For our latest effort, in a proud history of humanitarian efforts, BBH New York and UNICEF have teamed up with Threadless and NYC artist collective Christine and Justin Gignac to launch Good Shirts: a clothing line priced to help.

Each Good Shirt is sold at the exact cost of the aid item depicted on the front of the shirt. So, in the case of the cargo plane, the shirt is the exact price of a cargo plane to transport aid – $300,000. Don’t worry: not every gesture need be this grand, we’ve got shirts for every budget, starting at $18.57- the cost of three insecticide treated mosquito nets.

Many thanks go out to our distribution partners at Threadless who went above and beyond to make this project a reality. They rallied behind the idea like most good partners tend to do; even going so far as to alter their website’s back-end code to allow for our unique pricing structure (which in code land is a seriously big deal).

The landing page: www.threadless.com/UNICEF went live today. Please check it out and just maybe purchase a shirt to help the children in the Horn of Africa.

Oh, and for the art directors reading this, the pictures can be found here:

We are excited to launch this new product with the UNICEF U.S. Fund. This is one of many ideas that agencies around the world are doing (see the 50/50 project for other projects). Tell us which projects you are most excited about?

Tamara Rojo in Swan Lake, image via http://www.tamara-rojo.com/

Last week I attended a talk by the magnificent Royal Ballet dancer, Tamara Rojo.

As a child growing up in Madrid she had not been aware of ballet and had stumbled into her first dance academy somewhat by chance. She immediately fell in love with the art form and became a diligent pupil. Observing her enthusiasm for dance, her parents took her to a performance of Swan Lake by a visiting Russian company.

The young Tamara was, however, disappointed and upset by the experience. She loved ballet, but had never imagined that it was to be crafted into stories and performed in front of other people. She thought ballet was, as she had experienced it in class, an entirely personal thing, a beautiful private escape.

Subsequently Tamara’s teachers would tell her that she was there to entertain the audiences, not herself.  But one could not help concluding that Tamara’s exceptional ability to inspire others was derived in part from her determination to do something for herself.

Inevitably when we discuss modern communication,we spend most of our time considering whether we are properly reflecting the truth of the brand or engaging the interest and participation of the audience. And rightly so.  But doesn’t it help, a little at least, to be motivated by our own interest, enthusiasm and sense of pride?

Many years ago I worked with the much loved and respected creative, Martin Galton. We would return, heads bowed, from another attritional Client meeting to supply the team with the customary ‘builds’. Martin, however, would only entertain a certain level of distortion of his original concept. Beyond that point he’d say: ‘Forget it.Throw that idea away and I’ll do you another one.’

Frustrating at the time, but his self-belief endured. In an era where the communications process is increasingly driven by the end user and hyper-targeting techniques, how many of us stubbornly hold on to our own vision? Is there still a time and a place to ‘dance for ourselves’?

On Tuesday night, D&AD launched a new initiative: The White Pencil Award. It is an ongoing award, but the first White Pencil will be awarded next year to a piece of creative thinking that best answers a brief that we’re giving to the whole creative community.

The White Pencil is for a piece of creative work that changes the world for the better; the first organisation D&AD has chosen to support is Peace One Day.

The brief is available here and, to the best of my knowledge, it is the first time the entire global creative community of designers, advertisers, digital, photographers etc has been give the same brief.

Come on all you creatives out there: use your talent to change the world.

When Jonathan Harris’ project ‘Today‘ began, we instantly liked its intentions. Lifestreaming projects like this are hardly new but, in the hands of someone like Harris, you know ‘a photo and a story a day’ (in his case, a resolution made to mark his 30th birthday) is going to be downright special.

In this film, made by Jonathan’s friend Scott Thrift, over a year’s worth of photos each appear for a second.

The soundtrack is Harris talking about the experience which will feel familiar to any lifestreamers – the early anxiety, the excitement of figuring it out, a growing audience, then a sense of the project ‘running you’ … followed by the missing it once it’s gone.

“I use stories as a technique to organise the past and I think there’s a real lack of storytelling now among all of us. We’re all living lives that are so fragmented…there’s not that time to create stories, to make sense of that experience.”

