CRISP CONCERT
| Title | CRISP CONCERT |
| Brand | EZAKI GLICO |
| Product / Service | SNACKS |
| Category | B03. Branded Content & Entertainment Film |
| Entrant | DENTSU Tokyo, JAPAN |
| Entrant Company | DENTSU Tokyo, JAPAN |
| Advertising Agency | DENTSU Tokyo, JAPAN |
| Production Company | ROBOT COMMUNICATIONS Tokyo, JAPAN |
Credits
| Name | Company | Position |
|---|---|---|
| YASUHARU SASAKI | DENTSU INC. | Executive Creative Director |
| HIROSHI KOIKE | DENTSU INC. | Creative Director |
| KAZUYOSHI OCHI | DENTSU INC. | Planner / Copywriter |
| NARU KUDO | DENTSU TEC INC. | Agency Producer |
| KENTARO SAGARA | ADBRAIN Inc. | Art Director |
| YASUHIRO KAWASAKI | ROBOT COMMUNICATIONS INC. | Producer |
| FUMIKAZU MATSUBARA | ROBOT COMMUNICATIONS INC. | Producer |
| TOMOKO NISHIZAKI | ROBOT COMMUNICATIONS INC. | Production Manager |
| KAZUMA IKEDA | P.I.C.S. Co., Ltd. | Director |
| SHINYA KIYOKAWA | INVISIBLE DESIGNS LAB. | Music Director |
| YUDAI IWATA | INVISIBLE DESIGNS LAB. | Assistant Music Director |
| YUKI SEZAKI | INVISIBLE DESIGNS LAB. | Assistant Music Director |
| KAZUYOSHI KOIKE | JaNGLE MooN | Director Of Photography |
| NAOKI YOSHIMINE | SUI | Art Designer |
| FUMIHITO | Five Loess Star | Choreographer |
| KAZUO DAN | MOLIcule moco | Milo operator |
| YUSUKE KANEKO | ROBOT COMMUNICATIONS INC. | Editor |
| TOYOKATSU TANNO | IMAGICA | Editor |
| YASUHITO IZUTSU | IZUTSUYA | Sound Effect |
| SHIGENARI KATO | DENTSU INC. | Account Executive |
Brief Explanation
Definition of tasty confectionery is not only determined its texture and taste but SOUND is also one of the significant element. Therefore, we’ve produced an unprecedented musical brand film which makes people smile in a moment by using snacks. That is, to play Christmas song medley such as Jingle Bells, Joy to the World! the Lord is come, and We wish you a Merry Christmas, using the real snack crisp sound. We first analyzed all Glico’s confectionery’s sound, and picked up 26 suitable items as instrument out of over 100 Glico’s line-up. In addition, we have rescreened those items for melody parts and rhythm parts. At last, we needed two months to create the sound of the octave by controlling the form of the mouth, the place that sweets hold, temperate and and power adjustment.