Dieste’s got your new Jam!
We’re referring to the computer-generated star of the agency’s unconventional push for nonprofit Dallas Pets Alive. He’s not the typically cute, cuddly canine we’ve come to expect from animal adoption campaigns, though.
In the two-minute clip below, which ties-in with music streamer Spotify at the end, you might notice the beast’s cassette-recorder face, headphone-ears and boombox body. Plus, he’s got a power-cord tail, battery-compartment legs and some vinyl records tossed in for groovy effect.
“Jam is composed of elements relating to retro music paraphernalia,” agency creative chief Ciro Sarmiento tells AdFreak. “We wanted to communicate that even an older dog still has a lot to offer.”
At the ad’s conclusion, viewers are invited to type “Dallas Pets Alive” into the Spotify search field to pull up a special brand page.
“It is here that you have access to over 100 adoptable dogs that have their own curated playlist based on their unique personality, mood and quirks—that helps you to get to know them,” Sarmiento says. “Chances are, if you love the playlist, you’ll love the dog. If one dog in particular catches your eye, or ear, you can click through to that dog’s bio on the Dallas Pets Alive website and start the adoption process.”
Though Spotify helped build the brand page, this isn’t an official initiative from that company. Nor is it related to a similar effort in Germany called “Adoptify” that uses actual pups in its commercials rather than a mechanical mutt.
Jam’s design is certainly fetching, and his story extremely well realized by visual effects house La Posta in Argentina. Shooters Films director Sebastian Lopez keeps viewers guessing, and entertained, throughout. (The metallic mongrel even sniffs another dog’s butt!) That said, the spot is twice as long as it should be, and could use a stronger call to action. Punchier Jam sessions, in 60-, 30- and 6-second edits, are planned.
The rrrruffest part of the project, Sarmiento says, had nothing to do with making the film.
“The process of creating hundreds of playlists, as easy as that sounds, was a huge undertaking,” he says. “We had to spend some initial time with each dog. Then we compiled all the dogs’ bios that were written by the foster parents. With photos and bios in hand, we met with a local veterinarian to further refine the bios based on each dog’s breed’s temperament. The final step was crafting each individual playlist with the help of local musicians and audio gurus.”
So, they worked like dogs. Grrrr.
Hey, why doesn’t Jam have woofers for ears? “Can’t believe we missed that one,” Sarmiento says.
Client: Dallas Pets Alive
Client Contact: Leslie Sans
Chief Creative Officer: Ciro Sarmiento
Creative Director: Abe Garcia
Associate Creative Director: Dario Campos
Art Directors: Abe Garcia / Dario Campos / Sergio Rojas
Sr. Copywriter: Renato Martinez
Copywriter: Brazos Elkins
Head Of Art: Gustavo Zapata
Executive Producer: John Costello
Brand Leadership: Janelle Trevino
Head Of Media: Scott Gassert
Director: Sebastian Lopez
Editor: Sabrina Mottino
Production Company: Shooter Films USA
Executive Producer: Mauricio Jemal / Gerard Lodico
VFX Company: La Posta Argentina
Head Of VFX: Nicolas Cantarelli / Pablo Tufaro
Music: Animal Music (Vocals by Ashley Pezzotti, with acoustic guitar by Raúl García.)
Executive Producer Music: Alberto Farinas
Audio & Sound Design: Def Mule
Editorial: Republic Editorial