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Chime Launches First National Ad Campaign: “Early Payday”

Chime, the leader in US Challenger banking announced today the company's first National Ad Campaign: “Early Payday”. The new campaign comes at a time of remarkable growth for the company and will help Chime reach even more customers and help millions of Americans take control of their financial lives, avoid bank fees and save money automatically.

Developed in partnership with Ad Agency barrettSF and shot by Doug Cox of the Cabinet, the two spots entitled “Early Payday - Just Got Paid" and “Early Payday - I'd Be Crazy to Go Back” feature people calling out Chime’s “Get Paid Early” feature and no hidden bank fees. In one, a sales guy gets an awkward helping hand in pointing out the benefits of Chime. In the other, a young woman reflects on her not-so-distant banking life before she switched to Chime.

The spots will air on broadcast TV, digital, and social.

“Chime has built a brand that is loved by its members and has grown to 1.7 Million bank accounts largely through word-of-mouth and referrals,” said Chime CEO, Chris Britt. “We are excited to launch our first national ad campaign, amplify our message and inspire more people to make the switch from traditional fee-driven banks.”

Unlike traditional banks that charged consumers over $34 billion in fees in 2017, Chime is transforming the consumer banking experience with a new mobile-first approach to banking that does not rely on fees and helps members get into a better place financially. Chime Members have access to a full-featured FDIC-insured checking and savings account, an award-winning mobile app and a Chime Visa Debit Card that can be used surcharge-free at a network of over 40,000 ATM locations across the US.

The ad campaign is well-timed to take advantage of the tremendous momentum Chime has achieved. The company recently surpassed 1.7 million bank accounts to date and is opening almost 150,000 accounts per month. Its explosive growth comes as many Americans may be looking for alternatives to traditional banking. Chime expects to reach 2 million bank accounts by the end of 2018. Chime recently raised $70 Million in series C financing led by Menlo Ventures, bringing the company’s total funding to over $110 Million.

Chime Banking: Early Payday - Just Got Paid

Chime Banking: Early Payday. No Crazy Fees - I'd Be Crazy to Go Back

Creative Agency: barrettSF, San Francisco, CA (USA)
Founder/Executive Creative Director: Jamie Barrett
Creative Director: Aryan Aminzadeh
Associate Creative Director/Art Director: Jen Hart

Founder/Managing Director: Patrick Kelly
Account Director: Molly Warner
Account Supervisor: Julia Ortinez-Hansen

Head of Broadcast Production: Conor Duignan

Broadcast Producer: Charlotte Dugoni

Client: Chime

CEO: Chris Britt

VP of Growth and Analytics: Melissa Alvarado

VP of Product: Zach Smith

Head of Paid Acquisition: Micha Bitton

Head of Marketing and Content: Chris Terschluse

Production Company: The Cabinet
Director: Doug Cox
Executive Producer: Jim Vaughan
Line Producer: Scott Wickman

Post Producer: Jim Vaughan
Editor: Stu Barnes
Assistant Editor: Marta Navarrete

Flame Artist: Ivan Miller

Sound & Mix: One Union
Sound Engineers: Eben Carr & Joaby Deal

Color: MFD
Managing Director: Matt Notaro
Producer: Nick Castillo
Colorist: Ayumi Ashley

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The Changing World of Automotive Aesthetics

