Tagged: CREDITS

Ad of the Day: First Ad From McDonald’s New Agency Says ‘There’s a Big Mac for That’

McDonald's made headlines late last year for consolidating its $800 million-plus advertising business with a new dedicated unit inside Omncom called We Are Unlimited.

That division's first campaign for the fast-food giant launched today, and its primary goal is positioning the one and only Big Mac as a sandwich for everyone … no matter your appetite or your circumstance. 

As you can see in the spot below, line drummers, rock drummers, ballers, boarders and gamers can all agree: There's a Big Mac for that! 

Before moving its business to Omnicom, McDonald's made a big push to promote its All Day Breakfast offering along with former creative lead Leo Burnett, part of Publicis Groupe. Now it's focusing on the new multi-sized Big Mac. 

The new work marks a strategic shift focused on reaching consumers where they live, aka every available digital platform. In addition to the national TV ad buy covering the Grammys, Oscars and Super Bowl pre-game, McDonald's will run versions of this campaign on Snapchat, Facebook, Instagram, Twitter and YouTube. 

At last year's Advertising Week, McDonald's chief marketing officer Deborah Wahl elaborated on the "5,000 pieces of content" strategy embodied by this work and a parallel campaign in which the chain will give away 10,000 bottles of its literal Big Mac secret sauce via live social media video streams.

According to the release, this creative is intended to mimic "a hip-hop music video." It was directed by We Are From LA, the duo behind Pharrell's "Happy."

Those averse to change shouldn't worry, though: While "There's a Big Mac for That" will appear throughout this campaign, "I'm Lovin' It" remains the brand's main tagline. And despite The Onion's hard-hitting 2014 reports, "Lovin' Beats Hatin'" has yet to appear in any McDonald's spots.

CREDITS
Client: McDonald's

Agency: We Are Unlimited
Chief Executive Offier: Brian Nienhaus
Chief Strategic Officer: Graceann Bennett
Chief Production Officer: Jon Ellis
EVP,ECD: Christina Yu
Creative Director: Jennifer Rossini
AD: Andrea Knowles, Patrick Shing, Eric Carriere, Catherine Wong, Meagan Patry
Copywriters:  Lauren Riddoch, Phil Hahn, Benjamin O'Neill, Angeline Parsons
Group Account Director: Matthew Schabdach
Account Supervisor: Samantha Hess
Account Executive: Katelyn Ledford
Account Manager: Tom Briggs
Retail Senior Account Director: Devin Hauser

Zocalo Group
EVP, Strategic Planning: Emily Bader
Senior Account Executive: Becca Toth

Production
Director: We Are From LA
Producer : James Groves
Prod. Comp:  Iconoclast
Editor: Cutters Chicago Grant Gustavson
Music: South
Photographer: Stephen Hamilton

Article originally appeared on Adweek Advertising & Branding: Link.

The Coen Brothers Have Directed Their First Super Bowl Ad

Fans of the Coen Brothers can look out for their work during the Super Bowl on Feb. 5.

Joel and Ethan Coen have directed their first Super Bowl ad, a 30-second spot for the Mercedes-AMG brand, a new point of differentiation from the luxury automaker.

"We are now switching from AMG as a proof point for Mercedes-Benz performance to AMG as its own brand," explained Drew Slaven, vice president of marketing for Mercedes-Benz USA. "It's still part of the Mercedes-Benz family—it's called Mercedes-AMG—what we're really beginning to do is put the AMG piece of it front and center."

The high-energy ad is a tribute to the 1969 film Easy Rider; the film's star, Peter Fonda; and its famed soundtrack, Steppenwolf's "Born to be Wild." It will debut during the fourth quarter of Super Bowl LI.

A 60-second extended version is below:

"[The AMG brand] is known by performance drivers but not as much by a broader community, and that's why we went to the single best way to [introduce it to a broader audience], which is a television commercial in the Super Bowl," Slaven said. 

He added: "Peter Fonda plays a critical piece of the storyline, and he's known as someone who still epitomizes what it is to love driving performance and the open road. … The film [Easy Rider] component goes back 48 years. We thought there was a nice parallel that was set up between the era of that and what was, in 1967, the beginnings of AMG." 

For more Super Bowl LI news, check out Adweek's Super Bowl Ad Tracker, an up-to-date list of the brands running Super Bowl spots and the agencies involved in creating them.

