2011 January | T2 + Back Alley Blog

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Experience Design Celebrates Kansas City Creativity

The Experience Design team at T2 + Back Alley films was honored to work with the Kansas City Area Development Council and create an experience for attendees of the 2010 Annual KCADC Luncheon. The theme of the luncheon was Celebrating Creativity in Kansas City and that left us plenty of things to be inspired by.

The presentation was grand. It spanned the entire length of the interior wall of the Grand Ballroom of the Kansas City Convention Center. We used six different projectors to project the images onto the wall and the combined final image was visually stunning – 300 feet long and over 30 feet tall.

We worked with Vista Productions as our live event partner; and Wheeler Audio for sound design; and Noel Selders, who created the original score.

KCADC Projection Wall from T2 + Back Alley Films on Vimeo.

Advertising. It Works.

Gladys Glover Billboard in Times Square
Advertising works. Doubt that? A recent article by Steven Heller in Daily Magazine inspired me to think about advertising – and how important it is to success. For those of you not familiar with Heller, he’s kind of a big deal. He’s the author, co-author and editor of more than 100 books on design and was an art director for the New York Times for more than 33 years. And the right kind of advertising can even manage to take someone (or some thing) from nobody status to somebody status – and pretty quickly

Heller’s piece explored the 1954 George Cukor film “It Should Happen to You” starring Judy Holliday and Jack Lemmon. The film’s main character was Gladys Glover (played by Holliday). Much like the Kim Kardashians and Paris Hiltons and Perez Hiltons of today, Gladys was a nobody who wanted to be somebody. And she was determined to get it, come hell or high water. And, the fact that she was loaded and not afraid to spend money didn’t hurt her in her quest for fame.

To accomplish her goal of ‘being somebody’ Gladys rented an empty billboard in NYC’s Times Square. A manufacturing company who wanted the space was surprised when she turned out to be a tough negotiator. Six billboards later – billboards bearing nothing but her name – Gladys had what she wanted. Attention. And just like the ‘somebodys’ of today, she milked it for all it was worth.

Heller calls it the beginning of the ‘me’ generation. That may well be the case. But I think it’s also a pretty good example of the old adage: Advertising works. It can even make a nobody a somebody. And it never ceases to amaze me how many businesses forget this simple adage. Just because you build it, doesn’t mean they will come. Advertising – of some form or another, is just about always an important component of any successful strategy.

The iPad Keynote Redux

Wow! Amazing, Huge, Great, Amazingly Successful, Cool, Super, Extraordinary, Really Great, Fantastic, Terrific, Magnificent, Exciting, Super, Great, Phenomenal, Awesome, Simple, Gorgeous, Breathtaking, Remarkable, Great, Wonderful, Exciting, Fascinating, Revolutionary, Awesome, Incredible, Magnificently Stupendous, Incredibly Amazing, Awesomely Revolutional.

The iPad is a dream. Got it?

Hello Emmy. You’re Pretty.

T2 + Back Alley Films' Really Pretty Emmy
Sometimes you work really hard on something and know you’ve done a great job and it ends there. No accolades. No tickertape parades down Main Street, sometimes not even a “Thanks, that was really awesome.” It happens.

Other times, you work your tail off and put your heart, soul, blood sweat and tears into a project and it consumes you. Instead of weeks, it takes months. Instead of months, it takes years. It becomes you. You eat, sleep and breathe the work and at times it seems as though it might never end. And it’s wonderful. And horrible. Yet more wonderful than anything else.

That’s what happened to the T2 + Back Alley Films team and “The Next American Dream” documentary, which made its debut earlier this year on KCPT-TV, the Kansas City, Missouri PBS affiliate. In fact, back in February of this year, my very first blog post ever was about this project and how documentaries fuel my creative passion in an insane way.

This film was a co-production of T2 + Back Alley Films and documentarians, Aimee Larrabee and John Altman of Inland Sea Productions. More than 8.9 million viewers nationwide have viewed the film on PBS and since it was made available by the National Educational Telecommunications Association (NETA) to its members last November. And the rest of the story ….

We. Won. An. Emmy.

Wow! What an indescribable feeling and something that all of us who worked on the documentary regularly pull out and revel in, all over again.

For those of you who’ve not seen “The Next American Dream,” the documentary focuses on Kansas City’s efforts to revitalize its downtown and explore the renewed demand for walkable urbanism in American Cities following the cultural shift to drivable suburban living personified following WWII. Big words for people moving out of cities and flocking to suburbs during one part in American history, and then the renewed interest in returning to urban areas and living in cities again.

