Muscles make music for Old Spice

A while ago we brought you ‘Smell is Power’ from Old Spice and talked about how P&G had cleverly ambushed their own marketing (with help from W+K). This time round the campaign has gone truly interactive and lets you use Terry Cruise’s muscles to make music. Enjoy.

(HT @tbuesing & Adverblog)

So you want to shoot some video?

So you want to shoot some video? No problem.

I have a degree in Television producing, so surely we can figure something out. I know a friend whose parents still smother him with gifts (instead of love) and he just got a new Canon 5D – he probably knows how to use it by now too. While everyone else was studying Economics, another friend and I spent our senior high-school years ‘learning’ Film & TV. He used to have a pirated copy of Final Cut on his laptop, so he can probably edit some stuff to look real sexy.

Yeh, we can make you a video alright. Maybe it’ll even go viral – why not? As for remuneration, just buy us a case of beer and we’ll call it even. Easy.

…if only.

The art of film is exactly that – an art. Professionals exist for a reason, and have spent years refining their skills in one of the many particular and often excruciatingly specific roles that exist in the industry. You’ll find a guy on set whose only role is to change the focus of the camera during a shot (Focus Puller). Why? Because he is damn good at it.

As Razorfish moves further into the realm of creating great video content for its clients, we must accept that we aren’t traditionally the experts in this area. Luckily, the guys at Thinkbone are.

To set the scene (so to speak) this week Thinkbone’s crew turned our lobby into a live set in order to teach us a thing or two about production, budgets, and the different outcomes you can expect. They were to film the same scene (Pulp Fiction’s famous “$5 Milkshake”) three times – each with a different budget, and thus final product.  For the purpose of the exercise, let’s assume each budget is for 60 seconds of final video.

• Low budget: For this we are looking at a stripped back pre-production (logistics, scripts, basically all the organizing), three days of post, a bare minimum crew (Producer/Director, Production Manager, Production Assistant, D.O.P), catering and a basic camera and tripod set-up. Oh, and your mate/Mum/cousin acting. Approximate total: $20,700.

For that you can expect to produce something resembling the quality of video below:

• Medium budget: In addition to the above, we’d be looking to add an Art Department, props, wardrobe, casting, semi-professional Actors, make up, location costs, and a beefed up camera kit. Approximate total: $ 65,200.

And for the extra money and effort you’ll be looking at something of this quality (ignoring travel costs):

• High budget: Let’s add more crew, professional actors, expert lighting, more location costs, more catering, and amongst other things, a better camera, a dolly (the thing on the train tracks), and a dolly operator. Approximate total: $97,000.

Now we are looking at some high-end video production capable of matching, or even improving on the original scene. This isn’t to say you need to spend big for every bit of video you create. Each grade of production serves a purpose, so it depends on the individual project and the objectives as to how much you should be budgeting.

Here is the final take of the day (sound is from the camera mic, so apologies). Thankfully, Thinkbone opted to waive the $97,000 – thanks guys. That case of Superdry should arrive any day now.

Dean

@deanvowles

Little Fish, Big Pond

“I wish I could’ve done that when I started”

That is the standard response from most in the office who hear about my graduate program. Nine months of experience rotating through all of Amnesia’s departments, from Account Management to Creative, Strategy to Emerging Technology, and even a short stint with Finance (my apologies to the finance department in advance). Nine months of new and different. Nine months of digital, Amnesia style.

Of course it is an enviable program, and I intend to make the most of it. And whilst it may be all about learning the digital ropes, in a lot of ways it is a chance to show nine months worth of proof – proof that this little fish can swim.

So who am I? I am Dean, a new fish in the pond that is Amnesia Razorfish.
Seinfeld makes me laugh. I conduct limb transplants on gummy bears. I think great food is, well, great. A world map has pride of place on my wall. And I always “find the fun” in any situation.

I am a lover of media, both online and offline. My professional background lies within children’s television at Network Ten, where I worked as a Production Coordinator and freelance Scriptwriter, creating ‘riveting’ work such as this.

For me, it’s time for change and adaptation – from sleepy Brisbane to bustling Sydney, offline to online. I’ll be documenting my time at Amnesia Razorfish with a no holds barred look at agency and digital life. I have a lot to learn and you can read all about it here, or follow me on twitter.

Dean
@deanvowles

P&G hijack their own advertising (smell is power)

Two very different worlds of advertising collide in this new campaign by W+K. It is a very smart and (perhaps, more importantly) funny move.