CREDITS

Agencies:
Antoni – Germany
André Kemper, Chief Creative Officer / Founder
Dr. Tonio Kröger, Managing Partner / Founder
Marcell Francke, Creative Director
Stephan Schaefer, Creative Director
Mark Róta, Executive Producer
Guelcan Demir, Account Director
Moritz Pfingsten, Account Director

Merkley + Partners – USA
Andy Hirsch, Chief Creative Officer / Chairman
Alex Gellert, CEO
Gary Grossman, Director of Broadcast Production
Alex Kobak, Senior Producer
Diane delisa, Director of Business Affairs
Cynthia Davis, Chief Client Officer
Lisa Mannarelli-Puleo, EVP / Group Account Director
Beth Liss, Group Account Director

Production Company:
Company Films
Joel Coen, Director
Ethan Coen, Director
Dan Hainey, DP
Ron Neter, Line Producer
Robin Benson, Executive Producer
Executive Producer, Richard Goldstein
Head of Production, Ari Schneiderman

Editorial Company:
Final Cut NY
Rick Russell, Editor
Jen Sienkwicz, Producer
Sarah Roebuck, Executive Producer
UK Loading Assistant, Mike Radforth
NY Cutting Assistant, Geoff Hastings

Visual Effects:
Blacksmith
Tom Bussell, VFX Lead
Iwan Zwarts, Lead Compositor
Daniel Morris, Compositor
Liz Lyons, Compositor
Michael Dunkey, CG FX Artist
Rotoscoping, Trace VFX
Tracking, Bogdan Mihajlovic
Megan Sweet, Producer
Charlotte Arnold, Executive Producer

Color Grading:
Company 3
Tom Poole, Colorist

Music:
"Born To Be Wild" – Steppenwolf

Audio Post:
Heard City
Phil Loeb, Sound Mixer

Trinitite Studios:
Brian Emrich, Sound Designer

Article originally appeared on Adweek Advertising & Branding: Link.

The Coen Brothers Return to the Super Bowl After 15 Years With This Mercedes Ad

Fans of the Coen Brothers can look for their work during the Super Bowl on Feb. 5.

Joel and Ethan Coen have directed a new Super Bowl ad, their first in 15 years—a 30-second spot for the Mercedes-AMG brand, a new point of differentiation from the luxury automaker.

"We are now switching from AMG as a proof point for Mercedes-Benz performance to AMG as its own brand," explained Drew Slaven, vice president of marketing for Mercedes-Benz USA. "It's still part of the Mercedes-Benz family—it's called Mercedes-AMG—what we're really beginning to do is put the AMG piece of it front and center."

The high-energy ad is a tribute to the 1969 film Easy Rider; the film's star, Peter Fonda; and its famed soundtrack, Steppenwolf's "Born to be Wild." It will debut during the fourth quarter of Super Bowl LI.

A 60-second extended version is below:

"[The AMG brand] is known by performance drivers but not as much by a broader community, and that's why we went to the single best way to [introduce it to a broader audience], which is a television commercial in the Super Bowl," Slaven said. 

He added: "Peter Fonda plays a critical piece of the storyline, and he's known as someone who still epitomizes what it is to love driving performance and the open road. … The film [Easy Rider] component goes back 48 years. We thought there was a nice parallel that was set up between the era of that and what was, in 1967, the beginnings of AMG." 

The Coens directed a spot for H&R Block in the Super Bowl 15 years ago, and one for Honda 18 years ago, according to agency Merkley + Partners, which worked on the spot with Germany agency Antoni. 

For more Super Bowl LI news, check out Adweek's Super Bowl Ad Tracker, an up-to-date list of the brands running Super Bowl spots and the agencies involved in creating them.

CREDITS

Agencies:
Antoni – Germany
André Kemper, Chief Creative Officer / Founder
Dr. Tonio Kröger, Managing Partner / Founder
Marcell Francke, Creative Director
Stephan Schaefer, Creative Director
Mark Róta, Executive Producer
Guelcan Demir, Account Director
Moritz Pfingsten, Account Director

Merkley + Partners – USA
Andy Hirsch, Chief Creative Officer / Chairman
Alex Gellert, CEO
Gary Grossman, Director of Broadcast Production
Alex Kobak, Senior Producer
Diane delisa, Director of Business Affairs
Cynthia Davis, Chief Client Officer
Lisa Mannarelli-Puleo, EVP / Group Account Director
Beth Liss, Group Account Director

Production Company:
Company Films
Joel Coen, Director
Ethan Coen, Director
Dan Hainey, DP
Ron Neter, Line Producer
Robin Benson, Executive Producer
Executive Producer, Richard Goldstein
Head of Production, Ari Schneiderman

Editorial Company:
Final Cut NY
Rick Russell, Editor
Jen Sienkwicz, Producer
Sarah Roebuck, Executive Producer
UK Loading Assistant, Mike Radforth
NY Cutting Assistant, Geoff Hastings

Visual Effects:
Blacksmith
Tom Bussell, VFX Lead
Iwan Zwarts, Lead Compositor
Daniel Morris, Compositor
Liz Lyons, Compositor
Michael Dunkey, CG FX Artist
Rotoscoping, Trace VFX
Tracking, Bogdan Mihajlovic
Megan Sweet, Producer
Charlotte Arnold, Executive Producer

Color Grading:
Company 3
Tom Poole, Colorist

Music:
"Born To Be Wild" – Steppenwolf

Audio Post:
Heard City
Phil Loeb, Sound Mixer

Trinitite Studios:
Brian Emrich, Sound Designer

Article originally appeared on Adweek Advertising & Branding: Link.

