Nestlé Begins Corporate Image Search as Digital Review Continues

Review-happy Nestlé is looking for an agency to launch a new corporate image effort, even as it seeks to shrink its digital agency roster.

The corporate image assignment is for the U.S. and centers around four brands: Gerber baby food, Pure Life water, Outshine frozen fruit bars and Nesquik drinks, sources said. In short, Nestlé wants to be known less for its chocolates and more for its healthier foods and beverages.

A request for proposals is circulating among a handful of shops, a company representative confirmed. Media spending on the assignment is estimated at $25 million.

The digital search—also for the U.S.—is much further along, with a decision expected shortly. Nestlé employs about 20 agencies for digital marketing and wants to trim the list down to maybe a half-dozen.

An estimate of Nestlé’s total digital spending was not available, but last year in the U.S., the company spent $30 million on display ads alone, according to Kantar Media. All told, Nestlé spent about $730 million in media last year in the U.S., according to Kantar.

The current reviews follow media and public relations searches last year. The media review resulted in Nestlé shifting its planning and buying from Zenith Media to a GroupM team that included executives from MediaCom, MEC, Mindshare and Maxus.

Nestlé's creative roster includes agencies such as JWT, Ogilvy & Mather, Publicis, Leo Burnett, McCann Erickson and FCB.

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Ad of the Day: A 3-Second Fall Is 60 Seconds of Fun for the Moto E

It seems inevitable that ad agencies will someday run out of innovative ways to launch new smartphones. But today is not that day.

Droga5 created a charmingly whimsical 60-second spot for this month's reveal of Motorola's Moto E, an entry-level smartphone that's light on cutting-edge features but attractively sticker priced at $130. Since the Moto E isn't going to win over gadget gurus looking for power and superlative specs, the agency took the marketing in a different direction, courting the casual crowd who just want a phone that looks nice, survives everyday abuse and won't eat up its battery in six hours.

The agency, with help from 1stAveMachine director Tomi Dieguez, created a giant vertical tunnel that serves as the spot's setting while the phone drifts down through it in a slow-motion freefall. Each section of the contraption is colorful and dynamic, capturing a different aspect of the phone's features, like the scratch-resistent screen illustrated by jangling cables festooned with keys.

All told, the phone's descent through a wide range of informative backgrounds took only 2.7 seconds of real time, which definitely helps you appreciate the level of craftsmanship and detail the agency had to put into its creation.

To make each stage move at a decent speed, the actual set design had to be insanely fast, which you can see for yourself in the behind-the-scenes clip below.

The resulting spot is fun, unique and well-crafted, and if viewers are left feeling the same way about the phone, Motorola will definitely have achieved its goal.

CREDITS

Client: Motorola

Agency: Droga5

Executive Creative Director: Neil Heymann

Art Director: Andrew Wilcox

Copywriter: Mike Felix

Executive Producer Matt Nowack

Production: 1stAveMachine

Director: Tomi Dieguez

Editor: Bill Saunders

Colour Grade: Seth Ricart

Audio post production: Heard City

Music Composition: Q Department

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FIFA World Cup Unveils Second-Screen Digital Push

Soccer fans tuning into the upcoming FIFA World Cup will have no shortage of digital platforms on which to chat, thanks to several new efforts on the part of the sports organization.

FIFA has updated its website to include a new section called Global Stadium that aggregates all of the content surrounding the 64 matches in real time and is designed specifically for smartphone-wielding fans.

The social and mobile-heavy experience also gives fans a chance to win the soccer ball used in Brazil and vote for Man of the Match, a contest that asks sports fans to vote for their favorite players. World Cup sponsor Budweiser is also making an interesting social play to spur Man of the Match participation via Twitter Cards.

The site is designed to tie in with Twitter and Facebook efforts that FIFA has worked to build up before the games. FIFA’s Facebook page boasts 18 million “likes” and the organization’s Twitter account for the event has racked up more than 860,000 followers.

Twitter specifically will play a key role in how FIFA communicates with fans in real-time during the matches, using the #WorldCup and #JoinIn hashtags.

Given the amount of real-time chatter that typically takes place during sports events, brands will undoubtedly jump into the conversations happening via these hashtags in the same way that they have for March Madness and the Super Bowl.

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Fruit of the Loom Turns GIFs Into Father’s Day Gifts

Fruit of the Loom is taking the traditional Father’s Day “good for one” perforated-paper coupons that kids dole out to their dads digital this year with a new commerce-enabled GIF campaign.

