adobo magazine May - June 2010 Issue 27 by Sanserif, Inc.

The Philippine Young Lions get ready for Cannes

THE HUNT FOR GOLD Leo Burnett’s JP Cuison & Niño Gupana; BBDO Guerrero / Proximity’s Tim Villela & Rizza Garcia KIDLAT AWARDS 2010 AGENCY PROFILE Jeh United Cannes Lions Primer

PROFILE Mun Tuck Wai Sonal Dabral

Best Ad Schools in the World CREATIVE REVIEW Juggi Ramakrishnan, Ogilvy & Mather Asia

Neil Gaiman Oscars & Advertising

MAD ABOUT Education Creative Directors

PHOTOGRAPHY EXCLUSIVE Anuchai Secharunputong

Presidential Marketing 2010 BANG FOR THE BUCK Teach India, JWT India

Issue #27 May-June 2010 Philippines P180 Indonesia IDR 100k Malaysia MYR 15 Singapore SGD 10 Hong Kong Thailand

Issue #27 May-June 2010 P180

The Word on Advertising

The most awarded art director of the year TOP STORIES 02 TBWA\SMP takes 5 out of 7 golds

in Kidlat 2010 GroupM CEO Borromeo resigns Tan & Sanchez take lead at BBDO Guerrero / Proximity 04 Lou dela Peña is TBWA\ Singapore's new general manager 05 The Philippins gears for 57th Cannes Lios

02 04

29 2010 KIDLAT AWARDS

PROFILE 58 Mun Tuck Wai 56 Sonal Dabral

EDITOR-IN-CHIEF

MAD ABOUT 132Educating Creative Directors

SENIOR CORRESPONDENT

46 DIGITAL VIDEO PRIMER 64 Photography Exclusive

Anuchai Secharunputong

REVIEWS

14 presidential MARKETING 2010

REGIONAL 52 ADFEST 2010: If not the show,

CREATIVE REVIEW 74 by Juggi Ramakrishnan

52 54

then the jury must go on Y&R pins its hopes on Matthew Godfrey Region's young tigers strike out on their own

88 GLOBAL / AWARDS

Ogilvy & Mather Asia

PRIVATE VIEW 116The Bigger Picture by Cid Reyes 114Logic & Magic by Bong Osorio

82 cannes lions PRIMER

124 EDUCATING THE ADMAN

AGENCY PROFILE 60 Jeh United, Thailand 94 THE OSCARS & ADVERTISING

GADGET REVIEW: Kindle

REGULAR FEATURES

Ad Nauseum Adobo centerfold Ads of the Month Ambush Bang for the Buck Cloned R3 New Business Scoreboard Regional Showcase Truth in Advertising

ANGEL GUERRERO

EDITOR CYNTHIA

DAYCO

HARRY MOSQUERA

COLUMNISTS

BONG OSORIO CID REYES

CONTRIBUTING WRITERS

EXCEL DYQUIANGCO IGGY JAVELLANA LALISSA SINGSON JEL TORDESILLAS AYE UBALDO

ART DIRECTOR LECH VELASCO EDITORIAL ASSISTANT

KITEN CAPILI

CONTRIBUTING PHOTOGRAPHERS

JEEVES DE VEYRA BOB GUERRERO

BUSINESS & COMMUNICATIONS MANAGER

IDA TORRES

ADVERTISING & MARKETING MANAGER

JELLIC TAPIA

ADVERTISING & MARKETING ASSISTANT

JHERIC DELOS ANGELES

FRONT COVER PHOTOGRAPHER: JAKE VERZOSA PHOTO RETOUCH: MANNY VAILOCES

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topstories

TBWA\Santiago Mangada Puno takes 5 out of 7 Golds in Kidlat 2010 At the end of the two-day Kidlat Awards, TBWA\Santiago Mangada Puno continued to enjoy the winning streak that allowed it to dominate the Philippine Ad Congress and the country’s performance in the Cannes Lions and the Spikes. Still propelled by its "Flower Power" series for Boysen, TBWA\Santiago Mangada Puno won 13 metals in the Kidlat competition, five of them Gold. Ace Saatchi & Saatchi laid claim to the two remaining Gold Kidlat trophies as well as 10 other metals, announcing that it was definitely back in business. Leveraging its strength in

print, many of its wins were attributed to its campaigns for North Face and Vespa. BBDO Guerrero/Proximity walked away with 24 metals in the main and craft categories, but it did not win a single Gold Kidlat. In the debut of the Kidlat Ads of the Decade, the three honors went to other creative agencies—Leo Burnett for its McDonald’s “Karen” TVC, Ogilvy & Mather for Philippine Daily Inquirer's “Volcanic Ash” print, and JWT for its Lotus Spa “Traffic Therapy” radio. In the DIWA competition, where public service ads vie for glory, Y&R Philippines won Barely a month after GroupM hired Meckoy Quiogue as group managing partner, CEO Mitos Borromeo unexpectedly quit last April 29, citing health reasons. Quiogue took over until the media network can decide on a proper succession. Country leader since 2004, Borromeo was briefly hospitalized last April and later diagnosed as suffering from stress and exhaustion. She tendered her resignation and on her doctors’ recommendation, took a complete and indefinite break from work. GroupM Asia Pacific CEO Mark Patterson said, “Mitos feels that the demands and requirements of her role and the impact it is having on her require her to step down immediately. I admire and

GroupM CEO Borromeo resigns Quiogue becomes interim CEO

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the lone Gold DIWA, for its Manikako integrated campaign. Now on its third year, the Kidlat Awards is the unabashedly “purely creative” show of The Creative Guild of the Philippines. The show’s name means “lightning” in the Philippine vernacular. In addition to the Kidlat Awards and the DIWA Awards, the festivities also include shootout for creatives under 30 years of age, the Young Kidlat. For the full story on the Kidlat Awards, please turn to our Kidlat 2010 Special on page 27.

"Mitos has been with our company since 2004 and in that time, our business has changed dramatically under her guidance and leadership." respect that decision and we will give her all the support she needs in the immediate future to ensure her well being and future health.” Quiogue was on holiday in the US when Borromeo announced her resignation, but Patterson commented, “Given Meckoy’s seniority, experience and regard as a businessman and leader in the Philippines media industry, I have naturally asked Meckoy to assume

the role of GroupM CEO in an interim capacity while we consider the future together and discuss our strategy going forward in more detail.” Patterson went on to say, “Mitos has been with our company since 2004 and in that time, our business has changed dramatically under her guidance and leadership and is now very well positioned for further growth and development in the market. She has built a strong and smart team, and I would like to thank her for all her energy, passion and commitment over the years. I am only sorry that it has to an extent taken its toll on her which I think though demonstrates the whole hearted way she has gone about her responsibilities.” Whatever triggered her physical breakdown at GroupM remains unclear, but Borromeo told adobo, “As I told the AdBoard, six years [at GroupM] and four Media AOY’s is exhausting!”

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topstories

Tan & Sanchez

take the lead at BBDO Guerrero / Proximity Last month, Sanchez returned from a BBDO Guerrero / Proximity Philippines posting at Proximity Worldwide in London as promoted Brandie Tan and Tin Sanchez to the part of the creative leadership transition plan. position of joint Executive Creative Directors. Chris Thomas, chairman and CEO of Tan and Sanchez, the team responsible for BBDO Asia Pacific stated, “Brandie & Tin have the Agency’s “Lola Techie” campaign for Bayan proven themselves to be one of the strongest Telecommunications, takes over the creative creative teams in Asia leadership from Simon Welsh Pacific, not just in who returns to England this “Brandie and Tin have BBDO | Proximity, June. Tan and Sanchez joined proven themselves to be but in any agency BBDO Guerrero / Proximity ready to take on creative network, and we have been planning their Philippines in 2008 as head of Art and head of Copy. Prior leadership of the Agency. succession for some time.“ to joining the agency, the pair They are one of the few David Guerrero, were joint executive creative teams in the region to chairman and chief directors of Lowe Vietnam. During their JWT days, they have won gold this year." creative officer of BBDO Guerrero / won the Philippines’ first and Proximity Philippines only Cannes Gold Lion, as well said, “Brandie and Tin have proven themselves as the Kidlat Radio Ad of the Decade for their to be ready to take on creative leadership of Lotus Spa ad.

Lou dela Peña

Filipina is TBWA\ Singapore’s new general manager TBWA\ Singapore promotes Lou Dela Peña, formerly global group account director, to general manager, responsible for leadership over the agency’s local new business growth and strengthening internal agency processes and work culture, while continuing to represent senior management to key clients such as Singapore Airlines and Corona Beer. “Last year was a tough year for our whole industry and, like many TBWA offices in the Asia Pacific region, we have been moving forward with our longer term vision in 2010, a year which will see us consolidate and strengthen our agency offerings,” said Dan Paris, managing director, TBWA\ Group Singapore. “I can’t think of anyone with more passion and determination to bring our vision to life than Lou, whose time at TBWA has been marked by exceptional achievements,” he said. When asked how she feels about her appointment, Dela Pena said “I have had five incredible years with TBWA and I’m really excited by the opportunity to deepen my experience and contribute to the agency’s future growth."

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the Agency. They are one of the few teams in the region to have won gold this year in both regional Effectiveness award shows and Creative award shows. This perfectly summarizes our ambition to demonstrate that the same work can win both." Concurrently, the agency hired Paul Anderson as creative director and head of Art. A native of South Africa, he joins the Manila office from BBH Asia Pacific in Singapore and Shanghai. Paul is well known for his work on Nike, and his recent print work for Durex was voted in the top 10 best ads in Media Magazine. Guerrero said, “Paul is also a perfect complement to our team, bringing with him experience from some of the world’s most highly recognized creative agencies where, amongst a huge and impressive body of work, he has garnered significant recognition including a Gold Lion at Cannes.”

The Philippines gears for 57th Cannes Lions

Raoul Panes

his June, the country’s most prominent players in the ad industry fly halfway around the world to join the world’s biggest celebration of creativity in Communications, the 57th Cannes Lions International Advertising Festival. Mingling with 6,000 colleagues in the communications industry, from all over the world, the Philippine delegation attends seven days of award ceremonies, seminars, workshops, master classes, exhibitions, screenings and networking. It’s an auspicious year for the country at Cannes, France. FILIPINOS IN THE SPOTLIGHT For the first time, a Filipino has been invited to one of the high-profile panel discussions. BBDO Guerrero / Proximity Philippines’ CCO and Chairman David Guerrero joins Ogilvy & Mather’s Piyush Pandey and Mark Denton of Coy! Communications in revisiting the golden days of British advertising and its impact on the world. Entitled “Campaign Lessons From When Soho’s Mad Men Ruled The World”, he takes the stage on June 21. Appearing on behalf of BBDO Asia Pacific, Guerrero is only one of three speakers from Asia (after Pandey and Akira Kagami) on the Cannes Lions programme. Like last year, the Philippines is also represented in the Radio Lions jury. This time, Leo Burnett’s ECD Raoul Panes takes his turn

at the headphones, along with radio expert Tony Hertz and fourteen other international jurors. This makes him the fourth Filipino to judge at the Radio Lions and the fifth to participate in any Lions jury.

Film Category of the Young Lions, while BBDO Guerrero/Proximity’s Riza Delle Garcia and Tim Villela try out for the Cyber Category. Bayan’s young marketers Mary Loise Marasigan and Dave Buenviaje shone at the first Philippine Association of National Advertisers (PANA) Brand Camp, to win the right to represent local advertisers in Cannes’ first Young Marketers competition. Despite delegation’s moderate size, it accompanies a bumper crop of entries from Philippine ad agencies. A total of 264 ads are in line to meet either the thumbs up or down from the juries. Of these, the country’s hopes are pinned on TBWA\Santiago Mangada Puno’s Absolut “Hugs”; BBDO Guerrero / Proximity’s “Ahon” (in the Media Lions) and Pizza Hut radio work; Ace Saatchi & Saatchi’s North Face “Outdoor Essentials” and DM9 JaymeSyfu’s Gabriela “Pasa Girl”. Lightning may strike twice for TBWA\SMP’s Boysen campaign, which has already won a Bronze Lion in 2009, but for now the agency keeps it cards close to its chest. Led by Philippine Daily Inquirer’s Group VP for Sales, Pepito Olarte, the delegation includes four chief creatives and four young creatives: BBDO Guerrero / Proximity’s Guerrero, ECD Brandie Tan and their young creatives Garcia and Villela; DM9 JaymeSyfu’s Managing Partner & CCO Merlee Jayme and Leo Burnett’s young creatives Cuison and Gupana.

THE PHILIPPINE CONTENDERS But for the first time, there are six, not two, Filipino representatives at the young shootouts. Chosen during the Kidlat Awards, Leo Burnett’s JP Cuison and Nino Gupana compete in the

TBWA\ SMP, Absolut "Hugs" T VC

Ace Saatchi & Saatchi North Face "Outdoor Essentials"

Once again, Starcom Mediavest is the lone media agency, represented by Media Manager Carlo Ventosa. But for the first time, four representatives from PANA are joining the group: McDonald’s Marketing Director and Chairman of, Margot Torres, VP for Corporate and Brand Communication John Rojo and two young marketers Marasigan and Buenviaje from Bayan. The Philippine Daily Inquirer is the country’s official representative to the Cannes Lions International Advertising Festival. For more stories on the 57th Cannes Lions and the Philippine delegation, please turn to page 76. may-june '10

Six issues of adobo and 12 months later, our readers have finally spoken. Folksy humor wins the day, or rather, the year.

ad of the year

SAFEGUARD "MANO PO" TVC CAMPAIGNS & GREY

Creative Director: Ompong Remigio / Art Directors: Bunny Vivero, Tasha Bautista / Copywriter: Ompong Remigio / Producer: Monster Jimenez / Production House: Arkeo Films / Director: Mario Cornejo Director of photography: Ike Avellana / Production Designer: Cristina Honrado / Art Director (Arkeo Films): Francis Surmida / Editor: Lawrence Ang / Musical Arranger: Allan Feliciano / Production Manager: George Anne Bernabe / Account Management: Margarita Luz

1st runner up: UPAA "RILES" TVC TBWA\ SANTIAGO MANGADA PUNO

Creative Director: Melvin Mangada, Badong Abesamis Copywriter: Melvin Mangada, Jaime Santiago / Art Director: Angela Arches / Accounts: Tong Puno / Director: Lyle Sacris Producer: Sunny Lucero, Cheese Bagnes Production House: Abracadabra

2nd runner up: BOYSEN "HIBISCUS, "LILY" PRINT ADS TBWA\ SANTIAGO MANGADA PUNO

Executive Creative Director: Melvin Mangada Creative Director: Manuel Villafania / Art Director: Manuel Villafania, Melvin Mangada, Denise Tee / Copywriter: Bryan Siy Photographer: G-Nie Arambulo / Account Supervisor: Kara Filamor Print Producer: May Dalisay / Final Artist: Romar Quiroz Production House: Adphoto

#SJOHJOH #BDL 5IF .PKP JO -PDBM 1PTU

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Mendoza’s “Kinatay” and work of other ad veterans win in Gawad Urian 2010

The line between advertising and film-making blurs even further. The 33 rd Gawad Urian 2010 winners announced last April 29 was a who’s who of the indie film industry and the ad world. The big winners of the night were ad industry veterans and Cannes winners. Brillante Mendoza whose "Kinatay” won Best Picture, Best Director and Best Sound. Likewise, his “Lola” won a Best Actress tie for Rustica Carpio and Anita Linda and Best Production Design. Raymond Red won Best Cinematography, and Best Supporting Actor and Actress nods for his actors for “Himpapawid”. Erik Matti, another TV ad veteran, scored a Best Music win for “The Arrival”.

GMA Network’s Mel Tiangco receives CEO Excel Award

GMA Kapuso Foundation Executive Vice President Mel Tiangco was conferred the Communication Excellence in Organization or CEO Excel Award for Excellence in Corporate Foundation. As the steadfast leader of the GMA Kapuso Foundation and a pillar of GMA’s News and Public Affairs group, Tiangco, was recognized for being at the forefront of various sustainable programs and special projects for the underprivileged “Kapusong Filipino” (Beloved Filipino) all over the country. The CEO Excel Award is given annually by the International Association of Business Communicators (IABC) Philippines to senior executives who have effectively used communication strategies and tools to advance the goals of their organizations.

Brand Aid’s AHON helps build homes and rebuild lives

The Advertising Board of the Philippines handed over the proceeds of AHON campaign to Philippine Red Cross’ Housing Project last February 25. AHON is the pioneer project of Brand Aid where advertisers donated their commercial spots to help relocate the recent typhoon victims. The initial donation is to the amount of PhP 3.4 million, from Johnson & Johnson. Brand Aid is a long-term project of the AdBoard. Amongst its aims is to fund future calamity relief rehabilitation, and other industry social responsibility initiatives. As a collaborative effort of the whole advertising industry in support of our fellow countrymen in need, Brand Aid unites the industry using advertising as a tool to raise funds for timely community projects. Proceeds of the fund-raiser benefits the typhoon-affected population through Philippine Red Cross’s Housing Project. may-june '10

“Is the AdBoard still relevant?” asked the newly inducted chairman of the 2010 AdBoard, Andre Kahn, during the induction in late March. Taking a critical eye on the Advertising Board of the Philippines, in its more than 30 years of steering the advertising industry, Kahn wanted no less than to re-engineer the organization. “The AdBoard should move on from the ‘old’ issues and past baggage,” said Kahn. “Prove it is a resilient organization that withstands change and evolves with the times.” Along with the Kapisanan ng Brodkasters sa Pilipinas (KBP)’s departure and the formation of the Advertising Standards Council (ASC), changes in the advertising landscape include the recent membership of the Internet and Mobile Marketing Association of the Philippines (IMMAP) and the Media Specialists Association of the Philippines (MSAP). Answering his own question, the Chairman stated, “Now is the time to find new relevance.” Requiring no less than a massive housekeeping, already underway, is a complete review of the AdBoard’s constitution and by-laws, hand-inhand with research on the current needs of the industry. The emergent AdBoard will act as the sole body that will address conflict among its member organizations. More importantly, Kahn stressed, “Each and every member must believe in the new role of the Adwhile ABS-CBN’s Lopez Board.” the role of advertisers Noble intentions, surely, but the event was far from over, as the expectations of the keynote speaker, ABS-CBN’s Eugenio “Gabby” Lopez III, received thunderous applause. He began with “Take my views as the beginning of a dialogue that hopefully will lead to a new and revitalized AdBoard with KBP finally back in the fold.” His proposal on “the inclusion of cable and satellite providers, and all who carry advertising, be brought into AdBoard, to be relevant in the digital age” caught the audience unaware. Then he called upon Philippine Association of National Advertisers (PANA) to “change with [a changing world] if you want to be relevant.” Lopez challenged AdBoard to reassert rules and issue sanctions, for members and nonmembers, “to show its members, and the industry that no one is more important than another.” “For non-members who violate the spirit of the rules, AdBoard must find ways and means to protect the interests of its members and the consumers. If it fails to do so, then AdBoard loses its relevance.”

Saving his trump card for last, Lopez added, “Indeed, where the actions of a non-member are detrimental to the membership, Adboard’s role and purpose is never clearer. AdBoard cannot abdicate its responsibility to its members.” Lopez’s views would keep those in attendance buzzing long after the evening closed. Nandy Villar, managing director of McCann Erickson and former chairman of the 4As-P, appreciated Lopez’s candor. However, he thought Lopez’s statement would have held true if the AdBoard were just a trade organization. Villar pointed out that it exists for a bigger role, which is self-regulation. “Self regulation is there, not for the businesses themselves, but for the protection of the consumer. We recognize the power of advertising, “ said Villar. “We’ve raised our hands and said ‘Hey government, hey public, we’re

AdBoard seeks relevance challenges

going to be responsible people and we’re going to regulate ourselves.’ “The advertiser is a very essential part of [AdBoard]. They’re at the beginning of the chain, and at the end of the day, they’re the most accountable for the advertising that goes out there. If the consumer complains, it goes back to the brand and to the advertiser. From that perspective, the advertiser is vital that is part of AdBoard.” Also in the audience that night was PANA Chairman Margot Torres. She remarked, “My thoughts are, in any country, and in the past 50 yrs or so, selfregulation principle rests on tripartite—which means, the advertisers, the ad agency because they develop the content, and media. Selfregulation cannot exist if advertisers are in a different organization.” But she acknowledged, “The main point of [Lopez’s] keynote was to challenge the thinking, and he did.”

1st adobo creative rankings

The Philippines Making Its Mark

Adobo Magazine creates another first for the Philippine advertising industry as it releases the first adobo Creative Rankings of 2009 in the second quarter of 2010. This is a tabulation of all the creative winners from international and local advertising awards shows from 2008-2009, including the Kidlat Awards and the Araw Awards at the Ad Congress last November 2009.

Creative league tables are the current trend in the industry, with The Gunn Report covering the international advertising scene, while Campaign Brief Asia focuses on the Asian region. It is a painstaking task to compile, collate, and rank all the awards shows out there, but they are the most sensible way of determining which agencies are beating their competition in the quality of ideas, and

which creatives provide the mental bang for an ad agency’s buck. Editor-in-chief Angel Guerrero believes that the need for these rankings is genuine. “Agencies and creatives use it for self-reflection, for bragging rights, for headhunting and for fostering well-intoned competition,” she shares. With the entrance of the adobo Creative Rankings, the

Philippine advertising industry will be given a clearer picture which creative agencies are making an impact here and in the region. Given the awards that the Philippines has been winning left and right in different competitions all over the world, it’s only logical that we should start ranking our own. Watch out for the adobo Creative Rankings in our next issue!

intentions of being out there, being in the center of the game, if not

setting the direction for all these new media.”

McCann Worldgroup Philippines appoints Ricki Arches as Chairman of the Board McCann Worldgroup Philippines announced the appointment of President and CEO Patricia “Ricki” Arches as chairman of the Board of Directors, after a recent stockholders’ meeting. Ricki Arches maintains her position as president and CEO, concurrent to the chairmanship role, and now directly reports to MWG Asia-Pacific Regional Director Michael McLaren. The appointment, which is aligned with recent regional management re-structuring, makes a powerful statement on the central role that Southeast Asia is expected to play in the continued growth and leadership of the McCann network. The Philippines, in particular, is recognized as home to one of the strongest and most prolific agencies in the McCann system, is pivotal to this mandate. Meanwhile, McCann is also taking its integrated marketing

expertise into a new level by consolidating its multi-discipline creative resources into one reporting structure under Chief Creative Officer Raul Castro. The new arrangement aims to enhance discipline collaboration and ensure a seamless product delivery system. McCann is also beefing up its management team, with VJ Yamat, a new managing director for McCann Healthcare taking on the reins by mid-April, while choices for managing directors for Momentum and MRM Worldwide will soon be announced. “Obviously with these moves, [McCann Worldgroup] would like to have an even stronger position, as the non-advertising disciplines grow, as marketing communications moves towards less traditional advertising,” said McCann Erickson Managing Director Nandy Villar. “We have all

may-june '10

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OA AP 2010 Officers and Board induction, launches 2nd OOH Conference

The 2010 Outdoor Advertising Association of the Philippines (OAAP) Officers and Board of Directors were inducted last February 25 at the New World Renaissance Hotel. Incoming Chairman of the Advertising Board of the Philippines (AdBoard) Andre Kahn inducted the Officers and Board. Incoming President Ed Acosta revealed that the majority of outdoor advertising providers are not members of the OAAP, so that in 2010, “the association embarks on fostering greater participation of members, to create and organize different sector groups under the OAAP umbrella.” Acosta also announced the plan to create an Out-of-Home Awards in different categories in cooperation with 4As, PANA, ASAP and UPMG, and other AdBoard associations. Keynote speaker Sandy Prieto-Romualdez, Philippine Daily Inquirer president and CEO, encouraged the OAAP to allow the industry to grow and be professional, and to communicate to the non-members “that there is value in legitimacy.”

Creative magazine features Philippine advertising works by BBDO Guerrero/Proximity and Lowe

ASAP launches 1st Infoglio While the ASAP Black Book has always been a resource staple for the ad industry, the Advertising Suppliers Association Of The Philippines decided that for 2010, it was time to infuse the definitive creative and technical services index with new blood. So the idea of Infoglio was born. As Cherry Salazar, president of G. A. Printing and co-chairman of the Book Committee so eloquently stated, it was literally the birth of a new service index that aims to expand the market of ASAP members and industry to new markets like communications, entertainment, production and design.

The launch of Infoglio last April 21, 2010 at the Hotel Intercon brought together denizens of the industry like AdBoard Chairman Andre Kahn, AdBoard Vice Chairman Tessie Howard, Executive Director of Ad Foundation Linda Gamboa, 4AsP’s Susan Dimacali, IBA President Vira Arceo and ASAP Chairman Rick Hawthorne, along with ASAP member companies. Evoking three decades of meritorious work of the advertising services suppliers sector, the ASAP Infoglio directs an informative and vivid light on its members, industry pillars, leading experts, latest crop of talented practitioners and their work. To order your copy of Infoglio: The ASAP Creative and Technical Services Index, call the ASAP Secretariat at 893 0738 or 893 0564.

TRUTH IN ADVERTISING Better Offer or Good Riddance? Communication Arts, the premier journal of visual communication accepted the work of Lowe Philippines and BBDO Guerrero/Proximity in its January/ February 2010 and 50th anniversary issue: the 2010 Advertising Annual. Lowe Philippines’ “Weeds” for Viva Video City was featured in the Poster category, while BBDO Guerrero/Proximity Philippines’ series “Dino”, “Flytrap” and “Sumo” for Hewlett-Packard Ink features under Trade/ Institutional Ads. Lowe’s poster ad was created to announce the launch of the videos for the TV series “Weeds” about a suburban single mother who sells marijuana to augment the family income. The fact that “Weeds” was a low-budget affair proved an inspiration. The brief from Hewlett-Packard was very specific: HP Original Inks, proven to outlast refills. “The inspiration was the specific brief itself. With a brief like that, in its category, an entertaining form of side-by-side was a way to go. (To execute it), we laid out paper to form the objects and shot them,” said Brandie Tan, BBDO Gurerrero/Proximity ECD. The annual Communication Arts Advertising Annual showcases the top work in graphic design, advertising, illustration, photography and interactive media.

may-june '10

He is young, charismatic, idealistic and a perfect account executive on paper. Three years in a fickle industry like advertising, and he’s already making a name for himself. Unfortunately, it’s for the wrong reasons. Although his official press release for every time he jumps ship is that a bigger and more lucrative vessel has pirated him, ask anyone from all the agencies he’s been with (four so far, and counting), and you can find the real story. While few account executives and managers are genuinely sympathetic to their creatives’ problems, apparently Benny Better Offer Illustrated by Stephanie Tudtud is just too much for some creative directors. Benny aced his first job interview and got a high-paying gig at a big agency. A few months in, and the ECD had enough and literally screamed at him to get his ass out of his office. Of course, in Benny’s mind, he simply received a better offer from a better agency, so he left his dream job. But when this pattern repeats itself not twice, but four times, then people around him should be suspicious of his so-called career growth. It’s not just the ECDs who can’t stand him. We hear that even his team find him difficult, and in a world of difficult people trying their best to work together, when four teams from four different agencies refuse to work with you, you had better rethink how you deal with people. Too bad, Benny, you have your moments of brilliance (even your bosses have to admit), but if you keep this up, you might run the gamut of agencies before you even turn 30.

GLUED TO YOUR MONITOR? visit adobo at

movers Yehey! President and CEO DONALD LIM is leaving the search engine and Internet portal, after three years at his post and four years with the company. Elaine Uy, chief marketing officer of Yehey!, said that Lim is leaving the company to pursue other interests and opportunities. He turns over his duties and responsibilities to Chief Creative Officer Jay Arellano, who will assume the designation of general manager of Yehey Corporation. Aside from Yehey!, Lim oversees five other businesses of his own, and also does management consulting for businesses. Donald also used to be the Vice President of Marketing of the Philippine Daily Inquirer.

Publicis JimenezBasic and Greenwich Pizza

with the popular talent-cumreality show “American Idol” that started in 2009. The client sought input from the agency on how to expand the Abangan ang susunod na kabarkada campaign from mere merchandising. Again, the magic word Up’ because it was an upgraded Cheesy has never been this “barkada”, worked for the version of the Hawaiian pizza,” cool. Greenwich Pizza, a local agency. Efficient media planSevilla explains matter-offastfood chain, has undeniably ning made the most by tapfactly. gobbled up a considerable ping on the youth market of As symbiotic to youth and slice of the country’s fastfood “American Idol” fans that were denim jeans, the Greenwich’s market barely six years after it cable TV watchers. Maximizabracadabra is “barkada” (a celebrated opening its 400th ing resources clique), branch nationwide. with 90and its “The complete turnaround second TVCs ingenious is because Greenwich has a of famous employ is vision. Publicis JimenezBasic celebrities cabehind its shares the vision and they vorting freely meteoric share the vision with us,” said with fans rise. the lively Don Sevilla, executive contributed Sevilcreative director. “They have in making la is equal a really strong, solid strategy Publicis JimenezBasic a minimum parts that has paid off, they have the ECD Don Sevilla III expense aploquacious numbers to back it up. The pear like a and logishare is there.” huge campaign. Having fun in cal, when expressing the prothe name of fun. and propitious, synergy "Of course, it was found, “We are very lucky we between client and agency. not as easy. We have collaborative clients that “It was never frivolous or treat us as honest-to-goodness had to invest in it. capricious on [the agency’s] partners. part to think: ‘let’s just create The campaigns We are here to help them something buzz-worthy’. All the out, with no hidden agenda. Greenwich ads are on discovertook time before The best, for recognition is that friendship, consistent with the public caught ing we can help sell their products the characters in a barkada. on it.” in the most creative way. This These all stemmed from pretty is after all advertising,” Sevilla solid strategies. That’s why the states magnanimously. ads really worked.” The theme, style and ex“We are secure with how “Of course, it was not as ecution of all its advertising far we can go with our own easy. We had to invest in it. campaigns are all productcompetence. If they award us The campaigns took time bebased. for it, why not?” He beams, fore kumagat, (before the pub“It is ‘Overload’ because sounding more than a mere lic caught on it),” he confides. those are overloaded pizzas. It partner, something akin to a Icing on the cake is was ‘Cheesy’ because it was an kabarkada. Greenwich Pizza’s partnership overload of cheese. And ‘Level

At the start of March 2010, LEAH M. HUANG was promoted to managing director of Ogilvy Public Relations (Philippines). Huang performed as OIC and Business Unit Director in 2009, proving her mettle against challenging economic conditions and key personnel changes. “Huang succeeded in masterfully steering her team to more steady ground— achieving financial targets, replacing nonperforming accounts via an aggressive newbiz effort, and most important of all, transforming her team into the more cohesive, revitalized Ogilvy PR it is today,” said Randy Aquino, Ogilvy & Mather country head. Leah brings to Ogilvy PR over two decades’ experience in the development and implementation of effective communication strategy and issues management along with strong editorial expertise with San Miguel Corporation and Coca-Cola Bottlers Philippines. McCann Worldgroup Philippines appointed VICTOR JOSEPH “VJ” YAMAT as managing director of its healthcare communications discipline, McCann Healthcare, two-time winner of Specialist Agency of the Year Award for Asia Pacific given by Media Magazine (2008 and 2009). A medical doctor by profession, VJ chose to specialize in healthcare marketing communications, pursuing a career track that includes previous working stints with Publicis Life Brands in China and Ogilvy Healthworld in Singapore. As McCann Healthcare (MHC) managing director, VJ fortifies the agency’s unique competency of providing an effective combination of professional healthcare and consumer marketing solutions for healthcare and pharmaceutical brands. VJ also leads the development of MHC’s specialized services, including its Continuing Medical Education program offering. After over a decade as VP-Client Services for Hit Productions, ANA AGTARAPPALILLO is stepping down to focus on family and occasional freelance producing. Agtarap-Palillo is credited for her invaluable contribution to the company’s rapid growth and success. Taking over is experienced producer Do Villaroel, who was Ana”s former role broadcast production head for JWT. may-june '10

he Presidential election of 2010 will go down as one of a landmark in the Philippine political history for several reasons. After nine years under the same president, Filipinos were able to choose a new Chief Executive. It was the first automated polls for a nation that is used to months of manual counting. Most significantly, this was the election where media spend reached an all-time high and where advertising lost no opportunity to ride on the election bandwagon. Coming so close to declaring a new President and Vice President (as of press time, Congress is still canvassing the official results), let’s take a look at some of the more interesting stories leading up to the Presidential polls of 2010.

Anti-Villar pundits called presidential candidate Manny Villar out on his “Scroll” TV Ad, which was an uncomfortably close adaptation of the "Truth (Upside Down)" political ad of Lopez Murphy, who ran for President in Argentina last 2006. Villar’s ad initially drew praises, until industry insiders pointed out that there was a very similar Cannes Lion-winning ad from South America. Accusations of plagiarism began spreading online like wildfire, with statements like “Nakakopya ka na ba ng commercial ng may commercial?” (Have you ever copied an ad from someone else’s ad?), a riff on one of his earlier TV spots.

“While the ad format was adapted from ‘The Truth’ ad by TBWA\Argentina, the message is genuinely Manny Villar’s.” TBWA\Santiago Mangada Puno, the agency behind the Villar ad, admitted that yes, it did adapt the “Scroll” ad from Murphy’s campaign, which was created by sister agency SAVAGLIO\TBWA in Buenos Aires, Argentina. In a statement, the agency said it was a common practice for a worldwide network like TBWA\ Worldwide to share concepts between countries, as with their other clients like adidas, Absolut, Pedigree, Apple and Nivea.

VILLAR'S BORROWED “Scroll” AD

Was it karma or omen? “While the ad format was adapted from ‘The Truth’ ad by TBWA\Argentina, the message is genuinely Manny Villar’s. And it hopes to inspire a country deeply steeped in hopelessness, negativity and cynicism.” Now that Villar has already conceded since early results show him a distant 3rd in

the presidential race, the question that must be asked is this: Shouldn’t they have checked first what happened to Murphy Lopez after they ran this campaign? (Yes, Lopez failed dismally in his bid for the presidency). Shouldn’t this have been a sign that the campaign might not actually have worked for Villar as well?

amBisyon 2010

Filmmakers’ Vision for a Better Philippines

Publicity is publicity. And in this case, the controversy has definitely helped further the cause. ABS-CBN’s news channel ANC recently held free public screenings of its highly controversial “amBisyon2010”, a film project that tackled national issues like health, corruption, education, justice and human rights through 20 short films by 20 directorial talents of the film industry. Fourteen indie film luminaries plus six grant winners comprised this ambitious project that encompassed experimental, documentary, drama, comedy and even love stories, all to tell the story of the Filipino people and the issues that the next batch of elected officials will face. The controversy arrived in the form of an X Rating the Movie and Television Ratings and Classification Board (MTRCB) gave to the films of Cannes winner Brillante Brillante Mendoza Mendoza may-june '10

Raymond Red

for being “injurious to the prestige of the Republic of the Philippines and its people” and Jeffrey Jeturian for “undermining the faith and confidence of the people in government.” After the second review, MTRCB decided to lift the X rating from Mendoza’s film, but refused to do so with Jeturian’s, due to a very “sensitive and offensive” scene that the director refused to take out, because that is his statement and is relevant to the overall story of the film. Noted TV commercial directors like Erik Matti, Brillante Mendoza, Raymond Red, Jerrold Tarog and John Torres were part of amBisyon 2010.

