The document outlines Canon's 'Resolution' branding campaign launching on April 2, 2012, aimed at redefining the company's image and communicating its full range of imaging products beyond cameras. The campaign strategy includes innovative creative executions, targeted media selections, and an integrated marketing approach designed to inspire creativity and elevate consumer engagement across Europe, the UAE, and Africa. By capitalizing on Canon's history of technological innovation and its role as a pioneer in the imaging industry, the campaign seeks to position Canon as a forward-thinking brand that empowers users to realize the power of image.

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Executive Summary
Resolution can be defined in many ways; it is the act
of solving a problem, it is the conversion of something
abstract into another form, it is a firm decision to do
something. It is determination, an expression and an
answer. The Resolution, beginning April 2, 2012, will be
an answer, an expression and the determination behind
Canon’s contemporary branding campaign throughout
Europe, the UAE and Africa.
Paying respects to the likes of human evolution and the
thought that anything is possible, the Resolution not
only shapes a provoking campaign through creative
executions, but through Media selections and intuitive
research which has defined key objectives and strategies.
Providing Canon with an unconventional yet time-
honoured approach to captivating audiences, the
Resolution has adopted groundbreaking creative
executions with traditional methods of Media selection
shining through.
In a year surrounded by controversy and scepticism, the
Resolution aims to bring hope, joy and imagination back
to the world by providing consumers with an outlet for
creation, imaginings and dreams to come to life through
the tools Canon provides.
Contents
Team III
Background III
Objectives IV
Strategy IV
Brand Evaluation IV
Competitive Analysis V
Market Analysis VI
Target Audience VI
Media VII
IMC Strategy X
Creative Rationale XI
Creative Execution XIV
Storyboard XVII
Print XXI
Billboards XXII
Monoliths (Outdoor Guerrilla) XXIV
Website Progression XXV
Evaluation XXVII
References XXVIII

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Background
In the beginning, all that existed was a group of young
Japanese visionaries, a small laboratory in Tokyo and a
dream. A dream to create the best camera in the world.
Born of inspiration, passion and an unwavering
commitment to innovation, the dream became a reality.
However, this dream wasn’t just about a camera, it was
about building something more, something the world
needed in order to evolve.
It was about something inherently technical and yet
profanely emotional. It was about learning to be and
being to learn.
That dream was and still is Canon.
Fast-forward through Canon’s 78 year evolution and it
is now an international, multifaceted brand recognised
the world over. For many, it has become a loyal friend to
consumers, always on hand to capture the right moment
and for others a knowledgeable expert, able to deliver
that extra touch of professionalism. Regardless, all will
agree Canon helps people realise the power of image,
whatever that may be.
Canon is a category leader in digital imaging. From the
first zoom lens for television broadcasting introduced by
Canon in the 1950’s, to the world’s first portable digital
X-ray system in 2003, Canon has been in the forefront
of innovation in the industry for decades (Canon
Historical Data, 2011). The product range of Canon
consists of cutting edge imaging technology in the form of
everything from digital cameras to photocopiers.
Team
Boomerang One
Edith Cowan University
www.ecu.edu.au
“Everyone knows Canon makes cameras. Now we
want them to know about everything else”
Annabel Slade
Colby Lathwell
Jack Geerssen
Jakob Reimerson
Jon Ismailovski
Sebastian Forsström
Faculty Advisor - Clive Barstow

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Brand Evaluation
What Canon has
Perceived as trusted, reliable and technologically
superior - as well as a pioneer and industry leader
Seen as a brand that motivates and inspires creativity.
What Canon does not have
Canon is not seen as an imaginative or progressive brand,
which somewhat goes against the vision of inspiring
consumers creativity and imagination.
Canon is not perceived as a friendly brand and lacks open
communication between brand and consumer. Canon’s
tagline - “you can” - is seen as passive, not active.
Lacks recognition for full range of products - focus on
cameras (DSLR’s).
What Canon can get
Through a campaign that excites and motivates
consumers, Canon can gain recognition as a
groundbreaking company that continues to set new
standards for the industry.
A strenghtening of the credibility and trust for the whole
range of Canon’s products.
Canon has the opportunity to be seen as a progressive
force from which creativity and imagination stems.
What Canon has to worry about
Being seen as a camera brand only. Canon’s other
technologies could potentially become obsolete
within their own competitive market without correct
communication and application.
Passivity in the communication, “you can”, may reflect on
Canon’s brand identity.
Objectives
Goal:
Reaffirm Canon’s commitment to helping people realise
the power of image in the past, the present and into the
future.
Objectives:
1. Position Canon as the pioneering industry leader
empowering people through creativity, passion and
innovation by August 2012.
2. Extend current Canon brand awareness to ALL
Canon products by end of August, 2012
3. Achieve an increase in Canon retail sales between
May and August 2012
Strategy
• Provide clear Media selections to enhance creative
executions and create an unconventional campaign
• Develop a short-film that all creative executions
are developed from; generating one main idea into
smaller segments.
• Use an integrated marketing plan to highlight
key focus points of creative executions to enable
interaction with consumers.
• Select key markets to implement the budget
effectively

