El Círculo Creativo, en colaboración con la AHAA, anunció los ganadores de la segunda entrega anual a los premios USH Idea. La ceremonia de premiación, que subrayó la misión de Círculo Creativo de fomentar la creatividad en la publicidad hispana en Estados Unidos y el compromiso de AHAA a destacar la importancia de la creatividad en la publicidad hispana, tuvo lugar el 30 de abril en el New World Center en Miami.

Las cientos de inscripciones recibidas pasaron por un proceso de votación riguroso del cual salieron seleccionados 25 ganadores que representan lo mejor de la industria.Este premio reconoce lo mejor de cada categoria (no hay oros, ni platas, ni bronces, solo un premio por categoría). Luego de todos los ganadores de todas las categorias se eligen las 5 mejores ideas del año, es decir, la quinta mejor idea, la cuarta mejor idea, la tercera mejor idea, la segunda mejor idea y la mejor idea del año ( “best of show”). Este año, cinco casos fueron seleccionados como las mejores campañas del año y premiados como Top Five Idea y son las siguientes:

- BEST IDEA: 

“The Creation of the First Yogurt for Men”, de The Vidal Partnership para Powerful Yogurt.

- SECOND BEST IDEA:

“Adios Cliches, Hola México”, de Alma DDB para Hola México Film Festival.

- THIRD BEST IDEA:

“Glad Tent”, de Alma DDB para Joint Venture-Clorox de P&G.

- FOURTH BEST IDEA:

“Batalla”, de Grupo Gallegos para California Milk Processor.

- FIFTH BEST IDEA:

“Cine Las Américas Languages 1 / 2”, de LatinWorks para Cine Las Américas.

“Estamos muy agradecidos por el apoyo y la participación de todas las agencias y productoras en esta edición de USH Idea. Las campañas ganadoras representan en parte el propósito por el que trabajamos todo el año: la excelencia creativa en la publicidad hispana “, dijo Claudio Vera, Presidente del Círculo Creativo y Director Creativo de Casanova Pendrill. “Tener nuestro propio premioera solo un sueño hace unos años; ha sido maravilloso verlo cobrar vida y en su segunda edición celebrar a los ganadoresen un evento sin precedentes”, sostuvo Vera.

Con la temática “Más Categorías. Más Oportunidades”, el USH Idea Awards premió 25 campañas, pertenecientes a 10 agencias:

En la categoría Video/Televisión, los trabajos ganadores fueron:

“Batalla”, de Grupo Gallegos para California Milk Processor

“Teddy Bears”, de Concept Café Advertising para American Honda

“Padres”, de La Comunidad para Converse

“Penny Plan”, de La Comunidad para Time Warner Cable

“Stake out”, de Conill Saatchi & Saatchi para Consulate General of Argentina in Los Ángeles

“Adiós Cliché, Hola México”, de Alma DDB para Hola México Film Festival (Mejor Campaña de Video).

Por su parte, la categoría Radio tuvo tres ganadores:

“Polaca”, de Concept Café Advertising para American Honda;

“Maduro”, de LatinWorks para Cine Las Américas;

“Cine las Américas Languages”, de la misma agencia y para el mismo auspiciante (Mejor Campaña de Radio).

En Prensa también fueron tres los galardones entregados:

“Soccer”, de Lápiz para Procter & Gamble

“New York International Latino Film Festival Alien Invasion”, de Wing para NYILFF

“Stains Happen”, de Lápiz para Procter & Gamble (Mejor Campaña de Gráfica).

En la categoría Digital:

“Cine Las Américas video campaign”, de LatinWorks para Cine Las Américas fue el único trabajo premiado.

En Técnicas de Producción, se destacaron:

“Do What’s Different”, de LatinWorks para Manzanita Sol/PepsiCo Inc.

“Batalla”, de Grupo Gallegos para California Milk Processor.

Direct Marketing, Promo y Activation premió a tres piezas:

“Money Calendar”, de Lápiz para Mujeres Latinas en Acción

“Bellies in Concert”, de Conill Saatchi & Saatchi para Procter & Gamble

“Bed Time Stories”, de Grupo Gallegos para California Milk Processor.

