The Friends with Benefits TV Show features 20 contestants competing for 30 million Uganda shillings as they narrate their successes from utilizing pension benefits.
An initiative of National Social Security Fund (NSSF), the show aims at educating the general public about a savings culture and better usage of the NSSF benefits.
In collaboration with Fireworks Advertising, Media 256 and Quad A, Addmaya produced a TV commercial, Opening titles and supporting graphics kit for the show.
Fireworks Advertising challenged Addmaya to refine the show logo for mass application. Based off the agency’s initial artistic direction, we restyled the logo giving it a beveled game-show look whilst maintaining its clarity across different distribution formats like TV, print and social media.
“Friends With Benefits has been as a result of teamwork and professionalism from all the players. There has not been a show that has been produced to this level of excellence. It only means that there is a lot of quality work coming from Uganda. This is just the beginning. The sky is the limit. ~ Conrad Okello – Fireworks Advertising
Museums take us where we’ve never been. Building on this idea, the TV commercial guides the audience through an exquisite museum showcasing highlights of the participants’ stories. The commercial evokes an emotional connection to the show’s premise – celebrating success.
Crystal Newman and Gaetano Kagwa were filmed on a spacious green screen stage at Solo FX in Luzira. The green screen was carefully calibrated with tracking markers to enable replication of camera movements in 3D environments. The DOP on stage, Ekuka Isaac shot at 25fps and 50 fps giving us flexibility in post to achieve a nostalgic cinematic look.
In post, a photo-realistic 3D museum was modelled, textured and lit to match the artistic vision. The rendered museum was then comped with the tracked green screen footage.
Show Opening Titles
The TV show opens on an emotionally captivating sequence featuring sculptures frozen in time. The titles extend the museum premise set in the TVC. Sculptures are often designed to celebrate people and offered a great artistic opportunity to explore.
“The title sequence defines a lot about the show. What did we want the audience to feel when they watch the titles? Will the titles hook them? Will they inform them about what they are going to see?” – Peter Mukiibi, Creative Director, Addmaya
The sculptures mirror some of the contestant stories shot by Media 256; from the man milking a cow, the woman carrying a basket of bananas on her head to the student holding a graduation cap.
To achieve the desired look for the sculptures, we challenged our 3D team to explore the latest advances in GPU-based rendering.
“GPU-based renderers offer great flexibility in look development and enable render times up to 10 times faster than traditional scan-line renderers. With a deadline of less than 2 weeks, we were able to pass out most shots to compositing in time” – Francis Matovu, 3D Artist, Addmaya
A volumetric lighting approach was essential in pivoting the scenes around the sculptures and grounding the night-at-the-museum feel.
Hot off the success of scoring Media 256’s hit-show Discover Uganda, Quad A was invited to dictate the audio experience of the show. Quad A’s sound work on the titles is without doubt the other half of the experience.
“Nigeria has a sound, South Africa has a sound. What is the Ugandan sound? That question inspired the composition of music for the show. We wanted the Ugandan sound to be heard. We combined the chromatic and pentatonic scales which are very signature to Uganda.” – Andrew Ahuura, Quad A Studios
Show Support Elements
Shot across the country, the show tells the story of each participant in punchy 3-5minute cuts. The Media 256 editing team challenged us to enhance the stories with additional illustrations for key story points where archive footage was not available.
“The style we chose gleans from a story-book look which easily synchronizes with the structure of the show.” – Arthur Nakkaka, Art Director, Addmaya
Further, a lot of information is communicated in each episode, from names, locations to segments titles. Addmaya designed a branded graphics kit that includes transitions, name tags, voting tags, information cards and show breaks. The choice of colors and styling feeds off the NSSF brand guide.
Addmaya is proud to have been apart of this monumental production. It has provided a great opportunity for the studio to grow.
“The quality delivered and level of collaboration on Friends with Benefits represents the growth of our industry. 10 years ago, this show would have been done by an international team, we credit NSSF Uganda and Fireworks Advertising for trusting local production houses” – Abou Denis, Producer, Addmaya
Tuesday 4th August 2015, will be a day we live to remember. To unveil the new Addmaya website, we needed an idea that would draw attention. So we thought to ourselves, “Why not call the campaign IPO?” This awakened the business minds and attracted media attention, except we had a different definition, ‘Improved Portfolio Online’.
