When BBDO New York was recently selected as SHOOT’s Agency of the Year (with special coverage in our 12/7 issue), Dave Lubars, chairman/chief creative officer, BBDO North America, looked back on 2007, observing that it was the year his shop “made the transition from a big TV agency to being a communications company.”
And indeed a growing array of companies–agencies, production houses, post and assorted other firms–could either make a parallel claim or say they moved much closer to that status in ’07. And paradoxically, the increasing number of notable nontraditional projects beyond the conventional broadcast :30 that emerged this past year have in some respects blurred the line between typical and previously atypical forms.
“It used to be you’d hear at a creative meeting, ‘This spot opens on…’ We don’t talk that way anymore,” said Bill Bruce, chairman/chief creative officer, BBDO New York. “We don’t understand that language anymore. The conversation now is simply, ‘What’s the idea?’ And the idea takes you where you need to go relative to forms of content and media.” And those destinations encompassed not only spots but varied fare such as a website, a guerilla installation, VOD content, mobisodes, client web channels.
But these different disciplines are becoming increasingly mainstream, causing Lubars to observe that making distinctions between traditional and nontraditional forms is starting to turn “obsolete…All this nontraditional stuff is soon just going to be called ‘campaign,’ becoming part of the whole, which encompasses both new and tried-and-true forms.”
To be sure, there were some great commercials in ’07 but arguably this year was the first in which there was a sizeable body of stellar work on other communications fronts. BBDO’s Agency of the Year honor came on the strength of such efforts as: the HBO “Voyeur” initiative, which took storytelling–and branding HBO as an innovative storyteller–to a new level; and Mars/M&M’s “Inner M” campaign in which people got in touch with their personalities and from there designed personal M&M avatars. “Inner M” too brought a new dimension to branding. While it’s great to bring consumers to a brand, the “Inner M” dynamic had them become the brand.
Then there was Ogilvy Toronto’s viral Dove spot “Onslaught,” a fitting creative follow-up to last year’s “Evolution,” which in ’07 proved to be a dominant force on the awards show circuit, garnering Grand Prix honors in both the Cannes Film and Cyber competitions, marking the first time in that festival’s history that the same execution topped the two categories spanning traditional and new media fare. “Onslaught” too strikingly criticized fashion model-like, hot, sexy hard body standards for female beauty–and their negative impact on the psyches of women, particularly young girls. While the spot also sparked criticism of Dove parent Unilever–which some noted depicts women as sex objects in ads for Axe–the Dove work still triggered discussion of harmful, superficial beauty standards. (See separate story on Dove as SHOOT’s Marketer of the Year.)
Also among the notable new media fare was adidas’ “Basketball is a Brotherhood” web series from 180 LA and the Cannes Lion-winning campaign promoting Court TV series Parco P.I. from interactive marketing agency Deep Focus.
And even leading broadcast commercials carried alternate media overtones, prime examples including Toyota Tacoma’s “Truck Summoner” out of Saatchi & Saatchi LA, and Microsoft/Xbox’s “Believe” from McCann Erickson, San Francisco, and T.A.G. The former takes us into the throes of the World of Warcraft game as if we are playing it. We hear players talking in terms of choosing their weapons, with one opting for explosive arrows. But a savvy player thinks outside the box and requests “four wheels of fury,” bringing a Toyota Tacoma truck into his arsenal. As the Tacoma traverses the World of Warcraft terrain, it is immediately put to the test as a dragon swallows the vehicle whole, signaling what at first appears to be a quick demise for the truck. But instead, it’s the dragon who’s slain as the Tacoma emerges from the beast with the creature’s heart beating in its truck bed. The realistic footage looked like a game capture, creating considerable buzz on the web and blogs among the coveted gamer demographic.
As for “Believe,” the dramatic diorama of the Halo 3 game setting featured in the spot, proved to be integral to the making of Fly Through, a broadband video advertising piece which enabled viewers to get a panoramic perspective of the game and swoop down and interact with its many elements. This tour de force piece came out of AKQA, which is SHOOT’s Interactive Agency of the Year (see separate story).
Prodn. house branding
Web channels became more prevalent in ’07 with varied degrees of performance. The ballyhooed Bud.TV online entertainment network didn’t capture the amount of eyeballs that had been originally envisioned. But other such ventures carved out niches for themselves, among the most interesting being Hungry Man TV , a satire web channel carrying programs created and produced by different directors at Hungry Man, offering them a creative outlet and a testing ground for show ideas that could see the light of day elsewhere. For example, the Hungry Man TV series Undercover Cheerleaders helmed by Bryan Buckley has elicited interest from a cable network for possible development as a series.
