TECHNOLOGY IS UBIQUITOUS, SO THE TRICK IS TO DEMONSTRATE NEW WAYS IN WHICH IT CAN HELP US OR THE COMMUNITIES AROUND US.
It’s interesting to note that the year’s most popular tech spot was a delightful film featuring two things that don’t usually provoke much warmth: a spider and a smartphone. Its success allowed Samsung to feature twice in the top five, appearing again in the fourth slot with the spookily effective “iTest”, a smart salvo fired in the brand’s battle with Apple (which, by the way, was surprisingly absent). Spotify created custom songs to serenade CMOs, but the leading brands were often in community support mode, with Woojer easing treatment for kids with cystic fibrosis and Google promoting stores run by Black entrepreneurs. Once again, tech showed its human side.
It’s interesting to note that the year’s most popular tech spot was a delightful film featuring two things that don’t usually provoke much warmth: a spider and a smartphone. Its success allowed Samsung to feature twice in the top five, appearing again in the fourth slot with the spookily effective “iTest”, a smart salvo fired in the brand’s battle with Apple (which, by the way, was surprisingly absent). Spotify created custom songs to serenade CMOs, but the leading brands were often in community support mode, with Woojer easing treatment for kids with cystic fibrosis and Google promoting stores run by Black entrepreneurs. Once again, tech showed its human side.
Most awarded
campaigns, brands &
agencies in
Tech in
2022
Most awarded
campaigns, brands and
agencies in
Tech in
2022
CAMPAIGNS
| Brand, Title, Agency | |
|---|---|
| 1 |
Leo Burnett Germany, Frankfurt am Main |
| 2 |
Area 23, An IPG Health Company, New York |
| 3 |
BBH New York |
| 4 |
DDB Group Aotearoa, Auckland |
| 5 |
BBDO Berlin |
| 6 |
FCB New York |
| 7 |
Serviceplan Germany, Munich |
| 8 |
VML, New York |
| 9 |
Cheil China, Beijing |
| 10 |
VML, New York |
| 11 |
GUT, Miami |
| 12 |
Marcel, Paris |
| 13 |
Marcel, Paris |
| 14 |
DDB Mudra, Mumbai |
| 15 |
R/GA, London |
| 16 |
R/GA, New York |
| 17 |
Cheil Hong Kong |
| 18 |
Cheil Hong Kong |
BRANDS
| Brand | ||
|---|---|---|
| 1 |  |
Samsung |
| 2 |  |
|
| 3 |  |
Apple |
| 4 |  |
Spotify |
| 5 |  |
Dell Technologies and Intel |
AGENCIES
| Name | ||
|---|---|---|
| 1 |  |
Leo Burnett Germany, Frankfurt am Main |
| 2 |  |
VML, New York |
| 3 |  |
Cheil China, Beijing |
| 4 |  |
Serviceplan Group, Munich |
| 5 |  |
Area 23, An IPG Health Company, New York |
Watch
1. Samsung / The spider and the window - Love at First Sight
| Titel | The spider and the window - Love at First Sight |
| Titel (Originalsprache) | Liebe kennt keine Grenzen |
| Agentur | Leo Burnett Germany |
| Kampagne | Love Has No Boundaries |
| Werbende | Samsung |
| Marke | Samsung |
| Datum der ersten Ausstrahlung/Veröffentlichung | 2022 / 2 |
| Geschäftsbereich | Handies & Pagers |
| Slogan | Love Has No Boundaries |
| Slogan (Originalsprache) | Liebe kennt keine Grenzen |
| Story | Our goal was not just to create another product film, but to find a way to cleverlycombine emotional storytelling with the outstanding camera features to create a larger brand story.That's why we used a very special testimonial: A little spider who falls in love with the new Galaxy S22 Ultra when she sees an advertising motif for the phone on the opposite wall.No wonder because the smartphone's camera lenses are very reminiscent of spider eyes. Following an emotional roller coaster, we witness an unforgettable happy end between spider and phone. |
| Medientyp | Fernsehen |
| Länge | |
| Chief Creative Officer | Dennis May |
| Chief Creative Officer | Andreas Pauli |
| Executive Creative Director | Benjamin Merkel |
| Creative Director | Helge Kniess |
| Creative Director | Valentin Dietmar |
| Art Director | Fabio Silva |
| Art Director | Carlos Karan |
| Art Director | Alina Baumgardt |
| Texter | Andres Blumenthal |
| Texter | Mario Loncar |
| Texter | Junior Art Director |
| Kreative Technologie | Benjamin Kleinert |
| Kreative Technologie | Viktor Kislovskij |
| Etatdirektor | Elisabeth Andersen |
| Client Partner | Martin Schuerger |
| Kundenbetreuer | Anica Wobalka |
| Agency Producer | Brigitte Marcinek |
| Strategist | Maximilian Ginter |
| Produktionsfirma | Zauberberg Productions |
| Kameramann | Hunter Daly |
| Executive Producer | Andrea Roman-Perse |
| Executive Producer | Juliane Ellrich |
| Post-Produktion | The Mill |
| Filmproduzent/Produzent | Katja Malinowski |
| Filmproduzent/Produzent | Amber Moog |
| Produktionsdesigner | Adrian Cristea |
| James Bamford | |
| CG Supervisor | Stefan Susemihl |
| CG Supervisor | Marta Carbonellamela |
| Produktionsleitung | Imogen Pai |
| CG Producer | Sacha Aurik |
| 2D Artist | Neil Alford |
2. Woojer / SICK BEATS
| Titel | SICK BEATS |
| Agentur | Area 23, An IPG Health Company |
| Kampagne | SICK BEATS |
| Werbende | Woojer |
| Marke | Woojer |
| Posted | April 2022 |
| Geschäftsbereich | Unterhaltungselektronik & Audio- und Videogeräte |
| Medientyp | Andere |
| Länge |
3. Google / Google - Black Owned Friday
| Titel | Google - Black Owned Friday |
| Agentur | BBH New York |
| Kampagne | Google - Black Owned Friday |
| Werbende | |
| Marke | |
| Posted | April 2021 |
| Geschäftsbereich | Suchmaschinen |
