SCROLLING MOBILE DEVICES MAY STEAL HOURS OF OUR TIME, BUT THE TECH INITIATIVES THAT WON PRIZES AIMED TO MAKE LIVES BETTER.
Surprisingly, despite all the buzz about AI last year, the term doesn’t feature in the top five most awarded campaigns. Nor does the “metaverse”, by the way, which now feels so 2022. Instead, these projects aim to assist and empower different communities. The exception is the amusing Clash of Clans campaign, which – unusually for a gaming brand – trades in nostalgia. Samsung was the most awarded brand overall, pushing Apple into second place. That said, Apple’s “The Greatest” was one of the most uplifting films of 2023.
Surprisingly, despite all the buzz about AI last year, the term doesn’t feature in the top five most awarded campaigns. Nor does the “metaverse”, by the way, which now feels so 2022. Instead, these projects aim to assist and empower different communities. The exception is the amusing Clash of Clans campaign, which – unusually for a gaming brand – trades in nostalgia. Samsung was the most awarded brand overall, pushing Apple into second place. That said, Apple’s “The Greatest” was one of the most uplifting films of 2023.
Most awarded
campaigns, brands &
agencies in
Tech in
2023
Most awarded
campaigns, brands and
agencies in
Tech in
2023
CAMPAIGNS
BRANDS
| Brand | ||
|---|---|---|
| 1 |  |
Samsung |
| 2 |  |
Apple |
| 3 |  |
Dot Pad |
| 4 |  |
Squarespace |
| 5 |  |
BackMarket |
AGENCIES
| Name | ||
|---|---|---|
| 1 |  |
Marcel, Paris |
| 2 |  |
TBWA\Media Arts Lab, Los Angeles |
| 3 |  |
Serviceplan Germany, Munich |
| 4 |  |
Somesuch, London |
| 5 |  |
Squarespace |
Watch
1. Dot Pad / Dot Pad. The first smart tactile graphics display.
| Title | Dot Pad. The first smart tactile graphics display. |
| Agency | Serviceplan Germany |
| Campaign | Dot Pad |
| Advertiser | Dot Incorporation |
| Brand | Dot Pad |
| Date of First Broadcast/Publication | 2022 / 5 |
| Business Sector | Mobile Telephones & tablets |
| Story | While most people rely on visuals to understand complex topics, the 285 million blind and visually impaired people worldwide are left out.Dot Pad. The first smart tactile graphics display for the visually impaired. It can display any visual content from any source.The Dot Image Processor analyzes and segments visual content, and then translates it to tactile graphics on the display which is made of 2,400 dots realized by the unique Dot actuator technology. There is also an in-built text panel for braille translation.Thanks to a partnership with Apple, Dot Pad integrates seamlessly with iOS and iPadOS, thereby giving users access to the 2.2 million apps on the App Store, out of the box. Launched in early 2022, Dot Pad has earned huge interest from the media with millions of dollars in orders. Dot Inc. is partnering with educational and governmental institutions to make the device available worldwide. |
| Philosophy | Dot Inc. continues blind and visually impaired communities worldwide with the Dot Pad, whose tactile display to create innovative tech to improve the lives of makes images touchable. While most people rely on visuals to understand complex topics, the 285 million blind and ople worldwide are left out. Tactile books are scarce, expensive, and impractical. Audio descriptions fail because sometimes words just aren’t enough to explain complex information. Dot Inc. with creative direction by Serviceplan Innovation launched the Dot Pad, a game changer in accessibility tech. Dot Pad is the first smart tactile graphics display for the visually impaired. It can display any visual content from any source because the innovative Dot Image Processing technology uses Al to analyze and understand visual input and present it most accurately on Dot Pad’s tactile display of 2,400 dots. In partnership with Apple Thanks to Dot’s collaboration with Apple, Dot Pad integrates seamlessly with iOS and iPad OS, thereby giving users access to the 2.2 million apps on the App Store, out of the box. Dot Pad reduces dependence on tactile textbooks and audio description for graphical content which sighted people are used to freely enjoying. For the first time, visually impaired people can access any visual content on the internet. Dot Pad encourages independent learning, creates further employment opportunities, and empowers diverse artists and creators. Hardware and software innovation in sync Until now, the development of functional tactile graphics devices was hindered by both hardware and software. Conventional tactile devices use piezoelectricity to power