Posts Tagged ‘creativity’
14th September 14
Illustration for Griffin Farley’s Beautiful Minds, by Kate Moross, Breed.
Recently I’ve been perplexed why a debate still rages in the marketing ether around whether code can truly be creative, so I’m going to try to put a simple point of view down here and see how it goes.
Clue: if you’re already convinced the answer is yes, you can stop reading now.
One of the reasons I work in a creative agency is our shared ambition to, well, create. That word is loaded with meaning: to give birth to, to produce, to make, to originate something new. How that gets done inevitably changes over time, as tools and methods rise and fall. But mankind has been drawing pictures, writing and making music for millennia, and, it’s fair to say, we’ve got pretty damn good at doing all of the above. What’s more, art, copy and audio are so highly valued we don’t question them: all are taught in schools, with music, art and books sold in galleries, shops and gigs the world over.
In purely creative terms, of course code is in its infancy by comparison. And with the notable exception of gaming, what we’ve been able to create for mass consumption with code has lent itself first to utility: for example, allowing us to invent new forms of message transmission, news sharing sites and, indeed, provided us with new ways to distribute all that delightful art, copy and sound.
Yet I’m certain that the best new expressions of creativity are born of art, copy, sound and code, together.
Why? Because at the root of all creativity is a burning desire to create something original, to offer something better than the thing that came before. With code added to the creative canvas, we can achieve this in ways we have never experienced before. In other words, the opportunities to be original and different have exploded, whether you’re in film, fashion or fmcg.
So you may be reading this and thinking, ‘ah yes, more opportunities for originality, sure, but will it be any good?’. Can code move people to feel something, to make them laugh or cry, or suddenly to see a situation differently? Or is code still just about new ways to distribute the photography, writing, music and film we know and love?
I was a member of the Cannes Lions Cyber jury this summer where, sure enough, some of the best work showed a strong grasp of how to use digital to drive performance (where the definition of performance goes beyond ‘effectiveness’ to the pro-active planning, deployment and optimisation of brand activity – all enabled by technology).
By way of illustration, Volvo Trucks’ “Live Test Series” understood that YouTube’s algorithm rewards ‘total watched time with a channel’ and this helped the brand build a relationship with its audience over time. ‘Epic Split’ was a phenomenal piece of film content, but it was also the sixth in a series. Millions had watched other live tests and clicked to watch more, creating a virtuous circle where the brand earned the right to show up in more related videos. As Matt Locke puts it so succinctly some years ago now: “design for circulation, not distribution”.
However, the very best interactive work won this year because of something else in addition to well-drilled performance.
The likes of 24hoursofhappy.com for Pharrell, ‘Sound of Honda/Ayrton Senna 1989’ ‘Scarecrow’ for Chipotle and BBH New York’s own ‘Greatness’ for Playstation are simply great ideas, crafted with immaculate and loving care. Other examples include the creation of a credible, artificial child (‘Sweetie’) by Terre des Hommes Netherlands as part of its campaign to track down webcam paedophiles, and ‘Killing Kennedy’ for The National Geographic Channel which interweaves the stories of both Kennedy and his killer as one seamless and immersive online piece.
All break new ground in technological terms, all are ideas where code plays an essential part. But, above all, they evoke a powerful emotional reaction which creates a relationship with the brand. That, I would wager, is the very definition of creativity.
Three more examples of this in action if you’re looking for inspiration:
1. Digital Revolution exhibition @ Barbican in London, 3 July – 14 September 2o14
Includes astonishing displays like Umbrellium’s interactive 3D laser light field, ‘The Treachery of Sanctity’ by Chris Milk, as well as DevArt which incorporates four brand new installations commissioned by Google and Barbican to explore creative uses of code. If you’re in London, go see it before it closes in September.
Closer to home and mentioned before on this blog, Google’s ‘series of experiments to reimagine advertising’ including Burberry Kisses and most recently Nike Phenomenal Shot. The initiative’s inspiration comes from the creative revolution of the 1960s when art directors and copy writers were paired up together, having previously sat on separate floors of the print agencies where they worked. As they put it: “Today, we’re in the midst of a second creative revolution, driven by technology. Code is being added to the core creative process.”
