A young man and a young woman live parallel yet very similar lives, never meeting until the fateful moment when their paths cross. “So sorry Destiny. The power of Fragrance.”

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Credits

Destiny was developed at Ponce, Buenos Aires, by creative directors Ricardo Armentano, Analia Rios, art director Christian Rosli, group creative directors Hernan Ponce, Hernan Ibarra-Puentes and Walter Aregger, copywriter Juan Ure, agency producer Jose Silva and head of production Roberto Carsillo.

Filming was shot by director Paul Hunter via Prettybird with director of photography Don Davis and executive producer Kerstin Emhoff.

Editing was done by Damion Clayton at Rock Paper Scissors. Post production was done at A52. Music was produced at Animal Music.

© 2009 The Inspiration Room

Set in New York City during Christmas season of 1897, eight-year-old Virginia has second thoughts about the existence of Santa Claus after her friends tease her and insist that he doesn’t exist. Virginia poses the question of whether Santa really exists to her local newspaper, at the suggestion of her father, who tells her, “If you see it in The Sun, it’s so.” Editor Francis Church takes the opportunity to rise above the simple question and addresses the philosophical issues behind it.

After reassuring her that there is a Santa Claus, the editorial goes on to say “He exists as certainly as love and generosity and devotion exist, and you know that they abound and give to your life its highest beauty and joy.” To this day, it remains the most reprinted editorial to ever run in any English-language newspaper.

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Credits

The Yes Virginia Believe campaign was developed at JWT New York by executive creative director Wayne Best, creative director Matt MacDonald, copywriter Pete Circuitt.

Filming was directed by Peter Circuitt (Bitstate) via The Ebeling Group with producer Kallan Kagan. Animation was produced at Starz Animation, Toronto.

Voiceovers are by Jennifer Love Hewitt, Alfred Molina and Neil Patrick Harris.

Music is by Nicholas Hooper.

© 2009 The Inspiration Room

“Spark” centres on the inner passion of everyday New Zealanders. The campaign team asked eight ordinary Kiwis what lights them up, providing inspiration for a visual celebration of their ’spark’. Music is a New Zealand recording of the gospel classic, “This Little Light of Mine”.

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Credits

The Let It Shine campaign was developed at Saatchi & Saatchi New Zealand by executive creative director Mike O’Sullivan, creative director Luke Chess, creatives Connan James and Craig Farndale, deputy creative director Tim Huse and agency producer Pip Mayne, senior account director James Polhill and senior strategist Teresa Harris, communications director Grant Mercer and general manager Murray Streets.

Original content was provided by eight New Zealanders: Mike, Zach, Bryan, Darren, Jan, Pinata, Jak and Yasmin. The eight illustrators were Beck Wheeler, Zoe Fannin, Simon Shaw and Jo Tronc at Watermark, Sarah Larnach, Greg Hodgson, Flox and Kelly Thompson at International Rescue, Marc Smith at GoodCop.

Filming was shot by directors Rachel Guidera and Paul Freeman at Underpants with director of photography Duncan Cole, producers Angela Jackson and Mary Wall (live action).

Music and sound were produced at Liquid Studios by Peter Van Der Fluit. Tracklay and final mix were produced by Clive Broughton at Digital Post.

Editor was Sam Brunette at Post Boy.

Telecom staff on the campaign were director of brand and marketing Craig Herbison, head of communications Michele Teague, head of brand Pete Loveridge, and lead manager communications Brett McMeekin.

Voiceover was provided by Craig Hall, Talking Heads.

© 2009 The Inspiration Room

The Anthem If spot was filmed in 40 locations around Cape Town, South Africa and Inhambane, Mozambique, over two months (40 days of pre-production and two weeks filming). The spots are designed as mini documentaries recreating a small world within two cities. More than 30 people appear in the ad, with 25 different voice overs reflecting voices from all around the world.

If Anthem

If you are you breathe. If you breathe you talk. If you talk if you ask. If you ask you think. If you think you search. If you search you experience. If you experience you learn. If you learn you grow. If you grow you wish. If you wish you find. And if you find you doubt. If you doubt you question. If you question you understand and if you understand you know. If you know you want to know more. If you want to know more you are alive.

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Replace Fear

Replace fear of the unknown with curiosity.

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Challenge

Is it possible to know the truth without challenging it first?