Ad of the Day: Let This Weird Guy Be Your Tasting Buddy During a 40-Minute Beer Ad

If you like beer and awkward, creepy-eyed humor, you'll probably enjoy this campaign from a U.K. craft brew club.

Edinburgh-based Beer52.com ships different kinds of craft beer to members each month. To celebrate a collaboration with popular Escondido, California, brewer Stone Brewing, the website and agency Grey London created a 40-minute ad (below) featuring a new spokesmen, "Beer Buddy."

For those viewers with less than 40 extra minutes on their hands, a one-minute trailer captures the spirit of the character, who is weird and lonely and a little bit of an asshole, but likes to drink beer in his rich uncle's gaudy den, all of which makes him an ideal candidate to be your new best friend.

To put it differently, Beer Buddy—played by comedian Lee McQueen—looks and acts like the thirsty lovechild of Russell Brand and Zach Galifianakis. There's even a fern in the background of the shot … but just one.

There are cameos from costars like his housemate (an exchange student who is the apparently even more creepy uncle's housekeeper and lover), the old lady next door, and a kebab delivery guy. In other words, the more of the full-length version you watch, the more uncomfortable silences you'll enjoy while you sip your Stone brews alongside him.

It's Beer52's first ever commercial, and a pretty strong opener.

"We read that ad agencies are making commercials that are maybe five seconds long, on account of how short people's attention spans have become," says co-founder Fraser Doherty. "That told us everything we needed to know. We were going to go the other way and shoot what is probably the world's longest beer ad ever."

Unfortunately—or perhaps fortunately—for Doherty, that dubious title still probably goes to Canadian brewer Kokanee's feature-length bro comedy about a rager in the wilderness, The Movie Out Here, as created by agency Grip Ltd.

But maybe Beer Buddy can land a role in the (as yet unannounced) sequel, tentatively titled The Hangover 17.

CREDITS
Starring: Lee McQueen as Beer Buddy
Emily Wyatt as Vilma
Emma Barker as Doris
Nick Vickery as Kebab guy
Director: J Marlow
DOP: Bjorn Bratberg
Camera Assitant: Austin Philips
Written by: J Marlow, Henrik Ridderheim, Lee McQueen
Producer/1st AD: Elliot Tagg
Production Assistant: Shea Colman
Production Assistant: Harry Davidage
Post Producer: Callum Johnston
Editor: Matt Newman
Art Dept: Charlie Whiteway
Costume: Poppy Bell
Make up: Ruth Pease
Gaffer: Darren Jackson
Sound: Hugh Griffith

Article originally appeared on Adweek Advertising & Branding: Link.

Will Febreze’s First-Ever Super Bowl Ad Pass the Smell Test?

Febreze doesn't want you to stink up the bathroom on Super Bowl Sunday.

In fact, the Procter & Gamble brand's first-ever big-game commercial, developed by Grey New York, suggests folks use Febreze during their halftime potty break to keep such potentially smelly situations under control.

Airing in the second quarter, the 30-second spot focuses on the fact that millions of viewers rush to their toilets at the mid-point break in the action. 

"I love you, halftime bathroom break," begins comic actress Kathryn Hahn (Crossing Jordan, Parks and Recreation, Transparent) in the voiceover of the teaser below. "On Super Bowl night, for two-plus hours of can't-see football and must-see commercials, we do the unthinkable—we hold it, until the halftime whistle blows."

The full :30 rolls out this coming Monday. Meanwhile, here's a teaser:

Febreze with OdorCare, "our toughest [odor-eliminating] formula to date … is the largest product innovation since our inception nearly 18 years ago," Martin Hettich, vp of P&G Home Care North America and Brand Franchise Leader for Global Air Care, tells Adweek. "We have no pre-game jitters. We are really excited for the work, and we think it will drive a head nod and laugh from the millions of game-watching fans who can relate to the halftime bathroom break."