It turned out to be a love and hate moment for us. Hearts were broken for those that had their pennies saved however, others were overwhelmed by the audacity of the idea and instead fell in love with us.
Love From Nigeria
That is how Opidy, a Nigerian startup came into our courts. The Founder like many other people had his bucks ready but realizing it was prank, he laughed it off and proposed business to us.
An online social network, Opidy provides a new and better way of networking. It rules out unnecessary content and focuses on content that matters to users as well as helping users find opportunities related to their interests and needs. The platform covers both professional and unprofessional passions such as singing, cooking, mathematics, finance, careers,and many others.
When the client approached Addmaya, his desire was to have a visually memorable and user friendly brand identity for Opidy.
A great logo has to have a good story behind it, one that is true to the values of a company, it has to be memorable, versatile and also stand the test of time.
~ Arthur Nakkaka.
For Opidy to be successful, the Art Department determined that it had to be consumer friendly and exciting. Initially, we designed sketches that closely painted a picture of what the client wanted to achieve, however, he did not like them. He made it clear that he wanted a word mark not a pictorial logo.
Initial iterations of the Opidy logo
Going Back to the Drawing Board
We discovered that there within the mission of the company laid the answer. “Being Opidy and it is about opportunities and people searching for opportunities, we thought we could mix the two concepts.” Arthur Nakkaka, the Project lead and Art Director explains. Thus the design ideas rolled off in two ways;
Everyone is searching for something in life. And today the only platform that seems to provide all answers is the Internet. Google simply has it all once you engage the search engine. So we thought it would be wise to incorporate the search icon in the logotype since it is very relatable.
The mission of Opidy is to help users find opportunities related to their interests and needs. We took advantage of the ‘O’ and gave it a new definition – Opportunity.
Friendly, Exciting And Adventurous
Joining the search and opportunity, we created a word mark revolves around a big O and within it is a search or magnifying glass. The symbol represents Opidy as a platform visitors can use to find opportunities. Everybody has an impression about the color red. To some it speaks love, passion, connection, confidence, et cetera. According to the Psychology of Color, red is the color of energy. It’s associated with movement and excitement, and it attracts the eye. It is on this basis that it was opted for as an ideal colour for the startup.
The final logo is a combination of a magnifying glass interwoven within the O.
Satisfied that the iconic signature embodied all the brand virtues, the word mark was designed in capital letters to command a presence but to also ease readability.
To add some adventure and mystery to the design, the dot on the ‘I’ was intentionally misplaced. However the intent was to reecho the old adage that “opportunities are sometimes found in unexpected places”.
“A great logo has to have a good story behind it, one that is true to the values of a company, it has to be memorable, versatile and also stand the test of time,” says Arthur. One could assert that the success of any social media site is so much dependent on the make of its identity. And we believe it is the same for Opidy. Considering the distance between us and the client, communication was a challenge, however, when we broke through, he loved the work so much.
Every company has a story to tell, an experience to sell. Addmaya positions brands, connects them with their audiences through powerful visual designs that highlight strong brand personality that stands out from competition.
The complexities of design are boundless yet achievable. We experienced this a couple of months back when we received a call from Hwan Sung with a job to create visual designs for their kitchen sets.
In his words, the client said, “ I need something no other consumer brand in this category has done before.” Now when a client says something like that, you don’t throw a let’s-do-this party. It’s a buddy let’s think and think really hard moment.
The onsite classic and modern kitchen sets
First things first. We started off by analyzing the furniture industry. From the research carried out, we discovered that there are a number of furniture manufacturers in the country. However, much as their visibility is not profound, the competition is nonetheless existent.
The lingering question then was, how were we going to create something that would beat the competition?
What followed was a series of brainstorms amongst the designers. In the end, we thought CG would be the best direction to communicate Hwan Sung’s range of kitchen furniture. The idea was unique, fresh and impressive. When presented to the client, he gave it a thumbs up and work commenced.