their actuators, making them bulky and expensive. Furthermore, translation of visual content into tactile one is complex. Simple vectorization or edge detection algorithms aren’t capable of producing tactile graphics that are suitable for blind users. It requires intelligence to understand what’s in an image and decide what’s important to the audience. Dot Pad solves these problems with a combination of innovative hardware and software. Dot Actuator At the core of the Dot Pad sits the third generation of the innovative Dot actuator technology. While conventional tactile devices use piezoelectricity to power their actuators, Dot Pad uniquely relies on electromagnetism, which reduces size, weight, power consumption and price by more than ten times. This dramatically increases usability and makes the Dot Pad affordable for majority of blind and visually impaired users. While the Dot actuator technology is protected by 30 patents, it’s licensed to other manufacturers to give as many people as possible the chance to benefit from it. Dot Image Processor It requires intelligence to understand what’s in an image and decide what’s important to the audience. To create comprehensible tactile content, Dot Pad relies on the innovative Dot Image Processor. It’s an AI that was trained with millions of existing visual and tactile graphics, to be able to analyze, understand and segment visual content, and translate it to tactile graphics most suitable for blind users. Supported by big tech, universities, and governments Launched in early 2022, Dot Pad has earned huge interest from the media as well as public and private institutions worldwide, with millions in dollars in orders. The Dot Pad technology is even being shared with competitors to give visually impaired people all around the world access to tactile graphics. Dot Pad technology is permanently installed in public kiosks in Busan, South Korea. Dot Pad has disrupted the field of accessibility technology with tactile graphics. To create further software and hardware support for tactile graphics, Dot Inc. is in touch with major tech companies such to create a unified tactile graphic file format and a dedicated open database of tactile graphics. Dot Inc. is partnering with many educational and governmental institutions like UC Berkley, Carnegie Mellon University, McGill University, Columbia University, Busan Public Transportation, and National Museum of Korea to name a few. |
| Media Type | Case Study |
| Length | |
| Agency | Serviceplan Innovation |
| Production Company | Paulus Co. Ltd |
| Production Company | Astral |
| Production Company | MassiveVoices |
| Agency | Serviceplan Korea |
2. Back Market / Hack Market (eng)
| Title | Hack Market (eng) |
| Agency | Marcel |
| Campaign | High tech – Low impact |
| Advertiser | Back Market |
| Brand | Back Market |
| Posted | July 2022 |
| Business Sector | Online Retail, E-store |
| Story | On Earth Day, April 22, 2022, and to help people change their minds, Back Market and its Paris-based agency Marcel (part of Publicis Groupe) took our last chance to convince those who were about to buy a new device. Say hello to Hack Market. An operation in which we used Apple's own technology, AirDrop, to broadcast our messages inside the temples of new tech: the Apple Store, directly on Apple's best sellers: iPhones, iPads and MacBooks. The operation took place in 6 different stores in Europe (Paris, Berlin and London), letting each customer know that there is a more ecological and cheaper way to consume technology, by buying the same model, but refurbished at Back Market. A way to turn iPhones into a brand-new medium to promote an alternative consumption model. |
| Media Type | Case Study |
| Length | |
| President | Pascal Nessim |
| Executive Creative Director | Youri Guerassimov |
| Copywriter | Antonin Jacquot |
| President | Charles Georges-Picot |
| Technology Team | Christophe Serret |
| Art Director | Vincent Boursaud |
| Motion Graphics Artist | Julien Taillez |
| Art Director | Hugo Wahledow |
| Copywriter | Claudia Illan |
| Associate Director | Sébastien Jauffret |
| Account Director | YANI OUKID |
| Technology Team | Edouard Danesse |
| Technology Team | Lotfi Harrabi |
| Copywriter | Aurel Cablan |
| Motion Graphics Artist | Vincent Iweins |
| Social Media Manager | Calliste Garrabos |
| Managing Director | Benjamin Taïeb |
| Executive Creative Director | Valéry du Peloux |
| Director | Guillaume Talvas |
| Editor | Julien Hannedouche |
| Project Manager | Flavie Parize |
| Traffic Team | Mélanie Coupey |
