Media+Index+III+TV+Commercials

*For Process Work and Final, please click here* = = = = =Visual Research =

In Project Three, I researched on random corporations on the strategy of their certain outstanding commercials and planning to present these informations interactively. The main reason why they stood out in the crowd because they are the ones that are able to touch the viewers the most and they are interesting. For the project, I have picked ten commercials to talk about the concept or strategies behind it by the advertising agencies.

Slogans play a major role in a commercial and therefore it is also condiered important. The Advertising Slogan Hall of Fame (Adslogans.com/fame) – announces his picks for the 10 strongest and weakest new slogans to appear in 2003. The Sloganalysis tool measures any tagline against ten key benchmarks:

1. It's memorable 2. It recalls the brand name 3. It includes a key benefit 4. It differentiates the brand 5. It reflects the brand personality 6. It's believable 7. It's strategic 8. It's competitive 9. It's original 10. It's not in current use by others

Corporations include: Pepsi, Nike, Apple Inc., Toyota, McDonalds, and more. There will be a variety of choice of corporations to choose from, and detailed information will be shown.

Apple Inc. Commercial Research
 Apple's commercials and other advertisements are powerful in part because they all reinforce the same branding message. Apple prides itself on appealing to the discerning customer, the person who, as one slogan famously had it, thought differently. And that message--of creativity, counterculture and good taste--is one that Apple has portrayed consistently in its advertising for the past 30 years. The //1984// commercial was a critical moment in the development of the American public's conception of the proper uses and cultural implications of personal computers.

In the third quarter of the 1984 Super Bowl, a strange and disorienting advertisement appeared on the TV screens of the millions of viewers tuned in to the yearly ritual. The ad opens on a gray network of futuristic tubes connecting blank, ominous buildings. Inside the tubes, we see cowed subjects marching towards a cavernous auditorium, where they bow before a Big Brother figure pontificating from a giant TV screen. But one lone woman remains unbroken. Chased by storm troopers, she runs up to the screen, hurls a hammer with a heroic grunt, and shatters the TV image. As the screen explodes, bathing the stunned audience in the light of freedom, a voice-over announces, "On January 24th, Apple Computer will introduce the Macintosh. And you'll see why 1984 won't be like "1984."

This commercial, designed by the advertising agency Chiat/Day to introduce Apple's Macintosh computer and directed by Ridley Scott fresh off his science fiction classic //Blade Runner//, has never run again since that Super Bowl spot. But few commercials have ever been more influential. //Advertising Age// named it the 1980s' Commercial of the Decade. You can still see its echoes today in futuristic ads for technology and telecommunications multinationals such as AT&T, MCI, and Intel.

media type="youtube" key="OYecfV3ubP8&hl=en" height="175" width="208" 1984 Apple's Macintosh Commercial

Adidas Commercial Research
//The 'Impossible Is Nothing// campaign expresses the attitude adidas shares with athletes around the world - the desire to push yourself further, to surpass limits, to break new ground and prove that Impossible is truly Nothing. Adidas presents the evolution of its brand thought Impossible is Nothing with a campaign that encourages everyone to take their first step in reaching their impossible. Through stories of real people attempting and achieving what once seemed like impossible goals, adidas hopes to inspire people to think about their own obstacles and how to overcome them.

More than 30 international sports stars and everyday athletes tell their ‘Impossible’ stories using their own hand-drawn illustrations and paintings. Each athlete chose a defining moment in their life and then illustrated it through images and words which would later be combined to create the campaign. The unique content was created by inviting the athletes to spend time in an art studio with a toy box of art supplies and allowing them to bring their story to life in their own way. This created a wealth of material which consumers will see in commercial films, posters, books, documentaries, exhibitions and even clothing designs. In film, print, digital, and retail content, the athletes’ real-life experiences come to life through animated films and static images created by the athletes themselves. The results are deeply personal, edgy and refreshingly honest.