| Medientyp | Case Study |
| Länge | |
| Produktionsfirma | Anonymous Content |
| VFX Company | Carbon |
| Tonproduktion | Sonic Union |
| Chief Creative Officer | Rafael Rizuto |
| Group Creative Director | Estefânio Holtz |
| Creative Director | Mikio Bradley |
| Creative Director | Joao Unzer |
| Creative Director | Ty Johnson |
| Group Creative Director | Kasia Canning |
| Creative Director | Danny Yirgou |
| Designer | Aedan Clark |
| Texter | Chris Davis |
| President | Amani Duncan |
| Agency Executive Producer | Kyra Beckmann |
| Kaufmännischer Geschäftsführer | Miranda Hardy |
| Group Account Director | Maleika Cole |
| Account Supervisor | Sonali Shukla |
| Kundenbetreuer | Jay McGill |
| Senior Producer | Meetra Javed |
| Leiter Strategie | Tom Callard |
| Strategy Director | Beth Beckman |
| Senior Strategist | Timanni Walker |
| Business Affairs Director | Alice Isner |
| Business Affairs Director | Daniella Vargas |
| Business Affairs | Yasmeen Taylor |
| Produktionsleitung | John Connolly |
| Supervising Producer | Kerry Mack |
| Regisseur | Daps |
| Produzent | Sara Lacombe |
| Executive Producer | SueEllen Clair |
| DP | Rob Witt |
| BTS Photography | Mahaneela |
| Produktfotografie | Danielle Alston |
| Digitale Retuschierung | Ben Taylor |
| Cutter | Randy Baublis |
| Redaktionsbüro | Cabin Edit |
| Assistenzredakteur | Chris Kelley |
| Editorial Producer | Hope DuHaime |
| VFX Supervisor | Tim Little |
| VFX Producer | Kate Smith |
| VFX Creative Director | John Price |
| Flame Artist | Connor ` Mullaney |
| Motion Designer | Matt Beharry |
| Kolorist | Sofie Friis Borup |
| Kolorierung | Company 3 |
| Sound Engineer | Steve Rosen |
| Creative Director | Neil Cooper |
| Digital Agency | Rehab Agency |
| Etatdirektor | Blair Richardson |
| Senior Producer | Alicja Czarnecka |
| Lead Developer | Steven Hall |
| Developer | Tautvydas Pocius |
| QA Manager | Claire Ang |
| Senior Designer | Anthony Hurlstone |
| UX Designer | Vasileios Matsoukas |
| Schauspieler | T-Pain |
| Schauspieler | Normani |
| Schauspieler | Desi Banks |
| Produktionsdesigner | Cody Fusina |
4. Samsung / Samsung iTest
| Titel | Samsung iTest |
| Agentur | DDB Group Aotearoa |
| Kampagne | Samsung iTest |
| Werbende | Samsung |
| Marke | Samsung |
| Posted | März 2022 |
| Geschäftsbereich | Handies & Pagers |
| Story | It’s one of the most divisive choices faced by consumers today – Apple or Android? In a bold move to get Apple fans around the world to experience the Samsung interface, DDB group’s Tribal Aotearoa New Zealand has created iTest. More than 5.5 million Apple users from 234 countries have downloaded iTest, an app that appears to transform your iPhone into a Samsung. The web application mimics the operating system of an Android device, allowing consumers to experience navigation, app interaction, settings, texting/calling, and even the camera features. Initially soft launched to a small, New Zealand-only audience, iTest gained global momentum at an unprecedented rate. Haydn Kerr, Creative Partner at Tribal Aotearoa New Zealand, says they expected the idea would capture attention, but were blown away by the response across the tech world.“We soft launched it to a tiny audience in New Zealand via a social ad with minimal paid support, and from there it got picked up by MacRumours and every major tech news site around the world. We had 2 million users in the first weekend alone – that’s the power of a good idea.” After the initial launch, Tribal Aoteoroa New Zealand has been running campaigns in-store and on social to get even more iPhone fans to download iTest.DDB Group’s digital experience agency, Tribal Aotearoa New Zealand was briefed to motivate consumers to consider switching from their iPhones to Samsung devices – a simple proposition, but a near impossible task in practice. Anyone who knows an Apple user is familiar with the fanatic levels of loyalty the brand achieves among its users – conceptions that are not easy to change. Operating on a relatively small budget and unable to launch iTest through the app store, the Tribal team creatively recommended a soft launch approach for the campaign to generate organic engagement and test the waters of public opinion. Consumer research and online sentiment revealed to the Tribal team that there was one driving factor preventing consumers from changing to Samsung: fear. Fear of the unknown, fear of the overly complicated, and fear of the unfamiliar would all be difficult misconceptions to dispel without allowing consumers to interact with the Samsung interface themselves, which is exactly what iTest allows. Designed to replicate Samsung’s intuitive ‘OneUI’ user experience for Android, Tribal knew that the web app iTest operated from would need to convincingly mimic the Samsung OneUI, which was a significant development challenge. Samsung New Zealand’s Mobile Marketing Manager John Alexander says that the success of the iTest campaign shows the power of great creative to cut through even the most hard-wired consumer behaviours. “iTest essentially gives Apple users the chance to test-drive a Samsung from the comfort of their iPhones. It’s also a commitment-free proposition, which we believe makes consumers more open to genuine comparison between the two operating systems.” |