| Traffic Team | Laurène Ametowoglo |
| Creative Director | Clément Séchet |
| Producer | Valéry du Peloux |
| Producer | Sixtine Busetti |
| Strategy Lead | Thomas Cléret |
| Copywriter | Alexandre Dodille |
| Art Director | Céleste Nessim |
| Post Production | ADF L’atelier |
3. Apple / The Greatest
| Title | The Greatest |
| Agency | Somesuch |
| Campaign | The Greatest |
| Advertiser | Apple |
| Brand | Apple |
| Date of First Broadcast/Publication | 2022 |
| Business Sector | Consumer Electronics & Audio-Visual |
| Media Type | Web Film |
| Length | |
| Editing Company | Trim Editing |
| Post Production | Blacksmith |
| Production Company | Somesuch |
| Director | Kim Gehrig |
| Producer | Alexandra Lisee |
| Cinematography | Christopher Blauvelt |
| Production Designer | Jade Healy |
| Choreography | Denna Thomsen |
| Casting Director | Brigid McBride |
| Performer | Wil Eaton |
| Performer | Matthew Whitaker |
| Performer | Cola Boyy |
| Performer | Janet Moreno |
| Performer | Kashmiere Culberson |
| Performer | Jenna Olinick |
| Costume and Wardrobe | April Napier |
| Hair, Makeup and Prothetics | Grace Phillips |
| Editor | Tom Lindsay |
| Colorist | Mikey Pehanich |
| Sound Production | Apple, Inc. |
| Music | Apple Marcom |
4. Clash of Clans / Clash From The Past
| Title | Clash From The Past |
| Agency | Wieden + Kennedy |
| Campaign | Clash From The Past |
| Advertiser | Supercell |
| Brand | Clash of Clans |
| Posted | April 2023 |
| Business Sector | Internet Sites (Excluding ISPs) / Apps. |
| Story | Released in 2012, Clash of Clans is one of the most popular mobile games in the world, with 300 million daily players and millions of subscribers to its YouTube channel. For our 10th Anniversary, we wanted this global community of fans to feel like the game they loved was as iconic a gaming franchise as Mario, Donkey Kong, Pac-Man, and the other video games that have shaped our culture and lives. Our goal was to create a campaign that went beyond celebrating 10 years, and instead re-engaged our fans in a way that reminded them how much they really love this game, and keep them invested for the future. |
| Media Type | Digital |
| Length | |
| Post Production | Joint NY |
| Post Production | Blacksmith |
| Executive Creative Director | Hermeti Balarin |
| Executive Creative Director | Ana Balarin |
| Creative Director | Lawrence Melilli |
| Producer | Devin Brown |
| Design Director | Mike Weihs |
| Retoucher | Frazer Goodbody |
| Group Media Director | Stephanie Ehui |
| Business Affairs Manager | Tristan Martin |
| Production Service Company | B2Y Productions |
| Executive Creative Director | John Petty |
| Managing Director | Jess Monsey |
| Copywriter | Nick Stoner |
| Art Director | Nick Howard |
| Creative Director | Darcie Burrell |
| Copywriter | Will Curtis |
| Art Director | Liam McKay |
| Group Brand Director | Danny Sullivan |
| Brand Director | Kimmy Cunningham |
| Brand Director | Jane Han |
| Brand Manager | Spencer Crain |
| Brand Executive | Demetrius Wallace |
| Executive Producer | Ricara Stokes |
| Producer | Kacey Klonsky |
| Designer | Dave Hagen |
| Designer | Michael Auer |
| Designer | Morgan Searcy |
| Designer | Olivia Budiono |
| Designer | Chris Streger |
| VFX Creative Director | Stefan Smith |
| Business Affairs Manager | Kevin Moyer |
| Business Affairs Manager | Chelsea Appleby |
| Business Affairs Manager | Kristian Evanculla |
| Production | Matt Blum |
| Production | Liliya Dru |
| Production | David Carney-Fenton |
| Fabrication | Ellen Osborn |
| Retoucher | Amy Ellars |
| Motion Producer | Cameron Blake |
| Production | Vicki Liu |
| Production | Beth Schuenemann |
| Production | Ken Berg |
| Copywriting | James Yu |
| Copywriter | Lisa Kadous |
| Copywriter | Erica Nikolaidis |
| Retoucher | Greg Radich |
| Fabrication | Denise Hangg |
| Fabrication | Kristin Holder |
| Motion Design Lead | David Mellor |
| Motion Design Lead | Chris Huang |
| Motion Design Lead | Konstantin Eydelman |
| Group Strategy Director | Indiane Matine |
| Strategist | Olivia Campbell |
| Associate Media Director | Mary Eliason |
| Associate Media Director | Jarod Diaz |
| Creative Operations Manager | Valentina Savarese |
| Creative Operations Manager | Jaymie Steck |
| PR | Danny Hernandez |
| PR | Alex Har |
| Motion Design Lead | Adam Sirkin |
| Production Company | Spark & Riot |
| Design Producer | Victoria Tengblad-Kreft |
| Design Producer | Scott Meisse |
5. Samsung / Unfear App
| Title | Unfear App |
| Agency | Cheil España |
| Campaign | Unfear App |
