Click on the image below to play the All My Love music video.

A shorter version of the music video will be released on Friday, December 13, to mark the occasion of Van Dyke’s 99th birthday.

Credits

Filming was shot by directors Spike Jonze & Mary Wigmore via MJZ with director of photography Shabier Kirchner, producers Rob Hatch-Miller, Jorie Feldman, executive producers Dick Van Dyke & Arlene Silver, production designer Florencia Martin, and video commissioner Sam Seager.

Editing was done at Final Cut by executive producer/editor Jeff Buchanan, and assistant editor Julio Samaniego. Colorist was Dimitri Zola at Trafik.

Sound and music were produced at Squeak E Clean.

Visual effects were produced at Significant Others.

Lyrics

We’ve been through low
Been through sunshine, been through snow
All the colours of the weather
We’ve been through high
Every corner of the sky
And still we’re holding on together

You got all my love
Whether it rains or pours, I’m all yours
You’ve got all my love
Whether it rains, it remains
You’ve got all my love

(And) til I die
Let me hold you if you cry
Be my one two three forever

Cause you got all my love
Whether it rains or pours
I’m all yours
You’ve got all my love
Whether it rains, it remains
You’ve got all my love

La La La La La La Lay
Whether it rains or pours, I’m all yours
La La La La La La Lay
That’s all, all I can say

You got all my love
Oh for now and always
Til the end of my days
You got all my love
You’ve got all my love

The post All my love with Dick Van Dyke appeared first on Postkiwi.

The Sydney Opera House YouTube channel provides us with the 4-minute video, and behind-the-scenes mini documentaries.

Play It Safe Credits

Starring Tim Minchin, Sydney Symphony Orchestra, The Australian Ballet, Sydney Philharmonia Choirs, Ziggy Ramo, Zahra Newman – Sydney Theatre Company, John Bell – Bell Shakespeare, Australian Chamber Orchestra, Elma Kris – Bangarra Dance Theatre, Kira Puru, Cathy-Di Zhang – Opera Australia, William Barton, Courtney Act, Jimmy Barnes, Sydney Dance Company Pre Professional Year Students and Associate Artists, Lucy Guerin dancers, and DirtyFeet dancers.

The Play It Safe campaign was developed at The Monkeys, part of Accenture Song, by Group CEOs and founders Mark Green and Scott Nowell, Chief Creative Officer Tara Ford, Executive Creative Director Barbara Humphries, Senior Art Director Alex Polglase, Senior Copywriter Jake Ausburn, Head of Production and Senior Producer Penny Brown, Producer Izzy Robertson, General Manager Kezia Quinn, Senior Business Director Fizzy Keeble, Experience Strategy Director Tim Wilson-Brown, Strategist Raghav I.

Sydney Opera House marketing team: Brand Lead: Joanne Been, GM, Marketing: Jade McKellar, Stephen O’Connor, GM, Communications: Kate Huish, Creative Director: Dan Ingham, Head of Brand and Marketing Campaigns: Rebecca Munro, Head of Digital Marketing: Paayal Dharmani, Senior Creative Content: Julia Kenny, Production Manager – Creative Studio: Natalia Scherer, Video Content Specialist: Amelia Jang, Senior Communications Manager: Melanie Wellington, Content Marketing Manager: Nicola Whiteside, Paid Media Manager: Jack Woodward, Event Account Manager: Daniel O’Connell, Production Coordinator: Emma Paterson.

Filming was shot by Director Kim Gehrig via Revolver and Somesuch with Cinematographer Stefan Duscio, Managing Director Michael Ritchie, Executive Producer Pip Smart, Somesuch Executive Producers Tim Nash and Sally Campbell, Production Designer Steven Jones-Evans, Costume Creative Director Vanessa Coyle, Costume Stylists Nicchia Wippell and Olivia Simpson.

Choreographer Lucy Geuerin worked with Bangarra Dance Theatre choreographer Stephen Page.

Editors were Elise Butt and Tom Lindsay at ARC Edit and Trim Editing with Executive Producers Alexander Fry and Noreen Khan, producers Kani Saib and Tatyana Alexandra, Colourist Trish Cahill, Online editor Eugene Richards.