PRESIDENTIAL MARKETING 2010 The 7-Elections Campaign Every Gulp counts! 7-Eleven through their staple, large-sized beverage, The Gulp, began a revolutionary new digital and sales-generating campaign, where would-be voters were asked to make their vote heard via purchasing the Gulp of their choice. The Gulp cups in question bore the color and likeness of a Presidential hopeful, i.e. Noynoy Aquino on a Yellow Gulp, Gibo Teodoro on a Green Gulp, Manny Villar in an Orange Gulp, etc. After “purchasing” their vote, people logged in to 7-Elections.com. ph to enter their name, email and receipt info, thereby entering their “vote” onto the web site. Of course, it’s not the Philippine national elections because of one obvious reason—you can keep buying as many Gulps as you want and enter a bogus name and email, but it still merits a valid pulse of the digital youth. Why? Because this Web site got more viral via the social networks and blogs, spreading via Facebook (with the help of the “Share” social bookmark on the site as well). And if you look at the results on the website and instore, it clearly showed the Yellow Gulp was way ahead of the other Gulps.

Yahoo! Philippines

Online democracy with Purple Thumbs up Yahoo! harnessed the power of social media and developed a first-of-its-kind election dedicated microsite called Purple Thumb (www. yourpurplethumb.com). The Purple Thumb microsite gave Filipino voters the opportunity to share user-generated

We believe that social media serves as an important platform in the coming elections.

content, post images, videos and express their views on the 2010 Philippine election. The microsite leverages top Yahoo! properties Yahoo! Answers and Meme. Additionally Yahoo! Philippines worked with media partners; ABS-CBN, Philstar.com, Manila Bulletin as well as bloggers and local NGOs to deliver balanced coverage of the election on the microsite. “We believe that social media serves as an important platform in the coming

elections. With the help of our content partners, the Purple Thumb microsite will bring Filipino people the most comprehensive election news as it happens,” explained Jack Madrid, Yahoo! Philippines Country General Manager. “Not only do they receive the most updated news, the microsite also provides a platform to freely discuss opinions, share images, content and up to the minute news,” added Madrid.

collection of Tisyu boxes that could be stacked to form a body complete with a head, chest, and feet. The heads are composed of President Arroyo, and three of the presidential aspirant: Villar, Aquino and Erap. “It’s well-known that design is a huge factor in the purchase decision of consumers in the boxed tissue category. I wanted designs that will shock the shelves and create interest in the category—become a talking piece, even if the conversation is just among designers,” said Sanitary Care Products Asia’s Marketing Communications Director Lea Sio.

Consumer Products Get Election Fever Even consumer products are not exempt from being infected with election fever. What better way to ensure that your brands sell than by riding on the topic on everyone’s minds. Collezione C2 has seen its sales skyrocket, just by sticking a small Philippine map on its traditional polo shirts. Their My Pilipinas shirts have been constantly out of stock. Even though the Aquino camp unofficially claimed it as theirs (due to the fact that the shirts emerged after the death of former President Cory Aquino), their rivals also joined the bandwagon, ordering polo shirts in their candidates’ colors and silk-screening the maps themselves. Like 7-11, Fruitas come up with its own version of mock elections paraphernalia. Fruitas

launched its line-up of 16-ounce Fruitas Presidential Cups featuring caricatures of four Presidentiables, in their traditional colors and slogans. They haven’t released any data yet as to who’s winning in their “election” but random internet sources saw the yellow cups taking a lead Tisyu joined the campaign fray by commissioning The Farm of Vgrafiks, a design group that specializes in socially-oriented art design to come up with “Stackables”—a may-june '10

movers Former joint executive creative of BBDO Guerrero / Proximity Philippines, JOEL LIMCHOC joins Revolver Studios Inc., one of the top film and production houses as director. Limchoc was Campaign Brief Asia Rankings’ no. 2-ranked, Philippine-based creative since 2008. During his six years with BBDO Guerrero/Proximity, he directed over a dozen TV commercials. In 2009, he was the youngest inductee to the Creative Guild’s Hall of Fame.

Health supplements disclaimer hit by Department of Health

Production house Provill appointed Yayan Concepcion as president with Ina Lagman as her managing director. Both Concepcion and Lagman were production managers with sister company Media Circuit, when they were seconded to the startup Provill in 1986. Concepcion transferred to Sales where she rose to VP for Finance and general manager, while Lagman eventually became executive producer. Luigi and Lorna Tabuena remain joint CEOs for Provill, which is one of the leading production outfits in the Philippine advertising industry. Kuala Lumpur - Ogilvy & Mather has appointed ANDRE NAIR as group managing director in Malaysia. Nair replaces Zayn Kahn who is slated to take on a regional business strategy director role within Ogilvy. Most recently, Nair worked as a private consultant. Prior to that, he was the chief strategy officer of JWT and RMG Connect. He has also worked as the CEO of GroupM for South and Southeast Asia from 2005 to 2007. Singapore – JOSEPH TAY will join Grey Group Singapore as creative director, reporting to Ali Shabaz, chief creative officer, Grey Group Singapore, Indonesia and Thailand. An industry veteran, Tay brings with him over 15 years of advertising creative experience, and will greatly add to the agency’s creative product. In the initial months, Tay will work on Qatar Airways, Wildlife Reserves Singapore, Mitsubishi and Metro. Tay has contributed to a number of path-breaking campaigns such as the Parkinson’s Disease Society Singapore press campaign that won him a Cannes Bronze Lion. Vietnam - Ogilvy & Mather Vietnam today announced the appointment of TODD MCCRACKEN to the role of executive creative director, effective May 1. Said Katryna Mojica, “Todd is a fantastic asset for us. He worked with us before, and it proved to be a happy and productive collaboration. His energetic approach makes him a good fit for such a dynamic market, and he shares our belief in the opportunity and potential of Vietnam.” Prior to joining Ogilvy Vietnam, Todd was executive ECD at Ogilvy & Mather in Singapore between 2007 and 2009.

may-june '10

Something slipped under the noses of the many concerned industries - manufacturing, advertising and marketing. Administrative Order No. 2010-008 issued by the Office of Health Secretary Esperanza Cabral, pertains to the “Directive Specific to the Change in the Use of the Phrase ‘No Approved Therapeutic claim’ in all Advertisements, Promotional, and/or Sponsorship Activities or Materials concerning Food/ Dietary Supplements.” Simply stated, “No approved therapeutic claim” can no longer be a disclaimer. Issued on March 18, and with immediate effect, it compelled the Advertising Standards Council (ASC) to go on an information-media blitz. “The news came out March 18 in major newspapers. By the time they issued the circular, it was for immediate implementation,” said Cris Honrado-Dasig of the ASC. The A.O. states “a growing concern on food/dietary supplements with dubious, inaccurate, false, deceptive or misleading claims about their efficacy and/or nutritional, medicinal or health-enhancing attributes, character, value, merit, or safety are being raised by the members of the public, hence, this Administrative Order.” The A.O. defines Food/ Dietary Supplement to “mean a processed food product intended to supplement the diet that bears or contains one or

medicine and must not be used as cure for any type of illness.) “We knew [the Department of Health] were being strict with health supplement advertising, that there are different organizations in discussions, regarding the effects of health supplements, and were presenting to DOH,” HonradoDasig added. Among these organizations was “We ask the public to Chamber of Herbal denounce the ‘bad eggs’ Industries of the Philippines Inc. in the industry—but to (CHIPI). In a letter please do so with care, to the Philippine Daily Inquirer to avoid unwarranted January 2010, damage to the reputation in it appeared that CHIPI was well of the growing number of the DOH’s of legitimate companies aware plans. It said was and herbal products that supportive of the government’s adhere to FDA rules." policies, but CHIPI Chairman Lito Abelarde added, “We ask the capsules, tablets, liquids, public to denounce the ‘bad gels, powders or pills and eggs’ in the industry—but not represented for use as a to please do so with care, to conventional food or as the avoid unwarranted damage sole item of a meal or diet or to the reputation of the replacement of drugs and growing number of legitimate medicines.” companies and herbal products Instead of “No approved that adhere to FDA rules.” therapeutic claim”, every adCHIPI is not a member vertisement, promotion activity of the Philippine Association must state in Filipino, the stanof National Advertisers. dard message or phrase: Nevertheless, sources say that “MAHALAGANG PANA is mulling a request for PAALALA: ANG (NAME OF a 6-month transition period, PRODUCT) AY HINDI GAMOT so that advertisers have AT HINDI DAPAT GAMITING enough time to change existing PANGGAMOT SA ANUMANG campaigns and to comply with URI NG SAKIT.” (Important the new A.O. message: (Product name) is not more of the following dietary ingredients: vitamin, mineral, herb, or other botanical, amino acid, and dietary substance to increase the total daily intake in amounts conforming to the latest Philippine recommended energy and nutrient intakes or internationally agreed minimum daily requirements. It usually is in the form of

newbiz/pitches

Ogilvy & Mather Philippines wins digital AOR for KFC and Rexona, advertising for Crown Asia

Barely two weeks after appointing Melissa Crucillo as head of OgilvyOne, the agency announced last March that OgilvyOne won the digital AOR of KFC after a pitch against Media Contacts. Likewise, the agency also won the Rexona digital AOR against DentsuIndio and Media Contacts. For advertising, Ogilvy & Mather Philippines bagged the Crown Asia account.

adobo@night

Celebrating filipino indie films

McDonald’s hands delivery business to Leo Burnett

The fast food restaurant awarded Leo Burnett the creative and marketing services duties for its McDelivery Service, the 24-hour stores, Drive-Thru and Dessert Centers. In addition, it also tasked the agency to create year-round seasonal advertising. McDonald’s move to focus on convenience as a business driver is a response to the preferences of customers who no longer consider a McDonald’s outlet as just a quick-service or drivethru restaurant. Customers now look for a convenient food solution with emphasis on convenience and quality factors such as home delivery and 24/7 service. The convenience business is believed to account half of McDonald’s total business in the next couple of years.

Leo Burnett & Arc clinch Shell business in the Philippines

Leo Burnett & Arc Manila were selected by the Retail Business of Shell Philippines as the agencies of record for its non-PR related marketing services initiatives. The appointment followed an intensive pitch involving eight agencies which included incumbent Bates 141. With the win, Leo Burnett & Arc Manila will conceptualize, design and execute creative ideas for a full array of marketing services initiatives for Shell Philippines, ranging from offsite and onsite events, to merchandising/point of sales materials and more. The ultimate aim is to enhance the brand image among both internal staff and external stakeholders, including general consumers, dealers and partners.

Momentum Philippines hits jackpot with Scratchit!

Momentum bagged the creative account of Pacific Online’s Scratchit! against Saatchi and DentsuIndio for the awareness campaign designed to fan excitement and create a national craze for Scratchit!, an instant prize game. The winning presentation captured the brand’s personality and created an integrated program to enhance its appeal and maximize demand among target publics. Momentum Philippines is the experiential marketing and brand activation discipline of McCann Worldgroup. Its previous experience in the gaming industry includes mounting the biggest gathering of the online community for Ragnarok.

may-june '10

Celebrating the creative excellence of Filipinos, adobo magazine's first ever film festival adobo@night took place at the On Cue Theater last April 23 and 24. The two-day event showcased the top TV ads of the decade, the best of Cinemalaya shorts and internationally lauded independent films. The six featured films were chosen by adobo magazine and curated by DDB creative director and independent film advocate Lilit Reyes. Directors Richard Somes and Raymond Red, of " Yanggaw" and "Himpapawid", respectively, attended the screening of

their films, along with more than 600 people —including Rick Hawthorne of Road Runner, David Guerrero of BBDO Guerrero / Proximity and Lilit Reyes himself. The On-Cue Theater, a digital inflatable theater, was located at Boho@8th Ave. Along with their first innovation was the Night Market that oozed with art and creativity. The vendors offered various selection of goods, and the "fiery" performances from professional dancers entertained the people while waiting for the screening. From the proceeds, adobo magazine will

donate a cyro-therapy gun, a crucial life-saving equipment in treating cervical cancer, to the Sahara Network, the foundation focused on empowering women towards cancer prevention. adobo@night film festival was brought to you by adobo magazine in cooperation with GlaxoSmithKline together with BBDO/Guerrero Proximity, TBWA\ Santiago Mangada Puno, Coke, McDonalds with event partners EON The Stakeholder Relations Firm, Tangerine, Boho@8th Avenue, Outpost Visual Frontier, Cinemalaya and Creative Guild of the Philippines.

TRUTH IN ADVERTISING THE MIRROR HAS TWO SIDES

It’s hard to be beautiful in marketing. Even harder to be a beautiful man in marketing. While good looks open doors and coax female (and some male) clients to eagerly sign cost estimates, that same asset forces the office Adonis against a phenomenon most women executives face —the glass ceiling. Take Fabio Fabie for instance. An executive in his late 30s, he wonders why he hasn’t been promoted. Having been associate marketing director for several years now, he craves new challenges, but his employer seems reluctant to give him any. So he eases his professional boredom with furtive extracurricular activities within the company. Having run through all the eligibles below his pay grade, Fabio is now Illustrated by secretly dating his very married fellow Stephanie Tudtud AMD. Nowhere near as good-looking as he is, his lover is nevertheless a valued member of the department. But not so valued that the Powers That Be can turn a blind eye to a potentially sticky situation. So as the two AMD’s play doctor in the boardroom, the PTB must choose. Which one stays at the head office and who will be seconded to a JV in Indochina? Who will be groomed for bigger things, and who is expected to fend for himself? The plain-looking one or the pretty boy? Did you hear that thud? That was the sound of Fabio Fabie hitting his head against the glass.

newbiz/pitches

Harrison Communications wins M. Lhuillier account

Harrison Communications was awarded the creative account for the creative assignments for brand M. Lhuillier, after a three-way pitch involving Draft FCB and J. Romero. “From the onset, the chemistry between Harrison and the M. Lhuillier teams was apparent," says Maricel Pangilinan Arenas, Harrison managing director. “Harrison’s experience in nurturing and growing local brands will be harnessed to distinguish M. Lhuillier’s business advantage and boost its brand power,” Arenas adds.

McCann Worldgroup wins creative and media account of Makati Medical Center

One of the country’s premiere healthcare service providers, Makati Medical Center, recently awarded its creative account to McCann Healthcare, without asking for an actual pitch. Effective immediately, the appointment covers marketing communications strategy development, creative and production assignments. McCann Healthcare’s affiliate media agency, UM, was also awarded duties for Makati Medical Center’s media planning and buying. Both agencies function under parent company McCann Worldgroup.

BBDO/Proximity wins Guinness activation pitch

Singapore - BBDO/Proximity Singapore was appointed by Asia Pacific Breweries Singapore (APBS) to conceptualize, develop and execute an islandwide activation program for Guinness, beating out the competition in a three-way pitch process that started back in January. BBDO, already the agency of record for above-the-line advertising for Guinness, can now extend their working relationship to cover other important below-the-line disciplines such as digital, sales promotion and CRM to create a truly integrated campaign offering. Although yet to be revealed, the winning activation concept to be launched in the 2nd half of the year will continue to target a younger Guinness drinker using innovative recruitment mechanics to encourage trial.

Y&R Shanghai and Mediacom tipped to win Gap integrated account in China

Shanghai - Gap is believed to have handed its integrated account in China to Y&R Shanghai and Mediacom, after the final round of the pitch that took place in Shanghai last month. The agency pair beat Saatchi & Saatchi and ZenithOptimedia to the business. The integrated pitch was creative-driven and supported by media, PR and digital. Gap held its first round of pitches last January. JWT and Ogilvy & Mather also participated. Gap is reportedly planning to enter China and Hong Kong this year, and will open stores in Hong Kong, Shanghai and Beijing at the end of the year.

may-june '10

ANNIE NAVAL

SMART move to Mediaquest After its sister company Mediaquest Holdings acquired ABC TV5, SMART Communications has transferred its long-time group marketing head, Annie Naval to its media arm. PLDT/SMART spokesperson Ramon Isberto said that Naval now holds the position of group marketing head for Mediaquest Holdings. She is currently focused on marketing TV5 and Cignal. In the previous years, Naval has been Product Group Manager for Unilever, AVP for Nestle Philippines and VP for Marketing for Sun Cellular. A subsidiary of Philippine Long Distance Telephone Co., Mediaquest Holdings Inc. provides radio and television broadcasting services through its subsidiaries Nation Broadcasting Corp., Philippine Home Cable Holdings Inc., GMA Network Inc., and Unilink Communications Corporation. As PLDT’s multimedia arm, Mediaquest bolsters the content creation services for PLDT and its mobile network SMART.

“The wall of sound is back!” An ecstatic Neil Gaiman, creator of the Sandman, Coraline and Anansi Boys, greets the hyperventilating crowd, wearing his trademark black top and jeans. Back in 2005, on his very first visit to the Philippines, he compared his Filipino fans to Brazilian football fans. And if you know Brazilian fans, the comparison can be both heartwarming and incredulous. Five years later, his communion with Filipinos hasn’t waned a bit. In fact, there is no other writer that can command a rock-star near-hysteria following like he does. As adobo magazine sat down with him, he shared why he has become an advocate of Filipino writers and illustrators. Neil admired the works of Filipino graphic illustrators like Alfredo Alcala, the Redondos and Ernie Chua. “They did absolutely fabulous work and I think it’s really sad that they’re forgotten. So, I grew up wanting to work with those guys, I grew up dreaming of a world of which Alfredo Alcala could draw something that I wrote. He was also amazed by uniqueness of Philippine mythology—our aswangs, kapres and manananggals. “I read an article from The Economist from the plane, coming over here. About how, right now, the biggest room around the world in crime fiction is going to Scandinavia. What I’d love to see is the equivalent of that for the Philippines, where you don’t need to pretend you’re American or write things in a fictional American whatever. You tell Filipinos stories and the rest of the world goes, ‘Oh my God, these are awesome.’” This fascination with Filipino fiction led him to create, together with Fully Booked’s Jaime Daez, the Philippine Graphic Fiction “I would Awards, running rather the for three years now stories come and financed by himself. At the from Filipino Neil awarding the previwriters ous night, everyone themselves. was surprised when gave his insights I don’t want Neil into each winner’s work, showing that to be just a does more than tourist writer, he just give the prize with a little money. Neil finds the mention here “Vonnegut” kind of and there." feeling that Filipino prose evokes, a certain mix of anger at the socio-economic situation mixed in with a certain paradoxical sense of humor, fascinating. “But I have no idea on how long that’s gonna travel. Because it’s very specific, it tends to be specifically Filipino.” This has been a constant problem of Filipinos who want to make it in the global market: how to metaphorically translate our stories in a language the rest of the world can understand. So why doesn’t

NEIL GAIMAN

His Philippine Love Affair By Ida Torres Photo by Jeeves de Veyra

Neil do it for us, interject Filipino characters and mythical creatures and beautiful places in the Philippines, into his stories? “I would rather the stories come from Filipino writers themselves. I don’t want to be just a tourist writer, with a little mention here and there.” He says that these are our stories and we deserve to tell the world about us. Since we’re dealing with advertising after all, we asked him if any brand or agency has ever approached him to do a campaign for them? “No, I don’t think they have. What a lovely question. No actually, no has ever come to me. And the nearest I’ve ever had anyone coming to me was twenty years ago. I got a phone call from

Banana Republic saying, ‘Would you wear our clothes in ads?’ All I gotta say is, ‘I can’t wear your stuff.’ That was the end of the conversation. The nearest I ever came to becoming a model.” But if he could tackle any brand in the world, he would choose British Marmite, a spread comparable to soy sauce which a lot of non-Brits absolutely hate. “Each culture has its one thing that everybody else on the planet thinks is revolting.” Gaiman shares. (Balut anyone?) “But yes, I would love to do advertising. That could be fascinating. You know, one of those things that always fascinates me is new ways to tell stories, new ways to reach people.” may-june '10

LOWE COUNSEL

Food for Thought the Philippines, we came up with the 'Food For Thought' research to identify and spot the current trends of the market and what is more appealing among the consumers,” shared Bang Gutierrez, vice president for Brand Planning at Lowe Manila. “This information will assist local businesses in better determining future directions and aid in strategic brand and product positioning,” Gutierrez added. After in-depth interviews with thought leaders in the Philippine Food Industry, Lowe Counsel identified the following eight key trends on consumer behavior towards food consumption: Rediscovering local Local food will be a key trend as traditional dishes are continuously revived and elevated. Regional and community brands are welcomed and sought after as they are generally perceived to be of higher quality in terms of processes, and authentic versus homogenous global brands.

Food is one thing that Filipinos love to indulge in, with most having more than three meals a day. This is one of the obvious reasons why there are a lot of food business ventures in the country. From small-scale food businesses like selling fishballs or balut, to big-scale business ventures like theme restaurants and cafes, businessmen and entrepreneurs have seen this behavior as an opportunity to earn and make it big in the food sector.

Food has also become a way to repeat a travel experience or adventure. Eating is a way to travel vicariously and to enhance the dining experience. As much as deciding which food sells among Filipinos may seem easy, the emergence of a number of businesses and restaurants catering to the same market segment makes it a challenge to stand out among the rest and dominate the food industry. With the kind of competitive environment in the food business, it is important for businesses to have a complete hold of their target market. To do this is to understand the behavior, preferences and attitude of consumers. The future of food industry in the Philippines depends on how well

may-june '10

such businesses are being able to effectively cater to their market. Lowe Counsel, the cutting-edge strategic insights and innovation consultancy arm of Lowe Manila, the local subsidiary of one of the world’s top multinational advertising agencies, recently conducted a research to investigate the evolution of eating habits, tastes and behavior of consumers, identify the key emerging trends within the food and beverage category, and explore the impact of the current global economic climate on eating habits and behavior. Using in-depth interviews with thought leaders in the Philippine food industry, Lowe Counsel delved into how market drivers such as the increase in foreign travel, diseases and illnesses, sustainability, culinary education, time pressured consumers and the cost of healthcare contributed to the emergence of key trends and numerous sub-trends in consumer buying behavior and preferences. “As our pilot effort for Lowe Counsel in

Health and wellness eating For the middle class, managing their health through supplements and functional drinks has become a way of offsetting the effects of bad eating habits in lieu of adopting healthy lifestyles. The more educated and upscale segment are leading the trend for knowledgeable eating and are more likely to adopt a healthy lifestyle that is not completely reliant on health supplements. Chefs are also embracing the challenge of providing healthy but enjoyable menus. The availability of healthier options in restaurants is making it easier for people to introduce healthier food into their lives. Beverage trends All natural, fresh fruit juice is a segment that is gaining traction. The same people who shifted from carbonated sodas to iced teas as a healthier alternative are now moving to fresh juices as the sugar content of bottled iced teas will come under scrutiny. Kefir drinks, kangen alkaline water, wheatgrass are examples of functional beverages that are capturing the interest of the forty something age group. The therapeutic

The 4th annual Asian Publishing Convention (APC) will be held in Ho Chi Minh on July 8 & 9 with the theme: ENRICH POWER OF BRAND & CONTENT:

benefits of these drinks are compelling this segment to integrate these drinks into their lifestyle. Appliance of science People will look to science to validate claims and establish the connection between food and health. As food preparation methods evolve the kitchen of the future will need new and different types of equipment. The role of kitchen equipment is moving towards retention of nutrients and maintaining the integrity of food. Luxury & indulgence There are two factors that will continue to dictate what is considered luxury. The first is quality of processing. The second is quantity / scarcity. The latter will encompass the traditional luxuries like foie gras or truffles to the natural like organic produce which are limited in quantities and local food. An emerging segment of luxury will be affordable indulgences (like special edition, seasonal) which offer a chance to indulge and The accessibility of pay a premium for “everyday” fast food restaurants items. Experience eating Food presentation, food preparation, packaging and other forms of aesthetics are ways to add value for consumers. Malls are becoming eating destinations and are fueling this trend. Food has also become a way to repeat a travel experience or adventure. Eating is a way to travel vicariously and to enhance the dining experience.

has become default option for working employees; less home cooking is being done.

Sustainable & local foods An emerging trend is the application of indigenous ingredients in Western food items (ampalaya ice cream, chili flavored chocolates, malunggay chips). The economic imperative from poor regions is driving them to collaborate with culinarians to provide a means of living for cottage industries.

Engage multimedia profitably. The Magazine Association of Thailand (TMAT) is spearheading in making APC happen in Thailand. APC in HomChi Minh aims to guide magazine publishers to leverage digital tools for profitable audience growth, subscription & advertising revenues. APC seeks to define the new realities of publishing professionals in the creation, processing and distribution of content for profit. APC wants to help publishers engage multimedia profitably by learning from and share successful models, formats and platforms of publishing.

unveil their feedback from digital engagement with consumers and Solutions providers show what they can do. An integral part of APC is the Asian Publishing Awards (APA). Publishers from all over Asia will be invited to submit outstanding projects they achieved in areas such as: Content Generation, Content Delivery, Consumer Research, Design and Layout, Advertising Delivery, Magazine Franchise and Business Models. APA incorporates the Asian Magazine Management Awards, the Asian Book Publishing Awards, and the Asian Corporate Communications Awards. APC also features the Asian Publishing Fair, Meeting of Minds and CEO Forum.

Ho Chi Minh hosts 4th Asian Publishing Convention July 8 and 9

APC will benefit a wide range of publishing professionals: • CEOs, publishers, editors & managers in the publishing business of the creation, processing and distribution of content for profit. • Advertisers who need to learn to use the variety of channels effectively. • Advertising agencies whose lifeblood is effective consumer engagement. • Solutions providers who need to interact with those in “convergence zone” including games development, ‘sticky’ apps for website traffic and utility value feature developers. • Writers, designers, technology solutions service providers in the multimedia cyberspace are also At APC, Publishers share their experiences & leanings; Digital/ Mobile advertising gurus show how multiple channel strategies work; Advertisers

APC 2010 is presented by corporate sponsors and strategic partners Swiss Post and Synovate. It is co-presented in association with: ASEAN Book Publishers Association (ABPA), Asian Media Information and Communication Centre (AMIC), Mobile Marketing Association (MMA), Magazine Publishers Association Malaysia (MPA), Magazine Publishers Association of Singapore (MPAS), National Book Development Council of Singapore (NBDCS), National Book Development Board (NBDB) and Telesis Consulting Ltd. Cooperating partners are Ricoh Thailand and World Travel. APC is also supported by ACN Newswire, AdAsia, Adobo Magazine, Event Fame, Yehey!, PR-e-sense, The Trainer Magazine and The Employer Magazine as official Media Partners. PR partners are Creative Crest (India), Integrated Public Relations (Malaysia), Public Relations Society of Indonesia (Indonesia) and Masso PR (Vietnam). For additional information on the Asian Publishing Convention, visit the APC website at www. publishingconvention.com

special advertisment

Convenience The accessibility of fast food restaurants has become default option for working employees; less home cooking is being done. Fast food has also taken over breakfast meals as morning food preparation is sacrificed to the daily commute. Packaging nutritious and quality food will be the next trend as people shy away from preservatives. Molecular gastronomy is seen to have applications in developing ways to retain nutrition of food even as they are packaged. According to Gutierrez, food is of fundamental concern for Filipinos across demographics. ”Many industries are in one form or another connected to food. Thus, this food study is significant to a lot of businesses operating in the food and related industries. It will greatly influence business decisions in terms of product development & communications,” she said. may-june '10

Normally, design lectures in museums are staid, formal affairs where people toss back wine while listening to an expert drone on about design and form. But at Ayala Museum’s “Design Talks” held last April 7, 2010, the atmosphere was electric; not a chair was vacant as the crowd eagerly awaited to hear from the rock god of furniture himself, Kenneth Cobonpue. It was the first time that he was speaking to a Filipino audience, and the internationally renowned furniture designer was as eager as his audience. “Branding is all about telling your own personal story,” Kenneth shared as he sat down with adobo magazine. “It’s all about finding

KENNETH COBONPUE

The Brand Behind the Design inspiration everywhere and working it with your own bare hands to create something that plays with people’s expectations and imaginations.” Asked what will make the Filipino designer stand out in the global market, Kenneth muses that as a cultural entity, they still don’t have that much pull yet. But he thinks Filipinos can create something that they

“Branding is all about telling your own personal story,...It’s all about finding inspiration everywhere and working it with your own bare hands..." believe the world can understand and appreciate, then interject something uniquely Filipino and slowly but surely, tell the story of our people. “I began to ask myself early on: Do we, as a people, have anything unique to contribute to the design world? Do we have what it takes to be globally relevant?” he said. “I knew that the answer would take more than a lifetime.” Part of his branding story also is creating a successful design collective, HIVE, “a design and manufacturing facility where designers can create objects for production under one roof.” When asked if he would one day be part of an advertising campaign for any product, he said he actually looks forward to that, because it is one area that he hasn’t explored yet. “I’m currently working on a car built from bamboo and carbon fiber. Who knows, maybe a brand might be interested in that.”

5 Random Things I Picked up from Kenneth Cobonpue A fan and an enthusiast, JWT ECD Dave Ferrer was also at Cobonpue’s Design Talks. He shares with us the lessons he took to heart. 1. Think different and make yourself hard to imitate. One of my favorite statements from Kenneth was, “The world doesn’t need another chair, you have to offer something unique.” He has designed a chair, which is made of pieces of wood cut at different lengths and angles. Quite a masterpiece upon close inspection and also quite difficult for the Chinese sweat shops to copy. He cautions that copies usually go as far as the look but rarely duplicate quality nor structural integrity. 2. Opportunities are nowhere. Or now here. Upon returning from Milan, Kenneth discovered that modern furniture- making machines were not available. Combining his knowledge overseas with what was available in his Cebu workshop, Kenneth got creative in his production processes. His earlier works were painstakingly crafted by hand. Inspired by this lack of resource and everyday observations, Kenneth made do (pretty well). Like one of his chairs is fashioned after a crushed Coke can and another is inspired by a fisherman’s net. 3. Never hold a grudge. Kenneth was rejected by the UP School of Fine Arts, because he couldn’t draw. He ended up in Pratts in NY, the alma mater of his mom.

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Then, headed to Milan for a couple of years. Then, eventually back to his roots in Cebu to launch a very successful career in furniture and industrial design. And in spite of his early rejection, Kenneth is a dedicated professor in the UP School of Industrial Design in Cebu. 4. Saying less means more. Kenneth stresses, “A design is not finished when there’s still something I can add to it, but when there’s nothing left to take away.” Early in my career as an art director, this was hammered

into my brain. It was refreshing to see the strength of this discipline applied as well to design. 5. Everyone loves the underdog. Lola, one of Kenneth’s earlier designs, which practices an economy of materials, energy, and emissions, received the highest award in a Design Award Show. This award was reserved for industrial design giants, Hyundai, Samsung, Sony and the like. But, this was the first time, the jury awarded a rattan chair.

The sunniest show on the planet In the Philippine vernacular, “kidlat” is a bolt of lightning. But for the third year in a row, Kidlat has been nothing but sunshine, sand and sea, prompting The Creative Guild President David Guerrero to call it “the sunniest awards show on the planet.” Last April 12-14, The Creative Guild of the Philippines hosted the annual awards show on the shores of Boracay. This three-day creative summit, which was unapologetically “purely creative”, was well worth the twomonth wait. (Traditionally, it is held every February.) This year, it named not just the country’s Ads of the Year in several categories and in the public service competition DIWA, but also the Ads of the Decade. This Kidlat Awards’ jury included Tay Guan Hin, JWT Asia’s regional executive creative director and this year’s Outdoor Lions president, and Ogilvy Asia’s deputy regional executive creative director and one of the most awarded writers in Asia, Juggi Ramakrishnan. Together with ten judges from Manila’s creative agencies,

they whittled down the biggest number of entries to date: 893, a 248-percent increase over last year’s entries. This year’s Young Kidlat competition is also bigger than 2009’s, with 24 pairs of aspiring creatives. The two best teams are to represent the Philippines in the Young Lions competition in Film and Cyber, this coming June. Nearly 200 delegates came to Boracay Regency, and even more industry people flew in on the last night for the awards, the party and the chance to show everyone who is purely the most creative of them all.

TBWA\Santiago Mangada Puno takes 5 out of 7 Golds in Kidlat 2010

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he Clio may be the most famous advertising award in the world; the D&AD, the most coveted, and the Cannes Lions, the most prestigious. But there are only three Kidlat trophies given out in each category, no matter how many ads are deserving, making the sunniest show on the planet also one of the toughest ones to win. So it was no surprise that The Kidlat 2010 Awards night itself held few surprises, and only a

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handful of Gold recipients, mostly from TBWA\Santiago Mangada Puno. The awards show was a vastly expanded version of its former self, boasting of more technical awards and more categories by media. The 2009 Board of Directors even threw in the Ads of the Decade. Still propelled by its “Flower Power” series for Boysen, TBWA\Santiago Mangada Puno won 12 metals, five of them Gold. Ace Saatchi & Saatchi laid claim to the two remaining Gold Kidlat trophies as well as 11 other

metals, announcing that it was definitely back in business. Leveraging its strength in print, many of

its wins were attributed to its campaigns for The North Face and Vespa. By doing so, it outstripped other players like BBDO Guerrero/Proximity (14 metals, but no Gold), DM9 JaymeSyfu (a total of one), Ogilvy & Mather (total of two), and JWT (three all in all). Similarly, the three Ads of the Decade were spread out—McDonald’s “Karen” TVC (Leo Burnett), Philippine Daily Inquirer’s “Volcanic Ash” print (Ogilvy & Mather) and Lotus Spa’s “Traffic Therapy” (JWT). The evening’s program was hosted by comic Ramon Bautista. But with so many categories, his spiels were limited to a handful and was overshadowed by the ebulient phrasings of impromptu voiceover announcer Brandie Tan. The rest of the highlights came from the presentation of the Hall of Fame inductees Y&R’s Badong Abesamis, DM9 JaymeSyfu’s Eugene Demata and BBDO Guerrero/Proximity’s Simon Welsh. The Kidlat Awards is an annual creative show, organized by The Creative Guild of the Philippines. Its jury is composed of mostly Manila-based creative agency leaders, and this year’s set was led by guest judges like JWT SE Asia’s Tay Guan Hin and Ogilvy Asia’s Juggi Ramakrishnan.

KIDL AT & DIWA OVERALL METAL TALLY AGENCY TBWA\SMP ACE SA ATCHI & SA ATCHI Y&R PHILS. BBDO GUERRERO/PROXIMIT Y CAMPAIGNS & GREY DM9 JAYMESYFU OGILV Y & MATHER MCCANN WORLDGROUP LOWE WORLDWIDE DDB PHILS. LEO BURNETT JWT MANIL A DENTSUINDIO UNITEL PRODUCTION HIT PRODUCTIONS

GOLD SILVER BRONZE TOTAL 5 6 2 13 2 4 6 12 1 0 0 1 0 7 17 24 0 3 1 4 0 1 3 4 0 1 1 2 0 1 0 1 0 1 0 1 0 1 0 1 0 1 0 1 0 0 3 3 0 0 1 1 0 0 1 1 0 0 1 1

OFFICIAL RESULTS AUDITED BY MARIO ESTANISL AO

BBDO Guerrero/Proximity leads in DIWA but lone Gold goes to Y&R In the expanded version of DIWA, the public service advertising competition of The Creative Guild of the Philippines, BBDO Guerrero/ Proximity walked away with eight metals, but the lone Gold was awarded to Y&R Philippines for its “Manikako” integrated campaign. Conceived by the House of Comfort Art Network, Manikako is a doll made out of donated scraps of cloth and notions, which donors embellish and give back to children of unfortunate circumstances. Y&R’s campaign helped to turn the art workshop into a series of successful fundraisers, and the dolls into collectibles. The BBDO Guerrero/ Proximity drew most of its two Team BBDO gets its metal

Young Kidlat Mark

Judges Manny, Lawin, Merlee and Peter enjoy an after-jury cocktail

Direk Joel gives Tonypet tips on fatherhood

Silvers and six Bronzes from its work on Philippine Association of National Advertiser’s “Ahon” campaign, Philippine National Red Cross “Storm Disaster Appeal” and ChildHope Asia “Cans”. DM9 JaymeSyfu came in a distant third, with one Silver and two Bronzes. TBWA\Santiago Mangada Puno won a single Silver, and Ace Saatchi & Saatchi and Leo Burnett won a Bronze apiece. The DIWA trophies were presented at the 2010 Kidlat Awards in Boracay. The entries were judged by the same jury as the Kidlat Awards, plus Ms. Mercedes Zobel of the Ayala Foundation, sponsor of the DIWA.