The concept, created and executed by adidas’ global advertising partner 180 Amsterdam (180/TBWA) is the latest in a long line of successful collaborations between the two in recent years. From the original ‘Impossible is Nothing’ launch campaign in 2004 which was built around Muhammad Ali, to the memorable meeting of English ‘kicking gods’ David Beckham and Jonny Wilkinson and, most recently, the award-winning football World Cup campaign +10.

media type="youtube" key="4Xhwr-tN8QE&hl=en" height="178" width="205" Adidas Commercial- Impossible Is Nothing

Toyota Commercial Research
Toyota has launched its "Why Not?" campaign, it will run through March and focus on three corporate pillars; environmental commitment, economic impact and social responsibility. The ads were created by Dentsu America, New York; Toyota choose the theme of "Why Not?" after 6 months of consumer research. Dentsu's international presence has consisted largely of the 15 percent stake it owns in Publicis Groupe, the Paris-based owner of Saatchi & Saatchi.

The Harmony commercial features a car made from twigs, mud, etc. by three people that slowly fades in time lapse images into the natural environment. The voice over asks "Can a car company grow in harmony with the environment? Why not?" and explains Toyota is working towards cars with zero emissions and "zero waste" in everything they do.

media type="youtube" key="C6yDNfHaoYA&hl=en" height="178" width="212" Toyota Harmony TV Commercial

McDonald's Commercial Research
McDonald's has for decades maintained an extensive advertising campaign. In addition to the usual media (television, radio, and newspaper), the company makes significant use of billboards and signage, sponsors sporting events from ranging from Little League to the Olympic Game, and makes coolers of orange drink with their logo available for local events of all kinds. Nonetheless, television has always played a central role in the company's advertising strategy. "I'm Lovin' It" is an international branding campaign by McDonald's Corporation and was claimed to be a trademark. It was created by Heye & Partner, a longtime McDonald's agency based in Unterhaching, Germany, near Munich, and a member of the DDB Worldwide Communications Group, Inc.

In 2003, McDonald's hit their first loss in 38 years and thus they need to think fast to bounce back up again; "a competition of ideas" was held in February among its top international advertising agencies. As a result, "I'm Lovin' it" was chosen; cDonald's executive vice president and global chief marketing officer Larry Light stated, "It's much more than just a new tag line or commercials – it's a new way of thinking about and expressing our worldwide brand appeal to the consumer." The "i'm lovin' it" tag is part of a larger marketing strategy called "Rolling Energy" to revitalize McDonald's and connect it with young, hip consumers worldwide.

media type="youtube" key="UW-ZBmUPfrM&hl=en" height="178" width="211" Japanese McDonald's Commercial - I'm Loving It

<span style="color: rgb(222, 220, 33)"><span style="color: rgb(192, 204, 30)"><span style="color: rgb(113, 31, 147)">Red Rabbit Hamburg Commercial Research
<span style="color: rgb(222, 220, 33)"><span style="color: rgb(192, 204, 30)"><span style="color: rgb(113, 31, 147)">This commercial demonstrates the unbearable trauma, sexual abused children suffer from. <span style="color: rgb(113, 31, 147)">A powerful message from Red Rabbit Hamburg and directed by The Vikings.It's hard to be creepy in a profound way but this spot pulls that off. The whole semi-phallic tentacle thing is uniquely disturbing and is a smart device for communicating how victims are haunted throughout their lives. The abuse is always there, under the surface. A smart way to handle a difficult subject.

Everything is spot on in this truly creepy PSA for child abuse awareness. The live action direction is subtle but powerful, and the texturing, animation and compositing of the tentacle are horribly convincing. The concept gets under your skin and sticks with you hours after the visuals have faded away.

media type="youtube" key="pwZET_O2m5s&hl=en" height="185" width="221" Dunkelziffer Tentacle

<span style="color: rgb(19, 100, 164)"><span style="color: rgb(13, 107, 231)"><span style="color: rgb(57, 172, 97)">Honda Commercial Research
<span style="color: rgb(19, 100, 164)"><span style="color: rgb(13, 107, 231)"><span style="color: rgb(57, 172, 97)"> This Advertisement for the new Honda Accord was shot in real time with no CGI involved in the sequence. It required 606 takes and cost $6 million to shoot and took 3 months to complete. <span style="color: rgb(57, 172, 97)">The equipment was so precisely set up that the crew literally had to tip toe around the set for fear of disturbing things, which led to some unexpected problems. "As the day went on, the studio would get hotter," says Rob Steiner, the producer of Wieden & Kennedy UK Agency. <span style="color: rgb(57, 172, 97)"> "It meant that the wood would expand and the cog or exhaust that spins around would move slightly faster."

