• 為了講究真實感，所以是用iphone拍攝的，而且一鏡到底，如果用慢速看影片，大部分鏡頭是有點糊糊的，直到後面的公益組織的logo才非常清晰。
• 影片中的青蘋果，全部是電腦合成出來的。

這家法國製作3D影片的公司，看來是做精品客戶，這是這家公司的show reel，3D影像技術讓感官的經驗可以被放大、賦予想像力，譬如一隻小鳥身上可以有刺繡般的色彩精緻度；平淡的手錶齒輪可以展現跑車的速度感，像組裝武器般的驕傲的展示著；車子可以在暗黃的年代中，卻展現未來的奔馳，融合了兩個時代的要素。質感很棒，配上英國Placebo所唱的Running up that Hill這首很棒的歌，讓我一看再看。

Parkour是一種創新的極限運動，誕生在80年代的法國，是指在無任何輔助下，利用攀爬、懸掛和跳躍等技巧越過高牆、建築等障礙物。(摘自：此篇BLOG)

parkour motion reel from saggyarmpit on Vimeo.

source: http://www.coloribus.com/adsarchive/tv-commercials/adidas-the-feather-leads-to-the-revolution-583205/

日本adidas 針對World Cup 會有三支viral animated comic，是由TBWA\HAKUHODO 所作。這一支訴求日本運動英雄中村俊介Nakamura Shunske，帶領日本隊走向四強之路；並激起一起創新革命的活力。

adidas Japan has kicked off its latest phase of World Cup activities with an animated comic featuring national hero,. The digital piece, created by TBWA\HAKUHODO, is the first in a series describing the journey of the Japan team through to the World Cup and will help create the spark that will start a revolution with Japanese fans as they cheer on the National Team.

原來日本足球使用「三足鳥」（Yatagarasu）作為象徵，這個鳥代表神的力量，包括日本足球協會以及國家隊都使用這個徽章。這個意思是神也站在日本隊這一方加油嗎？

At the center of the story is the design inspiration for the Japan National Team jersey, which features a feather pattern from the mythical creature called Yatagarasu (a three-legged crow). The Yatagarasu empowers the players and is the symbol for the country to rally behind to the World Cup.

在這個第一支影片之前，有紙本的限量漫畫書暖身，放置在日本的adidas店中，後來創意看到此書，覺得可以將這個故事更栩栩如生，傳達給更多的觀眾。

The first part of the initiative was a limited edition paper-based comic book that was distributed to supporters at adidas shops and stadiums. The creatives saw an opportunity to bring the story to life and reach a much broader audience.

這個影片傳達了adidas品牌--興奮、精力、正統跟熱情。
"The story of the individual player's skills, the journey to World Cup, and the adidas brand are all about excitement, energy , authenticity and passion. We could see the idea literally wanting to jump of the page," said Kazoo Sato, Senior Creative Director at TBWA\HAKUHODO. "The digital animation was just a cool way of telling these stories."

Original Copy

Commentary: 後半ロスタイムでフリーキック！！！
これがラストチャンスになるか！
中村俊輔！！
決まれば大逆転！
Shunsuke: 思い出せ...
3 Legged Crow: 選ばれし者よ...世界ベスト４への道は果てしなく険しい。
キサマに辿り着けるか。
Shunsuke: いけー！
3 Legged Crow: 見事だ... 我がテクニックを授けよう
Commentary: ゴォォォォルゥ！！！逆転だぁぁあ！
Title: Every Team Needs FANTASISTA
そのテクニックが日本を革命へ導く


English Translation

Commentary: A free kick coming up in the final half loss time!
Will this be the last chance?
Shunsuke Nakamura!!
If he makes it, it's a major comeback!
Shunsuke: Remember...
3 Legged Crow: The chosen one... The road to become the world's Top 4 is interminably harsh. I dare you to reach it
Shunsuke: Go forward!
3 Legged Crow: Excellent. I bestow you with technique
Commentary: GOOOOAAAAL! It's an upset!
Title: EVERY TEAM NEEDS THE FANTASISTA
The technique that leads Japan to revolution


Remember...

The road to become the world's Top 4 is interminably harsh.
I bestow you with technique

EVERY TEAM NEEDS THE FANTASISTA
The technique that leads Japan to revolution

Raise the revolution.
Impossible Is Nothing.

• 互動需有範圍限制，譬如得出現使用手機的劇情、給予主角的指令屬於選擇題式的，像此片就是主角上下樓梯跑來跑去，所以為方向的指引。
• 戲院的觀眾其中幾個人會是電影的角色之一，但是所扮演的角色無法鮮明，因為不會露臉在電影劇情中。這樣的設計能讓劇情的精彩度加分多少呢?
• 假設戲院有200人席次，有幾個觀眾會接到電話與電影主角互動，有些觀眾不會，就體驗而言，前者會印象很深刻覺得很好玩，後者的感受則不一定，因為影片可能會因現場個別觀眾的指令變得更好看或更難看。假設明明是恐怖片，如果比較多人選擇讓主角安全沒事的話，就會失去刺激感。
• 看電影時不就一堆人電話會響，因為這個機制是恐怖片電影主角遇到情況時，會隨機打電話給觀眾中的一人尋求幫助，也就表示大家的手機都要on。

我覺得戲院座位上如果每個人有按鈕，或是利用手機的按鈕，可以集體投票出劇情發展，以票數多的結果勝出，可以跳出劇情得要有打電話的限制或是參與者的人數限制，這樣戲院就不會一直有電話響的聲音。

The 40-second spot opens on the bird as he flies into his tree-top house. When he enters the nest, which resembles a modern day home, complete with Ikea-esque home furnishings, the bird goes about his everyday business tidying up and watching a spot of TV.

