The changes address different stages of brand advertising, from deciding when an ad should run to understanding how people engage with video content over time. Here is what each update introduces and what advertisers need to know.

Ads Super Burst Reserves a Concentrated Advertising Window

Ads Super Burst is a new advertising option that allows brands to reserve a campaign window lasting between three and 24 hours. It is designed for occasions when timing matters, such as a product launch, an awards night or the opening weekend of a sports season.

Advertisers can plan bookings through Meta’s Reach Planner, which provides estimated reach and pricing for their selected dates. The product also offers category exclusivity, preventing another advertiser in the same category from booking the same window.

Meta says Ads Super Burst campaigns have guaranteed delivery tied to the estimates provided through Reach Planner. This gives advertisers a way to plan concentrated exposure around a specific moment rather than spreading a campaign across a longer period.

According to Meta, advertisers testing the format over the preceding months recorded a median 2.9 percentage-point lift in ad recall and a 0.6 percentage-point lift in intent. Each campaign flight reached a median of 34 million people, equivalent to 14% of the US adult online audience in a single day, according to the company’s figures.

These are results reported by Meta from early campaigns, not guaranteed performance benchmarks for every advertiser. Ads Super Burst is moving towards general availability in October 2026 through a phased rollout.

First Impression Ads Tests the First Advertising Position in Facebook Feed

Meta is testing First Impression Ads in the United States, giving one brand per day the opportunity to appear as the first ad someone sees when opening the Facebook app and encountering Feed.

The placement is designed around prominence. Rather than competing with other advertisements further down the feed, a brand gets the first advertising position. Meta says advertisers have asked for this type of placement for years, and the company is now testing the product in response to that demand.

The test remains limited, with just one brand per day. Meta has not announced broad availability in the supplied announcement, so advertisers should not assume they can currently book the placement.

Reels Trending Ads Expands Its Content and Targeting Options

Reels Trending Ads is an existing product that lets businesses place advertisements immediately after the most-watched and most culturally relevant Reels on Facebook and Instagram. Meta expanded access to the product to all advertisers in 2025 and is now adding more ways to select the cultural moments surrounding a campaign.

Advertisers can choose from 15 always-on standard topics. New categories include Home & Garden and Spanish-language content, alongside seasonal line-ups built around occasions such as holidays and the start of football and basketball seasons.

Meta is also expanding the product’s targeting capabilities. Custom audience exclusions are planned for later in 2026, giving advertisers another way to control who they reach through campaigns using Reels Trending Ads.

The company reports that campaigns incorporating the product recorded an increase of more than five percentage points in action intent compared with control groups that had not been exposed to the campaigns. Meta also reported an incremental five percentage-point lift in unaided brand awareness.

These findings are based on Meta’s reported campaign results. They do not establish that every advertiser will achieve the same improvements, and the announcement does not provide enough methodological detail to independently assess the results.

Aggregated View Time Looks at Attention Across Multiple Exposures

Meta is also testing Aggregated View Time, a product designed to measure and optimise the total time someone spends with a brand over a week, rather than evaluating each video impression separately.

The idea reflects how people consume short-form video. Someone might see a brand for two seconds in a feed, encounter it for another second the following day and watch for two more seconds later in the week. Aggregated View Time is intended to consider those interactions together.

Meta says its research found that five seconds of accumulated attention over a week drove 32% more offline sales than a single, continuous five-second view. The company also cites independent industry research that found accumulated viewing time could predict outcomes better than focusing on one long view.

These findings concern the relationship between accumulated attention and sales outcomes. They should not be interpreted as proof that repeated exposure alone causes higher sales in every campaign.

Aggregated View Time remains in an early alpha testing phase. Meta describes it as an approach it is still developing, rather than a fully available measurement product.

More Advertising Options, but Attention Still Has to Be Earned

The four updates serve different purposes. Ads Super Burst lets advertisers reserve a concentrated campaign window. First Impression Ads tests a premium position at the start of Facebook Feed. Reels Trending Ads expands the topics and targeting choices available for contextual placements. Aggregated View Time explores how attention accumulates across multiple video encounters.

For media planners, these changes create additional ways to organise exposure around a campaign objective. For creative teams, however, the underlying challenge remains the same: securing a placement is not the same as earning attention.