Music and lyrics were by Tim Minchin. Music was produced and arranged by Elliott Wheeler, Turning Studios, with producer Carla de Menezes Ribeiro and music mix engineer Jamieson Shaw. Conductor Brett Weymark with Sydney Symphony Orchestra and Sydney Philharmonia Choirs.

Sound was designed at MassiveMusic by Simon Kane.

Play It Safe Lyrics

You’ve gotta keep it simple
Life is like a song
There are tunes that folk are used to
So if you want ’em to sing along
Just keep it simple

You oughta play it safe
Life is just a game
People like the rules as written
So just give ’em more of the same

No one likes a smart-arse (No one likes a smart-arse)
No one likes it complicated (You’ve gotta keep it simple)
If you want to go the distance
Find the path of least resistance
And just take it

You don’t want to stick your neck out (You don’t want to stick your neck out)
They’ll take your head off if you do (They’re gonna rip your head off)
Just sit up the back and judge others (Hey, sit down!)
It’ll keep ’em from judging you

If you’re too hard to stomach you’ll never amount to nothing
Ain’t that something?
No one cares what you have to say
Just shut up and play the role you’re cast in (You’ve got to play the role you’re cast in)
See upcoming pop shows
Get tickets for your favorite artists

You see, all the world’s a stage
So just say the lines you’re given
Exactly as they’re written
And for God’s sake
Act your age

No one likes a show-off (No one likes a show-off)
No one likes a clown
Just make sure you don’t stand out in the crowd
That way they can’t cut you down
You gotta build your walls around you (Build your walls around you)
You build them straight and make ’em square (Build them straight and square)
That way you’ll blend in with the background
That way no one will point and stare (No one will point and stare)

You gotta stick to your convictions (Stick to your convictions!)
You gotta nail down your views (Nail ’em down)
You wanna steer clear of the discomfort you feel
When you walk in another person’s shoes (You don’t need that!)

You gotta work out who your team is
Then wear the badge with pride
Find a box that makes ya comfortable
And then stay the heck inside

On the first day the Lord gave you television (Lord gave you television)
On the next he delivered a couch (He delivers)
Tell me how do you explain all this content
If the universe wanted you out and about

Toe the line
Don your suit
Hide your truth
Wipe your tears
Don’t cause trouble
Find your bubble
Stick to black-and-white ideas
Play it safe
Know your place
Know your lines
Know your limits
Find a doctrine
Get it locked in
Build a box and stay in it

Toe the line
Don your suit
Hide your truth
Wipe your tears
Don’t cause trouble
Find your bubble
Stick to black-and-white ideas
Play it safe
Keep it beige
Keep it simple and sameish
Leave the weird ideas to the Danish (To the weird old Danish)

You gotta play it safe
Your mind is like a house
If you keep it locked up tight
You just might keep the world out

The post Sydney Opera House Play It Safe appeared first on Postkiwi.

And if you hadn’t quite got the connection between opening a plastic bottle and twisting the head of a beloved sea creature, there’s a 15 second video.

Sand artist Sudarsan Pattnaik helped launched the Unplastic India campaign with an installation on Puri Beach, Odisha, using 2320 plastic bottles from the beaches around Odisha.

Unplastic India Credits

Advertising Agencies:VML, Mumbai / Wunderman Thompson, Mumbai
Global CCOs Bas Korsten & Daniel Bonner
APAC Regional CCO: Sheung Yan Lo
Chief Creative Officer: Senthil Kumar
VP & Executive Creative Director: Arjun Mukherjee
Senior Creative Director: Diptanshu Roy
Creative Director: Sourish Mitra
Senior Art Director: Purnojyoti Kundu
Copywriter: Arjun Mukherjee
Creative Supervisor: Aneek Ray
Brand Executive Creative Director: Siddharth Prasad
Executive Business Director: Bhavana Dogra
Client Services Director: Amrita Hazari

Illustration and photography: Illusion CGI Studio

The post Unplastic India – still using plastic bottles? appeared first on Postkiwi.

