Friday, May 31, 2019

The North face and Leo Burnett Tailor Made, defaces Wikipedia to promote The North Farce (intentional) gear.



Advertising field is a crazy busy and expensive one. Every company wants to get the best for their advertising dollar and sometimes even look for free advertising, in various manner. The North Face seemed to have found a clever but unethical way to go about it.

It and the advertising partner went and edited the Wikipedia. Using the central principle of Wikipedia, communal editing. It uploaded photos of own products to famous outdoor destinations on the Wikipedia. Why you may ask? to push the brand into the top of Google image results, according to a video by North Face itself.

“We hacked the results to reach one of the most difficult places: the top of the world’s largest search engine,” the North Face said in the video, which paired footage of a climber reaching a mountain top with the company’s “Top of Images” campaign. The video touted the campaign as innovative (“We did what no one has done before”) and free (the video claimed that the company collaborated with Wikipedia and paid “absolutely nothing”).

As one would expect in a sneaky try like this campaign, which was carried out by the company’s team in Brazil and reported by Ad Age, quickly backfired this week.
Yesterday, the Wikimedia Foundation, the nonprofit entity that hosts and takes care of Wikipedia, denied collaborating on the project and blasted the North Face and its advertising partner, Leo Burnett Tailor Made, for “unethically” manipulating the site. In other words, defacing a public property. In no time, fans of Wikipedia were calling on the retailer to make a donation to the nonprofit to make up for its mistake. And by Wednesday night, the North Face had publicly offered an apology.

“We believe deeply in @Wikipedia’s mission and apologize for engaging in activity inconsistent with those principles,” the North Face said on Twitter. “Effective immediately, we have ended the campaign and moving forward, we’ll commit to ensuring that our teams and vendors are better trained on the site policies.”

Saturday, May 25, 2019

Two Yubari melons from Yubari, Hokkaido realized a record ¥5 million, ($45,500) at season's first auction


Making advertising and hype to a new level, the today's (5-24-2019) bid for Yubari melons at the Sapporo wholesale market easily beat the all-time record set last year, a hefty ¥3.2 million paid in the first auction of melons last year.

These melons are premium cantaloupe very famous for its soft juicy orange-colored flesh and sweetness due high sugar content. The harvesting of melons began Thursday morning in Yubari, a city famous for the priced melon production and is expected to reach its peak in early July, according to the local agricultural cooperative.
These melons usually sell for ¥4,000 to ¥10,000 each and are often given as gifts in Japan and business buy them and display them to show the successful business capabilities of the firm.

Tokyo-based Pokka Sapporo Food and Beverage Ltd., who paid the large sum for these melons, said it decided to bid in the first auction. It was also the first time the Pokka bid in the auction. The company president President Yoshihiro Iwata said he wanted the melons to mark the 10th anniversary of the release of its melon-flavored soda by the company. The company was formed in Hokkaido and provided benefits to Yubari area by creating the Pokka Yubari Melon Favored Soda.
So if you have drunk this soda, you already know the flavor.
Related image
“As our company was founded in Sapporo, I had been thinking there must be something I can do for Hokkaido,” said President Yoshihiro Iwata, 57.
The melons will be on display at Sapporo Dome and New Chitose Airport in Hokkaido. Then they will travel to the factory for color and scent analysis to help in the development of new products.



Tuesday, May 21, 2019

The switch to unified pricing rules and a unified first price auction

According to Google, the switch to unified pricing rules and a unified first price auction will help our partners simplify how they manage advertising revenue and increase transparency for everyone in the ecosystem. We understand these changes will impact how publishers operate their advertising businesses, so over the next few months our teams will be working with our partners to help them with this transition. We are excited to take this next step together.
Google is making a change to its programmatic exchange that will likely result in marketers paying more for their ads, at least in the short term until brands adjust.

Under a plan announced Wednesday, Google Ad Manager, previously known as Adx, will move to a first-price auction, a significant shift that will resonate across the $48 billion programmatic landscape.

"By simplifying our auction in Ad Manager, we can help make it easier for publishers and app developers to manage and get fair value for their inventory," Google stated in a blog post.

