ONE TO LOOK OUT FOR - BMW - 1 Series Project: 1 Series Client: Suzanne Gray, advertising manager, BMW Brief: Promote understanding of the BMW 1 Series concept and relevance to the target audience, as well as rooting it in the BMW family Creative agency: WCRS Writer: Will Barnet Art director: Mike Wells Planner: Jo Reid Media planning: Element Media planners: Yusuf Chuku (Element), Tony Giordani (Vizeum) Media buying: Vizeum Production company: Stink Director: Neil Harris Post-production: MPC Audio post-production: Wave Exposure: National TV, press
WCRS is relaunching the BMW 1 Series with a ú3 million TV and press campaign consisting of four spots that focus on individual features of the car, including its iPod connection, keyless locks and automatic rain sensors.
One of the 20-second ads features a woman walking along a rainy street. As she proceeds, shop awnings and umbrellas open for her to prevent her from getting wet. A voiceover says: "Automatic rain sensors. You could get used to it in the BMW 1 Series." Each ad ends with the line: "Every 1 is full of surprises." The press ads use text juxtaposed over shots of the car to highlight its satellite navigation, bending headlights and parking sensors.
BMW blamed increased competition for its first decrease in profits for nearly two years. In the first quarter of this year, international revenue was down 4.1 per cent to a10.36 billion.
ALBERTO CULVER VO5 - HAIR EMERGENCIES Project: Hair emergencies Client: Tom Monaghan, vice-president, Alberto Culver Europe Brief: Develop a new global campaign that repositions the VO5 brand and communicates the new and improved product range Creative agency: Euro RSCG London Writers: Neil Williams, Dom Gettins Art directors: Ed Bones, Olly Caporn Planners: Stephen Wallace, Donald Pirie TV producer: Mana Catford Media agency: Carat Media planners: Dan Keat, Azon Howie, Sarah Reason Production company: Outsider Director: Pedro Romhanyi Editor: Tony Kearns, TVC Post-production: MPC Audio post-production: 750mph Exposure: National TV
Euro RSCG London has developed a ú2 million TV campaign that dramatises the hair emergency-solving attributes of VO5's new range of haircare products.
One 30-second spot follows a dedicated and unusually beautiful casualty team in the A&E department of a fictional VO5 hospital drama. A woman is rushed into the room on a gurney and is quickly diagnosed as suffering from "serious hair trauma". The team set to work, using VO5 products and haircare implements in place of normal medical equipment to treat the hair problem in question. The spot ends with the line: "Vitally alive hair from VO5."
In 2004, V05 saw an 8.3 per cent increase in sales to $39.9 million for its range of shampoo, largely attributed to its Nourishing Oasis line.
E4 - E4 AUTUMN CAMPAIGN Project: E4 autumn campaign Clients: Rufus Radcliffe, marketing director; Lindsay Nuttall, marketing manager, E4 Brief: Establish the new autumn schedule post-Big Brother and introduce Freeview viewers to the range of programming on E4 Creative agency: 4Creative Writers: Neil Gorringe, Tom Tagholm Art directors: Neil Gorringe, Tom Tagholm, Noah Harris (Precursor) Planner: James Walker TV producers: Tabby Harris, Jason Delahunty Media agency: OMD Media planners: Paul Gilshan, Jonny MacKay Production company: Precursor Directors: Noah Harris, Neil Gorringe Post-production: Rushes, Blue Post Audio post-production: Adelphoi, Blue Post Exposure: C4, E4 airtime, outdoor, national press, radio
Big Brother series six ends this week, leaving Channel 4 with the thorny issue of how to fill the schedules of its digital channel, E4, which has been showing wall-to-wall live Big Brother for the entire series.
The channel has solved the problem by devoting its daytime output to music videos, while offering a selection of feature films in the evenings.
The launch campaign for the autumn schedule, created by 4Creative, uses E4's recent brand refresh in an on- and off-air campaign. The ads include lines such as "chucking spunky tunes into your tellybox" to launch E4 Music, and "big shiny films in your dinky little home" to publicise the movie season.
INTERCONTINENTAL HOTELS - CORRIDORS OF CHANCE Project: Corridors of chance Client: Kirsty Montgomery, e-mail marketing specialist, InterContinental Hotels Group Brief: Increase e-mail acquisition Creative agency: Agency.com Writer: Steve Bartlett Art director: Paul Campbell Planner: n/s Designers: Karl Reynolds, Will Bevan Exposure: Viral, initially sending to 125,000 on e-mail database
Agency.com's first work for InterContinental Hotels since it won the account two months ago is a viral scratchcard game for the Holiday Inn and Holiday Inn Express brands.
A link to the game will go to 125,000 e-mail addresses, targeting business and leisure travellers who have stayed at or have previously expressed an interest in either of the hotel chains.
Users are shown 20 hotel room doors, of which they have to pick five. If they match two doors with the same visual, they win an instant prize or are entered into a prize draw to win a trip to New York.