I need something no other consumer brand in this category has done before.
~ Hwan Sung
We undertook the process in three phases;
The design concept was greatly based on the script. Thanks to MGS Video. As the character imagined her dream kitchen, we imagined alongside her and built the kitchen from her initial sketches.
However, to present the right look, feel and ambience of the kitchens, we had to first visit the Hwan Sung premises to obtain pictures and precise measurements of kitchen sets and components.
Feeding from the imaginations and keeping in mind the original prototypes, we had to visualize and replicate both, merging them into one complete piece.
Concept development from character’s imagination
2. Recreating the kitchen
With the concept ingrained in our minds, we set off to generate 3D computer designs of the kitchens. This was done in the conventional way.
First, the kitchen sets were modeled with reference to the original sets. They were then textured and lit up to mimic the ambient feel of the real kitchen.
3D work flow
At this stage, rendered kitchen sets from the previous stage were refined to create the final look. Extra effects, subtle glows and color grading supplemented the designed prototypes to make them appear like the showroom sets.
It is also at this stage that the rendered sketch version of the kitchen and the fully textured version are interwoven, creating a harmonious flow.
The room is set. The lights on your face and mic in your hands. In the Judge’s seat is the client. It’s showtime! At this point you want to expect anything. You prepare to get busted or applauded. But we are glad the latter happened in this case.
You could say, the world around us is nothing but design. Luckily for designers, it is a pool of inspiration. Inspiration to make something memorable, functional and meaningful.
We are therefore grateful to Hwan Sung for entrusting us with a job too great that challenged our creativity.
Addmaya, together with Xtrim Casting and renowned Director of Photography, Musta of Ebony-Hue, joined forces to bring to life Vodafone Liverpool FC.
The enthralling promo is a drive towards the Vodafone Liverpool FC Academy Soccer Camp. A concept birthed and developed by JWT, the TVC has a dramatic and cinematic aura that keeps you on the edge of your seat. But just how did the team go about this enchanting piece;
Musta Abdallah: The visual direction for the video was a collective idea with the Director. We wanted to achieve a dreamy mood for the TVC and one of the ways to achieve the storyboards was playing with light. The light was out of the ordinary. Thanks to its big resolution, the Red Dragon camera with its 6K format, as well as the 36 per frame rates we used all helped in creating the mood.
We employed different visual concepts depending on the scene. To achieve the early morning hazy scenery in the boy’s bedroom, we used a smoke machine and 4k par light to get the atmosphere. For the hospital scene where the baby was crying and laughing, the lighting had to be clean and we created shadows and depth for scenes when the baby was playing.
The hazy atmosphere created in Luka’s room
I loved the shoot because I got to try out shots that I had only seen in other videos. For example, when Luka kicks the ball towards the camera. I shot that at about 180 degrees which is a rare angle. Shooting from the upper box with Luka juggling the ball was quite interesting.
I loved the shoot because I got to try out shots that I had only seen in other videos.
~ Musta, Cinematographer
Hosea Jemba: Sound is usually the most complex to capture on any shoot but it was easier on this shoot. Using the Sennheiser 416 boom microphone, I captured guiding tracks that would help in lip syncing later in studio.
Sound on location defines the atmosphere so we set out to achieve the clearest environment ambience to add a realistic feel to the video on top of the voice over.
Rebecca Nanjego: With years experience in casting, getting the right talent for Vodafone Luka came easy. On set it took us about twenty minutes to get the cast and props ready. However, it took us about two months to source for a red wardrobe to suit the Vodafone brand colors.
It took us about two months to source for a red wardrobe to suit the Vodafone brand colors.
~ Rebecca, Xtrim Casting
The most unique skill we needed most for the shoot was a mother who would make her baby cry and laugh within short intervals. We also looked out for children with the ability to use facial expressions to convey emotions as well as young boys with football skills.
Some of the talent that made the video
What was so unusual and impressive at the same time was the short time it took us to film a shoot comprised of mainly children. In normal cases, children have a way of making shoots delay but that was not the case this time. They were very cooperative.