A reserved window can help a brand show up at a relevant moment, but it cannot make an uninteresting message memorable. A first-position ad offers prominence, while Reels Trending Ads provides more control over the content surrounding a placement. Neither removes the need for a strong creative idea that gives people a reason to engage.

This is also why the relationship between media planning and creative execution matters. Campaigns such as Volvo XC40’s Drive-In Movies show how a brand can build an idea around an experience and extend it across digital platforms. The lesson is not that every campaign needs a premium placement, but that the placement works best when the creative gives people something worth remembering.

The availability of Meta’s new products also varies. Ads Super Burst is moving towards general availability through a phased rollout, First Impression Ads is being tested in the United States, and Aggregated View Time remains in alpha. Advertisers should confirm access and product terms before including these options in their media plans.

Meta’s latest updates offer brands more control over campaign timing, placement and the measurement of video attention. Their longer-term value will depend on whether these tools help advertisers connect with the right audiences and create work that people remember. Explore more examples in Campaigns of the World’s digital campaigns collection.

But what do you type when you have a problem and are not even sure where to start?

That is the more interesting question behind Google India’s new campaign, ‘Google Search – Samjhe. Samjhaaye. Raah dikhaye.‘

Developed in collaboration with McCann India and conceptualised and written by Prasoon Joshi, the campaign introduces AI Mode in Google Search through a situation that has very little to do with technology at first glance. Google’s official announcement provides more detail on how the feature works.

And that is exactly why the film works as a product story.

Karan Has a Café Dream. Telling His Father Is the Hard Part.

The film follows Karan, a young man preparing for competitive exams who has another ambition on his mind: opening his own café.

There is just one problem. He does not know how to tell his father.

Instead of beginning with a conventional product demonstration, the film starts with this very human uncertainty. Karan turns to AI Mode in Google Search and asks how he should approach the conversation and where he should begin.

That question then leads to another.

And another.

Soon, the conversation moves beyond how to tell his father and into the practical reality of the business. Karan begins thinking about what students around him might need, what his café could offer and where financing could come from.

The interesting bit is that the original question changes as Karan thinks things through.

That is the behaviour Google is really selling.

The Best Question Is Sometimes the One You Ask Next

Traditional Search is often associated with a specific query and a specific answer, a territory Google has explored creatively before in Google – Easy Questions Don’t Always Have Easy Answers.

The situation in this film is different.

Karan does not arrive with a neatly defined problem. He arrives with an idea, some uncertainty and a lot to figure out.

AI Mode gives him room to keep going, much like the conversational experience explored in Google Assistant and Artificial Intelligence

The conversation can become longer, more specific and more practical as his thinking develops. Instead of forcing him to know exactly what to search for, the interaction helps him explore the problem one step at a time.

That makes the technology easier to understand without having to explain the technology too much.

Google is essentially saying: you do not always need to know the right question before you start.

Google has explored the cultural side of search before, notably through The Most Searched, which turned real search behaviour into the centre of its creative idea.

From “What Should I Say?” to “How Would I Actually Do This?”

This is where the film finds its strongest creative progression.

Karan’s first concern is personal. How does he talk to his father?

But once that is addressed, a bigger set of questions appears. If he really wants to open a café, who would use it? What would they need? How could he finance it?

The film turns that progression into the product demonstration.

There is no dramatic AI reveal. No futuristic interface takes over the story. No long explanation of features.

Instead, the audience watches one question lead naturally to the next.

For a campaign about conversational AI, that is a smart way to make the interaction understandable.

It also sits within a broader evolution of technology-led campaigns on Campaigns of the World, where the technology works best when it becomes part of the experience rather than the entire story.

Google Doesn’t Make AI the Hero. Karan Does.

There is a temptation with AI advertising to spend too much time showing what the technology can do.

This film takes the opposite route.

AI Mode is almost a supporting character. Karan remains at the centre.

We understand why he is searching before we think about what the technology is doing. His ambition gives the feature a reason to exist.

That choice also keeps the film grounded. The campaign is not asking viewers to be impressed by AI. It is asking them to recognise a familiar feeling: having something you want to do, but not knowing how to turn the thought into a plan.

A Product Demonstration Disguised as an Everyday Conversation

The film’s biggest strength is the way it hides its product demonstration inside the story.