The briefs brand worked with Crispin Porter + Bogusky to build a microsite dubbed "Father’s Day registry," which houses eight GIFs leading up to the June 15 holiday.

"The use of GIFs brought a modern twist to the reward cards kids have given their mom or dad for ‘extra help around the house’ or to ‘clean up my room,’" Matt Fischvogt, vp/creative director at CP+B said. "These have always been on static cards. GIFs bring these cards to life and allow them to be shared socially in a modern way."

For example, one GIF reads, "This is good for: Remote. Control. Mine." The animated clips can be shared via Facebook, Twitter, Pinterest and email and everything is optimized for mobile.

Another declares Father’s Day as an excuse for an "all day undie pass" while a dad dances around a kitchen in his boxers.

While the content is fun, the commerce element to the GIFs is particularly interesting. Basic T-shirt and underwear products are featured as quick and easy Father’s Day gifts throughout all of the images.

Calls-to-action underneath each GIF link to Fruit of the Loom's e-commerce site so that consumers can directly buy the products featured.

Fruit of the Loom is also collecting email addresses and driving traffic to its social platforms via the microsite.

After June 15, the GIFs will live on Fruit of the Loom’s Start Happy site, which is a hub of branded content. Similar to the Father’s Day campaign, everything on the site is geared toward getting fans to share on social media. It’s this quality that Melissa Burgess-Taylor, svp of marketing and merchandising at Fruit of the Loom, credits for the brand’s content efforts.

"We think the shareable nature of GIFs gives the campaign lots of opportunities for ‘pass along’ viewership, and thus an extended lifespan. Most importantly, it’s engaging content," she said.

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Havas Worldwide Chicago's New Chief Is a Familar Face

Havas Worldwide has installed a new president atop its Chicago office but he's a familiar face at the agency.

Paul Marobella has been group president of Havas Chicago Group, a collection of four specialty shops, since August 2012. He's also chief digital officer for Chicago. Now, he'll also lead the core ad agency, as current co-presidents Jason Peterson and Joy Schwartz shift to other roles.

Schwartz is taking on the new North American position of president of performance marketing. She'll aim to build the discipline of direct marketing, with an eye toward deepening current marketer relationships. Schwartz has been with the agency since 2009.

Peterson, meanwhile, will focus on his primary job as chief creative officer of Chicago and secondarily, co-CCO of North America, along with Darren Moran, the New York CCO. Peterson joined the agency as Chicago creative chief in 2010 and took on co-president responsibilities last summer.

Havas Worldwide CEO Andrew Benett described the moves as "focusing on what people are talented at and passionate about." Benett unveiled the changes internally this morning during a meeting with Chicago's nearly 400 staffers.

Top accounts in Chicago include Dish, Citi, Reynolds, Cracker Barrel, Terminix and Sears (Craftsman, Kenmore, Die Hard).

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Butler/Till Brings Brands Like State Farm to Local Markets

Specs

Who (From left) Peter Infante, president; Sue Butler, co-CEO; Kimberly Jones, vp, client services; Tracy Till, co-CEO; Melissa Palmer, CFO, vp, finance and operations

What Media agency

Where Rochester, N.Y.



An upstate New York “local” media agency with a far-reaching footprint, Butler/Till has handled State Farm, Bausch + Lomb, CenturyLink and Kodak as clients for more than a decade. Its specialty: building national, multichannel campaigns that zero in at a neighborhood level. “We’ve had this approach since we launched in 1998,” explained Sue Butler, co-CEO (who shares the title with Tracy Till). “Any point that connects a brand and consumers is what we call media.” The 80-person company syncs up Facebook promos with billboards seen roadside from New England to New Orleans. And B/T recently helped grocery chain Winn-Dixie launch its Big Easy presence with a research-driven effort to help a charitable food drive. Hey, what’s more local than a helping hand?

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Ad of the Day: Coke Designs a Friendly Bottle That Can Only Be Opened by Another Bottle

No one is better than Coca-Cola at having all its communications—down to the very packaging—embody the brand promise of happiness and sharing.

Leo Burnett in Colombia had the latest clever idea in that department. It dreamed up a design for Coke's plastic bottles featuring a cap that could only be opened when fit together with another bottle's cap and twisted. Thus, you have to pair off to be refreshed.