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Credits

The Live Curious campaign was developed by creative director Patrizio Marini, art director Claudia Ganapini, copywriter Federico Russo.

Filming was shot by director Bryan Little via Fly on the Wall, Cape Town, and Mercurio Cinematografica, Milan, with executive producer Luca Fanfani, producers Annalisa De Maria and Alessandro Cavriani, South Africa producer and still photographer Filipa Domingues, director of photography Grant Appleton, production designer Latisha Duarte.

Post production was done at Green Movie, Milan, by editor Massimo Magnetti and sound engineer Roberto Grassi.

© 2009 The Inspiration Room

Credits

The Your Style campaign was developed at Tillmanns, Ogilvy & Mather, Düsseldorf, Germany, by creative directors Volker Kuwertz, Bernd Grellmann, art director Lars Ecker, account director Birgit Gosda, with photography by Robert Eikelpoth and Michael Breyer retouched by Tex Redfield and Lars Ecker.

via Adsoftheworld

© 2009 The Inspiration Room

The campaign aims to get young male drivers to habitually reduce their speed in 50 km⁄h zones. They perceive the risk of crashing, being caught or being injured from speeding as low. Consequently the objective of the campaign is to show these drivers that urban areas are full of everyday urban hazards, so any speed above the limit is dangerous they wont always be able to react in time to avoid every unforeseen situation in a dynamic urban environment.

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The advertisement will be supported with print, radio, outdoor and online advertising which is still in development.

Credits

Another 10 km/h was developed at Clemenger BBDO, Wellington, by executive creative director Philip Andrew, creative director Paul Nagy, copywriter Anne Boothroyd, art director Brigid Alkema, agency producer Marty Collins.

Filming was shot by Noah Marshall via The Sweet Shop, Auckland, with executive producer Sharlene George and producer Tony Whyman.

© 2009 The Inspiration Room

Sorry Fallon, we’ve decided not to include a folk round this year.

CHI. It’s gonna be a late night. But then again you’re probably used to late nights…

Dare, just so you know, some of the answers first appeared on 12 inch, which is like a big mp3 that’s made out of plastic.

Creatives at Mother now you have a valid reason to wear that piano key tie.

One of the sections is called Round of Cheese. So, DLKW have got that one in the bag.

DDB account men. Old skool does not involve Eton or Harrow.

Credits

The NABS Music Quiz campaign, commissioned by NABS CEO Carole Butler, was developed at DDB London, by creative directors Mike Crowe, Rob Messeter, art director Christian Sewell, designer Pete Mould, copywriter Andy McAnaney, account manager Sam Payne.

See the Music Quiz event on Facebook.

© 2009 The Inspiration Room

I Exist Support Group

Santa Claus and the Easter Bunny find another character who has trouble convincing people he exists -- the guy who wants to tell people that Diet Dr Pepper has 23 flavors and zero calories and is unbelievably satisfying.

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Unbelievable Contest

The I Exist Support Group tries to work out who is the most unbelievable figure in the room: Santa Claus or the guy who delivers a “satisfying diet drink.” As the characters, Sasquatch, Alien, Leprechaun and the Tooth Fairy look on, the Easter Bunny declares a tie between the nervous contestants. “There’s only one way to settle this!” the Tooth Fairy exclaims, pouring a glass of Diet Dr Pepper for Sasquatch.

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Credits

The Unbelievable ads were developed at Deutsch, Los Angeles, by chief creative officer Eric Hirschberg, group creative director Chris Ribiero Sr, designer Marius Gedgaudas, senior producer Tracy Jones, group account director Valencia Gayles, account director Helen Murray.

Animation/filming was produced at Bent Image Lab, Portland, Oregon, by director Ken Lidster, executive producer Ray di Carlo, senior producer Tsui Ling Toomer, producer Kara Place, coordinator Ryan Shanholtzer, director of photography Mark Eifert, product shoot director of photography Jay Wesley Jones
stage manager Jim Birkett, art director/set designer Curt Enderle, art department director Solomon Burbridge, art department Greg Fosmire, Marty Easterday, Kimi Kaplowitz, Mary Blankenburg, Daniel Miller, Huy Vu, Jayme Hansen, Kate Fenker, Brandi Cochrane, storyboard artist Steve Hess, character designers Brett Superstar, Steve Hess, Monique Ligons, Colin Batty, principal animators Jerold Howard, Jeff Riley, editorial supervisor JD Dawson, after effects supervisor Tarn Fox, composite artists (after effects) Orland Nutt and Brian Kinkley, composite artist (2D) Traci Cook.