For more of Jonathan’s work, check out number27.org.

via @HelenWalters’s Thought you should see this blog (HT @brainpicker)

Author: Pelle Sjoenell (@pellesjoenell), Executive Creative Director, BBH LA

I believe Creative Direction isn’t just Creative Selection. I’ve noticed the two are often confused and I think it’s the result of agency process. Creative Direction is about having a vision and making sure the vision is clear to everyone involved. Having a vision doesn’t mean coming up with or choosing the ideas. Having a vision is about leadership, constantly inspiring and instigating. That’s why Creative Direction has to start early in collaboration with planners, even before a brief is written, and follow through to the end of the rainbow. In other words, if Creative Direction is done right, you should never have to select. You never need to resort to the role of a bouncer. Or simply giving things thumbs up or thumbs down.

The process can only be fixed if the Creative Director doesn’t sit above others. Creative Director is just another kind of job. No one works for a Creative Director. Everyone works for the idea. The idea hires us and we go to work. The Creative Director’s relationship with the idea is unique. It’s a combination of three professions – a politician, a farmer and an assassin. The politician handles the multiple stakeholders of the idea, traditionally pursuing different agendas. The farmer’s part is to nurture the idea so it can grow from interesting to awesome. This means identifying which add-ons, or fertilizers, will make the work better and which will hurt the crops. Lastly, the Creative Director needs to be able to shape shift into an assassin. This means isolating any threat against the beautiful, fragile idea, and putting it to sleep forever.

Playing these three roles requires the Creative Director to be involved early and broadly. It’s when Creative Directors are involved late, or are too far removed, that their job becomes that of Creative Selection. Ultimately, that’s but a minor part of the job.

It’s Mother’s Day in the UK this weekend and it seems a perfect opportunity to raise awareness of some of the difficulties many mothers face in the most marginalised communities of Africa, via a new release of our Status of Africa Facebook app for AMREF, Africa’s leading health development charity.

You may remember that we did something similar last year – the difference this year is that we’re focussing just on women – mothers, in fact. Maternal health is a huge issue: every year 280,000 African mothers die unnecessarily in pregnancy and childbirth because they lack basic medical care. AMREF is working to change this by trying to ensure no woman dies whilst giving life.

The Facebook app gives users the chance to choose a real African mother or midwife that AMREF works with and to share their status or Twitter account with them for 5 days. The app automatically updates the users’ status twice a day with their chosen African mother or midwife. The status updates were written based on true case studies. The stories shared by the women are real.

Our brief is to raise awareness and drive support for AMREF. Our learning is that requests for donations are most powerful when they are put in a context that engages. In this case, donations are encouraged via a final status update that contextualises what that donation will achieve.

Whilst there are many extraordinary stories about the work AMREF does, one thing in particular really inspired us. The bare minimum needed to deliver a baby safely fits into a matchbox. Although AMREF encourages women to seek proper medical attention, in the absence of this the contents of this matchbox can save a life. We created our own matchboxes to share the story with others – specifically like-minded bloggers and journalists. Each box contains: a piece of plastic sheeting to lay on the earthen floor, a sliver of soap and cotton wool for hygiene, a piece of string to tie the umbilical cord, and then to cut it, a razor blade sterilised with the matches. Equipped with this simple and cheap solution, the AMREF-trained birth attendant can be the key to saving a mother’s life and that of her child.

So, please join us in supporting AMREF’s work to help mothers in Africa in time for Mother’s Day: lend your Facebook status and please spread the word using #StatusOfAfrica.

Download the app here.

For more information about AMREF please visit www.amrefuk.org

Credits

AMREF -

Shivonne Graham, Director of Fundraising & Communications
Victoria Rugg, Communications Manager

BBH London -

Creative Team: Kimberley Gill & Mareka Carter
Creative Director: Rosie Arnold
Producer: Nick Townsend
Team Directors: Emma Brooker, Romy Miller

YeoTube, the brand's YouTube channel (never knowingly afraid of a pun).

It seems every food brand on the planet wants to be “100% natural” these days. In the face of rising ethical consumption, even the unlikeliest of brands – McDonald’s, Muller and Walkers crisps to name a few – are responding and staking a claim. Always outspent in marketing terms, organic food producers – just at the point they should be claiming their day in the sun – face being outpositioned too. If you care about it enough, you only have to Google the term to find out that there are real and significant benefits to sustainably produced organic food, but why bother when even a celebrity chef tells us conventional foods are good enough?

Ask a mainstream UK audience in a recession-hit early 2010 what they had to say about organic food and the impact of all this showed: top responses included increased scores against “expensive”, “worthy” and “a bit dull”.

