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Adam&EveDDB Up&go Gain Theory

Creative Department: Featuring Dare, Proximity Germany, The Red Brick Road and more


By Gillian West, Social media manager


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April 27, 2015 | 27 min read

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Welcome to The Drum Creative Department, sponsored by Workfront.

As always this section is dedicated to showing the best creative work and gives you, the reader, the chance to decide what we show within The Drum magazine.

You can vote for the work you like best, simply by clicking the 'Like' button beside the work, and the winner will be featured in the next issue of The Drum (13 May) in the Creative Department spread.

Other popular entrants will also be considered for the print edition. Submit your vote before Monday 4 May to guarantee your favourite makes it into the printed magazine.

To submit work for future publication contact For voting updates and more follow The Drum Creative Department on Twitter @TheDrumCreative.

Dare: Ryanair 'History'

Brand: Ryanair

Title(s): History

Agency: Dare

Agency website:

Creative Partner: Brian Cooper

Creative Director: Nathan White, Ben Daly

Executive Partner: Toby Horry

Additional Credits: Business Lead: Josh Harris

Account Director: Massimo Fiori

Account Director: Freya Page

Planner: Nathan Rogers

Production Good Egg

Director: Bugsy

Published: April 2015

Short Rationale: Dare have created a new TV ad for Ryanair to celebrate Ryanair’s 30th birthday and promote the brand’s ‘Always Getting Better’ customer experience improvement programme. There is a 40” version for online use and 30” for TV in the UK and Ireland.

The film light-heartedly looks at the differences between the world in 1985, the year that Ryanair launched, to the world of 2015. For example, in 1985 Ryanair had only one route, from London Gatwick to Waterford in Ireland. Today, it operates over 1,600 routes, connecting 190 destinations in 30 countries.

Accompanied by the famous 80s anthem 'Take on me' by A-ha, the spot humorously shows the continuous improvement that Ryanair has made to suit the modern traveller.

Adam&EveDDB: Google 'Explore Loch Ness with Google Maps'

Brand: Google

Title(s): Explore Loch Ness with Google Maps

Agency: Adam&EveDDB

Agency website:

Chief Creative Officer: Ben Priest

Executive Creative Director: Ben Tollett, Richard Brim

Creative Director: Paul Knott, Tim Vance, Google Creative Lab

Additional Credits: Planner: Will Grundy

Account Management: Alex Hesz and Sam Brown

TV Producer: Ben Sharpe and Jordan Cross

Production Company: Sonny

Director: Nick Rutter

Editor: Gary Forrester

Edit House: Marshall Street Editors

Soundtrack name and composer: “The Search” by Brendan Woithe

Post-production: The Mill

Audio post-production: Clang @ Marshall Street

Published: April 2014

Short Rationale: Alex Hesz, Director of Digital at adam&eveDDB, said: "A huge part of Google’s mission is to help make mysterious places more accessible to everyone, and there’s no more emotive, exciting example of that than revealing what’s beneath the waters of Loch Ness.

"This is a place of enduring mystery and profound beauty, and we were lucky enough to accompany Google’s underwater capture team on a truly extraordinary task. We think that the campaign really captures the scale of that undertaking, the beauty of the place, and the reasons why Loch Ness has retained such a sense of mystery and intrigue for so many, for so long. The fact that everyone can now explore it for themselves is hugely exciting.”

Robot Food: Neon Penguin 'Branding and packaging'

Brand: Neon Penguin

Title(s): Branding and packaging

Agency: Robot Food

Agency website:

Creative Director: Simon Forster

Art Director: Martin Widdowfield

Photographer: Mike Johns

Published: April 2015

Short Rationale: Cocktails and great ice cream are a sure fire way to make any occasion feel special but due to alcohol’s low freezing point it’s almost impossible to combine the two. That was, however, until cocktail ice cream pioneer, Martin Vincent, perfected his recipe and formulated a range of boozy after dinner delights. Vincent enlisted the help of renowned branding and packaging agency Robot Food, to come up with a brand and packaging design that was worthy of the products he’d worked tirelessly to bring to fruition.