<span style="color: rgb(57, 172, 97)">The spot, dubbed "Cog”, features 85 car parts linked in a mesmerizing symphony that culminates with the introduction of Honda's new Accord. No product shots; no Celine Dion; no warnings about professional drivers on closed courses. Just a collection of ball bearings, wiper blades, tires and mufflers seamlessly “interacting” with one another to form a true piece of art. This is a viral success story; more specifically, it is a viral creative success story, demonstrating that a great idea knows no boundaries, formats or restrictions.

media type="youtube" key="xcr6ZIVi-Vg&hl=en" height="191" width="227" Honda Commercial

<span style="color: rgb(180, 110, 172)">Heineken Commercial Research
<span style="color: rgb(180, 110, 172)"> Heineken, the international Dutch beer, has made its mark in television advertising with ‘Disturbance’.A bar tender is tidying up at the end of the day. He carries three cartons of Heineken bottles - one carton too many. Bottles of precious lager are smashed as they hit the ground. Far away, in a boxing ring a competitor is momentarily stunned by the disturbance. Immediately he’s knocked down by his opponent. In a hall somewhere else in the world a crowd stands to pledge allegiance to their country. We see the faces of men who are stunned into silence. In an operating theatre the surgeon stops and looks round. In a recording studio the lead singer has no words to sing. Outside in the street a man is caught in the rain as he looks around to locate the source of the disturbance A couple are making love when the man pulls back. “Honey what’s wrong?” “I don’t know. All of a sudden I feel really, really sad.” The camera cuts back to the smashing bottles. The text: “It’s all about the beer. Heineken”.

<span style="color: rgb(180, 110, 172)">The ad was created by Publicis New York, with creative directors Ted Royer and Ken Ratcliffe. Visual Effects were added at The Mill, London under the hand of Chris Knight, particularly in the bottle scenes. Bottles were added to the shot and labels were replaced. Music is played by piano, cello and mellotron (synthesised strings) and was composed by Jason Johnson, with sound designed by Guz Koven and produced by Kelly Fuller. Jason’s composition is written up in the April 2005 edition of Shoot Magazine. Each experience of the ‘disturbance’ is accompanied by ominous thunder.

media type="youtube" key="B8vbU2ubRo8&hl=en" height="194" width="229" Heineken Disturbance

<span style="color: rgb(67, 29, 150)"><span style="color: rgb(45, 200, 129)">Carlton Draught Commercial Research
<span style="color: rgb(67, 29, 150)"><span style="color: rgb(45, 200, 129)"> The Carlton Draught //Big Ad// is an award-winning advertisement for Carlton Draught created by George Patterson and Partners (Young & Rubicam) of Melbourne, which used viral marketing techniques before being released on television. It premiered on Australian television on 7 August, 2005.

In the advertisement, two armies, one dressed in maroon, the other in yellow, march toward one another singing "O Fortuna" from Carmina Burana by Carl Orff, but replaced with lyrics such as "It’s a big ad/...expensive ad/This ad better sell some bloody beer". A heroic figure on horseback leads the charge. Viewed from the air, we see the armies form a glass of Carlton Draught and a human body. The glass is then lifted to the mouth, and the audience sees the beer (the rushing, ecstatically leaping yellow-clad men) flowing into the stomach of the figure.

