Creativity Magazine: The Integrated Production – White paper on digital and integrated production processes.

1. the
integrated
production
whitepaper
Brand creativity is an almost infinite proposi-
tion today.
up with integration and media agnosticism as
core principles.
clients. In this paper, these integrated production
experts discuss their approach to digital and inte-
grated production, building producers and
Here’s a small sample of the kinds of things that The implications for production are enormous. departments and a host of other issues related to
ad agencies spearheaded on behalf of brands in Producers must find the best and most cost effi- the new realities of production. We also provide
the last several months: web films, console cient ways to bring to life any idea, and to ensure an in-depth, step-by-step look at the production
games, video- and game-driven microsites, mer- that idea remains great in the execution. story behind some of the year’s most high profile,
chandise and e-commerce sites, Facebook appli- Producing now means solving a new range of successful, and in some cases, most complicated
cations, iPhone applications, comic books, music problems, being expert in an ever changing array creative campaigns. We wrap up with some
festivals, art installations, interactive billboards, of technology, building teams to do what was thoughts on creating production efficiencies by
stores, QR-code-based posters and print ads, impossible the week before, wrangling more considering a digital strategy up front.
augmented reality experiences, impromptu unforgiving schedules and budgets, negotiating
dancing in public spaces. Oh, and those com- with a wide range of suppliers and simply orches- What emerges: the internet and digital technol-
mercials that have been the cornerstone of trating more moving parts. ogy have been so instrumental in the changing
advertising for decades? They still need to be ad environment, that digital capability has
produced—better, faster and ready to play out To provide the clearest possible picture of the become the glue of integrated production. This
on any screen. Agencies have shifted creative integrated production landscape for this paper, sentiment is repeated in these pages and
philosophies, talent and structures to better ori- we went to the people who are leading produc- summed up by one of our heads of production:
ent themselves to create ideas unencumbered by tion at a few of the agencies on the forefront of “Integrated is all about moving the interactive
media assumptions; new agencies have sprung creating platform spanning, integrated ideas for mindset to the center.”
pg 3 pg 4 pg 6 pg 7 pg 9 pg 11 pg12 pg 15
goodby silver-
, crispin porter bbdo new
, case study: case study the
: case study
: case study
: leveraging
stein & part- + bogusky ’s york brian
’s doritos hotel pedigree cam- microsoft real fifa 09 digital assets
ners mike
’ david rolfe dilorenzo 626 paign pc by firstborn
’s
geiger dan lacivita

3. SPONSORED BY 3
Chief Digital account people have to be made aware of and explain it throughout the agency.
Officer, taught the different kinds of processes and
mike Associate Partner,
Goodby,
implementation strategies. It's not as straight- You have to live and breathe digital, creativity,
geiger Silverstein & forward as in broadcast or print; every digital design and innovation, not just production.
Partners marketing form like a microsite, an iPhone
application, an augmented reality piece or a You have to fit into the agency, culturally.
department at a glance major website requires different processes and
The Digital Group at Goodby consists of guidelines which have to be taught throughout You tend to work with a lot of the best digital
roughly 45 people. 35 of those are producers, the agency. Only then will you have a chance to production companies on projects. Are high
ranging from executive producer to associate succeed. end digital production costs becoming an
producer; there are two information architects, issue?
an analytics group consisting of four people Do you have “integrated producers?” Or is inte- It might surprise you, but the answer is no in
and a small in-house Flash production group grated about the way producers from each spe- our case.
of three people who are mainly used for cialty work together?
pitches, presentations and smaller Flash We don't call our producers integrated producers, We have about 50 production partners and
related projects. even though they might have the knowledge of most of them seem to be pretty much in synch.
each medium. Some of my producers have a I think it also helps that digital is no longer
The broadcast department has about 34 produc- broadcast background and most of them worked seen as a novelty practice anymore and that
ers and the print department about 25 producers. for small digital production shops in the past. most clients are becoming more knowledge-
able of the costs of different digital formats.
Your agency has transitioned to digital and has When we work on projects with other depart-
earned kudos for digital/nontraditional/in- ments, we work hand in hand, share assets and Do you see things evolving to where you’re
tegrated ideas. But while the agency has been knowledge, which works out great. doing more digital production in house?
doing great digital work, you’ve expressed For digital production we took over the broad-
mixed feelings about the idea of an “inte- What is/has been the biggest challenge in creat- cast model. We come up with the idea and
grated” production dept. So what does an inte- ing a production department that can handle all design in-house and then look for a produc-
grated production department mean to you in the different kinds of project that the agency is tion partner. It is our business model and it's
terms of structure, producers' doing? worked great so far.
responsibilities—what’s your ideal in terms of One of the biggest challenges is to identify and to
the way you guys are producing? stay on top of any new technology. From virtual We want to use the best and most suitable pro-
My mixed feelings stem from the fact that most worlds and iPhone applications to duction shops possible for the individual proj-
people in the industry emphasize the importance Papervision3D and augmented reality. New dig- ect. With the emergence of more and more
of the integration of broadcast and interactive ital marketing forms are constantly appearing on digital marketing forms, I personally think it
but forget about the more important integration the horizon. Hashem Bajwa, our director of will be harder and harder for agencies to have
of digital throughout the agency. We work hand innovation [ed: at press time Bajwa had moved an in-house team who can not only develop
in hand with our broadcast department when it to TBWA] and some of our producers formed an websites and banners, but be top notch in the
comes to live action shoots for digital content Innovations Group to stay on top of the techni- development of phone applications, installa-
and it has been a very successful collaboration. cal evolution, to evaluate its use and solutions tions, augmented reality and who knows what
and to educate throughout the agency. We also is coming up next—in a cost-efficient and
However, live action shoots only make up about have weekly guest speakers from startups from manageable way.
5% of all digital projects. So I think there is too Silicon Valley and an internal Innovations Blog
much importance put on the digital/broadcast to keep us all updated on the latest and greatest. How do you see production and your depart-
integration. I feel that the most emphasis should ment evolving near and long term (in terms of
be put on educating creatives, account people What are you looking for most often in new talent, structure, kinds of work you'll be
and planners on the digital medium. Producers producers? doing, amount you’ll be doing in house, etc.)?
have to be able to help find solutions to technical The key to our success in production is the tal- I have the feeling that innovation and new
problems for creatives, come up with alternative ent and knowledge of our producers. There are emerging technologies will keep us on our toes.
suggestions, find suitable production partners for four key factors I'm looking for in a producer There will be no boredom. The team will
the individual creative team and be able to (in no particular order): become more well versed by producing new
explain the limitations and possibilities in that digital formats and learning from it. I also
medium. Creatives just don't have the time to You have to be extremely organized (like a would not be surprised if some of my produc-
keep up with the fast evolving digital landscape. project manager). ers would eventually like to specialize in certain
We are a creative agency, so the better the pro- digital forms as well. The workload will proba-
ducer can help support our creatives, the more You have to know the digital medium and bly be back with a vengeance once the economy
successful our work will be. At the same time, technology inside and out and be able to picks up and the group will continue to grow.