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Competitive Analysis
Canon’s history is steeped in competition. Having cited
a lack of choice for those wanting to purchase cameras,
Canon set out to change the imaging landscape by putting
Japanese cameras on the map. History will portray Canon
not only as a pioneer for the imaging industry but also
for humanity, having allowed the world to realise the true
power of image.
Acting as a trailblazer, Canon’s continued success has
inspired other brands to compete for market share
within the imaging industry. These brands include, but
are not limited to Sony, Nikon, Panasonic and Olympus.
Each competitor presents a different challenge for Canon
as the brand strives to maintain its winning position.
Whether it be overcoming the mass appeal of Sony
and its diverse product portfolio, or challenging the
emotional branding recently implemented by Nikon,
one fact remains true, in order to win, Canon must keep
changing.
Canon has always been renowned for its superior
products born of a commitment to innovation. Now, as
the brand steps into a new era, the innovation that has
served its products so well will be turned toward the
brand itself.
NIKON
I AM YOUR COMPETITION
Canon has a genuine competitor in Nikon dating back to
the organisation’s beginnings in 1917. Sharing a similar
heritage, Nikon continues to develop and believes if it has
something to do with light, Nikon has something to do
with it.
Recently the brand pursued a new direction with the
intent of increasing its market share in the imagery
industry. To this end, the I AM NIKON campaign has
served the brand well allowing consumers to identify a
part of themselves within the brand and its products.
SONY
Not a make.believe competitor
Whilst the brand is relatively new to the imagery game,
its products have been widely adopted thanks to the
brands reputation and marketing efforts. Also, with
SONY’s multifaceted and dimensional technologic
solutions, it is increasingly becoming more of a threat to
Canon’s other offshoot categories.
OLYMPUS
Their Vision, Our Competitor
Accessible price points and functionality provides
consumers with an affordable and practical solution to
their photographic needs.
Despite several innovations (for instance the world’s first
compact underwater camera), Olympus as a competitor
is not as daunting as its namesake.
“A competitive world offers two possibilities. You can lose.
Or, if you want to win, you can change.”

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Target Audience
Due to the large geographical scope of this campaign, it
is very important to focus on what the people we need
to communicate with have in common with each other,
rather than to distinguish individual cultures and values
across our target markets.
Personality & Lifestyle
Our primary target audience is a person between the
ages of 20 and 45, like Mark:
Mark lives in or around a large urban area in Europe. He
has a university degree, is specialised in his field and is
quite ambitious about his career. He has a mid to high
disposable income, as does his girlfriend. They do not
have any children, yet, but they like to think that it is not
too far off in the future.
Mark is the epitome of the modern urban man. He is
very aware of trends, but doesn’t follow them quite as
vigorously as he did when he was younger. He enjoys
culture – movies, art and literature – but also spends a lot
of time doing outdoors activities, like climbing and skiing.
He has a passion for creating and uses photography not
only as a tool for documentation, but for creation and
invention.
When Mark is particularly pleased with a photo he has
taken, he uploads it onto Flickr and Facebook, for his
friends to see. Similarly, he can spend hours browsing
through photo blogs when given the time.
He is likely to travel quite a lot, especially around Europe.
Him and his girlfriend will go on trips at least two to
three times per year, either alone or with family.
Market Analysis
Language
English is the most spoken language in the EU, spoken by
51% of the population, 38% of EU citizens use English
as their second language. The vast majority of people
between 18 and 35 in European urban areas speak
English.
Society Values
Most countries in Europe show high Secular-Rational
Values, as well as dominating Self-Expression Values. The
generally stable financial situation lets individuals focus
on self-actualisation and peak experiences.
Differences between countries are becoming smaller
as Europe moves toward a secularised culture that is
increasingly determined by sub-cultures.
In essence, it is more important for Canon to know the
generation & sub-culture that they’re talking to, rather
than it is to know the traditional values of their country
of origin.
Consumer habits
Common denominators for consumer habits in Europe
include that they are increasingly making their purchases
in/around majore cities and they are using the Internet
as an aid or tool in the process.
Almost 60% of people in Europe are Internet users, with
several countries having over 80% overall Internet usage.
Cluttered markets and high accessibility have made it
more common for people to purchase goods from outside
their nation’s borders. Consumers are selective and
often conduct extensive research when purchasing high-
involvement goods such as imaging equipment.

