S P E C I A L A D V E R T I S I N G S E CT I O N TO A D W E E K

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the
creative
report

Exploring trends in advertising creative and how it’s being

redefined by new technology and ad platforms
 S P E C I A L A D V E R T I S I N G S E CT I O N

the
creative
report
t
here’s likely never been a more exciting— a traditional spot that’s forced
or daunting—time to be in the advertising upon a consumer.”
business. With an ever-expanding number of Today’s aspiring creatives
media outlets for telling great stories, there’s need a skill set that includes
greater potential to engage and entertain consumers— a thorough understanding of
but also greater challenges. existing media as well as
Technology is driving innovation in creative and the openness to what’s on the
way it’s distributed. Where once there were just a few horizon. “If a person isn’t Norm Grey
Executive Creative Director
examples of progressive creative thinking, today aware of all the latest and Creative Circus
marketers large and small are embracing outlets like future media – including viral,
YouTube, mobile phones, iPods and video-on-demand guerrilla, ambient media, buzz, etc.—then he/she is
to get their brand messages to consumers who are just not up to speed,” says Norm Grey, executive creative
as likely to be checking their e-mail as watching director at Atlanta-based Creative Circus, a school of
American Idol—or doing both at the same time. communications. “By future, I mean even inventing
On the recently aired Super Bowl telecast, for new ways and places for ‘ads’ to be seen that the
instance, major brands agencies he/she is
Cover Image: Shutterstock, Inc.
including Alka-Seltzer, interviewing with
Chevrolet, Frito-Lay and the haven’t thought of—yet.
NFL embraced consumer- Ads today are not nec-
generated content, airing essarily meant to be
spots crafted by amateur seen on paper or a
brand ambassadors. screen of any kind.”
Rick Boyko Budweiser launched bud.tv, “In every class, the Barbara Riehl
Managing Director Robert Kuwada
an online TV network featur- students are taught Project Directors
VCU Adcenter
ing comedy, sports and reali- and encouraged to
ty programming, after the Super Bowl. OfficeMax last think beyond traditional Anne Torpey
Creative Services Director
year unveiled Schooled, a reality series that aired on media,” adds Grey.
ABC Family, and Unilever’s Axe produced Gamekillers, “Magazines and TV are Ehren Seeland
a reality special that served to launch the deodorant not going away, but Dena Vorzman
Art Directors
brand’s ad campaign. they are changing. Our
“You are no longer confined to a page or thirty kids have to be aware Dan McNamee
seconds,” says Rick Boyko, managing director of of the changes. At the Account Manager
Virginia Commonwealth University’s Adcenter, in same time, the best
Richmond, Va. “An idea can be taken to so many differ- and least expensive Wright Ferguson, Jr.
ent places… [It] intersects with a consumer advertising is, and has Executive Vice President/Sales