The Super Bowl splurge is part of the brand's broader new "Odor Odes" campaign, with more ads voiced by Hahn, including this funky little furniture number starring a scent-obsessed dude with an incredibly itchy Febreze trigger finger:

Bro, if it reeks that bad, maybe train Rover to stay off it. Or get a new sofa!

CREDITS
Client: P&G / Febreze

Agency: Grey New York
Chief Creative Officer, Grey New York: Andreas Dahlqvist
Executive Creative Director, Grey New York: Jeff Stamp
Executive Creative Director, Grey New York: Leo Savage
Creative Director, Grey New York: Lance Parrish
Creative Director, Grey New York: Stephen Nathans
Associate Creative Director, Grey New York: Patrick Conlon
Associate Creative Director, Grey New York: Will Gardner
Copywriter: David Mattera, Cuanan Cronwright, Leo Barbosa
Project Director: Hank Romero
Strategy Director, Grey New York: Justine Feron
Strategist, Grey New York: Toni Dawkins
EVP / Global Account Director, Grey New York: Rick Reilly
SVP / Global Account Director, Grey New York: Mercedes Campos
VP / Account Director, Grey New York: Kelly Norris
Account Supervisor, Grey New York: Tim Carpenter
Account Executive, Grey New York: Stephen Koepp
Assistant Account Executive, Grey New York: Hannah Byrne

Production Agency: Townhouse
Townhouse President: Bennett McCarroll
Townhouse SVP Head of Integrated Production: James McPherson
Townhouse Exec. Integrated Producer: Tania Salter
Townhouse Integrated Producer: Emily Darby
Townhouse Music Producer: Zach Pollakoff, David Lapinsky
Production Company: Knucklehead
Executive Producer: Cathleen Kisich
Director: Rob Leggatt
Director of Photography: Ben Davis
Music/Sound Design: Townhouse Studios
Principal Talent: Kathryn Hahn

Editorial: Final Cut
Editor: Joe Guest
Executive Producer: Sarah Roebuck
Head of Production: Jen Sienkwicz
Producer (NY): Brad Wood
Producer (UK): Frankie Elster
Assistant Editor (NY): Dan Berk
Assistant Editor (UK): Kit Wells

Postproduction Company: Significant Others
Creative Director: Dirk Greene
Lead VFX Artist: Dirk Greene
VFX Artist: Betty Cameron
VFX Artist: Eric Gelgand (freelance)
GFX Artist: Phillip Brooks
GFX Artist: Will Kim (freelance)
VFX Producer: Alek Rost

Telecine Company: Color Collective
Colorist: Alex Bickel
Executive Color Producer: Claudia Guevara

Content Curation & Clearances: Catch&Release

Article originally appeared on Adweek Advertising & Branding: Link.

Taco Bell Debuts Spicy Fried Chicken Shell Chalupa at New York Speakeasy

From the Doritos Locos taco to the cheese-stuffed Quesalupa, which debuted at last year's Super Bowl, Taco Bell is known for creating wacky yet often pretty delicious menu items that get its fans talking.

The fast-food chain is at it again—this time, with a chalupa shell made of fried chicken. The Naked Chicken Chalupa—available nationwide for the next five weeks and boasting a spicy fried chicken shell filled with lettuce, tomato, cheese and avocado ranch sauce—is Taco Bell's attempt to capitalize on the growing popularity of fried chicken in the QSR segment.

One TV spot for the chalupa compares it to other seemingly crazy inventions throughout history, like the car, rock 'n' roll and the internet.

At the center of its promotional campaign, developed by Deutsch L.A., is the fictional Council for Eating Fried Chicken the Same Way You Always Have.

A website and Twitter account for the "council," as well as a TV spot, are modeled after propaganda PSAs from the '50s, except instead of warning against the dangers of sex, drugs or communism, the ads promote eating traditional, safe fried chicken dinners, warning against the chalupa's "rebel shell … a delicious, golden brown nightmare … that continues to plague the nation."

Callers to a toll-free hotline, 1-844-DRUMSTK, will hear automated messages from the council. Callers can press 1 for "tips on how to recognize warning signs of naked chicken chalupa consumption" or press 4 to "learn what you can do to help combat the naked chicken chalupa menace." 

"We're trolling ourselves with this council in an amazingly distinctive style," said Marisa Thalberg, Taco Bell's CMO.

Taco Bell brought the fictional council to life this week in New York with a pop-up event, the Taco Bell Speakeasy. Fans entered the fictional council, tricked out in 1950s-era décor and fried chicken propaganda posters, and then went behind a mystical purple door to enter the speakeasy, where they could sample the chalupa and sip on specialty tequila and vodka cocktails.

