The term “emerging media” has fast become obsolete as new media have already graduated from a state of emergence to one of growing prominence. Perhaps more reflective of today’s evolving landscape would be the slightly altered yet quite different in meaning two-word description “merging media” as underscored by the results of the recently concluded 55th Cannes International Advertising Festival.
Indeed media has meshed seemingly across the board in Cannes categories. The Film competition, for example, produced two Grand Prix winners: Cadbury’s “Gorilla” TV commercial–which actually has viral YouTube roots–and Microsoft’s “Halo 3 Believe” campaign, which spanned several spots and longer form web content. The former was from Fallon London (and directed by the agency’s creative director/copywriter/art director on the job, Juan Cabral via Blink, London) while Microsoft was a joint effort of McCann Worldgroup, San Francisco, and sister shop T.A.G., also in S.F. “Halo 3” additionally copped the Integrated Grand Prix.
Then consider HBO’s breakthrough “Voyeur” initiative spanning TV, the web, outdoor projection and print. Created by BBDO New York, “Voyeur” garnered the Grand Prix in both Promo and Outdoor, an additional Gold Lion and a Silver Lion in Promo, two Golds in Film, Gold in Cyber, Gold in Design and Bronze in Media.
“Voyeur” also helped BBDO New York earn the Cannes Agency of the Year honor and had a hand in BBDO earning distinction as Cannes Agency Network of the Year. Just six months earlier, BBDO New York was named SHOOT‘s Agency of the Year (12/7/07) with “Voyeur” among the centerpiece work helping to secure that honor.
Meanwhile Tokyo-based Projector saw its “Uniqlock” for Japanese clothing retailer Uniqlo spread beyond its anticipated Grand Prix Cyber win to also unexpectedly take the Titanium Grand Prix as breakthrough work. The linchpin for “Uniqlock” is a clock widget that synchronizes time, audio and live-action dance video of young women while showcasing Uniqlo fashion.
The other Cyber Lion Grand Prix honorees were Pasadena-based 42 Entertainment‘s “Year Zero” alternate reality game for Nine Inch Nails; and Scandinavian online entry Sol Comments out of Mediafront Oslo.
Even a Cannes-honored print ad carried multiple media chops as the “Lead India” campaign for the Times of India parent company Bennett Coleman & Co. out of JWT, Mumbai, copped the Cannes Lions Direct Grand Prix. It began with a print ad promoting the newspaper as well as a call for people to get involved and “lead India” as the country commemorated its 60th year anniversary of independence. Launched in print, the campaign encompassed TV, mobile, video and outdoor. The site drew more than 1.3 million hits, in excess of 1 million downloads on YouTube and more than 34,000 candidates–whittled down to a group of finalists–to lead the Lead India movement.
Palme d’Or
The Palme d’Or production company derby was also impacted by merging media as the lead shop, MJZ‘s U.S. operation, had a hand in the “Halo 3” campaign with Rupert Sanders having directed the Grave Site web film, for example. Finishing second in the Palme d’Or competition was RSA Films in the U.S., which saw its director Neil Blomkamp direct the Halo 3 Internet film Combat, and Jake Scott helm HBO’s Voyeur project.
(MJZ also produced such Gold Lion Film competition winners as Skittles “Touch” for TBWAChiatDay, New York, Axe Deodorant’s “Chocolate Man” out of Vegaolmosponce, Buenos Aires, and Microsoft Halo 3’s “Diorama” from McCann and T.A.G. RSA also scored Gold in Film for the HBO spots “Surprise,” “Diner” and “Couple” via BBDO New York, as well as two “Voyeur” Golds.)
Finishing third was Gorgeous Enterprises London, followed by O Positive, New York in fourth place, Biscuit Filmworks, Los Angeles, in fifth, Rattling Stick, London, in sixth, Phenomena, Bangkok, in seventh, Hungry Man’s U.S. operation in eighth, Landia, Buenos Aires, in ninth and Partizan, London, which rounded out the top 10.
Agency, Network Honors
BBDO scored two of the top three slots for the Agency of the Year kudo. Right behind BBDO New York was Almap BBDO in Sao Paulo. Third in the Cannes tally was DDB London.
BBDO took Network of the Year followed by DDB London and Saatchi & Saatchi.
Interactive Agency of the Year was Lean Mean Fighting Machine, London. Second was Crispin Porter+Bogusky, Miami. And third was the aforementioned Projector, Tokyo.
Media Agency of the Year was Forsman & Bodenfors, Gothenburg. Second was Dentsu, Tokyo, and third was Leo Burnett USA, Chicago.
Direct Agency of the Year was Shackleton, Madrid, followed by JWT India, Mumbai, and Saatchi in Auckland, N.Z.
The Press Grand Prix went to DDB South Africa for its Energizer batteries campaign consisting of “Paint,” “Pants,” “Park” and “Spit.” The first ever Design Grand Prix was awarded to Turner Duckworth, London and San Francisco, for “Coca-Cola Identity.”
For a full rundown of Cannes honorees, log onto www.canneslions.com/winners.
“Se7en” Turns 30, Gets A Special Restoration From David Fincher For Its Re-Release
For David Fincher, seeing “Se7en” in 4K was an experience he can only describe as harrowing. That or a high school reunion.
“There are definitely moments that you go, ‘What was I thinking?’ Or ‘Why did I let this person have that hairdo’?” Fincher said in a recent interview with The Associated Press.
He’s OK with the film being a product of its time in most respects. But some things just could not stand in high-definition resolution.
“It was a little decrepit, to be honest,” said Fincher. “We needed to resuscitate it. There are things you can see in 4K HDR that you cannot see on a film print.”
Ever the perfectionist, he and a team got to work on a new restoration of the film for its 30th anniversary re-release. This weekend the restored “Se7en” will play on IMAX screens for the first time in the U.S. and Canada, and on Jan. 7, the 4K UHD home video version will be available as well.
The dark crime thriller written by Andrew Kevin Walker and starring Brad Pitt and Morgan Freeman as a pair of detectives looking for a serial killer was somewhat of a career-reviver for Fincher, whose directorial debut “Alien 3” had not gone well. “Se7en” was not a sure thing: It was made for only $34 million (and only got that when Fincher managed to persuade studio execs to give up $3 million more). But it went on to earn more than $327 million, not accounting for inflation, and continues to influence the genre.
Fincher has over the years overseen several restorations of the film (including one for laser disc) but decided this needed to be the last. It’s why he insisted on an 8K scan that they could derive the 4K from. He wanted to ensure that it wouldn’t have to be repeated when screens get more... Read More