| Medientyp | Mobiles Werbung |
| Länge | |
| Mehr Informationen | https://itest.nz/ |
| Medienagentur | STARCOM |
| PR Agency | MANGO Auckland |
| Produktionsfirma | TRIBAL AOTEAROA |
| Creative Director | Brett Colliver |
| Creative Director | Mike Felix |
| Executive Creative Director | Haydn Kerr |
5. WhatsApp / WhatsApp - One
| Titel | WhatsApp - One |
| Agentur | BBDO Berlin |
| Kampagne | One |
| Werbende | |
| Marke | |
| Datum der ersten Ausstrahlung/Veröffentlichung | 2021 |
| Geschäftsbereich | Internetseiten (ohne ISPs) |
| Medientyp | Branded Content |
| Länge | |
| Markt | Mexiko |
| Produktionsfirma | Iconoclast Germany |
| Regisseur | Niclas Larsson |
| Post-Produktion | Slaughterhouse GmbH Visual Manufacturing |
| Produktionsfirma | Oriental Films Mexico |
| Audio-Postproduktion | Mermaid |
| Casting | Des Hamilton Casting |
| Global Creative Lead | Tres Colacion |
| Creative Director | Wolfgang Warzilek |
| Creative Director | Erick Barrios Hernandez |
| Kundenbetreuung | Virgina Cardozo |
| Direktor Fotografie | Linus Sandgren |
| Executive Producer | Swantje Rummel |
| Produzent | Jacqueline Wilkinson |
| Produzent Post-Produktion | Veronika Fürthauer |
| Sound Editor | Nikolaus Kohler |
| Cutter | Carla Luffe |
| Herstellungsleiter | Sybella Stevens |
| Casting Director | Des Hamilton |
| Produktionsdesigner | Simone Grau Roney |
| Ausstattung/Styling | Denise Oestholm |
| Hair and Makeup | Ivana Kiss |
| Kolorist | Sofie Friis Borup |
| Kolorierung | Company 3 |
| Komponist | Jacob Mühlrad |
| Sounddesigner | Florian von Keyserlingk |
| Audio-Postproduktion | Fiftyfour audio post production |
| Chief Creative Officer | Till Diestel |
| Werbeleiter | Eshan Ponnadurai |
| Werbeleiter | Vivian Odior |
| Werbeleiter | Renata Costa |
| Werbeleiter | Eric Rottenberg |
| Werbeleiter | Micah Gendron |
| Art Director | Deepanjali Singh |
| Art Director | Erin Conboy |
| Texter | Florestan Roesemann |
| Texter | Dara Kleyer |
| Geschäftsführer | Mark Andree |
| Global SVP, Group Account Director | Minjia Qui |
| Global Account Supervisor | Virginia Cardozo |
| Global Strategy Lead | Jose Higuiera |
| Agency Executive Producer | Alexander Geier |
| Produktionkoordinator | Karin Rudokas |
| Production Art Director | Micaela Urrutia |
| Post-production Supervisor | Christian Wegehenkel |
| Sounddesigner | Wenke Kleine-Benne |
| Assistant Director | Alan Finlay |
| Local Assistant Director | Adrian Gallardo |
| Gaffer | Ernesto Gil “Cubano“ |
| Location Manager | Carlos Ayami Erdmann |
6. Spotify / A Song for Every CMO (126s)
| Titel | A Song for Every CMO (126s) |
| Agentur | FCB New York |
| Kampagne | A Song for Every CMO |
| Werbende | Spotify |
| Marke | Spotify |
| Datum der ersten Ausstrahlung/Veröffentlichung | 2021 |
| Geschäftsbereich | Online-Freizeit-Service |
| Medientyp | Case Study |
| Länge | |
| Ton | Wave Studios |
| Produktionsfirma | Never Going To Kill Us |
| Chief Creative Officer | Michael Aimette |
| Chief Creative Officer | Gabriel Schmitt |
| Global Creative Partner | Danilo Boer |
| Leiter Strategie | Todd Sussman |
| Executive Creative Director | Gary Resch |
| Creative Director | Alexandre Abrantes |
| Stellvertretender Creative Director | James Meiser |
| Senior Art Director | Justin Batten |
| Senior Copywriter | Ken Syme |
| Director of Integrated Production | Adam Isidore |
| Executive Producer | Chris Lenz |
| Music Producer | Melissa Chester |
| Senior Digital Producer | Margot Meyerhoff |
7. Dot Pad / Dot Pad. The first smart tactile graphics display.
| Titel | Dot Pad. The first smart tactile graphics display. |
| Agentur | Serviceplan Germany |
| Kampagne | Dot Pad |
| Werbende | Dot Incorporation |
| Marke | Dot Pad |
| Datum der ersten Ausstrahlung/Veröffentlichung | 2022 / 5 |
| Geschäftsbereich | Handies & Pagers |