Google previously operated on a second-price auction model, which generally speaking, is similar to winning something on eBay. For example, if the highest bidder bid $5 for an ad, and the second highest bidder bid $3 for the same ad, then the highest bidder would pay $3.01 — just a smidge more than the second highest bid. Now, however, what someone bids is what they pay. Because Google is so critical to how digital ads are bought and sold, the implications of the change will be felt across the industry.

“Moving to a first price auction puts Google at parity with other exchanges and SSPs in the market, and will contribute to a much fairer transactional process across demand sources. The move also provides significantly greater information transparency to both advertisers looking to understand their working media dollars, and publishers looking to assess the fair market value of their supply.” 
- Scott Mulqueen, VP Programmatic and Data Product Operations, Trusted Media Brands

Saturday, May 18, 2019

Fourth Circuit Court of Appeals Reverses Fair Use Ruling, Confirming Stolen Photographs Being Used Under The Guise of “FAIR USE" Unlawful.


The case in point was when a photographer found out one of his photographs being used, illegally on a commercial website. The photographer is Russell Brammer who created the time-lapse photograph in question. That photograph was then used by film festival organizer called Violent Hues, on Violent Hues’ website without attribution or licensing. I join countless others thinking this was a willful infringement, with weak factors like Violent Hues did not know the image was “copyrighted,” and "fair Use"
But to the amazement of many, fourth circuit court ruled in favor of Violent Hues (Russell Brammer v. Violent Hues Productions, LLC No. 1-17-cv-01009(E.D. Va.June11, 2018))
The judge agreed that Violent Hues’ owner Fernando Mico used the photograph “in good faith,” Mico, who claimed that he saw “no indication” the image was copyrighted, (In the Flickr screenshot above, one could clearly see the copy right clause.) and did not impact Brammer’s financial income by using the photo (?), the court added. The judge concluded that taking it was “fair use.”
Rebuttals came from all over, the Copyright Officer of Nova Southeastern University, Attorney David Kluft of the law firm Foley Hoag, to name a few.

Of course Mr. Brammer took the case to the appeals court.
The court had more knowledge and understanding on the matter;

Starting with “fair us is not designed to protect lazy appropriators,” the court applied fair use provisions, all four (Scroll down to check out the fair use doctrine). The court concluded that the use of the photograph by Violent Hues, failed all four tests.

The “purpose and character” of the secondary use, which is the first of the four fair use factors, the appeals court found that Violent Hues shows no apparent transformation and the cropping of the image does not alter the original with ‘new expression, meaning or message' to the photo.

The "nature of the copyrighted work,” the second fair use factor, the appeals court found that the artistic creativity of Brammer went in to making the photograph entitled it “to thick copyright protection.” and concluded that “the second factor also weighs against fair use.”

The “amount and substantiality of the portion used,” the third factor, also weighed against fair use,  Violent Hues used roughly half the photo—the half that was “the heart of the work,” the court said.

The fourth factor, “the effect of the use upon the potential market for or value of the copyrighted work,” also weighted against fair use. “Violent Hues made commercial use of the Photo and duplicated the heart of the work by copying the Photo’s most expressive features. Brammer thus need not demonstrate that the licensing market for his Photo would be depressed should Violent Hues’ behavior become widespread,” the appeals court said.

“Considering these factors together, it is clear that the copying here fails the ‘ultimate test’ of fair use: Violent Hues’ online display of Brammer’s Photo does not serve the interest of copyright law,” the court concluded.

The appeals court sent the case back to the lower court for further proceedings.

The fair use in the USA;
Notwithstanding the provisions of sections 106 and 106A, the fair use of a copyrighted work, including such use by reproduction in copies or phonorecords or by any other means specified by that section, for purposes such as criticism, comment, news reporting, teaching (including multiple copies for classroom use), scholarship, or research, is not an infringement of copyright. In determining whether the use made of a work in any particular case is a fair use the factors to be considered shall include—
(1)
the purpose and character of the use, including whether such use is of a commercial nature or is for nonprofit educational purposes;
(2)
the nature of the copyrighted work;
(3)
the amount and substantiality of the portion used in relation to the copyrighted work as a whole; and
(4)
the effect of the use upon the potential market for or value of the copyrighted work.
The fact that a work is unpublished shall not itself bar a finding of fair use if such finding is made upon consideration of all the above factors.
(Pub. L. 94–553, title I, § 101, Oct. 19, 1976, 90 Stat. 2546; Pub. L. 101–650, title VI, § 607, Dec. 1, 1990, 104 Stat. 5132; Pub. L. 102–492, Oct. 24, 1992, 106 Stat. 3145.)







