7th May 10
Author: Calle Sjoenell, Executive Creative Director, BBH New York
Over the last two weeks I have noticed an interesting phenomenon around people with iPads. Maybe it’s because I haven’t got one yet (I’m trying to refrain until my birthday) so I’m more aware of those who do have them already. Right now I can have more of an outsider’s view on this new device.
That said, it’s become apparent that I’m far from an outsider. Barely an opportunity goes by for someone with an ipad to share something with me. “Check this out”. “Look at this”. “Let me show you something”. Users seem to want to show off new apps, cool new vids (and of course the device itself). I am very often drawn into the experience others are having around the iPad. We literally gather round, pull up chairs.
Unlike a laptop, it’s super easy to ‘turn and share’. Unlike the iPhone, it’s genuinely shareable (the iPhone is unashamedly personal, even private). With the iPad you can gang around at least three, four people to see something together. It all feels very natural.
So I’ve been thinking, is this one of the true revolutions with the iPad? It’s the first truly communal computer. Almost like sharing stories around the campfire.
If that’s the case, how should that impact how we design content and applications for it?
An idealist who wants a realist form of government: the UK election candidate offering digital democracy
30th April 10
Author: Kirsty Saddler, Planning Director, BBH New York (@keava)
BBH is strictly non-partisan and typically avoids politics, but is intrigued by an independent candidate standing for Hackney South and Shoreditch this election who has taken mainstream digital behavior and applied it to politics, so offering a new model for voters.
Denny de la Haye is no career politician and has never had any party affiliation. He is instead motivated by a belief in a better political system. So he is standing with no policies and the promise of direct democracy; if voted in he will poll constituents before he votes on any issue or piece of legislation.
He believes that while there is apathy about political voting, people’s support for issues is rising – as digital has facilitated more activism and support for issue based organizations.
“If you allow people a forum and a say they will use it, but they are not motivated to vote politically as they are disillusioned by the system. The UK political system has people in positions of power who answer to a party, before their voters”.
De la Haye is aware that his system relies on people remaining consistently engaged, but this is where his experience as a web designer kicks in and he draws on participation models like Digg and Reddit.
For issues and legislation he will endeavor to get people reading around the issue to inform themselves. To do this he will post an objective synopsis of government’s texts online – inspired by Simplyunderstand.com ‘translation service’ – links can then be added to the synopsis by constituents, which can in turn be rated so the most valuable rise to the top.
It will be crowd-sourced information, without any party bias.
De la Haye’s model would become more valuable over time, as people realized the power of influence they could exert as exemplified by Obama’s election campaign and the model would build a representative picture of constituents views and how the constituency had changed over time, which can be tracked and learnt from.
If followed through it would also do away with the need for party politics, however it is still likely people would cluster around ideologies – but perhaps more their own, not those dictated by a small group of people.
So . . . back to BBH’s real interest here which is how could this work in the business and marketing world. What would happen if shareholders were done away with and there was a model based more on interest invested by people through contributions of time and/or ideas?
This suggests a world of crowd-controlled brands and an open dialogue where the brand does not assume a position of authority or expertise but is accountable to its public. It does not necessarily work for all sectors, but surely more brands could open themselves up in this way, know their place and just facilitate?
Where has this worked before and where has it failed? Could this ever really work? Love to know what you think.
22nd April 10
We recently announced our first iPad application, the Cool Hunting app initially presented by our client, Cadillac, and developed in partnership between Cool Hunting, BBH New York and Front Ended. If you missed our original post explaining the design challenges, take a look here.
For those who’ve not got their hands on an iPad yet, here’s a short film giving a taste of what it feels like to use. One thing we’ve noticed in using the iPad so far is that there’s quite a gulf in user experience between apps developed specifically for the iPad versus those developed for the iPhone.
This Coolhunting app is definitely in the latter category, and whilst we learned a huge amount about how we’d do things next time, we’re pleased with our first experiment on this newest of platforms.
Download the Cool Hunting app (here) and see what you think.
Thanks to @BBHNewYork’s @GriffinFarley for the prompting to post this.
21st April 10
Everyone at BBH New York is excited about the new work we’ve just launched for Google’s Chrome browser, follow-ups to the work we produced at the end of 2009.
The first film is for Chrome Extensions, and demonstrates how users can personalize their browser. The music used is Fats Waller’s (Do You Intend to Put an End to) A Sweet Beginning?
The second film is for Chrome Translate, the range of translation features that are built in to Chrome, and that enable users to seamlessly translate Internet pages from one language to another.
Both of these films are quite unlike most other tech product demos. They use lo-fi, hand-made elements and simple metaphors to show how the products work. There’s no hype. No extravagant claims. We instead try and keep everything simple.