| Story | While most people rely on visuals to understand complex topics, the 285 million blind and visually impaired people worldwide are left out.Dot Pad. The first smart tactile graphics display for the visually impaired. It can display any visual content from any source.The Dot Image Processor analyzes and segments visual content, and then translates it to tactile graphics on the display which is made of 2,400 dots realized by the unique Dot actuator technology. There is also an in-built text panel for braille translation.Thanks to a partnership with Apple, Dot Pad integrates seamlessly with iOS and iPadOS, thereby giving users access to the 2.2 million apps on the App Store, out of the box. Launched in early 2022, Dot Pad has earned huge interest from the media with millions of dollars in orders. Dot Inc. is partnering with educational and governmental institutions to make the device available worldwide. |
| Philosophie | Dot Inc. continues blind and visually impaired communities worldwide with the Dot Pad, whose tactile display to create innovative tech to improve the lives of makes images touchable. While most people rely on visuals to understand complex topics, the 285 million blind and ople worldwide are left out. Tactile books are scarce, expensive, and impractical. Audio descriptions fail because sometimes words just aren’t enough to explain complex information. Dot Inc. with creative direction by Serviceplan Innovation launched the Dot Pad, a game changer in accessibility tech. Dot Pad is the first smart tactile graphics display for the visually impaired. It can display any visual content from any source because the innovative Dot Image Processing technology uses Al to analyze and understand visual input and present it most accurately on Dot Pad’s tactile display of 2,400 dots. In partnership with Apple Thanks to Dot’s collaboration with Apple, Dot Pad integrates seamlessly with iOS and iPad OS, thereby giving users access to the 2.2 million apps on the App Store, out of the box. Dot Pad reduces dependence on tactile textbooks and audio description for graphical content which sighted people are used to freely enjoying. For the first time, visually impaired people can access any visual content on the internet. Dot Pad encourages independent learning, creates further employment opportunities, and empowers diverse artists and creators. Hardware and software innovation in sync Until now, the development of functional tactile graphics devices was hindered by both hardware and software. Conventional tactile devices use piezoelectricity to power their actuators, making them bulky and expensive. Furthermore, translation of visual content into tactile one is complex. Simple vectorization or edge detection algorithms aren’t capable of producing tactile graphics that are suitable for blind users. It requires intelligence to understand what’s in an image and decide what’s important to the audience. Dot Pad solves these problems with a combination of innovative hardware and software. Dot Actuator At the core of the Dot Pad sits the third generation of the innovative Dot actuator technology. While conventional tactile devices use piezoelectricity to power their actuators, Dot Pad uniquely relies on electromagnetism, which reduces size, weight, power consumption and price by more than ten times. This dramatically increases usability and makes the Dot Pad affordable for majority of blind and visually impaired users. While the Dot actuator technology is protected by 30 patents, it’s licensed to other manufacturers to give as many people as possible the chance to benefit from it. Dot Image Processor It requires intelligence to understand what’s in an image and decide what’s important to the audience. To create comprehensible tactile content, Dot Pad relies on the innovative Dot Image Processor. It’s an AI that was trained with millions of existing visual and tactile graphics, to be able to analyze, understand and segment visual content, and translate it to tactile graphics most suitable for blind users. Supported by big tech, universities, and governments Launched in early 2022, Dot Pad has earned huge interest from the media as well as public and private institutions