3. New Revolutionaries (Decoded & BBH London event)
In late June this year we co-hosted with the good folks at Decoded an evening event at BBH London that we hope to repeat in future. It was designed to bring together and celebrate the polymaths and collaborators who are transforming their industries through creative uses of technology and vice versa; featuring installations and talks from the likes of Brooke Roberts, Yuri Suzuki, Framestore, Onedotzero and more.
Jeremy Langmead (newly appointed Chief Content Officer at Christie’s, ex-Mr Porter) opened the evening in conversation with Wired UK Publisher, Rupert Turnbull. Jeremy spoke openly about category naivety allowing you to break new ground, noting that any new leader has to be able to invite people with radically different skillsets into a room and to have the flair to multiply technical and creative skills together.
Framestore’s Mike McGee then told the backstories to their work on Gravity and Audrey Hepburn for Galaxy chocolate (the fact actors can now be essentially re-created led him to muse how it may become the norm in future to ‘licence’ their image for films created long after they’re dead…), as well as their astonishing ‘Ascend the Wall‘ work for Oculus Rift for Game of Thrones.
Above all, both speakers were interesting and interested. Whether you’re a creative-tech polymath or a collaborator capable of pulling different skills together, in many ways, it struck me, it doesn’t get much more complicated than that.
Jeremy Langmead (Christie’s) & Rupert Turnbull (Wired UK) in conversation at New Revolutionaries
Mike McGee talking through the creative technology involved in creating ‘Gravity’
24th June 14
Tonight we’re co-hosting an event with Decoded to celebrate the “New Revolutionaries”, the people transforming their industries through creativity and technology in glorious combination.
Kathryn Parsons, Lindsay Nuttall and I are lucky enough to be hosting a night of inspiring showcases and talks celebrating the people driving that creative revolution.
We’ve got two tickets to give away if you fancy it: please just tweet us @bbhlabs or @bbhlondon or leave us a comment below.
Alternatively, we’ll be live streaming the event via Twitter thanks to our friends at Streaming Tank and we’ll write up the event for this blog when we’re out the other side..
28th May 14
There are a couple things you need to know about Aarhus:
1. It’s the second biggest city in Denmark after the capital, Copenhagen;
2. The airport is 45km away from the town centre and a taxi will cost you £70, so take the shuttle bus, especially if you’re travelling on the Labs budget.
I was there to talk about BBH’s answer to the challenges and opportunities that creative businesses face today. The tensions between creativity and commerce, and the question of the monetization of creative outputs in the digital economy, had been recurrent throughout the day, since SPOT started out as a music conference, and a lot of the participants (including RECHO app developers, who launched their app at the conference) were connected to the music business, which has obviously had to spend the last two decades revolutionizing its value model.
Have a flick through the presentation if you fancy. Or read the ten points below for the gist of the keynote.
1. BBH was founded on the belief that growth needs space, and space needs difference, and creativity is the best tool at creating difference. Far from seeing creativity and commerce as opposites, we have a fundamental faith in the ability of brilliant creativity to deliver business results.
2. Conveniently, the IPA has actually proven through correlating Gunn report awards (a good proxy for quality of creativity) with ROI data, that creativity multiplies the effect of marketing investment by a number included between 7 (historically) and 12 (more recently).
3. Increasing connectedness of users, platforms, objects, channels, brands, devices, life, and generally everything, means that creativity needs to adapt both its inputs and outputs in order to continue to deliver commercial success.
4. We call this new type of creativity, High Performance Creativity.
5. High Performance Creativity is:
- Rooted both in genuine user and business insight;
- Fuelled by real time, real world data;
- Connecting all of a brand or property’s touch points into a consistent ecosystem that it itself connected to culture, to deliver at scale.
6. High Performance Creativity generates a new breed of creative ideas. Here are four examples.
7. Data-led ideas:
The New York Times reported that Netflix, which has 27 million subscribers in the US, found the idea for their version in House of Cards by running the numbers. The combination of the high popularity and engagement rates of David Fincher films, Kevin Spacey films, and the British version of “House of Cards” suggested that commissioning the series would be a very good bet on original programming.
