I led all creative as Group Creative Director for "Long Live The King", the most talked about and watched Lexus commercial of all time. Watched nearly 15 million times online alone in the first 72 hours, it is on track to out pace every other Lexus video via their native channels *combined*, including all previous Lexus Super Bowl commercials. Launched during 2018's Super Bowl LII, the spot was named the best ad in the Super Bowl by Maxim, The Root, BET, among others, including being ranked as a top ad by Forbes, Ad Age and CBS' Greatest Super Bowl Commercials. To date, this was the largest collaboration for either Lexus or Marvel Studios and has already proved to be one of the most fruitful for both brands.
I served as the lead Group Creative Director and led all creative of both this spot and the full, nearly 2-year long, $10MM+ advertising campaign and partnership between Lexus and Marvel. The spot features key talent from the Black Panther film, notably Chadwick Boseman. Early metrics showed that interested in the Lexus brand rose over by double digits and interest in the LS 500 rose by an incredible quadruple digit margin!
More coming soon!
As part of the larger partnership I Creative Directed between Marvel Studios and Black Panther, we also created a significant presence at the 2018 New York Fashion Week. This fashion shoot with supermodel Herieth Paul and Black Panther inspired Wakandan couture from designers TOME, was conceived, built and shot in an unbelievable 2 days.
The complex integrated theatrical advertising campaign that my team built for the Lexus / Black Panther relationship was both deep and wide, but the first time the world saw what we were working on would be this spot "The Road Ahead".
You can also watch an exclusive Behind-The-Scenes look at our shoot of the chase sequence for the film, on location in South Korea.
As part of a more emotionally-driven brand shift for Lexus, I directed a new suite of spots focusing on the redefinition of Luxury by a new breed of Millenial consumers.
“Balanced Spirit,” matches the balanced duality of the professional and personal life of the Lexus audience with the prestige and power of the LC 500. Acclaimed Golden Globe nominee and Grammy winner Blair Underwood’s powerful voice guides the spot along the edge of these two worlds. Grammy nominated, rising artist Anderson .Paak’s slick, urgent beats provide the spot with a sonic playground to show that the Lexus LC 500 is on fire, and perfectly in touch with both sides of its powerful personality.
I was recently asked to lead a creative content project for HBO's new tent-pole series which will be on par in scope with the now legendary Game of Thrones. My wing of the campaign consisted of the creative direction for new digital viral properties and real-life tie-ins to one of the entertainment industry's biggest annual live events, ComicCon.
Working with Trailer Park and Universal Pictures, I led a world class creative and development team in creating the first of it's kind franchise portal for everything Jurassic World. This will be the central brand location for everything. including all existing films, games, content and parks, expanding to an additional 4 films, 2 television series and 7 games in 5 years.
It is a massive undertaking to cover and create such a wide range of content and media in one place, but I'm hyped about what we have achieved. Over 100 pages and expected to grow to nearly 1,000, this will be a monolith to a legend of adventure films!
One of the most complicated and intricate projects during my time at Shazam was guiding the transformation of one of the most popular apps in history from a hodgepodge collection of apps on different mobile platforms, to a unified experience and design everywhere, even on desktop. Given the distinct functional differences between platforms and the built-in user base expectations which differed by operating system, even small differences in approaches could produce dramatic and unwanted effects. In addition, Shazam had long been considered one of the world's simplest app to use, meaning that even though we were intending to exponentially increase the features of the app, we had to stay very true to the core simplicity.
In the end, we created a one of a kind experience that would take more than a year to fully mature and include full builds for devices and systems that were still in development during our design phase, such as the 2014 Siri integration and Shazam on the Apple Watch.
As Shazam's Creative Director and head of global creative services, I led sweeping strategic branding efforts including a complete redesign of one of the top 10 most popular apps in history. We refocused the user experience to make using the app even easier, integrate advertising more tightly into experience while making it less obtrusive and increase average time spent in the app.
These pieces show some of the motion tests, explorations and strategic principles we created during the process.
While at Shazam, I drove a monumental shift to make video a major marketing and communications tool. My global creative team expanded video production by nearly 8-10x in scale, and created a true needle mover for Shazam's consumer marketing, partnerships and sales teams.
I was also the architect of the complete reboot and rebranding of Shazam Sessions, building a global production network that allowed us to leverage Shazam's influence in the music industry to produce dozens of interviews, exlusive performances and behind-the-scenes videos per month.
I've worked with the Mazda corporation at many points in my career, working with both the corporation directly in Tokyo and through their agency of record Garage Team Mazda in California. My roles have varied slightly from project to project, from Creative Director, Sr. Art Director, Director, Ex. Producer and occasionally as a consultant. These are a few of the video and broadcast projects I helped bring to life.
As part of Red's campaign to push Red Camera's new Epic body into the hands of not only filmmakers but also professional photographers, I was asked to create a campaign aimed specifically towards photographers. The campaign included a cover page shoot on Harpers Baazar, interactive components and a series of video content pieces, all shot with the new camera.
Play anytime, anywhere - on VH1, DVR, VOD, and VH1.com... Viewers today, more than ever, are watching TV time-shifted. To address this behavior, VH1 crafted this SocialTV experience exclusively for Mob Wives, a show we know has a significant time-shifted audience.
Before a big moment in an episode, viewers are prompted to ‘Shazam’ the show, and, once synced, a game board is presented that allows fans to play along with both episode-specific and evergreen games. Games will include ‘Which Mob Wife Are You?,’ ‘Trigger Finger’ (where viewers track the number of ‘F-bombs’) , and ‘The Beef-o-Meter.’ The Shazam integration also gives viewers the ability to browse music featured from the show and seamlessly purchase it on iTunes or Google Play.
Engagement has continued throughout the L+3 window, adding an incremental 62% of interactions to the Live/Same Day stats over the first two weeks. This is exactly what we’d hoped to see – people engaging when they watch.
Redesigned the next generation of film management tools for Fox Entertainment, providing better insight into business objectives.
Designed executive dashboard detailing release schedule, campaign planning, competitive title details and marketing assets, ensuring continuity for multiple devices including a 25-foot plasma screen, desktop and tablet.
Streamlined usability and enhanced interface for global retail application.
Designed a mobile solution for marketing analysis application to track and manage marketing on the go.
When Adidas began their brand partnership with renowned fashion designer Stella McCartney and collaborated on their first active line, they ran into fairly large marketing problem. Stella's design styles and aesthetic ran directly counter to the existing Adidas brand which had a particualarly more masculine and spartan look. With neither side of the partnership insterested in conceding their branding guides, I was asked to find a balance between the blacks, whites, reds and blues of Adidas' brand, and the soft pastels of Stella McCartney.
To add to the challenge, we had less than 3 weeks to pull it all together from scratch to meet the soft launch deadlines. Because we didn't have the ability to reshoot the fashion line, we decided to use a cutout style with the photography, using Stella's existing catalog shots. By blending that style treatment with the starkness of the Adidas brand, we found a fantastic medium and drove the campaign and resulted in a huge success across all metrics.