Karan’s conversation with AI Mode gradually reveals what the feature is designed to do. Longer questions, follow-ups and practical exploration are all demonstrated through his situation rather than listed as features.

That makes the film easier to watch and easier to understand.

It also gives the campaign a useful creative territory for the films that follow. The first story establishes the idea that Search can help when the problem itself is still taking shape. Future films can build on that territory with different moments where people need help thinking through what comes next.

The Real Idea Is Not AI. It Is What Happens After the Question.

For us at Campaigns of the World, the most interesting thing about this campaign is not the AI itself. It is the change in the role Google Search is trying to occupy.

Karan is not simply looking for information. He is trying to make a decision. The campaign therefore moves Search into a space that feels closer to thinking, planning and exploring.

That is a more interesting advertising proposition than simply saying, “Google Search is now powered by AI.”

The film also gets the tone right by keeping the technology relatively quiet. The human problem comes first, and the product earns its place in the story. Karan’s uncertainty gives AI Mode a genuine role rather than making the technology the star of the film.

The clever part is that Google does not try too hard to explain AI Mode. Instead, we watch someone use it to work through a problem. That makes the product feel useful rather than impressive for the sake of being impressive.

There is a bigger creative challenge ahead, though. This is the first film in a series, so the idea will become more interesting if the following stories find equally specific human situations rather than simply repeating the same AI Mode demonstration.

For now, the campaign has found a simple way to make a complicated product idea understandable: sometimes you are not searching for an answer. You are searching for your next step.

Credits
Brand: Google
Agency: McCann India
Conceptualised and Written By: Prasoon Joshi
Creative: Ashish Nath, Anshuman Singh, Dushyant Chopra, Sujan Sarkar
Business: Dheeraj Sinha, Kamal Basu, Tanisha Sharma, Siddharth Bhattacharya, Sankalp Srivastava, Saurabh Awana
Strategy: Sumeer Mathur
Films: Jitender Kalra, Sameer Relia
Production House: Chrome Pictures
Director: Amit Sharma

The resulting commercial, titled “10 Years of Unlocking Progress for 70 Crore Indians,” bypasses the standard victory lap. As detailed in the PhonePe official announcement, the company is using its tenth anniversary to mark its presence across digital retail, UPI transfers, and merchant services. Instead of serving those numbers up as a dry corporate deck, the creative team built the entire production around an impossible physical task.

The Problem of Picturing 70 Crore

Big user bases are hard to comprehend. The mind glazes over when tech companies toss around hundreds of millions, because massive numbers stop feeling like actual humans.

To give that scale a tangible shape, the agency brought in Shahu Supreme, a record holder clocked at 494 words every minute. PhonePe hands him the customer list and lets the camera run. Even moving at auctioneer speed, the film notes that naming all 70 crore users without a pause would take 980 straight days. That is two years and eight months of continuous talking.

That simple, absurd equation carries the narrative. It gives the audience a visceral reference point for platform volume, turning an abstract statistic into something that feels physically exhausting.

Putting the Public Ahead of the Platform

By focusing on the roll call, the spot keeps the attention where it belongs: on the street-level users who actually drove UPI adoption over the past ten years.

We often see fintech brands struggle when apps fail to retain audience trust once their introductory ad blitz fades. PhonePe has avoided that pitfall by remaining a fixture of daily commerce, visible on payment stands outside tea stalls, vegetable carts, and corner pharmacies. The ticking counter in the film represents those real transactions, giving the celebration a modest, everyday foundation.

The script does not waste time delivering a lectures on national progress. The sheer ridiculousness of the exercise does the work on its own.

Making Platform Data the Comic Driver

Tech brands usually relegate their user numbers to a tiny disclaimer slide in the final three seconds of a commercial. Here, the number is the joke.

Watching Shahu gasp for air while the digital tally keeps climbing punctures the self-importance that usually plagues corporate milestones. The creative team at Ogilvy India, led by Akshay Seth, treated the scale as an operational nightmare rather than a trophy. The film works because the central premise is obviously doomed from the opening frame: you cannot thank a population this vast, and watching someone try makes for great television.

In the years following Paytm’s early cashless campaigns, Indian payment marketing has grown up. It no longer needs to teach people how to point a phone camera at a sticker. PhonePe using its own data archive as a comedic device proves that digital transactions are now woven into ordinary Indian life.