Finalmente, y en la categoría Beyond Hispanic, se premiaron:

“The Glad Tent”, de Alma DDB para Joint Venture-Clorox/Procter & Gamble.

“Yasuni”, de EO Integration para Government of Ecuador

“Scroll with Abs”, “The Find your Inner Abs Ultrasound…”

“The Creation of the First Yogurt…”, de The Vidal Partnership para Powerful Yogurt“Blastro”, de LatinWorks para Blastro

En representación de cuatro países y seleccionados por su liderazgo creativo, diez miembros del jurado han colaborado con Círculo en seleccionar a los ganadores, entre ellos: José Luis Villa (Factory Newlink), Paco Olavarrieta (Dieste), Juan Oubiña (Grupo Gallegos), Gustavo Lauria (The Vidal Partnership), Laurence Klinger (Lápiz), Norbi Zylberberg (LatinWorks) y Claudio Vera (Casanova Pendrill), así como los jueces internacionales ErhRay (Borghierh / Lowe), Rodolfo Borrell (Pagés BBDO República Dominicana) y Ulises Valencia (Grupo W México).

“Ha sido un honor presidir el jurado y revisar lo mejor del creativo hispano en Estados Unidos. Este año, las campañas ciertamente elevaron su nivel de creatividad, creando una competición tenaz y haciendo nuestra labor mucho más difícil”, dijo Erh Ray, fundador de Borghierh/Lowe, Brasil.

View Source

Award of Excellence winners are also finalists for overall winner and category winners, and will be announced on the 9th May 2013 at the Awards Night in Blitzmegaplex cinema, Grand Indonesia, Jakarta, Indonesia.

SPECIAL JURY AWARDS

Robert Redford (The New Environmentalists)

Susan Sarandon (Nothing Like Chocolate)

President Rafael Correa (Yasuní: The Last Chance)

Sohan Roy (DAM 999)

Hideaki Kataoka (KIZUNA Taste of Aji Stone)

Diego Rougier (Salt)

Greg Kiss (The Tropic of Capricorn – A Time-lapse Journey)

Kelci Parker (Beauty Queen)

Pedro Opeka (Pedro Opeka, The Friend of the Poor)

Firefighter Marshall Allen (Swingman)

Grace Orsolato (Get Together Girls)

Doctor Martha Sommers (Brink of Survival)

Jon Hastie (A Life Worth Living – Pushing The Limits of Duchenne)

DOCUMENTARY SHORT – AWARD OF EXCELLENCE

View Source

UK-based funding body Britdoc has selected eight non-fiction projects to receive PUMA.Creative Catalyst Awards, including August Baugstø Hanssen’s doc Ida’s Diary (pictured).

The grants, which are for undisclosed sums, are issued in partnership with PUMA.Creative and “support the very best in creative documentary filmmaking, and provide funds to further assist filmmakers,” Britdoc said in a statement.

The organization added: “Going into the third year of the awards, we look forward to reaching out more directly to independent filmmakers the world over through a larger presence at international events, where we can award discretionary grants to ensure the best filmmaking is propelled forward at the most catalytic moments.”

Details of the eight named PUMA.Creative Catalyst Award grantees, with descriptions of their projects provided by Britdoc, follow below. For details on how to apply for Britdoc funding, click here.

The Dilla Doc
Dir: Jaimie D’Cruz (UK)

In hip hop culture the producer is King, and Dilla was the producers’ producer, a game-changer who, before his early death, created a sound so original that hip hop would never sound the same again. This is the story of his brief but brilliant career.

Ida’s Diary
Dir: August Baugstø Hanssen (Norway)

At the end of 2010 we received a package in the mail. The package contained an unedited video diary from a young girl living in a small town south in Norway. She told us that she wanted someone to tell her story.

In Your Voice, in Your Heart
Dir: Edward Lovelace/James Hall (UK)

In 2005 musician Edwyn Collins collapsed unexpectedly suffering a devastating stroke. Left unable to walk or speak, any hope of recovery seemed distant. Last year and against all odds he released the album ‘Losing Sleep’ to huge critical acclaim.