| Advertiser | Samsung |
| Brand | Samsung |
| Date of First Broadcast/Publication | 2023 / 4 |
| Business Sector | Consumer Electronics & Audio-Visual |
| Philosophy | Samsung Espana and Cheil Worldwide Spain have created a ground-breaking AI app for people with autism that autonomously turns down the volume on fear-triggering sounds they find disturbing without isolating them by cancelling out noise altogether. The app is the first ever smart noise-management app that works in real-time to enable people to manage individual sounds to suit their needs. Autism affects around 70 million people globally and many people with autism have auditory sensitivity which can lead to discomfort and anxiety in reaction to certain sounds. The solution is often noise-cancelling headphones that block out all sounds which leads to complete audio isolation. Samsung’s advanced-AI app, called Unfear, works with Samsung Galaxy Buds to filter known trigger sounds, including sounds personalized to the user, in order to protect, calm and assist people with Autism Spectrum Disorder (ASD) and hearing disorders. Being able to filter certain sounds, as opposed to cancelling out noise altogether, allows people with autism to continue to feel more connected in their everyday lives. Through machine learning, an algorithm scans thousands of audio libraries in real time, reducing the volume of specific pre-selected noises that cause stress to the individual user, such as sirens, metro noise, street works, barking dogs, ambulances, or crying children - going beyond noise cancellation which isolate users. Unfear continuously listens, pinpointing every sound to suppress only the noises that affect the user. As well as external environment sounds, Unfear filters sounds in all forms of content coming in from within devices and mobile phones across gaming, streaming, movies, music and social media content. For emergency situations, the app can be voice controlled, allowing users to immediately seek a ‘calm mode’ in particularly stressful moments. There is also an SOS option where users can automatically call their emergency contact to get help. Research and testing for the app was conducted in partnership with ten Spanish autism organisations - Autism Madrid Federation, Catalan Autisme Federation, Asperger New Life, Nuevo Horizonte Association, Cepri Association for the Research and Study of Mental Deficiency, ADISGUA, Guadarrama Association for People with Disabilities, SumateA and Sur Madrid Autism Spectrum Disorder – as well as over 100 ASD patients and their families. UnFear is endorsed by the Spanish Society of Psychiatry and Mental Health. The app, conceived of, designed and developed by Cheil Worldwide Spain, launched during World Autism Acceptance Week and is available in Spanish and English language. It will be rolled out globally over the course of 2023. The app was created by Cheil and Samsung Electronics Iberia, as part of Samsung’s ongoing ‘Technology with Purpose’ program. |
| Media Type | Case Study |
| Length | |
| Global Chief Creative Officer | Malcolm Poynton |
| Executive Creative Officer | Alejandro Di Trolio |
| Creative Director | Jaime Azurmendi |
| Creative Director | Eduardo Vea Keating |
| Art Director | Estanislao Bollaín |
| Art Director | Aitor Carreira |
| Art Director | Jessika de Freitas |
| Art Director | Natalia Oltra |
| Art Director | Julen Urquia |
| Art Director | Andrea Pissarro |
| Copywriter | Julen Borge |
| Copywriter | Andrea Hernando |
| Copywriter | Markel Otsoa |
| Copywriter | Alba Blanco |
| Copywriter | Yerai Gómez |
| Account Director | Jaime Aróstegui |
| Account Director | Lucas Vilela |
| Agency Producer | Somos5 |
| Director | Gerardo Berna |
| Producer | Alberto Sanchez |
| Producer | María Jimenez |
| Editor | Jesús Dávila |
| Development | Acid Tango |
6. Dell Technologies and Intel / I will always be me (Case)
| Title | I will always be me (Case) |
| Agency | VML |
| Campaign | I Will Always Be Me |
| Advertiser | Dell Technologies and Intel |
| Brand | Dell Technologies and Intel |
| Posted | July 2022 |
| Business Sector | Computers, PDAs & Calculators |
| Story | A special book that helps people living with motor neurone disease (MND) keep their voices – by reading a story that helps explain what they’re going through. Created in partnership with the MND Association and Rolls-Royce |
| Media Type | Case Study |
| Length | |
| Music | Human |
| Digital Agency | Jam3 |
| Chief Creative Officer | Wayne Best |
| Executive Creative Director | Niraj Zaveri |