The online channel also brands Hungry Man in a unique way in the new media space. In a recent SHOOT interview, Buckley explained that Hungry Man TV demonstrates that participating directors can create, develop and produce content, working in longer format and with lower budgets than commercials. “It’s the kind of experience that helps give them a leg up if an agency or client is looking for a director to take on a new form of content for an advertiser web channel or any other outlet…We’re branding our directors as creative content developers at a time when the advertising industry is evolving into new areas. Basically we’re branding ourselves–and Hungry Man–on a broader canvas.”
Meanwhile, an Association of Independent Commercial Producers (AICP) membership survey released at press time noted the increased prevalence of nontraditional advertising projects in the production house business mix. “Our industry is evolving rapidly,” said Matt Miller, president/CEO of the AICP. “The survey shows that nearly 70 percent of our member companies produced marketing communications outside of the traditional commercial in the past year. Our members are on the leading edge of creating new forms of advertising and marketing, and are now devoting about one in six shoot days to these projects such as virals, branded entertainment and mobile content. We expect that figure to continue to grow.”
Labor front
Indeed emerging media is a prime stumbling block in negotiations (which were just cut off at press time) between the Writers Guild of America (WGA) and feature/TV studios, with WGA members walking the picket lines. The issue of compensation relative to new media forms also figures to be front and center next year as the extension to the commercials contract covering actors is set to expire at the end of October.
Either no news is good news or the silence is ominous–depending on whether you view the glass half full or half empty–as a joint study is underway to analyze alternate compensation models in the rapidly changing ad business in light of new nontraditional outlets and different forms of content. Little has been heard about how that process is going but suffice it to say that the results of that pending study could form the basis for renegotiating the next commercials contract in ’08.
Going for the green
Among the other trends and developments to take shape in ’07 were the momentum built for the eco-friendly green movement in the advertising industry (see separate story) and film commissions going for the greenbacks generated by commercial production as incentives continued to emerge or to be enhanced in various states throughout the United States (see year-in-review film commission sidebar story).
A cross-section of industry folk informally surveyed by SHOOT offered varied takes on ’07, spanning major trends, developments and lessons learned.
Here’s their feedback:
Larry Bridges, Red Car
What was the most important industry lesson learned this past year? As the Samurai Warrior said: Advertising survived to fight again in 2008!
What trends or developments were most significant in 2007?(Larry Bridges) Do I have to mention the internet? (Bob Goldrich, SHOOT) No, but how can you talk about advertising without mentioning the internet? (LB) Eyes will glaze over if I mention “engagement” or the like. (BG blinks) (LB) Did you see the “Get the Glass” site? (BG) It’s been around for a while, hasn’t it? (LB) Yes, but I saw a commercial telling you to go play the game. The game looks better than a commercial. (BG) Compared to what? (LB) To the ones you skip on your DVR. (Bob) 100 words LB, and I’m not admitting I own a DVR (LB) Ok–In 2007 your TV became a browser.
Jack Cohn, president, Cohn+CompanyLesson learned: The most important industry lesson learned this year is that all the “new media” models out there share one important element with “old media.” There still needs to be good storytelling. It’s more and more acceptable for the video to look as if my nephew and his buddy made it, but the content still needs to be planned strategically. As viral projects pick up steam, there will be more and more of those amazing videos that capture the public’s imagination for a nanosecond and get a million hits. But if we are going to plan for it, write treatments for it, and bid on it, then all sides need to make sure they bring a high level of craft to the project. Otherwise, we’re throwing a lot of experimental dollars against the wall to see what sticks.
Trends/developments: As exciting as all the new media options are, some of the trends and developments surrounding this work are a bit alarming. Budgets are ever shrinking, but client and agency expectations remain the same. No one thinks twice about proposing $90,000 to produce a 1 day shoot. Except that now that number includes post, talent, and agency travel. Production companies have to be ever more nimble, and that involves some serious re-thinking of an appropriate business model. More and more, it’s becoming a volume business.