Shrunken snowplow. Minuscule suit buttons. Tiny irons. A whole lot of heart. Apple’s behind-the-scenes video features animation director Anna Mantzaris talking about how she used the iPhone 15 Pro Max to capture every stop-motion moment in the commercial.

Apple Fuzzy Feelings Credits

The Fuzzy Feelings ad was developed at TBWAMedia Arts Lab.

Filming was shot by director Lucia Angelo via Hungry Man with director of photography James Paxton. and animation director Anna Mantzaris via Passion Pictures.

Music is “Isn’t It a Pity” by George Harrison from his 1970 solo album All Things Must Pass.

Isn’t it a pity
Now, isn’t it a shame
How we break each other’s hearts
And cause each other pain
How we take each other’s love
Without thinking anymore
Forgetting to give back
Isn’t it a pity

The post Fuzzy Feelings for Apple Holidays appeared first on Postkiwi.

The music is provided by the legendary Tenor Andrea Bocelli who performs a song called ‘Festa’, which means ‘celebration’, and is written and produced specifically for the John Lewis advert. The soundtrack will be released in longer form as a charity single with a proportion of the proceeds from the sale of the single going to the John Lewis Partnership’s Building Happier Futures charities, which help care experienced young people and families in need.

Charlotte Lock, customer director for John Lewis explains the thinking behind the advert.

“We are a nation that loves the traditions of Christmas – from classic traditions like pantos and putting up the tree to evolving new ones like crafting our own presents and Zoom get-togethers. Many of us have our own unique festive traditions and that makes them even more special. The film celebrates themes of family and evolving traditions and shows that a ‘perfect’ Christmas is finding joy together with loved ones, whatever your traditions.”

Credits

Client: John Lewis
Marketing director Rosie Hanley

Agency: Saatchi & Saatchi London
Chief Creative Officer: Franki Goodwin
Executive Creative Director: Paddy Fraser
Senior Creatives: Alex Kosterman, Avani Maan
Executive Design Director: Nathan Crawford
Character Design: Kris Miklos
Design Team: Simon Anderton, James Crickmore
Agency Producer: Alex Pemberton
Production Assistant: Grace McDonagh

Production Company: Riff Raff
Director: Megaforce
Producer: Richard Weager, Tracey Cooper
Executive Producer: Matthew Fone
Production Manager: Savvas Stavrou
Production Assistant: Rosa Galvin, Maddy Smith
Director of Photography: Matias Boucard
1st AD: Chris Kelly
Production Designer: Marco Puig

Editing: Final Cut
Editor: Joe Guest
Assistant Editor: Matt Gabzdyl
Executive Producer: Michelle Corney

Post-Production: Electric Theatre Collective
VFX Supervisor: Alex Gabucci
Colourist: Luke Morisson
Creative Director: Dean Robinson
VFX Supervisor: Alex Gabucci
CG Supervisor: Dorianne Fibleuil
Executive Producer: Magda Krimitsou
Production Coordinator: Ryley King
2D Compositing: Alex Kulikov, Taran Spear, Adam Woolrich, Tijan Holder, Victoria Pascual
Animation Supervisor: Andras Ormos
Animation: Fabrice Fiteni, Han Park, Gererd Murphy, Fred Austin
Lighting/Look Dev: Jordan Dunstall, Wesley Roblett, Aidan Callaghan, Lennart Vulto FX: Dan Yargici, Sergio Morales Paz, Alberto Scotti, Nick de Leeuw
Asset Build: Bibin Panackal, Zhane Nathan-Grant, Poul Resen Steenstrup, Joseph Dowling, Elliot Holland Crouch, Parker Britt, Tom Harrison, Mara Pawlowska
Rigging: Nikolai Maderthoner, Clementine Lecluse, Jashua Fernandez, Jo Allington
Concept: Emily Shilling

Sound House: 750MPH
Sound Engineers: Sam Ashwell, Jake Ashwell
Head of Production: Olivia Ray

Music: Wake The Town
Music Supervisor: Dom Bastyra
Music: Le Feste Antonucci, Andrea Bocelli
Music Writers & Producers: Le Feste Antonucci
Performed by: Andrea Bocelli

The post Snapper the Perfect Tree – a John Lewis Christmas ad appeared first on Postkiwi.

