THE NBN BLOWS OUR MINDS WITH POSSIBILITIES IN NEW ‘MADE FOR MORE’ CAMPAIGN VIA BWM ISOBAR
With more speed, more fibre upgrades and more regional support, nbn has worked hard to establish itself as Australia’s ever-evolving, digital backbone – and the internet has never looked more exciting. The new ‘Made For More’ campaign via BWM isobar Sydney, highlights these improvements by featuring a series of mind-bending scenarios drawn from everyday internet behaviours – streaming, gaming, telehealth, online business – and more.
Says Marcus Tesoriero, executive creative director, BWM isobar, Sydney: “We had a lot of fun making this spot and wider campaign. ‘Made For More’ is a confident idea proving the robust nature of the all-new and evolving nbn network. To produce a big, exciting campaign like this during such a challenging year for our industry is a testament to relationships the team have built with our clients and external production houses like Airbag. Everyone did an exceptional job pulling it off – and I’m super proud of the finished creative product we crafted together.”
The 60-second launch film features a curious young passer-by asking an nbn engineer what ‘Made For More’ actually means, before this simple question launches the viewer into the mind’s eye of the nbn engineer, sweeping us into his imaginative journey of possibilities, filled with different, mind-blowing internet uses: from super-sports streaming with multiple devices, to smart-farming a herd of pixel-cows, to coordinating emergency workers in the aftermath of a bushfire with satellite-supported communications.
Shot by Ariel Martin via Airbag and set to a music track composed by Rumble Studios, the high-energy commercial ends with the nbn engineer summing up his imaginative journey by declaring that the possibilities of the newly-evolved network are in fact “more than you can imagine”. The fully-integrated campaign includes TV, DOOH, social, and online placements.
Says Brent Kerby, managing director, BWM isobar, Sydney: “‘Made For More’ has come after two waves of COVID-19 lockdown in Australia which created unprecedented demand for online work from home, education, and entertainment, resulting in some 8 million terabytes of data downloaded each and every month. The campaign now welcomes all Australians to the next stage of possibilities from the internet – with 12 million homes and businesses ready to connect.”
Says Mark Treadwell, GM, brand and advertising, nbn: “With the end of the build phase and a transition of our role to focus on continually evolving Australia’s digital backbone, we took the opportunity to embrace a creative step change and reposition the brand as an infrastructure custodian with plenty of flex for innovation. The work our team has done together with BWM isobar and Ariel Martin at Airbag surpassed even my imagination, and I’m looking forward to more in the future.”
Client: nbn
EGM Strategy & Marketing: Rose-Marie Carme
General Manager Brand & Advertising: Mark Treadwell
Executive Manager Brand: Dave Wild
Senior Advertising Manager: Tracey Harries
Senior Advertising Manager: Selen Bureau
Agency: BWM Isobar
Executive Creative Director: Marcus Tesoriero
Creative Director: Oskar Westerdal
Associate Creative Director: Jonathon Shannon
Associate Creative Director: Alex Newman
Head of Integrated Production: Lauren Reilly
Senior Integrated Producer: Jessica Campbell
Managing Director: Brent Kerby
Executive Strategy Director: Aaron Martin
Group Account Director: Natalie Alaimo
Account Director: Jessica Walley
Client Services Director: Sophie Lander
Senior Digital Designer: Stefan Derewianka
Production: AIRBAG
Director: Ariel Martin
Producer: Julianne Shelton
EPs: Martin Box, Alex Tizzard
Managing Partner: Adrian Bosich
DOP: James Brown
Art director: Sam Lukins
Production Manager: Amanda Yu
Post Production
VFX: AIRBAG
VFX Producer: Nick Venn
Head of VFX: Rob Ride
VFX Stills: Heidi Wentworth-Ping
Offline & Online: White Chocolate
Editor: Charles Ivory
Online Producer: Chris Grocott
Colourist: Matt Fezz
Music and Sound: Rumble Studios
Sound Designer: Cameron Milne
Music & Sound EP: Michael Gie
59 Comments
Definitely a step forward for nbn work.
Would be nice to see who made it. Someone obviously poured some blood, sweat and tears into the production.