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Media
“From a marketers perspective, it’s about understanding
where the future lies” (Bowman, 2011). Building
relationships with consumers is a developing scope of
branding which allows an interaction to happen between
brand and consumer; that requires one single intimate
moment.
Spending has been accurately developed to reflect the
success of Canon’s previous campaign for the EOS 350D.
£20 million was spent in Canon’s main markets that had
the most potential to drive sales and excite consumers
about the EOS. These markets include Norway, France,
Germany, the Netherlands, Austria, Finland, Greece, the
United Kingdom, Belgium, Denmark, Italy, Switzerland,
Spain and Sweden.
Secondary markets include, but are not limited to,
Poland, Russia, and Turkey. Thirdly, the Resolution also
will include the United Arab Emirates and Africa as focus
markets.
Costly Media outlets, such as Television, will be
implemented in major markets. This has been developed
as the backbone of the campaign is to break convention.
Following this method, the adoption of a strong focus
on traditional Media, and supporting outlets, are also
included.
Intimate and tangible moments are found via traditional
methods such as Print. Newspapers and Magazines have
been adapting their methods of creative advertising to
captivate audiences for many years. These are still the
only true methods of complete consumer interaction,
which are able to last as long as each person wishes. An
advertiser’s message can last a lifetime if the consumer
wishes so.
Placing creative executions in particular Magazine
environments allows consumers to already be in a
specific emotional state which enables advertisers to
place their messaging accurately. For example, consumers
who purchase and read the likes of Aperture magazine,
are already inspired and motivated to act on their
reactions to the work depicted.
Aperture magazine stands side-by-side with the border
shattering and endless imagination that is this particular
campaign. A place in which consumers come to be
inspired, learn from the masters and understand better
what it is to be involved within photography, Canon will
stand as a leader and thought-provoking brand that can
and will assist in creating their dreams.

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The European Daily is an extremely modern and trusted
source of news for Europe and International issues. Along
with this, culture and lifestyle are a major part of this
newspaper with the likes of the WWF showing support of
their cut-through by advertising in this medium. One of
the only daily European newspapers, the European Daily
feels that all Europeans need a common platform for
debate and rivals that of the US based daily newspapers.
Their intellect is immense and versatility in adapting
their references to pop-culture is what keeps readers
coming back for more. Their layout is also specific which
makes the landscape extremely easy to work with for a
Global brand such as Canon.
Developing creative concepts throughout particular news
stories in this newspaper will ensure a high retention
rate. Buying-out preferred pages and collaborating with
editorial staff will allow Canon to place their ads within
specific topics which will enhance the key messages
throughout this campaign.
Without forgetting the progressive nature of society
and each individual within it, the Internet is a landscape
that is endless with opportunity and boundless in many
ways. The Online community of news websites, interests,
social networking and research has allowed advertisers
to engage in conversations with their very own target
segments. With a greater push in online security for
consumers, there are also some faults in advertisers
relying on this medium to provide an outcome.
Consumers are incredibly savvy and each creative
execution needs to capture attention in a small amount
of time to ensure the nature of the message is accurately
displayed. Buying out a sponsorship on news websites
such as EuroNews.net will ensure a high retention rate
with the ability for consumers to ‘act now’ by following
through to Canon’s campaign site, theResolution.com.
Outdoor advertising in a geographical location such as
Europe can defy all odds when penetrating the cluttered
messages which consumers hear and see everyday. The
ability to capture the attention of consumers through
an Outdoor site is immense, especially when working
with creative material such as the Resolution campaign.
Within six seconds, Canon has the ability to maintain
interest and increase brand awareness whilst also being
creatively challenging in a public forum.
By adopting key locations in major markets across
Europe, these sites will become synonymous with the
Canon brand and message. The depth and intrigue
outlined in our creative examples will be grandly
displayed which will entice and excite consumers.
Including bespoke outdoor initiatives is also a major
part of the Resolution’s strategy to create an original and
groundbreaking campaign. This includes progressive
technologies, such as Bluetooth integration.
“Outdoor: It’s not a medium, It’s an extra large.”