(L-R) Raoul Panes, Dave Ferrer, Lawin Bulatao, Brandie Tan Randy Tiempo, Manny del Rosario

Leo Burnett's Raoul Panes leads 2010 Creative Guild At Kodak’s Opening Cocktail Party for the Kidlat Awards, agency representatives voted a new set of officers for the Creative Guild of the Philippines. Last year’s director for Competition, Raoul Panes of Leo Burnett, is now president, with Dave Ferrer of JWT as his vice president and Louie Sotto of DM9 Jayme Syfu as secretary and treasurer. McCann Erickson’s Greg Martin is director for Communication; Publicis JimenezBasic’s Lawin Bulatao is director for Young Creatives; TBWA\ Santiago Mangada Puno’s Bryan Sy is director for Industry, and BBDO Guerrero/Proximity’s Brandie Tan, DentsuIndio’s Randy Tiempo and Rocket Science’s Manny del Rosario are directors for Competition. His presidency is an interesting milestone for Panes, who has served as an officer for many years. It coincides with his stint as the Philippine judge at the Radio Lions in the Cannes International Advertising Festival.

Leo Burnett, BBDO Guerrero/ Proximity & Ace Saatchi & Saatchi win Young Kidlat competition

In the Young Kidlat ’s third annual shootout, 24 teams of creatives under the age of 30 presented some of the best work the jury had seen. Nevertheless, only Teams Leo Burnett, BBDO Guerrero/Proximity and Ace Saatchi & Saatchi were deemed most worthy of representing the country in the Young Lions in Cannes, France and Young Lotus in Pattaya, Thailand. All teams worked on a simple brief to a complicated product, the stem may-june '10

cell harvest and storage services of the Medical City ’s Stem Bank. The final output was to be a 30-second video, using original footage, and produced practically overnight. Team Leo Burnett, composed of Diosmarino Gupana II and John Paul Cuison, was awarded Gold for their spot, affectionately called by judges as “Cancer the Musical.” In the video, a young man sings joyously of his recent diagnosis of liver cancer,

more than confident that he’ll recover because he has stem cells squirreled away in Medical City. Both young men will fly to Cannes, to compete in the Young Lions Film shootout this June. This will be Cuison’s second chance at bat in the Young Lions, where he took part with thenpartner Cey Enriquez in 2006. Team BBDO Guerrero/Proximity— Timothy Villela and Rizza Delle Garcia—received Silver for their trouble. Their video tells the story of a transplant patient, who receives an organ donated by a pig. They, too, will fly to Cannes and compete in the Young Lions Cyber competition. Team Ace Saatchi & Saatchi (Mark Peckson and Patrick Miciano) initially received bad news on the day of the briefing, when it was discovered that Peckson was already 29 years old. Organizers allowed them to proceed, on the condition that they would only be eligible for participation in the Young Lotus shootout, where the cutoff is 30 years of age. As luck would have it, their video, on the reversal of the ill effects of cigarette smoking, alcohol consumption and cholesterol-rich food was judged worthy of a Bronze, and tickets to Pattaya this May. But with the recent cancellation of this year’s AdFest, and the Young Lotus competition, The Creative Guild of the Philippines is looking at sending this pair to the Young Spikes in Singapore this September. Historically, the Creative Guild of the Philippines sends one pair to Cannes and another to AdFest. This year, the organizers of the Young Lions expanded their invitation to a second team, this time in the Cyber Young Lions. The second Young Lions team is sponsored by Ayala Land.

BOYSEN "FLOWER POWER" TBWA\ Santiago Mangada Puno CAMPAIGN (PRINT), GOLD OUTDOOR CAMPAIGN, GOLD BOYSEN "LILY" TBWA\ Santiago Mangada Puno PRINT, GOLD BEST ART DIRECTION (PRINT), GOLD OUTDOOR FREE FORMAT, SILVER BEST ART DIRECTION (OUTDOOR)

Ad title: "Lily", "Hibiscus", "Orchid", " Violet" / Advertiser: Pacific Paint (Boysen) Philippines / Agency: TBWA\ Santiago Mangada Puno / Executive Creative Director: Melvin Mangada / Creative Director: Manuel Villafania / Art Director: Manuel Villafania, Melvin Mangada, Denise Tee / Copywriter: Bryan Siy / Photographer: G-Nie Arambulo / Account Supervisor: Kara Filamor / Print Producer: May Dalisay / Final Artist: Romar Quiroz / Production House: Adphoto may-june '10

Kidlat Gold Winners

NORTH FACE "THE LEAF" ACE SA ATCHI & SA ATCHI CREATIVE MEDIA, GOLD WHAT THE!, SILVER OUTDOOR CAMPAIGN, SILVER CAMPAIGN DESIGN, BRONZE NORTH FACE "PINS BOX" ACE SA ATCHI & SA ATCHI DIRECT 3D POP-UPS, BRONZE

Ad Title: "The Stick", "The Rock", "Pins Mailer" / Advertiser: North Face / Creative Directors: Tony Sarmiento, Raoul Floresca, Abe Medenilla, Andrew Petch / Copywriter: Maui Reyes-Drilon / Art Director: Glenn Lalogan Producer: Dennis Obien / Account Manager: Raffy Parcon Illustrator: Glenn Lalogan / Computer Artist: Rico Torres may-june '10

ABSOLUT VODKA "HUGS TBWA\ SANTIAGO MANGADA PUNO BEST ART DIRECTION (FILM), GOLD FILM, BRONZE

Ad-title: “Hugs” TVC / Advertiser: ABSOLUT / Agency: TBWA\Chiat\Day New York & TBWA\SMP Philippines / Worldwide Creative Director: Mark Figliulo / Creative Director: Rob Smiley (New York), Melvin Mangada, Marci Reyes (Philippines) / Art Director: Aaron Adler (New York), Marta Ibarrondo (Philippines) / Copywriter: Knox Balbastro (Philippines) / Art Director: Denise Tee (Philippines) / Account Director: Colby Webb Director of Broadcast Production: Ozzie Spenningsby / Sr. Producer: Jason Souter / Production Company: Person Films & H.S.I. Productions Director: Michael Haussman / Assistant Director: Tirso Peake / Producer: Tim Kerrison / Executive Producer: Michael McQuhae / Director of Photography: Paul Cameron / Production Company: Film Planet, Buenos Aires / Executive Producer: Karin Stuckenschmidt / Production Manager: Elena Massa / Editorial: Final Cut New York / Editor: Rick Russell Asst. Editor: Patrick Colman / Editorial Producer: Laura Patterson / Colorist: Fergus McCall- The Mill/NY  Visual Effects Facility: The Mill/NY  Flame Artist: Dan Williams / Visual Effects Producer: Dan Roberts / Sound Mixer: Tom Jucarone- Sound Lounge / Music (USA version only): Louis Armstrong, “A Kiss To Build a Dream On”

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Kidlat Gold Winners

NORTH FACE "MONSTERS CITY" ("ARACHNID", "REX", "BEAST"), ACE SA ATCHI & SA ATCHI BEST ILLUSTRATION (PRESS), GOLD

Ad Title: North Face "Monsters City" ("Arachnid", "Rex", "Beast") / Advertiser: North Face / Agency: Ace Saatchi & Saatchi / Creative Director: Andrew Petch, Tony Sarmiento, Raoul Floresca / Art Director: Gabby Tripon, Andrew Petch Copywriter: Bia Fernandez / Illustrator: Peter Raphael Mutoc / Producer: Rodel Quitain, Dennis Obien may-june '10

Kidlat Gold Winners

MANIKAKO "MANIKAKO RETASO/SOCKS" Y&R PHILS, DIWA INTEGRATED MULTIMEDIA CAMPAIGN, GOLD

Ad title: "Manikako" / Advertiser: House of Comfort Art Network Agency: Y&R Philippines / Executive Creative Director: Leigh Reyes / Associate Creative Director: Joey David-Tiempo / Art Director: Trisha Uy, Joel Fabonan, Jon Salutal Visualizer: Gabie Osorio may-june '10

THE KIDLAT’S SEASIDE GRILL The Jury Burns a Few How was the judging in Kidlat 2010? Nine of the 12-person jury weigh in on the experience, the surprises, the disappointments and the revelations of choosing The Creative Guild of the Philippines’ Ads of the Year and Ads of the Decade.

(Front, L-R) Andrew Petch, Leigh Reyes, Tay Guan Hin, Sheila dela Cuesta, Jimmy Santiago, Merlee Jayme Manny del Rosario (Back, L-R) Brandie Tan, Peter Acuña, Joey Ong, Lawin Bulatao

I think the economy crisis had a lot to do with it, but there wasn’t enough good work to spread out amongst the different categories. And I think that ’s the reason why the same work keeps on winning in different categories. To be honest, [the problem of crafting] is the same in other countries…The genres are still the same, the visual puns and stuff. So there might be one or two that ’s quite brilliant but unfortunately it won’t pick up the high metals that it deserves. TAY GUAN HIN Regional Exec. Creative Director, JWT Asia Pacific Head of TV, Radio, Interactive & Integrated Jury It ’s really interesting this year and I think the clients were really spending on the outdoor side more than the print side. And I wish they actually bring back print at some point. BRANDIE TAN Creative Director, BBDO/ Guerrero/Proximity Print, Outdoor & Direct Jury

It ’s my first time to judge and the experience is very overwhelming. Looking at the ads, the crafting has improved so much over the years, especially when you look at the Ad of the Decade. Kinda reminds you of how much the advertising industry has evolved. JOEY ONG Exec. Creative Director, Bates 141 Print, Outdoor & Direct Jury I think the work this year is much better from the previous years…and what ’s nicer even is a lot of big brands are showing in this competition. I feel an industry we seem to be moving forward to where we really wanted to be. MANNY DEL ROSARIO Creative Partner, Rocket Science Print, Outdoor & Direct Jury It gets better every year. I just wish I didn’t see the [same] work in every category, like I see it in print, I see it in Direct, I see it in Design and I see it in Creative Media, wow! But I guess that means more money for the guild. Yay! LEIGH REYES Exec. Creative Director, Lowe Worldwide Print, Outdoor & Direct Jury

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Yes, it gets in.

Juggi asks for a show of hands Four days of backache

T V and film work…I think that the crafting was helping some of the work through and letting down others…[There were] simple ideas affected by too many mixed messages. [There was] also better and stronger work and I think there’s probably two or three really good examples. ANDREW PETCH Exec. Creative Director, Ace Saatchi & Saatchi TV, Radio, Interactive & Integrated Jury

To a job well done

Strangely enough, there is more interesting radio than there was TV…which overall, felt a little more formulaic. [Of the Ads of the Decade] it was good to see that stuff again because you remember that it wasn’t such a bad past 10 years, and…a good number of them are actually still better than some of the stuff today. It’s a battle for best of decade, and they’re in good health; they’re holding their own. L AWIN BUL ATAO Creative Director, Publicis JimenezBasic TV, Radio, Interactive & Integrated Jury What was interesting was the Ad of the Decade. It made us reminisce a bit, and it was like a lot of them were a blast from the past. They made us remember the kind of radio and TV ads we were doing when we were pretty much younger, 10 years younger. And we had a nice choice on that…The integrated and the virals are pretty much interesting as well because I guess the clients nowadays are into the 360 approach, and we know how to enter this category already. MERLEE JAYME Chaiman & COO, DM9 JaymeSyfu TV, Radio, Interactive & Integrated Jury: I’ve seen a lot of good work this year from the agency members most of all the radio entries were fantastic, I like most of them but over the last few days those wonderful radio commercials are gone. Only a few managed to survive. I thought I was generous enough [but] we probably have a very strict panel.” JIMMY SANTIAGO Managing Partner, TBWA\Santiago Mangada Puno TV, Radio, Interactive & Integrated Jury may-june '10

Juggi at the margarita bar

Ramon Bautista... funny!

Free iPad from Hit 's Salito

Brandie, Tin and Dave reunite for Ad of the Decade

Guan wears his adobo tee

Jason, Lito, Mike and Mari

Saatchi makes a comeback

The Young Kidlat teams of 2010

Kidlat

Sunny skies and flashes of brilliance

The jury lets their hair down

Tonypet's crew

Simon: up to no good

Lilit, Madonna and her man

Ayala Foundation's Ms. Bea Zobel and friends

The Creative Guild Hall of Fame

his year, three executive creative directors were inducted into The Creative Guild’s Hall of Fame. Namely, Y&R’s Badong Abesamis, DM9 JaymeSyfu’s Eugene Demata and BBDO Guerrero/Proximity’s Simon Welsh. This brings up the number of the Hall of Fame creatives to 10, including (in chronological order) Melvin Mangada, David Guerrero, Ompong Remigio, Richard Irvine, Dave Ferrer, Merlee Jayme and Joel Limchoc. To be eligible, they must have won at least five Ads of the Year (including the public service DIWA) and three metals for accredited international award shows like D&AD, Clio, Cannes Lions, ADFEST, Spikes Asia, New York Festivals, One Show, The Art Directors Club, and Communication Arts. They are nominated by member agencies of The Creative Guild and their qualifications, verified by the Creative Guild.

BADONG ABESAMIS

Chief Creative Officer, Y&R Philippines

Who is Badong Abesamis? Badong Abesamis is a creative director who has been recognized by ADFEST, New York Festivals, Spikes Asia, Asian Outdoor Advertising Awards, and Promotion Marketing Awards. He has spent his career at McCann Erickson, Leo Burnett, Ace Saatchi & Saatchi, and as a creative director at TBWA\ Santiago Mangada Puno. Since last year, he has been the chief creative officer of Y&R Philippines. He has a talent for taking everyday household brands like Perla and turning them into award-winning ones with ideas like “Lean on Me”. For that, he has several metals, including Ads of the Year, Spikes, as well as a New York Festival Gold WorldMedal for ReachOut Aids Philippines STD TVCs “Tubo”, “Tulo”, “Mantsa” and Diwa TV Ad of the Year Gold with UNICEF “Education”.

SIMON WELSH

Executive Creative Director, BBDO Guerrero/Proximity Philippines

Who in the world can make grannies conquer the digital world? Or make sumo wrestlers jump off a page? Or teach Chinese delivery men speak a universal language? Hailing from a town called—seriously now—Welsh, the ECD of BBDO Guerrero/ Proximity was blissfully partying, unaware that he was about to be inducted in the Hall of Fame. With his mind-boggling moves and grooves, and his obsession with Bob Dylan, Simon got his creative juices flowing by making sure everyone has a great time.

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But he’s not just that! He’s also a “superstar! Superstar siya sa ideas. Superstar siya sa mga tao.” (He’s a superstar with ideas. He’s a superstar with people.) Unlike many creative fanboys, this superstar doesn’t look up to Superman and Batman, but people who rose from the humble beginnings, like his favorite actress Nora Aunor. Regarded as an extremely goal-oriented person, what Badong wants he attains, whether it is in buying a house or getting an award. Badong is an epitome of valuable work ethic, and that’s the reason why his colleagues salute him. To succeed in the advertising industry, you simply have to be like him—earnest, focused, hardworking, and nice. Being in the Hall of Fame just makes it easier to believe that “with him, nothing seems impossible.”

Of course, he’s not just an entertainment figure. “He is principled, committed, talented...He works incredibly hard!” As a copywriter, Simon became known for projects with Channel 4, Tango, and FedEx. His work with WWF and Childhope has been recognized by D&AD, Cannes, One Show, and ADFEST. He is even ranked by the Campaign Brief as one of the Top 50 Creatives in Asia. What makes him even more admirable? Simon Welsh is a creative’s creative director. He does not insist on his way; he makes your way sound and

look better. He does not force his ideas; he grooms yours. And even though people teasingly call him Don Simon, he is an even-tempered leader who simply brings out the best in his people. “Everybody loves Simon,” because simply, he loves everybody.

EUGENE DEMATA

Executive Creative Director, DM9 JaymeSyfu Demata used to be a creative director at Ace Saatchi & Saatchi before becoming the ECD of DM9JaymeSyfu, an affiliate of DDB Worldwide. He has won several awards in Cannes, Clio, New York Festivals, London International Advertising Festivals, D&AD, Spikes, Adfest, and One Show. He is also consistently among Campaign Brief Asia’s top creatives list and in MEDIA magazines 2009 Asia’s top 100 creatives. He also won the first Cannes Media Lion Award for the Philippines making the agency rank in Campaign Brief Asia’s Top 5 Most Creative Agencies in the Philippines in just four years of its operation. He can be regarded as an innocent little boy who wandered into the advertising industry, yet in that enfant terrible is a creative who brings terrific results. “Eugene has a certain kind of art direction... [it] can sum up in just one word: malandi.” “It’s the sunflower that he kept on putting on the merchandising materials that he was developing.” According to his friends, Eugene is a firm and passionate art director who compulsively tears documents under pressure. The real score behind it? Still unknown. And from all the stress comes great ads, including an ode to all the weekends he spent at the office. Remember the Jollibee jingle “I love you Sabado” from way, way back? Well, he’s the man behind it. He may be fierce with his job but his colleagues will simply regard him as someone cool, sweet, sincere, simple, dependable, trustworthy, a brother, and a best friend. Perhaps, his characteristics are simply manifested through his signature: the sunflower. Where the sun is, you’ll see him making his way towards the light. Perhaps it’s just a clever way of getting into the Hall of Fame.

McDonald’s “Karen” Philippine Daily Inquirer “Volcanic Ash” and Lotus Spa “Traffic Therapy” named Kidlat Ads of the Decade The Creative Guild of the Philippines presented its first Kidlat Ads of the Decade at the 2010 Kidlat Awatds: McDonald’s “Karen” TV by Leo Burnett, Philippine Daily Inquirer “Volcanic Ash” print ad by Ogilv y & Mather and Lotus Spa “Traffic Therapy” radio ad by JWT. The ads were chosen from the Ads of the Year, from 1999 to 2009, as well as additional entries, submitted for reconsideration. Aside from creativity, the winners had to be representative of the spirit of the past decade. Not surprisingly, the three had won more than just accolades in the Philippines when they first came out. “Karen” was the first Philippine ad to win a Gold Lotus in ADFEST. “Volcanic Ash” won a Bronze Lion in 2006 and a Bronze Clio in 2007. Lotus Spa “Traffic Therapy” won the country its first Gold Lion in 2007. Receiving the Ads of the Decade trophies were the creators of the ads: Mike and Sheila dela Cuesta of Leo Burnett; Manny del Rosario, formerly of O&M, now Rocket Science, and Dave Ferrer of JWT, along with former colleagues Brandie Tan and Tin Sanchez, now with BBDO Guerrero/ Proximity.

LOTUS SPA "TRAFFIC THERAPY" RADIO AD SFX: music FVO1:Look at the traffic jam. Aren’t you grateful to be part of it all? To be gazing at this vibrant expanse of cars, taxis, trucks; at dirty fingers sprouting out of windows, like flowers in spring. To be listening to all the honk, honk, honk, and the beep, beeep, beeeep; the enthusiastic exchange of Up Yours and Get moving you slowpoke. Your soul is waking up. You feel so… alive. You’re no longer just a driver—you’re a foot…existing in harmony with the clutch. Serenity that stays with you. Lotus Spa.

may-june '10

080P, 5K sensor, ISO 200-800, QUAD HD, 16-valve, Super Select 4WD, 3.2 L DOHC. Well, the last three items are not camera specs, but numbers and abstruse technical terms rarely impress me only because I’m too lazy to understand it. Unfortunately for me, it is a necessary evil that I have to deal with in this new digital production frontier. Enter the RED ONE digital camera. Touted as “the” crossover product to our beloved film, the RED has been causing a stir in local production. Mainly because of the cost and the technology. Alhough 80 percent of my projects last year were still shot on film, my last three were shot on the RED. So what’s the lowdown on the RED? 2K-4K-5K They are not fun run categories but video resolution measurements. The entire focus for RED’s development was to equal the image quality of film. In fact, all digital movie cameras are always advertised this way: “has the film look”, “indistinguishable from film”, “like shooting film.” With film being the gold standard, the holy grail of digital

video was to equal the resolution of film. The measurement of resolution for digital video is made in pixels, and before the RED came, the best quality High Definition video you could get was two million, measured using 1920 x 1080 scan lines. (See, that’s why I hate these numbers.) With the RED, your resolution goes up to five million, hence the labels 2K, 4K, 5K video. Film is analog, made of microscopic silver halide particles that react to light, and is not measured in pixels, but a mathematical conversion made by Hewlett-Packard gives film a resolution equivalent to 8K.

Ding! Ding! The undisputed pixel-for-pixel resolution champion, right? Well, if we talk strictly in theory, but the average Juan wouldn’t really perceive the difference from three million upwards on their standard-definition broadcast TV. This is where the RED banks its genius. Image is everything For cameras, digital or film, image capture is everything. If you take apart a camera—digital or film— directly behind the lens lies the component that captures the image. Film cameras being

SEEING RED

The Red Digital Camera review for Dummies by Mike Alcazaren

mechanical, the device is a simple film gate that holds down the 35mm film negative. Resolution is determined by the photochemical make-up of the negative. The finer the silver granules, the better the resolution; the size of the negative or the film gate does not matter.

The reason we use the RED ONE is that we engage its capability to mimic the colors of film, and therefore we must also grade the data like film... In digital video, it is the CCD (Charge Coupled Device), an image sensor that converts light captured from a scene to electronic signals. Higher resolution sensors lead to better image quality. For digital video, size matters so the RED ONE utilizes a large 4K-image sensor that approximates the size of a 35mm film gate. The newer RED EPIC actually has their newest chip, the Mysterium 5K, the sensor developed for digital world domination, but for the purposes of this review, we will stick to the RED ONE’s 4K. Red hot & bothered There are no differences lining up shots for a film or RED shoot. I either peek through the viewfinder or look at my monitor. Though the RED always comes with a high-definition monitor to give you an approximation of the final image you will get. Of course, these monitors are far superior to the grainy video-assist monitors for film so playback is obviously a joy. Shooting at a 4K setting produces great picture quality for viewing on the HD monitor, but should I judge the images already and start fiddling around with settings or even the lighting if it is not to my liking? With the film camera, I can peek through my viewfinder and tell any doubtful client “What you see is what you get.” Also with the confidence that with film, I will have enough latitude to tweak colors and shadows during tele-cine.

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Digital Video Primer With the RED ONE, the picture quality is comparable to film, but what you see on the monitor isn’t necessarily what you will get in the strictest sense. Ideally, to better judge image quality, you must refer to a 3D LUT monitor. (Oh yeah! Another number-letter combo term to remember!) LUT means look up table, like “refer to manual”. Simply explained, it is a monitor with pre-settings for color temperature, contrast and brightness that show what the final image may look like. Something like a one-light pass for film, without the wait. But why can’t I just look at my beautiful HD monitor? Well, the latitude of the digital image, even at 4K, isn’t as wide as film. Wait, what’s latitude? Attitude with an L? Latitude refers to the allowance by which you can tweak the original image that you captured, in terms of color, contrast and brightness. Any experienced cinematographer can tell you that film has a latitude of up to five stops over (i.e., overexposing your picture five f-stops but still being able to pull out detail during tele-cine) while digital video at 4K can give up to three stops only. This only means that your cinematographer has to be more accurate when lighting your scene. Mistakes can cause clipping on the video and artifacts or noise in the image and worse, banning from the agency. But don’t get me wrong—the image quality from the RED ONE is quite good even at a 2K setting. There is just less margin for error. The scenes that I had shot on the RED ONE involved a range from very soft color palettes to very deep, rich color tones. The registration of colors was surprisingly good. I expected the midtones to crash on digital video, but they held up pretty well. Black also tended to go flat on video, but I could still pick up detail even on contrast-y scenes, although the very high-contrast images are still untested. Mid-tones probably don’t mean diddly squat to the regular viewer, but they have always been a linchpin to the crossover to film. Think of it as having a 120-count Crayola set versus a 96count. The RED ONE is the 96-count. (I will talk more about this later.) Overall, the camera suited the storytelling nature of the projects I shot, with a little gloss to boot. Let it flow, let it flow, let it flow Admittedly, I’m a film purist. Having stated this, the choice of filming with the RED for my recent projects is purely an economic one. And there is a danger that many clients or suppliers may think filming with the RED ONE is the elixir to low-cost/high-quality production. The RED ONE is brand new technology and concomitant with this is the development of a proper workflow. You just don’t shoot with the RED ONE; you have to process your material properly! To get the best picture quality, the RED ONE shoots a RAW file. A RAW file is uncompressed data and therefore carries all the information that you captured from the image in its purest form. Once you have all your RAW data from your shoot, it has to be converted to a format that can be read by the machines that you will use for post-production. This is called “debayering”. The ideal workflow would be to use the proprietary software/hardware of RED, the RED ROCKET which can convert data in real time without any loss. It is but natural that the camera maker manufactures a post-system that speaks the same language. It’s English to

English. This is the first step to assure your production that the RAW data does not go to waste. Yes, there are other acceptable methods of debayering with other systems, but that’s like English-to-Filipino-to-English. These alternative systems may result in slower conversion rates, negating the supposed faster turnaround for your footage. Other cheaper systems can do conversions but will electronically cheat the amount of data you convert so you still get a RAW file but at a lesser resolution. The only justification for this set-up is speed and lower cost. A simple rule of thumb is first, to request your posthouse that if you had shot at 2K or 4K, the transfer must be made as uncompressed files of the same resolution. Second, must we skip over proper color grading? The reason we use the RED ONE is that we engage its capability to mimic the colors of film, and therefore we must also grade the data like film and not cut corners by processing it thru some two-bit desktop coloring system marketed as “digital color grading”. Remember latitude? The RED ONE has the closest to film so why waste it? Color-grading your RED shoot in uncompressed data would be the equivalent of grading from a film negative. This is where you can maximize the power of the RED ONE. It’s the closest to film heaven you’ll get. You can put all that 96 crayons to work and come up with great pictures. The only discernable difference really could be in areas where the videos clip: the washed out and crushed black areas. If it was shot this way, there probably won’t be much detail that can be picked up. So what about that 34-crayon difference from film? Let’s call this the mid-tone difference. The average Juan can’t tell Burnt Sienna from Burnt Orange, but this may matter to clients who nitpick on the flawless skin or shiny, long hair of their celebrity endorsers. Hair and skin need very subtle midtones for these not to appear flat. The nature of the digital capture of the RED ONE renders the pixels in an image almost too perfectly; when you deal with subtle changes in color, the differences become a

bit sharper, giving it an electronic feel. Film, being a chemical process, the subtle changes in color tend to smoothen out thus you get a more “organic”, softer feel. The local RED experts probably contend that filming at the highest resolution of 4K would do the trick. Probably... but that is if you finish in 4K. Unfortunately, there is no local post that can finish your material in 4K, not even in 2K. The final component for the complete RED experience would be your finish in post. The major local post-houses can finish in HD at best, while the smaller boutique shops can only finish in standard definition. Fortunately, since our local broadcast is still in standard definition, down-converting to HD can still get you good quality video, but this is not the reason why the 4K RED ONE was invented. Think of it this way: it’s like watching Avatar on YouTube...maybe that’s too extreme, HD YouTube. Driving a Ferrari, in Manila No doubt, the entry of the RED ONE is an exciting development in film production. By cost alone, yes, it is a sound business investment but with new technology comes new responsibility. The RED ONE is part of a revolutionary development by the Red Digital Cinema Company. It is an entire system that is a work in progress albeit an excellent one. Having the RED ONE in our local market will not assure us of the revolution coming to us, unless it has the proper technical support. Sure, it’s the camera endorsed by Steven Soderbergh and Peter Jackson, but I’m not going to fool myself or my clients into thinking that I will have video quality as good as Lovely Bones, Superman Returns or District 9, because the fine print says that it comes with a gorilla of a working platform. Imagine driving a Ferrari through the potholed roads of Metro Manila. It ain’t going too far. Don’t you just love metaphors? Mike Alcazaren is an independent filmmaker and veteran T V commercial director. Among his many accolades is the 2008 Palanca award for Best Screenplay, for a piece entitled “Prisoner Alpha”. may-june '10

The battle for cinematic supremacy has always ensued between film and digital. There have been a wide variety of digital formats in the past decade, but all these have been generally shunned, in favor of film. Serious directors and cinematographers only opted for digital when cost was a major consideration. The digital medium lacked the tonal range, color saturation, and flexibility of film. “Film has a resolution and softness that is more pleasing to the eye,” says director Trevor Hone, “and everything else follows from there.” It’s not until 2007 when it was announced that analog film may have met its digital match. Red One is the first digital camera Jolly Feliciano

able to capture in a 4k resolution, promising an image indistinguishable from film. Developed by a team of engineers, scientists, and cinematographers, it gives filmmakers the flexibility of controlling depth of field, image tonality, color saturation, and more. To the untrained eye, it is at par with film. The Red camera systems are also upgradeable, and they accommodate film lenses. Commercial directors, producers, and post-producers are learning to embrace this new technology. Director Jolly Feliciano finds that the digital medium provides flexibility for straight storytelling in studio set-ups. According to Jolly, “Red One is the first digital camera I’ve used that can match the look of film on certain conditions. A beautifully lit image, especially when graded properly, can achieve this.” For him though, the range still does not match film’s capability. When it comes to food shots or hair commercials, Red cameras have a wide depth of field and have too much sharpness. Jolly would rather stick to the softness and dynamism that only film can provide. Commercial producers also use the Red digital medium under certain circumstances, and only with respect to the discretion of the director and cinematographer. Jem Lim, producer and managing partner of Just Add Water Productions, thinks that the digital format is a good option for certain materials such as spots involving children. “You shoot as much as you wish without worrying about film stock and cost,” says Lim.

The Emergence of RED Cameras

“You get instant playback, and best of all, the output will not be too far from film.” To achieve this optimum quality, Lim makes sure she works with a director and cinematographer that are highly familiar with the Red medium. Director-Cinematographer Matthew Rosen loves the flexibility and time efficiency that the digital medium provides. He says, “It is very easy to shoot data: What you see is what you get. It has greater format and photographic flexibility. It can also have a simpler and faster post workflow.” Most of the time, it’s the cost and time factors that tip the preference to digital. Red cameras do not only speed up production itself; post-production workflow is also cut by almost half. What used to take days of film scanning and transfer now takes mere hours for transferring digital files. But this was not so from the get-go.

Pete Jimenez

by Manet Dayrit

Matthew Rosen

“New technology demands a new way of working,” says RoadRunner Network Inc. Operations Manager, Joseph Cruel. “Whereas the film workflow is an established, almost perfected process, working with Red is not an exact science.” On productions involving Red, RoadRunner ensures that imaging specialists are present on set . This allows the creative team to see the footage and color options on the spot, and do necessary adjustments. Rigorous research is also crucial for the success of posting Red raw materials. For post-production, Optima Digital’s digital labs continuously test different Red workflows. “Other clients had the perception that a Red workflow is as easy as Film,” says General Manager Pete Jimenez, “We have implemented new ways of doing post work in our facility. The fast-paced development on Red camera calls for post houses to react fast.” In the end, Red cameras are the best options for faster and cheaper requirements, without considerably sacrificing image quality.

Manet Dayrit is the managing director of RoadRunner and an award-winning editor for feature film, documentaries, television and advertising. may-june '10

Digital Video Primer

Digital Video

A Pandora’s box, if you care to open it by Adrian Tecson

Over the last few years, the advent of highend digital-acquisition formats, such as High Definition, has revolutionized the way TVCs are made. Currently, the most popular digital cameras are the Arri D21, the RED Camera, Panasonic P2, the Phantom high-speed camera, and the newest player in the group, the video-capable DSLR cameras. Needless to say, each camera presents its own pros and cons in entire production process. Their impact on post-production is amazing. Back in the days of film, a post-house required a telecine transfer of a film scan to be able to convert the exposed film to a tape or digital format for offline editing and online finishing. Telecine equipment like the Rank Cintel, the Philips Spirit Datacine, or film scanning equipment such as the Lasergraphics Director are

resolution or 4096 x 2304 pixels. The Arri D21 outputs 3k or 3072 x 1728 pixels, the Panasonic P2 does 720p or 1280 x 720 pixels, and the Canon 5DMKII DSLR and Sony HDCAM/HDCAM SR does 1080p or 1920 x 1080 pixels. At first glance, it seems the camera with the highest output resolution has the biggest advantage. But here in the Philippines, our broadcast standard is still NTSC standard definition, which is equivalent to 720 x 486 pixels. From that perspective, any one of these cameras provide ample resolution for the current requirements of local post production and broadcast. Another aspect to look at would be the camera’s sensor size. In effect, the bigger the sensor, the more sensitive the camera is to light. In this respect, the Canon 5DMKII DSLR, the cheapest of all the more common

Super Hi-Vision / Ultra High Definition Video (7680 x 4320) very expensive, going well into the high hundreds of thousands. Now, that process can be skipped because all the footage can be immediately accessed by the post house right after the shoot. Once the footage is ingested into the postproduction workflow, all these new acquisition formats have proprietary data formats, which require special workflows. This makes the client’s and agency’s choice of a post-production house very crucial. Post-production aspects such as ample storage, updated workstations and finishing systems, solid workflows, and overall technical expertise of the staff must be weighed carefully. There are many technical details that you can compare between these digital production cameras, but I will only name three, which I think are some of the most important. One of the differences of these digital production cameras is their output resolution. Among these cameras, the RED edges out the other cameras by its ability to output 4k

large format cameras, has the slight advantage. This allows for the 5DMKII to capture images with a very shallow depth of field, and at with very little available light. Barely two years in the market, despite being initially aimed at photographers because it is, in essence made for still photography, has already created a very big community of cinematographers and filmmakers in the US. More and more content is being shot on the 5DMKII including some scenes from the show “24”, opening sequences of “Jay Leno”, numerous documentaries for National Geographic, etc. So if you’re considering RED for your next production, then great. Just keep in mind, RED isn’t the only digital video format in town; it’s only the tip of a whole spectrum.