worldwide, with millions in dollars in orders. The Dot Pad technology is even being shared with competitors to give visually impaired people all around the world access to tactile graphics. Dot Pad technology is permanently installed in public kiosks in Busan, South Korea. Dot Pad has disrupted the field of accessibility technology with tactile graphics. To create further software and hardware support for tactile graphics, Dot Inc. is in touch with major tech companies such to create a unified tactile graphic file format and a dedicated open database of tactile graphics. Dot Inc. is partnering with many educational and governmental institutions like UC Berkley, Carnegie Mellon University, McGill University, Columbia University, Busan Public Transportation, and National Museum of Korea to name a few. |
| Medientyp | Case Study |
| Länge | |
| Agentur | Serviceplan Innovation |
| Produktionsfirma | Paulus Co. Ltd |
| Produktionsfirma | Astral |
| Produktionsfirma | MassiveVoices |
| Agency | Serviceplan Korea |
8. Dell Technologies and Intel / I will always be me (Case)
| Titel | I will always be me (Case) |
| Agentur | VML |
| Kampagne | I Will Always Be Me |
| Werbende | Dell Technologies and Intel |
| Marke | Dell Technologies and Intel |
| Posted | Juli 2022 |
| Geschäftsbereich | Computers, PDAs & Rechenmaschinen |
| Story | A special book that helps people living with motor neurone disease (MND) keep their voices – by reading a story that helps explain what they’re going through. Created in partnership with the MND Association and Rolls-Royce |
| Medientyp | Case Study |
| Länge | |
| Musik | Human |
| Digital Agency | Jam3 |
| Chief Creative Officer | Wayne Best |
| Executive Creative Director | Niraj Zaveri |
| Werbeleiter | John Coyne |
| Executive Creative Director | Justin Ebert |
| Regional Chief Creative Officer | Jason Xenopoulos |
| Global Chief Creative Officer | Debbi Vandeven |
| Creative Director | Carlos Pabon |
| Group Executive Producer | Bobby Jacques |
| Senior Producer | Dan Bradbury |
| Digital Developer | Jeremy Jones |
| Managing Director & Executive Producer | Zoe Barlow |
| Executive Creative Director | Dirk Van Ginkel |
| Senior Producer | Louisa Gargiulo |
| Director / DOP | Ben Hanson |
| Director / DOP | Simon Frost |
| Kolorist | James Tillett |
| Color Producer | Evan Bauer |
| Managing Director Of Strategy & Insights | Jennifer Bonhomme |
| SVP Global Brand Management | Liz Matthews |
| Werbeleiter | Rachael Henke |
| Werbeleiter | Valerie Daubert |
| Senior Content Production Business Manager | Maggie Diaz |
| Executive Business Lead | Rachel Krouse |
| Komponist | Sloan Alexander |
| Creative Lead & Chief Engineer | Sloan Alexander |
| Executive Music Producer | Theresa Notartomaso |
| Music Executive Producer | James Dean Wells |
| Group Director Of Production | Sean Crawford |
| Creative Director | Tal Shub |
| Strategy Director | Jorik Houweling |
| Senior Producer | Allison Raich |
| Group Director, Client Engagement | Allie Ritter |
| Komponist | Jonathan Hubbell |
| Produzent Post-Produktion | Rob Suchecki |
| Senior Account Manager | Jenny Anderson |
| Produktionsmanager | Frances Ellis |
| Komponist | John-Chris Barnes |
| Frontend Developer | Thomas van der Meer |
| Director Of Production, Experience Innovation | Fernando Martinez |
| Music Production Assistant | Karli James |
| Account Supervisor | Ally Reis |
| Director of Client Engagement | Marissa Schulz |
| Associate Account Manager | Saira Khan |
| Werbeleiter | Sonia Sharma |
| Werbeleiter | Amanda Metti |
| Werbeleiter | Jackie Keating |
| Werbeleiter | Talia Hill |
| Werbeleiter | Dayne Turbitt |
| Werbeleiter | Ilana Lassman |
| Werbeleiter | Kari Lemiere-Mullan |
| Werbeleiter | Karen Frey |
| Werbeleiter | Kelly Lynch |
| Werbeleiter | Sarah Allen |
| Werbeleiter | Lama Nachman |
| Werbeleiter | Darryl Adams |
| Werbeleiter | Nicholas Day |
| Werbeleiter | Jason Priest |
| Werbeleiter | Nick Goldup |
| Projektmanager | Richard Cave |
| Projektmanager | Stuart Moss |