By contrast, when a team of us met Tim Mead (whose family started making dairy products under the Yeo Valley name in 1974) in March this year, two things were striking:

1. His approach: an unapologetic marriage of entrepreneurialism and down-to-earth common sense. An organic farmer for the 21st century if there ever was one.

2. Their vision: Tim and his mother, Mary Mead, believe organic, sustainably produced food should be accessible to everyone.  Philosophically and practically it’s a virtuous circle: the more people eat sustainably produced food, the better it is for all of us and the planet. But “accessible to everyone” demands prices that are competitive to conventional products and that in turn makes a volume-based strategy for Yeo Valley both an economic possibility AND an absolute necessity, if the company is to prosper.

Which was where they saw a role for marketing: to drive demand amongst a necessarily broader, more mainstream audience, along the way helping people to remember Yeo Valley’s name and what it stands for – not least the fact it’s a real place in the West Country.

Our strategy was simple: tackle the perception issue head-on by reversing the expectations of how an organic brand should behave amongst a mainstream UK audience. Goodbye: worthy and earnest. Hello: open and social, populist and proud.

For more on the anatomy of our approach take a look below. First up, some results and what we’ve learned so far. It’s still very early days and we’ve resisted writing about this until we had some (hot off the press) commercial data. We’ll have more substantive conclusions once we’re further in, but here’s what we know for now:

- Furthermore, Yeo Valley spontaneous awareness as a dairy brand had more than doubled just 2 weekends in to the campaign (7% to 15%). Source: Nursery brand tracker

- Of the online mentions since launch in October an average week records a 94.9% favourable sentiment score – fuelled no doubt by over 550 blogposts and the odd celebrity tweet. Source: Sysomos sentiment analysis

10 THINGS WE’VE LEARNT

Perhaps few surprises here, but at the very least a strong reinforcement of some evolutionary truths about modern fmcg marketing:

1. Be true to the people who live the brand, not the perception. In this case, organic brands don’t have to wear sandals.
2. Broadcast can still play a crucial role. If you want to reach a discrete audience (cf Marmarati or Stella Artois Black’s Night Chauffeur) it may be far from necessary, however if your task is mass appeal and you deliberately want to make a public statement about your brand, then broadcast is hard to beat. The trick for Yeo Valley in this respect was three-fold (points 3, 4 and 5 below):
3. Strategy is the art of sacrifice. There wasn’t a huge marketing budget to blow. In terms of bought media, instead of attempting to be everywhere, we brokered an exclusive deal with ITV and Fremantle around X Factor and went big with it. One 2 minute spot, first ad in the first break of the UK’s TV biggest show would, we hoped, act as a rocket launcher for the brand. Subsequently, an on-pack promotion and a mix of shorter time length ads appeared, only ever in X Factor on ITV1, ITV2 and itv.com.
4. Super bowl, super social: we began the process believing the answer did not lie in choosing between social and broadcast, but in committing to both wholeheartedly. To borrow @willsh’s analogy, ‘fireworks bring you to the brand, you stay for the warming fire’. In Yeo Valley’s case, this meant live event TV every weekend, with an ongoing bedrock of conversation and additional content on Twitter, Facebook and YouTube which extends, deepens and personalizes the brand’s relationship with new customers.
5. As we’ve said before, it’s not about now, it’s about the trajectory. The basics of the brand’s behaviour and presence online were laid down months before the TV ad launch and will continue long after; amongst other things getting to know like-minded bloggers, who came to Yeo Valley over the summer to see for themselves how a sustainable dairy farm is run.
6. Reward the fans – by recognising the very best remixes and spotting what they like and giving them more (in our case, letting Ted the owl take over @yeovalley for a day on Twitter and produce his own edit).
7. If you can, change the rules of a category. Quite simply, the conversation around Yeo Valley was fuelled by content and behaviour that caught people’s imagination in a surprising way. A brand trending on Twitter a few days in a row may not be a result in itself, but since the sentiment stayed largely favourable, it gave us a useful indicator of early impact and most importantly where earned media could come from.
8. Haters gonna hate? Maybe, maybe not. Sure, some criticism should be ignored, but we’ve gained a lot more by listening, taking a deep breath and responding.
9. Have an organising thought that can cross platforms and time. “Live in Harmony” sums up Yeo Valley’s world view and also gives the brand and its audience the licence to have some fun with music over time, even playing with the sounds of the farm itself: Click here to view the embedded video.
10. Brands that get better under scrutiny, not worse, will win in social environments online. With Yeo Valley this was never a problem. But it’s worth thinking beyond your carefully planned editorial calendar: what are the issues and opportunities that just *might* arise?