Just a Band
Dir: Anjali Nayar/Wanuri Kahiu (Canada/Kenya)

Four young Kenyans form an afro-futuristic pop band that rides a wave of international acclaim. The unlikely superstars end up being ambassadors for their country. How do they deal with it? They go to Space.

Save the Date 
Dir: Bao Nguyen (Vietnam)

In socially conservative Vietnam, a group of LGBT Vietnamese anxiously await for the outcome of legislation that would legally allow for same sex marriage – a first in Asia.

Songs from the Building 
Dir: Koam Chanrasmey (Cambodia)

Since the fall of the Khmer Rouge in 1979, Hun Sarath, a Royal Court singer, has lived in ‘The Building’. Now her home is slated for demolition. In the face of impending destruction, Sarath gathers old masters and new students to stage a performance for her community.

Unveiling Shirin 
Dir: Nariman Hamed (Iran/US)

A feature length documentary film about the life and works of artist and filmmaker Shirin Neshat that takes us inside Shirin’s world and explores her life and work. The story of her challenge as an Iranian artist,as an Iranian woman artist, an Iranian woman artist living in exile.

Yasuni
Dir: Nicolas Entel (Argentina)

Yasuni explores the role of the oil industry in the lives of two native communities in the Amazon, and establishes a sharp contrast between those that have been touched by the oil companies, and those that have not.

This is the quandary Ecuador currently faces with its Yasuní National Park in the country’s Amazon rainforest, and which Argentine director Nicolas Entel explores in his short documentary “Yasuní.” Entel, well-known for his last documentary, “Pecados De Mi Padre,” decided to make the film after doing a promotional video on the Yasuní-ITT Initiative for the TED Conference.

The initiative, which is led by Ecuadorian president Rafael Correa, seeks to “threaten” the international community into taking ownership of the problem by asking it to donate roughly half the monetary value of Yasuní’s oil reserves in exchange for an indefinite freeze on drilling in the area. That’s a big chunk of cash. When the initiative officially launched in 2010, Correa asked for $3.6 billion over 13 years. The Ecuadorian government has pledged to match whatever is donated, which hasn’t been much so far. The money is held in trust funds administered by a UN Development Programme that works with a board made up of indigenous people, locals and scholars, among other knowledgeable people from the community.

The documentary, which had its world premiere recently at the Miami International Film Festival, starts by showing what would happen if an oil rig drilled in the middle of Madison Square Park in New York City. The point may not seem relevant at first glance, but Entel argues that this is a global issue. “The world is interconnected. It’s like an interconnected highway system,” said Entel in an interview with Univision News during the festival. “The air that the Amazon in Ecuador produces is the air we breathe here in Miami, where we are today. It’s very important to know that.”

Viewers then travel with Entel in his quest to see the reality in Yasuní and to meet the indigenous peoples who have been affected by oil companies invading the land. The viewer is introduced to two groups: the Kichwas, who have been protected and created a system of sustainable development; and the Waoranis, who have suffered the consequences of oil exploitation. The contrast between the two is stark. “The Waorani community is a community that has terrible lack. They went from not living in one place, from being nomads to being forced to settle under the shadow of an oil field and now they are suffering from this. They are dying of diseases they should not be getting,” Entel said.

What’s evident from Entel’s film is that the value of this land isn’t just hidden underground in its oil reserves. The abundance of species and biodiversity in Yasuní is practically unmatched, potentially making it a vast resource for science and medicine. Or not. There’s an argument to be made that there’s as much value in leaving it pristine and untouched. With or without oil, the land is priceless.

Nicolas Entel, recipient of the $10,000 Alter-Ciné Foundation grant

In 2012, the Alter-Ciné Foundation received 68 documentary submissions from 29 countries.

Nicolas Entel, a 38 year-old Argentinian filmmaker, received the $10,000 award for his project « Yasuni ».

PROJECT DESCRIPTION – “Yasuní” opens in New York with filmmaker Nicolas Entel filming the installation of an oil well in the heart of one of the city’s most popular parks. The goal: to promote the Yasuni-ITT initiative, a proposition by the government of Ecuador to refuse exploitation of the oil reserves under the Yasuni Nation Park in exchange for a financial contribution of 3,600 million dollars from the international community, an amount equivalent to 50% of the value of those oil reserves.

