You may have noticed the eye-catching Perrier television commercial in which it's so hot out that everything appears to be melting. Shot by director Frederic Planchon for Ogilvy Paris, it's not a new campaign for the brand, having been executed in 2009, but it's been airing here in the United States lately.
I happened to come across the 'director's cut' of the spot. Slightly longer, this version has used different shots, edit and most notably a different ending:
The client-approved spot ends with the main character jumping from her penthouse balcony into a refreshing pool as she reaches for the rolling bottle of Perrier, while the Director's cut ends with her diving off the balcony into the street and landing on a melting van.
above: two different endings to the Perrier "Melting" spot
As the spot actually airs:
The fabulous song that accompanies the spot is "Waves" by emi artist Camille.
The Nestle brand bottled water campaign's accompanying "melt" print ads were shot by Jean-Yves Lemoigne and took home a Cannes Silver Lion in 2009:
International creative agency, Amsterdam Worldwide has won a Gold Design Lion at the 2010 Cannes Lions Festival for their hand-crafted tansu shoe created for yet another one of their fabulous campaigns and collateral work for Onitsuka Tiger.
Honoured for its innovation and creativity, the Tansu shoe is the centerpiece of the 2010 brand campaign for Onitsuka Tiger.
The one and a half meter long Tansu-inspired wooden sneaker is a totem to classic Japanese design, and was hand-carved in a traditional 9th generation Tansu workshop.
Taking cues from ‘puzzle box’ cabinets created for the Samurai, it took a team of expert Japanese craftsmen over four months to craft the model using traditional methods.
The Tansu shoe comprises many authentic features, including a number of secret compartments which intrigued and engaged consumers in retail environments worldwide.
Below are screen grabs of the shoe's interactivity as it appears on the Onitsuka Tiger website:
Richard Gorodecky, Amsterdam Worldwide’s executive creative director said: “In a world increasingly dominated by the virtual, it’s great to see that something hand crafted and ‘real’ has won such a prestigious award.
This is the fourth in the award winning series of larger than life sculptures created from the agencies 'Made of Japan' strategy. Their campaign for Onitsuka Tiger won a Cannes Cyber Lion in 2007 and in 2008 the Electric Tiger Land campaign was a Cannes Titanium finalist.
The Toyota IQ font. If you never saw my post on this interesting (and now award-winning) project, watch the video, see the stills, meet the people behind it and download the font for yourself here.
Created for Tribal DDB, Amsterdam, Stink Digital and Director Adam Berg delivered this interactive campaign for Philips new CINEMA 21:9 TV. The cinematic proportions of the display became the theme of this piece. Adam responded with an idea for an epic frozen moment cops and robbers shootout sequence.
The piece won the top honors at this years' Cannes Advertising Festival in the film category, causing slight controversy by proving that the Film Grand Prix Lion is no longer an honor reserved only for a traditional 'tv commercial.'
Directed by Adam Berg of Stink, London, and edited by Paul Hardcastle of Trim, London, "Carousel" winning the Grand Prix underscores that great ideas come in all shapes, forms and media.
This 2:19 film runs as an endless loop, allowing viewers to control their moves through the scene. The film also contains embedded hotspots, which, when triggered, give us a behind-the-scenes look at some of the shots.
Brief Explanation (taken directly from the entry into the Cannes festival, with additional images added):
Philips set out to own the idea of a cinematic viewing experience at home. From the start the strategy was to create a film that movie lovers would want to see. The film is hosted within a site that, through interaction, educates the audience about the three main features of Philips televisions – Ambilight, Cinema 21:9 and Picture Quality – and ties these features to the act of film making.
So, what would movie lovers want to see? We decided on a seamless tracking shot, one long take that a film loving audience could marvel at and be fascinated by. Within the ‘housing’ of a tracking shot we inserted behind the scenes glimpses where the experts could talk about their craft and the decisions they made whilst filming the shot. The DOP on lighting, the Director on the 21:9 format and VFX supervisor shows why picture quality is so important.
To allow for more interaction, we decided that a frozen time film, shot using a state of the art motion control rig, would give the audience control upon interaction allowing them to literally move the camera back and forth frame by frame. This is done intuitively through a ‘grabbing hand’ cursor when the screen is moused over.
What makes this interaction really special is the interactive cinematic score. The score, composed by Michael Fakesch, was composed as a linear piece, but was then handed over to a flash music developer to carve up and distort as the user moved back and forth through time, frame by frame – all designed to pull the audience in and hold them there longer whilst they try to unravel the mystery of how the film was made. The second main element of interaction is the way the audience is able to trigger the three behind-the-scenes educational scenes from the film’s timeline.
When the user clicks on the timeline, they reveal films within the film. The timeline unfolds and expands, the post production disappears, each expert walks in and the rigging reappears revealing that all along the actors were simply holding their position whilst a state of the art motion rig captured them in frozen time. All this was designed to be as seamless as possible with maximum visual reward ensuring the audience clicked all three of the hotspots. In addition to the interaction within the film, the ratio of the film itself could be changed at anytime through first person interaction. This simple, but effective comparison tool really did get across the spectacle of the new Philips 21:9 TV.
The other elegantly simple piece of interaction is Ambilight on and off, in the words of the DOP – “you really miss it when it’s not there.” A final point worth noting is the dynamic title sequence. Instead of a traditional loader, we crafted a title sequence correspond to the speed of the users internet connection. The slower the connection, the longer the sequence. To experience it, go here.
Speaking of, here are some photo stills of the shooting process (click to enlarge):
Check out the "Making Of" video!
Credits: AGENCY Tribal DDB, Amsterdam Global Creative Director: Neil Dawson CD: Chris Baylis Senior Project Manager: John Reardon Producer: Jeroen Jedeloo, Iwona Echt Art Director: Mariota Essery, Andrew Ferguson Copywriter: Carla Madden, Chris Baylis Account Planner: Sean Chambers Technical Lead: Jan Willem Penterman FILM
Production Company: Stink Digital Executive Producer: Mark Pytlik, Daniel Bergmann, Stephen Brierley Producer: Simon Eakhurst, Stephen Brierley Director: Adam Berg DoP: Fredrik Backar Service Facilities: Stillking, Prague Stillking Line Producer: Zuzana de Pagter 1st AD: Jiri Ostry Production Designer: Petr Kunc Czech Production Manager : Jiri Kotlas Stunt Co-Ordinator: Lada Lahoda @ Filmca Editor: Paul Hardcastle @ Trim VFX: Redrum, Stockholm Post Production Supervisor: Richard Lyons Music & Sound Design: Michael Fakesch Additional Sound Design: Tim Davis Colorist: Jean-Clement Soret @ MPC London UK Production Manager: Jemma Daniel INTERACTIVE Production Company: Stink Digital Executive Producer: Mark Pytlik Project Manager: Christophe Taddei Lead Developer: Ian McGregor Key Developers: Vincent Roman, Jamie Copeland, Matt Sweetman Additional Development: Pierre L. Thiebaut Design: Eric Chia Title Sequence & Trailer: Maximiliano Chanan, Odin Church