THE ANATOMY OF ‘LIVE IN HARMONY’ TO DATE

The engagement plan set out to splice bought, earned and owned media. It was necessarily quite complex – this is the simple version:

If you’d like to find out more drop us a comment here, check out the brand’s website or YeoTube for more Yeo Valley videos. These include a Making Of together with a series of films featuring Tim & Mary Mead, each offering a window on Yeo Valley as a real place in the West Country (one example below):

Finally, look out for “Farmony“, our Yeo Valley online game teaching kids how to run a sustainable farm, launching in early 2011.

CREDITS

Yeo Valley:
Tim Mead, Managing Director
Adrian Carne, Commercial Director
Ben Cull, Head of Brands
Alison Sudbury, Marketing Manager
Niki Martini, Assistant Brand Manager
Sally Laurie, Customer Services Manager

BBH:
Rosie Arnold, Deputy Exec Creative Director
Kevin Brown, Director of Engagement Planning
Mel Exon, Strategic Business Lead

Simon Pearse and Emmanuel Saint M’Leux, creative team
Eric Chia, Digital Creative Lead
Glenn Paton, Producer

Mark Whiteside, Team Director
Simeon Adams, Strategist
Lawrence Kao, Strategist
Jim Hunt, Head of Technology
Craig Dodd, Tech Lead
Ebla Salvi, Digital Team Manager
Josie Robinson, Team Manager
Sarah Barclay, Digital Project Manager
Daniele Orner-Ginor, Digital Intelligence
Emile Doxey, Data Analyst
David Pandit, Head of Data
Richard Helyar, Knowledge & Insight
Rebecca Levy, Team Assistant

PR: Bell Pottinger
Richard Moss, Director (PR Planning)
Kate Griffiths, Account Director
Jacquelyn Redpath, Account Manager

Brand identity redesign: Pearl Fisher
Tess Wickstead, Planning Director
Natalie Chung, Creative Director
Matt Small, Client Services Director
Michael Dye, Senior Account Manager
Henry Leeson, Head of Realisation

TV Production Company: Flynn
Julien Lutz, Director
Emma Butterworth, Producer
Alex Barber, DoP

Post Production: Framestore
Editing: Steve Ackroyd at Final Cut
Sound: 750mph
Exposure: TV, UK

We were each asked to come with an answer to the question that’s the title of this post. My response – a super short presentation and what was said to accompany it – below.

When I first heard the question, the answer felt pretty obvious. An immediate YES. Let’s kill it stone dead, with fire, right here, right now. Both Fernanda and Patou argued with absolute certainty that this should be the case, letting a series of integrated award entries from a single telco in Bahrain (yes, that was the point…) do the talking.

Personally, my response was driven by the fact the word feels both outmoded AND it suggests unnecessary complexity; a separation between “digital” and “analogue” that’s vaporising before our eyes. Even before analogue TV channels are switched off forever (in the UK in 2012), we all know audiences flow freely between on and offline and expect to see coherency from brands, wherever they find them. This blurring is only going to get more extreme, until we don’t even notice the difference. In fact, I’m fairly convinced we’re the last generation to even care.

Continuing in this vein, I borrowed the oft-quoted Charlene Li’s statement at SXSW in 2009 that “[digital] social networks will be like air”. Businesses need to prepare themselves for a future where open, hyper-connected networks are the norm. Talking about “digital” vs everything else out there is arguably unhelpful, reminiscent of a past when digital was an after thought and treated as a channel (“okay, we’ve got our big idea, now let’s do some of that digital stuff!”). Now that digital underpins much of what we do, it becomes next to meaningless as a descriptor.

Or does it? Before we draw the knife to kill the word, let’s just hold on a minute. If we stop using the word digital, what would replace it? How would we describe the creative canvas and media environment in which we operate? Note: ‘post-digital’ is not an option.

Taking a step back, there’s nearly always an answer somewhere in history – as Russell Davies’ reference to post-war England in his Post Digital apology perfectly encapsulates – or better still, given I was asked to talk about killing something, let’s learn from Mother Nature.

There’s a natural rhyme and reason to the flow of things in nature. Put incredibly simply, all living things experience at least two of the following during their lifetime: birth, sex, death.

Where are we *really* in the cycle of digital’s life? Actually, I’d argue we’re somewhere just after birth.