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IX
Using public transport stops throughout Europe,
including underground locations such as the London
Tube, the Resolution is able to integrate large format
illustrations of the creative execution whilst also
including Bluetooth capabilities to entice consumers
to look further into the campaign, whilst also being
entertained. This use of technology has been proven
successful, as many passengers of public transport have
found the free media to be entertaining and information
rich.
Whilst we cannot forget the power of Television, our
budget relies on creativity and a call-to-action. As this
particular campaign aims to shatter all boundaries,
the creativity might be lost on a 30 second commercial
and thus, the rationale behind not implementing a
particularly strong TV portion of our Media selection has
come down to budget and creativity.
The interaction between consumers and the ads is of
greatest importance and whilst Canon cannot dismiss
Television, it is important to understand the financial
implications of rolling out a global TV marketing
strategy. Concentration in key markets such as the
United Kingdom will develop a strong sense of integrated
communications and thus enhance the value of the
overall campaign.
Noting that Greece has also imposed a 20% tax on TV
advertising, as well as the ban on all commercials across
publically-owned channels in Spain, we will monitor the
overall spend of this media in these markets.
Lastly, the integration of in-flight media throughout
Emirates, Qatar Airways, Air Arabia, Bahrain Air,
Gryphon, El Al, Gulf Air, Etihad, Oman Air, Nas Air, Air
Alegerie, EgyptAir, Kenya Airways and South African
Airlines, will capture our third media market without
implementing a widely spread and costly media
execution.
Bluetooth will be enabled at all transportation based
sites where consumers will be able to freely download a
40 second snippet of the Resolution short-film as another
form of teaser to initiate the traffic to the campaign site.

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IMC Strategy
Integrated solutions of advertising and marketing are
required to implement a multi-faceted campaign. The
Resolution is providing Canon with an outlet to be game-
changing and with that, creativity and originality are
required to make this happen.
Running the Resolution short-film at film festivals across
Europe will grant it exposure amongst influential figures
within the entertainment and media industry. Festivals
such as the European Film Festival, the ONE WORLD
festival in Brussels and the European Independent Film
Festival celebrate the creation and imagination of artists,
directors and actors. Placing Canon in the mix with
creative individuals will reap rewards for their branding
mission as well as providing an outlet for review and
publicity of the film and concepts.
Bluetooth technologies are not only available within
media formats but also within guerilla marketing
techniques such as monolith structures placed in key
markets with a high density of people living in and
around urban areas of interest.
These monoliths feature throughout the short-film
and again, will be an entrée to the entire film as the
public interacts with these structures that seem to have
appeared overnight. Minimal branding will be attached to
the structures however, clear direction to the website and
indicators that Bluetooth technology is available to ‘see
more’ will be surrounding these.
Permits will be required as well as particular permissions
in some cities regarding historical locations. As these are
not offensive nor obstructive in nature, these permits will
be easily obtained.
Public relations and publicity will indefinitely be a
derivative of the monolith activity. As well as this,
previously mentioned buyouts of particular pages and
positioning in printed media will allow a conversation to
ignite over the ingenious use of media planning. Credible
press and publicity as well as consumer opinion will be
notable throughout the campaign period.
Retail ads are also an offshoot process for the conclusion
of the campaign as these will be easily developed as
point-of-sale and area specific regarding particular
languages/dialects as well as pricing. These can be
derived from the Resolution campaign and therefore will
offset any additional advertising required.
Canon also has the ability to interact with their
consumers via Twitter and Facebook that enables all
brands, globally, to understand what their audience really
wants to see from them. A stimulating process, these
avenues will enable Canon to further discuss the place of
their products within the lives of each individual using
or about to purchase them. As this has already been
implemented, these forms will just need slight tailoring
to our campaign needs.

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Creative Rationale
What does Canon do?
They bridge the gap between imagination and
expression, ie; the immaterial and the actual. In other
words, their products (tools) facilitate the transformation
of an idea or thought (imagination) into something
tangible (expression).
Tools + Imagination = Expression
Imagination Definition:
Imagination helps provide meaning to experience and
understanding to knowledge; it is a fundamental facility
through which people make sense of the world.
Background - Imagination and Human Evolution:
The ability to imagine played a pivotal role in the
evolution of the human race, without which all human
progress would cease. It is how we, as a species, achieved
our dominance over all other animals on Earth. An eagle
may have superior sight to us, however they would not
“see” what we see when viewing a work of art such as
a painting. The ability to imagine therefore is a uniting
quality between all humans, a bond that transcends both
race and culture.
A painting hinges however on the relationship between
a person’s imagination and the tools they use. Without
paints, brushes, canvases etcetera, a painting can never
transcend the immaterial realm of the imagined to the
actual, and by the same respect, without imagination
these tools simply become idle objects. Put more simply;
a painter cannot paint a painting without a paintbrush,
whilst conversely a painting cannot be painted without
a painter. As a result, the breadth of our imagination is
largely constrained by the diversity of our tools.
It is argued that human’s earliest ancestors had used
very primitive stone tools as far back as 2.3 million years
ago, however it was not until The Great Leap Forward/
Upper Palaeolithic Revolution (40,000-50,000 years ago)
that our tool usage and tool complexity greatly increased.
The creation of those first few tools in effect acted as
a catalyst for the creation of all, and every, future tool
made by man. This idea, that we have evolved parallel
to the evolution of our tools, can be summed up by the
renowned scholar Marshal McLuhan;
“We become what we behold. We shape our tools
and then our tools shape us.”
In 1440 the printing press was invented, a tool which
in effect changed the world. It allowed the storing
and circulation of knowledge, leading to the scientific
revolution and the democratization of knowledge.
Sharing ideas and thoughts with people helps accelerate
the growth of future ideas, which is clearly illustrated by
the rippling effects that a tool such as the printing press
had on our history.
This notion of sharing and storing knowledge has
only been enhanced with the advent of tools such as
computers and the internet. Not surprisingly, the era
we live in has been touted as the information age. Ideas,
knowledge and thoughts are being systematically stored
and shared globally with unprecedented ease and speed.
As a result, technological innovation (ie; tool innovation)
has skyrocketed. By increasing the accessibility and
quantity of information available to the world you in
effect sew the seeds of future progress.