Robot Food developed the brand name ‘Neon Penguin’ to add credibility and fun to the luxurious product offering. Bold, classic cocktail favourites and bright, exciting colours pair together to form a brand with huge standout that perfectly suits the adult nature of the product.

Neon tube lighting is often associated with seedy clubs and late night takeaways, but Robot Food’s considered application of colour and style across all four flavours breaks this stereotype. The contrasting effects of a dark coloured background with vibrant, punchy colours and indulgent product photography further amplify the exciting cocktail flavours and bring the brand to the forefront.

The result is an identity that expertly fuses indulgent dessert cues, with a tongue in cheek playfulness that’s right on brand. Proof that dessert at home doesn’t

Wieden+Kennedy London: Lurpak 'Freestyle'

Brand: Lurpak

Title(s): Freestyle

Agency: Wieden+Kennedy London

Agency website:

Executive Creative Director: Tony Davidson, Iain Tait

Creative Director: Sam Heath, Kim Papworth

Creatives: Gustavo Kopit, Barnaby Blackburn

Additional Credits: Agency Executive Producer: Danielle Stewart

Group Account Director: Rachel Parker

Account Director: Hannah Gourevitch, Katja Giannella

Account Executive: Stephanie Brooks

Head of Planning: Beth Bentley

Planner: Jennifer Lewis, Theo IzzardBrown

TV Producers: Gemma Knight, Sahar Bluck

Creative Producer: Rebecca Herbert

Production Company: MJZ

Director: Juan Cabral

Production Company Producer: Stephen Johnson

Director of Photography: Anthony Dodd Mantle

Editorial Company: Work Post

Editor: Neil Smith

Post Executive Producer: Julian Marshall

VFX Company: MPC

VFX Producer: Anandi Peiris

Music+Sound Company: Soundtree

Composers: Peter Raeburn, Ben Castle, Luis Almau

Sound Designer: Parv Thind

Producer: Jay James, Soundtree

Mix Company: Wave Studios

Mixer: Parv Thind

Producer: Rebecca Boswell, Wave Studios

Creatives: Sam Heath, Gustavo Kopit, Barnaby Blackburn

Designer: Bruce Usher

Creative Producer: Rebecca Herbert

Creative Researcher: Laura Barker

Photographer: Gustav Almestal

Agent: Lund Lund

Food Stylist: Kate Giovanni

Director of Relations: Marta Bobic

Published: April 2015

Proximity Germany: Panasonic 'Highs and Lows'

Brand: Panasonic

Title(s): Highs and Lows

Agency: Proximity Germany

Agency website:

Chief Creative Officer: Wolfgang Schneider

Creative Managing Director: Darren Richardson, Sebastian Hardieck, Kristoffer Heilemann

Creative Director: Fabiano Oliveira

Art Director: Fabian Pensel, Nicoletta Kiermaszek

Copywriter: Ramon Scheffer

Additional Credits: General Manager: Dirk Bittermann

Group Account Director: Rita Schumacher

Account Manager: Sebastian Rupp

Advertiser’s Supervisor: Saskia Alessa Meschke

Production Company: ORT, Dusseldorf

Published: April 2015

Short Rationale: The print ad campaign “Highs and Lows” by Proximity Germany shows this insight in honor of three great artists (Johnny Cash, Michael Jackson and Britney Spears) in music history and at the same time offers the technology to make every high and low audible: The headphones Panasonic RP HD-10 with 50mm high-resolution transducer provides voluminous lows and extraordinary highs. The result is an acoustic-related design that expresses the brands love for good music and great sound.

The visuals deliver both, a catchy look and a connection to the world of sound and acoustic. The result is an energetic, powerful looking sound wave that works on two levels and communicates the product benefit as well as the bigger story behind every image and tributes three great artists in music history. Since the Panasonic RP HD-10 are high class headphones for true music lovers.