In the BBH world, a team led by Creative Technologists has recently created a digital Audi billboard in Waterloo station which runs on real-time, station-related data. Check out the video inserted in the slide.
8. Network ideas: Sometimes the best strategy to triumph is to partner with the obvious competition. When your customers don’t care about what you make any more, think of what they do care about, and go befriend it.
A good (and befittingly, Danish) example of this is part of the spectacular Lego recovery story. Upon realizing that kids were more interested in blockbuster film and video games than they were in small stackable bricks, they initiated a whole new collection of franchises, and in one swift move turned themselves into a successful cross-platform entertainment brand, driving growth through innovation in gaming and film partnerships such as Harry Potter and Dark Knight. More recently, this strategy has taken the form of a long-term partnership with the Cartoon Network.
Working with our friends at Refuge, we were faced with the issue that domestic violence is an issue young women don’t want to talk about. So we found a way into their conversations by associating ourselves with a property they did want to talk about (make up and beauty) through celebrity blogger Lauren Luke.
9. Shoppable ideas: The idea that the various steps alongside the consumer journey from awareness to purchase are separate in time and mindset is eroding in the digital age, since all phases are increasingly connected. In the new world, those steps have become layers of a single ecosystem.
Founder Nicola Massenet describes Net A Porter as a fashion magazine that sells, rather than an ecommerce property. Quality creative content delivered by top fashion journalists and photographers, one click away from purchase: that’s inspiration and conversion wrapped into one. A winning strategy that has gone full circle this year with the launch of Porter Magazine.
At BBH, we have recently created a product for British Airways which similarly combines inspiration and delight through content, with optimized e-commerce. Picture Your Holiday is an intuitive holiday planning tool which allows for both dreaming up and buying your next trip away.
10. Triple Win Ideas: A lot of success stories in the world of digital products and services, come from unlocking a group of users or a type of use for the product, that wasn’t part of the original plan. So it’s always worth asking yourself who else your idea could be a win for.
Dog-sharing services such as Tailster put dog owners in need of a sitter, with dog lovers who don’t have their own pet. Dog owners get a cheaper rate on a dog walker or sitter, and dog lovers get an hour with a dog.
BBH Zag recently partnered with OMG Plc to create the world’s first intelligent, wearable camera.
The partner company had created a medical product designed to help those with memory loss. We set out to help them create a mass consumer product with cutting edge tech credentials. Positioned as a life streaming and social photography tool, Autographer launched in the spring.
More to come shortly on High Performance Creativity; in the meantime let us know what you think.
29th April 14
Author: Richard Helyar, Head of Research, BBH London
Last week Disney’s icy fairytale Frozen became the 6th highest grossing film of all time. It had already taken more money at the box office than any other animated film in history, relegating Pixar’s Toy Story 3 to second place. Incredibly, a two-man leadership team is behind both films and their respective studios: Ed Catmull and John Lasseter.
So BBH was highly animated when we welcomed one half of this duo, Ed Catmull, Pixar’s co-founder and President of both Pixar and Disney Animation, to talk to us last week on his two-day visit to London promoting his new book Creativity, Inc.
Together with the backing of Steve Jobs, Ed and John built Pixar from scratch and I doubt if anyone reading this hasn’t seen, and loved, one of their films. Pixar’s 27 Oscars and $7bn revenue is a pretty compelling demonstration of the creative and commercial yin yang, but what is truly remarkable is that when Disney acquired Pixar in 2006, Ed and John were put in charge of Disney Animation, then on its knees, and pulled off the same trick again. Frozen is testament to their methods and it’s these methods that were the subject of Ed’s remarks.
What I found fascinating listening to Ed was that he talked more of failure than success. Sure, we’re all well versed in the merits of failing fast, it’s practically an internet meme, but the scale here is epic and the anecdotes are richer. Ed shared stories about how so many iterations of new movies suck. Really suck. “On Up, the only thing to stay the same from the start was the bird and the word Up”.
He went on to talk about how the best people know how to rip up months of hard graft and start again if it’s not working and how there has only been one film when the reset button was not pressed (Toy Story 3 for the record). He concluded that “failure isn’t a necessary evil. It’s not evil at all, but a necessary consequence of doing something new”.
