Because younger consumers are aware of Reebok as a brand but not necessarily familiar with the individual product verticals, this year-long global program is based on product designs that boldly and prominently have the product names embroidered on them.
Along with the high-level brand objectives, we need a coherent narrative that can evolve the conversation down to mid and lower-funnel channels to drive product consideration as well. The campaign needs to include key visual imagery, supplemental and product image library, Scripted film concepts that showcase the footwear and apparel collections individually and together with :60, :30, :15, :10, :06 second cutdowns, And campaign toolkits with copy and execution guidance and direction for localization, transcreation, and channel support.
THE CONCEPT: “My Name is…”
A fourth-wall-breaking series of vignettes that give a unique, humorous look into a surreal “Reebok campaign shoot.” The set designs are deliberately “on the nose” and over the top in drawing inspiration for the sport/performance heritage the products are originally inspired by. 
The talent wearing the product are referred to as though their names are the product names, announcing themselves on set. A director character provides VO in the form of stage directions, calling out the products themselves and working in the sentiment of the classic nature of the products. The spoken lines fundamentally poke fun at modeling, commercials, advertising, and even Reebok while ultimately highlighting the shoes, collection, and nostalgia of classic Reebok.
The overall tone is meant to be irreverent and evocative of stylistic references like Wes Anderson films, Fashion/editorial style posing and composition, and b-roll/behind the scenes footage. The artificial nature of the environments is obvious and intentional. 
These Key visuals are selected as the supplement storytelling devices for most channels including owned social, PR, Paid media and any other Above-The-Line placements. where video is not an option (or as part of a content collection like a carousel or blog post) 
These films are lead storytelling devices for most channels including owned social, PR, paid media and any other Above-The-Line placements.
These films are lead storytelling devices for most channels including owned social, PR, paid media and any other Above-The-Line placements. In addition to the collection cut, these shorter cut-downs were made to address each individual product silo as a standalone.
Retail Visuals (With Copy)
Social Content
Creative Director Project Roles
• Initial project and brief intake
• Brief redlining and planning w/marketing team
• Creative team assignments (this project was developed in tandem with 18 other active briefs.)
• Team lead for concept development (remote team white-boarding and script development)
• Lead creative reviews
• Lead creative presentations to approval with project stakeholders
• Lead creative presentations for approval to seniors leadership teams
• Oversee development of workback scheduling and workflow
• Oversee Pre Production, creative logistics and planning (with external production team)
• Oversee creative operations and project management of end-to-end process
• Oversee creative development (Concept, casting, copywriting)
• Vendor partner meetings and production reviews
• On-set photo/film art and creative direction
• Post-shoot campaign selects review
• Retouching, color and finish review
• Film editing and color grading sessions
• Review and approval of final campaign guidelines, legal clearance

Senior Creative Director: Jide Osifeso
Creative Director: Jeremy Haunschild
Art Director: Brian Chor
Copywriter: Niall Power
Studio Design: Nicholas Simmons, Henry Kerns
Digital Design: Nicholas Chin
Creative Operations: Sam Weinberg

Vendor Partners
Director/Editor: Jack Begert 
Photographer: Parker Woods 
Executive Producer: Ryan Hahn

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