"For these big launches, we want to be brilliant in the expected ways, like on TV, but also in unexpected ways, like an event that's a speakeasy, or the 800 number or Twitter feed," Thalberg said. "All of it supports the idea that this product is delicious and people are going to want to try it."

The Council for Eating Fried Chicken the Same Way You Always Have comes to life at the pop-up.

 

Thalberg said there's "not really a playbook" for why the brand is sitting out the Big Game this year. Taco Bell's last big product launch, the Quesalupa, took place during last year's Super Bowl. The brand slowly rolled out the cheese-filled concoction by releasing a redacted press release for its Super Bowl spot, which featured James Harden and soccer star Neymar.

"If people were expecting us to be in the Super Bowl, in a way, it's a reason for us not to be in the Super Bowl," she said. "I'm totally glad we did it last year, and I'm completely satisfied with the fact that we're not doing it this year. For us, it's not about being in the Super Bowl; it's about having a big launch." 

CREDITS:

Client Credits:
Chief Marketing Officer: Marisa Thalberg    
Brand Creative Director: Tracee Larocca    
Manger, Advertising: Brian Darney
Associate Manager, Advertising: Kenny Heinau
Food Consultant: Carolyn Avelino
   
Deutsch Credits and Titles:
Creative Credits:
Chief Creative Officer, North America: Pete Favat
Executive Creative Director:  Brett Craig   
Executive Creative Director: Bob Cianfrone   
Creative Director:  Ken Slater
Creative Director: Rich Ford
Art Director: Albert Breitwieser
Copywriter: Bobby O'Neill   
Director of Integrated Production: Vic Palumbo
Executive Integrated Producer: Paul Roy  
Senior Integrated Producer: Jamie Gartner      
Music Supervisor:  Eryk Rich
Audio Producer: Chase Butters     
        
Account Management Credits:
Group Account Director: Walter Smith       
Account Director: Kristie Weston   
Account Supervisor: Kelly Childers    
Senior Account Executive: Chelle Toulouse   
Assistant Account Executive: Estevan Palomino  

Account Planning: 
Co-Director of Strategy:  Lindsey Allison   
Associate Strategy Director: Armando Potter 
       
Business Affairs/Traffic:
Director of Integrated Business Affairs:  Abilino Guillermo
Executive Business Affairs Manager: Ken Rongey    
Director or Broadcast Traffic: Carie Bonillo
Associate Broadcast Traffic Manager: Anna Brito
Associate Broadcast Traffic Manger: Ana Barraza   
  
Executives:
CEO, North America:  Mike Sheldon
President, Los Angeles:  Kim Getty

Live Action Production Company
Production Company:  Gifted Youth
Director: Peter Atencio
Executive Producer: Dal Wolf
EP of Production: Anthony Ficalora
Producer: Stephan Mohammed

Editorial Company
Production Company:  Cut+Run
Editor: Frank Effron
Assistant Editor: Tim Sekiguchi
Executive Producer: Amburr Farls
Producer:  Jared Thomas

Post Facility
Production Company:  C03
Senior Colorist:  Dave Hussey

Post/VFX:
Production Company:  Method
Executive Producer:  Robert Owens
Producer: Stephanie Allis
Lead Flame Artist: Thomas Downs

Licensed/Composed Music, Credits and Track Info:
Motive Music

Audio Post Company:
Production Company  Lime
Executive Producer: Susie Boyajan
Mixer: Mark Meyuhas
Assistant Mixer: Peter Lapinski

Article originally appeared on Adweek Advertising & Branding: Link.

Snickers Turned Its Preroll Ads Into Wacky Little Video Games You Can Actually Play

From Snickers' point of view, skipping its YouTube preroll ads is just as bad skipping one of the Mars candy brand's chocolaty treats when you're hungry. 

So, to boost viewer engagement in the prerolls, Impact BBDO in Dubai just unwrapped "Pre-Video Videogames"—ads you can actually play that are also packed with loud, silly hunger scenarios. 

In the first spot below, a school-bus driver behaves like a crazed WWE wrestler because he hasn't had a nosh. Users hit pause to try to help him snag Snickers bars that sail across the screen. 

Dude looks like a caveman. And he certainly shouldn't be driving while munching on a Snickers. Think of the children!

Next, a tennis umpire behaves like a member of Spinal Tap:

Has that guy been working the Australian Open? Rumble-tum officiating might explain those big upsets.

Impact BBDO has been trying to evolve the brand's long-running "You're not you when you're hungry" positioning. "The Warning," a goofy time-trip commercial, is another recent example, and the new "Pre-Video Videogame" spots take things a step further. (They will also run as traditional TV ads, minus the gamification.)

