ONE TO LOOK OUT FOR - AMNESTY INTERNATIONAL - TELESHOP Project: Teleshop Client: Kate Allen, UK director, Amnesty International Brief: n/s Creative agency: Mother Writer: Mother Art director: Mother Planner: Mother TV producer: Mother Media agency: n/s Media planner: n/s Production company: Blink Director: Dougal Wilson Editor: Suzy Davis, Final Cut Post-production: The Moving Picture Company Audio post-production: Grand Central Exposure: Cinema
Mother's first campaign for Amnesty International is a darkly comedic pastiche of daytime TV shopping channels, with arms for sale in the place of the more traditional keep-fit devices.
Shot by Dougal Wilson through Blink, the 135-second cinema ad sets out to grab viewers' attention by offering AK-47 machine guns for sale via the spoof shopping channel Teleshop.
Sales presenters talk up the weapon, describing how loopholes in international law make it very unlikely that anyone purchasing one will ever be prosecuted. They go on to explain how payment is accepted in hard cash or diamonds, and how the guns are so easy to work that even children can use them - as evidenced by a number of ongoing civil wars in Africa fought by child soldiers.
The ad is backed with a direct marketing execution, which features models posing with weapons, photographed in the style of a mail-order catalogue. Online and viral elements complete the campaign.
HOME OFFICE - CHILD PROTECTION ON THE INTERNET Project: Child protection on the internet Client: Sharon Sawers, strategic communications advisor, the Home Office Brief: Get parents to take an interest in what their children are up to online. Creative agency: Rainey Kelly Campbell Roalfe/Y&R Writers: Adrian Lim (print); James Fryer, Mike London (radio) Art director: Steve Williams (print) Planner: Megan Thompson Media planning: Manning Gottlieb OMD Media buying: Starcom (radio), MediaCom (press), i-level (online) Media planner: Andrew Mortimer, Manning Gottlieb Media Photographer: Andy Green Exposure: National press, radio, online
The Home Office is aiming to make the UK the safest place in the world for children to use the internet.
As part of this drive, Rainey Kelly Campbell Roalfe/Y&R has created a set of press ads that highlight to parents the dangers that children can be exposed to on the web. It urges them to be more aware of which sites their children use.
The first ad, "bedroom", deals with the issue of paedophiles using the internet to meet children. A girl is sitting in her bedroom while a man stares at her through the window. The line reads: "You wouldn't allow strangers to watch your child in the real world. Why allow it in the virtual world?"
The scenes around the main characters are pixillated to draw the viewer's eye to the main image.
BMW - IT'S ONLY A CAR Project: It's only a car Client: Uwe Ellinghaus, marketing director, BMW Brief: Broaden the appeal of the BMW brand Creative agencies: WCRS, Meme Writer: Yann Jones Art director: Simon Robinson Planner: Jo Reid Media agency: PHD Media planner: Jonathan Fowles Production company: Knucklehead Director: Daniel Barber Editor: Steve Gandolfi, Cut and Run Post-production: Finish Audio post-production: 750mph Exposure: National TV, press, online
WCRS's new campaign for BMW attempts to push the cachet and appeal of the luxury car brand.
Instead of promoting any particular marques, the TV ad shows the various components of a generic BMW. It starts with the nuts, bolts and leather, then moves on to some of the hi-tech options available on top-of-the-range models. These include the Head Up Display, which projects dashboard information on to the windscreen, and the Night Vision system, which uses a thermal-imaging camera to detect pedestrians and animals on the road up to 300 metres ahead.
The commercial uses the strapline: "The ultimate driving machine."
BMW has a 4.6 per cent market share in the UK, ahead of its main competitors, Audi and Mercedes, which each have a 3.4 per cent share.
BODYFORM - QUEUE, FEMALE SYMBOL, FEMALE ICON, MANIFESTO Project: Queue, female symbol, female icon, manifesto Client: Helkle Dahlgren Skov, communications manager, SCA Libresse Brief: Make women question their choice of sanitary towel Creative agency: Bartle Bogle Hegarty Writer: David Chalu Art director: Stephen Rutterford Media agency: Carat Exposure: National posters, press
Research carried out by Bodyform's parent company, SCA Libresse, shows that one in five women are let down every month by an underperforming sanitary towel. Bartle Bogle Hegarty's latest campaign for Bodyform's New Generation Ultra sanitary towels harks back to past political campaigns to make this point.
One execution, "queue", shows a huge queue of women stretching across the poster. It is themed on the classic Tory ad about the Labour Government in 1979, with the strapline: "Sanitary protection isn't working."
CHANNEL 4 - THE IT CROWD Project: The IT Crowd Clients: Rufus Radcliffe, head of marketing; Katie Hayes, marketing manager, Channel 4 Brief: Promote awareness of Channel 4's new comedy The IT Crowd and reinforce Channel 4's reputation as a leading broadcaster of home-grown comedy Creative agency: 4creative Writers: Alice Tonge, Matt Fee, Tim Snape Art directors: Alice Tonge, Matt Fee, Tim Snape Planner: Richard Burdett Media planning: Michaelides & Bednash Media buying: OMD UK Photographer: Finlay Mackay Exposure: National press, posters
4creative has developed a campaign for Channel 4's new comedy series, The IT Crowd, as part of a wider push to rebrand Friday nights on the channel as the home of original comedy.