Adrian Tecson is a managing partner and director for Post Production at Underground Logic in Manila. may-june '10

gadgetreview

KINDLE In the age of iPad

Vic Icasas

have been reading ebooks since 2001, mostly thanks to a web bookstore called eReader.com. That site was aimed at people like me who owned a PDA or cellphone and didn’t mind reading what was literally just a long text file on a tiny screen. I appreciated being able to have not just a book but an entire library with me when I needed it: reception areas, doctor’s offices, while waiting for the car at the service center, or during late lunches. Most importantly, everything was on a device I already had in my pocket. So when Amazon released the Kindle in late 2007, I was hesitant. No need for another toy to lug around. Amazon, however, then did something very smart and realized that Kindle was not just a device, but a brand. They released Kindle software for iPhone, for PC, and for BlackBerry (a Mac version is still eagerly awaited). They also recognized that part of the bookstore experience is the browsing. Amazon allows you to easily download the first chapter of any Kindle book so you can gauge if it’s worth the money. I can’t stress enough how much a free preview chapter adds to the ebook shopping experience. They also have a global delivery system called Whispernet which runs on 3G, and if your device supports WiFi, you can use that instead. This makes it ridiculously tempting to click that “Buy Now” link when you’re craving to see what happens in Chapter 2. The Kindle is smaller and thinner than pictures would lead you to believe. Easy enough to slip into a purse, but still too big for jeans pockets.The keyboard, though, is aggravatingly difficult to use, and it’s tough for annotations or tweeting on the built-in web browser. But the all-important Next and Previous page buttons are well placed and nicely sized and overall it’s much sleeker than the previous generation, which looked like a butt-ugly Fisher Price toy. E-ink really is the closest technology so far to replicate the printed page. It drastically reduces eyestrain, and is amazingly powerefficient. You only consume battery life when turning a page; otherwise the screen remains frozen, much like an Etch-A-Sketch. With Whispernet off, the Kindle can even run up to a week or more on one charge. But, just like a book, you’ll need a light source, whether that be the sun or a clip-on book light. I’m writing this at a time when everyone is eagerly anticipating the arrival of the iPad, the supposed “Kindle Killer”. Enthusiasts at ebook forums like MobileRead are still dubious about the iPad’s viability as a dedicated reader—the backlit screen, the 10-hour battery life, and the considerably larger size put it at a supposed disadvantage. Until I get one in my hands, it’s too early to make anything but predictions. However I feel where the iPad will really shine is magazines: on an iPhone, PDF files and Zinio

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ezines are decent, and on an iPad-sized vivid color screen they could be excellent. Besides, the Kindle for iPhone app should still run on the iPad, unless Apple chooses to block it. Amazon shouldn’t be extremely worried; there’s more money in ebook sales than in hardware manufacturing, after all. So, iPad or Kindle for ebooks? I think my Kindle is darn good at what it does (Yes, I eventually bought one). The iPad does

ebooks and more—but with its own set of limitations. Whichever ends up on my bedside table, all I ask is that it work well enough so that after a few minutes I’m no longer using a gadget and I’m simply just reading a book.

Vic Icasas is the president and managing partner of Hit Productions.

regionalnewsbriefs

If not the show, then the jury must go on

Levi’s to launch new global brand in China

Asia-Pacific – Levi’s is set to launch a new global brand in China and other selected markets in Asia this fall—its first unveiled outside of its home market in the US. According to online reports, Levi’s would not disclose the name of the brand but it is likely to be priced slightly below its current or traditional lines. Tod Gimbel, senior director of corporate affairs at Levi Strauss’ Asia-Pacific division, was quoted as saying that although the new offering is focused on China, it would still become “one of our big brands”. The denim company is thought to have ambitious plans to grow the new line’s store base in China from 20 stores this year to a thousand by 2015. In late February, the denim giant was believed to have called a media pitch in mainland China.

Asian Publishing Convention moves to Ho Chi Minh

Singapore - Because of Thailand's political crisis, organizers of the Asian Publishing Convention announced that they changing host cities, from Bangkok to Ho Chi Minh, but the same dates, July 8 and 9, will probably still hold. Ashok Nath and Cyril Pereira, co-chairs of APC, said in a statement that their decision was reached together with their partners in Thailand, The Magazine Association of Thailand. While they felt that Bangkok was still a viable venue, “we have to be more prudent because of the many travel advisories against traveling to Thailand from various countries. Both TMAT and us agree that all told, perhaps we should look at Bangkok for next year.”

China Advertising names DDB China Group’s Dick van Motman “Most Outstanding Person of the Year”

Shanghai - DDB China Group President & CEO Dick van Motman was named “China Advertising’s Most Outstanding Person of the Year” in Shanghai. “The award is given to the person who has not only made great contributions to Advertising, but who is also creative and adventurous” said the China Advertising Annual Awarding Committee. It is one of the most important awards in China’s Advertising Industry. Van Motman has been in China for five years, building DDB China Group from a small office with just a couple of clients to one of the strongest and most integrated agencies in the country. DDB China Group has grown six-fold in just five years and now consists of three offices, in three cities, offering three disciplines, namely, DDB, Tribal DDB and RAPP. Van Motman now has the distinction of being the first foreigner to receive the “China Advertising’s Most Outstanding Person of the Year” award.

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After making the decision to cancel the three-day festival due to the political unrest in Thailand, judging of the 2010 ADFEST Lotus Awards took place from May 24 to 28, 2010 in Tokyo, Japan. “The ADFEST Organizing Committee has worked tirelessly to ensure our Jury Panel will come together in Asia in less than two week’s time to assess the region’s best advertising ideas of 2010. ADFEST prides itself on being the region’s 1st

major awards festival every year. The agencies that win at ADFEST usually go on to shine globally, and this year will be no different—regardless of the fact that our Jury Panel will meet in Japan this year, rather than Thailand,” said ADFEST President Jimmy Lam. More than 50 of the world’s creative executives, executive producers and directors came together in Tokyo to determine winners in Film, Press, Poster, Outdoor, Direct, Cyber, Radio, Design, Print Craft, Film Craft and New Director, as well as INNOVA, 360 and Lotus Roots awards. Representing the Philippines were TBWA\

Santiago Mangada Puno’s ECD and Managing Partner Melvin Mangada in the Outdoor Lotus Jury and DM9 JaymeSyfu’s CCO and Managing Partner Merlee Jayme in both the Film Lotus and Radio Lotus Juries. “We would like to thank our friends across the region for their unwavering support, understanding and patience. Despite the postponement of this year’s 3-day festival, ADFEST will return in 2011, and we are more committed than ever to fostering creativity in the Asia Pacific,” says Vinit Suraphongchai, chairman of the ADFEST Working Committee. ADFEST President Jimmy Lam

Y&R pins its hopes on Matthew Godfrey Former CEO and COO Matthew Godfrey, who quietly disappeared from Publicis, has resurfaced to lead Y&R’s network in Asia after Ambar Brahmachary abruptly left the regional office. Brahmachary is currently exploring his options within WPP, although sources say he has been offered a role at one of the holding company’s research businesses. Matthew Godfrey

In an interview with Media, Y&R’s global CEO Hamish McLennan said, “Ambar had done three years with us, and we both agreed that we would move to this transition. He decided it was time for him to do different things with his life. He has a couple of things within WPP that he’s thinking about.” Under Brahmachary, Y&R lost a major account and was rumored to have laid off staff and restructured its offices last year. Among those affected were units in Australia, Malaysia, Thailand, Indonesia, Vietnam, India, the Philippines and China. Godfrey started his career at George Patterson Bates Sydney with McLennan and led both Bates Indochina and Singapore, before being named CEO of Bates Singapore and director of Southeast Asia in 2000. In 2003 he was promoted COO for the Bates Asia Group, where he remained until he joined Publicis in 2006. Colleagues describe him as a strong team leader and new business hound. “Young & Rubicam has been interesting to watch these past few years as Hamish has reinvented the agency’s model for today’s challenges. It has great brands and some of the smartest and most innovative people in the business. I’m very excited about the future and delighted to work with Hamish again,” said Godfrey.

beauty, nobody seems to have noticed this psychological benchmark that is literally driving up the stress barometer of Asian mothers. Asian mothers today are stressed out and feeling the pinch. While they love their kids unconditionally, 78 percent feel that being a mother is a stressful job! On one hand, higher standards of living, modern conveniences and lifestyles have significantly changed moms’ lives in Asia, bringing them out of the home and evolving their roles in society. But traditional attitudes still prevail, particularly concerning working women, creating a gap between moms’ expectations and day-to-day reality. Across Asia, traditional expectations in terms of housework have not changed, with 57 percent stating that cooking is a responsibility of A Choice Or A Burden? by Charu Harish women. This goes to show that while Asian women are happily sharing the role of the bread earner, Asian men are a long way away Not only is it not a choice but it also comes from accepting their part as homemakers. with a set of benchmarks—if you are not an Given the ever increasing list of Alpha Mom, you are not good enough. Alpha expectations, women are gravitating towards Moms is the new stereotype of mothers who brands that are willing to become an ally that project independence, balance and competence can help them accomplish their mounting at both work and home. Whoa! Sounds like load. In Malaysia, brands like Horlicks have you would need to be a super robot or simply tapped into this need of Alpha Moms and are clone yourself a couple of times to do all that. building a strong empathy with women through What happened to the good old saying “to err is human”? None of the brands have The Alpha Mom is an image of perfection which is fast becoming like a size zero featured yet painted a picture of a across fashion magazines. It is what every world where women are working mom is trying to achieve and every not expected to deliver to stay-at-home mother looks at jealously as a paragon that she would want to be someday. the stereotype of an Alpha While people all across the world are raising Mom. their voices against the distorted image of

www.standforchildrenmd.org

Who would you rather be a stay-home mommy or the new age Alpha Mom? This question always draws a rich milieu of responses around water coolers, women clubs and even in corporate parties. But is this really a personal choice for Asian moms today? Grey Group Eye on Asia, a proprietary research conducted by Grey Group across 16 countries in Asia Pacific, shows us that in these tough economic times, the choice of being a stay-home mom is not an option. Eighty-nine percent of Asian mothers feel that in today’s times, it is important for them to contribute to the family’s finances, and this trend is led by fast-growing economies like Vietnam where mothers are constantly under pressure to make money to support modern lifestyles. This need for financial security is transforming Asian moms into CFOs—Chief Family Officers—for whom working is no longer a choice driven by ambition or independence but one driven by pure economics.

Alpha Moms

products like Horlicks 3-in-1. Horlicks time is “me time”—a time to take care of my needs. By saying “don’t forget your body needs you too”, Horlicks 3-in-1 brings the focus to back to her and helps her feel that she also needs to be taken care of. Release or escape is another stronger trigger that is engaging stressed Malaysian moms. A body wash brand in Malaysia has leveraged this by playing on the insight that the time in the bathroom is the only time where a woman is completely undisturbed and this is the time when she is completely free from worries and expectations. msass.case.edu

While most brands and marketers are acknowledging the increasing stress and promising escape or comfort in the form of indulgence to Alpha Moms, it is interesting to note that none of the brands are really ready to explore the notion of “Perfection in Imperfection”. None of the brands have yet painted a picture of a world where women are not expected to deliver to the stereotype of an Alpha Mom, or touched upon a society that demolishes the notion of benchmarking. To my mind, this is both an opportunity and a social cause that women-centric brands need to leverage in Asia. Looking at the stress quotient that is building up across Asian societies, it is quintessential for marketers and society at large to break away from this vicious circle of expectations. Shift the focus from “evaluation” to “enriching” and create a society that works towards building truly happy moms. Charu Harish is the regional communications planning director of Grey Group Asia Pacific may-june '10

regionalnewsbriefs CA A A A elects new executive committee

Singapore – The Confederation of Asian Advertising Agency Associations (CAAAA) elects a new Executive Committee, with Srinivasan K Swamy, chairman of R K SWAMY HANSA Group taking over as chairman at the Annual General Meeting held in Mumbai. The Association of Accredited Advertising Agents Singapore (4As) President, Anthony Kang is elected Treasurer. Swamy takes over from outgoing Founding Chairman Yutaka Narita and will serve in this capacity for two years. Swamy served as the president of Advertising Agencies Association of India for three consecutive terms between 2004 and 2007. He is also a Governing Council member of the Advertising Standards Council of India. CAAAA is engaged in developing specific ideas that would help agencies to move up in the value chain for advertisers that would help remunerate the agencies better. CAAAA members include representatives from Advertising Agencies’ Associations from the Philippines, Malaysia, Singapore, Thailand, Pakistan, China, Indonesia, Japan, South Korea and Taiwan besides India.

iris CEO to move to Asia, to reinvent the global agency model

London - iris Worldwide today announced that founder and global CEO, Ian Millner, will relocate to Asia this summer, as the independent marketing agency looks to increase its focus on the rapid growth markets of Southeast Asia (Indonesia, Vietnam, Malaysia, Singapore, Thailand), India, Australia, and China. He will remain heavily involved in all aspects of client business globally, spending time in all regions and working closely on key client accounts such as Sony Ericsson, Barclaycard, Shell, Hertz and adidas. iris is looking to accelerate the development of its integrated network where it already has a footprint with offices in Shanghai, Beijing, Singapore, Delhi, Sydney and Melbourne. Further investment is planned in markets like China and Indonesia according to the agency, which currently has 17 offices across 10 countries. The move follows the recent announcement that iris has created regional management teams for China, Asia, Europe and the Americas. “We need to have our leadership closer to what is valuable: our people, our clients, and our opportunity. This allows us to make better decisions, more quickly, and also to have a style of company that genuinely shares responsibility and benefit,” added Millner.

may-june '10

Region's young tigers strike out on their own Is it something in the water? Why are two of the most awarded and youngest creative leaders in the region leaving their posts? In the span of ten days, Euro RSCG Singapore and Southeast Asia and BBDO/Proximity Malaysia announced that they were losing their creative leaders. Victor Ng, chief creative officer of Euro RSCG, resigned during the last week of April while BBDO/ Proximity’s ECD Mun Tuck Wai gave notice the first week of May. Ng joined Euro RSCG Singapore and was promoted to executive creative director in 2008. Following a series of creative accolades and new business wins, he was elevated to his current role last year.

"We believe in advancing our talents’ best interest and we’re still looking for the best possible options for Mun."

Victor Ng

Among Ng’s achievements in the last two years, he has steered the previously unranked agency to a top-two finish in Media’s Creative Rankings while the Havas firm was also named Southeast Asia office of the year in 2009. According to a statement from Ng, he was going to pursue Mun Tuck Wai

other creative interests. He added that he had not made plans on where he was headed next. Mun, whose work on Jeep is the world’s most awarded campaign according to The Gunn Report, is leaving his current position to gain international work experience. According to Advertising + Marketing Daily Malaysia, the agency is currently looking at deploying Mun within their global network. “We are taking Mun’s request seriously when he said

he wanted overseas experience. We believe in advancing our talents’ best interest and we’re still looking for the best possible options for Mun,” Jennifer Chan, group chief executive of BBDO/Proximity Malaysia, said. The agency is in the process of hiring Mun’s successor. Mun himself was promoted to his current position last September 2009 when Ronald Ng was relocated to New York as executive vice-president and ECD at BBDO New York.

PROFILE

Sonal Dabral Bates 141's leading man

written by Angelica Tordesillas, interview by Cynthia Dayco

n Taiwan. The regional creative director, a tall, cheerful native of India, waits for his cue to present a campaign to a hall filled with Taiwanese businessmen. Plagued by technical failures, the meeting is behind schedule. Lights go on and off. The audience looks really bored—not the most ideal of situations. The regional creative director braves the stage anyway. He smiles at the expectant crowd. He puts aside his sheets. Then he breaks into song. Not just any song, but a Bollywood song. In Taiwan. With that Sonal Dabral wins his audience over, yet again. FLASHBACK Dabral enters the world stage in India. Despite being born into a family of professionals, this natural-born artist wins a scholarship at the National Institute of Design. He eventually dates destiny and falls in love with advertising. He joins Lintas Delhi and eventually, Ogilvy & Mather where he stays for 16 years. There, he works with and learns from the legends—Piyush Pandey , Tham Khai Meng and Neil French. Pandey collaborates with him on a successful campaign for Cadbury Dairy Milk, “The Real Taste of Life”, which goes on to the Campaign of the Century award from the Ad Club Mumbai Awards. In 2000, he writes a film that wins the Grand Prix at the Asian Media Awards. Soon after, he wins Malaysia’s first ever One Show Gold. Matchbox "Police" Malaysia's first One Show gold winner

By 2006, he is chairman and ECD of Ogilvy & Mather Singapore, which he leads to be the third highest awarded agency at the Cannes Lions and second runner up as Agency of the Year, the first Asian agency to receive a place in the prestigious Cannes competition. With him as lead, Ogilvy Singapore is also named by Campaign Brief Asia as the number one creative agency for five consecutive years. FAST-FORWARD TO 2010. Dabral is now regional executive creative director of Bates 141 Asia Pacific and chairman of Bates 141 India. Nevertheless, in an industry where every adman is stereotypically just a writer or just an art director, he has a unique ace in the hole—his experiences as a TV gameshow host and a Bollywood actor. “My first foray into television was actually as an actor in a television serial. It was a serial on army life, and the guy who debuted with me—it was all our debut as far as the small screen is concerned— he’s now the topmost Bollywood star in India, Shahrukh Khan,” he shares. Being broadcast into India’s homes on a regular basis has helped him, long after he left Bollywood for the less lucrative but more challenging field of advertising. “Film stars were like gods, but television personalities were like friends. And that used to be a really good thing for me with clients and all. We used to walk in and invariably clients used to

One of Sonal's silver Lions winners

say ‘Oh, my kid likes the program, you know.’ So it used to be a great icebreaker.” Merged with his storytelling skills that he developed both from advertising and filmmaking enables him to shine even brighter. “What I learned as an actor or a director was to read a script and try to analyze the person’s character, try to recreate the back life of the person, try to see what the person likes, what the character likes or dislikes, how the person behaves,” he explains. “I think for any advertising person it is extremely important to be curious, to be really, really curious about things. You should actually be in love with wanting to know—wanting to know about people, wanting to know about places, wanting to know about anything they are doing.” His exceptional ability to analyze as well as appreciate human behavior benefits many of his campaigns.

One example is his Virgin Mobile work in India, which is hinged on based on how youth in India “never confronts authority… that rebellion. But they find a way to manipulate some of those sanctions that are imposed. So you bypass those firewalls of sanctions. So that thinking then led us to this creative positioning of thinking different.” Today, in Bates 141, he mentors its teams through its youthful creative leaders like Joey Ong of Bates 141 Philippines and Kenny Choo of Bates 141 China. “Advertising life is tough these days, our existing clients are cutting down on their advertising spends, lesser pitches happening in many of the countries so it’s very easy sit down and say that, ‘This is the status quo. We don’t get time to somehow finish our day-to-day work. How can we make that work better?’ You know it’s very easy to say that, and continue the status quo. So hard part is to break the status quo.” While creativity is innate, one must fight for excellence. Good thing for Dabral, finding a challenge seems to be as thrilling as overcoming one. “The easiest thing is to do a campaign and let’s say it’s a mediocre and okay campaign and the client loves it. Then I say my clients are happy with this. Then days pass, months pass, years pass and it continues like that. But until I say that ‘No, this isn’t satisfying me. Will it be loved by people? No. I don’t know, I’m not sure. Will it be facilitated at Cannes? No, no way. Then why am I doing it?” he says with utmost conviction. Perhaps he is doing it to leave a legacy. At the curtain call, which accolade would he rather have: the approval of the Cannes Lions jury or the love of the man on the street? Sure enough, Dabral says, “Having people love my ads. Any day.”

may-june '10

PROFILE

Design as a language Mun Tuck Wai: The World's Foremost Art Director written by Harry Mosquera with interviews by Angel Guerrero

n the past, Asian advertising practitioners often looked to the West for inspiration on cutting edge ideas and executions. Now, they do not have to look far, as many of the world’s best creative talents can literally be found in their own backyards. Mun Tuck Wai, executive creative director of BBDO Proximity Malaysia, may not be a famous name (yet) in an industry notorious for self-promotion, but he definitely created waves last year with a print and poster campaign for Jeep. In a short period of time, it is now considered one of the greatest campaigns of all time, and the 2009 International Gunn Report has acknowledged the Jeep campaign as the most-awarded advertising work in the world. It is an accolade echoed by the Big Won, which has

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further honored Mun by naming him the No. 1 Art Director and No. 2 Creative Director in the world. In an interview with adobo at the five-star hotel Peninsula Manila, Mun shares how the idea for the Jeep campaign came about. “I was actually at home watching TV,” he recounts. “I wasn’t working. I was looking at some pictures on the TV and then suddenly something flashed on the screen. Something like a sub-set chart and it’s those round, circle overlaps. And suddenly I was thinking to myself, why are they circles? Why can’t they be (other) shapes, like silhouettes of different things? Then I was thinking–what if you pushed it further? Like overlap two things or even in-between. I would be like stretching the imagination in terms of art.”

“The process of crafting… I really love the process. I really can’t tell [what] the result will be like. That’s the best part of it! The anticipation."

He brainstormed his idea with his team, who got excited about it. They all contributed a long list of animals from different climates, even plants. A list of things that they could pair or match images. It took at least three months for them to get something right. “Fortunately I have a good bunch of guys (who were) willing to stay up during weekends to experiment on this,” Mun says. “We really had fun doing it. Then we looked at colors. The reason why we wanted to keep it simple was because Jeep was always seen as macho—a jungle thing. But in Korea, people there are going to buy a Jeep for everyday use. Yuppies, people who have money, and they’re not going to the jungle every day. So it needed to have that jungle communication yet executed in a stylish way.” So they kept the “At the end of accessories the day, I look simple, and the colors blue and at design as yellow. Blue, language... It’s because it gave also a way of a “cool” feeling, communicating." and yellow, because it was “warm.” Coincidentally, the two colors when mixed would become green—Jeep green. “We thought we created something different, but we didn’t expect it to win anything big,” he recalls. But they did win, and in a big way. The campaign garnered Gold in Cannes, which was followed by top recognition in other prestigious international award-giving bodies: AdFest, One Show, D&AD, Spikes, London International, Clio. On the local front, the campaign won 10 Kancil Awards in Malaysia—a first in the history of the Kancils. Mun feels that the process in developing the campaign was helpful in creating excellent work. “It’s different in a way; we [didn’t] need to shoot anything. It’s more like a designer’s playground. Some campaigns we used to do, we would ask photographers to do a real serious shot for us and do re-touching and all,” he says. Mun returns to Cannes this year as a part of the design jury. “I started off as a graphic

designer,” he notes. “I’m really glad that [I’ve been] selected as a design [juror] and hopefully I can contribute to the design world when it comes to Cannes Awards. I’m really, really happy to judge and I’m really excited and can’t wait to see all the amazing design [from] around the world.” Last year’s Grand Prix winner for design was an entry from McCann Hong Kong for Nike, which Mun loves. “That’s the kind of design I really like,” he explains. “Design that has meaning. Design that starts from an idea and yet it’s still beautiful and simple. I really respect that piece of work, and I wish I had done that!” From Mun’s point of view, award-winning design is a fusion of concept and execution that is presented in a simple way. “At the end of the day, I look at design as language,” he says. “It’s also a way of communicating. For example, look at road signs… They tell you to not park here, they tell you to stop, they tell you to get ready. [They’re] the most basic of design and to me the best design communicates in the simplest manner.” Mun received his diploma in graphic design and illustration from Kuala Lumpur’s Lim Kok Wing Institute of Art. His first job was as a graphic designer for a government account. But he found the work restricting, so he moved on to be an art director for an advertising agency, where he learned that the idea was the most important ingredient in the creation of an ad. According to Mun, the best inspirations come from personal experience.

“I always believe that everyone should try something that they’ve never done before in life,” he opines. “You can absorb ideas anywhere, your life especially.” “I’m glad I started off in a very different kind of neighborhood,” he continues. “We [lived] in flats and we [played] with really old style of toys… Sometimes, you have to create your own toys—going to the jungle and chop off bark off a tree, or draw [on] some bamboos, and make your own kite.” Mun feels experience has taught him a lot of things. “[It] made my life more full,” he says. He adds this advice to other creatives: “I would encourage anyone to have more ideas to just live life.” Despite his tremendous achievements, Mun continues to approach his work with a child-like wonder. “The most fulfilling part of advertising is the process,” he allows. “The process of crafting… I really love the process. I really can’t tell [what] the result will be like. That’s the best part of it! The anticipation. The eagerness where you want to see the result and what it’s going to be like.” Similarly, the world eagerly anticipates more exciting work from advertising’s foremost art director. And the name of Mun Tuck Wai will almost certainly be at the top of every advertising practitioner’s list of inspirations for cutting edge ideas and executions.

Mun and partner Ronald Ng receive their Lion from Prasoon Joshi.

may-june '10

AGENCY PROFILE

JEH United

It's like Sister Sledge said: We are family by Konstant van Huyssteen

got all my sisters with me. We are family. Get up everybody and sing.” Many Westerners giggle when they hear the name Jureeporn Thaidumrong for the first time. It must be the “porn” part. However, on subsequent exposure to her name and achievements, amusement turns mostly to admiration, sometimes envy. On ihaveanidea.org (a global creative site) the most viewed profiles are (1) Neil French, (2) Jeff Goodby, (3) Lee Clow and (4) Mother NY. Judee comes in fifth. And she’s on first name terms with Neil. You know, French. Because she’s an interesting person with interesting views, people are interested in what she thinks and what her agency does. After starting as an in-house writer for a department store and working her way up

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to executive creative director of Saatchi and Saatchi, with Leo Burnett, DY&R, Result (an O&M affiliate) in between, she decided to use her over-15 years of industry experience to open her own shop. When asked why, she says it Sylvania "Picnic" was mainly out of frustration with seeing how agencies did it wrong. So she wanted to see if it would work better if she

did it the way she felt it should be done. And of course, it did. Born in 2005, one year later JEH United was ranked as the 18th most awarded in the world in the Gunn Report.

What does the name mean? Are they all Jehovah’s Witnesses, a football team perhaps, the Mon-Khmer-type minority language spoken on a narrow strip of land adjacent to the Laotian border? “Jeh” is Chinese for “Big Sister”. It’s also Jureeporn’s nickname. If the client’s brand is a kid, Jeh is a kind, fair and kinda sexy big sister who can chase bullies away and tell the kid how to be the most popular in class.

In an industry where there is much talking over each other, Judee and her people are big on Listening. Yup, with a big L.

Many agencies tout the tired old “oh we’re one big family over here” line, but very few actually mean it. Mother does, and so does JEH United. The offices are in a proper family house with a big garden and five former stray dogs, eagerly awaiting relocation. But more about the dogs later. Some of the other big sisters at JEH United are Dahn Weerachon and Kitti Chaiyaporn, both ECD’s and Partners. Two of JEH United’s favorite family members are Smooth E and Sylvania. Smooth E and JEH United made a groundbreaking TV campaign together for Smooth E Babyface Foam “Love Story”, which broke all the rules of cosmetic advertising and did a radical makeover for the brand. Then there’s Sylvania, producer of energy-saving light bulbs. From a Cannes goldwinning television commercial to a TV ad run

in the newspaper to save electricity, Sylvania is an advertising best practice case study built from common sense, by listening, and by being human together. A first impression of JEH United is that it is run by common sense. No screaming creative directors, hard-faced clients or junior art directors running around with blood-spouting fingertips from rushed last-minute mounting. Creative decisions are made from brand knowledge and understanding. It feels as if decisions are made by guided gut-feel with a little Zen thrown in. In an industry where there is much talking over each other, Judee and her people are big on Listening. Yup, with a big L. “I keep telling my people to listen, and they say they do, but sometimes I can see

continues on page 62 may-june '10

AGENCY PROFILE they think they are, but they’re not,” she said once. And then, once the listening is done, it’s time for thinking and talking, and then being listened to. So simple, it’s surprising more agencies don’t do it. And now the human thing: Whether you’re the most senior client or the most junior creative, this “superwoman of Asian and world advertising” treats you the same. She’s still Judee from the block. The same one that has been befriending, sterilizing and housing stray dogs for about 15 years now. It seems great people need great passions. Lee Clow surfs. John Hunt paints. Judee takes out dog’s testicles.

Jureeporn “Judee” Thaidumrong • Creative of the Year from Media Agency in 2006, and was ranked No.1 Hottest Creative in Asia from Campaign Brief Asia magazine. • Won the first Cannes Gold Lion in Thai Advertising History in 2000 • Won Cannes Gold for TV campaign for Energy Saving Project (EPPO) in 2004 • Won Cannes Gold in 2006 for the TVC series, Smooth E “The Love Story” which also won best film in Adfest 2006 & Best of Show in Asian Awards 2006 and also in “AWARDS” Australia for the first time in Asia Pacific Advertising history. • Won Cannes Gold in 2008 for the most hilarious TVC, Sylvania “Picnic” • The first campaign, Smooth E’s ‘Love Story’, won at three major regional awards shows, as well as a gold Cannes Lion.

View work at www.JEHUnited.com www.youtube.com/jehunited

Smooth E "Love Story"

Porpeanglife "Integrated Agriculture"

Sylvania " Waterworld"

Lolane "Aroma"

may-june '10

God is in the details

Thailand’s Top Photographer, Anuchai Secharunputong Written by Harry Mosquera with interviews by Angel Guerrero.

“I

am two persons,” Anuchai Secharunputong says. “A photographer and a god,” he continues, in reference to photography and the re-touching that comes with the job. Ambitious and driven as he is proud and prickly, Anuchai is arguably the best advertising photographer in the world today. His work has appeared in the Cannes Lions every year since 1999, and he has received more than 200 awards. Aside from the recognition he garnered from Cannes, he has also won in the Clio, Andy, One Show, D&AD Awards, London

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International, Adfest, Adman and the International Food & Beverage Creative Excellence Awards, and more. Little wonder, then, that Archive Magazine named him not only as one of the world’s 200 best photographers, but also ranked him No. 1 in 2004. Anuchai did not immediately find his calling in photography. After college, he first entered the movies and television as an art director and set designer. He even applied his graphic design background to t-shirts which he created and sold in Chatuchak Market. But photography as an art and a medium intrigued him. He studied

PHOTOGRAPHY EXCLUSIVE

the details in various photographs, and soon realized that photographs can be manipulated and made better. He decided to enter the re-touching business. “It was the first time in Thailand to do digital re-touching,” he recalls. At that time, art directors would send their work to Hong Kong or Singapore for retouching. Art directors who would shoot and encounter problems in terms of perspective and lighting would send their photographs to Anuchai, who quickly developed a reputation as the go-to guy for re-touching. Anuchai used Silicon graphics for his digital re-touching. “The main frame was expensive and I got it from Hong Kong and Singapore,”

he says. “I would check it in my luggage because the tax was too expensive!” He learned all the programs himself. “I had to live it and learn it because I cannot read the manual which was in English,” he reveals of his early years in the business. Anuchai acknowledges having some skill in Photoshop and other software, but he wanted to go beyond knowing how to manipulate computers. “Everyone can learn how to use the computer, but not to style and art direct,” he observes. “If you don’t know good lighting and good composition, what for?” Anuchai regularly attends the Cannes advertising festival. “I go to Cannes because it opens my brain,” he says. “I follow my philosophy of ‘learning by doing.’ ” Cannes habitués initially thought that he was an art director. “I said, no, I am a photographer,” he would correct them. Then he would show them his portfolio of award-winning work and impress them with his prolific output. Of his impressive portfolio, Anuchai admits to some difficulty in choosing his favorite ad. may-june '10

PHOTOGRAPHY EXCLUSIVE

“Five years ago, I liked the Federal Express' Box/ Asia/ Coliseum ads”, he says. “Each year I have ads that I like. Like the World Wildlife Fund’s Cut Tree in 2009 and Tamiya a couple of years ago.” Anuchai openly credits his friend Khun Suthisak for “opening his brain,” as he quaintly puts it, on what makes a good ad. In particular, he remembers trying to appreciate a multi-awarded Nike ad in Cannes. “I looked at it,” he shares, “and it was not pretty, but why did it win gold? Khun Suthisak said to look at the concept. Now I can claim that I am the only photographer (who) understands the idea. A lot of photographers shoot a beauty shot, but do not understand the idea.” When working, Anuchai does not like using a reference, as most art directors and advertising photographers often do. “I start with a drawing,” he explains, “and you ask me what I think. Two or three days later, I come back with my concept. I work like a film or TV director.” Queried about his thoughts regarding competition, he snaps back: “I have a lot but I do not care about [them]. I don’t concentrate on competition.” If one sees the temperament of an artist in Anuchai and not the typical accommodating attitude of an advertising supplier, it is because Anuchai considers himself one.

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“I use my life like a tool,” he says. “I want money and I want to be famous. I want everyone to know me. I want magazines to feature my work!” “I like Picasso,” he adds. “He was famous when he was still alive and enjoyed his wealth. Not like Van Gogh who got famous after his death. Picasso did everything—sculpture, painting, everything. Because if you are an artist, you don’t have to stick to one medium. For all his success, Anuchai counts as his highest honor being selected as one of the photographers for King Bhumibol Adulyadej’s 60th anniversary celebration. (The Thai king is the world’s longestreigning monarch.) Anuchai was also chosen to be one of the photographers tasked to create a photo library of contemporary Thailand. “This is a serious project,” he muses. “I am proud to work for the King.” After two decades as a photographer, there is no “freeze frame” as yet for the ambitious and driven Anuchai. “I want to go around the world,” he says. “I want foreigners to say that Asia can do great work. Life is short… I try my best, and see how far I can go.”

Prepare to get schooled Growing up in an increasingly competitive environment, todayâ&#x20AC;&#x2122;s young creatives set out to prove that they can score high marks with mentors, clients and award juries. adobo presents the Philippinesâ&#x20AC;&#x2122; next generation of advertising stars.

adobocenterfold

Clockwise from the lower center: THE CHEERLEADER Sara Badr Bates 141 Copy writer 2009 DIWA Gold, 2009 Kidlat Bronze, 2009 Araw Bronze THE POPUL AR Nina Jimenez Publicis JimenezBasic Assoc. Creative Director 2007 Araw Gold and Silver Araw (2) THE PRINCESS Josephine Marie “Fin” Neric DM9 JaymeSyfu Account Manager 2009 One Show First Cut, 2009 Araw Bronze THE EMO Angelo Vittorrio Estrella Campaigns & Grey Art Director 2010 Uniqlo Tee Cannes Lions Grand Prix 2nd Selection 50 THE COSPL AYER Denise “Deng” Tee TBWA\Santiago Mangada Puno Art Director 2009 Cannes Lions Bronze, 2009 Spikes Asia Silver (3) & Bronze, 2009 Araw Awards Gold (9), 2010 Kidlat Gold (3) THE PROMDI Nicolas Gabriel “Kulas” Abrenilla DentsuIndio / Art Director 2009 Young Spikes Bronze, 2009 Young Lions, 2009 Araw Silver, 2010 Boomerang Bronze

THE REBEL Margarita “Meggy" de Guzman BBDO Guerrero/Proximity Phils. Copy writer 2009 Silver Lotus, 2009 Silver Spikes 2009, 2009 Araw Awards Silver & Bronze, 2010 Kidlat Silver & Bronze, Adobo Ad of the Year 2009 THE JOCK Aston Martin “Ryder” Aquino DentsuIndio Art Director 2009 Young Spikes Asia Bronze, 2010 Kidlat Bronze, 2009 Araw Gold & Silver THE TOMBOY Patricia Mae “Pats” Lavandelo Media Contacts Art Director 2009 Araw Gold & Bronze, 2009 Boomerang Gold, 2nd Nokia Cinemaiksi Grand Prize THE ROCKER Nicole “Nikki” Paqueo McCann Erickson Art Director 2009 Araw Silver & Bronze THE GEEK Timothy Jed “Tim” Villela BBDO Guerrero/Proximity Phils. Copy writer 2010 One Show Finalist, 2010 Clio Finalist, 2009 Communication Arts Advertising Annual; 2010 Kidlat Silver & Bronze, 2009 Araw Gold (3), Silver (2) & Bronze; Adobo Ad of the Year; 2008 Tinta Silver & Bronze THE SK ATEBOARDER Gino Raphael Roberto McCann Erickson Art Director Young Spikes 2008

Photographer: Jake Verzosa / Stylist : Erl Directo-Cuison / Hair and Make-up by: Lourd Ramos, Jim Ryan Ros, Claire Enayo and Avril Seguin of Emphasis Shot on site: Silver Lens Gallery

AMBUSH I learned from the best, Tony Mercado and Minyong Ordoñez, that advertising is a business tool and so good advertising must use creativity to SELL.

