INTERACTIVE: Case study/Leo Burnett; Why Burnetts wanted the flexibility of CD-Rom to display its credentials

CD-Roms allow agencies to show clients their full potential at the flick of a switch, Claire Beale says

CD-Roms allow agencies to show clients their full potential at the flick

of a switch, Claire Beale says



As an increasing number of agencies turn to CD-Rom as a credentials

format, the quality improves - and the stakes get higher.



The latest agency to use the medium is Leo Burnett. What else would you

expect from an agency with Steve Gatfield - a self-confessed anorak -

for a chief executive?



He explains why Burnetts turned to CD-Rom: ‘Leo Burnett is a rounded

agency with a multi-layered offering and we need to be able to represent

all or part of this proposition at different times, and in different

ways.’



Fundamentally, the agency’s credentials presentation has to work for a

range of clients - large and small; those looking for a purely creative

solution or those seeking a full-service offering, and clients

interested only in tapping into one of Burnetts’ specialist units, such

as event marketing or brand consultancy. Not easy to do with a light

box, slides and a van load of case histories.



A CD-Rom, however, allows agencies to be detailed or selective as

required, Gatfield explains.



Every aspect of an agency can be stored on a single CD, so you can be

prepared for any question.



Because the credentials are a distillation of the agency, he was keen to

ensure that the company, its people and its work were shown to best

advantage.



It was important to harness the right skills when it came to designing

the CD-Rom creds, so Gatfield brought in the interactive specialist,

Hyperinteractive, for technical input.



‘The relationship we had with Hyperinteractive was a bit like the

relationship a creative team has with a director,’ Gatfield says. ‘We

wrote the narrative and they created the interactive framework to hold

it together and guide viewers.’



Using an outside specialist was also beneficial because it gave a third-

party perspective, Gatfield adds. ‘We are close to what we want to talk

about, so it was good to have a balanced observer to say when things

needed explaining.’



The agency was keen to produce a quality, hi-tech package to enable it

to stand out from the pack at the agency/client marriage brokers, the

AAR and Agency Assessments.



Felix Velarde, a director at Hyperinteractive, says that MPEG video was

used to get the highest possible resolution for the film sections,

featuring TV and cinema work, and to provide a guided tour of the agency

and key staff.



‘MPEG gave us broadcast quality and the graphics were produced with

specific palettes so that it looks gorgeous whatever system you view it

on,’ Velarde explains.



Velarde’s partner, Richard Mellor, who helped design the on-screen look,

says that they also decided to shoot the video material in cinematic

format. ‘This helped show consumers that the cinema ads were real-life

ads and made the general footage of the agency stand out. It was much

richer and sexier.’



Mellor says that there was a focus on marrying this quality with

interesting and entertaining mat-erial on-screen. The case histories

section, which includes brand information, used front-end screens to

provide an element of fun. ‘You can drive a Mercedes, change the message

on the Bell’s bottles or play with the Gordon’s gin bubbles. These are

fun elements in the spirit of keeping the project as interactive and

entertaining as possible,’ Mellor says.



In the same vein, the main menus feature audio as well as visual

pointers and viewers can flick through on-screen brochures and stop-

start the presentation.



The idea, Gatfield says, is to keep viewers interested. Whether they

will be interested enough to put the agency on their pitch-list remains

to be seen.



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