| Produktionsassistant | Lili Bo Therin |
| Chief Executive Officer (CEO) | alice smith |
| Chief Technology Officer | Oliver Watts |
| Advisor | Siddharthan Chandran |
| Associate Executive Producer | Florian Root |
| Executive Producer | Helen Tucker-Lalloo |
| Technical Project Manager | Tim Blokker |
| Creative Director & Experience Designer | Elisabetta Balconi |
| Senior Interactive Designer | Victoire Douy |
| Senior UX Designer | Fabiola Nardecchia |
| Technischer Direktor | Ben Wager |
| Komponist | Adam del Ruedas del Ri |
| Komponist | Jonathan Russell |
| Komponist | Adam del Ruedas del Rio |
| Color Assist | Ashley Woods |
| Author | Jill Twiss |
| Illustrator | Nicholas Stevenson |
| Post-Produktion | Mill NY |
| Audio-Postproduktion | Post Human |
| Produktionsfirma | Borderland |
| Produktionsfirma | SpeakUnique |
9. Samsung / The Cost of Bullying
| Titel | The Cost of Bullying |
| Agentur | Cheil China |
| Kampagne | The Cost of Bullying |
| Werbende | Samsung |
| Marke | Samsung |
| Posted | Juli 2021 |
| Geschäftsbereich | Unterhaltungselektronik & Audio- und Videogeräte |
| Medientyp | Case Study |
| Länge | |
| Agentur | Cheil Hong Kong |
| Chief Creative Officer | Paul Chan |
| Executive Creative Director | Kimmy Liu |
| Group Creative Director | Wilson Ang |
| Texter | Paul Chan |
| Texter | Wilson Ang |
| Stellvertretender Creative Director | Timothy Tian |
| Senior Art Direction | Edmond Leung |
| Multimedia-Animation & Program Direction | Yining Yin |
| Multimedia-Animation & Program Direction | Melody Zhang |
| VP/Director of Business Affairs | Larry Sun |
| Etatdirektor | Cherry Lan |
| Game Operation Group Leader | DooYoung Jang |
| Game BD Manager | Wei Du |
10. Dell Technologies and Intel / I Will Always Be Me
| Titel | I Will Always Be Me |
| Agentur | VML |
| Kampagne | I Will Always Be Me |
| Werbende | Dell Technologies and Intel |
| Marke | Dell Technologies and Intel |
| Datum der ersten Ausstrahlung/Veröffentlichung | 2022 / 2 |
| Geschäftsbereich | Computers, PDAs & Rechenmaschinen |
| Medientyp | Digitale Installationen |
| Länge | |
| Mehr Informationen | http://www.iwillalwaysbeme.com/ |
| Musik | Human |
| Global Chief Creative Officer | Debbi Vandeven |
| Regional Chief Creative Officer | Jason Xenopoulos |
| Chief Creative Officer | Wayne Best |
| Executive Creative Director | Niraj Zaveri |
| Executive Creative Director | Justin Ebert |
| Creative Director | Tal Shub |
| Creative Director | Carlos Pabon |
| Group Executive Producer | Bobby Jacques |
| Senior Producer | Dan Bradbury |
| Senior Producer | Allison Raich |
| Senior Producer | Louisa Gargiulo |
| Director Of Production, Experience Innovation | Fernando Martinez |
| Senior Content Production Business Manager | Maggie Diaz |
| Executive Music Producer | Theresa Notartomaso |
| Music Production Assistant | Karli James |
| Managing Director Of Strategy & Insights | Jennifer Bonhomme |
| Strategy Director | Jorik Houweling |
| Executive Business Lead | Rachel Krouse |
| Group Director, Client Engagement | Allie Ritter |
| Account Supervisor | Ally Reis |
| Senior Account Manager | Jenny Anderson |
| Director of Client Engagement | Marissa Schulz |
| Associate Account Manager | Saira Khan |
| SVP Global Brand Management | Liz Matthews |
| Werbeleiter | Rachael Henke |
| Werbeleiter | Valerie Daubert |
| Werbeleiter | Sonia Sharma |
| Werbeleiter | Amanda Metti |
| Werbeleiter | Jackie Keating |
| Werbeleiter | Talia Hill |
| Werbeleiter | Dayne Turbitt |
| Werbeleiter | Ilana Lassman |
| Werbeleiter | John Coyne |
| Werbeleiter | Kari Lemiere-Mullan |
| Werbeleiter | Karen Frey |
| Werbeleiter | Kelly Lynch |
| Werbeleiter | Sarah Allen |
| Werbeleiter | Lama Nachman |
| Werbeleiter | Darryl Adams |
| Werbeleiter | Nicholas Day |
| Werbeleiter | Jason Priest |
| Werbeleiter | Nick Goldup |
| Projektmanager | Richard Cave |
| Projektmanager | Stuart Moss |
| Produktionsfirma | Borderland |
| Director / DOP | Simon Frost |
| Director / DOP | Ben Hanson |
