DDB Brussels has attempted to tackle the growing TV advertising challenge of viewers’ fast-forwarding through ad breaks with its new commercial for Volkswagen. Described by the agency as a new format of advertising, the Volkswagen Beetle ‘Slowmercial’ doubles up as a quasi-print ad when fast-forwarded, and can thus be enjoyed – or at least taken in – at normal speed as well as high speed.
As the voiceover explains, “the static TV commercial” (with just a few bird tweets and the slowly opening convertible roof distinguishing it from a print ad) allows that “even with delayed viewing where commercial breaks are likely to be fast forwarded, the Beetle convertible will still be in full view for at least a few seconds”.
An introduction to Volkswagen’s Slowmercial – for the fast-forward version, you can jump to roughly 55 seconds in.
The ad will run during Belgium’s most popular – and frequently recorded – TV shows, such as Homeland and Bones.
Whether the ‘new format’ will catch on is debatable. Similar approaches without the explanatory voice-over declaring the idea behind the ad, and its innovativeness, might be slow to take off – just imagine a slew of supermarkets, betting services, alcoholic beverages and FMCG products rolling through static frames of uneventfulness. But DDB claims that the ad will have 50% more impact than an ordinary commercial through its reach of the delayed viewing public. And more such ads would certainly make for a more zen viewing experience.
Agency: DDB Brussels
Campaign: Happy Drivers Days: Beetle Cabrio
Creative Director: Peter Ampe
Creative Team: Rom&John, Peter Ampe
Production Company: Compost
CR in print
The March issue of CR magazine celebrates 150 years of the London Underground. In it we introduce a new book by Mark Ovenden, which is the first study of all aspects of the tube’s design evolution; we ask Harry Beck authority, Ken Garland, what he makes of a new tube map concept by Mark Noad; we investigate the enduring appeal of Edward Johnston’s eponymous typeface; Michael Evamy reports on the design story of world-famous roundel; we look at the London Transport Museum’s new exhibition of 150 key posters from its archive; we explore the rich history of platform art, and also the Underground’s communications and advertising, past and present. Plus, we talk to London Transport Museum’s head of trading about TfL’s approach to brand licensing and merchandising. In Crit, Rick Poynor reviews Branding Terror, a book about terrorist logos, while Paul Belford looks at how a 1980 ad managed to do away with everything bar a product demo. Finally, Daniel Benneworth-Grey reflects on the merits on working home alone. Buy your copy here.
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