The only question is, can you really go back to the tried and tested formula for the other brands now… Either way, we like.

 

Sex Sells! This works even for bottled water

or in the case of the French bottled water company Contrex a fun ad campaign using a Neon Male Stripper.

This ad was broadcasted in October and it features pink exercise bikes in front of a, what seems to be, historic building in Paris and when some curious ladies start pedalling Neon lights come to life and reveal a male stripper starting to undress.

At the end the girls are told that they just burnt 2000 calories which falls in line with Contrex “My Contrexperience” digital campaign which says that we all would lose more weight if the process was funnier and these ladies definitely look like they had a good time.

Interestingly there are a few rumours online that claim that this is fake as nobody recognizes the building and citizens of Paris claim they never heard of it.

I think it is still a great campaign – tell me what you think in the comments.

@maniac13

DDB: ADC Annual Awards Call for Entries Campaign

Love this! Esp as most of us can relate to it. DDB New York’s cam­paign for ADC’s Annual Awards Call for Entries.

@danKrause

Razorfish Outlook Report 11 (vol 10)

Our new global Razorfish Outlook Report 2011 (vol 10) is out people.

If you’re not familiar with the report it is compiled by Razorfish in the U.S. and provides an in-depth analysis of emerging trends in media, technology and creativity.

A major theme from  this year is collaboration, content and relationships defining a new approach in media.

The year in digital media is reviewed here and other hot topics include:

Game Mechanics

How the Social Cloud can Accelerate Brand Interactions

Forget Mobile, Think Multiscreen

The Importance of Agency Collaboration

The Report is also available in presentation format here and you can follow the conversation on Twitter using the hashtag #orv10.

Happy reading.

Do you have Sweden’s safest hands?

Cool idea by Swedish agency Åkestam Holst.

I had to Google translate it from Swedish but still reads well… (article from the agencies blog).

“Sweden’s safest hands”, is a contest in the iPhone, which is organised by the Post. The contest is part of a larger e-commerce campaign that is about to record is the safer choice when you send your packages.

The contest is to carry a digital package a certain distance using an iPhone app. This applies to transport package is as safe and secure as the Post.

42 packages have been packed with secret content to a value between 300 and 5000 dollars. Every day at 6, 12 and 18 released a new package. Do you deliver the package intact before anyone else, you win the contents. You decide where to begin and end, so it does not matter where you live in Sweden.

Download the app and compete on posten.se / safe hands

See contest trailer:

Watch it:

Read full article.

@danKrause

Idea Envy: VW BlueMotion Roulette

This is one to file under ‘ideas you wish you’d come up with’ – in this case it was VW’s Norwegian agency Apt that got there first.

So how do you make people care about a boring-but-important feature like a car’s fuel consumption? What about asking consumers to upload their favourite fuel-economy related stories to your Facebook page? Or not.

In fact, these guys decided it would be more fun to turn one of Norway’s longest highways into a giant game of roulette. The person who correctly predicts where the BlueMotion will run out of fuel gets to keep one – finally giving people a real reason to research fuel economy…

(Kudos to @lyndonjhale for spotting this)

@BdeCastella

Unexpected Thinking : 3 of the best from Cannes

The APG held a Cannes Highlights evening last night at the Verona, themed around ‘Unexpected Thinking’. As well as the usual suspects (Nike ‘Write the Future’, Walkers ‘Sandwich’, TippEx ‘Hunter Shoots A Bear’ etc) here are a few examples that hopefully haven’t been blogged to death:

1. Heartbreaker, Kaizers Orchestra
(Starcom, Norway)

Media generally doesn’t turn up the most electrifying case studies but this was a truly ingenious idea: build up anticipation for a new album release by giving it away – as sheet music. The outcome: cover version mania sweeps Norway.

Kaizers Orchestra – Hjerteknuser (Case study, English) from Anorak on Vimeo.

2. Gigantic Nose, BGH
(Saatchi & Saatchi, Buenos Aires)

It’s fashionable for digital people to slag off big ideas but this is a great example of how a creative strategy can create excitement over the dryest of product benefits. To promote a new airconditioner with an above average filtration system, Saatchis focused on those who needed it most – people with massive noses.