We’re certainly no-where near approaching maturity. Like virgins discussing sex, we’ve boasted about nearly doing it, thought we may have done it (not entirely sure) and excitedly talk about what it’ll be like when we’ve done it, you know, A LOT. There are people who are legitimately experienced, but most of us aren’t. Not in the “10,000 hours logged coding” sense of the word.

Sure, we don’t all need to know how to code brilliantly in order to qualify. Although I’d like to suggest we might want to learn a little. Ad agency creatives ten years ago didn’t need to be directors, editors or lighting cameramen to write great TV scripts. However, they’d lived with telly and newspapers their whole lives and learned the craft of writing, design and art direction before they ever dared set foot inside an agency. Likewise the UK’s IPA has stacks of papers which prove the effectiveness of advertising, yet would be the first to admit the real ROI of digital activity is still in its infancy.

Until the industry at large has a universal understanding of what it takes in terms of craft and intelligence to deliver *outstanding* digital work, suggesting we should ‘kill digital’ feels grossly premature.

In writing this, I’m reminded of Iain Tait’s last column for NMA just last month, in which he protested with good reason:

“Digital may be everyday, but it’s not effortless… It’s time to stop all the nonsense about trying to call this stuff this or that. Only thing that matters is whether it’s good or not. The only thing more stupid than all the word-monkeying is denying that technology, code and making things out of bits and bytes is important.”

I’ve got a lot of sympathy with this for a bunch of reasons (as I’ve said before here, a favourite post of mine is The Tragic Death of Practically Everything), but in the main I’d like us to show digital some respect. Yes, it informs everything like air, but that doesn’t make it easy to breathe.

In short, I’d like our industry to be allowed to reach its potential in terms of digital skill. Not recognising the particular craft skills and necessary time on the clock runs the risk of arresting our collective development. Let’s not let that happen.

Source: dothegreenthing on Flickr - http://flic.kr/p/8NUsNV

We’ve written before about our straight-up admiration for Green Thing’s focus on using creativity to switch people away from thinking of green living as something we ought to do, to something we want to do.

This time around, they’ve applied their talents to t-shirts.

As the blurb says: “Saved is a new sustainable product and anti-waste campaign that takes unwanted or unloved T-shirts, washes them, hand-stitches ‘Saved’ lettering onto them, adds a Saved story (saved from bad taste, saved from disrepair, saved from neglect) and in doing so makes each T-shirt a bit more fashionable and a lot more desirable.”

Aside from the obligatory celebrity endorsement (stand up Marina and the Diamonds, Imogen Heap, VV Brown, Professor Green and Zandra Rhodes, who’ve all donated t-shirts) the thing we particularly like is the innovation and design Green Thing used at every stage of the Saved cycle. Including a “pay it forward”-style approach to delivery – already recycled, the packaging containing your t-shirt can be reused with a freepost label to send back one of your own old t-shirts to be Saved for somebody else.

Find out more on @dothegreenthing‘s site here or watch the one minute video below.

But more importantly, buy one on their Facebook page here.

Around here we like nothing more than creativity put to great use. Last Friday night, in a cinema in central London, St John Ambulance (a BBH London client) staged an event they hope the audience – and anyone watching the film of what took place – won’t forget for a while. The film you see here was edited at speed over the weekend. Below, we catch up with one of the CDs on the project and share our starters for ten on what perhaps we can take from it.

First up, inbetween edits, Adrian Rossi told us a bit about how the idea came about.

“People eat popcorn in cinema. One of the main reasons people, especially children, choke is from eating popcorn. So we thought how do we make people in a cinema audience (and beyond) question the importance of First Aid. To shake them out of that lethargy that “It won’t happen to me.” Or “Someone will know what to do.”

There were several parts to this. The first was writing and filming a commercial for popcorn that felt believeable as a real popcorn ad. Something that no one would even question. This meant trawling through bland commercial after bland commercial to get the feeling for the language, music and pacing. Even finding a unique popcorn name which felt real and which hadn’t been used before. This kept people in their ad comfort zone. These ads almost kind of wash over you in the cinema. Which is what happened when it played in the cinema, people carried on chatting, looking at their phones and of course eating popcorn.

After creating this idyllic ‘ad family’, we shatter it by having the little girl choke and the Mum – understandably – completely lose it. The actress who played the ‘Mum’ was amazing.  She cried on cue so many times during the shoot itself, amazing to do it once – but to keep to carry on doing it – extraordinary. It was one of the most emotional shoots I or any of the crew had been involved with. Everyone was absolutely drained afterwards.