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The Idea
If we could position Canon as not simply industry leaders
in imaging technology, but as industry leaders in the
advancement of the human race itself, the connotative
rub off onto the brand would (should) be extremely
beneficial. It is an enormously uniting and empowering
idea to be shown that every person has the potential to
help change history and aid future generations simply by
expressing their imaginations, thoughts and dreams.
At first glance however this may sound similar to various
other campaigns that promote human imagination, but it
is important to note that whereas most campaigns simply
tell a consumer they have the power to imagine, we aim
to show them. It is a subtle yet important distinction
to be made, because simply telling someone that they
have the ability to do something, without justification, is
always going to be less effective than actually showing
or teaching them. The benefits of this become apparent
when you consider the following;
Canon sells products (tools) that facilitate the expression
of imagination, so by promoting imagination itself you
are simultaneously promoting the demand for those tools
(products). In other words, give a man a fish and you feed
him for a day, teach a man to fish and he’ll go and buy his
own fishing rods.
Short Film:
Due to the fairly complex nature of the idea, translating it
across a 30-second television commercial would simply
be impossible. Substantial intellectual scaffolding must
be climbed first before a message can be sent. A short
film, however, would provide the necessary creative
space to accomplish it. Advertisements dressed up as
short films are not completely new. For instance, in 2005
Nissan created a 20 minute short film that was attached
to the British version of the DVD boxed-set of the
television show “24.”
We would place the short film on its own website
(ie: register a single-standing domain name, www.
theresolution.com, instead of placing it directly on the
Canon website). By placing the film on its own domain
you help disassociate it a piece of ‘advertising,’ which
helps create a degree of cut through.
This would be similar to Absolut vodka’s short film titled
“I’m Here,” which was directed by famed indie director
Spike Jonze (Where the Wild Things Are, Being John
Malkovich). It was placed on its own domain (www.
imheremovie.com) with a site layout that makes you
feel like you are attending a small film theatre. The film
centres around a growing love story between two robots
with a plot driven by the themes found in the children’s
book The Giving Tree.
“It was a pretty incredible opportunity. They (Absolut)
didn’t give me any requirements to make a movie that
had anything to do with vodka. They just wanted me to
make something that was important to me, and let my
imagination take me wherever I wanted
- Spike Jonze

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Absolut also limited the number of “tickets” (ie viewngs)
to 20,000 per day, with links to social media so friends
could watch it together online. It is also interesting
to note that the short film is devoid of any Absolut
advertisements or product placement.
“I’m Here marks an evolution of our longstanding
commitment to creativity, and I am incredibly proud
to make this film available to a global online audience.
Spike Jonze has made a magical short film, which takes
our creative collaborations to new heights. We could
have done a commercial or a print campaign, but this
is so much more interesting. And much more ABSOLUT”
(http://theinspirationroom.com/daily/2010/absolut-im-
here/)”
- Anna Malmhake, Vice President Global Marketing,
Absolut
Print and Outdoor:
The short film shall be focal point of the campaign,
however various other mediums will be used to
accentuate and drive consumers to the short film.
These will include print advertisements in appropriate
magazines, outdoor advertisements such as bus stops
and billboards and a single guerrilla outdoor element.
A strong air of ambiguity shall be imbued onto these
ancillary executions to help instil a sense of intrigue
amongst the consumer. “People enjoy figuring things out
for themselves. Letting them explore, piece together and
interact with content means they are learning actively,
and more likely to retain information and act upon it,”
(Miller, 2010).
Think of the print, outdoor and social media executions
as breadcrumbs (or ‘trailers’) that all lead the user to
the website (ie: short film). The ambiguity means the
executions act as clues; simultaneously promoting
consumer curiosity whilst also manufacturing a sense of
suspense;
People switch off if you try to tell them everything up
front. The Internet enables people to quickly and easily
drill down into information to find out more, so why not
let them do the same with brand messaging? Focus on
a message that is relevant and will create intrigue, and
your audience will follow up to learn the rest
– Nicholas Miller, iMediaconnection