So good. Keep it up, bro.
well done nbn marketing team! 🙂
oooopsies, exqueeze me x
More than I expected. Fun VFX too.
★★★☆☆
Ariel does it again.
Love the cows!
Huh?
Now that’s a trip.
Huge year for Ariel!! well done team
but no credits?
Another brilliant spot Ariel Martin and well done BWM
I love it, it’s good fun but this ripping off Ian Pons Jewell has gotta stop. There’s exact same frames in there…
My thoughts exactly. It’s grotesque how close this is to Ian Pond Jewels work. It’s like a cut and paste of his ideas, but not done anything like as well. But, that said, the result is still good. I feel bad for the director who must have been pretty much asked to rip off IPJ. Not fun for any director.
Very nice. Who directed?
i like this. does remind me of the uk virgin ad tho.
Ditto on the Ian Pons Jewell thing. Can we move on from transitions already?
Great stuff!
After years of shit; finally, an nbn ad worth watching.
Simple idea beautifully executed. Huge step forward for NBN.
Made of More
Can this post pls be updated with credits? I know a few people who worked on this campaign (production side). Would be great to see their names up here to get the credit (and SEO) they deserve!
Ariel Martin. We are not worthy!
For all the visual fireworks being praised here, I realised that I’ve seen this on air and the only bit I noticed was the kid’s deadpan delivery of “Cool”.
So really, it’s an ad that doesn’t connect in the way that it’s creators would have hoped.
There might be a print ad in this campaign for you – don’t worry.
No offence to production because they didn’t write the idea. It’s well done for what it is. So congrats there.
But we can’t keep blatantly ripping off Ian Pons Jewel 3 years after this transition style was popular overseas and patting ourselves on the back. Especially when the script doesn’t relate to the style. It comes off feeling cheap and derivative. It’s lazy ‘creative’ and has zero progression.
The bad thing for the client is that there are so many ads like this now, they all look the same, so nothing stands out. It’s like they could be for any product, written and directed by anyone. Except that is Ian Pons Jewel, who made this style popular but also added an edge and attitude to it, that nobody has yet been able to replicate. Also Ian Pons Jewel has moved on to other styles of work, like all great directors, he doesn’t copy others and is always progressing and adding more to what he does.
Come on people, let’s write some unique and timeless scripts, give the directors here something to chew on and truly surprise and entertain the audience. Poorly replicating what is popular for no conceptual reason really makes us all look stupid in the global ad community, it also bores the fuck out of the directors here… which is why I’d say credits were initially left off. Nobody wants to look like the copycat.
https://vimeo.com/345576839
Good ideas are born from other good ideas. Almost nothing is “original” these days.
It’s a good ad, just appreciate it.
Bit of a stretch saying good ideas are born from other good ideas when there’s shots that are direct Ian Pons Jewell rips? https://imgur.com/a/vE5bPd5 – I think it’s lazy, especially when you’re in the world of such VFX transitions where ANYTHING is possible.
But it’s NOT a good ad. It just has a few cinematic fireworks. Learn to tell the difference.
I don’t have the time or the crayons to explain this to you.
This ain’t a good idea though. I’m actually confused as to what the idea is? Which makes me wonder if it is a good ad?
Please correct me if I’m wrong, but to me it seems this is mimicking a style without conceptual reason to.
You don’t have to create something original, you can be influenced by things of course, we all are, the trick is to make it your own and if you’re lucky / allowed to, even build upon and progress it. Not sure this does, which again makes me question whether it’s a ‘good ad’?
“copying off the style” is one thing, re-badging the ad is another. It’s like they went through the Virgin ad with a shopping basket – “nice, we’ll have that, pixelated stuff.. cool, stick that in.” And saying “it’s good for an NBN ad” is like saying eating a shit with cheese on is good, if you have to eat a shit at all.
‘We start this ad with a child, who talks about another ad inside of our ad’
…Yes go on!
‘And then we go inside of a contractor’s eyeball for no reason at all’
Was about to say cool this is not bad and then watched that original recipe virgin media ad.
It’s the same idea, ‘unlimited and i can do anything’ vs ‘more’!
Same techniques and look, some of the same shots even. That’s a bit off then ain’t it?!
