Y&R New Zealand takes Media Grand Prix for Burger King’s “McWhopper”
Just a couple of weeks after scoring the Most Next Award signifying best in show at the AICP Next Awards, The New York Times' virtual reality documentary The Displaced–along with other NY Times VR fare–won the Mobile Grand Prix at the Cannes Lions International Festival of Creativity.
The Displaced tells the story of three children–from Syria, Ukraine and Sudan–who are refugees as a result of war and persecution. Vrse.works partnered with the The New York Times and Google to launch NYTVR with the VR film, which was directed by Vrse.works creator Imraan Ismail and NY Times journalist Ben Solomon.
The Displaced debuted when over a million subscribers to the Times received a special edition Google Cardboard to experience the VR documentary giving users a birds-eye view of what it’s like to have to flee a country ravaged by war. Nearly 60 million people around the world have been driven from their homes–more than any other time since World War II. Half are children.
Also helping to earn the Mobile Grand Prix was additional VR fare seen by New York Times viewers such as the GE video “Nature Is Inspiring Our Industrial Future” and Mini’s “Backwater.”
Click here for a rundown of Mobile Lions winners.
2nd Grand Prix
Y&R New Zealand won the Media Grand Prix for its integrated campaign “McWhopper” for Burger King Corporation. Burger King raised awareness for Peace Day by offering a public olive branch to its long time rival to create a burger mash-up (The Whopper and McDonald’s Big Mac) on behalf of world peace.
The Media Lions top honor’ came just two days after “McWhopper” scored the Print and Publishing Grand Prix at Cannes.
Click here for a rundown of Media Lions winners.
From Restoring To Hopefully Preserving Multi-Camera Categories At The Emmys
When Gary Baum, ASC won his fourth career Emmy Award earlier this month, it was especially gratifying in that the honor came in a category--Outstanding Cinematography for a Multi-Camera Half-Hour Series--that had been restored thanks in part to a grass-roots initiative among cinematographers to drum up entries. Last year the category fell by the wayside when not enough multi-camera entries materialized.
In his acceptance speech, Baum appealed to the Television Academy to keep multi-camera categories alive. He later noted to SHOOT that editors also got their multi-camera recognition back in the Emmy competition this year. Baum hopes that after resurrecting multi-camera categories in 2024, such recognition will be preserved for 2025 and beyond.
A major factor in the decline of multi-camera submissions in 2023 was the move of certain children’s and family programming from the primetime Emmy competition to the National Academy of Television Arts and Sciences’ (NATAS) Emmy ceremony. For DPs this meant that multi-camera programs last year were reduced to vying for just one primetime nomination slot in the more general Outstanding Cinematography for a Series (Half-Hour) category. It turned out that this single slot was filled in ‘23 by a Baum-lensed episode of How I Met Your Father (Hulu).
Fast forward to this year’s competition and Baum won for another installment of How I Met Your Father--”Okay Fine, It’s A Hurricane,” which turned out to be the series finale. Two of Baum’s Emmy wins over the years have been for How I Met Your Father, and there’s a certain symmetry to them. His initial win for How I Met Your Father was for the pilot in 2022. So he won Emmys for the very first and last... Read More