With Ford self-driving vehicles set to hit the road by 2021 and 25% of all cars sold in 2030 expected to be electric, marketing campaigns are centered around a new age of automotive tech. One area where the role of technology may not be so obvious is in the area of aesthetics. This seems to be an area still dominated by artists, rather than machines. However, the latest trends suggest that soon all aesthetic car considerations, from the shape of the grille to the seat cover material, will be determined by artificial intelligence. In the advertisement industry, it is the aesthetics of a vehicle which matter most, so getting this right could be the key to a car company’s success.
Ergonomic Design Features
Ergonomics has really seen a surge in popularity in recent years. Since 2015,ergonomic offices have been promoting productivity, by limiting the amount of effort required to complete tasks. In car design history, companies have hardly gone beyond adjustable seats. However, the Volvo XC60 has gone to huge lengths to bring ergonomics to its designs. The central control takes after Tesla in its large touchscreen display and intuitive layout. Even the seats were designed by orthopedic surgeons to fit the human form perfectly. This has led to marketing campaigns that promote vehicle interior design as an exact science for the best user experience.
Car Paint Technology
You may be wondering what sort of technological innovations can be made in the area of paint. Well, quite a lot as it turns out.Paint job touch ups are increasingly popular, but the choice is more than just about color. In order to stand out from the competition in marketing campaigns, car companies are promoting dirt and scratch resistant paint, colors that change in different lights and paint which can regulate a vehicle’s temperature.
Full Customization
Another way in which ad companies are using tech to sell cars is through the idea of customization. Before a vehicle is even built, customers are able to have a say in its design. From their choice of upholstery to the transparency of the engine cover, customers are being given ever greater say over how their car will look. This adds huge value for the customer, without raising costs too much for the manufacturer. Using tech to achieve full customization is therefore a marketing master stroke.
Ad campaigns for vehicles are all about the aesthetics. As we enter the world of smartphones, smart homes and now smart vehicles, technology is driving all innovations. In the area of aesthetics, ergonomics, paint tech and customization are all helping to fuel ingenious automotive marketing campaigns.

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Enduring Classic Assends to Icon Status in ‘Nothing’s Changed, Except Everything’ Campaign

New Zealand’s love affair with the Toyota Corolla has been reignited in a new campaign from Saatchi & Saatchi, ‘Nothing’s changed, except everything’, created to truly recognise and celebrate its iconic status, and impressive new design.

The launch of the latest generation Toyota Corolla earlier this month represented a turning point for the best-selling passenger car in the country, as Toyota revealed a bolder, dynamic exterior design and more rewarding driving experience.

Being an enduring classic doesn’t mean standing still, as evident in the simple genius, timeless appeal, and continual reinterpretation of pasta or jeans. When it comes to the Toyota Corolla, it has been part of the fabric of Kiwi culture since 1969 but innovations in safety, emissions, and design plant it firmly in the year 2018.

Toby Talbot, Chief Creative Officer at Saatchi & Saatchi New Zealand said the heritage and confidence of the brand allowed the creative to stand above mere comparisons, and claim its rightful place as a legendary part of everyday life for Kiwis.

“In this campaign we’re not comparing the new Corolla to other cars. It plays way too big a role in our lives to be considered just as a car,” said Mr Talbot. “So we compare it to other staples in our life that we can’t imagine life without, like pasta and jeans. Tastes may have changed over the years, but the love we share for Corolla remains undimmed.”

Andrew Davis, Toyota General Manager Marketing & Information Services, said “The Corolla has been a part of New Zealand culture for 50 years and kiwis share great memories of times spent in a Corolla with family or friends. The new 12th generation Corolla is hugely exciting for us, more power, more self-charging Hybrids and a fantastic new design so it will appeal to whole new generation of New Zealanders. This was the challenge for the Saatchi’s team who have done a fantastic job in delivering a creative that can talk to new and existing Corolla drivers across multiple platforms”

The campaign is set to be the biggest launch campaign for a Toyota model in 2018 and will span TV, online video, social media, digital display, OOH, print and point of sale.

Toyota New Zealand - Corolla Hatchback 'Pasta'

Toyota New Zealand - Corolla Hatchback 'Jeans'

Client: Toyota New Zealand
Creative Agency: Saatchi & Saatchi
Production Company: Goodoil
Director: Joel Kefali
Sound Design: Clive Broughton
Music composition: Cam Ballantyne
Media Agency: Starcom

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KFC and Sid Lee’s New film for the Double Down Maxx is All about the Packshot

The Double Down Maxx, the ultimate sandwich for chicken fans, is making its highly-anticipated comeback, through October 29, and Colonel Sanders is back in business in a new campaign from Sid Lee Paris.

Following its successful limited run last year, the Double Down Maxx, the only KFC sandwich where bread is replaced with two filets of fried chicken, is tailor-made for fans who want chicken and don’t care about the rest.

That’s the idea behind Sid Lee Paris’s new film for the sandwich and KFC aficionados.. Much like his admirers and the Double Down Maxx itself, Colonel Sanders is all about chicken, so much so that he insisted on cutting ¾ of the film to focus on the packshot.