Adam&EveDDB: Halifax 'Charlie'

Brand: Halifax

Title(s): Charlie

Agency: Adam&EveDDB

Agency website:

Executive Creative Director: Ben Tollett, Richard Brim

Art Director: David Mackersey

Copywriter: Jonathan John

Additional Credits: Producer: Jack Bayley

Business Director: Charlotte Wolfenden

Account Manager: Alex Attfield

Planner: Michelle Gilson/John Blight

Media agency: MEC

Media planner: Chris Hoon

Production company: Sonny

Director: Guy Manwaring

Editor: Mark Edinoff

Soundtrack name and composer: Out Of This World by Terry Delvine-King

Post-production: Finish

Audio post-production: 750mph

Published: April 2015

Short Rationale: The new spot introduces us to Charlie, a little five year old boy in a great big world, who absolutely loves all the extra that life has to offer him, from an extra big painting to extra bubbles and extra ketchup, from morning to bedtime. Full of fun, curiosity and boundless enthusiasm, he’s the little hero of the family. This new ad announces the fact that Halifax are an award winning children’s account provider in a year when Halifax are giving extra to families through extra value and by making banking extra easy. So for children like Charlie who love extra, the Halifax is definitely the bank they’d choose.

Embrace: Gain Theory 'Brand Identity'

Brand: Gain Theory

Title(s): Brand Identity

Agency: Embrace

Agency website:

Creative Director: Andrew Paterson

Design Director: James Holland

Designer: Clarke Cribb

Digital designer: Karl Goldstraw

Web Development: Luigi Mannoni

Account Management: Sara Rodrigo

Artworker: Ed Roberts

Published: April 2015

Short Rationale: Embrace has just completed a brand new identity for Gain Theory. Gain Theory is part of huge worldwide WPP company. The core idea was based on the concept of a five sided portal to 'see into the future', which is reflected in the 'i' in Gain Theory and communicated from a brand identity and strategy to website, launch video and experiential.

The Red Brick Road: Up&Go 'Aussies Suck'

Brand: Up&Go

Title(s): Aussies Suck

Agency: The Red Brick Road

Agency website:

Creative Director: Richard Megson, Matt Davis

Creative: James Tyler, Libby Middlehurst

Additional Credits: Senior Account Manager: Lou Jakeman

Agency Planner: Ben Mitchell

Agency Producer: Savana Jones-Middleton

Production Company: FilmGraphics

Director: Ariel Martin

Production Manager: Sassica Donohoo

Producer: Anna Fawcett

Director of Photography: Matt Stewart

Editor: Charles Ivory/Colin Sumsion

Post-production: Big Buoy

Grade: Smoke & Mirrors

Audio post-production: Scott Little at Smoke & Mirrors

Media Agency: The Village Communications

Media Planner: Kat Adams

Published: April 2015

Short Rationale: The edgy new campaign, titled Aussies Suck, features envy inducing Aussies that suck the breakfast drink each morning. The London based agency created the concept from the product truth that it is sucked from a straw and is the number one breakfast product for Aussies enabling them to be fit, healthy and aspirational.

The campaign is targeted at teens and twenty-somethings and comprises of advertising, experiential, digital and social, to help drive brand awareness and sales of the breakfast drink.

thjnk Berlin: Audi 'The Coup'

Brand: Audi

Title(s): The Coup

Agency: thjnk Berlin

Agency website:

Director: Paul WS Anderson

Commercials Producer to Mr Anderson: John D Brocklehurst

Executive Producer: Boris Schepker (Markenfilm Berlin)

Producer: Anna Schmidt (Markenfilm Berlin) & Sarah Crompton

BTS Producer: Dave Birchall

DOP: Vern Nobles Jr

Editor: Bled Bijupi

Additional Credits: Music: Felt London

Post Production: UNIT Post Production

Grade: Simon Astbury

Nuke Lead: Stirling Archibald

Nuke: Scott Simmonds

CG Lead: Martin Allan

CG Team: Will Davies & Chris Lumsdale

Audio: Chris Southwell

Design: Lloyd Francis

Smoke: Tom Moreland

Post Producer: Ross Culligan

Executive Post Producer: Kevin Docherty

Published: April 2015

Short rationale: Paul WS Anderson has recently completed shooting the latest offering from The Vorsprung Durch Technik team at Audi.

In collaboration with thjnk Berlin, the co-production between The Mob Film Company LTD and Markenfilm Berlin have delivered Audi 'The Coup', a full-blown Hollywood blockbuster heist movie captured in 60 seconds, directed by Paul WS Anderson (Resident Evil, Pompeii).

