New York, NY -- The Diesel Timeframes campaign aims to challenge our relationship with time by encouraging people to live life more bravely. The brand philosophy, "Time to be Brave," encapsulates Diesel's mission to unleash time's potential by urges people to grab the opportunities that time creates. This attitude drives everything from the bold designs and exclusive collaborations of the Diesel Timeframes collection to the essence of their communications.
A series of video scenes show how time can be wasted. This sense of boredom, together with a ticking rhythmical soundtrack, creates a sense of urgency forusers to complete an online questionnaire that calculates their remaining ‘days to live’. In doing so, Diesel Timeframes explores how society is content with celebrating how many years we have lived, but how we’re less comfortable recognizing the time we have left ahead.
A Diesel Timeframes alarm clock app helps people live every day to the fullest. It will wake them up with a reminder of the number of days they have left to live and an inspirational message about how to live that day more bravely.
The campaign is supported with TV, online content, POS and social media internationally in key markets including: the USA, Japan, Italy, France, Germany, UK, Benelux, and Korea. The campaign, created by Crispin Porter & Bogusky, was directed by Anthony Dickenson through Pulse Films in conjunction with digital production company Storythings.
"It was clear from the start this would be an extremely challenging project because I was very aware of all of the interactive advertising that has failed to give a fresh user experience,” said director Dickerson. “The major challenge you face when creating an online interactive piece is loading time and accommodating for the variety of devices potential users have.
“Storythings did amazing work pushing these boundaries toward the most efficient approach. Working with HTML5 we treated the footage as a string of stills, a filmstrip that could be scrubbed through by the user, which suited me perfectly as much of my moving image work is based around digital still sequences,” said Dickerson.
“It was a difficult two-day shoot that could have comfortably fit four days. We had six sets to capture with various camera setups; a motion control rig, a two-camera stereo set-up, a roaming B camera, a macro watch 2nd unit, a stills team, and me shooting hyper-lapse sequences for the transitions. We finished with just about everything we needed and no more. The edit, with Tom Carter at Family, was complex, especially putting it together in a way that the agency and client could see it working, without it actually working (still a couple of months away). Tom put a piece together with an animated cursor to show the user interaction. It sold it to the powers that be and got everyone on the same page for what was one of the most creative projects I’ve yet handled.”
Source: Pulse Films