The film opens in the style of an action-packed blockbuster film. Colonel Sanders is on the verge of saving the world. But the intrigue quickly comes to an end, as the legendary founder impatiently insists we cut to the chase – the packshot. The Colonel isn’t concerned with thrills and frills, he only wants to talk about chicken : “The Double Down Maxx, the sandwich without bread for those who only want chicken”. Chicken, nothing but chicken…:


Agency: Sid Lee Paris
Client: KFC France
Title of Ad: Le Double Down Maxx le sandwich sans pain pour ceux qui ne veulent que le poulet
Brand Supervisors: Pascale Laborde, Sophie Lacroix, Caroline Bicais
Chairman/Executive Creative Director: Sylvain Thirache
President: Johan Delpuech
Managing Director: Mehdi Benali
Business Director: Antoine Ferrari
Account Director: Héloïse Marchal
Account Manager: Camille Caucat
Creative Directors: Céline & Clément Mornet-Landa
Copywriter: Simon Lamasa
Art Director: Francis Pluntz
Brand Strategist: Ambroise Soulé
Agency Head of Production: Thomas Laget
Agency TV Producer: Benoit Fernandes
Production Company: Wizz
Producer: Amanda Stubbs
Director: Akama
DOP: Remy Chevrin
Post Production: NKI / Emilie Nicodex
Post producer: Nataly Aveillan
3D: Wacyl Djender

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That’s the Reason Why Burger King Grills its Steak Over the Flame

If you didn’t know yet that a steak is always better when it is grilled with the flame, BURGER KING® Belgium and his Buzzman agency made you a drawing to explain it to you.

Since 1954, BURGER KING® has distinguished itself from its competitors with a unique concept that has become iconic over the years: a flame-grilled beef.

To highlight its well-known signature “Flame-grilled beef”, the fast-food brand collaborated with the illustrator SHANE who made five drawings showing with humor that everything is better with flames.

CEO Kevin Derycke
Marketing Director Dirk Lammens
Development Manager Vic Dresen

President and Executive Creative Director Georges Mohammed-Chérif
Vice – President Thomas Granger
Managing Director Julien Levilain
Creative Directors Tristan Daltroff & Louis Audard
Artistic Director Stéphane List
Copywriter Antoine Moittie
Account Director Xavier Devaux-Landragin
Account Executive Quentin Seguret
Head of PR & Communication Amélie Juillet
Head of Production Vanessa Barbel
Print Production Fany Maupou
Illustrator Shane


Founded in 1954 in Miami, BURGER KING® today welcomes more than 11 million customers a day around the world, thanks to a unique concept: flame-grilled beef, fresh ingredients, generous and customizable burgers, but also and especially a mythical product, the WHOPPER®.

In Belgium, Burger King is managed by Burger Brands Belgium, in parallel with the Quick brand. The first Burger King restaurants opened in 2017, and there are now 15 all over Belgium. Other openings are planned for the end of 2018.

Buzzman, voted “Best International Small Agency of the Year award in 2011” by Ad Age and “Agency of the year” at the Cristal Festival in 2013 and 2016, “Agency of the year” at the Effie Awards France 2016, “Most Creative Agency” in 2016 and elected by advertisers “New Model of Creative Agency” in 2017 at the Agencies of the year Award, is an independent advertising agency creating innovative concepts that go beyond traditional advertising.

In 2016, Buzzman created Productman, its innovative department dedicated to the creation of products or services intended to be commercialized.

Winning for several consecutive years at international well-known festivals (Cannes Lions, Eurobest, EFFIE, Clio Awards…) as well as nationals, Buzzman is recognized as one of the
most creative agencies in Europe, with clients such as BURGER KING in France and Belgium, IKEA, OUIBUS (SNCF), Boursorama Bank, Mondelez (Oreo, Milka, Tassimo & Belvita), easyJet, L’Oréal (Puma Fragrances, Garnier), Huawei, NRJ Mobile, Mumm, PayPal, Système U, DPD France, Delsey, Allo Resto By Just Eat, BMW…

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Zulu Alpha Kilo Launches Online Video Campaign To Promote The One Club’s 2019 One Show Call for Entries

Toronto agency creates humorous “Win Pencil, Draw Respect” online spots
highlight before-and-after scenarios of how a creative person’s life improves
after winning a coveted One Show Pencil.