Shortly afterward, the director travels with a Kichwa Indian to the equatorial region of the Amazon where Yasuni Park is located. The documentary takes us to the heart of the Kichwa community of Añangu, which has turned its back on oil production in order to focus on sustainable development, eco-tourism and education, having learned a lesson from the experience of the Waorani in Guiyero, located in the vicinity of oil wells.

View Source

Which begs the question: Which would you choose if faced with the stark choice between the tranquility of trees and the utility of oil?

Last year Nicolas Entel, the noted director of Sins of My Father (Pecados de mi padre), about the family of Pablo Escobar, decided to find out. He traveled to a forest preserve called Yasuní, in the Ecuadoran Amazon that has some of the greatest variety of plant and animal life of any spot on earth. Rivers rich in fish, amphibians, and even pink freshwater dolphins cross it. Some of the original human inhabitants still live according to ancient ways in thatched homes with cook fires sending smoke into the rafters.

In recent years it’s also gotten a few new roads, which are making some of the residents, and many outsiders, nervous. That’s because there’s another reason Yasuní is special. As luck would have it – or not — Yasuní sits on top of a huge oilfield. The big boys are building the roads so they can explore for oil.

Since Ecuador is a developing country, with lots of people clamoring for health care, homes and education, there’s tremendous pressure on the government to let Big Oil do its thing in this pristine forest. Given the country’s history with Texaco and other giants, most Ecuadorians know that nothing comes free: toxic lagoons, ruined communities and unfulfilled promises have traditionally been the tradeoff for Amazonian crude.

Nicolas was curious about a new plan put forth to save the forest and help the country. So he flew from New York to Quito, landing in the white city, 9,350 feet up in the Andes, to chat with President Rafael Correa, whose government supports the innovative Yasuní-ITT Initiative first proposed by an earlier administration. Correa explained the plan like this: In order for Ecuador to halt drilling in Yasuní, the international community — governments, corporations, private people — would have to donate the equivalent of 50 percent of the profits the country stands to make on the oil fields if they are developed. That’s billions of dollars.

If it sounds like extortion, that’s because it is.

But, as Nicolas discovered when he flew down to the city of Puerto Francisco de Orellana, also known as Coca, and boarded a motorized dugout into the back-country, extortion can sometimes be a force for good. As he documents in his new film, YASUNI, the forest is among the most beautiful places on earth. There’s a stillness there you won’t find in any “civilized” place. And it has produced a rich culture with much traditional wisdom, and also some glamour, as embodied by Eglantina Zingg, who grew up in the Amazon before becoming a MTV personality. She also appears in the film and was an executive producer.

YASUNI, which opens at the Miami International Film Festival on March 9, makes a good case for the trees being more important than the oil underground, which, after all would only satisfy the world’s needs for short time.

The movie opens with an inspired scene of an actual oil derrick being installed in New York’s Madison Square Park. Nicolas films the reactions of passerby, and believe me, they are not happy! Which makes me think the people of the Yasuní — not to mention the flora and fauna — must not be too happy with the idea either.

Roberto Alcazar, founder and creative director of EO Integration in New York, an agency focused on social content, gave PRODU some background about the documentary Yasuni, to premiere next March 9 at the Miami International Film Festival 2013. A scant four months after the project to preserve Yasuni National Park was created, social networks involved in the project have grown monthly at a pace comparable to some of the leading social movements in the world, such as OneSocialWeb and Red Social N-1

(María Eugenia Gómez). Roberto Alcazar, founder and creative director of EO Integration in New York, an agency focused on social content, gave PRODU some background about the documentary Yasuni, to premiere next March 9 at the Miami International Film Festival 2013.
As to what developing this social project has meant for the agency, Alcazar said, “It is mainly a confirmation that social content sparks responses among consumers and gets them to take action when the message is relevant to their interests and the times they are living in.”