Francis Matovu:The direction for photography was to capture images that would later be precomposed. Before hitting the field, we collected a couple of pictures from the Internet that directed us on the poses, angle of field and side as well as the focal length at which the pictures were taken. We literally emulated all that to create the right football look.
Pre composition flow of the photography
Peter Mukibi: The Vodafone Liverpool FC spot had an interesting storyline right from the beginning. Initially it was meant to be all done in 3D because we weren’t sure we had enough time to cast let alone get the right talent that would give us a believable performance. A lot of planning and back and forth went on with the agency to ensure we stayed true to the story. We were lucky to get 2 weeks of planning but between the shoot and delivery, post was only allocated 4 days. We had to work really hard to deliver the final within those days.
The most outstanding thing was the level of collaboration among the different departments. Hats off for the DOP on set and the Photography team who are mainly responsible for all the stunning visuals. Then the Art Department at Addmaya who came in midway the production to bring the much older Luka ‘The Legend’ to life did a stunning job. While shooting, the person that was chosen to play Luka at 17 wasn’t as fit as your usual professional soccer players and he couldn’t pull off some of the things we were asking for but the team pushed him as hard to get what we needed. Sitting with Nelson of C19 was a great experience as we painted the soundscape bit by bit until we felt we couldn’t push it any further.
All in all we were really blessed to have such a great team and pool of talent to work with.
We were lucky to get 2 weeks of planning but between the shoot and delivery, post was only allocated 4 days. We had to work really hard to deliver the final within those days.
For the second year running, we have been designing annual calendars for World Wide Fund (WWF) Uganda, a non-governmental organization concerned with the conservation of nature in areas of Forestry and Biodiversity, Energy and Climate and Fresh water in the country.
For their 2016 calendar, WWF tasked us to design a calendar highlighting their activities as well as advocating for nature conservation. The overriding theme was energy consumption and recycling. It is this message that inspired the Origami touch to the designs.
WWF has great conservation goals. We wanted the goals to come out clearly but in an artistic way. ~ Peter Mukibi, Creative Director.
“Origami has an association to paper which is a recyclable waste. So we thought exploiting this idea would effectively communicate the message,” says Pascal Kavuma, the Project Lead and Designer.
The origami designs elevates the conservation mission of WWF.
In comparison with the previous calendar, WWF wanted something more detailed. When the design team presented the origami illustrations, they were appreciated and work was kicked off. The team had always desired to explore origami designs, and the project gave them a chance to do so. In a period of a month, the team had created designs – some cutting to the chase and others more abstract and sophisticated.
“WWF has great conservation goals. We wanted the goals to come out clearly but in an artistic way,” says Peter Mukibi, the Creative Director.
Each month had a write up that gave the designers a basis to formulate ideas. However, that didn’t come easy. It required a lot of thinking.The team garnered concepts and inspiration from the client, online sources and a lot of research on natural resources and conservation. In the end, the team had to interpret a lot of information to make it visually functional.
The imagination and visualization of ideas is what made the project even more interesting. It was new, unusual and uncomfortable.
~ Pascal Kavuma, Designer
“I had heard about the carbon footprint. I never thought one day I would actually have to do a deep study on it. When it came to illustrating it, the first character that came to mind was The Incredible Hulk. The imagination and visualization of ideas is what made the project even more interesting. It was new, unusual and uncomfortable,” says Pascal.
A sketch of the visualized carbon footprint on the left and the finished design on the right.
Eyes on the Wall
Picasso coined art and ever since, there has never been anything as enchanting as a good art piece. The design team together with WWF determined to have the focus of the calendar on the art and less on the dates. Like a portrait hang in a house, the colors and all features of design had to be strongly elegant to attract yet simple to appeal to the user.The art fills two quarters of the A2 wall calendar while the remaining third covers the dates.
The team worked tirelessly with WWF especially to determine the right fonts, typography and the theme colours. For example, the client determined that public holidays are highlighted in black distinguishing them from the WWF special days highlighted in blue.
The wall calendar is not only captivating but also easy for a quick flip-through.
To further emphasis the conservation message, easy – to – read sentences were incorporated in the calendar. The purpose for this was to make the calendar as functional as possible.