The advertisement was released on the internet two weeks prior to being shown on television. Just 24 hours after release, the //Big Ad// had been downloaded 162,000 times and within two weeks it had been seen by over one million viewers in 132 countries. The viral release of the //Big Ad// was so successful that the television media budget was reduced so as to not overexpose the advertisement. The most important factor contributing to the successful distribution of the advertisement, was the tone of the video. The advertisement was a parody of advertising. This type of comic, satirical tone has been seen to increase the likelihood of a viral message being passed on to a person’s acquaintances.

media type="youtube" key="LGJiTpBBD18&hl=en" height="192" width="228" Carlton Draught Big Ad

<span style="color: rgb(163, 46, 148)">Coca-Cola Commercial Research
<span style="color: rgb(163, 46, 148)">In 1993, The Coca-Cola Company made a dramatic shift in its advertising by introducing the "Always Coca-Cola" campaign, by Creative Artists Agency and later Edge Creative. The campaign was a diverse one, with an initial run of twenty-seven commercials designed to appeal to specific audiences. The ads ran around the world and included a variety of innovative technical approaches, such as computer animation. One such commercial, [|"Northern Lights,"] introduced what would become one of the most popular symbols of Coca-Cola advertising: the animated polar bear. <span style="color: rgb(163, 46, 148)"> When asked to develop an innovative commercial for Coca-Cola, creator and freelance writer/director Ken Stewart thought about drinking Coke at the movies. Mr. Stewart thought his yellow Labrador Retriever resembled a polar bear when it was a puppy and thought about how polar bears would go to the movies. Mr. Stewart brought the two concepts together in the commercial, "Northern Lights," which depicts a magical place where polar bears watch "movies" (the aurora borealis) and drink from bottles of Coca-Cola. Mr. Stewart enlisted the help of animation company Rhythm & Hues to bring the bears to life. With advanced computers and state-of-the-art graphic programs, each ad required some twelve weeks to produce from beginning to end. <span style="color: rgb(163, 46, 148)"> As with all television commercials, the process began with storyboards, which were illustrated by Eugene Yelchin from Mr. StewartÕs script. The storyboards divided the commercial's "story" into a series of scenes to fit the required thirty-second time slot. Next, Mr. Stwewart and Rhythm & Hues did pencil sketches to show how the polar bears would appear in each scene. These sketches were then refined, with detail and background added.The polar bear was a considerable success, and went on to star in six commercials for Coca-Cola, including two ads for the 1994 Olympic Games in which it slid down a luge and soared off a ski jump. Bear cubs also made their debut for Coke in a holiday ad in which the bear family selects its Christmas tree.

media type="youtube" key="jPoM2o9kIBM&hl=en" height="188" width="222" 1993 Coca-Cola Polar Bear Commercial

<span style="color: rgb(226, 129, 70); text-align: left; display: block">Burger King Commercial Research
<span style="color: rgb(226, 129, 70); text-align: left; display: block"> In 2002, BK handed the commercials and advertisements off to its new advertising agency, Miami-based Crispin Porter + Bogusky. CP+B was known for having a hip, subversive tack when creating campaigns for its clients, and that was exactly what BK was looking for. CP+B decided to totally "re-brand" and "re-package" Burger King. Everything from the cups and bags to the company logo was completely redesigned with the intent to give BK a hip, culturally aware image that would appeal to modern sensibilities. Humorous statements, claims and product descriptions were placed on bags, product packaging and on in-store promotional materials, including a Burger King //Bill of Rights// that gave its customers the right to Have it Your Way. It also set about creating an advertising campaign that not only focused on television spots, but also print, web and product tie-ins.One of it major strategies was to revive the Burger King character used during BKs 1970s/1980s Burger King Kingdom advertising campaign. The new character was redesigned as a caricatured variation now simply called //the Burger King// or just //the King//.

Burger King continued it successful partnership with [|Lucasfilm LTD.] for the other two films in the original Star Wars trilogy, //[|The Empire Strikes Back]// (1980) and //[|Return of the Jedi]// (1984), as well as the last film of the second trilogy, //Revenge of the Sith// (2005). In 2007, as part of the Promotion for the Simpsons Movie, CP+B produced a commercial with a Simpsons version of the King with yellow skin, overbite and four fingers as well as a web site that allowed people to make a "Simpsonized" version of themselves from uploaded pictures. media type="youtube" key="AEvhO9d-IvM&hl=en" height="209" width="250" Homer Burger King blooper commercial


 * Bibliography:**

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