Friday, May 17, 2019

MyAdlets Youtube Channel "Warriors WCF Game 2 Win" Andre Iguodala Snaps the ball from Damian Lillard.


Golden State Warriors' Andre Iguodala's block and steal left Damian Lillard of Blazers, almost crying. WCF Game 2. This will be remembered, for a long time.

A warriors fan Diego Patterson voiced "One of the best ending to a great comeback!!! Lggy made a great play!!!! Who saying at 35 you can do a play like that!!! Warriors!!!! 💯💯💯👏👏👏👏👏🥇🥇🥇🥇🥇"
Await more YouTube work.

Sunday, May 12, 2019

Mastercard's “Together, Everything is Possible.” Makes, Neymar Jr., Messi, Sorenstam, Dan Carter, Et al Follow The Bouncing Red Ball

Neymar Jr., Messi,  Sorenstam, Dan Carter, Bryan Habana, Annika Sorenstam, Ana Ivanovic and Valeri Kamensky all follow "The Bouncing Red Ball" for Global Mastercard Adlet.

The adlet shows athletes helping a little girl and a dog who lost a red ball in a throw and catch game. These master athletes all connect with each other with social media messaging and using their Mastercard tap and go payment products to pay quickly at various venues across continents and cultures to chase a red ball and get it back to its owner, the little girl whose dog isn’t quick to catch or go fetch. 

With McCann XBC and McCann New York and associated teams, Mastercard is delivering message that appeal to greater and divers a global market, at the same time making the message locally relevant. The adlet has been produced in a flexible and modular fashion to make it locally relevant while maintaining a straight line in global brand management. The Adlet is produced in multiple versions to grab the attention of sports fans of rugby, tennis, hockey and football across Europe, Middle East & Africa, Latin America and Asia Pacific. It is also the first Advertising entertainment to incorporate the Mastercard sonic brand, including its distinct melody, acceptance sound and sonic signature.

“People today expect more than a great product – they expect brands to have a point of view, and it’s through Start Something Priceless that we show ours. We’ve always been a brand focused on experiences over things, and are thrilled to see our global ambassadors uniting to demonstrate in a light-hearted way, that together, everything is possible.  It is a message we hope reminds people that we are all stronger when we come together, and have some fun with it too.” said Raja Rajamannar, chief marketing and communications officer, Mastercard, about the 





Client, Ad team, and Production;
Client Mastercard Agency McCann XBC Joyce King Thomas, chairman, chief creative officer, McCann XBC; Adrian Botan, global creative director; Pete Jones, EVP, executive creative director; Hetu Negri, sr. creative; Juan Peirano, sr. art director. Production McCann New York Dave Herman, SVP, executive producer; Athenea Harrington, lead executive producer. Craft, Valentina Barbazza, sr. producer; Juan Perez de Rozas, producer. Production Company Landia Films Rodrigo Saavedra, director; Nicolas Cabuche, exec producer; Maria Silva, producer; Charli Ritter, DP; Cristina Cavanillas, production manager.

Sunday, May 5, 2019

Cruise 2020, Virginie Viard's Solo Chanel Collection SInce The Passing Of Karl Lagerfeld

A runway, catwalk or ramp, is one of  best of the advertising since the 19th century or the modern era, for fashion. Chanel has been an icon in this field of fashion and continue to be so. 
Chanel Cruise Collection 2020 : Runway At Grand Palais In Paris
Chanel lost an iconic designer in February 2019 when Karl Lagerfeld passed away. But that did not stop the line from vanishing with him.
Virginie Viard worked alongside Karl Lagerfeld at Chanel for over 30 years, and for the fist time presented her first solo collection for the house since Lagerfeld's passing in February. Presenting the brand's Cruise 2020 show in Paris, Viard ushered in the next era of Chanel while staying true to Karl's vision, according to fashion pundits. Here is a short video (AP) of the runway.