The results are diverting in a bone-headed kind of way, though with all due respect, this stuff seems far from unskippable.

CREDITS
Client: Snickers

Agency: Impact BBDO Dubai
Regional Executive Creative Director: Fadi Yaish
Creative Director: Jamie Kennaway, Stephanus De Lange
Associate Creative Director: Dio Santos
Regional Account Director: Frances McCabe
Senior Account Manager: Lina Ghulam
Editor Lead: Joris Bosdriesz
Motion Graphics Lead: James Keith Elgie
Senior Broadcast Producer: Anju Purushot
Broadcast Producer: Rajaa Chami
Post Producer: Ann Geleen Amparado

Production House: Good People
Director: Maged Nassar
Executive Producers:  Michel Abou Zeid
DOP:  Pierre Mouarkesh

Grade: Karim Mira, Lizard VFX

Online: Serena, Dubai
Producers: Mahmoud Al Jabban, Daniela Borges, Romy Raad
Flame Artist: Miguel Ruiz
Graphics: Gary Fedorenko, Yunus Ali

Music & Sound Design: Mango Jam, Dubai

Article originally appeared on Adweek Advertising & Branding: Link.

Can’t Deal With People? These Cringey Ads Say a Quick-Charging Phone Can Help

A few weeks ago, I went on a trip. By the time I arrived at the airport, my phone was a dead brick—obliging me to hunt down the nearest charging station and, upon spying one, immediately elbow in and seize it. 

But you're never really alone at a charging station. I was sharing this one with a woman in the middle of a heated argument with somebody on her phone—still plugged in, just above mine. 

I didn't want to be there, anxiously checking my social networks and waiting to be released. She clearly didn't want me there. But we were using a public utility, and we had to make do. So we sat very close together, each of us pretending the other woman didn't exist at all, and tried to continue our individual life trajectories unencumbered. 

As she arched her back and shouted "WHY DON'T YOU GO LIVE WITH HIM?" our arms touched, tense yet somehow still feather-soft on contact, because that's the way you politely touch someone that you're trapped next to. 

Perhaps inspired by moments like this, smartphone startup One Plus released two ads that focus on how quickly you can charge your phone and, in essence, run away

Made by Carrot Creative, the first, titled "Just Kidding," opens with two women sharing a charging station in a café. One is a mother whose children are playing tug-of-war with her listless body while she checks her messages. The other woman watches, with growing anxiety, as those tiny human nightmares explore more sadistic ways to attract attention. 

"I'm charged," she says when it becomes clear that the stakes are about to go way, way up.

OnePlus smartphones, powered by the brand's exclusive Dash Charge technology, promise users "a day's power in half an hour." It's able to do this with a larger electric current that maintains a steady hyper-fast charging speed, even if you're using your phone while it's plugged in. 

A second ad, "Mr. Roboto," might resonate with anyone who's still shaking off a CES hangover. 

A woman shares a charging station with a guy playing a VR game. He's wearing sandals over socks and his pants don't fit, a caricature straight out of Revenge of the Nerds—long-limbed, awkward, poorly dressed and unaware of where he begins and ends, a problem exacerbated by his headset.

He's also got a whole media array plugged into the shared station, and appears to be wearing some sort of disgusting phone harness. As he jerks around, invading space, the OnePlus owner stares. Then, quick as anything, she leaves. 

The ads do their job well. We resent the quiet, condescending stares of OnePlus' protagonists, but recognize the situation they're in—trapped way too close to people whose lives appear to be an expanding hot mess. In the mental battle between elitism and convenience, where are you most likely to bend? 

Then again, if the paragons of preparedness shown here were real people, they probably would have done what lots of people do already—bought a mobile charger. It does the job just as well. And if you're so wary of the chaos of human contact, you don't have to stop at the plebeian charging station at all. 

CREDITS
Client: OnePlus

Agency: Carrot Creative
Account Director:  Anne Flavin
Account Supervisor:  Rachel London
Producer:  Rucyl Mills
Creative Director:  Tyler Pierce
Art Direction:  Alex Rainone
Copywriter:  Bennett Einbender
Illustration:  Adam Lowe
Animation: Whitney Brown

Pulse Films LA
Executive Producer:  Casey Engelhardt
Producer:  Caroline Oliveira
Director:  Brendan Hearne
Director of Photography: David Wilson
Editor: Jarrah Oliveira 

Article originally appeared on Adweek Advertising & Branding: Link.

Heinz Is Skipping the Super Bowl, but Has This Idea for the Monday After

Sorry, "Weiner Stampede" fans. Heinz Ketchup, makers of last year's much-loved, dachshund-filled Super Bowl commercial, is sitting out this year's game. But it's not completely disconnecting from Super Bowl weekend. 

