Case Studies

Here are a few client case studies you can use to get acquainted with our work!

arbornote

We were brought on by a previous client, Cognitive Systems, to help them relaunch their new one-year old software, arbornote. Arbornote is an interactive real-time software designed for both tree care and management/property companies to ease their tree management efforts.

With the relaunch, we had to completely overhaul their old logo and website and design a new brand identity for the company to tell their current story. On top of that, we also had to help them identity their unique value proposition and who their target and ideal customers are. It took many strategy sessions with the owner to get there.

During some of the strategy sessions, we remember the owner commenting that we ask some very difficult questions. By doing so, we were able to get to the core of what the company is about, it’s goals, aspirations, and vision. Without those elements, I don’t think we’d have been successful in helping them tell their story.

There was one particular challenge during the process that I will not forget and am still proud of. After several different designs and revisions, I decided to bring on a second graphic designer to try something entirely different. The owner and his team didn’t take to the new direction and wanted to settle with we had originally. I trusted my instinct and insisted that they sit with the new version for two days. In the end, they were more than thrilled to implement the new logo even before they had the graphic files.

Nissan
Leaf, Altima & Rogue

Production Company: DuckPunk Productions, Inc.
Agency: Admerasia, Inc.
Client: Nissan
Recognition: Bronze Trophy (Telly Awards)

We were brought on by Admerasia in New York to produce a 3-car campaign for Nissan, under the same concept, featuring Asian American community heroes and influencers. The challenge was not only did we have to shoot a 30-second TV commercial and two 60-second online spots for each of the cars, we also had to shoot all the still photography as well.

On any given shoot days, we had four units going on at the same time. Unit 1 and 2 for principal photography, unit 3 for running footage of the car, and unit 4 for all the stills. It was quite a production and it took a lot of detailed planning and logistics to get there.

Another challenge we had was to figure out what the stories would be with these six influencers in three different spots. We had to create a scenario for each of them, doing their daily activities in the car and with their car. Each story had to show contrast, in terms of the color of the car, daytime vs nighttime activities, car traveling parallel in split screen, and car traveling in opposite direction in split screen.

One of the highlights of the shoot was we shot at the Willow Springs Racetrack, the place where they shot the Fast and the Furious movie. Although it was exciting for both the client and crew to shoot there, it was a very hot day with temperature close to 100 degree. We had to prepare wet towels for everyone to counter the heat.

California Department of Health
Anti-smoking Campaign

Production Company: DuckPunk Productions, Inc.
Agency: A Partnership, Inc.
Client: California Department of Health
Recognition: Silver Trophy (Addy Awards)

We were hired by the advertising agency, A Partnership from New York, to produce 4 spots in 6 different languages, namely English, Spanish, Cantonese, Mandarin, Korean, and Vietnamese.

There were two major challenges on this job. The first one was casting child actors who understood asthma and knew how to use the inhaler; the second was shooting a multilingual campaign with a tight budget.

After the job was awarded, we started casting early on and auditioned over 100 children over a three-week period, before finding our actors. Bringing out authentic performances from shy child actors was difficult but well worth the effort.

After the casting was underway, we needed to find a house that could double as two locations for two different spots to save money. After a long search in different neighborhoods around LA, we found a house that could work in Cheviot Hills.

The strategy behind this campaign was to reach English, Hispanic and Asian consumers, with a powerful and emotional message. We had three agendas for the campaign, one – to show harmful chemical additives do exist in cigarettes; two — that secondhand smoking can harm their children; and three — that smokers could call and speak to an in-language counselor about their addiction.

The success of the campaign was evaluated based on a key criterion: cost-per-call. Based on tracking by the State, call volume to the 1-800 helpline increased 70% during airings.

The campaign won Silver Trophy at The Addy Awards (The American Advertising Federation.)

Wells Fargo
Small Business Owner Campaign

Production Company: DuckPunk Productions, Inc.
Agency: Dae Advertising
Client: Wells Fargo
Recognition: Bronze Trophy @ The Telly Awards

We were hired by Dae Advertising from San Francisco, to produce a 2-spot campaign for Wells Fargo. The campaign was to help build awareness of their Small Business Solution products among their Asian clientèle.

The challenge for this job was to find talents who could speak both Cantonese and Mandarin fluently on camera, in order to save talent costs and shooting time.

We were required by the agency to shoot the campaign in San Francisco. Who knew in a city full of Asians, there weren’t a lot of professional actors to choose from. We held six audition sessions between San Francisco and Los Angeles and ended up hiring a mix of professional and unprofessional actors.

Six months after the campaign hit the air, Wells Fargo announced that they had a 110% growth in business. At a bank survey, many customers remembered both the TV and radio commercials; even children could recite the catch phrases from the spots.

Walmart
Real People Stories

Production Company: DuckPunk Productions, Inc.
Agency: IW Group, Inc.
Client: Walmart

We were hired by IW Group to produce five spots in four different languages, namely Cantonese, Mandarin, Vietnamese, and Korean, for their Walmart.

Two months before pre-production, we started interviewing real shoppers at different store locations throughout southern California. The idea behind this campaign was to showcase real people and their Walmart stories.

After interviewing more than 150 candidates, we narrowed down the stories to about twenty. We then invited the shoppers back and tried to get their families involved, including grandparents and children.

In the end, we picked the five most compelling stories, one for each spot. We filmed the entire campaign in seven days throughout southern California, on location and at various Walmart stores.

The challenge here was filming while the stores were open. There were all kinds of logistics we had to figure out ahead of time, such as which aisle we had to use for which story, and how to to shoot without interfering with real shoppers. On top of that, aisles were narrow and made lighting and shooting quite difficult.

In the end, our hard work paid off when the campaign was well received in the Asian community. Many shoppers felt like Walmart appreciated their business, on a personal level.

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