DuPont is launching an integrated marketing campaign, “Invent a better n:ow,” aimed at reintroducing the nearly 217-year old brand as the source of essential innovations that transform industries and everyday life, and highlighting products that make up the company’s new portfolio. A key component of the multichannel campaign is a groundbreaking, first of its kind digital film, which seamlessly integrates dynamic video and live stream featuring the many ways DuPont materials are a part of our lives and asks, why wait for a better future when “now” is the most important moment.
“The power of essential innovation is that it delivers today, improving people’s lives around the world,” said Barbara Pandos, Chief Communications Officer for DuPont. “Across DuPont, we are creating first impressions about our new company every day — from materials for battery packs in electric vehicles, to DuPont™ HOWARU® probiotics for strong gut health, from DuPont™ Tyvek® medical packaging to DuPont™ Nomex® flame-resistant fiber for protecting firefighters. The launch of ‘Invent a better n:ow’ is a reminder that our innovations are everywhere around us, right now, and powerfully celebrates the materials that make a meaningful difference for our customers and in the industries we serve.”
The creative campaign from R/GA is designed around a series of digital advertising and online content that pushes the concept of “now” to a new level through its focus on real-time, in-ad dynamic video within a live stream. A first-ever for any campaign. Here’s how it works:
Subtle changes in the scenes and the music reflect the time you are watching the film.
The earth position matches your location; the film recognizes your viewing device and serves a custom, dynamic scene. All clocks throughout the film sync to your local time; the newspaper in the 90 second film reflects current headlines which update dynamically. For 24 hours on June 17, the film included live footage of a 3D-printed prosthetic hand being built in real time for a child in need, using DuPont technology and products.
“The new DuPont has innovation and energy at its core, and this really drove our creative approach. With our director, John Hillcoat (of Serial Pictures), and the dynamic video integrations made possible by Imposium, our story became more than just a stunning film with the urgency of time as its narrative thread,” said Genevieve Hoey, group executive creative director at R/GA. “The creative message is clear. DuPont isn’t sitting back and waiting to make a positive impact on the world; they’re doing it right now.”
Blacksmith NY served as visual effects house.
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Credits
Client DuPont Agency R/GA Tiffany Rolfe, EVP, chief creative officer, U.S.; Chris Northam, Eric Jannon, SVPs, ECDs, heads of creative; Genevieve Hoey, Erin Lynch, VPs, group executive creative directors; Ryan O’Keefe, Todd Beeby, creative directors, copywriter; Colin Kim, Lars Jorgensen, Jason Koxvold, creative directors, visual; ChiungHui Chiu, associate creative director, visual design; Chris Liu, Yolanda Botha, sr. copywriters; Grace Taylor, sr. art director; Sohee Kim, designer; Tal Cohen, executive director experience strategy; Gene Lu, creative director, experience design. Terrence Ma, Rosemary Douglas, sr. experience designers; John Berman, executive creative director; Tea Oui, associate creative director, visual design; Bernise Wong, designer; Blas Madera, sr. designer; Tomas Almuna, associate creative director, copywriter; Cris Costa, associate creative director, visual; Dennis Claus, executive strategy director; Jia Zheng, strategy director; Jeff Jetton, associate strategy director; Erica Jensen, director content production, tactile; Jon Drawbaugh, executive producer, content studio; Lauren Powzyk, content producer; Michelle Jackson, sr. content producer; Erin Stella, associate content producer; Matt Monath, Ricky Rhodes, stills, content creators; Andrea Senise, motion design director; Beatriz Couto, associate content producer; Sumeera Rasul, executive production director; Laura Kelly group director production; Michael Moscardini, Steve Morrissey, Nicolas Barrientos, executive producers; Jessie Momrton, producer; Brice Birdsall, associate producer; Tomas Lemos, sr. producer; Chris ChinFong, sr. business analyst; Nicolas Gentile, associate technology director; Jeronimo Pizarro, Sergio Vazquez, software engineer, web platforms; Ivan Huayrana, Eric Estes, sr. software engineers; Hans Janowitz, associate software engineer; Jason McCoskery, technology director; Namit JOshi, executive technology director; Agustin Lopini, sr. creative technologist; Rawle Curtis, sr. technology director; Matthew Blackstone, technology director. Production Serial Pictures John Hillcoat, director; Adam Arkapaw, DP;Violaine Etienne, founding partner/exec producer; Sara Greco, exec producer; Jennifer Gee, head of production; Tracy Broaddus, producer; Rebecca Deelo, production supervisor. Editorial Exile Editorial Shane Reid, editor; Steve Nelson, assistant editor; Sasha Hirschfield, exec producer; Vietan Nguyen, producer. Visual Effects/Animation Blacksmith New York Charlotte Arnold, exec producer; Tina Chen, producer; Olivier Varteressian, VFX/CG supervisor; Daniel Morris, lead compositor; Robert Bruce, Tim Regan, Yebin Ahn, Eric Concepcion, compositors; Tom Bussell, Tuna Unala, Hassan Taimur, Eddy Estevez, Vitaliy Burov, CG artists. (Toolbox: Flame, Nuke, Maya, Houdini, Z-Brush, Mari, Arnold, After Effects for titles) Color MPC Mark Gethin, colorist; Ed Koenig, Meghan Lang, exec producers. Sound Barking Owl Atticus Ross, composer; Kelly Bayett, exec producer/creative director; Ashley Benton, producer; Morgan Johnson, sound designer. Audio Post Heard City Philip Loeb, mixer/partner; Sasha Awn, exec producer; Andi Lewis, producer. Dynamic Video Imposium Jason Nickels, CEO; Jenna Fair, CRO; Greg Webber, tech lead; Randy Weinstein, solutions architect. Live Stream Production Telescope Katrina Moran, group creative dirctor; Licett Benitez, production manager; Colin McAuliffe, DP; Ori Ravid, video streaming engineer. 3D Prosthetic Hand Printing 219Design Miguel Piedrahita, founder, co-partner.
Steve Fuller wrote, directed and served as artificial intelligence creative lead on this AI spec film for the Amazon Fire TV Stick.
Fuller took on the spec piece not as a tech demo but rather as a storytelling experiment. He was no stranger to AI going into the project, having deployed it for the past couple of years on treatments and as a means to supercharge his design work. Still, the veteran director--who’s enjoyed a longstanding relationship with Jeff Lewis’ The Directors Network--felt the need to learn and experience more when it came to AI. Thus he initiated a spec piece so he could integrate AI even better into his narrative toolbox.
Spurred on by a desire to discover how his directing instincts could translate into the best utilization of AI resources, Fuller came up with a creative concept for a product he was a user and fan of--the Fire TV Stick. What if a treasure trove of iconic characters and worlds were racing towards a huge Fire TV Stick in the middle of a desert, converging there in order to compete for viewer attention? And the climax of the spot has a household about to make the fateful choice for what they’re going to watch from all these varied options and forms of entertainment.
While via AI he was able to amass major celebrity talent and elements of blockbuster entertainment franchises for the Fire TV Stick adventure, that wasn’t the objective for Fuller who explained, “I was not trying to make a short film and suddenly have it star Brad Pitt or Tom Cruise. Instead I wanted to see if I could use AI to make a really big and epic commercial.” The spec project was designed to open up the opportunity to curate imagery, create video sequences--all the while making choices as a director. “I approached it as I... Read More