| Advertising Manager | John Coyne |
| Executive Creative Director | Justin Ebert |
| Regional Chief Creative Officer | Jason Xenopoulos |
| Global Chief Creative Officer | Debbi Vandeven |
| Creative Director | Carlos Pabon |
| Group Executive Producer | Bobby Jacques |
| Senior Producer | Dan Bradbury |
| Digital Developer | Jeremy Jones |
| Managing Director & Executive Producer | Zoe Barlow |
| Executive Creative Director | Dirk Van Ginkel |
| Senior Producer | Louisa Gargiulo |
| Director / DOP | Ben Hanson |
| Director / DOP | Simon Frost |
| Colorist | James Tillett |
| Color Producer | Evan Bauer |
| Managing Director Of Strategy & Insights | Jennifer Bonhomme |
| SVP Global Brand Management | Liz Matthews |
| Advertising Manager | Rachael Henke |
| Advertising Manager | Valerie Daubert |
| Senior Content Production Business Manager | Maggie Diaz |
| Executive Business Lead | Rachel Krouse |
| Music Composer | Sloan Alexander |
| Creative Lead & Chief Engineer | Sloan Alexander |
| Executive Music Producer | Theresa Notartomaso |
| Music Executive Producer | James Dean Wells |
| Group Director Of Production | Sean Crawford |
| Creative Director | Tal Shub |
| Strategy Director | Jorik Houweling |
| Senior Producer | Allison Raich |
| Group Director, Client Engagement | Allie Ritter |
| Music Composer | Jonathan Hubbell |
| Post-production Producer | Rob Suchecki |
| Senior Account Manager | Jenny Anderson |
| Production Manager | Frances Ellis |
| Music Composer | John-Chris Barnes |
| Frontend Developer | Thomas van der Meer |
| Director Of Production, Experience Innovation | Fernando Martinez |
| Music Production Assistant | Karli James |
| Account Supervisor | Ally Reis |
| Director of Client Engagement | Marissa Schulz |
| Associate Account Manager | Saira Khan |
| Advertising Manager | Sonia Sharma |
| Advertising Manager | Amanda Metti |
| Advertising Manager | Jackie Keating |
| Advertising Manager | Talia Hill |
| Advertising Manager | Dayne Turbitt |
| Advertising Manager | Ilana Lassman |
| Advertising Manager | Kari Lemiere-Mullan |
| Advertising Manager | Karen Frey |
| Advertising Manager | Kelly Lynch |
| Advertising Manager | Sarah Allen |
| Advertising Manager | Lama Nachman |
| Advertising Manager | Darryl Adams |
| Advertising Manager | Nicholas Day |
| Advertising Manager | Jason Priest |
| Advertising Manager | Nick Goldup |
| Project Manager | Richard Cave |
| Project Manager | Stuart Moss |
| Production Assistant | Lili Bo Therin |
| Chief Executive Officer (CEO) | alice smith |
| Chief Technology Officer | Oliver Watts |
| Advisor | Siddharthan Chandran |
| Associate Executive Producer | Florian Root |
| Executive Producer | Helen Tucker-Lalloo |
| Technical Project Manager | Tim Blokker |
| Creative Director & Experience Designer | Elisabetta Balconi |
| Senior Interactive Designer | Victoire Douy |
| Senior UX Designer | Fabiola Nardecchia |
| Technical Director | Ben Wager |
| Music Composer | Adam del Ruedas del Ri |
| Music Composer | Jonathan Russell |
| Music Composer | Adam del Ruedas del Rio |
| Color Assist | Ashley Woods |
| Author | Jill Twiss |
| Illustrator | Nicholas Stevenson |
| Post Production | Mill NY |
| Audio Post Production | Post Human |
| Production Company | Borderland |
| Production Company | SpeakUnique |
7. Squarespace / The Singularity
| Title | The Singularity |
| Agency | Squarespace |
| Campaign | Big Game Commercial 2023 |
| Advertiser | Squarespace |
| Brand | Squarespace |
| Date of First Broadcast/Publication | 2023 / 2 |
| Business Sector | Internet Sites (Excluding ISPs) / Apps. |
| Media Type | Television & Cinema |
| Length | |
| Music / Sound Design | Q Department |
| Post Production | Final Cut |
| Post Production | Coffee & TV |
| Production Company | Smuggler |
| Music / Sound Design | Heard City |
| Post Production | Black Kite |
| Art Director | Alex Thompson |
| Copywriter | Pepe Hernandez |
| Creative Director | Mathieu Zarbatany |
| Designer | Wan Kang |
| Editor | Sarah Harvey |
| MOTION DESIGN | Christina Lu |
| MOTION DESIGN | Videl Torres |
| Photographer | Spencer Blake |
| Design Director | Satu Pelkonen |
| Developer | Siman Li |
| Senior Designer | Ryan Carrel |
| Senior Designer | Zoonzin Yoonjin Lee |
| Business Affairs | Kiersten Bergstrom-Pavlik |
| Business Affairs | Michelle Crane |
| Chief Creative Officer | David Lee |
| CEO, Copywriter | Anthony Casalena |
| Design Lead | Albert Chang |
| Head of Production | Erica Kung |
| Production Designer | Alex Tutelian |
| Senior Producer | Marisa Wasser |
