22nd August 10
Posted in Uncategorized
This is an extraordinary piece of work. Enormous kudos to Mother NYC for pulling off what must have seemed like a extraordinary idea on paper but a monumentally tricky idea to execute (think: no rehearsals, no back-up).
Last week in NYC Mother NYC teamed up with Target to create this great installation at the Standard Hotel in NYC. Over 170 rooms were used, synced with LED lights, performers and a host of other action going on at ground level.
It’s bold, surprising and certainly contains more than a nod to the type of visual effects more usually experienced in digital formats. But executed as 100% analogue.
From Mother’s site:
What do you call 20 sensory-overloaded minutes fashioned out of 60+ dancers, an original visual program created by Daft Punk’s light designers, a new pop symphony from one-half of N.A.S.A. and 170 rooms of New York’s Standard Hotel? You could start with “Spectacular,” but even that seems limiting. This one-time-only show for Target’s original fashion lines is just about the coolest and most unique event Mother’s ever produced!
Enjoy the film (the visual treats really begin 40 seconds from the start).
It reminds us of this video, by Etienne De Crecy, one of our favourites here at BBH Labs, but done on a monumental scale.
18th August 10Heather LeFevre has just published her annual survey of planners and strategists. It’s most definitely worth a read. And not just if you regard yourself as a planner or strategist.Of course, we’re particularly honored to see BBH named joint top as one of two agencies with the ‘strongest planning group’ (& congratulations to W&K).From Heather’s blog:The moment at least some of us have been waiting for! The results have been tabulated, analyzed and even designed this year. I’ve posted them on both SlideShare and Scribd so you can download them from whichever you prefer. All of my commentary is in the report, but please comment here after you’ve had a chance to read it. Would love to know what you think.–
17th August 10
Posted in Uncategorized
For some reason, the dominant conversation around media’s ongoing evolution concerns its fragmentation. Yes. Ok, it’s fragmented. What isn’t discussed enough is that the critical impact of said fragmentation is directly tied to brand behavior, not the difficulty of reaching and engaging audiences. How a brand behaves is now intrinsically linked to media environments. In fact, separating the content from the channel is becoming an impossible (and irrelevant) task. Think about music. Is music the same as it’s always been, just now distributed in “digital form”? Anyone following the evolution of music knows that music has fundamentally changed as a result of digital distribution. Not just the music industry; music itself. The impact of how it’s consumed (isolated from the context of an album, in varied interpretations and in environments not dedicated to “listening”) has literally changed what artists create. We’re just beginning to see the same thing with literature as a result of e-books. The content is impacted by the channel. It’s why Twittering isn’t “micro-blogging.” It’s Twittering. The content is different because of the channel.
As a result, we’ve been spending a lot of time at BBH New York recently rethinking the role of media across the organization. Specifically, we’ve been formalizing processes and deliverables enhancing its function as a fully embedded creative & strategic discipline. Media at BBH consists of the overlapping practices of Media Planning/Buying, Engagement Planning and Media Design*. This happens because the role of media as an expertise is exceptionally broad.
In fact, we view media as much as an input as an output. The following four roles of media require a specific mix of skills we try to develop, and create accountability around. We’ve illustrated each by work we didn’t create, but have tremendous respect for as an agency.
16th August 10
Posted in Uncategorized
Anyone who knows us well will already know we’re big fans of SXSW. As conferences go, it’s a glorious, greasy, gratifyingly mad brain melt of great speakers and great company all located in the strangest city ever to find itself in Texas.
Next year, we’d like to go back and do a little more than take copious notes during the day & earn our Super Swarm badges at the parties. So, here is a short outline giving you a quick rundown of the panels we’re hoping to be a part of. Many of them are around the same broad theme of agency re-engineering; we’re unapologetic about that, it’s what we’re especially interested in. Anyway, you know the gig, we won’t be doing ANY of these things without your votes and comments to help us on our way. So, this is also a huge advance thank you. We’re planning a party too, so hope to see you there over a beer and thank you in person (more on this nearer the time). In fact, you can come to that even if you don’t vote for us, but just pretend you did . . .
13th August 10
Author: Ali Merry, Creative, BBH London
The first release of 56 Sage Street – BBH London & B-Reel’s game for Barclays – went live last month and, we´re happy to say, has just received NMA’s Campaign of the Month. Ali, one of the creatives behind the project agreed to tell us the story behind the game’s inception, how it got made and what the team learned along the way. Read full post
11th August 10
Here’s more information on the technology, and the project behind it (below). For further details, including Microsoft’s research paper and more films, visit their site, here.
Systems such as Google Street View and Bing Maps Streetside enable
users to virtually visit cities by navigating between immersive
360panoramas, or bubbles. The discrete moves from bubble to
bubble enabled in these systems do not provide a good visual sense
of a larger aggregate such as a whole city block. Multi-perspective
“strip” panoramas can provide a visual summary of a city street but
lack the full realism of immersive panoramas.