4. 4 CREATIVITY INTEGRATED PRODUCTION WHITE PAPER
needed to as well. Hence, Integrated at CP+B producers into the video discipline. Most of our
VP/Director of started with a firm commitment to the “make producers predisposed to interactive have basic
david Integrated anything happen, by any means necessary” stan- training already in the realm of video as well, so
rolfe Production, Crispin
Porter + Bogusky dard. The fact is, work dies when there is an this is a comfortable progression.
uncertain perception of how it may be made.
Then, for our producers with primary skills in
department at a glance For CP+B, as this developed it surpassed what was video production, there are some that we have
There are around 120 people in Integrated commonly thought of as a Broadcast Production been able to engage and train with the interactive
Production at CP+B. General subgroups within Department. So, we made the adjustment to skill set, and some that remain fully engaged in
are Interactive,Video, Experiential, Internal Integrated, to cement our commitment to making TV/video. The key is that the culture itself pro-
Productions and Production Services. There is a cross-medium work. And we made it with the motes broadened media and tech awareness;
“head of”in each of these groups, and producers asserted step of burying the term “broadcast.” everything we make can be seen as an interface.
work across this structure. We call all of our pro- Broadcast to us became an anachronism, suggest-
ducers “integrated”as a prefix in their title. So, ing one-way communicating and viewer captivity. Also, most of our new hires and younger produc-
“integrated interactive producer,”and so forth. It became especially inappropriate for the title of a ers we know will possess a variety of skills. In fact,
department. I have seen that in many cases the agency produc-
CP+B is credited with being one of the full serv- tion biz as it is now is generally less equipped from
ice/"traditional" agencies that has transitioned to integrated equals interactive a structural standpoint than the new producers
digital in a meaningful way and has produced To sum up the progress of Integrated here, it is all entering these departments. We are working hard
many digital/nontraditional/integrated ideas. about homing in on all of our work as interactive. in Integrated to support and further develop the
How has your approach to production supported skills of our entering producers.
what the agency has done creatively? The quest of Integrated puts the interactive mind-
The philosophy of CP+B has always been that not set at the center of our work. We have interactive structure and the expansion of the
only will we conceive of unique and challenging producing and we have television producing, interactive mindset
material, but we will also find the way to make it. events/experiential, etc., but it is all interactive All four of the producing disciplines (video/in-
Early on—even when we were a “Broadcast” functionally. So ultimately we want to continue to teractive/experiential/internal productions)
group by name—the spirit of how we produced impress upon our culture (our producers) that involve collaboration and many producers extend
forced us to take on a producer-as-generalist our work will function on a broader level than across disciplines. Our leaders across the depart-
model. Hence, Integrated. what we’ve traditionally been familiar with. ment collaborate and support one another, and
may lead any producer under them—across video
For instance, over ten years ago our shoots for I call this “expanded media mindset.”All produc- and interactive.
our client Truth were largely real-life happenings; ers need it, now—whether they stem from an
they had to be staged as reality-based shoots and interactive background and more obviously if It is very common for our interactive-oriented
carefully planned accordingly. This is where I they come from the traditional background. producers to work on video project work. It is
think we actually developed the sense of our Think of the production discipline as originally less common for our video-side producers to
work as so often being larger than its intended capable of ignoring (or considering foregone) the produce interactive project work directly. This is
medium (and meanwhile authenticity became functionality of the media it created— that was also because CP+B is a true digital agency, as
the guiding mindset no matter what we were what broadcast was. Now it is incumbent on pro- AOR for many of our clients, and thus the
making). So our TV work—and now much of ducers to expand their cross-medium knowledge, process of producing interactive needs to be par-
our interactive work— often became a sort of and to embrace the greater complexity and tech- ticularly structured and ordered. Nonetheless
event in itself, and media assets grew forthwith. nologies involved in how new media works. short-term interactive project work still pops up
The production culture of Integrated best sup- for any producer to potentially work on, and we
ports this broader work. Half the battle is proximity. We mix our produc- have account-based EPs that oversee this work.
ers. Our senior interactive-side and senior-video We will continue to gain in the area of interactive
You have what you call an integrated production side producers share joint offices. Then the rest of process exposure.
department. First, what does that mean to you in our producers—video, interactive, experiential,
terms of structure, producers' responsibilities, business managers, music and the internal pro- As mentioned, our younger producers are all gen-
etc. What’s your ideal in terms of the way you ductions group—occupy the same general area, erally capable of producing across disciplines. So
guys are producing? even in L.A. and Miami. It provides cultural bene- as we move even further toward embracing inter-
As CP+B has grown we have evolved the purpose fits to the overall “art of producing” and again active as our focal point—everything will fall
and functionality of the Integrated Production enforces the sharing of skills and technology/ under the umbrella of interactive—we will con-
Department. But simply, the original vision of media knowledge. tinue to advance the overall process of producing.
Integrated sprung from establishing a production At the same time we’ll see our disciplined interac-
culture that could tackle anything. Ideas were We have found that our focus on broadening skill tive process evolve as well, as it expands within an
expanding across mediums, so production sets is to primarily broaden our interactive-based agency with roots in all media.

5. SPONSORED BY 5
For example, it may be that perhaps our most campaigns across the video and interactive EP show—whether it’s narrative-based or doc—and
“CP+B-seasoned” integrated-project specialist is side. Some projects need to be led by an interac- the demands on Biz Affairs. And consider the
indeed our head of video, Matt Bonin—stem- tive-side EP; for others, the more natural fit is growth of legal complexities with regard to tech-
ming from a strong interactive mindset. At the for the video-side EP to lead along with the close nology licensing, production partnerships and
same time, over the last four years through our involvement of an interactive-side producer. media-based partnerships. All this elevates the
head of interactive (and now managing director discipline of Biz Affairs.
of interactive at the agency) Winston Binch, we An example of this is BK “Whopper Virgins,”
have vastly expanded our interactive capabilities; which was led by our video-side EP (an EP with Hence, for our group, we see the role of Business
large-scale interactive production at CP+B bears strong interactive sensibilities), along with an Affairs as producing.
little resemblance to what it was three years ago. It interactive producer closely tied to him. And then
is now as advanced as anywhere in the world. But, for Microsoft “Real PC”[see p.9], it was instru- Where are you finding talent?