The Fine Art of De-bloating Corporate Vanity

Most corporate milestone commercials follow an unbearable formula. You get slow pans of small-town shopkeepers, stirring cello music, and an earnest voiceover telling the country how proud the brand is to serve them. The work is usually commissioned to flatter executives rather than entertain viewers. This film cuts through that posturing by taking a giant number and letting its own weight crush the premise.

Casting Shahu Supreme provides immediate comedic tension. By throwing a human voice against an endless digital ledger, the agency demonstrates the scale of 70 crore people far better than any bar graph ever could. The realization that Shahu would still be reading names well into 2029 gives the viewer a sudden, clear sense of how large the user base really is.

Crucially, the film avoids the false intimacy common in brand films. PhonePe never claims to know all 700 million users personally. It admits they are a chaotic, endless crowd. That admission of human limitation makes the gesture feel far more genuine than a standard corporate tribute.

The approach does have one real trade-off. By chaining the script to a single, high-speed joke, the piece leaves out the human stories that built the brand: the rural shopkeeper getting paid instantly, or the family sending money home during an emergency. It trades emotional depth for a sharp gag. Still, for an anniversary ad that could easily have turned into corporate self-congratulation, choosing a self-deprecating laugh was the right call.

Credits
Brand: PhonePe
Campaign: 10 Years of Unlocking Progress for 70 Crore Indians
Agency: Ogilvy India
Creative Team: Akshay Seth and Team
Featured Talent: Shahu Supreme

70% of women do not feel represented in media and advertising, and every day, women’s lives are affected by these limitations, exclusions, and stereotypes.

To challenge this issue, Dove has infiltrated international casting calls with real beauty models and a message to encourage inclusion in their latest campaign; It’s on Us. Dove pledges that if a brand chooses one of their models, they will pay to cover the appearance fee’s cost.

#ItsOnUs furthers Dove’s commitment to drive change and empower women by striving for an inclusive representation of beauty.

Credits
Advertiser: Dove
Campaign: It’s on Us
Advertising Agency: LOLA MullenLowe, Madrid, Spain

False traction from artificial bots and malicious agents using domain spoofing is a massive problem. But, that isn’t where the story ends. The heavily centralised nature of the advertising world is a big blow to transparency across stakeholders. That’s because this centralisation extends beyond ad publishers like Facebook and Google. Advertisers themselves have to go through gatekeepers (ad agencies) to establish links with customers. The final nail in the coffin comes from tracking cookies and other intrusive marketing practices that threaten consumer data privacy. All in all, the advertising world is riddled with problems that affect advertisers, publishers, and consumers.

About Blockchain-based advertising systems

When blockchain technology first entered the scene, it was hailed as a one-stop solution for transparency woes in every arena. The finance-centric applications of the technology were dubbed as a liberating force unlike any other. Terms like ‘decentralised control’ were thrown around like confetti. However, it has been a long time since 2018, and Blockchain tech has now assumed a more grounded position. Currently, blockchain-based advertising systems are at the forefront of innovation in the Adtech sector.

How do they work

The blockchain ledger stores data after putting it through several security checks. Moreover, data once stored is immutable and time-stamped. This inherent nature of blockchain-based advertising systems solves most of the problems detailed above. Since accessing data on the blockchain network doesn’t require intermediaries, the system fosters decentralisation of publishing capital. Moreover, the immutable nature of data stored on a blockchain increases transparency on all levels, thereby inviting consumer trust. Cryptographically encrypted verification systems arm advertisers against inaccurate traction data, rendering domain spoofers and other fraudulent agents powerless.

How they benefit companies and brands

Businesses stand a lot to gain by investing in blockchain-centric advertising solutions. With the help of an ecosystem that prides itself on transparency and data-immutability, the advertising world can finally erect a firm stance against the financial implications of industry-wide ad fraud. Moreover, using blockchain will also invite consumer-trust at scale. Walmart has already partnered with IBM to bring transparency to its operations. This blockchain-based intervention gives consumers the power to track their purchases throughout the supply chain.

Apart from IBM, other players have also started pioneering the blockchain advertising landscape. From native blockchain advertising platforms like QChain, AdHive, and AdEx to consumer-centric initiatives like BitClave, innovation in this sector has already skyrocketed.