Matt Factor, partner/executive producer, FurlinedLesson learned: Production companies must take on risk and innovation in order to survive at the top. Our clients (Agencies) and their clients (Brands) are changing the way they do business and we can’t expect not to evolve and offer up new working models. I don’t think traditional TV ads are going away, but we have the opportunity to provoke our clients to get their messages out in new ways, in which we can be apart of. Taking advantage of new and traditional media outlets in new ways will keep our business health. Whether creating a documentary about a brand, developing a new way to shop on line, or developing socially interactive opportunities, we can be partners in leading the way in branding. We just have to think, be smart and take risks.
Jeff Goodby, co-chairman, Goodby, Silverstein & Partners, San Francisco
Lesson learned: I think we’re starting to think of our audiences as people again, not just members of a certain social network or frequenters of a particular website. We’re getting past oversimplified answers like microsites and web films and starting to think about what kind of story or experience is truly going to engage people. Microsites are the TV commercials of 2007. They’re still useful, but they’ve got to be mindblowing to matter.
Trends/developments: I think people are starting to be irritated by technology that’s feature-laden and chunky. I hate features. We’re willing to use a lot of technology but we want it to be sleek and fluid. It’s why the iPhone is the hit of the year. There’ll be more.
Phyllis Koenig, partner/executive producer, Über contentLesson learned: Although it may sound a bit broken record-ish at this point, I’d have to say to continue to remember that the control we used to exercise over the process is mostly gone. The WAY we approach each project has changed on every level. To maintain a true creative and financially viable place in the industry, we need to be nimble and completely conscious each step of the way. Running behind the latest trends never works.
So, it’s critical we continue to strive to create and maintain a smart, fresh & inspired space for our clients and directors to be able to generate traditional spots along with the new media in order to evolve and survive.
It’s actually very exciting for us–we feel set up to do JUST that and at the same time I’d be an idiot not to admit that it’s a little scary.
Trends/developments: Here’s an odd one. The trends seem to be that although advertisers themselves tend to follow trends (hence the notion that advertising actually works), it seems that there’s a desire on the part of most creatives to attempt to truly create work that’s not been run over a thousand times. Good ideas seem to trump redundancies and get noticed, win awards, and capture the attention of every demographic advertisers are trying to reach. So in a way, the old is the new new.
Tommy Means, creative director/director, MekanismLesson learned: The most successful campaigns are based upon the theory that a brand’s audience is taking ownership of the brand communication as opposed to the client trying to own it. The really successful campaigns enable the audience and encourage people to blog and share it virally. The big takeaway is marketers need be very open and honest about their brand because it’s a two way dialogue.
Trends/developments: Higher production values are becoming much more the norm for online production, so if it’s web films, viral, etc we’re starting to see budgets that were once only reserved for broadcast. The clients are also, much less risk-averse when it comes to doing emerging media/viral-type campaigns. They are willing to experiment and try new things to find a program that stands out.
Dave Morrison, executive producer/head of commercials, Anonymous Content
Lesson learned: To position Anonymous as a long term content supplier. We’ve worked really hard these past few years to diversify, re-brand and re-position ourselves as not only a leader in commercial/TV and film production, but also as a non-traditional media supplier. Whether it be webisodes, virals, or long form branded content, we have the varied talents available to execute, and create if necessary, all forms of production.
Trends/developments: Non-traditional advertising and advertainment has finally grown into a viable business for production companies. Anytime a new segment for growth is introduced into the marketplace it benefits everyone.
Richard O’Neill, head of broadcast production, TBWAChiatDay, Los Angeles
Trends/developments: In 2007 more traditional Directors of Broadcast Production sported new titles such as “Director of Integrated Production,” “Director of Film and Digital Production,” and “Director of Broadcast and Content Production.” The title change trend points to a greater promotion by agencies of the significant further growth and relevance of a complex production product outside the realm of traditional television commercials. Though “alternative” production has been the standard complement of Broadcast Departments for many years, it hadn’t warranted such a public relations curriculum vitae by either the producers or agencies. By repackaging the Directors of Broadcast, the agencies made their brand identity more significant in 2007 and confirmed the work their Broadcast Departments have been doing.
Stefan Sonnenfeld, co-founder/colorist, Company 3Lesson learned: That it is important to position your company so that it can adapt to the unique nature and constant flux we find in our advertising and entertainment communities today. One has to be nimble, agile, and able to change on a dime because we have to be able to react to the different mediums, distribution channels and client expectations with respect to the many different aspects of our business. CO3 has always been modeled around these principles, but at the same time, I found it to be quite challenging this past year to try to stay ahead of the curve and, to some degree, to continue to reinvent ourselves.