Like all good stories there had to be a third act. Here, we had an individual in the audience volunteer to help, then run down the cinema aisle and disappear behind the curtains at the side of the screen, before you see her appear in the film itself. Getting the timing and her eyeline (so it felt the two actresses were actually looking at each other and talking to each other) right as she made her way through several hundred people and onto the stage, then behind the curtain to reappear a beat later in the film… that was the nerve wrecking part. This hadn’t been done before. It worked perfectly, the actress, Joanna, nailed it. Even reducing one corner of the cinema audience to gasp and point.

For Joanna she was only half way through her performance – she had to reappear on the other side of the curtains just as her onscreen character leaves, after saving the little girl. This was the real feelgood moment – as she appeared, the entire audience broke into spontaneous applause. This wasn’t scripted, but it made for a genuinely uplifting end to the experience and worth all the effort everyone had put into it.

I believe in this idea and St John Ambulance so much that even though I left BBH 3 months ago I’ve taken holiday from my new agency, Glue, to do all the rehearsals and shoot the cinema event itself. And that goes for almost everyone involved in this project from the beginning – too many people to mention have believed in this and have given up their time and more to make this the best it could possibly be.

There was always that element of risk and nerves attached to doing a live performance as you can’t control entirely what might happen. In the end everyone went with it. Seeing a couple of people reduced to tears and the entire audience spontaneously clapping at the end makes you realise the power a message like this can carry. Strangely, people didn’t seem to be eating so much popcorn afterwards. . .’

What can we do now?

Not to put too finer a point on it, we can all be the difference. Here we’re celebrating the thinking behind this idea by sharing the film, as well as the accompanying campaign collateral (below). We hope you will too, either by sharing the link to the film which is up on the St John Ambulance site and/or YouTube.

We believe there are a few things to take away from all of this – some are age-old advertising truths, some a little more new-fangled. Please let us know what you think:

1. A clearly defined problem: St John Ambulance know there are 150,000 deaths every year in the UK that could be prevented if someone in the vicinity knew first aid.

Newspaper coverage earlier this year

2. A relentless focus: St John Ambulance could be about a lot of things, but they are focused on First Aid. They believe no-one should be out of reach of someone who can help in an emergency. Someone who can *be the difference*.

3. Imagination + commitment beat money: this idea is more proof, if proof were needed, that big impact doesn’t rely necessarily upon big budgets.

4. Coherency beats consistency: each component part of the campaign (print campaign, the cinema event, an iPhone app and a pocket-sized guide) adds layers of knowledge and usability. Different, connected platforms, not identikit, matching luggage.

5. Awareness is not enough. The St John Ambulance team want this film to be watched and shared, but most of all they want it to acted upon. The advertising doesn’t simply tell a dramatic story, it a) gives us basic and top line knowledge about what to do in an emergency and b) gives us somewhere to go – text SAVE to 82727 in the UK for a free pocket-sized guide to Essential First Aid, which covers five common conditions where straightforward first aid could be the difference between a life lost and a life saved:

Be The Difference Guide

And if the booklet’s not your thing, you can try the branded iPhone app (note: the app costs £2.39):

***

Credits:

St John’s Ambulance: Scott Jacobson – Director of Marketing Communications & Fundraising

BBH Creative Directors: Alex Grieve and Adrian Rossi

BBH Producer: Olivia Chalk

BBH Asst Producer: Chris Watling

BBH Team Directors: Louise Addley, Nick Stringer

Director: Jeff Labbe

Producer: Gregory Cundiff, Gabi Kay

Production Company: Sonny London

Director of Photography: Daniel Bronks

Sound: Wave Studios, BBH Voodoo

Post Production: The Mill

Editor/Editing: Sam Gunn, The Whitehouse

Media Partners: DCM – Louise Trinder, Jill Cooper

Digital Cinema Media and the Cineworld Haymarket - Ash Chaudry

Special thanks also to the team behind the scenes: Emma Shepherd (PR Manager at St John Ambulance), Kevin Brown, Helen Kenny, Zak Razvi, Lucy Powell, Justin Abuzid, Christina Collins, Tracy Blyth, Andrew Southam, Romy  Miller, JoJo Jenkins, Gemma Smith, Hannah Gibson and Paisley Wright.

St John Ambulance print campaign

St John Ambulance print execution

St John Ambulance First Aid App print execution