My husband Cesar Rafael M. Concio, Jr. He unswervingly believes in my talents and skills, and this belief inspires me to do my best in everything I do. “Difficulties, and more important getting out of difficulties, makes life more interesting,” he underscores. Everyday, as I go to office, he never fails to remind me to “smile and enjoy your work.” And everyday I do just that—bring cheer and joy to all kapamilya.

MATEC VILLANUEVA Chairman, Publicis Manila Gryk Ortaleza, from the old SaatchiCompton agency. He was very strict with us Proctor writers. "There’s a reason for everything." "It has to ring true." "It has to touch hearts." All the rules. Of course, we learned later on, that the trick is not to substantiate everything, but to start fresh. JIMMY SANTIAGO Managing Partner, TBWA\Santiago Mangada Puno

CHARO SANTOS-CONCIO President & COO, ABS-CBN Broadcasting Corporation Chris Jones, my first ECD at O&M Direct in London. He taught me flair, bravery and not to be a wanker. ANDY GREENAWAY Regional Executive Creative Director, Saatchi & Saatchi Asia

I had the privilege of having many mentors: Jos Ortega who taught me how to break down a problem and the discipline of finding a solution; Tina Coscolluela, the importance of relationships with clients, and Ichay Bulaong, diplomacy—knowing the entire situation and postponing judgment until you do.

WHO WAS

YOUR MENTOR?

ANGELI BELTRAN Regional Senior Director, Dentsu Asia Digital Division

David Droga. Whatever happens, be humble.

Illustration by: Stephanie Tudtud

may-june '10

MERLEE JAYME-CRUZ Chairman & COO, DM9 JaymeSyfu

AD NAUSEUM

Primarily, David Guerrero, since I spent most of my career working with him. And Neil French, when I was fortunate enough to be his art director in Manila. He taught me all sorts of things about layout and typography. MANNY DEL ROSARIO Creative Partner, Rocket Science

The Power of Print—wasted

Neil French. That I had to be totally focused on the work. DAVID GUERRERO Chairman & COO, BBDO Guerrero/Proximity Philippines

David Holmes. He taught me that however good you think your idea/execution is...you can still do better. It ’s advice I’ve followed and passed on ever since. NEIL FRENCH Advertising guru David Droga. The main thing he taught me was that every team in your department must do great work and you must make it happen.

ANDREW PETCH Executive Creative Director, Ace Saatchi & Saatch Tere Filipinia and Minyong Ordoñez. To go for the human heart first. LEIGH REYES Executive Creative Director, Lowe Worldwide Philippines

he mentioned is of course, You would think that we would be questionable, but this just goes to crazy about a global ad campaign show that the factual and creative about saving the magazine credibility of the ad campaign is industry, since we, after all, are at stake. part of that family. Maybe instead of spending But the “Magazine: The more than US$90 million dollars Power of Print” campaign will on an obtuse campaign, they probably go down as one of the should have spent it on looking for worst print ad campaigns in ways to co-exist with the medium recent history. that they have deemed the enemy? In a last-gasp effort to “save a You don’t see newspapers like The dying industry”, five of the biggest Wall Street Journal and The New magazine magnates announced York Times running ad campaigns the launch of the largest print ad to persuade people to buy more campaign, to “promote the vitality newspapers. What we’ve seen is of magazines as a medium”. The ads are expected to appear in more than 100 titles Maybe instead of including People, Vogue, spending more than Ladies’ Home Journal, US$90 million dollars on Fortune and Wired. At the heart of their an obtuse campaign, campaign is to disprove that the Internet is winning they should have spent the battle with the print it on looking for ways magazine industry. But their to co-exist with the proof that there is an actual medium that they have “Internet vs. magazines” war is faulty at best. When deemed the enemy? you analyze the quotes and them finding ways to adapt to articles that is supposedly the basis the digital age by bringing both for the creation of the campaign, it readers and advertisers online. is based on irrelevant and outdated We found this great comment articles. It goes to show that the on the campaign by a social publishers are, in fact, out of touch networking guru named Gavin St. with relevant data and information Ours that summed up how we felt that they could have gotten, ironiabout this. cally, from the Internet. “To Charles H. Townsend, And the figures that they cite Cathie Black, Jack Griffin, Ann on their first print ad? Moore, and Jann Wenner, I say “It’s primitive. Possibly this: ‘Relax. You’ve got this all the worst print campaign that’s wrong. You’re jumping at shadows. ever been created. The growth Bloggers are your friends. We buy comparisons are bananas. I mean and subscribe to your magazines. how can you compare 11 percent growth over 12 years with Google’s We write about articles we read. We promote you through social 56,643 percent growth over the channels. And when you adopt same period?” new technology, we celebrate you. These words come from In short, we’re your biggest fans. the infamous Roger Makak, one I don’t know where you got your of—ahem—Asia’s Most Awarded information, but it’s incorrect.” Copywriters. The Google figure

may-june '10

CREATIVE REVIEW by Juggi Ramakrishnan Deputy Regional Executive Creative Director, Ogilvy & Mather Asia

I’m sure that if you had seen these ads playing on the set in a Manila home, you would have found them all funny, insightful, and persuasive enough to make you part with real pesos. If perhaps you had seen them as a fellow practitioner of the dark advertising arts in the Philippines, you’d take into account the level of difficulty, the low budgets and the laughably short deadlines and gaze at them with a mixture of grudging praise and perhaps even envy. But I myself am forced to eye them from across the sea, through the language barrier, with a Simon Cowell honesty, unburdened by sympathy or sensitivity. And from here, this lot looks like a musty old bag of clichés.

Juggi Ramakrishnan started his advertising career in nineties Mumbai. After four years at some of India’s leading advertising shops, he migrated to Hong Kong and then to Singapore, where he was learnt the trade from some of the legends of the industry—Eugene Cheong, David Droga and Craig Davis. In 20 years of cooking up concepts for big Asian and International brands, Juggi has picked up over 250 awards, including Golds from Cannes and Clios. He has been ranked at at the top end of Campaign Brief’s creative rankings for over a decade. Besides picking up a prestigious yellow pencil his work has also been featured in the writing section of D&AD thrice in the last ten years. Juggi Ramakrishnan is also a passionate advocate of animal rights and is the founder/ president of ACRES (Animal Concerns Research & Education Society), which runs Singapore’s first wildlife rescue centre. may-june '10

A decent attempt in a difficult category. But the link between the characters, the situations and the product appears to be contrived and artificial. Greenwich "Trailer" TVC Publicis JimenezBasic

These might have been more involving, intriguing ads if the team had taken the trouble to create their own double-take images. Instead, they cooked it with leftovers. Canon "Vase Face" Print ad DentsuINDIO

I feel I’ve seen soap opera spoofs before. And that rewind technique seems familiar. And old folks acting youthful are old hat, aren’t they? So what’s fresh here? Maybe the funny bits were lost in translation. Bayan DSL "Telenobela" TVC BBDO Guerrero / Proximity Philippines

may-june '10

CREATIVEREVIEW

Juggi Ramakrishnan, Deputy Regional Executive Creative Director, Ogilvy & Mather Asia

The animation is quite pretty. But wallpaper pretty. Not pushed enough to merit the adjective ‘original’. Nissin Cup Noodles "Haiku" TVC Neuron - Campaigns & Grey

There was a commercial for Saturn a few years ago that showed people without cars, just people moving in car-like formations. To pull off a trick like that, you need wide-shots, scale and plenty of style. Even then, it’s a fine line that separates win and fail. This ad falls into fail, in an epic, comic way. Now Chevrolet comes across as a car for drunken twits. Chevrolet "Parking" TVC Leo Burnett

may-june '10

CREATIVEREVIEW

Juggi Ramakrishnan, Deputy Regional Executive Creative Director, Ogilvy & Mather Asia

Lots of cute kids, but I couldnâ&#x20AC;&#x2122;t really spot an idea among them. Childhope Philippines "Carols" TVC BBDO Guerrero / Proximity Philippines

This made my brain hurt bad. Smart Bro "Surf TV" Infomercial Draft FCB

may-june '10

BANG FOR THE BUCK

The Client The Times of India The Agency JWT India Mumbai The Insight There is polarized discrepancy between India’s haves and havenots. The rise in number of India’s marginalized members of society is due to the lack of education. There is a ghastly lack of qualified teachers in India, and the government is of no help. Illiteracy leads to poverty and deprivation, which leads to child labor. Seventy-five million children in India have never attended school. That is more than the combined population of United Kingdom and Ireland. At the start of the 21st century, only 60 percent of India’s children were literate. Nearly 10 million have never attended school. While the illiteracy rate is staggering, India also boasts of

may-june '10

some of the world’s best-educated minds. In science and medicine, mathematics and technology, the country is a front-runner. Its history is rich in art and philosophy. To the privileged few with access to education, India cultivated profound intellectual thinking. The Challenge The Times of India wanted to change the situation in one, simple campaign, to help eradicate illiteracy. The challenge would be to create a movement that brings the two poles together to make use of the best minds, and people who wanted to teach close to those who wanted (and needed) to learn. Teach India, the campaign, was created. The Execution As a newspaper, the Times of India started with a print ad, simply titled, The Class of 2008. As a national campaign, the Times of India’s Teach India

campaign asked the educated few to heed the call, and pitch in with their time and intellectual resources. Teach India would develop a new crop of enlightened, qualified educators, who could afford two hours of their own time, every week, and dedicate that to teach young children. The small amount of time could give the needy a chance to a different, better future. Teach India would transform the country into one huge classroom.

Credits Company: JWT India, INDIA, Mumbai Chief Creative Officer/Copywriter: Agnello Dias Executive Creative Director: Tista Sen Creative Director/Art Director: Debu Purkayastha Creative Director/Copywriter: Vistasp Hodiwala Art Director: Vinayak Gaikwad, Kaviraj Muslonkar Copywriters: Arkadyuti Basu, Sundar Iyer, Simone Patrick, Kaushik Iyer Illustrator: Deepak Jadhav Company: Equinox Films, INDIA, Mumbai Director: Milind Dhaimade Producer: Manoj Shroff Company: RDP Films, INDIA, Mumbai Director: Anand Iyer Producer: Amol Company: Satyaki Ghosh Photography, INDIA, Mumbai Photographer: Satyaki Ghosh

globalroundup

Honorable Mayor Michael Bloomberg proclaims week of May 10th as “Creative Week”

Case Studies of Effective Creativity

New York - The Honorable Mayor Michael Bloomberg this week confirmed that he will proclaim the week of May 10th “Creative Week” for The One Club’s Second Annual Creative Week. The One Club, the world’s foremost non-profit organization dedicated to elevating creative work in the advertising industry, earlier this month announced the initial line-up for the Second Annual Creative Week, taking place in New York City from May 10 to May 16, 2010. Creative Week is a celebration of creativity in advertising, design, digital media and the arts. The One Club and the Creative Week Board of Advisors invite all organizations involved in the creative life of New York City—museums, theater and dance companies, advertising and design agencies, bands, filmmakers, etc.—to participate by hosting an event. Currently scheduled Creative Week events include SHOOT Magazine’s Directors Symposium and 8th Annual New Directors Showcase Event, The New York Photo Festival, and a performance by noted composer Pauline Oliveros. A retrospective exhibit will showcase advertising agency Doner and the innovative TV advertising campaigns and slogans that helped make it famous. Also expected are Creative Week events from the Brooklyn Art Project, The Paley Center, The Type Director’s Club, the Art Director’s Club and a series of guided tours to prominent Chelsea art galleries by Art Reoriented.

www.campaignindia.in

The Results The Times of India created the largest education program undertaken by a single brand. Just as it did with its “Lead India” campaign, the publication went beyond reporting news and information dissemination. • In two weeks, 10,000 volunteers signed up and increased 400 percent in two months. In half a year, more than 100,000 had signed up. • It gained the support of 100 organizations, including NGOs, social organization, companies and schools, heeded the call and adopted the program. • Garnered media support beyond its initial print campaign, extending through outdoor, integrated, ambient and TV infomercials. • Educators, professionals, law enforcers, even students and housewives have signed up to teach. Statesmen and celebrities endorsed Teach India, mounting their own info campaign. • Gained the support of the United Nations, and is providing education to more than two million children, and counting. Awards Jade Spike Grand Prix, Integrated, Spikes Asia 2009 Grand Prix, Direct & Sales Promotion, Spikes Asia 2009 Grand Prix, the creative Abby Award, Goafest 2009 Grand Effie, Effie Awards 2009 Gold, Integrated, Effie Awards 2009

Interpublic Group acquires Brazil agency CUBOCC

New York Interpublic Group acquired CUBOCC, an advertising and marketing services company based in Brazil specializing in new media and digital marketing. CUBOCC will remain a stand-alone unit that will partner with agencies throughout Interpublic as well as service and seek out its own clients. The firm will continue to be led by its founding partner, Roberto Martini. Terms of the transaction have not been disclosed. Founded in 2004, CUBOCC is known for its creative advertising strategy and production capabilities across all forms of digital media. The agency is headquartered in São Paulo and today employs 106 associates. CUBOCC works mainly with multinational clients such as Unilever, and manages regional as well as global projects for its client base. may-june '10

The beautiful game beckons to South Africa, broadcasts in 3D

Official World Cup video " Waving Flag" Sponsored by Coca-Cola

ootball fans from across the globe will culminate four years of anticipation as the FIFA World Cup 2010 opens in South Africa on June 11. More than 700 players from 32 countries will wear their country’s colors when they emerge at Soccer City for the game’s biggest event. While players and footies alike undergo nerve-wracking 90-plus minutes, a possible penalty shoot (horror for England fans), and endless disputes on referee calls—all in the name of team and country—only one team will lift the coveted 18-carat gold, Louis Vuitton-encased trophy, US$30 million and carry the title FIFA World Cup Champions until 2014. Strategic partnerships It’s called “the beautiful game,” because it unites the world in admiration of the grace and thrills of a good ball game. There is a brute, however, to every Jabulani football by adidas

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beauty. Yes, the fans love the game, and they cannot have it without the big-bucks sponsors. adidas, Coca-Cola, Emirates, Hublot, Hyundai-Kia, Panini stickers, Sony and Visa, and the big name media and sports networks, to name a few, without whose contribution, there are no games. adidas literally rolled off the official ball, the Jabulani (isiZulu for “to celebrate”) during the Final Draw last December. The brochure on the Jabulani is a physics thesis: grip ’n groove integrated texture, unmatched flight characteristics, optimal aerodynamics, eight thermally-bonded 3D panels for a spherically molded, perfectly round football more accurate than ever before. In the next four years, technology will allow for a more perfectly round football, surely. Impossible is nothing, indeed. Leading payment brand Visa adds a regional flavor to its three-year FIFA partnership through its Visa Financial Football online game that tests players’ money management knowledge with multiple-choice questions. Correct answers allow players to pass, dribble and score through an interactive football match. Participants have since scored over 8,000 goals across Southeast Asia, proof of the game’s intense fan-base. As a partner, Visa credit, debit and prepaid cards will be the only payment cards accepted in all

2010 FIFA World Cup stadiums. Cash, of course, will never be declined. Pledging a seven-year deal with FIFA through to 2014, Sony Corporation embarked on a US$305 million sponsorship on its “Digital Life” product range, the biggest sponsorship deal in the history of sport. In this groundbreaking global sponsorship, the Japanese electronics leader will deliver the first 3D broadcast of the event.

Twenty-five matches in five stadiums—including the opening, the quarters, to the final matches, plus a number of expected fan favorites—will be in 3D for viewers using Sony 3D products. Postevent, Sony Pictures will produce and distribute the official 2010 FIFA World cup 3D movie. Beam me up, Scotty, I want my 3D. Having 208 football association members around the world, FIFA as the governing body has strengthened the game’s

Sony " Dalglish, Taylor, Venables, Pearce, Brook" T VC

social relevance in the last five years, initiating a Corporate Responsibility department and launching the Football for Hope movement to build a better future for devotees of the game. Consistent with the game’s universal appeal, FIFA’s projects are in line with United Nations programs, like “Unite for Children, Unite for Peace”, “Red Card to Child Labour”, and “Smoke-free Soccer”, with the UNICEF, the ILO and WHO, respectively. In 2010, the six FIFA World Cup partners adidas, Coca-Cola, Emirates, Hyundai/KIA, Sony and Visa are currently involved in “My Game is Fair Play” and “Say No to Racism”; the latter, a perennial call by organizers and enlightened fans. The players, the teams In World Cup 2006, pundits included Spain’s Fernando Torres, Argentina’s Lionel Messi and England’s Wayne Rooney in the sport’s roster of talented youngsters, and they have not disappointed. All in their mid20s, they have since received accolades as star players of their teams, Liverpool, Barcelona and Manchester United, respectively. Fans sobbed with him when injury would keep him out of South Africa for what would have been his fourth FIFA World Cup. Yet, England’s David Beckham, one of only a few players to score in at least three consecutive FIFA World Cups, and by all definition, a major sports and fashion brand, will join the team to boost morale and drive fans to the games. Devotion to player and team is the blood flowing in the games. After early exits in their last campaigns, Spain finally lifted the FIFA Euro trophy in 2008, and since then have only been beaten by the USA in the FIFA Confederations Cup in 2009. An early favorite, Spain has an edge over another favorite England, having played in South Africa and experiencing first-hand what Spanish midfielder Xabi Alonso described as a major distraction: the vuvuzela-induced (locallycrafted trumpet) frenzy of the local fans.

Akon "Oh Africa"

The mascot, a warm welcome Dispensing with the serious business of sponsorship and the frenetic training of the teams, the FIFA World Cup ultimately spells fun. And with fun comes good memories. Kazumi the official

mascot derives its name from Z A for South Africa, and “Kumi” which means the number 10 (for 2010) in a number of South African languages. Designed and designated to be the symbol of the host country, Kazumi embodies the self-confidence and pride, as well as the warm-heartedness and good will the people of South Africa extends to its visitors. With the domestic market alone buying over 204,000 tickets, and worldwide sales of 2.2 million prior to the ticket’s unveiling and before its over-the-counter opening in mid-April, plus an estimated 200 million viewers around the world, the FIFA World Cup definitely belongs to the hearts of fans. may-june '10

CANNES

LIONS 20-26 JUNE 2010

57TH INTERNATIONAL ADVERTISING FESTIVAL

Compelling reasons to be in Cannes this June ON CENTERSTAGE: YOKO ONO Grey’s Tim Mellors Talks to Yoko Ono BEN STILLER Laugh, Connect and Debate with Jeff Goodby and Ben Stiller

SIR MARTIN SORRELL The Cannes Debate MARCELLO SERPA & ERIK VERVROEGEN The Return Of The Physical CRAIG DAVIS BrandKarma: Keeping Brands Honest

JON L ANDAU ("Avatar"s" producer) From Video Contests to Avatar – Harnessing the Power Of Creativity

PIYUSH PANDEY Lesson From When Soho’s Mad Men Ruled the World

DAVID DROGA How to Build An Agency from Scratch

SHEUNG YAN LO The People”s Republic of the Internet in China

RAOUL PANES

Manila’s Ear on the Mediterranean Ground

Raoul Panes executive creative director of Leo Burnett Philippines is the country’s jury representative at this year’s Cannes Radio Lions. He talked to adobo before he took off to the Cote D’Azur and immerse himself in the world’s largest advertising festival. How do you rate Cannes as an all over, so there’s some level of comfort there too, I guess. Then advertising festival? this fascinating reality of meeting The mother of all shows, I would people from all over the world say. It’s the most international. The who share the same laments and most varied. One can’t speak of it joys with you while doing ads; that being too British or too American as it’s truly multi-cultural. So when never gets old. we ask ourselves, “Does this ad that What are your thoughts on travel well?” Cannes becomes the Radio as a creative medium? ultimate test. It’s a tough medium. It’s the one medium where you start off with a How many times have you very limited playing field. True, it’s been to Cannes? old school, but it really forces you This will be my fifth time, I think. to go back to basics. How do you make the consumer notice your What did you get out of ad while life is going on around attending the festival? her? How do you avoid the clichés? Always, you get re-energized And even more challenging: in a when you’re there. The barrage competition like Cannes, how do of info, the inspiration from great you make your radio ad work for an speakers, the great ideas from the international jury? winning ads, the emerging media. This whole lifestyle of nothing but How are you preparing ads for a week—away from the JOs yourself for jury duty? (Job Orders) in your inbox—it’s a Radio ads don’t get the same fun way to be educated again. Of exposure in the industry as film, course, you see sucky ads too from

may-june '10

CANNES LIONS AWARDS: Cannes Jury Presidents Titanium and Integrated Lions: Bob Scarpelli, Chairman Chief Creative Officer, DDB Worldwide Film Lions, Press Lions: Mark Tutssel, Chief Creative Office Leo Burnett Worldwide Outdoor Lions: Tay Guan Hin, Regional Executive Creative Director JWT Asia Radio Lions: Paul Lavoie, Chairman, Chief Creative Officer, TA XI Cyber Lions: Jeff Benjamin, Chief Creative Officer Crispin Porter + Bogusky Design Lions: Steff Geissbuhler, Partner, C&G Partners Media Lions: Laura Desmond, Chief Executive Officer Starcom MediaVest Group (SMG) Direct Lions: Pablo Alzugaray, CEO SHackleton Promo & Activation Lions: Tina Manikas, Global Retail Promotions Officer Draft FCB PR Lions: Paul Taaffe, Global Chairman, CEO Hill & Knowlton Film Craft: Chairman, CEO, @radical.media Saatchi & Saatchi’s New Directors Showcase The much-anticipated debut of next year’s hottest directors is celebrating its 20th year at Cannes. TED@Cannes Microsoft Advertising and the Starcom Mediavest Group will be hosting a TED@Cannes event in the South of France on June 21st. Stefan Sagmeister, iconic graphic designer, Naveen Selvadurai, Foursquare founder and Nicholas Christakis, author of ‘Connected’, are among the prestigious speaker ensemble. CANNES LIONS BEACH SOCCER WORLD CUP Time with the World Cup, a two-day, five-a-side Cannes Lions Beach Soccer World Cup will be organized and sponsored by Eurosport. Over on the Macé Plage. To register your interest and be part of your national team, please contact your local representative. For additional information, contact our Commercial Director Ray Suitters by emailing rays@canneslions.com.

BBDO’s Guerrero to join panel on UK influence on advertising BBDO Guerrero/Proximity Philippines’ CCO and Chairman David Guerrero makes an appearance at the Palais du Festivals on June 21. He joins a three-man panel discussing the golden days of British advertising and its impact 30 years later. Moderated by Caroline Marshall, editor of Haymarket Brand Media, the panel also include Mark Denton, creative director and commercials director of Coy! Communications and Piyush Pandey, executive chairman and creative director for South Asia, and a member of Ogilvy & Mather’s India Board, Mumbai. Guerrero appears on behalf of BBDO Asia Pacific, where he leads its Creative Council. The session, entitled “Campaign Lessons From When Soho’s Mad Men Ruled The World”, tackles the rise of London as the world centre for great advertising and the work for Hovis, Birds Eye, Parker Pens, Fiat and Heineken. The Cannes Lions website sets the tone by saying, “The 70’s were confident times, with a plethora of talent out there to take advantage. Campaign’s discussion panel will inspire delegates with lively discussion on what today ’s high flyers from around the world can learn from the admen of the past.” Although a Filipino, Guerrero graduated from the University of Sussex and the School of Communication Arts. He began his career in London with stints at Ogilv y & Mather, BMP and Ayer Barker before heading out to Britain’s former colony Hong Kong, where he helped relaunch the territory ’s airline Cathay Pacific.

What Raoul Panes can learn from previous Radio Lions judges virals, outdoor or print, so typically I would know of them during the festival. So I should be doing some poking around before I get there. No grand plans though. Lots of business to take care of first at the agency before I head off to Cannes. I would say the best plan is to just sit back and let the best radios work their magic. What do you expect from your Cannes experience this year? Education. Just when you think you’ve seen (or heard) it all, something/somebody will blow you away. Previously, some of the most memorable ones for me were the Budweiser “Men of Genius” radios, the first of the French AIDES Awareness condom ads. And the Nike+ website when it just came out. The year Honda “Grrrr” won the Grand Prix was also interesting as people were whistling the song in the hall. I like how the awards nights go—very purposeful, straight to the winners, no long speeches—and on to the party. It’s also that time of year again when one values a Coke or a beer as it’s just too expensive!

David Guerrero, Cannes Radio Jury President in 2007 and jury member in 2006 “I’d tell him not to take too much advice but just focus on the work, vote without distraction and stick up for the country. Other than that, enjoy the whole thing. It ’s a rare privilege.” Leigh Reyes, Cannes Radio jury member, 2008 “Be prepared to defend cultural nuances which you get but the others don’t seem to. And most of all try to talk to the other judges during lunch. Otherwise you’ll never get to talk at all.” Dave Ferrer, Cannes Radio jury member, 2009 When the going gets tough, you might want to try this: Starting from Hotel Grey Albion, go down Boulevard de la Croisette. Make a left when you get to the Casino. Go to the end of that street, past Avenue de Lerins. Make another left down that stretch until you reach Rue Ricord Laty. When you get there, turn around and retrace your steps until you get to where you started, Hotel Grey Albion. Or you can go further to the end of the Palais. That route is roughly 5.5km, a quick good run with a great view of the beach, the boats, and the babes.

Cannes Lions trivia

The Philippines won its first Gold Lion in Cannes for the Lotus Spa radio campaign in 2007 created by JWT.

may-june '10

CANNES

LIONS 20-26 JUNE 2010

57TH INTERNATIONAL ADVERTISING FESTIVAL

What was your immediate reaction upon being invited to preside over the Outdoor Lions? Obviously, I was very excited, honored, and also very privileged. I’m not the first in Asia but at the same time, to be the first few is such an honor. Cannes is the biggest show on. It’s something I’ve dreamt about. To able to do so is something I’ll cherish for a long time. What do you expect to see among the entries in this year’s competition? Obviously, Outdoor is one of the oldest media in advertising history. It’s not

necessarily outdated because right now, there’s an area where Outdoor is combined with digital. Technology has played a big role in the Outdoor medium. So I think Outdoor is quite a new-old category that could evolve, compared to Print. Obviously, Digital is much newer, so there could be a cross between many, many different channels. Do you foresee any difficulties in your job as Outdoor Lions president? I think in any jur y, there is always difficult y. The first degree of difficult y is the different countries. Obviously, ever y countr y would want to have a say. Some countries might have a much stronger say while the rest would have a weaker say. So it would be interesting to see which countries have a stronger say. Probably the Brazilians, Argentineans and the Europeans. I think the second degree is because it’s a festival and the work has to be judged within a certain time so there’s that time-pressure crunch. What’s most important for me is to have a clear goal on what I’m looking for—the Grand Prix, the Golds and the few Silvers that really define Outdoor as the next medium you can look for ward to. If you look at where it’s going, there are so much ways of approaching it

right now. The digital space —that’s a way to combine different media space to form a much more integrated approach. Were you surprised to be chosen for the Outdoor Lions, vis-à-vis other juries? It’s a really good question. I have done jury duty throughout the most big shows. Clio for Integrated Outdoor really gave me a big first experience in handling a big international crowd. Then the next thing was D& AD for Outdoor. AdFest made me Jury President for Outdoor [but] I think what kickstarted it was the Asian Advertising Awards, which was Outdoor. It’s probably not a coincidence. Obviously, it’s bad to be stereotyped to do one particular medium. But if you’re proven in dealing with this particular medium then award shows tend to hone you in this particular group. So let’s see what happens after Outdoor. After the Outdoor Lions, to what other jury do you want to be invited? It would be good to do Digital, but I think my background doesn’t have enough digital experience to qualify for that category…You must have a certain amount of experience to lead a group. I think Integrated would be nice to be in. Not Jury chairman but Titanium integrated would be a good one.

Outdoor but not outdated

The jury president from Asia, Tay Guan Hin

Written by Excel Dyquiangco, from an interview by Cynthia Dayco

Double Down

The Philippines ups the ante with 4 Young Lion bets

For nearly a decade now, Philippine young creatives have competed in the Young Lions. In 2010, the same year that the Philippines sends two teams to the Young Lions, it also fields its first team to the first Cannes Lions Young Marketers competition: Bayan’s Mary Loise Marasigan and Dave Buenviaje. They were chosen during the Philippine Association of National Advertisers (PANA) Brand Camp last April 29 to May 1 at the Taal Vista Hotel. Teams from Bayan, Jollibee, Johnson & Johnson, McDonald’s, Nestlé, Nutriasia, SMART, Unilab, Unilever and Wyeth competed for the prestigious event, with Unilab fielding two teams. Given the project, “What’s Next for Brand Aid?”, the eleven teams were given overnight to create their brief, in the same manner as the actual competition. The Cannes Lions Young Marketers presented a five-minute brief to a panel of creatives and media strategists, using no more than eight slides, including the title slide. The panel then had five minutes to grill the Young Marketers on their brief.

Team Bayan competes in Young Marketers competition in Cannes

The cost of going to France for the Young Lions Competition this June: a lively musical number sung by a liver cancer patient and a sketch about a transplant patient who receives a pig’s organ. Working on a brief for Medical City ’s Stem Cell Bank, that ’s all it took for Team Leo Burnett, composed of Diosmarino Gupana II and John Paul Cuison, and Team BBDO Guerrero/ Proximity, Timothy Villela and Rizza Delle Garcia, to edge out 24 creative teams under the age of 30 for the right to represent the country in the Young Lions. Both teams were chosen during the Young Kidlat shootout in Boracay last April. Cuison, who first competed in the Young Lions in 2006, likens his second time at the Young Kidlat to a high-stakes wager. He says. “Just like in gambling, I already won the money, only to bet it once again.” So it must have been a tremendous relief to win again. Especially since the idea that won them the Gold wasn’t their favorite. “Honestly, this wasn’t our best idea,” say both Cuison and Gupana. “ We had another idea but we just lacked the budget.” A non-existent budget, however, is a given in the Young Lions Film competition, where they will have to produce a T V spot with only 48 hours and little else. Cuison, whose previous Young Lions experience was

in Cyber, and Gupana plan to bone up on their filmmaking skills. “And we would probably want to learn more — additional editing programs or something like that.” On the other hand, editing was not the worst of Team BBDO Guerrero/ Proximity ’s problems during the Young Kidlat. Shooting that pig’s foot proved to be a little stinky, as attested by Villela and Garcia who hid their central character from suspicious hotel staff. As the shoot wore on, the trotters began to rot and smell. “ We had to put up with the stench the whole day,” laughs Villela, who is also a repeat competitor in the Young Kidlat. “Considering we won, this was all worth it.” With Cuison and Gupana competing in the Young Lions Film category, Villela and Garcia will take on the Young Lions Cyber. With two shootout veterans, Cuison and Villela, surely the Philippines stands a good chance at matching the Silver which the country won in 2007, if not better. Which past lessons will they apply this time? To not take the target audience of the brief too seriously. “This is about pleasing the creative judges only.” But for now, first-timer Garcia remains unconcerned by that. She still cannot believe that she is going to Cannes. “The news still hasn’t sunk in,” she says. “I’m very surprised that we won.”

PANA Brand Camp judges Mitos Borromeo, Group M CEO; David Guerrero, BBDO Guerrero / Proximity CEO and chief creative officer, and Jos Ortega, JWT Manila CEO chose Team Bayan over the eleven teams. The team identified its market as individual consumers, with the project open to company sponsors, and espoused placing a common ad in all relevant platforms for one day. “We wanted to put structure into one idea, and making it a continuous process,” said Buenviaje, drawing from his brand experience. “We only used three sentences in our presentation, that we really believed in,” added Marasigan. Earning second and third places, respectively, were Team SMART (Carla Yap Sy Su and Gladys C. Co, Manager) and Team Unilever (Jacqueline Yuengtian and Vic Gutierrez). PANA Brand Camp was organized after Philippine representative to the Cannes Lions, the Philippine Daily Inquirer’s Group Sales Director Pepito Olarte, approached PANA to choose representatives from its member companies. PANA Brand Camp prepared the teams through speakers Peter Rodenbeck, DDB Asia Pacific vice-president and regional director; Peter Sandor, Bates 141 Philippines CEO, and Raymond Arrastia, Leo Burnett Manila managing director, as well as Hermie De Leon, Omnicom Media Group Philippines and PHD Network president and CEO, who imparted valuable tips to the pioneer Brand Campers. After the speakers, the teams presented prepared briefs to a panel of mentors which further drilled then on the nuances of a brief. Joining De Leon as mentors were Teeny Gonzales, Seven A.D. managing director, Bebot Ngo, Publicis JimenezBasic joint-CEO, and Raoul Panes, Leo Burnett Manila executive creative director. PANA President Margot Torres hailed the first Brand Camp a success, stating “4As and MSAP, as well as the delegates, gave positive feedback.” may-june '10

CANNES

LIONS 20-26 JUNE 2010

57TH INTERNATIONAL ADVERTISING FESTIVAL

Defining Design Design Lion juror Mun Tuck Wai breaks it down

How do you feel about being on the Design Lions jury? I love art. In fact, I started as a graphic designer, so I’m really glad that I’m selected as a design jury member. I’m really, really happy to judge; I’m really excited and can’t wait to see all the amazing designs around the world. What you think of the Grand Prix winner of last year’s Design Lions, the Nike Paper Battle? Yes, I love it. That’s the kind of design I really like —design that has meaning, design that starts from an idea and yet it’s still beautiful and simple. I really respect that piece of work, and I wish had done that. Design is a very unique category. How does one judge Design? I would break down into two ways of looking at things. Say, if a design piece starts from an inspiration, they can look good; they can look pretty, so I would look at it differently. Of course, if a design piece that starts from an idea, it can be great; if it is executed well, that’s another area of looking at it. It’s a fusion, so sometimes when it comes to design, you have to be able to shift a bit and look at things differently. So which one wins: the concept or the execution? I look at design as language. For example, road signs—they have no words on it other than “stop” but they communicate. They tell you to not park here; they tell you to stop; they tell you to get ready. That’s the most basic of design, and to me, the best design communicates in the simplest manner yet it’s beautiful. All these have to start from an idea. Did you decide to join advertising at the outset? I majored in two things when I was in college: graphic design and illustration. I loved painting; I liked drawing and art. So I thought I would like to be an illustrator when I graduate. On my first job, I was lucky enough to be hired as a graphic designer [but] after a few months, I found it a bit too restricting doing the accounts of the government, so I went on to be an art director. From there, I started to learn that ideas are more important. Now, where do you find your inspiration for your art direction and design? I always believed that everyone should try something that they’ve never done before in life. You can absorb ideas from anywhere, your life especially. I’m glad I started off in a very different kind of neighborhood where we lived in flats and we played with really old-style toys. I feel the experience taught me a lot of things and made my life more full so it also adds to the ideas subconsciously. I would encourage anyone who wants to have more ideas, to just live life. You don’t have to be so stressed.