“The support group is just a brilliant setting,” Lidster said. “It allows us to find out what really makes some of the world’s most beloved mythical characters tick. It’s clear they’ve needed an outlet for their existential fears for some time, and we hope to keep the ‘I Exist!’ group going long enough to help them out.”

Bent created duplicates of the sets and triples of the nine-inch-high characters to streamline production. They then shot the stop-motion on high-resolution digital cameras. Certain shots, such as the soda pour, were done on one of the studio’s in-house Red cameras, using the Red Ultra Prime lenses.

Post production was done at Mission Control, Portland, Oregon, by colorist Mike Quinn.

Audio post production was done at Lime Studios.

© 2009 The Inspiration Room

A group of soldiers returning from an exhausting patrol in the torrid desert heat. As the heroes drop their helmets and packs to the ground, a miracle occurs -- snowflakes drift down and soon cover the encampment, injecting the troops with an unmitigated joy. The scene then shifts to a little boy, presumably thousands of miles away, leaving the cozy confines of Santa’s workshop. When his mother asks the boy what he wished for, he smiles and says, “Something for Dad.”

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The spot debuted during Game 6 of the World Series, an enormous television event that guaranteed a large audience. Over the next two months, the 30 second ad will run in theaters, online, and during some of the most popular programs on TV, including The Today Show, Good Morning America, and Sunday Night Football. The 60 second version will be broadcast on the American Forces Network and Walmart’s in-store network.

Credits

The Anthem Christmas Wish was developed at The Martin Agency by creative director Nancy Hannon, senior art director Kevin Thoem, associate creative director/copywriter Wade Alger, broadcast executive producer John McAdorey and assistant producer Kate Chirgotis.

Filming was shot by director Andrew Douglas via Anonymous Content with director of photography Flor Collins, executive producer Dave Morrison, head of production Sue Ellen Clair and producer Aris McGarry.

To recreate arid atmospheres, Douglas shot the spot over a two-day period on Mystery Mesa in Santa Clarita, California. Two Marine captains and a retired Navy SEAL supervised the shoot to ensure that everything from the look of the uniforms to the handling of weapons reflected military standards and norms. Even the snow was authentic. Anonymous brought in 45 tons of ice, which was shredded and shot skyward to create real powder. Anonymous also created the jovial Christmas scene populated by the boy and his mother.

Editor was Michael Elliot via Beast Editorial with assistant editor Joe Rounseville and producer Aris McGarry.

Post production was done at The Mill by online editor Dan Williams, colorist Fergus McCall, VFX artist Gavin Wellsman and producer Dan Roberts.

Audio Post/Sound Design by mixer/sound designer Philip Loeb via Sound Lounge.

Music was produced at Human Worldwide.

© 2009 The Inspiration Room

Eyes begins by shuffling through a sequence of shots in which the camera focuses first on unblinking human eyes and then draws back to show pale, inanimate faces. A chiming bell thunders rhythmically in the background, adding a powerful dramatic element. When the camera settles on the final set of eyes, they unexpectedly blink. A wide shot reveals the full body of a hooded assassin, who launches off a balcony into the plaza of a medieval city, sword in hand, to face off against an army of attackers. Warnings tell us that the game is rated M 17+ for blood, intense violence, sexual content and strong language.

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Credits

Eyes was developed at Cutwater by chief creative officer Chuck McBride, director of broadcast Jennifer Golub, interactive creative director Fabio Costa, art director Jay Lorenzini, copywriter Eric Boyd, producer Bill Spangler.

Filming was shot by director Andrew Douglas via Anonymous Content with executive producer Dave Morrison, head of production Sue Ellen Clair, producer Aris McGarry and production supervisor Justine Madero.

Editor was Nathan Petty at Final Cut with editor Nathan Petty and executive producer Saima Awan.

Colorist was Stefan Sonnenfeld at Company 3.

Post production and visual effects were produced at Digital Domain by EVP Ed Ulbrich, executive producer Karen Anderson, VFX producer Melanie La Rue, VFX supervisor Vernon Wilbert, compositor Andrew Eskner and CG supervisor Richard Morton.

Music was composed by Jonathan Elias at Elias Arts with creative director Dave Gold and producer Kala Sherman.

© 2009 The Inspiration Room