in a new way, making it something culturally relevant always been, word of

because the consumer finds it involving, and they are mouth—buzz, public
spreading it. It’s much more interesting than doing relations, direct, instant
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sale, one-on-one, relationship marketing, ambient stock imagery. “We’re
media, promotions, co-op. Admittedly, they’re all constantly researching
buzzwords. But however the student addresses and new techniques and
employs them in his/her samples, they’ve got to show mediums, and providing
they know about them and are confident about using real solutions to emerg-
these tactics, and even creating whole new categories.” ing technologies.”
To make something Existing and emerging
relevant to a consumer, technologies abound and
so that it becomes viral, are easier than ever for
gets tons of hits on creatives to use.
YouTube, and becomes a “Widespread adoption of
part of the pop-culture broadband and ease of
Christopher Saridakis
fabric, there must be implementation have CEO
a solid idea behind the established online video PointRoll
content. “I think the most advertising as a key brand
important skill, not only vehicle,” says Christopher Saridakis, CEO of PointRoll,
for creatives but anybody which creates rich-media technology solutions
in the business, including that go beyond the limitations of existing advertising
Alex Lankston
General Manager/Technical Director the brand management options. The company works with agencies like
Pacific Digital Image side, is the understand- Moxie Interactive, The Martin Agency and Avenue
ing of ideas,” says Boyko. A/Razorfish. “As more eyes move online for
“We talk about all the different media, but in the end video content, rich media becomes even more
it really comes down to having a good idea, and that’s crucial for effectively capturing and holding an
what we really push. A good idea is always going to audience’s attention.”
be integral to any important communication or Saridakis also notes that measurement of online
brand message. ” advertising is increasingly in demand. “Robust
campaign measurement is also in greater demand
than ever before,” he asserts. “From interaction
A
“ s more eyes move online rate and time spent with brand to total conversions,
for video content, rich media video completion rates and site events that measure
Web site traffic tied to the ad units, [we are able to]
becomes even more crucial dramatically enhance measurement capability
to effectively and succinctly track ROI.”
for effectively capturing and
holding an audience’s attention.” Cultural Context Is Key to Content
—Saridakis In many ways, advertising has shifted, now inviting
consumers to sample brands. To that end, content
As the ad landscape changes and grows to must resonate and stimulate a real desire for partici-
encompass new mediums and ways of thinking, adapt- pation. “I think it is becoming vital to have content that
ability will be key. “Flexibility and innovation are key,” has context to culture, not only inspired by culture,”
says Alex Lankston, general manager/technical relates Jacqueline Bosnjak of Idealogue, New York,
director at Pacific Digital Image, San Francisco, a new media entertainment agency she cofounded with
a pre-press trade shop that has worked with agencies Mark Beukes. “The market has evolved and is extreme-
TBWA/Chiat/Day, Goodby, Silverstein & Partners, and ly media-savvy. [Consumers] recognize the original and
McCann Erickson, and dabbles in Web design and seek out the authentic.” Idealogue last year created
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a series of podcasts for adidas’ adicolor shoes.
The agency worked with top directors and pro-
duction companies, giving the directors total
creative freedom to direct a short film, with only
one requirement: that a specific color be the
theme of each film. The podcasts were made
available on iTunes, Google Video and YouTube.
“Advertising is a different world right now,”
agrees Loretta Jeneski, executive producer of
Nonfiction Spots, Santa Monica, whose director,
Academy Award winner Jessica Yu, recently
directed a series of spots and webisodes for
Arnold, New York, chronicling people’s efforts to
quit smoking with Commit Lozenges. “It’s very
much a new frontier. While traditional spots and
their TV placement aren’t going away, what
we’re seeing is a major move towards authentic This Webisode for Commit Lozenges, chronicling one woman's effort
content. Clients are no longer happy with an to quit smoking, exemplifies the move to authentic content.
approximation of ‘real’, and authenticity is some-
thing that really does reach an audience.”
In addition to having authenticity, brands that want to reach consumers must do so in a way that’s not
intrusive. “Clients are starting to realize that their priority, if they want to get the audience’s attention, is to
be necessary and entertaining,” says Patrick Milling Smith, partner/executive producer at Smuggler, the
production company behind “Still Free,” the successful viral project from agency Droga5 for Ecko Unlimited
and designer Mark Ecko. The viral, which very realistically shows what appears to be Air Force One being covered
in graffiti, garnered the Cyber Grand Prix at the Cannes Lions International Advertising Festival—as well as an
inquiry from the Pentagon.
Milling Smith reports that the agency team and Smuggler began working together very early on in the
process, concepting and producing “Still Free” in three weeks. “Agency and production companies seem to
be collaborating earlier in the process,” he says. “[‘Still Free’, directed by Randy Krallman] is a great example
of how effectively different companies can work together if
everyone is involved from the get-go.”
“I like to think we have formed much more of a partner-
ship with agencies,” says Jon Kamen, chairman/CEO of
@radical.media, a pioneer in both the traditional and
emerging spaces. Among its many accomplishments is the
aforementioned “Gamekillers” project, for which a sequel is
now in the works. “Agencies often are very happy to bring us
in at an early stage of a project and work with us as a team.
While there may be more channels and outlets than ever
before for advertising content, it’s unlikely that one or
another will be dominant. “I believe in the mix,” says
Kamen. “I don’t believe any one particular medium is going
The "Still Free" viral, which appeared to show graffiti on
to outweigh another. In all of our lives, there will be a place
Air Force One, drew an inquiry from the Pentagon. and a time for each and every one of the devices.”