FESTIVAL PROGRAMME Sunday

Monday

Tuesday

10:00 - 10:45 GoViral

From Hollywood to Madison Avenue

Capturing Consumer Attention in The Critical 6.5 Seconds That Matter

11:00 - 11:45 Patrick Collister

10:00 - 12:00 FEDMA

10:00 - 12:00 Heartbeats International

Stuffed, Stamped And Licked

12:00 - 12:45 ABEDESIGN

Design in BRICS Countries

12:30 - 14:30 Wunderman Mobile Mania

13:00 - 13:45 WGSN

The Triumph of Beauty

14:00 - 14:45 Textappeal & Columbus

Digital Across Cultures: Superglobal Or Hyperlocal?

15:00 - 15:45 TribalDDB

The Meek Have Inherited the Earth

16:00 - 16:45 SapientNitro

The Meek Have Inherited the Earth

17:00 - 17:45 Mainwaring Creative and InterCulture

The How of Social Media

Writing for Digital Media

11:00 - 11:45 OgilvyOne

Can You Sell, or Else?

12:00 - 12:45 Electronic Arts (EA)

Lean Forward: Gaming Is the Next Big Thing

13:00 - 13:45 JWT

On Walter’s Couch

14:00 - 14:45 Wunderman

Social Music Revolution

11:00 - 11:45 Hill & Knowlton

Chaos and Joy In Cannes

12:00 - 12:45 Aegis Media

Start in a Different Place

Cage Fighting Comes to Cannes

15:00 - 15:45 thenetworkone

Unlocking the power of mobile

The Independent Agency Showcase 2010

16:00 - 16:45 Initiative

15:00 - 17:00 R/GA

Lessons from When Soho’s Mad Men Ruled The World

19:30 - 21:30 Promo, PR and Direct Lions Awards

11:00 - 11:45 DDB

Friday

Brain Surgery Meets Rocket Science

16:00 - 16:45 Publicis & Contagious

The Contagious Conversation

17:00 - 17:45 Yahoo!

Digital Immersion

19:00 - 21:00 Radio, Media and Outdoor Lions Awards + Opening Gala

10:00 - 10:45 Organic Righting The Ship

13:00 - 13:45 Perfect Fools & McDonald’s

12:00 - 12:45 Facebook

12:30 - 14:30 AMPRO

12:30 - 14:30 Burt

Agile Advertising

12:00 - 13:00 The Cannes Debate

14:00 - 14:45 Adobe

12:30 - 14:30 Razorfisht

Underdogs, Overdogs And The Games Marketers Play

15:00 - 15:45 R/GA

15:00 - 17:00 Brandkarma

Keeping Brands Honest

16:00 - 16:45 Leo Burnett Wildfire

17:00 - 18:00 Cheil Worldwide & The Barbarian Group Future Media Interactions

19:30 - 21:30 Press, Design and Cyber Lions Awards

The Art And Science Of Advertising

15:00 - 15:45 PricewaterhouseCoopers What’s Next For Marketing?

15:00 - 17:00 LBi

The Quest for the Perfect Storm

16:00 - 17:00 Dentsu

Asian Diversity: Tokyo

17:15 - 18:15 Y&R

Emotional Design as a Tool to Map the Digital Design Interface

11:00 - 11:45 MDC

12:00 - 13:30 Saatchi & Saatchi New Directors’ Showcase

Creative Excellence Meets Unprecedented Integration

10:00 - 12:00 ESPM

12:30 - 14:30 Cows in Jackets

Kraft Foods Presents

Sports Power!

Saturday

10:00 - 12:00 Lowe Counsel

Worldwide Presents Welcome to the New World

14:00 - 14:45 Microsoft

14:00 - 14:45 Digitas

17:00 - 17:45 Campaign

11:00 - 11:45 Kraft Foods

13:00 - 13:45 HP

Are You Ready for the 3D Revolution?

15:00 - 15:45 SAWA

Unlocking the power of mobile

10:00 - 10:45 Chinese Advertising Association

13:00 - 13:45 Coca-Cola

Where Does Inspiration Come from?

15:00 - 17:00 Eardrum

10:00 - 10:45 MoFilm

12:30 - 14:30 Geneva Film Company

The Power Of Ideas in the Digital (Including Printing) World

Chaos and Joy in Cannes

Thurday

10:00 - 10:45 Draftfcb

10:00 - 12:00 Cirkus The Exquisite Corpset

Wednesday

(minus MASTER CLASSES, EXHIBITIONS, SCREENINGS)

Talking to Teens

How To Build An Agency From Scratch

Intercreativity

The Transmedia Dream - Dreaming In Mono

19:00 - 21:00 Film, Film Craft, and Titanium and Integrated Lions Awards + Closing Gala

Privacy Concerns

13:15 - 14:00 Grey

Tim Mellors Talks To Yoko Ono

14:15 - 15:00 Publicis Maurice Lévy Invites...

15:00 - 17:00 EuroRSCG

Creative.Artificial. Intelligence

15:15 - 16:00 Hermann Vaske

Creative Heads

16:00 - 16:45 AKQA Future Lions

16:15 - 17:00 Naked Communications 10x10x10

17:15 - 18:00 Bridge Worldwide

Ask It And Transform

Seminar Workshops Awards

The CUP 2009

Asia Pacific agencies win 10 Cup trophies

Out of a total of 33 trophies awarded, Asia Pacific agencies walked away with an impressive 10 at the 3rd Intercontinental Advertising CUP, making it the second top-performing region in the world behind Ibero-America. In addition, the Asia Pacific region also won the ultimate prize—The 2009 GRAND CUP—which was awarded to GT Inc (Tokyo) for “Love Distance” for Sagami Rubber Industries.

Overall, the Asia Pacific was the 2nd topperforming region in the world behind IberoAmerica, which won 13 trophies. Agencies from Europe won 8 trophies, while agencies from Eastern Europe won 2 trophies from more than 900 entries in total. Four Asia-Pacific agencies made the Top 10 ranking of high-achievers: no. 2: GT Inc (Japan), with 21 awards points;

no. 3: BBDO/Proximity (Malaysia), with 12 points; no. 4: Dentsu Razorfish (Japan), with 12 points; and no. 8: McCann Worldgroup (Hong Kong), with 8 points. However, Agency of the Year went to Almap BBDO in Brazil, which won the Genius Loci CUP. THE CUP has a very rigorous judging system, making it one of the toughest awards in the world to win. “No other awards I have been involved in requires such a highdegree of constant thinking and evaluation of product categories, media format, crafting and cultural significance. It is absolutely more exhausting and demanding to judge at THE CUP,” says Jimmy Lam, President of ADFEST. “Local culture and local brands are the sources to some great pieces of advertising based on local roots. And the 3rd Intercontinental Advertising Cup demonstrates this with some jewels–ads that will stay in our memories for a long time,” says Milka Pogliani, President of the jury.

ADFEST Asia Pacific winners at THE CUP 2009 are: BEST OF ADMAKING CATEGORY Best Universal Idea Created in a Local Market: Dentsu Razorfish, Japan, Dunlop Falken Tyres “Melody ” Road Best of Design: BBDO/Proximity Malaysia, Chrysler Korea Jeep “Two Worlds” Best Campaign: GT Inc Japan, Sagami Rubber Industries “Love Distance” BEST OF MEDIA Best of Outdoor: BBDO/Proximity Malaysia, Chrysler Korea Jeep “Husky & Camel, Bushman & Eskimo” BEST OF PRODUCTS & SERVICES Best of Beverages: Ogilv y & Mather Japan, Shiro Sake “Great Supporting Role” Best of Health & Personal Care: GT Inc Japan, Sagami Rubber Industries “Love Distance” Best of Sports: McCann Worldgroup Hong Kong, Nike Basketball League “Paper Battlefield” Best of Electronics: JWT Beijing, Nokia “Bruce Lee-power” Best of Household Products & Maintenance: JEH United Thailand Sylvania Light Bulbs “Picnic” Best of Corporate: Dentsu Razorfish, Japan, Dunlop Falken Tyres “Melody ” Road Talken Tyres

Goafest

Ogilvy sweeps the Creative ABBY Awards amidst judging SNAFU

Ogilvy & Mather India swept the Creative ABBY Awards once again this year–for the 13th time in 14 years since the ABBY Awards were instituted.

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Abhijit Avasthi, National Creative Director of Ogilv y India, said, “Our showing at the Creative Abby Awards at the Goafest was phenomenal.

Our metal tally was nearly double that of the second most awarded agency. What’s truly special is that our wins came on the back of big brand work which benefited our clients, and work that our friends and family loved. It was not madeup stuff for some random twobit roadside shop which only three people had seen.” Ogilv y won one Grand Prix, three Gold, 10 Silver and 30 Bronze awards. The Golds were awarded for Vodafone “Trial Room/ Vodafone Scream/ Vodafone Bench” print ads; The Economist “Baby” in Direct Response, and Vodafone “Zoozoos” integrated campaign— which also won the Grand Prix. But days after the awards presentation, Ad Club Bombay announced that it was asking for agencies to return 29 of the trophies. Apparently, a review of the judging revealed irregularities,

where certain judges voted on entries from their own agencies. A spokesperson said, “As the awards have already been handed over for the current year, the Club has decided to point out the instances of this breach to the respective winners and would appeal to their conscience and better judgment to voluntarily return the awards they have received.” He did not identify the agencies in question. The Ad Club Bombay and the Advertising Agencies Association of India are the organizers of the ABBY Awards and hosts of the Goafest, now on its fifth year. The ABBY Awards recognizes the best work from its member agencies in the creative discipline with the Creative ABBY Award, and in media with the Media Abby Award.

CLIO 2010

3 Philippine entries make it to shortlist For decades, it seemed that the Clio would forever elude the Philippines. Now, the work of three Philippine agencies are in the shortlists, as released by the organizers of the Clio Awards 2010. Namely, DM9 JaymeSyfu’s “Bruise” for Gabriela’s iVow signature campaign in the Poster Single Entry Category; Ace Saatchi & Saatchi’s “Our Ride” campaign in the Print Category, and BBDO Guerrero / Proximity’s “Sumo” Print Ad Single entry and the “HP Versus” Campaign in the Print Campaign Categor, both for HP printers. The Clio 2010 winners will be announced this coming May 26-27, 2010 in an awards ceremony in New York City.

To date, the Philippines has won four Bronze Clios (JWT’s Greenpeace “Trees” print and Shell “Are we there yet?” radio; O&M’s Ponds “Pore” billboard; TBWA\Santiago Mangada Puno’s “Recycle” bag) and one Gold Clio (Y&R’s Soroptomist “Bullet” poster). The Clio Awards is arguably the world’s most recognized

awards competition for advertising, design and interactive. To this day, Clio’s iconic statute is the most widely recognized symbol of the industry’s creative accomplishments, appearing in movies and TV shows about advertising. For the complete shortlist and more information about the 49th Annual Clio Awards

and Festival, please visit www. clioawards.com.

The One Show The Philippines gets 7 into finals Despite the One Show’s hard-line stance against “fake ads” and Asia’s reputation for producing them, the continent is well-represented in the finalists for the One Club’s 2010 annual. Between India, Singapore Australia, The Philippines and New Zealand, Asia has 72 ads in the finals. The Philippines successfully brought seven ads into this round. Three of them are TBWA\ Santiago Mangada Puno’s Boysen print ads “Hibiscus”, “Yellowbell” and “Violet” in the Print Singles. Another three belong to Ace Saatchi & Saatchi’s work for North Face, “Outdoor Essentials” (Promotions and Innovation in Advertising) and “Our Ride” campaign for Vespa, and one is

BBDO Guerrero/Proximity’s series for HP, “Versus” (Print Campaign). These were the same ads that performed well in the recent Kidlat Awards in Boracay. But the leader in number of finalists is India, which claims 21 finalists, and Singapore, with 19. Winners will be announced in a gala ceremony on May 13, 2010 in New York City.

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Asian Marketing Effectiveness Festival 2010

Coca-Cola's "Crush Ego" squashes in Shanghai Brand pioneers and experts, and global marketing strategists converged in Shanghai in March for the Asian Marketing Festival 2010, “Ideas for Growth”. Featuring think tanks in creating effective brand building, “Ideas for Growth” received entries of the best, most effective, marketing campaigns of the past year, across the region. CE Japan/ Hakuhodo Creative Vox/ Hakuhodo Creative Vox Inc. was the big winner of the night for “Crush Ego” for client CocaCola Japan, garnering

a coveted Platinum and three Gold awards in the categories of Best Integrated Marketing Campaign, Best Marketing Campaign for National Brand Development, and Most Effective Use of Product Design and Packaging. It also bagged a Silver award for Most Effective Use of Eco/Green Marketing. The “Crush Ego” campaign made CocaCola’s I LOHAS water the market leader within a short period. In Japan, water is a “low interest” product, and I LOHAS, which is locally

manufactured, broadened its market, by using environment issues for the strategy. By giving the consumer a means to make a significant contribution by “not accepting a lower-quality product for environmental concerns,” CocaCola introduced an ultra-light, crush-able plastic bottle to signify recycling. The client successfully contrasted itself as a local water product against imported brands usually identified with huge carbon footprints. With a few metals in its clutches, the Philippines fared extremely well at the recent Asian Marketing Festival 2010 “Ideas for Growth,” last March 24 to 25. Featuring the best works in Asia, the AME event in Pudong Shangri-la in Shanghai, rolled out brand pioneers and global marketing experts in China and from around the world.

BBDO Guerrero / Proximity and Starcom Mediavest win for the Philippines Unilab "Skelan Nationwide Church Invasion"

Bayan "Lola Techie"

BBDO Guerrero/Proximity Philippines’ Bayan “Lola Techie” campaign won Gold for Most Effective Use of Interactive Marketing. The agency also won Silver for Pepsi’s “Kada Can” for Most Effective Use of Product Design and Packaging. Starcom Mediavest Group Philippines scored a Silver for its Unilab-“Skelan Nationwide Church Invasion” for Best Insights/ Strategic Thinking. BBDO Guerrero/Proximity Philippines’ Bayan DSL, “Lola Techie” features a grandmother

may-june '10

who thrives in an online world, effectively capturing an extended audience. “Lola” means grandmother in Filipino, and Techie (pronounced tet-ch-ie), a common Filipino woman’s name, is a crafty use of double meaning. Using both traditional and social media, Bayan DSL garnered a 700-percent increase in customer inquiries, with 36-percent growth in its subscriber base. “The Advertising & Marketing Effectiveness Gold Award for Bayan is the first for The Philippines. This win clearly proves that there is a

demonstrable link between creative excellence in communication and return on marketing investment as the campaign has been consistently recognized at both creative award shows and now at the leading effectiveness award show in the region,” stated BBDO Guerrero / Proximity Chief Executive Paul Roebuck. Also continuing its winning streak was Starcom Mediavest Group Philippines’ Unilab “Skelan Nationwide Church Invasion”. Starcom Mediavest Group Philippines’ media push for new, over-the-counter arthritis relief

Skelan to reach an audience 45years and above. A novel exercise song “Ayos na ang buto-buto!” (My Joints are Alright!) and “dancercises” in church grounds, complete with physiotherapist-approved moves and on-site medical teams, promoted brand interaction and a 17-percent increase in market share, plus an increase of drugstore sales by 146 percent. DDB Philippines was shortlisted for “Conveniently McDonald’s” under the Best Brand Loyalty marketing campaign category.

Advertising & Marketing Effectiveness Awards 2010 SapientNitro’s “Best Job...” bests all others at the AME Awards in New York BBDO Guerrero/Proximity wins Silver and Bronze for Bayan Established in 1994, the AME Awards for Advertising & Marketing Effectiveness recognizes creative and successful marketing strategies in five regions around the globe. An international Grand Jury® of interactive and multidisciplinary marketers, media planners, strategy directors, social media experts, and creatives critique and judge local, regional, national and international campaigns that demonstrate a clear understanding of a marketing problem to be solved.

What’s in a nAME?

The International AME Awards® for Advertising & Marketing Effectiveness announced the 2010 award winners last April 22. Foremost among the campaigns SapientNitro’s “Best Job in the World” which won the International Grand Trophy. The International AME GrandJury® awarded one Grand Trophy, three AME® Platinum Trophies, as well as nine Gold International AME Awards®, 16 Silver Awards, and 18 Bronze Awards. Twenty-seven entries received AME Finalist Certificates. Among the Philippine competitors, BBDO Guerrero/Proximity Philippines won a Silver and a Bronze Medallion for its work on Bayan.

Its case for “Making A Grandmother An Internet Icon” campaign for Bayan DSL earned the Silver Medallion, while its “Establishing A Meaningful Brand” campaign for Bayan Telecommunications won the Bronze. Its “Capturing Hearts and Caring For Them” campaign for Quaker Oats was a finalist, as were DDB Philippines for “How Do We Make A Nation Deeply Loyal To A Local Fast Food Empire Embrace McDonald’s Cheesebuger?” for McDonald’s; “Your Excess For Less Fortunate” campaign by DDB DM9JaymeSyfu for Caritas Segunda Mana, and McCann Erickson Philippines’ “Smile Back At Life” for Coca Cola.

New York Festivals

ABS-CBN and GMA Network get metals at the NYF® Television & Film Awards Honoring the “World’s Best Work”, the New York Festivals Television & Film Awards 2010 awarded metals to the Philippines’ ABSCBN Broadcasting Corporation and GMA Network Inc. at the awards ceremony held last May 3, at the American Airlines Theatre. ABS-CBN Broadcasting Corporation got the Silver for the “Pagpag” (Leftovers) episode of “The Correspondents” in the News Pro-

Two effectiveness competitions, on opposite ends of the globe. One, established in 1993; the other, in 2002. One is the Advertising & Marketing Effectiveness (AME) Awards, presented in New York; the other, the Asian Marketing Effectiveness (AME) Awards, with its base in China and Southeast Asia. The confusion and conflict was inevitable. Last March, CEO James Smyth of the US-based Advertising & Marketing Effectiveness Awards called for concerted disapproval towards what it deemed a conscious infringement on its brand. But considering that Haymarket filed for ownership of the AME trademark in Asia, there was little else that Smyth could do. Observers said that one possible compromise could be for Haymarket to nickname its AME the Amies. But then, that could constitute a riff on that other well-established effectiveness award-giving body—the Effies.

motion category while the “Boto Mo, IPatrol Mo: Ako ang Simula” got a Bronze in the Music Video: Low Budget category. GMA Network’s “Planet Philippines” earned a bronze medal in the Environment & Ecology category. All winning entries will be promoted by NYF’s network of international representatives in 84 countries around the world and featured in the showcase section of the Television & Film Awards website. The New York Festivals released the list of finalists to its International Advertising Awards and Innovative Advertising Awards. Among them were 17 entries from Philippine agencies. Eleven of them were entered by TBWA\Santiago Mangada Puno; three, by DDB DM9 JaymeSyfu; and one each from Leo Burnett, Campaigns & Grey and McCann Worldgroup. The shortlisted ads compete in six different categories: TV, Print, Radio, Outdoor, Collateral and Innovative Advertising. Winners will be presented at a gala ceremony in Shanghai, China on June 10-12. Visit www.newyorkfestivals.com for more details. may-june '10

Ronnie del Carmen

Master Storyteller by Mariles Gustilo

Lowe was buzzing with excitement. Ronnie del Carmen, the talented story supervisor of Disney Pixar’s “UP”, was going to speak in 15 minutes. As the staff filled the lounge where the talk was to be held, I saw them holding DVDs, books and toys of their favorite Pixar movies. At the time, “UP” had just been nominated for a Best Picture Oscar. Ronnie was once one of us. He had worked at Lowe (then Lintas) as an art director in the mid to late Eighties. His Close-Up storyboards looked like they were fresh out of a DC comic, with the emotion coming right at you. Back then, his copywriter partner was Ricky Villabona, who is now a well-known director and part-time yoga teacher. Together, they created the first Close-Up music video. By the time he left the agency in 1989 to migrate to the US, he was a creative group head poised for success. With the Oscar “The only nomination of “UP” as the back story, Ronnie way to began his talk by saying check if categorically that to the input is achieve success was a journey. any good painful “It all begins with an is to flesh it idea,” he said. In the case of “UP”, out, write it, the idea of co-directors draw it,” Pete Docter and Bob Peterson was how an old man survives the loss of the love of his life. So what exactly does a story supervisor do? Ronnie is the master storyteller who makes sure the story is fleshed out and well told. He showed us images from his work at Pixar: teams of people who deliberately trapped themselves in a room, collaborating and arguing to get the story and all the details just right. “The only way to check if the input is any good is to flesh it out, write it, draw it,” he said. Until then, it was premature to say that the input wouldn’t make good material. Endless rewriting and redrawing went into every stage to make sure each piece of the story was emotionally authentic. When it came to storytelling, Ronnie had a lot of practice. In 1995, he won an Eisner Award for Best Single Issue for his work on “Batman”. He was story supervisor for “Spirit: Stallion of the Cimarron” and “Finding Nemo”, and worked on story and character design for “Ratatouille” and “WALL-E”. He paid homage “Be to his advertising beginnings when he told prepared to us about what happened be wrong. behind the scenes in That way, Act One of “UP”, which establishes how Carl and you get Ellie meet. what’s First love is rich territory. Understandably, wrong out there were many ways to of the way tell it. One scene showed early.” Ellie as a teenager, with rollers in her hair. Carl was about to make fun of her when Ellie tripped. The rollers came off, and her hair cascaded down in curls, stopping Carl in his tracks. That scene never made it to the final cut. The first act was only supposed to set up the movie. And yet it had to be comprehensive enough to do justice to what happened next. “I told the guys, ‘don’t worry, I can do this’. I was trained to say a lot in 30 seconds or less,” Ronnie said, laughing.

the oscars & ADVERTISING break and friendships are tested. From Lowe to UP, Del Carmen I marveled at the was story supervisor of the humility and the almost egoOscar-winning movie. less state he espoused. Pixar’s collaborative management approach to success is legendary. It was featured in Harvard Business Review. I was thrilled to have someone in our midst who was living proof that it worked, and for whom the highest expression of success in the movie industry, an Oscar, was clearly within reach. (After Ronnie returned to the US, he and his team won He pointed out a storytelling detail, also the Best Animated Film Oscar.) from the first minutes of “UP”. He had more behind-the-scenes anecdotes “Notice the camera stays fixed. It never about “UP”. How he and the team really went moves. Everything looks square, boxed in.” to Paradise Falls. What it was like to write and That was to emphasize what Carl’s life was direct “Dug’s Special Mission” (an animated like, without Ellie. short that comes with the “UP” DVD). What He also shared a counterintuitive yet most happened when he presented a storyboard to practical tip. Steve Jobs. “Be prepared to be wrong. That way, you get As I listened, I couldn’t help but feel a what’s wrong out of the way early.” deep, genuine happiness for this Lowe alumnus What really struck me most was when he and what he has achieved. At the heart of his said, “At Pixar, we always say, trust the process.” success, setting aside awards and accolades, Trust the process. It is the collaborative is a body of work that will continue to inspire process that brings out the best, even if hearts

"Rataouille"

" Wall-E"

and entertain moviegoers and lovers of stories, young and old alike, all over the world, for generations. Now that is a life well-lived. Mariles Gustilo is the President and CEO of Lowe Worldwide Philippines.

of natural disasters (including an earthquake and a tidal wave of oil). Logotypes are used to describe an alarming universe (similar to the one that we are living in) with all the graphic signs that accompany us everyday in our lives. This overorganized universe is violently transformed by the cataclysm becoming fantastic and absurd. It shows the victory of the creative against the rational, where nature and human fantasy triumph.”

Logorama turns 3,000 brands into an Oscar experience

Remember that Facebook quiz about how many logos you can name? If you liked that, then you will probably enjoy the Oscar-winning animated short “Logorama”. In fact, it won’t matter where you stand on the

“I want my logo bigger” debate; you will love this one. Directed by the Frenchbased H5 group (founded by Ludovic Houplain), the story takes place in a world where icons are presented as buildings, props, animals and

human characters. Taking six years to produce, it lasts no more than 16 minutes but still manages to pay homage to an assortment of film genres and feature as many as 3,000 brand icons. The logos, mostly discontinued brands (like RKO Pictures) or earlier incarnations of current market leaders (like Apple), were taken from websites and given life. According to its creators, “Logorama presents us with an over-marketed world built only from logos and real trademarks that are destroyed by a series

Aside from its Oscar trophy, it also won the Kodak Discovery Award for Best Short Film (the Kodak Prix)- Critics’ Week, Cannes Film Festival 2009; Audience Award Festival International de Curtas Metragans 2009; Audience Award - Lille International Short Film Festival 2009; Jury’s Special Prize, Audience Prize, Fuji Prize for Best Directors - Cinanima International Animated Film Festival 2009; Best Short Film - Stockholm International Film Festival 2009; Best Direction, Audience Award - Vendome Film Festival 2009, and the Gold Medal for Animation - Zinebi, Bilbao International Film Festival 2009. may-june '10

Cinematographers still prefer film over digital

Inglorious Basterds

ith the advent of the digital age, it is not surprising that filmmaking has supposedly gone digital, what with all the digital cameras that are available in the market and the prevailing notion that it is decidedly less expensive than using film. But what would surprise most people is that almost 70 percent of the films nominated in the 82nd Academy Awards still used film for the majority of their movies. The old debate as to whether digital is better than film or vice versa would probably still not be resolved anytime soon, but the advantages of film over digital have been touted by the American Society of Cinematographers (ASC). In a series of studies* called the Camera Assessment Series (CAS) mounted by the ASC together with the Producer’s Guild of America they compared digital cameras with the benchmark standard of the 35mm film in 1.85:1 aspect ratio. And the result? “Film was the obvious choice for comparison because it is the benchmark of what we look at and what we’re White Ribbon used to seeing," ASC president Michael Goi explains. Even high tech films like Transformers: Revenge of the Fallen” and “Harry Potter and the Half Blood Prince” were actually shot on film, despite being post-production heavy. Film

may-june '10

allows creative flexibility because of its range in exposure and the range of colors you can capture, which digital cameras still have a lot of catching up with the 35mm film. Cinematographers from Oscar-nominated films like Bruno Delbonnel for “Half Blood Prince”, Robert Richardson from “Inglorious Basterds” and Christian Berger from “The White Ribbon”, who were all nominated for Best Cinematography chose to use Kodak Vision 3 stock to film these prestigious films. Best Picture nominated films like “The Blind Side” and “Up in the Air” also used film cameras and stock instead of the prevalent digital cameras. The notion that film is more expensive than digital is a misnomer that companies like Kodak and cinematographers and filmmakers who swear by film are trying to disprove.

Transformers: Revenge of the Fallen

“When we were shooting 'Prison Break', the producers wanted to shoot digital. They’re like, ‘Oh, it’s faster, it’s cheaper.’ It’s not faster and it’s not cheaper”, director/producer Brett Ratner stated on Kodak’s website. Shooting on film allows the cinematographer and director the freedom to shoot faster on set because of its “unrivaled dynamic range that allows them to capture details quickly and effectively.” Moreover, the idea that you can fix everything in post production is a misconception Harry Potter and the Half Blood Prince

because it is impossible to fix something that was not captured in principal photography. Digital capture will in the end actually make you spend more in correcting dropped frames and dead pixels The ASC plans to publish a manual based on their CAS shoots that will explain the data that they accumulated from the study, including costs and efficiency. “Until we no longer feel compelled to compare other formats to film, film will continue to be the standard”, Goi concludes For more technical details refer to the “Film is the Benchmark” article, published in Kodak’s InCamera magazine.

the oscars & ADVERTISING Casablanca

Bonnie & Clyde

ABS CBN TAKES THE OSCARS ON A TOTAL 360° For the third year in a row, ABS CBN has been the country’s host to the Academy Awards, easily the most glamorous movie event of the year. The three channels present the show across three television platforms—live telecast and complete coverage on Velvet for cable, a same-day delayed broadcast on ABS CBN channel 2 for free-to-air TV, and a special primetime airing on Studio 23 for UHF. The over-all Titanic campaign for the Oscars has since spawned executions on other key media touch points, led by a full-blown media campaign, a star-studded tribute photo exhibit and culminated in a print supplement bundled with Metro Society. Such is the style and 360° marketing capability of ABS CBN and its Cable Channels and Print Media Group. A key player in the Oscars campaign is the well-received Tribute To The Oscars Photo Exhibit. The event featured a

creative take on Oscar-winning and nominated films, as done by creative teams of top photographers, stylists and makeup artists, with celebrity models. A strategic partnership with ABS CBN’s “60 Years of Soap Opera” gave the project the opportunity to have the network’s stars in the shoot. Exclusive features in TV, print and online further strengthened its media presence.

The completed works were unveiled in Velvet’s glitzy “The Oscar Party 2010” at the Ayala Museum, with over 450 guests in attendance. News teams from ABS CBN’s various platforms, in addition to magazine and newspaper editors, delivered maximum coverage post-event.

The photos and the creative teams were also showcased in a special Oscars supplement with Metro Society. With presence in all major media touchpoints, ABS CBN was able to deliver true Hollywood glamour to the Filipino audience. Winners of the Velvet’s Tribute to the Ocars Photo Exhibit GOLD Movie: Casablanca Models: Maricar Reyes and Jericho Rosales Photographer: Don Marlon Pecjo and Ria Regino Stylist: Kat Cruz Makeup Artist: RB Chanco SILVER Movie: Bonnie and Clyde Models: Shaina Magdayao and Peter Nordell Photographer: Kai Huang Stylist: Myrrh Lao To Make-up artist: Angie Cruz BRONZE Movie: Titanic Models: Erich Gonzales and Enchong Dee Photographer: Pat Dy Stylist: Lotho Lotho Make Up Artist: Grace Deang

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mediascape

Hong Kong ad spend increases by 24 percent in Q1 according to admanGo

Hong Kong - Adspend in Hong Kong increased 24 percent year-on-year to US$868 million in the first quarter of this year, according to admanGo. Digital advertising saw the highest growth (59 percent) compared to other traditional media like television (23 percent), newspapers (32 percent), magazines (16 percent) and outdoor (24 percent). Radio was the only media that decreased its adspend (down 8 percent) between January and March. GlaxoSmithKline was the biggest spender, registering a 62 percent increase in total spending of $11 million.

Omnicom Media Group launches branded entertainment and sponsorship arm Fuse

Asia-Pacific - Omnicom Media Group AsiaPacific appointed former Repucom Asia regional director, Ben Heyhoe Flint , to head up its newly created business unit, Fuse, a specialist arm that focuses on branded entertainment and sponsorship. The new business unit’s service offerings include platform selection and custom-creation, audit and creation of sponsorship strategy, campaign activation and management, measurement and evaluation. The Fuse network in Asia-Pacific includes offices or specialists in China, the Philippines, Australia, New Zealand and is fully connected with its offices in the US and EMEA.

Consumer insights put the edge in Mediaedge:cia by Lalissa Singson

Consumer insights are vital for media planning. Immersing into the consumer’s way of life can help agencies structure a media plan that certainly hits the niche. What do they think? What do they want? What do they need? How do they decide in buying? All these contribute in the formulation of solutions based on objectives and analytics, and not merely on the clients’ perspective. By answering all these questions, Mediaedge:cia, a media planning and buying agency in the GroupM network, hopes to take the lead with Navigator. Regional Director Jon Wright is going from country to country, to introduce this strategic media-

planning tool to its offices and clients. “At the end of it, we want to have a list of activities we want to implement for our client. Anything that may be involving the communities, why are we recommending, and how are we recommending. Objectives, understanding the consumer, tasks needed to achieve in communication... TV, radio,

press coming about a rigorous solution based on objectives, solutions, and analytics. He has been conducting Navigator workshops across the Asia Pacific region since 2001. He finds potential in places like Australia, India, China, Singapore, and the Philippines, because he knows promising results are at hand. “Communication is so much more fragmented. We need integrated plan. One plan for different touch points. It isn’t that easy,” he says. Indeed, it is, but Mediaedge:cia is anchoring itself on strategic media planning—to deliver integrated and innovative thinking to its clients despite the ever expanding media choices of consumers. By making their client’s brands first in the minds of consumers, they can step out of the shadow of the other GroupM agencies— MindShare, Maxxus and Maximize—and be first in the minds of advertisers.

Ninety-five percent of election funds going to media spend

Manila - In early March, Pera at Pulitika (PaP), a group that monitors campaign funding and spending, reported that from November 1, 2009 to Februrary 8, 2010, the top six presidential candidates aired a total of 15,479 minutes of TV and radio ads—the equivalent of 11 days of non-stop airing. The big-spending three are Manuel Villar with Php 1.2 billion, Gilbert Teodoro with Php 427.8 million and Benigno Aquino III at Php 357.5 million. Extrapolated from the data, total ad spend of the other top five contenders together, at P1.3 billion, is just a shade over Villar’s P1.2 billion.

US online ad spend to overtake all print and DM Global - Spending on digital advertising in the US will overtake print for the first time this year. The report from marketing analyst, Outsell, forecasts that marketers will spend US$119.6 billion on digital strategies and US$111.5 billion on print, including ads in newspapers and magazines and all direct mail. Overall, US ad spend is expected to return to growth and increase 1.2 percent to US$368 billion. Despite the growth of online, magazine advertising is expected to increase by 1.9 percent to US$9.4 billion after falling 26 percent last year.

may-june '10

Carat Loses Cookie Bartolome

Rosario “Cookie” Bartolome has bolted from Carat Philippines to ABS-CBN Broadcasting Corporation last March, to become the network’s head of Corporate Marketing. Bartolome had been managing director of Carat less than two years. Prior to Carat, Bartolome was a vice president at Universal McCann. Bartolome takes over from March Ventosa, who is now the head of Cable Channels and Print Media Group (CCPMG) of ABS-CBN. His transfer was announced in March 2009, but Bartolome was hired only recently. In a statement from ABS-CBN, their spokesperson said that Bartolome was “highly recognized locally and internationally for her innovative and cutting edge media solutions that have shaped the Philippine media landscape…Bartolome will be providing her leadership skills in marketing channels, programs and campaigns to advertisers and agencies across all the ABS-CBN platforms.”

TV5 Reinvents Itself Again What will it take for a TV station to break the existing duopoly of ABS-CBN and GMA? TV5 hopes that new owner Manny Pangilinan is the secret weapon that will propel them into the Number 3 spot (or higher). In an industry where two channels have been duking it out for supremacy the past few decades, third is the most you can hope for, at least for now. Showbiz circles have been awash in rumors and speculations as to which other network stars will defect to TV5, after luminaries like Ruffa Gutierrez, Paolo Bediones and Dolphy joined the fold. At their launch event in World Trade Center last March 24, it was a heady mix of “Kapamilya” and “Kapuso” stars that now call themselves “Kapatid”.

it is in our nature to always push the boundary of what is possible, and to simply keep trying until we succeed In a lavish (and expectedly long) extravaganza to launch their new look and new shows, advertising and media people were treated to the presence of stars like Lucy Torres Gomez, Ryan Agoncillo, Jon Avila, JC De Vera, Joey de Leon and Vic Sotto. It seemed that their strategy was to amass as much star power as

they can, in order to capture a market fixated on celebrities. After thanking all advertisers, ad agencies and media, Manny Pangilinan, Chairman acknowledged advertisers and ad agencies, as well as media, on which, “our success will be dependent on the help and support you may extend to us.”