A car transporter fully loaded with the latest Audi S Line models is hijacked by hi-tech thieves, abseiling from helicopters to secure the car transporter to a Chinook helicopter that carries the entire payload through the city skyline. A few near misses along the highway and a SWAT team find the luxury cars in an aircraft hangar thanks to the Audi S Lines’ on board tracking system.

The live action stunts and helicopter shots were all overseen in Johannesburg by UNIT’s VFX supervisors Martin Allan and Stirling Archibald. Full CG models of the Audi cars were built from supplied CAD models. UNIT also created two full CG helicopter models to match those on set and a fully rigged car transporter. The team only had one green screen day from the 4-day shoot to capture all the elements required to make this 60-second thriller.

The grade was a challenge as the aim was to move away from the warm glow of South African sunshine and give it a European city feel; the oranges and reds were transformed into a cool looking grade set by UNIT colourist Simon Astbury, Paul WS Anderson, Creative Matthias Walter and Creative Director Stefan Schulte, both of thjnk Berlin.

Lead Nuke Stirling Archibald and Scott Simmonds worked on the rig removal from the stunt days and composited all the CG elements delivered from UNIT’s 3D team led by Martin Allan. UNIT started the CG modelling in November 2014 in order to deliver a teaser in January for the Berlinale Film Festival (sponsored by Audi) and the final film in March 2015.

One of UNIT’s senior audio team Chris Southwell was given creative freedom to create a cinematic trailer feel, sound designing and mixing around the epic music composed by Felt.

Ross Culligan post produced the project with Executive Producer John Brocklehurst of The Mob and Producer Anna Schmidt of Markenfilm.

SugarCreative: Cardigan Castle 'Brand Rejuvenation'

Brand: Cardigan Castle

Title(s): Brand Rejuvenation

Agency: SugarCreative Studio, Cardiff, UK

Agency Website:

Creative Director: Dan Clemo

Designers: Graham Sanders, David Griffiths

Additional Credits: Website Design: Graham Sanders

Website Development: Jason Veal

Published: 2015

Short Rationale: SugarCreative were commissioned to rejuvenate Cardigan Castle's historic brand, instilling a fresh new sense of pride within the local community. The brief requested a new logo, website, email newsletters and brand identity guidelines.

The approach was to immerse ourselves within Cardigan Castle's historic brand which provides an overall solution which is effective, memorable and creative.

The agency redesigned the outdated brand identity using a variety of techniques—friendly tone of voice, flat colours, improved typography and a photoshoot. We also developed a set of brand identity guidelines to retain future consistency.

Its solution was to use responsive technology which provides an optimal viewing experience—easy reading and navigation with a minimum of resizing, panning, and scrolling—across a wide range of devices (desktop to mobile).

JWT London: Shell V Power 'Stay Ahead'

Brand: Shell V Power

Title(s): Stay Ahead

Agency: J. Walter Thompson London

Agency website:

Executive Creative Director: Russell Ramsey

Creative Director: Jason Berry

Additional Credits: Senior TV Producer: Ben Catford

Planners (creative agency): Shekhar Deshpande and Ross Nicolson

Global Director in Charge: Merry Scott-Jones

Board Account Director: Jenny Shaw-Sweet

Account Director: Stephen Doyle

Senior Account Manager: Lynsey Houston

Account Executives: Grace Buck/ Jonah Werth

Project Manager: Graham Bagwell

Media agency: Mediacom

Media planner: Ritu Lakhanpal, Jonathon Ebsworth and Arjen Leemburg

Director: Carl Erik Rinsch

Production Company: MJZ, London

Editor: Cut and Run, Ben McCambridge

Sound: Sam Ashwell 750mph

Post Production: Framestore

Producer: Alex Fitzgerald

VFX Supervisor: Russell Dodgson

VFX Supervisor: Rob Harrington

Published: April 2015

Short Rationale: The Hollywood-blockbuster-style film shows a shape-shifting creature (representing engine gunk and corrosion) pursuing a car fueled with Shell V-Power Nitro+. As the drama builds, the car constantly out-performs the amorphous creature, staying ahead by evading its relentless attack at every step.