| Managing Director & Executive Producer | Zoe Barlow |
| Produktionsmanager | Frances Ellis |
| Produktionsassistant | Lili Bo Therin |
| Chief Executive Officer (CEO) | alice smith |
| Produktionsfirma | SpeakUnique |
| Digital Developer | Jeremy Jones |
| Chief Technology Officer | Oliver Watts |
| Advisor | Siddharthan Chandran |
| Digital Agency | Jam3 |
| Associate Executive Producer | Florian Root |
| Executive Producer | Helen Tucker-Lalloo |
| Group Director Of Production | Sean Crawford |
| Technical Project Manager | Tim Blokker |
| Executive Creative Director | Dirk Van Ginkel |
| Creative Director & Experience Designer | Elisabetta Balconi |
| Senior Interactive Designer | Victoire Douy |
| Senior UX Designer | Fabiola Nardecchia |
| Technischer Direktor | Ben Wager |
| Frontend Developer | Thomas van der Meer |
| Audio-Postproduktion | Post Human |
| Music Executive Producer | James Dean Wells |
| Creative Lead & Chief Engineer | Sloan Alexander |
| Produzent Post-Produktion | Rob Suchecki |
| Komponist | Adam del Ruedas del Ri |
| Komponist | Jonathan Russell |
| Komponist | John-Chris Barnes |
| Komponist | Sloan Alexander |
| Komponist | Jonathan Hubbell |
| Komponist | Adam del Ruedas del Rio |
| Post-Produktion | Mill NY |
| Kolorist | James Tillett |
| Color Assist | Ashley Woods |
| Color Producer | Evan Bauer |
| Author | Jill Twiss |
| Illustrator | Nicholas Stevenson |
11. Google Pixel 6 / Seen on Pixel - Real Tone
| Titel | Seen on Pixel - Real Tone |
| Agentur | GUT |
| Kampagne | Seen on Pixel |
| Werbende | |
| Marke | Google Pixel 6 |
| Datum der ersten Ausstrahlung/Veröffentlichung | 2022 / 2 |
| Geschäftsbereich | Handies & Pagers |
| Medientyp | Fernsehen |
| Länge | |
| Schauspieler | Lizzo |
12. Back Market / Hack Market (fr)
| Titel | Hack Market (fr) |
| Agentur | Marcel |
| Kampagne | High tech – Low impact |
| Werbende | Back Market |
| Marke | Back Market |
| Datum der ersten Ausstrahlung/Veröffentlichung | 2022 / 4 |
| Geschäftsbereich | Online-Verkauf, E-commerce |
| Medientyp | Case Study |
| Länge | |
| President | Pascal Nessim |
| President | Charles Georges-Picot |
| Executive Creative Director | Valéry du Peloux |
| Executive Creative Director | Youri Guerassimov |
| Creative Director | Clément Séchet |
| Geschäftsführer | Benjamin Taïeb |
| Associate Director | Sébastien Jauffret |
| Etatdirektor | YANI OUKID |
| Texter | Aurel Cablan |
| Texter | Claudia Illan |
| Texter | Alexandre Dodille |
| Texter | Antonin Jacquot |
| Art Director | Hugo Wahledow |
| Art Director | Céleste Nessim |
| Art Director | Vincent Boursaud |
| Strategy Lead | Thomas Cléret |
| Projektmanager | Flavie Parize |
| Social Media Manager | Calliste Garrabos |
| Traffic Team | Mélanie Coupey |
| Traffic Team | Laurène Ametowoglo |
| Cutter | Julien Hannedouche |
| Motion Graphics Artist | Julien Taillez |
| Motion Graphics Artist | Vincent Iweins |
| Technology Team | Christophe Serret |
| Technology Team | Edouard Danesse |
| Technology Team | Lotfi Harrabi |
| Regisseur | Guillaume Talvas |
| Produzent | Valéry du Peloux |
| Produzent | Sixtine Busetti |
| Post-Produktion | ADF L’atelier |
13. Back Market / Hack Market (eng)
| Titel | Hack Market (eng) |
| Agentur | Marcel |
| Kampagne | High tech – Low impact |
| Werbende | Back Market |
| Marke | Back Market |
| Posted | Juli 2022 |
| Geschäftsbereich | Online-Verkauf, E-commerce |
| Story | On Earth Day, April 22, 2022, and to help people change their minds, Back Market and its Paris-based agency Marcel (part of Publicis Groupe) took our last chance to convince those who were about to buy a new device. Say hello to Hack Market. An operation in which we used Apple's own technology, AirDrop, to broadcast our messages inside the temples of new tech: the Apple Store, directly on Apple's best sellers: iPhones, iPads and MacBooks. The operation took place in 6 different stores in Europe (Paris, Berlin and London), letting each customer know that there is a more ecological and cheaper way to consume technology, by buying the same model, but refurbished at Back Market. A way to turn iPhones into a brand-new medium to promote an alternative consumption model. |
