Digital, Social & PR
LG was launching a SuperBowl spot for the first time, advertising the category-defining LG OLED Television. The digital, PR and social campaign components needed to help build up to the day of, and then convert that snowball of interest to drive to a web site.
The plan started months before the event. After meeting with Twitter, an exclusive deal was struck that utilized a combination of custom retargeting and twitter-poll cards that could integrate with content and then provide a traffic stream to a landing page.
A host of secretive, riddle-based posts had custom animated video graphics. Each built up to reveal who “the man from the future” was (Liam Neeson). All content retained an edgy, futuristic feeling of mystery and hinted at product benefits.
The TV spot (created by LG HQ in Seoul with Ridley Scott) was released, revealing who the Man From the Future is. For a week, momentum in social was maintained through a series of content-based animated posts and riddle-based sweeps.
The Big Day
During the game itself, a full team created and responded to as much brand banter as possible. There were also several promoted major tweets using card-based polls in Twitter that performed very well, and a flurry of custom animations.
The Results - Snowball
Once all of the engagement over the past month had accumulated, and there was a lot of eyeballs within the environment, a major push to web was promoted through twitter. Due to the retargeting, it held top-of-feed status. It drove the most traffic to a website from Twitter than any other campaign at the SuperBowl.
Digital, Social, Retail
Five editions of the campaign have launched, and Seriously Professional still feels fresh and is going strong.
In 2015, LG brought the first-ever 21:9 Ultra-Wide aspect ratio monitor to market. It was a game changer. And after using it personally, I knew that if we put it in front of real-world professionals, they would agree.
So we reached out to Jessica Walsh, the partner of Sagmeister and Walsh, one of the most preeminent graphic design firms in the world. She agreed.
Next came content that was organic and sophisticated. The key was to develop assets that could be used in a mini-doc style, on the web, and also in a Retail.com setting.
Upon completion, a strong message was released into the digital and social wiles. It resonated so strongly that it was re-posted by AIGA and Wacom, gaining considerable awareness and engagement with the absolutely best target an UltraWide monitor could be for.
After the success of that campaign, many Seriously Professional talent have been interviewed since, with a new quarterly talent that focuses on different products and benefits being released. This consistency helps solidify the campaign message and took full advantage of LG's creation of the category.
Winner of 2016 LG global best practices award for digital platform campaign and communications, LG OLED TV product. In 50 years, first time ever given to agency. First ever to be given to a marketing campaign, rather than a product innovation or technology.
LG joined in partnership with Netflix and was able to take full advantage of assets and talent for their marketing. Product focused digital video, homepage take-overs, banner ads and retail ads were needed.
An intricate re-compositing of the iconic "huddled" shot was position on top of the LG OLED television, and the "van flip" shot was re-created into a montage scene. The goal was connecting what you see and what you feel through the content.
The landing page for the OLED television was also overhauled to match the partnership. The key feature of the LG OLED is "perfect black", so Stranger Things was chosen as the key show, as a dark but interestingly colored show.
Since Canon launched a new line of cinema cameras and lenses in 2010, it was time to redesign the entire product website to show the bredth of what directors and pioneering filmmakers have done with the equipment. Keeping in line with a sleek, sophisticated cinema look was critical, so keeping the product as hero while also showing customer stories was important.
Digital, E-Marketing, Print
At the beginning of the year, Canon wanted to revamp and streamline the look of their product ads for print and digital. After several rounds of iteration, we worked with the client to land on a more refined but technically exciting look that made excellent use of a call-out style. Not only does the new look get users of the equipment excited about technical specs, but the design allows for an element of visual mystery.
Digital, E-Marketing, Print
Canon Service and Support response times and education resources needed some attention. It wasn't hard to find some professionals who had benefitted from both, so we created a testimonial campaign highlighting how even the best of pros need support, because "SUPPORT MATTERS".
"DELIVER" for NAB
Customers needed to feel like their projects could rely on equipment that is workable with current workflows. So at NAB 2013, Canon took over, with "DELIVER". Canon made a strong statement that not only had they delivered on their promise of high-quality cinema equipment, but that your creative business would be able to deliver the final product to any audience you might need.
Print Like a Boss
Video, Banners, Print, Event
Canon's single-function printer group had several printers they needed to get consumers and vendors excitied about, but didn't have a particularly unique selling point for the printers as a whole. So they needed some kind of exciting creative wrapper that would be able to address any particular printer's benefits, as well as the group of printers as a whole. With a small budget, as well.
Most of these printers are targeted at very small business owners, or office workers in small businesses. They'll be using this printer every day, non-stop. So it needs to be dependable, reliable and fast. Knowing something you need to do will get done fast, effeciently and consistently, within arms reach, definately makes you feel good.
But this is just a printer. Can a printer be fun, or have a personality? Let's use a commonly understood phrase and add an unexpected twist. Show how the printer becomes the side-kick of the owner, making it fun to use the printer. So you can print, like a boss.
Best Buy and other major retailers liked the campaign so much, they asked to pick it up in-store and online for their own displays. The campaign is now a fixed install display at it's headquarters in NY, USA.
Art Directors: Dan Thaner, Margaret Fu
Copywrtier: Raechel Stirling
ACD, Art: Nicklaus Deyring
ACD, Copy: Dustin Glick
Creative Director: Rahul Sabnis
LG G Watch R website - microsite produced for the North American market, HTML 5 high-graphics animated site.
“Best in Digital Media” category award, Addy
Contributors: Tim Morris, Gab Park, Sara Khadar, John Price, Andrew Wind, Scott Zaretsky, Jed Michaelson, Amy McNeal, Dan Bavosi, Fabrin Cabrera, B-Reel, Urban Pixels
Whether it's an inbox full of donation requests or pledge drives on NPR, most of us are bombarded on a daily basis. This leads to compassion fatigue. We needed to find away around that with this campaign for Action Against Hunger. Instead of the guilt-inducing photography most people associate with non-profits, we opted for a more thought-provoking, conceptual approach. The ads certainly turned a lot of heads, including a few over at the New York Times.
Dustinland is a popular web comic that published a comic called "The Theory of Hipster Relativity". It outlined that a Hipster is someone more hipster than you are. That comic was a viral hit on the Internet, and to take advantage of the publicity, we designed and are developing this iPhone app that allows you to build your own hipster, and determine just how much of a hipster you are.
The challenge was to sort and organize hundreds of clothing articles and outfits that would be layered differently, depending on the location of the body. Eventually through testing we opted to allow the user to select the location and type of article first, then select which artcle would go in that location. Also we had to go back and forth on the best sharing method for social media, which I don't think we really ever hammered out completely.
The app needed to feel comic-like, and stay out of the way of the visuals of the drawings themselves. So rather than make the buttons and interactive elements hand-drawn, we chose a simple white button style that would feel button-ish and not confuse users.