3. Monopoly City Streets, Hasbro
(Tribal DDB, UK)

OK, so this has been around a while but it’s still a nice idea. A lot of digital campaigns try and get people to participate for the sake of it but this is a lovely example of how a campaign that’s genuinely fun to get involved in can yield dramatic results. How do you promote a board game that’s already turned out more ‘special editions’ than Sports Illustrated? Go large by turning the whole world into a giant game.

@bdecastella

Facebook Video Chat… World Takeover Strategy

Now that facebook has not only dominated the social network space, launched a successful advertising platform, launched geo location offline business integration(facebook places), why not just jump into another market ? video chat ?

The facebook+skype integration allows users to connect with their online friends via skype

video chat

Step 1 seen above is selecting the person you want to start a video chat with.

installing facebook video chat

Next thing we need to do is download and install the software that makes the video chat possible, this is a simple 2 click process(Tell google to keep it simple). Are you excited yet ?

video chat installer

Now you run the file and within seconds you can be chatting away with people all over the globe. Without having to invite them into circles(out the box functionality, now way!) Yes way.

video chat away

A simple web call authentication that installs the program

video chat call request

What you see above is what it looks like when requesting a video chat call(if you are the person requesting it).

recieving calls on facebook

A simple call request before a call launch is seen above and the grand finale, the peice de resistance is seen below.. Drumroll please

And below is my little cousin who never wants to use any new technology(we all know someone like her)

arguing with late adopters

Presto.

Since none of my friends have video calls and the 1 person I called was unlcothed, it will be a while before you see the actual video call image

Underwater Sydney and 52 Suburbs meets Creative Social

Creative Social is the monthly gathering of Australian Creative Directors working in digital. Tim Buesing Digital CD for Mojos put his post on his blog http://between0and1.org/ – go check it out or read on…

We interviewed our speakers Louise and Richard before Tuesday’s get togetherat MOJO / Amnesia Razorfish and here’s the video of the night, a bit rough around the edges.

Both speakers are keen to take their projects further, so if you are intrigued by their work, identify with their projects and feel like you could contribute, please do get in touch via their respective sites:

Louise Hawson’s 52 Suburbs
Louise is planning to get ’52 Cities’ underway soon, and you would guess she is not talking about 52 cities within Australia. So as per Ben Cooper‘s suggestion, you might see her project gain traction on Kickstarter soon.

Richard Vevers Underwater Sydney
Richard’s project is getting major digital support from BMF through our Creative Social member Aaron Michie. But BMF building a new site won’t be enough, so if you are an agency willing to donate time and expertise in whatever field of communication, please get in touch. The underwater sea life literally needs more visibility.

The next Creative Social takes place at The Hallway, hosted by Jules Hall andJamie Corker, speaker still to be announced.

 

The real Mad Men Christmas party: pretty dull actually

Droga 5’s recent full page ad in The Australian confirmed what we all already knew. Despite telling everyone who’ll listen that ‘the old agency model is broken’, most people in advertising still prefer the idea of a Sterling Cooper-style long lunch to a four-hour workshop on cross-media integration.

And there’s nothing wrong with that. Except that according to the BBC’s Adam Curtis, the reality of sixties adland was actually a bit less glamorous than Don Draper and co would lead us to believe.

Spot the difference

On his blog ‘The Medium and The Message’, Adam’s posted a fascinating, if slightly dreary, documentary about the 1969 Christmas party of London ad agency Davidson Pearce Berry and Tuck.

26 year old Media Director Allan Rich is pure gold – he puts an upper limit of ten minutes on festive socialising and shuns alcohol for a cheeky glass of bitter lemon.

Check out the video footage here.

@bdecastella

IKEA’s self-assembly banner ads

With everyone and their mum banging on about ‘being part of the conversation’ it’s easy to forget about the humble banner ad…and let’s face it, a lot of the time banners sit somewhere between pretty forgettable and downright irritating.

Well, here’s a great example of why banners don’t have to be boring – it’s an IKEA ad by Hamburg’s Grabarz & Partner that made the finals of the LIAs a little while ago.

Briefed with promoting IKEA’s spring sale, the Germs could have banged out some Harvey Norman-style price screamers. Instead they managed to create something that cheekily encapsulates the IKEA philosophy – “assemble it yourself and save money”.

Unbox the banner yourself here – no allen key required.

– @bdecastella

Power Pinata from Vodafone

Here’s a nice idea for a game. Smash the living daylights out of this Piñata using facebook, a robot connected to the internet and baseball bat. When the Piñata bursts it’s a free for all to grab a prize.