Oh, and the return of Batibot got the wildest applause out of all the shows presented that night. Guess nostalgia does run deep for most of the audience.

It remains to be seen whether the quality of programming of TV5 can actually compete with those of ABS-CBN’s and GMA’s. “Starting a TV station is a difficult task. It is a business different from what we already. There will be setbacks and false paths along the way. Some will say it cannot be done, and will be too risky. But, it is in our nature to always push the boundary of what is possible, and to simply keep trying until we succeed,” the local tycoon added.

GOOD TO KNOW In “Media Agency of the Year Awards” (Jan-Feb. 2010), the team identified as Carat China is, in actuality, PhD Asia Pacific. In “Appealing to the Highest Common Denominator” (Mar-Apr 2010), Rogue’s editor-in-chief is Jose Mari Ugarte, while creative director is Miguel Mari. They are not related. In the “Print Publication Showcase” (Mar-Apr 2010), the correct number for BusinessWorld is (632) 535-9901. In “The Print Media” (Mar-Apr 2010), it should be said that tycoon Manny Pangilinan was only in the process of acquiring the Philippine Star. Currently, negotiations between the publication and MediaQuest Holdings are on hold.

may-june '10

Pacquiao-Clottey Match

The Makings of Our Own Super Bowl? Traditionally, American admen look forward to the annual Super Bowl championship, where all 52 states drop everything to watch football—and the latest big-budget ad campaigns in between quarters. In the Philippines, our very own Super Bowl takes the form of one person—world-renowned Pinoy superhero Manny Pacquiao. Each of his fights bring a plethora of advertisements, be it in the numerous TV spots in between rounds, on the ringside (SMART Communications), or even the Pacman’s shorts (as far as we could see, it had Café Puro, Ricoa, Motolite, PAGCOR, Head & Shoulders, RGB, and of course, Nike). In his latest victory against Ghana’s Joshua Clottey, the jury is still out on how Sources disclosed much advertising money was actually spent in total, but it is suffice to say that that the airtime Top Rank and Solar TV and GMA should for the live be very happy campers. Top Rank supplies the live feed telecast of the to local operators, while Solar Pacquiao-Clottey sells thecable feed to restaurants and movie match went houses. Apparently, this being the peak of political campaigning, Solar’s clients as high as PhP includes local government officials who 600,000 for a hosted community viewings for their constituents. Of course, Solar also buys premium spot blocks of airtime from GMA Network, and sells advertising packages from that. Sources disclosed that the airtime for the live telecast of the PacquiaoClottey match went as high as PhP 600,000 (over US$ 13,000) for a premium spot and PhP 43,000 (US$ 944) for the same spot on the fourth telecast on Solar’s channel. For the initial broadcast, advertisers shelled out PhP 40,500,000 (approximately US$ 889,500) for a presentor’s package ; PhP 21,900,000 (US$ 481,000) for a major sponsorship, and PhP 9,000,000 (US$ 198,000) for a minor sponsorship. While it is chump change, compared to the Super Bowl XLIV’s US$44B total adspend, the advertising money changing hands at the Pacquiao-Clottey fight makes it the country’s biggest ad event of 2010. Moreover, considering that the fight lasted until the 12th round—and kept tens of millions of Filipinos glued to the set for just as long—it was well worth the investment. Now that it has already been established as a media money maker, let us see if the quality of the ads in future Pacquiao matches will go the way of Super Bowl Sundays, where people can look forward to the advertising entertainment as much as Pacquiao’s lightning punches.

CLONED

Edward Cullen Twilight

100 may-june '10

Andrew Petch Executive Creative Director Ace Saatchi & Saatchi

EVENTS CALENDAR Top 20 Advertisers

(Q1 2010 versus Year Ago) Top 20 Philippine Advertisers based on Rate Cards

In Million Pesos based on Ratecard costs source: Nielsen Advertising Information Services

RANK ADVERTISER 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20

Unilever Philippines, Inc. Procter & Gamble Philippines, Inc. United Laboratories, Inc. Colgate-Palmolive Philippines, Inc. Nestlé Philippines, Inc. Manny Villar Jollibee Foods Corporation Universal Robina Corporation Monde Nissin Corporation Globe Telecom, Inc. Noynoy Aquino Johnson & Johnson Phils., Inc. Wyeth Philippines, Inc. Smart Communications, Inc. Kraft Food (Philippines), Inc. The Coca-Cola Export Company Philippine Long Distance Telephone Company Tanduay Distillers, Inc. Asia Brewery, Inc. Mead Johnson Philippines, Inc.

%Change Q1 2010 vs. Q1 2009 5,878 4,166 3,073 2,680 2,664 1,230 759 738 698 561t 526 505 496 487 467 462 445 440 414 393

47% 25% 20% 81% -7% 6575% -2% 5% 35% 19% -7% -17% -5% 61% -33% 228% 27% 130% -38%

Top 20 Categories

(Q1 2010 versus Year Ago) Top 20 Categories based on Rate Cards

In Million Pesos based on Ratecard costs source: Nielsen Advertising Information Services

RANK CATEGORIES 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20

Government Agencies & Public Utilities Hair Shampoos, Rinses, T'Ment/Hairdressing Prod Communication/Telecommunication Detergents & Laundry Preparations Dentifrices, Mouthwash & Toothbrush Cough & Cold Remedies Proprietary Drugs/Other Than Vitamins & Tonics Other Food Prod./Other Than Biscuits & Bakeshop Powder Milk Skin Care Vitamins Entertainment Ice Cream, Sherbets & Frozen Delights Flour, Bakery Products & Bakeshops Seasonings, Sauces & Extracts Coffee & Tea Health & Beauty Soaps Soups & Noodles Banks, Finance Companies & Investment Houses Business Machines & Office Equipments

%Change Q1 2010 vs. Q1 2009 6,523 4,544 3,091 2,624 2,120 1,918 1,868 1,830 1,733 1,378 1,361 1,336 1,206 1,019 937 934 784 737 733 692

267% 30% 12% 56% 70% -2% -2% -2% -6% 8% 8% -21% 246% 34% 5% -13% 25% 17% 30% 80%

CLIO Awards May 26 - 27, 2010 New York City www.clioawards.com

4As Agency of the Year Awards August 2010 Manila, Philippines

adobo main course: Art & Copy June 10, 2010 Makati City, Philippines

Graphika Manila August 7, 2010 Manila, Philippines www.graphikamanila. com

New York Festivals International Advertising Awards June 10-12, 2010 Shanghai, China www.newyorkfestivals. com London International Awards Deadline: June 14, 2010 Judging: September 9-19, 2010 London, United Kingdom www.liaawards.com 15th Graphic Expo 2010 June 17-19, 2010 SMX Convention Center, Mall of Asia Manila, Philippines Tel: +632 896 0639, 8960637 www.fmi.com.ph Cannes Lions 57th International Advertising FestIval June 20-26, 2010 Cannes, France www.canneslions.com Marketing Opinion and Research Society of the Philippines (MORES) 10th National Congress July 7-9, 2010 Boracay Regency Beach Resort & Convention Center Boracay, Philippines bingporcia@mores.com. ph Tel: +6325336653 Asian Publishing Convention July 8-9, 2010 Ho Chi Minh City, Vietnam publishingconvention. com Tambuli Awards 2010 July 14, 2010 University of Asia and the Pacific Ortigas, Philippines Email: dmalayo@uap. edu.ph Tel: 637 0912 local 393

Manila Design Week August 7-14, 2010 Manila, Philippines www.maniladesignweek. com Internet and Mobile Marketing Association of the Philippines (IMMAP) 4th Internet and Mobile Marketing Summit 2010 August 18-20, 2010 SMX Convention Center Manila, Philippines Tel: +6328960639, 8960637 www.immap.com.ph Spikes Asia Festival September 12-21, 2010 Suntec Plaza, Singapore www.spikes.asia Tinta Awards Call for Entries: June 2010 Awards: October 15, 2010 Manila, Philippines Media Agency of the Year 2010 December 2010 Manila, Philippines PR Week Awards 2010 October 19, 2010 Grosvenor House, London Park lane www.prweekawards.com Tel : +020 8267 4161 The Mobius Awards October 01, 2010 713 South Pacific Coast Highway, Suite A, Redondo Beach, CA mobiusinfo@ mobiusawards.com Tel: +310 540 0959 ADCC Directions 2010 November 04, 2010 Kroemer Hall – Royal Conservatory of Music’s TELUS Centre for Performance And Learning Tel: +416 423 4113 www.theadcc.ac info@theADCC.ca

may-june '10

101

Last April, Nielsen invited some key members from media, publishing, media advertising and clientele to a short demonstration of the next wave of Nielsen’s innovative tools for determining Internet activity in the Philippines. The objective of the demonstration was to show the attendees what they were planning to do, why they were planning to do it, and how they were planning to execute it. They hope that, with this more concrete knowledge of the Philippine internet users’ behaviour, advertisers can more

Nielsen takes first steps to tackle the Philippine internet market

by Iggy Javellana

inaccurate. Based on the known habits of Filipino internet users, it is very difficult to pinpoint the actual browsing and netspending habits of Filipinos using assumptions based off of a small percentage of the net users. Another thing is, according to the Universal McCann It will be like placing Google Social Media Study for 2010, since the analytics on every single Philippines is the online property viewable by most active in terms of social networks, Filipinos—it’s like tracking photo sharing, blog Pinoys every move online. reading and online video watching, a lot effectively mount digital and of the content coming from and online campaigns targeted towards going into the Philippines is userthe right audience. This, in turn, generated—how can one track that give advertisers and clients more kind of content? confidence in investing in online advertising. The Plan Nielsen proposes a system that Philippine User Data will allow them to actually survey For one thing, there is no hard and the ENTIRE net population of accurate data on the Philippine the Philippines, by implementing Internet users. Because Internet their data collection tools into access is still varied, and a huge local websites, blogs, social amount of traffic coming from networks, etc in the Philippines. net cafes instead of houses, the And this won’t just include big traffic data can get duplicated or sites or ad networks—even the

102 may-june '10

smaller scale blogs, pages and independent social networks will be included. How they plan to do it of course is their forte. But from my understanding, it will be like placing Google analytics on every single online property viewable by Filipinos—it’s like tracking Pinoys every move online. Is this

legal and, above all, moral? Yes, of course, it is because Nielsen will not collect personal data, but will however, collect web and traffic data, which can be used to make more accurate inferences and projections of user behaviour of a particular demographic. Is it effective? Very. So much so that they were able to do this in 2004 to 2007 for New Zealand and in 2007 for Hong Kong, where they were able to increase online

ad spend in those countries by 108 percent (over the three years in New Zealand) and over 42 percent (Q1 to Q3 of 2007 alone for Hong Kong). Next Steps Nielsen’s data collection system is already underway and they are already expecting a beta version to be out this coming May. Investing in this project will allow advertisers to better understand the digital landscape of the Philippines and give them more ammunition for convincing clients to invest more for their digital spending. Even better, it won’t cost an arm and a leg—the more companies, agencies and media outfits that invest in the project, the more affordable it will be. In fact, they are already studying price points that will make it affordable for all levels of digital advertising clients. For more information do get in touch with Eric V. Barrera, Director of Client Service Media for The Nielsen Company (jerico. barera@nielsen.com).

NICE JOB, IF YOU CAN GET IT. Summer interns at adobo create layouts, write newsblasts, hobnob with industry players— everything the regular adobo crew does, except make coffee. Unless, of course, it's for themselves. This year 's batch includes (counter-clockwise, front) Mark Lagos, Jazz Rosende, Trix y Llamas, Stephanie Tudtud, Janine Navarro, AJ Juare, Frances Landicho, Roma Pilar, Lulu Montemayor (not in photo: Arbie Belmonte)

Asia Pacific New Business Scoreboard RANK THIS MONTH

RANK LAST MONTH

AGENCY

Ogily

Leo Burnett

DDB

RECENT WINS

ESTIMATED YTD WIN REVENUE (US$M)

RECENT LOSSES

ESTIMATED OVERALL YTD REVENUE (US$M)

Dhanalakshmi Bank India, Novo Nordisk Australia, Hisense China, Daehan Steel Korea

14.4

Bayer Thailand

12.5

McCain India, Dodge Japan, Vedanta India, MINDEF Singapore, Merrill Lynch Korea

12.6

Sony Vietnam

12.0

J&J CRM Malaysia, Shakti Pumps India, Perennial Group China, Ministry of Manpower Singapore

12.2

City of Dreams Digital Hong Kong

9.9

Grey Group

Bayer - Companion Animal Australia, Motilal Oswal India, The Link HK, P&G BTL Projects

8.1

Spencer’s Retail India

7.8

McCann WorldGroup

Guangdong Telecom China, Chicco India, Korean Ministry of Health communications, Inax Japan

7.6

Mister Donut Philippines

6.8

EuroRSCG

M3M India, Arnold Thomas & Becker Australia, Dulux Indonesia, Wellmade Philippines

6.2

Telkom Indonesia

5.2

Publicis

City of Dreams Digital HK, Black Canyon Thailand, PayPal HK

5.1

Shenzhen Development Bank China

4.7

TBWA

H.J. Heinz Vietnam, Twix Australia, Accessorize Hong Kong

4.5

BBDO

CMS Computer Institute India, Adairs Australia, Modern Girl Taiwan, Sunbites Thailand

6.6

Abbott Nutrition India

4.4

M&C Saatchi

AIA Juvenile China, Times Property Group’s “EOLIA” Project China, Building Brand Australia Campaign

3.6

11=

JWT

Chitato Indonesia, Emerald Lands India, British Council Pakistan, Unicef India

4.1

Alpenliebe China

3.3

11=

Bates

Sina China, Proton Indonesia, ITC India, Chennai Marathon India

4.8

Shell Singapore, Telkom Parts Indonesia

3.3

14=

Y&R

Kingkeys Healthy Care China, Gap China, Cord Life Indonesia, Osaka Investment Japan, Cavin Kare India

4.3

ME Bank Australia

3.1

Lowe

Indofood Indonesia, Nirula’s India, Style TV Vietnam, Lemon Squares Philippines

3.7

Godrej (Fairglow) India

2.8

14=

Saatchi and Saatchi

Chrysler China, Carlsberg China, White Rabbit China

4.1

United Overseas Bank Singapore

2.4

14=

Dentsu

Kumon Education Malaysia, Wynncom India

2.1

20=

DraftFCB

Kowloon Motor Bus HK, Abbott Nutrition India, Hero Honda Motors Sponsorship India

2.3

Les Mills New Zealand

1.6

BBH

Unilever Lakme Salon India, Alpenliebe China

1.3

Wieden & Kennedy

HCL Technologies India, The Park Hotel India, Budweiser India

1.0

SapientNitro

QLD State Govt Australia, Terry White Chemists Australia

0.9

20=

Iris

The Executive Centre Singapore, Alpha G India, Freights and Couriers Australia

0.1

CREATIVE AGENCIES Ogilvy leapfrogged into top place with more than 100 wins across multiple disciplines this month, including electronics giant Hisense China and Daehon steel Korea. Leo Burnett slips to second spot, winning McCain India and Merrill Lynch Korea. DDB maintain third spot on the back of some strong wins including J&J CRM Malaysia, while Grey move down two spots to fourth METHODOLOGY The R3 New Business League has been compiled each of the last 92 months using data supplied by 26 multinational agencies on a monthly basis to R3. In addition, this data supplied is balanced against Client Estimates, Nielsen ADEX, discounted to appropriate levels and then converted to a revenue estimate. R3 strives to be accurate in all reporting, but welcomes comments and questions. Please write to greg@rthree.com or visit www.rthree.com for more information or to download a soft copy. R3 is the leading independent consultancy focused on tracking of agency performance, and marketing ROI for clients across the region

104 may-june '10

digitalscape

Google posts US$2 billion Q1 profit thanks to big brand spending

Global - The first quarter of 2010 has brought a 38% increase on Google’s profit, as compared to the same period last year, bringing $1.96 billion to the company, largely due to the improving company and the return of large advertisers to the fold Consumers click more on branded search adverts, showing an increase of 15 percent compared to 2009. And even though the search giant’s share price has dipped since then, these figures still beat analysts’ forecasts ever since Google increased its workforce from 19,835 full-time employees in Q4 2009 to 20,621 in Q1 2010.

BBDO Guerrero / Proximity opens the Digital Lab

Twitter Starts Carrying Ads

Global - Starting April 13, businesses can buy ads to appear in Twitter’s search results. Some brands that have opted to be the first advertisers are Starbucks, Best Buy, Red Bull, Sony Pictures and Virgin America. Twitter held back on monetizing search results because they did not want to upset its tens of millions of users by flooding their Twitter pages with commercial messages. But Twitter founder Biz Stone now believes that they’ve found a way to find the balance between attending to their users’ demands and their advertiser’s needs.

BrandKarma: Changing the World One Brand at a Time

Global - BrandKarma is the world’s first brand-centric social media platform, the brainchild of Publicis Mojo’s Australian Chief Creative Officer Craig Davis. Davis says he wanted to create an interactive platform where people can monitor what their favorite brands are doing and to commend them for the good things and to call their attention when they fail on some aspects. In a world where consumers are better informed than ever, it ’s important to have an area for open dialogue between brand and consumer.

Facebook overtakes Google to become the most visited website in the US

Global - Social network Facebook has overtaken search giant Google to become the most visited website in the US for the week ending 13 March. Research from online analysts Hitwise showed Facebook accounted for 7.07 percent of internet visits in the US during that week. During the same week, Google commanded 7.03 percent of all Internet visits, which made both websites accountable for 14 percent of all US internet visits. It marks the first time Facebook has been the most visited website across an entire week. The social networking site had previously usurped Google in the US on Christmas Eve. and Christmas Day 2009, as well as New Year’s Day 2010 and the weekend of 6 and 7 March 2010. Yahoo Mail accounted for the third largest share of visits in the US in the week to 13 March with 3.8 percent, followed by Yahoo with 3.67 percent. Google’s video-sharing site YouTube was the fifth most-visited site in the US with a 2.14 percent share, and News Corp’s social network MySpace had a 2 percent share of internet visits.

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Last April 16, 2010, BBDO Guerrero / Proximity Philippines officially launched the Digital Lab, “a space to inspire, share, learn and celebrate all things Digital”, for its clients and staff in the Philippines. Guests from their clients as well as media were invited to experience first hand the already expansive digital space by enjoying a full afternoon of learning series from such notable figures as Richard Fraser, regional managing director of Proximity Asia; George Foo, COO of iHubMedia which is the official partner of Facebook in Southeast Asia; Anand Tilak, head of the CPG Finance, Education and Government category of Google SEA, and Samir Ahmed, country head for Deploy Digital. "Digital is no longer a platform, but a language that marketers need to speak and understand," says Leah Camilla Besa-Jimenez, general manager of Proximity Philippines. With more than 12M Filipinos on Facebook alone and 82 percent of the Philippine population owning mobile phones, it is quite clear that Filipinos are now more than ever digitally connected. According to Richard Fraser, Filipinos are the most digital savvy, claiming the crown for almost all forms of Social Media consumption not just in the region, but in the entire world! We are number one in online videos consumption and photo sharing, one of the top

countries when it comes to blog readership and publishing and of course, the most populous when it comes to the more popular social networking sites in the country like Friendster, Multiply and of course, Facebook. George Foo continued by sharing valuable insights on the Philippine market and how to effectively utilize Facebook’s tools in marketing and promotions. In fact, he shared that because Filipinos love to share photos, photo tagging has become one of the most entertaining pastimes in the digital space to date, an insight that can be cleverly used to an advertisers advantage. It’s been a long time coming, and Digital practitioners are very thankful that more and more agencies are bringing the Digital space closer to the clients and advertisers for understanding. By the way the Lab is fashioned, they’re doing so in a very comfortable and extremely cool manner.

For more information on the Digital Lab, make sure to drop by their blog site, http:// thedigitallabblog.com and http://www. digitallabblogasia.com. Also, be sure to follow their Twitter account too: Twitter.com/ thedigitallab.

Placemad partners with SM Supermalls for mall advertising SM Prime and Placemad Advertising inked an agreement early this year to introduce tray liner advertising in SM City Foodcourts. Both parties agreed to pilot the tray liner advertising concept in SM Foodcourt North EDSA, Marikina, San Lazaro and Valenzuela. They will then expand in phases to other SM Foodcourts nationwide. The public would recognize the tray liners as FoodcourtAds.com. The tray liner is a nontraditional advertising/ activation medium that capitalizes on the proximity of Foodcourts to stores inside and around each

SM Mall. A unique set is printed for each mall, thereby making the tray liner a good medium for localized campaigns in SM Foodcourts, a haven for families, students and

young professionals in SM Supermalls. For further inquiries visit www.placemad.com or call us at +632 3939080.

How to get a “Pseudo PHD” in Social Media Marketing

by Iggy Javellana

ithout a doubt, social media has become one of the most prominent communication tools in the world today. As of 2009 and early 2010, there are already over 1.73 billion internet users in the world—and over 84 percent of these users are part of a social network. There are over 126 million blogs worldwide, while the Philippines is the number one country in terms of consuming blogs, sharing photos and viewing online videos.

tools that make up the world wide web today.

In short, your audience is already online. Now how in the world do you capitalize on that? How can you find your audience if there are over 27.3 million tweets per day and a massive 350 million people on Facebook (12 million of which are Filipinos)? Here are a few great tips from a wide array of “digitalists” on how to get a handle on the already massive trend of social media marketing and communicating through social media, and how to get a better understanding of the

to Darren McColl, the regional planning director of SapientNitro, he keeps abreast of what’s going on in the industry by subscribing to news feeds via email, or like Angeli Beltran, regional senior director for Dentsu Asia, who follows tweets from respected social media marketers both local and abroad. Basically, you subscribe to topics or people of interest through their blogs, vlogs, podcasts or tweets, and you already get a good grasp of what’s going in the market, how to effectively

www.isteconnects.org

Learning by Doing Almost all of the digital practitioners today are practitioners in the true sense of the word—because they too are heavily involved in social media. We blog; we tweet; we share on Facebook, and we do so on a regular basis. That being said, it doesn’t take a techie geek to understand how these sites and social media work—they usually only ask you to register once, and voila! You’re part of the billions already registered to a social network. But, mind you, you don’t have to be as “active” as us. According

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capture an audience online, etc. Your experience grows as you collaborate, communicate and share with these resource persons or colleagues. Of course it helps to employ the wisdom and expertise of someone who’s already immersed in social media, but in lieu of a “digital expert” (or, ahem, a hefty digital budget), asking your brand manager to build a fan page, or preparing a schedule of weekly tweets for followers can be a good start. e-Learning Ever since my immersion into the digital space, I’ve begun living by the phrase “you learn something new everyday.” Because of tools available to us today, that is very true. A few social media marketers that I follow on Twitter (as well as myself) are regular attendees of Janette Toral’s Digital Filipino Webinars, which, according to Beltran, are advantageous because they can be quite flexible, allowing you to focus on topics which are of more importance to you, at your own pace. Even Eduardo Mapa of Media Contacts and HAVAS agrees: you can learn a great deal from webinars and online resources such as emarketer.com, ioninteractive.com and more as you can get a daily dose of great information and case studies for your benefit. Of course, e-Learning does not mean it has to remain on the virtual space. For example, Paul Roebuck CEO of BBDO Guerrero / Proximity Philippines says that webinars are great and effective for some people, but “when you get to engage with a real person, the download of information [is] more efficient and rewarding.” When asked about where else he gets information on the digital space, he answers, “Our specialist digital team here in the office, and at home, my 15-year-old daughter.” McColl adds, “There is more connection in real people interaction. In person, you get a real feel for the content and you feel part of it.” Which is most probably why The IMMAP (Internet and Mobile Marketing Association of the Philippines) is the organization of choice for on—and offline— seminars, where well-known social media marketing personalities

are in attendance, such as Jay Arellano, chief creative officer and now head of Yehey! Corp., or the most popular blogger in the Philippines, Abe Olandres. A great deal of online social media marketing strategies is shared during these offline seminars, AND you get a chance to see firsthand how these strategies are employed in different categories, markets, audiences. The most recent conference was the 2010 Social Networking Conference mounted again by Janette Toral of DigitalFilipino. Learning to Listen Definitely, the digital landscape is growing. According to Samir Ahmed, country head for Deploy Digital, it is an understatement to say that the digital landscape is quite expansive. Because digital is the first lean-in and, more importantly, truly measurable and real-time medium, the digital space—more specifically, social media—does not become just a platform, but a whole new language. Language, he adds, entails communication— communication in turn, entails listening. Interacting with your audience through social networks, utilizing these social media as a tool for marketing is not like your broadcast media where you can just keep sending out information and hope your audience gets it. What we’re trying to say, us digital geeks, is that social media allows you to communicate with your audience, your target market. These people actually talk back; they comment; they share; they blog; they like; they unlike—and with each click, tag or submit, you have to understand their motivations behind it. Did they like my commercial? Did they try the new flavors? Why are they complaining about my service? It is these interactions, these real-time, real-people connections that allow us to better understand and eventually properly quantify in metrics, how effective our communications are. For more online advertising campaigns, visit levelupgames. com.ph/advergaming or email Iggy at iggy.javellana@gmail. com. Incidentally, that is also his Friendster, Multiply, Twitter, Plurk, Linked In, and Facebook account.

EL Delivery Box Electroluminescent (EL) advertising has made print ads, billboards, window signage and posters cooler with lights. Revolutionizing the way businesses market their brands to target audiences, EL is set to take over back-lit advertisements versus other light products. It can be customized and controlled to illuminate created sequences and basic animations. Clear Channels has made use of the EL technology to illuminate roving ads. The EL Delivery Box Industry is pioneered by Max both locally and internationally. The technology was also used by Del Monte not long ago. Currently, negotiations with Jollibee are being made with regard to their delivery bikes. It seems like the public will soon see these bikes flashing animated lights in the streets.

Why subscribe? Only P960 for six (6) issues! That's 10% off from cover price! adobo's freshest issues delivered right at your doorsteps Get special discounts and invites on adobo magazine events (e.g. adobo main course, adobo party)

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The Myth Behind 4G

A Wi-Tribe Review

ver the course of the past few months, and without any real media coverage, a new internet service provider surfaced and began spreading like wildfire across the Metro. From little nooks near subdivision screen corners, to school vicinities all the way to the business districts, camps and tents and tarpaulins began emerging one by one, stating “4G is here!” It was therefore only natural that a good number of techies and bloggers and internet buffs became curious. Like myself, they dropped by the tent to ask some questions or look around the net and do a little bit of research. In their site (http:// 4G is “broadband www.withat delivers true tribe.ph), “4G (Fourth wired speeds Generation) is the class of without wires”. technologies that delivers hi-speed broadband and multimedia services and applications.” To differentiate between 3G, they also state that, “3G is voice technology being used for some internet applications like small screen applications and casual surfing” while 4G

is “broadband that delivers true wired speeds without wires” and that it is “faster because of more bandwidth”. Of course, we know better than to immediately trust the claims of a product, so like any other proactive consumer in the market, we did additional research. Essentially, Wi-Tribe is a branded version of WiMAX. The acronym for Worldwide Interoperability for Microwave Access, it is a telecommunication technology that provides fixed and fully mobile internet access. The

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by Iggy Javellana

current WiMAX provides up to 40 Mbps in real world end-user speed tests. First of all, you need a USB modem—but unlike its competition (Globe, Smart and Sun) which uses a small USB modem dongle almost as big as your thumb, Wi-Tribe uses a much larger, bulkier modem (almost as big as a mobile passport/portable hard drive unit standing upright) which must be plugged in to a wall socket to function. In terms of speed, though, reports are varied. Some claim speeds of up to 2MBPs, which is just as good as your available wired DSL plans, while others indicate very poor speeds depending on the area. According to threads in TipidPC.com, a local buy-and-sell forum which also has a very active community of users in their message boards, they have pretty much narrowed down the best areas for this service. In fact, in their official thread for 4G Wi-Tribe, they indicate what the download and upload speeds are averaging per area—and it’s pretty clear that Wi-Tribe is doing very well in the business district of Makati. But don’t go jumping for joy just yet. According to reviews as well as confirmations from their sales agents, there is a usage cap per user each month. If you reach or exceed 7GB of data transfer (depending on your plan), the modem or service automatically limits your

bandwidth to a much lower, more democratic speed so that everyone else can still enjoy the service. The limiter only kicks in once you reach your threshold, so folks who subscribe to the higher plans enjoy higher limits. Lastly, wireless is not without its drawbacks. Issues like line of sight and erratic signal are common problems faced by wireless broadband users. You probably need to carry around your own antenna to really maximize the potential of any wireless service—and even then you’d have to pray that it wouldn’t get too windy or rain too hard. Overall, the pulse seems to be the same: it’s a great alternative to the other wireless broadband services out there, but it is definitely not for everyone. If you’re constantly on the road in Makati, need to stay logged in even at the coffee shop or restaurant for your work or leisure, then this is great indeed, with more than optimum browsing speeds and reliability in the area. But if you like downloading movies or watching YouTube all day, you may be better off sticking to your wired ISP. For more information on their service, visit their official website http://www.wi-tribe.ph or the official TipidPC thread here: http:// tipidpc.com/viewtopic.php?tid=210474

logic and magic

Critical partnership between academe and industry is what we need

by Bong Osorio

ffective communications between your company and your clients is a critical component of your marketing program. It is a core requirement for building relationships and sustaining them. In present day practice, an Integrated Marketing Communications (IMC) or a 360-degree program can achieve distinct and synergized communications road maps with ready for action marketing impact and cost efficiency. How you understand and practice IMC can differ based on how your company looks at its role and importance. In most cases, it is developed by your marketing operation whose course is determined by market segments. This becomes particularly critical if you have to bring your communications to multi-targets. Today, educators and practitioners agree that IMC is an approach to marketing that continually morphs as it relentlessly seeks to lay bare the gains of a synchronized method in customer connectivity. Understanding how they pick out a company or a brand and how their recognition affects their buying behavior are key in the process. These data are critical in planning strategic and tactical programs to increase customer loyalty, improve client retention and encourage positive word of mouth.

IMC is indeed the name of the game in today’s marketing practice. It behooves universities to adjust their marketing curricula to the demands of the current practice If you look at all the ways that messages can link up and put pressure on customers, you can quickly see the need for creating synergy and consistency between communication programs and contact points. IMC generally involves corporate communication, public relations, customer relations, sales promotions and employee communication functions. Each communication component, whether it is an ad, corporate social responsibility initiative, press release, e-mail, brochure or survey, must be crafted to bring in the key messages that match the target customer. Inconsistency in messaging can result in confused customers and missed opportunities that can affect sales negatively. It’s a waste of communication resources to send an upgrade notice to someone who’s not a current customer and it can be damaging to send a promotional e-mail designed for

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young males to middle-aged women. These may sound like obvious problems that can be avoided, but you’ve all seen cases where you’ve been targeted incorrectly. By developing communication programs and messaging in isolation, you run the risk of pushing away prospects and reducing satisfaction among customers. The increasing importance of IMC is traceable to a number of marketing and technological developments. In advanced economies, traditional media have proliferated into specialized magazines, cable programming, in-transit advertisements and the Internet, thereby greatly fragmenting target audiences and placing greater demands on consumers’ attention. In response to new media proliferation, marketers are attempting to increase the impact of their communications program through an IMC framework. But a great majority of firms do not get their IMC program right, and are nowhere close to maximizing its value. So, how can marketers best harness the multiplicity of media in the interactive, networked, global systems found in the 21stcentury media marketplace? A good IMC program is critical to market success for another reason. It forms a fundamental basis for building relationships with your customers as well as your supplier chain partners. Thus, a strong IMC program lays the solid foundations needed for both Customer Relationship Management (CRM) and Supply Chain Management (SCM). There are four primary stages for an IMC program from strategic research and analysis through tactical implementation. IMC or BUST Start with research. Conduct an audit of all messaging and customer communication, analyze customer perception, and perform

a SWOT Analysis (strengths, weaknesses, opportunities and threats) versus competitors. Develop a strategic communication plan. This should define your goals and objectives and provide a messaging matrix for your company, each market segment, each customer demographic, partners, employees and other stakeholders. Design and execute tactical plans. Aim to create multi-channel communication with consistent messaging per customer segment, defining tactical goals and measuring effectiveness as you implement the program. Implement a clear analysis of overall effectiveness. Do this on a regular basis, benchmarking the impact of strategic marketing communication plans against corporate goals. Measuring IMC implementation is highly important, and there are available tools that can be harnessed. PR, for example can be measured via media coverage analysis, ad value equivalents, tonality of pickups, prominence versus competitors, and influence of spokespeople. Effectiveness of CRM programs, on the other hand, can be determined through customer satisfaction surveys, lifetime value of customer (LTV), and customer retention rates, marketing, sales promotion, advertising, events, brand activation, direct mail and e-mail marketing can be gauged using up-selling and cross-selling revenue analysis, customer recommendations, complaints about marketing or sales programs response rates, number of inquiries, number of qualified leads from respondents, customer acquisition costs (total number of new customers vis a vis marketing costs), and increase in average sales price. Internal communication activities can be evaluated through employee surveys, and other audits like sales of companies’ products to employees, and recommendations to friends and family.

TEACHING & LEARNING, THE IMC WAY IMC is indeed the name of the game in today’s marketing practice. It behooves universities to adjust their marketing curricula to the demands of the current practice, and industry organizations to establish stronger linkages and collaboration with the academe to develop mechanisms that can respond to the expressed

Design and execute tactical plans. Aim to create multi-channel communication with consistent messaging per customer segment, defining tactical goals and measuring effectiveness as you implement the program.

Dizon, Ting Jarme and Joyce Hernandez; McCann’s Kathleen Mojica, Emi Pascual, Joyce Hernandez, and Dadi Santos; Campaigns & Grey’s Sammy Pasamba, Dette Rome, Eres Gatmaitan and Ampy Corpuz: DYR’s Aris Estrella, Art Ruiz, Shu Manalo, Norbert Pined and Reggie Avanzado, Levi’s Monch Martelino, Ricky Gonzales, JWT’s Tessa and Agnes Francisco, Leng Cabunoc, Robi Aligada: ABSCBN’s Kane Choa, Ira Zabat, Faith Zambrano, Felix Nafarrete, Mickey Munoz, Maru Ravida, Cynthia Jordan, Phoebe dela Cruz,, and Ruel Ferrer; Nestle’s Jet Cornejo, URC’s Jane Castillo, Ever Bilena’s Kristine Gabriel, Unilever’s Mutya Crisosttomo, Globe’s Yolly Crisanto & Jeff Tarayao, SMART’s Miriam Zamora and Hazel Custodio. The list goes on and on.

IMC education is a dynamic process, and it can be made even more relevant. Its critical partnerships between the academe and the industry based on mutual gains can be forged, and nurtured. Truly, the best way to learn IMC is via the quick application of updated theories into meaningful applications and practices.

