JELL-O tied the JELL-O pudding in with the popular interest in Mayan end-of-the-world predictions with “Funpocalypse”, an integrated advertising campaign. “Fun to the Rescue”, a television commercial, suggested that the end of the world could be averted by offering the Mayan gods the funnest sacrifice ever, 2012 JELL-O Pudding cups. Digital elements, online at funpocalypse.org, included e-cards, a survey on how people would spend their last days before an apocalypse, and an online competition in which winners were given $100 to accomplish their bucket-list goals before the end of the world. #Funpocalypse street teams in New York and Chicago made sure the public knew that the “End Isn’t Near”, due to to JELL-O fun plans.
Click on the image below to play the Fun to the Rescue video in YouTube (HD)
It’s official! JELL-O successfully saved the world on 12/21/12 by sacrificing 2,012 cups of JELL-O pudding to the Mayan gods. Thank Fun. Click on the image below to play the video in YouTube (HD)
Jell-O and Wakefield Research conducted a national survey with 1,000 adults and asked questions about how people would spend their last days before an apocalypse. You can find out things like: 52% of Americans would be most excited about not having to pay taxes anymore and 4% of those surveyed actually believe the world is going to end.
The #Funpocalypse campaign was developed at Crispin Porter + Bogusky by worldwide chief creative officer Rob Reilly, group creative directors Tony Calcao, Adam Chasnow, creative directors Andrew Ure, Matt Denyer, art director Aimee Brodbeck, copywriter Jason Donaldson, head of video/integrated Chad Hopenwasser, executive integrated producer Aymi Beltramo and junior integrated producer Alina Moeller, group account director Kate Frazier, content management supervisor Kevin Sypal, content supervisor Spencer Holmes, content managers Ashley Cochrane and Wendy Alexaitis, traffic manager Kelton Wright, junior traffic manager Jenna Kotarski.
Filming was shot by director Amit Mehta via Interrogate, Los Angeles, with director of photography John Zilles, head of production Nathan de la Rionda, executive producers George Meeker and Jeff Miller, and producer Christopher Gallagher.
Editor was Logan Hefflefinger at Plus Productions, Los Angeles, with assistant editor Jon Grinberg and producer Andrea Krichevsy.
Post production was done at Method Studios, Los Angeles, by lead compositor Aidan Thomas, compositors Claus Hansen, Ian Holland, Aaron Netiz, VFX supervisor Rob Hodgson and producer Paula S. Jiménez.
Sound and music were produced at Beacon Street by audio engineer Mike Franklin, assistant engineer Andrew Thomas, composers Andrew Feltenstein and John Nau, music producer Adrea Lavezzoli, mix producer Caitlin Rocklen. Sound was designed at Machine Head, Los Angeles by Stephen Dewey.