The CLIO Awards is the world’s most recognized global awards competition for advertising, design, and interactive. For nearly five decades, the CLIO Awards has maintained its original commitment to celebrate and reward creative excellence, honoring a powerful form of communication and its impact on modern culture. At the same time, the CLIO Awards remains focused on evolving with the industry in order to acknowledge the most current, breakthrough work. CLIO’s iconic statue is the most widely recognized and coveted symbol of the industry’s creative accomplishments.

“We are all really excited to receive the CLIOs! I mean, who would have guessed?” says Superfad Creative Director Rob Rugan. “We always thought this spot was going to be cute, but in order for it to work, we knew we had to go all the way. But then we also had to know when to pull…(pregnant pause)…back. I guess it all just came together. In the end, we are stoked about the award and would like to thank the agency, our balloon animal clown, the CLIO judges, and the smooth stylings of Barry White.”

About Superfad:
Superfad is a brand-driven design and live action production company, a collective of designers, directors, animators, and artists, their mission is to see brands in unexpected ways and to express a brand’s voice in an undeniably original fashion.

Superfad was founded in 2001 and has produced award-winning work for many of the most respected brands worldwide. Honda, Sony, Target, Adidas, and AT&T are just a few of the companies who have turned to Superfad for inspired branding.

Related Links:
www.clioawards.com
http://superfad.com

HUSH was at the center of every aspect of the project, from writing the concept and story, to establishing the visual tone, and executing the spot airing on every Walkman W995 phone. Additional mobile content like video ring tones, sounds, wallpaper graphics and screensavers were carefully interwoven by HUSH’s expert team of designers and developers to create a sense of cohesiveness within the overall branding campaign.

“It is important to Sony Ericsson to deliver an energized user experience to the consumer with each phone and with W995 we have created a phone with a multitude of applications and features and our close cooperation with HUSH has created an integrated campaign,” says Johan Bornhager, Content Planner at Sony Ericsson.

HUSH will roll out a vivid character-based spot to spearhead the campaign, which offers a twisted take on the break-dancing film genre. Animated characters from two “crews” engage in a dance-off that goes haywire. Irreverent. Humorous. Youthful. Music-driven.

“The most important part of the campaign was to create an imaginative and unexpected thematic message that could be expressed in both the spot and the phone itself,” expressed HUSH Co-Founder/ Creative Director David Schwarz. “We have incredible creative talent on our team, and we produced an overall campaign that was distinctly cutting edge while honoring the legacy of the Sony Ericsson brand.”

Commissioned to create a series of promos for TV, web and cinema, Superfad developed and animated the launch spots for the three iconic red noses (This One, That One and The Other One, new designs for 2009) and in doing so help developed the awareness campaign hand in hand with the charity. The animated noses also feature in the launch trailer starring the comic duo Simon Pegg and Nick frost.

“Breathing life into the three noses was a lovely animation project, made all the more satisfying in the light of the incredible achievements of comic relief. It also helped that we kind of fell in love with the noses themselves and so channeled that love into making them move in a proper rubber nose authentic way. I think that makes us rubber animation pioneers.” Superfad London

The spine-chilling :60 cuts to menacing prophets from various periods in time including: the desert prophet, the oracle, the young Buddhist monk, the blind man, and the voodoo lady; their sensory accounts anecdotally tell the story of impending doom.

Resistance 2 begins by profiling an eerie old blind man in a hospital recanting a horrifying nightmare. Suddenly, we cut to a man shrouded in a cloak aimlessly wondering the desert babbling of the humming noises he has heard from above.

Interspersed scenes from the game mix with supposed reality. Another quick cut takes us to an angelic woman circling a large white rock, a scary voodoo lady, then to a young monk boy lying on a table telling how “they” are coming in large numbers.