The project was made possible by the direct support of the United Nations’ Yasuni ITT (the Ishpingo-Tiputini-Tambococha oil field) Initiative, administered by the Ecuadorian presidency. “The documentary seeks to raise awareness about the need to protect the rainforests, Earth’s principal lung, and the indigenous communities that still live in them. Unlike the Kyoto Protocol, which includes provisions for an international reforestation fund, the Yasuni Initiative seeks to create a prevention fund to protect irreplaceable lands like this (Ecuador’s Yasuni National Park),” he said.

A scant four months after the project to preserve Yasuni National Park was created, social networks involved in the project have grown monthly at a pace comparable to some of the leading social movements in the world, such as OneSocialWeb and Red Social N-1.

“Currently the websites in English, Spanish, French, German and Arabic have more than 150,000 followers. But perhaps the greatest achievement of the campaign has been to win direct donations to the United Nations fund, something that never happened before,” Alcazar said.

View Source

El estreno del documental será el próximo 9 de marzo a las 4:30pm en el Regal South Beach Cinema 18 en Miami

El documental Yasuní, producido por Roberto Alcazar y Juan Fernando Ayora de EO Integration, agencia de contenido social, y dirigido por Nicolás Entel, de Red Creek Productions, se estrenará el próximo 9 de marzo durante el Miami International Film Festival 2013.

El film se realizó como apoyo a la iniciativa Yasuní ITT de las Naciones Unidas, que busca proteger la madre selva y evitar la extracción de 846 millones de barriles de petróleo que se encuentran dentro del Parque Nacional Yasuní en Ecuador, lo que equivale al 20% de las reservas del país.

Durante el 2012, EO Integration (Nueva York) creó la campaña internacional Yo soy Yasuní, desarrollada en 5 idiomas para dar a conocer esta iniciativa. El proyecto actualmente incluye una presencia masiva en redes sociales como Facebook (facebook.com/IamYasuni}, Twitter (@IAmYasuni), Youtube, Pinterest y Google donde invitan a la comunidad internacional a apoyar el proyecto.

A través la plataforma de redes sociales de I am Yasuní, se presentarán dos videos parte de esta producción, uno protagonizado por Eglantina Zingg, quien también es productora ejecutiva del proyecto.

El estreno del documental será el próximo 9 de marzo a las 4:30pm en el Regal South Beach Cinema 18 (1120 Lincoln Rd, Miami Beach 33139).

Parte del esfuerzo también incluye un iBook, que estará a la venta online, el producto de esos ingresos serán donados al fondo de las Naciones Unidas del proyecto.

View Source

Roberto Alcázar, Dayanara Torres, Lin-Manuel Miranda y Brenda Rodríguez

La agencia con sede en Nueva York, EO Integration, anunció su nuevo proyecto de integración de marcas 200 cartas, película protagonizada por Dayanara Torres y Lin-Manuel Miranda, dirigida por Bruno Irizarry.

“200 cartas es un proyecto que ha servido para crear programas de integración de marcas que van más allá de simplemente poner el producto en la película. Hemos tenido la gran oportunidad de comenzar un proyecto desde el principio y desarrollar para cada uno de nuestros socios comerciales la oportunidad de integrar sus respectivos planes de mercadeo, tanto dentro como fuera de la película” expresó Roberto Alcazar, productor ejecutivo de la película y fundador de EO Integration.

GOYA Foods, Banco Popular de Puerto Rico, Target Rent A Car y el periódico El Nuevo Día, son algunos de los patrocinadores del film. Para el lanzamiento del proyecto también han desarrollado presencia en redes sociales como Facebook y Twitter (@200Cartas).

Alcázar destaca que el proyecto para cada patrocinador se basa en cuatro premisas como crear el interés, extensiones de retail, contenido editorial y desarrollar una base sólida de relaciones públicas.

200 cartas es producida por la Corporación de Cine de Puerto Rico y la producción ejecutiva del empresario Shimmy McHugh, Roberto Alcázar, Gustavo Trucco y Bruno Irizarry.

Se espera que el estreno del film en Puerto Rico, EE UU y Latinoamérica sea durante el verano de 2012.

View Source