Here it is in action. It’s a little like watching cricket … the difference is the English are actually smashing the Aussies.

Anyone discovered any cheats to make the robot smash the Piñata a bit harder?

Lovely idea though. I’m jealous. @handypearce

Will it go dot.mum? (the real adnews article)

A new phrase has entered the building – dot.mum. It was blurted out (as these things normally are) in a creative brainstorm the other day, ‘I like it, it’s a great idea, but will it go dot .mum?’.

http://www.flickr.com/photos/lwr/3946109956

At the time, it came out as shorthand for ‘the mainstream’. The incomplete thesis behind the mumbling was once you’ve gone dot.com you then need to go dot.mum, which means you’ve pretty much got yourself into every household (pretty much – an incomplete thesis as I said).

As the presumed ruler of the household purse, Mums have long been the targets of some pretty one-dimensional strategies (we’ve all seen it before in this industry; food = fear, toilets = pride, etc) and, of course, the terrible advertising that accompanies it. There is a lot more to dot.mum than meets the eye though (now that I’ve actually bothered to explore my mind fart) the truth of the matter is that actually dot.mums are changing the nature of what the mainstream is.

The Entertainment Association of Australia quietly released a study last month which predicts mums are set to overtake teenage boys as the new gamers (ask anyone at Facebook and they’ll tell you they’ve already seen it happen). Their study shows that 46 per cent of the Australia’s gamers are now female, with the average age 30 years.

While we’re fighting some female marketing stereotypes, I’d like to include a side point of clarification here: In the same way that mums aren’t fear-driven, pride-seeking, FMCG buying machines, when women play games they do not necessarily want teddy bears and shopping apps.

A study undertaken in 2006 by the Australian Catholic Univeristy no less (their misspelling not mine… Given this, perhaps we should view all results as indicative at this stage) found that female gamers find mental stimulation, creativity, interesting story lines and superior graphics more important than anything else (more important than dolphins and flowers for example).

Once you’ve put your copy of Ad News down go and check your analytics for some genuine insight. When we launched our paper plane game (check it out – it’s fun) we found out that the majority of the users where female (55%) and since then we’ve taken specific learnings into a number of campaigns. One implication is the fracturing of engagement (mum’s are very busy people) so we need to make any content bite sized, flexible and something they really want to return to.

Make no mistake the dot.mum phenomena has its downside. Is something still cool if it has gone dot.mum? Just ask Dido. And then there is the question of where dot.mum finishes? Once the chick chick boom girl appeared on sunrise her cache evaporated. So where does Sunrise fit and should we include Sunrise in our media plans for dot.mums? That really is the stuff of sleepless nights.

So guess what, games are increasingly a mass marketing channel and women aren’t idiots. No, there is much more to it than that. Going dot.mum is important, it is the future of the mainstream, a future mainstream we must connect with and, in order to do so, ultimately understand. If we can’t get that far let’s at least make sure we don’t fall back on some of those bad marketing assumptions.

Now you’ve read this rubbish, go and check out some serious gamer girls here – girlgamers.com.au, thumbbandits.com or womengamers.com (the latter of which is now 11 years old btw).

Ben Hourahine is Strategy Director at Amnesia Razorfish – @benhourahine

————————————————————————————————————————————————-

Published in Adnews – ‘Dot.mum is the new mainstream’ – 19.11.10

This is the original version before the re-edit, my name is also spelled correctly here too 😉

 

Once you’ve put your copy of Ad News down go and check your analytics for some genuine insight. When we launched our paper plane game (check it out – it’s fun) we found out that the majority of the users where female (55%) and since then we’ve taken specific learnings into a number of campaigns. One implication is the fracturing of engagement (mum’s are very busy people) so we need to make any content bite sized, flexible and something they really want to return to.

Google’s Place Search to squeeze returns

In the search engine marketing and optimisation sector, it really does seem that change is the only constant.

In June, I wrote about the launch of Google Caffeine and the impact of social search in the marketing mix. Just four months later and Google has added another game-changing feature to their search engine results pages (SERPs), called Place Search.

As its name suggests, Place Search prioritises search results based on proximity of the website to the user’s current location, in an effort to make consumers “feel like a local everywhere [they] go”. It is very similar in concept to Yellow Pages but doesn’t require users to leave the Google homepage.