The new show features three undervalued IT workers who appear not to be part of the "it" crowd, but are in fact much cooler than their colleagues. Posters show the three characters sitting in front of a computer while a wild office party takes place in the background. Promotional activity kicks off with on-air trails, followed by a national poster campaign in the week before transmission.
On the first day of transmission, press ads will feature in national newspapers, and each episode will premiere on the Channel 4 website one week before transmission.
COI - ROYAL MARINES Project: Royal Marines Clients: Jamie Galloway, director of digital media; Julian Perkins, national campaign manager, COI Brief: Promote the Marines' elite status to drive the right kind of recruitment leads Creative agency: glue London Creatives: Jaime McLennan, Adam King, Simon Lloyd, Christine Turner, James Leigh, Darren Giles, Sally Skinner, Dave Martin Media agency: i-level Media planner: Katharine Rowe Designers: Matt Verity, Leon Ostle Exposure: Online (extreme lifestyle and sports sites including Men's Health, Extreme.com, Scrum.com)
Glue London has launched its latest interactive campaign for one of its oldest clients, the Royal Marines.
Unlike Army campaigns, which look to build high response rates from a wide audience base, this campaign looks specifically for recruits who have what it takes to complete the difficult military training.
Through a number of interactive tasks, which include a rock-climbing exercise, being on sentry duty and running 30 miles with a heavy rucksack, the campaign aims to emphasis the mental and physical strain the training puts on a recruit. It highlights how only the top 1 per cent of recruits have what it takes to become a Royal Marine.
The national success rate for recruits completing the gruelling training is 55 per cent.
COMPUTACENTER - SUN FIRE X64 Project: Sun Fire X64 Client: Matt Kenny, Sun partner manager, Computacenter Brief: Stimulate interest in Sun's new 64-bit server range among Computacenter's existing customer base Creative agency: Loewy Writer: Ben Stark Art director: James Burden Planner: Paul Hewerdine Designer/photographer: James Burden Exposure: 1,000 IT managers and directors
In an attempt to demonstrate the speed and effectiveness of Computacenter's latest high-speed server, the Sun Fire X64, Loewy has created an integrated campaign that positions the product as a superhero.
To launch the campaign, the agency has created a set of Top Trumps playing cards to send out to senior IT decision-makers from Computacenter's existing customer base. This will be backed by an animated viral campaign, which stars the superhero server from the cards. E-mails invite the reader to go to the company's website.
In September 2005, Computacenter issued a profit warning after it failed to hit targets for the first half of the year.
WHISKAS - EXPRESSIONS Project: Expressions Clients: Mark Andrews, European brand director, Whiskas; Bruce McColl, European marketing vice-president, Masterfoods Brief: Create a powerful emotional connection with cat owners Creative agency: TBWALondon Creatives: Alasdair Graham, Frazer Jelleyman, Dan Gorlov, Rachel Le Feuvre Planner: Kate Winter Media agency: MediaCom Media planner: Anna Berry Production company: Home Director: Lucy Blakstad Editor: Struan Clay, Final Cut Post-production: The Moving Picture Company Audio post-production: Grand Central Exposure: Pan-European TV
Whiskas, the market-leading cat-food brand, is launching a £15 million pan-European integrated ad campaign called "expressions". The work centres on the emotional bond between a cat and its owner.
The ads, the first of which breaks on 29 January, use poems to show the relationships people have with their feline companions.
The first execution, a 30-second spot called "Fred", features a poem read by a young boy about his big ginger cat, who sleeps on his bed all day.
The TV work will be backed by press ads, a direct marketing campaign and in-store point-of-sale work.
KINGSMILL - KINGSMILL BRAND CAMPAIGN Project: Kingsmill brand campaign Client: Jo Sykes, marketing director, Kingsmill Brief: Launch Kingsmill wholegrain and white bread Creative agency: JWT Writer: Wayne Robinson Art director: Matt Collier Planner: Dan Hill Media agency: ZenithOptimedia Media planner: David Grainger Production company: Independent Director: Patrick Sherman Editor: John Mayes Post-production: Glassworks Audio post-production: 750mph Exposure: National TV
JWT London's new TV ad to support the launch of Kingsmill's wholegrain and white bread aims to communicate the Kingsmill brand attributes of quality and innovation.
The 30-second spot features Kingsmill's restless bakers, who are eagerly discussing how they can give their customers healthier bread. Within a matter of seconds, the meeting is resolved, the suggestion being to use the whole of the grain. The ad is part of a larger £12 million campaign to relaunch and refresh the Kingsmill brand.
The UK bread market is worth almost £2.9 billion and is one of the largest sectors in the food industry. Kingsmill's parent company, Allied Bakeries, commands one-third of the sliced-bread market.