Ed went on to describe Pixar’s ‘Braintrust’. Basically a steering committee, but one where absolute candour and a shared investment in success, ensure that even the gnarliest problems are worked through and solved.
And what made him most proud? Not Toy Story or Frozen, nor the awards and the revenues, but how his people react when things go wrong. Like for instance an employee accidentally deleting 90% of Toy Story 2 during production. Two years work by 400 people gone and the back-up failed (you’ll have to read the book to find out what happened).
Another topic he warmed to concerned people and process. “Give a great idea to a poor team and they’ll screw it up. Give a poor idea to a great team and they’ll either fix it or throw it away and start again”. People trump process every time. His barometer for how a movie is progressing? Not the quality of the work (it will probably suck, see above), but the spirit in the team producing it.
And it was a person not a process that Ed talked most passionately about. No-one worked with Steve Jobs longer than Ed Catmull and he was clearly moved when talking about the compassionate side of Steve that never made the biography. Ed finished with an observation that was pure Steve Jobs: “Making processes better and more efficient is a vital task, but it’s not the goal. Excellence is the goal”.
15th December 11
At Labs we like nothing more that creativity put to good use (reference our love for ichainsaws, gloves, design-led activism and fightwear with a social mission). Chuck in some Mortal Terror and we’re yours.
With the recent launch of their online shop, www.monstersupplies.org, our friends at Hoxton Street Monster Supplies have extended what is essentially an imaginative, immaculately designed fund-raising platform. It’s all in aid of Ministry of Stories, a creative writing non-profit which is supported by all proceeds from the shop.
And, hey, the holidays are upon us, so satisfy the buying-spree beast within with a little monster-based goodness – just make sure you get your order in by this Friday 1pm (GMT), if you want to make last orders before Christmas.
Behind the shop at 159 Hoxton Street, through a hidden door, the Ministry of Stories exists to help young people in East London learn how to be storytellers. Which, as @jeremyet always likes to say, is where the magic happens.
The website was created “by a small group of unpaid humans in their spare time”: design by Gavin and Jason Fox, build by Simon Pearson, project management by Chris Meachin, user experience by Mike Towber; and art direction by We Made This.
13th July 10
I joined a group of tutors and producers, half with film/transmedia projects in development, half not, from around the world for the latter half of their week away in Wales.
By way of introduction, Power to the Pixel are an organisation dedicated to supporting film and the wider media in its transition to a digital age. Ben and I are both lucky to be on their Advisory board.
My brief was to shed some light on brands and cross-platform/transmedia storytelling, which, if I am honest, initially felt a little awkward. Brands and agencies may be embracing cross-platform creativity and integration per se, but true transmedia… not so much. The likes of Campfire with their Frenzied Waters work for the Discovery Channel’s Shark Week last year, Audi Art of the Heist and – back in the day – Beta 7 for Sega; as well as Ivan Askwith at Big Spaceship (who was generous and interested enough to chew the fat with me late one evening) are two, honourable exceptions.
With this in mind, my presentation focused primarily on what brands and their agencies are learning about integration, interaction and new partnerships in the hypersocial environment we find ourselves in. I also attempted to explain why brands may be reticent about taking a step further into building deep, immersive, narrative worlds. Along the way, telling the story of a (failed) BBH Labs joint venture and what we took from it… and finally, ending with a proposal.
27th August 09
Author: Jim Carroll, Chairman, BBH London
I recently attended an excellent Made by Many event hosted at BBH which featured a re-presentation by Manuel Lima of his 2009 TED talk on data visualisation. Manuel is the curator of visualcomplexity.com and is an eloquent, modest, charming pioneer in this fascinating field.
As a novice myself, I could not help wondering why we are all so immediately and instinctively attracted to the best of data visualisation.To start with, I’m sure there is some fundamental truth that for most of us data become meaningful only when we can see scale, change, patterns and relationships. Seeing is understanding.
It’s also very reassuring to discover that complex, seemingly chaotic data sets and networks can be expressed as elegant, colourful, ordered maps and models. Perhaps there’s something akin to what the Enlightenment scientists felt as every new discovery revealed the endless beauty of nature.
Indeed the best examples of data visualisation have their own aesthetic beauty. (I felt a nostalgic pang as I recalled time spent with spirograph in my bedroom as a child.)