| Senior Producer | Sion Prys |
| Senior Producer | Wes Falik |
| Retoucher | Derek Kalisher |
| Retoucher | Sara Barr |
| Assistant Photographer | Craig Reynolds |
| Creative Vice President | Ben Hughes |
| Web Development | Active Theory |
8. Microsoft / ADLaM
| Title | ADLaM |
| Brief | To help preserve the Pulaar language — and help fight illiteracy within the community — we worked with the Barry brothers to rebuild ADLaM for the digital age and put it in the hands of the 60 million Fulani across the globe connecting through technology.While alphabets usually take hundreds of years to evolve into their final form, we were able to speed the process, using real-time community feedback to revise ADLaM’s outdated letterforms.Taking inspiration from Fulani visual culture, we researched hundreds of traditional textile patterns and designs, uncovering their unique meanings to define the final form of the characters. By weaving their heritage into the solution, the Fulani saw themselves in their very own alphabet.This new version of the alphabet is being made accessible on over one billion devices around the world, enhancing the Fulani’s access to educational, business and social tools—ensuring both the language and culture ADLaM represents live on for generations. |
| Agency | McCann New York |
| Campaign | ADLaM |
| Advertiser | Microsoft |
| Brand | Microsoft |
| Date of First Broadcast/Publication | 2023 / 4 |
| Business Sector | IT Solutions & Professional Networks |
| Story | A new alphabet for an ancient people promises to preserve their culture and connect their community. |
| Philosophy | The language of the Fulani people of West Africa, known as Pulaar, is spoken by over 40 million people, so it’s not in immediate danger. However, for most of its history, Pulaar never had an alphabet. Fulani are increasingly doing business, finding information, and expressing themselves via text on mobile devices. And if they can’t communicate digitally with an alphabet that reflects the language they speak, they will use other writing systems, and one day, other languages. For languages that have no digital script, the writing is on the wall. Thirty years ago, two Fulani brothers took it upon themselves to reverse this inevitability. They created an alphabet that would one day spread across the global Fulani community and beyond. It would come to be known as ADLaM, an acronym using the alphabet’s first four letters, which stands for Alkule Dandayɗe Leñol Mulugol, or “the alphabet that protects the people from vanishing.” |
| Problem | What does it mean to lose a language? Deep knowledge, passed down over millennia—gone. Ways of thinking about the land, the sea, the sky, and the flora and fauna that inhabit them. Rituals and recipes. Myths and memories, erased. And for those who spoke the language, it means losing a part of themselves. |
| Media Type | Digital |
| Length | |
| Music | Human |
| Advertising Manager | Kathleen Hall |
| Advertising Manager | Carol Phillips Hutchinson |
| Advertising Manager | Steve Simmons |
| Advertising Manager | Hannah Westing |
| Advertising Manager | Lori Gross |
| Client Global Creative Director | Sven Seger |
| Client Senior Creative Director | Phyllis Murphy |
| Client Creative Director | Steve Foyle |
| Advertising Manager | Karina Reck |
| Advertising Manager | Aleksey Federov |
| Advertising Manager | Krystofer Glover |
| Advertising Manager | Shyla Lindsey |
| Producer | Kaity Butcher |
| Strategist | Steve Wiens |
| Advertising Manager | Si Daniels |
| Advertising Manager | Andrew Glass |
| Regional Chief Creative Officer | Sean Bryan |
| Chief Creative Officer | Shayne Millington |
| Chief Creative Officer | Pierre Lipton |
| EVP, Global Executive Creative Director | Cristina Reina |
| EVP, Global Executive Creative Director | Pete Johnson |
| EVP, Head of Design | Matt Van Leeuwen |
| Design Director | Mook Phoungbut |
| Designer | Chocho Han |
| Designer | Malik Dupree |
| Senior Creative technologist | Alicia Foor |
| Senior Art Director | Mikey Bready |
| Senior Copywriter | Sarah Wagner |
| Associate Creative Director / Art Director | Kazuo Kubo |
| Associate Creative Director / Copywriter | Lucas Ribeiro |
| Group Creative Director/Art Director | Guilherme Racz |
| Group Creative Director / Copywriter | Lucas Casão |
| EVP, Chief Production Officer | Aaron Kovan |
| SVP, Executive Integrated Producer | Stacy Flaum |
| Senior Integrated Producer | MJ Soler |
| Senior Integrated Producer | Jory Sutton |
| Junior Producer | Travae Davis |