We present Street Slide, which combines the best aspects of the
immersive nature of bubbles with the overview provided by multi-perspective
strip panoramas. We demonstrate a seamless transition
between bubbles and multi-perspective panoramas. We also
present a dynamic construction of the panoramas which overcomes
many of the limitations of previous systems. As the user slides sideways,
the multi-perspective panorama is constructed and rendered
dynamically to simulate either a perspective or hyper-perspective
view. This provides a strong sense of parallax, which adds to the
immersion. We call this form of sliding sideways while looking at
a street facade a street slide. Finally we integrate annotations and a
mini-map within the user interface to provide geographic information
as well additional affordances for navigation. We demonstrate
our Street Slide system on a series of intersecting streets in an urban
setting. We report the results of a user study, which shows that
visual searching is greatly enhanced with the Street Slide interface
over existing systems from Google and Bing.
26th July 10
This post is adapted from a piece written for Campaign magazine (22.07.10), also available online at campaignlive.co.uk later this week.
Founded in 1984 as a one-off event in California, TED (Technology Entertainment Design) has come a hell of a long way. The numbers tell their own story. Since the launch of TEDTalks online in 2006, over 700 talks have been viewed 300m times and the non-profit has, in keeping with its tagline “ideas worth spreading”, expanded into a family of conferences and content available on an ever-growing number of platforms. The latter now include the TED Open TV Project (allowing broadcasters to incorporate TEDTalks into their programming without license fees) launched in May this year and an iPad app out in a couple of weeks. As they put it, TED is becoming “an organising principle for ideas.”
Read full post
26th July 10
Posted in BBH Labs
Every week Mel Exon (@melex) & I pull together 10 stories or links that we think are in some way inspiring, relevant, challenging, or just plain interesting, & we send them to BBH-ers in our six offices around the world.
It’s of course heavily based on the BBH Labs (@BBHLabs) Twitter feed & blog, but recognizes the reality that not everyone is hooked up to Twitter 23.5 hours per day.
Anyway, we thought we’d share it. So here it is. Feel free to pass on. As usual, ideas on making it more useful always welcome.
Summary of the how agencies are pushing to evolve & become more digitally literate, & how ‘digital shops’ are losing lead – ‘Closing the Tech Divide’ (AdWeek) – http://bit.ly/9dI94r
‘Google is not making us stupid, & the Internet is not really changing our brains’ (a riposte to Clay Shirky, in the LA Times) – http://j.mp/c1RBYU (via @chrisgrayson)
Will Zynga Become the Google of Games? On the rise & rise of Zynga (of Farmville fame), in the NYT – http://nyti.ms/dzJhFQ
‘Digital Tools for Making Brilliant Mistakes’ – on Hipstamatic, Vintage Video Maker & why they appeal (explain to your kids why all your photos of them look crap) – http://j.mp/b5T2pg
‘Facebook is beginning to look & act like a sovereign state’ – from The Economist – http://j.mp/dggyN2
Refreshing to see augmented reality work where there’s genuine reason for the AR; new work for Olympus, by Mullen – http://j.mp/deytQl
‘What Makes A Good Creative Director?’ – a fairly solid list of attributes here + a good discussion – http://j.mp/cN46me (via @ckburgess)
‘We Need To Rethink How We View Creativity’ – great post by @neilperkin – http://j.mp/bRPoyX
Thought-provoking stuff from @brucenussbaum – Is Humanitarian Design the new Imperialism? – http://j.mp/dkq6H8
plus a bonus 11th . . .
21st July 10
Posted in Uncategorized
Author: Seth Weisfeld, Digital Creative Director, BBH New York (@seth_weisfeld)
“The best camera is the one you have with you.” (Chase Jarvis, see: http://j.mp/ad29YM)
Powerful technologies and tools for creativity and filmmaking used to be exclusively in the hands of professionals. The cost of entry was high and the learning curve steep. With the recent launch of Apple’s 4th generation iPhone, consumers can now carry in their pockets a device fully capable of capturing, editing and publishing HD videos. This is an exciting prospect – no more grainy, pixelated, thumbnail-sized videos of our funniest or most beloved moments or the latest breaking news story.
Only a few short days after iPhone 4 hit the marketplace, an exceptionally impressive example of the film-making potential of the device surfaced. This film, “Apple of My Eye” directed by Michael Koerbel, was shot and edited entirely on an iPhone 4 in under 48 hours.
16th July 10
Author: Ben Shaw, Strategist, BBH London
In the last of our blog posts with Dan Light we’ve saved the trickiest questions for last. What, if any, are the roles for brands in these transmedia extensions of the narrative? Can it ever get deeper than product placement and, if so, can brands ever make a legitimate contribution to the storytelling experience?
In the past decade we’ve seen that the music industry had to get screwed before it would change, the newspaper industry is struggling and the film industry is being forced to reinvent itself. Can entertainment industries transform themselves? Where do you see the film industry going?
I think the film industry is going to polarise. I think you’re going to have your Avatars – they will be big 3D events that will be 15-year projects and will command bigger and bigger sums of money.
At the other end will be the classic independent films, built around a good story but also written from the ground up, with a view to all the ways in which that story can be told, developed and audiences be found.
So brands need to find new ways to engage audiences and clearly sponsorship of this kind of content is a legitimate path, albeit it represents a fairly transactional relationship with the producer. Is this how you see the role of brands developing?