21st April 09
If the past couple of weeks have seen some of the industry’s finest minds crystallise why there isn’t more great work in the interactive space, then from here on in – inevitably, I guess – this debate is going to need to shift on its axis slightly and focus on the trickier task of finding tangible solutions.
The good news is that there already appear to be some answers emerging, all with the potential to lead somewhere interesting and worth recording. I’m going to approach this pretty organically and see where it goes. Please feel free to jump in, disagree, debate, add your own suggestions etc.
First up, a theme that may seem controversial to some: the wholesale reinvention of a (sometimes much maligned) skill, the art of storytelling.
Ben’s second post caught my attention with the observation that “there’s currently much less of a culture of developing narrative or storytelling on the web” and this got me thinking.
Part of the issue behind this, I would hazard a guess, is the fact story telling as a skill has come to be associated with the old school mores of broadcast advertising. By way of illustration, in his NMA column last week Mark Cridge talked about the need for a creative director to be comfortable with the idea of curation, rather than control. A thought that made complete sense – no question. His piece then went on to conclude “If these are the skills that are going to be important from now on, which type of creative director would you rather work with: a big budget brand storyteller obsessed with control, or one more comfortable with the ebb and flow of the interactive world?”
Reading this, you’d be forgiven for thinking storytelling no longer has a place or is badly in need of rehab. In truth, and I am going to nail my colours to the mast here, it’s never had the potential to be more relevant or exciting.
(For full post click below)
8th April 09
(NOTE: This post is an attempt to capture some of the emerging themes resulting from an earlier and original post on the subject – see http://bit.ly/iZf7 for original post . . . probably worth going there first if you’ve landed here and want to contribute)
Some great, insightful and provocative replies to the earlier question around the perceived paucity of great work in interactive.
First off, I found it fascinating that – to date at least – no one’s responded with a great list of knockout creative, or, in fact, with any knockout creative. This would suggest that there is indeed a problem and that it’s not just perception. Please correct me if I’m wrong here. I’m reassured that various folks who ‘know their shit’ have commented here, and I’m certain they would have picked out the gems had I missed them in my haste to make the point.
Second, what we have emerging is a really very useful list of factors that, together, explain why we’re not yet seeing consistently great work, and in particular strong enduring campaigns, in the interactive space. Factors cited by contributors will be familiar to many, and include the following, which are reported not as fact but as supposition, at least at this stage:
1. SPEED – Our lack of speed in responding to the changing landscape, a blight suffered by agencies of both old & new skools, digital & analogue, hampers creative innovation.
2. ENDURANCE – We suffer a particular weakness at creating . . . (more)
6th April 09
There’s a debate that, if not quite raging, is certainly simmering about the perceived lack of breakthrough creativity in digital brand advertising (for example: http://bit.ly/14HeCe). I think everyone would agree that great work does exist. But maybe just not enough of it. So why the paucity?
Well let’s get one thing out of the way right away. It’s almost certainly the case (please argue with me if you think this is not true) that the percentage of “great work” in interactive is no less than that on any other canvas. Great work is rarer than a Texan in a Smart Car. Full-stop. But there seem some quite specific reasons why there’s not a whole load of stunningly great creative in interactive.
So, a few linked observations about why this might be the case.
One, as an industry, it seems as if marketing is mesmerized by the (very welcome) potential efficiencies & measurability of digital and that this can lead to blindness when it comes to the creative opportunities. The talk is frequently of driving costs down through zero wastage, or improving efficiency (all good of course), and less often about increasing engagement, forging deeper links with consumers over time, storytelling across screens, and so on. How far away are we from work of the quality and ambition of Aaron Koblin or Jonathan Harris in what we produce for clients? To some extent, even average digital work can be more accountable than much of the work produced for the offline world, and sometimes that accountability can veil what is actually remarkably humdrum work. Here one’s reminded of the John Banham quote: In business we tend to value most highly that which we can measure most precisely. Traditional agencies are, in particular, often in the position of knowing they need to produce both more effective and more emotive interactive work, but not knowing remotely how to develop it.
Two, we probably need to stop looking at digital creativity as somehow different . . . (more) Read full post