the point is, that all of our leaders—myself, mental for the interactive-side EP to act as lead, There’s no question the young talents coming
Winston, Matt and the EPs with us—work with because there were a lot of assets coming via site from media-arts training are well-equipped to
the Integrated mindset. Thus, leadership can creation, TV, video re-purposed for web and expe- blossom in the integrated environment. In fact,
extend across disciplines. riential (live events and public media capture). this could be the strongest argument for need-
ing an integrated structure: new producers are
producer expansion outside Also, when we think of the evolving role of a very already trained across mediums. For instance,
integrated, and “pods” senior producer with accomplished video-ori- video will always be a sub-component of inter-
Another successful producer opportunity we’ve ented (broadcast) work experience, Integrated can active training; not to mention the process of
found—and this was conceived as our interactive still inspire. The demands of video content pro- training in gaming, and then interactive, and
output flourished—is placing producers directly duction will persist: long form narrative-based then video, the post process as a developing
inside a complex creative team. Although we fun- producing, long form documentary producing, hybrid between high-end post and desktop, to
damentally support the existence of general “pro- TV shows, webisodes, content for gaming, etc. 3D and Flash… the blending goes on and on.
ducer culture” (seating our producers together) And the more complex media awareness that We will have specialists, but the exposure to
we’ve also found it can be fruitful to place a pro- accompanies all of this new work can push training across mediums for any young media-
ducer physically within a team: a creative or two, a today’s experienced broadcast-based producer to arts trained person is somewhat mind-bog-
technology/programming specialist, an interac- help broker the media opportunities for the con- gling. The agency world needs to embrace this
tion designer… and a producer. We look for tent itself. Expansion of network relationships, multi-talented “producer of tomorrow” and
opportunities for this for some of our long-term entertainment industry relationships, branded optimize its collaborative culture through cre-
(interactive) project work. The “pod” structure content opportunities and distribution opportu- ating a more overtly diversified production
may become more prolific as we still maintain a nities could be the equivalent of the traditional department.
collaborative production culture. interactive producer’s knowledge of (and rela-
tionship to) things like Facebook, a cable How do you see integrated production evolving?
What about the idea of the all-round integrated provider (Direct TV or even TiVo) or SEM func- There’s no question for me that integrated is
producer? tionality. about preparing ourselves for the content
The key, of course is to hatch the new agency demands of the future in our business. This is
producer, via Integrated. And perhaps moreover, the expansion of production why Integrated will always evolve as a vision.
the new EP. We feel that by pushing ourselves to services and biz affairs The point is that the producer and EP of five
share and broaden skills, we will more rapidly Another interesting component in Integrated as years from now will be a much more diversi-
evolve the capacity of the agency producer. We media assets expand is the role of Production fied player than they were five years ago. And
want our interactive-side EPs to grow toward Services, and specifically Business Affairs. As our for now, for instance, an interactive-oriented
being the top-tier of overall campaign oversight, productions get more complex, legal, contracts, EP that grows up in the Integrated system will
with everything falling within that. Once we’re partnerships, true reality-based casting, UGC benefit from the traditional producing skills
there, they wouldn’t be an “interactive-side EP,” usage, media collaborations and research move to that stem from video-side producing, and vice
rather they will be truly an Integrated EP. This the core of the production process. versa. While our new model grows we’ll see
will exist with our EP-level video producers as these disciplines evolve and borrow from one
well, but the challenge with them is to advance For example, this becomes relevant with regard to another, separate and completely co-depend-
their work within the framework of an interac- “real people casting.” This used to just mean cast- ent at once.
tive model. The need for this will become more ing people that spent more time on the stage at
evident as the interactive reshuffling of the Second City than in commercials—but now it has But the goal and reality is (I can’t stress
industry continues. become more important to find actual,“real peo- enough) that Integrated is all about moving
ple.” The precautions that stem from this put a the interactive mindset to the center.
We facilitate this daily growth through the direct great onus on Biz Affairs; casting shifts to a mar- Disciplines, vision, structure, boundaries and
correspondence between our EPs across the ket-research oriented strategy. Also, consider the leadership will take their truest form as we
department. We install leadership on particular complexities of long form narrative or a tv continue to fulfill that mission.

6. 6 CREATIVITY INTEGRATED PRODUCTION WHITE PAPER
At the end of the day, a new model can’t really to shoot interactive content to viral projects in-
Director of exist if it’s sandwiched by the same behavior and house, but for the large majority of our work we
brian Integrated
Production,
processes on either side of the work. It will always still seek outside partners.
dilorenzo BBDO, New York be evolving.
The Factory@BBDO is a production studio
Describe the production talent at your agency. Do focused on the development of online marketing
department at a glance you have integrated producers? Or is it more about communications — including banners and
I oversee the Departments of Film and Content, producers from each specialty working together? microsites. It’s also home to our tech leads, who
Digital Production, Print Production, Press (EVP/Director of TV Production) Regina Ebel’s collaborate with creatives on more challenging
Services and Presentation Services. It’s close to department is full of producers experienced in projects. We still rely on trusted partners and
100 people. Our production and creative producing content for all sorts of projects and all outside production companies to provide the
departments are about to get united on the kinds of budgets. Depending on scale, integrated heavy lifting, but it’s helpful to have an in-house
same floor, which will be great. The Kitchen and projects are done with two to four producers from team of developers to tackle smaller projects and
the Factory@BBDO, our in house post and digi- her and the other departments. Additionally, digi- consult on larger ones. On the creative develop-
tal facilities, are one floor below. Then it’s a tal “natives” have been integrated into both the ment side both The Kitchen and The Factory
breezy elevator ride down a couple floors to visit account and creative groups. provide opportunities to gauge feasibility, inspire
Print, Press and Presentation Services, which execution and experiment early in the process.
are all situated together. There is always an assigned “lead” producer com- Production coordinates the process. It’s a useful
ing from the department that is most appropriate. way to get in early on ideas.