As with our previous work for Chrome at the end of 2009, we worked with the extraordinary production team at 1st Avenue Machine in New York. The films were directed by 1st Avenue Machine’s Aaron Duffy & Tim Brown.
We hope you enjoy them. They look particularly great in HD on YouTube (click through the videos and then select the HD button).
And watch out for more new work for Google to come in the next few weeks.
Client: Google EMEA
Titles: Google Chrome Extensions/Translate the Internet with Google Chrome
Agency : Bartle Bogle Hegarty New York
CCO: Kevin Roddy
ECD: Calle Sjoenell, Pelle Sjoenell
AD/CW: Maja Fernqvist
AD/CW: Joakim Saul
Head of Broadcast: Lisa Setten
Senior Producer: Melissa Bemis
Business Director: Ben Malbon
Acct. Manager: Rossa Hsieh
Production Company: 1st Avenue Machine
Director: Tim Brown
Co-Director: Aaron Duffy
DP: Zak Mulligan
Exec. Producer: Sam Penfield
Line Producer: Keeley Gould
Editorial Company: Lost Planet
Editor: Charlie Johnston
Assistant Editor: Christopher Huth
Exec. Producer: Krystn Wagenberg
Producer: Meagen Carroll
Telecine: Company 3
Telecine Artist: Billy Gabor
Online Facility: Black Hole
Online Editor: Tim Farrell
VFX Company: Black Hole
Producer: Tim Vierling
Audio Facility: Plush
Audio Engineer: Rob Fielack
Music Supervisor: Sara Matarazzo, Anna Lasxurain & Stephanie Diaz-Matos
Title: (Do You Intend To Put An End To) A Sweet Beginning Like This
Artist: Fats Waller
Music Supervisor: Sara Matarazzo, Anna Lascurain & Stephanie Diaz-Matos
Title: Plastic Sunshine
Composed by: Steven Stern and Stuart Hart
20th April 10
Posted by Dean Woodhouse, Creative, BBH London
Our MySpace Fan Video campaign (which Fran shared here a few months back) has been nominated for a People’s Choice Award at this year’s Webbys, which we’re just a little excited about. And yes, this is an unashamed plug and request for your support.
The category is Best use of Online Media, this is the Myspace entry. All you need to do is sign-up (it takes 20 seconds) and then you get an email that lets you vote.
Whilst we’re here, it would be wrong not to mention our friends at BBH Shanghai’s awesome WWF Fate’s in your Hands in Experimental & Innovation, BBH NY’s Google Chrome in Online Commercials, BBH NY’s Axe Balls in Viral Marketing and Hal & Masa’s (BBH NY) promo video for Sour’s ‘Hibi No Neiro’ in Best Editing.
We’re up against good work from some great agencies like W+K, TBWA, AKQA and Glue, so a win would feel even better.
Deadline for voting is 29th April, so not long to go.
THANKS very much for your support.
13th April 10
Posted in Uncategorized
Posted by: Heidi Hackemer, Planning Director, BBH New York
Just about nothing consumes us more than making sure we have the right people working here at BBH.
So this summer we’re excited to be hosting the beta of The Barn, our new agency internship program, run by three of BBH New York’s finest Barn Masters, Heidi Hackemer, Richard Schatzberger & Dane Larsen. The idea behind it is simple: get some smart people in here, house them in groups of three and have them work together all summer. We’re not recruiting by discipline; rather we’re looking for smart, fun, positive, lover-of-ideas types who get into brand, culture and communication, and can work collaboratively.
The Barn itself is one part Harry Potter, one part Golden Girls, one part Dragon’s Den and one part Lady Gaga.
Harry Potter (community)
We’re taking in six candidates – the six will be split into houses of three. Their house is their life and the houses will live on to the next term when we get a new set of interns.
Golden Girls (support)
The houses will each have an agency advisor and will also work on two pieces of business each – i.e. plenty of people throughout the agency overseeing them, helping them and teaching them about different facets of all things BBH.
Dragons’ Den (competition)
In addition to the warm and fuzzy client business, each house will get a bespoke brief upon arrival that they will work on all summer. At the end of the term, the houses will present their solution in an open forum against the other house to BBH bigwigs and clients.
Lady Gaga (fame)
The houses won’t only be judged on their immediate solution, but also on how well they blast their BBH experience out during the term.
We’re starting the inaugural class with a group of six: three interns from our 4A’s partnership, three from the open recruit. Then we’ll mix up 4A’ers with the open recruits into the houses. Check out the application site at http://www.bbhbarn.com/, follow on Twitter @bbhbarn.
Applications are due April 22nd at 6:00 pm.
