The creative world has been treated to a number of ‘ad remixes’ in recent months, and the trend doesn’t seem to be slowing down. Are we witnessing a new thread being woven into the marketing tapestry, or is this just a fad?
Re-edits have always been commonplace in the ad world, as campaigns from other climes and different tongues were introduced with a simple (but horribly obvious) audio dub. This involved the original native audio track being replaced with another, resulting in a Hong Kong-cinema- style English dub where the lip synch was murdered and the voices were horribly overacted.
This cheap and quick method allowed agencies to stretch their budgets that little bit further, and could quickly localize ads for another market further afield. These crude cut 'n’ paste audio edits of ads resulted in playground emulation and sparked cult following of the overdub ads themselves.
However, the Re-edit has, like many things in the neo-digital ad world, mutated again into something completely different. No longer are the agencies themselves forking out the time, money and effort to re-interpret their content. Indeed, this time its Joe Public who has grabbed the bull by the horns.
Machinated by the practice of modern DJ culture and catalysed by the advent of cheaper and freer digital technology, like a funky drum break to a music producer, the modern TV ad has become the base component for video artists and creatives all over the world.
This growing trend has been quickly jumped upon by agency Fallon, who were keen to send the mighty ‘Gorilla’ (and not so mighty ‘Trucks’) out to the wild and fertile land of the internet, where producers and video artists could ‘remix’ the ad to their hearts content. The resultant victors were then to be broadcast on national TV as ‘re-launches’ of the original ads.
Re-edits have always been commonplace in the ad world, as campaigns from other climes and different tongues were introduced with a simple (but horribly obvious) audio dub. This involved the original native audio track being replaced with another, resulting in a Hong Kong-cinema- style English dub where the lip synch was murdered and the voices were horribly overacted.
This cheap and quick method allowed agencies to stretch their budgets that little bit further, and could quickly localize ads for another market further afield. These crude cut 'n’ paste audio edits of ads resulted in playground emulation and sparked cult following of the overdub ads themselves.
However, the Re-edit has, like many things in the neo-digital ad world, mutated again into something completely different. No longer are the agencies themselves forking out the time, money and effort to re-interpret their content. Indeed, this time its Joe Public who has grabbed the bull by the horns.
Machinated by the practice of modern DJ culture and catalysed by the advent of cheaper and freer digital technology, like a funky drum break to a music producer, the modern TV ad has become the base component for video artists and creatives all over the world.
This growing trend has been quickly jumped upon by agency Fallon, who were keen to send the mighty ‘Gorilla’ (and not so mighty ‘Trucks’) out to the wild and fertile land of the internet, where producers and video artists could ‘remix’ the ad to their hearts content. The resultant victors were then to be broadcast on national TV as ‘re-launches’ of the original ads.