What percentage of your work would you con- Content might be the smart lead, or digital might,
sider to be integrated? dependent on the creative. Everyone comes out of Please give an example of a recent project/cam-
In the past year it’s become over 50% and the a project with a more diverse skill set and more paign that challenged your department. What
number will get bigger this year. It ranges from efficient communication. did you learn from it?
boutique multimedia projects like Conservation Dodge Ram Challenge. We had what was in
International [the web-based “Lost There, Felt Certain producers have experience that qualifies essence a commercial production schedule in
Here” campaign ] to global initiatives. them to lead on specific projects. The need for which to create a reality show and contest that
“special producers” seems to be somewhat soften- took place on a massive obstacle course. When
What did the department look like when you ing as everyone, on the agency, digital and pro- you do something of that scale and pack it into a
first arrived? What changes did you initiate once duction side becomes more familiar with all the few weeks of prep and post, it never lets up and
you signed on and how is it still evolving? various aspects that go into a multi-media project. makes producing spots (a dozen came out of this
Siloed—the old cliché. Each department was like What seems to be ramping up is the need for campaign) seem quaint. The creation, approval
a different ecosystem, which evolved out of a hard-core project managers. and coordination of assets between television
need to service work in a way that was account- and web was nuts. Status meetings were referred
able to a few very specific mediums. Regina and I brought in (SVP, Director of to as triage sessions. This might indicate how
Integrated Studio Services) Drew Vogelman to tight and respectful everyone had to be of each
In a world where creative that is less bound to spe- fully realize the potential of what an in-house post other’s roles and responsibilities.
cific media buys or deliverables and digital work facility can do for the work. With Atmosphere
often is at the heart of a campaign, it changes the BBDO producers and project managers having How do you see production and your depart-
production process and the efficiencies. integrated earlier this year, we’ll shortly be going ment evolving near and long term?
one step further and naming a digital head of pro- My metaphor for integrated production is that it
Coming in, I was empowered to pull together duction. I’m also proud of how “Out of Home” works like a game of basketball. Everyone is play-
producers across departmental lines. Simply has evolved as part of our integrated efforts— the ing the same game but with different positions
stated, you review the creative on a case-by-case work for BBC America, HBO, and The Economist and skills. Assists are vital to scoring. You have to
basis and build a team. It’s your job to give the get me just as excited as everything else. hustle a lot and there’s always someone trying to
team a singular mission, and a communication knock the ball out of your hands. As a director of
and leadership structure that makes sense for that In house production capabilities—what are you integration, you try to be a good coach.
project. I think the differences between siloed equipped to do in terms of production, post, etc.?
work and integrated work is a far subtler process This has been a big evolution in the past year. We There’s no crystal ball here. I see the focus on con-
than people like to make it out to be. have two in-house facilities: The Kitchen and The tinued growth and development of our staff. I
Factory@BBDO. The Kitchen is a soup to nuts don’t think anything is off the table creatively,
When a collective effort becomes a little more postproduction facility. It’s not meant to handle which means nothing is off the table production-
transparent and everyone sees how each piece all our post work, but it’s vital to be able to effi- wise. Hire a poet? A physicist? It will all relate to
contributes to the larger creative, you encourage ciently take on a wide range projects from creative weaving a compelling message or brand story
the cooperation and inspiration needed for development to edits and graphics ready for air or through different mediums, engaging to the audi-
things to gel. online. From a production standpoint, we’re able ence at hand.

7. SPONSORED BY 7
As told by Mike the brief used technology in new ways to truly haunt the
Geiger, The initial brief actually called for a website that user. Soon we partnered with B-Reel to define
doritos Chief Digital would display 13 scary videos that had already how exactly the technology would work within
hotel626
GOODBY, SILVERSTEIN & PARTNERS
Officer, Goodby
Silverstein & been created for another campaign. Rights issues the experience.
Partners ensued for the videos, so our creative team con-
cepted a haunted house idea for the experience. Upon awarding of the job, each room and expe-
rience was mapped out in detail. At this point
the execution / ideation we had six weeks to shoot all video, complete
We started by researching blogs, horror movies, postproduction, and launch the website. To
actual events, and places that scared people. make the site as lifelike as possible, we knew we
This research influenced the concept, and total wanted to shoot live action footage and merge
time for this phase was about six weeks. it with 3D technology.
We wanted a haunted house that was truly scary The night shoot was held in Stockholm,
and dark and we were fortunate to have fantastic Sweden, at an abandoned asylum where
clients that shared in this idea. The haunted inmates still visit from time to time.
house morphed into a hotel with challenges, and
the team brainstormed how the use of integrated After the shoot, we began postproduction, and
technology on our site could bring each room built out each experience with full video with
overview within the hotel to life and truly scare people. the 3D environment overlay. Each video was
Doritos planned to bring back for a limited edited and color corrected for the ultimate
time two flavors from many years ago, Taco production / people effect of terror.
and Four Cheese flavored tortilla chips. The Amanda Cox was the executive producer. With
campaign was conceived as the “Back from many years of experience in digital and video Challenges and games were programmed next,
Beyond” campaign. It launched during production, and a background in technology, then tested for difficulty and fear factor.
Halloween. she has a specialty in leading a team in produc-
ing projects that are truly integrated. She knows The key ingredient that came last was sound.
The campaign consisted of a packaging and what will work, how to push boundaries, and Implementing terrifying 3D surround sound
online experience. The packaging for the re- find vendors that will be a true partner for any for the experiences really impacted the terror
surrected flavors would entice consumers to project. Maggie O'Brien was the producer. She and tone of the experience.
realize the flavors were back for a limited time. produced the concept, the shoot, and the entire
It featured a ghostly face pressing through the project, and served as the day-to-day manager At the end of the process we began testing,
material of the bag. The online campaign mim- of the project for both the creative team at where each challenge was carefully played to
icked the ghostly apparition in the beginning Goodby and for [our digital production com- ensure it was the correct difficulty. We wanted
of the website—drawing consumers to the pany] B-Reel. Maggie's ideas and research really people to get through the challenges, but to
scary experience within. We created a video to helped to extend the idea into other mediums. spend time on each and really think them
promote the online experience, through the Amanda and Maggie have worked together for through—as the more they thought about each
use of sound design and quick clips from the over four years on a variety of projects across one, the more invested they became, and the
site to feature the terror elements within the agencies. They truly are an integrated team as scarier the end result would be. We wanted
website. Through the use of Twitter, we allowed they know what is possible and how to produce them to feel a personalized experience that was
users to sign into their account, and the site the ultimate video and digital experience. Their more subconscious and indirect. This element
would haunt their Twitter account by tweeting biggest role is to answer technical questions that created more terror than “in your face” visuals
their followers based upon where they were in have never been addressed before, and to fore- and traditionally expected scares.
the experience. see potential issues and address them by inte-
grating new deliverables, such as prototypes budgets
We also built a Facebook application that and models that help to produce visual experi- The Hotel 626 experience, including all of the
allows the user to upload their photo from the ences that are typical in traditional experiences, video production and post-production, 3D,
site to their Facebook account and scare their but that may not apply to digital. They needed mobile, webcam integration, and programming
friends. Lastly, we created a documentary for to answer questions that had no answer, and of all elements of the game was produced for
the website. It expanded upon the cult commu- solve issues that have never been raised in the much less than it would cost for a standard 30-
nity of the website by showing the history of industry with production. second spot. It's fantastic given that we also had
the hotel and why Doritos investigated fear a full-day shoot with talent included. Our ven-
and how to exploit fear in others. process dor in Sweden, B-Reel, really helped us to bring
See the campaign at www.creativity- After approval of our haunted concept, we the idea to life for the budget that we had, by
online.com/integratedproductionwhitepaper. knew we wanted interactive experiences that using their fantastic talent and local resources.