Sandy Hook Promise, the organisation that grew out of the mass shooting at Sandy Hook Elementary School on December 14, 2012, has an ongoing campaign focusing on preventing repeated shootings in American schools. The Know the Sign program teaches students and adults to recognize warning signs and threats that often precede an act of violence or self-harm, along with the steps to properly intervene and get help before violence occurs. It is documented that 80 percent of school shooters told someone of their plans prior to taking action – yet no interventions were made as the signs were overlooked, misunderstood or not taken seriously.

For many adults, the school year is a relatively carefree time of innocence, excitement and growth. But for children, returning to school increasingly means a “new normal” of fear, anxiety and stress caused by gun violence: 60% of American teenagers worry about a mass shooting at school, 96% of public schools participate in active shooter drills and 4.1m students went through a real lockdown in 2018.

In conjunction with the PSA, SHP also provides a downloadable brochure that highlights many of the warning signs to help students and adults recognize them when seen. This Know the Signs brochure is available at www.SandyHookPromise.org.

A custom Snapchat lens was created to re-enact a day-in-the-life of a student life moments that allowed users, young and old, to understand what it was like to fear school shootings on a daily basis and spot the signs of a school shooter.

“So far this year there have been over 22 school shootings, and with students heading back to school, it seems sadly probable that we will see more incidents. This is unacceptable, given that we have proven tools to prevent these acts from occurring. We cannot accept school shootings as the new normal in our country. Our goal with this PSA is to wake up parents to the horrible reality that our children endure. Gone are the days of viewing back-to-school as just a carefree time, when school violence has become so prevalent. However, if we come together to know the signs, this doesn’t have to be the case. I hope that parents across the country will join me to make the promise to stop this epidemic,” said Nicole Hockley, co-founder and managing director of Sandy Hook Promise and mother of Dylan who was killed in the Sandy Hook School shooting.

Back To School Essentials Credits

The Back To School Essentials PSA was developed at BBDO New York, by global chief creative officer David Lubars, NY chief creative officer Greg Hahn, senior creative director Peter Alsante, creative director Bianca Guimaraes, associate creative directors/copywriters Jim Connelly and Gary Toit, associate creative director/art director Lance Vining, director of integrated production David Rolfe, group executive producer Molly Ross, music produce Julia Millison, business manager Grace Kelly, senior director Lindsey Vash, account manager Elizabeth Jacobs, account executive Melissa Blache, planning director Ben Bass, brand strategist Michael Schonfeld, director of data Chris Daniele.

Filming was shot by director Henry Alex Rubin via Smuggler with director of photography Autumn Durald Arkapaw, executive producers Patrick Milling-Smith and Brian Carmody, line producer Lead Allina.

Post production at No6 was by editor Jason Macdonald, assistant editor Renn Cheale, senior producer Laura Molinaro, managing director Corina Dennison, conform artist Ed Skupeen, Flame assist Mark Reyes, GFX artist David Gerber.

Telecine was produced at Company 3 by telecine artist Tim Masick and producer Alexandra Lubrano.

Music was produced at JSM Music by composers Jason Krebs and Joel Simon, sound designer Nathan Kil, producers Norm Felker and Andrew Manning, chief creative officer Joel Simon, and executive producer Jeff Fiorello.

Sound was recorded and mixed at Heard City by sound engineers/designers Jeremy Siegel, Keith Reynaud, Evan Mangiamele, sound engineer Elizabeth McClanahan, managing partner Gloria Pitagosky, executive producers Jackie James and Sasha Awn, producer Andi Lewis, assistant audio engineers Tom Morris, Seth Brogdon, Evan Anderson, Ronnie Stapleton.

Casting was by Doreen Frumkin.

Media was handled at PHD Media.

The post Sandy Hook Promise Back to School Essentials appeared first on Postkiwi.