“We knew from the onset that WWF didn’t want to design an ordinary calendar. We believe in creating designs that add value to people’s lives. With this calendar, we wanted people not to just look at dates but to also be inspired to be the change by respecting and conserving their environment,” – Arthur Nakkaka Design Director explains.
For long, we had sacrificed our digital presence at the expense of executing other projects. Our website was stuck in the early 2000s. Our digital footprint was close to dead, with occasional stints of fan campaigns and give-aways.
Launch day drama.
Last year, we resolved to take a step back and start over. We purposed to design and develop a modern production house website that was inspired by 3 things:
Fixing a broken foundation
Recalibrating our identity
Igniting a new digital chapter
Fixing a broken Foundation
The old addmaya.com was built when we were a year old. We were excited to get started and as a result built the website on a flimsy foundation. At the front, each page was laid out in good-old HTML. At the back, well, we had no backend. Everything was manual for quite some time. We later layered in a WordPress Content Management System (CMS) and off we waved the website. We occasionally updated it and for all it’s worth, most clients have come to know us through it.
At the back of our heads, there was a growing feeling we had to reboot our digital presence.
The old addmaya website.
When we finally considered redesigning addmaya.com, it was clear everything had to be re-engineered. Putting together a feature page had to feel effortless and updating our portfolio had to be simple and better streamlined. The design had to be vibrant and responsive.
Structural foundation of thew new addmaya.com
Recalibrating our identity
The new addmaya.com made us think beyond our website. We had to go back and answer the core questions about our identity. Which colours represent us? Which font, layout style, voice, tone and more? In the end, we’ve had to streamline everything about our identity.
A more streamlined Addmaya brand identity
Our new identity is built using 3 foundational colors: red, green and blue – the square pixels we admire every day. Inspired by Helvetica, Pragmatica gives power and prominence to article headings. Franklin Gothic, a realist sans-serif typeface spells our body copy.
We’ve taken these identity cues and brought them to our new website, to give it a cleaner, simpler and friendlier look.
Unveiling the website
Talk about an IPO and you will have everyone’s head raised. Well, at least those that follow the stock market. To unveil the new Addmaya website, we needed an idea that would draw attention.
Initially, the first idea was to tell the world that Addmaya is out of business. On close contemplation though, the idea was revised basing on the repercussions it would carry. After immense deliberations, IPO was put forth and we rolled with it. We got down to finding a name for the IPO away from its actual meaning and we settled for ‘Improved Portfolio Online’.
Within 3 days, the teaser created a tremendous thrill far from what was intended. We received calls from investors, bankers, a news agency and even the Capital Markets Authority. The teaser informed the company about its popularity in the market and how many people would actually invest. On 4th August 2015 12:30pm, we dropped the bomb, launched the website and spelled out our version of the IPO to the world. Fans, friends and clients were both ecstatic and boiling-hot red over the redefinition.
“Haha @addmaya you had me fooled. Had lined up my pennies to invest. Great publicity! I’m loving the new site” – Sam
A new digital Chapter
The new addmaya.com is built around 3 core pages; work, profile and stream. Together, they represent our digital foot print.The work section is our portfolio, a living proof of whatever we set our hands on. The profile is an exhaustive archive of our journey, services, processes and more. The stream is a living, breathing curation of thought-provoking industry articles, tweets, behind the scenes and more.
The new Addmaya website
In this age where consumers find information in so many places, a brand needs more than a website. It needs an approach, a timeless philosophy that transcends trends. To us, this is not just a website. We would like to borrow a term from the auto industry – ‘Showcase’. Our website is a digital showcase. It houses our thoughts, accolades and more. To us, it’s the first step in the new Addmaya chapter.
In 2014, Bank of Africa Uganda introduced its Mobile Wallet, a mobile banking service that is equally convenient and arguably more efficient than telecom networks’ mobile money platforms, as a way to win back their customers from the ever growing mobile money craze.
Despite rave reviews and positive feedback from their original wacky and dynamic TV spot that featured a lively mascot character explaining the service features, Bank of Africa (Uganda) failed to achieve their proposed target in terms of product usage for the service and felt they had to turn things around, FAST.