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Creative Execution
Short Film Idea
ACT ONE
Pay homage to Stanley Kubrick’s 1968 film 2001: A Space
Odyssey with a reinterpretation of the opening scene (ie
The Dawn of Man)
Monolith colour: The looming black monoliths that
appear at various stages in the film represented
advanced machines built by an unseen extraterrestrial
species. They were vestiges of an extremely evolved and
technologically advanced species that had accomplished
intergalactic space travel millions (even billions) of years
before present time. This sentient race discovered that
life was quite common throughout the universe, however
intelligent life was often stunted in development, or died
out prematurely on the evolutionary timeline. They built
these monoliths to help foster intelligent life, leaving
them scattered throughout the universe on planets that
harboured life with the potential of achieving higher
intelligence. This is illustrated in the film where the ape
that touches the monolith soon learns the ability to use
tools.
The problem however is that, as previously hinted,
the scene seems to focus on man’s ability to use tools
to conquer (epitomised by the ape using the tool to
as a weapon) as opposed to create. As a result, these
connotations may bleed onto the monoliths themselves.
If we change the colour of the monolith’s to white, it
reinforces the distinction between conquering and
creating whilst simultaneously playing upon the
universal themes of dark vs light. It also helps re-enforce
the fact that that this is an altered homage to Kubrick’s
opening.
This scene famously portrayed early ape-like humans
and their tentative first steps towards tool usage, The
genius of this scene lies in Kubrick’s ability to capture
the essence of a large idea (ie: tool usage and its rippling
effect on human evolution) and illustrate it in only a few
simple images. Perhaps the most powerful is the mid-
air cut from bone-tool to satellite. It beautifully waters
down millions of years of technological evolution by
juxtaposing two objects either end of the timeline.
As stated previously, our opening will pay homage to
Kubrick’s version, however it will not follow it verbatim.
The main deviation will be the shift of focus from man’s
ability to conquer to man’s ability to create. How this
will be accomplished is as follows;
Purpose of the bone tool: Instead of having the ape use
the tool as a weapon to conquer or kill, we will depict the
ape using it to carve a crude image to their cave wall.

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Match-cut: As mentioned previously, the sudden cut from
primitive bone tool to advanced satellite was a clever
juxtaposition, condensing a narrative spanning millions
of years into a few quick frames. It is a very important
feature of Kubrick’s opening, illustrating that the second
our early ancestors picked up that bone we were destined
to evolve alongside our tools. The only problem is, as
experienced with the monoliths, Kubrick’s opening deals
more with man’s ability to conquer, as opposed to man’s
ability to create. Its inclusion would taint our vision with
an air of unwanted ambiguity; however its exclusion
could be regarded as too much of a deviation from
Kubrick’s opening that it could no longer be classed as an
example of homage.
To combat this we will simply alter the images being
transitioned (explained further in the storyboard)
ACT TWO:
Classroom filled with 9-10 year old children who are
watching the film. An analytical discussion ensues:
This scene will contain several children and one adult.
The protagonist will be a girl named Vivian and the
antagonist will be a boy named Andy. The single adult
(the teacher) will act as an objective facilitator for the
discussion.
What the characters represent, in their basest forms, is:
Vivian - Imagination
Andy - Violence
Teacher Knowledge
More specifically, Vivian represents man’s ability to use
tools to create, whereas Andy represents man’s ability to
conquer. Vivian will represent the ape who used the bone
for art whilst Andy will represent the ape who used the
bone as a weapon. As a result, their personification will
be as follows;
ANDY
- Loud
- Narrow minded
- Brash
- Bully
- “Hit first, ask questions later” attitude
- Face with a low brow similar to a Neanderthal (also
where the name Andy came from – NeANDYthal)
- Shaggy haircut
VIVIAN
- Quiet (but not afraid to speak her thoughts)
- Open minded
- Observational
- Curious
- Creative
- Photography enthusiast
- Slight resemblance to Kubrick’s daughter (also called
Vivian)

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ACT THREE:
The Dawn of Man opening continuation
The final act will commence with a slow zoom from
somewhere within the classroom towards the paused
image (ie; the apes sitting looking at their cave drawing)
being projected onto the wall. The zoom will continue
“through” the screen, at which point the film will
‘unpause.’ It is here that the etching the ape inscribed
upon the wall will be revealed; a circular shape. As the
camera gets closer to the circular image however a small
circular piece in the very centre of the shape will break-
off/dislodge itself from the wall. As a result, the ‘new’
image will resemble more of a doughnut shape. The final
shot will be a pan-out of the cave as the apes sit and stare
at this image.
The image itself represents the precursory blueprint,
or inspiration, for the eventual invention of The Wheel.
It sums up the very essence of our campaign, in that
the act of using tools to create rather than conquer can
(and does) inadvertently lead to the creation of new
tools and new art that ultimately work to expand man’s
imagination and help push forward the evolution of the
entire human race.
“These days you can’t just go out there and
say, ‘Hey we’re a cool brand,’ you’ve got to do
something more subtle and interesting.”