Final Thoughts

It is undeniable that Blockchain Advertising offers some ground-breaking promises. But, the technology is still in its early stages.

Gartner’s 2019 Hype Cycle for Blockchain Business affirms that it would take another 5-10 years for blockchain advertising systems to reach their prime. Even though Campaigns of the World® agrees with this projection, we’re beyond excited to see how the future unfolds.

Two girls from Banwari Tola, a backward village in India, challenged deep-rooted stereotypes by taking over their father’s barbershop, a profession solely reserved for men. Can their story inspire the next generation to rethink the gender biases they’re growing up with?

Gillette saw this as the perfect story to drive the change in mindsets that they wish to see. They told this inspiring story through the eyes of an 8-year-old boy, who witnesses gender biases around him and is conditioned to think it’s normal. That’s until he meets these two girls running a barbershop, which compels him to question everything he’s been growing up with.

This was the first time in India that a men’s brand featured women as protagonists of their film and showed the importance of having positive role models for the next generation of men.

View this post on Instagram

A First for me! You may not know this, but I have never gotten a shave from someone else before. That record has been shattered today. Such an honour to meet the #BarbershopGirls and present them the @gilletteindia Scholarship. #ShavingStereotypes #DreamsDontDiscriminate

A post shared by Sachin Tendulkar (@sachintendulkar) on May 3, 2019 at 7:47am PDT

Karthik Srivatsan, associate director and country category leader, shave care, Indian sub-continent at P&G, said Neha and Jyoti(Barbershop Girls of India) and the entire village of Banwari Tola are an example of how when we take positive actions, we create meaningful change and set the right example for the next generation. “Gillette is proud to further enable their dream through our ‘Safalta Apni Muthi Mein’ program. It’s time we acknowledge that brands, like ours, play a role in influencing culture. Our actions need to inspire us all to be better every day and to help create a new standard for boys to admire and for men to achieve. Because the boys of today are the men of tomorrow,’’ he added.

Small creative inputs such as the government’s campaign ‘Beti Bachao, Beti Padhao’ (Save the daughter, educate the daughter) mural on one of the village walls and the background score inspired by the Sohar — a traditional folk song sung in celebration at the birth of a boy — further adds to the gender equality message. Gillette’s ad agency has added a twist in the lyrics towards the end challenging the tradition and urging people to equally celebrate the birth of a girl, for even she can change the family’s fortune.

Sandipan Bhattacharyya, chief creative officer, Grey Group said, “Gillette, as a progressive man’s brand, believes in and propagates topics that are relevant to raising and inspiring the future generation of men. And with this campaign and a powerful message like ‘Shaving Stereotypes’, Gillette drives home a point that has utmost relevance in the times we live in. The boys watching today need inspiring role models so that they grow up to be better men.”

Source

Tags:
India, Gillette, Diversity, Advertising, Digital, Digital Advertising, Entertainment, Events, Marketing, Media, Mobile, Social Media, Creative, Brand, Gender Stereotype, #ShavingStereotypes, Gillette India, Barbershop Girls of India, Grey, Advertising Agency, Sachin Tendulkar, Beti Bachao Beti Padhao

A woman can now use 2six4 mobile app to stay connected with the police and her friends 24X7, on the move and at the click of a button. But how do you promote the convenience and usefulness of this app to women travelers and tell the sexual predators to back off at the same time? By spreading the awareness of the app inside the public transport vehicles through Viridu singers who have been performing in public places of Sri Lanka and entertaining the public since years. Viridu is one of Sri Lanka’s earliest forms of folk music.

So, WIN collaborated with Sri Lanka’s famous local Viridu singer, Suranga Kavee to create a campaign Viridu Alert that communicates a strong message to the sexual predators skulking about the trains and buses. The song also encourages onlookers to not turn a blind eye to any case of sexual harassment and rather come forward and stop such immoral incidents; thus, doing their bit to create a secure environment for women traveling in public transport.