The One Club for Creativity, the world's foremost non-profit organization recognizing creative excellence in advertising and design, today debuted an online video campaign from Toronto agency Zulu Alpha Kilo to promote the call for entries for the 2019 iteration of the prestigious One Show awards.

Part of the agency’s “Win Pencil, Draw Respect” campaign, the videos use humorous before-and-after scenarios to depict how the life of a creative improves dramatically after winning a coveted One Show Pencil.  The campaign also includes posters, banners and simple animated videos.

The campaign kicks off today with these three videos directed by Jono Hunter with production company OPC.


We Quit

Jury Room

“We wanted to tap into real industry insights that creatives have experienced.” said Zak Mroueh, chief creative officer and founder, Zulu Alpha Kilo. “Whether it’s being in a jury room, resigning from a job, or simply asking for a bigger monitor, once you’ve won a One Show pencil there’s an increased level of respect that comes with it that would impact how those scenarios play out. We wanted to dramatize that.”

“Winning a One Show Pencil has propelled the careers of many creatives around the world,” said Kevin Swanepoel, CEO, The One Club for Creativity.  “The club’s mission is to support and celebrate the success of the global creative community, and we accomplish that by elevating the best work on a global stage.”

The One Show entries can be submitted now at http://www.oneshow.org.  The early deadline is November 30, 2018, when the first batch of entries will be judged in a preliminary round. The final deadline to enter is January 31, 2019.  One Show juries will be announced shortly.

Entering work into The One Show also helps the industry overall because The One Club is a global non-profit organization that uses awards revenue to give back to the industry through nearly two dozen education, professional development, gender equality and inclusion and diversity programs for creatives at all levels around the world.

For more information, please visit http://www.oneshow.org.


Client: The One Club for Creativity, New York
Agency: Zulu Alpha Kilo, Toronto
Creative Director: Zak Mroueh
Writers: Christina Roche, Gary Watson, Patrick Godin, George Ault, David Horovitch
Art Directors: Andrea Por, Michael Romaniuk, Natalie Theron
Agency Producer: Revital Grunberg
Account Team: Terri Mattucci, Matt Sinuita, Kelly Flynn
Production House:  OPC
Director:  Jono Hunter
Executive Producers:  Harland Weiss, Donovan M. Boden, Isil Gilderdale
Line Producer:  Max Brook
Director of Photography:  James Klopko
Casting Director:  Shasta Lutz, Jigsaw Casting
Post Production: Alter Ego
Compositor/Online/Senior VFX Artist:  David Whiteson
Colorist/Transfer:  Eric Whipp
Post Producers:  Julie Neff, Hilda Pereira
Audio Post Facility/Music House:  Eggplant Music & Sound
Audio Director:  Adam Damelin
Producer:  Nicola Treadgold
Engineer:  Nathan Handy
Video Post Facility/Editing Company: Zulubot
Editors: Brian Noon, Marissa Bergougnou

Zulu Alpha Kilo is a Toronto-based creative agency with staff of over 100 full-time “Zuligans”.  Zulu made headlines globally when they were the first non-U.S. shop to ever be named as Ad Age’s Small Agency of the Year in 2016. In 2017, Zulu was again named as Ad Age’s International Small Agency of the Year.  More recently Zulu was ranked as one of the top agencies in the world on the WARC 100 list for commercial creativity effectiveness coming in at #29 globally. In 2018, Zulu was named one of Canada’s 50 Best Managed Companies by Canadian Business. This past spring, Zulu was featured in Forbes magazine as one of the top 25 small companies in North America. The agency’s client roster includes brands such as Bell, Cineplex Entertainment, Tim Hortons, Uber, ParticipACTION, Whirlpool and Nikon. 

The One Club for Creativity, producer of the prestigious One ShowADC Annual Awards and Creative Week, is the world's foremost non-profit organization whose mission is to support and celebrate the success of the global creative community. The One Show is a top global awards show for advertising, design and digital marketing focusing on creativity of idea and quality of execution.  The ADC Annual Awards honors the best creative work in terms of craft, design and innovation across all disciplines.  Creative Week takes place in New York City every May and is the preeminent festival celebrating the intersection of advertising and the arts.

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