8. 8 CREATIVITY INTEGRATED PRODUCTION WHITE PAPER
biggest challenges form where users could not deviate into limit- new flavors this year. They've seen what their
We had little to no media spend to promote the less possibilities. B-Reel helped to guide the target loves, and how they react, and want to
website. As a positive and negative, it was a project in this direction, but by also adding in expand upon the idea this year.
smaller creative project that received little new ideas with technology that we had not yet
attention from others, including media dollars considered. For example, instead of shooting in hindsight
and support for the project. It was only sup- the hallway scenes in pure video, we shot them We of course would have loved to add more
porting products that were out for a limited in video and mapped 3D textures on top to pro- challenges and rooms to the experience, and
time, so limited support made sense. However vide further depth. different methods of scaring others. We wish we
it was this factor that truly helped the project to would have had more time for production. We
be an immense success in the end. The team We used audio in new and inventive ways would have loved to have more time for testing
was smaller, with little pressure, and this through the challenges in the site, so the user the experience with focus groups of users. It
allowed the idea to grow and morph into some- would need to sing into their microphone ever would be great to know what they were really
thing amazing built upon trust—what we knew so softly during one challenge to not wake a scared by, measure the reactions, and build this
could be done—and what would work. So with demon baby. optimization into production.
no media spend and less focus from the brand,
we needed to create an even bigger buzzworthy Although taking photos or uploading photos is Knowing that a campaign that played to a first
experience with the smaller budget. This was not new to websites, we took photos of people person experience would entice a viral/blogger
perhaps our biggest challenge. With a larger when they didn't know it, and then used the community, we tried to make the experience as
focus it might have perhaps been considered on photo later in the site when they had to find personalized as possible. This is evident
a wider scale of recognition from the general themselves in a photo lineup before getting through the use of a personal photo that is
public, but we had to create these instances killed. This photo was also sent to the user via taken and the phone call. The site had very little
(Twitter, Facebook, documentary) to support email, and if allowed, posted to the Facebook branding from Doritos, which helped it to be
our site and spread the word. application. taken more seriously. We thought it would
hopefully prompt visitors to engage with future
the technology The phone-call technology was the most inven- experiences from Doritos as a production com-
New technology was a huge part of this project. tive, as it guided the user through the site so pany and expect amazing experiences. Overall
How could we scare people by giving them that they could “escape” and it would know the we did our best to push the clients to believe the
tools and technology that they were expecting? exact right and wrong turns they were taking in site would work and resonate with the target.
To answer this question we thought through the real time. It would call the user after they had
following scenarios: escaped the hotel for one last scare. We needed to know what was possible within
the timeline and budget before reaching out to
The hotel was only open from 6 p.m. to 6 a.m., the results a production company. Our knowledge of tech-
determined by the computer clock from the The campaign was immensely successful. The nology, how it could be used and integrated,
user as they arrived at the site. We wanted peo- two resurrected flavors sold out within three and video production and postproduction
ple to visit the site at night, after hours, when weeks. Since September, the website has helped to set expectations with the internal
guards are down and they are the most received more than 4 million unique visitors team and clients. With all of the budget and
immersed in what could happen. from around the world. Again, that's without a timing in the world we can of course do any-
penny of media spend. We monitor the statis- thing, but we had to put aside ideas that were
The team proposed having the experience be a tics and work closely with our in-house analyt- too risky with what our realistic factors were.
full-screen first person encounter, which we ics team for a complete analysis mapping to the Thinking of these constraints but meeting cre-
knew would be heavy on the load time of the campaign goals. ative needs was perhaps the biggest pressure.
website, and adversely affect our launch timing Continuous research and staying on top of
of six weeks. We mitigated this by still having The campaign was so successful for our client trends helped us to elevate the idea in creative
the experience be first person, but in a linear that they are considering bringing back more ways without sacrificing the budget or timeline.

9. SPONSORED BY 9
As told by Chris
pedigree Adams & Margaret
Keene, Group
campaign
TBWACHIATDAY, L.A.
Creative Directors,
TBWAChiatDay,
L.A.
the brief
The original brief for the Pedigree campaign is
something that the agency brought to the table
back in 2004. It’s actually more of a belief sys-
tem than just a brief: “Everything we do is for
the love of dogs.” By 2006, the brief for the
adoption drive had become: 1) raise awareness
for the 4 million dogs that end up in shelters
each year 2) inspire more people to adopt by
changing the perception of shelter dogs from
“damaged goods” to “really good dogs who
caught a bad break” 3) to let people know that
simply by buying Pedigree they could help
shelter dogs find loving homes. See the cam-
paign at www.creativity-online.com/integrat-
edproductionwhitepaper.
As for casting, we can’t actually cast which dogs The role of the TV producers is the same as it is
the process / tv we will feature because we don’t know until the on a traditional TV campaign, except that they
Dog adoption is such a heavy issue and shelters day of the shoot what dogs will still be in the take on that extra burden of helping us get the
are such emotional places that TV has proven to shelter that day. Some of our favorite dogs get dogs adopted. They also have to work with all
be the best vehicle for creating mass awareness adopted between our scout day and our shoot the print and interactive producers to coordi-
and impact. Our approach has been to shoot day. So we begin the shoot day by walking nate print and digital shoots that occur on the
these dogs in a very real, documentary style. around the shelter and choosing the dogs that same set and make sure we deliver the right
we’d like to work with. content for the web stuff.
Our TV production timeline is pretty standard.
We brief creative teams in June/July and go After we shoot, our producers keep track of the print
through a few weeks of creative development dogs we think gave the best performances and The print campaign follows roughly the same
before sharing with the account and planning we follow up with their new owners once schedule as the TV campaign, except there is no
teams. Then we spend another week or two they’ve been adopted so we can film them in testing. The tricky thing about producing it is
tightening up our ideas before presenting to the their happy new home. orchestrating the print shoot as we’re doing the
client. We go back and forth a bit, then get TV shoot.
approval to shoot in September and spend One thing that’s special about producing this
about a month in pre-pro before shooting. We campaign is that everyone who works on it interactive
shoot for two or three days, edit for a couple of takes on the obligation of making sure that Interactive follows the same general campaign
weeks, ship to testing in November, get results every dog we shoot finds a loving home. We development timeline. We create the campaign
by the first of the year and have spots on the air print flyers, send out mass emails and create a idea, visuals and concepts and then work with
by about the third week in January. website dedicated to spreading the word about our partner agency Catapult Interactive to
these dogs. When we can’t find a home for one develop the website and banner ads. During the
When choosing directors we look for people who of the dogs, and we know that their number is production process we are on the phone with
aren’t afraid to make an emotional connection coming up at the shelter, Pedigree pays to move our partner agencies weekly at first and then
with their subject matter. We also look for direc- them into foster care until we can find them daily as we get closer to the launch date. For us,
tors who really love and understand dogs. So far permanent homes. it’s most important that the website work as a
we’ve been lucky enough to work with Jake Scott, hub for the campaign. It’s the place where peo-
Henry Lu, Stacy Wall and Lance Acord. We’ve had a bunch of really great TV producers ple can learn more about adoption, find a dog
work on this campaign. Executive producer: near them, make a donation and learn about
Location scouting is incredibly important. The Guia Iacomin; producers: Aileen Baliat, Brian the dogs that were filmed in our commercials.