The wacky character from the first Bank of Africa Mobile Wallet campaign
As seen on TV: The new Tap Tap TVC
A Tap Tap Story
When Bank of Africa finally decided to seek a new Advertising agency in December of 2014, Addmaya was amongst the agencies shortlisted to pitch ideas for an advertising campaign on getting the Mobile Wallet to the market.
Though not an Advertising Agency in the traditional sense of the word, the Bank, having previously worked with us on successful campaigns like Wezimbe and Vimba, felt that Addmaya had proper knowledge on the brand and clearly understood the product they wanted to sell.
“Addmaya’s creativity never ceases to amaze me. They are the perfect production agency for a youthful, agile and vibrant brand.”
Manuela Mulondo – Head of Marketing, Bank of Africa Uganda
Our creative execution of the idea dubbed “Just What You Need.” is what won us the Pitch. The basic premise being that Ugandans love mobile money because of its convenience.
Our strategy therefore was to try and show the public that this service was just as convenient and even simpler to use by leveraging the tag-line’s keyword “Just..” and coining phrases like “Just..Send It,” “Just…Transfer” “Just..Dive In”.
The original approved direction for the campaign that won us the role of Creative Leads for the campaign
In January 2015 however, a thorough review with the bank found the campaign still wanting in terms of the Bank’s targets and we were therefore asked to pivot from the original campaign idea and come up with something new altogether.
One week of research and another two weeks of internal deliberation (and literally banging our heads against the wall) allowed us to tap into existing customer behaviours and mindsets from which we identified lots of opportunities that we could still leverage on;
Mobile Money had its short falls in terms of the convenience of withdrawing and depositing money onto the account
The Mobile Wallet service had a strong value proposition i.e it was a direct link from the users’ phones to their bank account
The reasons many people disliked banks in general were pretty similar e.g long cues, inflexible hours, long forms for filling out etc. all of which were being solved by the new service.
The idea was now simple: Show customers how the use of new technology(Mobile Wallet), would drastically improve their lives. How? By helping them “save time for the things that matter.”
The communication of the idea needed to be simple, fresh, honest and all encompassing of what the Bank was trying to tell its customers. Thus the “TAP TAP” campaign was born.
One of BMW’s strategic strengths that we believed we could leverage
It all comes together: The new campaign Slogan
The campaign slogan “TAP TAP”, we felt, represented a simplified version of exactly what Bank Of Africa’s Mobile Wallet offered customers:
TAP on your phone,
TAP into your Bank account
and PAY, SEND, WITHDRAW, DEPOSIT OR MANAGE your funds
Our next challenge was figuring out how to convey the message to the public. The campaign was meant to be a 360 Integrated marketing campaign, meaning all mediums(Print & Outdoor, Multimedia, Digital and one of our personal favorites Experiential) had to be used uniquely and consistently in order to communicate the campaign idea.
Because the campaign was a usage campaign – encouraging more people to use the Mobile Wallet service – the proposed art direction all through the campaign(especially the print and outdoor) was one of physical expression/ body language.
All the mediums therefore were created to take full advantage of this and capture strong moments in time that we felt expressed the ease of use of the service.
After convincing the client on the TAP TAP campaign execution strategy, It was time to get our hands dirty and bring the campaign life. To try and ease the burden, Bank of Africa brought their new agency, Moringa Ogilvy into the fold to take on the Digital and Public Relations arms of the campaign.
The first step (in what turned out to be a gruelling exercise in mental fortitude) was to create concept artworks of the different proposed print and digital media and present them as real world mock-ups as a way to give the client a feel of how the target audience was going to interact with the campaign.
“With 80 separate pieces of concept artwork (across newspapers, billboards, roadsters, brochures, posters and lots of merchandise) to design in less than 3 weeks. The pressure was really on to deliver which meant we were in for a couple of sleepless nights.”
Isaac Ndahura – Print Lead, Addmaya
Having three different organisations working on the same campaign, there was always going to be a challenge consolidating the feedback and communication between Addmaya, Moringa Ogilvy and the client. The sheer quantity of art pieces meant that getting clearance from the client on final copy and concept artwork would have been impossible had we decided to use regular channels.