This is good news for consumers seeking local restaurants, shops, entertainment and the like, but for companies there are new challenges that come with it.

In addition to having its own dedicated category, Place Search also appears in natural results on the main SERP (in the form of business listings with reviews and a map showing result locations) when Google predicts that the user is looking for local information. But it is what that new content is replacing that is of concern.

Companies currently paying for Google AdWords to gain higher visibility on more generic search queries may find that their click-through rates suddenly take a tumble thanks to the new Places map, which is positioned in what was previously a lucrative AdWords position: the top right-hand corner.

Not only does it take a prime position, it maintains that position as the user scrolls down the page, which means significantly less visibility of company-sponsored AdWords.

It would not be far-fetched to expect AdWord costs to increase (due to the increased competition and importance of gaining the top three spots), despite a greater risk of fewer click-throughs and thus a decline in return on investment for those not appearing in the top spots.

In every challenge, there is an opportunity. In Place Search, the opportunity for companies is to raise the visibility of bricks-and-mortar stores to among 60 per cent of Australians who research online with an intent to purchase offline.

To do that, I asked one of our search experts here at Amnesia Razorfish to provide their top five tips on optimising for Place Search:

1. Get listed and be consistent: claim your free listing by providing your company details at www.google.com/places, ensuring that multiple locations each have their own profile containing the location/suburb in the Places title. Choose your categories carefully, and ensure your description is consistent across other directory listings.

2. Enrich the experience: take the opportunity to add additional information such as opening hours and rich media content (photos, YouTube videos, and so on) to your Places page; you want consumers to get a good feel for who you are and what you do.

3. Reviews: customer reviews play an important role in Place Search ranks. Ensure you have the process in place to monitor and respond to user reviews about your business.

4. Sponsored map icons: make your business stand out by investing in a personalised map icon that displays your logo.

5. AdWords ad extensions: link your Google Places listing with AdWords to enable users to see your location from the sponsored ad.

And my recommendation? Make the most of this opportunity while it is still free, as you have to assume Google is not out to destroy its own commercial model.

To that end, I would expect to see related new forms of paid advertising being launched by Google in the weeks and months to come. Given its current focus on location, my guess is that mobile advertising is next on the hit list. Watch this space.

Jennie Bewes, Director of Social Media & New Business, Amnesia Razorfish

As published in The Australian Financial Review, 3 Nov 2010

Mini get-away: Virtual reality game from Stockholm

I love this game. The rules are simple but the game is not easy. You download the iphone app. Find the virtual mini and you ‘take’ it if you get within 50 metres of it. Then comes the tricky bit … you have to keep other players from taking the mini from you. Keep hold of it and you win a real life mini. Nice.

Watch this space for mash-ups from every agency going 🙂

From here

@handypearce

 

We’re now a record label!

We’ve seen how digital and social media, and specifically earned platforms such as Facebook, YouTube and Twitter, can propel an unsigned artist into the mainstream of music success.

People like Lily Allen (famous after being discovered on MySpace), Justin Bieber (discovered on YouTube in what is debatably the worst example of YouTube’s possibilities), and even Lady Gaga who was discovered on YouTube and MySpace Music, represent a fundamental shift in how we are selecting popular artists and musicians.

Rather than the traditional push method where ‘Record Labels’ would pick and choose artists based on ‘marketability’ and their own industry agendas, we’re seeing a transition to a pull method. We’re self-selecting as an audience, and determining who will fill our iPods and PCs.

When you consider that social media is underpinned by two pillars: content curation and collaboration, it seems a natural platform for music and ‘stars’ to snowball into popular culture. As Andy Warhol once so famously said “”In the future, everyone will be world-famous for 15 minutes.”      …Perhaps the new paradigm of this is “in social media, everyone could be world-famous”

The role of social media and music

We are publishers by our very nature, collaborating with one another as peers to appeal to our inherent need for fame and recognition. With social media, though, we have gained the tools that have the potential to scale our peer-level communications to a truly mass-market. And music is by its nature a social experience, binding people together with common emotions and values.

In what is perhaps the natural iteration of this, Razorfish in the US has stepped into the role of quasi-record label by forming a strategic partnership with an unsigned artist, AM.

David Deal, Vice President of Marketing at Razorfish, explained:

“How does an emerging indie artist in the dysfunctional music industry find an audience anymore?