shelter environment is as much of a character O’Rourke; assistant producers: Michael Gross,
in the spots as the dogs themselves. Chris Spencer, Cia Restaino. In 2008 Catapult brought a cool new element to

10. 10 CREATIVITY INTEGRATED PRODUCTION WHITE PAPER
account team
We didn’t have an “integrated producer.” Our
account team basically became the integrated
producers keeping us up to speed on all the var-
ious deadlines and keeping the information
flowing to everyone who needed to stay up to
speed. In just two weeks we brought in over
50,000 people (to the store) and created mil-
lions of free PR media impressions.
superbowl
Everyone knows that dogs make the best pets,
so we created a campaign that explored what
life would be like with different animals as pets.
Traktor directed the spots, featuring a rhino
wrecking a living room, an Ostrich running
amok after a postman, a wild boar in the back
of a minivan and a cape buffalo in the park.
We shot extra material with the actors to
explore why they had chosen such ridiculous
pets and we used those films to expand the
the campaign with the Million Dog Mosaic, a the world, let’s not forget the other dogs that story online. For every view of the commercial
user generated collage of dogs that created one aren’t so lucky.” As we see beautiful images of and behind the scenes films online, Pedigree
large image of our hero shelter dog “Oliver.” For our shelter dogs, a call to action appears ask- donated a bowl of food to a shelter dog in need.
every dog that was added to the mosaic, a dona- ing viewers to visit dogsrule.com during So far over 2,000,000 bowls have been donated.
tion was made to the Adoption Drive. tonight’s show and make a donation to the
Pedigree Adoption Foundation and we’ll the results
documentaries match your contribution.” To date, the Results were tracked in terms of sales, dona-
In 2008 we also shot our own web documen- fundraiser itself has raised over $2 million to tions, and brand equity measures. The clients
tary, DogLovers, about people who make the help shelter dogs. are responsible for tracking sales and dona-
world a better place for shelter dogs. Director tions, and we use an independent research com-
Ed Miller and our broadcast producer Angelo dogstore pany to track brand equity.
Mazzamuto spent three weeks running around The Pedigree Dogstore was an idea that we
the country on puddle-jumpers and in conver- put on the table back in 2006 as a way to From its inception, the adoption campaign has
sion vans to capture these amazing stories. It build a physical space that encapsulated our proven to be highly effective at driving sales and
was pretty much gonzo-journalism. The docu- brand values. In 2007 our client embraced raising perceptions of the brand. It has also helped
mentaries were shot over three weeks in the idea and we got to work producing it for us to raise over $4MM for shelter dogs to date.
January ‘08 and were debuted during the January of 2008.
Westminster Dog Show, Feb 11th, 2008. In terms of sales objectives, by the end of the first
Since we didn’t have a lot of experience quarter in 2008, Pedigree was not only 50% above
westminster dog show building stores, we brought in freelance pro- objective, but it set a new sales record by growing
Pedigree has a proud history of sponsoring the ducer Audrey Eden and a production com- total brand sales by nearly 5% in incremental sales.
Westminster Kennel Club Dog Show, which pany named Gigunda to help us out. With Pedigree also outperformed total dog food cate-
takes place at Madison Square Garden in New their help we designed the whole thing from gory growth in this period by 30%. (Source: IRI)
York every February. We do banners and sig- top to bottom. We also had to make branded
nage around MSG, have street teams promoting “Dogs rule” shirts in lots of different styles, The campaign also significantly improved per-
adoption and selling “Dogs rule” gear and mer- scarves, dog bowls, tennis balls and even a ceptions of Pedigree’s brand quality, familiarity,
chandise at a giant booth inside the halls. But custom coffee table book full of our favorite relevance, popularity and uniqueness, at levels
the most important thing we’ve been able to do dogs. We also had to co-ordinate with a local that outperformed the average gains for the cat-
there has been to turn the whole broadcast into shelter to get real shelter dogs into the store egory. All of these factors strengthened
a fundraiser for shelter dogs. For the last three every day. So we had to merge a lot of tradi- Pedigree’s overall brand equity score by 32
years, we’ve aired a spot that reminds people tional print production projects along with points over the previous 6 months, which rep-
that “As we celebrate the best pure bred dogs in the overall production of the store itself. resents a 28% increase.

11. SPONSORED BY 11
the process We then created a workflow to process all of the
As told by Pam
The way those expressions were used (TV, inter- pieces of content we collected. We called it “the
microsoft Scheideler,
Executive active out of home, on the site, in banners) was hopper.” The hopper basically took all types of
real pc
CRISPIN PORTER + BOGUSKY
Integrated constantly evolving. But once we had the green images and video content from different out-
Producer, CP+B
light to move forward with the proposed cam- posts—and spit out the correct formats for
paign, the first assignment was to collect the banners, the site, taxi toppers, and interactive
content. Enable the interaction. out of home. We knew we had real estate in
Times Square and thought about playing static
In some cases, collecting content meant a video “filmstrips” of PCs that uploaded via the site.
producer shooting celebrities around the globe; Then we decided to up the ante—and try to
in others, it was a street team with a handheld collect and post live. We needed to create an
camera, or a video “pod” in a mall, or giving express lane to try to get people up on the signs
“people of interest” a special site to upload while they were standing there. We added some
themselves, and then eventually a website for SMS capability—so you could show yourself on
anyone around the world to use to enable peo- the sign on demand. It was important that there
ple around the world to record themselves with was real payoff for people.
a webcam.
The People: 14 producers worked on the job
Microsoft was committed to a broad campaign Executive Integrated Producer: Overseeing
that was far reaching, so we knew we had to pro- integration; executive producer:
duce a campaign that would extend across vari- celebrity/scripted broadcast; senior producer:
ous media. The “Real PC” campaign was flexible, online video media placements; senior pro-
allowing us to customize the PC stories for the ducer: content seeding; 2 producers (1 senior):
medium. For example, putting Fatal1ty in an in- interactive OOH (with 40+ field production
game placement. Or Pharrell on music sites. team); senior producer: site development; 4
producers: online media; producer: UGC
Some executions grew out of the idea and gained broadcast; producer: extended stories; pro-
momentum as we were in production. When ducer: U.K.