17. PRELUDE
This quotation works well because it not
only relates to the underlying themes of
our campaign but carries all the positive
connotations attached to the historic icon that
is Albert EinsteinIn terms of its animation the
quote itself would first appear (fading from
black), followed by a 4-5 second delay before
Albert Einstein’s name would appear. It allows
the audience to read the quotation objectively
before the connotations assosiated with
Einstein are imbued onto it
ACT ONE
Slow pan from right to left as the breaking
dawn casts light on an African landscape (the
location of Africa was chosen due to the widely
accepted concept of “Out of Africa,” relating to
evidence that implies that Homo sapiens arose
in Africa and migrated out of the continent
around 50,000 to 100,000 years ago, replacing
populations of Homo erectus in Asia and
Neanderthals in Europe. It should be noted
however that the setting could be changed
to Europe as Aurignacian culture, a group
of Upper Palaeltithic apes found exclusively
in Western Europe, are believed for being
responsible for the creation of the burin, an
engraving tool, making much of art possible)
with the white monolith just left of shot
The Monolith
As the apes awake and slowly emerge from
their cave they see the enormous monolith and
encircle it, screaming and chanting warbled
cries of intrigue and excitement.
Storyboard

18. Touching the Monolith
The moment that the ‘knowledge’ of using tools
is passed onto the ape.
Carving the Picture
After the ape has finished the carving, there
will be a shot of two or three more apes sitting
and looking at the carving (not all depicted
here for simplicity’s sake). The match-cut
would occur with the transition from this
image to our next scene; the classroom. Each
sitting ape would be replaced with a child
sitting at their desk and the carving on the
wall would be replaced with a Canon projector
(which is playing our version of Kubrick’s
film ie; what the audience were just viewing).
Also the seating position of the ape who is
responsible for carving the picture will be
match-cut with the seating position of our
stories child protagonist (explained further in
next frame).
Further Anatomy of the Match-Cut
Below is a more detailed list of all the elements
being match-cut:
1) Carving ape - Vivian
2) Agressive ape - Andy
3) Monolith - teacher (not directly match-
cut because the monolith is outside the cave,
however the teacher should stand in line of the
monolith)
4) Bone tool - Canon projector (*note: this can
only occur AFTER the ape has finished the
carving and subsequently drops the tool on the
floor)
5) Carving - projected film (*note: we will not
see what the carving is until the ACT THREE)

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Script
Since the class discussion occurs in a single setting and
revolves heavily around dialogue, it would be more
feasible to pause the storyboard here and insert the
script. Obviously we are unable to include the entire
script in this document, however the two excerpts below
should act as an example of how some of the discussion
will be constructed:
Dialogue 1
ANDY: Wait... I don’t get it, what is that monkey doing?
TEACHER: Does anyone think they might be able to help
out Andy with his question?
VIVIAN: They’re drawing a picture
TEACHER: Very good Vivian
ANDY: That’s a picture? Really? I can draw better than
that with my eyes closed!
TEACHER: I have no doubt you can Andy
ANDY: Then why are we watching a monkey, I mean APE,
scribble on a wall? It’s so boring! I want to see spaceships
or something
TEACHER: Give it a little time Andy and you will get your
spaceships...
Dialogue 2
TEACHER: So let me get this straight though, you’re
telling me in order to build a spaceship you need tools;
like drills and screws for instance, but these very tools
had to be built first, and to do that you need additional
tools?
ANDY: Um.... I guess so
TEACHER: Well you are right Andy, but you are missing
one important thing though. Does anyone else know what
else is needed to build a spaceship other than tools?
RANDOM STUDENT: rockets!
TEACHER: well, yes, but technically they are a form of
tool
RANDOM STUDENT: computers
TEACHER: again, a tool
RANDOM STUDENT: science people!
TEACHER: scientists?
RANDOM STUDENT: yeah!
TEACHER: getting closer, but not quite
VIVIAN: imagination
TEACHER: bingo! Imagination
ANDY: Um... I don’t get it, a spaceship isn’t made out of
imagination, its made out of metal and space parts
TEACHER: yes Andy, it may be built using those things,
however it had to be imagined by someone first before it
could be built didn’t it