In Cinemas across the UK from Thursday (April 23) at the same time as the new highly anticipated blockbuster Avengers II, ‘Age of Ultron’ movie is released.

The campaign, developed by J. Walter Thompson London, is designed to shake up the car-fuel category, convey the excitement of driving with Shell V Power Nitro+ and generate a visceral response to the dangers that can hold back an engine from delivering at its optimum performance.

It is informed by an understanding of premium fuel buyers - their emotional bond with their car, the importance of their driving experience and their eagerness to care for their engine and therefore maintain its performance.

BJL: Ronseal 'Ronseal apology'

Brand: Ronseal

Title(s): Ronseal apology

Advertising Agency: BJL

Agency website:

Art Director: Richard Pearson

Copywriter: Karl Stones

Group Account Director: Helen Worsey

Account Manager: Ed Vaughan-Hughes

Campaign Manager: Tarryn Farnworth

Director: David Schofield

Producer: Dave Birchall

Director Of Photography: Aidy Peckitt

Production Company: Mob Films

Post-Production: Bark & Bite

Published: April 2015

Short Rationale: Ronseal’s world famous strapline ‘Does Exactly What It Says On The Tin', has been scrutinised across social networks recently, because in the 21 years since their line was launched, their products now don't always come in a 'tin'. So it’s time to drop it. And instead, live up to the honesty of the line and start doing exactly what we say. Our adverts feature an apology from the marketing director, on behalf of everyone at Ronseal, to explain the previous lack of absolute honesty and the reasons behind the changes.

BBH London: Skip 'Skip Dance'

Brand: Skip

Title(s): Skip Dance

Agency: BBH London

Agency Website:

Creative Director: Carl Broadhurst, Peter Reid

Creative Team: Simon Pearse, Emmanuel Saint M’Leux

Additional Credits: Strategist: Sarah Rabia

Strategy Director: Kirsty Saddler, Heather Alderson

Business Lead: Paisley Wright

Team Manager: Fiona Barnett, Piers Raffo

Team Executive: Meredith Bratton, Kate Frewin-Clarke

Film Credits

Producer: Chris Watling & Vaia Ikonomou

Production Company: Blink Productions

Director: Luis Cerveró

Executive Producer: Anna Ryabtsun

Producer: Sam Levene

DoP: Alexis Zabé

VFX Supervisor: Peter Hodsman

Post Production: The Mill

Editor/Editing House: Sam Sneade / Speade Editors

Sound: String and Tins

Music Company: Big Sync

Music: ‘Tightrope (The Solo Version) by Janelle Monáe

Choreography: Tuixén Benet

Styling: Shirley Kurata and Giorgia Tramontano

Interactive Credits

Interactive Producer: Kate Sutherland

Developer: Tomasz Szarzynski

Interactive Production Company: BBH Build

Interactive Designer: Daniel Diggle

Designer: James Townsend

UX Director: Matt Bertocchi

Published: Skip, the Unilever owned premium detergent, has launched an ambitious interactive ‘music video’ shot by Luis Cerveró, the acclaimed director renowned for his inventive and entertaining music videos such as Pharrell Williams’ ‘Marilyn Monroe’.

‘Dance’ paves the way for a new premium category of laundry detergent aimed at women who love their clothes. The campaign is rooted in the idea that Skip shares this love of clothes, which is supported by the product’s game-changing credentials. A premium detergent that goes beyond cleaning, Skip keeps your wardrobe in perfect condition. Skip’s latest technology even removes bobbles, to keep clothes looking new and smooth for longer.

Set to the soundtrack of Janelle Monáe’s ‘Tightrope (The Solo Version)’, the 2 minute film celebrates women’s wardrobes and features a group of dancers performing a tightly choreographed routine. When viewing the film online it becomes a completely interactive experience, as the audience are invited to instantly change the dancers’ outfits with just one click. Expert tips for caring for each garment are seamlessly integrated throughout.

