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“It would have been a total missed opportunity to not have someone like Boman and these other creators—when this is their bread and butter—not help us with that script,” Herren said. “When working with influencers, especially on TikTok, if it’s very clear that this is not something they would normally say or do, it’s just not going to perform or resonate with audiences at all.” TikTok users, for their part, have eagerly embraced the series. Two teaser videos offering previews of “Hydro House” received 9.7 million and 10.7 million views, respectively, and the series’s seven episodes amassed over 25.7 million collective views. Neutrogena also gained thousands of new TikTok followers during the two weeks the brand was releasing episodes to its channel, a brand spokesperson said. But the most notable metric of the campaign’s success for Herren has been the overwhelmingly positive response Neutrogena has received from TikTok users in comments on each of the videos, many of them stating they enjoyed the various episodes despite knowing they were ads. “This is the first time I’ve willingly watched an ad!” user @jaybaebay commented on one of the series’s trailers. On another video, @hellenkellers0nlyfanz’s comment “now this is an ad,” received over 19,000 likes. via Digital Marketing Education https://ift.tt/izMHOrw Black Sabbath frontman Ozzy Osbourne has gotten an office job. Wearing a white shirt like the rest of the bores, but still in eyemakeup, the other workers gossip about him. He swings around and asks “Which one of you wants a piercing?” This 15 second teaser is for the first appearance of software company Workaday in Super Bowl LVII. via Digital Marketing Education https://ift.tt/DOcGopj MLS Season Pass, which debuts Feb. 1, marks Apple’s first major push into the $68 billion US TV ad market. The company reached a 10-year deal last year to stream the men’s professional soccer league, which aired previously on ESPN, Fox and Univision, in a deal worth at least $250 million annually. Fans can buy MLS Season Pass for $15 a month, or $99 per season, through the Apple TV app. Apple’s sports ambitions have been growing. Last year, the company streamed Major League Baseball on Friday nights, but MLB sold the ads to those games. For MLS, Apple assembled its own sales team, led by Todd Teresi, the company’s vice president of advertising platforms, and has spent weeks meeting with ad buyers about sponsorships. Apple didn’t respond to requests for comment. Fox Corp. is also airing some MLS games this year. MLS has not been a particularly big draw on television. Its regular season audience on ABC and ESPN averaged 343,000 viewers per game last year. But live sports, especially soccer, have been attracting new subscribers to streaming services. Apple has been selling three MLS sponsorship packages. The most expensive, called “Gold,” costs about $4 million per season and includes the playoffs and integrations, like sponsoring a “Player of the Match,” the people said. Less expensive packages, called “Silver” and “Bronze,” cost about $3 million and $1.5 million per season. The company has told media buyers that it would allow ads from categories such as credit cards, alcohol and car rentals, one person said. It’s not unusual for a tech giant to be selective about who can advertise on its platform. Amazon.com, for example, wasn’t accepting commercials from beer companies during Thursday Night Football this past season. via Digital Marketing Education https://ift.tt/q4UDyLt Camp Lucky gives a warm welcome to producer Alex Bronner, a longtime friend and industry colleague who has officially joined the creative production and post studio. Alex has been on the production side of the creative process for over a decade, working alongside major brands and agencies. His producing experience includes projects for Yeti, Whataburger, Salvation Army, Levi’s, Garmin, Samsung, Orvis and many others. Alex first became acquainted with Camp Lucky through director Jeff Bednarz for whom he produced numerous projects both in collaboration with Camp Lucky and in conjunction with Rabbit Foot. These projects, along with a continuum of crew makes this an organic and seamless next step. “Having known many of the folks for some time, and having worked in the same community for many years, this is a very happy marriage that unites us formally and with shared passions and interests,” Alex explains. “Camp Lucky has a massively talented team and it is wonderful to be immersed in a community that cares deeply about creating quality content.” “Alex is a producer who time and time again delivers on-time and on-budget – without sacrificing creative integrity