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the
creative
report
Editing shops rally talent and technology
to craft for multiple formats
As reality catches up with theory, and agencies and
their client partners increasingly execute ad campaigns
that cross several media channels, editing companies
are having to adapt and be open to new forms and
capabilities. “We need to provide talent and technology
that can be adaptive and multi-use–capable,” says Tom
Duff, president of Optimus, which has offices in Chicago
and Santa Monica, Calif. “We’re challenged to deliver
basic spots, webisodes, print, design pieces, long-for-
mat branded content, billboards, interactivity, and even
some shooting, both live and graphics-driven.”
Optimus counts among its most recent projects
the launch campaign for the wildly popular Nintendo
Wii gaming system. The ads, out of Leo Burnett USA,
Chicago, comprised traditional spots like “Big City,”
“Welcome to Naperville, IL,” and “Middle of Nowhere,”
as well as a two-minute documentary for the brand.
Jan Maitland edited the spots, while senior assistant
editor Vern Cowles cut the documentary.
Projects that encompass both a traditional ad
campaign and content for the Web are becoming
increasingly common. Krystn Wagenberg, who heads
up the New York office of commercial editorial house
Mad River, reports that a recent Kleenex project out
of JWT, New York, included spots (the currently airing
“Anthem,” for one) and a series of webisodes.
Last year, Mad River moved to a new location in New
York designed by Wagenberg and her team to foster
collaboration and
creativity.
Wagenberg has
re-envisioned the
editorial house as
a sort of creative
clubhouse, with a
“Wii for all,” the short Web documentary that
four-star chef on
helped launch the Nintendo gaming system. staff who prepares
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In the
CUT
lunch and snacks daily, creating a restaurant-style
environment within the company where agency
producers and creatives can mingle, brainstorm,
and talk to artists and musicians who stop by the
offices. Wagenberg finds that getting together over
food helps the creative process flow, allowing people
to relax and share ideas, which can lead to future
projects. “We wanted to create a place where
anything’s possible,” she explains of the changes.
While cutting traditional spots
remains a cornerstone of
Mad River’s business, the edit-
ing shop is constantly on the
lookout for projects in new
spaces and media. Case in point:
“Celebhead,” a new series airing
on VH1 Mobile and VH1’s VSPOT,
the network’s syndicated media
player. The series, cut by editor
Tom Duff
President, Optimus Will Znidaric and created and
directed by former Deutsch
creatives David Rosen and Cheryl Van Ooyen, gets
“inside” the heads of celebrities like Paris Hilton to
show the audience what they’re thinking.
In Sync
As agencies are crafting projects that encompass a wide
range of media, they are forming closer partnerships
with their creative partners. Editorial shops report that,
increasingly, agencies and production companies are
coming to them earlier in the process. “We find more
upfront collaboration,” says Duff. “Clients are seeking
out information from us and feedback on ideas they have.
We are experts in technology and deliverables, and they
are using us for that [as well].”
Though collaboration may be greater, “content
creation is still the same,” adds Duff. “Projects may
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the
creative In the Cut
report
be different formats, messages and lengths,”
but the process of crafting a great cut
doesn’t change.
Melissa Thornley, managing director of the
Whitehouse, with offices in London, New
York, Chicago and Santa Monica, concurs.
“The ever-evolving media options have not
altered what we do as film editors,” she
asserts. “Film editors are storytellers, and
the new channels available to us now simply
mean more opportunities and different ven-
ues for the stories to be told.”
“I think relationships are more collabora-
Webisodes, like this one by Mad River for Kleenex,
tive,” agrees Joanne Ferraro, executive vp at
are becoming a common brand-message vehicle.
New York post facility Blue Rock. “We’re
getting involved [in the process] earlier. We’re
really partners creatively with agencies; they
are looking to us to problem-solve.”
Ferraro reports that getting a foot in the
door on new media projects has proved to
be easier than expected. “I don’t think we
have to put a shingle out saying, ‘We can
do this.’ It’s just naturally coming,” she
says.“Agencies are coming to editors they
choose, and it’s not separated out.”
Because new media projects are often
budget-challenged, young editing talent can
get a chance to shine, notes Ferraro. “It’s
exciting because they are getting work on
their reels that is edgier.” It also works well
for agencies: They get their project cut, and
they have the assurance that an established
Editors say creative for use online can be more risqué, as in "Pole Dancer,"
facility is backing it.
a viral video cut by Blue Rock for Clairol's Herbal Essences.
Blue Rock, which cut the consumer-
generated Alka Seltzer spot that debuted on the Super Both Duff and Ferraro contend that the most
Bowl, has been busy of late with several online proj- important element on the technology front is to have
ects, including three viral videos good central storage capacity, which allows for greater
promoting Clairol’s Herbal Essences for Valentine’s sharing of files. “We have had to invest in the technol-
Day. The trio of videos, including “Cupid” and “Pole ogy to be streamlined internally so we can have
Dancer,” is available on YouTube and on central storage of data that can be accessed by any
dumpcupid.com, an Herbal Essences Web site. of the artists to fulfill their particular responsibility on
Ferraro reports that because the films (which were a project,” says Duff. The ability to deliver to agencies
cut by Stephanie Hafner) were for use online, the in multiple formats is also crucial. “We need to offer
creative was a bit more risqué. Other projects include all these services and capabilities under one roof,”
“Very Bad Porn,” a series of webisodes parodying he adds, “for continuity across platforms as well as to
online porn, cut by David Lee. be budget-competitive.”