IKEA Stay Home Credits

The IKEA Stay Home campaign was developed at McCann Madrid by creative team Monica Moro, Raquel Martinez, Fernando Cerezo, Teresa Mesonero, Alejandra de Luis, account team Javier Pascual, Elena Rodríguez, Sonsoles San Jose, Claudia Solano and Alejandra Sierra, planner Juan Manual Ramirez, production team Paloma Adrien, Paula Garcia, Vanessa Pizarro, and Elisa Chia.

Postproduction, including sound and music, was by Craft Spain, Madrid.

Further agency work at Good Rebels was by creative team Juan Fran Vaquero, Markel Otsoa de Extaguen, Irene García, Irina Alegre, María José Zapata, account team María Novillo, Adrián Gastón, Patricia Ruíz, Paula Martín, strategic planner Luis Jiménez and client contact Juan Antonio Díaz-Pintado.

Media was handled at Ymedia by planning team Sandra Ugena, Nuria Cacho, María Martínez, Andrea Oscoz, Marina Gutiérrez, Irene Rodríguez, Carmen Mateo, Elena Ruano, and client contact Alejandra Gálvez.
Production footage was provided by IKEA Global.

The post IKEA Stay Home in Spain appeared first on Postkiwi.

Listening from Home Credits

The Listening from Home campaign was developed at McCann MRM by chief creative officer and copywriter Nicky Bullard and associate creative director/art director Jon Wells.

The post Listening from home during COVID-19 appeared first on Postkiwi.

2. Keep the camera/phone close up as possible to the people presenting, using landscape rather than portrait mode. People mae be watching on a television, on a computer screen or on a tablet or smartphone. Sure, there’s a desire to have a sense of being “in the building” but it’s not good screen time.

3. Think about the intimacy that you can have talking to a camera. It’s different to addressing a crowd in a large building. You’re entering people’s living rooms. The register (level of formality) in a living room is usually one of conversation. At times there will need to be more formal elements, as in an address from the Prime Minister. But generally we’re better to use News Breakfast as a guide.

4. Keep the segments of the experience as short as you can. It is hard enough to keep people focused on a 15-20 minute sermon. But on a screen it’s much harder to stay focused. You could break a sermon into smaller sections.

5. Treat congregational singing with caution. We tend to be more forgiving of amateur singing when we’re in the room together. But on a screen, with only one, two or three people singing, we’re more sensitive. Some congregations are pre-recording their songs, which potentially provides for a higher quality experience. If you’re using Zoom meetings, it is very difficult to have everyone singing at once. You’re better off having one singer and everyone else with microphones turned off. Or not singing at all.

6. Consider the option of moving away from a weekly routine. You can offer people other options in alternate weeks, such as using non-screen experiences in their homes.

7. Consider the option of collaborating with people from other congregations, including churches from other denominations, bringing the skills and energy together, and allowing for a breather.

8. Have a person or two looking after the feedback features of your chosen medium – responding to “chat” while it’s happening.

The post Tips for broadcasting and live-streaming worship appeared first on Postkiwi.

Honda Civic Feel More Credits

The Honda Civic Feel More campaign was developed at Wieden+Kennedy London by executive creative directors Tony Davidson and Iain Tait, creative director Joe De Souza, creatives Max Batten and Pete Browse, group account director Nick Owen, account directors James McHoull and Sam Hunton, planner Georgia Challis, agency producer Matt Ellingham and TV production assistant Aran Patterson.

Filming was shot in Amsterdam by director Juan Cabral via MJZ with producer Sookie Foster.

Editor was Russell Icke at Whitehouse Post.

Visual effects were produced at Time Based Arts by VFX supervisor Stephen Grasso, 

2D team Adam Paterson, Leo Weston, Bernardo Varela, Grant White, Linda Cieniawska, Manolo Perez, Matt Shires & Ralph Briscoe, 3D team David Loh, Ben Cantor & Chris Wood, DMP Lisa Ayla
, colourist Lewis Crossfield, executive producer Tom Johnson, and VFX producer Sean Ewins.

Sound was produced at 750mph by sound designer Sam Ashwell.

Original music was produced at Mr Pape by music supervisor/producer John Connon and composer Rohan De Livera.

The post Honda Civic Feel More from the Ground appeared first on Postkiwi.