You can download this app for free!
Android – Google Play download

IOS – App store download

Campaign website:

This article is about:
2six4 mobile app, Women, Sri Lanka, Mobile, Technology, Gender-based violence, Women In Need, GPS tracking, SOS, Violence, Safety, Digital Advertising, Viridu singer, Suranga Kavee, Sexual harassment, Public transport, Music, #ViriduAlert

In India, people love to portray themselves as gurus. Naturally, as a result, they have a plethora of tips to usher on one seeking advice. Though tips come easy and aplenty, the bombardment is bound to leave one baffled. After all, not all tips are right. Regrettably, there isn’t any tip to filter these tips.

So, how does one make a decision to achieve his/her goal? The solution lies in the product we created. TIP (Target Investment Plan) lends a hand in accomplishing investment targets. To communicate the same to our TG, we designed a campaign that clicks with all and sundry. We roped in Mallika Dua – a contemporary comedian with mass appeal, using humour as a tool to break the clutter in the category. Using wordplay, we turned the tables in our favour. We created a digital film featuring Mallika Dua, who very wittingly exploits the futility of unsolicited tips and draws attention to #TheOnlyTIP an individual needs. Quite evidently, it’s the most engaging way to educate consumers about TIP.

Brand Credits:
Brand: Motilal Oswal
Production House & Agency: WATConsult
Vice President – Operations: Sahil Shah
Script Writer – Yash Danak
Assistant Vice President Video: Manu Bhadane
AVP – Operations – Manika Juneja
Lead Account Manager – Manish Jain
Client Servicing: Sumeet Gosh, Ekta Desai, Russel Mykel
Director: Yash Danak
DOP: Varun Sud
1st AC: Tanveer Riyaz
Assistant Directors: Kiran Vijayan & Arunesh Kripal
Production Manager: Apurva Mehta
Line Producer: Aayush Dua
Art Director: Suneel Kharat
Offline Edit: Madhukar Pawar
Online Edit: David Nadar (Lucia Entertainment)
Graphic Design: Ninad Kadam
Hair & Makeup: Simone
Costume: Divya Gupta & Prameet Saini

This Video is related to:
Share Market, Mutual funds, WATConsult, digital film, Mallika Dua, #TheOnlyTIP, campaign, Motilal Oswal, Motilal Oswal Securities, Motilal Oswal app, online trading, Brand Campaigns, Dentsu Aegis Network, financial, Manav Kaul, Target Investment Plan, India, Wat Consult, Dentsu Group, Digital, Digital Advertising, Entertainment, Marketing, Creative, Brand, Digital marketing campaign

Jockey brands its underwear as ideal for all male body types and not just for ripped blokes. In an interview with NZ Herald, Will Radford, Jockey’s category and marketing manager for Australasia said: “What we’ve done with the imagery of Dan Carter and the All Blacks is aspirational… The reality though is most guys don’t look quite like that so bringing in Will is great because he’s a typical Kiwi bloke which is exactly what we were after.” Featuring Hall, who is well known from shows such as Shortland St. is a smart move by Jockey in their second year of collaboration for creative TV ads with the All Blacks.

The campaign was shot at One Tree Hill College’s gym and is all set to include digital advertising, ad shells and in-mall creative billboards advertising apart from point-of-sale advertising. Radford went on to state, “We sell underwear for everyone and we make underwear for everyone to feel comfortable in.” Drawing inspiration from this, the campaign aims at men of all shapes and sizes and focuses of the essence of Jockey’s campaign – underwear for the ‘Real Man’.

Behind the scenes at the All Blacks Jockey shootAll changes saved.

All colour – Jockey | Behind the scenes ‘Real Man’ campaign

Jockey Behind the Scenes at New Zealand Fashion Week with the All Blacks & All Blacks Sevens

Campaign Name: Real man
Brand Name: Jockey

Time is Precious

Holidays

Reality

Celebrities

Friends

Opinions

Pictures

Zombies

Credits:
Client: Nike
Project name: “Time is precious”
Client Contact: David Reti / Alex Lopez
Agency: W+K Portland
Creative Directors: Chris Groom & Antony Goldstein
Creative: Stefan van den Boogaard
Creative: Tim Arts
Executive Producer: Matt Hunnicutt
Producer: Amy Berriochoa
Account Team: Anna Boteva, Luiza Prata Carvalho, Alyssa Ramsey
Strategic Planning: Zack Kaplan, Henry Lambert
Media/Comms Planning: Lisa Feldhusen, John Furnari
Business Affairs: Anna Beth Nagel
Project Management: Andrea Nelsen
Studio Designer: Leslie Waara
Studio Manager: Leticia Barajas
Motion Designer: Alex Bernard
Editorial Company: Joint
Editor: Eric Hill
Assistant Editors: JB Jacobs, Kevin Alfoldy, Mimi Bergen, Dylan Sylwester
Post Producer: Sarah Fink
Post Executive Producer: Leslie Carthy
Mix Company: Joint
Mixer: Noah Woodburn
Audio Assistant: Natalie Huizenga
Audio Producer: Sarah Fink