To overcome this, we used a more unorthodox means of keeping everyone on the same page – a What’s App Group – yep the dreaded What’s App group that most people take for granted was on hand to save us a lot of hassle. It ensured that as soon as the graphics designers were done with a piece of artwork, it could be shared with the entire group and receive feedback from everyone almost simultaneously ensuring efficiency in the design process.
After agreeing on what artwork and copy best represented each of the ways we were going to reach the public, the next step was to successfully achieve in camera the honest yet expressive body language that we had envisioned for all the print and digital material.
On location shooting the trenchcoat scene
With the help of meticulous planning, renowned professional photographer Reinout Dujardin and an excellent support staff, we managed to pull off the necessary shots within the space of 24 hours.
The photography was carefully selected, placed into its respective templates across the different mediums, signed off and shipped off for final printing.
Renoit, our photographer gives a model some direction as he helps him out with a wardrobe malfunction.
Radio & TV
All while the graphics designers were handling the print and digital arms, there was another battle raging in the animation department – The Tap Tap Instructional Videos – Also on a tight deadline, Addmaya’s animation team had been tasked with creating a total of twelve 5-minute instructional videos to walk customers through using the various services of the Mobile Wallet. Despite making progress in leaps and bounds, significant changes to the internal workings of the mobile USSD system called for re-working of more than half of the original twelve videos in order to align it to the new workings of the USSD system.
In all this time,we had not yet embarked on the multimedia (TV and Radio) side of things and we were closing in on D-Day.
Still, we had to get the campaign jingle out of the way first as it was what was going to determine the tempo and shooting style for the thematic TV spot. For the purpose of encouraging the usage of the service, the radio jingle was based on the popular Jackson 5 song “ABC” as a play on it’s lyrics “..easy as 123.” The tricky part was staying away from the original song as much as we could so as to avoid unwanted legal trouble.
In the end, we pulled out all the stops with this one and hired 3 different recording studios, Micheal Fingerz for the original composition, C19 for the audio mastering, and FirstLove for the voice over. The end result was a master piece that drove the multimedia arm of the campaign.
Being the first guerrilla style shooting we had done for a TV spot that was meant to be the campaign trail blazer, the pressure was on to not just deliver but also do a good job. With the approved jingle guiding us, all we had to do now was simply add the icing to the cake.
Easier said than done.
The making of Tap Tap
With just one week to the official launch of the campaign, we set out to pull-off a small miracle. Alas, every time we would head out to shoot, Uganda’s unpredictable weather showed its ugly head to hinder us. Eventually, the official launch was pushed by another two weeks which allowed us to traverse the beautiful city of Kampala and it’s outskirts, pulling out the camera whenever something tickled our fancy in addition to planned shooting of random people – from market vendors to dancers to farmers – we wanted to show the emotion of excitement and we knew to do it well, it could not be faked.
“The experience was totally new for us. Considering it was guerilla shooting, we did not know exactly what we were going to end up recording every day that we went out until we reviewed the footage at the end of the day. The tension, suspense and the eventual suprise at what we ended up with turned out to be lots of fun and a growing experience for us.”
Peter Mukiibi – Creative Director, Addmaya
When we finally pieced the whole thing together and added the jingle, it proved well worth the effort that we had put in. Now everything was officially ready for the public unveil, at the time, only three days away.
With everything in place, the Agency’s media team had also wrapped up their end of the Digital arm of the campaign, all was set for D-Day. The campaign launched on the 10th of June and will continue running for the remainder of the year. One thing is for sure though, this has been a whirl-wind of an adventure into the heart of Advertising – something that all at Addmaya one day dream of doing full-time. We are therefore very thankful to Bank of Africa for putting their trust in us and giving us the opportunity to build a campaign from the ground up. Also a special thank you to Moringa Ogilvy for showing us how the logistics of running an advertising campaign are handled.
Tap Tap Art
Time will tell if our “ingenious” ideas will help the bank realise the Mobile Wallet’s true potential.
In the meantime, keep your eyes peeled for those newspapers, radio ads, billboards, TV spots, TV stings and many others as we attempt to influence public perceoption