The brand today launches a grassroots campaign to get the Monday after the Super Bowl—when everyone is a bit cranky, or even calling in sick to work, after a night of partying—to be declared a national holiday. 

The brand has started an official Change.org petition to "make Monday more like Sunday." The new holiday, Heinz says, should be "Smunday."

This comical video explains further: 

This isn't the first time a brand has proposed this. Coke Zero did the same thing in 2012. 

"The inspiration came from a conversation people have been having for years," Nicole Kulwicki, head of the Heinz brand, admits to Adweek. "Here at Heinz, we are all about never settling when it comes to taste or quality of condiments, and never settling when it comes to the day after one of the best sports days of the year." 

Yes, a push for a national holiday the day after the Super Bowl is goofy and tongue-in-cheek. But Kulwicki says the brand is committed to trying to make it happen. The goal is to get 100,000 signatures on the petition. 

"That's how many we think we need to get Congress to take us seriously," she says. "We're doing this in good fun, but with the intent that it will actually become a national holiday." 

To signal the company's commitment to the cause, all employees at Kraft Heinz offices in the U.S. will be given Feb. 6 off this year. 

"Wiener Stampede," by David Miami, was the No. 2 spot on 2016's USA Today Ad Meter. But despite that success, Kulwicki says the brand wanted to go in a different direction.

"We loved 'Wiener Stampede' as well," she says. "It was a great way for us to introduce the full Heinz Ketchup family. This year we're doing something different. We're always looking for ways to connect with our consumers. This is a cause that we felt that the American public feels strongly about. And we really wanted to rally behind that effort."

The video above will be shared digitally; there is no TV buy.

The campaign was created by agencies David Miami, Starcom, PureRED | Ferrara and Alison Brod Marketing + Communications.

CREDITS
Client: Heinz

VP of Marketing: Michelle St Jacques
Brand Director: Nicole Kulwicki
Brand Manager: Melissa Casey

Agency: David Miami
Chief Creative Officer, Founder: Anselmo Ramos
Managing Director: Paulo Fogaça
Creative Director: Russell Dodson
Creative Director: Tony Kalathara
Design Director: Carlos Lange
Art Director: Curtis Caja
Copywriter: Ian Holmes
Group Account Director: Michelle Cobas
Account Director: Carlos Rangel
Account Supervisor: Rafael Giorgino
Director of Strategic Planning: Jon Carlaw
Head of Global Production: Veronica Beach
Producer: Carlos Torres
Business Manager: Barbara Karalis

Production Company: B-Reel Films
Director: Simon Cole
Co-Founder/COO – Pelle Nilsson
Managing Director/Executive Producer – Michael McQuhae
Executive Producer – Jason Botkin
Head of Sales /Executive Producer – Bryan Farhy
Head of Production – Kelly Martin
Producer – Rachel North

Editing: Cut and Run
Executive Producer: Amburr Farls
Editor: Jay Nelson
Post Producer: Emilie Talermo
Assistant Editor: Eli Beck-Gifford

Music/Final Audio: Beacon Street Studios
Executive Producer: Adrea Lavezzoli
Music/Final Audio: Beacon Street Studios / Vapor Post
Executive Producer: Adrea Lavezzoli
Mixer: Jose Toldeo

Online: Jogger
Executive Producer: Rich Rama
Flame Artist: David Parker
Color: Apache
Producer: Stefanie Schaldenbrand
Colorist: Taylor Black

PR Agency: Alison Brod Marketing + Communications

Media agency: Starcom

Digital agency: PureRED|Ferrara

Article originally appeared on Adweek Advertising & Branding: Link.

Ad of the Day: Cisco Gives a 360 Tour of the Mind-Bending Space Hotel of the Future

There's a Chris Van Dusen book that my kids love called I Built a House, in which a boy sketches his wild and futuristic dream home, which includes an underwater room, a car-racing room, a zero-gravity room and a room with jets that detaches and flies around the neighborhood.

Cisco, working with Goodby Silverstein & Partners, just did something a bit similar, enlisting an interior designer, a space explorer, an astronautics professor and a travel expert to imagine what a space hotel might look like in a future age of galactic tourism.

The experts used Cisco Spark—a set of team messaging, online meeting and whiteboarding tools—to brainstorm during the project. Then GS&P made a short film about it, as well as an immersive 360 video tour of the hotel, including the lobby, bedrooms, dining area, observation deck and zero-G swimming pool. 

Check out the 360 experience here:

And the short film here:

"Late last year, both President Obama and Elon Musk announced plans for a trip to Mars, so this idea doesn't seem that far fetched," says Will Elliott, associate partner and creative director at GS&P. "Our new campaign shows how Cisco Spark helps teams turn big ideas, such as the galaxy's first space hotel, into reality."

