Nicole Godoy, head of production at VMLY&R, one of the Brazilians present on this year’s festival jury, in the Press & Outdoor category
Between the next 8th and 10th, the D&AD Awards jurors will meet in person, as well as lectures, exhibitions of pieces, among other festival activities, in London, the final result of which will be announced at the awards ceremony, on the 24th and 25th of May. Head of production at VMLY&R, Nicole Godoy is on the Press & Outdoor jury and will join the group of Brazilians and judges from other parts of the world. She says she analyzed almost 700 cases.
Percepes
We have already finalized the jury online, and we are looking forward to the face-to-face meeting in London. I was very delighted with the level of work. D&AD has always had a very receptive eye for form, craftsmanship, very elegant advertising. And this is something that inspires me a lot, and it was something I was able to prove by being a judge.
Appraised works
This is a category that made a strong comeback in the post-pandemic period. People stayed indoors for two years, and there was a certain saturation with the exclusively digital stimulus. And when life returned to the streets, opportunities for outdoor work opened up. I feel that the analyzed works have a message of immediate impact, which brings interaction with the space or with the shape of the pieces themselves. It was what I saw most often, and they were the works that most called my attention for their creativity, innovation and suitability. This is a trend, but there is a difference within each context of the country, culture, and even urban rule. But I felt messages that provoke interaction with the audience.
OOH in Brazil
Brazil is a market that has gained new relevance, is being heavily exploited by entertainment, in addition to having brought brands that were digital natives and ended up going to OOH as a form of complementarity.
barriers to overcome
On our side, from production and even seeing work from outside, I think we put little creative energy and investments in production originally thought for out of home. We worked a lot with adapting campaigns for this medium, and in many cases, they still treat it as an offshoot. There is a feeling that we are still not fully exploiting the potential that this format has, precisely because it is in the showcase of urban space and because it allows direct interaction with the public that is transiting through the city. From a production standpoint, the challenge is that the system and processes allow for a little more creative production craft opportunity in the medium. But this is evolving.