or production value along the way,” says Brandon Tapp, Executive Producer, Camp Lucky. “His insight and experience with branded content, and direct-to-client storytelling with an outdoor lifestyle focus, is unparalleled. Not to mention, his enthusiasm and thoughtfulness makes every collaboration with him a dream.” Alex is an Austin native who studied Commercial Planning and Development at University of Texas, ultimately applying many of the same tenants and understanding to the world of filmmaking and production. Having worked his way up from Production Manager and Coordinator before becoming a Producer, Alex has a deep understanding and appreciation for the collective process of creating content. via Digital Marketing Education https://ift.tt/g2rN0w9 The company posted a net loss of $288.5 million, or 18 cents a share, including $34 million in charges from its workforce restructuring. That compared to a profit of $23 million, or one cent, a year earlier. Snap ended the fourth quarter with 375 million daily users, a 17% increase. In the first three months of the year, the company estimates 382 million to 384 million people will use its platform daily. Snap has become a bellwether for other digital advertising companies. Last year, it was the first to raise concerns about the slowdown in marketer spending online and to fire a significant number of employees—20% of its workforce—to cut costs in the face of falling revenue. The company has spent the last two quarters refocusing the organization, cutting projects that don’t contribute to user and revenue growth. In the first quarter, Snap expects the environment to “remain challenging as we expect the headwinds we have faced over the past year to persist.” Investors will get additional information about the state of the digital ad market when Meta and Alphabet report earnings later this week. —Bloomberg News via Digital Marketing Education https://ift.tt/dBcq09H Team Credits Brand: Facebook Marketplace Campaign: Your Neighbors Have It Consumer Product Marketing Lead: Michael Ruderman, Andrew Truong Product Marketing Manager: Jalak Amin Creative Director: Naz Nazli Creative Director: Jan Jaworski Director, Head of Creative, Family of Apps: Rodrigo Moran Head of Creative, Company: Tom Markham Paid Social Performance: Michelle Soltis Head of Production: Jenny Gadd Production Strategist: Julian Katz Production Strategist: Margaux Ravis Marketing Decision Science: Mitchell Sanregret Brand Marketing Strategist: Heidi Keel Agency: Anomaly LA Managing Partner/President: Khara Wagner Partner/Chief Creative Officer: Josh Fell Partner/Chief Strategy Officer: Aisea Laungaue Managing Director: Josh Jefferis Group Creative Director: Erwin Federizo Creative Director: Daniel Chen Associate Creative Director: Fede Munichor Associate Creative Director: Joaco Lynch Associate Creative Director: Charles Lee Art Director: Brandi Kemp Copywriter: Jasmine Espejo Head of Production: Erika Madison Executive Producer: Helena Miller Producer: Tien Dang Senior Strategist: Ariel Sayre Senior Comms Strategist: Kimberly Van Business Director: Meghan Miloradovic Account Director: Michael Gobo Head of Business Affairs: Jana Nauman Senior Business Affairs Manager: Audra Brown Associate Business Affairs Manager: Svetlana Minassian Head of Creative Resourcing and Project Management: Chris Greve Senior Project Manager: Rebecca Lear Production Company: Off-Site Works Director: Ryan Chun Director of Photography: Madison McKamey Executive Producer: L. Vertel Scott, Tomás Whitmore Line Producer: Shae Horton Editorial: Cabin Editor: Dylan Edwards, Brad Dupuie Assistant: Rex Kane Hart Executive Producer: Adam Becht Producer: Michelle Dorsch Color: Trafik Colorist: Ricky Gausis Executive Producer: Meghan Lang Bice Producer: Phoebe Torsilieri VFX/Finishing: Shape + Light Lead Flame Artist: Aaron Neitz Flame Assist: Eugene Vernokiv Executive Producer: Scott Boyajan Producer: Arielle Weir/Jade Fulton Animation: Los York Executive Producer: Eric Zapakin Producer: Bridgette Spalding Music: We Are Walker Music Supervisor: Danielle Soury Music: New Math Music Supervisor: Jake Falby Mix/Sound Design: Lime Mixer: Peter Lapinski Assistant Engineer: Jeremy Nichols Executive Producer: Susie Boyajan via Digital Marketing Education https://ift.tt/nogKRNx Chasing the waterfallSome travel and tourism brands—including Alaska Airlines and Priceline—are skipping national Super Bowl ad buys in favor of a more targeted approach, including regional buys, pre-and post-game spots, brand partnerships and market activations. Compagnone dubbed this as tapping into the “waterfall effect” of the Big Game, in a reference to the massive amount of attention it gets. “The travel industry at its