Trends/developments: The broad acceptance of the DI (Digital Intermediate) workflow from both the entertainment world and advertising community has given us the challenge to provide the client with more creative opportunity and work more efficiently. Even though CO3 has been working this way for several years, the acceptance of this process in the community has a more direct implication for our industry as a whole. Understanding the new opportunities in new media platforms and alternate distribution channels is also strategically significant.
Damian Stevens, director of integrated production/multimedia, Saatchi & Saatchi LALesson learned: The most important lesson learned is that all departments within an agency work together from the onset of every assignment to maintain optimal integration and communication throughout the entire process. The amount of assets/content required from each department (Interactive, Broadcast, Print) for any given assignment has multiplied 10-fold. The content is being used and/or re-purposed in various different media outlets, which has a huge impact on talent, licensing, etc. Agencies and clients need to understand the difference between owning content/footage verses owning talent, licensing, etc.
Trends/developments: The most significant trend has been clients spending less money on traditional media and more money on non-traditional. This trend has caused a major shift in resources within agencies in order to manage the additional deliverables. It’s all about generating more content. The misconception is that a less traditional or lower dollar amount in media spend means less resources needed. In fact, it’s the exact opposite.
Agencies are crazy trying to manage all the deliverables across the different disciplines. Inevitably, this forces agencies to constantly look for ways to improve their workflow, develop new relationships with outside partners and keeping sanity through the process.
Dave Verhoef, director of integrated production, Publicis & Hal Riney, San FranciscoLesson learned: Prostitutes in Prague = Bigger Severance
Trends/developments: Green, green, everything’s green. I’m green, are you green? I can’t believe you’re not green. I know I’m greener than you are. Are you sure you’re green? I don’t think you’re green enough. You shouldn’t say you’re green… From products to production, everything tried to be green in 2007.
Tyler Whisnand, creative director on Nike at Wieden +Kennedy, PortlandLesson learned: It was quite clear from working in the United States over the past year, that the industry is still learning the potential of all the expanding media outlets around us and the importance of quality within an idea for a brand.
This keeps us all curious and open to new possibilities. While there are so many ways to express a message, if its meaning is pointless and thin, then it is lost immediately. This is quite clear when marketing expertise falls flat in execution. No one is waiting for advertising, it’s more anticipation for the next big revelation. Mass media has made ideas more precious, in the end. This is great. A wealth of media can be brutal but at the same time, honest. It’s quite intriguing that the Internet has made the art of making a beautiful and relevant commercial, for example, even more special. Look at the Nike Football commercial done for “Leave Nothing.” It became a cultural mark in the world of football and has been recreated online numerous times.
So, in the end, an idea can start in one place and be celebrated in another place. There is no such thing as old media or new media. It’s all media and a sharp idea. We are all still learning this.
Trends/developments: Probably the most significant development in 2007, and it’s been building for a long time, is how insular the whole communications industry is and how out of touch we have become. Why is it that the true global leaders, brands, are so quiet about what is happening nowadays? Are we too afraid to express the fact that we should be aware and responsible? We should look at ourselves, as communications professionals, and ask what our role is when working with clients to effect positive change. We should continue to open minds both internally and externally. What are our companies doing to influence thinking that is open rather than the same old formula? Are we asking more from our clients than just a way to hammer home the unique selling proposition? Brands are a strong way to communicate a return to taking responsibility for the course of events. Can a lovemark change the way we conserve energy or remind you to vote in the next presidential election? It would be great if we could showcase the potential for involvement in the current course of our planet in our marketing and communication work. In a way, that’s our responsibility for a significant development in 2008 and forward.
Al Young, creative director, TBWA London
Lesson learned: Multi-media–Lord It’s Not Easy.
The most important lesson I learned in 2007 was that creative directing multi-media is tough.
Despite an above the line background, I find the opportunities presented by the new media landscape, hugely exciting. So I was stoked when asked to lead the TBWA European Playstation Team this year into wholehearted media neutrality.
The theory was easy. The practice isn’t.
Suddenly I have to pretend I’m an expert in all manner of new, dark digital arts. I direct teams who are fluent in languages I can barely speak yet. There are lots more faces to collaborate with and more media channel options than I know what to do with.
So far, I love it. And the output is good. But if I’d known it was this tough, I’d have a taken a long vacation first.