"What's really interesting is today's technology is enabling the move from fiction to fact," adds David Barnhart, a professor of astronautics and one of the Space Hotel collaborators. "We are all wanderers and explorers, and now it's time for us to look outside to space."

The other collaborators were Nicole Hollis, an interior designer; Anousheh Ansari, the first female private space explorer; and Brian Kelly, founder and CEO of The Points Guy.

Though clearly a bit outlandish as way of selling collaboration software, the Space Hotel is undeniably cool. The food ceiling, in particular, is a step up from your usual continental breakfast. And the observation deck is pretty awe-inspiring, too (particularly given the apparent lack of other guests to crowd your space).

The work continues Cisco's "There's Never Been a Better Time" campaign, introduced last May. "The platform's perpetual optimism fuels Cisco's drive to make formerly outlandish ideas, like a space hotel, reality," the brand says.

CREDITS
Client: Cisco

Agency: Goodby Silverstein & Partners
Co-Chairman: Rich Silverstein
Chief Creative Officer Margaret Johnson
Creative Director: Will Elliott
Creative Director: Patrick Knowlton
Art Director: Maggie Bradshaw
Copywriter: Jonathan Pelleg
Associate Design Director: Angie Elko
Art Director: Aaron Dietz
Copywriter: Mandy Dietz
Executive Producer: Hilary Coate
Sr. Producer: John Riddle
Account Director: Tanin Blumberg
Account Manager: Chris Nilsen
Account Manager: Sam Thayer
Brand Strategy Director: Mike Ronkoske
Brand Strategist: Nora Alibhai
Business Affairs Manager: Anna Diokno
Project Integration Director: Mallory Frye

Production & Post: Gentleman Scholar
Director: William Campbell
Director: Will Johnson
Director of Photography: Tom Banks
Executive Producer: Jo Arghiris
Head of Production: Rachel Kaminek
Sr. Producer: Jake Hibler, Kirsten Noll

Music/Sound Design: Yessian
CCO: Brian Yessian
Head of Production: Michael Yessian
Executive Creative Director: Andy Grush
Executive Producer: David Gold
Sr. Producer: Katie Overcash
Composer: Marc Jacobs, Daniel Johnson
Sound Design: Jeff Dittenber, Benjamin Lantz
Audio Mixing: Lime Studios, Rohan Young

—Ad: "Cisco Spark: 360 Space Hotel Tour"
Agency: Goodby Silverstein & Partners
Co-Chairman: Rich Silverstein
Chief Creative Officer Margaret Johnson
Creative Director: Will Elliott
Creative Director: Patrick Knowlton
Art Director: Maggie Bradshaw
Copywriter: Jonathan Pelleg
Associate Design Director: Angie Elko
Art Director: Aaron Dietz
Copywriter: Mandy Dietz
Executive Producer: Hilary Coate
Sr. Producer: John Riddle
Account Director: Tanin Blumberg
Account Manager: Chris Nilsen
Account Manager: Sam Thayer
Brand Strategy Director: Mike Ronkoske
Brand Strategist: Nora Alibhai
Business Affairs Manager: Anna Diokno
Project Integration Director: Mallory Frye

Production & Post: Gentleman Scholar
Director: William Campbell
Director: Will Johnson
Executive Producer: Jo Arghiris
Head of Production: Rachel Kaminek
Sr. Producer: Jake Hibler
Sr. Producer: Kirsten Noll
Technical Director: Tim Hayward
Designer: James Levy
Designer: Paul Kim
Designer: Juan Carlos Cuadra
3D Animator: James Lane
3D Generalist: Bill Maloney
3D Generalist: Kevin Lim
3D Modeler: Travis Mangaoang
3D Modeler: Mike DuPree
Lighter: Erick Schiele
Lighter: Patrick Surace
Lighter: Robin Kim
Lighter: Paul Hargrave
Compositor: Ryan Kaplan
Compositor: Rachel Choi
Compositor: Steven Escarcega
Compositor: Hector Cabrera

Music & Sound Design: Yessian
CCO: Brian Yessian
Head of Production: Michael Yessian
Executive Creative Director: Andy Grush
Executive Producer: David Gold
Sr. Producer: Katie Overcash
Composer: Nathan Padgett
Composer: David Voyzey
Composer: Dan Zank
Sound Design & 360 Binaural Audio Mix: Jeff Dittenber
Sound Design: Weston Fonger
360 Binaural Audio Mix: Scott Gatteno

Article originally appeared on Adweek Advertising & Branding: Link.