[user-generated] content started pouring in, we
knew it was interesting and inspiring enough to the role of the integrated producer
use a TV spot to tell those stories. We weren’t With an effort of this size, one person had to
sure what we were going to get. Some executions keep an eye on the macro level. I had to know all
were planned at the outset, while others, like of the inputs and all of the outputs and commu-
extended syndicated videos, came later. nicate all of the interdependencies. There was a
lot of triage and trade-offs. We had a phased
Video production for the first celebrity spots rollout, so making sure that everyone under-
was the first out of the gate.Then we started stood where they were in the launch sequence
building the public site, which was intended for was critical. Launch readiness and hour-by-hour
the masses to use to upload content. work-backs were really important.
That had to be able to scale to thousands of Few people really understood the infrastructure
the brief / the background concurrent users. While that was being built, a powering the campaign and enabling the inter-
Microsoft tasked us to create a compelling way
separate production team focused on “seeded actions. We had to keep those systems up and
to celebrate the diversity of Windows users in a
content,” so when the site went live, we had performing for the duration of the campaign.
way that’s consistent with a brand that is real
hundreds of “PCs” at the ready. That also led to
and inclusive. It didn’t take long to come up
an execution called “extended stories” (but Creatives kept asking for the “ship” date, but we
with the “Real PC” campaign. Microsoft imme-
that’s a different story). Seeded content was didn’t have one ship date—we had dozens. We
diately saw the power of giving as many people
really important because we used the back end had to make some game day decisions. Those
as possible the ability to express their “PC-
intended for the public, but a super stripped- days were hard, but that’s when producers really
ness.” See the campaign at www.creativity-
down front end with no campaign creative, started acting like a team.
online.com/integratedproductionwhitepaper.
because it was still under wraps. We used the
seeded content as a test for all of the content the technology
distribution down the line. So we were taking There was tons of technology. Hosting infra-
content in, before we actually knew which structure, real-time content moderation, outgo-
media and formats we were going to need. ing email, PII (personally identifiable

12. 12 CREATIVITY INTEGRATED PRODUCTION WHITE PAPER
information) capture, handheld applications for Getting all of the content to be auto generated,
As told by W+K agency
street teams, dynamic content feeds going out to resized, tagged, and stamped out was a challenge.
Times Square, video pod content integration, We developed some important skills to automate
fifa 09 planner Jonas Vail;
agency producer Neil
assets for taxi toppers. Our deep technical capabil- the distribution of user-generated content to var- campaign
W+K / AMSTERDAM
Henry; interactive pro-
ducer Jamie Kim, and
ities made this possible. We wouldn’t have been ious media channels. Getting a real person’s ACNE EP Richard Bjorlin
able to do it with partners alone. We had a lot of image into a banner and seeing them post it on
great partners, but CP+B was responsible for all their blog within an hour was powerful.
aspects of the integration.
Integrated production doesn’t have to be a 16-
We had partners for hosting, corporate site inte- legged race. If one piece of the project has
gration, PII collection, video upload, moderation, momentum, let it go. Just make sure to synch
the Times Square Alliance, Momu for video pods daily and, in some cases, hourly. Also, clearly
in the UK. There is a huge list. Edit houses, video defining the connective tissue and integration
production companies. points is a critical success factor.
the background
Jonas Vail, Agency Planner: FIFA is one of EA
Sport’s two biggest franchises globally and the
lead title each year for EA in Europe. In effect,
the success of the EA Sports label in Europe
rests on the success of each year’s FIFA game.
Additionally, at the beginning of 2008, newly
appointed EA Sports Label President Peter
Moore set out a new vision for the label:
become a world leading sports brand to com-
pete with Nike and ESPN.
helpful skillset the results Each year, FIFA faces very tough competition
Our experiential production lead, Brian Schultz, We measured our success by the reaction gener- for market share across Europe from its main
and his understanding of live media really rede- ated: whether people liked the ads, if they competitor, Pro Evolution Soccer (PES). FIFA 08
fined interactive marketing. They captured 10,000 thought they were memorable, how they put the franchise in a good position– taking
PC stories and interacted with 25,000 consumers impacted perceptions of the Windows brand, 56% market share, versus PES, across Europe by
over 20 days. The thrill of seeing those teams col- and even direct engagement with the campaign. the end of 2007 (up from 49% in 06). However,
lecting stories and putting them on the Times to realize Peter Moore’s new vision, the fran-
Square sign was contagious. Our technical team Microsoft has a sophisticated method for chise would really need to bring the broader
was constantly monitoring the data being col- tracking and measuring and optimizing. Our “football fan” audience into the fold as well. See
lected and eventually reduced the time from cap- team does too, so that’s a good fit. We have an the campaign at www.creativity-
ture to post to around 12 minutes. That was big. incredible amount of data from this campaign. online.com/integratedproductionwhitepaper.
One of our favorite statistics is that over one
on the client, microsoft billion “Real PC’s” were seen. Which is how the brief
I think the client agreed to do something very many PC users there are in the world. So that’s Grow the market by reaching out to main-
risky for them. We were generating new ideas a nice number. stream football fans; maintain the respect of
about how to use the content. They were good core football gamers, and convert as many PES
about helping us focus. The Microsoft online In addition, research showed that viewers fans as possible.
team came onsite and rolled up their sleeves on thought the ads were both memorable and lik-
the countdown to launch. They were good part- able. They said the ads reinforced that Windows the components
ners. And they all had a lot of launch experience. as a brand “fit my lifestyle.” Perhaps most tan- Neil Henry, Agency Producer: The campaign
gible, they grew preference for purchasing PCs first came to life online. Pre-launch banners
lessons learned with Windows, resulting in a 10% lift over and emails directed people to the website where
We really learned the value of video encoding. baseline. four films introduced real local club fans, pre-

13. SPONSORED BY 13
dicting the result of two, upcoming FIFA 09 10 tion: Five weeks and cut-downs within a five-week window and
vs. 10 matches. the same should be said of Glassworks
One match was Manchester United featuring The shoots took place in Gelsenkirschen, (Amsterdam) who handled postproduction and
Wayne Rooney and nine gamers at a pub in Madrid, Lyon and Manchester. The shoot days Kaizer Sound Studios (Amsterdam) for music
Manchester, taking on Real Madrid star were not a traditional 10- or 12-hour days, and
Gonzalo Higuain and nine gamers in Madrid. the EA client was extremely brave in allowing us It was good to have offline, postproduction and
The second match was France’s Olympique to shoot within a three-hour shoot window sound in one building in Amsterdam. The five-
Lyonnais vs. Germany’s Schalke 04, featuring (per shot) to a TV running minutes schedule week timeline was extremely tight for the scope
Karim Benzema playing for Lyon, supported by which was carefully planned and storyboard of work and detail involved.
fellow French international Franck Ribéry and approved beforehand.
nine Lyon fans, against German striker Kevin interactive phase
Kuranyi and nine fans in Germany. The camera crew/photographer were prepped Jamie Kim, Interactive Producer: The digital
beforehand to capture the required approved campaign was kicked off with banners, and an
These matches were filmed, with four-minute storyboard, print shoots and required interac- email blast encouraging users to the so-called
versions to premiere on the site, and 30 and 20 tive footage during the three-hour window. “pre-launch site.” The site showcased four films
second versions for TV at launch. of real local club fans predicting the scores of
The event could only be viewed on six monitors the up and coming matches.