13th April 10
The Johnny Cash Project has been doing the rounds on Twitter and the blogosphere recently, for good reason. Anyone initially sceptical (“another crowdsourced music video?”), very quickly realised it was something pretty special. Digging a tiny bit deeper, spotting Aaron Koblin was heavily involved, things started to click into place for us. It’s a well-conceived idea, beautifully done – textbook Koblin.
Something else clicked into place at the same time. So much talk about crowdsourcing, so much experimentation, almost all of which we’re in favour of. Nonetheless, there is an art to how we use the crowd.
Last night I saw Ennio Morricone at the Royal Albert Hall in London. The maestro was conducting some of his best known compositions (including soundtracks to many of Sergio Leone’s films – last night The Ectasy of Gold from The Good, The Bad and The Ugly was unforgettably good). On their own, the soprano Susanna Rigacci, the Roma Sinfonietta orchestra and a 100-strong choir were all world class, together they were extraordinary. Morricone is famous for using singers less to tell a verbal story and more as an emotional, ‘human’ instrument. Last night was no exception: there was something completely mesmeric watching orchestra and singers working as one. It was an act of collective creativity.
No question, a lot of us in the audience felt moved, even elevated.
In a similar way (although perhaps the reaction is less viseral, given there’s a little more distance when something isn’t live and in front of you), The Johnny Cash Project is elevating. There is something profoundly brilliant about making the work of many hands *entirely* visible. It feels 50 times as powerful for its sense of mass mobilization behind a creative act. Its strange quirks, differences, non sequiturs…versus how you’d imagine the same task performed by an individual working alone. Suddenly, one artist in isolation feels one dimensional, ironed out, as if the output would lack vibrancy and surprise.
Sure, centuries of art prove me wholly and irrevocably wrong on that last point. But when I think about how we might most usefully use the crowd, it strikes me crowdsourcing has the potential to be most palpably powerful – to lead to richer outcomes – when we use the crowd as a creative collective.
Right now, with the honourable exception of the likes of Aaron Koblin, a number of innovators in music promo creation (including early initiators Hal Kirkland, Masa Kawamura at BBH New York & their buddies Magico Nakamura & Masayoshi Nakamura – whose lovely video for Sour’s Hibi No Neiro is justly famous), our industry seems most interested in using crowdsourcing primarily to:
a) drive down cost
b) give the crowd something to do – in other words, the ‘crowd’ are in fact a target audience and we want them to feel ‘involved’ with a brand
c) broaden choice – lots of responses to a stated question or task, only one winner
Those are all reasonable things to attempt and we’re not suggesting there should be only one use of the crowd, it just strikes us that focusing on using the crowd as a collective creative resource is something we’re doing less of. And yet, oddly enough, it might be the most powerful use yet.
What do you think? Are there a host of examples of brands using crowdsourcing as collective creativity that we’re missing?
For more on The Johnny Cash Project, check out Maria Popova’s blogpost here.
A version of this post was originally posted on melex.posterous.com.
12th April 10
Author: Steve Peck, Art Director, BBH New York
If you follow golf, then you know that the Masters and the word ‘innovation’ don’t usually belong in the same sentence. In many ways, that still holds true – The Masters certainly isn’t changing the game in how it’s played. But, in the way the Masters site functions, it is changing how it is experienced. Here’s how:
Multi-Camera Live Streaming Coverage - Choose one of five cameras to watch a live broadcast (full screen if you prefer). You can also view an additional camera with the picture-in-picture feature and swap back and forth between the two. Not a bad live viewing experience.
Time-Based Viewing - Watch tagged highlights throughout the day for each of the set cameras. If you’re watching the camera for holes 15 and 16 live at 4pm, you can scrub across the timeline to see thumbnails of previous highlights earlier in the day. So you can go check out that long birdie putt that Mickelson laid in at 11:30 am. You can return to live viewing at any time.
Scorecard-Based Viewing - The leaderboard offers another unique feature; not only does it provide updated scores in real time, but the score from each player on each hole, but a yellow outline around the score denotes a video. It allows you to track an individual player’s highlights throughout the round as it’s played.
User-directed Viewing Experience - Essentially you can view the tournament from a specific vantage point through a live camera; historically in a timeline throughout the day; or through any one individual player’s round. The Masters iPhone app further provides a multitude of features including: live mobile tv; video highlights; streaming radio; leaderboard; news; photos; and a course overview. The mobile app extends the Masters reach and is available for free. It is very useful for the audience since most people are at work during live coverage throughout the day Thursday and Friday. The web and mobile features allow the audience to stay current and decide what and how they want to experience the tournament.
Take a look at how the site felt to experience in this film:
So how did they make all of this happen?