To show off the design, the brand found people in most desperate need of a little friendly conversation: college freshmen at the beginning of the school year. It put a stash of the bottles on a campus, and the students had to partner with someone if they want to open their Coke.

The idea is reminiscent of last year's sharable can, which split in half (created by Ogilvy France and Ogilvy Asia-Pacific), except this time the eager freshman got to have a whole Coke—along with a small exchange that got the ball rolling.







CREDITS

Client: Coca-Cola

Agency: Leo Burnett, Colombia

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Orkin Learns to Love Bugs Even as It Eradicates Them

IDEA: Bugs are nasty, and Orkin is deeply invested in destroying them. But that doesn't mean they can't teach us deep life lessons. That's the somewhat schizophrenic yet oddly endearing takeaway from "Bug Wisdom," a comical new online campaign for the pest control company from The Richards Group.

Eight videos show bugs doing bug-like things—munching on leaves, crawling on twigs, sucking your blood—with amusingly exaggerated sounds. At the end of each, a pleasing aphorism appears on screen, ascribing meaning to what we've seen. (Example: A dung beetle whistles happily as it rolls a ball of dung around. Bug Wisdom: "When life hands you dung, just roll with it.")

The point? Orkin studies pests so obsessively, it even appreciates their unassuming artistry.

"They asked us to create something unexpected and fun—something that would engage viewers, be shareable and reinforce the line, 'Pest control down to a science,'" said art director Brian Thibodeau. "We realized there's an order and a system to everything bugs do. Bugs have an innate and amazing intelligence. Which led us to the idea: Bugs have wisdom."

COPYWRITING: There were no formal scripts. "It was very much trial and error. As each video came together, it revealed a small nugget of truth, which led to each Bug Wisdom," said Thibodeau.

One of the first videos Richards did shows a spider spinning a web, to the sound of a flamenco guitar. "What he was doing was beautiful," Thibodeau said of the spider. "It was art. Work, yes. But still art. What if we applied that wisdom to our everyday lives? That led to 'Make your work art.' The other ones happened in a similar fashion."

The featured bugs include a silkworm ("The way he moved his head back and forth reminded us of a typewriter"), ants and bees ("The movement of the bees on the hive made us think of xylophone notes"), a caterpillar, green worm and mosquito.

The spots end with the on-screen tagline, "We never stop learning from bugs," which Thibodeau said "shows Orkin's respect for insects and the role bugs play in this world."

ART DIRECTION: The agency used stock footage instead of hiring a director to shoot new film. The spots open and close with hand-drawn animations of ornate patterns, with the lines slowly creeping across the screen.

"I wanted them to feel natural and evoke a sense of timeless wisdom," said Thibodeau. "I created the illustrations to loosely represent buglike antennae, legs and crawly things. I wanted the drawings to accentuate the natural beauty of bugs."

SOUND: Sound is key—it's where much of the humor comes from. "We Foleyed most of the sound," said Thibodeau.

Russell Smith, an audio engineer, was the whistler on "Dung Beetle." A professional flamenco guitarist, Miguel Antonio, did the soundtrack for "Spider." "For 'Green Worm,' we ate 15 of the crunchiest foods we could find. The winner: a celery-apple combo," said Thibodeau. "For 'Mosquito,' we slurped yogurt through a straw."

MEDIA: The ads are running as pre-roll on YouTube as well as on Facebook.

Two more video series are coming soon. "Top 6" will feature lists of the top bugs in fun, unusual categories like "Top 6 Tastiest Bugs" or "Top 6 Most Venomous Bugs." Why six? "Insects have six legs. That's as high as they can count," said Thibodeau.

The other forthcoming series is "Fact or Fake," in which the Orkin Man, an Orkin entomologist and an unpaid intern will conduct experiments in a lab (filmed by Tim K. from Gifted Youth) to determine whether certain myths about bugs are fact or fake.

THE SPOTS:

CREDITS

Client: Orkin

Agency: The Richards Group, Dallas

Copywriter: Jack Westerholt

Art Director/Illustrator: Brian Thibodeau

Creative Directors: David Morring, Tim Tone

Producer: Lynn Louria

Editorial: Charlie Uniform Tango

Audio Engineer: Russell Smith

Assistant Audio Engineer: Nick Patronella

Motion Graphics Designer: Tony Wann

Clients: Kevin Smith, Cam Glover, Theresa Childs

Brand Management: Pete Lempert, Jessica Walker, Whitney Medlin

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