See the interactive version here:

Rees Bradley Hepburn: Church End Brewery 'Thirst past the post'

Brand: Church End Brewery

Title(s): Thirst past the post

Agency: Rees Bradley Hepburn

Agency website:

Creative Director: Mike Kalin

Deputy Creative Director: Sweta Pathak

Designer: Stephanie Davis

Copywriter: Ross Seabury

Published: April 2015

Short Rationale: Rees Bradley Hepburn has been working with Church End Brewery for 20 years and as they’ve concocted ever more inventive brews the creative team at RBH has come up with imaginative new ways to promote them.

Their latest concept taps into election fever using a visual representation of 10 Downing Street in the form of a pint of ale and the strapline ‘A winning brew that’s always worth downing’. RBH developed the ‘Thirst Past The Post’ campaign to promote a limited edition specialty brew for the upcoming general election. The creative will be used on posters, POS and social media.

Leo Burnett Milan: Samsung 'eMotion Project'

Brand: Samsung

Title: eMotion Project

Agency: Leo Burnett, Milan, Italy

Agency Website:

Executive Creative Directors: Francesco Bozza, Alessandro Antonini

Creative Director: Christopher Jones

Copywriter: Nicoletta Zanterino

Art Director: Alessandro Polia

Creatives: Alice Jasmine Crippa, Federica Rebuzzini

Additional Credits: Social Media Manager: Raffaella Ramondetti

Project Manager: Andrea Castiglioni

Managing Director: Niccolò Arletti

Account Director: Viktoria Ovtcharenko

Account Manager: Federica Giacomotti

Producer: Isabella Guazzone

Director: Claudio Gallinella

Production House: Bedeschi Film

Published: April 2015

Short Rationale (optional): The aim of eMotion Project is to help hospitalized children to face recovery in a whole new way, bringing the light-heartedness typical of childhood back into their lives.

With the collaboration of Samsung Italia, the potential of Samsung Gear VR has been put at the disposal of the pediatric department of Santa Maria Goretti hospital in Latina, to offer little patients an unforgettable visit to 'Movieland', near Lake Garda.

The experience proved to be a valuable way of providing genuine emotional support, turning around not only the mood of the little patients, but also their whole approach to recovery.

Philip Simpson Design: National Museum of the Royal Navy 'Gallipoli Exhibition'

Brand: National Museum of the Royal Navy

Title(s): Gallipoli Exhibition

Agency: Philip Simpson Design

Agency website:

Creative Director: Philip Simpson

Published: April 2015

Short Rationale: Philip Simpson Design has created a bold and immersive setting for an exploration of the fictions and facts surrounding one of World War I’s most infamous Allied defeats. Gallipoli: Myth and Memory has opened at the National Museum of the Royal Navy (NMRN) in Portsmouth, just in time for the centenary of the Gallipoli campaign, on April 25, 2015; it is the only UK exhibition to focus exclusively on Gallipoli.

Full height environmental graphics throughout the space create a strong, unified presentation filled with monochrome images and text blocks placed at jagged, precipitous angles. This graphic treatment was inspired by the ‘dazzle’ camouflage used on one of the key surviving ships, HMS M33 (it was devised by the Royal Navy to mask the shape, scale and even direction of their vessels). It also chimes with the controversy over the campaign’s management and conception, as well as the rugged, hugely problematic terrain of the Gallipoli peninsula on which the Allied troops landed and which the Turks successfully defended from the hilltops, killing or wounding 200,000 of the troops drawn from Australia, New Zealand, Britain and France, and causing their eventual withdrawal eight months later.

A deep red is the base colour for the graphic panels, with four themed zones highlighted in different hues: for example, deep blue flags up the naval campaign, green is used for the landing and brown to convey the fact that all soldiers buried there are sons under the same soil. To clarify the realities of the campaign, many personal items have been loaned or drawn from the NMRN’s newly amalgamated museums’ collection, including letters from soldiers on the ground to their loved ones and between Churchill and his naval commanders.

The atmosphere and narrative charge created by the artefacts and graphic treatment are set against the simple, timber pillars and floor of this historic gallery within the NMRN’s dockside buildings; it features occasional transparent glass floor tiles which reveal the ancient ships’ timbers that lie beneath the contemporary floor.

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