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the
creative Image
report
QUEST
Online projects drive demand
for better, faster visuals
As media channels increase, demand has grown for customers,” says Rick
content providers in advertising and entertainment to Thompson, vp of sales,
find and secure compelling, creative imagery. Often, North America, for
they turn to stock footage and photography companies, Jupiterimages, New
who are now providing much more than time-lapse York, a leader in stock
images of the sky or flowers in bloom. photography, as well
“In the past, footage was not really that interesting as as footage and music.
a marketplace,” says Kevin Schaff, CEO of Thought “Imagery is still the
Equity Motion, a Denver-headquartered professional most effective means
licensing firm that provides licensing, rights and of conveying concepts Images are now doing more of the
clearances, and representation services to the enter- and emotions as well 'heavy lifting' for advertisers.
tainment, creative and corporate production industries. as connecting with
Thought Equity represents collections from the likes of the audience.”
National Geographic, Sony Entertainment Pictures, HBO To make that emotional connection, companies need
and the NCAA. “In the past, it’s never been a driver of to offer a wide range of products. “Photography collec-
creative, and that’s starting to change dramatically,” tions need to be tremendously
adds Schaff, in part because of the demand for high- diverse so that our customers
quality motion footage for use in new media. Thought can identify images that speak to
Equity is active across several channels, including the precise demographic they are
online, cell phones, gaming and television. targeting,” says Jon Oringer,
“Images still do the same job CEO of Shutterstock, New York,
for many customers, but we one of the largest stock photog-
are continuing to see demand Jon Oringer raphy agencies and a provider
and usage influenced by a CEO of motion footage.
Shutterstock, New York
‘move to the visual’ in media,” In an original survey of 150
states Lewis Blackwell, senior advertising agency professionals, Thought Equity found
vp/group creative director at that 44 percent had used pre-shot motion imagery. And
Rick Thomson Seattle-headquartered Getty the imagery used today isn’t what’s typically been
VP of sales, North America
Jupiterimages Images. “The increased use of associated with stock footage in the past; collections
visual messaging means images are growing more sophisticated and eclectic, encom-
are doing more of the heavy lifting for advertisers and passing a huge range of offerings. “Our clients demand
content creators.” ever-higher-quality and more unique products,” notes
To that end, companies that offer pre-produced Don Wieshlow, vp of products at Veer, New York.
photography and footage need to effectively interpret Companies that traffic in imagery, whether print
customer needs. “We are a service business that or motion, are constantly on the lookout for original,
must meet and exceed the changing needs of our compelling work. Getty Images runs its own trend