| Medientyp | Case Study |
| Länge | |
| President | Pascal Nessim |
| Executive Creative Director | Youri Guerassimov |
| Texter | Antonin Jacquot |
| President | Charles Georges-Picot |
| Technology Team | Christophe Serret |
| Art Director | Vincent Boursaud |
| Motion Graphics Artist | Julien Taillez |
| Art Director | Hugo Wahledow |
| Texter | Claudia Illan |
| Associate Director | Sébastien Jauffret |
| Etatdirektor | YANI OUKID |
| Technology Team | Edouard Danesse |
| Technology Team | Lotfi Harrabi |
| Texter | Aurel Cablan |
| Motion Graphics Artist | Vincent Iweins |
| Social Media Manager | Calliste Garrabos |
| Geschäftsführer | Benjamin Taïeb |
| Executive Creative Director | Valéry du Peloux |
| Regisseur | Guillaume Talvas |
| Cutter | Julien Hannedouche |
| Projektmanager | Flavie Parize |
| Traffic Team | Mélanie Coupey |
| Traffic Team | Laurène Ametowoglo |
| Creative Director | Clément Séchet |
| Produzent | Valéry du Peloux |
| Produzent | Sixtine Busetti |
| Strategy Lead | Thomas Cléret |
| Texter | Alexandre Dodille |
| Art Director | Céleste Nessim |
| Post-Produktion | ADF L’atelier |
14. Battlegrounds Mobile India / Machine Gun Mouth
| Titel | Machine Gun Mouth |
| Agentur | DDB Mudra |
| Kampagne | Game Responsibly |
| Werbende | KRAFTON |
| Marke | Battlegrounds Mobile India |
| Posted | März 2022 |
| Geschäftsbereich | Computer Software und Multimedia Produktionen |
| Medientyp | Interaktiv |
| Länge | |
| Produktionsfirma | Early Man Film |
| Creative Teammitglied | Rahul Mathew |
| Creative Teammitglied | Vishnu Srivatsav |
| Creative Teammitglied | sooraj pillai |
| Creative Teammitglied | Sneha Sathe |
| Creative Teammitglied | Murugaiya Gokul |
| Creative Teammitglied | Sudhira Mendon |
| Business Affairs | Shikha Davessar |
| Business Affairs | Sanjana Chetan |
| Business Affairs | Sheenu Gaur |
| Regisseur | Abhinav Pratiman |
| Strategist | Netra Ramachandran |
| Strategist | Sukshita Singh |
| Executive Producer | Anand Menon |
| Produzent | Amarjet Phukan |
15. Google / Auditorial
| Titel | Auditorial |
| Agentur | R/GA |
| Kampagne | Auditorial |
| Werbende | |
| Marke | |
| Datum der ersten Ausstrahlung/Veröffentlichung | 2021 |
| Geschäftsbereich | Suchmaschinen |
| Medientyp | Andere |
| Länge | |
| Client Partner | Royal National Institute of Blind People |
| Agentur | R/GA |
16. Google / Google - Auditorial
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| Titel | Google - Auditorial |
| Agentur | R/GA |
| Kampagne | Google - Auditorial |
| Werbende | |
| Marke | |
| Datum der ersten Ausstrahlung/Veröffentlichung | 2021 |
| Geschäftsbereich | Suchmaschinen |
| Medientyp | Case Study |
| Länge | |
| Client Partner | Royal National Institute of Blind People |
| Agentur | R/GA |
17. Samsung Mobile / QUEST FOR DYSLEXIA
| Titel | QUEST FOR DYSLEXIA |
| Agentur | Cheil Hong Kong |
| Kampagne | Quest For Dyslexia |
| Werbende | Samsung |
| Marke | Samsung Mobile |
| Posted | JunI 2022 |
| Geschäftsbereich | Handies & Pagers |
| Medientyp | Case Study |
| Länge | |
| Markt | Hong Kong |
| Produktionsfirma | HOBA |
| Chief Creative Officer | Paul Chan |
| Texter | Paul Chan |
| Executive Creative Director | Kimmy Liu |
| Group Creative Director | Wilson Ang |
| Texter | Wilson Ang |
| Art Director | Edmond Leung |
| Stellvertretender Creative Director | Timothy Tian |
| Stellvertretender Creative Director | Xiaoguang Ren |
| Texter | Leslie Liu |
| Regisseur | Yuan Lu |
| Cutter | Claude Zhang |
| Produktion (Agentur) | Cheil PengTai |
18. Samsung Mobile / Quest For Dyslexia
| Titel | Quest For Dyslexia |
| Agentur | Cheil Hong Kong |
| Kampagne | Quest For Dyslexia |
| Werbende | Samsung |
| Marke | Samsung Mobile |
| Posted | JunI 2022 |
| Geschäftsbereich | Handies & Pagers |
| Medientyp | Mobiles Werbung |
| Agentur | Cheil Hong Kong |
| Produktionsfirma | HOBA |
