Title "Frustration"
Agency VCCP
Editing Company Marshall Street Editors
Campaign Be More Dog
Advertiser O2
Brand O2

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Business SectorSubscribers Only
LanguageEnglish
TaglineSubscribers Only
Type Television
Length40 seconds
MarketSubscribers Only
Post Production ..e M...ng P....re C....ny Subscribers Only
Executive Creative Director D...en B...es Subscribers Only
Art Director Mr. Ben Daly
Art Director E...s T...es Subscribers Only
Copywriter Na.....el W...e Subscribers Only
Copywriter Mr. Daniel Glover-James
Director K...h Sc.....ld Subscribers Only
Director of Photography D...an A....do Subscribers Only
Producer Ms. Shirley O'Connor
Executive Producer S...ha Sh....rd Subscribers Only
Agency Producer Ca.....ne L..g Subscribers Only

About VCCP

Part of VCCP’s success has come from its longstanding dedication to its ten founding principles. They were established at launch to be the antithesis to all the frustrations the founders had experienced at other advertising agencies. It means we spend less time managing and more time thinking.

Be Un-precious
Brilliant ideas come from openness.

Be Responsible
Great teams take responsibility for each other.

Be On Time
Deliver on time, or earlier.

Be Lean
Small motivated teams achieve the best results.

Be Clear
Its easy to complicate, it's difficult to simplify.

Be Approachable
Listen to whoever wants to speak to you.

Be Happy
Enjoy work.

Be Honest
Keep open books and admit mistakes.

Be Proud
Take pride in the work we produce.

Be Fast
Delay is corrosive, energy is infectious. 

Latest News

Fast Five: Greyworld

We’re Sarah and Tash, bringing you the Fast Five on our 2nd July Curious agency talk with greyworld. What’s the Fast Five? It’s the five top-line takeaways about the tech we saw from Thursday’s talk. What’s this week’s fast five?

1. If your goal is to inspire interaction, make your installation in some way interactive.We know this sounds obvious, but it struck us as one of the easiest takeaways from greyworld’s talk. greyworld are artists who make playful public art, and in much of their portfolio they’ve found ways for their art to engage in play with the public itself, whether it’s through turning keys in trees to create a real life forest fairy tale or creating digital paintings of photos through blowing, swiping, or even “hurling paint”.

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2. But don’t take “interactive” too literally.Sure, being able to manipulate an installation is a cool user experience, but that doesn’t mean that your installation must be manipulable to inspire engagement. Take this giant sun set up in Trafalgar Square, for instance, or this nighttime rainbow; neither is something passersby could control, but both pull the public in and get people to interact with the art.

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3. Make sure your work’s accessible to the audience. During the talk, Andrew Shoben (founder of greyworld) made a passing remark about their preference of creating art available to the public, even with a spate of opportunities to create private installations following a tremendously cool feat of visuals and engineering at the London Stock Exchange. In what may seem like another well-trodden point, Shoben’s comment gets at a critical self-check for marketers; it’s fine and good to make something interesting for a brand, but less so if its (potential) customers can’t (or won’t) see it.

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4. Also, if it’s an unusual or highly aesthetic idea, be prepared to hear that it’s not the sort of thing you can make at home. Our two previous speakers brought in tools that enable pretty much anyone to begin tinkering away and prototyping concepts. But there’s an upper limit to these systems when it comes to complexity and visual design. There’s nothing wrong with this, of course; building-block tech (as it were) is critical to enabling many a proof-of-concept. But if the end goal is, say, creating a bronze statue that mimics the poses of passersby, be prepared to go bespoke.

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5. And to this end, for big builds, don’t be scared to shell out the big bucks (or pounds). Greyworld’s portfolio is filled with high-impact, impressive installations where clients have clearly committed to investing in something one-of-a-kind. The installations vary in complexity and, we’re sure, in monetary cost, but in each case the end product suggests that throughout production, the idea really has come first. The commitment to each work shows. Worth it? We certainly thinks so.

Curious about what else you might’ve missed? Reach out to someone involved in Curious and be sure to watch-out for our next Fast Five following the next Curious Session on 18th July with PAN.

The post Fast Five: Greyworld appeared first on VCCP.

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