BONG OSORIO is an active marketing communications practitioner, a multiawarded educator and writer rolled into one. He currently heads the Corporate Communication Division of ABS-CBN, and is a professor at the University of Santo Tomas, as well as a columnist in the Philippine Star.

needs of creative and media agencies. The matching of industry needs with university offerings may be school-based or off-campus. The University of Santo Tomas’ Communication Arts department, which I chaired for 17 years is designed that way. In the process it has produced a number of successful graduates who are now major players in the industry. On the top of my head list include Angel Villanueva-Guerrero, a McCann Erickson stalwart prior to giving birth to adobo; Sockie Pitargue of JWT and PCV; Ace-Compton alumni Peps Villanueva, Mike O’Connor, Alice Martinez Orleans (bless her soul), Hilda

Selected by adobo’s editorial board and some of the countr y ’s top creative directors

MARCH 2010

Earth Hour "Flourescent Candle" Ad Title: Earth Hour "Candle" / Agency: Leo Burnett Manila / Advertiser: WWF-Philippines / Executive Creative Director: Raoul Panes / Creative Director: Alvin Tecson / Creative Team Head: Cey Enriquez / Senior Art Director: Mela Advnicula / AVP Business Development Director: Sue Ann Malig-Nolido / Account Management Consultant: Bansky Fermin / Account Executive: Gela Pena / Print Producer: Benjie Puno may-june '10

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the bigger picture

Controversial Ads: The Shock of the Few by Cid Reyes

esperate times call for desperate measures. Or so it seems. Shockvertisements are what they’re called, typical of our industry’s penchant for coining buzz words. In their manic desire to rise above the clutter of advertisements, shockvertisements necessarily pander to that variant strain of human emotion that has been steeped in cynicism, thus rendered inured to feelings. A so-called jaded or sophisticated audience that prides itself in having seen it all—now what?—has become the target for communication materials that invite a violation of taste and values, sense and sensibility. The thinking follows the logic: “Whatever you hold dear or sacred is fair game. To give offense is the best defense. Give us your attention or we break every decent bone in your body.” Shockvertisements are our industry’s version of the Theater of Cruelty. Wikipedia defines Shock Advertising as “a form of advertising where social or moral boundaries are pushed in order to create buzz and controversy.” It depends on the mantra “there’s no such thing as bad publicity.’”

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Is it to the credit of the now erstwhile AdBoard, in recent times re-invented as the Advertising Standard Council, that Philippine advertising, replete with strictures, can offer just a few of these offensive ads? Or is it a sign of our timidity and cowardice, or our much vaunted delicadeza, that we stay away from offending our fellowmen? Still, a few manage to infiltrate our airwaves and consciousness. Perhaps the most wounding, not least because it is still the most remembered by Filipinos from all social strata, was the liquor campaign “Nakatikim ka na ba ng 15 años?” (Have you tasted a 15 year old?). Brandished all over Metro Manila billboards, the titillating interrogative suggestive of sex with a minor was, for a while, a succes de scandale. How could such affront have passed prim and puritanical Adboard?

Even a corpse has been put on cold display for a brand of mortuary makeup. With the headline—you guessed it—“Worth dying for.”

Then the deluge. Of howling letters to the editors and vociferous radio commentators, all foaming at the mouth. And down came the billboards. Visual shockers have come in various images: a litter of babies suckling a sow ( for an orphanage, was it?) or a firecracker victim: a child’s mutilated hand with the fingers wriggling

posed as a victory sign (a triumph for an agency’s campaign, supposedly). Advertisements related to the Catholic faith and its symbols are always a sensitive issue. If you’re thinking of parodying the Last Supper (a favorite in the West), think again; or risk the wrath of the livid bishops. But oh, how mild, how tame are our attempts at shockvertisements, compared to the West. Let’s steel ourselves as we wade through some of them. No doubt what most of us still remember are the United Colors of Benetton ads, all based on the advertising philosophy of Luciano Benetton, that “communication should not be commissioned from outside the company, but conceived from within its heart.” With the cooperation of photographer Oliviero Toscani, the campaign unreeled one stunning ad after another, dealing with racial, religious, political and sexual conflict: a priest kissing a nun; a man dying of AIDS; a black woman suckling a Caucasian infant; a trio of human hearts labeled “White”, “Black”, “Yellow”; a new born baby still attached to its umbilical cord. Many magazines refused to print these ads. Also a campaign for AIDS awareness, TBWA\Paris showed images of “a man having sex with a giant, black scorpion, and a woman receiving oral sex from an enormous, having tarantula.” Fashion ads such as those done for Tom Ford, Dolce and Gabbana, and Armani – have crossed the line into sleaze, while an ad for Deutch magazine actually featured an act of bestiality. Vulgarity may be in the eye of the beholder, but what can the reader make out of the intentionally naughty and suggestive

images of “innocent” products that are photographed lewdly to evoke parallels with male and female genitalia? Admittedly, these images are visually witty, guaranteed to elicit guffaws of laughter or gasps of indignation, but they are in fact, a degree higher than toilet graffiti. “Eow!” How gross!” Guaranteed to make colegialas and sosy creatives squirm in disgust are images of rotten burgers and moldy cheese, stinky feet, extracted bleeding teeth, mounds of excreta and dead mice.

The entire repertory of shockvertisements are dragged out of the sewers of so-called creative minds. Even a corpse has been put on cold display for a brand of mortuary make-up. With the headline—you guessed it—“Worth dying for.” Of course, there’s more where they come from—yes, the graveyard of the imagination— but honestly, what’s the point?

Cid Reyes is an artist, writer, art critic, publisher, and creative consultant

Selected by adobo’s editorial board and some of the countr y ’s top creative directors

APRIL 2010

Selecta Cornetto "Tugs" TVC Ad Title: Selecta Cornetto “Tugs” Campaign / Advertiser: Selecta / Executive Creative Director: Leigh Reyes, Steve Clay / Creative Director: Abi Aquino / Copywriter: Dos Roque, Mike Luchico, Ryan Dayrit / Art Director: John Pabalan, Mark Arroyo, Rommel Aboy, Rhio Vargas / Agency Producer: Tess Jazareno, Carlo Directo / Production House: MCI, ABRACADABRA / Director: Carlo Directo (MCI), Torts Villacarta (ABRACADABRA) may-june '10

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CREATIVE SHOWCASE \ REGIONAL

Ad Title: "Bricks", "Tea Estate" Print ads / Advertiser: Ehsaas / Agency: JWT Mumbai India / Executive Creative Director: Tista Sen / Creative Director: Ch. Shyamsunder Goud / Abhay Arekar Art Director: Ch. Shyamsunder Goud / Copywriter: Ch. Shyamsunder Goud / Illustrator: Vijay Nanaware / Photographer: Shantonobho Das

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CREATIVE SHOWCASE \ REGIONAL

may-june '10

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CREATIVE SHOWCASE \ REGIONAL

Ad Title: "Pool" Print ad / Advertiser: Fuji camera / Agency: Ogilvy & Mather Indonesia / Executive Creative Director: Gary Caulfield / Creative Director: Glenn Alexander, Leonardus Bramantya / Art Director: Nicholas Kosasih, Vito Winarko / Copywriter: Ratna Puspita, Shirley Christy / Photographer: Leonardus Bramantya / Retoucher: Heru Suryoko

Ad Title: "Girl" Print ad / Advertiser: Vogue / Agency: Grey, Mumbai, India / Creative Director: Mangesh Someshwar / Art Director: Mangesh Someshwar / Copywriter: Mangesh Someshwar / Illustrator: Mangesh Someshwar, Vinay Patil / Photographer: Umesh Aher

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CREATIVE SHOWCASE \ REGIONAL

Ad Title: "Party" Print ad / Advertiser: Viewty Smart Phone / Agency: Y&R, Dubai, UAE / Chief Creative Officer: Shahir Zag / Creative Director: Shahir Zag, Kalpesh Patankar, Parixit Bhattacharya / Art Director: Kalpesh Patankar, Parixit Bhattacharya / Copywriter: Kalpesh Patankar, Parixit Bhattacharya / Photographer: Wizard Photography, Ralph Baiker / Illustrator: Lee Sin Eng, Tan Kee Hong / Senior Account Director: Nadine Ghossoub

may-june '10

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Ad Title: "Fire" Print ad / Advertiser: Fly Trap / Agency: Publicis, Gurgaon, India / Executive Creative Director: Emmanuel Upputuru / Creative Director: Anindya banerjee / Creative Group Head: Sudhir Das / Associate Art Director: Sunny Johnny / Digital Creative: Nishan Singh, Atul Kapoor / Photographer: Ajit Singh Padam / Illustrator: Sanjay Kumar, Harish Nair, Nawin Nandakumar, Manoj Saha

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hat do you want to be when you grow up? After a quick run through of the traditional choices—doctor, businessman, banker—and after that, the outbound careers—nurse, caregiver, BPO agent, entertainer—it becomes quickly apparent that option of being an ad man isn’t on the tertiary or even an intermediate list. In fact, until recently, no student dreamt of working in advertising. The challenge of conjuring creative solutions, the kind that advertisers and ad agencies demand—that isn’t something taught in traditional universities. As education guru Ken Robinson said, “The trouble is that the educational system isn’t designed to promote this sort of innovative thinking that we need. It is designed to promote uniformity and a certain type of narrow skill set. Creativity is as important as literacy and numeracy, and I actually think people understand that creativity is important—they just don’t understand what it is.” So where does aspiring ad man learn the trade of advertising?

The Best Ad Schools in the World PORTFOLIO SCHOOLS In the Western hemisphere, university graduates often head for portfolio schools. Sometimes called the professional schools, they offer courses, lasting anywhere from four months to two years. The objective: to help the student produce his portfolio — a collection of masterful advertising ideas, deftly executed and polished to catch the eye of creative directors and secure a job offer from the best ad agencies. UNDERGRADUATE PROGRAMS In Asia, the only choice seems to be the university, where one is often limited to undergraduate programs in the tangential fields of Integrated Marketing & Communication, Visual Communication, or Design. After that, a graduate hopes to get an entry level job in an ad agency and learn everything else on the fly. GRADUATE SCHOOL Those with more than just a writer’s or art director’s desk in mind, go on to graduate school and earn a Master’s degree. The premise of a Master’s program is different. A greater emphasis is often put on non-design disciplines like strategy, communication, creative business ideas, art, and critical thinking than in portfolio schools. Lasting two to three years, a graduate leaves with a Masters of Fine Arts, a Masters of Arts, or a Masters of Science.

CENTRAL SAINT MARTINS COLLEGE OF ART AND DESIGN

MIAMI AD SCHOOL

Established in 1989 | King’s Cross, London | http://www.csm. arts.ac.uk Central Saint Martins College of Art and Design is widely regarded as one of the leading art and design institutions in the world. A merger between Central School of Art and Design (founded in 1896) and Saint Martins School of Art (1854) Central Saint Martins produces some of UK’s most important artists, designers and performers over the last 150 years. For advertising students, its School of Graphic and Industrial Design offers a Bachelor of Arts Honors Degree in Graphic Design, a three-year course that offers a specialization in Advertising on its second year. The college encourages experimentation, innovation, risk-taking, questioning and discovery, within a highly supportive learning environment. It teaches the diagnostic and analytical approach and above all, flexibility and breadth of the course structure to establish the student ’s creative identity. Its goal is to produce a sensitive and sophisticated practitioner, “ fully capable of responding to the demands of professional life, but not to be defined by them.”

Established in 1989 | Miami, Berlin, Hamburg, Madrid, Minneapolis, New York, San Francisco, Sao Paolo | www. miamiadschool.com The most curious thing about the Miami Ad School is that it has eight base campuses all around the world, and only one is actually in Miami, Florida. Known as the School of Pop Culture Engineering, it is one of the fastest growing ad schools in the

CSM also has wide-ranging links to the creative industries. A permanent teaching staff, all experts in their subject specialisms, are supported by associate lecturers who are active practitioners in their chosen fields. Generations of internationally renowned artists, designers and performers—like Richard Seymour. president of D&AD; graphic designer and graffiti artist Seán O’Mara; sculptor, typographer and printmaker Erik Gill— began their creative journeys at Central Saint Martins. While still in school, many of its wards have won D&AD competitions, albeit in the student category. In 2011, CSM moves to a new, state-of-the-art campus at Kings Cross in central London. The new campus opens up exciting possibilities for creative collaboration as well as promising an outstanding social scene in London’s newest cultural quarter.

world. It is not just a school of advertising: it’s design school, creative writing school, art school, portfolio school, photography school, technical school, copywriting school, film school, business school and think tank, all rolled into one. Miami Ad School claims that its “students win more awards than graduates at any other top advertising schools in the world—the Clios, One Show, Andy’s, and many more —because they are exposed to the latest in global pop culture, and learn

EDUCATING THE ADMAN ACADEMY OF ARTS UNIVERSIT Y Established in 1929 | San Francisco, CA www.academyart.edu Built by artists for artists, the Academy of the Arts is the largest private school of art and design in the USA. Students pursue a Bachelor of Fine Arts in Advertising, as well as other certificate, undergraduate and graduate programs with over 30 areas of academic emphasis. It has a picturesque campus, with most buildings located within a few blocks of each other in downtown San Francisco. Several of the buildings are significant historical structures—in some cases, bought by the academy to preserve them from demolition or commercial redevelopment. At the A AU's advertising school, you learn an integrated approach to marketing communications that is backed by solid strategic thinking. Its undergraduate program gives future art directors, copywriters, account planners, creative directors the skills and knowledge necessary to create

all the crazy advertising trends, fads and best forms of communication.” It has been ranked, by the Gunn Report, as the best advertising school in the world, based on the quality of the awards. Students have three choices of programs: a two-year undergraduate program, a graduate program, a month-long “boot camp” on either account planning or communication planning, and a “digital reboot” workshop. Aside from the eight base campuses, students can apply for internships in 12 agencies in key cities around the globe, including Beijing and Sydney. (In 2008, the BBDO office in Manila was part of this internship carousel.) Pippa Seichrist, president and co-founder of Miami Ad School, says, “By the time a student has studied and interned in a few locations, that student has a fat Rolodex of industry contacts. In some locations we have schools inside agencies. For example, students can take inside Crispin Porter + Bogusky in Boulder; Saatchi & Saatchi in London; Lowe in New York or Carmichael Lynch in Minneapolis. In each location the agency provides the students dedicated space to have and to work on their projects. The teachers are creatives from the host agency and other agencies in that city. What better way to study a profession than in the place it’s practiced?”

exciting and effective advertising. They graduate with a competitive portfolio that can win that first job and the abilities needed to succeed at it. At the end of its graduate program, students learn to direct a full advertising campaign from concept to finish, including market research, strategy, copy writing, art direction and presentation. A AU is also known for its online advertising degree programs, which allows teachers/ mentors and students to work from different parts of the

world, even from the Philippines. Among its more famous faculty members are Emmy-awarded broadcast journalist Jan Yanehiro; Terryl Whitlatch, a creature designer on the Star Wars Prequels, and Adam Savage from Discovery Channel’s “MythBusters”. Counted among its alumni are Chris Milk, music video director for U2, Green Day, and Kanye West; Alejandro Lalinde, famed cinematographer of music videos; Pulitzer-winning photographer Deanne Fitzmaurice, and one of Asia’s most awarded creatives,Thirasak Tanapatanakul. A few of the Filipinos who went to A AU were Brandie Tan of BBDO Guerrero/Proximity and Danni Lim of JWT.

BERLIN SCHOOL OF CREATIVE LEADERSHIP Established in 1989 | Berlin, Germany | http://www.berlin-school.com The Berlin School of Creative Leadership is in a niche all by itself, catering to executives in creative industries. Founded by executives who believed that leadership is the key to raising the standards in their field, the goal of turning great creatives into great creative leaders captured people’s attention. The first class graduated in 2008, and since then three more groups have begun the Executive MBA Program in Creative Leadership. Its roster of leading academic faculty and creative industry practitioners—which occasionally include legends like John Hegarty, Jean-Marie Dru, Marcello Serpa, and David Droga—open enrollment and custom programs offered by the Berlin School deliver the latest thinking and practice in management, marketing, finance and leadership. Berlin School provides high potential and senior executives with management tools to successfully lead creative organizations and develop competitive strategies. Classes revolve around case work, simulations, plenary discussion and facilitated small team group work. By the end of the course, participants learn to understand the complexity of your organization and how its various elements affect one another; formulate a vision, align your team(s) and implement successfully; build the proper structure and company culture that fosters innovation and creativity, and gain new insights and inspiration that help you transform and lead yourself, your organization and your industry. The piece de resistance is the Executive MBA in Creative Leadership, a part-time program with five separate two-week modules in Berlin, London, the USA and Asia. Designed for busy professionals, it can be completed in one to two years, depending on the student ’s schedule. may-june '10

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EDUCATING THE ADMAN AWARD School Established in 1985 | Sydney, Melbourne, Adelaide, Perth, Brisbane, Hobart, Bangkok, Kuala Lumpur, Singapore and Wellington www.awardschoolasia.com Of course, most of the schools discussed so far are located in the Western hemisphere, but do not lose hope. There is one portfolio school on this side of the world: AWARD School. Run by the Australasian Writers and Art Directors Association for, appropriately enough, aspiring copywriters and art directors, the 16-week course runs from March to July each year in Australia. For the very first time, in 2009, it also ran concurrently in Thailand, Malaysia, Singapore and New Zealand—which makes this the most accessible ad school for people in Southeast Asia. There are no age restrictions to be eligible for AWARD School. However, if those who have worked for more than six months as an art director or copy writer in a mainstream creative agency cannot apply. Reads the website, “It ’s a course about IDEAS. CREATIVE THINKING and the PROCESSES involved in coming up with great ideas and ultimately good ads. It won’t teach you how to art

direct or craft copy, it ’s simply about helping you recognise good ideas, how to judge them

and how to find INSPIRATION for them.” Each week, there is an evening lecture and an evening tutorial session, with emphasis on “evening”. This is because all lecturers are leaders in the advertising industry, and thus, effectively moonlight as AWARD’s faculty. They cover topics ranging from idea creation, print, television,

David Droga

radio and new media. The tutorials are held at partner ad agencies. Each agency assigns art directors and copy writers as tutors who give students a brief to work on, for 10 of the 16 weeks. It may strike you as the night school of advertising, but until he went to AWARD School, David Droga, advertising legend and founding chairman of the Droga5 network, was just a mail clerk in Grey. “I owe a great deal to AWARD School. As an ex-student it helped propel me in the right direction fast,” said Droga. “There are plenty of advertising courses, AWARD School is one of the few run for the benefit of its students and the industry.”

SCHOOL OF VISUAL ARTS Established in 1947 | Manhattan, NY admissions@sva.edu A premiere college in the art and advertising capital of the world, SVA was originally called the Cartoonists and Illustrators School. So it ’s no surprise that animator Ralph Bakshi, “Batman” illustrator Klaus Janson and typographer and graphic designer Edward Basquiat once taught on campus. SVA attracts a lot of remarkable talent. Among them are painter Keith Haring, illustrator James Jean, Spiderman creator Steve Ditko and photographer David LaChapelle. So are Bleasurites’ Managing Partner Dino Jalandoni and TBWA\SMP CD Manuel Villafania. SVA's advertising curriculum emphasizes the understanding of marketing challenges; the ability to

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D& AD Workshops & Workouts Established in 1965 | London, Manchester and Online | www. dandad.org For professionals who cannot commit the time or the money for portfolio school or more, then they can “home-school” themselves, with the help of Design and Art Direction (D&AD). Better known for being the toughest award-giving body in advertising, D&AD is actually an British educational charity which promotes excellence in design and advertising. The group is dedicated to celebrating creative communication, rewarding its practitioners, and raising standards across the industry. Since 1965, D&AD has been organizing advertising, digital and design Workshops prepare people to get their first job in the creative industries— essentially, the first portfolio school. Held in London and Manchester, the Workshops are a part-time evening program held once a week over two months. Creatives at leading agencies and design companies host sessions and offer unique insights into their work. By setting live and challenging briefs, they test you to create ideas, campaigns and intelligent creative solutions. With the advent of Digital, the Workshops have evolved into the Workout. The D&AD Workout Programme is made up of 27 Workshops. These professional development sessions provide paying participants fast, hands-on instruction from leading practitioners. Unlike schools, the lessons are more

see a product from the perspective of both advertising provider and the advertiser, and the need for brilliant design and art direction “ to see that memorable advertising satisfies both the client ’s agenda and the needs of the creator.” Undergraduate students work with Madison Avenue’s players to learn “effective concept execution through typographic expertise, digital production skill and a mastery of color, line, scale and layout.” SVA’s website boasts, “ We can teach you to draw through traditional methods; teaching you to think is more elusive. An advertising education at SVA is the process of learning to fall

informal, non-linear, and easily personalized. On its website, interested creatives can choose the workshops by discipline and skill level, and then reserve seats. Non-residents of London or Manchester can still attend the Workshops, albeit online. The workshops are edited down to free one-hour lectures that anyone can watch for his own benefit, or for his office’s. But should he like a speaker well enough, D&AD can book and fly the resource person to any part of the world, so he can give the lesson in person. For a price, of course.

back on your instincts. You have to forget all you’ve learned, and jump into the creative void—it ’s in nothingness that you find you have everything you need. Above all, you will discover that you can think your way to neverseen-before solutions, a portable skill that will carry you for a lifetime.” Aside from Advertising, it offers undergraduate and graduate programs in Animation, Computer Art, Film & Video, Fine Arts, Graphic Design, Illustration, Photography, and Visual and Critical Studies, as well as 14 graduate arts programs including Computer Art; Design; Design Criticism; Digital Photography; Interaction Design; MPS Branding and MPS Live Action Short Film.

T he

A rt

C enter

C ollege

D esign

Actually, studying in The Art Center has been the best experience I’ve ever had. I think in Asian countries, we’re pretty sheltered, especially in Singapore. Everything is provided. Everything is kind of clean and all set up. Living in the States broadens your mind to be more independent. Being independent also gives you different challenges: to think for yourself; to experiment with different ways that you never thought of approaching things. And I think, in America, quite a lot of people have been brought up in advertising so they know the ads, slogans and what concepts are all about. The Art Center had a much more design-centric program that catered to where I wanted to go: Advertising. When you look at the advertising program, even if you’re studying the arts but they had subjects like Human PR. It was a much wider program. Parson’s was much more limited to illustrations and stuff. So I think at that point of time I could definitely have gone to Illustration or Graphic Design, but I thought Advertising was a more interesting career. In that school, you meet people who could have been doctors, accountants or lawyers but they decided to do advertising. You really get a mixture of people who are passionate about the profession. It ’s more of a commercial group so full-time staff teaches the basics. As you progress in higher quarters, you get professionals to do the teaching, so you learn a lot about life and advertising. TAY GUAN HIN Regional Executive Creative Director, JWT Asia-Pacific Bachelor’s Degree in Fine Arts The Art Center College of Design Pasadena, California

A C A D E M Y

O F

A R T

U N I V E R S I T Y

I went to Ateneo high school, where I had so much fun, they didn’t let me into the college. So my parents sent me to the States, where I took up Graphic Design in a junior college. When I realized that Design didn’t bore me, I sent for a catalogue of SVA, drew up a quick portfolio and got in. It was different in SVA; it was conceptual. You took all the basics of the other disciplines—drawing, sculpture, photography—in the first two years. After that, you declared which course you wanted, and mine was Advertising. This was in the late Eighties, the heyday of Fallon and the like. The school’s faculty had “live” creative directors. One of the more famous ones was Sal De Vito. He was an arrogant New Yorker, but he dealt in real concepts. Since SVA was an art school, it was really designed around the creatives. In your fourth year in school, you do nothing but build your portfolio, for the agencies in New York. It had a program that took you to the big agencies in New York, and that ’s how I got my first job. I think in colleges here in the Philippines, it ’s more the technical things that they teach. Out there, it ’s a more worldly point of view;

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you know what ’s up—the latest visual ideas, the concepts, and of course, the school is right smack in Manhattan. One of the best things about going to SVA was New York itself. It opened my eyes to the art scene; we attended gallery openings, graphic design openings, and basked in that vibe of creativity. On the flip side, what I lack are the technical skills. People in the Philippines know how to draw and do layouts— and I wish I could draw or work the computer—but in the SVA’s School of Advertising, the concept was the main thing. Of course, money is a big factor in deciding whether or not to study abroad. I had help from my parents, and I took on parttime jobs. But if you can afford to travel or study abroad, why not? When I look back, the confidence, the presentation skills, the ability to talk frankly, and the level of sophistication—they go up when you go out there. Living on your own and experiencing a different way of life broadens your mind. DINO JALANDONI Managing Partner, The Bleasurites Bachelor's Degree in Advertising School of Visual Arts New York, New York

Five who flew from the nest

Sometimes, all the catalogues in the world can’t convey the true benefit of an advertising-centric education overseas. So here are four seasoned and awarded ad men who left the comfort of family and home to study advertising in some of the best schools in the world.

EDUCATING THE ADMAN academy

art

university

I graduated from Ateneo with a Bachelor of Science Degree in Psychology. Then I declined an HR position at Citibank, much to my parents' dismay, and picked up a job at MT V as a junior designer. In MT V, I designed a lot, but partied even more. My parents didn’t like it, so they decided to send me abroad to focus my energy on higher education. I chose art. I was going to get a second degree, but the university counselors said a Masters in Fine Arts would better suit me. I almost chose Graphic Design, but they felt that a Masters in Advertising would work better since I showed interest in concepts

and ideas. So it ’s not like one day I decided to study abroad. It was many situations that brought me to that final decision. At the Academy, the teachers were from good agencies. I had teachers from Fallon, Grey, Goodby, Hal Riney Publicis, BBDO West, Organic, Euro RSCG, BSSP, Y&R, FCB (now DraftFCB), and even got to intern with Chris Ford of Goodby; Franklin Tipton who used to work under Alex Bogusky, and his wife who was one of the founders of Mother in London. Academy of Art instilled in me amazing discipline. I didn’t think there were formulas for ideas, but apparently there is a basic one. This formula was a constant from all teachers across the board, no matter the agency they came from. I’ve also been exposed to other talented individuals whose styles I’ve picked up and merged with my own. The classes are priceless. Taking classes like Typography and Color Theory really helped. While having an “eye” for things helps a great deal, I think that coupled with the discipline makes for a great result. DANNI LIM Art Director, JWT Masters Degree in Fine Arts Academy of Art University, San Francisco, California

After graduating from U.P., I printed out my portfolio and résumé. I sent it out to the top five agencies here in Manila. Only McCann Erickson called back. Then they hired my brother instead. Because of that, I decided I needed to improve my book. Good thing the Internet was invented by the time I graduated. I found several really good schools: VCU, Pratt, Cal Arts, Miami Ad School and the Academy of Art. I chose the Academy of Art University

because Guy Thirasak came from there. I felt that if an Asian can come out of the A AU and be someone big, then that might have been a good school. I didn’t even get a call back from BBDO when I came out of U.P.; it was my new book from A AU that got me into BBDO Guerrero. There was even a time when David (Guerrero) told me he needed to see more of the stuff which he saw in my book. But no matter how much school you go through, it ’s never

enough to prepare you or the real day-to-day work. So much of that, I have to learn as I went to work, daily. So if you’re in a good place, working with who you think is a good CD, you really don’t need to go to Ad School. BRANDIE TAN Executive Creative Director, BBDO Guerrero/Proximity Phils. Graduate program in Advertising Academy of Art University, San Francisco, California may-june '10

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C E N T R A L

Millet goes cool hunting

S aint

M A R T I N S

One of the hottest stylists in the Philippines, Millet Arzaga has carved a name for herself creating fashionscapes for advertising, publications, celebrities, and other productions. Back in the 1990s, Arzaga had a friend that raved about the institution and its art courses. So, while on vacation in the United Kingdom last December, Arzaga sought what the fuss was about, and attended the Cool Hunting course at the Central Saint Martins College of Art and Design at the University of the Arts London. “Being a stylist in Manila, I had a lot of questions on trend-spotting. I know who dictates it, but I wanted to know more about how it is formulated. My classmates from Milan, Istanbul, Greece — even though they work as fashion writers, fashion stylists and art directors—we all had the same questions. Fifteen different backgrounds, languages and personalities just made the course more interesting,” Arzaga described the eclectic company. Known for history and color, mixed with an ultra-modern lifestyle, London dictates a huge chunk of world fashion and all things pop. No different from fox hounds at hunting season, Cool Hunting is the nose to sniff it out, through long strolls around the city and its hip haunts. At what cost, one would ask. “It is bloody expensive!”, Arzaga emphasized, in true British fashion. Needing to dress for winter, having to constantly replace misplaced bonnets and gloves proved heav y on the pocket.

“And with all the walking, I had to buy more shoes,” she disclosed. In the same breath, however, the more extensive “100 Projects” course has already caught the stylist’s eye. “It’s creating a hundred different ideas. Like a hundred theses all over again!” she revealed with awe. As part of Cool Hunting, she had to promote the Philippines to her clueless mates. She received invitations to visit Portugal, Spain and Turkey in return. Fair exchange. At the Manila Design Week Creative Collaboration in 2009, Arzaga conceptualized a piece that extended art to reach the visually-impaired. Her team produced a piece innovatively fusing tactile images and Braille dots, making art flow through the fingertips of those who could not see. Pretty cool, one might say. More than a decade in the business of creative style, the avant-garde Arzaga shares her encounters with some of the trendiest art designs, before they become the rave. All her Cool Hunting tips will be handy as she plans to unveil something bigger, soon.

MILLET ARZ AGA Independent Fashion Stylist Cool Hunting Course Central Saint Martins, London

MAD ABOUT

EDUCATING CREATIVE DIRECTORS

he ad industry may forever be identified with Madison Avenue, but its pace is more like Wall Street. New accounts can be won and lost in a week. Technological advances can transform the media landscape overnight. In such an environment, however, the effort to educate and train agency’s greatest resource—its people—can and often does fall behind. In days of old, agencies invested a great deal in training. For example, in the Eighties and Nineties, JWT (nee J. Walter Thompson) instituted an extensive series of seminars and workshops for all stages of an employee’s tenure, tackling everything from how to develop an

management decisions right off the bat, he has choice but to muddle through. Call it On the On the Job Training 2.0.

THE CHANGING JOB DESCRIPTION Part of the problem is the job description of a creative director or an executive creative director; it seems to grow increasingly more nebulous. The primary function of creative directors used to be internal quality control. Saatchi & Saatchi’s Regional Creative Director for Asia Pacific Andy Greenaway thinks that this hasn’t changed. A creative leader needs to be “someone who understands—and can direct—ideas. And more importantly, understand the principles of management.” But Ali Shabaz, the Grey Group’s chief creative officer for Singapore, JUGGI RAMAKRISHNAN Thailand and Indonesia, integrated marketing campaign, to how to run "You ask yourself what you need to do to stay relevant offers a different point of an agency. Alas, when global economic crises in this modern world? You have to learn new skills and view. hit the network, the educational track was, like “Now, it’s also more many of the employees, declared redundant. you move along. If you are stuck in the same place, about getting the clients Today, agencies like TBWA\, BBDO/ then the world moves along without you.” sensitized to what is reProximity and Saatchi & Saatchi continue to ally out there and what invest in some form of education. Many offices the brand can achieve continue to offer a summer internship program, Clearly, this is a natural response to the way using the different chanas a recruitment strategy. Beyond that, however, media has expanded and diversified. nels that is available to us today. It’s trying to most formal programs of learning are developed “In the past, agencies were doing more bring the client up to speed with what’s out solely for the junior ranks. print and TV. Most creative directors only have there and at the same time, giving work that So where does that leave the creative experience in that field,” says Juggi Ramakrishis up to speed with the client so they can see director? Too senior to qualify for corporate boot nan, regional deputy executive creative director the results.” camp but often too junior to to make crucial of Ogilvy & Mather Asia Pacific. “But now, a creative director has to be more involved in the entire business. He has to have an understandALI SHABAZ ing of how you can take an idea that lives not just on print and TV, but have an understanding "Creative people should stop silo-ing themselves, of every possible medium.” saying ‘I’m a writer,’ versus ‘I’m an art director,’ Gone are the days when a copywriter versus ‘I’m a digital person.’ Creative people are merely wrote and the art director drew. Along creative people.” with those halcyon days went the tech person whom both creatives counted on to design and execute the occasional web banners. “Now, creative people need to know at least a working knowledge of how the different media work,” Shabaz explains. “All the client demands are coming up with an integrated solution. Three different disciplines come together to create something that is quite magical. “But it won’t happen if I didn’t have a healthy respect for what the other person is doing. I can’t have the healthy respect unless I know how difficult it is, what he’s doing.” Ironically, as Shabaz points out, this is the same thing that agencies accuse clients of doing. “So creative people should stop silo-ing themselves, saying ‘I’m a writer,’ versus ‘I’m

OJT 2.0

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an art director,’ versus ‘I’m a digital person.’ Creative people are creative people.” REINVENTION As the business of advertising evolves, clearly, creative directors need to adapt, or risk becoming redundant. Ramakrishnan talks about reinvention as if it were second nature to him. “I have evolved about five or six times. Every two or three years you look at yourself and you say ‘Oh my God, I am getting irrelevant again!’ So you ask yourself what you need to do to stay relevant in this modern world? You have to learn new skills and you move along. If you are stuck in the same place ,then the world moves along without you.” Without the benefit of some magical reinvention workshop, creative leaders must pick up these lessons as they go, which makes the right attitude crucial. BBDO Guerrero/Proximity’s David Guerrero says that even in the absence of an executive training program, newly promoted creative directors should be able to operate at some level of confidence but be open to change. “With change being the only constant, it’s really just an attitude, the ability to get something great, deciding to get something better, rather than just accepting not-so-good.”

Some networks do expose their new creative managers to other work environments and international industry conferences. Guerrero reports that one of his new ECDs, Tin Sanchez, was sent to Proximity London for several months, to observe and participate in one of its largest offices. Her co-ECD Brandie Tan is going to the Cannes Lions International Advertising Festival, to see the world’s best ads and pick up insights from speakers and seminars. For those who can’t leave their home countries, it’s fortunate that New Media, as complex as it is, is also as generous with information. Many creative leaders credit the Internet as their daily source of knowledge and inspiration. “The web has changed a lot in how we receive information,” says Shabaz, who follows popular bloggers to keep in touch with what’s new in the industry. “In the advertising world, it’s all about what the other agencies are doing, what other clients are doing. It’s quite a good mix. It’s probably fair to say that three hours of the day are spent surfing and looking at stuff that you can put it back [into your work].” Likewise, Ramakrishnan’s mind also feeds on a diet of “blogs, websites that do frequent feeds of new stuff of art, photography, 360degree ideas, to science. I am interested in a

DAVID GUERRERO “With change being the only constant, it’s really just an attitude, the ability to get something great, deciding to get something better, rather than just accepting not-so-good.”

wide range of topics. Every week I go through Google reader and I pick out the stuff that really stands out.” EYE ON THE GOAL No matter how they evolve, both new and more seasoned creative leaders must remember to stay the course. Guerrero advises them “not to get distracted by all the other things that are going on, which has tendency to reduce your focus in advertising—all the meetings, all the debate. You need to see everything in the proper perspective, so you don’t lose track of what you’re really there to do.” If it’s any consolation, Greenaway says “grappling with the changes in our world is not the sole responsibility of the ECD. It’s an organizational issue. Everyone in management needs to set the vision of the agency and put plans in place to make sure their business is relevant to the new demands of the marketplace. “That said, if an ECD is happy to be a Printosaurus, then he’s in deep shit. He has to go out there and study what’s going on in the marketplace and re-invent himself. He has to hire people who will transform the work his agency does. And he has to ensure there is a clear strategy in place that will take his people into the new world.”

ANDY GREENAWAY “Grappling with the changes in our world is not the sole responsibility of the ECD. It’s an organizational issue. Everyone in management needs to set the vision of the agency."

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