| Videographer | Katie Henry |
| Senior Music Producer | Colleen Dahlstrom |
| Junior Music Producer | Madison Rowe |
| Chief Strategy Officer | Erica Yahr |
| VP Strategy Director | Amadeo Plaza |
| Associate Strategist | Kyla Jackson |
| Post Production | Craft NY |
| Director | Jean Didi |
| Director/Photographer | Andrew Zeitner |
| Photographer | Khadija Farah |
| Announcer | Sahlima |
| Creator | Ibrahima Barry |
| Creator | Abdoulaye Barry |
| Typeface Design | Mark Jamra |
| Typeface Design | Neil Patel |
| Typeface Design | Andrew Fotit |
| Textile Expert | Duncan Clarke |
9. Samsung Mobile / QUEST FOR DYSLEXIA
| Title | QUEST FOR DYSLEXIA |
| Agency | Cheil Hong Kong |
| Campaign | Quest For Dyslexia |
| Advertiser | Samsung |
| Brand | Samsung Mobile |
| Posted | June 2022 |
| Business Sector | Mobile Telephones & tablets |
| Media Type | Case Study |
| Length | |
| Market | Hong Kong |
| Production Company | HOBA |
| Chief Creative Officer | Paul Chan |
| Copywriter | Paul Chan |
| Executive Creative Director | Kimmy Liu |
| Group Creative Director | Wilson Ang |
| Copywriter | Wilson Ang |
| Art Director | Edmond Leung |
| Associate Creative Director | Timothy Tian |
| Associate Creative Director | Xiaoguang Ren |
| Copywriter | Leslie Liu |
| Director | Yuan Lu |
| Editor | Claude Zhang |
| Production (Agency) | Cheil PengTai |
10. Duolingo / Tattoo Duo-Over
| Title | Tattoo Duo-Over |
| Agency | BETC Paris |
| Campaign | Tattoo Duo-Over |
| Advertiser | Duolingo |
| Brand | Duolingo |
| Date of First Broadcast/Publication | 2022 / 3 |
| Business Sector | Other Online Services |
| Story | In honor of World Tattoo Day, Duolingo, the world’s #1 language learning app, offered the world a unique new social service: to check and correct their foreign language tattoos. For two weeks starting on March 21st, we invited anyone with a foreign language tattoo to post a photo of their ink to social media with the #TattooDuoOver (or to email us if they were feeling shy), and then invited the worst, most horrible, borderline unforgivable translation mistakes to Paris to receive a cover-up with the phrase they really wanted. |
| Media Type | Digital |
| Length | |
| Production Company | Voir |
| Director | Pierre-Edouard Joubert |
| Producer | Aurélien Drosne |
| Creative Director | David Martin Angelus |
| Copywriter | Nick Bakshi |
| Art Director | Erika Reyes |
| TV Production | Karim Naceur |
| TV Production | Leslie levy |
| TV Production | Coralie Cupillard |
11. Apple TV+ x FIFA 23 / FIFA 23 x TED LASSO
| Title | FIFA 23 x TED LASSO |
| Agency | TBWA\Media Arts Lab |
| Campaign | Believe In Ted Lasso |
| Advertiser | EA Sports + Apple |
| Brand | Apple TV+ x FIFA 23 |
| Date of First Broadcast/Publication | 2022 / 9 |
| Business Sector | Consumer Electronics & Audio-Visual |
| Media Type | Case Study |
| Length | |
| VP of Brand | David Jackson |
| Director of Strategy | Ben Prout |
| Vice President (VP) | Furniture Clearance Centre |
| Vice President (VP) | Integration |
| Chief of Creative | Paul Marr |
| Director Brand Marketing | Kevin Strunk |
| Senior Vice President | Jen Stump |
| Vice President (VP) | Ben Elliot |
| Vice President (VP) | Aaron Lowenstein |
12. Samsung Galaxy Z Flip4 / Welcome to Flipvertising
| Title | Welcome to Flipvertising |
| Agency | CHEP Network |
| Campaign | Flipvertising |
| Advertiser | Samsung |
| Brand | Samsung Galaxy Z Flip4 |
| Date of First Broadcast/Publication | 2022 / 8 |
| Business Sector | Mobile Telephones & tablets |
| Media Type | Digital |
| Length | |
| Advertising Manager | Eric Chou |
| Advertising Manager | Joanna Baxter |
| Advertising Manager | Maureen Benson |
| Advertising Manager | Lilly Lloyd |
| Advertising Manager | Alexander Campbell |
| Production Company | Sweetshop |
| Director | Max Barden |
| Executive Producer | Greg Fyson |
13. Apple / Shot on iPhone 13 Pro: Chinese New Year - The Comeback
| Title | Shot on iPhone 13 Pro: Chinese New Year - The Comeback |
| Agency | TBWA\Media Arts Lab |
| Campaign | Shot on iPhone 13 Pro: Chinese New Year - The Comeback |
| Advertiser | Apple |
| Brand | Apple |
| Date of First Broadcast/Publication | 2022 / 1 |
| Business Sector | Consumer Electronics & Audio-Visual |
| Media Type | Web Film |
| Length | |
| Director | Zhang Meng |
| Director of Photography (DOP) | Luo Dong |
| Music | Varqa Buehrer |
14. Google / Black-owned Friday Every Day
| Title | Black-owned Friday Every Day |
| Agency | BBH USA |
| Campaign | Black-owned Friday Every Day |
| Advertiser | |
| Brand | |
