DuPont is launching an integrated marketing campaign, “Invent a better n:ow,” aimed at reintroducing the nearly 217-year old brand as the source of essential innovations that transform industries and everyday life, and highlighting products that make up the company’s new portfolio. A key component of the multichannel campaign is a groundbreaking, first of its kind digital film, which seamlessly integrates dynamic video and live stream featuring the many ways DuPont materials are a part of our lives and asks, why wait for a better future when “now” is the most important moment.
“The power of essential innovation is that it delivers today, improving people’s lives around the world,” said Barbara Pandos, Chief Communications Officer for DuPont. “Across DuPont, we are creating first impressions about our new company every day — from materials for battery packs in electric vehicles, to DuPont™ HOWARU® probiotics for strong gut health, from DuPont™ Tyvek® medical packaging to DuPont™ Nomex® flame-resistant fiber for protecting firefighters. The launch of ‘Invent a better n:ow’ is a reminder that our innovations are everywhere around us, right now, and powerfully celebrates the materials that make a meaningful difference for our customers and in the industries we serve.”
The creative campaign from R/GA is designed around a series of digital advertising and online content that pushes the concept of “now” to a new level through its focus on real-time, in-ad dynamic video within a live stream. A first-ever for any campaign. Here’s how it works:
Subtle changes in the scenes and the music reflect the time you are watching the film.
The earth position matches your location; the film recognizes your viewing device and serves a custom, dynamic scene. All clocks throughout the film sync to your local time; the newspaper in the 90 second film reflects current headlines which update dynamically. For 24 hours on June 17, the film included live footage of a 3D-printed prosthetic hand being built in real time for a child in need, using DuPont technology and products.
“The new DuPont has innovation and energy at its core, and this really drove our creative approach. With our director, John Hillcoat (of Serial Pictures), and the dynamic video integrations made possible by Imposium, our story became more than just a stunning film with the urgency of time as its narrative thread,” said Genevieve Hoey, group executive creative director at R/GA. “The creative message is clear. DuPont isn’t sitting back and waiting to make a positive impact on the world; they’re doing it right now.”
Blacksmith NY served as visual effects house.
Credits
Client DuPont Agency R/GA Tiffany Rolfe, EVP, chief creative officer, U.S.; Chris Northam, Eric Jannon, SVPs, ECDs, heads of creative; Genevieve Hoey, Erin Lynch, VPs, group executive creative directors; Ryan O’Keefe, Todd Beeby, creative directors, copywriter; Colin Kim, Lars Jorgensen, Jason Koxvold, creative directors, visual; ChiungHui Chiu, associate creative director, visual design; Chris Liu, Yolanda Botha, sr. copywriters; Grace Taylor, sr. art director; Sohee Kim, designer; Tal Cohen, executive director experience strategy; Gene Lu, creative director, experience design. Terrence Ma, Rosemary Douglas, sr. experience designers; John Berman, executive creative director; Tea Oui, associate creative director, visual design; Bernise Wong, designer; Blas Madera, sr. designer; Tomas Almuna, associate creative director, copywriter; Cris Costa, associate creative director, visual; Dennis Claus, executive strategy director; Jia Zheng, strategy director; Jeff Jetton, associate strategy director; Erica Jensen, director content production, tactile; Jon Drawbaugh, executive producer, content studio; Lauren Powzyk, content producer; Michelle Jackson, sr. content producer; Erin Stella, associate content producer; Matt Monath, Ricky Rhodes, stills, content creators; Andrea Senise, motion design director; Beatriz Couto, associate content producer; Sumeera Rasul, executive production director; Laura Kelly group director production; Michael Moscardini, Steve Morrissey, Nicolas Barrientos, executive producers; Jessie Momrton, producer; Brice Birdsall, associate producer; Tomas Lemos, sr. producer; Chris ChinFong, sr. business analyst; Nicolas Gentile, associate technology director; Jeronimo Pizarro, Sergio Vazquez, software engineer, web platforms; Ivan Huayrana, Eric Estes, sr. software engineers; Hans Janowitz, associate software engineer; Jason McCoskery, technology director; Namit JOshi, executive technology director; Agustin Lopini, sr. creative technologist; Rawle Curtis, sr. technology director; Matthew Blackstone, technology director. Production Serial Pictures John Hillcoat, director; Adam Arkapaw, DP;Violaine Etienne, founding partner/exec producer; Sara Greco, exec producer; Jennifer Gee, head of production; Tracy Broaddus, producer; Rebecca Deelo, production supervisor. Editorial Exile Editorial Shane Reid, editor; Steve Nelson, assistant editor; Sasha Hirschfield, exec producer; Vietan Nguyen, producer. Visual Effects/Animation Blacksmith New York Charlotte Arnold, exec producer; Tina Chen, producer; Olivier Varteressian, VFX/CG supervisor; Daniel Morris, lead compositor; Robert Bruce, Tim Regan, Yebin Ahn, Eric Concepcion, compositors; Tom Bussell, Tuna Unala, Hassan Taimur, Eddy Estevez, Vitaliy Burov, CG artists. (Toolbox: Flame, Nuke, Maya, Houdini, Z-Brush, Mari, Arnold, After Effects for titles) Color MPC Mark Gethin, colorist; Ed Koenig, Meghan Lang, exec producers. Sound Barking Owl Atticus Ross, composer; Kelly Bayett, exec producer/creative director; Ashley Benton, producer; Morgan Johnson, sound designer. Audio Post Heard City Philip Loeb, mixer/partner; Sasha Awn, exec producer; Andi Lewis, producer. Dynamic Video Imposium Jason Nickels, CEO; Jenna Fair, CRO; Greg Webber, tech lead; Randy Weinstein, solutions architect. Live Stream Production Telescope Katrina Moran, group creative dirctor; Licett Benitez, production manager; Colin McAuliffe, DP; Ori Ravid, video streaming engineer. 3D Prosthetic Hand Printing 219Design Miguel Piedrahita, founder, co-partner.
White Ribbon has launched its “My Friend, Max Hate” campaign in Canada featuring this public service film that follows the journey of a young, isolated boy who becomes influenced by a misogynistic online puppet, “Max Hate.” The PSA reveals how online figures in the manosphere--a network of online communities promoting hateful, misogynistic rhetoric which fuels attitudes among young men and boys that contribute to gender-based violence.
“It’s alarming to see the growing impact of the manosphere and how they are conditioning vulnerable populations such as teens, particularly young men,” said Humberto Carolo, White Ribbon CEO. “These misogynistic online groups have existed for years, but their influence has grown under controversial figures, driving an increase in gender-based violence. With the My Friend, Max Hate campaign, our goal is to expose the damaging influence of misogynistic figures and raise awareness, particularly among young men who are often drawn into these toxic online communities.”
Launching two weeks before Safer Internet Day (February 11), the campaign--from Toronto agency Bensimon Byrne--underscores the importance of online safety and protecting youth through clear content boundaries.
White Ribbon is creating an online resource hub that educates individuals on how to recognize harmful online groups and provides support for young men and boys seeking to escape. Additionally, the campaign will launch a TikTok account, @max_hate_, featuring the PSA ‘My Friend, Max Hate’ puppet to expose how these figures gain influence and spread hate in a space that reaches those most influenced, young men.
The PSA was directed by Angie Bird via Toronto-based Westside Studio.