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the
creative
report
research product, the MAP (Make a Picture) Report,
which, in the words of Lewis Blackwell, “is a unique
insight into the drivers behind visual language.”
According to Blackwell, the MAP Report aggregates
and makes sense of creative direction, and serves as
an aid to Getty customers as they concept future work.
Another footage giant, Corbis, Seattle, maintains a
think tank called The Creative Intelligence Group, which
identifies trends both locally and globally, aiding Corbis
producers in determining what type of footage to
capture. Kacy Cole, vp of product strategy at Corbis,
says part of the group’s work is to identify new words
in the vernacular, for example, “cosmeceuticals”
(pharmaceutical products with cosmetic benefits) and
“zerotasking” (a humorous twist on multitasking,
meaning the opposite—sitting around and doing
nothing). Those new words are then incorporated into
Corbis’ search function, allowing customers to use them
as keywords when seeking out appropriate imagery.
Thought Equity this month
unveiled a Web site feature that
invites independent talent to
upload footage and receive pay-
ment based on the content’s use
and popularity. Says Schaff: “If
you’ve generated some thought
Kevin Schaff equity—which is defined by us as
CEO
Thought Equity something that’s well-thought-
through, has re-purposeable
value, and is done well enough that people actually want
to use it—then submit that footage to us.” In addition to
uploading filmmakers’ content, Thought Equity also
gives them access to its library of watermarked footage
free of charge to encourage the development of new
content and new media productions.
The online arena, particularly for advertising, is a
great growth area for footage. Schaff opines that as
the day approaches when Google will perhaps offer
affordable pre-roll advertising before clips begin on
YouTube, companies who have never had the means
to advertise in the past will now have an outlet.
And those advertisers will be seeking out high quality,
well-produced collections. As that comes to pass,
notes Schaff, that phenomenon will happen in
other areas, such as video-on-demand from cable
companies. “You’re going to see a huge surge in the
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Image Quest continued from page S10
need for high-end, pre-produced content that people
can use to build commercials.”
Corbis, which offers footage and other content
across all media, including online, mobile and print,
is constantly seeking out new sources and alliances
for imagery. Case in point: This month Corbis begins
offering the Thunderdog Collective, a creative partner-
ship with Thunderdog Studios and its president/creative
director, Tristan Eaton. The collection offers customers
(including those in advertising) the work of artists from
the worlds of street art, graphic design, illustration and
urban vinyl, among other formats.
The Rights Stuff
As the use of imagery increases—specifically across
multiple platforms— simplifying and ensuring rights and
clearances are higher priorities. One of the key goals of
stock companies is to be able to quickly deliver imagery
to clients working on ever-shrinking timelines, with the
assurance that the usage of that image has been cleared.
There are now several licensing models on offer – rights
managed, royalty free, subscription, product-for-sale
licensing, celebrity clearance, and flexible packages.
“We’ve done a tremendous amount of focus group
testing on the agency and commercial side, and a lot of
people describe rights managed as being complicated,”
relates Cole. “Customers [don’t necessarily] want sim-
plicity of rights managed, because in that case they feel
like [they may not be as protected]. Rather, what they
are really looking for is a greater ease of purchase.”
Thought Equity‘s Schaff reports that his company,
in an effort to help clients quickly obtain rights to
images, has developed proprietary technology to
“safeguard our clients’ use of footage and to streamline
the process.” This includes creating a database for an
image, tracking its usage as well as releases related to
talent, buildings and trademarks, among other things.
“Our customers are looking for greater flexibility
in terms of license duration and usage across all
media platforms,” notes Blackwell of Getty. To that
end, the company offers collections like Riser, which
is rights-ready, as well as flexible license packs for
rights-managed images. “In our rights negotiations,
we have to strike a balance between meeting the
needs of our customers and ensuring we receive a
fair return for our images,” explains Blackwell.
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“We continually strive to make rights negotiations new packaging on its site, including a new icon that
as efficient and transparent as possible.” allows a customer to view footage from every angle of
Corbis, which represents collections such as the Andy every camera that was involved in a shoot “so you can
Warhol Foundation, MGM and characters from Marvel leverage exactly what the director intended you to
Comics, also offers its customers flexible licensing, have,” says Schaff. “This is about packaging in a way
something that has proved attractive to advertising that allows creatives” to exploit footage in new ways.
clients. “We offer new products that have various rights Thompson relates that as the small business sector
bundles associated with them,” notes Cole. For example, grows and builds Web sites, the need for high-quality
via Corbis’ flexible-use packs, an ad agency or corporate images at fair prices will increase, meaning the stock
client that wants to use an image across multiple cam- footage business will continue to flourish.
paigns in several media are able to
buy that image on one license across
channels. “We look at how all of our
customer segments are going to use
the products,” says Cole, “and we try
to get into the mind of the customer
and create produces that are cus-

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Accessibility

BUY IN.
On the technology front, most motion
providers offer a portion—in some
cases, all—of their collections in
high-definition. What is increasingly
important is offering customers
quick access to imagery. “Customers
now expect—and deserve—to have
immediate access to download the
highest resolution of each picture
that interests them,” states
put some into it.
Thompson of Jupiterimages. “Their
time to market for their projects has
decreased, so it is crucial that our
Web sites, search engines and
image-delivery systems are support-
ing their compressed timeframes.”
Broadband connections have
thoughtequity.com • 866.815.6599
helped in ease of delivery. “Broadband
Internet connections allow for fast and
A professional licensing firm providing Access as well as Rights
effortless digital delivery of both still and Clearances to repurpose the world’s finest motion content
photography and footage clips,” says from Sony Pictures, HBO Archives, National Geographic, NCAA
and other premium libraries.
Oringer of Shutterstock. “Instead of
worrying about snail-mailing content
or e-mailing individual files, our sub-
scribers can now access our entire
library online.”
Thought Equity recently unveiled
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