| Date of First Broadcast/Publication | 2022 |
| Business Sector | Search Engines |
| Media Type | Case Study |
| Length | |
| VFX Company | CarbonVFX (New York) |
| Production Company | Scheme Engine |
| Editing Company | Cut & Run New York |
| Digital Agency | Rehab Agency |
| Advertising Manager | Claire Mudd |
| Advertising Manager | Wendy Gonzalez |
| Advertising Manager | Nicholas Underhill |
| Advertising Manager | Lauren Nunziata |
| Chief Executive Officer (CEO) | Amani Duncan |
| Chief Creative Officer | Rafael Rizuto |
| Executive Creative Director | Kasia Canning |
| Executive Creative Director | Estefânio Holtz |
| Head of Design | Hernan Ibanez |
| Creative Director | Sapna Ahluwalia |
| Creative Director | Yohan Daver |
| Senior Art Director | Jack Hwang |
| Senior Copywriter | Jesse Custodio |
| Senior Designer | Jin Kim |
| Senior Designer | Chloe Kang |
| Group Account Director | Melissa Cahoon |
| Account Director | Karley Edwards |
| Account Supervisor | Madeline Birkhold |
| Group Executive Producer | Sam Petersson |
| Executive Agency Producer | Michael Petrucelly |
| Executive Agency Producer | Shelley Giera |
| Executive Agency Producer | Miral Patel |
| Agency Producer | Chris Totzke |
| Agency Producer | Yamoaa Gyimah |
| Strategy Director | Timanni Walker |
| Strategist | Victoria Neal |
| Director of Business Affairs | Daniella Vargas |
| Associate Director of Business Affairs | Jonathan Toto |
| Associate Business Affairs Manager | Miranda Baylor |
| Director | Charles Todd |
| Executive Producer | Janet McInnes |
| Producer | Chris Lettley |
| Photographer | Marilyne Mwangi Moja |
| Photographer | Jae Verde |
| Editor | Beau Dickson |
| Assistant Editor | Jeremy Donahue |
| Senior Editorial Producer | Diana Méndez |
| Senior Editorial Company Executive Producer | Marcia Wigley |
| Senior VFX Executive Producer | Matthew McManus |
| VFX Supervisor | John Price |
| VFX Shoot Supervisor | Tommy Smith |
| VFX Creative Director | Matthew Stevens |
| VFX Producer | Vanessa Yee |
| HOP | Tina Starkweather |
| Senior Account Director | Katie Noble |
| Senior Producer | Verity Smout |
| Head of Development | Adam Taylor |
| Technical Architect | Ed Opare-Aryee |
| Developer | Chak Ho Poon |
| Creative Technologist | Robin Hunter |
| Developer | Luke Sturgess-Durden |
| Developer | Tautvydas Pocius |
| Developer | Medad Farajzade |
| Test Engineer | Gianina-Aniela Casleanu |
| Digital Creative Director | Mickaël Larchevêque |
| Designer | Liam Dean |
| Strategy Director | James Penfold |
| UX Designer | Syd Schaefer |
| Head of Digital Production | Blair Aitken |
| Artist | Ludacris |
| Artist | Flo Milli |
| Artist | PJ |
| Artist | DJ Infamous |
| Artist | Naz Hillmon |
| Artist | Lou Williams |
| Artist | Allyiahsface |
| Artist | NicoleTV |
| Artists | The Glam Twinz |
| Artist | Antonio Mcilwaine |
| Artist | Melvin Coleman |
| Artist | Shanée Benjamin |
| Business Owner | Toure Akela |
| Business Owner | Khalid Malik |
| Business Owner | Olatunde Richardson |
| Business Owner | Glenn Wilson |
| Business Owner | Janet Jefferys |
| Business Owner | Camil Williams |
| Business Owner | Pinky Cole |
| Business Owner | Sherolyn Sellers |
| Business Owner | Jasmine Phinex |
15. Ladbrokes / Rocky
| Title | Rocky |
| Agency | Neverland |
| Campaign | Rocky |
| Advertiser | Ladbrokes |
| Brand | Ladbrokes |
| Date of First Broadcast/Publication | 2022 / 8 |
| Business Sector | Online Gambling |
| Story | Ladbrokes are on a journey to evolving their business to become an entertainment brand. To own entertainment, Ladbrokes need to be entertainment, so we turned to cinema for the biggest, most iconic scene we knew would resonate with our audience, Rocky’s run. We built on this incredible scene by inviting in Ladbrokes’ world of play to follow in our favourite boxer’s footsteps. The result is a Hollywood first, an epic film paired with a technical prowess, one for players and fans alike to enjoy and share, together. |
| Media Type | Television |
| Length | |
| Soundtrack | Gonna Fly Now |
| Editing Company | Final Cut |
| Audio Post Production | 750mph |
| Director | Nicolai Fuglsig |
| Executive Creative Director | Jon Forsyth |
| Creative Team | Lloyd Daniel |
| Producer | Alex Cowley |
| Producer | Tim Wild |
| Executive Producer | Lindsay Turnham |
| Director of Photography (DOP) | George Richmond |
| Editor | Rick Russell |
| Sound Engineer | Sam Ashwell |
| Sound Designer | Olivia Ray |
| Strategist | Simon Massey |
| Head of Production | Amy Coomber |
| Design Director | Rich Kennedy |
