settore | Media/Editoria |
| Tipo di Media | Interattivo |
| Lunghezza | |
| Casa di Produzione | Biscuit Filmworks LA |
| Director | Andreas Nilsson |
| Post Produzione | Academy |
| Post Produzione | Absolute Post |
| Partner / Managing Director | Shawn Lacy |
| Executive Producer | Holly Vega |
| Head of Production | Sean Moody |
| Producer | Jay Veal |
| Direttore della fotografia | Pepe Gay |
| Production Designer | Ivan Trivino |
| Executive Producer | Eric Baldwin |
| Creative Director | Jason Kreher |
| Creative Director | Matt Sorrell |
| Art Director | Nate Nowinowski |
| Copywriter | Alex Romans |
| Executive Producer | Jules Brown |
| Producer | Nick Ocean |
| Design Producer | Sarah Starr |
| Design Director | Mike Weihs |
| Designer | Charlie Hilton |
| Designer | Matt Bblum |
| Editor | Tommy Harden |