Last year, InterContinental overtook Cendant for the first time to become the world's largest hotel chain. The group continues to expand: in July, it signed a franchise agreement for five new Holiday Inn hotels, bringing its UK total to 100.
CHILDLINE - CALL CENTRE Project: Call centre Client: Matt Parkes, head of direct marketing, ChildLine Brief: Raise awareness and encourage donations to ensure the survival of the ChildLine night service Creative agency: Quiet Storm Writers/art directors: Lee Ford, Dan Brooks Planner: Ben Exley TV producer: Kate Pirouet Media agency: In-house Production company: Quiet Storm Films Directors: Lee Ford, Dan Brooks Editor: Dayn Williams, Cut & Run Exposure: National cinema
The children's counselling service ChildLine, which last year received calls from more than 100,000 children, is seeking to increase funds with a 60-second cinema spot from Quiet Storm.
The ad features phone conversations between children and ChildLine counsellors.One child explains how her mum hits her when she's drunk, another how her father abuses her. The final shot is of an unmanned desk with a phone ringing. When it stops, a dead child is revealed behind the desk. The ad ends with the line: "Only one in five calls can be answered by a Childline counsellor. With your help, we can be there for every child."
VIDEO ARTS - JAMIE'S SCHOOL DINNERS Project: Jamie's School Dinners Client: Martin Addison, marketing director, Video Arts Brief: Launch the new Video Arts training programme Jamie's School Dinners: a Recipe for Managing and Living With Change Creative agency: Partners Andrews Aldridge Writer: Ross Newton Art director: Sarah Richards Planner: Bethan Williams Exposure: Direct mail to 10,000 existing Video Arts customers and 3,000 prospects
The corporate training company Video Arts has taken a leaf out of Jamie Oliver's book with a training video themed on his Jamie's School Dinners series.
A mailpack, created by Partners Andrews Aldridge, aims to drum up interest in the video, the snappily titled Jamie's School Dinners: a Recipe for Managing and Living With Change.
The pack consists of a plastic dinner tray with an envelope addressed with the line: "If employees are reluctant to accept change, give them school dinners." Inside is a detailed brochure explaining how the two-part training video is based on the Channel 4 series.
ANN SUMMERS - BEAN Project: Bean Client: Gordon Lee, head of marketing, Ann Summers Brief: Encourage women to rediscover the joy of sex toys Creative agency: St Luke's Writers/art directors: Natalie Ranger, Eloise Smith Planner: Simon Gottschalk Production company: 24fps Director: Alex Pillai Post-production: One Exposure: Internet
St Luke's has produced a saucy viral for the lingerie and sex toys purveyor Ann Summers, in a bid to help women rediscover the joy of self-love and boost sales, which helped its turnover top ú155 million last year.
Working on a masturbation euphemism, the ad shows a naked woman flicking a butter bean. A final massive flick sends it crashing around the room in an orgasmic flurry of crashes and bangs. The ad ends with the woman looking sated and the strapline: "Flick your bean better."
DAIRY CREST FRIJJ - SPADE, ROAD SIGN, PETROL CAP Project: Spade, road sign, petrol cap Client: Karen Smith, Frijj brand manager, Dairy Crest Brief: Make Frijj the filling drink Creative agency: Grey London Writers: Ben Stilitz, Colin Booth Art directors: Ben Stilitz, Colin Booth Planner: Niki Stevens Media agency: John Ayling & Associates Media planner: n/s Photographer: David Harriman Exposure: National newspapers, men's weeklies, outdoor
Dairy Crest's Frijj milkshake line is enjoying record sales of ú30 million a year, despite a four-year absence from commercial breaks.
While the new campaign for the brand sees it staying off television, it is attempting to widen its market and share with a series of press and poster ads aimed at young men. The ads capitalise on previous tie-ins with Big Brother and the FHM publication High Street Honeys.
Three print executions depict the dangers of working on an empty stomach. In one, a man puts a spade through his foot while digging. Another shows the effect of hunger on a road-sign painter. All three executions run with the line: "You can't think on an empty stomach."
VOLKSWAGEN - PASSAT LAUNCH Project: VW Passat launch Client: Ian Johnston, communications manager, Volkswagen Brief: Encourage recipients to either undertake a test drive or enquire for further information Creative agency: Proximity London Writer: Chris May Art director: Mark Dudley Photographer: Chris Overton Exposure: Direct mail to 110,000 existing Passat owners, prospects and drivers of competitor vehicles
Volkswagen is launching its new Passat with a through-the-line campaign that includes a direct marketing element created by Proximity London.
Backing TV and print work from Germany, the mailer focuses on the luxurious features of the new Passat - the sixth incarnation of the saloon - including its push-and-drive keyless ignition and touch-button handbrake. The pack aims to increase VW's UK market share, which remained static at 6.9 per cent in the year to June 2005.