The project couldn’t have happened without our fearless leader Teri Rogers, T2 + Back Alley Films’ CEO and the film’s executive producer, and her commitment to the undertaking and dedication to making it happen. In a recent press interview, she described the opportunity as “a unique and incredible opportunity, given Kansas City’s accelerated timeline to revitalize, to not only explore something that is currently a national topic, but to document and record the whole process – from start to finish – right in our own backyard. And what an honor for our city.”

Also along on our seven-year journey was the Kansas City Area Development Council. KCADC used it as a powerful marketing tool to upgrade our city’s image. The film has since been used as a teaching tool for architects, urban planners and city leaders across the nation. And without KCPT, our film’s national presenting station, it wouldn’t have aired in major cities like L.A., Chicago, Miami and Boston.

Me, I’m still dancing to the song: We Won An Emmmmy, We Won an Emmmmy.

I never tire of it. Nor do any of the very talented people who were a part of the making of “The Next American Dream.” And even though it’s great to do really awesome work that may or may not get any recognition, it’s super duper beyond the light fantastic to win an Emmy. Woo hooooooo.

And so, we share our joy with you. In this blog post. And we thank you for reading it – and allowing us, just for a moment or two, to smile and dance and revel in not only a job well done, but something that we manage to nab some pretty amazing recognition for. And man, does it feel great.

If you’ve not yet had the chance to see “The Next American Dream,” we hope that sometime you will. We promise you’ll enjoy it.

Interactive and Experiential Design Abound in Best Creative Ad Campaigns

Interactive and experiential design clearly dominate AdAge’s Creativity Magazine’s just released of the top ten best creative campaigns of 2010. This speaks volumes about the future of design and makes us rub our hands together in delight, since we’re all about interactive and experiential design.

In case you can’t remember all these experiential design beauties and others (that happens this time of year), the campaigns identified by Creativity Magazine as the cream of the crop featured this great body of work:

The Old Spice campaign, which was not only brilliant, but relied on consumer generated video and social media to hit it out of the park–interactive experiential design at it’s most basic level;

The Pepsi Refresh campaign, which again relied on social to support its cause-focused effort;

Domino’s Pizza, which relied on consumer input and social media channels to help improve its brand and turn the corner following a disastrous event;

Conan O’Brien’s Team Coco and their tremendous online effort that included leveraging Twitter, Foursquare, Facebook, web craziness and some traditional advertising to focus eyeballs on the star’s return to TV on a different station.

Space Chimp, the World Wildlife Fund Australia’s compelling environmental message , produced in collaboration with musician Ben Lee;

Nike’s experiential design campaign for the World Cup, which included user-generated content integrated into the digital outdoor production, interactive film and a healthy dose of social media to spur awareness and participation;

Jay-Z’s promotion of his new book, “Decoded,” that was again an interactive, experiential design piece, literally bringing the book to life for fans in a myriad of different locations. This campaign produced by Droga5, also included an online element sponsored by Bing, that allowed fans who couldn’t physically participate in the outdoor extravaganzas the chance to do so online.

Mitsubishi’s virtual test drive harnessed technology for their Live Drive, the first of its kind by an automaker, and an obvious nod to the experiential design decade we have entered;

Dare Labs’ Remote Palette is nothing short of brilliant in the realm of app development and its popularity was spurred along by web video and social channels.

And finally, the release of Arcade Fire’s Wilderness Downtown campaign was an example of collaborative genius that combined music video production for the band’s “We Used to Wait” song, with Google Earth and created a musical experiential design piece.

The interesting thing about all of these campaigns is that they typify the massive changes in the world of advertising that are leaning so heavily in the direction of experiential design. Notice how many include consumer-generated content and/or provide an opportunity for interactivity with consumers? And how many rely on a variety of social channels to help spread awareness. And how experiential design is being tapped again and again to allow consumers to be a part of a campaign, not just passively watch from the sidelines?

As a digital media and creative services agency, the success of these campaigns is nothing less than pure delight for us. It confirms that we made the right move in expanding our brand beyond production and post-production into the fresh (and fun) new area of experiential design. This kind of substantive transformation has not been easy these past few years – new jobs and new people replacing the old model – lots of change can be stressful for sure. So it’s nice to end the year with news like this that lets us know that we are in a good position as we start 2011. Here’s wishing all of us in this battered industry a prosperous new year!