Barnardo's 'Believe in Me - Gymnast'|短视频|广告营销案例【ADGuider广告指南】

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巴纳多的《相信我-体操》

案例简介：Barnardo's 是英国最大的儿童慈善机构，但人们对他们所做的工作却知之甚少。我们需要回到人们的视线中。受真实事件启发的电影，我们撕下了儿童慈善广告的规则手册，避开悲伤的眼睛和充满悲伤的音乐，将巴纳多的孩子重新塑造成英雄而不是受害者。“相信我” 是巴纳德的孩子们的直接呼吁，是第一个增强情感的人。 EntrySummary Barnardo's 是英国最大的儿童慈善机构，2016年，他们庆祝 150 年帮助英国最脆弱的儿童。他们在该国的每一个社区开展实地活动，为 250,000 名儿童、父母和照顾者提供了 996 种不同的服务，有 30,000 多名员工和志愿者。该运动的重点领域是儿童性剥削、离校儿童、年轻照顾者 (照顾家庭成员的儿童) 、抚养和收养 (难民的住房) 以及情感健康和福祉。 barnardo's 在英国因在广告中使用高度挑衅和负面的图像来激励支持和消费者行动而闻名,大部分都收到了美国律师协会的投诉，包括一个婴儿 “开枪” 和一个年轻女孩被反复扇了耳光 (2008年最受投诉的运动)。“相信我” 运动代表了慈善机构方向的重大变化。简要解释以下电影是一次拍摄，并受到真实事件的启发。我们在一个空酒吧开门。桌子上排列着眼镜。烟从烟灰缸升起。一个水果机在角落里玩耍。一个 14 岁的女孩走进房间。她很了解这个地方。这是她爸爸喝酒的地方。她接受了这一切，但我们看到的不是眼泪，而是韧性。她开始通过体操来驱除她的过去。利用每一寸空间，这是她向世界展示她的舞台。她的背景故事以标题 “我不是我爸爸” 、 “我不害怕他回家” 为重点。但是随着故事的发展，她的决心也在进步; “我是自由的”，“我是活着的”。当她看着镜头时，我们看到了一幅强大的肖像。出现了一个标题: “相信我”。解决方案孩子们以前从未行动过，这是我们要求他们做的第一件事。一次 1/2 分钟的表演，完美地执行，并在头 30 分钟内完成。这些长格式的电影不在项目范围内，但是在向我们的导演解释了野心后，她改变了我们处理整个拍摄的方式，以实现它。我们会把它作为一个镜头拍摄，现场音乐，我们不会告诉客户 (以防我们没有得到)。与电影摄影师和舞蹈指导密切合作是必不可少的，但是真正神奇的时刻来自我们导演与孩子们的互动。她在翻阅之前先把他们的背景故事讲给他们听。敏感。但没有退缩。她知道他们需要知道他们表演背后的真实故事。这就是我们最后的长片的结局。

巴纳多的《相信我-体操》

案例简介：Barnardo’s is the UK’s largest children’s charity, but people had surprisingly little awareness about the work they do. We needed to get back on people’s radar. With films inspired by true events, we ripped up the rulebook of children’s charity advertising, eschewing sad eyes and sorrow filled music to reframe Barnardo’s children as heroes rather than victims. ‘Believe in Me’ is a direct appeal from Barnardo’s children, delivered in the first person to heighten the emotion. EntrySummary Barnardo’s is the UK’s biggest children’s charity and in 2016 they were celebrating 150 years of helping the nation’s most vulnerable children. They operate on the ground in every single community in the country, supporting 250,000 children, parents and carers across a remarkable 996 different services with over 30,000 employees and volunteers. Priority areas featured in the campaign are Child Sexual Exploitation, Care Leavers, Young Carer (children caring for a family member), Fostering and Adoption (housing of a refugee) and Emotional Health and Wellbeing.Barnardo’s are renowned in the UK for using highly provocative and negative imagery in their advertising to motivate support and consumer action, with much of it receiving complaints to the ASA including a baby ‘shooting up’ and a young girl being repeatedly slapped (the most complained about campaign of 2008). The “Believe in me’ campaign represents a significant change in direction for the charity. BriefExplanation The following film is shot in one take, and inspired by true events. We open in an empty bar. Glasses line the tables. Smoke rises from ashtrays. A fruit machine plays in the corner. A 14-year-old girl steps into the room. She knows this place well. This is where her dad drank. She takes it all in, but rather than tears in her eyes, we see resilience. Set to ‘Joy Division - Atmosphere’ she begins to exorcise her past through gymnastics. Using every inch of space, this is her stage to show the world what she’s made of.Her backstory is emphasised with titles “I am not my dad”, “I am not the fear he’d come home”. But as the story progresses, so does her determination; “I am free”, “I am alive”.We see a powerful portrait as she looks to camera. A title appears: “BELIEVE IN ME”. Solution The children had never acted before, and this was the first thing we asked them to do. One 2 1/2 minute performance, flawlessly executed, and get it right in the first 30 minutes. These long format films weren’t in scope of the project, but after explaining the ambition to our director, she changed how we approached the entire shoot to make it happen. We’d shoot it all as one shot, live to the music, and we wouldn’t tell the client (just in case we didn’t get it). Working closely with the cinematographer and choreographer was essential, but the real moment of magic came from our director’s interaction with the children. She talked them through their backstories before turning over. Sensitively. But without holding back. She knew they needed to know the real stories behind their performances. This is how we ended up with our final long format films.