20. Circular Etching
Although we have referred to this as an etching,
it is not neccesarily exactly accurate. The
shape would have been achieved with circular
movements of the bone on the walls surface,
however the differences in density means the
bone would not neccesarily be ‘etching’ an
image ‘into’ the stone. Instead it is more of the
bone leaving a whitish residue on the walls
surface as the rough irruglarities in the stones
texture would sheer off tiny fragments of
powdered bone.
Doughtnut Etching
A small section of the wall will dislodge itself
(result of wear and tear), thus carrying with it
the bone residue from the central core of the
circle. The resulting shape should resemble a
doughnut or, as we are trying to imply, a wheel
(’The Wheel’).
Cave Zoom-Out
As the camera slowly zooms out from inside
the cave an excerpt of John Lennon’s Imagine
will play (starting off soft initially but building
with a gradual, though not too gradual,
crescendo). The excerpt in question will
contain the following specfic lyrics:
Imagine all the people
Sharing all the world
You may say that I’m a dreamer
But I’m not the only one
I hope someday you’ll join us
And the world will live as one

21. Print

22. Billboards

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Monoliths (Outdoor Guerrilla)
As previously mentioned, the monoliths within Kubrick’s
film represented advanced machines whose purpose
was to foster intelligent life by accentuating evolutionary
progress through the transfer of knowledge. Since our
short film itself represents a form of ‘knowledge’ (with
similar aims to that of Kubrick’s monoliths) we can
actually take the motive of the monoliths and use it in a
tangible sense to facilitate this ‘transfer of knowledge.’
To achieve this we will create to-scale versions of the
monoliths from our film and place them in various city
squares, coinciding with the launch date of the film.
Inscribed onto the monoliths will be a single blue-tooth
icon (other than that they will be devoid of any other
insignia). Subsequently, the monolith will contain a
blue-tooth device that allows users within the monolith’s
radius to ‘connect’ to it via their smart phones, which will
then give them a streaming link to short film itself.
As a result, the appearance of the monoliths in the film
will be mirrored in a modern day setting. Replace our
dreary apes awaking and emerging from their cave with
people awaking and commuting to work. Instead of
physically touching the monolith (like the apes) we have
people ‘touching’ it via their Bluetooth devices. In both
cases knowledge is being passed on and in both cases
that ‘knowledge’ has a similar aim; to aid in the continual
advancement of the human race.
“Creativity beats frequency anytime.”

25. Website Progression
The short film will be accessible via the campaign website
theResolution.com, yet it will not be ‘viewable’ until the launch
date. In turn, Print and Outdoor executions will be driving
consumers to a website. Canon can use this to their advantage by
continuing to cultivate consumer curiosity by creating a website
that ‘evolves’ during the month leading up to the launch date.
Building upon an already established element prevalent throughout
the print and billboard executions, the website will feature a
countdown timer in Roman numerals (in days, hours, minutes and
seconds). For example;
30 days 24 hours 60 minutes 60 seconds
XXX XXIV LX LX
At the start of the countdown the site’s backdrop will be a solid black.
As the countdown approaches the launch date however an image will
begin to slowly appear through the darkness. This will help symbolise
the approaching ‘dawn’ whilst also baiting consumers to visit the site
regularly to monitor any changes. By the time the countdown timer
reaches zero, the image will be fully lit, complete with the subtle
addition of a shadow cast by an unseen monolith right of frame.
It is at this point that the title ‘THE RESOLUTION,’ which sits within
the entrace to the cave, will change to the word ‘ENTER’. The shift
from ‘dark’ to ‘light’ helps symbolise the approaching ‘dawn’

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Evaluation
As Canon strides forward towards a new dawn, the
importance of evaluation has not been forgotten. History
reminds us that without measured control and constant
revision, a campaign will deviate from its purpose.
In order to evaluate the campaign’s progress, the
following areas will be measured against the original
objectives:
• Retail sales and customer satisfaction surveys will be
reviewed prior to, during and at the culmination of
the campaign.
• Views of and hits on both the campaign site and
existing Canon websites.
• Connections and visitors to ‘Monolith’ and Bluetooth
activated media locations will be collected
• Social media interest will be tracked using tools
provided by Facebook, Twitter and Google.
Consistent evaluation will ensure history remembers the
Resolution as the campaign that shaped the progression
of the technological advertising market with Canon
playing the role of pioneer.
“It is not how many ideas you have - It is how
many you make happen”

28. XXVIII
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References
Demographia. World Urban Areas (World Agglomeraons)
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European Commission. (n.d.). EU Languages and
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Cooper, P., Patterson, S. (September, 2009). The Impact of
the Economic Crisis – Towards a New Consumers Market
Research Model. ESOMAR: Congress, Montreux. Available
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European Association of Communication Agencies.
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www.warc.com
New York American Marketing Association. (2008).
Canon – Shoot Like A Pro. Consumer Electronics, Effie
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Dentsu London. (2011). IAA InterAd 2011 Global
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Lawley, Western Australia.
Miller, N. (2010). Six ways to change consumer behaviour.
iMedia UK. Retrieved from:
http://www.imediaconnection.com/content/27206.asp