• 網站上五個短片，請點此
• Dave 的facebook http://www.facebook.com/davegoestoskane
• Twitter @DavegoestoSkane 以及 Twitpic
  
• 還有Flickr page，一覽瑞典美景

• This kind of viral activity is only possible when there is repeat viewing. That means there's something about these videos that make people want to watch again and again.
• They have a sense whimsy. "All of these are 'feel good' spots that are fun and don't take themselves too seriously," he notes. They provide an escape.
• They all contain the bit of "how'd they do that?" and "is it real?" that many successful viral videos seem to employ.
• And finally, he notes, "Most of these have a deep musical connection, which definitely contributes positive associations. Just look at Apple's iPod ads for this."

Some viewers have blasted it for not being original. They say it is a rip-off from a scene in the 1997 Oscar-winning movie, “Good Will Hunting”.

Indeed, the commercial’s director, Malaysia’s Yasmin Ahmad, admits she had drawn inspiration from that movie directed by Gus Van Sant, though the idea also came from her own life. 廣告片導演Yasmin Ahmad承認她有受到心靈捕手導演Gus Van Sant的影響，雖然這個點子也是來自她的自身生活。

In the Hollywood movie, a man played by actor Robin Williams reminisces about his dead wife and her farting habit. 影片中，威廉羅賓斯回憶過世的太太和她的放屁毛病。

Her expulsion of gases once woke herself up from her sleep and, turning to him, she asked if that came from him. He admitted to it because he did not have the heart to tell her the truth.
有一次她太太放屁太大聲，把自己從睡夢中吵醒，她轉身問先生：「是不是你放屁？」先生承認是，因為他不忍心告訴太太事實。

He then goes on to share that imperfections are the “good stuff” in a relationship, and that no one is perfect, it is just a matter of whether you are perfect for each other.
然後威廉羅賓斯後來跟人分享就是這些不完美是一段感情中的「好東西」，沒有人是完美的，重要的是你們彼此絕配。

• youtube 成立Carl's Jr.頻道，廣告的創意延續之前Paris Hilton Eating A Burger，邀請九個youtube明星講他們怎樣吃漢堡的故事，youtube的影片渲染力甚至超過電視的TVC。http://www.youtube.com/user/CarlsJr
• facebook 成立粉絲團，愛好者集中地。http://www.facebook.com/carlsjr?ref=mf
• twitter也有露出，但很不幸變成客訴中心。http://www.twitter.com/carlsjr
• Carl's Jr.官網則是走高質感路線，只有放電視TVC內容：http://www.carlsjr.com/

1. Create original content – Instead of trying to push existing assets online with banner ads and video buys, a smart company will reach out to prominent users and elicit their help with creating original content that will appeal to that user’s existing fanbase.
   利用youtube頻道的名人既有fans的基礎，藉由名人所拍的影片推銷給fans，加速傳播。
2. Involve the viewer – If online content is good, viewers will often want to emulate the campaign with creative of their own, so smart companies will encourage that response and find ways of compensating users that go above and beyond to engage with the brand by creating videos of their own. In this case, each sponsored video ended with a call out by the star to the viewers to encourage them to make their own ‘How do you eat yours?’ video. As a result, while most pure UGC campaigns require a huge prize or some other promise of fame and fortune to get a response, this campaign is fueled by viewers’ desire to relate to the personality behind the video, and the compensation is the fact that the star might actually see the video response. A UGC video response campaign also doesn’t have to cost a lot when using YouTube, since the site’s built-in video response feature and viral sharing tools mean the backend is already in place for a campaign with little to no effort required from the sponsor company.
   讓觀賞者參與，由於網路名人個性容易引起模仿，加上輔以影片ending問所有觀眾「how do you eat yours?」期望引起迴響。有別於一般名利誘因，此campaign花小錢就可以擁有消費者自製的內容(user generated content)。這些消費者自製的影片內容，被列入youtube Carl's Jr.頻道中的「我的最愛」，目前看到有20支。
3. Give creative freedom – Too often, companies get online stars involved in their campaigns and then limit what they can say and do, or try too hard to keep them on brand...By giving the content creators more creative control, the videos will be more original and more unique, the views will be higher, and the costs associated with trying to control the message will be much, much lower.
   給予創意的自由，影片的內容會更原汁、更獨特，也就有更多人看。