The longer films were so well received inter- in the satellite bus in which the directors were
nally at EA that the U.K. decided to launch the dictating the action. During the shoot the main At launch, banners and a launch email pushed
TV campaign with the four-minute version of concern was keeping up the high level of energy users to the launch site, which centered on pre-
the Manchester United vs. Real Madrid match and realness within the crowd. Thankfully we senting four-minute match films specifically
and took over an entire half-time break of the had an amazing TV technical director and the created for the web. A key requirement of the
Man. U vs. Chelsea match on Sunday 21st 1st AD’s did an amazing job along with the site was to allow a user to choose his/her team
September, 2008. puppet master plants in the crowd. and switch seamlessly between each team’s view
of the matches.
Online the films allowed people to watch the We ended up capturing over 100 hours of
matches, flip between locations and watch live footage on HD. Russell Icke and Sam Gunn A typical approach to executing this site would
action replays from the game. This was a break- from the Whitehouse did an amazing job edit- have been to load two separate videos, which
through online experience for EA, because it ing multiple four-minutes edits for online/TV would then be toggled. Taking that route would
allowed people to see and experience the poten-
tial of the game at its best, before investing in
the game themselves. The 30- and 20-second
versions of the matches then ran on TV in all
the other key FIFA 09 markets.
Print and outdoor ads showcased the energy
and excitement of the pro/fan teams at these
FIFA 09 match events and were shot on location
at the same time as the films.
the process
Neil Henry: W+K worked extremely closely
with our production partners to lock-down a
logistically tight schedule as our timeline was
dictated by the players availability and we were
shooting in four different countries in Europe
in 16 days.
We spent roughly three months from start to
finish on the production of the campaign:
Creative conception and prep: three weeks; Pre-
production we allowed 10 days for meet
ings and prep; shooting: 16 days for prep, pre-
light and shoot for four locations; postproduc-

14. 14 CREATIVITY INTEGRATED PRODUCTION WHITE PAPER
mean that there would be no assurance that Richard Bjorlin (EP) were collaborative in the
both videos would load at the same rate. A clean planning phase and enabled us to plan four
and instant switch would be difficult to achieve huge events shoots in a challenging 16-day
and this would impair the overall experience. shoot (prep, pre-pro) window which was dic-
tated by the players’ schedules. Working with
It was essential to preserve the idea of a live TV ACNE provided us with huge resources: five
broadcast of the event. We needed to come up directors, multiple producers, TV camera crew,
with a solution that would have little to no TV technical directors, production managers,
loading and buffering sequences throughout. 1st ADs, camera crew to shoot 16mm online
The solution was to render a single video that content, along with backing from local produc-
combined both views. Adjusting the “viewport” tion companies. ACNE Film was responsible for
in Flash could toggle the viewpoints of the the film production. ACNE did then contract
matches and the user would only be presented local prod co Tempomedia (Germany), Wanda
with the selected viewpoint accordingly. (France), Group Films (Spain) and RSA (U.K.)
to help set up the local productions.
We secured fluent streaming by preserving the
actual video dimensions, which were rather special skillsets
limited, and blew them up on the site. Adding a Richard Bjorlin, ACNE: We approached the
semi-transparent TV pattern on top of the filming from a different angle by creating events
video masked the pixilated look that occurred that we then filmed the same way we would do
as a consequence. The effect was one that we with a live broadcast of a sporting event. It was
embraced: it gave a kind of jumbo-tron feel to more a case of documenting the event rather
the videos much like a real-live sports event. and then editing it to a story rather than shoot-
ing a commercial shot-by-shot. We knew that
The success of the digital campaign had much we needed a couple of key moments that had to
to do with the consistent integrated production be staged in order for the story to work, but we
approach between the production parties in all did not "direct" the action.
the mediums. During the conceptual stages of
the project, our creative and production teams lessons learned
worked very closely together to think of effi- Neil Henry: A 360 and integrated approach is
cient and clever ways to meet all our needs. the way forward and this not only allowed our
Print, Broadcast and Digital production teams budget to stretch but it also enabled us to create
shared the burden of managing the budget, a campaign on a scale that had never been done
production timings, shoot time and deliver- before at EA. It was great to work as a unified
ables. In specific, digital deliverables were team with everyone and see how quickly and
directly affected by the finished deliverables paign and brought an energized organized efficiently we could create this massive produc-
both from the print shoot and the specially pro- chaos throughout the process. tion and make it as authentic as possible.
duced edits from the Broadcast team. The lines
between the various teams blurred over time, Jamie and Myke provided genius digital solu- Jamie Kim: With an interactive production you
making the entire production process both tions and gave us a multi-faceted dimensional often create unique content specifically for the
effective and a lot of fun. view of how we could really blow-up this cam- web. That usually means that budgets are rela-
paign. Annette and Miranda, our agency art tively low in comparison to TV and the level of
the players buyers, have an amazing eye for detail and gave finish required is again, comparatively less
TV producers: Neil Henry and Kimia us tremendous insight into how we could create demanding. Shadowing Neil in the post-pro-
Farshizad; interactive producer: Jamie Kim; and produce the most authentic crowd shots for duction process opened my eyes to the level of
executive interactive producer: Myke the print campaign. detail and finish required to make a TV spot
Gerstein; print producers: Annette Krutzik and look that good. I learned to readjust my expec-
Miranda Kendrick production partners tations—actually aiming higher than before.
Neil Henry: We considered a number of
Neil Henry: The campaign was integrated from resources but quickly chose ACNE and (Belgian results / tracking
the beginning and all the producers ranging web design firm) Group94. The reason we Jamie Kim: Although we weren’t in charge of
from traditional TV/interactive /print had to chose ACNE is we felt that only a multi-disci- tracking results from the campaign and it is not a
work in unified tandem. It was also great to plined collective of directors and producers part of our job, we do know that traffic more than
work with a traditional interactive creative team would be able to assist us to produce this large- doubled to the LET’S FIFA 09 site through the
as this brought another dimension to the cam- scale production. The ACNE directors and placement of the print and banners campaign.