The Masters has a limited media and sponsorship structure and is fully supported by only three (admittedly large) companies: AT&T, ExxonMobil, and IBM. The Masters doesn’t run many commercials and all of them come from those three companies. While AT&T and ExxonMobil operate like traditional sponsors, IBM’s participation is unique and extends further than pasting logos around the event and running television media during live broadcasts. In fact, IBM actually utilizes their technology and expertise to power the masters.com website. Rick Singer, VP of client executive marketing at IBM says, “We provide virtually all of their technology needs from beginning to end. That includes a wide range of tasks such as: core infrastructure and data center management; website design and interactive content development; networking and security; and golf scoring and player statistics, a.k.a. “data management.”
More information about the technical specifics are available here.
An important thing to note is that IBM is actually proving their product functionality through this sponsorship. They are demonstrating their technology management capabilities in providing an engaging experience online and in the mobile space. It’s about *doing it*, not just saying it.
The Masters is a great example of how the interactive space can change and enhance the viewing experience. It’s way more dynamic and personalized than broadcast and provides more useful tools and information. This would have been outstanding for the Winter Olympics earlier this year; you might have been able to see earlier ski races you might have missed, for example, or watched Shaun White in training. It will be exciting to see how implementing this technology will develop into the future. When watching football, you could go and view a video clip of each touchdown or scoring drive (let’s wait and see how the coming World Cup in June turns out – there’s surely innovation to come there). When watching baseball, you could click on your favorite player to see clips of all his hits for that game (or any game).
We say kudos to the Masters and to IBM for taking up the challenge and setting an exceptional benchmark in changing the game for live events.
What did you think? What might have been different or better? What did we miss?
7th April 10
Posted in Uncategorized
Posted by Zach Blank, Creative Technologist, BBH New York
We are so consumed by the communities that Facebook, Twitter, Foursquare (and our local knitting website) foster that we often forget to take a step back and think about the lessons to be learned from these communities. Within each of these online ecosystems, participants, aware of it or not, share some of their most intimate secrets with the world. Conversations about relationships, ridicule for certain social behavior from the night before, bragging about their new iPad, and most importantly simply being open all seem commonplace.
Coders admirably follow the same model however on a significantly different level. Most, I believe, have taken this notion of community and have truly found the value in it for what they do, and there is much we can learn from that. Coders who have affectionately adopted the open source mantra are out there sharing their code, encouraging others to take it and well pretty much do whatever they want. The idea is that by making the work available to be built upon and expanded, it will be built upon and expanded into something better and exponentially more worth sharing.
A piece of work created this way, where the sum of the parts is less meaningful than the work in its entirety, or gestalt, becomes very powerful when considered in the context of the open source philosophy. Projects made up of libraries, code blocks, classes, and ideas whose authors individually poured hours into creating are incomparably more notable than their preceding work which undoubtably made it possible. This is the key most important value in open source. And it is that value that can be translated to other media and have the same result.
Open source technology has given birth to a large array of projects, from everyday utilities to intricate and involved interactive art installations. Each has a narrative behind it that has an impact on its own.
The story of these projects are most relevant to us in understanding how to use the ideas of open source. The two projects below carry strong narratives of how they evolved, lending a learning experience on a much different level than the end product. Thinking about the path that these projects took and the backstories behind their creation is an exploration of the creative process that went into them; therein lies the most powerful ideas.
You Fade To Light is a beautiful project by rAndom International (with software created by Chris O’Shea), existing in large part because of people who understand the power of sharing their work and encouraging growth. This project was born out of projects before it, borrowing code, leveraging libraries and frameworks to bring it to life. Audience, a separate project also by rAndom International (in collaboration with Chris O’Shea) adds to the narrative and creates its own. Have a look at that here.
I Want You to Want Me (IWYTWM) by Jonathan Harris (http://number27.org) and Sep Kamvar (http://kamvar.org/) for the 2008 exhibit ‘Design and the Elastic Mind‘ at MoMA in NYC was created using OpenFrameworks, an open source framework in C++ for artists, interaction designers and creative coders. This beautiful work is in debt to all the work before it. Fortunately the IWYTWM team documented their process, their narrative. It is a prime example of the power that the evolution of these projects exemplify and the value in sharing them.
So, how can we leverage this power of sharing creativity in our business when we hold our ideas in such high regard and guard them so jealously? There is so much buzz around crowdsourcing at the moment because the ‘power of many’ has been proven. That is simply my argument. We need to adopt this powerful idea and understand how to make it relevant and practical for our work. How does the story behind the larger collaborative efforts fit into our business and make our work better?
The easy answer is it doesn’t. But it could.
We can open our ideas and leverage larger collaborative efforts. We need to start with sharing honest explorations of the process behind an idea. Again, IWYTWM illustrates this beautifully, and if we can embrace this idea and run with it we will come out with a whole new level of creative work – perhaps a new breed of creativity altogether.
We’d love to see more examples like the ones above. And we’re always keen to hear what you think.