A Pepsi Mini Series – The Lesson – Episode 1 – Honesty

What happens when Cornell, Right-hand Man of Mr. Can, expresses his true feeling about Mr. Can’s son being a liability to his business? Did Cornell’s honesty go too far? Watch this Pepsi Mini Series to find out.
Grab your Pepsi Mini before anyone else does. Buy now!

A Pepsi Mini Series – The Lesson – Episode 2 – Loyalty

Through mob boss Mr. Can, his Right-hand Man Cornell will learn a very beautiful lesson about Loyalty, in the most unusual way ever. Like Mr. Can likes to say – Never Underestimate The Power Of Little Things.
Watch the episode while you sip on your #PepsiMini.

A Pepsi Mini Series -The Lesson – Episode 3 – Dance

According to Mr. Can, in life, work is not everything. Watch the video to find out what he really means.

Credits
ACCOUNT MANAGER: Caroline Morse
CHIEF CREATIVE OFFICER: Brent Choi, Adam Kerj
CREATIVE DIRECTOR: Karl Ackermann
EXECUTIVE CREATIVE DIRECTOR: Florent Imbert, Emmanuel Lalleve
BUSINESS DIRECTOR : Greg McConnell
ACCOUNT DIRECTOR: Chris Burgess
EXECUTIVE PRODUCER: Jason Curtis
CREATIVE AGENCY: JWT
PROJECT MANAGER: Kristin Robinson
SENIOR COPYWRITER: Andrew Curtis
SENIOR ART DIRECTOR: Ben Morejon
SENIOR PRODUCER: Chris Klein
DIGITAL DIRECTOR: Jennifer Usdan McBride
POST PRODUCTION / VFX
ASSISTANT PRODUCER: Thomas Mishra
CATEGORY: CLOTHING/FASHION , SPORTS
GENRE: STUNTS

Read More on Great Ads

Mothers, it’s always YOUR day! You created the miracle of life! You’ve taken 1,000s of photos of your kids and they’ve taken zillions of themselves! Save them from being self-obsessed, disconnected little miscreants and start #PhotoMombing their selfies for Cricket’s sake! We love you!

#PhotoMombing: verb: When a mother photobombs their kids’ pictures, often causing laughter, embarrassment, and retakes.

Cricket Wireless endorses safe practices for #PhotoMombing, including; jumping, spinning, yelling, sneak tickling, planking, twerking, and, of course, our favorite, the stag leap while throwing glitter. Side effects may include temporary laughter, lifelong respect and street cred at the gym. You haven’t had this much fun since your senior year of junior college.

Kids, teach your mom how #PhotoMombing works. Your Mom is the Bomb. Keep her IN the picture.

Share this video with a mother you love.

Watch the Behind the Scenes

Post your favorite #PhotoMombing moments here

Pandora, a contemporary jewelry firm launches a new campaign to promote its brand new collection of hand-finished jewelry. The new collection by Pandora celebrates the spirit of motherhood and this is captured beautifully in their new TVC that showcases the mother daughter bond.

The Unique Thank You – Behind The Scenes

Remember to cherish and celebrate your mother – and most importantly remember to tell her
#UniqueAsWeAre

Credits
Client: Pandora
Brand activation director: Bianca Nesgaard
Production: RSA Films Daniel Kragh Jacobsen, director; Jacob Moller, DP.

Being an entrepreneur is difficult in itself. Being a woman entrepreneur, even more so.
Watch this inspiring Tanishq Ad, if you are one.

Shop Tanishq Niloufer Collection

Credits
Brand : Tanishq
Product Group : Branded Jewellery
Client : Titan Company
Work type : Client work
Date of publication / release : Apr 18, 2016