#SheRules Commercial for Emmys and a spot with dragons.
According to CNN, we stole the show at Emmys:
And a spot with a dragon. We like dragons.
NY PHILHARMONIC CAROUSEL
A campaign for the New York Philharmonic to promote their 2016 Biennial. Stills photography shot in collaboration with Cade Martin. Film directed by Hoj.
KID IN A KORNER
“Da Kid” character design in collaboration with Lionbrush
Airbnb – NY Marathon
Host a runner. Meet the world.
As a sponsor of the New York Marathon Airbnb followed hosts from around the world who went to run. They found the open arms of other hosts across the city. Integrated campaign included Film, OOH, Social Content and a Mobile-First film (pictured right).
HEY VIOLET – I CAN FEEL IT
Music Video for Hey Violet. Directed by Hoj.
Featuring Swedish House Mafia
- We created a world of robot dog racing and holograms. And nobody ever said no.
- Worked with Frank Chevalier. France’s greatest costume design export.
- The robot dogs atop the bus shelters were actually stolen. Theft is a great form of flattery.
- Created a socially led campaign that trended week after week for half a year. (Thanks to great, socially savvy, smart clients).
- Designed the game cover and wrote the opening game sequence.
- One happy SO & SO directed all the films. One of them was shot in a haunted hotel conference room in Oklahoma, because that’s how some weekends are.
NEW YORK PHILHARMONIC
Leap In / Let's Play
- We create cover art every year for one of the most prestigious orchestras.
- We launched the NY PHIL BIENNIAL, the first event of its kind.
- We’ve collaborated with some great photographers and set designers who also didn’t know a trumpet from a cornet when we started.
- Great clients building a new brand.
- Made people say “Aaah” in category no one cares about. Switches aren’t sexy.
- Made a new verb for the world. So many of the others have actually been done.
Widen Your World.
- The TV commercial was crowned YouTube Ad Of The Decade.
- Winning the pitch and going straight into production.
- Seeing the work every time we go to the airport.
It all starts with an ABSOLUT Blank.
- This was a blank canvas. We got to showcase 20-something new artists that we admired.
- We were able to watch these great artists make amazing things. Two weeks in Portugal made us all firm friends.
- Two of the resulting works (ABSOLUT WAGNER and ABSOLUT KINSEY) have been adapted into bottles in the ABSOLUT product portfolio.
ALL DAY I DREAM
- Created a dreamy identity inspired by music we love.
- Directed the music video while on vacation from our day jobs.
- Worked with the crazy talented choreographer, Tamara Levinson Campos.
Crave / Happiness Factory
- Launched a new tagline for the world’s biggest brand.
- Remembered there’s nothing better than Coke and ice.
- Rolling around in happiness makes for happiness
Zero Academy Films
- Researching the craziest way people make a living.
- Telling great stories.
- Hearing Aaron Fotheringham say “I feel a flip coming on” from his wheelchair.
- Rented a BMW and shot this one night. Showed the client for the first time in a cinema, lights and all.
- Made a case study video because back then they were cool.
- Doubled up as catering on set.
THIRTY DAYS NY
- It was a physical space to hang out in NYC. Occasionally we worked from there too.
- We generated content daily.
- There was frequently an open bar at the space.
ABSOLUT I’M HERE
- Premiering at the Sundance Film Festival.
- Making branded content before anyone was calling it content.
- Never have to jones for Spike Jonze again.
Nike Dance / Nike Lab / Hoops
- Helped create a whole new apparel category.
- Seeing our street dancers signed as Nike athletes, featured in Madonna music videos, and in Hollywood blockbusters.
- Pushing the limits of interactive.
- Always have to field the question “Did you really work on this?”
- Working with New Deal Studios.
- Shooting assets in conference rooms and all-night rotoscoping parties.
Ninjago - Masters of Spinjitzu
- Named the product.
- Developed product platform, storyline, gaming platform.
- Did it all in a room filled with LEGO so it never felt like work.
Let it shine.
- Saying the light patterns needed to be done for real and never relenting.
- Doing it for real in the desert in South Africa.
- Always having to convince people we did it for real.