My employer Razorfish is tackling that challenge through an unusual co-branding relationship with indie musician AM, which sees Razorfish playing the role of quasi-record label, concert promoter, and DJ. And so far we are having a lot of fun while building our brand with a creative and smart musician.

“We’re intrigued by the challenge of helping a promising artist find a national audience given how the traditional recording industry distribution model is broken,” said David Deal, vice president of marketing for Razorfish and the would-be A&R man guiding the agency’s partnership with AM. And if Razorfish or any of its clients can earn cachet through association with an up-and-coming artist, so much the better.”

What interests me is the idea that the traditional recording industry distribution model is broken.

Razorfish US have demonstrated that digital, and specifically social media, can play a critical role in bringing music to a mass audience. But for me, it’s a question of what comes first: the lagging of traditional record labels in their push model, or the growing prominence of the push model by the socially-connected. And further, how do you monetize this?

YouTube and music

Earlier this year, Lady Gaga’s manager, Troy Carter, stated that Lady Gaga “create (s) music videos for YouTube.”

When you look at some of the statistics with video views on YouTube (Bieber’s catalyst video achieved 55 millions views), it does make sense for artists to create their content specifically for social media.

Even Susan Boyle, the unlikely hit sensation of 2009, has demonstrated the value of YouTube in achieving success. Yes, she used the reality TV platform to position herself in-front of a National audience, but it was the ‘cloud’ that really propelled her into success. Her audition video saw more than 100 million views in two weeks. A social movement grew, seeing her favoured to take out the title of ‘Britain’s Got Talent’ winner (she came runner-up).

Yet despite the massive amount of exposure, and social currency, Susan is purportedly still ‘poor’, with sales figures of her records disappointing.

Indeed, the question of revenue remains; how do you leverage the social popularity of a ‘digital artist’ and generate offline record sales. iTunes, and indeed other music-sharing platforms, are surely the key?

A digital advertising agency and sustainable music: the future?

But what if the revenue aspect of music wasn’t up to ‘traditional record sales’ and was instead based on another traditional revenue stream: advertising?

When we’re talking about artists achieving video views in excess of 50 – 100 million views, the opportunity for advertising revenue is very real. We know YouTube and Google have demonstrated the ad potential for high-view videos, and indeed Sony is purported to be a revenue-sharing partner with YouTube.

So, perhaps that’s where digital agencies such as Razorfish can really create a new paradigm in music. No longer do we need to pay for the right to access content (in this case the actual songs of artists such as AM), to achieve success and sustainability for an artist or the industry.

The value Razorfish, and indeed this model, presents to the industry is in its roots – creating content that resonates with a social audience, and generating revenue for their client, which in this case is a musician.

This model could allow artists from around the world to build social networks of fans who share their enthusiasm for independent artists with others through platforms such as Last.fm. But instead of relying on a dwindling group of large music publishers and radio stations building markets for a handful of artists around the world and attempting to generate ‘record sales’ in what is surely a digital world of music consumption, we actually turn it upside down.

This is essentially what the Spotify model could and should be. The Freemium version (a live online streaming platform for music) enables you to listen to playlists of your favourite artists, with advertising in-between songs. The gap in Spotify, however, is that the advertising revenue doesn’t go to the artist.

So, what if we marry this platform, the popularity of peer-based music sharing platforms like Last.fm, with advertising-generating platforms such as YouTube and even Google, to create a new wave of accessible music?

I believe this is what MySpace Music was seeking to do, yet by perhaps failure of its own brand, hasn’t really seen success in its advertising subsidized streaming platform.

And this is, in my opinion, a key opportunity for a digital agency such as Razorfish; it’s our job to always remember that we must focus on content and sharing. Facilitating brands, ideas and messaging – or in this case, music – into digital environments where the community and artist can form a true symbiotic relationship, based on accessibility, sustained by partners and advertising revenue-sharing.

And as a side note, I for one (as a Razorfish employee) am excited about the opportunity to work with up and coming Australian artists based on the pioneering by our US partner. If you’re keen, you can email me 😉

So, what do you think?

The Death of Social Media?

Most morbid social media campaign yet? The gist: Take a photo of yourself DEAD and you could end up in next year’s horror movie Redd Inc. According to the company there have been a few ‘inadmissable photos’ so far.

Above: User generated death.
http://www.reddincthemovie.com/Submissions/Art/Fake-your-own-death/Page2/Art225

 

 
The website: http://www.reddincthemovie.com

It’s making the news… Article about it in the Daily Tele.