Independent agency network Fred & Farid has launched Aimagination, a global artificial intelligence production studio designed for brands, CMOs and agencies.
The new venture takes Fred & Farid’s involvement in AI to a new level. The agency’s past endeavors include producing two AI art exhibitions in Shanghai and Paris under the name “Aimagination,” and gathering a community of AI artists from around the world.
The Aimagination studio is set to redefine the exploratory potential of AI for the benefit of brands. It’s an effort being led at a global scale with a team of in-house talents, and a growing community of AI artists.
Aimagination strives to be an answer to the contemporary challenges faced by CMOs, as speed, cost, and efficiency all take precedence in their marketing needs. With a commitment to upholding excellence in craftsmanship and conceptual thinking, Aimagination is a promise to the industry that human creative taste is still very much needed. To date, the production studio has generated 500 series and 50 videos across a variety of categories, styles, and techniques, and selected 200 series plus 20 videos for its website, with a process of understanding the subtleties of original prompt conception, and singular curation.
Bringing Generative AI and Advertising Thinking Together
While there are numerous talented AI artists and numerous talented advertising professionals out there, few will manage to successfully merge these two worlds in a way mutually beneficial for brands. Aimagination aims to guide brands on this exciting journey, bridging the best of conceptual creative advertising culture with the forefront of Generative AI culture. Aimagination brings a diverse, cross-functional team of AI experts, and conceptual experts to the marketing and advertising space.
Recognizing the need for AI solutions to be well-crafted but also strategically aligned to each brand, the AI production studio utilizes the latest AI tools to deliver customized campaigns. Aimagination ultimately aims at freeing CMOs to build on their brand codes in limitless and reimagined ways.
“As a non-profit, we’ve been incredibly impressed by the speed, cost efficiency, and also the quality of Aimagination’s productions. It’s completely changed what we now know is possible with our visual campaigns,” said Katharina Maier, a lead organizer of Fridays For Future USA.
The studio seeks to provide a competitive edge in the fast-paced world of advertising without losing sight of the necessary craft, taste and brand relevance needed. This effective and efficient approach to creation opens the doors for brands of all sizes to launch high-quality concepts delivered at an unprecedented pace, all while minimizing the environmental and financial impact (still acknowledging the high energy consumption of AI).
This launch marks a commitment to the future of advertising, a future where AI and human imagination converge to push the boundaries of what’s possible. This new chapter is not just about embracing cutting-edge technologies; it’s about shaping the future narrative of the advertising industry, setting new standards for creativity, and how we, as the creative community, have the power to harness it to the advantage of our brands.
With an operation in the heart of Shanghai, global agency network Fred & Farid has seen AI’s revolutionary capabilities. AI can be seen as a threat to the creative industry or it can be seen as a fantastic tool that helps us rethink what creativity is, and what we can do for brands.
Aimagination looks forward to working with brands, artists, ad agencies, and production companies on projects. The agency is approaching this new venture with a humble and collaborative spirit in that when it comes to Generative AI, we are all students, all together, reimagining the way we create.
Review: Director John Crowley’s “We Live In Time”
It's not hard to spend a few hours watching Florence Pugh and Andrew Garfield fall and be in love. In "We Live In Time," filmmaker John Crowley puts the audience up close and personal with this photogenic British couple through the highs and lows of a relationships in their 30s.
Everyone starts to think about the idea of time, and not having enough of it to do everything they want, at some point. But it seems to hit a lot of us very acutely in that tricky, lovely third decade. There's that cruel biological clock, of course, but also careers and homes and families getting older. Throw a cancer diagnosis in there and that timer gets ever more aggressive.
While we, and Tobias (Garfield) and Almut (Pugh), do indeed live in time, as we're constantly reminded in big and small ways — clocks and stopwatches are ever-present, literally and metaphorically — the movie hovers above it. The storytelling jumps back and forth through time like a scattershot memory as we piece together these lives that intersect in an elaborate, mystical and darkly comedic way: Almut runs into Tobias with her car. Their first chat is in a hospital hallway, with those glaring fluorescent lights and him bruised and cut all over. But he's so struck by this beautiful woman in front of him, he barely seems to care.
I suppose this could be considered a Lubitschian "meet-cute" even if it knowingly pushes the boundaries of our understanding of that romance trope. Before the hit, Tobias was in a hotel, attempting to sign divorce papers and his pens were out of ink and pencils kept breaking. In a fit of near-mania he leaves, wearing only his bathrobe, to go to a corner store and buy more. Walking back, he drops something in the street and bang: A new relationship is born. It's the... Read More