Ian pons apeing aside , I wish the whole industry would move on from the trend of pointless transition ads. A. It’s been totally rinsed as a style and in true Australian fashion we’re 2 years late to the party. B. It’s a boring example of doing something because we can, as camera gear and robot arms have been getting more advanced. The most annoying part is that the decks going to directors are full of these refs. Directors are literally getting asked ‘can we have one of these’. Just give prod. Companies a script and you’ll get three visual responses back , without leading the witness.
Imagine having a product as vast and as amazing as the internet itself…. But then having no good ideas for the script beyond pixelated ‘stuff’.
Whoever can name the last world class TVC to come from Australia in the last 2 years.
It’s grim down here.
Seems the only use of the NBN here was to download Pons Jewel’s showreel
Better to be king for a night than a schmuck for a lifetime! Look out Australia, the new King of Comedy is here! Bahahahahahah!
Done in the New York Google style.
Yep poor mans pons
Pretty simple concept really. More confused by the comments about not understanding it.
Reference has always been an important tool for us ad folks to help sell and make an idea.
Nothing new there. There are many famous spots that can trace back to reference.
But there’s always been (at least in my mind) an unwritten rule that how we use that reference is a matter of being subtle and respectful, not blatant. Acceptable snippets of technique, or a look and feel or a tone of voice from films or music videos.
But what I’ve seen in recent years is a total f-ckin disregard for this.
In fact, scripts being presented to clients are accompanied not by a simple mood board or clip, rather an entire TVC spot embedded in the Google slide presentation before the script is even read. Honda Grrr, Old Spice, Southern Comfort to name a few etc.
In lieu of creatives or account people that have a modicum of persuasiveness, or clients with zero ability to access any imagination.
It’s no accident that this spot is so similar to the examples that people have shared above. I’d bet that those spots were presented alongside the script. And yeh, it’s fucking hard to make anything decent these days. But this is theft and if you had some self-respect you’d at the most have hidden your reference a bit better when making it, and at the very least choose a different frame to PR this with.
Obvious IPJ lifts. If you have to do transitions to make up for the lack of a solid script idea then there’s so many more references to pull from. Mix it up a bit so you’re not singularly lifting from the same director’s very recent and popular work. Or here’s a wild idea, make up your own transitions and shots. Industry here is run on fear and taking the easy way out.
How good is this ad? If it works well enough us bludgers will get re-elected without spending another cent on the 61st worst internet in the world?what do you mean Kazakhstan has higher speed than us?
Makes a good point. There’s been really good stuff but we need to work harder to be brave and memorable.
Too many 7/10s and we’re better than that on a global scale.
Rarely seen much above a 6 out of 10. Wouldn’t use the word good to describe the work here when put in the global ring. Sad because there has been great work here in the past. We should be creating our own trends not copying others.
the last decade we’ve spent all our energy coming up with whacky widgets and trying to make anything but advertising. At fear we look like the advertising industry. And we’ve filled up our creative departments with people who can barely write a good ad.
‘More’ is a weak default position like ‘Better’ and ‘Easy’. More work needed on this bit.
If only the camera had gone through the guys arsehole instead of his eye then at least it would be in keeping with the idea. PS: I like Ariel always have even when he was a baby.
Visual techniques like transitions are one of the (very, very) few ways to make the shopping list brand spot even vaguely interesting.
There are only a couple of other methods and they’ve been flogged even harder – the one narrator walking through different scenes for example.
I wouldn’t be ragging on techinique. If I were working on this brief I’d have been searching for a plank in the shipwreck that is having to say twenty-to things in one spot too.
Who cares it looks a million bucks
Point is. Why copy other transitions or an obvious style from another ad? Surely a ‘creative’ can make up their own?
If you look at the ads this was copied off it looks like a cheap $2 shop imitation. But that’s Australia, always writing way over budget because young creatives don’t have a clue how much things cost and agency producers are too scared to say no. Write a simple and concise idea to budget and things will then look a million bucks.
Referencing is ok and done all the time, but directly copying over 5 scenes is not on. Send this commercial to IanPonsJewell.com
Well, it looks like a million bucks if it was spent on a TikTok #ponsjewellchallenge