core is finding more targeted, less cost prohibitive methods in advertising and marketing more broadly, but specifically around the Super Bowl,” Compagnone said. Booking.com is returning to the Super Bowl for the second year in a row in continuation of its Booking.yeah campaign. The online travel agency, which is owned by Booking Holdings and counts Kayak, Priceline and Open Table as sibling brands, will work with creative agency Zulu Alpha Kilo for the first time. While online travel agencies such as rival Expedia are well known in the U.S., Booking.com, which started in Europe, has to play catch-up here. Booking Holdings Executive VP and Chief Financial Officer David Goulden spoke about this recently at an investor conference. “In the U.S., we still recognize, whilst we’re gaining lots of share, we have some brand awareness [to] try and build,” he said, according to a transcript, noting that the brand is now spending more on awareness marketing in the U.S. than it has historically. He also said that last year’s Super Bowl spot, which starred actor Idris Elba and heralded a yearlong campaign, generated “decent” results in terms of awareness and financials. “For them to continue brand-building for a U.S. audience might make sense,” said Sileo about Booking.com’s Super Bowl spot. via Digital Marketing Education https://ift.tt/wL1y2g5 Posted by: Staff in Advertisers, Agencies, Creative, Finance, News, Technology 50 mins ago
Adam&eveDDB has produced more than its fair share of in-game pyrotechnics for PlayStation but this time it’s departing from that spectacular norm with a faux news channel showing PS 5 games in “real” contexts. Apparently PS5 consoles, which have been in short supply in places now are not, so ‘Live from PS5’ lumps the games together.
Quite nice to get some humans into the gaming metaverse. MAA creative scale: 6.5.
via Digital Marketing Education https://ift.tt/ohkVESw The headline “New Burberry ad sparks Republican meltdown” and tweets from the Republican Kingsley Cortes as well as the famous Twitter account “Libs of Tiktok” jumped on the ad. Kingsley noted that the history of the brand looks rather… Different these days. Clearly completely unaware of Chad culture and the 2000’s in general. Perhaps she was just a baby then.
The “LibsofTikTok” account said that Burberry was promoting mastectomies.
Sarah Vine of the Daily Mail asked in her Op-ed: How many vulnerable girls will see this Burberry advert and think a double mastectomy is something to aspire to, like a new handbag? which, honestly, is a great question. As with any “lifestyle advertising”, one wonders how the brand fits in. Why are big brands promoting life-changing surgeries over their own products? What do they get out of that? Are people with double mastectomies more likely to spend £500 on a pair of gloves or a scarf that they can wear for a decade or two? Are they simply tagging onto the Benetton idea of “shock” for attention’s sake, without noticing how quiet the shockvertising brand-father and his former brand are today? Attention for attention’s sake is nothing but a cheap trick, and like the bubbles in that glass of champagne, it’ll go to your head. And it will give you a brand hangover. More importantly, if I’m celebrating a “straight” Valentine’s day, should I seek out another brand for my outerwear? These might become important questions for any kids who inherited Burberry clothes. Will that familiar pattern equal Gilbert Baker’s rainbow now? Latching onto something that “conservatives” reject used to be quite the smart way to expand your market – I used to sell shirts here that said “your rebellion is my marketing strategy” – but when you reach too far into a political area you risk 167 years of heritage for the latest fad. And that is just pure hubris. Who walked into the creative office and said that Burberry should do this? Who bought this? How does it sell Burberry? Do clients no longer ask these questions? Burberry has now changed the ad and edited out the controversial couple from the print and banner ads. I wish I could have bet money on that happening. It was in 1856 when 21-year-old Thomas Burberry, a former draper’s apprentice, opened his own store in Basingstoke, Hampshire, England. By 1870, the business had established itself by focusing on the development of outdoor attire. In 2023 someone decided that it would be a terrific idea to have only “queer” couples snog in an Instagram ad. Adland has reached out to Burberry for a statement but has not received a response at the time of publishing. via Digital Marketing Education https://ift.tt/bFzJEBp |
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April 2023
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